In February a new Landsat satellite has been launched by NASA and USGS and the USGS has now made available first test data sets and announced it will probably start releasing production data by the end of May. I here will have a quick look at these sample data and what is changed in comparison to previous Landsats. What can be said based on just three scenes released till now and only from the continuous US is limited of course so what i write here should be considered preliminary.
But before i get into the details about these changes a few words on why the new satellite will be very useful as a data source independent of these changes. The following images are generated from data of the three currently operating Landsat satellites (the choice of area and time of year in the Cascade Range in Spring is based on the LS8 sample released by the USGS). These images are produced from the visual spectrum channels without further processing except gamma correction. Note the somewhat dull look is completely normal, this is more or less how the earth looks like from the perspective of the satellite due to the many kilometers of atmosphere in between. Images with stronger colors you see elsewhere are usually either heavily processed or false color infrared images (i will get to the infrared channels later).
these are meanwhile more than 10 years old so can be outdated for a lot of applications.
coverage is limited so if you look for images from more remote regions, possibly with frequent cloud cover or for a certain time of the year you often cannot find a good image. The scene above for example contains quite some cloud cover.
Landsat 7 after the SLC failure has been producing images since 2003 resulting in an extensive coverage of the planet but the SLC defect produces gaps (visible when you click on the image above). This severely limits use of the images, in particular for visualization. Therefore nearly all Landsat imagery you can find in services like Google Maps, Bing etc. are from the 1999-2003 period and not the newer SLC-off data.
So in summary all previous Landsats have their problems limiting their usefulness so the new satellite is most welcome. It promises to produce images at a significantly higher rate than Landsat 7 (up to 400 scenes per day) so there is a chance that within 2-3 years a good and up-to-date global coverage is established and will be kept current provided the satellite continues to function.
One important property of the Landsat satellites has been their ability to record data from a number of different spectral channels distributed across the range where the earth atmosphere is transparent. This does not only cover the visual spectrum allowing color images to be recorded but also covers several parts of the infrared spectrum with particular interest to identify and differentiate earth surface properties. As already mentioned there are three new spectral channels in Landsat 8 in addition to the ones existing already in previous Landsats. The USGS has made this particularly confusing with their numbering of channels. They neither continuously numbered the new channels with respect to their position in the spectrum nor did they keep the previous numbers and added the new channels. Instead channels 7 and 8 keep their number (although their spectral characteristics changed significantly - more on that later) while all others got all different numbers. The following diagram from the USGS will clarify this a bit and i also produced a table with the changes below.
All channels are narrowed in their spectral range in comparison to LS7, in particular the red channel.
The new channel 1 is located right at the maximum of the human eye blue sensitivity.
The panchromatic channel with a higher spatial resolution that previously extended far into the infrared is limited to the visual range extending slightly further into the blue.
The differences are subtle but the most prominent one is the appearance is more bluish and less contrast than the normal visual rendering. This is caused by the fact that at the shorter wavelengths covered by the channel 1 the atmosphere is much less transparent. This is not only due to aerosols as indicated by the channel name but also simply due to the scattering of the air molecules (the same effect leading to the blue color of the sky). This means images using this channel combination to approximate visual appearance will look less contrasty with a bluish tint. Therefore i doubt this channel combination (or any mixing of the blue channels) will gain much popularity. If you compensate for the atmosphere effects though the use of the new shortwave blue channel might allow better differentiation of blue tones. Judging from this single sample scene the advantages seem subtle but this might be different in other areas.
The other question concerning the visual range channels is how the change in spectral range, in particular of the red channel, will affect color reproduction. One important thing to keep in mind is that for accurate colors it is not necessary for the spectral channels to precisely resemble the human vision spectral characteristics in every channel individually. The real requirement is the so called Luther condition that you can accurately resemble the human vision characteristic by linear combination of the sensor spectral channels. Here lies the problem since as you can see in the diagram above the human eye has significant sensitivity in the gap between the red and green channel between about 600 and 630nm which is not recorded by the satellites spectral channels (it is by the panchromatic channel i will talk about next but this is of no use since this also extends into the green and beyond). So surface features reflecting in the 600-630nm that would trigger a significant red perception will go unnoticed by the Landsat 8 sensor. How problematic this will be in practice to get accurate colors remains to be seen.
The reason for this apparently not very sensible design decision is likely that as mentioned above analysis of the data to identify surface properties will often profit from narrower channels. Accurate color visualizations have probably not been a primary objective.
So far for the visual range channels, the channels in the infrared range have been narrowed as well, in particular channels 5 and 6 in comparison to 4 and 5. Infrared data is usually displayed in the form of false color composites assigning certain infrared bands to the red, green and blue channels of the display. There are certain band combinations that have been established but it should be noticed that these are just a result of convention and have no inherent meaning. In fact you could map the color space defined by the landsat bands in an infinite number of ways to the 3d rgb color space for display.
One should be careful not interpreting too much into the visual appearance, especially considering these images were not taken at at the same time. But it should be obvious that there are significant differences in the results due to the changed spectral characteristics and that the changed bands might better differentiate surface types. It can for example be seen that band 5 (4 in LS7/5) is clearly much more uniform across the scene in Landsat 5 and 7 than it is in the new satellite.
Finally the new channel 9 covers a very narrow band in the infrared meant to identify high altitude cirrus clouds. These clouds are difficult to identify in the normal spectral channels but they influence appearance of the surface features below making interpretation more difficult. I have not looked much at this yet. There is a field in the QA data containing cirrus cloud information apparently based on a simple thresholding of this channel.
The other large change in LS8 is the increased bit depth of the satellite data. The most obvious effect of this change is in the handling of the data - the new image files contain 16 bit values (with the 4 least significant bits empty) in contrast to the previous 8 bit data. This might pose problems to some users of the data since many imaging programs on computers only deal with 8 bit images. Geographic data processing as well as professional image editing has long been able to process 16 bit data so such troubles should be the exception.
The effect of increased bit depth can best be described by comparing to the corresponding differences in digital cameras. Digital cameras just like satellite sensors have analog-digital converters translating the analog signal of light intensity recorded by the sensor into digital numbers. The resolution of these converters is determined by the number of bits of the numbers they produce. This number of bits imposes a fixed limit to the ability of the system to differentiate subtle differences in light intensity, it is however often not the factor actually limiting this ability since noise from various sources could be much higher. In case of digital cameras current models have either 10, 12 or 14 bit AD converters but few of them actually make full use of their abilities since technological improvements have mostly focused on increasing spatial resolution.
In case of Landsat the spatial resolution has not been increased from Landsat 7 and there is a I will explain the effects in case of the Landsat data with the following images showing the area around Crater lake.
One obvious difference is that bright snow areas are without structure in case of Landsat 7 and 5. These areas are overexposed. Landsat 7 allows adjusting the signal amplification (gain) of the sensor signal before the analog-digital conversion (which is similar to adjusting the sensitivity (ISO) in case of a digital camera). In practical operation this is done based on a set of rules depending on the location of the scene, time of year etc.. The scene here uses a high gain leading to saturation on snow areas. In case of the Landsat 5 image these areas also have a characteristic yellow tint resulting from the different channels clipping at different intensities. One could of course argue that if this occurs so frequently high gain should be used more conservatively but this would diminish quality in the darker areas. The effect described here is the analog-digital conversion limiting the dynamic range of the imaging system. By allowing different amplifications the Landsat 7 system tried to make most use of the limited dynamic range.
The question arising now is if Landsat 7 would have profited from a better AD converter. The answer would probably be yes, but not very much. We can actually get an idea of the amounts of noise by looking at dark areas in the image, like the lake. The Landsat 7 green band has a standard deviation of about 1.8 DN here, for the Landsat 5 image it is 0.7 DN. The difference is due to the actual lake color being less uniform by the way, not the Landsat 5 data being better. On the contrary, the Landsat 5 data is significantly noisier, especially with more pattern noise.
For the Landsat 8 data of the lake in comparison i measured a standard deviation of 25 - but in 16 bit values meaning a dynamic range of at least about 2500:1. Considering the lake is actually quite far from being dark it could well be that Landsat 8 actually makes full use of the 12 bit AD converter.
Considering the large increase in file sizes that comes as a price for this it is frequently asked if this increase in bit depth is actually needed. The example of the lake should already answer this question to some extent: it will allow much better differentiation of tones in dark areas and at the same time avoid overexposed bright areas. How far the higher bit depth is required in the processing pipeline is a different question but the USGS should be commended for not crippling the data they distribute.
It is difficult to say something about this from the sample data released till now. It will remain to be seen how well these assessments work in practice. What seems missing is a cloud shadow mask although there are reserved bits probably intended for this.
Higher spatial resolution would mean larger files and the file size has already been increased a lot. Arguing for a higher spatial resolution instead of additional spectral bands and dynamic range would follow the trend quantity instead of quality that been established by web map services, especially Google Maps, which should be rightfully criticised.
Even with the current resolution of Landsat the absolute accuracy of the data is still quite low in a many parts of the world due to the lack of reference data to properly align the images. This is no problem in the above example (which probably has a positional accuracy of a few meters) but from my experience with Landsat data in remote regions positional tolerances are often much larger, sometimes up to several hundred meters. This problem will not change in any way with the new satellite and as long as this is not addressed the use of higher resolution information is severely limited.
The bandwidth of data transfer from the satellite to the ground cannot be easily increased so a higher spatial resolution would at the same time mean less images can be recorded and less area covered during the same period.
To me it seems keeping the resolution at the previous level underlines the goal to map the whole planet in uniform quality rather than just mapping selected areas of interest in high resolution. This is a goal i would very much support.
I am working on land degradation detection.
I am trying to use NDVI. Do you have any idea how the differences in the red and NIR bands might affect NDVI?
no, i don't know the influence it has on the NDVI although i would guess the effect is small compared to other influences like variation in atmosphere etc.
In general the narrower bands should decrease such unwanted effects so it is likely that NDVI values derived from Landsat 8 data have a lower variance not caused by changes in vegetation than earlier Landsats. If there is a systematic offset is a different question of course.


Commercial flooring systems that are beautiful, durable, skid-resistant, and easy-to-clean are the stuff that every shopping mall, retail store and office complex manager dreams of. Most coverings and treatments for retail concrete floors, however, require burdensome maintenance, like buffing, waxing and shampooing. These less-than-ideal flooring options can result in customer inconvenience, expensive downtime and overall higher life cycle cost.
The alternative? Our hard-working, decorative epoxy coatings for commercial flooring require no special treatment once installed—all you need to keep them clean is a broom, a mop and a bucket!


Now that Spring is here, it's time to think about starting a garden! Growing a garden is a wonderful experience for preschoolers. Before starting a garden, it's important for kids to understand what plants need to grow. This simple growing plants science experiment is a great way to demonstrate to preschoolers what plants need.
Growing plants with preschoolers provides hands-on, real life experience about what plants need to grow.
With this activity children will also gain sensory input through touching the soil and work on fine motor skills used to plant seeds and water plants.
What Plants Are Good For Experiments?
You want to use fast growing plants. We used pea plants in our experiment.
Gather all the supplies and set up at a low table so the children can help. Help the children put on the gardening gloves and hand them a scoop. Guide them in filling the peat pots with the potting soil.
Then invite them poke little holes into the potting soil, place the seeds in the holes, and cover with soil. Help the children water the soil.
To set up the growing plants experiment read The Surprise Garden by Zoe Hall and talk with the children about what plants need to grow. Then, have them choose places for the plants to sit around the home or classroom. Some ideas where plants might grow is in the window, on a shelf, and in a cabinet.
Water the plants as usual wherever they may be placed. At the end of a week or two take them all out to compare the plant growth. Talk with the children again about what plants need to grow and why some plants might have grown more than others. You might even have the students count the leaves for a math activity.
Science Center Books for Preschool– Science is exploring and discovering more about the world. Your science center offers hands-on experiences with the world. Investigating, exploring, and using senses are key for preschoolers to learn about science and the world.
Science for Kids: Ice Cream in a Bag– Making ice cream in a bag is the perfect recipe for preschoolers! There is fine and gross motor work involved plus you get a yummy treat! Try this as a team building activity or a fun special science experiment for kids.
Color Changing Flowers Science Experiment– This color changing flowers science experiment is so easy to do and your kids will love watching the flowers change colors! Your kids will love learning about how plants drink water with this simple experiment. Perfect for a plants theme in your preschool, pre-k, or kindergarten classroom.
Dinosaur Eggs Fizzy Science Experiment-Dinosaurs are always a fun topic or theme to explore with preschoolers. Something about dinosaurs seems to grab the mind and imagination of children. This fun science experiment will add even more excitement to your dinosaur explorations.
Ocean Octopus Science Exploration in Preschool-Learning about the ocean and sea creatures is a popular topic in preschool. But without real life experiences, it can be difficult for young children to understand sea life and sea creatures.
I love it, there are so many benefits to growing things with young children, and even better when you can incorporate it into an experiment. Glad I saw this post over on Good Tips Tuesday!


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The New Sappho Poem (P.Köln 21351 and 21376): Key to the Old Fragments
André Lardinois
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Sappho Fragments 58–59: Text, Apparatus Criticus, and Translation
"The New Sappho" actually comprises a group of papyrus fragments, quotations, and testimonia for Sappho's…
A Lyric Aristeia and a Lover's Rout: Gender and Genre in Sappho 31
Glory in ancient Greek epic was often reserved for two groups: warriors who earned their…
The Egyptian desert continues to reveal to us its treasures. The most spectacular find in recent years is probably the Milan papyrus, containing over one hundred new epigrams of the Hellenistic poet Posidippus, published in 2001. [1] No less spectacular is the collection of twenty-five papyrus fragments that the German university of Cologne obtained in 2002. On close inspection it became clear that among these fragments were the remains of at least one and probably two poems of Sappho. [2] This essay will focus on the second of the two Sappho poems found on the Cologne papyrus, the so-called Tithonos poem. I will first discuss the reconstruction of this poem. Next, I will show how the structure of the Tithonos poem can help to elucidate the structure of some older Sappho fragments, especially fragments 16 and 31. Finally, at the end of the paper I will suggest a possible performance context for the new poem.
A Reconstruction of the New Sappho Poem: Where Does It End?
A new papyrus often raises as many questions as it resolves. This holds true for the Cologne papyrus as well. While this papyrus considerably helps to supplement an older poem of Sappho, known previously from the Oxyrhynchus papyri (fr. 58), it also raises new questions about the poem's ending, because the Cologne papyrus only overlaps with lines 11 to 22 of the Oxyrhynchus papyrus. The Italian scholar Gallavotti had already suggested that with the address to the paides in line 11 of the Oxyrhynchus papyrus a new poem began—a suggestion that now seems to be confirmed by the Cologne papyrus. [3] We should in the case of the Oxyrhynchus papyrus therefore speak of at least two fragments: fragment 58a, which runs till line 10, and fragment 58b that begins in line 11. But where does fragment 58b end? Most editors of the Oxyrhynchus papyrus, starting with Lobel, have assumed that lines 23–26 also belong to the poem, but these lines do not appear on the papyrus from Cologne.
The question of the poem's ending is closely related to the way its beginning is reconstructed. I will therefore first discuss the different supplements that have been proposed for the opening lines. According to Gronewald and Daniel, the speaker, whom they identify as Sappho, makes a first-person statement about her own poetic activities to a group of girls in the first two lines of the poem: φέρω τάδε Μοίσαν ἰ]ο̣κ[ό]λ̣πων κάλα δῶρα, παῖδες / [λάβοισα πάλιν τὰ]ν̣ φιλάοιδον λιγύραν χελύνναν ('I bring these lovely gifts of the violet-bosomed Muses, girls, picking up again the clear, melodious lyre'). [4] A similar reading is proposed by Joel Lidov in this volume: νῦν δὴ μ' ἔτι Μοίσαν ἰ]ο̣κ[ό]λ̣πων κάλα δῶρα, παῖδες / [φίλημμι δὲ φῶνα]ν̣ φιλάοιδον λιγύραν χελύνναν ('Now there are still for me the lovely gifts of the violet-bosomed Muses, girls, and I love the song-loving voice of the melodious lyres'). [5] West, however, has suggested that Sappho addresses the young women in a second person statement and commands them with the words: ῎Υμμες πεδὰ Μοίσαν ἰ]ο̣κ[ό]λ̣πων κάλα δῶρα, παῖδες / [σπουδάσδετε καὶ τὰ]ν̣ φιλάοιδον λιγύραν χελύνναν ('You for the lovely gifts of the violet-bosomed Muses, girls, be zealous and for the clear melodious lyre'). [6] He postulates a sharp contrast between the poetic activities of the young women and Sappho's inability to dance, on which she comments in the following two lines.
I find the reading of Gronewald and Daniel, especially in the form proposed by Lidov, more appealing than that of West. Sappho is after all singing the song and playing the lyre, while the girls she addresses are probably dancing. By commenting on the gifts of the Muses she is bringing, Sappho emphasizes the fact that she may no longer be able to dance "like fawns" (or "like the girls"—the indirect reference to the girls helps to explain the plural form of νεβρίοισιν), but she is still capable of singing and playing the lyre. This distinction will turn out to be significant, as we shall see. I do accept the contrast West postulates between the first and second couplet, but this is a contrast not between the young women, who are dancing and paying attention to the music, and Sappho, who is not, but between Sappho's own singing and playing of the lyre and her inability to dance. [7]
The biggest question, however, surrounding the new Sappho poem is the way it ended: more specifically whether or not it originally continued with the four lines that follow in the Oxyrhynchus poem. These four lines were assumed to belong to the poem by Edgar Lobel in his edition of the Oxyrhynchus fragment, [8] and he was followed by all subsequent editors. In Campbell's text and translation they read as follows:
]ι̣μέναν νομίσδει
]αις ὀπάσδοι
ἔγω δὲ φίλημμ' ἀβροσύναν, … ] τοῦτο καί μοι
τὸ λά[μπρον ἔρος τὠελίω καὶ τὸ κά]λον λέ[λ]ογχε.
(he / she) thinks
might give
but I love delicacy… this and love has obtained
for me the brightness and beauty of the sun. [9]
As Deborah Boedeker points out in her contribution to this volume, a different translation of the last line is possible, connecting τὠελίω with ἔρος instead of with τὸ λάμπρον καὶ τὸ κάλον: "and love of the sun has obtained for me (provides me with) brightness and beauty". Love of the sun is a common Greek metaphor for love of life and Athenaeus, who quotes the line, interprets Sappho's words in just this way (τοῦ ζῆν ἐπιθυμία). [10] I believe the ambiguity to be deliberate and that one should construct τὠελίω both with ἔρος and with τὸ λάμπρον καὶ τὸ κάλον: "love of the sun / life has obtained for me the brightness and beauty [of the sun / life]". [11] Constructing τὠελίω both with ἔρος and with τὸ λάμπρον καὶ τὸ κάλον would agree with the idea expressed in the opening priamel of Sappho fr. 16, namely that the most beautiful thing on earth is whatever one loves: the speaker's love of life makes it for her an object of beauty.
If we add these four lines the tone of the poem changes considerably. Sappho would not just resign herself to her situation of being old, but actually present an alternative. She would admit that she is no longer beautiful herself, but she can enjoy the beauty and brightness of other things. The same would apply to the beautiful gifts of the Muses she mentions at the beginning of the poem: note the possible echo between τὸ κάλον in the last line of the continuation and the κάλα δῶρα in the opening line of the poem. Sappho may be old and unable to dance, but she is still capable of making music: she is singing the song and playing the "melodious lyre" mentioned in line 2. To these activities of the speaker the word ἀβροσύναν in line 15 could refer. Furthermore, if Lidov's reconstruction of the first two lines of the poem is correct (see above), the speaker's love (φίλημμι) of the sound of the clear-sounding lyres in line 2 would be echoed by her love (φίλημμ') of ἀβροσύναν in line 25, and this verb, together with κάλα δῶρα (1) and τὸ κάλον (26), would create a ring-composition, linking beginning and end of the poem.
So these four lines would certainly fit the Tithonos poem. But do they belong to it or not? As regards the ending of the new Sappho poem three possibilities have been advanced over the past three years:
The Cologne papyrus only copied part of the poem: it misses the last four lines that are found in the Oxyrhynchus papyrus and originally belonged to the poem. [12]
We have to assume that the poem in the Oxyrhynchus papyrus also ends at line 22 and that the next four lines belong to a new poem. [13]
There existed in the Hellenistic period two versions of the poem, one ending on the myth of Tithonos, as in the Cologne papyrus, and another continuing the poem with four more lines, as in the Oxyrhynchus fragment. [14]
At first sight the second possibility, which argues that lines 23 to 26 of the Oxyrhynchus papyrus do not belong to the poem, appears to be most likely. Why would the scribe of the Cologne papyrus have only copied part of the poem and not the whole thing? There is little in the Oxyrhynchus papyrus to indicate that lines 23–26 belong with the previous poem, although there are no positive indications that they do not belong either. In most editions of this fragment a coronis is printed after line 26, but this coronis was only a conjecture of Lobel and does not appear on the papyrus itself. In Lobel and Page's Sappho edition it was printed between brackets, but in Voigt's edition the brackets disappeared and the coronis became fixed. [15]
Still, I am not entirely convinced that the continuation of the Oxyrhynchus papyrus does not belong to the poem. West refers to Lobel's conjecture as a "naughty coronis", [16] but Lobel, in my opinion, did have some reason to postulate the end of the poem after line 26. If one looks carefully at P.Oxy. 1787 fr. 2, which preserves traces of the first letters of line 26, [17] one can see that below these letters a line is drawn, which is slightly longer than the paragraphos that appears two lines lower on the papyrus. This length of the line is not conclusive and the stroke could represent just as well the end of a paragraphos as the cross bar of a coronis, as Jürgen Hammerstaedt argues in this volume. However, I believe that the relative length of the line gave Lobel the idea that it was part of the cross bar of a coronis and not the end of a paragraphos. If a coronis did appear on the papyrus here, it would mean that some poem ended at line 26, and one would either have to assume that it marked the end of a very short four-line poem or that the scribe who wrote the Oxyrhynchus papyrus considered lines 23–26 to be part of the Tithonos poem. The former possibility (a four-line poem) has recently been argued by Di Benedetto, [18] but, for reasons given below, I find the latter option (four lines belonging to the Tithonos poem) more likely.
Another reason why Lobel may have thought that lines 23–26 on the Oxyrhynchus papyrus were part of the Tithonos poem is the quotation of lines 25 and 26 in Athenaeus. Athenaeus, as we have seen, believes that these lines refer to Sappho's desire for life, a meaning which fits the contents of the new Sappho poem and suggests that the words do come from a poem about human mortality. It is certainly possible that the Tithonos poem was followed by another poem with a similar subject matter in the Oxyrhynchus papyrus, but it is also possible that these four lines formed the conclusion in the Oxyrhynchus edition of the poem.
More recently, Mario Puelma and Francesca Angiò have argued that Posidippus in one of his newly found epigrams alludes to the Tithonos poem, including the last four lines of the Oxyrhynchus papyrus. [19] Similarly, Enrico Livrea has discovered possible allusions to Sappho's poem, including the four-line extension of the Oxyrhynchus papyrus, in Callimachus' Aetia fr. 1.32–40 Pfeiffer and in Cercidas fr. 7 Powell. [20] Posidippus' epigram 52 A-B speaks about a young girl who grows old while watching the grave of her father and the beautiful sun (τὸν καλὸν ἠέλιον) in the last line of the epigram. There are several reminiscences of the Sappho poem in this epigram, including old age that reaches the girl eventually, just as it seizes the speaker and Tithonos in the Sappho poem. [21] Puelma and Angiò further point out that the epithet καλός is very unusual for the sun and reminiscent of the last line in the Oxyrhynchus continuation, where Sappho speaks about the brightness and beauty of the sun. This allusion, of course, would gain in strength if the epithet in the last line of Posidippus' epigram would echo the last line of Sappho's poem, at least in the version Posidippus possessed. What Puelma and Angiò have overlooked is that the likelihood of an allusion to a Sappho poem in this epigram is confirmed by the preceding epigram in the collection. In the last line of this epigram (51 A-B) a group of girls is asked to sing "songs of Sappho" (Σα[πφῶι' ἄισμ]ατα) at the grave of a young girl. Posidippus would subsequently allude to just such a song in his next epigram, thus connecting his epigrams in subtle ways that are becoming gradually clearer. [22]
Finally, Lowell Edmunds has pointed out in Edmunds 2006 and in his contribution to this volume that it is highly unusual, though not entirely unprecedented, for archaic Greek songs to end on a paradigmatic story and not to return to the speaker or the present situation. One would, for example, expect the speaker to return to the paides, who are addressed in the opening lines and remain present throughout the poem. I already referred above to the possible allusion to the girls in the plural νεβρίοισιν in line 6; I also believe that the age of her addressees helps to explain the speaker's use of the imperfect ἔφαντο in line 9: "they used to say" (sc. before you girls were born). As a parallel one can point to Phoenix's use of the imperfect ἐπευθόμεθα, with which he introduces the paradigmatic story of Meleager to his young disciple Achilles in Iliad 9.254. [23] A return to the girls at the end of the poem would be accomplished by reading the imperative ἴστε δὲ in the lacuna of line 25, as suggested by Di Benedetto. [24]
My own work on the fragments of Solon has convinced me that the textual transmission of archaic Greek poetry throughout the classical and early Hellenistic periods was much less stable than is generally assumed. [25] I therefore consider it most likely that Sappho's poem survived in two versions, as Boedeker also argues in this volume and in more detail in her forthcoming article: one ends on the myth of Tithonos, as in the Cologne papyrus, and the other continues the poem with four more lines, as in the Oxyrhynchus fragment. We should not forget that the Cologne papyrus pre-dates the Alexandrian editions of Sappho's poetry, on which the Oxyrhynchus papyrus is based and of which there may well have been more than one. [26] We seldom have the remains of more than one edition of early Greek poetry from antiquity, but when we do, they regularly differ from one another. [27] We therefore may not want to assume too readily that different copies of early Greek poetry would have been the same in antiquity, especially before the canonical editions of the Alexandrian scholars. Perhaps we should even adopt the opposite assumption and expect them to diverge, as is, for example, the case with different editions of medieval poetry. [28] I believe that the four-line continuation on the Oxyrhynchus papyrus was part of the original poem but, in later versions, had become detached from it, perhaps, as Boedeker suggests, in order to present the poem as a reflection on old age, suitable for performance at a symposium but without the positive twist Sappho had provided it. [29]
A Comparison between the New Poem and Sappho frr. 16 and 31
With or without the continuation on the Oxyrhynchus papyrus the Tithonos poem reveals a clear structure. Lines 1–2 address a group of girls (παῖδες), who are probably dancing while the speaker is singing and playing the lyre. The following four lines represent the first-person speaker in a difficult situation: she has grown old and, as a result, she is no longer able to dance. The speaker complains about her situation, but at the same time reconciles herself to it, because, as she says, it is impossible for any human not to grow old. She illustrates this gnomic thought with a mythological example: the story of Tithonos, who married the Dawn goddess and was made immortal but nevertheless grew old. If we add the four lines of the Oxyrhynchus papyrus the first person speaker of the poem not only resigns herself to her situation but presents an alternative as well: no longer beautiful herself, she can nevertheless enjoy the beauty and brightness of other things, like the sun.
This structure of the new poem can be used to clarify the structure of some older fragments of Sappho that are less well preserved. First of all there is fragment 31, the famous fragment that begins with the words φαίνεταί μοι κῆνος. In this fragment the first person speaker enumerates a series of afflictions she endures while looking at a girl who is talking to a man and laughing. She is even at the point of dying, or so she says in lines 15 and 16. This long list of symptoms is itself reminiscent of the list of complaints Sappho enumerates in the Tithonos poem. [30] And, just as in the new Sappho poem, the speaker of fragment 31 resigns herself to her situation. So much is clear from the half line preserved of the last strophe: ἀλλὰ πὰν τόλματον ("but all can be endured"). The remainder of this line suggests that Sappho illustrated this gnomic thought with the example of a poor man (πένητα), but here the citation of the poem in the text of Longinus unfortunately breaks off. We therefore do not know if Sappho in fragment 31 also offered an alternative to her feelings, as she does in the continuation of the Oxyrhynchus papyrus. [31]
It is commonly accepted that Sappho 31 continued with a gnomic statement in line 17, in which she resigns herself to her situation. In the case of Sappho fragment 16, however, the possible continuation of the poem, after line 20, is disputed and mostly rejected. [32] Most commentators (and almost all translators) assume that this poem ends with Sappho's wish to see Anactoria in line 20, and that with line 21 a new poem begins. There is not much room, however, for a complete new poem, because at the beginning of line 32 traces of a coronis are preserved, so we know that a poem ended here. [33] Moreover, I believe that the new Sappho papyrus offers some evidence that a new poem did not begin in line 21, but that the Anactoria poem continued. It has long been recognized that lines 21 and 22 of fragment 16 preserve traces of a gnomic saying: something, we are told, is not possible (οὐ δύνατον γένεσθαι) for a human being or human beings (ἀνθρώπωι or ἀνθρώποις). This gnomic statement bears a close resemblance to the one we find halfway the new Sappho poem, where the words οὐ δύνατον γένεσθαι also appear at line end and a general human being (ἄνθρωπον) is presented as subject.
Jakob Sitzler proposed the following reconstruction of the gnomic statement in lines 21–22 of fragment 16: ἀλλ' ἄραν] μὲν οὐ δύνατον γένεσθαι / παῖσ] α̣ν ἀνθρώπ[ωι, π]εδέσχην δ' ἄρασθαι ("but it is not possible that every wish / for a human is fulfilled, but to pray to partake in…"). [34] If this reconstruction is even half correct, the speaker in fragment 16 would not only utter a gnomic statement in lines 21–22, but would indicate by it that she resigns herself to her situation. With this gnomic continuation, fragment 16 shows a structure very similar to the one we detected in the Tithonos poem and in fragment 31. The first person speaker first describes a painful situation: she would like to see Anactoria, but cannot do so, because Anactoria is not there. In the continuation of the poem, starting with the gnomic statement in lines 21–22, she then resigns herself to this situation: she realizes that she is asking for the impossible and that she has to settle for something less, perhaps to partake in memories of Anactoria, something with which Sappho consoles herself in other poems as well. [35]
One of the few commentators who has dared to propose a possible reconstruction of fragment 16 beyond line 22 is the British scholar J.G. Howie. [36] Howie postulates that the speaker after line 22 told a new myth, which would provide her with an alternative example from the figure of Helen, mentioned in the first half of the poem, and would have introduced a more modest wish. Howie's suggestion that another myth appeared in the second half of fragment 16 gains some plausibility from the fact that the second half of the new Sappho poem also contains a paradigmatic story that helps the speaker to reconcile herself to her situation. It would also help to counterbalance the somewhat daring comparison of the first person speaker (and Anactoria) to the figure of Helen in the first half of the poem.
The structures of fragments 16, 31 and 58 thus reveal a remarkable similarity. In all three poems, the speaker first sketches a painful or difficult situation. She complains, but then resigns herself to this situation with the help of a gnomic thought and a mythical or general example. Finally, she may have offered herself an alternative, as she appears to be doing in fragment 16 and in the continuation of the Tithonos poem in the Oxyrhynchus papyrus.
The Performance Context of the New Sappho Poem
The structure of fragments 16, 31 and 58 resembles that of consolation speeches, such as we find, for example, in the Odyssey. [37] Reinhold Merkelbach has called fragment 16 a consolation poem or, even better, a consolation song ("ein Trostlied"). [38] In such a song the first-person speaker recognizes the difficulty of her situation, but calls on herself and probably her audience to take heart. In fragments 16 and 31 the speaker has to distance herself from a young woman—a theme we encounter more often in Sappho's poetry. [39] In the new Sappho poem the situation is different: here the speaker bids her youth and her beauty farewell.
This brings me to the possible performance context of these poems. I have argued elsewhere that fragments 16 and 31 were probably performed at wedding banquets. [40] The performer of these songs praises the beauty and erotic appeal of the bride, while at the same time expressing something of her own sorrow and that of friends and family of the bride in having to let go of her. In the case of the new Sappho poem the performance context is harder to gauge, although I could imagine the song as being performed at a wedding banquet as well. At the wedding feast the assumed advanced age of the singer could be contrasted playfully with the youth of the girls, dancing to her song, on the one hand, and with the blooming adolescence of the bride and groom on the other. The comparison of the first-person speaker with the unhappy Tithonos would also contrast with the usual comparisons of bride and groom with great heroes and heroines in other wedding songs, [41] while at the same time, perhaps, entailing a warning for the happy couple that they too, in time, will grow old. [42]
The opening of the Tithonos poem bears a resemblance to fragment 26 of Alcman, as was noted already by Claude Calame. [43] In this fragment Alcman addresses a group of young women and complains that his limbs no longer can carry him. Antigonus of Carystus, who quotes the fragment, claims that Alcman spoke these lines "weak from old age and unable to whirl with the choruses and the girls' dancing" (ἀσθενὴς ὢν διὰ τὸ γῆρας καὶ τοῖς χοροῖς οὐ δυνάμενος συμπεριφέρεσθαι οὐδὲ τῇ τῶν παρθένων ὀρχήσει):
οὔ μ' ἔτι, παρσενικαὶ μελιγάρυες ἱαρόφωνοι,
γυῖα φέρην δύναται· βάλε δὴ βάλε κηρύλος εἴην,
ὅς τ' ἐπὶ κύματος ἄνθος ἅμ' ἀλκυόνεσσι ποτήται
νηδεὲς ἦτορ ἔχων, ἁλιπόρφυρος ἱαρὸς ὄρνις.
No longer, honey-toned, strong (or: holy)-voiced girls
can my limbs carry me. If only, if only I were a cerylus,
who flies along with the halycons over the flower of the wave
with resolute heart, strong (or: holy) sea-blue bird." [44]
This interpretation of the performance context of the poem is speculative, I know, but one thing is certain: the poem suggests that Sappho performed her poetry in public or semi-public settings and not in the privacy of her own home. Sappho may have been the singer of the song, but she was probably supported by a group of young girls, the paides mentioned in line 1, who were dancing while she was singing. The public performance context of Sappho's poetry, for which I have argued elsewhere, [47] is being confirmed by one of the new epigrams of Posidippus as well. This is epigram number 51, to which I already referred earlier. According to the reconstruction of Battezzato, [48] it reads as follows:
'δακρυόεσσα[ι ἕπεσθε, θε]οῖς ἀνατείνατε πήχεις'
τοῦτ' ἐπὶ πα[ιδὸς ἐρεῖτ' αὐ]τ̣ό̣μαται, Καρύαι,
Τειλεσίης, ἧς̣ [νεῖσθε πρὸ]ς̣ ἠρίον· ἀλλὰ φέρουσαι
εἴαρι πορφυρέ[ου φύλλ' ἐς ἀ]γῶνα νέμους
θῆλυ ποδήν[εμοι ἔρνος] ἀείδετε, δάκρυσι δ' ὑμέων
κολλάσθω Σα[πφῶι' ἄισμ]ατα, θεῖα μέλη.
"[Follow on] tearfully, lift up your arms to the [gods]",
this [you will say] spontaneously, o Karyai, for the [child]
Telesia, to whose tomb [you come]. But bringing
in spring to the contest [leaves] from the purple glade,
sing with wind-swift feet the virgin [shoot], and to your tears
let there be joined Sa[ppho's son]gs, divine melodies.
This epigram of Posidippus imagines a group of girls, named Karyai, dancing at the grave of a girl named Telesia and singing songs of Sappho, assuming the restoration is correct. [49] What better songs could these girls be singing there than consolation poems of Sappho?
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[ back ] 1. Bastianini and Gallazzi 2001, re-edited in Austin and Bastianini 2002. This essay is a combination of two papers I delivered at the APA: "A New Sappho Papyrus (P.Köln 21351): Key to the Old Fragments" (APA Montreal 2006) and "The New Sappho Poem: Where does it end?" (APA San Diego 2007). I wish to thank the original audiences, also listeners at the universities of Ghent, Iowa and Oxford, as well as Jan Maarten Bremer, Irene de Jong, Richard Rawles and the anonymous referees for their helpful comments and suggestions. I further would like to thank Debby Boedeker for her comments and for sharing with me her forthcoming article, and the two editors for bringing this volume together.
[ back ] 2. Gronewald and Daniel 2004a and 2004b. More recently, Gronewald and Daniel (2005) have published the continuation of the third fragment, but this continuation will not concern us here, since it does not appear to contain work by Sappho. Cf. the contributions of Hammerstaedt and Obbink to this volume. [ back ]
[ back ] 3. Gallavotti 1957:113. Cf. Di Benedetto (1985:147) and Page (1955:129), who quotes the fragment starting from this line.
[ back ] 4. Gronewald and Daniel 2004a:7. Given Sappho's involvement in the setting up of young women's choruses and her use of the word elsewhere in her poetry for girls (e.g. frr. 49.2, 113, 132.1) it is most likely that the word παῖδες here refers to young women as well.
[ back ] 5. See Lidov's contribution to this volume, pp. 93-94.
[ back ] 6. West 2005:4. σπουδάσδετε in West's reconstruction of the line does not have to be read as an imperative, but could also represent a declarative statement in the second person plural indicative. West, however, in his translation opts for an imperative, following Di Benedetto (2004:5–6), who wishes to read two imperatives in the opening two lines. [ back ]
[ back ] 7. Cf. Rawles 2006:4 and Lidov in this volume.
[ back ] 8. Lobel 1925:26.
[ back ] 9. Campbell 1982[1990]:100–101. The last two lines are supplemented on the basis of a citation in Athenaeus 687b.
[ back ] 10. Athenaeus 687b. For a somewhat different translation of the passage, see Hammerstaedt in this volume.
[ back ] 11. A similar construction is found in Sappho fr. 96.15–17, where the genitive Ἄτθιδος should be connected both with the preceding participle ἐπιμνάσθεισ(α) and the following noun ἰμέρωι: πόλλα δὲ ζαφοίταισ' ἀγάνας ἐπιμνάσθεισ' Ἄτθιδος ἰμέρωι. . . βόρηται ("going to and fro, remembering gentle Atthis she is consumed by desire [for Atthis]"). [ back ]
[ back ] 12. Gronewald and Daniel 2004a, Puelma and Angiò 2005b, Edmunds 2006, Burzacchini 2007:98–110 and Livrea 2007.
[ back ] 13. Di Benedetto 2004, Luppe 2004, Janko 2005, West 2005, Bernsdorff 2005, Rawles 2006, Austin 2007 and Ferrari 2007:179–80.
[ back ] 14. This suggestion is advanced by Boedeker in this volume and in Boedeker forthcoming. Cf. Yatromanolakis 2007:344n259 and 360.
[ back ] 15. Lobel and Page 1955:41; Voigt 1971:78.
[ back ] 16. West 2005:4.
[ back ] 17. See Figure 17 in Hammerstaedt, this volume. One can also consult pictures of the Oxyrhynchus papyri, including the small P.Oxy. 1787 fr. 2, on the Oxford Oxyrhynchus website: http://www.papyrology.ox.ac.uk/P.Oxy/papyri/the_papyri.html.
[ back ] 18. Di Benedetto 2006.
[ back ] 19. Puelma and Angiò 2005b.
[ back ] 20. Livrea 2007. Jan Maarten Bremer has drawn my attention to the second stasimon of Euripides' Heracles, esp. lines 637–686, which also seem to draw on Sappho's poem.
[ back ] 21. Danielewicz (2005), adopting an emendation of Ewen Bowie in line 3, argues that the girl is not a living person, but a representation on the base of the sundial. If so, the parallel with Tithonos would be even more striking: like Tithonos, the girl has been immortalized (as an art object), but still old age reaches her. Bowie's reading is, however, far from certain: see Puelma and Angiò 2005a:19–20n18.
[ back ] 22. See the various essays in Acosta-Hughes et al. 2004 and in Gutzwiller 2005, as well as Gutzwiller's original study of Hellenistic Greek epigram (Gutzwiller 1998). The reading Σα[πφῶι' ἄισμ]ατα in the last line of Posidippus' epigram 51 is, of course, a conjecture, but a very plausible one: the gap does not allow for many other possible readings and there are more references to Sappho's songs in Posidippus' epigrams, including epigrams 55 and 122 A-B. Lapini (2005:239) suggests reading Σα[πφοῦς ἄισμ]ατα, which is perhaps preferable, because, as one of the anonymous referees pointed out to me, it avoids hiatus at the midline of the pentameter. This reading would not alter the meaning of the line, however. [ back ]
[ back ] 23. Cf. Edmunds 2006:24.
[ back ] 24. Di Benedetto 2006:5.
[ back ] 25. Lardinois 2006. Faraone (2006) has come to the same conclusion after examining the fragments of Tyrtaeus.
[ back ] 26. Yatromanolakis 1999 and Liberman 2007:41.
[ back ] 27. Examples are the so-called "wild papyri" of Homer's epics and the different versions of Theognis' poetry preserved in the Theognidea, on which see, respectively, Haslam 1997 and Bowie 1997. Ucciardello (2005) argues that different copies of Ibycus' poetry, with their own linguistic variations, must have circulated in antiquity.
[ back ] 28. See e.g. Haustein 1999 and Bein 1999a on the variations in the medieval editions of the German lyrical poet Walther von der Vogelweide. I owe these references to my colleague in Dutch medieval literature, Johan Oosterman. Boedeker in this volume refers to the principle of "mouvance" advanced by "new philologists" in medieval studies and Nagy's application of this idea to the transmission of the Homeric epics (Nagy 1996: esp. 7–38).
[ back ] 29. See Boedeker's essay in this volume. For old age as a sympotic theme, see e.g. Campbell 1983:215–220 and Slings 2000:432–434. Note the parallels that have been drawn between this poem of Sappho and Anacreon fr. 395 PMG or Mimnermus frr. 2 and 4 West (Gronewald and Daniel 2004a:3). [ back ]
[ back ] 30. Cf. West 2005:6.
[ back ] 31. For possible reconstructions of the closing stanza of Sappho's poem, see West 1970:312–313, Rösler 1990, Lidov 1993 and, more recently, D'Angour 2006, who suggests that Sappho ended the poem on an extended, gnomic thought.
[ back ] 32. Pfeijffer 2000:1n1 with earlier references. Among those who accept the continuation of the poem after line 20 are Howie 1977, Aloni 1997:25–26 and Bierl 2003. [ back ]
[ back ] 33. Cf. Hutchinson 2001:167.
[ back ] 34. Sitzler in his review of Lobel 1925, quoted by Voigt 1971 ad fr. 16.21s.
[ back ] 35. For the theme of memory in Sappho's poems, see Burnett 1983:277–313 and Lardinois 2008. Cf. Sappho frr. 94 and 96.15–16.
[ back ] 36. Howie 1977.
[ back ] 37. See Howie 1977, esp. 223–227.
[ back ] 38. Merkelbach 1957:13.
[ back ] 39. On the age of the women named in Sappho's poetry, see Lardinois 1994.
[ back ] 40. See my 2001 article.
[ back ] 41. See Hague 1983:133–135. Cf. Sappho frr. 23, 31.1, 44.34, 105b and 111.
[ back ] 42. Rawles (2006:5) analyzes the Tithonos story in terms of the possible significance it would have for the young women addressed in the first line of the poem, including their marriages. [ back ]
[ back ] 43. Calame 1983:474. [ back ]
[ back ] 44. Antigonus of Carystus Marvels 23, quoted by Campbell 1988 ad Alcman fr. 26.
[ back ] 47. Lardinois 1996.
[ back ] 48. Battezzato 2002. [ back ]
[ back ] 49. See n22 above. [ back ]


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J.A.C. Redford: Eternity Shut In A Span/Utah Chamber Artists & Philadelphia Brass
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Program and Notes Reviews
JAC Redford: Eternity Shut In A Span
Music For Christmas
Utah Chamber Artists
Philadelphia Brass
World Premier Recordings!
Multiple Emmy Nominated composer J.A.C. Redford has been active in the film and television industries for over 25 years. Redford has scored more than three-dozen feature films, TV movies or miniseries, including The Trip to Bountiful, Extremities, Oliver and Company, The Mighty Ducks II and III, in addition to music for nearly 500 episodes of series television, including multiple seasons of Coach and St. Elsewhere. Eternity Shut In A Span features World Premiere Recordings of the Christmas music of this outstanding composer, in luminous performances by the Utah Chamber Artists and the Philadelphia Brass.
"The choir is very good, completely at home with these works and singing with joy and anthusiasm and well-rehearsed ensemble technique." - ClassicsToday.com
Not many listeners will be familiar with J.A.C. Redford's Christmas compositions--or even with Redford himself, unless they know of his many contributions to film and television. But thanks to Clarion Records and its continuing search for music and performances worthy of rescue and restoration to the catalog, we have this fine set of pieces (taken from recordings made in the mid-1990s) that deserve attention by performers and choral fans. Shepherd Story, for choir and orchestra, is Redford's adaptation of the account of the shepherds' adoration of the newborn Jesus, found in Luke, chapter 2. From the very beginning you can tell that this is the work of a composer who knows how to write good tunes, engaging rhythms that capture the energy implied in the texts, and who knows how to pull the essential dramatic moments from a story and orchestrate them. He also understands how to write for voices--and importantly, knows how to create a work that a normal, accomplished group of singers and players can perform. Yes, there's nothing strikingly original here, but the music is challenging enough and manages to sound fresh and always interesting.
Even more impressive is the medley for brass, In Dulci Jubilo, which incorporates five familiar but not over-worked tunes--the title song, The Wexford Carol, Joseph Dearest, Joseph Mine, I wonder as I wander, and Susanni--into a first-rate concert work that shows accomplished brass-ensemble writing technique, originality in treatment of themes, and a terrific ability to capture the style of each song while offering players and listeners a jolly good time. This would be the highlight of the disc, except for the following work, also in five parts, but this time the Christmas themes are drawn from the poetry and the music is all original.
Welcome All Wonders, for choir and orchestra, is more ambitious in scope and detail than the previous works, but it's no less accessible, tuneful, or rhythmically appealing, and I can't understand why this isn't performed on concert programs more frequently. As with the tunes in the brass medley, the texts here are all very carefully and intelligently selected--for mood and meaning and particular dramatic features. While the music may have its Bernsteinian and (John) Williams-esque moments, it's for the most part independently imaginative and very affecting, and Redford is especially clever in his choice of rhythmic settings (taking a page from Britten, perhaps?).
The choir is very good, completely at home with these works and singing with joy and enthusiasm and well-rehearsed ensemble technique. Likewise, the Philadelphia Brass does an admirable job with some very tricky music, although I've heard brass groups play with just a touch more smoothness and polish. The newly remastered sound is fine--the brass tracks are best--and my only request would be for the disc's producers to have included among the extended paragraphs on Redford's accomplishments just a few lines on the works included on this program. We do, however, get full texts, information regarding sources, and recording details. Choral and Christmas music fans will want to hear this.
—David Vernier
Eternity Shut In A Span
1. Shepherd Story - [ 7.02 ]
2. In Dulci Jubilo - [ 3.29 ]
3. The Wexford Carol - [ 3.42 ]
4. Joseph Dearest, Joseph Mine - [ 2.56 ]
5. I Wonder As I Wander - [ 4.37 ]
6. Susanni - [ 2.23 ]
Welcome All Wonders: A Christmas Celebration
7. Welcome All Wonders - [ 4.40 ]
8. Christmas Mourning - [ 6.48 ]
9. The Nativity of Christ - [ 3.25 ]
10. Good is the Flesh - [ 5.27 ]
11. Christmas Now - [ 4.48 ]
Total Playing Time - 49.17
Artist Roster > Philadelphia Brass
Artist Roster > Utah Chamber Artists
Clarion Records
Copyright © 2013 Loft Recordings, LLC. All Rights Reserved.


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Q: MVC & SQL: Cannot insert the value NULL into column, after migrating to new database I am trying to insert values into a table via a MVC webpage. When I was running the webpage off of the localDB generated by Visual Studio this error did not occur.  Since I migrated to a remote database I am now getting this error.
Cannot insert the value NULL into column 'DRTReviewerId', table 'FC.Developer_Schema.DRTReviewers'; column does not allow nulls. INSERT fails.
The statement has been terminated.
Here is the offending piece of code:
[HttpPost]
[ValidateAntiForgeryToken]
public ActionResult Create([Bind(Include = "DRTReviewerId,Name")] DRTReviewer dRTReviewer)
    {
        if (ModelState.IsValid)
        {
            db.DRTReviewers.Add(dRTReviewer);
            db.SaveChanges();
            return RedirectToAction("Index");
        }

        return View(dRTReviewer);
    }

The value for DRTReviewerId should be a int generated by the code but since I switched databases this is no longer occurring.  What could have caused this change?
The code was completely generated using entity framework. My knowledge MVC is beginner at best.

A: The table in the remote database have either a primary key or unique key created for "DRTReviewerId" column. Hence it is not accepting nulls. Update the table schema in remote DB.
To make a primary key auto increment, you have to set the Identity Specification->Is Identity to true and Identity Increment to 1(In DRTReviewerId column properties).

A: I would wrap the db.SaveChanges() in try catch to see the detailed error information:
try{
       db.SaveChanges();
}
catch (DbEntityValidationException vex)
{
       // Write to log file if you have logging support
       Debug.WriteLine(HandleDbEntityValidationException(vex));
       throw;
}
catch (DbUpdateException dbu)
{
       // Write to log if you have logging support
       Debug.WriteLine( HandleDbUpdateException(dbu));
       throw;
}

redpajama_set_name: RedPajamaStackExchange


text:
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Article VI

IL 604

Interpreters

An interpreter is subject to the provisions of these rules relating to qualification as an expert and the administration of an oath or affirmation to make a true translation.

redpajama_set_name: RedPajamaGithub


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April 26, 2019 Silver Safety Health 0
Colloidal silver has been used to treat a vast range of medical problems for many hundreds of years. Like many forms of alternative medicines, there is much discussion around just how useful or harmful colloidal silver is. Below we've looked at the uses, benefits, and dangers of colloidal silver.
What exactly is colloidal silver?
Colloidal silver is a collection of small silver particles which are held in liquid. It is used as a form of alternative medicine, with civilizations across the globe having valued the health qualities of silver for centuries.
While some of the silver particles in colloidal silver are visible to the naked eye, many are too tiny to be seen. The silver particles which are not visible to the human eye are known as nanoparticles – so called because they are under 100 nm.
What is colloidal silver used for?
Colloidal silver is marketed by companies as being an all-cure alternative medicine, one which can be used to treat a diverse range of problems – from more mild ailments, up to the most serious diseases.
Colloidal silver has been used for many different medical issues, ranging from an antibacterial treatment and wound dresser to treating cancer and HIV.
What are the benefits of colloidal silver?
The claim for using colloidal silver rests primarily on it having two benefits – that it has antibacterial qualities, tackling ailments and diseases; that it works as an antiseptic, helping to protect wounds from infection.
While there is no definitive agreement on how colloidal silver works, it is claimed that colloidal silver joins onto proteins found in bacterial cell walls – it's said this then harms the membranes of bacterial cells, eventually killing the bacteria.
What are the dangers of using colloidal silver?
Let's be very clear about this – there is no definitive scientific evidence to back up claims that colloidal silver has health benefits. What there is clear evidence for is that using colloidal silver can pose health risks, with argyria the most pronounced of these.
Argyria affects your skin, turning it a grey-blue color because of an excess of silver on your skin and in your body. Having too much silver in your body can also be lethal, with 10g of silver nitrate being enough for a lethal dose.
Colloidal silver has been used for centuries in cultures across the globe to cure a range of ailments. However, as with many ancient medicines, the health benefits of colloidal silver are sketchy at best and non-existent at their most damning. What can be said conclusively about colloidal silver is that taking it leaves you at risk of developing argyria and giving your skin a blue, Smurf-like, tinge.


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Angry Reader of the Week: Travis Atreo
"Pretty much, if you're a person that has stopped learning then you make me angry."
Hey, everybody! You know what time it is. It is time, once again, to meet the Angry Reader of the Week, spotlighting you, the very special readers of this website. Over the years, I've been able to connect with a lot of cool folks, and this is a way of showing some appreciation and attention to the people who help make this blog what it is. This week's Angry Reader is Travis Atreo.
My name is Travis Atreo. I'm Filipino and Irish, born in the Philippines on a U.S. military base and a naturalized citizen of the U.S. My legal first name is actually "Travis-Atreo." Most people think it's just a clever artist name but it's legal. I'm pretty sure my mom got "Atreo" from the movie The NeverEnding Story. In the movie the character's name is "Atreyu," but knowing that my mom probably had a thick Filipino accent back then, and I was delivered by American doctors stationed in the Philippines, the only explanation I have is that it changed to "Atreo" in the process of her telling them what to name me.
I'm a singer, songwriter, artist, composer, music producer, audio engineer, former lead singer of the band New Heights, YouTuber, transplant.
I'm currently in my recording studio. My pup Jesse is giving me the "I need to pee" growl as I type this. Brb.
I'm originally from Seattle, WA. After being born in the Philippines we moved immediately to my dad's hometown of Estherville, IA. My dad was still in the military so he was stationed in San Diego for a bit so we moved to Oceanside, CA, then after a few years planted roots in Seattle, WA. I lived there for as long as I could remember until about five years ago. I then moved to L.A.
I write and produce my own music, I do weekly covers on my YouTube channel on Spotify, produce other artists in our community like DanakaDan and Joseph Vincent, compose music for short films for Wong Fu, cook, clean, love to learn about new tech, learn anything really... try and eat healthy but being Filipino means I have a craving for meat and rice, take care of my dog, laugh with my girlfriend (a lot), and read/listen to a lot of non-fiction books and podcasts.
I'm all about the Food Network. Also cooking, I think I said that. I'm also all about perspective. I believe that the world would do a whole lot better if we could change our perspective on certain things in our life. Anything from being a healthy functioning human being, to social justice and equality issues. I'm all about writing music that helps put the important things in life that we cherish at the forefront. I'm all about making everyone I come into contact with feel important and treasured.
What makes me angry? A whole lot. Social injustice, inequality, systemic racism, police brutality, people getting upset over athletes protesting during the national anthem. It's a song people... take a look around during an NFL, NBA, MLB game during the national anthem. People everywhere don't take their hats off, drink beer, hoot, holler during this "sacred" time. I've sung the national anthem at sporting events before and I'm looking right at everyone that's not listening. Am I mad? No. I'm trying to finish the song. So stop it with your idiotic double standard.
It makes me angry when people are entitled. It makes me angry that multi-billionaires make more money than they could ever spend in their ENTIRE LIFE TIME yet don't believe in paying taxes to benefit the country that allowed them to make so much damn money. Everything that the TRUMP organization/family is. Anger is not a strong enough word for them. I think words like ulcer or migraine or POS are probably more appropriate words than angry.
People who push their religion onto others believing that's what will make someone believe. You kidding me?? GTFO of here with that nonsense. The only thing that makes people believe in anything is love and empathy.
White people who don't understand their white privilege makes me angry. White people who get angry/hurt when someone calls them a racist. (FYI that in fact shows your white privilege) Racist people make me angry. White nationalists, Neo-Nazis, the events of Charlottesville make me angry. People who hate the LGBTQ community angers me. Maybe not even hate, but if deep down you're disgusted by someone that's different than you then you make me angry. Pretty much, if you're a person that has stopped learning then you make me angry.
FILE UNDER: angry reader of the week, travis atreo


text:
Elderslie (skotsk gaeliska Ach-na-Feàrna) är en ort i Skottland, och är en västlig förort till Glasgow. Här föddes Sir William Wallace år 1270. Folkmängden uppgick till 5 690 invånare 2012, på en yta av 2,53 km².

Källor

Orter i Renfrewshire

redpajama_set_name: RedPajamaWikipedia


text:
Bobcat Goldthwait pays tribute to a comedy mentor with Call Me Lucky
Mike D'Angelo
Call Me Lucky
Bobcat Goldthwait
Select theaters August 7
If it accomplishes nothing else, the new documentary Call Me Lucky should bring some welcome attention to a man who's been under the radar for the past few decades, mostly by his own design. The film's subject is Barry Crimmins, a stand-up comic who made a minor name for himself back in the '80s, when he almost singlehandedly created the Boston comedy scene. One of the comics he helped discover was the very young Bobcat Goldthwait (whose nickname was inspired by Crimmins' at the time, Bear Cat). Now Goldthwait has returned the favor by directing this biographical portrait, which reveals Crimmins as a figure who's lionized by his peers, despite having been largely forgotten by the general public. As in the narrative films he's made (Sleeping Dogs Lie, World's Greatest Dad), Goldthwait stays behind the camera, but his long personal history with Crimmins provides him with access that no other filmmaker would likely have been able to get, given how ferociously the man guards his privacy.
Even in his stand-up days, Crimmins was notorious for being outspoken, in the tradition of comics like Mort Sahl and Lenny Bruce. Most of his material was political in nature, tackling hot-button issues like gun control and Reaganomics; he was blithely unconcerned about who his cutting, unabashedly left-wing jokes might offend. Over time, however, he grew more and more disgusted with the entertainment machine, and eventually wound up retreating to a cabin in the woods, where he still lives today. When he's emerged over the past 20 years, it hasn't usually been to perform, but to testify before Congress about how AOL's chatrooms were being used as a playground for pedophiles, or to support Cindy Sheehan's campaign opposing the Iraq War. Basically, he transformed himself from a comic with an activist bent to an activist with a particularly bitter sense of humor. Goldthwait juxtaposes copious archival material with present-day interviews, in which Crimmins, still a gadfly at 62, opens up about every aspect of his life.
Goldthwait's handling of one specific aspect backfires, unfortunately. In theory, it shouldn't be a spoiler to mention that Crimmins was a victim of childhood sexual abuse; it's something he's discussed publicly at length, and it fuels his deep-seated anger about abuses of power, especially where kids are involved. But Call Me Lucky treats this information like a big plot twist, withholding it until roughly the film's midpoint. Goldthwait talks to David Cross, Patton Oswalt, Marc Maron, and other comedy greats, all of whom gush about Crimmins' genius (to the point where it gets a little overbearing, frankly). But several of them also make sober allusions to some tragedy in Crimmins' past, and their remarks have clearly been edited so as to preserve the surprise. Using this sad history as a suspense tactic and sudden bombshell feels unseemly, and not in the productive way that characterizes Goldthwait's previous exercises in deliberately poor taste. Absurdist satire is one thing; a real person and his real pain deserve a less crass, commercial approach.


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CitySceneKC
Home Arts & Entertainment New Strategy Hopes to Reanimate Disney Laugh-O-Gram Building
New Strategy Hopes to Reanimate Disney Laugh-O-Gram Building
The Laugh-O-Gram studio where Walt Disney's career began was located on the second floor of the historic McConahay Building at 1127 E. 31st St.
By Kevin Collison
Backers of the effort to reanimate the historic Laugh-O-Gram building where Walt Disney got his start a century ago believe they finally have a winning strategy to complete the languishing project.
The new plan calls for the building near 31st and Troost to be renovated for multiple uses: a small theater and exhibition space dedicated to Disney and his fellow animators; a Plexpod co-working space and a digital media training center run by KC IMAGINE.
The proposal is intended to bring additional activity and revenues to the project to help sustain its Disney-oriented side. Previous efforts that called for the building to be solely used as a museum didn't pencil out financially.
"Thank You Walt Disney originally wanted the whole building to be a museum, but people realized small-footprint museums just can't make it," said Ron Green, executive director of digiSTORY KC.
A rendering of how the building is expected to look following renovation. (Rendering by Gould Evans)
Green, a retired Hallmark training executive, would manage the digital educational center which plans to prepare young people for careers in the growing digital media industry. Backers hope many will come from the neighborhood.
The new concept for moving the project forward was put together with the help of Gary Sage, a former city economic development official.
Sage now leads the building development committee at Thank You Walt Disney, the nonprofit behind the endeavor.
"I think this will be a great redevelopment project for that area that will continue the momentum," he said.
Walt Disney about the time he opened his Laugh-O-Gram studio. (Photo from Thank You Walt Disney website)
"Troost has always been that dividing line, not only race but poverty as well. There is already a demand for digital media jobs and this pandemic will probably increase that demand.
"Our hope is to provide opportunities for folks in this neighborhood for high-paying jobs."
The preliminary plan calls for part of the first floor of the two-story building to be a 50-seat screening room for lectures and movies about Disney and the animators who worked with him.
The future entertainment industry giant had a studio there from 1922 to 1923 before leaving for Hollywood.
An exhibition area and welcome center also is planned for the first floor. The rest of the level will be the KC IMAGINE training center.
Upstairs will be a recreation of Disney's original office space, and about half the floor will be reserved for Plexpod co-working space.
An outdoor area proposed for the renovated Laugh-O-Gram project. (Rendering by Gould Evans)
Butch Rigby, the developer who bought the building in 1996 and launched the Laugh-O-Gram effort, said Gerald Smith, the founder of Plexpod, was interested in managing the building and leasing co-working space to entrepreneurs.
Smith could not be reached for comment.
Rigby said the building, formally called the McConahay Building, was scheduled for demolition by the city and was in terrible condition when he acquired it. The building was designed by Nelle Peters, a pioneering woman architect, and opened in 1922.
With the help of a substantial donation pledge by Disney's late daughter, Diane Disney, the building was stabilized with a new roof, brick repairs and steel internal framework, about $600,000 worth of work, in the late 1990s.
But progress stalled until now.
Rigby said the timing is right for the project because of all the new investments along the nearby stretch of Troost. That neighborhood revival coupled with identifying additional revenue sources to sustain the project makes it more feasible.
The Laugh-O-Gram studio was on the second floor of the building. (Photo from Thank You Walt Disney website)
Gould Evans architects is preparing drawings to obtain solid construction cost estimates, and a series of Zoom presentations beginning this Thursday are intended to educate interested people and potential donors about the plan.
"Now we can say here's what the building is going to be and we'd like to get donors involved," Rigby said.
The project still has about $150,000 left from Diane Disney's pledge along with $160,000 in public tax-increment financing funding available. That money is earmarked for facade repairs.
There's no estimate yet for the remainder of the project cost. Rigby said if the fundraising effort is successful, construction of the project would take about 18 months to complete.
The Laugh-O-Gram Zoom schedule begins with an overview of Disney's local legacy Thursday. It will be followed Dec. 17 with a peek at the new proposal. The final topic on Jan. 7 will be about the overall revival of Troost.
All Zoom meetings will be from 6 p.m. to 7:30 p.m.
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Keep the symbol of peace in your house and nothing but this showpiece could make up for it. Made up of metal, this royal blue Read More..cow is all set to express its peaceful nature. It too symbolizes healthy atmosphere. Show Less..


text:
Good Enough is the second studio album by Swedish pop singer Ola. The album originally debuted and peaked at number six on the Swedish Albums Chart, however it reached a new peak at number 2 when the album was re-released with a new track listing in 2008.

Track listing

"S.O.S." (3:12)
"Totally Addicted" (3:43)
"Natalie" (3:08)
"My Addiction" (3:30)
"If You Gave Me Your Love" (3:21)
"Good Enough" (3:59)
"Can't Get Enough" (3:14)
"All It Takes" (3:24)
"Baby Girl" (3:04)
"Baby I'm Yours" (3:39)
"Who I Am" (3:45)

Charts

The Feelgood Edition
Following Ola's participation in Melodifestivalen 2008, with the song "Love in Stereo", the album was re-released as Good Enough - The Feelgood Edition. Consisting of his Melodifestivalen entry, as well as the follow up single "Feelgood" and a few remixes, the album re-entered the Swedish Albums Chart and reached a new peak position at number two.

Re-release track listing
"S.O.S." (3:12)
"Totally Addicted" (3:43)
"Natalie" (3:08)
"My Addiction" (3:30)
"If You Gave Me Your Love" (3:21)
"Good Enough" (3:59)
"Can't Get Enough" (3:14)
"All It Takes" (3:24)
"Baby Girl" (3:04)
"Baby I'm Yours" (3:39)
"Who I Am" (3:45)
"Feelgood" (3:31)
"Natalie" (Radio version) [Stockholm-Uppsala remix] (6:43)
"S.O.S." [Stockholm-Uppsala remix] (3:36)
"If You Gave Me Your Love" (Recorded at P3 Live) (3:39)
"Love in Stereo" (3:00)

Charts

References

2007 albums
Ola Svensson albums