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Roots in Exile
A temporary settlement for refugees from the Syrian war
By Marta Fernández Cortés
Marta Fernández Cortés
Marta Fernández Cortés is a recently graduated architect from the Barcelona Architecture School (UPC), interested in self-organisation and participative design and how to integrate architecture practice into the real concerns and needs of human societies. She is currently working on comparative research between planned top-down refugee camps and informal self‑organised refugee settlements, to understand the pros and cons of such organisational systems and their effects on the living conditions of their inhabitants.
The current refugee crisis has highlighted the urgent need to improve design strategies for refugee camps, to make them more liveable, sustainable in the mid-term and culturally adapted to their inhabitants, empowering refugees to become the designers of their own living spaces. This project addresses improvements to a huge, dynamic camp in a very arid region, by focusing on water.
Each district of the refugee camp is divided into smaller communities, organised around a central square with a water tower that provides water by gravity to each housing unit. Smaller squares around it contain photovoltaic pergolas providing electricity to each household. After domestic consumption, blackwater is conveyed to nearby "filter streets", which combine water treatment through a reed bed biodigestor with a horizontal subsurface flow system. After processing, filtered water is stored in cisterns placed on "orchard streets", which guarantee irrigation water throughout the year. All the cisterns are linked and connected to the "wadi promenade". In the case of overflow during the rainy season, water is returned to the aquifer in a controlled area or "recharging basin". As a result, all water treatment utilises minimum pathways, also minimising transport energy.
Following the outbreak of Syrian war in 2011, millions of people had to flee their homes and seek refuge elsewhere. Roots in Exile focuses on the Za'atari camp in Jordan, one of the many refugee camps that have emerged from this critical humanitarian crisis, which covers some 521 hectares divided into 12 districts and houses around 83,000 displaced people. Large investments were needed to finance emergency structures here (housing, water, electricity), which, due to their temporary nature, soon became obsolete and inefficient. At the same time, the life force of the resident refugees has been transforming the camp into a nascent city.
The Zaatari Refugee Camp opened in July 2012 in a former military compound in the middle of the desert. Its urban form evolved rapidly – due to demographic change and the mobility of the temporary architecture – becoming a very dynamic settlement. This proposal seeks to rethink its urban organisation by linking water-treated avenues to the existing wadis – or intermittent desert rivers. It also seeks to provide new urban alternatives that improve the existing infrastructural deficit and at the same time increase the resilience of an "almost city" in constant transformation.
Aerial view of the Za'atari Refugee Camp, 18 July 2013. Image: Public Domain
Jordan is one of the world's driest countries, which is why water has a primary role in the proposal. This project seeks the minimum infrastructure needed to generate a more flexible, resilient and sustainable settlement. Water sanitation and reutilisation are resolved within the streets' fractal hierarchy, allowing a minimisation of the energy consumption of transport. This minimum urbanisation lays the foundation for a self-constructed settlement, where the inhabitants are empowered as active designers of their living environment.
Za'atari Refugee Camp current situation. © Marta Fernández Cortés
Za'atari Refugee Camp situation five years from now. Roots in Exile proposal. © Marta Fernández Cortés
Aquifer recharge. © Marta Fernández Cortés
The proposed housing units would be built with prefabricated quincha, a construction method that uses mud, reeds, wood and plaster. These low-cost materials are accessible within the region and some within the camp. The construction of housing units combines prefabrication and self-construction processes, and can involve residents in all phases, while the prefabrication of the quincha panels guarantees sufficient construction performance. At the same time, supervised self-construction allows flexible housing distribution and sizes, adaptable to the needs of each household. This multiplicity of solutions is an alternative to typical standardisation and the extreme monotony of most planned emergency settlements. ■
Reactivating the City
The case for reshoring production culture
By Tomaž Pipan
Archipelago Lab
An atlas of metropolitan islands for Madrid
By Pedro Pitarch
Rethinking urban waterways beyond pretty views and high prices
By Manon Mollard
An Open Interface
Institution evolution in Graz
By Markus Bogensberger
Taking the museum out of the building and into the street
Interview with Andreas Ruby by Fiona Shipwright
More from... Thresholds


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Tag Archives: Richard Wilson
"Peggy For You" at the Hampstead Theatre
Alan Plater's 1999 play tackles two subjects. As a day in the life of theatrical legend Margaret Ramsay, it's about a formidable and fascinating woman. And Peggy For You is also a play about plays. This strong revival, carefully directed by Richard Wilson, gives both topics their due: both are interesting but I'll admit to preferring one far more than the other.
Both Plater and Peggy have plenty to say about plays. And Art with a capital A. Tricks and techniques of the trade are plentiful, some of them are funny (even for those of us who don't work in the theatre). But the insights are heavy handed. It's hard not to make this subject feel rarified. Meta-theatrical moments are clumsy.
Plater shows us three ages of the playwright. There's the newcomer, the man of the moment and a former most-promising but now out of fashion. Trouble is, it feels all these descriptions should have a capital letter. The characters are well played by Josh Finan, Jos Vantyler and Trevor Fox. But each role is slim. Only Fox's old-timer has much to say or do.
Plater suggests there is a high price to pay for plays yet doesn't explore this idea enough. Another author kills himself. But this offstage character isn't vivid enough to have much impact. What interests is Peggy's cold reaction to the death. Indeed, all the way through the play, it's Peggy who interests most.
A great source of anecdotes and one-liners, Plater gives a wonderful depiction of his own agent. Explicit that the play is "a pack of lies", the strategy aims at creating a portrait close to the truth. His Peggy is complex and entertaining, the depiction cleverly affectionate while acknowledging her many faults.
Taking this starring role, Tamsin Greig's performance is phenomenal. It would be all too easy to exaggerate this larger than life woman. Greig, while always funny, shows incredible control. Volatile emotions and a sharp intellect are clear, imperiousness is balanced with vulnerability. Ramsay was a woman to watch and Greig mirrors this – the performance makes for compulsive viewing. A bully the wrong side of loveable eccentricity, a passion for danger gives the character edge. Does Peggy's commitment to the theatre excuse it all? No, but Peggy will choose a pub theatre over the National, and who doesn't admire that?
www.hampsteadtheatre.com
Photo by Helen Maybanks
Hampstead TheatreJos VantylerJosh FinanRichard WilsonTamsin GreigTrevor Fox

redpajama_set_name: RedPajamaCommonCrawl


Australians love cork hats, Canadians live in igloos and there's more New Zealanders than sheep, right? Actually, no. Here we blow the lid on the most common misconceptions about Australia, Canada and New Zealand.
They don't say crikey all the time: beloved croc-wrestler Steve Irwin may have coined the catchphrase "crikey!" but it's certainly not used every day in Australia.
They eat Skippy: Australia's national icon – the kangaroo – is considered a darn tasty food source in Australia.
They don't 'chuck shrimps on the barbie': snaggers, yes (that's sausages), shrimps, no. Also, they call them prawns, not shrimps.
Not every animal in Australia wants to kill you: their poisonous snakes and spiders are easily avoided and they're also home to possibly the cutest critter on the planet – the Quokka.
Australians don't all live in the outback: yes, your map might show a massive country with plenty of desert-like space in the middle but in actual fact, over 90% of Australia's population lives in urban areas on the coast.
It always snows in Canada: afraid not. Their summers can be positively balmy in parts with the thermometer topping 30 degrees.
Moose, bears and beavers are everywhere: if you don't step outside the urban areas, your wildlife encounters will be restricted to pigeons and squirrels. Famed Canadian wildlife can be seen – but usually on specially planned tours.
Mounties wear fancy red outfits: only on official, ceremonial occasions actually.
All Canadians speak French: Statistics Canada reckons only about 22% of Canadians use French as their first language. Most of the French-speaking population lives in Quebec – where the official language is French.
Toronto is the capital: it might be Canada's largest city and the country's financial centre but the capital is actually Ottawa.
New Zealand is governed by Australia: definitely not. New Zealand was once governed as a part of the territory of New South Wales (now a part of Australia). When Australia federated in 1901, New Zealand was offered a place as one of their states. New Zealand refused and is its own country with no ties (other than economic and commonwealth) to Australia.
There are 20 sheep to each person: no one's going to deny New Zealand has a lot of sheep but in fact there's presently around seven sheep to every one human.
New Zealand is all one country: actually, it's split into two islands – the imaginatively named north and south islands, both enjoying vastly different landscapes and climates. And no, there isn't a bridge between the two islands. There is a ferry though.
It's small and everything you want to see can be done in two weeks: don't be fooled. New Zealand's landmass is about the same as the UK's – and there is a heck of a lot to cram in. You could travel for months and still not do everything you want to do. It's not a short break sort of place.
The weather is incredible: it definitely can be. It can also be incredibly terrible. The far north of the north island is sub-tropical, summer is cyclone season and the south island suffers bitterly cold winters, including plenty of snow.


So if you've read this blog for any length of time, you know I'm a huge fan of Dan Wells. Not only did he give me awesome feedback as a "boot camp" critique instructor at a conference several years back, but he's a hilarious and nice guy-- and he writes FREAKING AMAZING BOOKS.
And lucky for me, one of my crit partners is his assistant, and I managed to snag and ARC of his next book. So ladies and gents, I give you: The Hollow City.
"Michael Shipman is paranoid schizophrenic; he suffers from hallucinations, delusions, and complex fantasies of persecution and horror. That's bad enough. But what can he do when some of the monsters he sees turn out to be real?
Who can you trust if you can't even trust yourself? The Hollow City is a mesmerizing journey into madness, where the greatest enemy of all is your own mind."
I read the entire thing in one sitting. I mean, did you read that cover copy with that brilliant premise? How could I not keep reading? The murder mystery angle gives the story a familiar base to start from, and from there it twists off into one of the freshest reads I've had in a while. Dan has a real talent for taking slightly twisted characters (like John Cleaver in I Am Not a Serial Killer) and making them sympathetic and engaging. Michael, the main character, was one of the most brilliant unreliable narrators I've ever read-- and one that I loved. I spent half the book questioning what was real, and the other half of the book constantly going OH MY GOSH, WHAT?? Seriously, people, I cannot recommend this book enough.
And now for the writing lesson from this. I saw Dan at the Storymakers conference back in May, and told him how much I loved the book. He laughed and said he was glad to hear it. He said he loved it, but knew it was kind of a weird book, so he wasn't sure how people were going to respond to it. It does have some weird stuff going on, but this book completely blew my mind with its engaging premise, twisty plot, and brilliant characters. It made me wonder, what if Dan had decided at some point that the book was just too weird, and despite how cool he thought it was, he didn't write it?
This is why I think it's important to write what you love. Maybe it's weird. Maybe it's not trendy right now. Maybe it's an odd mash-up of genre's that make it hard to classify. WRITE IT ANYWAY. When you write what you love, that's when you pour all your passion and brilliance into a story that can be incredible. And that's what will make people love it.
Wow. This looks like a really great book, and great advice. I found you through ANWA and subscribed. Glad to meet a new friend.
i'm jealous too! those wells brothers can really write! i read 'night of blacker darkness' - hilarious! and 'variant' by Robison Wells - excellent!
Dan Wells really is awesome and I am so jealous you have your hands on this book!
You're lucky to have great critique partners. Dan's book sounds compelling, kind of like A Beautiful Mind (movie).
Reading the entire book in one sitting is high enough praise. I'm impressed. The book sounds great.
Awesome book review, Shallee! And I appreciate that you didn't tell us too much about the book. :) It sounds really good - especially for me since I'm a psychology major. Would love to get my hands on this one!
And I totally agree about how writing what you love is important - perhaps the most important thing for us to do as writers! There's no good in crafting a story you aren't passionate about.
Sounds like a fab read, Shallee. Cool on snagging an arc.
This sounds like a great book, Shallee. I will add it to my TBR pile.
This sounds like a FANTASTIC book! Thanks for the recommendation - I can't wait to read it!
Wanted to stop by to tell you the pitch contest with Tricia Lawrence is this Friday, June 29th. You'd commented that you were interested, so I just wanted to remind you!
Also, I'm having a "Critique My Query" from now until the contest. If you want more betas for your query, you can check out the details here!


https://www.golfdiscount.com/adidas-adipower-boost-3-golf-shoes-white-black-silver?___store=default 99394 Adidas AdiPower Boost 3 Golf Shoes White/Black/Silver https://media.golfdiscount.com/catalog/product/a/d/adipwr_boost_3_white-black_01.jpg 149.99 149.9900 USD OutOfStock /Brands/Adidas/Shoes/AdiPower Boost/3 The Adidas AdiPower Boost 3 Golf Shoe features the revolutionary boost cushioning technology that promotes walking comfort and energy return.
The Adidas AdiPower Boost 3 Golf Shoe features the revolutionary boost cushioning technology that promotes walking comfort and energy return.
I have large bunions on both feet on the inside of the large toes. There are few shoes that I can wear without causing pain because my feet are so wide across the toes. These are the most comfortable golf shoes I have worn.
These shoes are very comfortable, recommended.
Purchased for my son; he loves them!
Adidas IMO has the most comfort and quality at the moment in the golf shoe market. At the current price these shoes cant be beat.


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Capitol Theatre Comeback
When's the last time Flint was mentioned on broadwayworld.com? Okay, when's the last time you read broadwayworld.com? Regardless, there's a nice overview of the Capitol Theatre restoration posted today:
The Capitol Theatre is being revitalized in downtown Flint, Michigan, serving as an economic and cultural engine for the city and region. Through the restoration of its ornate John Eberson design and upgrades to its facilities, the Theatre will once again be a focal point for the community, presenting national acts and providing platforms for local arts groups. Enriching and expanding the city's arts and cultural resources, the Capitol Theatre will reopen in late 2017 with refurbished theater facilities as well as restored office and retail spaces. The Re-Opening date, and related programming and activities will be announced in the coming months.
Long a vital part of the city's social and cultural fabric, the Capitol Theatre originally opened in 1928 as a vaudeville house and movie palace, serving as a center of arts and entertainment in Flint. The most lavish of Michigan's chain of Butterfield Theatres, the Theatre began to host concerts in the late 1970s, including performances by a range of popular musicians including Ray Charles, AC/DC, John Mellencamp, Green Day, Black Sabbath and more. Closing its doors in 1996, the Theatre sat dormant for nearly two decades, until restoration began in July 2016. Programming at the restored Capitol will include a diverse mix of popular and classical music, comedy acts, film screenings, contemporary and modern dance, spoken word, and theater works that play to the strengths of its intimate auditorium and a new flexible space for small-scale performances.
Labels: 1959 Corvette, Broadwayworld.com, Capitol Theatre, restoration in Flint Michigan, Teardown: Memoir of a Vanishing City by Gordon Young
If I Could Turn Back Time
The Felice Brothers
Flint Postcards: Hamilton Dam
Lead and Copper: A Flint Water Crisis Documentary
Flint Photos: 1058 Root Street
Flint Photos: Flint P. Smith/Sill Building
Flint Postcards: Buick Skylark Coupe
Dr. Martin Luther King, Jr. Day
Flint Photos: Floyd McCree
Maxine Kronick, R.I.P.
Flint Photos: Downtown Parade
Flint Water Crisis: A Never Ending Story?
Flint Water Crisis: 1,000 Days Later
I'm Proud to be a Realty-Based American
Flint Photos: The Palace Theatre
Flint Photos: Maxine Kronick in "Roger & Me"
Flint Artifacts: WKMF AM 1470 Belt Buckle
The Streets of San Francisco: Two Buicks on One Bl...
Flint Photos: Coney from Starlite
Flintoids Travel to the Women's March on Washingto...
Flint Artifacts: A.C. Spark Plug Tie Clip
White House Scientists Come to Flint
Flint Photos: 1982 Bobby Crim Road Race
Greetings from Flint Expatriates World Headquarter...
Flint Artifacts: Chevrolet Employee Badge
Flint Artifacts: Flint Golf Club Invitational 1972...
Flint Artifacts: Flint Wagon Works Coin Purse
Flint Artifacts: Look to Flint Brochure
Streets of San Francisco: Chevy Chevette on Divisa...
A Flintoid's Marshmallo Dream?
Streets of San Francisco: Chevy Caprice Wagon
Streets of San Francisco: Storage with a View
Streets of San Francisco: Channeling Joseph Cornel...


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March 12, 2018 / 7:37 PM / a year ago
Has Spotify answered its royalty problem?
Subrat Patnaik
(Reuters) - In its much-anticipated filing to go public last month, Spotify revealed revenue growth was outpacing costs, suggesting the music streaming service was striking deals with the music industry that defeat the central tension in its business model.
Headphones are seen in front of a logo of online music streaming service Spotify in this February 18, 2014 illustration picture. REUTERS/Christian Hartmann/File Photo
Spotify launched in 2008 and is now available in more than 60 countries, but a big question mark over its model remains whether it can find enough subscribers and other revenue to pay for the mountain of royalty fees to record labels and artists.
The filing by the Sweden-based firm for a direct listing as SPOT on the New York Stock Exchange showed revenue rose 39 percent to 4.09 billion euros ($5.05 billion) in 2017.
Cost of revenue - which mainly consists of royalty paid to music record labels and music publishers - rose 49 percent in 2016, but just 27 percent last year, the company's documents showed.
Spotify attributes the fall to a cut in content costs following new licensing agreements with record labels and music publishers, it said in the nearly 200-page filing. bit.ly/2FnZe9x.
(GRAPHIC: Spotify's revenue growth outpacing costs - reut.rs/2FnOQi0)
Spotify pays fees to music publishing companies such as Sony/ATV Music Publishing, Warner Music and Vivendi's Universal Music Group who act for artists ranging from Justin Timberlake to unknown indie bands in exchange for a commission.
To pay for that, it has some 71 million premium subscribers globally, about twice as many paying customers as its closest rival Apple with 36 million as of February. Including those who listen to advertising-supported streams, Spotify has about 159 million monthly average users (MAUs).
(GRAPHIC: Spotify has millions of subscribers over Apple Music - reut.rs/2Db5Q9x)
Nearly 60 percent of Spotify's monthly users were ad-supported subscribers in 2017. However, at a headline $9.99 a month, premium customers generated 90 percent of total revenue from listeners in the same period.
(GRAPHIC: Nearly two-thirds of Spotify listeners are ad-supported - reut.rs/2GjO4DV)
There may still be problems ahead.
Many industry figures say the streaming revolution, led by Spotify, has crippled the commercial logic of recording music as a profession. Radiohead and Taylor Swift have been among high-profile dissidents; both have returned to the service.
In January, U.S. copyright authorities decided to increase over the next five years royalty payments music streaming companies like Spotify and Apple must make to songwriters and music publishers, a trade association for music publishers said.
While the revenue/cost-of-revenue balance is improving, Spotify's net loss is widening - doubling last year to 1.24 billion euros from 539 million euros in 2016. Its operating loss widened to 378 million euros in 2017 from 349 million euros.
That suggests the company will need to use its clout to strike more lucrative deals in the coming years if it wants to turn a profit from a growing subscriber base as it battles Apple, Amazon.com Inc and Google.
($1 = 0.8104 euros)
Reporting by Subrat Patnaik in Bengaluru; editing by Patrick Graham and Sriraj Kalluvila


Business owners, real estate investors, and property managers face a lot of choices when examining different commercial roofing solutions. Not only are there an endless number of vendors competing for every contract, but choosing the right material can make the difference between a long-lasting repair and getting a roof that will have to be replaced in a few years.
For commercial customers who are used to working with traditional roofing materials, the durability of TPO materials can be a big relief. In many settings, a commercial roof installed with high-quality TPO can last several decades, providing hassle-free protection from the elements.
Of course, choosing a roofing material is just one step in the commercial restoration process. You also need a team of experienced experts on your side who can ensure the job is handled professionally and provide a warranty against future leaks. Otherwise, future repairs, expenses, and disruptions to your business are all but inevitable.
If you want to work with the very best, call the commercial roofing experts at Aftermath Restoration today. You can reach us directly at 720.501.3440, and will be happy to provide the answers you need.


You know when you ask your server to box up half of a piece of cheesecake, and then drive home, crack open the clamshell, and eat the other half on your sofa while watching Friends reruns? I did that. With a kale salad. And I don't really like kale (or at least I didn't think I did).
For this month's installment of our Tour of Kansas City's restaurants, Ali and I selected the new fast casual restaurant Sheridan's Unforked Eats and Sweets. Although the restaurants we choose don't usually have a drive-through, we were pleased with the interior and the menu. In addition to their breakfast offerings, they serve burgers, tacos, quesadillas, and some apparently smashing custard treats.
But their menu is different from most menus — even many locally-owned restaurant menus — because of their philosophy. Their website reads, "All for UN and UN for all." Un-what? Un-icky. Un-sure where my food came from. Un-sure what was added to my food. Their policy is to buy clean, local, and seasonal ingredients first, and if not, then family-farmed organic or fair trade.
Barking Pig Taco ($3.80)…carnitas tossed with a shagbark bacon glaze, topped with scallions and queso fresco. This was my favorite of the tacos I selected.
Conquistador Taco ($3.80)…tri-tip steak, poblano chimichurri, blistered onions, and queso fresco. I don't know what I was thinking when I ordered this. I really never like steak tacos and this was no exception. It seems the steak meat is always too tough for me. There was a terrifying moment when I bit into this and accidentally ripped out all of the meat, and almost ate my own hair. And I'll tell you what I did. I put the meat in the basket and finished the taco with just the onions, queso fresco, and the AMAZING poblano chimichurri.
Cali ($3.50)…seared chile spiked tilapia topped with creamy avocado-cilantro sauce and a pickled red cabbage slaw. No photograph here…I didn't want to freak out Ali. She said it was really good. And it is the taco I'll try on my very next visit.
Thai Me Up Salad ($5.80) Green mangoes, rainbow crunch carrots, bean sprouts, toasted coconut, peanuts and red miso dressing. Ali's again…but she shared a bit and it was good.
The aforementioned salad is the Hail the Kale ($5)…fresh kale dressed with a lemon olive oil vinaigrette, toasted breadcrumbs, and parmesan. The greens were mild and crisp and the vinaigrette and crumbs were addictive. So very addictive.
We ordered a bottle of Manu Sauvignon Blanc and were pleased with our choice. It was light and crisp…perfectly drinkable with our salads and just fine with our tacos.
The "fun" part of our meal was picking up our food. When you order at the front counter, you receive a light-up buzzer that indicates when your food is ready. I volunteered to grab our tray, and was a little surprised when I arrived at the pick-up counter and found before me a tray that was literally 4 feet in diameter. It was, um, awesome. To be fair, we did order quite a bit of food. I did my best to hide my surprise, and gamely picked up the tray (with the bottle of wine and gratefully, stemless glasses) and carried it to the door, where I begged another patron to admit me to the great outdoors. Our food arrived safely, but I didn't exactly love that part of my visit. I should have asked for help and given them the chance to assist.
We sat outside on the small patio, and appreciated the modern decor of the building, but found the rest of the patio atmosphere to be a little lacking. Unforked is located just off busy 119th Street, and near a fire station. So you get the picture. But to their credit, they're conveniently located for easy access for a quick lunch or drive-through visit. Some great news is that there appear to be outdoor fireplaces for the coming chilly months.
While we enjoyed our dinner outside (and pretty much shut the place down), we noticed alot of people photographing the restaurant (or perhaps, us?) with their phones and cameras. This place is kind of a big deal. Do what you must to get there soon. Drive through. Stop in. Order the Kale.
After digging in my cupboards for a minute or two, I found a quarter of a bag of Hershey's semi-sweet chocolate chips, five Ghirardelli Dark Chocolate Squares (60% Cacao, if you care), a Gillham & Grand milk chocolate truffle heart, and 5 Hershey's Special Dark mini chocolate bars (wrapped suspiciously like those from last Halloween).
And off I went! And you know what? They were fantastic. And baby got her cookie (and I got five…maybe more).
Mix butter, sugar, brown sugar, eggs, and vanilla on low speed until blended. Be careful not to overbeat.
Add salt and baking soda and continue to mix, adding flour gradually (3/4 cup or so at a time). Fold in chocolate pieces.
Bake 10-12 minutes in center of a 375 degree oven, until golden brown. Let cool 3-5 minutes on sheet, then transfer to a wire rack to cool completely.
Fall is coming, and that means spiced cider. And that means Winter will follow, which means hot chocolate. Like a good Boy Scout, I am prepared with my Mini Whipper (no snapper here!) from Pampered Chef, which is one of my most indispensable kitchen tools.
And there's more…I can't live without my Stainless Whisk and Stainless Mini Whisk (also Pampered Chef). They're both solid little tools that are easy and comfortable to control. Now, my Hollandaise sauce may have failed in cooking class, but I whisk like the wind at home (just not Hollandaise).
And no, I am not a Pampered Chef consultant, nor do I have the entire collection. I just like tools that are good quality and really useful, and only like specialty tools when they absolutely rock. (See Mini Whipper, above).


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Моисе́й (Мечи́слав) Самуи́лович Ва́йнберг (в довоенных документах  — Мо́йше Ва́йнберг; 12 января или 8 декабря 1919, Варшава, Польская Республика — 26 февраля 1996, Москва, Россия) — советский композитор. Народный артист РСФСР (1980). Лауреат Государственной премии СССР (1990). Автор 26 симфоний (из них 4 камерные), 7 опер и других произведений практически во всех современных ему жанрах.

Биография
Родился в Варшаве в семье дирижёра и композитора еврейского театра Шмуэла (Самуила Моисеевича) Вайнберга (1883—1943) и актрисы еврейского театра на идише Сони Вайнберг (Суры-Двойры Штерн (Котлицкой); 1888—1943), в 1916 году переселившихся из Кишинёва в Варшаву после кратковременного пребывания в Лодзи. Самуил Моисеевич Вайнберг руководил оркестром в варшавском еврейском театре «Скала», где Моисей Вайнберг с десятилетнего возраста играл на фортепиано в сопровождающем постановки оркестре, а впоследствии был музыкальным руководителем нескольких постановок. Вместе с отцом участвовал в музыкальном сопровождении кинофильма «Fredek uszczęśliwia świat» (1936). В том же году участвовал в премьере фортепианного трио Анджея Пануфника вместе со скрипачом Станиславом Яжембским (сыном профессора консерватории Юзефа Яжембского) и виолончелистом Исааком Бакманом (в некоторых источниках ошибочно Иосиф). В 1939 году он окончил Варшавскую консерваторию как пианист по классу Юзефа Турчиньского. В том же году выступал в составе трио с братьями Бакман — Шимоном (скрипка, , 1910—1975) и Исааком (виолончель, , 1917—1942).

С началом Второй мировой войны в сентябре 1939 года бежал в СССР; его семья, остававшаяся в Варшаве (родители и младшая сестра Эстер), была депортирована в Лодзинское гетто и в дальнейшем погибла в концентрационном лагере Травники. Вайнберг первоначально обосновался в Минске и некоторое время учился в Минской консерватории в классе композиции Василия Золотарёва. В 1941 году был эвакуирован в Ташкент, где познакомился с Дмитрием Шостаковичем — это знакомство оказало на Вайнберга большое влияние. В 1943 году вместе с Шостаковичем вернулся в Москву.

В феврале 1953 года был арестован как зять С. М. Михоэлса и как «прибывший из-за границы». Ходатайство об освобождении Вайнберга писали Д. Д. Шостакович и Н. И. Пейко. Освобождён после смерти Сталина, впоследствии реабилитирован.

Вайнберг как пианист исполнял и записывал свою камерную инструментальную музыку, в том числе — фортепианный квинтет op. 18 (в ансамбле с квартетом им. Бородина).

С 1954 года активно писал музыку для кино. Одним из первых советских композиторов начал использовать тембры электромузыкальных инструментов в фильмах «Последний дюйм» (1958) и «Барьер неизвестности» (1961), в записи саундтреков к которым участвовал «Квинтет электромузыкальных инструментов» И. М. Варовича. Популярность приобрели песни Вайнберга к фильмам «Укротительница тигров» (1954) и «Летят журавли» (1957), музыка к мультфильмам о Винни-Пухе (1969, 1971, 1972), «Каникулы Бонифация» (1965) и др.

Музыку Вайнберга исполняли и записывали дирижёры Юрий Аранович, Рудольф Баршай, Антоний Вит, Кирилл Кондрашин, Теодор Курентзис, Владимир Федосеев, Габриэль Хмура, Марк Эрмлер. К произведениям композитора обращались выдающиеся музыканты-инструменталисты Леонид Коган, Давид Ойстрах, Мстислав Ростропович, Даниил Шафран, Гидон Кремер.

Умер 26 февраля 1996 года в Москве. Похоронен на 49-м участке Домодедовского кладбища.

Рецепция
В XXI веке интерес к музыке Вайнберга возрождается, в частности благодаря усилиям Елизаветы Блюминой, Гидона Кремера, Линуса Рота, Мирги Гражините-Тилы, Юрия Кальница, Марины Тарасовой. В 2010 году на оперном фестивале в Брегенце состоялась мировая премьера его оперы «Пассажирка» (дирижировал постановкой Т. Курентзис); были записаны также оперы «Идиот» (по Достоевскому) и «Поздравляем» (по Шолом-Алейхему). Полные циклы квартетов Вайнберга осуществили квартет Данель и Силезский струнный квартет, записывает Arcadia Quartet. В 2017 году в Москве по инициативе газеты «Музыкальное обозрение» и Большого театра прошёл Международный форум «Композитор Моисей Вайнберг (1919—1996). Возвращение.
К 100‑летию со дня рождения в 2019».

Об имени
Композитор на протяжении жизни пользовался разными именами. В свидетельстве о рождении, прошении о приёме в консерваторию и публикациях о еврейском театре предвоенной Польши упоминается как Мойше Вайнберг (). В советское время композитор был известен как Моисей Самуилович Вайнберг, что нашло отражение в нотных публикациях и грамзаписях советского периода. Среди друзей он был известен под уменьшительным именем Метек. В последние годы жизни композитор стал использовать имя Мечислав, под которым он главным образом и известен в иностранных публикациях ().

Семья
 Первая жена (1943—1970) — Наталья Соломоновна Вовси-Михоэлс (1921—2014), дочь народного артиста СССР Соломона Михоэлса, выпускница театроведческого факультета ГИТИСа, автор книги «Мой отец Соломон Михоэлс» (1997); дочь — Виктория (, род. 1944), внучка Катя.
 Вторая жена (1970—1996) — Ольга Юльевна Рахальская (род. 1943), дочь психиатра Юлия Егидовича Рахальского; дочь — Анна Вайнберг, филолог.
 Двоюродный брат (сын старшей сестры его отца Хаи Моисеевны Вайнберг) — беспартийный делопроизводитель Военно-революционного комитета Бакинской коммуны Исай Абрамович (Ицхок Аврумович) Мишне (1896—1918) — был расстрелян в 1918 году в составе 26 бакинских комиссаров. Двоюродная сестра Софья Абрамовна Мишне (1899, Кишинёв — 1944, Москва) была замужем за скульптором В. И. Ингалом.

Произведения

Симфонии и симфониетты
 Симфония № 1, соч. 10 (1942)
 Симфония № 2 для струнного оркестра, соч. 30 (1946)
 Симфония № 3, соч. 45 (1949)
 Симфония № 4 ля минор, соч. 61 (1957)
 Симфония № 5 фа минор, соч. 76 (1962)
 Симфония № 6 ля минор, соч. 79 (с хором мальчиков, 1962-1963)
 Симфония № 7 до мажор для струнных и клавесина, соч. 81 (1964)
 Симфония № 8 «Цветы Польши», соч. 83 (1964)
 Симфония № 9 «Уцелевшие строки», соч. 93 (1940-1967)
 Симфония № 10 ля минор, соч. 98 (для струнного оркестра с солирующими скрипкой, альтом, виолончелью и контрабасом, 1968)
 Симфония № 11 «Праздничная», соч. 101 (1969)
 Симфония № 12 «Памяти Дмитрия Шостаковича», соч. 114 (1975-1976)
 Симфония № 13, соч. 115 (1976)
 Симфония № 14, соч. 117 (1977)
 Симфония № 15 «Я верю в эту Землю», соч. 119 (1977)
 Симфония № 16, соч. 131 (1981)
 Симфония № 17 «Память», соч. 137 (1982-1984)
 Симфония № 18 «Война — жёстче нету слова», соч. 138 (1982-1984)
 Симфония № 19 «Светлый май», соч. 142 (1986)
 Симфония № 20, соч. 150 (1988)
 Симфония № 21 «Кадиш», соч. 152 (1991)
 Симфония № 22, соч. 154 (1994, не оркестрована)
 Камерная симфония № 1 для струнного оркестра, соч. 145 (1987)
 Камерная симфония № 2 для струнного оркестра и литавр, соч. 147 (1987)
 Камерная симфония № 3 для струнного оркестра, соч. 151 (1990)
 Камерная симфония № 4 для кларнета и струнного оркестра, соч. 153 (1992)
 Симфониетта № 1, соч. 41 (1948)
 Симфониетта № 2 для струнного оркестра и литавр, соч. 74 (1960)

Концерты и другие произведения для солирующего инструмента и оркестра
 Концертино для скрипки и струнного оркестра, соч. 42 (1948)
 Концерт для виолончели с оркестром, соч. 43 (1948), ранее - Концертино для виолончели со струнным оркестром
 «Молдавская рапсодия» для скрипки с оркестром, соч. 47 № 3 (1949)
 Фантазия для виолончели с оркестром, соч. 52 (1951-1953)
 Концерт для скрипки с оркестром, соч. 67 (1959)
 Концерт № 1 для флейты с оркестром, соч. 75 (1961)
 Концерт для трубы с оркестром, соч. 94 (1966-1967)
 Концерт для кларнета и струнного оркестра, соч. 104 (1970)
 Концерт № 2 для флейты с оркестром, соч. 148 (1987)

Другие сочинения для оркестра
 «Симфоническая поэма», соч. 6 (1941)
 Сюита для малого оркестра, соч. 26 (1939—1945)
 2 балетные сюиты, соч. 40 (1947)
 «Рапсодия на молдавские темы», соч. 47 № 1 (1949)
 Сюита «Польские напевы», соч. 47 № 2 (1949)
 Серенада, соч. 47 № 4 (1949)
 Симфоническая поэма «Рассвет», соч. 60 (1957)
 «Симфонические песни», соч. 68 (1959)
 6 балетных сцен, соч. 113 (1973—1975)
 Симфоническая поэма «Знамёна мира», соч. 143 (1986)

Оперы
 «Меч Узбекистана», в соавторстве с М. Бурхановым, без № соч., 1942
 «Пассажирка», соч. 97 (1967—1968). Премьера состоялась в 2010 году в Брегенце и Варшаве)
 «Мадонна и солдат», соч. 105 (1970)
 «Любовь д'Артаньяна», соч. 109 (1971)
 «Поздравляем!», соч. 111 (1975)
 «Леди Магнезия», соч. 112 (1975)
 «Портрет», соч. 128 (1980)
 «Идиот», соч. 144 (1985—1986, премьера оперы состоялась в 2013 году в Мангейме) Московская премьера оперы (в постановке Евг. Арье) прошла в Большом театре в феврале 2017 г.

Оперетты
 «Золотое платье», соч. 129 (1980)

Балеты
 «Золотой ключик», соч. 55 (1954—1955). Популярна 4-я сюита из балета
 «Белая хризантема», соч. 64 (1958)

Кантаты и вокально-симфонические сочинения
 «Дневник любви», 1965
 «Пётр Плаксин» (на стихи Ю. Тувима, 1966)
 «Реквием» (на тексты Ф. Г. Лорки, Д. Б. Кедрина, С. Тисдейл и др., 1967)

Струнные квартеты
 № 1 ор. 2 (1937)
 № 2 ор. 3 (1940)
 № 3 ор. 14 (1944)
 № 4 ор. 20 (1945)
 № 5 ор. 27 (1945)
 № 6 ор. 35 (1946)
 № 7 ор. 59 (1957)
 № 8 ор. 66 (1959)
 № 9 ор. 80 (1963)
 № 10 ор. 85 (1964)
 № 11 ор. 89 (1965—1966)
 № 12 ор. 103 (1969—1970)
 № 13 ор. 118 (1977)
 № 14 ор. 122 (1978)
 № 15 ор. 124 (1979)
 № 16 ор. 129—130 (1981)
 № 1 (рекомпозиция) ор. 141 (1986)
 № 17 ор. 146 (1987)

Камерная и сольная инструментальная музыка
 3 пьесы для скрипки и фортепиано без ор. (1934)
 Ария для струнного квартета ор. 9 (1942)
 Каприччио для скрипки и фортепиано ор. 11 (1943)
 Соната № 1 для скрипки и фортепиано ор. 12 (1943)
 Соната № 2 для скрипки и фортепиано ор. 15 (1944)
 Фортепианный квинтет ор. 18 (1944)
 Соната № 1 для виолончели и фортепиано ор. 21 (1945)
 Фортепианное трио ор. 24 (1945)
 Соната для кларнета и фортепиано ор. 28 (1945)
 12 миниатюр для флейты и фортепиано ор. 29 (1946)
 Соната № 3 для скрипки и фортепиано ор. 37 (1947)
 Соната № 4 для скрипки и фортепиано ор. 39 (1947)
 Сонатина для скрипки и фортепиано op. 46 (1949)
 Струнное трио ор. 48 (1950)
 Соната № 5 для скрипки и фортепиано ор. 53 (1953)
 Соната № 2 для виолончели и фортепиано op. 63 (1958—1959)
 Соната для двух скрипок ор. 69 (1959)
 Соната № 1 для виолончели соло ор. 72 (1960)
 Соната № 1 для скрипки соло ор. 82 (1964)
 Соната № 2 для виолончели соло ор. 86 (1965)
 Соната № 2 для скрипки соло ор. 95 (1967)
 24 прелюдии для виолончели соло ор. 100 (1968)
 Соната № 3 для виолончели соло ор. 106 (1971)
 Соната № 1 для альта соло ор. 107 (1971)
 Соната для контрабаса соло ор. 108 (1971)
 Соната № 2 для альта соло ор. 123 (1978)
 Соната № 3 для скрипки соло ор. 126 (1979)
 Трио для флейты, альта и арфы (или фортепиано) ор. 127 (1979)
 Соната для фагота соло ор. 133
 Соната № 3 для альта соло ор. 135 (1982)
 Соната № 4 для альта соло ор. 136 (1983)
 Соната № 6 для скрипки и фортепиано op. 136bis (1982)
 Соната № 4 для виолончели соло ор. 140 (1986)

Произведения для фортепиано
 2 мазурки без ор. (1933)
 Колыбельная ор. 1 (1935)
 Соната № 1 ор. 5 (1940)
 Соната № 2 ор. 8 (1942)
 «Детская тетрадь № 1» ор. 16 (1944)
 «Детская тетрадь № 2» ор. 19 (1944)
 «Детская тетрадь № 3» ор. 23 (1945)
 Соната № 3 ор. 31 (1946)
 21 лёгкая пьеса ор. 34 (1946)
 Сонатина ор. 49 (1951)
 Партита ор. 54 (1954)
 Соната № 4 op. 56 (1955)
 Соната № 5 ор. 58 (1956)
 Соната № 6 ор. 73 (1960)

Музыка к театральным постановкам
 1951 — «Студенты» В. Лившица (Театр имени Пушкина)
 1954 — «Несбыточные мечты Кинолы» Бальзака (Театр ЦДСА)
 1965 — «Варшавский набат» В. Коростылёва (ТЮЗ)
 1982 — «Три сестры» А. П. Чехова (Московский театр «Современник»)

Музыка к кино- и мультфильмам
  — Полкан и Шавка
  — Дедушка и внучек
  — Храбрый Пак
  — Два друга
  — Укротительница тигров
  — На лесной эстраде
  — Танюша, Тявка, Топ и Нюша
  — Двенадцать месяцев
  — Лесная история
  — Медовый месяц
  — Летят журавли
  — Шофёр поневоле
  — Последний дюйм
  — Мост перейти нельзя
  — Яша Топорков
  — Про козла
  — Последние залпы
  — Барьер неизвестности
  — Суд сумасшедших
  — Необыкновенный город
  — Улица Ньютона, дом 1
  — Топтыжка
  — Можно и Нельзя
  — Кто поедет на выставку?
  — Каникулы Бонифация
  — Перекличка
  — Они не пройдут
  — Гиперболоид инженера Гарина
  — По тонкому льду
  — Серая болезнь
  — Фокусник
  — Татьянин день
  — Крепкий орешек
  — Бег иноходца
  — Винни-Пух
  — Быль-небылица
  — Винни-Пух идёт в гости
  — Винни-Пух и день забот
  — За всё в ответе
  — Нейлон 100 %
  — Товарищ генерал
  — Царевич Проша
  — Афоня
  — Честное волшебное
  — Как Иванушка-дурачок за чудом ходил
  — Марка страны Гонделупы
  — Соловей
  — Шествие золотых зверей
  — Ушастик и его друзья
  — Тегеран-43 (использованная музыка)
  — Ослиная шкура
  — Лев и Бык
  — О странностях любви
  — И вот пришёл Бумбо…
  — Сказка про влюблённого маляра
  — Отче наш

Премии и достижения
 Заслуженный деятель искусств РСФСР (30.06.1971)
 Народный артист РСФСР (17.09.1980)
 Государственная премия СССР (1990)

Примечания

Литература
 David Fanning. Mieczyslaw Weinberg: In Search of Freedom. Wolke Verlagsges, 2010. — ISBN 3-936000-91-3
 Danuta Gwizdalanka. Mieczysław Wajnberg: Kompozytor z trzech światów. Познань, 2013. — ISBN 978-83-913521-6-8
 Verena Mogl: "Juden, die ins Lied sich retten" – der Komponist Mieczysław Weinberg (1919-1996) in der Sowjetunion. Waxmann Verlag, Münster/New York 2017, ISBN 978-3-8309-3137-9.
 Danuta Gwizdalanka: Der Passagier. Der Komponist Mieczysław Weinberg im Mahlstrom des zwanzigsten Jahrhunderts. Übersetzt ins Deutsch von Bernd Karwen, Harrasowitz Verlag 2020, ISBN 978-3-447-11409-7
 Мечислав Вайнберг (1919—1996). Страницы биографии. Письма (Материалы международного форума). Москва, 2017.
 Мечислав Вайнберг (1919—1996). Возвращение. Международный форум. Москва, Большой театр России, 2017.
Хаздан Е. В. «Еврейские песни» Мечислава Вайнберга: поиск национальной идиомы
 Данута Гвиздалянка. Мечислав Вайнберг — композитор трех миров. Пер. с польского Алексея Давтяна.  СПб: Композитор • Санкт-Петербург, 2022.

Ссылки
 Список сочинений
 Премьера оперы Моисея Вайнберга «Пассажирка» в Москве
 Могила М. Вайнберга на 49 участке Домодедовского кладбища
 Сайт, посвящённый М. Вайнбергу
 Барсова И. Семьдесят восемь дней и ночей в застенке: композитор Мечислав Вайнберг
 «Музыкальное обозрение»: проект к 100-летию Мечислава Вайнберга
 Вайнберг: возвращение. Итоги Международного форума, посвященного выдающемуся композитору XX века
 Международный форум «Мечислав Вайнберг (1919—1996). Возвращение», 16—19 февраля 2017, Москва
 Моисей Вайнберг на сайте КиноПоиск

Выпускники Музыкального университета имени Фридерика Шопена
Оперные композиторы СССР
Оперные композиторы России
Балетные композиторы СССР
Балетные композиторы России
Композиторы оперетт
Авторы реквиемов
Деятели культуры и искусства, репрессированные в СССР
Реабилитированные в СССР

redpajama_set_name: RedPajamaWikipedia


text:
Q: Reformulate an equation to me faster in java I'm working on encryption, and for the private key exponent d, you need to multiply d by e and take the mod of another number, and have the remainder be 1. the function i have already is this:
private void genD() {
        d = e / 2;
        // solve for d given d*e = 1 (mod eN)
        while ((d * e) % eN != 1) {
            d++;
        }
}

what i have now is obviously a brute way of doing things, going through every single number until one works. I know the equation does its job, plugging in the numbers using the working example found here, but it is VERY VERY VERY slow with using for the numbers i'm generating. Logically I feel there is a way to get this done MUCH faster, but I'm unable to think of how?
Any help is appreciated! Thanks in advance :)

A: There are fast multiplicative inverse algorithms which aren't terribly difficult, but there's also one built into Java:
 BigInteger.valueOf(e).modInverse(BigInteger.valueOf(eN)).intValue();

The most popular algorithm to compute the multiplicative inverse mod another number is http://en.wikipedia.org/wiki/Extended_Euclidean_algorithm#Modular_integers .

redpajama_set_name: RedPajamaStackExchange


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To compile the list, Fortune works with Great Place to Work each year to conduct the most extensive employee survey in corporate America, gathering feedback from more than 230,000 people. "Each company's score is based on Trust Index survey feedback from a random sample of employees," Fortune explains. "People anonymously assess their workplace, including the quality of their leaders, support for their personal and professional lives, and their relationships with colleagues. Survey results are compared with peer organizations of like size and complexity and are highly reliable statistically." The remainder of the ranking is obtained from scores of a Culture Audit management questionnaire submitted by each company, which provides information such as compensation and benefits, hiring practices, recognition, training, and diversity programs to the Great Place to Work organization.
Want to be proud to be Publix? Does the idea of working for one of America's best employers sound good to you? Publix continues to grow and is about to start operating in Virginia, its seventh state, this summer. We employ more than 200,000 happy associates. For employment in one of our stores, visit this page to learn how to apply. For job openings among our corporate, distribution, manufacturing, industrial maintenance or IT areas, start your search here.


text:
Ždírec nad Doubravou (in tedesco Zdiretz) è una città della Repubblica Ceca facente parte del distretto di Havlíčkův Brod, nella regione di Vysočina.

Note

Altri progetti

Collegamenti esterni

Zdirec nad Doubravou
Zdirec nad Doubravou


The Pelissier Street parking garage is a money-losing, never-ending source of controversy.
Now, three investors, including a successful local businessman and city champion, have an enterprising proposal to buy it and do something with it.
You'd think we couldn't unload it fast enough.
Instead, we told the investors to scram. We're acting like the concrete behemoth that shadows blossoming Pelissier Street is a precious artifact.
Blink and you missed city council's brusque dismissal of the proposal Monday. Coun. Chris Holt asked for a report on issuing a request for proposals to sell the garage. It was defeated by the usual 6-4 vote.
We want investment, especially in our down-and-out downtown. But we won't even consider this investment. Why?
Investor Mark Boscariol owns two well-regarded restaurants, including The Willistead, where David Letterman ate last summer, in revitalized Walkerville. He also owns Snackbar-B-Q. He took a risk opening it on Chatham Street, a bleak stretch of the core.
Boscariol is also a city booster. He offered Hackforge, a non-profit tech space, a deal to move downtown. He helped bring the busker festival back to Windsor. He hosts Walkerville's night market.
Boscariol and the others are interested in making a $2-million to $4-million bid for the Pelissier Street parking garage. They would invest $750,000 to clean up the mould, waterproof it, bring in public art and convert the top deck into a place for special events in the summer. He says he has tenants to fill the mostly vacant commercial space on the ground floor.
It's an ambitious plan to make the garage something more than ugly concrete and metal.
The city would profit from the sale and tax revenue. (The city says it receives taxes from the garage but they come from the city's revenue from the garage.) It would no longer lose tens of thousands of dollars a year on it. It would save the almost half a million dollars it plans to spend ripping out the commercial space and replacing it with more parking spaces — something modern cities don't do because it kills a street's atmosphere. The city wouldn't have to clean up the mould or waterproof, either.
But it's not interested. What happened to defending taxpayers?
No one is suggesting the city not do its due diligence.
But Mayor Drew Dilkens says council has already made its decision.
The garage is not for sale, he says.
"Why do we have to sell the garage to do great things to it?" he asked on Facebook.
The city has owned the garage since 2003. We're waiting.
He compared the garage to another city asset — historic and stately Willistead Manor. That's just bizarre.
Baltimore is selling four city-owned, downtown parking garages. They don't earn much revenue after expenses. They're old, like the one on Pelissier Street, so they require maintenance. And, like Windsor, there are private parking lots.
Baltimore has more important priorities. It will spend the $40 million to $60 million from the sale of the garages on community centres, parks and pools.
Dilkens also says Boscariol doesn't have experience operating a garage. Is he deciding which developers are qualified to do which projects? Is the city's record in all manner of developments really so great?
Coun. Ed Sleiman worried that a private owner might raise the price for parking. Seriously? That's the least of the city's concerns when swathes of downtown are vacant and blighted. The city already raised the price, anyway, but who cares? Half the spaces are taken by city employees who pay less than half the rate.
Finally, Dilkens dismissed Boscariol's proposal as a "game," just politics before the municipal election next year. But the games began long before this, in most of the 6-4 votes. It doesn't matter what issue Holt raises. The same six councillors will probably oppose it. The divide on council skews debate and votes, preventing open and fair consideration of issues.
It's too bad for Windsor. No one wins.


text:
Men's lacrosse club on life support
Fighting for their club's survival, the men are doing all that they can to stay afloat at UVU
Byline: P. Brady Fish
Twitter: @pbradyfish
Chalk the men's lacrosse club up on the board of fallen UVU clubs. Struggling to overcome a debt from a year ago, the club has been engaged in a "he said, she said" battle with the university since September. The amount levied against the lacrosse team is $3000, an amount the players and coaches say is an unjust, and an issue the team feels that the school has been unwilling to work with.
Volunteering as an assistant coach, former lacrosse player Lawrence Sullivan shed some light on the situation.
"There is not going to be any ball this fall, and right now the team is trying to put together some last minute fundraising," Sullivan said. "If they are able to do it, maybe there will be lacrosse in the spring. The situation is difficult."
Hanging with uncertainty, raising the $3000 is not the only problem the club is facing. The team is – once again – without their head coach, Kevin Perkins. Perkins, already frustrated the way the lacrosse team has been under-appreciated over the better part of a decade, has left the team's head coaching position. Perkins left the team in October 2011 for a personal family matter. Perkins was unavailable for comment.
"He will coach again, but it will not be with UVU," Sullivan said. "He is done with this school. This is a coach who led the club to five national championship runs in eight years, with two national championship game appearances. We played on national television, had games hosted on the Internet and made a name for ourselves. We had teams from the east coast calling us and wanting to schedule games."
In an attempt to plead their case, the club wrote individual letters to the Office of the Vice President, petitioning for help, as well as expressing their desires for the club to continue to operate and represent UVU. The club's former head coach was even able to secure a face-to-face meeting, but in the end the unresolved debt was left to the club.
"It's a messed up situation," Sullivan said. "Our taste from all of this is that the school only cares about money."
According to the Clubs and Organizations department at UVU, the club is still recognized as full member at UVU and informed the UVU Review that the club is in the process of applying for an extension until spring from the National Lacrosse Organization.
Students interested in volunteering to help the club with their fundraising efforts can contact the club's president, Kyle Olsen, or their faculty advisor, Axel Ramirez, in the McKay Education building, room 112.
Tags: clubs, Lacrosse, p. brady fish, uvu
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2 thoughts on "Men's lacrosse club on life support"
Spencer Gordon says:
I came to UVU from Texas to play for Coach Perkins. I had tried out on many different lacrosse teams around my home in Texas as well as a few schools in the east coast. With out trying out or playing with any of the UVU lacrosse players I phoned Coach Perkins to talk, immediately I knew this was the right decision. I loved what I heard from him, and I knew that this man would take the program in the right direction. It is unfortunate that the organization (UVU) has deemed otherwise. Wether or not the school recognizes it as a sport is irrelevant. Kids from all over the Wasatch front and afar came to UVU to play for Perkins. Sully who was mentioned and quoted in this article himself is from north Idaho. It's a shame UVU didnt know a good thing when it had it.
Dustin McGowan says:
I wish UVU would really take a hard look at the program. What we have accomplished in the past couple of years is amazing. The club lacrosse team has had more success than the basketball program there. I transferred form Utah State to play for Perkins, he drew a lot of players from across the United States to come to a institution who could care less. So sad…


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By registering as a charity organizer with Altruja GmbH ("Altruja"), you accept the following General Terms and Conditions for use of Altruja by charity organizers ("Charity Organizer General Terms and Conditions"). Under various top-level domains as well as various subdomains and aliases of these domains ("Altruja websites"), Altruja provides an Internet-based system and Altruja services.
These General Terms and Conditions govern the contractual relationship between the charity organizer and Altruja regardless of which Altruja website the charity organizer registers with or logs onto.
In addition to these General Terms and Conditions for donation recipients, please also take note of the Data Protection Statement.
1.1. The subject of this agreement is the contractual execution between Altruja and charity organizers. Altruja offers charity organizers an Internet-based option of carrying out fundraising events (collecting money for specifically not-for-profit and charitable purposes). It is also the purpose of the agreement to create a multiplicative database of those persons who provide money to the charity organizers for their purposes ("Donors") or who promote their activities ("Fundraisers") to support fundraising events held on Altruja based on this database.
Charity organizers within the meaning of these Charity Organizer General Terms and Conditions are specifically private law or public law associations, foundations, state or private institutions of higher learning, churches, state and non-state institutions as well as non-governmental organizations that are not-for-profit.
a) Providing Internet-based software on the websites of the charity organizer by means of a software-as-a service solution ("SaaS solution") or on Altruja websites to organize fundraising events or on the websites of donation supporters such as companies, event organizers, prominent individuals, etc. The charity organizer has the option of creating its own website for its fundraising event ("fundraising site").
b) Operating a hotline for charity organizers for questions concerning the use of the Altruja websites by the charity organizer, available Monday through Friday from 9 AM to 5 PM at the valid Altruja support hotline numbers.
c) Accounting of fundraising events and one-time or optional regular collection (monthly/annually) of the money provided by donors according to the payment method selected (bank transfer, direct debit, credit card payment, PayPal, immediate bank transfer).
d) Forwarding 100% of the entire donation amount to the donation recipient.
e) Sending a money receipt confirmation by e-mail. The sending of any donation certificates that authorize a pre-tax deduction shall be the responsibility of the charity organizer. Altruja shall provide the donor data required for this as a download in the secure customer area at https://www.altruja.de/myaltruja (title, first name, last name, donor date, amount donated, e-mail address; if a receipt for the donation is desired: address). In addition, Altruja offers a form letter function to create and download donation certificates. It is the donation recipient's responsibility to check the donation certificates for accuracy and validity as well as to send the automatically generated donation certificates. The process of creating donation receipts can also be transferred to Altruja. In this case, Altruja will create the donation receipts on behalf of the donation recipient according to the donation recipient's guidelines and will furnish the respective donors with one.
f) Optional use of Altruja's integrated e-mail marketing tool (see 1.3), which can be used by donation recipients if Altruja's integrated e-mail marketing tool is activated. Altruja reserves the right to make the final decision on whether or not to accept the customer's registration request form to use the e-mail marketing function; as a result, the donation recipient does not have a right of use.
f) that the user is solely responsible for any consequences arising from the content of e-mail mailings and from sending them; Altruja is definitely not responsible.
1.4 Altruja owns the rights to its social fundraising software. The customer does not have the right to demand that Altruja's fundraising system be relinquished to it.
2.1. Altruja calculates fees according to the prices listed on the Altruja website. These prices are based on the package selected by the customer. The prices that are valid when the package is selected and that are confirmed by e-mail remain in effect for the customer for the entire duration. The terms can optionally be stipulated in a separate contract.
2.2. For each payment from donors based on services offered through the Altruja websites, Altruja shall receive a broker fee from the donation recipient according to the terms agreed upon under section 2.1. This broker fee shall also be payable even in the event that payments made are reversed. This price list can also provide for compensation on an individual basis for other Altruja services.
All prices listed apply, plus the respective value-added tax.
2.3. If the donor informs Altruja that it has made its donation in error or for the wrong amount, Altruja shall communicate or forward this information to the charity organizer. In such a case it shall be the responsibility of the charity organizer to reach an arrangement with the donor.
2.4. The donation recipient agrees to promptly file any objections to statements of account provided by Altruja, but no later than four weeks after the statement of account. Otherwise, the statement of account shall be regarded as approved.
3.1. Charity organizers can choose which payment options offered by Altruja (such as credit card, direct debit, cash in advance, upon invoicing) are to be provided to the donors in order to collect the donations through Altruja. Based on the selection, Altruja shall assume the task of collecting the donors' payments and shall manage the collected funds in a separate account. Altruja shall be granted power of attorney for this.
3.2. Altruja shall remit 100% of the money collected according to section 3.1., at the end of the charity event or every two months, to the charity and shall send an invoice to the charity after the charity event or every two months as contractually agreed upon. The amounts to be forwarded shall be remitted to a bank account under the name of the charity organizer by the middle of the subsequent month.
3.3. The charity organizer is aware that with respect to certain types of payment (direct debit or credit card) there is the risk of a transaction reversal by the donor and that the charity organizer alone shall bear this risk. Transaction reversals that take place after a completed disbursement according to section 3.2. to the charity organizer shall be charged to the charity organizer plus any transaction reversal fee according to the valid price list.
4.1. The Altruja System has an extensive security system that protects charity organizers from transaction reversals specifically with respect to donations by credit card. Based on the anti-fraud system, it is possible that payments may not be accepted by third-party credit card acceptance providers in certain exceptional cases.
4.2. If there is suspicion based on these Charity Organizer General Terms and Conditions that registered charity organizers do not possess charity organizer status promised under section 1.3, Altruja reserves the right to block the fundraising event of the charity organizer. In that case, the charity organizer agrees to provide verification of its charity organizer status within 7 days. If this fails, the relevant fundraising event of the charity organizer shall be deactivated.
4.3. If there is suspicion that the Altruja websites are being misused by the charity organizer, Altruja reserves the right to deactivate the fundraising event of the charity organizer. Suspicion of misuse shall exist specifically when the transaction reversal rate of the donors is above average, in any event with a transaction reversal rate of more than 2%.
4.4. If there is suspicion that the Altruja websites are being misused by the charity organizer, Altruja reserves the right to delay disbursement by an additional 60 days ("review period") after the end of 14 days in contrast to section 3.2. During this review period, Altruja will examine whether the Altruja websites and/or the Altruja services have been misused. Suspicion of misuse shall exist specifically when the transaction reversal rate of the donors is above average, in any event with a transaction reversal rate of more than 2%. If it is not possible to remove the suspicion after an additional 14 days, Altruja reserves the right to refund the money to the donors.
5.1. Altruja shall be liable without restriction for damages from injury of life, limb, or health based on a breach of duty by Altruja, a legal representative, or vicarious agent of Altruja as well as for damages that have been caused by the absence of a condition guaranteed by Altruja.
5.2. Altruja shall be liable without restriction for damages caused by Altruja or one of its legal representatives or vicarious agents intentionally or through gross negligence.
5.3. With respect to the breach of substantive contractual duties caused by slight negligence, Altruja shall be liable in terms of amount limited to the contractually typical, foreseeable damages, apart from the cases in section 5.1. and section 5.4. Substantial contractual duties in abstract terms are duties whose fulfillment is only even enabled by the proper execution of a contract and whose upholding the contractual parties may generally rely upon.
5.4. Liability according to the German Product Liability Act shall remain unaffected.
5.5. The period of limitation for compensatory damage claims against Altruja shall be one year apart from the cases in sections 5.1, 5.2 or 5.4.
5.6. Altruja cannot technically determine with certainty whether a donor registered with Altruja in fact represents a person that the donor presumes to be. Therefore, Altruja provides no warranty for the actual identity of the donor.
5.7. If, due to an e-mail (see 1.3) or donation certificate (see 1.2.e) sent by the donation recipient, Altruja is claimed to be a joint perpetrator or accomplice, the donation recipient shall agree to release Altruja from any claims by a third party inter partes and to release Altruja from any costs that might arise from the defense and/or fulfillment of such claims. In addition, the donation recipient is obligated to reimburse Altruja for the costs of legal advice and representation.
5.8. The period of limitations for other defect claims shall be one year.
d) the charity organizer has attained majority age, in the event that the charity organizer is a natural person.
7.1. The charity organizer agrees to notify Altruja promptly if the Altruja websites are not available or if they malfunction.
7.2. The charity organizer agrees not to violate German laws or to injure the rights of third parties while using the Altruja services. The charity organizer specifically agrees to comply with competition law, data protection law, and consumer protection law provisions as well as to respect the intellectual property of third parties. If a third party files claims against Altruja and/or employees of Altruja in connection with the illegal use of the Altruja services by the charity organizer for which Altruja is not responsible or based on any other breach of contract or illegal behavior by the charity organizer, the charity organizer shall be obligated to release Altruja and/or the employee of Altruja from any liability and to indemnify them for the costs so incurred, including legal costs.
7.3. The charity organizer shall promptly notify Altruja of any change to its name, domicile, business address or its billing address, its legal form or its banking information to the extent that this is necessary to execute the contractual relationship.
7.4. The charity organizer is prohibited from using the Altruja services for illegal or immoral fundraising events. Immoral refers to, among other things, radical right-wing, extremist, pornographic, or violent representations.
7.5. The donation recipient will independently send donation certificates (donation confirmations) to those donors who wish to receive them (this information is generated from the data provided by Altruja).
Altruja shall not be responsible for disruptions, restrictions, delays and other problems, which arise when using the Internet.
c) circumstances exist based on which Altruja can reasonably conclude that the charity organizer can no longer comply with its contractual obligations vis-à-vis Altruja or third parties for lack of cash, and the charity organizer does not prove the contrary within 30 days after a request from Altruja to the reasonable satisfaction of Altruja.
10.1. Altruja reserves the right to change these General Terms and Conditions at any time without explanation unless this is unreasonable to expect of the charity organizer. Altruja shall promptly notify the charity organizer about changes to the General Terms and Conditions. If the charity organizer does not object to the validity of the new General Terms and Conditions within two weeks after notification, the amended General Terms and Conditions shall be regarded as approved by the charity organizer. In the notification, Altruja shall refer the charity organizer to its right of objection and the significance of the objection period.
10.2. These terms and conditions shall apply exclusively; contrary terms and conditions or terms and conditions deviating from these terms and conditions shall not be acknowledged unless they are expressly approved in writing. These terms and conditions shall also apply if Altruja performs the services for the charity organizer without any reservation while having knowledge of the contrary terms and conditions or terms and conditions deviating from these terms and conditions.
10.3. Offsets by the charity organizer shall only be permitted against undisputed or legally established claims. If an offset by the charity organizer is impermissible, then this shall apply to any rights of retention by the charity organizer.
e-mail using the contact form available on any of the Altruja websites or can send such statements by fax or letter to Altruja. Altruja can send statements to the charity organizer via the e-mail address that the charity organizer has indicated as the current e-mail address in its user account.
10.5. If individual provisions of these General Terms and Conditions should be or become invalid, the validity of the remaining provisions shall not be affected. The contractual parties agree to replace any invalid provision with a valid provision that most approximates the financially intended meaning and purpose of the invalid provision in terms of content. This shall apply accordingly with respect to gaps in provisions.
10.6. Place of jurisdiction and place of fulfillment is Munich to the extent permitted by law.
10.7. German law shall apply to the exclusion of international private law and the United Nations Convention on Contracts for the International Sale of Goods that has been adopted by German law.


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Return to Ekrund is Live!
World PvP returning to SWTOR?
Yesterday, I made some good progress on my latest project. The basic idea behind it is to make an item database, for SWTOR, which is focused on mobile devices (i.e. phones). I finally figured out where Rating and DPS/Armor info is stored, which was one of the final pieces of info I needed to track down.
Now that I have most of the information I need to make a prototype, it's time for an important step. What should I call it? Twitter had some good ideas like: PocketTOR and TORtoGo. I like both, what do you think?
The next step for me is to get the actual database setup. I am going to try something new this time and use MongoDB. It was suggested to me by Nazgum over at Shivtr and it is time I gave it a try. Today's task is to finish up gathering the info from the files and maybe even get my first database entry in. Then comes the client side, but more on that later.