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A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Other • Top 1000
Songs written by Brett Eldredge
Top Songs / Chart Singles Discography
Video playlist - by chronological order
Raymond by Brett Eldredge
from Bring You Back
written by Brett Eldredge & Brad Crisler
It Ain't Gotta Be Love by Brett Eldredge
written by Brett Eldredge , Wayd Battle & Ben Daniel
Neal McCoy
A-OK by Neal McCoy
from XII
written by Brett Eldredge , Luke Laird & Barry Dean
Don't Ya by Brett Eldredge
written by Brett Eldredge , Chris DeStefano & Ashley Gorley
① Don't Ya by Brett Eldredge
[songwriter #1 hit]
[Atlantic Digital]
⑤ Mean to Me by Brett Eldredge
written by Brett Eldredge & Scooter Carusoe
④ Beat of the Music by Brett Eldredge
written by Brett Eldredge , Ross Copperman & Heather Morgan
③ Lose My Mind by Brett Eldredge
written by Ross Copperman, Brett Eldredge , Heather Morgan, Danger Mouse (as Brian Burton), Cee Lo Green (as Thomas Callaway), Gian Franco Reverberi & Gian Piero Reverberi
Just a Taste by Brett Eldredge
[Atlantic]
Wanna Be That Song by Brett Eldredge
written by Brett Eldredge , Ross Copperman & Scooter Carusoe
② Drunk on Your Love by Brett Eldredge
written by Brett Eldredge & Ross Copperman
Somethin' I'm Good At by Brett Eldredge
from Brett Eldredge
written by Brett Eldredge & Tom Douglas
The Long Way by Brett Eldredge
written by Brett Eldredge & Matt Rogers
Love Someone by Brett Eldredge
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Off to the Park by Stephen Cheetham is a tactile board book designed to be an interactive sensory experience for all children, including those with visual impairments or multiple disabilities.
The pages have many tactile features, such a real shoelace on the page about shoes and bumps for the sidewalk. Each page has a braille number, although the text does not include braille. Braille labels could be added to each page to make it more fully accessible. There is a wavy glitter path across the bottom of the page to encourage the development of tracking skills, for both tactile and visual learners.
For children with low vision, the page have good contrast and are uncluttered.
This high quality early activity book can be a helpful tool to encourage the development of tactile skills and cognitive concepts in young children who are visually or multiply impaired.
Published by Child's Play Inc.


text:
Ancistrus nudiceps és una espècie de peix de la família dels loricàrids i de l'ordre dels siluriformes.

Morfologia
Els mascles poden assolir els 7,9 cm de longitud total.

Distribució geogràfica
Es troba a Sud-amèrica: Guaiana.

Referències

Bibliografia

 Fisch-Muller, S. 2003. Loricariidae-Ancistrinae (Armored catfishes). p. 373-400. A: R.E. Reis, S.O. Kullander i C.J. Ferraris, Jr. (eds.) Checklist of the Freshwater Fishes of South and Central America. Porto Alegre: EDIPUCRS, Brasil.

 Miranda Ribeiro, A. de 1918: Ancistrus. Revista da Sociadade Brasileira de Sciências (Rio de Janeiro) v. 2: 112-114.

 Müller, J. & F. H. Troschel. 1849. Fische (pp. 618-644). A: Reisen in Britisch-Guiana in den Jahren 1840-1844. Im Auftrag Sr. Mäjestat des Königs von Preussen ausgeführt von Richard Schomburgk. [Versuch einer Fauna und Flora von Britisch-Guiana.] v. 3. Berlín. Reisen British Guiana.

 Weber, C. 2003. Loricariidae - Hypostominae (Armored catfishes). p. 351-372. A: R.E. Reis, S.O. Kullander i C.J. Ferraris, Jr. (eds.) Checklist of the Freshwater Fishes of South and Central America. Porto Alegre: EDIPUCRS, Brasil.

nudiceps

redpajama_set_name: RedPajamaWikipedia


I Heart Mac & Cheese is a fine dining, fast casual concept specializing in customizable, made-to-order macaroni and cheese. The menu combines the creativity of Chef Michael Blum, with his award-winning recipe resulting in a grown-up approach to this classic childhood dish. Aside from "all things cheese," the menu also offers other build-your-own items including Mashed Potato Crisps and Sweet Potato Crisps, as well as fresh "Grate" Big Salads for those seeking a healthier alternative.


okay-- one thing you have to keep in mind. NEVER, EVER think that there is a right and a wrong when dealing with the tree of life. instead, there is a 'it works, and it's consistant within its own parameters'.
four lettered name-- the literal meaning for the word.
yod-- can represent potential outward directed energy. can be seen as an unextended phallus.
i've been saying 'CAN represent', not 'represents'. try to develop this mind set. nothing is an absolute-- even this statement.
there are other assignments of YHVH to the tree, but i'm not going to go into them right now. it is enough to know that they are.
Speaking of the babylonians, I think they had quite an interesting view of the solar system, which seemed to be aware of 'pluto' and the other planets recently discovered. Perhaps JMD you wouldknow more than me about a mysterious passage from genesis about the 'nephilm'?
The final heh does have a dot inside it to symbolize when its fertalized:-).
The version of minor cards to tree I have at hand shows--4 aces and all trumps in kether, 4 twos and knights in chockmah, 4 threes and queens in binah, 4 fours in chessed, 4 fives in geburah, 4 sixes and 4 princes in tiphareth, 4 sevens in netzach, 4 eights in hod, 4 nines in yesod and the 4 tens and 4 princesses in malkuths.
It also gives chockmah wands, binah cups, tiphareth swords and malkuth disks....so I would guess that yod was in chockmah, he in binah, vau in tiphareth and the final heh in malkuth.
I just caught AmounrA's reply as I was about to write one. With regards to the final Heh, it is not, from memory, a double letter, and therefore does not have a dot (called a 'dagesh'). The dageshed letters all have two sounds, one a plosive (eg, B) and undageshed the same sound but a fricative (same eg, V).
The Heh, also, does not have a final form, and is 'simply' a single letter.
In terms of a discussion of the letters, I also mentioned something about them in the Letters - General thread.
I'll also post a comment on my view of the minor Arcana in the Malkut thread, as I personally see them more 'properly' fitting there.
Thanks for that dot clarification JMD.....I had it in my head that if the final heh had a dot in it , it symbolized [in a manner] a continuation of the fractal.
Kether is the Intelligentia Mettatron.....through him God spoke to Moses. No eye has seen him and his job is to make sure this earh revolves every 24 hours. .
Glad to have your input, MB666.
The Spiritual hierarchies and the specific individualities associated with each Sephirah are certainly well worth adding, so thank you.
As you point out, the Golden Dawn (amongst others) places Metatron in Keter. Having mentioned this, I wonder if further discussion may be needed in relation to this order of being?
What are sometimes referred to as the Spirits of Motion are involved in providing momentum for celestial bodies - this doesn't, by the way, take away from scientific explanation, but rather adds a qualitative dimension of being to an otherwise solely descriptive and quantitative one (some will of course disagree!). The Spirits of Motion, however, are of a lower order than those properly residing in Keter.
In terms of the Celestial Hierarchies, I find that the Seraphim are of the order of Keter.
I have never related the tarot to the Kabbalah. I shall read this thread more and learn.
One reason I would not place him in kether is because of the localised nature of his task [ i.e working with an earth/human based religon ]..the tree I think goes far out from this kind of localised reality and interaction as it gets beyond tiphareth.
yet another angle. i have to make this brief-- dinner's on the table.
it's my understanding that metatron is god's answering service. perhaps enoch risen.
Heres a thought, and question. Is Kether beyond god? Did god come into being as the path forged to Chockmah. Is gods existance a mystery even to god?


text:
Q: Sanity and Next.js is not rendering dynamic page content I am building a simple blog website with Next.js and Sanity. I am able to render the list of posts on a /blog route, but when I click the link to navigate to a specific post, I am unable to render anything to the screen.
import client from '../../client'

export default function Post({post}) {
  console.log(post)
  return (

  )
}

export const getStaticPaths = async () => {
  const paths = await client.fetch(
    `*[_type == "post" && defined(slug.current)]{
      "params": {
        "slug": slug.current
      }
    }`
  )

  console.log(paths)

  return {
    paths,
    fallback: true,
  }
}

export const getStaticProps = async ({params}) => {
  const query = `*[_type == "post" && slug.current == $slug][0]{
    _id,
    _createdAt,
    title,
    author->{
      name,
      image
    }
    mainImage,
    slug,
    body
  }`

  const {slug} = params

  const post = await client.fetch(query, {slug})

  return {
    props: post,
  }
}

redpajama_set_name: RedPajamaStackExchange


text:
14 Killed, Nearly 40 Wounded In Pakistan Blast
Islamabad: At least 14 people, including two children, were killed and around 40 injured Thursday in a bomb blast outside an Islamic seminary in Pakistan's Quetta city, police said.
The blast at the Jamia Islamia Miftahul Uloom in Satellite Town area took place around 3 p.m. when a large number of people gathered for the annual degree and prize distribution ceremony, Deputy Inspector General Qazi Abdul Wahid was quoted as saying by Geo News.
Wahid said an unidentified militant had hidden explosive materials inside flower garlands brought for the ceremony. The militant, however, failed to enter the seminary building because of tight security measures and parked his explosives-laden bicycle outside the main gate. The children who died in the blast were aged between six and eight years.
Another senior police officer, Mir Zubair told Xinhua the blast was triggered by a timed device. At least six kg of explosives were used.
Local media said the seminary belonged to Sunni Muslims and the attack could be a result of sectarian confrontation between Sunnis and Shias.
No one claimed responsibility for the attack.
Related Topics:14 KilledNearly 40 Wounded In Pakistan Blast
Mysterious Disease Claims 36 In Bihar
'Pakistan Must Not Allow Terrorists To Use Its Territory'

redpajama_set_name: RedPajamaCommonCrawl


text:
Rochester: 585.473.3590 /
Batavia: 585.344.1850 /
Lockport: 716.304.2102
We serve organizations and individuals of all kinds — from privately held to publicly traded to public sector and tax-exempt...
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Financial opinion from our advisors on today's trending topics...
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Brighton Securities Announces 2,000 Sq ft Facility Expansion
Contact: Christina Gregory
cgregory@brightonsecurities.com
Brightonsecurities.com
ROCHESTER, NY--Brighton Securities, a Rochester NY-based Wealth Management firm, recently announced the completion of a 2,000 sq. ft facility expansion and renovation of their Monroe Avenue location. The expansion culminates over two years of planning and development efforts, and was conducted to accommodate the firm's ongoing growth, staffing needs and evolving client services.
Among the improvements made to the now 12,738 sq. ft facility are three new conference rooms, a vastly expanded reception and waiting area, 8 additional offices, and a dedicated tax services wing. This expansion was led by Genesee Construction and completed over the course of four months.
When asked about the significance of these recent renovations, Chief Executive Officer Jai Ramachandran explained that, "This expansion will allow us to share our continued growth with our clients and employees, both present and future." Brighton Securities has grown at a record pace through October of this year. This growth has been largely due to the efforts of its employees as they continue to provide unbiased financial planning and advice to its clients both in Upstate NY and throughout the country.
In celebration of the completed expansion, Brighton Securities will be hosting a Renovation Reveal Open House on November 2nd. The event will begin at 5pm at its offices located at 1703 Monroe Avenue in Brighton. Current and prospective clients along with any other active member of the community are invited to tour the new office space and meet with staff, while enjoying complimentary food and drink.
About Brighton Securities: Brighton Securities is a local, independently owned financial services firm headquartered in Rochester, NY with offices on Monroe Avenue in Brighton, and Main Street in Batavia NY. Established in 1969, Brighton uses a client-focused approach in offering services that include: Financial Planning, Personal Saving Strategies, Insurance, Estate Planning, Tax Planning & Preparation, and Corporate Services. Brighton's financial advisors serve individual investors, trusts, estates, and small/ medium-sized businesses, with the knowledge and trust that our combined experience of over 500 years in the financial services sector brings us.
We provide advice and direction that comes not just from market expertise and experience, but from listening to you, our client. We place you at the center of your financial plan.
1703 Monroe Avenue
Batavia Office
Lockport Office
© 2021 Brighton Securities


Today was a day of stories. We traveled to Poland to see Auschwitz-Birkenau. I've read many books about Auschwitz. Part of my novel Night Song took place there, and being there was surreal. More than 1.4 million people visit Auschwitz every year, and the place was packed with people from around the world. As we walked, we heard facts about the locations, and in my mind I scrolled through the stories I read of those who'd been there.
As I walked through the barracks, I considered those who'd walked the same path. I looked at prisoners' photographs, and I wished I could hear the story of each one. My heart broke the most when I saw the suitcases stacked with names and birth dates of those who'd traveled by train not knowing what awaited them at the last stop. Parents were scared and worried about their children. They most likely guessed that hard days lie ahead, but no one could imagine that death waited, that only those capable of work would live more than twenty-four hours within the barbed wire.
I also teared up to see the small sweaters, shoes, and dolls from the children. Lives cut short because of evil. Little Alyssa was with us through the tour. She rode on a backpack on her dad's back. His smart phone played Barney and happy songs flowed through her earphones. She had no idea where we were or what that place represented. Her smiling face and plump arms and legs were such contrast to the skeletal photographs plastered on the walls.
I was amazed by the side of Birkenau. Brick chimneys stretched into the distance as far as I could see—the remnants of the barracks, each one holding between three hundred and five hundred prisoners. Yet in that place wildflowers now bloomed. Visitors came to weep and remember. The truth of what happened there can never be completely known. The tragedy won't ever be understood completely by those who stroll alongside the railroad tracks, but we were there and were trying to understand. I think those lost would appreciate that—appreciate that we won't forget their suffering.
The stories from within the camp weren't the only ones I listened to. On the drive to and from the camp we had the chance to spend time with our Czech pastor friend, Petr. His family's story moved me. Christians during WWI, during WWII, and during the Communist regime, his family served God and others during difficult times. I could almost picture the printed pages of a novel as I listened to him speak. About my age, Petr has experienced so much. Following Christ has been downright dangerous for his family, and that amazes me.
Where would we be without stories? Our view of the world is limited until we dare to step out. Dare to listen.
Listening makes me want to listen more. It makes me want to understand deeper. It makes me want to write a translation of my own—whether a blog or book—to help others understand, too.
Of course you don't need to travel to foreign countries to experience such things. Stories are all around us; we just need to take time to focus on the words of another.
I've only been in the Czech Republic for a few days, and my heart is already full of thankfulness for all I've experienced. God never ceases to amaze me. I can't wait to see what else is in store!
I'll bet that was an overwhelming experience. I can't imagine.
So horrifying – I can't imagine seeing it in person. But it truly is good to remember and be thankful. God has been so gracious to us.
Thanks for sharing your thoughts! God has been so good to us, we need to be most grateful!
May the Lord continue to bless your trip and your writing.
Wow. That must have been such an experience. I don't think I could visit there without wanting to cry. Thanks for sharing your thoughts and safe travels on your trip!
I was able to visit Dachau when I was a child…..suffice it to say it was over fifty years ago, but reading what you wrote brought the pictures all back to my mind. The ovens and the room where they gassed them. I do not remember if they saved any barracks at Dachau or any of the things that you saw. I do know that I will never forget what I did see. How any one could do to these people what was done is beyond my imagination. Oh, may we NEVER forget what was done, so that it may not be repeated. Blessing on the remainder of your trip. Thank you for sharing your thoughts.
An incredible experience, no doubt. I hope to someday visit those places. It is true how incredibly blessed by God we are.


Diamond And Silk are free speech heroes as an article in The Hill indicates. Black leaders and social justice activists have not supported their right to free speech. But they are courageously leading the charge for free speech despite that.
The social media superstars came to fame as supporters of Donald Trump. They are down-to-earth and funny ladies from North Carolina.
Despite their innocent traditional views, they were deemed "unsafe" by Facebook and Facebook characterized the censorship of their page as irreversible. The duo followed this up with an appearance on Fox & Friends. That prompted Facebook to issue a statement about being in communication with them. That appears to be a lie.
When Facebook CEO and Chairman Mark Zuckerberg testified before the Senate and then the House, the ladies' names came up a number of times. Rep. Billy Long questioned Zuck while he looked at a very large photo of Diamond And Silk, the two sisters, whose real names are Lynnette Hardaway and Rochelle Richardson.
They are bringing political censorship to the forefront. As it stands, you can legally discriminate against people politically. Also, private organizations don't have to abide by the First Amendment. But is that ethical when all means of communication are owned by the left and hard-left?
Conservatives are also demonized freely on Facebook but Mr. Zuckerberg doesn't think there is a problem on his platform.
Diamond And Silk have 1.3 million followers and look at the reach they now have — 6 people. That is after Zuck said they don't discriminate. He said he weeds out those who discriminate. If so, why does their reach extend to only 6 people?
This article has little reach when it would normally have a reach of thousands: It had a reach of 84 after three minutes and after 13 minutes, it's stil at 84.
This is kinda like the IRS officials targeting conservative groups for extra scrutiny, Zuckersucker said they don't discriminate, yeah right !!!!!!!
Maybe the left is worried about Trump support from the black community. I read where blacks approve of Trump by 30% with 20% very. This would be a disaster for Democrats. Blacks are NOT stupid as the White Leftists would have us believe. As an example a video went asking "white liberals" questioning Voter ID and the response was staggering. Essentially they believed blacks weren't knowledgeable enough. When they went to blacks showing the white response they considered those whites racists. I don't recall who did the video but it Was instructive.
I can see the graph, but there's only blank white space where videos (?) should be before that.. Thoughts?
It looks okay to me. — there should be several screenshots.


text:
Dingoes Armed with Suicide Time Bombs
By Michael Mountain, July 28, 2016
Officials in Queensland, Australia, are releasing dingoes onto an island to kill the feral goats who are damaging the local vegetation. The dingoes, in turn, have been implanted with "time-bombs", as their handlers describe the poison pills that will kill them when they've done the job.
Hard to know where to begin with this kind of "conservation" plan. If you'd read it in The Onion, you might have found it quite funny as a piece of satire and fiction … except in this case it's real.
How the goats got there: In May 1787, a fleet of 11 ships set sail from England to found a penal colony in Australia. The British government had deemed this newfound continent to be well-suited for dumping its criminals – far away, escape-proof, and largely uninhabited except for "savages".
Earlier expeditions to Down Under had run into trouble on the Great Barrier Reef, so the officers of this fleet decided to release some of the goats they were carrying onto some of the islands so the animals could reproduce and serve as a continuing food source for lighthouse keepers and shipwrecked sailors.
One of those islands, Pelorus Island, is still largely uninhabited by humans, and without any natural predators the goats have multiplied and now considered an "invasive species" that is doing much harm to the original ecosystem.
Ramon Jayo, the Mayor of Hinchinbrook Shire, of which Pelorus Island is a part, says they've tried every other method of killing the goats: trapping them, shooting them on the ground, shooting them from the air, whatever they could think of.
"So when the boys came up with this idea we just thought, 'Well that's perfect'," Jayo told Australia's ABC News. "So when the boys came up with this idea we just thought, 'Well that's perfect.'"
The "boys" are a team of ace dingo killers (a.k.a. "conservationists") led by Lee Allen, a senior zoologist at Biosecurity Queensland, and his son, University of Southern Queensland wildlife ecologist Dr. Ben Allen.
Dingoes are considered "pests" by ranchers, just like wolves and coyotes in America, so the Allens are well practiced in dreaming up ways of trapping and killing them. In this case, however, the plan that's being deployed is to trap four dingoes and, rather than killing them right away, simply drop them on Pelorus, where they will gradually hunt down the goats.
When they've done their work, the dingoes will, in turn, be hunted down by the Allen team. This should be quite easy since the dingoes are wearing tracking collars. But since the Allens are not very confident of their own hunting abilities, they've implanted the dingoes with time-release poison pills that will act as "time bombs", dissolving after two years and bringing an end to the dingoes' suicide mission.
"There's so much positive to be gained in doing this," says Matthew Buckman, chief pest officer and coordinator of the project. "We're gonna protect so many of these islands long-term. Once this one's successful, it'll set the platform for many other island managers to follow through and to carry out similar projects."
Thank heaven for "boys" like these who know how to deal with "invasive species" and can recognize them when they see them.
After all, they only have to look in the mirror.
Categories: Animals
Tagged: hunting, wildlife
Zika Related to Cattle Farming?
Meanwhile, on the South China Sea . . .


text:
Introducing the 'Patriot Series'
Introducing the Patriot Series- a new category of firearms and products available through their eCommerce store celebrating America, patriotism, and the Second Amendment.
God Bless America Edition Golden Boy
The God Bless America Edition Golden Boy is a .22 S/L/LR lever action rifle built on Henry's time-honored and award-winning Golden Boy platform known for its smooth action, American walnut stocks and blued steel octagonal barrel. Intricate floral scrollwork engraving on both sides of the nickel-plated receiver cover frames iconic images of America's heritage like the American flag, the Liberty Bell, and a bald eagle, all of which have details highlighted in 24-carat gold. A banner on the right side of the receiver cover contains the words, "Home of the Free Because of the Brave." The stock is engraved and hand-painted with the Statue of Liberty's torch, and in similar colors, the rifle's forend displays the words, "God Bless America."
God Bless America Edition Big Boy
Henry is also introducing a centerfire version, the God Bless America Edition Big Boy, featuring similar imagery on a rifle chambered for .44 Magnum/.44 Special with a 10. The God Bless America Edition Golden Boy, model #H004GBA has an MSRP of $1,208, and the Big Boy version, model #H006GBA has an MSRP of $1,523.
Stand for the Flag Edition Golden Boy
The Stand for the Flag Edition Golden Boy is a direct salute to the American flag with a full red, white and blue depiction applied to both sides of the receiver cover with a durable polymer-ceramic coating known as Cerakote. The finish adds a layer of further abrasion and corrosion resistance on top of the nickel plating. The buttstock features a hand-painted image of a man standing hand-on-heart with the words, "O Say Can You See" written underneath. The Stand for the Flag Edition Golden Boy, model #H004SFF is chambered in .22 S/L/LR with an MSRP of $1,208.
The Patriot Series also includes three plaques that include hardware for mounting on a wall or the lawn, all of which are available through Henry Pride, Henry Repeating Arms' eCommerce store. The We Proudly Stand plaque depicts a soldier standing to salute the flag of the United States, rendered in full red, white and blue color across the plaque. Beneath the flag is the underlined text, "We Proudly Stand." The Patriotic Home Plaque shows a New Original Henry rifle with the message, "This House Believes in God, Country & Family." It's finished with a French Bronze color. The Second Amendment Plaque carries the message, "This House Is Protected By the 2nd Amendment," in a black and gold finish. All three plaques are made of highly durable cast aluminum to withstand the elements outdoors or in.


This is my take on "Can we live forever"
"We Can Become the Engineers of Our Own Body Chemistry.
- In the Right Environment We Can Live Forever"
As engineers of our own body chemistry we can disable the genes that dictate the termination of our lifespan, as scientists have already demonstrated with plants and animals. There is no inherent limit to the "Lebensraum" (living space) in orbital space as there is on our planetary surface.
The incentive to be a member in good standing in society is the pursuit of immortality. Humankind's social activity, ultimately its urge to mate, is an instinct, just like the instinct to live. If the purpose of society is to protect and enhance the well being of its members, then providing the means to achieve immortality should be one of its highest priorities. The "New World" must provide individuals with access to the experts, the education and the means to achieve immortality.
The difference between our present world based on the formation and protection of family, tribe, nation and the "New World" is that the latter must have as its goal the pursuit of individual immortality.


If you head down to The Wilds don't forget to take your big, beautiful imagination with you. Join Rosie to create poetry about all the woodland's feathered friends and write your masterpiece onto beautiful coloured ribbons. This is the first stage of "Metaphorical Birds" a collaboration between Rosie & Bee which will combine your words with a flock of birds made from upcycled, recycled materials.
Join Bee and Rosie and recycle waste materials to create a stunning flock of birds which will take flight into the festival as the weekend progresses! The birds will be displaying their ribbon feathers, filled with poetry written by festival goers.


text:
McConnell's Marker
https://www.futureofcapitalism.com/2013/01/mcconnell-marker
The Senate Republican leader, Mitch McConnell, has an op-ed at Yahoo! News about the tax deal: "If I had my way taxes would not have gone up on anyone, but the unavoidable fact was this if we had sat back and done nothing taxes would have gone up dramatically on every single American, and I simply couldn't allow that to happen."
He also looks forward to the next stage:
now that the President has gotten his long-sought tax hike on the "rich," we can finally turn squarely toward the real problem, which is spending. Predictably, the President is already claiming that his tax hike on the "rich" isn't enough. I have news for him: the moment that he and virtually every elected Democrat in Washington signed off on the terms of the current arrangement, it was the last word on taxes. That debate is over. Now the conversation turns to cutting spending on the government programs that are the real source of the nation's fiscal imbalance.
by Editor | Jan 3, 2013 at 6:57 am Related Topics: Government Spending, Taxes receive the latest by email: subscribe to the free futureofcapitalism.com mailing list
A modest prediction.... [291 words] Fast Eddie Jan 3, 2013 10:15
↔ Time will tell [36 words] ben Jan 3, 2013 13:47


text:
The West-Eastern Divan Ensemble performed an evening of excellent string chamber music at the Kravis Center on Sunday.
The ensemble is led by violinist Michael Barenboim, son of the famous pianist and conductor Daniel Barenboim.
Daniel Barenboim and his friend Edward Said founded the larger Western-Eastern Divan Orchestra in 1999 as a continuing dialogue in music to the Israeli-Palestinian conflict. Its musicians hail from both countries, transcending the political division with artistry and obvious camaraderie.
Without much ado, the ensemble walked on stage and began with Franz Schubert's "Rondo in A major for Violin and Strings, D. 438," featuring Michael Barenboim as soloist. This was a delightful opener, complete with ringing cellphone that ironically gave an agreeable pitch with the phrase ending cadences.
Astrig Spidak Siranossian on cello is a virtuoso, and immediately stood out as an exuberant player and confident section leader. She performed with wonderfully unique bowing choices: longer bowings were always even and crafted to communicate the period of the piece, while shorter bowings and staccato playing were always crisp, but perfectly matching the touch of the ensemble.
Johannes Brahms' "Sextet No. 1 in Bb Major, op. 18" followed where Siranossian again soloed beautifully on the main motives in the Allegro ma non troppo movement. There were stunning pairings in this piece, as the color of viola, played by Sindy Mohamed, and cello, played by Assif Binness, doubled in its lower registers with long bowings. The entire ensemble swayed and moved as they performed the piece, each player showing individual personality on their instruments.
This was truly a concert of friends, and although the blend and the technique were overall flawless, there was a feeling of ease, more like watching a jam session, rather than a rigid ensemble in a formal concert hall. The relaxed atmosphere added a layer of energy and intimacy to the performance that invited the audience to consider the message of unity at the core of the ensemble's raison d'être.
Michael Barenboim returned after the intermission to perform the "Devil's Trill Sonata" for solo violin, by Giuseppe Tartini, an 18th-century composer. The audience was clearly divided on whether to clap between movements. The Larghetto affectuoso was very bright and cheery for a piece with such a title, with trills that paralleled Vivaldi. The Sogni dellautore. Andante, allegro assai was the most "devilish," as Barenboim sliced his way to the ending, and a standing ovation.
The program ended with Felix Mendelssohn's "Octet in E-flat Major for strings, op. 20." The instruments seemed to play by pairs with several doublings and shared material. The violas could not share in the doubling fellowship, as they were split in the seating by the cellos, often having to check in with the violins on either side.


text:
Q: Enviar checkbox com ajax jquery php Tenho o formulário a enviar/funcionar perfeito com os demais campos, porém não consigo receber as seleções do checkbox. Preciso de ajuda para receber/manipular no php:
O HTML:

    NECESSITA EMBALAGENS?

        <input type="checkbox" value="1" name="servicos">Pelicula Aderente

        <input type="checkbox" value="2" name="servicos">Cartão Canelado

        <input type="checkbox" value="3" name="servicos">Caixa Cartão

        <input type="checkbox" value="4" name="servicos">Plástico Bolha

O .JS :

$(function() {
  $("input,textarea").jqBootstrapValidation({
    preventSubmit: true,
    submitError: function($form, event, errors) {
      // additional error messages or events
    },
    submitSuccess: function($form, event) {
      event.preventDefault(); // prevent default submit behaviour
      // get values from FORM
      var nome = $("#nome").val();
      var email = $("#email").val();
      var telefone = $("#telefone").val();

      var origem = $("#origem").val();
      var destino = $("#destino").val();
      var data_prevista = $("#data_prevista").val();
      var plano = $("#plano").val();

      var arr = [];
      $("input:checkbox[name=servicos]:checked").each(function() {
        arr.push($(this).val());
      });

      var como = $("#como").val();

      var descricao = $("#descricao").val();

      var Nome = nome; // For Success/Failure Message
      // Check for white space in name for Success/Fail message
      if (Nome.indexOf(' ') >= 0) {
        Nome = nome.split(' ').slice(0, -1).join(' ');
      }
      $.ajax({
        url: "././mail/contact_me.php",
        type: "POST",
        dataType: 'json',
        data: {

          nome: nome,
          email: email,
          telefone: telefone,
          origem: origem,
          destino: destino,
          data_prevista: data_prevista,
          plano: plano,
          servicos: arr,
          como: como,
          descricao: descricao
        },
        cache: false,
        success: function(data) {
          if (data.error) {
            // Fail message
            $('#success').html("
");
            $('#success > .alert-danger').html("<button type='button' class='close' data-dismiss='alert' aria-hidden='true'>×").append("</button>");
            $('#success > .alert-danger').append("Prezado(a) " + Nome + ", algo não está certo. Por favor, tente novamente.");
            $('#success > .alert-danger').append('
');
            //clear all fields
            $('#orcamento').trigger("reset");
          } else if (data.success) {
            // Success message
            $('#success').html("
");
            $('#success > .alert-success').html("<button type='button' class='close' data-dismiss='alert' aria-hidden='true'>×").append("</button>");
            $('#success > .alert-success').append("Prezado(a) " + Nome + ", sua mensagem foi enviada. Nós entraremos em contato consigo!");
            $('#success > .alert-success').append('
');
            //clear all fields
            $('#orcamento').trigger("reset");
          }
        }
      })
    },
    filter: function() {
      return $(this).is(":visible");
    },
  });
});

/*When clicking on Full hide fail/success boxes */
$('#nome').focus(function() {
  $('#success').html('');
});

O PHP:

$nome = test_input($_POST['nome']);
$email = test_input($_POST['email']);
$telefone = test_input($_POST['telefone']);
$origem = test_input($_POST['origem']);
$destino = test_input($_POST['destino']);
$data_prevista = test_input($_POST['data_prevista']);
$plano = test_input($_POST['plano']);
$servicos = test_input($_POST['servicos']);
$como = test_input($_POST['como']);
$descricao = test_input($_POST['descricao']);

Creio que o código está tudo certo, tanto o html quanto o js. O problema é a recepção e criação da variável ou array (não percebo), no php. Ajudem-me?

A: Vc pode obter valores de checkbox para enviar por ajax assim:
html:

  NECESSITA EMBALAGENS?

   <input type="checkbox" name="servicos" value="Pelicula Aderente">Pelicula Aderente

   <input type="checkbox" name="servicos" value="Cartão Canelado" checked="checked">Cartão Canelado

   <input type="checkbox" name="servicos" value="Caixa Cartão">Caixa Cartão

   <input type="checkbox" name="servicos" value="Plástico Bolha" checked="checked">Plástico Bolha

js:
var arr = [];

$("input:checkbox[name=servicos]:checked").each(function(){
    arr.push($(this).val());
});

arr.forEach(function(item) {
    console.log(item ? 'true' : 'false');
});

este é um exemplo de como pegar os valores. É só fazer desta forma e atribuir o valor na variável servicos por o array acima.
Ou seja, [] no final do name não é necessário. Se quiser ao invés de passar apenas os valores checados, também pode passar todos os valores. Para isso apenas retire o :checked da seleção.
Exemplo: https://jsfiddle.net/9os3e18u/
Editado para responder o comentário
Esta é a forma correta:
        (...)
        var destino = $("#destino").val();
        var data_prevista = $("#data_prevista").val();
        var plano = $("#plano").val();

        // *** aqui vc obtem o array com os valores ***
        var arr = [];
        $("input:checkbox[name=servicos]:checked").each(function(){
            arr.push($(this).val());
        });

        var como = $("value#como").val();

        var descricao = $("#descricao").val();

        var Nome = nome; // For Success/Failure Message
        // Check for white space in name for Success/Fail message
        if (Nome.indexOf(' ') >= 0) {
            Nome = nome.split(' ').slice(0, -1).join(' ');
        }
        $.ajax({
            url: "././mail/contact_me.php",
            type: "POST",
            dataType: 'json',
            data: {

                nome: nome,
                email: email,
                telefone: telefone,

                origem: origem,
                destino: destino,
                data_prevista: data_prevista,
                plano: plano,
                // *** aqui está atribuindo os valores obtidos aos dados passados ao servidor ***
                servicos: arr,

                como: como,

                descricao: descricao

            },
            cache: false,
            success: function(data) {
                if(data.error){
                    // Fail message
                    $('#success').html("
");
            (...)

Repare especialmente onde eu coloquei comentários entre ***. Foram os pontos onde o código foi alterado.
E seu HTML tbém tem um erro. Não é pra colocar um name diferente em cada um (servico1, servico2, etc). Name fica igual em todos. Se quiser identificar de forma única use o id. É pra ser assim:

    NECESSITA EMBALAGENS?

        <input type="checkbox" value="Pelicula Aderente" name="servicos">Pelicula Aderente

        <input type="checkbox" value="Cartão Canelado" name="servicos">Cartão Canelado

        <input type="checkbox" value="Caixa Cartão" name="servicos">Caixa Cartão

        <input type="checkbox" value="Plástico Bolha" name="servicos">Plástico Bolha

Dividindo a tag do jQuery que obtém os valores para vc entender melhor:
$("input:checkbox[name=servicos]:checked").each(function(){
    arr.push($(this).val());
});

*

*input -> pegue todos os inputs

*:checkbox -> do tipo checkbox

*[name=servicos] -> cujo nome seja 'servicos'

*:checked -> e estejam checados

*.each(function(){ -> e para cada um deles

*arr.push($(this).val()); -> insira o valor no array 'arr'

Compreendido melhor agora ?
Recomendo que ao invés de vc usar o value de cada serviço como uma string (ex.:"Pelicula Aderente"), vc substitua por um valor numérico. Fica mais fácil de associar depois no seu banco.
Pode perguntar mais se quiser.

A: Pelo que entendi, no método submitSuccess é o lugar no qual você irá recolher as informações do formulário e enviar para o php.
Vamos então passo a passo.
1 Passo - Pegar todos os campos.
var data = $("form").serialize();

2 Passo - Enviar para o php.
$.ajax({
  type: 'POST',
  url: 'arquivo.php',
  data: data,
  dataType: 'json',
  success: function() {

  },
  error: function(data) {

  }
});

3 Passo - Ler  os campos no php
Quando você utiliza campos agrupados, como por exemplo serviços é  interessante utilizar um array, portanto vou te mostrar as duas formas:
Como Array:
Motifique o name dos teus checkbox para:

    <input type="checkbox" value="Pelicula Aderente" name="servico[]">Pelicula Aderente

    <input type="checkbox" value="Cartão Canelado" name="servico[]">Cartão Canelado

E no php você pode ler asssim $_POST['servico'].
Da sua forma com o name servico1,servico2 e servico3.
Teria que acessar cada variavel assim: $_POST['servico1'],$_POST['servico2'] etc...


Anxiety, anxiety disorder or generalized anxiety disorder is the one of the most common mental disorders. It refers to the sensations of inner tension, anxiety, panic, or a feeling of "fear". It differs from the real fear as the real fear is usually something dangerous (e.g. you see a bear or a snake). So in anxiety the subject of the fear is not real or at least the sensation of fear disproportionate to the threat in regard to it.
Anxiety as well as concern are typical emotions that happen throughout the life of all individuals. They are right as they shield us from dangerous situations, help in the development as well as urge far better efficiency. The limit for typical anxiety is often vague. In generalized anxiety disorder, anxiety is a continual as well as long-lasting. To someone with anxiety disorder, the concerns as well as anxieties appear overwhelming as well as hinder the everyday living.
Anxiety is not a seizure such as panic attack or fear of social situations. Along with the state of anxiety regularly consist of a number of physical symptoms. Anxiety disorder has substantial unfavorable effects to person's social life as well as weakens the day-to-day efficiency.
The primary sign is naturally, anxiety It is long-lasting, yet the symptoms can change with years or when large life adjustment situations happen. Undisturbed as well as extreme concern or fear of persons very own or enjoyed one's wellness as well as concern of prospective future dangers is normal. On top of that, a combination of additional symptoms such as chest pain, palpitations, upset abdomen, muscular tissue pains, shortness of breath, tremors, lightheadedness, perspiration, choking feeling, audio vibration, flushing, tickling as well as numbness, lightheadedness as well as regular have to pee. The symptoms are very private as well as the majority of general anxiety disorder individuals seeks treatment for additional symptoms, not even if they suffer from anxiety as well as anxieties.
Typically individuals with anxiety are dispirited at the exact same time (greater than a third of them) as well as they additionally experience troubles of sleeping, tiredness, difficulty focusing, impatience as well as an absence of libido. A variety of individuals suffer in addition to anxiety attack as well as fear of social situations. Additionally alcohol dependence is usual.
In social anxiety disorder, someone has extreme anxieties or fears regarding a certain social scenario, in which he is faced with unfamiliar people or in monitoring of others. A person obtains anxiety, because they are afraid that their actions or efficiency raises an awkward scenario, e.g. to show indications of anxiety or turn into one method or an additional humiliated. The patient of social anxiety hesitates of that the others see him as "weak", "insane", or "dumb". The individual attempts to prevent public speaking or offering a public presentation, mostly because others might notice persons voice trembling or perplexed for words. Or the private avoids consuming, alcohol consumption or composing in the visibility of unfamiliar people, considering that he fears that the various other participants existing notifications the shake in his hands or any other tension.
The real fear-provoking social scenario generally creates anxiety feedback, which may additionally start an anxiety attack. In kids, anxiety might come as sobbing, moody mood, freezing or clinging. Kids additionally might not realize that the fear reaction to the scenario is extreme or impractical. Reaction to be afraid often leads to evasion of prompting situations or trigger differing level of distress. A person that suffers from social anxiety is often aiming for perfection as well as usually can not take care of self-criticism like "typical" individuals.
Small fear of social situations is very common, at least one in five grownups is nervous regarding public presentation. It is estimated that at least 5% of the populace have some degree of social anxiety or enhanced difficulty to carry out everyday jobs as a result of it, as well as it is more usual in ladies compared to in guys.
Concerns usually appear for the first time in adolescence or early their adult years. Without care or help, often lasts for years as well as are basically permanent. Concerns often begin either progressively or instantly when knowledgeable awkward or disgraceful scenario. Inherited aspects raise the threat for the incident of social anxieties.


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text:
2 hidden small-cap stars I'd buy today
Rupert Hargreaves | Tuesday, 5th September, 2017 | More on: CAMB G4M
Cambria Automobiles (LSE: CAMB) flies under the radar of most investors, but over the past six years, the company has proven that it should not be ignored. Indeed, since 2011 the firm has grown book value per share at a compound annual rate of 16.7% and net profit at a rate of 21.7%.
But despite this growth, investor concerns about the state of the motor trade sector have weighed on the firm, and as a result, the shares have underperformed. Specifically, over the past 12 months shares in Cambria have declined by 15% excluding dividends.
Cheap valuation
After these declines, the shares are trading at a highly attractive forward P/E of 6.7 and City analysts expect the firm to grow earnings per share by a steady 5% this year. According to a trading update from Cambria this morning, it looks as if it is on track to meet this target with management reporting "trading for the 11 months to 31 July 2017 is in line with expectations." Even though new vehicle sales declined during the period by 17.6% on a like-for-like basis, after-sales operations increased revenue by 8.4% and used vehicle sales fell only 1.7%.
Against this backdrop, gross profit per retail unit improved, increasing overall profitability. Throughout the year, Cambria has also pushed ahead with the acquisition of new sites and the development of old sites in its portfolio, which should help drive organic revenue growth as overall new car sales slow.
All in all, considering Cambria's valuation and steady growth, the company looks to be a hidden small-cap star to me.
As Cambria has floundered, Gear4music (LSE: G4M) has charged ahead. Over the past 12 months, shares in the company have gained 372% as sales have exploded.
According to an update from the group today, in the latest half year, revenues expanded 44% with UK revenues rising 30% to £17.9m and Europe sales rising 70% to £13.3m. According to Andrew Wass, chief executive, this growth has put sales figures ahead of expectations with the total of £31.2m equating to a two-year increase of 150%. This increase has come at a cost, however. Today's trading update warned that although sales were ahead of expectations, "increased costs and restricted short-term margins" are holding back profit growth.
Still, as a long-term growth play, Gear4music remains attractive. Every company has to spend money to drum up interest in its products and services, it's just a natural part of doing business and margins will suffer. Nonetheless, in the long run, the spending should pay off in the form of higher sales and faster sales growth.
Gear4music's growth is only just getting started, and even though the shares trade at a high earnings multiple of 79.5, I believe over the long term that the company will grow into this valuation. City analysts have pencilled in earnings per share growth of 31% for the fiscal year ending 28 February 2019 on revenues of £102m, up around 50% year-on-year.
Growth stocks for retirement?
Investing in growth stocks can be a risky business, but if you do your research, and use a diversified portfolio, the rewards are certainly worth the extra risk.
For more investing tips, I recommend that you take a look at this brand new free report.
The guide is packed with wealth-creating tips to help you meet your financial goals, whatever they may be.
The guide is entirely free and available for download today.
Rupert Hargreaves owns shares in Cambria Automobiles. The Motley Fool UK owns shares of Cambria Automobiles. Views expressed on the companies mentioned in this article are those of the writer and therefore may differ from the official recommendations we make in our subscription services such as Share Advisor, Hidden Winners and Pro. Here at The Motley Fool we believe that considering a diverse range of insights makes us better investors.


text:
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How a life-and-death situation sowed the idea of this Indian public policy institute
Parth Shah, a former professor of economics at University of Michigan, launched his dream project, the Indian School of Public Policy (ISPP), last year. The inaugural batch will start its classes in August.
It was cold January night in 1997, when 32-year-old Parth Shah, a professor of economics at the University of Michigan, was wheeled in for emergency surgery after being diagnosed with a heart condition. Parth did not know if he would come out of the surgery alive, but he promised himself that if he survived, he would return to India and set up a think-tank, something he wanted to do since he joined his PhD programme in economics.
His dream - the Indian School of Public Policy (ISPP) - began operations in 2018, and its first batch is ready to roll out this August.
"I was walking outside my apartment at Ann Arbor on the night before the surgery, contemplating the chances of survival. I asked myself, what would be my biggest regret if I didn't make it? And the answer was simple – not being able to set up a classical liberal think-tank training people on principle and evidence-based public policy. I then made a promise – if all goes well, I will pack my bags for India (to do that)," Parth reminisces.
The operation was successful, and seven months later, in August 1997, he landed in Delhi. "I did not know anyone in Delhi. I began to tell people about my idea. I wanted to trigger politics of knowledge, rather than the politics of the street. Finally, Ashok Desai (former consultant with the finance ministry, and the man who helped shape liberal policies of 1991-93 in India) gave me a place to live and launch a not-for-profit think-tank called the Centre for Civil Society (CCS) at his house at Kailash Colony," Parth says.
Parth began with liberty and society seminars in 1998, and later introduced a series of short-term courses on public policy at CCS Academy. "This was not enough, and the idea of a proper school on public policy was not far from my mind," he says.
More than two decades after that cold winter night at Ann Arbor, in 2018, Parth's vision manifested into reality with the launch of the Indian School of Public Policy (ISPP).
The institute was launched on October 23, 2018. It was inaugurated by the Comptroller and Auditor General (CAG) of India Rajiv Mehrishi (CAG India), author Gurcharan Das, and Chairman of the 15th Finance Commission, NK Singh. But how did it all happen?
Getting the funds
Parth had discussed his idea with the chairman of CCS, Luis Miranda. "Luis offered to lend his full support and together we met Nandan Nilekani with the idea of ISPP in March, 2018. "With his experience in Aadhaar, Nandan strongly believed that India needed to cultivate professionals in policymaking for the future," Parth says.
Infosys Co-founder Nandan Nilekani, FLAME Founder Vallabh Bhansali, Godrej Industries MD Nadir Godrej, and Mphasis Founder Jaithirth Rao aka Jerry Rao, along with Luis Miranda, pumped in Rs 15 crore to set up the institute.
Academic council and faculty
Over the next few months, the academic advisory board and governing council was set up; India Development Foundation's Founder-Director Shubhashis Gangopadhyay was chosen as the founding dean. The board also included prominent names such as former finance secretary Vijay Kelkar and former vice-chairman of NITI Aayog Arvind Panagariya among others.
The faculty includes other prominent names such as former member of the Planning Commission, Arun Maira; National Statistical Commission's former chairman, Pronab Sen; former director for geo-economics and strategy at the International Institute of Strategic Studies, Sanjaya Baru; and former professor at JNU's Centre for Study of Social Systems, Dipankar Gupta.
A look at the course
The institute offers a one-year, full-time programme as a certificate course that costs Rs 7 lakh. "We are also offering generous scholarships to candidates from disadvantaged backgrounds. We recently gave 100 per cent scholarship to a Vidarbha farmer's son," Parth says.
The programme is open to anyone with an undergraduate degree in any discipline. "Although it is not mandatory but we would like to attract people who have some work experience," Parth adds.
In the first year, ISPP has set aside more than half of its total revenues for scholarships. "We are okay being in deficit for the next few years. Our primary aim is to add value to the right individuals to do the right policy work," says Parth of ISPP, which is a not-for-profit organisation. The institute wants to cap the annual intake of students at 50.
Other institutes that offer public policy courses in India include OP Jindal University, NLSIU, IIM Bangalore, and ISB. "However, no one is offering quite the same course as we are. Others are mostly in a set university pattern. The course is called Policy, Design & Management and our curriculum is very different; it's a great mix of practice and theory. We focus on SPEL — skills, political economy, ethics and leadership. It is taught not just by pure academics but by industry people as well," Parth says.
Source: https://yourstory.com/2019/06/indian-public-policy-institute-ispp-operations
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Britain has a long history of Apprenticeships, which stretches back to the guilds of the Middle Ages. In 1563 the system became more prescribed and regulated: the Elizabethan Statute of Artificers set out terms and conditions for training (including a duration of seven years and for the master–apprentice relationship). Apprenticeships expanded in the following two centuries, with new legislation on working conditions, environment and the conduct of apprentices in their leisure time.
Another milestone of legislation was passed in 1802 – the Health and Morals of Apprentices Act, whose provisions included a 12-hour working day and a requirement that factory apprentices were taught reading, writing and arithmetic. These developments led to the repeal of the 1563 Statute in 1814. After that year, practising a skill although un-Apprenticed was no longer illegal. The new act also loosened statutory controls over Apprenticeships, by removing the requirement for a minimum of seven years to be spent on one.
By the late nineteenth century, Apprenticeships had spread from artisan trades such as building and printing to the newer industries of engineering and shipbuilding – and later to plumbing and electrical work. Although there were approximately 240,000 apprentices by the mid 1960s, there were growing concerns about the effectiveness of Apprenticeship training. It was criticised for its exclusivity, for being male-dominated, for focusing on serving time rather than on outcomes, and for a failure to embrace new and expanding occupations. Numbers had decreased to some 53,000 ('average in learning' figure) by 1990 – the decline was exacerbated by rising post-16 participation in full-time education, a lack of public funding for Apprenticeships, and the effect of the Youth Training Scheme and Youth Training programme. These initiatives catered for young people who might otherwise have done an Apprenticeship, but the quality of provision was often questionable and both programmes contributed to a poor perception of vocational training generally.
Since the mid 1990s, governments have been rebuilding the programme in an adjusted economic and institutional context. This has required state support, as has been the case in almost all countries with a sizeable Apprenticeship programme (the level of state intervention in this country has varied over recent decades, from levy-funded programmes via the industrial training boards in the 1960s and 1970s, to no support or intervention at all in the early 1990s). In response to concerns about skills shortages, especially at intermediate levels, in 1993 the Government announced plans for a new Apprenticeship scheme at Level 3 – Modern Apprenticeships. Prototypes were introduced the following year and the scheme became fully operational in 1995. The Modern Apprenticeship was focused almost entirely on occupational competence, and did not require specific technical learning.
Since 1997 a number of the programme elements have been reformed.
In 1998, the Training Standards Council (subsequently the Adult Learning Inspectorate) began an inspection of work-based learning providers. In 2007, responsibility for inspection was transferred to Ofsted.
Level 2 Apprenticeships were introduced in 2000.
In 2000, the LSC took on responsibility for funding Apprenticeships from the Training and Enterprise Councils.
The technical certificate was introduced in 2003/04 to explicitly require theoretical knowledge from Apprentices (and, implicitly, structured off-workstation training).
The Apprenticeships family was re-branded in 2004.
The Apprenticeships blueprint was introduced in 2005 to provide updated guidance for Sector Skills Councils on how to define their Apprenticeship frameworks.
The result of these changes, coupled with the increased investment made by the Government since 1997, has been a major improvement in the number of Apprentices and in the quality of Apprenticeships. There were 279,700 Apprenticeship starts in the 2009/10 academic year in England, compared to 239,900 in 2008/09. Completion rates – which once indicated severe problems with recruitment practice and quality – have been transformed. 171,500 people successfully completed an Apprenticeship in 2009/10 compared to 143,400 in 2008/09; completion rates were 74% in 2009/10 compared to 37% in 2004/05.
In January 2008 a new organisation, the National Apprenticeship Service (NAS), was announced and officially launched in April 2009. The service was created to bring about a significant growth in the number of employers offering Apprenticeships.
The NAS has total end to end responsibility for the delivery of Apprenticeships that includes: Employer Services; Learner Services; and a web-based vacancy matching system (Apprenticeship vacancies). This online system enables individuals to search and apply for live vacancies and allows employers, and their training providers to advertise their vacancies to a wide range of interested applicants.
The service has ultimate accountability for the national delivery of targets and co-ordination of the funding for Apprenticeship places. It acts to overcome barriers to the growth of the programme and assumes responsibility for promoting Apprenticeships and their value to employers, learners and the country as a whole.


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Cling to the Work
Published on July 30th, 2020
Alex writes about Wendy, Benh Zeitlin, and Beasts of the Southern Wild.
Let's go back to early 2012. A director releases his debut feature, a feature that begins as a widely adored and appreciated Sundance hit. It is released to the general public in the summer of that year, to further acclaim and profits that greatly outweigh what the film cost to make. Listening to people walking out of the cinema I saw it in, all viewers sounded resoundingly positive. In the winter, it would be nominated for four Academy Awards, including Best Picture, Best Actress, and Best Director. It was a type of success anybody would accept. And yet its director didn't release another feature for eight years. How does this happen?
The picture in question, to those who have yet to figure it out is Beasts of the Southern Wild, a film that I can assure you was beloved at the time of its release but has since been widely forgotten. This is not uncommon: a look at the other nominees for Best Picture that year reveals a collection of films that had their time in the sun, but whom nobody really talks about all that much anymore. This happens at each Academy Awards, or each year in general: there are always myriad successes, but only one or two films each year can really stick in the collective consciousness for longer than an award cycle. In order to do that, your film has to be truly beloved by wide swaths of people.
My recollection of my 2012 review of Beasts of the Southern Wild was something along the lines of: "these special effects are intriguing," "holy shit does this music bang," "this sound mix is off the charts," "that little girl is great," "does this movie have a plot," and "are we watching another entry into the world of indie Malick ripoffs?" My companion and I followed the film by going across the street to drink the cheapest beer on the menu and eat salads that were served in bowls made out of fried dough.
"I liked it," said my friend who has and shall always retain the ability to translate my longer thoughts into shorter, concise ones. "It was a nice story of a father and his daughter." I could tell from how she said it that she would probably never think about this film again, and I could tell from my reaction to this that I certainly would. I saw Beasts of the Southern Wild two or three more times, because no matter what you say about the film it is an exciting stylistic exercise with a manageable running time, sliding into the slot for "short movie I can see to fill the gaps between two other movie screenings." I listened to the soundtrack a lot, while writing and while cooking and while walking into screenings of Beasts of the Southern Wild. (Before my second screening was through, I recall thinking, "Is this movie good, or do I just like the music?") But the day of the Oscars that year was probably the last time I thought of Beasts of the Southern Wild for years.
When Benh Zeitlin finally released a new film earlier this year, Wendy, I was scoffed at for suggesting I was planning on going to see it. Of course, I didn't end up going, because I planned to see it on a Thursday. But on Wednesday, Rudy Gobert tested positive for COVID-19, and then borders closed, and I had groceries to stock up on. But I thought a lot about why my friend would think it was silly of me to want to see it.
"It's directed by the guy who made Beasts of the Southern Wild," I said, "And I kind of feel obligated to see the follow-up."
For reasons I honestly can't even put into words, I felt compelled to watch Beasts of the Southern Wild this past Friday night. I needed a guaranteed win, and I knew if nothing else, this short movie with an absolute banger of a score* would get me home. Watching it in 2020, I noticed a few new things that weirdly I have no recollection of hitting me in 2012. Less than ten minutes into the movie, I knew where all the 2012 success came from: this is a Terrence Malick film poured through a Spielbergian strainer, removing all the fat, upping the broad emotions, and telling John Williams to make the audience bawl. It's a short (all later period Malick movies are too long, I'm told) movie about a kid (as opposed to adult children played by movie stars) and her father (as opposed to lover), there are countless gratuitous handheld shots of nature (this was left unchanged), and the music is overpoweringly emotional.
*I truly cannot make this point loudly enough. I think if this movie had a less exceptional collection of music running underneath it, the collective reaction would have been entirely different.
Zietlin is not the first person to take Malick's ideas and translate them to a wider audience, of course. These things are rampant; Malick kind of rewrote Hollywood film language, and people took little bits of it and injected it into their own work. David Gordon Green is the Sundance copycat, with his George Washington being a bonafide Terrence Malick covers album. You can see it in Michael Bay's work, especially the later films, and you can see it in literally every indie movie set outside of a metropolis (and most within as well). Christopher Nolan remains the king of the Malick thieves, filling his movies with brief handheld cutaway shots to signify a different time or a different memory. Malick will be remembered as the Velvet Underground of filmmakers, the man whose work was widely ignored by everybody but filmmakers, and ridiculously influential to those who picked up a camera with a compulsion to tell a story.
Beasts of the Southern Wild has a lot of conflicting ideas in it, and I felt the return of a lot of my own conflicting ideas from 2012. I still feel like this film might be at least vaguely racist, although I couldn't put the why into words in 2012, but it mostly revolves around a white filmmaker making a film about predominantly black characters. Although, of course, Zeitlin and his team encouraged those actors to have a lot of agency over their characters in the production. When the film was released, there was much talk of Zeitlin's Court 13 production collective and their collaborative approach to filmmaking, a collaboration that reached all aspects of production.
"There's so many facets that you can really bring everyone you know together, who you care about, who's talented, who has a good heart, and they can find their way into creating something good for the movie, provided you allow the individuals working on the film to have agency and to be able to express themselves, which I think is the hardest thing about when you go to work on a traditional set," Zeitlin told Scott Foundas in filmcomment in 2012. "The creative hierarchy is incredibly regimented and the people actually touching the stuff that ends up on screen don't have any love for the things they're making. Even if the designer does, by the time it gets to the person actually painting that or sewing it together, there's no feeling in that actual task."
Zeitlin's approach was to listen to everybody, writing and rewriting dialogue to fit actors after improvisation sessions, and to listen to any idea that might come up during production. (Again, not all that dissimilar from Malick's style of filmmaking, or Cassavettes, another Zeitlin touchstone.) This feeling of freewheeling creativity permeates the film, and Zeitlin's job with his post-production team was to (arguably) tie all the exploration together.
I thought a variety of things during my recent screening of Beasts, but I mostly thought: say what you will about this film, but I'm excited to see what this guy can do next. And he had proven he could do a lot with a little. For whatever reason, filmmaking economics don't always allow for somebody who can do a lot with a little, even when "a lot" translates into four Academy Award nominations. It was viewed as a lark, it seems.
Let's move back to earlier in 2020. Zeitlin's new film, Wendy, has its debut at Sundance to little to no fanfare. Despite how closely (I think) I follow American cinema, I did not know the film existed until the day before it was released in a nearby theatre, and the pandemic has done nothing to increase the film's reach. I would have seen it in theatres but then, of course, you know.
Watching Wendy is a different experience than Beasts of the Southern Wild, if only because the Zeitlin style of freewheeling indie bombast is no longer new to those of us who saw his debut. The styles of each film are the same, with loud music and unconnected voiceovers paired with footage of children running around and generally being adventurous. As all reviews and/or pieces about the film must claim, Wendy is a reimagining of the story of Peter Pan for the Sundance set, which is just about the most "Spielberg by way of Malick" thing you could possibly imagine.
There are moments where Wendy is as impactful as Beasts of the Southern Wild, just as there are moments in Wendy that are bland and stale (not unlike Beasts of the Southern Wild). The main difference is that, with Wendy gallivanting for approximately twenty minutes longer, the gaps between the good and bad moments are larger, making an already disconnected style feel even more disconnected. With a movie that runs 93 minutes, like Beasts, you power through the two slower minutes before Dan Romer joins in to blow out your eardrums, but with Wendy you often have to stick with what is a less engaging scene for an extra couple of minutes. This is not an argument to make all films shorter, more that the runtime of Wendy simply allows the viewer to meditate on its missteps more, in between the moments of triumphant adventure. And there are some truly beautiful moments in Wendy. From the introduction to Wendy herself and the film's title card*, to the out of nowhere emotional wallop that comes in the montage after Wendy and her brother return home to live their own adventures, the film never goes too long in between instances of jogging your memory to remind you of Beasts' finer moments.
*Which, it should be noted, is incredibly similar to the opening of Beasts.
The highlight of the film is the way Wendy depicts twin brothers Douglas and James adapting to life after Douglas is believed dead. After running off to the island where the majority of the film takes place, a place where a volcano named Mother stops its inhabitants from aging, Wendy and her brothers go swimming amidst the wreckage of a sunken boat. Douglas hits his head, starts bleeding, and appears to be lost underwater. As time passes without his brother, James watches his own right arm grow old, eventually demanding Peter cut it off. James becomes old, bitter, and lost, crossing the barrier to the less populated part of the island, where those who feel cast off by the island society go to wander meaninglessly. When Douglas returns late in the film as a still-young boy*, James and Douglas are able to look at themselves older and younger simultaneously. They are able to see what the world has done to James, and what it has yet to do to Douglas.
*Out of nowhere, and with seemingly no explanation, but plenty of things in this movie are totally unexplained.
Now, writing this all out makes the movie sound deeply terrible. And it might be. The highs are very high, but they are spaced out, and there are many more lows. But the moments where Wendy hits its peak are glorious, and this is one of those moments. The film wordlessly shows us the twins, one old and one young, in a graphic match to a shot from when they first arrived on the island. Instead of the whole world being in front of them to play with and explore, however, now James has been overcome by the darker elements of it. He experienced a life without what he needed to be happy, and he can see a younger version of himself with that whole life left in front of him, the younger version looking back at him, silently hoping to avoid the same mistakes. Because this is still technically a Peter Pan story, James has fashioned himself a hook to replace his hand, gathering his fellow Olds to fight back against the island and Mother.
The film sprints to its end, with Wendy and Douglas rushing home to their mother, and a montage of their lives from there on out begins. Wendy has her own child, who is eventually taken away by Peter on a train in the middle of the night, a train Wendy rushes to chase after but can't keep up with. She knows her own daughter needs this, and so she lets it happen. (It is weird to see a film end with a mother being okay with her child being kidnapped, but this is how Zeitlin's world works, I guess.)
Again, watching this film and thinking about it and (especially) typing it out all make Wendy sound like nonsense. And, as I keep saying, it might be. But one truth of it is that I love how this nonsense feels, even when I am occasionally a little bored with it. Wendy plays like a movie steeped in a type of freedom filmmakers would pine for, and it is able to feel as free as it does specifically because Zeitlin doesn't need the Hollywood infrastructure to make the films he wants to make. By keeping his work strictly independent, he is able to do what he wants (at least for now). Wendy's lack of success might make his next adventure slightly more difficult to fund, but he found a way to make Beasts of the Southern Wild happen, so I have no doubt he'll be able to do the same again.
The lack of cohesive structure in Zeitlin's films creates a high risk, high reward sort of proposition for the viewer. Either this montage will work and the viewer will be exhilarated, or this montage won't work and probably none of them will and oh no now that guy's snoring in the fifth row. I have experienced this a lot of times; I keep referencing Terrence Malick's movies in this essay and others because I am one of his bigger fans. I have seen people nod off during montages I would describe as "perfection," and I always understand why they do. This movie may be terrible, but – while I may lack the words to properly explain why – it is most certainly for me.
Something that has bothered me (and surely always will) is the impossibility to describe what about a song is so exciting to me. Much of my favourite music is instrumental, and even an appreciation of something like Run the Jewels requires me feebly explaining ethereal concepts that convey some sort of feeling. Similarly, Zeitlin's two films are so strongly tied to their scores (composed by Zietlin and Dan Romer). Wendy and especially Beasts often feel more like songs than movies, with ideas tossed to the audience and then discarded, because the mechanics don't matter so much as the feeling they convey. The specifics are meaningless, because nobody is going to remember the exact lyrics anyway. All that matters is how it feels.
Before leaving the island, Wendy joins her fellow inhabitants, both young and old, in singing a chant to Mother. They are all singing in unison, in hopes that what they call out will be picked up and a volcano will erupt (or whatever the actual plot is). It doesn't matter if anybody can hear them though; hearing the call never mattered. All that mattered was still being able to sing, in the hopes that somebody will hear it. But either way, calling out means something to its singer.
Both of these films might be bad, or both of them might be good. There's simply not much of a difference between them beyond the runtime. The pervasive feeling I have, that publishing this will put a button on my desire to watch either of them again, leads me to believe they're closer to bad than good. But I enjoyed watching them; Beasts was an interesting experience in 2012, and Wendy was a different kind of interesting experience in 2020.
There are always going to be people who create something that seems new and exciting, and occasionally that new and exciting thing might actually be an old thing repackaged in a new, exciting style. That, along with an ad campaign that works, will lead a portion of the masses to your film. You will bask in your success for as long as it lasts, always concerned it might disappear in the blink of an eye.
Those same creative people might then need a little bit of time to create the next new and exciting thing. By then, of course, the world might have changed, because the world is always changing (and seems to be doing so at a much more rapid pace than was done in 2012). The singular truth that will remain, however, is that the gatekeepers of Hollywood will follow the money, and if the new idea doesn't seem like something that will make money (and the previous person who gave you money is either bankrupt or no longer wants to give you money), then you're screwed. You are left to your own devices, to create a world people may or may not want to be a part of. It doesn't matter. It was never meant for them, anyway.


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Growing Liriopes for Borders and Groundcover
Chris Jones | Updated Nov 19, 2020
Liriope is a tough plant that forms mounds as it grows and spreads. Whether used as groundcover or along a border, the plant is easy to maintain. It spreads through underground stems, which is mostly beneficial but can lead it to become invasive. Lilirope's small flowers grow on spikes clustered in the center of each plant, blooming white, pink, and various shades of purple. After blooming, the plant develops small, dark-colored berries.
Planting your liriope
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Preparing the planting area allows the liriope to settle into its new home without competing for nutrients. Remove any grass or weeds growing in the area. You can pull everything by hand or use a broad-spectrum weed killer. If you use weed killer, wait at least two hours before planting.
If you plan to use liriope as a groundcover or border, set the plants out before you begin digging to determine the best placement. Leave at least two feet between each plant and at least one foot from the plant to the edge of your planting bed.
The planting hole should be the same depth as the liriope's root ball and two to three times as wide. Gently remove the liriope from the container and place it in the hole. Once in the ground, the root ball should crest the hole slightly. Backfill around the hole, pressing down lightly as you go. Water thoroughly.
The best soil for liriopes
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Liriope is not particular about its soil needs. It does best in soil that is slightly acidic to neutral, which is most garden soils. It does appreciate well-drained soil. If the area you are planting has heavy clay or is too sandy, improve drainage by working in composted manure or other organic matter when planting.
Most varieties of liriope do best in partial to full shade, although a few varieties grow successfully in full sun. If you have a particular area you want to plant the liriope, select a variety that tolerates the amount of sun exposure in that spot.
Some varieties are hardy to zone 4, which includes areas of Iowa, Alaska, and Maine. Other varieties are hardy to zone 5, which includes parts of Montana, Ohio, and Washington. In colder climates, liriope dies back over the winter, but it remains evergreen in warmer areas.
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The liriope requires a little special care the first year, but once established, it does well without much maintenance. After planting and through the remainder of that growing season, water as needed. Although you don't want to overwater, don't allow the soil around the plant to dry out. Next season, only water your liriope if there is an extended period with no rain. Wilted or discolored foliage indicates the plant may need a drink.
Pests that can harm liriope
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The dense, low-growing foliage of the liriope makes it attractive to snails and slugs. Ragged edges on the leaves is a tell-tale sign that these pests are visiting your plants. Slug and snail traps are an effective way to remove them from your garden. You can purchase commercial traps or make your own by pouring beer into a shallow dish and placing it by the plant. Scale insects can also attack the liriope. Leaves that develop small bumps along the leaves and stems may have scale. You may notice the top of your plants losing color, and the leaves may eventually fall off the plant. Treat scale with an insecticidal soap designed to target this pest.
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One disease that can infiltrate your liriope is crown and leaf rot. This fungus occurs naturally in the soil, but excessive moisture allows it to attack the plant. If you notice the inner foliage of your plant fading to yellow, then brown, your liriope probably has this affliction. It is highly contagious, so remove the affected plant from the garden to prevent its spread.
Another fungal infection that can attack the liriope is anthracnose. This causes the leaves to develop brown spots along the edges and is the result of excessive rain or allowing the foliage to become overly wet when watering. Cut the plant down to about 3 inches and remove the infected trimmings to help your plant fight off the disease and prevent it from spreading. Avoid spraying water over the whole plant — focus on the soil — when watering to help prevent this.
Special nutrients and care
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The liriope is low-maintenance and doesn't require much special attention. Remove old growth in late winter by trimming or mowing to keep it looking tidy as new growth emerges. While the liriope does well without fertilizer, a light application of 10-10-10 in the spring can encourage new growth. Overfertilizing may make the plant more susceptible to pests and disease.
Propagating your liriope
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The liriope propagates easily through division. The plant naturally spreads, creating new crowns as it does. Propagate late in the fall or early in the spring. Dig up the existing plant and use the edge of a shovel to divide. Carefully separate them, returning the original plant to its hole, and planting the division in a prepared spot. Treat the division as you would any first-year plant, adding organic matter to the soil and watering it carefully.
Benefits of the liriope
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The liriope provides an easy to grow, low-maintenance, and attractive addition to borders and slopes. It spreads easily, making it a good choice for areas that would benefit from groundcover to prevent erosion. When planted on hillsides and other areas that are challenging to mow, it will quickly spread to cover the area, preventing weeds from taking over.
Varieties of liriope
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Christmas Tree has lavender flowers with a unique shape that resembles its festive namesake. It matures to about 15 inches and does best in the shade.
Evergreen Giant has purple flowers and stiff, dark green foliage. It matures to about 18 inches and does well in sunny to partially shady conditions.
Ingwersen provides abundant lavender blooms with dark green foliage. It reaches 15 inches at maturity and prefers partial to full shade.


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First images emerge of Corkman tower plan for Carlton demolition site
Another design by Sgourakis Architects shows a black box with "a selection of memories of the pub and Carlton as a whole" etched into the tower's facade.
Both proposals also contain low-rise options for the minister's consideration. They were submitted in July as part of a Victorian Civil and Administrative Tribunal case to decide what will be built on the land.
Kutlesovski and Shaqiri were sentenced on Monday to 30 days' jail for contempt of court after their promise to build a temporary park on the site came to nothing. It is extremely rare for planning matters to end in jail time.
The pair have 14 days to appeal the sentence and both said they would challenge it.
The pub in 2016 before it was knocked down. Credit:James Bowering
Shaqiri said on Thursday that Supreme Court judge and VCAT president Michelle Quigley had given them jail time for political reasons.
"It's just political – if they are going to put me in jail for 30 days for trying to do something, then so be it," he said.
Raman Shaqiri's company Shaq Demolition pulls down the pub in 2016.
Shaqiri's company Shaq Industries demolished the pub on a Saturday in 2016 and, despite orders from Melbourne City Council to cease the works, came back on Sunday to finish knocking the building down.
Shaqiri has since lost his demolition and building licences, with the Victorian Building Authority stripping him of both this month.
A concept plan by architects Peddle Thorp of a tower that could be built on the Corkman site in Carlton. Credit:Peddle Thorp architects
As part of the pair's negotiation with Mr Wynne over the site, they were required to not only come up with a plan for a temporary park but also for what they might later build on the land.
Kutlesovski said on Thursday he wanted to develop the land, not sell it.
"There won't be a price that would make me sell it."
Raman Shaqiri leaves court over the Corkman matter in 2018. Credit:Joe Armao
Shaqiri and Kutlesovski paid $4.76 million for the Corkman pub in 2015 and knocked it down the following year. The land without the pub on it would now fetch around $10 million.
Kutlesovski said the notoriety knocking down the historic pub had brought him would follow him around for the rest of his life.
"I'm no longer Stefce Kutlesovski, I'm the Corkman cowboy. I've not just been penalised once, I've been penalised for life," he said.
The pair has now been fined almost $1.5 million by the courts and VCAT.
A spokeswoman for Mr Wynne said the government would consider community feedback on any final plans that were lodged for the site.
Stefce Kutlesovski leaves the Magistrates Court in 2017. Credit:Clay Lucas
"If a permit is not approved by June 2022, as required by VCAT, the developer will have to rebuild the pub at their own expense," she said.
The National Trust's Victorian chief executive Simon Ambrose commended the custodial sentence for the two developers, but said the community was "yet to see justice for the complete loss of its valued cultural heritage".
He said it was a pity the current laws meant there was no mechanism to require the two men to simply rebuild the building they demolished.
"The proposed building therefore provides little comfort to the National Trust and so many others in the community who continue to be appalled by the actions of these developers, and
their failure at every turn to comply with their obligations under the law," he said.
A crew removes further small remnants of asbestos from the Corkman site in Carlton on Thursday. Credit:Jason South
Clay Lucas is a senior reporter for The Age. Clay has worked at The Age since 2005, covering urban affairs, transport, state politics, local government and workplace relations for The Age and Sunday Age.


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Most commonly used social media sites in Bahrain
Social media are applications, services, and systems...
CultureInside ArabiaLook no farther to see the world, Expo 2020 Dubai officially opens
Look no farther to see the world, Expo 2020 Dubai officially opens
The Expo 2020 Dubai has opened officially, in the presence of His Highness Shaikh Mohammed bin Rashid Al Maktoum, Vice President, Prime Minister and Ruler of Dubai, and His Highness Shaikh Mohamed bin Zayed Al Nahyan, Crown Prince of Abu Dhabi and Deputy Supreme Commander of the UAE Armed Forces.
The world's Greatest Show is the first World Expo to be held in the Middle East, Africa and South Asia (MEASA) region, with 192 participating nations, each with their own dedicated pavilion.
Running under the theme 'Connecting Minds, Creating the Future', the six-month mega event focuses on three tenets: Sustainability, Mobility and Opportunity with a view to creating cultural diversity for shaping a brighter future for the world through creative cultural dialogues aimed at introducing innovative, groundbreaking solutions and ideas for a better tomorrow.
Expo 2020 Dubai had an unforgettable opening ceremony witnessed by millions of people across the globe. The star-studded opening ceremony saw the participation of world-renowned local, regional and global singers and celebrities.
The ceremony started with the UAE's National Anthem performed by Rashed Al Nuaimi followed by 'Hay Bil Shahama', a poem written by UAE's founding father, the late Sheikh Zayed bin Sultan Al Nahyan, sung by the well-known regional artist Hussain Al Jassmi. The first fireworks display was also launched in white, green, and red, the colors of the UAE flag.
UAE superstar Hussain Al Jassmi then took the stage with an Emirati girl showing her the story of the Expo 2020 Dubai logo and Al Wasl Dome. The story brought the audience to Dubai's beginnings and the progress it has accomplished culminating towards the present.
The participants then arrived. The flags of the UAE, the Expo 2020 Dubai flag, the BIE (the organizing world body), and the flags of all 192 nations taking part were revealed to a performance by the Grammy winner Angelique Kidjo and Saudi singer Mohammed Abdu.
Hussain Al Jassmi, Mayssa Karaa and Almas performed 'This Is Our Time', the official song of Expo 2020 Dubai, amidst a chorus of children filling the stage throughout the song.
Expo 2020 Dubai's Commissioner-General Sheikh Nahyan Mubarak Al Nahyan took the audience back to Expo 1970 Osaka, the UAE's first presence at a World Expo. He then stressed the impact of this Expo not only to the UAE but to all the countries and people we'll connect with.
"By hosting Expo 2020 Dubai, we aim to convey a message of tolerance and that we are willing to co-operate with all of the world. By connecting minds, we hope to sow the seeds of progress for the next 50 or even 100 years.
Today we say to the whole world, welcome to the United Arab Emirates and welcome to Expo 2020 Dubai, which will provide a significant platform for all people to connect, discuss and work together." Sheikh Nahyan said.
The secretary-general of the Bureau International des Expositions (BIE), Dimitri Kerkentzes, then followed with how the UAE was selected to host Expo 2020.
Officially opening the Expo 2020 Dubai was Sheikh Hamdan bin Mohammed bin Rashid Al Maktoum, Crown Prince of Dubai and Chairman of The Executive Council of Dubai. Sheikh Hamdan offered a prayer saying, "Today we witness, together, a new beginning, as we inaugurate, with the blessings of Allah, Expo 2020. May God grant us success."
A moving performance followed on the orchestra stage, featuring Ahlam Alshamsi, who sang 'In Dubai' in three languages, accompanied by the Firdaus Orchestra. The performers represented the light of equality celebrated in the UAE.
With the world's biggest sound system and 152 projectors assembled inside the Al Wasl dome, the event continued to feature jaw-dropping special effects. It began by depicting the birth of the planet in a glowing orb of fire evolving into a blue and white globe representing Earth and finally a shimmering pearl that descended under the sea. 115 performers were carrying clear LED globes that changed colors alongside 15 professional skaters moving around the scene.
The light's colours and shadows represented the sub-themes of Sustainability, Mobility, and Opportunity. The performance ended with everyone reaching the center stage sharing the same light, symbolizing our opportunity to share our potentials with each other.
The succeeding scenes were each accompanied by international artists. Starting with a moving performance from Lang Lang, a leading figure in classical music, on the backdrop of brilliant tropical fish, turtles and a giant whale representing our harmony with nature and sustaining life.
Following that, award winning singer Ellie Goulding sang her hit song "Anything could happen" on the centre stage as clouds filled the dome signaling about dreams and inspiring each other.
Golden Globe winner Andrea Day then performed 'Rise Up', an inspiring song about the struggle — and triumph — of the human spirit, amidst cast members assembled as the caravan of humanity.
A fitting end to a spectacular opening as the dome and plaza transformed into a magical garden with dancers fashioned as blossoming flowers. A huge silver and white ghaf tree, the native symbol of the UAE, took centre stage. Then a familiar voice singing The Prayer, as the world-famous tenor Andrea Bocelli serenaded all with "When shadows fill our day, lead us to a place".
The final of three fireworks display shot out from Al Wasl's three districts of the Expo 2020 site. But the extravagant 6-month long show is only beginning, there is much more to expect from Dubai and the numerous countries participating. You need not look farther than Expo 2020 Dubai to see the world.
Discovering the artist within you