If the Mall today, and the Apple store specifically, was any indication, the economy is going to boom at the end of 2007. Consumers are in a spending mood. I'm no economist and this is anecdotal, of course.
I'm just wondering if everyone from economists to political analysts to well, Americans in general, haven't had it so good for so long, that what is really wrong in America is a bad attitude.
Are we really that far divided politically in America or is it a construct of the media?
Are we on the verge of stock market destruction?
Are we that far off track?
I'm asking, because the evidence I see is of people working hard, going about their business, going to church and work, traveling to see family. And shopping! Doing a lot of shopping. Essentially, the same thing they've always done.
It makes me wonder if America's problem is that we have few problems and have the luxury to obsess.


It can be common in construction and real estate contracts to come across 'endeavours clauses', included where one of the contracting parties is unwilling to agree to something absolutely.
Their use can break a deadlock in the drafting of the contract, but they should be used carefully and with a full understanding of the implications for both parties.
What have the courts told us about their enforceability?


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Home > All articles > DEAD SURF KISS (DSK) > Dead Surf Kiss (DSK) [reviews]
Dead Surf Kiss (DSK) [reviews]
Exploder! |Divine Industries, 1996|
1. Land Mine, 2. Fingered, 3. Cement Head, 4. Butt, 5. Units, 6. Whine, 7. Targets, 8. Shiny, 9. Knife, 10. Money, 11. Superhero, 12. Snore Snore - Asterix
DSK is an interesting Canadian band that found their upstart in the 90s. They dabbled in a variety of music styles between Noise Rock, Industrial Rock, and Terrorizing Punk. Born from the ashes of Dead Surf Kiss, which after the fairly good but slightly repetitive and carachterless debut album "Narcotic Nevada" (produced by David Ogilvie in 1991) changed 3/4 of the line-up, and gave welcome to Blair Dobson (formerly of Numb) to front the vocals & song-writing... He was exactly what was missing in this band to compose an excellent album, since he has character and a stunning voice to sell.
The rest of the band includes Dave Genn (Guitars), Rich Priske (Bass), both whom are members of The Matthew Good Band, Pat Sprawl (Guitar; Pat is very well known by Skinny Puppy fans, since he played the guitar on the masterpiece - "The Process" and in a couple of more recent songs. It must also be noted that he played with Drown and Sister Machine Gun), Brad McGiveron (Drums) and Glen Murray (Bass) were both formerly of Twenty Four Gone.
Exploder! was published by Divine Industries; a label from Vancouver B.C. that also published the Anthology/Chronolgy of the cult synth-pop band Images In Vogue; With surprise I found in the jewel case a 3 Divine Dollars banknote! Complete with stamp... This is redeemable currency within the Realm of Divine Industries! ...I'll ask to my bank if this banknote is worth something... You never know in such economic crisis times... speculation :)
Jokes aside, the album artwork, designed by Dobson, is a perfect portrait of their music: fiery, fast (about 40 minutes) and explosive; The 12 songs reflect influences by prominent bands such as Tool, Rage Against The Machine, and the music genres of Punk and Industrial Rock, resulting in something pleasant every time I listen thanks to their rich melodic nuances.
"Landmire" is worthy to be labeled as inspired Jane's Addiction, and this comparison is not accidental, Blair Dobson's voice is so shrieking and scratchy that it reminds me Perry Farrell.
"Fingerehead", with its good rock 'n roll accompaniments guides us to what is probably one of their best songs: "Cementhead", an excellent and very catchy hit (just as only Richard Patrick can write), in which Dobson doses the listener with some of his healthy madness and sarcasm (for the record: Faber Dive, a Canadian Rock band, made a dreadful "Cementhead" cover...beware).
Take a deep breath because "Butt" is a powerful punk rock song, and "Units" gives us one of the best "noisy" moments of the album (after minute 1:40); This song is another example of Dobson's inimitable, peppery mockery.
"Whine" slides between thundering guitars and textured shouts that is a pleasure to the ear.
The seventh song, "Targets", is another good song... direct and powerful; It engages in a recognizable usage of the chorus from "Dead Inside"(from "Christmeister" by Numb) in the song.
"Shiny" sounds like a joint venture between Primus and Infectious Grooves (Cyco Miko's side project) with an excellent result, while "Knife" is exceptional with its refrain and irresistible guitar riffs.
Listening to this album, I've had the sensation that it would be perfect as a soundtrack for snowboarding, skateboarding or other extreme sports... and "Money" is the proof: take a look at what i've found on YouTube.
"Superhero" evolves from an intro sounding very close to the "TV Sky" album by The Young Gods (also the Dead Surf Kiss debut album has some similarities with this swiss band) that lead into guitars that remind us of Rage Against The Machine, particularly their hit "Know Your Enemy".
"Snore Snore - Asterix" is an epic album ending track... like Led Zeppelin playing Grunge.
It's a fun, zippy, and very Rock'n'Roll album (playing and listening it live must be a mind-blogging) serving up great music to get your blood pumpin'. Another gem of the 90s that deserves a good listen, but unfortunately leaves us with a bitter taste... after this album there were no more official releases from this band. It's a pity, because the gearshift led by Dobson in this endeavour introduced some extremely interesting musical sounds.
(Marco Gariboldi. Proofreading: Scott M. Owens)
Discogs | http://blairdobson.com

redpajama_set_name: RedPajamaCommonCrawl


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Time-Based Art Festival 2013
TBA: Like a Villian at the Works
Day 4: Like a Villain's Holland Andrews redefined what it means to be in complete command of one's voice.
By Nathan Tucker 9/16/2013 at 3:32pm
Image: Dina Markosian
Like a Villain's performance at TBA was entitled Make Well, and Holland Andrews declared early in the one-woman show that her goal was to leave her audience feeling spiritually healed. It's a bold claim that might feel a little ambitious until the first notes from Andrews' solo project reveal a singer who—and I'm trying not to be hyperbolic here—basically redefines what it means to be in complete command of one's voice. Sure, she has vocal chords that would elevate any musical setting, but she's also using them about as inventively as anyone else out there. Her voice is supplemented by clarinet and glockenspiel to build enormous and enthralling loops that are somehow more than the sum of their parts. If you don't leave feeling healed, you'll certainly leave impressed.
That's not to say Andrews has entirely nailed her vision yet. Early in the show, she had audience members sing different notes to form a chord while other audience members sang phrases like "I am powerful." It might have been more affecting in a more intimate setting, but not even a couple hundred people could sound particularly powerful in a room as cavernous and soulless as the Con-Way warehouse (seeing her open for Typhoon at the Old Church for MFNW was a far more powerful setting). Andrews has the voice to conquer any space, though, and on Sunday night she also displayed the charm and personality to cut short her audience participation experiment without any trace of awkwardness: we trusted her to make any healing happen for us. It was a move of an artist with expansive ambition and yet the presence of mind to know when something isn't quite working.
It's hard to overstate just how immense Andrews' voice is, and the rest of the show left me wondering why she bothered to have anyone else sing at all. It's a testament to her vocal range and her dynamism as a performer that she can sound simultaneously stretched to her physical limit and completely in control. She creates a sonic space that seamlessly fuses influences as disparate as minimalism and musical theater into songs that can move an audience on an almost physical level. Perhaps most impressively, though, she has the grace and charisma to make music that could be overwrought and inaccessible but instead unquestionably demands your attention.


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Marie Prevost, geboren als Mary Bickford Dunn (Sarnia (Ontario, Canada), 8 november 1896 - Hollywood (California), 23 januari 1937) was een Amerikaans actrice.

Carrière
Prevost werd een actrice toen ze zich aanmeldde bij een Hollywood studio van Mack Sennett. Ze werd aangenomen en speelde in haar eerste film in 1915. Ze brak pas door toen ze te zien was in Love, Honor and Behave! (1920). Ze werkte voor Sennett totdat ze in 1921 een contract kreeg bij Universal Studios. Ze maakte hier acht films en verliet de studio toen voor een contract bij Warner Brothers.

Haar grote doorbraak was bij die studio, toen ze te zien was in The Beautiful and Damned (1922). Vanaf toen werd ze voor het eerst echt opgemerkt en kreeg ze grotere rollen in films. In 1924 was ze ook te zien in de meer bekende The Marriage Circle. Net toen ze echt beroemd werd, kwam haar moeder om het leven bij een auto-ongeluk.

Prevost was gebroken om het verlies van haar moeder en raakte verslaafd aan alcohol. Niet veel later scheidde ze ook van Kenneth Harlan, met wie ze getrouwd was van 1924 tot en met 1927.

Prevost probeerde haar depressie te onderdrukken door in zo veel mogelijk films te spelen. Uiteindelijk werd ze de drukste actrice uit haar tijd. Echter, toen ze aankwam in gewicht, kreeg ze slechts bijrollen in films waarin ze vernederende rollen speelde.

Prevost stierf in 1937 uiteindelijk aan een overdosis alcohol en ondervoeding. Haar lichaam werd pas na dagen ontdekt.

Amerikaans acteur

redpajama_set_name: RedPajamaWikipedia


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Energy Ministers from the 21 APEC economies have set in motion a suite of new far-reaching measures to strengthen security and sustainable development within the sector.
Actions to be undertaken by APEC economies, the world's largest energy producers and consumers, are detailed in the Beijing Declaration that was endorsed by Ministers meeting here at China's State Guesthouse on Tuesday evening. The goal is to ensure economic growth in the Asia-Pacific while ease intensifying pressure on the environment.
The Beijing Declaration can be viewed at this link.
"The Asia-Pacific region needs to transform the economic growth model and explore the diverse and conservation-minded development path featuring green and low carbon development," said Zhang Gaoli, China's Vice Premier, during the APEC Energy Ministerial Meeting which concludes after technical site visits on Wednesday.
"APEC member economies must work with one another in the spirit of inclusiveness and mutual learning to write a new chapter in Asia-Pacific energy cooperation," he declared.
Collectively, APEC economies account for 55 per cent of global energy production and 60 per cent of total energy consumption. By 2030, fossil fuels will still make up 80 per cent of the region's energy mix. The opening of vast reserves shale gas and liquefied natural gas, or LNG, is driving this trend.
"APEC member economies have different situations in terms of energy structure, supply and demand scale and development strategies but we share the challenges of energy market fluctuations and changes in climate and the environment," added Wu, who also serves as Vice Chairman of China's National Development and Reform Commission.
Ministers called on APEC economies to step up efforts to phase out inefficient fossil fuel subsidies that encourage wasteful consumption and launched a new LNG Trade Facilitation Initiative to boost supply through support for public-private partnerships and market-based pricing.
A new multimillion dollar APEC Sustainable Energy Research Center was also inaugurated. Two years in the making, the center will be based in China and promote energy policy and information exchange, research and development, and the application of new technologies.
Improving quality of life and energy security, the creation of new APEC Low Carbon Model Towns that promote better management of rising energy consumption, increasing the share of renewables, and the facilitation of trade and investment in energy goods and services are further points of emphasis.
Downloadable high resolution photos from the 11th APEC Energy Ministerial Meeting are available at this link.
Information about APEC's 2014 priorities and initiatives can be found on www.apec.org. You can also follow APEC on Twitter and Sina Weibo and join us on Facebook and LinkedIn.


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Swinging Away in Vietnam David Coe surrounded by his Crew Dave and Mike
Full Dress David and Troops
COE First Name Middle Initial:
DAVID Nick Name:
Street: 5 Eldorado Place City & State: Santa Fe, NM E-Mail: mcleanwoods@earthlink.net
Zip: 87508 Phone: 505 983 2644 Spouse: Chris
Conflict: Vietnam Service Branch: ARMY Unit: 231st Med Boat
Theater: Vietnam Basic Training: Date Entered Service: 01/01/1967
Bases Stationed: Ft. Eustis Vung Tau Length Of Service: 1096 days
Discharged / Retired: Honorable Date Left Service: 01/01/1970 Age When Enlisted: 21
Medals Received: 2 bronze, Vietnam Service
Military Job: Deck Hand, Machine Gunner, Mike8 Boat Occupation After War: Self
Primary Civilian Employer:
Date This Site First Published: Date Last Edited: 2/23/2010
David M. Coe
DAVID M. COE Passed away on February 19, 2009. He died as he lived, with courage and grace. David was born November 16, 1945 in Birmingham, Alabama and spent his youth in the South. After graduating from Florida State University, he was called for a tour of duty in Vietnam. He served there with distinction and received two Bronze Stars. Upon his return to the U.S., he began his career in real estate, working as an executive for two national companies. In 1983, he moved to Santa Fe and applied his creative energies to the manufacture and sale of high-end architectural doors and hardware. David maintained a lifelong interest in jazz, as his father was a jazz musician. Once in Santa Fe, David developed an avid interest in mountain climbing and fly fishing. He married his soul mate, Chris Kain, in 2003 and lived happily together with her until his passing. In addition to his wife, he is survived by his sister, Carol Coe Verbit; stepfather, Paul Zipperlin; stepdaughter, Melissa Zamites; and grandson, Ryan Zamites.. He was preceded in death by his mother, Marian Coe and his father, David Coe, Jr. David was a loving and much loved person. He was intimately interested in the lives and well being of his family and friends. Ever the optimist, he used a unique and pervasive creativity and spirituality to shape and direct his life and the lives of those around him. He will be missed and always remembered. A Memorial gathering will be held at the National Educational Association, 2007 Botulph Road in Santa Fe, on Sunday, March 8, 2009 from 2 to 4 pm.
Message Book from funeral March 18, 2009 Family and friends... My condolences to all who were touched by Dave... I feel privileged to count Dave as my friend for some fifty years... We were not alike, but brothers by choice, heart and circumstances... Our life experiences and adventures covered three continents, filled with life, laughs and learning... We shared and learned a lot from one another; he was the sensitive, artistic, writer and I was more of the practical realist... Over time a little of each of our positive traits rubbed off on the other... I would say, and I'm certain Dave would agree, that a lesson to be learned from his too early demise is not to take friendship and life for granted... There were far too many opportunities to get together over the years that were missed due to life's daily rigors, timeliness and distance... As we all know, Dave was a special individual... His presence will be missed, but his zest for life and the memories will always be with us in mind and heart.... ~ Mike Conway, Plantation, Florida March 05, 2009 Dave was a true gentleman and an inspiration to us all. I am so grateful to have had the chance in 2006 to renew our friendship that started way back at Gulf Beaches Elementary School and continued through high school at Bogie, and Vietnam with the 231st Army Reserve. Dave was always one cool character. Though unfortunate that he has left us so early, he has given so much of himself by sharing his thoughts and experiences with us through this difficult time. We are all better human beings because of him. We will all miss him but he will be with us in spirit forever. Sincerely, ~ Norm Cameron, St. Petersburg, Florida chris, I remember Mr. David's visit to jodhpur during 17th Nov 2002, i was really touched with his suave/polite/docile/outrageous talent of living life. i am highly impressed with him, i cannot forget him for ever. he was my inspiration to go ahead. Praveen (Hardware renaissance, Jodhpur, India) ~ Praveen Sharma, jodhhpur February 27, 2009 Christine David was an inspiration to me. I am honored to had been his friend and camarade in arms. We'll miss him dearly. ~ Carol and Ozzie Sabina, Madeira Beach February 27, 2009 David You made a significant contribution to my life and we had just begun to fill in the blanks for the years of lost contact. I was lucky to have had you as a friend and will never forget you buddy. ~ David Danner, Tampa, Florida February 27, 2009 David, You have been a true gentleman and a friend. I will never forget your laugh and ability to have a good time. Your presence will be felt whenever our Bogie Buddies gather. ~ John Gerdon, Gainesville, Florida Contact Me February 26, 2009 David You are not the first of our classmates to leave this earthly experience, and certainly won't be the last. You are one who we wanted here for much longer, and we will miss you often. Thank you for sharing your spirit, friendship, and laughter and allowing us to celebrate our lives with you and Chris in Santa Fe. You have set the bar on grace for many of us. Save us a place. With love, Ram ~ Ramona Outten, Dunnellon, Florida February 26, 2009 Christine Dave was a trooper till the end and he lives on in our minds and hearts. I am more than impressed with the class and up-beat attitude that Dave displayed in his darkest days. Call on Linda and I for any help with the VA and we hope to see you at the reunion. Love Tom & Linda ~ Tom Twitty, Largo, Florida Contact Me February 26, 2009 Sometimes, as I understand it, the good Lord needs to call special people that have extraordinary traits and talents and very big hearts to help him with the rest of us. So I am sure Dave, you will serve Him well, while still trying to watch out and care for the rest of us (Bogie Fogies) who can learn so much from your example. Fondly, S. Jo Vaughn Peavey ~ Susan Jo Peavey, Spartanburg, South Carolina Contact Me February 26, 2009 Your friends miss greatly your heart and soul as a true friend. The path will not be as full without you to make the trek with us. You will be in our hearts and minds forever. Love you Davy. See you Bud. ~ Jan Vail, Santa Barbara, California Contact Me Widow Contact Chris Kain 5 Eldorado Place Santa Fe, NM 87508 chriskain@earthlink.net
David Riding Rick McCormick Dave, McCormick, Mike Conway


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SF Opera's Antony and Cleopatra
The world premiere of John Adams' Antony and Cleopatra (Act II Scene 3 pictured, photograph by Cory Weaver) at San Francisco Opera featured powerful voices and lushly textured music. The piece has a certain glittery yet dark quality to it, and the production leaned into that, to be sure.
The libretto for this work was by the composer, but based mostly on the play by Shakespeare with flourishes from classical texts by Plutarch, Virgil, and others. This was more successful dramatically than other libretti of Adams' recent operas, but perhaps there were fewer chances for the weird but charming outbursts about pigs or chocolate cake.
The orchestra sounded splendid, Maestra Eun Sun Kim has precision with dynamism. The orchestration has two harps which very much called to mind Wagner to me, especially near the end of Act I. I was also quite taken by the use of celesta (or bell piano), which I could hear very clearly up in the back balcony. Somehow it didn't remind me of the Sugar Plum Fairy at all, and I look forward to hearing the opera again to focus in on this and the cimbalom, which I immediately responded to, as I was obsessed with dulcimers as an adolescent. The chorus also sounded great, very much together and full.
The singing was strong, there were quite a lot of characters, but they were all distinct. It was lovely to hear mezzo-soprano Elizabeth Deshong as Octavia, sister of Caesar. Her voice is wonderfully rich and deep. I also really liked mezzo-soprano Taylor Raven as Charmian, Cleopatra's attendant, who radiated calm reasonableness in contrast to Cleopatra's wild rages.
The most evocative aria for me was in Act I Scene 2, "Age cannot wither her, no custom stale her infinite variety" sung by Antony's lieutenant Enobarbus. Bass-baritone Alfred Walker details the appeal of Cleopatra in front of a scrim with projections of the character, as she lounges upstage (pictured, photograph by Cory Weaver). Walker is sympathetic and his voice effectively conveys how alluring and magnetic Cleopatra is.
The three principal singers were also quite vigorous. Tenor Paul Appleby is an unctuous Caesar, his voice is very bright and pretty. At times his sound may have lacked heft, but I think it might have had to do with the staging, he was dampened by being upstage and boxed in by scenery in Act II Scene 2, for instance.
Bass-baritone Gerald Finley makes for a charismatic leading man, singing Antony with much sweetness. But best of all was soprano Amina Edris as Cleopatra, her voice has an intense vitality to it, and she was downright frightening when it was called for, implacable and domineering.
The production, directed by Elkhanah Pulitzer, is stylish and stark. The scene changes are seamless, there were many moving stage elements that could hide and reveal different settings. The projections were elegant, often black and white, and employed thoughtfully.
I had a ticket for the very last row of the opera house, but since standing room is back, I decided to stand near the center aisle, especially since the performance was not sold out and it was easier to see from that vantage point without anyone directly in front of me.
I was asked if this was my first John Adams opera, which I was so amused by, I could hardly respond. It was clear that the pandemic has made my social skills even worse. Otherwise, the audience around me was quiet and respectful, though there might have been some inappropriate giggling when Eros, follower of Antony, stabbed himself in Act II Scene 3.
My 8-year-old child loves Nixon in China, and I had thought maybe I could bring him to hear this. His review of Doctor Atomic (not a very child-appropriate work, we only heard the first 15 minutes) was that it sounded "like Nixon in China but bad and noisy," so I was curious if the music here would be something he would be interested in. The themes of Antony and Cleopatra seem a little too adult for a third grader though.
Posted at 10:10 AM in Amina Edris, Antony and Cleopatra, John Adams, Opera Review | Permalink | Comments (4)
SF Opera's Girls of the Golden West Review
Last night's world premiere of John Adams' Girls of the Golden West (Act I Scene 1 pictured, photograph by Stefan Cohen) at San Francisco Opera had some gorgeous singing and playing. But neither the music nor the artful, elegant stagecraft could save a stilted and tedious libretto.
Tellingly, the best moment of the opera is without words. The music for Lola Montez's Spider Dance held my attention after the monotony of lines and lines of narration from Gold Rush era primary sources. It helps that ballerina Lorena Feijóo looked fantastic in her red, white, and blue ruffles and danced with absolute conviction.
The playing seemed very much together under the direction of Maestro Grant Gershon, and the woodwinds sounded especially lovely. The chorus too had a cohesiveness to be admired. In fact all of the singing and acting was impressive, from the supernumerary miners and dancing girls up to the youthful leads.
Much, if not all, of the opera's text comes from original sources rather than from librettist/director Peter Sellars, and as such, there is a lot more telling than showing. There is little in the way of dialogue and it isn't always easy to understand what exactly is going on since the characters sing at us rather than interact with each other. This is especially prominent for Dame Shirley, whose words are all her own, drawn from her letters. In this leading role is soprano Julia Bullock and her fine voice seems wasted on lines enumerating mining terms she doesn't understand and the like.
The parts of the libretto that work best are based on songs or poetry, as with the miners' songs sung by the chorus or the Cantonese rhymes brought to life by talented soprano Hye Jung Lee as prostitute Ah Sing. Mezzo-soprano J'Nai Bridges is a dignified Josefa Segovia, a Mexican-American woman who kills her would-be rapist Joe Cannon and is subsequently judged guilty of murder and hanged. Her words come from poems by Alfonsina Storni.
I really wanted to like this opera as it features John Adams, my home state, and a brilliant cast that includes many people of color. But sadly I found myself rather bored, especially during the first act (the one bright spot being Davóne Tines' aria as Ned Peters at the end). It felt more like a discombobulating lecture in a dream than an opera, though I'll give the piece another chance next week, as it is in my subscription.
The orchestra level and boxes looked very full, and standing room had a respectable crowd at the rail. A standee did collapse during Act I, but was apparently fine and did not need to be taken out of the hall.
The audience was very polite, and tried to clap after some of the main arias, but was most enthused by the Spider Dance. The opera did get a standing ovation, though I might have heard someone mutter that Peter Sellars deserved a pie in the face.
Posted at 08:35 AM in John Adams, Opera Review, San Francisco Opera | Permalink | Comments (12)
The Gospel According to the Other Mary at SFS
Last weekend San Francisco Symphony continued celebrations for John Adams' 70th birthday with The Gospel According to the Other Mary. The oratorio was tastefully semi-staged (Daniel Bubeck, Brian Cummings, Nathan Medley, Jay Hunter Morris, Kelley O'Connor, and Tamara Mumford pictured left; photograph by Stefan Cohen) and featured a truly resplendent cast.
The libretto, compiled by Peter Sellars, is a mish-mash of the Bible and texts from Dorothy Day, Rosario Castellanos, June Jordan, Louise Erdrich, and Primo Levi. The collage makes for a narrative that is disjointed and jumps from different time periods, but essentially recounts the story of Mary Magdalene, Martha, and Lazarus and their interactions with Jesus.
The music is vivid with textures and rhythms, and there is much for the three percussionists to do, as they share a dozen instruments including timbale, almglocken, and cimbalom. Not a note of this seemed gratuitous in the least, though it did seem very difficult. Maestro Grant Gershon looked as if he was counting and cuing constantly, and this did give the music a bit of a square feel.
The singers were unreal. In the title role, mezzo-soprano Kelley O'Connor showed off some alarmingly low notes and beautiful clear high ones as well. Mezzo-soprano Tamara Mumford also displayed a dark richness as Martha. Tenor Jay Hunter Morris was able to navigate choppy lines as well as ones more lyrical and legato.
The trio of ghostly countertenors Daniel Bubeck, Brian Cummings, and Nathan Medley were effective as was the small chorus, whose members were very together. Everything was impressively loud, and microphones were used but were not distracting in the least.
Tattling *
The audience was quiet but there was a noticeable amount of attrition during intermission.
Posted at 01:49 PM in Concert Review, Jay Hunter Morris, John Adams, San Francisco Symphony | Permalink | Comments (0)
John Adams' World Premiere at SF Opera
Girls of the Golden West, a new opera set during the 1850s California Gold Rush by composer John Adams and librettist Peter Sellars (pictured left, photograph by Terrence McCarthy), will have a world premiere at San Francisco Opera in November of 2017. More details will be released next January as part of the Company's 2017–18 repertory season announcement.
Press Release | SF Opera's Official Site | John Adams' Official Site
Posted at 12:49 PM in John Adams, Peter Sellars, San Francisco Opera | Permalink | Comments (0)
MTT Conducts L'Histoire du soldat
This weekend Michael Tilson Thomas (pictured left, photograph by Kristen Loken) is conducting seven members of the San Francisco Symphony in performances of Stravinsky's L'Histoire du soldat. The vivid piece is narrated by Elvis Costello, who does a fine job declaiming his lines. Nick Gabriel (The Soldier) is earnest and Malcolm McDowell (The Devil) certainly is charming. It is adorable when MTT himself speaks the lines of The King in Part II. The playing is incisive and spirited. Concertmaster Alexander Barantschik sounded particularly lovely, as did clarinetist Carey Bell.
The performance starts with John Adams conducting his 1982 piece Grand Pianola Music, which is being recorded for future release. Adams addresses the audience before commencing the piece, explaining the genesis of the piece and its influences. He also notes a tuba solo in Part I, which he called a "bovine moment."
The work, in fact, is startlingly beautiful. The pianists, Orli Shaham and Marc-André Hamelin play cohesively. The orchestra, which included woodwinds, brass, and percussion, sound grounded. Synergy Vocals is wonderfully ethereal, the three singers make for haunting sirens.
The audience on the orchestra level was very quiet for the John Adams. For the most part people were also quiet for the Stravinsky, but a woman in Row W Seat 102 was compelled to whisper to those adjacent to her as the ensemble played in Part II.
Posted at 01:57 PM in Concert Review, John Adams, L'Histoire du Soldat, Michael Tilson Thomas, San Francisco Symphony | Permalink | Comments (2)
The Death of Klinghoffer at the Met
A sixth Metropolitan Opera performance of John Adams' The Death of Klinghoffer (Act II, Scene 2 pictured left, photograph by Ken Howard) was held last Saturday. There were a handful of protesters with signs reading "Shame on Peter Gelb Met Opera" and so forth. The opera itself is not particularly contentious, if anything, it is a mild, mournful piece. The characters are shown as rather human, and of course there was a choice line from Leon Klinghoffer regretting his hatlessness. One imagines that this production might not be as well-attended were it not for the vehemence of the demonstrators.
The orchestra had a graceful clarity under the baton of David Robertson. The strings were particularly lucid, as were the woodwinds. The Met chorus also sounded strong and cohesive.
The principal singers all seemed suited to their roles. It was a joy to hear former Adler Fellows Sean Pannikar (Molqi) and Maya Lahyani (Palestinian Woman). Bass-baritone Aubrey Allicock had a strikingly disturbing aria as Mamoud in Act I, Scene 2. Baritone Paulo Szot made for an appropriately conflicted Captain. Baritone Alan Opie (Leon Klinghoffer) sang his finale aria with gravitas. Mezzo-soprano Michaela Martens was poignant as Marilyn Klinghoffer, her voice is rich and full.
Tom Morris' production makes use of projected text and historical photographs. The text is somewhat burdensome, and the photographs less so. The effect of the bright sun in Act II is haunting. The dancing, choreographed by Arthur Pita, is impressive, especially in the case of Jesse Kovarsky (Omar).
I repeatedly hushed the woman behind me in Family Circle, as she spoke during the quietest parts of the music at the beginning of Act I. She informed me that she was reading the projected text that she could see to the two blind women she was with, and I sheepishly apologized at intermission.
I moved down to the right side of the last row of the Grand Tier to sit with some friends. A young composer seated near us may have spoken quite a lot during the music, but it was difficult muster annoyance at this, having already been so mortified by my own previous behavior.
Posted at 06:47 AM in Adler Fellowship Program, David Robertson, John Adams, Maya Lahyani, Opera Review, The Death of Klinghoffer, The Metropolitan Opera | Permalink | Comments (2)
Met Cancels Klinghoffer Live in HD
According to a press release from today the Met has canceled its Live in HD transmission of The Death of Klinghoffer scheduled for this fall. The Met's General Manager, Peter Gelb says "I'm convinced that the opera is not anti-Semitic but I've also become convinced that there is genuine concern in the international Jewish community that the live transmission of The Death of Klinghoffer would be inappropriate at this time of rising anti-Semitism, particularly in Europe."
Press Release | Production Web Site
Posted at 11:59 AM in John Adams, The Death of Klinghoffer, The Metropolitan Opera | Permalink | Comments (4)
Nixon in China Opening at SF Opera
A new production of Nixon in China had a Bay Area premiere at San Francisco Opera last night. Lawrence Renes conducted a crisp performance, and for the most part the singers were audible over the amplified orchestra. The amplification of the principals and eight members of the chorus made it difficult to gauge the weight of the voices, creating a more uniform quality. The odd flattening of sound and Alice Goodman's libretto of charming non-sequiturs set to John Adams' memorable tunes make for a rather disorienting but attractive work.
The principal cast is convincing. Patrick Carfizzi is an appropriately disturbing Kissinger. Chen-Ye Yuan sang Chou En-lai sympathetically. Simon O'Neill sounded powerful as Mao Tse-tung, his high notes secure. Maria Kanyova impressed as rather human Pat Nixon, a contrast to Hye Jung Lee (pictured above, photograph by Cory Weaver) as Chiang Ch'ing, at least in Act II. Lee is outrageously talented, her voice flexible and lyrical. She could be frightening without ever producing an ugly sound, and could purr lines when necessary. The only picky point one could make is that her accent is noticeable in certain words. Brian Mulligan may not perfectly embody Nixon, being a tad too young, but his movements and expressions are persuasive. Mulligan has an appealing voice, its richness is perhaps dulled by the amplification and the high tessitura of the part.
Michael Cavanagh's direction suits the opera rather nicely, not too literal with pleasant touches of whimsy. The set, from Erhard Rom, is uncluttered and lit expertly by Christopher Maravich. The projections, by Sean Nieuwenhuis, make novel use of space. The fluttering flags are a bit contrived, not to mention boring, but most of the other images are effective. Wen Wei Wang's choreography is acrobatic and the soloists are especially accomplished dancers.
Fifteen minutes before the performance, David Gockley gave a toast to the press corps covering the opening with Schramsberg sparkling wine, as this was served at the banquet depicted in the opera.
A loud mobile phone rang twice in center section of the Orchestra Ring during Act II It also rang just before Act III started.
During the first intermission I checked out the "Photo Corner" at San Francisco Opera, where one is meant to take pictures and upload them to Facebook or Twitter to be entered into a drawing.
Posted at 10:59 AM in John Adams, Nixon in China, Opera Review, San Francisco Opera | Permalink | Comments (4)
4th Performance of Nixon in China at the Met
Though the fourth performance of Nixon in China at the Metropolitan Opera was simulcast yesterday, the Opera Tattler was nonetheless to be found in Family Circle standing room. While Adrianne Lobel's set was streamlined and efficient, Peter Sellars direction seemed overblown. The dancing, choreographed by Mark Morris, was attractive. The lines were good, though not completely exact from dancer to dancer.
The orchestra sounded together under the baton of the composer himself, John Adams, whose sense of timing is apparently impeccable. The chorus too appeared synchronized and clear.
Richard Paul Fink's role of Kissinger may have been small, but he certainly made the most of it. In the title role, James Maddalena looked and moved like Nixon, but he sounded strained and wobbly. Russell Braun sang Chou En-lai with conviction, and Robert Brubaker likewise impressed as Mao Tse-tung. Janis Kelly struck me as a bit shrill at first, but her "This is prophetic!" had great charm. Kathleen Kim was terrifying as Chiang Ch'ing. Her big aria in Act II was both imposing and arresting.
The line for standing room was only 20 people deep in the morning, but there were quite a lot of people standing by the time the performance began. The person behind 202 of the last row of the house was not particularly considerate. He encroached so much on the person next to him that she had to ask an usher to intervene. Near the end of the performance, he began to make a great deal of noise as he got himself ready to leave.
I must admit I was not well-behaved either. At intermission I may have been seen "accidentally" tossing someone into one of the lobby walls, after which I collapsed into hysterical giggles. After careful consideration, the (pernicious) fellow at hand was kind enough to not press charges, for which I am quite grateful.
Posted at 07:57 AM in John Adams, Nixon in China, Opera Review, Peter Sellars, The Metropolitan Opera | Permalink | Comments (1)
El Niño at SF Symphony
John Adams is conducting his nativity oratorio El Niño at San Francisco Symphony this week as part of Project San Francisco. The work was modestly staged, with direction from Kevin Newbury, set from Daniel Hubp, costumes from Paul Carey, and lighting from Kirk Bookman. The most charming bit might have been the Charlie Brown Christmas tree downstage for the second half. Adams kept time impressively, but for the most part had an introverted conducting style. Much amplification was used and the overall effect was richly textural and rather loud.
The chorus sounded pretty, but did not always seem together. It was especially difficult to discern what they were singing in the beginning. The soloists were amplified, so did not have to contend with being lost under the rest of the music. The trio of countertenors did sound angelic, as did the San Francisco Girls Chorus that came in at the end. Bass-baritone Jonathan Lemalu seemed to have a good heft to his voice. His sibilants were somewhat whistled. Mezzo Michelle DeYoung created a pleasant, pewter-like sound. Soprano Dawn Upshaw was bright and also very lovely. Everyone sounded so comfortable singing in English that when they occasionally switched to Spanish, it was noticeably stilted. There were small errors in Spanish pronunciation, initial voiceless stops were aspirated and some vowels were not clear.
There was light talking in the first half, but the most of the offenders left at intermission so that the audience was unusually quiet for the second part.
Posted at 12:58 PM in Concert Review, Dawn Upshaw, John Adams, Michelle DeYoung, San Francisco Symphony | Permalink | Comments (0)
Robertson conducts St. Louis Symphony
The Saint Louis Symphony Orchestra came to San Francisco for two performances at Davies Hall, the first of which occurred yesterday evening. David Robertson had the musicians well in hand, they seemed entirely together and produced a gorgeous, clear sound. The performance started with Christopher Rouse's Rapture, which has an apt title and did sound quite like spiritual exaltation. The trombones were particularly fine in their playing. Gil Shaham joined the orchestra as the soloist for Prokofiev's Violin Concerto No. 2 in G minor. The second movement was stunning, and the low strings were especially moving. Shaham's playing was vivid.
The second half of the program began with Sibelius' Symphony No. 7 in C Major. The brass section was lucid, and the horns were exceptionally good. The Vivacissimo was just that, spirited and brilliant, and the tempi in general seemed appropriate. The performance ended with the Doctor Atomic Symphony from John Adams, who was sitting in Loge A. The piece sounded beautiful, and the trumpet solo was absolutely ravishing.
Though San Francisco Symphony very kindly provides press tickets to me, I still have a subscription and occasionally buy single tickets in the Center Terrace. There was some light snoring during the second movement of the Prokofiev, but very little noise until the last piece. A plump, grey-haired woman old enough to be my grandmother just behind me was speaking at full volume during John Adams, and after turning around once to express my displeasure, to no avail, I was forced to hushed her. She leaned over and hissed "Bitch" into my hair, to which I could only laugh. After the ovation, I asked her if she had really hurled an expletive at me during the performance, to which she responded "Why, yes I did." I thanked her for being quiet for the rest of the performance, and her companion told me that I should hear the things she calls him.
Posted at 11:04 AM in Concert Review, David Robertson, Gil Shaham, John Adams, Saint Louis Symphony Orchestra, San Francisco Symphony | Permalink | Comments (8)
Dudamel conducts City Noir
On Friday Gustavo Dudamel conducted the Los Angeles Philharmonic in a program of Esa-Pekka Salonen, Lou Harrison, and John Adams. The Salonen is heavily orchestrated in the manner of much contemporary music, with a plethora of percussion, including six bongos and four tom-toms. Dudamel kept the volume to non-deafening levels, even if the brass did have harsh moments. The Piano Concerto from Harrison that followed had significantly fewer orchestra members on stage. At times it seemed that the soloist, Marino Formenti, and the orchestra were not playing in the same piece. This kept the music quite interesting, in any case. Formenti's playing was appealing and sensitive, yet could be brutal.
City Noir had a world premiere at LA Phil last month, but John Adams was in attendance nonetheless. The work has nearly twice as many sorts of percussive instruments as the first piece. The musicians seemed together and engaged, the viola solo in the second movement was particularly fine, as was the trumpet solo in the last movement. If nothing else, Dudamel certainly conveyed excitement.
There was no whispering or talking in the Terrace View, and very little noise in general from this section. Coughs could be heard throughout the hall. It was remarkable to see how few empty seats there were, given that the program consisted entirely of new music.
Posted at 03:52 PM in Concert Review, Gustavo Dudamel, John Adams, LA Philharmonic | Permalink | Comments (2)
Osmo Vänskä and Antti Siirala at SFS
Last night Osmo Vänskä lead San Francisco Symphony in a program of John Adams' Slonimsky's Earbox, Tchaikovsky's Piano Concerto No. 1, and Dvořák's Symphony No. 7. Slonimsky's Earbox was quite cute, a sort of jaunty circus music. The orchestra crackled under Vänskä, and it was a good opportunity to hear the new principal violist, Jonathan Vinocour, who played his solo beautifully. The horns were not perfectly clear in Tchaikovsky's first piano concerto, but the oboe sounded lovely. The pianist, Antti Siirala, was unobtrusive but still engaging. The last movement was downright alarming. The second half of the performance gave us a lush, dramatic rendition of Dvořák. The playing was persuasive, Vänskä brought out the best in the woodwinds and even the brass.
Some talking and whispering was noted, especially from those in E 105 and 106 of the orchestra level. Siirala received a standing ovation, but Adams did not.
Posted at 03:43 PM in Concert Review, John Adams, Osmo Vänskä, San Francisco Symphony | Permalink | Comments (0)
John Adams at JCCSF
John Adams was interviewed yesterday by historian Kevin Starr as part of the JCCSF's Arts & Ideas series. We heard about how Adams came of age when contemporary classical music was hostile to communicating with an audience and about how he came to California in a VW Bug without intending to stay for more than a year. Adams stayed out here, of course, teaching at the San Francisco Conservatory of Music for several years. His most famous pieces were discussed including Shaker Loops, Harmonium, Nixon in China, The Death of Klinghoffer, On the Transmigration of Souls, The Dharma at Big Sur, and Doctor Atomic.
Adams spoke of the piano as a tyrannical paradigm for composers, and interestingly he learnt clarinet rather than piano as a child. He seems to strive for erudition, Gibbon is one of his favorite authors and he mentioned with disdain that young people do not find it cool to read Henry James or Dante. His advice to young composers was to "know everything." Likewise his comments on opera were rather amusing, that the essence of opera is surreal and that it also is a sort of specatator sport.
The "high sperm count" of Stravinsky's early works was mentioned, in opposition to his "taking the veil" in his serial period. Adams also spoke about how no one knew what to do with the Belgian-invented saxophone for a good thirty years until jazz came along. There was much teasing between Adams and Starr, and the latter was stumped about where the name for Adams' memoir came from.
In contrast, the audience was on fairly good behavior, there was no electronic noise in the form of cellular phones or watch alarms. Scattered talking was noted, but this was not terribly distracting.
Posted at 11:15 AM in John Adams | Permalink | Comments (4)
Doctor Atomic Live in HD Met Simulcast
Penny Woolcock's new production of Doctor Atomic was shown as a simulcast over the weekend. The set design, by Julian Crouch, was somewhat busy, and involved a wall of cubbyholes meant to be offices. Andrew Dawson's choreography was likewise overwrought at times, as when dancers held contortions within the small office spaces. Video was used as well, and as is the pitfall with such things, it was somewhat distracting from the music at times. Catherine Zuber's costumes were pretty, one especially appreciated how she put the red-haired Sasha Cooke (Kitty Oppenheimer) in pinks and fuchsias.
Alan Gilbert conducted energetically, and the cast was uniformly strong. Sasha Cooke was a bit harsh at times, but she had lovely moments as well. Cooke is also quite beautiful, even glamorously so. Meredith Arwady was wonderful as Pasqualita, as she was in Chicago. Thomas Glenn (Robert Wilson) Eric Owens (General Leslie Groves), Richard Paul Fink (Edward Teller) all gave performances consistent with their work in San Francisco and Chicago. Gerald Finley was especially good as J. Robert Oppenheimer, his aria in the finale of Act I was absolutely gorgeous. It was also unhampered by strange, mime-like choreography.
The sound and picture stopped for a few seconds during the Bhagavad Gita chorus. The audience was mostly well-behaved, though there was some talking. My companion fell asleep and snored at least on one occasion. Also, someone tripped over her feet at one point. Worst of all though was someone's watch or cellular phone alarm. It rang about 80 times during the beginning of the second act. The alarm sounded about 10 times at a time every few minutes.
Posted at 02:42 PM in Cinematic Opera, Doctor Atomic, Eric Owens, John Adams, Live in HD Met Simulcasts, The Metropolitan Opera | Permalink | Comments (7)


The Dutch government is to push on with pension reform despite trade unions and employers failing to reach an agreement on occupational pension rules in November.
Social affairs minister Wouter Koolmees said the government would press ahead with its earlier plan to facilitate the transition to a system with individual pensions accrual.
The social partners had preferred collective pensions accrual – albeit without nominal guarantees – combined with a degree of risk-sharing between generations.
The minister said that the government would be open to consultations with the social partners, pension providers and supervisors, as well as to the views of organisations representing youth and elderly.
However, he reiterated that he wouldn't address possible benefit cuts, arguing that "pensions results strongly relied on the reality of financial developments" and that measures had to be part of an overall approach.
"Current financial problems of pension funds are not to be solved through a different pensions contract," he said.
The minister indicated that the government wanted to come up with legislation instructing pension funds to introduce life-cycle investments, with risk profiles matching the specific needs of younger and older participants, rather than the usual uniform collective investment mix.
Koolmees also announced legislation for the transition from the current average pension accrual to an degressive one, indicating that the social partners were to decide on the compensation for affected older workers.
Costs are expected to range between €25bn and €100bn, depending on the degree of compensation.
Citing earlier studies, the minister suggested that the transition could be financed through a temporary increase of contributions, the use of financial buffers or a transition to a defined contribution (DC) plan without financial reserves.
Koolmees said he would also assess whether the scheduled increase of the retirement age for the state pension (AOW) could be slowed down as the social partners had insisted.
The government had already decided to raise the pensionable age to 67 in 2021, with a subsequent one-year increase for every year of additional life expectancy.
In his letter, Koolmees also announced that the cabinet would look into the option of taking out a lump sum of no more than 10% of accrued rights at retirement for paying off a mortgage. The government would also investigate how transparency around accrued pension rights could be harmonised across the range of different pension contracts.
The minister also made clear that the cabinet – contrary to the position of the social partners – did not support mandatory pensions accrual by self-employed workers (known as zzp'ers), but it would investigate how they could voluntarily join a pension fund.
Although a large majority of zzp'ers did not save for an additional pension, they usually accrued a pension in other ways, for example through their company or paying off their mortgage, he said.


A 'smithy' – a former blacksmith's workshop – had been purchased by an owner looking to modernise it, yet retain its traditional touch. We were tasked with remodelling the building, fitting a rear extension and developing open plan kitchen and dining room areas.
It was important for us to find the right balance between respecting the traditional style of the building and creating the modern design required by the client. We needed to achieve this while remaining within the £135K budget.
After careful consideration, we designed the extension with a vaulted ceiling, which allowed for more space within the room. Additions like bi-folding doors and rooflights brought subtle modernity to the building while maintaining its rustic charm.
The kitchen and dining area opened up into the rear garden, which not only aided the open plan design, but also allowed natural light to filter into the building.
The key to our success here was working closely with the client. The project epitomised our ethos of always listening to our clients and updating them on our plans and progress, as well as our care to find the middle ground between traditional appeal and modern style.


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The ocean exerts a major influence on the Earth's meteorology and climate through its interaction with the atmosphere. Understanding the transfer of moisture and energy between ocean and atmosphere is therefore a scientific priority. Better observations are needed, to improve the accuracy of weather forecasts of marine conditions and the assessment of climatic change.
Earth observation satellites have revolutionised the study of the ocean. They now provide detailed repetitive measurements over remote areas of the world, where previously there were only a limited number of (isolated) observations from ships and buoys. Microwave instruments, including SARs and radar altimeters, have a remarkable sensitivity to the roughness and height of the ocean surface, enabling the detection of ocean currents, fronts and internal waves, oil slicks and ships, as well as accurate measurement of sea level changes, wave height and wind speed. Optical instruments provide measurements of ocean colour and temperature, which are important indicators of phytoplankton, yellow substance and suspended sediments.
ENVISAT, by including advanced SAR, radar altimeter, ocean colour and ocean temperature instruments together on the same platform, offers particularly exciting opportunities for synergetic measurements over the oceans. It provides an improvement in measurement capability compared with ERS, together with possibilities for many new geophysical measurements. The simultaneous recording of MERIS ocean colour measurements with both AATSR sea surface temperature, and ASAR sea surface roughness offers particularly exciting possibilities.
There remain major uncertainties about the amount of carbon stored in the ocean and the biosphere, and about the fluxes between these reservoirs and the atmosphere. In particular, there is an important need for better information on the spatial distribution of biological activity in the upper ocean and its temporal variability, especially in the case of oceanic phytoplankton biomass, which has an important role in fixing CO2 through photosynthesis. In the upper layers of the open ocean, chlorophyll concentration is the most convenient index for phytoplankton abundance and this can be measured using the visible part of the spectrum.
"The remote measurement which has caused the greatest interest within the JGOFS (Joint Global Ocean Flux Study) is the estimation of basin and global-scale variability in the concentration of chlorophyll in the upper ocean. The images of the global distribution of these pigments, derived from data taken by the coastal zone colour scanner (CZCS) onboard the United States' Nimbus-7 spacecraft, have revolutionised the way biological oceanographers view the oceans. For the first time, the blooming of the ocean basins in spring has been observed, as has the extent of the enriched areas associated with the coastal ocean." (International Geosphere-Biosphere Programme [IGBP] A study of Global Change, Report No. 12, 1990).
Although CZCS, launched in 1978, was intended as a one-year proof-of-concept mission, the sensor continued to transmit data over selected oceanic test sites until early 1986. The figures below show examples of CZCS chlorophyll maps of the Earth and the Mediterranean Sea.
Remotely sensed information about global ocean colour is once again available; firstly from the OCTS and POLDER instrument on the Japanese ADEOS mission, from the NASA SeaWiFS satellite launched in August 1997, and from the MOS instrument on IRS-3. MERIS provides data continuity with improved spectral and spatial performance. This results from the use of several near-infrared channels to perform atmospheric corrections, and several narrow visible channels to compute radiance values.
Phytoplankton abundance varies from less than 0.03 mg m-3 in oligotrophic waters (i.e., waters poor in nutrients and therefore in phytoplankton), up to about 30 mg m-3 in eutrophic waters (i.e., in nutrient rich waters, supporting high biomass). Ocean colour responds in a non-linear way to these large changes in chlorophyll content. It is conveniently depicted by the ratio of blue-to-green radiation backscattered by the ocean, with the ratio that is most sensitive based on wavelengths of 445 and 565 nm. It varies within a range of 1 to 20 for the types of pigments considered, and decreases, almost linearly, with the logarithm of the concentration.
The coastal regions are the most populated areas in the world and coastal waters are highly affected by human activities. Marine ecosystems are affected by the influx of large amounts of agricultural and industrial pollutants and sewage from rivers which may inhibit or stimulate marine productivity.
Continuous long-term observation of coastal waters, which cover more than three million square kilometres, is most important for regional climate impact studies and for environmental monitoring. Remote sensing measurements from satellite are the only available means of monitoring such large areas of water.
The major water constituents, which determine the marine and estuarine ecology and the bio-geochemical budget and whose concentration and distribution can be determined by optical remote sensing, are suspended matter, phytoplankton and Gelbstoff.
Gelbstoff consists of various polymerised dissolved organic molecules which are formed by the degradation products of organisms. These originate in brackish and underground water as well as in extraordinary plankton blooms. All these constituents have different optical properties, but there are similarities in their spectral scattering and absorption coefficients.
The upward radiance at any visible wavelength is composed of contributions from all these substances. Figure 1.9 above shows simulated multispectral radiances for different ocean waters. Suspended matter usually enhances the upward radiances through reflection within the visible spectrum, while Gelbstoff reduces these radiances mainly in the blue.
To convert from the optical properties of the water constituents, used in the radiative transfer model, to pigment or suspended matter concentration units, robust algorithms have been developed with global applicability. The accuracy of derived oceanic properties depends strongly on the precision of the atmospheric correction procedure.
The development of inverse modelling techniques for the interpretation of MERIS measurements is an ongoing process. For monitoring coastal regions world wide, precise multispectral radiances, with contemporary optical and concentration measurements of the water constituents, are needed. As well as the chlorophyll concentration and several atmospheric parameters, planned geophysical products include total suspended matter and yellow substance concentration.


As we remember Michael Jackson, we naturally want to both preserve and protect his legacy, but we also want to ensure that his work and his heart for the suffering lives on inside each one of us. In a way, we have become akin to his footsoldiers in his absence; soldiers that use love as our only weapon.
Spread the word about MJL through social networking, by word of mouth in your community, and through contacting likeminded friends and organisations.
Advertise events and/or appeals in your church/community group/fan groups.
Design, print and/or put up posters or give out flyers about our projects.
Become an official fundraiser for your country or area.
Sponsor one of the children in memory of Michael.
Organise an event among friends to raise money and to direct attention to our work – maybe a coffee morning, car boot, or sponsored walk/dance.
Pray for all the tasks that we need to accomplish in order to create a better world.
Sign up for emails so that you will be informed of any latest developments, and don't forget to join our Facebook Page.
Let us know if there is anything at all that you can contribute and in what way you might be able to help.


text:
Miss Advised
Breakdown Breakthrough
July 30, 2012, 4:04 PM ET
Julia Allison think Andrew did the right thing being honest with her.
By Julia Allison
Well, hello there! Welcome to the penultimate episode of this first season of Miss Advised. Only one week left until the finale in which... Oh, let's not get ahead of ourselves, shall we? This episode finds us back at my house in Marina del Rey surrounded by my ELLE editor (Keith) and a lovely ELLE photographer who can't stop laughing at my ridiculous bedroom/closet/home/life. Sigh.
Photo shoots with new photographers make me self-conscious as it is, but to have one conducted by ELLE (in my own home, which tends to veer toward the eccentric) was beyond nerve-wracking. My mother was in town at the time, and I felt like she wouldn't be thrilled with the concept of a photoshoot (She thinks they are "frivolous" and "self-indulgent" -- even though the shoot was my editor Keith's idea). My nerves stemmed from that, along with anxiety thanks to a confluence of stresses, most notably my blocked writing. So much so that I was breaking out and stress eating. Not exactly what you want prior to a photo shoot.
Plus, Keith sort of...rolled his eyes at my closet. It's not often you have your boss in your closet, but when you do, you definitely don't want him to react like that. Especially if he works at a prominent fashion magazine. You start wondering if you just aren't cool enough to exist, let alone write for said magazine. In a misguided attempt at "cool," the first outfit I tried on for the photo-shoot was this Rachel Zoe maxi skirt in blue (not pink!), which I paired with a simple white tee. It was a look that felt a lot more hip than I actually am. Ironically dressing that way made me uncomfortable. It just didn't feel ME. But when I put on a vintage pink dress and sat (upon Keith's request) in a pile of pink tulle on my bed, tiara in my hair, somehow I felt like myself again.
My editor chastised me about my taste (both in fashion and in home decor), but at the end of the day, I sleep in my bedroom every night, and I have to live with myself. Keith doesn't! I figure it's more important I like my own space than if anyone else does. Besides, it's a great litmus test. If something as silly as a pink bedroom or a proclivity toward occasionally wearing frothy dresses scares a guy away, then I'm not convinced he was worth the trouble in the first place!I hope every woman realizes this: you don't have to smooth away all your "eccentric" personality traits to find the right man. If he's right for you, he'll love you FOR those eccentricities, as long as you're not counting "being a total bitch" amongst them.
As for the writer's block I discussed with Keith: I DID eventually get through it, although it took some serious work with therapists regarding my anxiety and self-esteem issues. So far, I've published seven columns on ELLE.com (it will be eight by the end of the Guinea Pig of Love series, next week) each written at 2,000 words (they ended up getting edited down to 1,000 or so). You can read them all here. For someone who has been as tortured by writing as I have recently, getting through these is a victory for me. I know it could always come back, but at least I've won the battle. Next up: trying to win the war!
Ah, and now for the slightly more depressing portion of this episode -- my ill-advised (if you will) trip to San Francisco to see Mister Andrew. So, about Andrew. Sigh. I don't know where to begin, but suffice it to say that although it seemed that trip was fast, it really wasn't. Since the first "PROMMM!" date, we had spent time together, including weekend trips. We talked frequently on the phone and sent zillions of texts and emails. He played me music on his guitar and cooked dinner. I had met his friends and he had met mine. It was time to have that talk. You know, the dreaded "where is this going?" talk. I'm not a huge fan of those talks, but things were getting (as Andrew put it during that conversation) "to that depth" where we needed to discuss it. But Andrew did me a favor, and as much as it hurt at the time, for that I thank him. He didn't feel that he could fall in love with me, and while that wasn't what I wanted to hear then, it certainly was the right thing for him to say, because it was true. What if he had led me on, allowing me to develop deeper and deeper feelings that he didn't reciprocate? That would have been brutal and kept me from being able to heal and move on to find someone who COULD fall in love with me. Andrew is a good man, and he couldn't do that.
I cried quite a bit when Andrew broke up with me. (Oh, let's be honest, when Andrew dumped me.) But it wasn't just over Andrew. I started crying over Andrew and segued into crying over every guy who had EVER dumped me, and then from there into every relationship that hadn't worked out, and from THERE into a future filled with men who would dump me and relationships that wouldn't work out. It was quite a cry I had, and poor Andrew sat there rubbing my back, wondering what the hell was going on. Had he accidentally killed my puppy? No, I explained to him later. This is simply how women grieve (some women...sometimes). We stack all of these terrible things on top of one another, one after the other after the other, until it feels like our romantic lives are doomed, like we won't ever succeed, like we won't ever be loved. It was as if everything I've ever feared I looked at and felt completely and totally throughout my body. I grieved for every end I've ever had.
And here's the strange part -- after I sobbed for about half an hour (and drunk half a bottle of champagne), I felt inexplicably better. Like I had gotten it out of my system. It wasn't pleasant, but it was certainly cathartic. I had been holding in so much pain, so much fear, so much disappointment and regret over my love life, and Andrew was pretty much the last straw to a mini-breakdown. A breakdown I needed to have, as it turns out, to have a breakthrough.What breakthrough, you ask?
Oh, about that. Well, you'll just have to wait until the season finale for that!
Not Cool and Fun but Just Desperate
P.S. That slap? That was just a joke. Even in moments of sadness and disappointment we can (and should) laugh.
WHERE YOU CAN FIND ME ONLINE (if you want to read more!)
Me: @JuliaAllison / Facebook.com/JuliaAllison / www.JuliaAllison.com / JA@JuliaAllison.com: email me!
My roommate, JP: @JuliaPriceMusic / YouTube.com/JuliaMusic1 / Facebook.com/juliapricemusic / www.JuliaPriceMusic.com
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A Unionville personal injury lawyer can be described as a lawyer that provides legal representation to all those who can claim to have been injured in the recent past. This injury can either be physically or psychologically as a result of negligence by a certain person.
When you've been through a car accident involving injuries, you've got a lot on your mind as one might expect. There can be a lot of emotional stress and turmoil, and you will have to deal with coordinating the repair of the injuries and damages to your vehicle in the 52621 area.
Property damage is the biggest loss after any Iowa accident. Your vehicle can be very heavily damaged after an accident and in some cases it will be considered to be a total loss, or "TOTALED". You will first have to determine whether you are even covered by your Unionville insurance policy.
Get local city data on Unionville, Iowa.
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text:
Fincash » Vehicle Scrappage Policy
The Basic of Vehicle Scrappage Policy
The Fitness Test in Scrappage Policy
The Cost to Retain Old Vehicles
How Does Policy Help?
Know About Vehicle Scrappage Policy
Updated on January 25, 2023 , 90 views
Nirmala Sitharaman, India's Finance Minister, lately announced a voluntary vehicle scrappage policy. This one works toward phasing out unfit, old vehicles. Accordingly, this policy is an endeavour toward decreasing pollution as well as the fuel Import bills of India.
However, the policy holds a lot more than just these two factors. In this post, we have outlined the basics of vehicle scrappage policy and how it is going to be useful. Have a read ahead and understand more.
Putting it in simple words, under this policy, the personal vehicles will have to undergo a fitness test after 20 years and commercial vehicles will have to undergo a fitness test after 15 years.
As per Mr Nitin Gadkari, the Union Road Transport Minister of India, there are almost 51 lakhs light vehicles that are more than 20 years old. And, there are almost 17 lakhs commercial vehicles with an age of 15 years or more.
Moreover, all of these vehicles are running without any valid fitness certificate. The minister believes that these vehicles are the major cause of pollution. But it is noted that out of these, only the ones that are old and don't comply with the norms are deemed unfit to be on the road.
Also, if you buy a new vehicle after scrapping the old one, you'll be eligible to acquire a variety of benefits and advantages. Saying that the policy could be a boon, Mr Gadkari stated that it is going to give a 30% boost to the Indian automobile Industry.
As per the policy, such cars that are more than 15 years old, would have to undergo a test, known as a Certificate of Fitness Test (CF). This test will be executed at local RTOs and is regulated by officials.
The test needs vehicles to have mechanical fitness. The checklist includes the operation of:
Earlier, in India, the test was subjective. However, with MoRTH establishing automated systems, the process is going to alter. The modern vehicles are going to be pre-calibrated, thus, must ensure that only fit and fine vehicles are getting the certificate.
As per the latest proposal put forth by the Ministry of Road Transport and Highways, there will be 25 times increase in the re-registration cost of vehicles that are older than 15 years.
Once approved, the cost for the fitness test of a commercial vehicle will be anywhere ₹ 25,000 in contrast to only ₹200 per year. Similar to this, the renewal of registration cost will be up to ₹15,000 for cars, which currently is ₹600.
Along with that, the proposal may also increase the registration renewal fee for both two and three-wheelers, which will be anywhere between ₹ 2,000 - ₹ 3,000 as opposed to the current price of ₹ 300.
Keep in mind that the renewed registration will only be valid for 5 years. Additionally, the government is going to impose a Green Tax on such vehicles pan India, which was earlier available in Maharashtra and New Delhi. The amount of tax that a person will have to pay will vary as per the area.
Thus, somebody renewing a 20-year-old car in Delhi, which is more polluted, will have to pay higher Green tax in comparison to somebody residing in a lesser polluted area.
For example, currently, Petrol car owners are paying around ₹3000, and diesel car owners are paying around ₹3500 as a Green Tax in Maharashtra. For two-wheelers, the green tax in Maharashtra is ₹ 2000.
The entire objective of this policy is to discourage the use of older vehicles. As per the government, it will decrease pollution and dependency on importing more oil. Along with that, the government is also encouraging the adoption of electric vehicles.
As per the minister, the finer details of the scrappage policy will be revealed sooner. Confidence has also come that the automobile industry is going to be one sector that will be Offering maximum employment in the times to come.
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text:
package com.monday.cmidea.util;

import org.junit.Test;

import static junit.framework.Assert.assertEquals;

/**
 *
 */
public class PackageUtilTest
{
    @Test(expected = NullPointerException.class)
    public void testGetPackageTokensWithNull() throws Exception
    {
        PackageUtil.getPackageTokens(null);
    }

    @Test
    public void testGetPackageTokensWithSingleToken() throws Exception
    {
        String[] packageTokens = PackageUtil.getPackageTokens("com");
        assertEquals(1, packageTokens.length);
        assertEquals("com", packageTokens[0]);
    }

    @Test
    public void testGetPackageTokensWithMultipleTokens() throws Exception
    {
        String[] packageTokens = PackageUtil.getPackageTokens("com.monday.corem.beans.article");
        assertEquals(5, packageTokens.length);
        assertEquals("com", packageTokens[0]);
        assertEquals("monday", packageTokens[1]);
        assertEquals("corem", packageTokens[2]);
        assertEquals("beans", packageTokens[3]);
        assertEquals("article", packageTokens[4]);
    }

    @Test(expected = NullPointerException.class)
    public void testGetLastPackageTokenWithNull() throws Exception
    {
        PackageUtil.getLastPackageToken(null);
    }

    @Test
    public void testGetLastPackageTokenWithSingleToken() throws Exception
    {
        String returnValue = PackageUtil.getLastPackageToken("com");
        assertEquals("com", returnValue);
    }

    @Test
    public void testGetLastPackageTokenWithMultipleTokens() throws Exception
    {
        String returnValue = PackageUtil.getLastPackageToken("com.monday.corem.beans.article");
        assertEquals("article", returnValue);
    }

    @Test(expected = NullPointerException.class)
    public void testRemoveLastPackageTokenWithNull() throws Exception
    {
        PackageUtil.removeLastPackageToken(null);
    }

    @Test
    public void testRemoveLastPackageToken() throws Exception
    {
        String package1 = "com.monday.corem.beans.article";
        String package2 = PackageUtil.removeLastPackageToken(package1);
        String package3 = PackageUtil.removeLastPackageToken(package2);
        String package4 = PackageUtil.removeLastPackageToken(package3);
        String package5 = PackageUtil.removeLastPackageToken(package4);
        String package6 = PackageUtil.removeLastPackageToken(package5);

        assertEquals("com.monday.corem.beans", package2);
        assertEquals("com.monday.corem", package3);
        assertEquals("com.monday", package4);
        assertEquals("com", package5);
        assertEquals("", package6);
    }

    @Test
    public void testAppendPackageToken() throws Exception
    {
        String packageName = PackageUtil.appendPackageToken("com.monday.corem.beans", "article");
        assertEquals("com.monday.corem.beans.article", packageName);
    }
}

redpajama_set_name: RedPajamaGithub


The more specific and targeted you can get in your product definitions, service structures, copy, messaging and visibility strategies, the more quickly you are going to find your customers.
Let's pretend you're shopping for a car. You go to a dealership and every car is colourless. They are all of average height and size, with no special features. They drive in a straight line and can make turns.
They serve a purpose and you figure they would get you from Point A to Point B, but what about when you need to take your bike somewhere, or load up with kid stuff for an overnight trip? Or go skiing? How will you listen to your audiobooks when the radio only plays, well… the radio? And you really love turquoise blue.
You leave, noticing that you can get a car there if you need it but you're not particularly compelled to buy anything.
Then you drive to another dealership. Same thing, same results. There is nothing unique or memorable about these cars.
Illegal u-turn complete, you can barely get to that dealership fast enough. Those cars sound like just what you want. The colour, the features, and just the right amount of pizazz (not too much, but enough to make you feel sassy). Someone was listening and knew you were out there.
Which experience do you think will result in a sale? Which dealership is getting high quality customers that will stay with them forever?
You see, it's common for business owners to feel anxiety about niching down. It feels like you're reducing your chances of selling. In fact, the opposite is true.
People want to see themselves in your offers. And since they don't think of themselves as generic, featureless "everybodies," neither should you.
What can you do to better define your market?


Students walk through the quad at Southern Connecticut State University in New Haven.
Over the last 10 years, the faces of Connecticut's colleges and universities have changed, as college degrees are increasingly seen as a requirement of a knowledge-based job economy.
This comes amid a national debate about the necessity of a college degree in today's economy, with rising tuition costs and greater student loan burdens facing young people looking to enter the workforce.
One noticeable change in Connecticut's schools is their racially diversifying pool of students. Since 2006, schools such as Southern Connecticut State University, a New Haven-based university within the Connecticut State Colleges and Universities system, have seen an increase in students identifying as Hispanic, black, American Indian or Alaskan native and Asian. Although SCSU's undergraduate and graduate population declined from 12,326 in the fall of 2006 to 10,473 in the fall of 2015, students identifying as Hispanic increased from 708 to 975 in that time period; self-identified black students increased from 1,308 to 1,671, and 22 more, or a total of 312 students, identified as Asian. In total, the non-white population of SCSU's students increased from 28.75 percent of the student body to 40.64 percent.
Melissa Watts, a white freshman at SCSU from Newtown, said she was attracted to the school because of its academic programs, especially its education program. Watts is one of 2,617 students living on SCSU's campus this year.
"Currently, I'm studying psychology," she said.
Watts was inside the school's Engleman Hall Thursday afternoon, helping to raise the profile of the school's History Club.
In 2010, the U.S. Department of Education mandated that schools include more categories to identify race and ethnicity for reporting purposes, including categories for Pacific Islanders and students who identify as two or more races. Additionally, students are now asked two questions about their racial identity. The first asks whether they identify as Hispanic. If students do not self-identify as Hispanic, they are given a list of racial and ethnic identities to choose from.
As part of this trend, Yale University saw a steep drop of students who reported their race as "other" or opted not to choose a race, from 875 of its 5,275 undergraduate students in fall 2009 to 58 of 5,532 students in fall 2015.
However, the number of Yale students identifying as black also dropped from 435 students in 2006 to 374 in 2015. In 2015, 308 students at the university identified as being two or more races. The number of white undergraduate students in the same time period decreased from 2,642 to 2,557, though the school currently serves 199 more undergraduate students than it did 10 years prior.
The University of New Haven, also a private school, has nearly doubled the number of undergraduate and graduate students enrolled in 10 years, from 4,648 in 2006, to 6,786 in 2015. In 2010, UNH had 5,289 undergraduate students, 2,607 of them white. Today, the school enrolls 1,105 more white students than that. Although white students make up over half of the school's growth in the last five years, the school's Hispanic population has nearly doubled from 2010; currently, 599 students at UNH identify as Hispanic. There are also 166 more black students enrolled in the school than five years prior and 62 more Asian students. Quinnipiac University reports that 78 percent of its student body in 2015 is white.
At three other CSCU schools, the overall percentage of nonwhite students has also risen about 10 percentage points. At Eastern Connecticut State University, white students were 76.2 percent of the overall student body in 2008, but make up 66.7 percent in 2015. At Central Connecticut State University, the number of white students on campus fell from 73.4 percent in 2006 to 66.1 percent in 2014. Western Connecticut State University, which enrolls fewer than 7,000 undergraduate and graduate students, the number of white students comprising the school's population has fallen from 88.4 percent of all students in 2006 to 68.9 percent of all students in 2015.
Edward Osborn, a spokesman for ECSU, said the school has recruitment programs in urban school districts, such as its Summer Transition at Eastern Program/Contract Admissions Program, which gives students a six-week residency on campus over the summer.
"Dozens of students in this summer program are granted admission to Eastern the following fall. They would not have qualified for admission under the university's entrance requirements, yet many graduate and become successful professionals," he said.
The school also has a program in conjunction with Quinebaug Valley Community College in Willimantic, where Hartford-area students who do not meet ECSU's normal admissions requirements take classes on both campuses.
CCSU spokesman Mark McLaughlin said the school aims to create a safe and inclusive environment, including the recruitment of people of color into resident assistant positions as a strategy.
"The university believes that a diverse student body enhances education and prepares students for success in an increasingly diverse workplace and in an increasingly diverse state and nation," McLaughlin said.
WCSU Interim Associate Vice President for Enrollment Services Jay Murray said diversity is an essential value to the school, but he believes a lot of the diversification efforts happened organically.
"As the demographics of northern Fairfield County, specifically of Danbury, have changed, so have the demographics of Western," Murray said.
The University of Connecticut, the largest public university in the state, has grown by about 3,000 students on all its campuses since 2006, and the number of white students enrolled at the school fell from 16,515 in 2006 to 15,398 in 2014's class. Hispanic students nearly doubled in nine years: from 1,201 in 2006 to 2,272 in 2014, and about 700 more Asian students were enrolled at the school over the decade.
UConn spokeswoman Stephanie Reitz said diversity has been "a very important priority" for the school. The increase in students of color at the university is "not by accident," she said.
Under President Susan Herbst, a chief diversity officer has been hired, Reitz said.
Gateway Community College, located in downtown New Haven, reports that its enrollment grew by approximately 2,500 students between 2006 and 2014, but the overall percentage of nonwhite students grew; 51.7 percent of Gateway students in 2006 identified as white, whereas in 2014 that percentage was 41.2 percent.
Terricita Sass, associate vice president for enrollment management at SCSU, said she believe Southern's increase in applications — from a 10-year low of 5,332 in 2011 to 8,113 in 2015, a 10-year high — has a lot to do with a switch to the Common Application in the fall of 2014.
SCSU, WCSU, CCSU, ECSU, UConn, Yale, UNH, Quinnipiac and Gateway all offer the Common Application to applicants.
The Common Application, according to its website, is a college application adopted by more than 600 schools to provide equity to the application process. Students using the Common Application can send the same application form to any of the affiliated schools. Some schools will require supplemental materials or application questions from students.
Sass said one of the ultimate goals for admissions officers was to get prospective students to give SCSU a "second look," so they're at least on students' minds when they're applying to schools.
SCSU's acceptance rate has also increased from 10 years ago, when barely over half of all applicants were accepted to the school. In 2012 and 2013, three in four applicants were accepted to the school. In 2015, with applications at a 10-year high, the acceptance rate was 64.6 percent.
"We have in our region a shrinking high school population, so it behooves us to make sure we are looking at students outside of the traditional high school base, such as first-time adult learners, transfer students and graduate students, so our enrollment really has to be grounded at looking at multiple dimensions of a student," Sass said.
History major Bridget Frouge, a white junior from Stratford, said SCSU offers her an affordable education.
"As a commuter, there are not many affordable options," she said, adding that she saves about $30,000 a year by going to SCSU instead of a private school such as Sacred Heart, in Fairfield.
Western's Murray said WCSU and other state public universities saw a sharp increase in applications from Connecticut students around 2009, when a financial crisis made it difficult for many families to afford the cost of a private education. Since then, the number of Connecticut-based students at the school has declined, as has on-campus residents at WCSU.
Eastern's Osborn said the programs run by ECSU to recruit Hartford-area students also tend to draw first-generation students, or students who are the first in their family to attend a college or university.
According to Osborn, all but one of ESCU's admissions counselors is a first-generation college graduate.
At Gateway Community College, approximately half of students identify as first-generation college students, and the school did not have data on the question for nearly 3,000 of its 11,354 enrolled students in 2014. A total of 3,060 students in 2014 at Gateway said they were not first-generation college students, a 10-year high. Only 1,443 students of Gateway's 8,646 students in 2005 said someone in their family had previously attended college.
Vincent Tong, director of Institutional Research at Gateway, said community colleges are a "natural magnet" for first-generation college students, as they offer affordable education as public institutions. Tong pointed to the positive correlation between education and income as a reason that many students with parents who did not attend college would attend a community college. Serving underserved populations, Tong said, is part of the design of the community college as a public institution.
However, an economic downturn has also led to a shrinking middle class sending students to community college as a cost-saving measure, he said.
Jonathan Elder, a black student at Gateway from New Haven, said he hopes to attend UNH, but Gateway gives him an opportunity to receive credits toward his degree at a much lower cost. Elder said he has been taking classes at Gateway for five years.
In 10 years, Gateway's enrollment has grown by approximately 2,500 students, something Tong credits to a weakening economy, although he also believes credit belongs to Gateway's growing reputation.
Its degree programs, such as health and nursing, and its location in downtown New Haven are both benefits for the school, Tong said. Gateway previously operated at a Long wharf location.
Another coveted population growing at some schools is international students. After 2011, more than 10 percent of Yale's student body is composed of international students. The statistic hit a 10-year high in 2015, with 10.6 percent of Yale students coming to New Haven from outside the U.S.
Also, among UConn's 22,973 undergraduate students in 2014, 2,809 had permanent residence outside the US, a jump from 2,381 students the year before and 1,585 international students six years prior.
Reitz credits the increase in international students to partnerships with international higher education institutions through its Office of Global Partnerships, as well as what she believes is the school's rising international profile.
UConn received 5,105 more applications in 2011 than in 2010 and 3,801 more applications in 2014 than in 2013. Further, 2011 and 2014 greatly outpaced the yearly increase in applications to UConn in the last decade; 2011 and 2014 were also the years within the last decade that the UConn men's basketball team won the Division I NCAA tournament.
Reitz was hesitant to attribute the jump in enrollment to any one factor, saying "several factors were probably in play both years." She said there is no data linking an increase in applications to a men's basketball championship, but she did acknowledge that athletics can act as the school's "front porch," attracting interest and drawing attention to the academics and research on offer.
One area where Connecticut schools showed variance was trends in graduate student enrollment. Yale, for instance, grew its graduate student population by almost 800 students over the last decade, and UConn drew in approximately 500 more. Graduate student enrollment at UNH has been relatively consistent — 1,772 students in 2006 and 1,784 in 2015. At CSCU schools, however, there has been a declining population of graduate students.
SCSU had 3,749 graduate students in 2006 and enrolled 2,367 in 2015. The number or graduate students has decreased every year except in 2014 for the last 10 years.
SCSU President Mary Papazian, who announced her retirement this year, effective July 1, stated a goal for the university to re-prioritize its graduate initiatives, offering programs that better suit today's current work economy and its demands.
McLaughlin said graduate applications are trending downward nationally, and it appears the trend has affected CCSU. The school had 2,500 graduate students in 2006. Today, 2,153 students are enrolled in a graduate program at CCSU.