text:
Uber List
Quotes of: Radio Keyword
I have two syndicated radio shows though United Stations Radio Network.
But you can make good radio, interesting radio, great radio even, without an urgent question, a burning issue at stake.
Radio Raheem: Give me 20 D Energizers. Sonny: 20 C Energizers? Radio Raheem: Not C, D. Sonny: C Energizers? Radio Raheem: D, motherfucker, D. Learn to speak English first, all right? Kim: How many you say? Radio Raheem: 20, motherfucker, 20. Sonny: M...
For years everyone looked toward the demise of radio when television came along. Before that, they thought talking movies might eliminate radio as well. But radio just keeps getting stronger.
Of all radio program forms, the radio talk is the hardest to write, to give, and to make interesting and acceptable to the listening public. The first inclination of almost everyone, in turning on the radio and finding someone talking, is to switch t...
Radio: The Fifth Estate
The study of celestial phenomena at radio wavelengths, radio astronomy came into being after the accidental discovery of cosmic radiation by radio engineer Karl Jansky in 1933.
I was really amazed when I started hearing 'Songbird' on the radio. I couldn't believe that the record company promotion department had actually convinced radio music directors to play it -because there wasn't anything like it on the radio at the tim...
I like radio better than television because if you make a mistake on radio, they don't know. You can make up anything on the radio.
Phil Rizzuto
I'm running a radio station.
The phone collapsed distances, just as the radio did, and, like the radio, it relied on the miracle of imagination: one had to concentrate deeply, plunge headlong into it.
Lost City Radio
You make music to change the radio, not make music for the radio.
Nayvadius Cash
When radio stations started playing music the record companies started suing radio stations. They thought now that people could listen to music for free, who would want to buy a record in a record shop? But I think we all agree that radio stations ar...
For many people, Mrs. Brown has come from the middle of nowhere. But Mrs. Brown was first written for radio. I wrote it for a radio series in 1992. It was a five-minute piece for radio, and it's been absolutely astonishing.
Brendan O'Carroll
As much as I enjoy TV, I've always loved radio. And I love doing the NFL games, the Monday night games, on radio. Because you are the game. I really enjoyed calling basketball and hockey on the radio, but the presentation is more specific - you're ta...
My songs don't play on pop radio; they play on black radio.
On my morning run, I listen to sports talk radio.
That was the big thing when I was growing up, singing on the radio. The extent of my dream was to sing on the radio station in Memphis. Even when I got out of the Air Force in 1954, I came right back to Memphis and started knocking on doors at the ra...
'Boneless,' even though we were thinking about servicing it to radio, it made more sense putting a vocal on there. This was actually the first time that I really looked at doing a song for radio and kind of let go of some control and listened to a lo...
When I was on the radio, I used to be able to go a lot farther than I can now. You don't really remember until you're on the radio again, sometimes in your old radio station and sitting with the guys you used to work with and you go, 'Oh yeah, I can'...
I did radio back in the era when we did radio drama.
If 'Life in Marvelous Times' can't get on the radio, then I don't need to be on the radio.
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text:
Q: AJAX-refresh behaviour to the feedback panel Only I have a form that will uload files. The page have a FeedBackPanel. For some reasone, the UploadProgressBar is not working for me. Is there some way to add AJAX-refresh behaviour to the feedback panel only? That way I can have atleast an info() in the feedbackpanel when upload is over.
Thanks

A: You could send() an event after upload finished and receive it in the FeedbackPanel in onEvent(). The event should contain an AjaxRequestTarget so you can add the feedbackPanel to it.

redpajama_set_name: RedPajamaStackExchange


text:
PPC and Paid Search View All →
Paid SearchBudget Management 07:56
Digital ChannelsPaid Search 03:07
Paid SearchBid Management Software 04:14
Strategy and PlanningSearch Objectives 02:12
Paid SearchBidding Best Practices 08:32
Paid SearchLanding Pages 03:00
Strategy and PlanningMeasurement 04:48
Paid Search (PPC) with Google AdsKeyword Research 06:10
Paid SearchAccount Structure 07:47
Now alongside organic search and SEO, the other part of the search mix is paid search, also known as PPC. It's mainly a closing channel and it's an inbound channel. It's a core inbound channel as searchers are literally telling Google what they want and, as a result, they will be central to your conversion strategy. They're asking Google for a solution and you need to give them the correct answer to take them to the next stage.
Closing channel
And, when thinking about your PPC, you should always have sales and conversion outcomes in mind because, when investing in PPC, it's really possible to see a direct return on investment as it is typically the channel that is the step before the person converts. So, it is a highly relevant closing channel, but it can be expensive.
Measuring conversions
So it's essential to measure the impact in terms of ROI just to justify the spend and performance to the people who are paying the bills and putting it in the media mix. Now, just to note, while the main PPC channel in the western world is Google Ads, the landscape is different in different markets. So, for example, in China, it's Badoo. And, in Japan, for example, we've got a really high prevalence of Yahoo! So, the main PPC channel that you choose will be dependent on the market that you're operating in. Just a consideration for everyone before we proceed.
Now even though PPC is fairly easy to measure using conversion metrics, it's important to recognize that they're not the only metrics we can use to measure performance. There are other metrics available to us on platforms like Google Ads. These are things like impression-assisted conversions or click-assisted conversions, which shows us how certain keywords assist in driving conversion during these true consideration searches and different things like that. It's not always about the last click.
Brand searches
Another way actually to measure success with paid search is to note any increases in brand search. In essence, there's only a limited number of people actually looking for your brand at any one time. That's just who's looking for your brand and it doesn't really change unless you do some traditional advertising, or some PR, some promotion, or awareness-driving activity like online display, or video, maybe some social media. This drives more people to search for you. As a result, it disrupts the market and any increases in brand search can be a result of activity in other consideration channels.
Brand searches are really valuable because they tend to have higher conversion rates, lower cost per click, and lower cost per conversion, because people are actually looking for you. And more than likely they're going to take action versus those highly competitive, generic searches, or non-brand searches where everyone is bidding on it, and it's much higher cost.
So, this would be an example of assisting and closing channels working together to drive results. We have those assisting channels which increase the number of people who are looking for a brand in our PPC and that ultimately leads to better results from the entire campaign.
Cathal Melinn
Digital Marketing Manager @ Digital Marketing Institute
15 years' experience in search and display
Worked at Yahoo! Search in 2005 as a Senior Search Strategist for the UK Financial Services vertical
Moved to the world of agency in 2010 as Head of Search and Online Media for five years
Currently working at the Digital Marketing Institute as a Digital Marketing Manager
Previous clients include Apple, Vodafone, Expedia, Virgin, Universal Music Group, Amazon, Compare the Market, and HSBC
Toolkit: Digital Media Plan Template
Webinar: How to Drive Sales with Affiliate Marketing - Cathal Melinn
Article: 6 Proven Tips to Promote Your Video Content
This module opens with a comprehensive overview of channel planning including the challenges this presents to marketers. It covers inbound and outbound strategies, cross media planning, the digital channel mix, and mobile marketing. Next, the module dives deeper into key topics related to each of the channels, covering social media marketing and content marketing strategy, search engine marketing, SEO, conversion rate optimization, and paid search, email and affiliate marketing, and display and video advertising, including ad formats and creative.
Ready to learn more about PPC and Paid Search?

redpajama_set_name: RedPajamaCommonCrawl


This hearty chicken dish gets its enticingly yellow hue from the spicy ají amarillo chile pepper, one of the must-have ingredients of Peruvian cuisine. The heat of the peppers is softened by a liberal dose of evaporated milk or cream.
Put the chicken, water or stock, salt and pepper to a saucepan and bring to a boil. Reduce heat to low and simmer until the chicken is cooked through and tender, about 30 to 40 minutes. Remove the chicken, reserving the broth. When cool enough to handle, shred the chicken with your fingers. Set aside.
Heat the oil in a large saucepan or skillet over medium flame. Add the onion and ají peppers and garlic and saute until the onions are translucent, 3 or 4 minutes.
Add the shredded chicken back to the pot, along with the breadcrumbs and evaporated milk or cream and enough of the reserved stock enough to give it a nice saucy consistency. Bring to a boil, then reduce heat and simmer for 15 to 20 minutes.
Stir in the walnuts, Parmesan cheese. Simmer for another 2 or 3 minutes, adding more of the remaining broth as needed to make a nice sauce. Adjust seasoning with salt and pepper.
Serve hot over rice or boiled potatoes (or both!). For a typical garnish, top portions with sliced hard-boiled eggs and pitted black olives.
To Make Fresh Breadcrumbs: Trim the crust from 4 or 5 slices of fresh bread, then put into a food processor and pulse to make crumbs.
Add a chunk of onion, a stalk of celery, a small carrot and a bay leaf to the simmering chicken for a more flavorful stock.
Fresh ají peppers can be hard to find. Latin markets often carry them frozen or canned. You can also buy ají pepper paste, dried whole or ground powder. Adjust the amount you use to your taste. If you can't find ají in any form, substitute fresh jalapeño peppers and add 2 teaspoons of turmeric for color.
A cup of pisco brandy is sometimes stirred into the simmering sauce for adults-only flavor.


Atkins/May Project is the current project led by Al Atkins and Paul May. Al Atkins is a vocalist of rare talent and of course will be known by many as the founder member and original singer with British heavy metal legends Judas Priest. Over the years Al has released a number of solid well received rock albums and some of his earlier songs appear on the first Judas Priest albums. Serpents Kiss is the first album to come from the duo and is a mix of traditional heavy metal and a somewhat new direction for Al: Progressive Metal. The album was recorded in early 2011 and features eleven tracks with ten of the tracks being original compositions and the final track a cover of the Kiss song Cold Gin. The album will appeal to the large and dedicated Progressive Metal fan base but also the large fan base commanded by Al Atkins through his connection with Judas Priest. A proven track record also exists for Al Atkins previous releases both in the UK and mainland Europe.
4.	Can You Hear Me?


The serial accelerator inventions that permitted high energy research to achieve the outstanding scientific feats it is famous for were motivated by competition for scarce funding dollars drove. The "more bang for the buck" designs focus first on particle energy—from MeV to GeV to the TeVs of Fermilab's Tevatron and CERN's Large Hadron Collider (LHC). Particle energy defines the threshold that makes any event possible, but beam intensity is important for "event count rate".


text:
package main

import (
	"bufio"
	"bytes"
	"errors"
	"fmt"
	"io/ioutil"
	"log"
	"net"
	"net/http"
	"os"
	"path"
	"strconv"
	"strings"
	"time"
)

const (
	scalewayMetadataURL  = "http://169.254.42.42/"
	scalewayUserdataURL  = "169.254.42.42:80"
	instanceIDFile       = "instance_id"
	instanceLocationFile = "instance_location"
	publicIPFile         = "public_ip"
	privateIPFile        = "private_ip"
)

// ProviderScaleway is the type implementing the Provider interface for Scaleway
type ProviderScaleway struct {
}

// NewScaleway returns a new ProviderScaleway
func NewScaleway() *ProviderScaleway {
	return &ProviderScaleway{}
}

func (p *ProviderScaleway) String() string {
	return "Scaleway"
}

func (p *ProviderScaleway) sendBootSignal() error {
	var client = &http.Client{
		Timeout: time.Second * 2,
	}

	state := []byte(`{"state_detail": "booted"}`)

	req, err := http.NewRequest("PATCH", scalewayMetadataURL+"state", bytes.NewBuffer(state))
	if err != nil {
		return fmt.Errorf("Scaleway: http.NewRequest failed: %s", err)
	}
	req.Header.Set("Content-Type", "application/json")

	_, err = client.Do(req)
	if err != nil {
		return fmt.Errorf("Scaleway: Could not contact state service: %s", err)
	}

	return nil
}

// Probe checks if we are running on Scaleway
func (p *ProviderScaleway) Probe() bool {
	// Getting the conf should always work...
	_, err := scalewayGet(scalewayMetadataURL + "conf")
	if err != nil {
		log.Printf(err.Error())
		return false
	}

	// we are on Scaleway so we need to send a request to tell that the instance has correctly booted
	err = p.sendBootSignal()
	if err != nil {
		log.Printf("Scaleway: Could not signal that the instance booted")
	}

	return true
}

// Extract gets both the Scaleway specific and generic userdata
func (p *ProviderScaleway) Extract() ([]byte, error) {
	metadata, err := scalewayGet(scalewayMetadataURL + "conf")
	if err != nil {
		return nil, fmt.Errorf("Scaleway: Failed to get conf: %s", err)
	}

	hostname, err := p.extractInformation(metadata, "hostname")
	if err != nil {
		return nil, fmt.Errorf("Scaleway: Failed to get hostname: %s", err)
	}

	err = ioutil.WriteFile(path.Join(ConfigPath, Hostname), hostname, 0644)
	if err != nil {
		return nil, fmt.Errorf("Scaleway: Failed to write hostname: %s", err)
	}

	instanceID, err := p.extractInformation(metadata, "id")
	if err != nil {
		return nil, fmt.Errorf("Scaleway: Failed to get instanceID: %s", err)
	}

	err = ioutil.WriteFile(path.Join(ConfigPath, instanceIDFile), instanceID, 0644)
	if err != nil {
		return nil, fmt.Errorf("Scaleway: Failed to write instance_id: %s", err)
	}

	instanceLocation, err := p.extractInformation(metadata, "location_zone_id")
	if err != nil {
		return nil, fmt.Errorf("Scaleway: Failed to get instanceLocation: %s", err)
	}

	err = ioutil.WriteFile(path.Join(ConfigPath, instanceLocationFile), instanceLocation, 0644)
	if err != nil {
		return nil, fmt.Errorf("Scaleway: Failed to write instance_location: %s", err)
	}

	publicIP, err := p.extractInformation(metadata, "public_ip_address")
	if err != nil {
		// not an error
		log.Printf("Scaleway: Failed to get publicIP: %s", err)
	} else {
		err = ioutil.WriteFile(path.Join(ConfigPath, publicIPFile), publicIP, 0644)
		if err != nil {
			return nil, fmt.Errorf("Scaleway: Failed to write public_ip: %s", err)
		}

	}

	privateIP, err := p.extractInformation(metadata, "private_ip")
	if err != nil {
		return nil, fmt.Errorf("Scaleway: Failed to get privateIP: %s", err)
	}

	err = ioutil.WriteFile(path.Join(ConfigPath, privateIPFile), privateIP, 0644)
	if err != nil {
		return nil, fmt.Errorf("Scaleway: Failed to write private_ip: %s", err)
	}

	if err := p.handleSSH(metadata); err != nil {
		log.Printf("Scaleway: Failed to get ssh data: %s", err)
	}

	// Generic userdata
	userData, err := scalewayGetUserdata()
	if err != nil {
		log.Printf("Scaleway: Failed to get user-data: %s", err)
		// This is not an error
		return nil, nil
	}
	return userData, nil
}

// exctractInformation returns the extracted information given as parameter from the metadata
func (p *ProviderScaleway) extractInformation(metadata []byte, information string) ([]byte, error) {
	query := strings.ToUpper(information) + "="
	for _, line := range bytes.Split(metadata, []byte("\n")) {
		if bytes.HasPrefix(line, []byte(query)) {
			return bytes.TrimPrefix(line, []byte(query)), nil
		}
	}
	return []byte(""), fmt.Errorf("No %s found", information)
}

// scalewayGet requests and extracts the requested URL
func scalewayGet(url string) ([]byte, error) {
	var client = &http.Client{
		Timeout: time.Second * 2,
	}

	req, err := http.NewRequest("", url, nil)
	if err != nil {
		return nil, fmt.Errorf("Scaleway: http.NewRequest failed: %s", err)
	}

	resp, err := client.Do(req)
	if err != nil {
		return nil, fmt.Errorf("Scaleway: Could not contact metadata service: %s", err)
	}
	if resp.StatusCode != 200 {
		return nil, fmt.Errorf("Scaleway: Status not ok: %d", resp.StatusCode)
	}
	body, err := ioutil.ReadAll(resp.Body)
	if err != nil {
		return nil, fmt.Errorf("Scaleway: Failed to read http response: %s", err)
	}
	return body, nil
}

// scalewayGetUserdata returns the userdata of the server, differs from scalewayGet since the source port has to be below 1024 in order to work
func scalewayGetUserdata() ([]byte, error) {
	server, err := net.ResolveTCPAddr("tcp", scalewayUserdataURL)
	if err != nil {
		return nil, err
	}
	var conn *net.TCPConn
	foundPort := false
	for i := 1; i <= 1024; i++ {
		client, err := net.ResolveTCPAddr("tcp", ":"+strconv.Itoa(i))
		if err != nil {
			return nil, err
		}

		conn, err = net.DialTCP("tcp", client, server)
		if err == nil {
			foundPort = true
			break
		}
	}
	if foundPort == false {
		return nil, errors.New("not able to found a free port below 1024")
	}
	defer conn.Close()
	fmt.Fprintf(conn, "GET /user_data HTTP/1.0\r\n\r\n")

	reader := bufio.NewReader(conn)
	resp, err := http.ReadResponse(reader, nil)
	if err != nil {
		return nil, err
	}
	defer resp.Body.Close()

	body, err := ioutil.ReadAll(resp.Body)
	if err != nil {
		return nil, err
	}

	return body, nil
}

func (p *ProviderScaleway) handleSSH(metadata []byte) error {
	sshKeysNumberString, err := p.extractInformation(metadata, "ssh_public_keys")
	if err != nil {
		return fmt.Errorf("Failed to get sshKeys: %s", err)
	}
	sshKeysNumber, err := strconv.Atoi(string(sshKeysNumberString))
	if err != nil {
		return fmt.Errorf("Failed to convert sshKeysNumber to int: %s", err)
	}

	rootKeys := ""
	for i := 0; i < sshKeysNumber; i++ {
		sshKey, err := p.extractInformation(metadata, "ssh_public_keys_"+strconv.Itoa(i)+"_key")
		if err != nil {
			return fmt.Errorf("Failed to get ssh_key %d: %s", i, err)
		}

		line := string(bytes.Trim(sshKey, "'"))
		parts := strings.SplitN(line, " ", 2)
		if len(parts) == 2 {
			rootKeys = rootKeys + parts[1] + "\n"
		}
	}

	if err := os.Mkdir(path.Join(ConfigPath, SSH), 0755); err != nil {
		return fmt.Errorf("Failed to create %s: %s", SSH, err)
	}

	err = ioutil.WriteFile(path.Join(ConfigPath, SSH, "authorized_keys"), []byte(rootKeys), 0600)
	if err != nil {
		return fmt.Errorf("Failed to write ssh keys: %s", err)
	}
	return nil
}

redpajama_set_name: RedPajamaGithub


text:
Q: How to find RC4 key from decrypted and encrypted data? I have some dump analysis in a documentation showing a bunch of encrypted data, and the resulting decrypted data. The algorithm used is explained (simple RC4). The only piece of information missing is the key used to get from the encrypted to the decrypted data.
I'm writing an automated test from this documentation material. I could chose some key of my own and recreate encrypted data from cleartext, but I wonder if there is any easy cryptanalysis way to find the original key that was used to encrypt the original bunch of data.
A brute force approach is probably possible as the key is quite small, but I'm much more interrested to know if any smarter approach exists.
Below is my current C encryption code (using OpenSSL):
unsigned char source[16] = {
    0xdb, 0xa3, 0x13, 0x30, 0x79, 0xa3, 0xcd, 0x9e,
    0x48, 0xf4, 0x8f, 0x06, 0x37, 0x1b, 0x45, 0xdd};
unsigned char expected_target[16] = {
    0x00, 0x00, 0x06, 0x00, 0x0e, 0x00, 0x00, 0x00,
    0x6d, 0x69, 0x63, 0x72, 0x6f, 0x73, 0x6f, 0x66};
unsigned char target[16] = {};
unsigned char key[16] = {};

RC4_KEY crypt_key;
RC4_set_key(&crypt_key, 16, key);
RC4(&crypt_key, 16, source, target);

printf("key    = [%02x %02x %02x %02x %02x %02x %02x %02x "
               "- %02x %02x %02x %02x %02x %02x %02x %02x]\n",
    key[0], key[1], key[2], key[3],
    key[4], key[5], key[6], key[7],
    key[8],  key[9], key[10], key[11],
    key[12], key[13], key[14], key[15]);

printf("source = [%02x %02x %02x %02x %02x %02x %02x %02x "
               "- %02x %02x %02x %02x %02x %02x %02x %02x]\n",
    source[0], source[1], source[2], source[3],
    source[4], source[5], source[6], source[7],
    source[8], source[9], source[10], source[11],
    source[12], source[13], source[14], source[15]);

printf("target = [%02x %02x %02x %02x %02x %02x %02x %02x "
               "- %02x %02x %02x %02x %02x %02x %02x %02x]\n",
    target[0], target[1], target[2], target[3],
    target[4], target[5], target[6], target[7],
    target[8], target[9], target[10], target[11],
    target[12], target[13], target[14], target[15]);

printf("expected_target = [%02x %02x %02x %02x %02x %02x %02x %02x "
                        "- %02x %02x %02x %02x %02x %02x %02x %02x]\n",
    expected_target[0], expected_target[1], expected_target[2], expected_target[3],
    expected_target[4], expected_target[5], expected_target[6], expected_target[7],
    expected_target[8], expected_target[9], expected_target[10], expected_target[11],
    expected_target[12], expected_target[13], expected_target[14], expected_target[15]);

A: *

*No. There are no efficient RC4-cracking methods known.

*You need millions of years to brute-force 128-bit key. You could try to use password lists.


text:
Brussels: Green travel tips by sustainability consultant Chloé
When we discovered The Green Monkey and read Chloé's interesting eco opinions and lifestyle tips we knew she was one of us! We soon reached out and decided to do a little collaboration together. She fell in love with our Maasai Body Necklace and decided to write an eco-production report of the people that produce it for us, the wonderful Basecamp Foundation in the Maasai Mara, Kenya. She also agreed to tell us about her favourite "green" spots in Brussels, where she is living at the moment... find out more below!
Chloé of The Green Monkey wearing our Maasai Body Necklace
Chloe, you have lived in Bruxelles for 4 years and know the city inside out - could you tell us your three favourite spots around town where you take friends that visit you for a weekend?
Of course! The first one would be the area called Les Marolles. Located "downtown" of the city, it's the most "typical" Brussels neighbourhood and actually one of the oldest. There you'll find people who've been living in the area for decades, plenty of little houses previously inhabited by factory workers, tons of design and fashion shops and the famous Place du Jeu de Balle where there's an antique market almost every day and where it's impossible to leave without something. Second is the Bois de la Cambre. It's the lung of Brussels. A huge forested area with a lake in the middle and plenty of space to lay in the sun and enjoy a picnic. I take my dogs there several times a week and it always feels amazing for the body and the mind. If you're feeling adventurous you can even go a bit further to the Foret de Soignes which is a real forest and one of the biggest in Belgium (see feature img). Third would be my current neighbourhood: Saint Gilles. Cool and edgy without being snobbish and still very authentic, it's home to some very interesting cultural projects such as La Tricoterie where you can watch a movie or an exhibition, attend workshops and eat, all in the same place! Also, it's definitely the best neighbourhood to grab a drink, either at the Parvis de Saint Gilles or at Le Dillens when it's sunny and you can sit on the outside terrasse.
People hanging out at Bois de la Cambre Park, antique market at Place du Jeu de Balle, vintage drawing of Saint Gilles.
Belgium has an incredible density of Michelin star restaurants and some of the best chefs in the world are based in this small country! What's it like to be a vegan in Bruxelles? Could you tell us a couple of your fav vegan and vegetarian restaurants? Where would you send us for a nice breakfast, lunch and dinner?
Definitely not easy but it's improving! Belgian cuisine is very focused on meat and dairy with a lot of sauce. Fish and seafood also have a strong place so the struggle is real! But thank god, there are some yummy vegan places opening up around the city that make incredible food for plant-based visitors! For breakfast/brunch, I would suggest Chyl which offers an incredible brunch in a lovely city house near Le Bois de la Cambre. Booking in advance is strongly advised as it's always full. I also really like Hinterland for their wide selection of breakfast including plenty of vegan options and the kindness of the staff. For lunch, Ami has vegetarian/vegan soups, salads, burgers and it's always a delight. My favourite dinner spot for an occasion is Tero. Not only is the design incredibly beautiful, the cuisine is based on the slow food movement principles with most of the ingredients being local and organic. There are plenty of vegan options.
Brunch at Chyl, beautiful colourful dish at Tero, veggie burger at Ami and mouth watering plates at Hinterland.
Last but not least - as you might figure we are huge vintage & sustainable fashion lovers! Could you tell us about your favourite vintage shops in Brussels? Are there any cool concept stores with a focus on sustainability or sustainable Belgians brands with shops in town that we shouldn't miss out on?
Brussels is booming when it comes to vintage! If you're looking for eco European furniture, swing by Mieu and if you're not afraid to do some searching, stop by Les Petits Riens, a social project that sells second-hand furniture for a very affordable price. In Les Marolles, you'll find several vintage clothing stores including one where you can pay per kilo. 2 shops sell only eco-fashion for men and women: Wonderloop in the city Center and Orybany in Les Marolles. Finally, don't miss Belge une Fois, a concept store that only offers clothing, jewellery and design pieces made by Belgian designers! Perfect for a gift to bring home ☺.
Furniture made in Europe at Mieu, view into the concept store Belge une Fois and cool Ts at Wonderloop.
Ultimate Berlin Nature Escape: Saxon Switzerland
KID-FRIENDLY BERLIN: Alice & Alma's favourite food spots around town


Burn Ban in Effect as of 3/11/2019. See Public Notices page for statement.
"The Jewel of the Plains"
Donley County is located in the southeast quadrant of the Texas Panhandle, and Clarendon, the county seat, is located 60 miles southeast of Amarillo. Donley County was created by the Texas Legislature in 1876, and organized in 1882. The County was named after Stockton P. Donley, who was a Texas Supreme Court Justice and a Confederate veteran. According to the 2000 Federal Census, Donley County's population is 3,828. Clarendon has a population of 1,974 and other towns in the county are Howardwick (pop. 437), Hedley (pop. 379), and Lelia Lake (pop. 125).
The local economy is based primarily on agribusiness and tourism with higher education and light manufacturing also playing important roles. Cattle ranching and farming (cotton, peanuts, wheat, alfalfa and hay) with 11,000 irrigated acres comprises the local agricultural activity.
Donley County is home to several historic sites, including the Donley County Courthouse; Clarendon College; Saints Roost Museum, many churches which were the first in the Panhandle for their denomination, and historic homes such as the S.W. Lowe home.


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What is CrypTool 1?
CrypTool 1 (CT1) is an open-source Windows program for cryptography and cryptanalysis. It's the most widespread e-learning software of its kind.
CrypTool 2 (CT2) is an open-source program offering an innovative visual programming GUI to experiment with cryptographic procedures and to animate their workflow.
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JCrypTool (JCT) is an open-source e-learning platform, allowing to experiment comprehensively with cryptography on Linux, macOS, and Windows.
What is CrypTool-Online?
CrypTool-Online (CTO) runs in a browser and provides a variety of encryption and cryptanalysis methods including illustrated examples and tools like password generator and password meter.
What is MysteryTwister C3?
MysteryTwister C3 (MTC3) is an international Crypto Cipher Contest offering a broad variety of challenges, a moderated forum, and an ongoing hall-of-fame.
About CrypTool 1
Features of CrypTool 1.4.4x Menu Tree Presentations Roadmap News Archive
New Version of CrypTool — CT 1.4.41 released
A new release of CrypTool 1 was published on March 27, 2018.
New Release of CrypTool — CT 1.4.40 released
A new release of CrypTool 1 was published on September 21, 2017.
Third public beta of CrypTool 1.4.31
The new CrypTool 1.4.31 beta is ready. This version is now available in 6 languages German, English, Spanish,...
CrypTool 1 (CT1) is a free Windows program for cryptography and cryptanalysis. CT1 is available in 6 languages, and it is the most widespread e-learning software of its kind.
CT1 supports both contemporary teaching methods at schools and universities as well as awareness training for employees and civil servants. The program can be downloaded here.
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The current version of CrypTool 1 offers among other things:
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Cryptanalytical measurement methods (entropy, n-grams, autocorrelation, etc.)
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Number theory tutorial
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Transitions Between Religious Groups among Israeli Jews: Abstract
November 04, 2020 | Written By: Dr. Eitan Regev , Gabriel Gordon
This study provides first-ever reliable estimate of the rate and scope of transitions into and out of the ultra-Orthodox community; an analysis made possible thanks to innovative methodology and a rich dataset.
The findings reveal that the percentage of those (ages 20-64) leaving the ultra-Orthodox sector (cited here as "leavers") is approximately 13.3%, while the rate of transition into ultra-Orthodoxy ("joiners") among the national-religious and secular populations is 4.9% and 1.0%, respectively. However, in absolute terms, the overall number of individuals aged 20–64 who have joined the ultra-Orthodox sector (but who did not grow up in an ultra-Orthodox household—what is termed as baalei tshuva) is approximately 59,500, while approximately 53,400 who grew up in ultra-Orthodox households, left the ultra-Orthodox sector. At the same time, among younger age groups, we see a sharp rise in the number of "leavers", alongside a steep decline in the number of "joiners." Thus, among individuals born between 1993 and 1997, there is a large gap between the two groups (numbering about around 7,300) in favor of the "leavers."
The Ultra-Orthodox community is divided into several religious movements, factions or denominations. Only 5.4% in the Hasidic ultra-Orthodox faction, as compared with 8.6% of the "Lithuanian" faction and 26.4% of Sephardim have left ultra-Orthodoxy. Rates among women are slightly lower than those among men. Those leaving the Sephardic faction constitute around 57% of all those leaving the ultra-Orthodox sector.
64% of the "leavers" now define themselves as religious or very religious. A look at their educational background—that is, the type of high school they attended - (ultra-Orthodox or not), reveals that about 28% of them left ultra-Orthodoxy while they were still minors. Only 1.8% of those who grew up in a secular or National Religious home define themselves as ultra-Orthodox in adulthood.
Adjusting for the transitions between the different sectors, our projection for the size of the ultra-Orthodox population in Israel in 2067 is lower by around 925,000 individuals (that is, by some 14%) than the projection of the Central Bureau of Statistics (around 5.86 million compared with around 6.78 million, respectively). Accordingly, the adjusted projection for the size of the rest of the Jewish population in 2067 is higher by about 600,000 (that is, some 6%) than the CBS projection (around 10.34 million compared with around 9.74 million, respectively).
According to our standardized projections, the total number expected to leave the ultra-Orthodox sector between 2017 and 2067 is approximately 420,000. Over the same period, some 176,000 people are expected to join the ultra-Orthodox sector.
The findings of this study (and others) reveal a high correlation between the characteristics of the "leavers" and the "joiners," (particularly in the Sephardi community: In the 19–25 age group, at least 28% of the "leavers" are children of parents who made a transition in the opposite direction and became ultra-Orthodox ("ba'alei teshuva").
Some 57% of the "leavers" belong to the Sephardi faction (which constitutes only around 33% of the entire ultra-Orthodox population), and similarly, approximately 58% of the "joiners" are of Sephardi origin. The lowest rates of leaving ultra-Orthodoxy and the highest rates of joining the ultra-Orthodox community, are found among those born during the 1970s, who were in their twenties during the "golden age" of Israeli ultra-Orthodoxy (in economic and political terms, and particularly of the Sephardi faction) during the 1990s and at the beginning of the 2000s, which came to an end with the sharp cuts to subsidies in 2003.
Some 64% of the "leavers" now define themselves as religious or very religious. Yet interestingly, many of those who had an ultra-Orthodox education and currently define themselves as very religious (rather than as ultra-Orthodox), send their children to ultra-Orthodox schools. This may be the case because some did not originally define themselves as ultra-Orthodox, even though they received an ultra-Orthodox education; or alternatively, it might be that some of them still live in ultra-Orthodox communities though not fully identifying with the ultra-Orthodox way of life, and thus prefer to define themselves as "very religious". In this context, it is worth noting that only around 20% of the "leavers" now define themselves as "very religious", and the majority of those who now define themselves as "religious", send their children to educational institutions that are not ultra-Orthodox.
Overall, these findings indicate that it is highly probable that many of those who have left the ultra-Orthodox sector made the reverse journey at some time in the past, when they joined the sector, or (most commonly) are the children of parents who became ultra-Orthodox. This is very likely to characterize mainly among the Sephardi faction, which is also characterized by the highest rates of leaving ultra-Orthodoxy. The upshot is that the percentage of "leavers" within the ultra-Orthodox mainstream (not including the newly ultra-Orthodox) is likely much lower than the overall percentage. On the other hand, high rates of leaving ultra-Orthodoxy are also characteristic of veteran Sephardi ultra-Orthodox familiesOur investigations have found that even among veteran ultra-Orthodox families in the Sephardi stream, the leaving rate is around 20%—much higher than the equivalent rates in the Hasidic and Lithuanian streams.. In any case, the data show that the overall rate of leaving ultra-Orthodoxy in the sector as a whole, is on the rise in the younger age groups (those born between 1993 and 1997) , with the rate among them being ten times as high as the rate joining the ultra-Orthodox sector. Based on these trends, we are likely to see a significant rise in the number of young people leaving the ultra-Orthodox sector in the coming years, with their current number standing at some 3,000 a year.
According to our projections, the overall number expected to leave the ultra-Orthodox sector between 2017 and 2067 is approximately 420,000—around 40,000 of them in the coming decade, and an additional 55,000 in the decade after that. These will be added to some 35,000 young people (aged 20–39) who have left the sector in the recent years and are making their way in Israeli society and in the labor market.
We hope that the findings of this study will make it possible for government agencies to take into account the unique characteristics of this population in the future, in order to formulate policies that will facilitate its optimal integration.
In this context, an important (and surprising) finding, which goes against what has been conventional wisdom until now, is the fact that the leaving rate among women is only slightly lower than that among men. While most of the younger "leavers" are men, among the older age groups the gap is much smaller, indicating that women leave the ultra-Orthodox sector at a later age than men. This may stem from the fact that the price of leaving is higher for women, and the reactions of the community much harsher (Horowitz 2018). As a result, women might prefer to conceal and delay taking steps to leave the sector. This finding highlights the need to look more closely at the population of women "leavers", who need support and direction no less than men, (and perhaps even more), and yet the agencies that could provide help to them seem to be less familiar with their challenges. On the other side of the equation, the number of "joiners" constitute a significant portion(about 15%) of the ultra-Orthodox sector . This is a group with very specific characteristics and needs, encountering significant difficulties in integrating into the ultra-Orthodox community, and sometimes experiencing the alienation of the community's main core. As noted by Malchi (2016), this group "faces difficult choices and challenges as to its social standing, complicated spousal relationships, and with regard to their children's education, as well as the question of its integration within the general ultra-Orthodox population, which can often be ambivalent toward ba'alei teshuva, even years after their transition to ultra-Orthodoxy."
This population differs from the veteran ultra-Orthodox population in various respects, including in its geographical distribution, level of formal education, access to public resources and funding, and with less access to community support. It is important that policymakers be provided with accessible information on the particular needs of this group, as well as with data on its size and characteristics, and take this information into account will be in the formulation of policy for the ultra-Orthodox sector.
Figure 3. Numbers of people who have left the ultra-Orthodox sector compared to the number who joined it, by year of birth, 2017 (ages 20–64; in thousands)
Figure 4. % of People who left the ultra-Orthodox sector, by faction and gender, 2017 (ages 20–64)
Figure 7. Level of current religious observance among people who left the Haredi Sector, by ultra-Orthodox faction and current religiosity, 2017 (ages 20–64; %)
Figure 9. Rates of leaving the ultra-Orthodox sector, by year of birth and ultra-Orthodox faction 2017 (ages 20–64)
Figure 12. Leaving and joining rates in the ultra-Orthodox sector, by year of birth, 2018 (ages 20–64; %)
Figure 16. Share of Young adults (ages 19–25) not defining themselves as ultra-Orthodox, by type of Education they and their parents received at youth, , 2014–2019)
Demographic Projections Adjusted for Leaving and Joining Rates in the Ultra-Orthodox Sector
The findings on the relatively high leaving rates in the ultra-Orthodox sector compared with low joining rates raise questions regarding the future impact of these transitions on the size and demographic composition of the Jewish population in Israel. Though we cannot know for certain what these rates will be in the future, we can reasonably and cautiously use the current trends as the basis for more updated demographic projections, which take into account the transitions between the different sectors.
Figure 22. Demographic projections adjusted for leaving and joining rates in the ultra-Orthodox sector versus CBS projections, 2017–2067
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Charles Zana Receives One of France's Most Prestigious Honors
Madeleine Luckel
How Do I Handle Long Lead Times and an Impatient Client?
Gloria Vanderbilt—Artist, Designer, Writer, Fashion Icon—Dies at Age 95
A Little-Known Piece of Literary History Sparked the Idea for This New Exhibition
Jorge Pardo Crafts a Vibrant Dream House in Mérida, Mexico
The artist takes AD inside his Yucatán oasis
Eve MacSweeney
Jason Schmidt
Jorge Pardo loves to build. And the Cuban-born artist, who divides his time between New York City and Mérida, Mexico, has been doing it a lot lately. This fall he's put the finishing touches on a sprawling, inventive compound for the publisher Benedikt Taschen in Malibu, and on L'Arlatan, an exuberant hotel in Arles, France, commissioned by the Swiss pharmaceutical heiress and art patron Maja Hoffmann. The hotel takes its place close to Hoffmann's Luma Arles, a contemporary-art complex adapted by Annabelle Selldorf from a former 19th-century train factory and anchored by Frank Gehry's spectacular Arts Resource Center, which will be completed in spring 2020.
And then there's Pardo's own place, a walled oasis in the Yucatán capital. Mérida, where he set up a studio in 2013, suits the artist's love of both scale and artisanal workmanship. Here, for example, he can source traditional ceramic tiles, one of his most cherished materials, cut and colored to his limitless, unbridled specifications. "It's like a playground for me," he says.
Artist Jorge Pardo in his home's lush garden.
When he bought the property, it was little more than a crumbling façade and a big, empty lot proportioned, like many traditional Mérida houses, to extend deeply rearward from its narrow street frontage, "like a football pitch," says Pardo, "45 feet wide and 300 feet deep." Built flush with the sidewalk, this footprint gives these historical residences a deceptively modest aspect, until they open, Narnia-like, to reveal inner gardens, courtyards, and quarters stretching luxuriously into the distance.
The cut of the original stones in Pardo's façade suggests that the building dates from the 17th century. The local conservancy required him to maintain its nearly 20-foot ceiling height, something he turned to his advantage by creating a soaring, formal entertaining space. Here, the artist's interventions add to the room's magic: A table he made, inlaid with skulls at its corners—"I wanted the furniture to have some ornamentation," he says—comfortably seats 16; one wall is almost entirely covered by a rendering of a Willem de Kooning painting, digitized and simplified in the studio, then scaled up and filled in "kind of like a paint-by-numbers process"; the bank of patterned geometric windows leading to the interior gardens is draped with printed fabrics and Chinese-made lace bought locally and layered to create surprising tones and iterations of color. "Singularly, they wouldn't be as interesting," Pardo observes. "Doubled up, they are complementary or dissonant."
Masterfully gridded windows rise to meet the nearly 20-foot-tall ceilings.
Beyond the entrance building, which includes a catering kitchen and Pardo's beloved wine cellar, he was free to build as he wished. The result? A succession of three structures, punctuated by lawns, trees, and a pool that can be accessed either from outside or directly from the living area. "I wanted to make a place where you didn't 'go' to the garden, but you're in the garden," he says, pointing out that a lot of houses have yards at the back, with the result that they're not much used. "I love the idea that you have to walk through the entire garden every day as you go in and out of the house." Planted with banana and mango trees, cacti, chilli bushes, birds-of-paradise, and other native species, the garden is so lush and rapid in its growth that it "rescales itself every six to eight months," he says. "You weed it out, move things that don't work."
The central block, where, says Pardo, "I spend 90 percent of my time," contains the day-to-day kitchen and living area. A large screened room open on both sides, it's "like a birdcage that's really nice to be in." (Indeed, the house's running soundtrack features the high-pitched whoops and trills of tropical birds making their airborne rounds.) Pardo is a gifted chef and generous host to frequent visitors. "It can easily handle eight," he says of the house, which includes five guest rooms in the bedroom block at the rear. The kitchen is equipped with a commercial refrigerator trimmed with LED lights, of the kind you might see in a convenience store, and an industrial-size air vent "because," he says, "I like to cook with fire." The ceiling height here—just over 13 feet—is slightly less extravagant than that of the entrance space, yet still optimal for showcasing the constellations of Pardo's laser-cut pendant lamps that hang in semi-random color-grouping formations throughout the house, their shapes and colors inspired by different fruits, such as papaya and cacao pods. And then, of course, another Pardo signature: floors reimagined as abstract paintings, designed on the computer and carefully reproduced underfoot using vibrant ceramic tiles. Pardo worked from a palette of six or seven colors in the different buildings, giving each its own character. A staircase and terraces in the bedroom block, for example, are made up of celestial pale blues and greens, suggesting a borderless dimension between garden and sky.
Native plants hang over the pool, made of chukum, Mayan stucco.
Prototypes of wooden rocking chairs from L'Arlatan are arranged on an outdoor terrace, and tables, vases, and other furniture pieces from experimental editions are scattered around, giving Pardo's interior a playful, informal air. He's so at ease here, it's hard to imagine this is not his lifelong home. Asked if Mérida holds some resonance for him of Cuba, he thinks for a moment. "I was so young when I left," he says—he was six years old—"that it's hard to know what's even a memory. One thing I do like is the feeling of the tropics. I love humidity; it's comforting to me."
When he's not being visited by his daughter, Penelope, a 16-year-old New York City high-schooler, or his girlfriend, Alexis Johnson, an art dealer, he's content being here by himself. "You don't feel over-whelmed by its scale even though, at about 7,000 square feet, the house is quite large," he says. "It feels very warm and relaxed. It's a place where you can leave your shoes lying around."


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Rita's Blog
Pillow Talking's Review of FOOTLOOSE
Pillow Talking
She Said:
True story: When Fulton Theatre's Footloose ended, I turned to my husband/co-reviewer with a pout on my face and said, "I don't want it to be over!" That's because in every sense of the word, they nailed it - cast and crew, orchestra and choreography, sets and lighting - they all were magnificent and spot-on! I had high expectations for this production - I always have loved the iconic 1984 film starring Kevin Bacon and Lori Singer (which was followed by a pretty decent remake in 2011 starring Kenny Wormald and Julianne Hough) and while I've never before seen the stage version, I knew its premise couldn't be more ideal for the boards. The dynamic, high-energy musical written in 1998 by Dean Pitchford and Walter Bobbie, with music by Tom Snow and lyrics by Pitchford, tells the age old story of city folk vs. country folk - and how a restless and rebellious teen from Chicago must quell his dancing feet after he and his divorced mother relocate to the small, heartland town of Bomont, where bopping and boogying just aint allowed.
But there's more - a lot more. There are deeper themes, a lot of heart, and moments which will touch you. You'll laugh, you'll cry, you'll hanker for romance, you'll stomp your feet, and most of all, you'll want to get up and dance!
Thanks to brilliant direction by Marc Robin, from the opening scene, the air is electric, the mood is infectious, and there's an energy which continues to flow like the rapids through �til the end. When protagonist Ren McCormack first sets foot in Podunk, he's in for a rude awakening - it's a small town filled with even smaller-minded people. There also is nowhere but The Burger Blast, a bowling alley, and the train bridge for teens to hang out and blow off steam. On top of it, he soon learns that there is an actual law which forbids dancing as a result of a tragic accident which took the lives of four local teenagers who were on their way back from a dance.
In a town which is both spiritually and politically led by the loving but sometimes misguided heart of Reverend Shaw Moore, everyone in Bomont pretty much accepts what is - with the bold exception of his impetuous and reckless daughter, Ariel. She wants out of Dodge and she'll stop at nothing until she gets there. Flanked by her friends Rusty, Urleen, and Wendy Jo along with her bad-boy beau Chuck Cranston, she's got Daddy's blood pressure hovering in stroke range for most of the play.
Ren doesn't make a great first impression on anyone but some swooning girls at school, but soon finds a loyal friend in overall-clad Willard Hewitt after a cantankerous first meeting. Soon he turns Ariel's head as well, much to Chuck's (and Daddy's) chagrin. Ultimately Ren, with a lot of charm and influence, is able to persuade all of the boot-clad populace to take a look not only at changing their dancing law, but also at themselves.
What most assuredly makes this production work were the wonderful and memorable performances by the leads. Neil Starkenberg as Ren McCormack and Liz Schmitz as Ariel Moore have incredible stage chemistry and are triple-threats in their own rights as talented actors, singers, and dancers. Unlike the more brooding Kevin Bacon portrayal, Starkenberg's Ren is upbeat and snarky, whereby he succeeded in making the part his own. With Schmitz, we get to see Ariel's many layers - a girl who is smart, wild, funny, yet deeply sad - each and every aspect of the character's personality brought out in Schmitz's genuine portrayal.
Two others whose stars I cannot wait to see continue to rise are Katie Bates and David J. Wiens. Bates is an incredibly vivacious Rusty, Ariel's best friend, the sassy, pony-tail wearing dynamo who steals scenes and songs without even trying. As her love interest, Willard, bumbles around her, we are rooting for them from the word "go." And Willard... where should I start about young Wiens? He's going places! Wiens' Willard was terrifically funny and engaging, bringing out both the character's warmth and intelligence (the latter of which was craftily hidden away under his dim-witted, buffoonish demeanor), as well as a lovely innocence and charm. And wait until you see him cut a rug!
Broadway veteran Rita Harvey is Ren's mom, Ethel McCormack, and I will shamelessly say I'm a huge fan. This troupe was so fortunate to have such a personage in their midst. Her lilting, extraordinary soprano voice, paired with the loving, playful relationship she portrays with her son is an important and sustaining element to the story.
James Patterson was a phenomenal Reverend Shaw Moore. This character has the most dramatic, complicated arc in the play - he's at times compassionate and charismatic, at other times stubborn and demanding. We see him fighting his own demons, but with humility in the end. Patterson's portrayal was so authentic, his shining moment in "Heaven Help Me" brings the audience (and me) to tears. The Reverend's wife, Vi Moore, played by Melissa Dye, is excellent as the stoic and passionate support to her husband, despite the challenges they face as a couple, a family, and a community. She is his cheerleader but one who also is not afraid to tell him what he needs to hear.
Cory Jeacoma as Chuck Cranston is the antagonistic high school drop-out and bully; no one is immune from his seething ire. Jeacoma portrays his don't-mess-with-me attitude to a "T" and you love to hate him especially when he crosses the line with Ariel. (I was going to say something here about how I could totally see him playing Patrick Swayze's "Johnny" in Dirty Dancing but upon editing my husband's review - I edit everything - I saw that he ripped off my idea, so I won't. Or did I just do it? FYI, I'd whispered the Dirty Dancing thought to him during the performance which is something I never do because he loves to steal my lines. Hi, Wayne!)
Shea Renee as Urleen and Michaela Bolt as Wendy Jo were the perfect complement to the third member of the triumvirate, Rusty, all serving as Ariel's posse. Erin Wright as Lulu Warnicker and Myles McHale as Wes Warnicker were terrific as Ethel's sister and brother-in-law. Mark Epperson played a great Coach Dunbar and Courtney Arango was great as Eleanore Dunbar. Buddy Reeder was well cast as Principal Clark. Footloose's exuberance was in great part due to the strength of its entire cast. Of course there are no small roles. Kudos also to Donovan Hoffer as Lyle/Cop, Chris Stevens as Travis/Cowboy Bob, Asher Dubin as Jeter, Zach Porter as Bickle, Tommy Betz as Garvin, Erin McNerney as Betty Blast; and the fabulous ensemble includes: Joshua Bellamy, Sarah Crane, Nolan Davidson, Lauren Elledge, Will Esposito, Clare Fitzgerald, Benjamin Hergenroeder, Austin Nedrow, Rachael Opdenaker, Teagan Smith, Michael Styer, and Victoria Tallarico.
I cannot complete this review without highlighting the spectacular musical numbers, all of which were so well done in both orchestration, song, and choreography - I especially loved Vi, Ethel, and Ariel in the affecting "Learning to Be Silent"; Ariel, Rusty, Wendy Jo, and Urleen in the sidesplittingly funny "Holding Out for a Hero!" - which was punctuated by Batman, Superman, a gladiator, and a Fabio wannabe. Rusty (and Company) rocked out "Let's Hear It for the Boy" in the biggest, baddest way possible - I was grinning from ear-to-ear. Ren and Ariel professed their love to one another in "Almost Paradise" and did so beautifully. And of course it was the Footloose (Finale) that had me not wanting to leave the theatre!
And I also have to say that the sets and staging were beyond compare - with elements that compete with those seen on Broadway stages, an incredible job by all in creating the many scenes from a Chicago dance hall to The Burger Blast to The Moore House, the high school and more. The movable set pieces glided on and off so seamlessly as the characters nimbly stepped, danced, and shuffled around them.
As always shout-outs to the many important people who make a production like this a success: Aaron McAllister as musical director; William Mohney as scenic designer; Dan Efros as lighting designer; Anthony Lascoskie Jr. as costume, hair, and makeup designer; Jacob Mishler as sound designer; Matthew Moran as associate sound designer; Katelin Walsko as properties manager; Samantha Hewes-Cramer as choreographer; Douglas Lamb as assistant stage manager; and Timothy Markus as production stage manager. And special mentions to the orchestra and the rest of the crew.
It is obvious that the staff and the board of the historic landmark, the Fulton Theatre, and the Fulton Opera House Foundation work hard in their mission to bring exceptional theatre to the Lancaster community and beyond. The stunning venue is a gem in the middle of the lovely and bustling city of Lancaster and is surrounded by exceptional businesses, wonderful restaurants, and in the larger radius, the beauty of the Pennsylvania Dutch Country and the charming traditions of the Amish community. It is well worth a visit to take in a show, a meal, and the sights!
So "Kick off the Sunday shoes" - or rather, keep them on (or some kind of footwear) and head on down to Lancaster before Footloose dances away! You'll be so glad you did!
And Mama says it doesn't matter / If you're a king or you're a clown / Once you drive up a mountain / You can't back down - From Footloose the Musical
Who would have thunk it? (as the character Willard might remark in Footloose) that 165 miles from the Great White Way is another Great White Way in Lancaster, Pennsylvania. Nestled amid farms with rows of cornfields, silos and Amish country is the town of Lancaster. One of the main drags in the town is North Prince Street, host to eclectic shops like vintage record and book stores, restaurants of all types, and one of the oldest theatres in the country - The Fulton Opera House. Who would have thunk that Broadway-comparable entertainment is alive and well in the heart of Pennsylvania Dutch Country?
But it is. And Footloose: The Musical proves it. The Fulton Theatre's production of Footloose (its season's grand finale) is superb. It is a wonderful mix of the best musical ingredients including a knee-slapping, foot-stomping, hand-clapping score. But it also is more than that. The director, Marc Robin, has gone deeper than the relatively superficial musical version that premiered on Broadway in 1998. Indeed, Mr. Robin was able to extract the deeper thematic issues that lie at the play's core beneath the iconic songs - loss, regret, forgiveness, resurrection. His direction was not only masterful, but insightful as well.
Ren McCormick, a teenager from Chicago, moves with his single mom, Ethel, to hopefully find a better life in a rural farming town. Ren, a somewhat rebellious teenager who resents authority, uses dance as a cathartic means of dealing with his father's abandonment. He is shocked to find that the town, politically controlled by the Reverend, has outlawed any kind of dancing in the town limits. To complicate matters, he has fallen for the Reverend's wild daughter. He must fight prejudice, pre-conceived notions about him and his mother, and somehow win over the trust of the Reverend in order to change the town's edicts and get the girl.
The cast is wonderful. Neil Starkenberg, who plays Ren, is definitely a rising star and one to watch. He sings, dances, and acts his heart out (he also has hair like Kevin Bacon who starred in the 1984 film version). Veteran Broadway songstress and actress, Rita Harvey, plays his single mother to perfection. James Patterson as Reverend Shaw Moore had some mighty big shoes to fill as the great John Lithgow played the character in the film. James fills them nicely, making the part of stern, flawed Reverend his own. The confrontation between him and Neil in Act 2 brought tears to my eyes. And speaking of big shoes to fill (or heels in this case) Liz Schmitz as Ariel Moore, the Reverend's wild daughter, quickly makes you forget Lori Singer's take on the character in the film version. Another rising star for sure, she had great chemistry with all the men on stage with her: Neil as Ren, James as her father and Cory Jeacoma as Chuck Cranston, her boyfriend as the play opens. Cory, by the way, had great charisma and a commanding stage presence. Liveried in black and singing and dancing to numbers like "The Girl Gets Around," conjured images of Patrick Swayze from Dirty Dancing. Another veteran Broadway songstress and actress, Melissa Dye as Vi Moore, the Reverend's wife, brought just the right amount of compassion and understanding to the role.
There were so many scene stealers in this production that if this were a baseball game, it would have the record for stolen bases by an actor. Since I love alliteration, I will dub the character of Williard Hewitt as Willard the Wonderful and David J. Weins who played him was... well... wonderful. He was engaging, charming and just downright likeable. His comedic timing was impeccable - especially when he displayed his butt-slapping backwards choreography (you'll just have to see it). Pigtailed with a voice just slightly east of Fran Drescher, Katie Bates stole many a scene and heart with her performance as Willard's girlfriend Rusty. Indeed, she made Sarah Jessica Parker's performance in the film a dim memory.
With a large cast and ensemble, it is virtually impossible to single out everyone. Suffice it to say that the ensemble was excellent. Nods also must go to Shea Renne as Urleen, Michaela Bolt as Wendy Jo, Buddy Reeder as Principal Clark, Mark Epperson as Coach Dunbar, Courtney Arango as Eleanor Dunbar, Myles McHale as Wes Warnicker, Erin Wright as Lulu Warnicker, Tommy Betz as Garvin, Zach Porter as Bickle, Asher Dubin as Jeter, Chris Stevens as Travis, and Donovan Hoffer as Lyle.
My bad at times for not giving enough of a nod to the people who are behind the music sequences. I will correct that flaw right now by giving props to Music Director Aaron McAllister, Choreographer Samantha Hewes-Cramer, and the Orchestra. They did the iconic songs and dance sequences proud. "Learning to be Silent," by Ariel (Schmitz), Vi (Dye), and Ethel (Harvey) was incredibly touching. "Almost Paradise" by Ren (Starkenberg) and Ariel (Schmitz) gave me goose bumps as did the "Footloose Finale," by the entire company. "Holding Out for a Hero," which paid homage to a number of well-known superheroes, was MasterCard priceless. No anti-heine itch cream needed at any point.
When a play is based on an iconic film like Footloose, which is so entrenched in our collective consciousness, it takes a real vision and artfulness to create a production that can stand on its own, free of overshadowing comparisons from the past. Director Marc Robin and the Fulton Theatre did just that. So get yourself to Lancaster by sea, air, or land because their production of Footloose should not be missed!
Read Full Review:
http://somedayprods.com/talking/pillow-talkings-review-of-footloose/
"Soprano Rita Harvey offered youthful exuberance and lyrical tone..."
- San Diego Union Tribune
Website | Impression Technologies LLC
©2004-2023 Rita Harvey


text:
Winona County, Minnesota
Title: Winona County, Minnesota
Subject: List of townships in Minnesota (N-Z), List of townships in Minnesota (A-M), Winona, Minnesota, Dakota, Minnesota, La Crescent, Minnesota
Collection: 1854 Establishments in Minnesota Territory, Minnesota Counties on the Mississippi River, Populated Places Established in 1854, Winona County, Minnesota
Winona County Courthouse
Location in the state of Minnesota
Minnesota's location in the U.S.
February 23, 1854[1]
Winona, a female cousin of Wabasha, who was the last of three successive chiefs of the Mississippi band of Dakota with that name.
642 sq mi (1,663 km2)
15 sq mi (39 km2), 2.4%
Population (est.)
82/sq mi (32/km²)
Congressional district
Central: UTC-6/-5
.us.mn.winona.cowww
Winona County is a county located in the U.S. state of Minnesota. As of the 2010 census, the population was 51,461.[2] Its county seat is Winona.[3]
Winona County comprises the Winona, MN Micropolitan Statistical Area.
Bodies of water 2.1
Major highways 2.2
Public airports 2.3
Adjacent counties 2.4
National protected area 2.5
Micropolitan Statistical Area 4
Cities 6.1
Townships 6.2
Unincorporated communities 6.3
Ghost towns 6.4
The name of the county is said to derive from a Dakota legend regarding a woman, referred to Winona, who was betrothed to marry a warrior whom she did not love. Rather than marry him, she is said to have leapt to her death from a rock now called "Maiden's Rock" on Lake Pepin.[4] This legend is colloquially referred to as the Winona legend.[5]
Maiden Rock, from which legend has it the Dakota maiden named Winona leapt to her death.
According to the U.S. Census Bureau, the county has a total area of 642 square miles (1,660 km2), of which 626 square miles (1,620 km2) is land and 15 square miles (39 km2) (2.4%) is water.[6]
Native vegetation based on NRCS soils information[7]
Airport Lake - Winona
Bartlet Lake - Winona
Bollers Lake - Goodview
Hunters Lake - Winona
Lake Goodview - Goodview
Lake Winona - Winona
Rileys Lake - vast majority in Winona, west edge in Goodview
Mississippi River - forms county's eastern border with Wisconsin
Whitewater River - flows northeast from the western side of the county
Major highways
U.S. Highway 14
Minnesota State Highway 43
Minnesota State Highway 248
Public airports
Winona Municipal Airport - Max Conrad Field
Wabasha County (northwest)
Buffalo County, Wisconsin (north)
Trempealeau County, Wisconsin (northeast)
La Crosse County, Wisconsin (east)
Houston County (south)
Fillmore County (southwest)
Olmsted County (west)
National protected area
Upper Mississippi River National Wildlife and Fish Refuge (part)
Age pyramid of county residents based on 2000 U.S. census data
As of the census of 2000, there were 49,985 people, 18,744 households, and 11,696 families residing in the county. The population density was 80 people per square mile (31/km²). There were 19,551 housing units at an average density of 31 per square mile (12/km²). The racial makeup of the county was 95.80% White, 0.77% Black or African American, 0.19% Native American, 1.87% Asian, 0.02% Pacific Islander, 0.53% from other races, and 0.81% from two or more races. 1.37% of the population were Hispanic or Latino of any race. 41.8% were of German, 13.9% Norwegian, 9.9% Polish and 7.4% Irish ancestry.
There were 18,744 households out of which 30.20% had children under the age of 18 living with them, 51.30% were married couples living together, 7.80% had a female householder with no husband present, and 37.60% were non-families. 28.20% of all households were made up of individuals and 10.50% had someone living alone who was 65 years of age or older. The average household size was 2.46 and the average family size was 3.04.
In the county the population was spread out with 22.80% under the age of 18, 18.60% from 18 to 24, 25.10% from 25 to 44, 20.50% from 45 to 64, and 13.10% who were 65 years of age or older. The median age was 33 years. For every 100 females there were 95.20 males. For every 100 females age 18 and over, there were 91.80 males.
The median income for a household in the county was $38,700, and the median income for a family was $49,845. Males had a median income of $31,926 versus $23,406 for females. The per capita income for the county was $18,077. About 5.60% of families and 12.00% of the population were below the poverty line, including 9.80% of those under age 18 and 9.30% of those age 65 or over.
Micropolitan Statistical Area
The United States Office of Management and Budget (OMB) has designated Winona County as the Winona, MN Micropolitan Statistical Area (µSA).[13] The OMB designated Winona, Minnesota as the principal city of the µSA.[13] The United States Census Bureau ranked the µSA as the 582nd most populous Core Based Statistical Area of the United States as of July 1, 2012.[14]
Winona County Courthouse, listed on the National Register of Historic Places.
Presidential elections results
2004 46.3% 12,686 51.9% 14,231
1996 36.8% 7,955 47.5% 10,272
1992 35.0% 8,585 39.6% 9,707
1984 55.0% 11,981 44.0% 9,577
Winona County is represented in the Minnesota House of Representatives by Rep. Steve Drazkowski (R), and Rep. Gene Pelowski (DFL). Winona County is represented in the Minnesota Senate by Sen. Matt Schmit (DFL) and Sen. Jeremy Miller (R). Winona County is located in Minnesota's 1st Congressional District, represented by Rep. Tim Walz (DFL).
La Crescent (partly in Houston County)
Minneiska (partly in Wabasha County)
Winona (county seat)
Dresbach
Wiscoy
Donehower
Nodine
Witoka
Wyattville
Whitewater Falls
National Register of Historic Places listings in Winona County, Minnesota
^ "Minnesota Place Names". Minnesota Historical Society. Retrieved March 19, 2014.
^ a b "State & County QuickFacts". United States Census Bureau. Retrieved September 1, 2013.
^ "Find a County". National Association of Counties. Retrieved 2011-06-07.
^ Upham, Warren (1920). Minnesota Geographic Names: Their Origin and Historic Significance. Minnesota Historical Society. p. 581.
^ Porter, Cynthya (Feb 1, 2009). "Homecoming To Explore Roles Of American Indian Women".
^ "2010 Census Gazetteer Files". United States Census Bureau. August 22, 2012. Retrieved October 25, 2014.
^ Nelson, Steven (2011). Savanna Soils of Minnesota. Minnesota: Self. pp. 43 - 48. ISBN 978-0-615-50320-2.
^ "Annual Estimates of the Resident Population for Incorporated Places: April 1, 2010 to July 1, 2014". Retrieved June 4, 2015.
^ "U.S. Decennial Census". United States Census Bureau. Retrieved October 25, 2014.
^ "Historical Census Browser". University of Virginia Library. Retrieved October 25, 2014.
^ "Population of Counties by Decennial Census: 1900 to 1990". United States Census Bureau. Retrieved October 25, 2014.
^ "Census 2000 PHC-T-4. Ranking Tables for Counties: 1990 and 2000" (PDF). United States Census Bureau. Retrieved October 25, 2014.
^ a b "OMB Bulletin No. 13-01: Revised Delineations of Metropolitan Statistical Areas, Micropolitan Statistical Areas, and Combined Statistical Areas, and Guidance on Uses of the Delineations of These Areas" (PDF).
^ "Table 1. Annual Estimates of the Population of Metropolitan and Micropolitan Statistical Areas: April 1, 2010 to July 1, 2012" (
DeLorme's Minnesota Atlas and Gazetteer (ISBN 0-89933-333-8)
Winona County Health and Demographic Data
Wabasha County Buffalo County, Wisconsin Trempealeau County, Wisconsin
Olmsted County La Crosse County, Wisconsin
Fillmore County Houston County
Municipalities and communities of Winona County, Minnesota, United States
County seat: Winona
La Crescent‡
Minneiska‡
Pine Creek‡
State of Minnesota
Saint Paul (capital)
Historical Congressional delegations
Buffalo Ridge
Coteau des Prairies
Minnesota River Valley
Northwest Angle
Red River Valley
Twin Cities metropolitan area
pop. over 25,000
Minnesota counties
1854 establishments in Minnesota Territory
Minnesota counties on the Mississippi River
Winona, Minnesota
Minnesota, Winona County, Minnesota, Minneapolis, Rochester, Minnesota, Marriage
Duluth, Minnesota, Anishinaabe, Science, Rochester, Minnesota, University of Minnesota
Wabasha County, Minnesota
Goodhue County, Minnesota, Minnesota, Winona County, Minnesota, Olmsted County, Minnesota, Race (United States Census)
Houston County, Minnesota
Minnesota, Fillmore County, Minnesota, Winona County, Minnesota, Race (United States Census), La Crosse, Wisconsin
Fillmore County, Minnesota
Minnesota, Olmsted County, Minnesota, Winona County, Minnesota, Houston County, Minnesota, Mower County, Minnesota
List of townships in Minnesota (N-Z)
Otter Tail County, Minnesota, Cass County, Minnesota, St. Louis County, Minnesota, Marshall County, Minnesota, Polk County, Minnesota
List of townships in Minnesota (A-M)
St. Louis County, Minnesota, Otter Tail County, Minnesota, Polk County, Minnesota, Marshall County, Minnesota, Itasca County, Minnesota
Dakota, Minnesota
Winona County, Minnesota, Minnesota, Winona, Minnesota, United States, La Crosse, Wisconsin
La Crescent, Minnesota
Minnesota, Houston County, Minnesota, Winona County, Minnesota, La Crosse, Wisconsin, Wisconsin


text:
W.G. "Bill" Boorer, 144 squadron
I mentioned earlier in the year that I had hurt my toe, which precluded walking in the Dales. I had been slowly building up the distance I was walking locally and yesterday decided the time was right to go for a longer - in this case ten miles - hike. I walk with a number of different groups, but on this occasion went with the local branch of the Ramblers Association who, inevitably given the fact that they walk on weekdays, are all retired. They are all somewhat older than me, and incidentally are an excellent advert for the benefits of regular walking. Anyway, I was strolling along in the sun - which continues to beat down here - minding my own business when I overheard a name that I thought I recognised. I asked the lady concerned if she had said 'Bill Boorer', and confirming that she had, she told me that he had been her godfather, following which a brief discussion made it clear that this was the same chap that I had known in London some fifty years ago.
I hadn't thought about him in a long, long time and didn't know him well, but he had a wartime experience in which readers may be interested. The following is taken, with no permission whatsoever, from 'A Drop in the Ocean' by Jim Burtt-Smith and John French. The whole book is full of stories like this and is fairly readily available second-hand. These are Bill Boorer's own words:
'After briefing on Thursday, 3 May, 1945 the Dallachy wing of "Torbeau" anti-shipping strike aircraft flew off from Dallachy for a major strike against a large fleet of enemy shipping which was assembling in Kiel Bay. Intelligence had suggested that the Germans were intending to escape to Norway and continue the war from there.
Peter Brett and I were one of the crews on the wing with the longest experience and we were therefore appointed as the "outrider" - the aircraft which would fly ahead of the main strike force, select the best targets and direct the strike force on to those targets.
We flew on ahead on a "flak free" route across Denmark selected by the 2nd Tactical Air Force, and made our landfall at Ringkobing. We were hedge-hopping a full throttle towards the "Little Belt" when we suddenly found ourselves engulfed in flak. We had flown between two batteries of 88 mm anti-aircraft guns.
Our port engine burst into flame immediately, but our speed and low altitude carried us quickly out of the danger area. Peter turned back for home with the intention of flying back on the starboard engine only. It was not to be. A short while after crossing the coast the remaining engine failed and we had to ditch in the North Sea.
At the time of ditching the sea was very calm and we had no problems - or so we thought. The dinghy emerged from the port wing and, as a non-swimmer, I jumped into it as it drifted back. Alas, I found it to be as flat as a pancake, having been peppered with holes from the flak which had shot out the port engine during the attack. Pete swam up, the Beaufighter gave a gurgle and disappeared beneath the waves, and we inflated our Mae Wests. We spent what seemed to be hours finding the various holes and sealing them with the adhesive repair patches. Finally we had to inflate the dinghy with the hand pump and clamber aboard, which was not quite as easy as it sounds. Suddenly we remembered the airtight container carrying the emergency rations, which was attached to the dinghy by a tie-line. we saw it floating a short distance away. As we pulled on the line, however, the container disappeared beneath the waves. Consequently we had no food or water throughout our ditching.
During the night the weather deteriorated, but on the morning of the second day, 4 May, we were in reasonably good spirits and had every hope of being picked up. For our particular operation Air Sea Rescue Warwick aircraft had been on patrol along the western coast of Denmark and I had managed to send an SOS on my radio set. I learned later, however, that, although my message was actually received, the signal was so weak because of the very low power generated by our one remaining - and failing - engine that the message had been indecipherable. Moreover we were drifting southwards quite rapidly. In fact when we were finally rescued we were some 50 miles south of our original ditching position.
During the second day we heard and caught glimpse of two aircraft and fired off some of our two-star red cartridge signals. But there was no response. In spite of a heavy sea that night, we were still relatively comfortable.
On Saturday, 5 May, the heavy sea continued throughout the day. In the evening the weather worsened into a heavy storm, with waves up to sixty feet high. Sometimes we were at the bottom of these huge waves and sometimes at the top, like a seaside roller-coaster. During the course of the evening we saw a Liberator some distance away. We fired off our last two-star red which they obviously saw, as they turned and flew right above us and a member of the crew waved to us from the rear door. Unfortunately, the sea was so rough that they lost sight of us almost immediately after, and although we watched them as they continued to circle and search, they gradually moved further and further away. And, of course, we had no more two-star reds! During that night we shipped gallons of water. Several of the adhesive repair patches became non-effective and had to be replaced with conical rubber plugs.
The weather eased slightly during the course of Sunday, but became extremely rough once again that night. We both began to feel the torture of thirst and had to resort to moistening our lips with our own urine - not a very encouraging experience. As the holes in the dinghy grew larger, the conical plugs had to be pushed further in and eventually had to be replaced with larger sizes. During the day I felt the need to sustain my spirits with a little hymn singing, but I had the feeling that Peter did not really appreciate my efforts.
By this time, too, my underpants, which were Canadian cotton issue, had shrunk considerably and I was extremely uncomfortable in a very sensitive area. Finally I cast modesty aside and left a certain part of my physical equipment hanging free. Peter described it as looking like the head of a very ancient and wizened tortoise.
By Monday morning the the sea had moderated considerably and by nightfall the wind had dropped. For the first time since our ditching the previous Thursday it was quite calm. Early in the morning we had fixed a piece of chewing gum to a line and thrown it into the sea in the hope of catching a fish. During the afternoon the dinghy gave a heavy lurch, the fishing line went taut and, sure enough, there was a cod on the hook. Despite our best endeavours to get it aboard, however, it eventually broke free and disappeared. In retrospect, I am not sure what we would have done with it had we actually landed it in the dinghy.
We had entered our fifth day aboard the dinghy feeling pretty weak and we again resorted to urine to stave off the demoralising effects of thirst. There was a growing apprehension about our future, particularly as the rubber plugs had now progressed to the largest size available and were now inserted well into the holes in the rubber, so that there was little of the plugs remaining for further insertion. Our spirits reached a low ebb.
As night closed in once more, we became aware of a gradually increasing noise. Eventually a small ship loomed on the horizon. Peter and I discussed whether or not we should attempt to attract its attention, since we had heard reports that Germans were prone to shooting up any British dinghies that they came across. We finally decided that in view of our deteriorating condition we did not have much option, so we blew our whistles, shouted and waved our hands. The ship, which turned out to be the Ella, a fishing boat from Esbjerg, altered course and hove alongside the dinghy.
Someone leaned over and shouted, "British Tommy?" and on hearing our affirmative he then shouted "Germany kaput!" This was the first intimation we had had that Nazi Germany had at last thrown in the towel, in fact on midnight of the day we had ditched.
Once on board the fishing boat I became somewhat delirious and the skipper, Christian Peterson, turned back to Esbjerg.
We arrived in Esbjerg fishing harbour during the morning of Tuesday, 8 May, were offloaded and taken by ambulance to the Central Hospital, arriving at midday on VE Day. One inmate, a victim of Gestapo treatment, sent us in his radio and we listened to the celebrations from Piccadilly.'
Mr Boorer never spoke to me directly about his experiences and the above is pretty much all I know, except that he subsequently sent flowers to his rescuer and his wife every year on the anniversary of them being picked up and that he named his elder son Christian.
To end on a random note, Boorer's younger son played guitar in Morrissey's post-Smiths band. Before that he had been in the Polecats, who had a UK top forty hit with a cover of Bowie's "John, I'm Only Dancing". Astute readers will spot that phrase as having been used as the title of the blog posting on Wednesday, the day before I went on the walk and overheard the conversation which engendered the train of thought which led us to this point. Make of that what you will.
Labels: coincidence, walking, WWII
Prufrock 20 July 2018 at 12:31
Great story. Love the understatement. Sounds like the reaction of someone who'd got a bit lost on the way back from the theatre, not a fellow most likely expecting to die. We don't make 'em like that very much anymore.
The Good Soldier Svjek 20 July 2018 at 15:48
Excellent tale !
boz boorer 30 July 2019 at 11:23
still playing guitar with Morrissey - 29 years now!
Lightweight filler
Torbeau
More on 144 Squadron
I Ain't Talking Instead Of
John, I'm only dancing
The second time as farce
A Great American Speaks
Joan wa quizzical
The not to be Nocturne
Crisis! What Crisis?
Ayyy!
Leaving the furrow
Ilipa
Another part of the field
A Brief Post About Games


text:
Discografia

Album in studio

EP

Album dal vivo

Compilation album

Singoli

Videografia

Video album

Video musicali

Note

Voci correlate
 Esibizioni radiodiffuse dei Rush

Collegamenti esterni

Rush
Rush

redpajama_set_name: RedPajamaWikipedia


Crude oil shifted lower overnight, falling below $55 per barrel. The commodity is now clawing back some of those losses, after adding 0.12% to its value and inching back over $55 per barrel.
The bullish tones inspired by the Saudi Arabian anti-corruption purge has dwindled, leaving the international benchmark, Brent oil, to collapse below $62, trading now at $51.42 per barrel.
The bearish movements touched energy stocks, weighing them down as investors reassessed the fundamentals of the oil market. The IEA issued a report which predicted US oil production would reach record highs that could span as far as 2025. The forecast sent oil lower overnight, as the commodity lost over 1% of its value in the Asian trading session.
Oil has extended gains last week as the grip of over-supply woes loosened its hold on investor's sentiment.
Today's crude oil inventories could give oil prices a fresh direction. Forecasts suggest a decrease of 2.1 million barrels of US crude stockpiles over the last week.
There has been a grapple between which sentiment to follow: OPEC's efforts to depress supply or the US oil drillers and defiant OPEC members who increase output.
US oil drillers have been more agile since the price of oil reached $50 per barrel. The price war's plot has thickened since Trump openly advocated fracking, assuring oil investors that over-supply woes will soon be harder to ignore.
Meanwhile, Saudi Aramco is reeving up for its initial public offering in 2018. The world's largest company, with an estimated worth of 2tn, will be privatised.
OPEC and allies will meet in Vienna to discuss its strategy for the oil industry, where the cartel will likely extend its supply cuts until the end of 2018.
Any disappointing results from this meeting could result in bearish tones for the oil industry.


text:
Study suggests orchestral first violins experience highest stress levels
Mood also plays a role in reducing anxiety levels during performance
A Viennese university study has found that orchestral musicians' stress responses are governed not only by the anxiety of public performance, but also by mood – and that, as a whole, first violins demonstrate the highest levels of stress, both on and off the concert platform.
The research - carried out over two days in October 2011 and published last month by the MedUni Vienna and the city's Health and Prevention Centre - tested levels of the stress hormone cortisol and the enzyme myeloperoxidase, which is regarded as a risk factor for cardiovascular disease. The conductor and 47 musicians of the Vienna Radio Symphony Orchestra were analysed at the dress rehearsal and on the day of a performance of Sibelius and Shostakovich in Vienna's Musikverein. Saliva and blood samples were taken before and after each performance, as well as during the concert and rehearsal intervals.
While the findings of increased stress levels on the day of the concert were to be expected, it was also discovered that emotional factors played a part, and that a positive frame of mind reduces stress-induced levels of myeloperoxidase.
'The result is clear-cut,' said Alexander Pilger from the MedUni's Institute for Occupational Medicine. 'In the acute stress situation on the day of the concert, the myeloperoxidase increases just as clearly as does the overall release of cortisol.'
However, it was also found that feelings of 'unpleasantness' and despondency experienced by some musicians, by their own assessment, on the day before the performance were likely to account for higher myloperoxidase releases, too, while those in a more positive frame of mind demonstrated lower levels.
'The musicians in the first violins and the conductor had on average higher myeloperoxidase levels - not only at the dress rehearsal but also in the concert - than all the other musicians together,' Pilger continued.
However, he told The Strad, 'our comparison between the levels of myeloperoxidase in musicians with leading and non-leading instruments [throughout the orchestra] revealed no significant difference in mean myeloperoxidase concentrations.'
Photo: Peter Adamik
Subscribe to The Strad or download our digital edition as part of a 30-day free trial. To purchase back issues click here.
First Violin Orchestra Stress Vienna Radio Symphon
Performance nerves
Timothy Ridout wins first Jeffrey Tate award
The British violist is the first winner of a €10,000 award, established by the Hamburg Symphony Orchestra
Indianapolis Symphony announces new concertmaster
American violinist Kevin Lin has been appointed as the Indianapolis Symphony's new Concertmaster
British violinist is 'Émile Sauret Professor of Violin' at the Royal Academy of Music; and incoming artistic director of the Australian Festival of Chamber Music


The Battle of the Paddle is one of the biggest SUP race events in the UK, and this year Team Wet'n'Dry did not disappoint! Wet'n'Dry entered a team of 6 this year, covering all the different board and age categories.
There were distances that could be raced: the full 10-mile race or the 2-mile sprint, and Team Wet'n'Dry had these all covered. The 10-mile course was 3 laps of a circuit on the River Thames, there were two buoys to navigate, so everyone got some good step-back practice. The 2-mile race was a shortened single lap race.
First up was the 14'0″ 10-mile race. Dan Sherry was racing for team Wet'n'Dry on a Red Paddle race inflatable with a Starboard Enduro Paddle. Dan did not disappoint coming 2nd in the 14'0″ inflatable class with a time of 2 hours 15 minutes, not bad for his first ever race!
Next up was the 12'6″ 10 mile race, this time we had two entries, Chris Humphrey on his 12'6″ 24.5″ Starboard Sprint with a Starboard Enduro paddle, and Nathan Dodds, on a 12'6″ 26″ Starboard AllStar with a Starboard High Aspect paddle. Chris came in 8th in his category with a time of 2 hours and 10 minutes. Nathan came in 4th for his category with a time of just over 2 hours.
Now it was up to the women to show us what they'd got: Tanzi Foulger and Julia Holmyard. Tanzi on her inflatable 12'6″ RRD raceboard came in 1st in the inflatable class with a time of 2 hours 18 minutes. Julia in the verteran class did very well indeed with a great time of 2 hours 45 minutes on her RRD.
Finally there was the 2-mile race, Claire was on the Red Paddle inflatable surf style board and did extremely well coming in 1st woman!
Another great event for team Wet'n'Dry and thank you for all that participated, we are all looking forward to the next event. If you ever feel like a friendly race, why not race for team Wet'n'Dry – give us a call on 01268 569988 or pop into our store for more details.


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Хью Элджернон Перси, 10-й герцог Нортумберленд (; 6 апреля 1914 — 11 октября 1988) — британский аристократ, политик и землевладелец. Занимал посты лорда-стюарда (1973—1988) и лорда-лейтенанта Нортумберленда (1956—1984).

Биография
Родился 6 апреля 1914 года. Второй сын Алана Перси, 8-го герцога Нортумберленда (1880—1930), и леди Хелен Гордон-Леннокс (1886—1965). Он унаследовал герцогский титул в 1940 году, когда его старший брат Генри Перси, 9-й герцог Нортумберленд (1912—1940), был убит в Бельгии во время Второй мировой войны при отступлении к Дюнкерку.

Учился в Итонском колледже и Крайст-черче в Оксфорде.

Карьера
Нортумберленд был зачислен в Нортумберлендский гусарский полк. В 1940 году, будучи лейтенантом, он перевелся в Королевскую артиллерию. В 1947 году, будучи капитаном, он вернулся в Нортумберлендский гусарский полк.

 Мастер фоксхаундов Перси с 1940 по 1988 год
 Президент Королевского сельскохозяйственного общества Англии в 1956 и 1962 годах.
 Лорд-лейтенант Нортумберленда с 1956 по 1984 год.
 Председатель Совета сельскохозяйственных исследований с 1958 по 1968 год.
 Ректор Университета Ньюкасла с 1964 по 1988 год.
 Председатель Совета медицинских исследований с 1969 по 1977 год.
 Председатель Комитета по исследованию ящура.
 Лорд-стюард королевского двора с 1973 по 1988 год.

Семья
12 июня 1946 года герцог Нортумберленд женился на леди Элизабет Диане Монтегю Дуглас Скотт (20 января 1922 — 19 сентября 2012), дочери Уолтера Монтегю Дугласа Скотта, 8-го герцога Баклю (1894—1973) и Вреды Эстер Мэри Ласселлз (1900—1973). У них было семеро детей:

 Леди Каролина Мэри Перси (род. 3 мая 1947) вышла замуж за графа Пьераде Кабарруса, 12 января 1974 года. У супругов было двое детей:
 Кьяра де Кабаррус (род. 1974)
 Диана де Кабаррус (род. 1977), вышла замуж за Александра Бейли 25 марта 2017 года
 Леди Виктория Люси Диана Перси (род. 19 апреля 1949), вышла замуж за Эйдана Катберта 4 октября 1975 года и развелась. Затем снова вышла замуж за Чарльза Лайона Феллоуса в 2000 году и развелась в 2006 году.
 Алиса Катберт (род. 1978)
 Люси Катберт (род. 1982), вышла замуж за принца Саудовской Аравии Халида 28 марта 2011 года.
 Молли Катберт (род. 1984)
 Дэвид Катберт (род. 1987)
 Леди Джулия Хелен Перси (род. 12 ноября 1950), вышла замуж за Николаса Крейга Харви 11 июня 1983 года. У супругов было трое детей:
 Джорджина Крейг Харви (род. 1986)
 Кристофер Крейг Харви (род. 1988)
 Лора Крейг Харви (род. 1992)
 Генри Перси, 11-й герцог Нортумберленд (1 июля 1953 — 31 октября 1995)
 Ральф Перси, 12-й герцог Нортумберленд (род. 16 ноября 1956), женился на Джейн Перси, герцогине Нортумберлендской (урожденной Джейн Ричард)
 Леди Луиза Перси (25 мая 1962 — 27 мая 1962)
 Лорд Джеймс Уильям Юстас Перси (род. 18 июня 1965), женился на Люси Каролине Ругге-Прайс и имел детей:
 Томас Хью Перси (род. 2001)
 Элиза Роуз Перси (род. 2003)
 Уилла Кэтрин Перси (род. 2005)
 Сэмюэл Джеймс Эдвард Перси (род. 2008).

Титулы
  10-й герцог Нортумберленд (с 21 мая 1940)
  9-й лорд Перси (с 8 мая 1957)
  10-й граф Перси (с 21 мая 1940)
  8-й Лорд Ловайн, барон Алник, графство Нортумберленд (с 21 мая 1940)
  13-й баронет Смитсон из Станвика, графство Йоркшир (с 21 мая 1940)
  7-й граф Беверли, графство Йоркшир (с 21 мая 1940).

Примечания

Источники

Ссылки
 Alnwick Castle website
 Hansard 1803—2005: contributions in Parliament by the Duke of Northumberland

Выпускники Итона
Хью Перси, 10-й герцог Нортумберленд
Члены Лондонского королевского общества (статут 12)
Рыцари Большого креста Королевского Викторианского ордена
Кавалеры ордена Подвязки
Лорды-лейтенанты Нортамберленда
Члены Тайного совета Великобритании
Хью Перси, 10-й герцог Нортумберленд
Председатели Медицинского исследовательского совета Великобритании


John Cabot University Hosts First Spring 2017 Career Fair - Center for Career Services & Continuing Education | John Cabot University's Center for Career Services & Continuing Education is your bridge between your academic and professional careers. Whether you want to pursue further study in graduate school or hope to begin a career, we can help you achieve those goals.
Today, we would like to share with you the article written for John Cabot University's website by student Lydia Smith, after the last Career Fair.
"On Friday, February 3, 2017 the JCU Center for Career Services welcomed students and alumni to the first Career Fair of the Spring 2017 semester. 'The Career Fair represents a unique opportunity for students not only to get internships and jobs, but also to empower their professional networks,' said Prof. Antonella Salvatore, Director of the Center for Career Services. The Center achieved partnerships with 440 companies and organizations. Some of these companies are: Fiat Chrysler Automobiles, Fintecna, Hays Response, The British School at Rome, US Embassy, Amnesty International, Europcar, Croce Rossa, Dorothy Circus Gallery, and Rocco Forte Hotels.
Marianna Occhiuto, a JCU alumna, participated in the event to interview students for Casa Scalabrini 634, where Occhiuto is Head of Fundraising and Communications. Casa Scalabrini 634 is a Rome-based company that welcomes refugees, promotes integration with the local community, and helps them apply for citizenship."What I learned from John Cabot is, never stop looking, never stop moving, and whatever you do, do it at your best," she said.
It was Communications student Francesca Proietti's first time attending a Career Fair and she knew what she wanted. 'I was looking for my first interview experience. I wanted to learn what to say and how to face this kind of situation in the future.' As a first time attendee, she encouraged others to come to the next Career Fair and also shared advice she learned from Professor Salvatore at a recent workshop. 'Research the companies, because if you don't know about them, it will be hard to answer questions,' she said.
Oggi vorremmo condividere con voi l'articolo scritto per il sito della John Cabot University dalla studentessa Lydia Smith dopo l'ultimo Career Day.
"Venerdì 3 febbraio 2017, il Centro di Avviamento alla Carriera della JCU ha organizzato il Career Day di primavera 2017 dedicato a studenti e laureati dell'ateneo. 'Il Career Day rappresenta un'opportunità unica per gli studenti non solo al fine di ottenere stage o lavori, ma anche per ampliare il loro network professionale,' ha affermato la Prof.ssa Antonella Salvatore, Direttrice del Centro di Avviamento alla Carriera. Il Centro ha ottenuto una partnership con 440 aziende e organizzazioni, alcune delle quali sono: Fiat Chrysler Automobiles, Fintecna, Hays Response, The British School at Rome, US Embassy, Amnesty International, Europcar, Croce Rossa, Dorothy Circus Gallery e Rocco Forte Hotels.
Marianna Occhiuto, laureata JCU, ha partecipato all'evento per colloquiare gli studenti interessati a Casa Scalabrini 634, di cui Occhiuto è Head of Fundraising and Communications. Casa Scalabrini 634 è un'azienda con sede a Roma dedicata all'accoglienza dei rifugiati, alla promozione della loro integrazione con la comunità locale e ad aiutarli ad ottenere la cittadinanza. 'Ciò che ho imparato dalla John Cabot è di non smettere mai di guardare, di muoversi e di fare qualsiasi cosa con il massimo impegno, ' ha affermato Marianna Occhiuto.