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When Will Trump *Personally* Accuse Putin of Poisoning Someone on British Soil?
I'll tell you what we want. We want to hear it from Trump himself.
[F]or whatever reason, Mr. Trump avoided saying so personally in public, much as he has generally avoided condemning Russia for its election meddling. He has allowed top advisers to denounce Moscow for its interference in American democracy, but when it comes to his own Twitter posts or comments, he has largely stuck to equivocal language, seemingly reluctant to accept the consensus conclusion of his intelligence agencies and intent on voicing no outrage or criticism of President Vladimir V. Putin of Russia, for whom he has expressed admiration.
Honestly, Pompeo, Tillerson, whatever. Putin is a mafia boss and only cares about what another boss has to say. Anything Trump's admin says about Putin is nearly irrelevant as long as Trump himself refuses to stand up to Putin.
The key words there are "Trump himself." Trump himself still hasn't unequivocally accused Putin, using his own words coming from his own wordhole. And that is what matters to Putin. Not what his administration says. What HE says.
As, as I write this, he's yammering on Twitter about a trade deficit with Canada or some other idiotic nonsense like that.
Let me say it now: I will not be particularly impressed should we get a TelePrompTerized statement, read in that sing-song "someone else wrote this for me" voice . . . and later undercut by off-the-cuff remarks that show he doesn't believe it. You know: kind of like the way Trump has handled accusations that Putin was behind the hacking of the DNC. There's the official message — but then there's the casual "I told Vlad I believed him when he said he didn't do the hacking" undercutting of that official message.
Somehow, I doubt very sincerely that we will ever get a toughly-worded, unequivocal finger pointed personally by Donald Trump at Vladimir Putin. About this — or anything else, for that matter.
BY THE WAY: It's been taken as an article of faith among the Trump-supporting right that you are clinically insane if you happened to notice that Rex Tillerson was fired right after taking a harder line on Russia than the rest of the Trump administration. Why, it was all about Iran! The Free Beacon tells us so! Sure, it happened right in the middle of Tillerson's "sorry my boss called y'all s***holes, Africa!" apology tour, and cut that planned trip short. But anyone who thought that sudden timing odd, and notes that it sends a message of weakness to Putin, needs a stay in a mental hospital!
His statement infuriated the White House, which had crafted its talking points with lawyers at the State Department to keep the United States in lock step with Prime Minister Theresa May of Britain. Instead, an official said, Mr. Tillerson made the White House look like it was soft on Mr. Putin, which he insisted was not the intention.
So, you see, the White House was, in fact, upset with Tillerson over his Russia statements — just as I have been saying. But their defense is that the White House wanted to be in lockstep with the U.K. Okayyy . . . well, the leader of the U.K. just stood up in front of the world and accused the Russian state of being behind this crime, with no ifs, ands, or buts. You can watch the video of it here.
And the fact that Trump hasn't similarly pointed the finger at Putin personally (and probably won't) means that being in lockstep with our ally isn't really that important to Trump. Which means the administration was not telling the truth in citing the need to be in lockstep. Which means something else was going on.
Of course, Tillerson's head was on the chopping block for a long time. Iran was part of the reason. But the timing was a smooch to Vladimir Putin. And I think it was meant to be.
Finally: to those who say that Trump is just being diplomatic in refusing to personally criticize Putin, I ask: why doesn't he have the same compunctions about criticizing the head of state in our closest ally: the United Kingdom? Trump has had no problem personally saying that he would have been tougher than Theresa May on Brexit negotiations, or implying through Twitter that she is insufficiently tough on terrorism. So please: save your "Donald Trump, Master Diplomat" defenses for some chump who'll buy them. No sale here.
If we're going to be in lockstep with our ally, Trump needs to call out Putin — directly, personally, without caveat, and in his own words.
Outsourcing it to Nikki Haley is not good enough.
I guess it's asking too much for him to sound as upset about it as, say, black football players taking a knee. But hey. Baby steps.
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When it comes to marketing, new businesses have an increasingly difficult time competing against better-funded and well-established companies. However, even startups on a shoestring budget do in fact succeed, regardless of the fierce competition they face. The key is in creative and effective marketing.
Marketing doesn't have to be expensive, in order for it to be efficient. There are several low-cost marketing strategies that can help you outrun even the best-funded competitors. It comes down to how, when and why you use it. With that in mind, here are a few cheap marketing ideas you can use to crush competitors.
Social media platforms are the obvious choice when it comes to cheap marketing. Many businesses leverage social media to boost visibility, presence, and awareness about their company. However, simply having a presence on a social network won't miraculously give you an advantage. You have to build it up.
Startups should start building a presence on social media even before they actually have a product designed. Use social media to tell your story online and connect with people in your industry. Interact with them. Like, follow, share, and comment on their posts.
If you invest time in connecting with influencers in your industry and establish a meaningful relationship with them, you'll have a consumer base familiar and interested in your product by the time you get it ready for sales. Don't wait until your product launches – start using social media to tell your story and building relationships now.
There are over 3 billion Internet users in the world today and most of them are consumers looking to solve a problem. If you can find a unique problem and develop a solution, you won't have to spend a dime on marketing. That's because niche-specific consumers will promote your product for you.
This doesn't mean you need to invest into developing an entirely new product. Instead, you could add product features that serve niche-specific needs. Big companies don't bother with niches. They place a product on the market and niche customers buy it because they have no alternative. By presenting those consumers with a product that serves them specifically, you have an entire consumer base ready to come over to your side, and that is a major advantage if there ever was one.
Search engine optimization (SEO) is both a cheap and an expensive marketing strategy. In recent years, Google had changed it's ranking algorithms so that big companies can't game organic search results with their big budgets. If you produce good content Google gives you the opportunity to rank well for it. Mastering SEO and content marketing in general, you can help you cut through the noise and effectively reach your customers.
If there's a time to crush competition and get an advantage, it's the holiday season. During the holiday season, consumers get excited and are willing to spend. They're also looking for the most appealing offer they can find. Being able to grab people's attention can mean the difference between gaining an advantage or falling behind.
But instead of running a crazy sale or promoting your own products. Show a little love to your customers during the holiday season by sending them a freebie, such as Christmas gift cards as a small thank you for being your customer.
You'll find that giving a few bucks away cost less than running an expensive ad, and the ROI is better. Even small customer gift ideas will keep your company top-of-mind during the holidays and increase your customers' word-of-mouth recommendations. It's the best referral marketing dollars you can spend.
In the world where the digital noise can be too much to bear, going offline can prove to be a gold mine. Experts argue that traditional marketing is dead and that debate is ongoing since 1994. Today, traditional marketing is still alive and kicking, proving to be as efficient as it ever was. Modern consumers are constantly bombarded by offers and promotions via digital channels. Most businesses have forgotten about traditional means altogether.
This can present a unique opportunity as not every consumer is online constantly. You can come up with cheap ways to give offline consumers a nudge in the right direction. A well-placed newspaper or magazine ad, a billboard commercial or direct mail with the right message are all excellent traditional ways to get consumers interested. With the right mix of digital and traditional marketing, your business can gain a significant advantage over competitors, leaving them in the dust.
Whether you engage in traditional marketing or digital marketing, it doesn't mean you have to spend a fortune. With a little creative thinking and imagination, you can produce effective marketing campaigns without losing an arm and a leg in the process. Even cheap marking ideas work well, as long as they resonate well with your audience.


Homepage » ATTA News » New AdventureTravelNews – Two Versions and Weekly!
New AdventureTravelNews – Two Versions and Weekly!
This week's newly designed AdventureTravelNews. Stay tuned next week for AdventureTravelNews NOW.
After months of planning and gathering your feedback, we're excited to send you our updated version of AdventureTravelNews. This new format will bring you original ATTA articles, important ATTA updates and a round-up of key news for the industry in an easier to digest format.
Beginning next week, you will also begin to receive AdventureTravelNews NOW, a weekly round-up of ATTA announcements and events, and all Member News pieces. These will include Member updates on trends, events, awards and operational innovations from our member community.
This way, our members can get their timely news published more quickly while we still are able to provide fresh articles on industry trends, business insights, and interviews to you once a month.
We'd love your feedback on these new versions of AdventureTravelNews and AdventureTravelNews Now – please send to [email protected] If you'd like to review or change your subscription preferences simply click the "Update Email Preferences" in the email footer of your digital newsletter copy.
We hope you enjoy the new AdventureTravelNews!


We share lessons learned captured in Grant Reports with nonprofit sector stakeholders as a means of enhancing the legacy of the support we provide. Doing so allows others to learn from and use best practices derived from our grant recipients' work.
With the support of some of our past and current grant recipients, we have created grant reporting documents that help us gain valuable insight into the projects we have supported, while not placing undue administrative burdens on our grant recipients. We also rely upon several time-saving tactics in our grant reporting documents so that grant reporting is as easy as possible. For instance, some of the information required in the respective Grant Progress and Grant Final Reports can be carried over or updated from content outlined in your Grant Application. Completing grant reports typically takes three hours.
The Foundation likewise provides samples of completed Grant Progress and Grant Final Reports of fictional projects that grant recipients can refer to when drafting their own grant reports. These documents provide insight into the type of information required to answer the questions in the respective grant reports.
A learning conversation might be held between a representative from the Foundation and the grant recipient within a few weeks of receiving a Grant Report. Doing so allows us an opportunity to discuss content in the Grant Report, seek clarification or more information if necessary, and consider next steps. A grant recipient may also request a learning conversation any time to share updates or discuss formal reports.
If you have any questions or would like assistance to develop your grant reporting materials, please contact Ben Liadsky at 416-923-8953 ext. 121 or at ben[at]counselling.net.


Elizabeth A. Price is a top-rated attorney helping clients with Civil Litigation: Defense. She also assists with Class Action / Mass Torts issues.
Elizabeth Price attended The George Washington University Law School and graduated in 1986.


Juliska's weighty ceramic dinnerware makes a fun aquatic statement.
Just a few left! Usually leaves our facility within 2 business days.
Berry & Thread Sealife Whitewash "Sea Urchin" Dessert/Salad Plate, 8.5"
Berry & Thread Sealife Whitewash "Lobster" Serving Bowl, 12"


National Historic Ships UK (NHS-UK) is a government funded, independent organisation which provides objective advice to UK governments and local authorities, representing the interests of all those in the historic vessels sector. Its main activity is the maintenance and development of the National Historic Ship Registers which include: the National Register of Historic Vessels (NRHV); the National Archive of Historic Vessels (NAHV); the Overseas Watch List (OWL); and the UK Replica List. In addition, NHS-UK is the initiator and manager of the Shipshape Network which was set up to promote the regeneration of traditional maritime skills, encourage regional activities and improve communication amongst heritage training schemes. NHS-UK provides guidance on best practice in the form of the three volume series Understanding Historic Vessels and has recently successfully accredited a BTEC in historic vessel conservation via the awarding body Edexcel.


Come join the Guam Head Start Program as we MOVE, LEARN and PLAY! Help us promote health and wellness by encouraging exercise for children ages 2 to 10 years old.
Our Fitness Fair will consist of various Community Partners sharing information on their program and services. We will also have fitness stations with various activities for children to enjoy throughout the event.
Contact the organizer at info found below and on flyer to sign up.
Get a good night's rest, eat a healthy breakfast, visit the Guam Head Start website at guamheadstart.gdoe.net to read and learn more about what we do, the services we provide and the families we work with.
You will be assigned a station. Follow instructions that the organizer provides and also the station lead. In general, these are the goals for the day: to help families stay informed of programs and services available in our community; to assist families by promoting health and wellness through the power of exercise and play and; to assist children as needed in participating in fun activities.
In order to earn service learning hours, a reflection needs to be turned in to a teacher who can input the hours into Power School. You need to address: What did you do? What did you learn? How was this an example of public service?
Also, reflect on: Did you know what the Guam Head Start Program was prior to this event? Were you aware of the various services and programs our community has to offer? Are you aware that children between the ages of 2 to10 years old learn as they play? What impact do you think this Fitness Fair had on the families who attended today's event? Did you find this event to be productive in keeping the families in our community aware of the services being offered?
The objective is to promote family health and wellness through play and to increase awareness of the community programs available in our community.
Standard 8: Health Advocacy Demonstrate the ability to advocate for personal, family, and community health.
HS.8.3 Work cooperatively as an advocate for improving personal, family, and community health.
HS.8.5 Employ life skills that promote healthy, productive, and functional lives.


With every ounce of effort and forward thrust, I have shaken off this sluggish winter chill and am now hurtling towards... Iceland, again. Not a day has gone by in over two years where I haven't thought about it, wishing I was returning. So I decided I ought to make it so, and, much to the surprise (and likely relief) of some, sans Kickstarter.
I am hoping to make it on my own steam as much as possible, not without the company of two of my favorite Swedes, one meeting me there and another half way for some romping in the wild West Fjörds... for two weeks in July! I am simultaneously wanting to be there presently so badly I can taste it and also wanting to savor every minute leading up to it, I am nearly intoxicated with this cocktail of anticipation and desires.
Lest you think I've -only- been laying about combing the internets and books for things to amuse myself at some future time – there has also been a resurgence of daytrippery. Which was long overdue. First, my dear friend Irina Souiki came to visit our new home and take a much-needed weekend off. It happened that we were met with a spot of unfortunate weather to start so I thought we might take visit my 2nd favorite gardening center, Ott's.
Although things quickly devolved into a monsoon-like fury outside, inside was still, lush and tropical as ever. Petals falling in our hair, vines creeping over everything. And well... there was a kitten that spontaneously leapt into a basket. Really, nothing can top that, no matter the weather. Flowers. Kitten in a basket. What more does one need?
Fortunately, Irina was quick and kind enough to capture my ecstasy at this discovery.
The next day we had made plans to explore an abandoned village near Princeton and meet up with one of our mutual West Coast Flickr friends, Rita (who I'd known for years but only met in person just days before my last birthday - well -our- birthday, as we share the same day).
We strolled around town to take in some of the brilliant Spring color, then we made our way to the village which I had discovered some time ago but not properly explored due to being assaulted by hornets. I wanted to wait for colder weather, but I waited a bit too long. Though all the houses were still there are even more accessible than previously, they had all been mostly stripped inside and as well as most of the plant life surrounding them. The one house I had gone into for a moment before the hornets started swarming, did have some remnants upstairs of interest. Signs, construction vehicles and supplies all pointed to this area being developed, but I was rather surprised that they seemed to be set to restore this cluster of long abandoned houses rather than raze them. Of late I've been keeping a tally of known abandoned houses, some of which I've been in and others which I've merely stalked and pined for and those that have not been demolished are largely being restored and/or integrated into a newer larger residence. Knowing how deteriorated some of these houses were makes this quite shocking, many have sat vacant 10 or more years, exposed to the elements with open windows. Ultimately it is a positive thing, but also a bit surreal to see them return to life after so very long.
As Goldberg saw a glimmer of free weekend time on the horizon, the first weekend in May, we were compelled to mount an expedition: exploring the southernmost end of the Borscht Belt in New York state. Having done a bit of research on this particular town, I knew the town proper was a bit kooky and interesting in its own right and the Catskills have long been of interest to me for the excess of abandoned... everything, especially huge resorts from the 60s and 70s. Once one of the grandest of the Borsch Belt resorts, beyond what appeared to be a most fantastic (and well-preserved) indoor swimming pool, I was not able to find a great deal of images of other things of note from the location I had set my sites on.
When we got off the interstate I pretty much straight away spotted a woodsy area that was fenced off and in the tangle of branches I saw what appeared to be an abandoned and rather ramshackle building. I told Goldberg that I suspected that it was part of what we were looking for... and I was right. The way the remains of the resort are situated is... perhaps not unusual for Borscht Belt resorts but in my years of urban exploration such as they are, finding an operational business on or next to the grounds of buildings that are just barely still standing (or entirely collapsed) has always struck me as a curious choice. In this case it was to our advantage, giving us a handy place to park, though the whole hiding in plain sight has never been my favorite option, not a big tempter of fate.
On the way up the winding hill road, we immediately spotted the main attraction, the swimming pool room, but walking back down on foot we took a less direct route and stopped by the greenhouse and peered in some of the boarded up buildings along the way. The little we saw before making it into the swimming pool room, well, let's say there wasn't much we were missing. Crumbling, moldy, unstable... boringness, mostly. But the main event was quite breathtaking.
Gorgeous Space Age lighting fixtures still hanging from the ceiling, 30 foot high floor-to-ceiling windows flooded the room with light filtered through pines, massive wooden beams crisscrossed the ceiling, the tile floor, still mostly intact but covered in broad areas by moss and ferns... and a fair number of orange and white lounge chairs. Very Jetsons... one almost expected to see drinks-serving robots rusted out in a corner.
We quickly discovered that the areas covered by moss were very unstable as they started giving out under Goldberg's feet. Fortunately we didn't cave in altogether as I later read the area beneath the pool contains the former-salon and spa... as well as corroding containers of chlorine and other dangerous chemicals. We walked round and round for over an hour, soaking it all in from every angle.
Upon leaving the building we attempted to make our way into some of the other nearby buildings but for the most part found them to be too unstable, funky-smelling and/or in a state of never-completed construction... completely bare and/or collapsing inside. I know there is at least one other room of interest but the day was heating up and we felt pretty satisfied leaving with just the pool room under our belts.
(which also contains a fair bit of Stockholm as well, it should be noted).
We continued driving around up to the Swan Lake area and beyond, finding an astonishing number of what appeared to be (nearly) abandoned Jewish summer camps, one after another down every road we turned. Many in such bad repair they barely looked inhabitable, yet many had a few vehicles parked on the property and people wandering around behind the locked gates. Between the summer camps were numerous rehab facilities and then plenty of homes that were highly decayed, but still very much lived in. A very strange area, not so different from rural central and NE PA.
The following weekend, I don't know what possessed me... I hate NYC with a passion, but I decided that after seeing some photos of here and there, we should venture to Brooklyn and explore Dead Horse Bay and Bottle Beach. Two weekends in a row, we go to NY! Unheard of! Though it would have been best to go at the lowest point of low tide (which at that time fell very early in the morning or around 7pm), we arrived around 10am. We parked at Floyd Bennett Field, which actually ended up being perhaps even more fascinating than Dead Horse Bay at that hour and we walked along the street trying to find the proper entrance to the beach, wandering, foolishly through the high grasses and scrub, into the trees which proved impenetrable. And burgeoning with TICKS. We eventually walked through the marina and later realized that there was an entrance down close to the toll plaza which we turned back *just* before reaching. If you should decide to go, be ready for the ticks, they are apparently one of the known unpleasant gifts of the area. We both felt crawly for the entire day as a result, though managed to avoid getting bitten. I think. I brought a bucket with me in the event I should find some treasures along the way.
The peculiar history of this stretch of beach might be enough to turn any one off, even without the lure of TICKS. There used to be an animal processing plant (as in making horses into glue, fertilizer etc) and they dumped their refuse into the bay, thus the name... later, in the 1930s, it became a landfill for the city. The tides at that beach on Barren Island are such that the landfill's contents and remains of dead horses are forever washing up on the shore.
The beach is covered mostly in its namesake - glass bottles - from the 30s and 40s, from all variety of products, perfumes, lotions, clorox, wine, beer, soda, salves and makeup, some whole, but at this hour, mostly broken bits. There are also horse bones and hooves, mysterious fabric pieces, shower curtains, paper ornaments (surprisingly), toys, doll parts, toilets, pieces of furniture, lighting fixtures, an endless array of shoe soles, machinery... you name it. A scavenger's dream.
We returned to Floyd Bennett Field to wash some of the grottiness off ourselves and we ended up making our way to the now abandoned airport, which was apparently the first in NYC. Though not entirely accessible, we were able to do a bit of poking about in some of the hangars. There were a lot of people in different areas of the field, just driving around, some fishing, some picnicking, others working in the community gardens. It seemed like it was the place to go on the weekend.
Between the two outings to NY, I managed to sneak in a little (increasingly rare!) Philly time with some of my favorite local photogs, who I met up with at the PIFA street fair, with the confusing Paris theme. It was quite impressive for Philly, though I don't think we were anywhere near equipped to handle the amount of people that showed up for the finale especially.
I thoroughly enjoyed the performance by the group Mucca Pazza earlier in the afternoon - who are a huge band from Chicago that sound like a punk rock gypsy marching band... with cheerleaders and nerdiness.
There were also assorted performance artists - the living fountain and the living garden, as well as acrobats, a group of penny farthing riders, French food stands, many other musical performances on multiple stages I missed or saw in passing and lastly La Compagnie Transe Express who are a group of acrobats and musicians suspended from a folding mechanized flower device hanging hundreds of feet over Broad Street... and overhead. Despite it taking forever for the performance to actually start, and nearly getting crushed repeatedly by throngs of annoyed people, half of whom were trying to leave, the other half of whom wanted to stay for the show, which started well over an hour late. It was worth it and I had some nice people being crushed into me so it could have been worse.
In more local news, a little bit of my personal history is disappearing into rubble. Very dangerous rubble: The Keasby & Mattison Asbestos Factory is coming down. Well, mostly. Almost all of the buildings, save the power plant with the smokestack, have been demolished. The power plant has been stripped of everything save the most basic brick structure and is quickly moving towards becoming office space. My mind can scarcely wrap around it all. I took a walk down to the site last week for the first time in literally years. This one wall was still standing adjacent to the power plant, but there was little else to see. Having spent the early years of photographic exploration here, this site more than anything else spurred so much in me... not just my interest in exploring abandoned buildings (though clearly where it all started for me) but also my interest in fashion photography set in unique location, it launched relationships and partnerships of all sorts. And now it is gone. It feels like my childhood home has been razed, and I think I might be less sad about losing my childhood home honestly.
Speaking of architecture, just this last weekend the construct below made an appearance at the opening of the annual juried Art of the State show at the State Museum of Pennsylvania in Harrisburg.
Here I am at the opening! Thanks to Goldberg for taking this shot and faring in an insane sea of people. I had an unexpectedly large show of support from friends, some of whom I had not seen in in as many as ten years. It was a really enjoyable night all around and I was thrilled so many people came. A lot of people showed interest in my piece, it was refreshing to talk about it with people face to face.
All such fabulous images! That abandoned pool looks AMAZING!
Thanks! I've heard from guys who have been there over the years and they told me that it was in pristine shape for so long and they said my shots they see a lot of new vandalism sadly so I was lucky I got to see it in as good of shape as I did. It is a shame there aren't really other buildings at that property worth seeing now. But it was definitely worth the visit.


I have watchmaker theme and I want change slider revolution text " We are expersts if it comes to watches". I can't find this text in slider revolution . there is nothing in layers. Where I can edit this text?


Martin Yate, author of Beat The Odds, Hiring The Best and the Knock 'Em Dead series of resume and cover letter guides is in the process of writing another best seller called Jobs Of The Future. The book will be published by Ballantine about 120 days from now.
The Electronic Recruiting News has agreed to provide you and the author with a "win-win" opportunity.
As a critical part of the project, Martin is surveying Recruiters and HR professionals. The survey is an attempt to pin down valid professional opinions about the future of work in specific industries.
According to Mr. Yate, all substantive responses to the survey will be used, with attribution, in the book. Taking the time to thoughtfully answer the questionaire could provide you and your firm with broad exposure in a national bestseller.
If you'd rather be surveyed by phone, please fill out as much of the survey as possible and add a note in the "additional suggestions or comments" box. Someone from Martin's staff will contact you directly.
your industry in the next ten years?
are in demand for workers in your industry?
career shift to this industry?
Name three of the characteristics of people who make it in this industry?
Rate the growth and stability potential for professionals in your industry?
What are the cutting edge jobs in your industry?
C) Books and other resources?


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Sun 30.10. 20:00 Philharmonie Berlin
Adam Fischer & Dorottya Láng & Miklós Sebestyén
"La fedeltà premiata" – Ouvertüre Hob. XXVIII:10
Sinfonie Nr. 97 C-Dur Hob I:97
"Herzog Blaubarts Burg" – Oper in einem Akt
Konzertante Aufführung
Adam Fischer - Conductor
Adam Fischer is together with his brother Ivan Fischer, one of the renowned conductors of his generation. Born in Budapest, he founded the Austro-Hungarian Haydn Philharmonic in 1987, which includes musicians from both his home countries, Austria and Hungary. At the same time, he founded the Haydn Festival Eisenstadt, where an international centre for Haydn cultivation has existed ever since.
Whether in Bayreuth, at the Metropolitan Opera or La Scala in Milan, whether with the Vienna or the Berlin Philharmonic, the Orchestra of the Age of Enlightenment or the Salzburg Festival: Adam Fischer is appreciated by audiences and musicians alike as a bridge builder between the world of music and the society in which we live. He acquired his profound understanding of opera and his unusually broad repertoire in classical career steps from répétiteur (Graz) to general music director (Freiburg, Kassel, Mannheim and Budapest). In 1978 he took over the "Fidelio" conducting at the Bavarian State Opera for Karl Böhm and celebrated his international breakthrough. Since then he has been a guarantor for gripping opera evenings at all the world's great houses. He is most closely associated with the Vienna State Opera, which made him an honorary member in 2017. In addition, he still regularly provides impressive opera evenings and concerts in Budapest, especially during the International Festival there. Adam Fischer will make his debut with the RSB in 2023.
Dorottya Láng
Dorottya Láng - Mezzo-soprano
Dorottya Láng was born in Budapest and studied at the University of Music and Performing Arts in Vienna. In 2011 she won 3rd prize at the Wigmore Hall/ Kohn Foundation International Singing Competition in London, and in 2013 she won the sponsorship prize at the Emmerich Smola Competition in Landau. From 2012 to 2014 the mezzo-soprano was an ensemble member of the Vienna Volksoper, in 2014/2015 she moved to the Nationaltheater Mannheim, and from 2015 to 2018 the Hamburg State Opera was her artistic home. Her repertoire includes roles such as Cherubino (Mozart, "Le nozze di Figaro"), Dorabella ("Così fan tutte"), Octavian (Strauss, "Der Rosenkavalier"), Angelina (Rossini, "La Cenerentola"), Marguerite (Berlioz, "La damnation de Faust"), Orlofsky (Strauss, "Die Fledermaus"), Hansel (Humperdinck, "Hansel and Gretel"), Varvara (Janáček, "Káťa Kabanová"), Hermia (Britten, "A Midsummer Night's Dream"). She will make her debut at the Hungarian State Opera in 2022/2023 as Rosina (Rossini, "Barbiere di Siviglia"), Idamante (Mozart, "Idomeneo") and as the Composer (Strauss, "Ariadne auf Naxos").
Dorottya Láng has made guest appearances at the Deutsche Oper am Rhein, the Latvian National Opera, Malmö Opera and the RuhrTriennale, among others. Concerts have taken her, for example, to the Vienna Musikverein, the Vienna Konzerthaus, London's Wigmore Hall and the Elbphilharmonie Hamburg.
She is also regularly active in the Lied scene and has worked closely with pianists such as Helmut Deutsch and Julius Drake. With the role of Judith in Béla Bartók's "Duke Bluebeard's Castle", she made her scenic debut at the Deutsche Oper am Rhein and Theater Hagen in the 2021/2022 season. She also made her debut as Cenerentola at the Latvian National Opera. She performed as Adriano (Wagner, "Rienzi") in June 2022 as part of the renowned Budapest Wagner Days with Marc Albrecht on the podium. In the 2022/3023 season she returns to the Vienna Musikverein with the Vienna Symphony Orchestra. She will appear for the first time in autumn 2022 with the Rundfunk-Sinfonieorchester Berlin (RSB) as Judith.
Miklós Sebestyén
Miklós Sebestyén - Baritone
Miklós Sebestyén was born in Budapest. Trained in various instruments such as flute, guitar and piano in his early years, he eventually decided to make singing his profession. He studied with Prof. László Polgár in Zurich and Prof. Josef Loibl in Munich. After his success at the Belvedere Competition in Vienna in 2010, he sang at opera houses such as the Metropolitan Opera in New York, La Scala in Milan, the Teatro Real in Madrid, the Bavarian State Opera, Covent Garden London, the Zurich Opera House, the Bregenz Festival, the Royal Opera in Copenhagen and Oslo, the Bolshoi Theater in Moscow, the Welsh National Opera, the Theater an der Wien and others.
Among his most important roles are Mozart's Figaro, Leporello, Osmin, Sarastro, Don Alfonso; Rossini's Mustafa ("L'Italiana in Algeri"), Don Magnifico ("La Cenerentola"), Mosé ("Mosé in Egitto"), Bartók's Duke Bluebeard, Dosifei (Mussorgsky, "Khovanshchina") Seneca (Monteverdi, "L'Incoronazione di Poppea"), Pizarro (Beethoven, "Fidelio") Vodnik (Dvorák, "Rusalka"), Prince Gremin (Tchaikovsky, "Eugene Onegin"), Verdi's Sparafucile ("Rigoletto"), Banco ("Macbeth") Padre Guardiano ("La Forza del Destino"), Kothner (Wagner, "Meistersinger"), Celio (Prokofiev, "The Love for Three Oranges"), et al. a.
He made an international name for himself with numerous oratorios by J. S. Bach, Mozart, Handel, Haydn, Beethoven, Paul Ben Haim, Stravinsky; and songs by Schubert, Schumann, Brahms, Wolf and Mussorgsky.
He has worked with conductors and directors Riccardo Chailly, Ádám Fischer, Fabio Luisi, Lorin Maazel, Carlo Rizzi, Ulf Schirmer, Robert Carsen, Kasper Holten, David Pountney, Philippe Arlaud, Giancarlo del Monaco, Peter Konwitschny and others.
In October 2022, he will make his debut with the Rundfunk-Sinfonieorchester Berlin (RSB) with Béla Bartók's "Duke Bluebeard's Castle."
The heart is a pit of murder
Adam Fischer comes to the RSB for the first time and has Hungarian music in his luggage. Yes, Haydn is also a must! Then Bartók, the man-woman drama "Bluebeard's Castle". Bluebeard's castle – according to the lyricist Balázs – is not a real fortress made of stone: it is Bluebeard's soul. Consequently, it does not need the "mighty Gothic hall" that Balázs nevertheless imagined, blood everywhere: on executioner's axes, golden jewellery and rose stems. Today, this seems like kitsch on the verge of the ridiculous. So what could be more natural than to perform Bartók's magnificent music for the psychoanalytical chamber play in the concert hall? "This work is a masterpiece, a compressed tragedy, a musical volcano that erupts for sixty minutes and leaves us with only one wish: to hear the whole thing again." (Zoltán Kodály)
Concert introduction: 19.10 Uhr, Südfoyer, by Steffen Georgi
Concert with
Fri 3.2. 19:30 Haus des Rundfunks
Mensch, Musik! #6 – Return to the Unknown
Mendelssohn Bartholdy, Martinů, Mamlok, Fujikura
Sun 12.2. 16:00 Philharmonie Berlin
Sun 19.2. 15:00 Haus des Rundfunks Mon 20.2. 11:00 Haus des Rundfunks
Sat 25.2. 20:00 Konzerthaus Berlin
Kletzki, Czajkowski, Tchaikovsky
Thu 2.3. 19:30 Haus des Rundfunks
Radio concert with Frank Strobel
Sun 5.3. 20:00 Zeiss-Großplanetarium Berlin
Concert broadcast to the Zeiss-Grossplanetarium
Kurtág, Mozart, Rachmaninoff
Sun 12.3. 20:00 Philharmonie Berlin Mon 13.3. 20:00 Konzerthaus Berlin
Thu 23.3. 10:00 Haus des Rundfunks
Moderated rehearsal – Nicholas Carter
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Inicio > IDIOMAS > LINGÜÍSTICA > The Substance of Language: Three-volume pack
The Substance of Language: Three-volume pack
Anderson, John M.
The Substance of Language Volume I: The Domain of Syntax Volume II: Morphology, Paradigms, and Periphrases Volume III: Phonology-Syntax Analogies John M. Anderson The three volumes of The Substance of Language collectively overhaul linguistic theory from phonology to semantics and syntax to pragmatics and offer a full account of how the form/function relationship works in language. Each explores the consequences for the investigation of language of a conviction that all aspects of linguistic structure are grounded in the non-linguistic mental faculties on which language imposes its own structure. The first and third look at how syntax and phonology are fed by a lexical component that includes morphology and which unites representations in the two planes. The second examines the way morphology is embedded in the lexicon as part of the expression of the lexicon-internal relationships of words. The Domain of Syntax explores the consequences for syntax of assuming that language is grounded in cognition and perception. It shows that syntax is characterized by a set of categories based on distinctions in what the categories are perceived to represent. The first part of the book traces the twentieth-century development of anti-notionalism, culminating in the assumption that syntax is autonomous. The author then looks at syntactic phenomena, many involving the fundamental notion of finiteness. He considers whether the appeal to grounding permits a lexicalist approach that would allow syntax to dispense not only with structural mutations such as category-change and 'empty categories' but with universal grammar itself. Morphology , Paradigms, and Periphrases is concerned with the role of the lexicon, in particular its inflectional morphology, in mediating between the substantively different categories of syntax and phonology. In the first part of the book Professor Anderson looks at the central role of the paradigm in reconciling the demands of syntactic categorization with the available means of expression. He examines the expressive role of inflection, illustrating his argument with Old English verb morphology. In the second part of the book the author pursues the notion of grammatical periphrasis. He starts out from its role as a solver of the problem of defective or incomplete paradigms and then compares it with other analytic expressions. He concludes with a discussion of why studies of grammatical periphrasis have focused on verbal constructions. He looks at the mechanism by which grammatical periphrases compensate for gaps in the finite verb paradigm and what this reveals about the substantive differences between verbs and nouns. Phonology-Syntax Analogies looks at the substantive and structural analogies betwem phonology and syntax and the factors that cause such analogies to break down. It considers the degree to which analogies between syntax and phonology result from their both being representational subsystems within the overall system of language. At the same time it examines how far semantic and phonetic properties limit such analogies. The book presents a powerful argument against the notion of an ungrounded autonomous syntax, which it sustains and supports by detailed grammatical analyses and a powerfully coherent conceptual understanding of the nature of language. The many detailed proposals of John Anderson's fine trilogy are derived from an over-arching conception of the nature of linguistic knowledge that is in turn based on the grounding of syntax in semantics and the grounding of phonology in phonetics, both convincingly subsumed under the notion of cognitive salience. The Substance of Language is a major contribution to linguistic theory and the history of linguistic thought.
Review: The trilogy offers a complete overhaul of linguistic theory from phonology to semantics, syntax and pragmatics via the lexicon and morphology. The books will be of lasting value. Indeed, I believe that they will mark the field and be seen one day as the work of a truly exceptional twentieth and twenty-first century linguist. Jacques Durand, Professeur des Universites, University of Toulouse
Contents: Volume I; PART I: THE SUBSTANCE OF SYNTAX; 1. The Retreat From Meaning; 2. The Groundness of Syntax; 3. Outline of a Notional Grammar; PART II: WHAT IS AND IS NOT SYNTAX; 4. Interrogatives; 5. Issues in Clause Structure; PART III: A NOTIONAL THEORY OF FINITENESS; 6. Finiteness and Mood; 7. Finiteness and Subordination; 8. Finiteness and the Verb; 9. Conclusion and Interface; Index; Volume II; 1. Interface; PART I: INFLECTIONAL STRUCTURE, AND ITS CONSEQUENCES; 2. The Interfacing of Morphophonology and Morphosyntax; 3. The Periphrastic Prototype; PART II: THE DOMAIN OF GRAMMATICAL PERIPHRASIS; 4. Periphrases and Non-periphrases; 5. Number and Case as Non-nounal; 6. Non-verbal Periphrasis?; 7. Conclusion; References; Index; Volume III; PART I: INTRODUCTION; 1. Some Implications of Structural Analogy; PART II: ANALOGIES; 2. Phonology and Dependency; 3. The Structure of the Basic Unit; 4. Syntax and Non-linearity; PART III: WHY IS SYNTAX DIFFERENT; 5. Categorization; 6. Structure; 7. Analogy and Dis-analogy, and Secondary Categories; General Epilogue; Bibliography


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Outgoing Europe official impressed by Taiwan's democracy
Taipei, Aug. 9 (CNA) The outgoing head of the European Economic and Trade Office in Taiwan (EETO), Frederic Laplanche, has a 20-year love affair with Taiwan that he said will leave him hooked to t...
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Taipei, June 4 (CNA) President Ma Ying-jeou declared Thursday the Republic of China cannot be absent from the global joint effort in reducing carbon emissions and the ROC government's level of res...
EETO calls on Taiwan to join effort in reducing greenhouse gases
Taipei, June 4 (CNA) The European Economic and Trade Office (EETO) and all 16 European Union member state offices in Taiwan jointly called on Taiwan to join the global efforts with concrete acti...
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Taipei, June 2 (CNA) Daniel Calleja, director-general for Internal Market, Industry, Entrepreneurship and Small and Medium-sized Enterprises (SMEs) of the European Commission, will lead a mission to...
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export { InterleavedBuffer };

redpajama_set_name: RedPajamaGithub


Simple way of charting who is involved and when and to what level. Good for exposing weaknesses in teamwork and communication.
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Are the right people involved early in the process?
Is there sufficient or too much senior management involvement?
Figure 1: Who is involved when?


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According to latest research, vitamin B12 -rich foods like fish are influential in maintaining healthy brain mass, the loss of which is a precursor to Alzheimer's disease.
You always knew that fish was "brain food," but probably didn't know why. The answer could be in vitamin B12, a nutrient that occurs naturally in foods like beef, salmon, clams, and cheese.
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Where can I get vitamin B12?
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A staggering number of people don't get enough vitamin B12, resulting in one of the most widespread nutritional deficiencies since rickets and scurvy.
And the cause has nothing to do with diet.
In fact, so many illnesses and lifestyle choices may interfere with vitamin B12 absorption, that the only way to be certain you're in the clear is to take a blood screening for vitamin B12 levels.
If your vitamin B12 levels are low despite eating meat, fish, and chicken, then you most likely can't digest vitamin B12 in the stomach. Your only alternative to avoid vitamin B12 deficiency is to deposit vitamin B12 directly into the blood stream.
Popular methods for non-dietary vitamin B12 supplementation are vitamin B12 shots and (less effective) sublingual vitamin B12 tablets.
Can Vitamin B12 Deficiency cause Dementia?


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text:
SLS Cancún Hotel & Residences
Beachfront Vacation Homes in Cancún Mexico
Joel Greene here from Condo Hotel Center.
Happy New Year! I hope you enjoyed the holidays. I did.
One of the highlights for me was New Year's Eve. Jackie and I went to see Billy Joel in concert. So many of his songs reminded me of my college days and all the fun I had back then. Good times.
The property I have for you today also reminds me of college fun. It's located in Cancún, Mexico, which was where everyone headed for spring break back when I was in school. Cheap tequila, wet t-shirt contests and unlimited sunshine were the draws.
While Cancún may still attract its share of college kids, it has also grown up and is offeringa more mature and upscale type of fun to those seeking a tropical vacation home. I have details today on a luxurious new development that will be part of a master planned community with incredible amenities. Read on for details.
SLS Cancun Hotel & Residences will be a 24-story tower overlooking the water.
A Gated Beachfront Paradise
SLS Cancún Hotel & Residences will be a luxurious, oceanfront development of five-star caliber. A mixed-use property, the 24-story tower will include a combination of condo hotel suites and hotel residences in the heart of Puerto Cancún, Mexico.
The hotel residences have just come on the market and can be reserved now at preconstruction prices. These residences are for the discriminating buyer who wants a spacious second home combined with access to hotel-like facilities and conveniences.
The building will consist of condo hotel suites and hotel residences.
If you would prefer a condo hotel suite, which can be put into the hotel's rental program, just let me know, and I'll notify you as soon as they come on the market.
Residents will be able to step out the door right onto the sand.
SLS Cancún is being described by the SLS development team "as a gated beachfront paradise, offering incredible designer residences wrapped by amazing views of the blue Caribbean waters with incomparable amenities and fabulous hotel services by SLS."
Upscale Features
You may remember my write-ups on the Miami-area SLS Brickell and SLS South Beach in recent years. Both properties have an impeccable reputation and sold out within a few months of coming on the market.
The exclusive beach club will have cabanas and a cocktail bar.
SLS Cancún will be of equivalent caliber with an impressive array of amenities including:
Beach club that includes cabanas, cocktail bar, large pool and deck with poolside services
Wellness center with state-of-the-art equipment
Luxurious Ciel Spa offering full-service treatments
Facilities for meetings and events
Piero Lissoni-designed, art-infused lobby
Additionally, in partnership with Arroniz Arte Contemporáneo Gallery in Mexico City, SLS Cancún will feature works of art and sculpture displayed throughout the property.
The wellness center will feature a full complement of exercise equipment.
First Class Services
Using the SLS Cancún app, residents will have the ability to order a wide variety of services ranging from spa treatments to dinner reservations.
Relax on the spacious sun deck, complete with full poolside services.
Exclusive on-demand concierge services include:
Personal butler and "away-from home" service
Wi-Fi internet in all common areas
Business center, fully equipped
Courier and delivery services
Full-time maintenance staff
World-class concierge services available upon request include housekeeping, room service, grocery delivery, babysitting, dog walking, transportation and even assistance from IT system experts.
The lobby is being designed by world-renowned Italian architect Piero Lissoni
The Puerto Cancún Community
SLS Cancún will be part of Puerto Cancún, which is a master-planned, gated community being developed by MIRA, a well-established development company in Mexico. A virtual city-within-a-city, it will encompass a world-class golf course, its own beach and marina, and a premium shopping mall.
Owners of SLS Cancún will have access to the community's amenities including:
Private beach club with 820 feet of beach frontage
Pool, cabanas & cocktail bar
18-hole Tom Weiskopf-designed golf course
A private marina with 175 boat slips
Shopping mall, 480,000 sq. ft., over 100 boutiques
A variety of restaurants
16-screen movie theater
The golf course is already built and operational. The shopping mall is currently under construction.
The private marina will have 175 boat slips
Puerto Cancún also has an excellent location just a few miles from additional dining and shopping venues.
15 minutes to downtown Cancún
30 minutes from Cancún International Airport
1.5 hour direct flight from Miami
4.5 hour direct flight from L.A.
Luxurious Residences
SLS Cancún has a total of 120 hotel residences for sale at this time. These residences will be solely for owner use yet owners get full access to all hotel amenities and services, as mentioned earlier.
Owners of the residences will have access to all of the SLS amenities and services.
The homes offer views overlooking the water. They'll have contemporary kitchens designed with premium European cabinetry, imported stone countertops and stainless steel appliances.
The residences come with 2 to 4 bedrooms.
Master baths will come with glass-enclosed showers, porcelain tile doors and wet walls, and designer fixtures and accessories.
An Impressive Development Team
SLS Cancún Hotel & Residences has some big names behind it. Visionary developer Jorge Pérez of The Related Group, who has largely shaped the skyline of south Florida with numerous upscale condo towers, has joined forces with Inmobilia and Ucalli.
Inmobilia is an experienced developer with many international award-winning properties including Yucatan Country Club, a globally respected golf and master-planned community. Ucalli, founded in 1972, has a strong track record that includes premium office space, residential communities and condominiums.
Construction on SLS Cancun is expected to begin in the latter half of 2017.
Also involved is Sam Nazarian of sbe, which owns the SLS brand, a global network of hotels and restaurants. The architect for the project is Miami-based Arquitectonica, and world-renowned designer Piero Lissoni has put his special touch on everything from the lobby to the SLS's interior amenity spaces and beach club. Together, the development team plans to create what they're calling "Cancún's hottest new lifestyle destination."
The hotel residences can be reserved now with a 20% deposit.
First-Tier Pricing
Construction on SLS Cancún is expected to begin toward the end of 2017. It should be completed in 2020. But the residences can be reserved now with a 20% deposit.
Prices for the residences start at $881,000.
The residences come in a variety of floor plans with two to four bedrooms, ranging in size from 2,368 to 3,573 square feet. Currently at first-tier, friends-and-family pricing, they range from $881,000 to $1,250,000+.
SLS Cancun offers everything you could want in a tropical vacation home.
Want to know more? Just request my detailed data sheet at the link below.
Request the SLS Cancun data sheet here.
I hope you enjoyed hearing about SLS Cancún and the master-planned community of Puerto Cancún. If obtaining a vacation home in a tropical setting is on your list of goals for 2017, please give me a call.
Billy Joel concert, New Year's Eve, at the BB&T Center with my best gal.
I mentioned at the beginning that my wife Jackie and I attended a Billy Joel concert on New Year's Eve. If you ever get the chance to do the same, I highly recommend it. He puts on one heckuva show. And there's simply no better way to ring in the New Year than by singing Billy's lyrics along with your best friend, "I love you just the way you are."
I wish you a happy, healthy and prosperous 2017!
www.CentralAmericaSecondHomes.com|
Want to know more about me? Click below://www.condohotelcenter.com/joel-greene.html
© Condo Hotel Center. All rights reserved. No portion of this Property Alert newsletter may be reproduced, exhibited or distributed without the express written permission of Condo Hotel Center. Condo Hotel Center takes copyright infringement seriously. Violators will be prosecuted to the fullest extent of the law.
Although Condo Hotel Center believes the information contained in this Property Alert newsletter to be accurate and complete, Condo Hotel Center can make no such guarantee. All features and descriptions are subject to change.
Please speak with your personal legal and financial advisors to determine whether this property is suitable for your objectives.
SLS CANCúN HOTEL & RESIDENCES.


text:
Prison life essay
Compare the relationships among auditor client and external users
Writing a blog for your business
Spanish empire 1450 to 1800 and the russian empire
While Ottoman leadership did have to pay off rogue tribes surrounding depots, to them it was an investment, a small price to pay to protect the traders from marauders and ensure the revenue taxation brought. While Spain conquered territories across the Atlantic Ocean in the New World, Russian began expanding east is search of a warm-water port and arable land.
Exploiting them for their wealth in gold and silver, the Spanish made slaves of the native peoples and managed to conquer them without destroying them completely, so Spain could continue to gain from their labor.
We use cookies for various purposes including analytics. Empire-building in both the Spanish and Russian empires occurred during the New Imperialism Age; while both empires were politically and socially different, both desired to expand to further their economies and strengthen their international role.
While the Spanish were forceful and the Ottomans were tolerant, both still used religion as a means of creating a strong government. While both countries were headed by a Christian monarchy and sought to expand in order to strengthen their economies, the tactics of expansion and the methods of economic control greatly differed.
Following periods of foreign rule Moorish dominance of Spain and Mongolian dominance of Russiaboth empires formed strict Christian monarchies to control territory.
Christian beliefs were strictly enforced both on the Spanish mainland and in their conquered territories across the water. Previously, the Ottomans had ruled using Sharia Law, an exclusively Muslim code that Ottoman rulers found to be silent on most secular matters.
Citizen being punished during the Spanish Inquisition Source Ottoman janissaries Source Spanish gold coins Source Intro Beginning in and stretching tothe Spanish and Ottoman Empires used social, political, and economic processes to build their separate empires.
Economically, the Spanish chose to build their empire by force and exploitation, while the Ottomans chose to build their empire through entrepreneurship by providing resources to traders for a price.
This allowed various religions to feel safe and respected in the Ottoman Empire, creating a sense of unity through accepting differences. Therefore, the Muslim leaders created a legal code that addressed rights, duties, proper clothing, and Muslim to non-Muslim etiquette.
However, both the Spanish and Russian empires did not take part in this mad dash for land, but instead focused on colonies elsewhere; Spanish continued to profit from its Latin American possessions and Russia continued to expand eastward across Asia.
However, the Ottomans created unity in their building empire by creating a religiously tolerant environment. By continuing to use Pastebin, you agree to our use of cookies as described in the Cookies Policy. Economic Processes The Spaniards and Ottomans differed completely in terms of their economic processes for empire building.
While both the Spanish and the Ottomans used religion to bring social unity, the Spaniards used strict laws and force and the Ottomans used tolerance and acceptance. While both differed in their methods, their intentions were the same:Spanish Empire and the Ottoman or Russian Empire.
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Apr 20, · The Spanish Empire started to disintegrate in the early 19th century, while the Soviet Union, which is undoubtedly a direct continuation of the Russian Empire, stepped down on the path of a disintegration almost two centuries later, in a totally different international situation, in the era of a quite different fresh-air-purifiers.com: Resolved.
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political, social, economic) of empire building in the Spanish Empire with the empire-building processes in. The Spanish and the Ottomans built two flourishing empires, based on different principles between and As the Ottomans took control of Europe, the Spanish were conquering the New World.
Mar 03, · The Social, Economic, and Political Processes of Empire Building in the Spanish and Ottoman Empires. Updated on March 3, MasonZgoda.
more. Intro. Beginning in and stretching tothe Spanish and Ottoman Empires used social, political, and economic processes to build their separate empires. Social fresh-air-purifiers.coms: 3.
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Jason Gray-Stanford made audiences laugh as a co-star on "Monk" (USA 2002-09), a comedy-drama in which he played Lt. Randall Disher, a bumbling police detective with highly unorthodox methods to solving crimes. He also established himself as a reliable supporting player in serious dramas, appearing in such films as the Oscar-winning "A Beautiful Mind" (2001). But Gray-Stanford's own path...
Summer of '84 (2018)
Earth to Echo (2014)
The Husband She Met Online (2013)
Caroline and Jackie (2012)
Lucky Christmas (2011)
Beautiful Mind, A (2002) -- (Movie Clip) What If No One Goes For The Blonde?
Beautiful Mind, A - (Original Trailer)
Jason Gray-Stanford made audiences laugh as a co-star on "Monk" (USA 2002-09), a comedy-drama in which he played Lt. Randall Disher, a bumbling police detective with highly unorthodox methods to solving crimes. He also established himself as a reliable supporting player in serious dramas, appearing in such films as the Oscar-winning "A Beautiful Mind" (2001). But Gray-Stanford's own path to success was quirky and unpredictable: most of his early work was as a voice actor for English-language dubbings of Japanese cartoons, including the romantic comedy "Mezon Ikkoku" (YTV 1986-88), in which he was appropriately manic as the hapless lead Yusaku Godai. Meanwhile, for the action-packed "Dragon Ball Z" (YTV 1989-1996), he supplied the grim vocal tones for Raditz, the series' armored, spiky-haired villain. While continuing to work as a voice actor, Gray-Stanford established a live-action career thanks to various appearances on Canadian television. These led to being cast in "Mystery, Alaska" (1999), a hockey-centered drama that received lukewarm reviews, and the far more successful "A Beautiful Mind," in which he played Ainsley, one of a group of graduate students. Both films starred Russell Crowe, whom Gray-Stanford got along so well with that he sang backing vocals on an album by Crowe's rock band 30 Odd Foot of Grunts. Gray-Stanford's upward trajectory was completed by the role of impulsive, not-so-bright Lt. Randall Disher on "Monk." After that show went off the air, Gray-Stanford landed a starring role in the made-for-television drama "Lucky Christmas" (2011), co-starring Elizabeth Berkley. He next appeared in the submarine thriller "Phantom" (2013) before returning to series television with a supporting role in David E. Kelley's short-lived medical drama "Monday Mornings" (TNT 2013), based on a novel by celebrity doctor Sanjay Gupta.
Cast (Feature Film)
Lost in the Dark (2007)
Flags of Our Fathers (2006)
Lonely Hearts (2006)
Last Wedding (2001)
Mystery, Alaska (1999)
The Heist (1998)
Contagious (1997)
Er Doctor No 3
The Surrogate (1995)
Cast (TV Mini-Series)
Steven Spielberg Presents: Taken (2002)
The Escape (1997)
Cosmic Shock (1997)
Voiced the North American dubbing of Mezon Ikkoku.
First live-action television work in Neon Rider.
Appeared in feature film Mystery, Alaska.
Appeared in A Beautiful Mind.
Began playing Lt. Randall Disher on Monk.
Movie Clip
Beautiful Mind, A (2002) -- (Movie Clip) What If No One Goes For The Blonde? John Nash (Russell Crowe) considers the odds when a beautiful blonde enters the college pub, Adam Goldberg, Anthony Rapp, Jason Gray-Stanford and Josh Lucas his buddies, in director Ron Howard's simplification of Nash's Nobel Prize-winning notion in A Beautiful Mind, 2002.
Beautiful Mind, A - (Original Trailer) A mathematics genius (Russell Crowe) fights schizophrenia in A Beautiful Mind (2001).


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#ifndef STDLIB_NUMBER_FLOAT64_BASE_TO_WORDS_H
#define STDLIB_NUMBER_FLOAT64_BASE_TO_WORDS_H

#include "stdlib/os/float_word_order.h"
#include "stdlib/os/byte_order.h"
#include <stdint.h>

/*
* If C++, prevent name mangling so that the compiler emits a binary file having undecorated names, thus mirroring the behavior of a C compiler.
*/
#ifdef __cplusplus
extern "C" {
#endif

/**
* An opaque type definition for a union for converting between a double-precision floating-point number and two unsigned 32-bit integers.
*
* @example
* #include <stdint.h>
*
* stdlib_base_float64_words_t w;
*
* // Assign a double-precision floating-point number:
* w.value = 3.14;
*
* // Extract the high and low words:
* uint32_t high = w.words.high;
* uint32_t low = w.words.low;
*/
typedef union {
	double value;
	struct {
#if STDLIB_OS_FLOAT_WORD_ORDER == STDLIB_OS_ORDER_LITTLE_ENDIAN
		uint32_t low;
		uint32_t high;
#elif STDLIB_OS_FLOAT_WORD_ORDER == STDLIB_OS_ORDER_BIG_ENDIAN
		uint32_t high;
		uint32_t low;
#endif
	} words;
} stdlib_base_float64_words_t;

/**
* Splits a double-precision floating-point number into a higher order word and a lower order word.
*/
void stdlib_base_float64_to_words( const double x, uint32_t *high, uint32_t *low );

#ifdef __cplusplus
}
#endif

#endif // !STDLIB_NUMBER_FLOAT64_BASE_TO_WORDS_H


text:
Sertânia is een gemeente in de Braziliaanse deelstaat Pernambuco. De gemeente telt 35.914 inwoners (schatting 2009).

De gemeente grenst aan Iguaraci, Ibimirim, Tupanatinga, Buíque, Arcoverde en Custódia.

Gemeente in Pernambuco

redpajama_set_name: RedPajamaWikipedia


So as well as working on a copper mezzotint plate at Andrew Baldwin's weekend course at Trefeglwys Studios last weekend, there was also time to prepare an aluminium plate with coffee lift and spit bite. I used another of my drawings of the traditional Welsh Mari Lwyd from one of my sketchbooks. The Mari Lwyd is weird looking at the best of times but in this drawing she looks proper mad. The first stage is to degrease the aluminium plate (soy sauce and whiting powder) and then draw onto it with instant coffee. I used brushes and a large-ish nib pen and a bit of splatter. Then once the coffee was dry, I coated it with Andrew's B.I.G. etching ground and baked it in the oven for 4 minutes to set it. Then it was washed in cold water to lift off the coffee, leaving the design showing through the black ground (above).
The Mari Lwyd (Grey Mare) is an ancient Welsh tradition rooted in the celebration of the Celtic horse goddess, Epona, and appears around the New Year, always accompanied by a band of revellers who often travel from pub to pub. The tradition was almost wiped out by Christianity and just a few Maris were left in Wales by the mid-20th century, but there has been a strong revival in recent years. The Mari Lwyd is a life-sized puppet based on a real horse skull and is therefore very heavy. The Mari's skull is usually decorated with flowers, ribbons and bells and the eye sockets are often filled as well, giving a sinister appearance. She wears a white shroud to hide the puppeteer underneath, who operates a contraption that snaps the skull's mouth open and closed.
Real horse skulls are quite hard to come by these days, but there are card flatpack ones available – see here.


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Ron Morelli. 10 years of L.I.E.S. Records Part I
Ron Morelli. 10 years of L.I.E.S. Records
Modified 2021-01-28
Author Yuko Asanuma
L.I.E.S Records is arguably one of the most important record labels in electronic music of the 2010s. We take a look at its ten years history and what lies ahead with the owner Ron Morelli.
Ron Morelli, a producer and DJ, is someone who has been deeply involved with music for many years in various ways. In 2020, even though it was a very difficult year for the music industry, he released the album Betting On Death from Hospital Productions; and his record label, L.I.E.S. (Long Island Electrical Systems), which celebrated its 10th anniversary last year, has released 20 titles. Over the years, L.I.E.S. has helped build the careers of many artists including Delroy Edwards, Svengalisghost, Beau Wanzer, and Tzusing, as well as re-introducing already established artists such as Legowelt and Broken English Club (Oliver Ho) to a new audience. This is the first half of an extended interview with the New York-born Paris-based artist, in which we talk about his perspective on the label and his relationship with the Japanese culture and music(Part I).
Photography Krikor Kouchian
Footprints from before establishing L.I.E.S. Records
――I'm surprised that you haven't done any proper interviews with Japanese press before.
Ron Morelli (Hereinafter Ron): No, except I think I did something very short for Resident Advisorr's Japanese website right before the first time I went to Japan. I know TOKION from the 90s. They used to have a lot of parties in New York. Maybe they even had an office in New York at that time, like around 1999.
――Ah that's cool! Yes, it used to be a monthly printed magazine back then. I also didn't realise it was L.I.E.S.' 10th year anniversary last year until you mentioned. What was your initial motivation for starting L.I.E.S., and how do you look back on the past 10 years?
Ron: When I started the label in 2010, I had already been deeply involved in music my entire life. And previously, in the early 90s, I ran a very small punk label, just putting out two or three releases. And then in the late 90s, I, I did another kind of very small label, also with only two releases, putting out this kind of independent hip hop artist. So, I already knew how to press records. And then I guess I would say from 1999 to 2010, I had no real desire or stopped trying to run another label. It wasn't really on my mind. But around that time in 2008 or 2009, I had this crew of people around me all producing music, and they had no real outlet for it. Their music was just kind of sitting around. At that time, my roommate had started a label, and I said, "well, maybe it could be interesting to take a shot at doing this again, because I have all these people around me, and it could be really cool to just start slowly on a really small level, putting out some releases and see what happens." So, there was never a grand, big plan ahead of time or anything like this. It was very organic. And the network of people that we ended up working with became bigger in Brooklyn at the time, and you know, we kind of inadvertently created a scene at this time in New York.
It was a really interesting time. A lot of things were changing in New York. By then, all the main clubs had closed, but some new clubs and bars, where we would play a lot, opened up. And there were a lot of illegal warehouse spaces at the time too, that you could do gigs. So yeah, it kind of just took a life of its own. And after, I guess, the first three years, the label started getting international attention. With that, many of us started touring overseas. And there was even a newer scene in Brooklyn at the time, so after four or five years after the label started, we were like kind of the old guys already. I moved to Paris in 2013, and then it really became less focused on the small scene in Brooklyn. For me, it was especially important if I wanted to keep the label really going and moving, to be consistently out there and to be on the road, and to not just be in one spot. I could have very easily stayed in New York, I had a very comfortable job working at A1 (Records) as you know— it was a really good schedule, and I enjoyed the work and the people. But I had always the urge to leave New York as well and this was the time to do it.
To answer the second part of the question, because there was never a main goal with the label, I think we were just very happy to get the music out there to people, and to have anybody actually listen to it and check it out. As time goes on, of course, you want to challenge yourself. And as time went on, maintaining the label also became more challenging, because obviously, you don't have the attention that you had in the beginning. That's only going to happen once. And then people move on very quickly. I always say this, it's not like in the 80s, or even in the early 90s, when you would be interested in a label or a band or like a group, and you would be waiting on the edge of your seat to hear the new release for two or three years. I don't think music works like this anymore. It's like a pinball, people bounce from one to the next to the next. That's just how it is. So as the label goes on, you have to keep people interested. I mean, I never make a decision about the label based on other people's reactions, it's always for me, and it's always for the artists. I think we put out quite challenging music that's not for everybody. So, it is always about pushing myself, and making it interesting for me.
L.I.E.S. is the record of my own life
――To me, it's clear if I look at the catalog, that your label is very personal. And it seems that your personal attachment or relationship with the artists (rather than the trends of the market) are much more important. It is a very personal label. So I assume it's not like people send in demos, and you just pick what you like?
Ron: It's never been that way. We never take unsolicited demos ever. It doesn't matter if it was the best demo in the world. I have to have some sort of feeling for the person and to know what they care about. For me, this label has been a document of times also in my life. For example, I just ended up putting out a lot of records from French artists last year. It also reflects where my life is at that way.
――I was just remembering as you said, that the dance music and club scene in New York was stagnant in the 2000s. There weren't really any clubs or labels that had that much influence. L.I.E.S. kind of came into that void and established a new sound.
Ron: It was a very strange time in New York. As many people know, in the late 90s, when Giuliani came in: he kind of cleaned up the whole city. They cracked down on clubs and quality of life offenses, and that really caught into the underground. And even the mainstream clubs. And then of course, 911 was kind of the final nail in the coffin. So, there was no real scene, like there was in the 90s with like, the real New York club scene after disco, with you know, Strictly Rhythm, Masters At Work, Frankie Bones and Todd Terry… the real underground scene at the time. And then the digital age kind of comes in, so the record stores and distributors also started to close. So, there was this gap in music culture— I don't think there was a lack of people interested in it, and I don't think there was a lack of people who had a desire to make music, but it was just very tough as there was no infrastructure left.
At that time right before the label started, the big thing in New York was the disco resurgence and edits. There was great, great stuff, but there was not a label putting out original tracks by contemporary artists that were cutting edge in nyc. I think we were just at the right place at the right time. It just all came together, somewhat perfectly. It just clicked. I was very hesitant to say this for years, but looking back, I do think people got behind the label. And we did kind of created —and it's a bold statement to say— a new scene, in the city at the time. I still work with many of the original artists on the label, but also you don't want to keep repeating the same thing over and over again. So, as time goes on, you want to push the sounds, you want to push yourself, and discover new things to keep it fresh. Again, because people's attention moves so quickly, no matter how good the music is, unfortunately, it's very disposable at this point.
――Would you say you take pleasure in introducing new people that nobody really knows yet? Because I personally do. And I get more excited writing about people or music people don't really know yet.
Ron: Yeah, it's always really cool to present a new story to people that they don't know. The music— I hate to say that it's secondary, but people seem to be more interested in a story. We all like to hear the colorful stories behind the music.
――You've worked at A1 Records, which is a secondhand record store. In this type of shop, people come in to find hidden gems. You need to be into that yourself to work in a shop like that.
Ron: Yes, it's a "specialty" shop. They don't want to know what's on the shelf. They always ask what's behind the counter!
――Do you have anyone else working beside you for the label? Or is it a one man operation? Do you decide what comes out by yourself?
Ron: No, I don't. I used to have my friend John assisting me with just technical back end aspects like shipping and stuff. And I have some people in New York doing shipping but that's really it. It's just me. I do everything from the bills to the emails and all the dirty work. [laughs]
――So, I suppose how you decide what's appropriate for the label is all about whether you like it or not. Do you ever question yourself or your own judgment though? Or do you have some sort of unshakable criteria established from your experience working at a specialty store like A1 Records, which is far removed from the general market?
Ron: I think the main thing that informs me what I'm putting out, is the very simple fact of just being deeply interested in music since before I was a teenager. At the end of the day, I'm just a fan and a fanatic for all different types of music. And I'm always curious to hear new things. Now I'm in my 40s, and after listening to so much different stuff all these years, I'm even curious about what I don't like. I ask myself, "Why don't I like this?" Because in the past, there was stuff that I really didn't like, for example, vocal house. I said, "I can't. This is like, over the top for me." And then like three years later, finding the right records, everything kind of clicks, you know. So I think the real thing that informs me is just having true curiosity about all different types of music, and keeping an open mind to it. Some stuff you hear, and you just know you're not gonna like it. I mean, that's just how it is. The most curious music always ends up being the stuff that you might say, "Do I like this? Is this the best thing I've heard in the world? Or is it the worst thing I've heard?" And that's when you reach an interesting area, sometimes. It's almost bad if you don't get a reaction out of music. When you're like, when you hear certain forms of techno that you're just like, "yeah, it's just a normal techno record." It's almost an insult. It almost makes it disposable. But then you have a perfect example— I just heard the new Terrence Dixon LP (From The Far Future Pt.3/ Tresor), and this is sonically a techno record, but he made it extremely personal. And you know it's his music, because his sound is so identifiable. You would never just say, "Oh, that's just a normal techno record."
Working at the record shop, I always said to myself, "you have to be very humble." When I go through used records, I would see all these records and say, "this distributor is closed", "this label is closed", "this artist doesn't exist anymore." There's a reason that certain things don't last forever. There were certain times when I would look at something, and I'm like, maybe this label was so limited in itself to a certain thing and its time expired. I don't say that I want to do the label forever, and at one point, maybe I'll just decide it has to stop, but that's something I learned and always keep in mind.
Impact from Covid and the music scene in the future
――And last year was… very different from other years. Basically, all the physical music activities just stopped. In my case, pretty much everything I was doing just stopped completely, but you on the other hand had managed to release 20 titles! How are you coping with the current situation?
Ron: Well, yeah. Obviously, it didn't go as we planned. We had very big label tours and showcases planned for the whole year, and we were able to do just one of them in Athens. I'm always putting out a lot of releases every year, but last year, because we're going to be touring a lot, we thought we can do a lot of really cool, special special stuff, with the records. That's why it was also cool to put out a lot of the French guys as well. We were gonna plan on doing some special stuff here in Paris and in other parts of France, and it just obviously blew up in all of our faces. It's been very hard. Thankfully, the fans have supported the releases, and so far, we've been able to break even on everything. And I'm just happy if we could make it through and keep going. But I think the next five or ten years is going to be very tough. I don't think I'll do 20 records this year. I want to make less and try to just step away just a little bit and be sure because you know how fragile this economy of music is. Everything can go away very quickly. If all these clubs stay open, it will be like a gift from God. I don't know if they can.
――Are there anything that you realised/ learned last year, or anything you want to change in what you do/ how you do things from this year on?
Ron: I just think it reinforces what I've always felt, which is to only rely on yourself. It shows how important it is what you've built on your own, and to always stick with that. Because I think in a situation like this, it stands out even more and more. One of the things with this touring world in this kind of electronic music scene is that you get consumed by it, and I'm guilty of it as well. It's very easy to get sucked into being on tour 24/7 all the time. You become mechanical in what you do. And in it, I never lost sight of it, but it reinforced the fact that it's always important not to lose your own personality. Let's be honest, this scene is extremely competitive. And I think there's a lot of pressure to always be visible and to always be out there. And last year gave me more confidence to say, "you know what, you could still do your thing and not have to have your face all over in this strange scene." I'm part of it, but I also feel extremely uncomfortable and disconnected sometimes. I do love traveling, playing and going to new places. But I have the time now to actually breathe and not feel like I'm running myself into the ground. So hopefully, I find my own pace and kind of stick to it, instead of being driven by all these pressures.
※Continues to the last half part
Hailing from Brooklyn, New York, he started his own record label L.I.E.S. Records in 2010 while working at A1 Records: an established used record store in Manhattan. Through the label, he has introduced numerous new talents in the local scene, and established new sounds which came to be known as "raw house." After relocating himself to Paris in 2013, he continues to explore left-field electronic music with wider perspective. As a producer, he has released five albums on the noise/industrial label Hospital Productions. In January 2020, he produced the music for the Undercover runway show in Paris.
https://liesrecords.com
Instagram:@lies_records
Interview L.I.E.S. Records Ron Morelli Series
Yuko Asanuma
Freelance music writer, interpreter and translator. Since 2009, she has been based in Berlin, where she manages artists, works as a booking agent, and plans and produces music events.
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