On behalf of Fisher Taubenfeld LLP posted in Sexual Harassment on Wednesday, April 13, 2016.
There should be no question that sexual harassment -- or any type of harassment -- in the workplace is wrong. Sadly, people all across New York experience this mistreatment on a regular basis.
If you are one of these people, you need to understand that while the harassment might make you feel marginalized, powerless or ashamed, you have the right and the legal tools to take action against those responsible for the harassment. And you do not have to do so on your own.
As difficult as it may be, you can seek help from an attorney. Not only can an attorney provide legal context and solutions for your specific situation, but he or she can also be the person who helps you take those steps toward holding the harassing party accountable. Without someone by your side to guide you through the intimidating legal process and confront those who mistreated you, it can be easy to give up.
Too many people shy away from talking about harassment with an attorney because they think that there is nothing they can do, or they don't feel comfortable rehashing embarrassing situations. They might also feel like what's done is done: Money, an apology or job reinstatement can't undo the past.
While these are certainly valid reasons to be hesitant about taking legal action, the fact is that you have rights that must be protected. If they are violated, the appropriate party should be held responsible for the damages you have suffered as a result.
We know that this can be a very complicated and emotional situation; but we have helped victims of sexual and nonsexual harassment across New York find closure and vindication. For more information on our law firm and how to schedule a free consultation, please visit our website.


Rolls Corporation is an innovative audio electronics manufacturer specializing in interface accessories, mixers, amplifiers, signal processors and signal sources. Rolls began in 1989 when Marilyn and David O. Di Francesco introduced their new product line at the New York AES (Audio Engineering Society) Convention. David is well known and respected in the professional audio electronics industry, and his first company still bears his initials. Today Rolls employs people who have a concern for quality workmanship as well as an eye and ear for no-nonsense, useful products.


Rotavirus RNA polymerase requires the core shell protein to synthesize the double-stranded RNA genome.
Rotavirus cores contain the double-stranded RNA (dsRNA) genome, RNA polymerase VP1, and guanylyltransferase VP3 and are enclosed within a lattice formed by the RNA-binding protein VP2. Analysis of baculovirus-expressed core-like particles (CLPs) has shown that VP1 and VP2 assemble into the simplest core-like structures with replicase activity and that VP1, but not VP3, is essential for replicase activity. To further define the role of VP1 and VP2 in the synthesis of dsRNA from viral mRNA, recombinant baculoviruses containing gene 1 (rBVg1) and gene 2 (rBVg2) of SA11 rotavirus were generated and used to express recombinant VP1 (rVP1) and rVP2, respectively. After purification, the proteins were assayed individually and together for the ability to catalyze the synthesis of dsRNA in a cell-free replication system. The results showed that dsRNA was synthesized only in assays containing rVP1 and rVP2, thus establishing that both proteins are essential for replicase activity. Even in assays containing a primer-linked mRNA template, neither rVP1 nor rVP2 alone directed RNA synthesis. Characterization of the cis-acting replication signals in mRNA recognized by the replicase of rVP1 and rVP2 showed that they were the same as those recognized by the replicase of virion-derived cores, thus excluding a role for VP3 in recognition of the mRNA template by the replicase. Analysis of RNA-protein interactions indicated that the mRNA template binds strongly to VP2 in replicase assays but that the majority of the dsRNA product neither is packaged nor stably associates with VP2. The results of replicase assays performed with mutant VP2 containing a deletion in its RNA-binding domain suggests that the essential role for VP2 in replication is linked to the protein's ability to bind the mRNA template for minus-strand synthesis.


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text:
Trial on hold for man who tweeted threat to kill Jewish people with AR-15
The judge declared a mistrial after learning a witness, who had just testified, had tested positive for COVID.
Author: David Guildford
PORTLAND, Maine — A judge has chosen to pause a criminal threatening trial for a man who tweeted, "I'm going to kill Jews with my AR-15 tomorrow."
Judge John Levy declared a mistrial Tuesday — the first day the jury heard oral arguments. Levy made the surprise decision after being alerted that one of the witnesses who had just given testimony — an FBI agent who first contacted the defendant at his parents' home — tested positive for COVID in the middle of the hearing. Levy said he could have attempted to carry on, but the witness had more testimony yet to give.
Brian Dennison, 25, was arrested at the Buxton home in September 2021, after a private security firm and the FBI flagged the tweet and another on the same day that said, "I'm building a pipe bomb."
Dennison was charged with transmitting threatening interstate communication, a felony that carries up to five years in prison and a $250,000 fine.
Before the COVID diagnosis, Dennison's defense lawyer, Thomas Hallett, tried to establish for the jury that Dennison's Tweet — while hateful, he said — only reached a small number of potential followers, and no reasonable person would feel threatened.
The prosecution, including Assistant U.S. Attorney Craig Wolff, argued Dennison made a clear threat to harm others, with a specific date to carry it out.
As a result of his mistrial declaration, Levy dismissed the jury for the remainder of the trial. A new one will need to be vetted and installed before deliberations can resume. The case is expected to begin again in July.
Buxton man accused of tweeting that he would 'kill Jews with my AR-15'
Western fire season starts much drier than record 2020
More NEWS CENTER Maine stories

redpajama_set_name: RedPajamaCommonCrawl


text:
Home/DSC_0626
By Producer Jack|2017-05-02T23:49:12+00:00May 2nd, 2017|Comments Off on DSC_0626
About the Author: Producer Jack
Producer Jack has been keep track of the Top 40 music charts since 2005 and also has been an avid member of the radio industry since 2006. Before starting the MTI Countdowns in 2008, he did some amateur radio broadcasting ("DJing"). In his spare time, he likes to listen to JPop, terrestrial radio and hanging out with friends. Connect with Producer Jack through sending him an email at info@jtop10.jp!


One of the most beautiful traditions of Christmas in Zurich has to be the sparkling Swarovski Christmas tree at Zurich main station. The station, or "HB" as it is often referred to, comes alive at Christmas time as the hall is filled with the bustle of the Christkindlimarkt. The Christmas Market at the station normally lasts around 4 weeks from the end of November till just before Christmas. It's full of bright lights, colour and lots of stall holders eagerly selling their wares.
However, rising high above is the beautiful, glittering, 50 ft tall Swarovski tree. Bedecked with over 6,000 shimmering Swarovski pieces, the elegant structure dominates the skyline. The tree is covered with tiny lights which change colour intermittently and the sparkles can be seen from all corners of the station.
Just around an hour after the "Lucy" lights are illuminated in Bahnhofstrasse, Zurich's main shopping street, the countdown begins for the lighting of the Swarovski tree, shortly after 7pm. As the lights on the tree go on, applause breaks out across the station and you know that Christmas is definitely on its way!
Around the base of the tree is a Swarovski showcase where you can see the latest pieces from their current collection, in addition to pieces from the last twenty years.
So next time you're in Zurich over the Christmas season, do pop by and take a look at this most brilliant spectacle at Zurich main station, the beautiful Swarovski Christmas Tree.
Here is a video of the Swarovski tree at Zurich HB at the lighting ceremony with an address in German.
The Christmas Tree is sponsored by Swarovski and is a free attraction. To see the latest Swarovski collection please click here.
For more information about events and things to do in Zurich and beyond please see our Home Page or our What's On Page and for regular updates subscribe to the blog.
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POSTED January 24, 2019 9:37 a.m.
MONROE — Juniors Tristen Gilbertson and Will Schaefer claimed titles for the Belmont/Platteville co-op at the annual Monroe Wrestling Invitational held at Monroe High School on Saturday, Jan. 19.
Gilbertson (22–8) pinned his way to the 113-pound crown to claim his first career title from the event following back-to-back runner-up performances the previous two season, while Schaefer (30–3) dominated on the way to capturing the 195-pound crown– also his first Monroe title– and he was named the Outstanding Wrestler of the Meet following the competition by the coaches.
Following a first-round bye, Gilbertson pinned Cuba City/Benton/Southwestern's Trevor Oman in 3:42 to make the finals at 113, and then stuck Poynette's Gwen Golueke in 1:22 to take the championship.
Schaefer also opened his day with a bye and a 59-second pin over Parkview's Chase Carratt to make the finals at 195, and he locked down the crown by registering an 8-0 major decision over Beloit Memorial's Tyler Sireci.
"Will has been wrestling well all year, and does all the right things both on and off the mat. To see him come home with the Outstanding Wrestler award was very nice, and is just another confidence booster for him going into tournament time and his ultimate goal," commented Braves' head coach Emeric Williams.
Senior Christopher Gillen (12–2) and junior Brady Johnston (18–9) made the finals for the Braves at 132 and 138, respectively. Gillen opened with a bye and a 1:01 pin of Memorial's Carlos Lopez, but he was denied the title when he was pinned by Poynette's Blake Shallow in 4:50 of the championship match; while Johnston pinned Memorial's Marco Olivera in 1:50 and posted a 15-0 technical fall over Oregon's John Ruth to make the finals at 138 where he fell to third-time champion Kolbe Ubersox of Darlington/Black Hawk by fall in 51 seconds.
Freshman Dylan Taber (18–11) at 126, senior Trevor Heim (9–15) at 152 and sophomore Michael Douglas (27–8) at 285 all went 3-1 on the day to place third for the Braves, and junior Shannon Gill-Mast (11–17) placed fifth for the team at 160.
The host Cheesemakers captured the team title at their own meet with 187.5 points. The Braves, who filled just eight of the 14 weight classes, pulled in third with 146.5 points behind Darlington/Black Hawk at 150.
to a 42–36 win over River Valley on Jan. 6, 2012.
"The conference win over Dodgeville was huge for us as a program and the direction we want to be going, and it shows our continued improvement. Despite it being such a significant win for us, I know the team is not satisfied with that and has just made them hungrier for more," said Williams.
Securing pins for the Braves were Tanner Paulson in 3:45 at 126, Dylan Taber in 3:41 at 132, Gillen in 3:41 at 138, Johnston in 1:43 at 145 and Schaefer in 3:53 at 195.
Freshman John Burbach posted a 7–0 decision over Drew Palmer at 120 and Michael Douglas earned a hard-fought 1–0 decision over Louden Fuerstenberg at 285 for the Braves, while Gilbertson at 113 and Gill-Mast at 160 picked up forfeit wins to aid the victory.
Belmont/Platteville will host River Valley in a SWC dual meet at Platteville High School on Friday, Jan. 25, at 7 p.m.
Team Standings: Monroe 187.5, Darlington/Black Hawk 150, Belmont/Platteville 146.5, Beloit Memorial 132, Cuba City/Southwestern/Benton 124, Poynette 119, Oregon 112, Parkview 87, Clinton 48.
Belmont/Platteville Individual Results: 113-pounds- 1- Tristen Gilbertson, 3-0; 126- 3- Dylan Taber, 3-1; 132- 2- Chris Gillen, 2-1; 138- 2- Brady Johnston, 2-1; 152- 3- Trevor Heim, 3-1; 160- 5- Shannon Gill-Mast, 1-2; 195- 1- Will Schaefer, 3-0; 285- 3- Michael Douglas, 2-1.
Individual Results: 113-pounds- Tristen Gilbertson, B/P, won by FF; 120- John Burbach, B/P, dec. Palmer, 7-0; 126- Tanner Paulson, B/P, pinned Roen, 3:45; 132- Dylan Taber, B/P, pinned A. Phelan, 3:41; 138- Christopher Gillen, B/P, pinned Dougherty, 3:41; 145- Brady Johnston, B/P, pinned Thompson, 1:43; 152- Crook pinned Trevor Heim, B/P, 0:12; 160- Shannon Gill-Mast, B/P, won by FF; 170- Ty. Bell, D, won by FF; 182- Ta. Bell, D, won by FF; 195- Will Schaefer B/P, pinned Recob, 3:53; 220- Hlavac, D, won by FF; 285- Michael Douglas, B/P, dec. Fuerstenberg, 1-0; 106- Double FF..


text:
Shall we gather at the river?
Congratulations and thank you to the Fine Art Music Company for its exhilarating program of American music this weekend in Philadelphia. The performances, held Saturday evening at Ivy Hall and Sunday afternoon at the Ethical Society, were timed -- intentionally, I am told -- to correspond with Tuesday's general election. I joked, ruefully, that it might be the last time I feel good about being an American for a long time to come.
But feel good I did. The program was well-chosen and lovingly presented. I was familiar with most of the music, but two pieces -- Paul Bowles's Six Preludes for Piano and William Grant Still's Suite for Violin and Piano -- were new to me.
Bowles's Preludes are short, finely etched studies that the pianist, Kasia Marzec-Salwinski, compared to the character pieces of Schumann. Still's Suite shoehorns elements of jazz and spirituals into rather a conventional framework.
By contrast, Charles Ives's Fourth Violin Sonata, which opened the second half of the program, does away with frameworks altogether. Subtitled "Children's Day at the Camp Meeting," it is not one of Ives's more avant-garde works, but it bristles with mischief, and Jonathan Moser, the afternoon's violinist, navigated the mood swings with remarkable clarity of tone, while Kasia, on piano, more than held her own in a piece that mocks the very notion of holding your own.
The Ives was one of two high points of the afternoon for me. The other was the finale, Gershwin's ubiquitous "Rhapsody in Blue," in Henry Levine's arrangement for piano four hands. This is not a piece I need to listen to a lot, though I certainly don't avoid it. Gershwin's concert music is often better remembered than heard -- that is, the melodies are so good they stick in the mind long after you've forgotten just how clunky the structures are. But any doubts as to the music's ultimate value were banished here. Kasia and Rollin Wilber breezed through it with an enthusiasm that proved infectious. It was obvious they were having a high old time.
I don't want to leave out flutist Elivi Varga, who performed Copland's Duo for Flute and Piano and Samuel Barber's Canzone (with Rollin on piano in the former, Kasia in the latter). These are relatively minor works, but they are pretty, and Varga gave a radiant luster to both of them. She was especially effective in the Barber.
I also want to thank the musicians for inviting me to join them onstage for the Q&A session after the concert, when I was asked to say a few words about Charles Ives. In gratitude, I kept my comments short.
Labels: Aaron Copland, Charles Ives, Fine Art Music Company, Kasia Marzec-Salwinski, Paul Bowles, Rollin Wilber, Samuel Barber, William Grant Still
Another mystery solved
In an earlier post, I mentioned that the director of Choral Arts Philadelphia was at a loss to explain the presence of the sopranino recorder in Bach's Cantata BWV 96, Christ her einige Gottessohn. Bach always assigned extra-musical meanings to his instrumentation, of course, and the director couldn't determine just what the recorder was supposed to symbolize.
Well, inspired by Choral Arts' performance, I purchased a CD of the piece (Bach-Ensemble, cond. by Helmuth Rilling), and found the following in the booklet: "This cantata is one of those compositions, starting with BWV 94, where Bach accorded the modern flute a major role. In aria no. 3 it provides the 'bonds of affection' by which Jesus should draw the spirit. Inn the opening chirus the same player probably had to use a sopranino recorder to convey the light of the morning star mentioned in the text in a suitably high register."
The complete text of the chorus is as follows:
Lord Christ, the only son of God,
Father's eternally,
From his own heart descended,
Just a scripture saith;
He is the star of morning.
People try to make this stuff hard.
Posted by Joe Barron at 10:44 PM No comments:
Labels: Johann Sebastian Bach
Meine Lieblingsmusik
Wer sagt, die Deutschen haben keinen Sinn für Humor?
Labels: Heavy Metal, Oompah Band
"Like a complete unknown ..."
I suppose I'm going to have to weigh on on this whole Bob Dylan-Nobel Prize thing, but since Dylan himself hasn't acknowledged it yet, I haven't felt too much pressure. According to Adam Kirsch, our latest laureate isn't even returning the Swedish Academy's phone calls, and now the Lords of Literature are getting all huffy, accusing their newest poster boy of being "impolite and arrogant."
They're surprised? The guy has made a career of being impolite and arrogant.
The truth is, I'm neither outraged by the prize, nor am I raising huzzahs, as some have. I'm just not that into Dylan, and the Nobel is not a ticket to immortality. Every year when the prize is announced, we recall the greats who were never named -- Proust, Tolstoy, Conrad, Joyce, Nabokov, Auden -- and we overlook, yet again, the many mediocrities who were. Every Novel, every Pulitzer, every Oscar, every Grammy is a reminder, as if we needed reminding, that life is unfair.
And then there's the question, is what Dylan does literature? I'd say yeah, sure, why not?, but that admission doesn't make me prouder to be an American living at this particular time.
In the New York Review of Books, Luc Sante argues that while Dylan's lyrics, on their own, might not scan as well as those of Cole Porter or Smokey Robiinson, he added a new dimension to song: "As great a Porter and Robinson were as songwriters, they were working in -- and profiting from -- the air of frivolity that attended lyric-writing by the mid-twentieth century, an era that prized verbal dexterity and rapid evaporation. Dylan, through his ambiguity, his ability to throw down puzzles that continue to echo and to generate interpretations, almost singehandedly created a climate inn which lyrics were taken seriously."
In other words, Dylan is more pretentious. What, one may ask, is un-literary about lightness and frivolity? And I hardly think Porter's lyrics have evaporated.
But Dylan was not awarded the Nobel Prize for his lyrics. He was given the ward for his songs: the combination of lyrics and music. Anyone who recalls "Like a Rolling Stone" or "When I paint My Masterpiece" doesn't recite the words. They sing them to themselves, and it is this mutual dependence of words and music that led Alex Ross to compare Dylan to Wagner.
I don't think the comparison quite holds, since Wagner is regarded primarily as a composer. The music, without the words, is still ravishing. Gershwin's melodies, too, stand on their own and have become standards of the instrumental jazz repertoire. Dylan's have not.
Give him his due, though: There may be better lyricists, better guitar players, better tune smiths -- heaven knows there are better singers, but few others have combined their talents into something so memorable. He is one of the few cases where the overused word "synergy" is appropriate.
Labels: Bob Dylan, Richard Wagner
The holes are very small
Conductor Matthew Glandorf gestures for a soloist to take a bow
after The Choral Arts Society's performance of J.S. Bach's
Cantata BWV 80, Ein feste Burg ist unser Gott.
I didn't need an excuse to blow off Wednesday night's debate between the presidential candidates, but if I had, I couldn't have asked for a better one than the hourlong "Bach at 7" concert by Choral Arts Philadelphia. This season, the choir is working though the cycle of 18 of J.S. Bach's cantatas from 1734-35. Wednesday, it presented BWV 80, the familiar Ein feste Burg isst under Gott, and BWV 96, Herr Christ, der einige Gottesohn, which I had not known, despite my great affection for Bach's cantatas. Of late, they have absorbed me more than any other aspect of his work, but there are 260 of the things. There are only so many hours in a life.
Herr Christ charmed me with its prominent part for sopranino recorder, played in this performance by Rainer Beckmann, who must be at least 6-foot-2. (It's always the biggest guys who play the tiniest instruments. In every bluegrass band I've ever seen, the mandolin player is a giant.) The sopranino is the dog-whistle of the recorder family. Its lowest pitch is fˊˊ, and the holes are quite close together. Modern instruments, like my little plastic job, are tuned at A=440, but Choral Arts uses the Baroque tuning of A=415. (The string players also use old-style, convex bows, which produce a softer sound than modern, convex bows.) Because of the lower tuning, Rainer explained, the finger holes are very small (though he didn't say why). Then he took his instrument out of its case and showed it to me: The holes were like pinpricks.
One mystery of the cantata concerned the symbolism of the recorder part. In Bach's religious music the instrumentation always carries extra-musical connotations, Matthew Glandorf, the Choral Arts conductor, told me, but he has been unable to turn up any information on just what the recorder is supposed to stand for in this work.
"The Holy Spirit," I offered. "Flutes are always the Holy Spirit."
Unfortunately, the Paraclete is not mentioned anywhere in the libretto.
I also asked if there might have been practical reason for the scoring: The sopranino's piercing sound should guarantee that it can be heard over the chorus and the orchestra -- although in the cavernous nave of St. Clement's Church, that was not always the case. No, Matthew replied, mere practicality was not an issue for Bach. There is always a spiritual justification for the choice of instruments. If anyone has any ideas, now's your chance to show off.
Rainer also said Wednesday night was his first professional gig as a sopranino player. In that, I have him beat by 20 years. I played the instrument back in the late 80s in a production of Jean-Claude Van Italie's Mystery Play. It drove the other actors crazy.
Labels: Choral Arts Philadelphia, Johann Sebastian Bach
The Summer of Lovecraft
Cthulu
Autumn begins Thursday, and as the weather gets cooler, I will have the energy to return to more serious, or at least more difficult, reading. In the hottest part of the summer, however, I entertained myself with a few potboilers and, in a project that started small but expanded as the time went on, the so-called horror fiction of H.P Lovecraft. I say "so-called" not because the tales were bad ― most of were quite enjoyable ― but because I didn't find much horror in them, despite the use of the word the titles of "The Dunwich Horror" and "The Horror at Red Hook."
In his most mature fiction, Lovecraft is obsessed by the idea that human beings are only the latest, and not even the most important, civilizing force in the planet. Both "In the Mountains of Madness" and "The Shadow Out of Time" present the ruins of long-dead cultures that rose and fell millions of years before the extinction of the dinosaurs. His most famous creation, the monster Chtulu, lives in another dimension but can break through at any time if someone utters the right incantation.
The sickly scion of a New England family, Lovecraft was preoccupied with inbreeding among the white population ― "The Dunwich Horror" distinguishes between the decayed and undecayed branches of the Whateley Family ― and, on the flip side, with the rise of what used to be called the "colored races." His work is sometimes marred by crude and cliched bigotry, as in the description, in "Herbert West ― Reanimator," of an African American boxer who has been killed in the ring: "He was a loathsome, gorilla-like thing, with abnormally long arms which I could not help calling fore legs, and a face that conjured up thoughts of unspeakable Congo secrets and tom-tom poundings under an eerie moon."
Where a more sympathetic writer might see a beautiful, well-muscled athlete struck down too, Lovecraft resorts to jungle metaphors.
Spawn of Chtulu
My two favorite stories are among the least known, and the shortest. "In The Walls of Venus," an effort at straightforward science fiction that, unaccountably, didn't make it into the Library of America's handy Lovecraft edition. It's a well-told tale that builds gradually and inevitably, without sensationalism, and by the end grows into a parable on the evils of colonialism ― surprisingly, given the author's racial attitudes.
The other story that stood out for me, "The Color Out of Space," was Lovecraft's own favorite. Here, he imagines what the astronomer Neil De Grasse Tyson has described as "different ways of being alive": the alien force that destroys a New England family is not humanoid, or animal, or even material. It is, rather, "a shapeless stream of unplaceable color."
But as I've said, while Lovecraft's alternative realities can be absorbing and even exciting, I find little horror in them ― not because of any lack of skill, but simply because the horror that monsters may inflict on human beings is nothing compared to the horrors we inflict on each other.
Poe, Lovecraft's hero, understood this.
Posted by Joe Barron at 10:08 PM 2 comments:
Labels: H.P. Lovecraft
Florence Foster Jenkins and Charles Ives
In an earlier post, I referred to Florence Foster Jenkins, portrayed my Meryl Streep in the eponymous film, as a horror. Now, however, the blog Voice Science Works has defended her, or at least her right to sing, because of her enthusiasm and her love of music. "Do we want a world where only a few will sing due to social pressures," the blogger asks, "or one where we all understand that our voices have enormous potential should we seek to find it?"
Personally, I'd go with the social pressures. Ara longa, perhaps, but vita is too damned brevis to put up with incompetence, let alone encourage it. I wouldn't want to waste my time on an execrable singer any more than I would on a juggler who keeps dropping his clubs. Performance might benefit from passion, but it also demands skill.
And yet ... the blogger's defense reminds me of a passage from the Memos of Charles Ives, whose music I have loved since I was a kid and whose ideas have been an ever-present challenge:
Once a nice young man (his musical sense having been limited by three years' intensive study at the Boston Conservatory) said to Father, "How can you stand to hear old John Bell (the best stone-mason in town) sing?" as he used to at Camp Meetings). Father said, "He is a supreme musician." The young man (nice and educated) was horrified -- "Why, he sings off key, the wrong notes and everything -- and that horrible, raucous voice -- and he bellows out at hits notes no one else does -- it's awful!" Father said, "Watch him closely and reverently, look into his face and hear to music of the ages. Don't pay too much attention to the sounds -- for if you do, you may miss the music."
Ives spent much of his creative energy trying to capture the spirit behind the sounds, and, looking at the joy in Streep's face as she butchered "Der Hölle Rache kocht in meinem Herzen," I had to ask myself, have I been missing the music? Is Florence Forster Jenkins the embodiment of the Ivesian ideal of substance over manner?
On this occasion, I'm going to comfort myself by saying no. In the first place, Florence would have hated Charlie's music, as well as his idea that dissonance can lead to higher truth. At the end of the film, we hear her as she heard herself, and in her own mind, she sang like an angel. Earlier, when pianists are auditioning to be her accompanist, we find she can't bear loud, aggressive playing, though her sensitivity was likely a symptom of her lifelong syphilitic condition. Volume and aggressiveness were, of course, staples of Ives's repertoire -- as was humor, and while Jenkins's listeners might feel free to laugh, she took herself seriously.
Ives also would have despised Jenkins's choice of material, which for him typified the easy, spiritually bankrupt world he was rebelling against. For Ives, a man singing a hymn off key is channeling God. A woman singing Mozart, no matter how well, is just singing Mozart.
(Zappa, I think, would have loved her, just as he loved the Shaggs, who he insisted were better than the Beatles. But for Frank, wrong notes weren't about the music of the ages. They were about the subversion of information.)
Over the years, hostile or condescending critics have leveled the same charges against Ives that some reviewers leveled against Jenkins -- amateurism, sloppy technique, and the use of wealth as a buffer against reality -- but right or wrong, Ives was an artist, and a skilled one. His dissonances have purpose, often to wonderful effect, and whatever spiritual vision his scores possess comes though more clearly and forcefully through -- dare I say it? -- a good performance.
Posted by Joe Barron at 1:38 PM 3 comments:
Labels: Charles Ives, Florence Foster Jenkins, Frank Zappa, The Bealtes
I read a lot of trash in the summer
Spenser is back, busting the bad guys and overeating, in Slow Burn, Ace Atkins' fifth attempt to extend Robert Parker's deathless franchise. It's his best effort so far, though it can't avoid some of the series' more glaring cliches. In one twist, Spenser, who is gradually showing his age more and more, gets the worst of it in a fistfight with a young thug in the employ of the mob. Atkins plants the seeds for the next book, leaving open the question of a rematch, and just when the mob boss Spenser has ticked off will try to bump him off, but I left wondering why the mob boss would wait until Hawk comes back from France to make his move.
The novel is apparently based on a real-life series of arsons that took place in Boston in the 1980s. In Atkins' telling, the arsonists are a trio of pathetic firefighting wannabes who think causing a crisis will create more support for the fire department. Atkins resorts to Parker's old technique of inserting italic chapters told from the perps' point of view, which gets the miscreants into the story long before our knight errant catches up with them in the last couple chapters. I've never liked this device. The books are supposed to be told from Spenser's point of view, and the shift in perspective has always struck as an authorial intrusion.
Spenser gets into the case, of course, because an angry, loudmouth firefighter doesn't think the higher ups are doing enough to solve the case. He asks Spenser to go through the back door, tracking down underworld contacts the arson squad wouldn't know about. Strangely, this approach is nothing but a a red herring: Spenser's initial theory of the case turns out to be wrong, and all he manages to do, at first, is get the mob boss mad at him.
Parker was an efficient writer, not a great one. He didn't have Chandler's style or Hammett's way with a plot. His prose is never memorable. But he was often diverting, and sometimes funny, and he excelled at gunplay (which is why his best books are his westerns). Atkins falls comfortably into the formula. It seems he'll be able to churn out a novel every year until Spenser turns 100.
And he's still taking the easy way out with his character descriptions, making comparisons to minor celebrities of the past. This time out, he tells us one guy resembled Fred Gwynne without the bolts in his neck. There's an esoteric reference for you. If nothing else, Atkins knows his demographic.
The inspiring true story of a real-life horror
Smon Helberg, Meryl Streep and Hugh Grant
in Florence Foster Jenkins. Helberg plays
Cosme McMoon, Florence's accompanist.
Grant is her husband and chief enabler, St. Clair Bayfield.
I don't go to the movies much anymore, but on Sunday, with the heat index at over a hundred degrees, I forewent my usual weekend bike ride and spent the afternoon in an air-conditioned theater. I saw Florence Foster Jenkins, Stephen Frears's comedy-melodrama about the heiress who became the worst singer ever to perform at Carnegie Hall, with Meryl Streep in the title role. This isn't a review. There are enough of those around. Suffice it to say there weren't as many laughs as I'd expected. Simon Helberg, my favorite cast member in The Big Bang Theory, has a few amusing moments when, as Florence's hired accompanist, he first gets a load of her vocalizing. For the rest of the film, however, he has little to do but complain he can't risk his reputation by appearing in public with her, then relent every time because a) the money is too good and b) he grows genuinely fond of the old dame.
My problem, when I left the theater, was that I wasn't sure how we are supposed to feel about Florence. Are we supposed to laugh at her? Pity her? Admire her courage? Is she a trouper or a fool? But now I think there is no wrong way to respond. Derision, empathy and outrage are all valid reactions, together or separately, and that very ambiguity may be the point of the film. Truly, Florence is a horror who makes a mockery of Joseph Campbell's counsel to follow your bliss. Most of us overestimate our talents, but few of us have the money to rent out Carnegie Hall and inflict them on the public. The music critic who, in the film, writes a devastating review for the Post might be depicted as a meanie, but he is right to be incensed. The drunken sailors and soldiers in the audience who think the performance is a joke, a la Jack Benny and his violin, are right to laugh. And Florence's supporters in the audience are right to shout them down. They don't want to see her feelings hurt.
For all her wealth, Florence had a hard life, having been infected with syphilis on her wedding night at age 18. I should be glad she enjoyed her moment in the limelight, but I couldn't really root for her. It made no difference to me ― and certainly not to music ― whether she finally summoned the moxie to walk out onstage.
Labels: Florence Foster Jenkins., Meryl Streep, Simon Helberg
My own little slice of heaven
Steve Kramer plays Bach
Last month, the Times Herald building in Norristown was closed, to save money, and the staff was scattered to the winds. Now, one day a week, I work from home, two days a week I work in the Reporter building in Lansdale, and two days a week I work in the lobby of Norristown's Centre Theater, where the cellist Steve Kramer teaches on the third floor.
Friday, when Steve was finished with teaching, he brought his cello down to the lobby to practice. I was the only one of the newspaper staff who had not yet gone home, and so I was treated to a private performance, though much of it consisted of warmup scales and arpeggios.
Last year at a benefit concert, also held at the Centre Theater, Steve played one movement of Bach's Suite No. 1 in G. Afterward, it seems, I teased him about it, asking him why he didn't play the whole thing. I have no recollection of the incident, but Steve remembered, and he said he I was right. He felt guilty, he said, and to pay me back, he would play the entire suite right there in the lobby.
Well, you know, I said, my favorite of the Suites is No. 3, and which point he sat down and played it. He did it in fits and starts, since he was breaking in a new bow, but he did, eventually, get through the whole thing, and the extended portions were soul-searing. There is a physicality to the cello heard in close quarters, a quality not conveyed in recordings, or even live in a concert hall. One can almost see the instrument vibrate. One can certainly feel it.
When he was through, he asked me, with a smile, "Have I paid you back?"
I said we were square.
Fun, if squicky, fact: Bows are made from the hair of horse tails, but, Steve informed me, only the hair of males is used. Why? Because females, given the arrangement of their anatomy, stale on their own tails. The hair is impregnated with urine.
'Two seniors for Zappa'
Yesterday afternoon I went to the movies for the movies for the first time in years. The feature that, at long last, lured me out of my apartment on a weekend was Eat the Question: FrankZappa in His Own Words, a documentary by Thorsten Schütte. (Leave it to a European ― in this case, a German ― to remind Americans of their own musical heritage. It took a Dutchman, Frank Scheffer, to film Elliott Carter. )
The film consists of snippets of TV interviews Zappa gave over the years, interspersed with performance footage, presented more or less in chronological order. There is no narration, no subtitles identifying the interviewers or band members. Viewers are left to navigate the timeline on their own ― you can estimate when a scene was shot by the personnel, the repertoire, and the length and color of Frank's hair ― and it seemed to me that the more you bring to the film, the more you'll get out of it. I wondered if anyone who had never heard of Zappa would have any idea what was going on, but then, anyone who had never heard of Zappa would never pay the teen-dollar admission price.
Frank says at the top of the film that an interview is an unnatural situation ― "two steps removed from the Inquisition," as he puts it ― and what we get here is very much the public Zappa, who was, in many ways, an admirable, if paradoxical, figure: One minute, he's inveighing against an educational system that leaves children unprepared to make informed aesthetic judgments. The next, he's singing about anal sex.
(The private Zappa, as we are learning from his daughter Moon, was not such a bastion of integrity. For one thing, he was an open, serial adulterer who once gave his wife the clap. In the film, he has a few things to say about groupies, as well as the clap, but his wife and children are never shown on camera.)
Over the years, interviewers are constantly struggling to reconcile Zappa's outrageousness with what they call his "serious" side, though he insists he approaches all of his music seriously. A piffle like "Valley Girl" and long-form compositions with the London Symphony Orchestra, he says, both present problems in musical form. In an early interview, we see him in his studio, editing a score with a razor blade, and talking about his ambition to become the missing link between Varese, Stravinsky and Webern. (Carter attempted much the same synthesis, with more success.) Years later (as indicated by the hair), he defines his aesthetic, a favorite word, as "anything, anywhere, anytime, for no reason at all." His music, he says, embraces all styles. It contains both complex and simple rhythms, both dissonances and triads ― an openness that puts him more in the tradition of Charles Ives, if Ives can be said to belong to a tradition.
The portrait that finally emerges, almost incidentally, from the nonstop polemics is of a man who loved music for its own sake, and I think Schütte deliberately chose the last shot in the film to reinforce the point. Frank, grizzled, dying of cancer, stands lighted against the darkness and, with c
concise, weak strokes, conducts an unseen percussion ensemble in "Ionisation" by his beloved Edgard Varese. His eyes are closed. For the only time in the film, perhaps the only time in his life, he looks to be on the verge of tears. He didn't believe in heaven, and neither do I, but here he is as close to it as he ever expected to come.
Note: The title of this post was overheard in line at the box office at the Ritz Theater. The words were spoken by the white-haired woman standing in front of me. She was in the company of a man who, downstairs as the concession stand, asked for a pair of headphones so he would hear the movie better. What starker reminder of the passage of time? Zappa has been dead for more than 20 years, his first album was released 50 years ago this month, and the youth who rebelled in the '60s are now collecting Social Security.
Labels: Frank Zappa, Moon Unit Zappa
The Brothers Vonnegut
One of the few nonfiction books I've bothered to read this year is The Brothers Vonnegut: Science and Fiction in the House of Magic by Ginger Strand. Not quite a full dual biography, it's more an examination of the parallel careers of Kurt Vonnegut and his older brother, Bernard, in the years following WWII, when they both worked at General Electric in Schenectady, New York -- the House of Magic of the title, Here Kurt wrote copy for the publicity department (known pretentiously as the News Division) while Bernard conducted experiments in cloud seeding. In this period, as in their childhood, Bernard was the star of the family, a bona fide scientist who followed the path set for him by his father and uncles. Kurt was the overlooked kid brother, a college dropout, the family clown who sent story after story to slick magazines and amassed stacks of rejections slips.
The central section of the book flips back and forth between the brothers' working lives in the late forties and into the fifties, and Bernard's story is far more absorbing. The descriptions of Kurt sitting at his desk and pounding out prose become repetitive. Bernie, meanwhile, flies off in B-17s and makes rain with silver iodide (maybe). It isn't until the last fifteen pages of the book that the roles are reversed, and Kurt becomes the dominant figure.
In Strand's telling, the years in Schenectady bore most directly on two of Kurt's novels: Player Piano (which disappointed me) and Cat's Cradle (which didn't). The description of Ice-9 in the latter is taken directly from Bernie's explanation to his brother about the different ways in which water may crystallize:
He told Kurt to imagine cannonballs stacked on a courthouse lawn. Just as the balls could be piled up into different shapes, ice crystals could be stacked into different configurations. In fact, [Percy] Bridgeman had described a whole series of ice phase variants, ice-1 through ice-6. And who knew—there might be more to come. (95)
Indeed there was.
Strand's book also provides a valuable portrait of the GE corporate culture in those years. The company was then, as now, a central cog in the military-industrial complex, and it demanded not only the time and talents of its employees, but their political sympathies as well. And the sympathies were decidedly right-wing. (It was GE, she reminds us, that launched the political career of Ronald Reagan.) Kurt loathed the atmosphere, and got out soon after selling his first couple of stories. Bernard grew disillusioned over time – rather too much time, it seems – and escaped into academia.
Last aside: In Person of Interest, the sci-fi/action series that concluded its five-year run on CBS this month, the virus that finally destroys the evil computer is called Ice-9. I was tickled to hear that.
Now I'm itching to reread some Vonnegut, when I'm finished (please, God) with Lovecraft.
Labels: Cat's Cradle, Ginger Strand, Kurt Vonnegut, Player Piano
Final thoughts about the Doubleclicks
Aubrey and Angela Webber, with Max, the cat keyboard.
This will in all likelihood be my last post about Aubrey and Angela Webber, the maddeningly talented sisters from Portland, Ore., who tour and record under the name of Doubleclicks. For two years I've been trying to sell my friends on their music, and with one exception, I have failed. The fault may lie not in our stars, but in our demographic. Most people my age, I guess, aren't interested in geeky songs about dinosaurs, TV shows and tabletop games – never mind the appealing musicality or the memorable, singalong lyrics. This duo isn't too young for me, because I never stopped being a geek, but it seems to be for my pals.
I give up.
Bitterness aside: Angela and Aubrey performed Sunday night at the newly reopened Steel City café in Phoenixville. It was their third appearance in the Philadelphia area in as many years, and it made up in energy and wit what it lacked in new material. Despite some problems the sound system, and Angela's trouble with the tuning on her guitar (she hates summer, apparently), a splendid time was guaranteed for all. The sisters were in top form vocally, most memorably in the bouncy "Unstoppable Force."
They've been touring the country for the past week, and the long-distance driving seemed to have taken a toll. They didn't appear weary so much as punchy: Angela would launch into rambling intros, only to have her sister pull her back from the brink. At one point, a song came to a dead stop as Angela retuned and asked for the sound to be brought down. Like all real pros, however, they turned the trying circumstances to their advantage, milking them for laughs.
Afterward, Laura Vernola, one of Steel City's new owners, told me that of all the acts booked there since the coffeehouse reopened, the Doubleclicks were the most sheerly entertaining.
Still, as funny as they are, though, they always manage to put a lump in my throat. Sunday, the lump was planted by "Wonder," "I've Got Nothing to Prove," and their touching cover of Jimmy Eat World's "The Middle," a song its creators never intended to be touching.
One last observation: As I was driving home, nervously watching the temperature gauge on my dashboard, I had to wonder how the act will change in the next few years. Aubrey turned thirty last year, and Angela will in 2018, I believe. In the near future, I thought, they will have to stop writing songs about growing up and begin to write about what it is like actually to be grown up. They might need time off to reassess, as Garry Trudeau did, before they were born, when he went on sabbatical and brought his Doonesbury characters into their post-collegiate lives. But they are inventive musicians and observant lyricists, and I have no doubt they'll handle the transition without letting the seams show
Maybe them my friends will pay attention.
Labels: Angela Webber., Aubrey Webber, The Doubleclicks
The depths of the sea to the depths of space
The chamber recital this weekend by The Fine Art Music Company demonstrated just how fruitful thematic programming can be. Take a simple concept ― in this case, "A Musical Ode to Earth" ― and in a little while, pieces that otherwise might never share the same hour begin to present themselves. As the performances rolled by yesterday at the Ethical Society of Philadelphia, I could almost taste the excitement the Rollin Wilber and company must have felt in making their selections.
It was an eclectic list, certainly, though grounded firmly in the 20th and 21st centuries. The first half began with Henry Cowell's "Tides of Manaunan," one of the composer's early experiments in tone clustering (written in 1914 when he was, incredibly, just 17), and ended with George Crumb's exquisite Vox Balaenae, performed, as the score requests, in deep blue light with the performers wearing masks. It was an inspired juxtaposition, since Cowell pioneered the expansion of piano technique that Crumb later used to much more expressive effect. The low lighting and Lone Ranger-style facial gear must have interfered with the musicians' ability to follow the score, but flutist Elivi Varga, cellist Julia Morelli, and pianist Katarzyna Marzec-Salwinski brought it off flawlessly. The finale achieved a genuine feeling of timelessness and otherworldliness, despite the intrusion of a police siren outside.
The other highlight of the first half, for me, was Katarzyna's crisp rendition of Debussy's prelude "The Terrace of Moonlight Audiences." In the second half, too, Rollin was as good as I've ever heard him in Ernest Bloch's "Poems of the Sea" for piano.
The brief afternoon ended with the famous video of Carl Sagan speaking about the "pale blue dot" of Earth as photographed from the far reaches of the solar system by the Voyager spacecraft, followed by the music it inspired, David Ludwig's Pale Blue Dot for string quartet. For me, the Ludwig was not as evocative as the Crumb, but I loved the soft, haunting way it ended, with the players tapping on their strings with small stones.
The program also included a pair of short works by the tragically short-lived Lili Boulanger, and, as a short break from the afternoon's theme, Jacques Ibert's Two Interludes for piano, violin and voice.
Posted by Joe Barron at 5:10 PM 1 comment:
The real joy of music
As I wrote in my previous post, I spent all day Sunday at one musical salon or another. One of the nicest things about it was that, for a full afternoon and evening, I was able to forget about the presidential race. It started much too early, it's been going on much too long, and none of the constant barrage of information is of any lasting interest. All of the minute-by-minute polling and the commentary, as urgent as it is made to seem, is instantly forgotten. A year from now, no one will care to remember that Jeb! or Ben Carson ever ran. It will all be as interesting as last week's traffic reports, the only difference being that traffic reports are at least useful at the time. For one day, it was a pleasure to leave the hype behind and create a lasting memory.
Posted by Joe Barron at 9:14 AM No comments:
Riches from a very long day
A large number of short pieces led yesterday to a musical experience of Wagnerian proportions. For the first time in my life that I remember, I attended two concerts in one day. No single work on either program lasted more than fifteen minutes, but together they added up to more than five hours of music. At 3 p.m. the Fine Art Music Company presented a concert of music for violin, saxophone and piano at Ivy Hall (in the Georgian mansion known as the International Institute for Culture) on Lancaster Avenue. Then, at 7, Andrea Clearfield hosted her monthly salon at her home downtown.
Maybe I was just fresher in the afternoon, but I would have to say that, while both programs were memorable, for musical satisfaction, the Ivy Hall program had the edge. (It also had chairs. In Andrea's living room, most guests sit on the floor.) Jonathan Moser played the Debussy Violin Sonata with just the right combination of lightness and grit, accompanied with expert deference by Katarzyna Marzec-Salwinski, and Jeremy Juteson introduced me to the sound world of Joan Tower with Wings for solo saxophone, a tour de force of tone color and rapid mood shifts. (The piece depicts a falcon in flight, Justseon said, and both the score and the performance certainly made the inspiration clear.)
The program also included Hindemith's Sonata for Solo Violin, Op. 31, No. 2, and two attractive if slighter works, the Trio for Violin, Alto Saxophone and Piano by Jeffrey Quick, and Cantilene et Danse, for the same three instruments, by Marc Eychennne. The middle movement of the Quick was titled "The Answered Question," a shout-out to Charles Ives, though the composer took too big a chance by inviting a comparison. The music came nowhere near capturing Ives's sense of wonder. As an expression of faith, it struck me as a little too self-satisfied.
I was going to skip Andrea's Salon this month until I learned it would include music by my longtime acquaintance Sheridan Seyfried, whom I first interviewed for his hometown newspaper more than a decade ago, on the occasion of his acceptance to the Curtis Institute of Music. Sheridan and three of his Curtis friends performed a short, exuberant work for piano quartet that deconstructs a well-known patriotic air. I refrain from naming it, since, in accordance with the composer's intention, no one outside a circle of initiates is ever supposed to guess what it is.
The music at Andrea's salons is always diverse, and last night's program gave me my first glimpse of a wholesome young folk group called Sunday Muse, and the singer-songwriter Alexandra Day, who had some funny patter. The five-star discovery of the night, however, was Karolina Syrovatkova, a wafer-thin Czech pianist with a delicate jaw like the limb of a crescent moon. She played a dance and a folk-song arrangement by Smetana, and her touch seemed a miracle of weightlessness.
I did not get home until close to midnight, and falling asleep was not an issue.
Labels: Andrea Clearfield, Fine Art Music Company, Jeremy Juteson, Jonathan Moser, Karolina Syrovatkova, Katarzyna Marzec-Salwinski, Sheridan Seyfried
Salon of Russian Music and Poetry
From left, mezzo-soprano Tatyana Rashkovsky,
pianist Katarzyna Marzec-Salwinski, and reader
and all-around good egg Inna Lobanova-Heasely.
It's always an exciting challenge to find something to do on Super Bowl Sunday other than watch the game. This year, my Facebook (and real life) friend Inna Lobanova-Heasley invited me to a salon f Russian poetry and music held at the Ethical Society of Philadelphia on Rittenhouse Square. It was a lovely afternoon out that was also educational. Russian anything is a gaping lacuna in my cultural education.
The salon was dedicated to the memory of Alexander Pushkin. Inna read his poems (in Russian) and mezzo-soprano Tatyana Rashkovsky, accompanied by either Kasha Marzec-Salwinski or Rollin Wilber on piano, sang settings of his verses. The program also included solo piano pieces big and small, with Kasha and Rollin switching off.
I've never been a fan of Russian music, and the outer movements of Rachmaninoff's Second Piano Sonata, with which Kasha ended the program, reminded me why. The score is stuffed with fat and carbohydrates ― yummy, but not really good for you. (The fingering is so ostentatiously furious Kasha broke one of the black keys. Bravely, she kept whaling away.) Scriabin's Fifth Piano Sonata, however, which Rollin played at the end of the first half, was a wild ride. I especially liked the way it ended, suddenly breaking off as though the composer, or the performer, got sick of the effort and said, "To hell with it." The smaller piano pieces were lovely, too, even those by Rachmaninoff, and the songs were a revelation. The discovery of the afternoon had to be Nikolai Medtner (1880-1951), and who was represented by his songs "I Have Outlived My Aspirations," "Winter Evening," and "To the Dreamer," and whom I had never heard of. There was something old-fashioned and painfully nostalgic about the whole enterprise ― the youngest composer on the bill was Shostakovich ― but it was a memorable afternoon.
This morning, I found the Puppy Monkey Baby on YouTube. The commercial proves that combining one good thing with another good thing does not necessarily result in a third good thing. The Greeks understood this.
So, those of you claim to watch the Big Game for the commercials,tell me, which of us made the healthier choice?
... ly Ballou here in Times Square
Bob, left, and Ray, right.
I note, with great sadness, the passing Feb. 2 of Bob Elliott, one half of the great Bob and Ray, one of my two favorite comedy teams (the other being, of course, the Marx Brothers). I bought the soundtrack album to Bob and Ray: The Two and Only with paperboy money when I was 12, and a year later, I saw the touring company (which consisted of the same cast) at the now-defunct Locust Theater in Philadelphia. A few years later I followed Bob and Ray on WOR in New York (which I could pick up in Southeastern Pa.) and then on National Public Radio.
I never missed a chance to hear them, if I could help it. They were clean, subtle to the vanishing point, and at their best, hilarious. I was such a fan that in the early 1990s, while I was active in community theater in the Washington, D.C., area, I strung together several of my favorite bits into a one-act play I called "The Bob and Ray Suite," which I directed and appeared in and which turned out to be a great hit.
Having no no idea how to get the performance rights to the material, I wrote to the Museum of TV and Radio in New York, asking that my request be forwarded to Bob, wherever he might be. Weeks later, I was surprised delighted to find a typewritten response from Bob Elliott in my mailbox. (The return address on the envelope was Cundy's Harbor, Maine, where Bob was reported to have died.) Bob granted me permission to perform the skits without payment. He asked only that the program give proper credit. I still have the letter.
Labels: Bob and Ray, Bob Elliott
File under Bou - Bow
The death of Pierre Boulez on January 5 was quickly overshadowed by the death of David Bowie a few days later. Bowie was the talk of my newsroom for an afternoon, and of course, none of my co-workers had ever heard of Boulez. Even many of my classically trained Facebook friends had more to say and more posts to make about the flamboyantly pansexual rock star than the quietly asexual composer and conductor.
Though I never actively followed Bowie's career, I always felt his presence: He seem to lurk in the background of my life, on the jukebox in my high school cafeteria, on the car radio, or on the television. Taking inventory after he died, however, I realized the only Bowie song I have in my entire music collection is a cover ― Rickie Lee Jones' version of "Rebel, Rebel" on the album Stuart's Coat. It's my favorite Bowie song, and guitar riff has been stuck in my mind for days. Yet I'm certain than when it finally leaves me alone, my strongest memory of Bowie will remain his unexpected, and hilarious, appearance on the Looney Tunes 50th anniversary special:
Boulez, on the other hand, became a central figure in my musical life early on, first as a conductor, and only later as a composer. His name appears throughout my record and CD collections as the leader of treasured performances of Berg, Carter, Debussy, Mahler, Ravel, Schoenberg , Webern and Zappa. I first saw him conduct in New York City in 1974, when directed the New York Philharmonic in Charles Ives's Fourth Symphony. (The Ives centenary was celebrated that year.) Three years later, I attended the premiere of Carter's wonderful Symphony of Three Orchestras, also with Boulez and the Philharmonic, and in 1986, I saw him lead the Ensemble InterContemporain in the US premiere of Carter's Penthode at Avery Fisher Hall. (His recording, released in 1990, unfortunately does not capture the charm of the live performance.)
As regards his compositions, it seems I have been on the verge of truly appreciating them for years. Every so often, I'll listen to some of them, like what I hear, and then go on about my business. Certainly, he was precocious, influential, and most important, good. Already in the 1950s, with Le Marteau sans Maitre, he had mastered an idiom that Elliott Carter would turn to his own purposes only years later. Robert Craft's recording of the piece, on Columbia, was epoch-making, to be sure, but Boulez' own, made half a century later for DGG, is gorgeous. I will, in the coming days, continue to explore the discography, and, I hope to come away with a deeper understanding of a composer who lived long but departed too soon.


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Do I need to constantly change my settings?


This cable will allow a Select Monitor and a PC to be connected to the car at the same time. The PC will be able to eavesdrop on the conversation between the car and the Select Monitor. This makes it possible to compile a definitive list of the ECU parameters that can be used in VWRX, Evoscan and any other data logging software.
To build the cable, you need 1 male connector (1st Gen Legacy Radio Harness) and 3 female connectors (B35 yellow select monitor connectors).
At one end of the cable is the male Legacy radio harness connector. This connects to the female Select Monitor connector on the car. At the other end of the cable are three female Select Monitor Connectors.
The centre connector is where you plug in the SSM. It's cables go straight through the to male plug. 2-2, 3-3, 5-5 and 9-9. In the description below, "wire 2" and "wire 3" refer to the wires on pins 2 and 3 of this connector.
The left connector is also wired straight through, but pin 3 (transmit) is not connected because this connector only receives data from the car, it does not transmit. You will notice that pin 2 (receive) is connected to wire 2 (transmit from Car to SSM). Data travelling along wire 2 from the Car to the SSM will be received by a PC attached to this connector.
The right connector also has no transmit wire. In addition, its pin 2 (receive) is connected to wire 3 (transmit from SSM to Car). Data travelling along wire 3 from the SSM to the Car will be received by a PC attached to this connector.
You do not need to have two PCs to perform the monitoring, you can have just one PC and move it between the left and right connectors.
Connect the male connector of the cable to the car.
Connect the SSM to the centre connector of the cable.
Connect the PC to the right connector of the cable.
Run the Hex Com Tool software on the PC and set the parameters to 1953-8-E-1 as normal.
Switch on the car ignition.
Switch on the select monitor and read a parameter.
The Hex Com Tool should show the data sent by the SSM. It should look like 78aaaabb where aaaa is the address that is being queried.
If the data doesn't look right then possibly the select monitor is using the ASCII mode, in which case, change the HCT parameters to 4808-8-N-1 and try again. In ASCII mode the queries should look like 7Faaaaaaaabbbb and the replies like aaaaaaaannnn0A0D.
Compile a list of the data sent by the Select Monitor for each parameter that it queries. ECU, TCU, Reset, Cruise, Aircon, whatever parameters you can get. The more info the better.
The relationship between the data sent by the ECU and the value displayed on the SSM screen is most likely linear. This means that the formula is always y=mx+c, where y is the value displayed on the SSM, x is the value sent by the ECU, m and c are what we have to work out for each parameter.
Move the PC cable to the left connector so that the PC receives the replies from the Car to the SSM.
If m or c are long decimal numbers, try to represent them as fractions. For example 0.0196078 can be represented as 5/255.
The values of on/off switches are transmitted as binary bits.
Read the ECU value when the switch is on, read it again when the switch is off.
Convert the values E1 and E2 from hexadecimal to binary and compare them. For example, if E1 is 35 hex and E2 is 31 hex. In binary they are 00110101 and 00110001. You can see that the 6th bit is the one that represents the switch you flipped.


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Jabra Assist is the most powerful voice assistant, allowing you to completely revolutionise your call experience on the Jabra Eclipse. Customise your audio quality, change your spoken language, read out text messages and much more.
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Keep track of the remaining talk time on your device with this simple, visual indication. Be notified in the app when the battery on your Jabra device is below 10%.
You can now have incoming text messages read out to you, completely hands-free. You can respond to a text message by using Google Now.


Microsoft Worldwide Partner Conference has already moved to day 2, and today's introducing keynote was all about how Microsoft can help its partners and businesses embrace digital transformation. To that end, Microsoft's Corporate Vice President for Windows and Devices Group Yusuf Mehdi announced today that the company will launch new subscription options for both Windows 10 and Surface devices.
While Windows 10 is already running on 350 million devices, Medhi shared that Microsoft is looking for better ways to help business confronted to high security risks to upgrade to the more secure OS. That's the purpose of Windows 10 Enterprise E3 for Cloud Solution Provider channels (CSP): with this new offering, CSP partners will be able to provide businesses a subscription to Windows 10 Enterprise and get Microsoft's "full IT Stack" including Office 365, Dynamics, Azure and CRM as a per user, per month offering.
Windows 10 has enhanced security features for enterprises.
Increased Security: Offering the sophisticated security features of Windows 10 to help businesses secure sensitive data and identities, help ensure devices are protected from cybersecurity threats, give employees the freedom and flexibility to access sensitive data on a variety of devices, and help ensure controlled access to highly-sensitive data.
Simplified Licensing & Deployment: Helping businesses lower up-front costs, eliminating the need for time-consuming device counting and audits, and making it easier to stay compliant with a subscription-based, per-user licensing model. This new offering allows businesses to easily move from Windows 10 Pro to Windows 10 Enterprise E3 without rebooting.
Partner-managed IT: Configuring and managing devices by a partner experienced in Windows 10 and cloud deployments. Partners can also help businesses develop a device security and management strategy with the unique features of Windows 10. Businesses can view subscriptions and usage for Windows 10 Enterprise, and any other Microsoft cloud services purchased, in their partner portal for easier management with one contract, one user account, one support contact, and one simplified bill.
Windows 10 Enterprise E3 in CSP will be available Starting this fall at just $7 a seat per month, but Windows 10 Enterprise will continue to be available through the company's regular licensing programs and the newly-announced suites Secure Productive Enterprise E3 and E5 launching later this year.
By bringing to the market its Surface range of hybrid tablets, Microsoft contributed to define a new product category and Medhi emphasized how "innovative devices shift people's behavior, inspire ideas, catalyze collaboration, accelerate progress, and transform business." The exec also outlined that the Surface Business has grown significantly in the past year, going from generating $1B in revenue in a year to $1B in revenue per quarter.
However, Redmond is looking for accelerating the shift towards more versatile devices with the help from its partners. To that end, the company announced today that all Cloud Solution Partners (who are also Surface Authorized Distributors) will be able to sell Surface as a Service, which means that all of them will be able to "offer Surface devices through a managed service offering to all of our resellers and customers, alongside managed cloud services, Office 365, Windows 10, and relevant ISV software." This new offering with start with leading CSP ALSO and will allow customers to get up do date devices in a more flexible way.
In the end, Microsoft hopes that these new initiatives will "provide great opportunities for our partners and for our customers to transform their businesses to a more modern way of working." Let us know in the comments what do you think of this latest announcements.
Do you think these new initiatives will help Microsoft's partners and customers embrace the digital revolution?


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The conductor of the Met Opera abandons the "Figaro"
Yannick Nézet-Séguin, musical director of the Metropolitan Opera, will not conduct, as planned, a revival of Mozart's "Marriage of Figaro" in January, the company announced Monday evening.
Nézet-Séguin "will take a brief sabbatical of almost four weeks from all of his managerial duties beginning Dec. 19," the Met said, and quoted him as adding: "This short break will allow me to regain my strength. as we come back in the New Year with more inspiring art.
The Philadelphia Orchestra, of which Nézet-Séguin is also musical director, announced that Xian Zhang would resume his concerts scheduled for December 31 and January 2, but said his time off would not affect his presence with the orchestra at Carnegie Hall. . January 11, nor the next two weeks of subscription concerts in Philadelphia in January.
Nézet-Séguin – who earlier in his career was known for keeping a particularly busy schedule, and sometimes for canceling – is currently directing Matthew Aucoin's Met series and Sarah Ruhl's "Eurydice". This is the second company premiere he is leading this fall, having opened the season with "Fire Shut Up in My Bones" by Terence Blanchard and Kasi Lemmons.
He has also led the Met forces in outdoor performances of Mahler's Second Symphony and a nationally televised version of Verdi's Requiem for the 20th anniversary of the 9/11 attacks, as well as concerts in Philadelphia, Carnegie and in Montreal, where he is the music director of the Orchester Métropolitain.
He will conduct Puccini's "Tosca" at the Met from Thursday to December 18th, as well as a new production of Verdi's "Don Carlos" which will begin on February 28th.
For the "Figaro", which opens on January 8, Nézet-Séguin will be replaced by Daniele Rustioni – who is at the Met to direct a new production of "Rigoletto" from New Year's Eve – and (for the final performance, the January 28) Gareth Morrell. Five other "Figaro" performances scheduled for April will be directed by James Gaffigan.
'Hamilton' performance in Dallas canceled due to COVID breakthrough
Edinburgh's first new concert hall in a century gets green light
Massey Hall reopens after massive modernization that preserves the magic of an iconic music venue
Aronoff Center and Music Hall using the new Vaccine Passport app


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31836 Poshedly è un asteroide della fascia principale. Scoperto nel 2000, presenta un'orbita caratterizzata da un semiasse maggiore pari a  e da un'eccentricità di 0,1512763, inclinata di 5,47136° rispetto all'eclittica.

Collegamenti esterni

Poshedly
Corpi celesti scoperti nel 2000

redpajama_set_name: RedPajamaWikipedia


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Mr Christopher Coppock
Title: Welsh Government Appointed Member
Appointing Authority: Welsh Government appointed member
Mr Edward Evans
Mrs Sue Holden
Mr James Marsden
Ms Deborah Perkin
Mr Ian Rowat
Mr Julian Stedman
Email: chris.coppock@beacons-npa.gov.uk
Download Mr Christopher Coppock contact details as VCard
Flagship Site Task and Finish GroupWelsh Government
Governance and Member Development Working GroupWelsh Government
Member Champion for Reslient CommunitiesWelsh Government
Member Development EventsWelsh Government
National Park Authority
Planning, Access and Rights of WayWelsh Government Appointee
Planning, Access and Rights of Way Site VisitWelsh Government
Sustainable Development Fund CommitteeWelsh Government
Waterfalls Task & Finish GroupWelsh Government
WorkshopWelsh Government
Originally from Ireland but living in Wales for the last 30 years — Chris is a
creative industries and regeneration professional with over 40 years' experience working at senior management level in contemporary Visual Arts organisations in Belfast, Bristol and South Wales, as well as periodically operating as an independent art curator, creative advisor and project manager.
He is particularly interested in the interface between the rural and urban experience and the role that the imagination can play in redefining our understanding and appreciation of the land, landscape and the great outdoors. Above all he is motivated by ideas and cultural programmes in Wales that fundamentally address social justice and seek to ferment structural change in 'difficult-to-reach' communities and environments of social and economic deprivation, whether they be in the countryside, the Valleys or the inner city.
While based in the city of Cardiff, Chris is a fully signed up National Park Volunteer and for the last 7 years has worked in the captivating and historically rich setting of Craig-y-Nos Country Park in the Tawe Valley. In early 2017, with the inspirational support of the then Warden, Ian Penn and volunteer colleagues, he was a founder member of Criw Craggy. This newly formed BBNPA Friends group continues to go from strength to strength and provides considerable added value to the work of the Park, underpinning the important role that volunteering plays within the Authority's burgeoning portfolio.
Chris is a keen cyclist on both road and mountain bikes, a rugby enthusiast and an avid hill-walker, who has traversed almost all reaches of the awe-inspiring Brecon Beacons National Park. Along with Women's Hour and I'm Sorry I Haven't a Clue, his go to radio programmes on BBC Radio are Farming Today and The Archers.


[ Transactional ] as a Relevant Course outside SLS for those interested in Entrepreneurship : This course should be particularly useful for students who expect to work with new ventures, whether their clients are venture capitalists or the entrepreneurs. A business plan is the essential first document for any start-up. A well-conceived plan will improve the company's valuation and enhance the entrepreneur's ability to negotiate financing terms with VCs. Knowing what makes a business plan effective, and being able to assist clients in developing or identifying a good plan, is useful for any lawyer working in venture capital or emerging growth. Note: As of Fall 2012, this course is routinely filled to capacity with GSB students. However, you should check with the Graduate School of Business regarding availability in a particular quarter.
The creation of a business plan is a useful process for entrepreneurs to evaluate and think through a business concept. The business plan is also a standard tool to present the business to investors when seeking funding. Business plans are as important for innovators who think through new business models and their implementation in established companies. This short course will focus on the process of going from a business concept to a business plan. The course will be hands-on, and it will start from a concept accompanied by preliminary market research (this means students don't have to come up with their own business ideas). It will then go through the analysis which leads, by the end of the course, to a business plan.


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Le Stade Aníbal Torres Costa (en ), est un stade de football brésilien situé dans la ville de Tubarão, dans l'état de Santa Catarina.

Le stade, doté de  places et inauguré en 1955, sert d'enceinte à domicile aux équipes de football du Hercílio Luz Futebol Clube et du Tubarão Futebol Clube.

Histoire

Le stade ouvre ses portes en 1955. Le club du Tubarão FC y joue ses matchs à domicile entre 1996 et 2005.

Événements

Notes et références

Équipement sportif achevé en 1955
Stade de football dans l'État de Santa Catarina
Stade portant le nom d'une personnalité


Stereoscopic 3D video games and movies make your eyes do weird things to create the illusion of depth. As a result, for some, 3D viewing elicits a feeling of imbalance, disorientation or a general indication that lunch is on its way back up.
But beyond those short-term effects, with 3D televisions hitting the market and Sony and Nintendo releasing 3D stereoscopic video games, is there risk of permanent eye damage from exposing eyeballs to the faux third dimension for prolonged periods of time?
"It's not likely to cause any permanent harm to vision," said Dr. Mark Borchert, a respected L.A.-based ophthalmologist with the American Academy of Ophthalmology, talking to Gamasutra. He was named as one of the best doctors in Southern California by the L.A. Times in 2009.
"There are people who get uncomfortable with it, and get eye strain or headaches, or on much rarer occasions, a sense of imbalance or nausea, but there's no evidence it can cause permanent harm to your vision or use of both eyes together or anything like that."
That's good news for video game companies. 3D is poised to be one of gaming's next big things -- Sony is pushing internal developers to create PlayStation 3 games with 3D effects, and the Nintendo 3DS handheld was the buzz of the E3 convention earlier this year.
Borchert, who is also a doctor at The Vision Center at Children's Hospital Los Angeles, wasn't so sure about the impact that 3D stereoscopic effects could have on young children, however. Recently Nintendo of America president Reggie Fils-Aime recommended that kids under about the age of seven should avoid viewing 3D images.
"...This is the same messaging that the industry is putting out with 3D movies, so it is a standard protocol," he told Kotaku at E3. The upcoming Nintendo 3DS has a slider that lets users turn the 3D effect up, down or completely off.
With young gamers being a large target audience for Nintendo handhelds, any harmful effect of 3D on kids' peepers could have a negative impact on the company. Dr. Borchert explained, "Children are not born with the ability to use both eyes together, they do not have any true binocularity at birth, and they certainly do not have stereoscopic vision." It is possible that 3D could harm developing eye muscles.
But while Borchert admitted that ophthalmologists "don't have an answer" to the negative effects of 3D effect viewing on young children, the expert pegged the appropriate 3D viewing age even lower than Nintendo.
"[Binocularity and stereoscopic vision] is something that is learned in the first few years of life, primarily in about the first three years of life. So it's unlikely that children at that age, where stereoscopic vision is developing most critically, are going to be playing these games."
He said that the move to 3D does raise questions about more accessible 3D stereoscopic effects that are on, for example, the family room television. As 3D tech progresses, glasses-free 3D TV may be inevitable, and very young children are more likely to be exposed to that. It's something that 3D tech developers might eventually need to take into consideration.
But what about crossing your eyes? "From doing that, there's definitely no long-term detrimental damage," Borchert finally confirmed for people everywhere.
"But the effect of 3D on young children, we have no idea. For older children, it's not going to hurt them. I can't imagine how this is going to cause any kind of permanent harm to someone who is over four years of age."


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2014 Southern Maryland Youth Athletic Conference Champion (SMYAC)
Whos got it better than us? Nobody...
LaPlata Blue Knights 12U Sr. is 2014 Southern Maryland Youth Athletic Conference (SMYAC) champions & 2014 State of Maryland Champions. The 12U Sr. team had an outstanding year by scoring 279 total points against their opponents and only allowing 55 points scored against them all season. The final score of the conference championship game was 30-14 and the final score of the state championship game was 24-8. Despite being the smallest team in the league, the boys showed tremendous courage throughout the year. Coach Rob Bowman and his coaching staff would like to thank all the parents for showing their support all season long. He would also like to thank the kids for playing with pride and honor and being a true Blue Knight.
Congratulation to Coach Rob Bowman and his staff and most of all the young men of LPBK 11-1 League and State CHAMPIONS!
"GO KNIGHTS"
Children's Healthcare Center
CroppMetcalfe
Complete Power Solutions (LaPlata)
© LaPlata Youth Football & Cheerleading. All rights reserved.


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Bandar Lama is een bestuurslaag in het regentschap Labuhan Batu Utara van de provincie Noord-Sumatra, Indonesië. Bandar Lama telt 3284 inwoners (volkstelling 2010).

Plaats in Noord-Sumatra


4 Comments on "New Law Means You Could Be Used As Subject Of Vaccine Experiment"
This is against our rights and is a very bad law i.e. Mandatory vaccination which is injustice to the many innocent children and people injured and killed.
My hope and prayers for sharing and educating the public, to be the grassroots for change and reversal of the current evil law.
Vaccine is a crime against humanity! It is unsafe and inefficient according hundreds of Doctors and scientists!
I wish there really were 100s of doctors and scientists who agreed they were unsafe. Most doctors, sadly, are hugely pro-vaccine.


Each chapter in this practical guide covers a month of the year and includes advice on what is happening in the garden at that time, and which veggies, fruit and herbs you should be planting and harvesting. There are also delicious seasonal recipes using fresh produce - try the Haloumi Asparagus and Roasted Tomato Salad or the Beetroot and Chocolate Cake.
The Little Veggie Patch Co's Guide to Backyard Farming is packed with fun and easy-to-follow activities such as keeping chickens, growing plants from cuttings, making cider and tomato sugo, and starting a backyard beehive. Learn how to use your home-grown produce to make delicious preserves and jams, or create garden-inspired gifts such as wooden herb markers or stencilled pots. On top of this, there are lots of activities that are perfect for kids, including sowing seeds, planting seedlings and making lemon cordial.
So, it's time to get into your garden (or out on your balcony or nature strip!) and get your hands dirty. Regardless of what kind of outdoor space you have, Fabian and Mat will help you grow fresh fruit and veggies, put great food on the table and discover your own inner backyard farmer.


A female leader is easily victorious. She is overflowing with an objectless love, love in its own right. She is in a state of earthly grace, mistress of everything she beholds, and she will prevail. Whatever this woman attempts to do, she will achieve easily, without stress, by just being herself. Events in which she is involved will unfold simply and easily.
Usually, The Moon indicates wet places, but in this spread, in which the 5 Wands is telling us about world events, it refers to the moodiness and emotions of people. This spread tells us of intent and decisions made by someone in authority that may prove either divisive or disciplinary. There's a clamour of voices, of people all talking at once, and political bureaucracy. That bureaucracy - red tape - will be a result of the decision referenced above.


For you who really have their heart set on getting wonderful shots of Mount Bromo Sunset, you have to take this 2-days Tour. You will be taken to the highest peak named with Pananjakan or Kingkong Hill. They are great places to take a great photo of sunset. Anything you want are provided, not to mention private Jeep 4WD. All you have to do is that you have to arrive in Surabaya Airport, Malang, or Banyuwangi at morning. So, you will have time to go to Mount Bromo to capture photos of sunset at 5.00 till 5.30 PM.
We will pick you up where you arrive, either in hotel, Airport or Train station. We will drive you to a hotel near Bromo Cemoro Lawang. You can check in and do some preparation since we have to go to the highest peak to see sunset. The Jeep 4WD will have been prepared. It will take you the parking lot near the peak. To reach the peak, you need to do trekking for about 10 minutes. When you are satisfied enjoying sunset and take some pictures over there, we will take you back to the hotel. You need to stay a night and regain your energy for tomorrow tour.
Since you want to see sunrise, we want you to wake up at 02.30 AM. We have to be at the top of the peak at 05.00. So, we starts tour at least at 03.30 AM. We will take you to Panajakan. It is the highest peak where you can enjoy sunrise and Mount Semeru as well as the highest mount in Java.
After enjoying sunrise, you need to return to the Jeep and we can continue tour to the Crater. We have to stop in the Sea of Sand. Then, you can go trekking for about 25 minutes to reach the crater. There is also another option by riding a horse.
Having enjoying Bormo sunrise tour, we will drive you to the hotel. However, you have spare time, you can visit the Savanna, Whispering Sand which is located along the way back to the hotel. If you don't want to, we will directly drive you to the hotel. You can have breakfast and clean yourself. It is the end of the tour. You can go to Surabaya, Malang, or Banyuwangi. If you want more, you can take another package. For more information about mt. Bromo sunset tour, packages provided including the price, service, and facility, feel free to contact us.


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text:
Connect with Lakemont Cycle Studio
LAKEMONT CYCLE STUDIO
SANDY O'BRIEN
Sandy has been an exercise enthusiast her entire life. She played soccer through her high school years and was a swim instructor and lifeguard in the summers. In college she discovered running and has been running ever since. After finishing her 2nd marathon in San Francisco (where friends from Rabun joined to cheer her on) she decided to start a race at Lake Rabun. The Rabun Ramble is now in its 13th year and is a 5K/10K fundraiser for college scholarships for Rabun County students. An average of 750 runners participate in this fun event annually. Last year they donated $22,000 from their proceeds to the Lake Rabun Foundation.
Sandy taught aerobics in her twenties and became a certified indoor cycling instructor in New York City where she lived for 10 years. Upon relocating to Rabun County (near Clayton GA) almost 5 years ago, Sandy first taught at the Fitness Center at the Old Edwards Inn in Highlands NC for 1 year. In May 2014 she opened her own studio where she's been teaching 4-5 classes a week. Sandy brings a fresh approach to spin classes with training from the top instructors in New York. Her classes are choreographed to upbeat, fun music that compel you to push yourself to your potential while having a blast.
If you're looking to burn major calories but save those joints, indoor cycling is the perfect class for you. Every class is geared to all levels. Sandy prides herself in turning timid first time spinners into full time spin addicts!
CONNIE THOMSPON
Connie has always loved music and dance. In her early years, she was part of the dance line in high school and college. She and her husband, Tommy were also part of an exhibition clogging team for 10 years (Tommy is the better clogger!). They square dance, contra dance and have taken a number of ballroom dancing classes.
Exercise at a gym or outdoors was never really part of the routine and over the years, Connie did less and less, so she put on a lot of pounds, especially living here at the lake!
In 2014, she reached a break point - something had to change. 5 feet tall, 200 pounds, size 22....NO MORE! The first year - lost 30 pounds. In 2015, she started spinning at the encouragement of her family and Sandy. Lost another 25 pounds for a total of 55 pounds in 2 years!
Then the big thing happened - Sandy needed some help as her Spinning Classes were growing in popularity and she asked Connie to consider taking the instructor's course. Connie thought - "I can do this!". She thought she'd be the oldest and heaviest in that class, but was neither of those!
Connie has been a certified Spinning instructor since December 2017 and has loved every moment. Her classes are filled with great music, fun camaraderie and a push to rock it and leave "some sweat for her to mop up!". We can ALL do this!
SHERYL TESKE
Sheryl grew up in Montana, which means mountain in Spanish. Her love for those mountains started as a young girl, with family fishing trips along the Gallatin Gateway Canyon –insert the last scene from A River Runs Through It here. That love, then developed into connecting with nature in a variety of ways: running, biking, hiking, snowshoeing, and skiing are a handful of her favorites.
She has always loved participating in sports of every sort, which even led to a short-lived pitching and shortstop career on the boys' baseball team. (They didn't have softball then.) However, she fell in love with gymnastics in middle school and discovered track and cross country- abandoning baseball. A back injury prevented a collegiate opportunity in gymnastics, so she became a walk-on in cross country and track at the University of Montana instead and earned her BA in English/writing emphasis with a health and physical education minor. Go Griz!!!
She discovered her most endearing sport, mountain biking in her thirties after injuries from road racing sidelined her. At age 41, she was ranked number one in Montana's category 2 women's mountain bike racing division. An auto immune diagnosis has tamed her racing days, but not her racing spirit. She still enjoys a great trail ride, the discipline of spinning, and loves the incredible energy and happiness she feels from that "click, click" each time she clips into a set of pedals.
Sheryl was desperately missing spin classes when she moved to Clayton and was elated to find Sandy's Lakemont Cycle Studio and the Lakemont Cycle community in January 2019.When Sandy encouraged her to obtain her spin certification and assist with Lakemont Cycle classes, she was thrilled at the idea of stretching her horizons. She was nervous initially, but with tutoring from Sandy- who is not only a top-notch spin instructor, but an inspiration for reaching for your best self- Sheryl is finding her own personal groove.
She strives to incorporate outdoor riding techniques, fun music and positive energy to her classes. She hopes that people leave her classes feeling energized, confident and empowered. She believes spin is a deeply personal journey that will prove you are always stronger than you might think. Her primary goal is to inspire a long-lasting connection and love for the art that is cycling.
8452 Old Highway 441, Lakemont, GA 30552
sandyobrien1@mac.com
website work compliments of The Well & The Lake Team


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Konrad Koch ist der Name folgender Personen:

* Konrad Koch, eigentlicher Name von Konrad Wimpina (um 1460–1531), deutscher Humanist und Theologe
 Konrad Koch (1846–1911), deutscher Pädagoge, führte das Fußballspiel in Deutschland ein
 Konrad Albert Koch (1869–1945), deutscher Maler und Burgenforscher

Siehe auch:
 Conrad Koch


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NW Premier sets up inquiry into chieftainship
Pretoria - The North West Premier has set up a commission of enquiry into the dispute around the chieftainship of Bahurutshe Ba Moiloa Boo Ramotshere.
The inquiry, to be chaired by retired Judge Zulman Ralph, is expected to commence on 18 May and will take three months.
The inquiry will be held at the Ramotshere Moiloa Local Municipality Council Chambers in Zeerust.
According to Cornelius Monama, spokesperson for the North West Provincial Government, there has been a succession dispute since the death of Kgosi Monnaamere J Godfrey Moiloa in 2006.
This has culminated in a number of court cases and the appointment of an acting Kgosi (Chief).
There are also allegations of the existence of a descendant of Kgosi Pogiso Grant Ramotshere Moiloa whom it is suggested is the rightful heir to the chieftain of Bahurutshe Ba Moiloa Boo Ramotshere.
The court cases pending before the Mafikeng High Court have not yielded any solutions.
"In an attempt to find an everlasting solution to this dispute a Commission of Inquiry has been appointed," said Mr Monama.


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Comethazine the Album is the second studio album by American rapper Comethazine, released on October 22, 2021, by Alamo Records.

Track listing

Charts

References

2021 albums
Comethazine albums


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Луи Альфан (1880—1950) — французский историк, автор многих книг. Известен как редактор современного издания знаменитого классического произведения Эйнхарда «Жизнь Карла Великого» (Париж, 1947). Также был одним из общих редакторов монументального издания Peuples et civilisations (в переводе «Народы и цивилизации»).

Биография
Родился в Париже. Его отцом был математик и артиллерист, член Академии наук Жорж Анри Альфан. В 1910 году женился, в браке родились двое детей, Этьен и Женевьева. В 1904 году получил диплом архивариуса-палеографа. Затем Альфан сделал карьеру в науке, занимаясь в основном средневековой историей Франции. Его работы продемонстрировали влияние эпохи Карла Великого на европейскую историю и западную цивилизацию.

Подобно известному историку Марку Блоку, будучи евреем, во время немецкой оккупации Луи Альфан не мог продолжить свое преподавание в Сорбонне. В 1941 году он решил переехать в Южную зону Франции, где был переведён на факультет литературы. Итальянская оккупация дала Альфану отсрочку на год в 1942 году, но прибытие немцев в Гренобль в 1943 заставило учёного перейти на нелегальное положение в Ардеше.

В его честь была названа библиотека.

Примечания

Историки Франции
Медиевисты Франции
Сотрудники Французской школы в Риме


A luxurious, custom built home with spacious living and tons of storage! A FINISHED BASEMENT HOME, great for teenagers or in-law suite! A brick, craftsman-style home offers timeless elegance and sophistication. The entrance offers an exquisite open space, gleaming hardwood floors, and arch ways that are welcoming. You will love the dramatic stone fireplace. The spacious formal gourmet kitchen is equipped with top of the line appliances, a large, spacious granite island, custom cabinets, and walk-in pantry-truly a wonderful place to gather and a chef's dream! Gleaming hardwood floors are in all living areas and lead to the master bedroom and bathroom. Master bath includes, whirlpool tub, separate shower, double sinks and large walk-in closet. Laundry room includes a laundry sink for convenient clean ups. The 2-car garage is spacious, with room for storage. The basement includes den, dining area, full kitchen, full bathroom, and 2 bedrooms. There is also a double-door storage room, on basement level, for lawn mowers and garden tools. There is also ample unfinished, storage in the basement area. Another great feature of this custom home includes walk up stairs to attic area. There is enough space to finish for additional bonus room! Natural beauty and urban convenience come together in River Oaks. The neighborhood provides a clubhouse that allows you to feature private events along with community events that are planned. There is also a gated pool and tennis court available for the residents. This wonderful eastside location with neighborhood amenities, award winning schools and easy access to interstates, shopping, restaurants and airport. A MUST SEE!
Listing provided courtesy of Tammy Dixon of Exp Realty Llc.