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Your New Orleans Scooter Specialist
KYMCO - Choose Your Own Path
KYMCO USA, with headquarters, marketing and distribution centered in Spartanburg, South Carolina. KYMCO USA is dedicated to building the brand's reputation and market share through superior value, frequent new product introductions, strategic industry partnerships, and excellence in dealer network support.
KYMCO USA has a reputation and expertise gained through over 30 years in the U.S. powersports industry.
KYMCO is committed to maximum customer satisfaction and constant innovation, making use of the most advanced CAD/CAE tools to bring superior engineering and design to our products.
SPADE 150i
SUPER 8 50X
SUPER 8 150X
K-PIPE 125
LIKE 150i ABS
X-TOWN 300i ABS
LIKE A TOWN
PEOPLE S150
If you're looking for an especially fuel-efficient two-wheeler, the Agility 50 fills the bill with the promise of fuel economy up to 95 miles per gallon from a 49cc, 4-stroke SOHC engine mated to the smooth-shifting and popular CVT automatic transmission.
Under seat storage, a 2-up buddy seat that converts to a driver backrest when flipped to the "up" position, a helmet hook, front disc brakes, two-year factory warranty and instrumentation that includes speedometer, odometer, fuel gauge and clock complete the Agility 50 efficiency package available in three distinctive KYMCO colors: red, orange and blue.
Click here for Detailed Specifications
Tired of relying on your legs, your bicycle, your friends or your skateboard for transportation? Check out KYMCO's Agility 125, a versatile and spirited scooter that's easy on the eye and easier on the pocketbook. With power from a 125cc, 4-stroke engine coupled to a smooth-shifting CVT transmission, the Agility 125 is your ticket to self-reliance.
Available in red, orange or blue, the Agility 125 delivers up to 75 miles per gallon fuel economy and comes with a helmet hook and under seat storage that makes it easy for you to take your board along for the ride.
KYMCO is killing it krazy in the small-bore motorcycle market with the all-new Spade 150; the world's first retro, production, mini-motorcycle. With its 150cc single-cylinder engine, fuel delivery by EFI, a fivespeed transmission, twin shocks, and 12-inch wheels, the Spade 150 is performance prepared to own the urban streets of America.
Its low-down 28-inch seat height makes it a motorcycle for all; for those with no particular place to go, and those who need a cool way to go where they really wanna to go. The spirit of this bike is in the fundamental fun of riding; the Spade 150i isn't a thing, it's an experience.
If you like your fuel economy with a bit of an edge, the Super 8 50X, baby brother of the Super 8 150X, is the bike for you.
With amenities ranging from a dirt bike-style front fender, naked sport bike handlebars and dual purpose knobby tires to a handlebar-mounted digital instrument pod that includes speedometer, odometer, fuel gauge and clock to the 2-up buddy seat that morphs into a rider backrest, the Super 8 50X is eminently distinctive.
To make it more so, choose from matte black with matching wheels or Urban Digital Camo with matte black wheels.
The Super 8 150X is a "naked sport bike" built for the urban inner-city. It is a performance-oriented alternative to the Super 8 150R with power from a 151cc, 10.3 horsepower air-cooled 4-stroke engine.
Amenities include a hi-rise mounted dirt bike-style front fender, naked sport bike handlebars and dual purpose knobby tires. It comes with a locking under seat storage bin, helmet hook and 2-up buddy seat that doubles as a rider backrest.
Make it yours by choosing either the matte black paint with matching black wheels or the new Urban Digital Camo design with matte black wheels.
If you're looking to take back your independence, look no further than the K-Pipe 125. The K-Pipe 125 is a remarkably economical and fuel efficient bike featuring a confidence-building seat height that puts feet flat on the ground.
Designed for low maintenance, it uses a 125cc, air-cooled, SOHC engine coupled to a four-speed transmission that provides the kind of control expected of a larger displacement bike.
An electric starter with a kick start backup completes a package that makes the K-Pipe 125 the perfect choice for either the entry level rider or the economy-minded veteran.
The all-new Like 150i ABS is a modern scooter with futuristic-retro styling, that sports an unprecedented combination of features and value for a light-weight scooter. Capable of speeds worthy of any city or unlimited-access highway, the Like 150i has the ease of twist-and-go riding plus the confidence of smooth, stable, super-light steering.
The Like 150i ABS scooters have Bosh 9.1 M ABS on the front and rear brakes, with class-leading miniature trigger/sensor units weighing a mere 0.7 Kg, providing the ultimate confidence in maximum braking, within the laws of physics.
The X-Town has a whole new sporty appearance and provides extra comfort for a superior riding experience. In addition to an improved exterior design, KYMCO added a unique "X" shaped taillight. The new X-Town also fulfills the long-haul rider's major need: comfort. To achieve a maximum comfort level, the riding position has been redesigned. KYMCO has also improved the storage space which can fit two full-face helmets. Power, comfort and enjoyment made the X-Town.
A new addition to our Like family. This compact model provides easy maneuverability, great fuel economy, under seat storage for your gear and room for your friends to tag along.
Sleek styling, practical features, added safety and better performance give 'Everyday confidence.' Designed to meet the demands of the business professional, the People S 150 features a comfortable up right riding position, low step through body design, full wind protection and plenty of storage.
AK550 integrates "innovation and breakthrough", "lifestyle and performance", "luxury and practicality", and "comfort and convenience" in perfect unison to provide riders with unparalleled riding experiences.
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Mahony, L.; Lunn, J.; Petriwskyj, A.; Walsh, K.
In this study, the pedagogical decision-making processes of 21 Australian early childhood teachers working with children experiencing parental separation and divorce were examined. Transcripts from interviews and a focus group with teachers were analysed using grounded theory methodology. The findings showed that as teachers interacted with young children experiencing parental separation and divorce, they reported using strategic, reflexive pedagogical decision-making processes. These processes comprised five stages: (1) teachers constructing their knowledge, (2) teachers thinking about their knowledge, (3) teachers using decision-making schemas, (4) teachers taking action, and (5) teachers monitoring action and evaluating. This understanding of teachers' reflexive pedagogical decision-making is useful for identifying how teachers and educational leaders can support children experiencing parental separation and divorce or other life challenges.


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PM Nguyen Tan Dung to step down today
By Vo hai, Hoang Thuy, Vuong Anh &nbspApril 6, 2016 | 09:54 am GMT+7
Prime Minister Nguyen Tan Dung will step down today after the National Assembly passed a resolution allowing him to officially end his near 10-year-long tenure.
Prime Minister Nguyen Tan Dung. Photo: Giang Huy
In a statement on Dung's dismissal, President Tran Dai Quang said the head of the executive branch has always completed the tasks assigned to him.
"Due to the required arrangements of state and the Party's senior personnel, I ask the NA for consideration and approval of Prime Minister Dung to step down", Quang said.
On March 26, Dung made a farewell speech to other government staffs and officials in the last official session of his working term, during a regular government meeting.
The timing of Dung's exit will be in line with the National Assembly's plan to push forward the transition to a new government three months earlier than scheduled.
Dung was born in 1949 (Ca Mau province). In 1995 – 1996, he assumed the post of vice minister of Public Security then head of the Central Economic Committee.
In 1997, Dung was appointed as the youngest Deputy Prime Minister (48 years old) ever at that time and in 1998 – 1999, he concurrently held the position of governor of the State Bank of Vietnam.
He was appointed as the youngest Prime Minister in 20 years - the position which he held for two terms from 2006.
Dung and eight other members of the Politburo did not participate in the new Party Central Committee.
One of Dung's deputies, Nguyen Xuan Phuc, was the only candidate put forward by the party's congress in January to become Vietnam's next prime minister. The vote will be casted on April 7.
Tags: Nguyen Tan Dung Prime Minister Vietnam
Vietnam third in SEA for upward social mobility: WEF
HCMC up, Hanoi down in global ranking of fast-growing cities
Tet trade-off: college students stay back in Saigon for casual work
Strong security force to keep Saigon flower street safe
Hanoi gets decked up for Year of the Rat
Family stokes festive spirit with sticky rice cakes
1,000-year-old wreck relics find central Vietnam berth
Reading: PM Nguyen Tan Dung to step down today

redpajama_set_name: RedPajamaCommonCrawl


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Which of the following is a run-on sentence? A. While the rain was drenching at times, the fans were dedicated and refused to leave. B. The players continue to work on both hitting and fielding, allowing them to improve both skill sets. C. The game was tied at halftime; each coach gave his team a pep-talk. D. The game will be called if the storm continues, the weather is dangerous.
The following sentence is a run-on: The game will be called if the storm continues, the weather is dangerous.


Jesse Tyler Ferguson is known for playing neurotic lawyer Mitchell Pritchett on ABC's Modern Family. The hit series premieres its ninth season on Wednesday, September 27, at 9 p.m. ET and has already been renewed for a 10th.
But Ferguson isn't just a talented actor. Ferguson is also super passionate about cooking and entertaining, and he even blogs with fellow foodie Julie Tanous at julieandjessecook.com. "If I wasn't an actor, I think I would have found my way into culinary school," he says.
Ferguson, who recently partnered with Pepcid to help spread the word about not sacrificing bold and spicy flavors, shared more about his culinary mettle with Parade. He also revealed his hopes for Mitchell this season.
Do you remember when you first fell in love with cooking?
When I was 18 years old and moved to New York, I was exposed to different culinary worlds that I did not have access to in Albuquerque, New Mexico. It really opened up my mind to food being an adventure and not just sustenance to get you through the day. Something clicked in my mind that meals are more than just meant to be eaten. Meals are moments to connect with people. From there, I really sort of revered cooking and eating a lot more and began embracing the dinner party. It was nice to have that energy come to me and pass it along to my friends and family.
What was one of the earliest dishes that you remember making?
I believe it was green chile chicken enchiladas. My mom would always make that dish casserole-style. It was comfort food for me when I moved away to New York City. It was something I tried to replicate on my own. It is delicious. You can easily keep a huge tray of it in the refrigerator, and it will last you a full week. With limited funds as a college student, it was one of the first meals I learned how to make on my own.
Do you have a great go-to dish these days?
Lately, I've been making a lot of tomato gazpacho because this summer has produced so many great tomatoes. I don't want to just preserve them, so I've been doing lots and lots of tomato gazpacho and adding melon and crispy prosciutto and sort of trying to switch it up.
There is also a salmon dish that I make with Sriracha that I love. It's actually from Gwyneth Paltrow's cookbook. It's really easy to make, and it's packed with flavor and a nice crunch from the glaze. That dish is always a winner.
Can you share one of your best cooking tips?
It's something I'm still learning, but preparing stuff ahead of time is a great tip. Have things ready in your refrigerator, whether it be roasting a chicken early in the week and pulling it off the bone to have that protein ready to throw it into salad or throw into eggs in the morning. Tackle things when you have time to tackle them. Also, preparing ahead makes the cooking process easier. I've also embraced the Instant Pot and slow cooker, so things can sort of happen and you don't have to stand over them and keep a watchful eye. I love a protein that cooks overnight. You wake up the next morning and there's something cooking in the slow cooker and it's ready to go for the week.
What are some flavors you love?
I love spicy foods—everything from salsa to hot sauce and green chile to harissa and curries. I just love bold flavor. When you are trying to eat healthier, it's a great way to make food exciting.
I also love cheese and cream, ingredients that I don't cook with at home. Those are the foods I want to enjoy when I go out to a restaurant. I am also a bit of sugar fiend. I love sugar, however, if I had to choose between sweets or spice, I would always choose spice.
Speaking of spicy foods, you recently partnered with Pepcid. Tell us more about that.
Before I found Pepcid, there were times when I'd learn about a restaurant and worry that I wouldn't be able to eat a lot of stuff there. I'd be stressed out about what I'd be having for dinner. I just love that Pepcid allows me to go into a meal full throttle without that fear and enjoy great food, connect with friends and deepen relationships.
I want others to be able to seize the meal like I am able to do without worrying about heartburn. I love great food, but it's about more than that. It's about spending quality time with my friends and family. And I don't want heartburn to interrupt the moment. I don't want to have to avoid some of my favorite flavors like red sauce, green chile or spice just because it might trigger my heartburn. That's why I take Pepcid—it works quickly and lasts.
You've performed on and off Broadway, including The 25th Annual Putnam County Spelling Bee and Fully Committed. Do you have plans to come back to the stage?
Theater is my first love and where I started. I am always looking for opportunities to get back onstage, whether it's Broadway or off-Broadway. I just did something at the Hollywood Bowl. It was really exciting. I'm always looking for the opportunity of being in front of a live audience. I love doing new work, new plays and musicals. That's where I found my success before I found success on TV. When people ask what my next project is, I don't know because it maybe hasn't been written yet.
I just did a workshop with the new musical about Dominique Dunne in New York, and I was really taken by it. I'd like to see it go a little bit further and see what that has to offer me. I love doing Shakespeare. There are a lot of Shakespeare plays that I'd like to tackle. I'd like to do a production of A Midnight's Dream or Hamlet. I'm getting a little old now to play Hamlet, so if that opportunity came around, I'd definitely jump at it.
Congratulations on being renewed for a 10th season of Modern Family! What would you like to happen to Mitchell?
A lot of people ask me this. It's one of the things that takes me back to how much I loved Friends growing up. You never wanted to see Monica not being neurotic or Joey not being a womanizer. When people ask me what I want to see from Mitch, I guess I want to see him be more like who he already is because I think that's what the fans want to see. It's sort of comforting to turn on your TV and see Mitch the neurotic lawyer who's a little more uptight and a little too serious for Cam sometimes. I like that. It's a fun thing to play. I don't necessary want him to evolve that much, and I don't think his fans want him to either.
With that being said, he's sort of at a lull in his career, and I'd like him to either switch careers or have a little more success. His character is a bit frustrated where he is at career-wise. I'd like him to listen to some of the advice that I just gave and maybe bounce back from that a little bit. I want to see Mitch try something new.


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Tag Archives: local 161-710
DC Musician, Local Officer Finds Peace Through Sewing
February 1, 2021 IM
When talking to musicians about their lives and careers, the phrase that always occurs during the conversation is: "…and then COVID hit." It's been a life- and career-changing event, and one that has allowed/forced musicians to spend time on special projects. For Marta Bradley—bass player and secretary-treasurer of Local 161-710 (Washington, DC)—that project was the creation of a 6-foot-by-7-foot quilt depicting images related to the year 2020 and the social justice events and aspects of that momentous time.
"I'm a quilter, but not a quilt artist. Generally, I make blankets and they're meant to be comforting for friends and family. There's always love behind every single one, which I make purposefully for somebody with them in mind," she says. "It's the art of the love that goes into it. It brings comfort not just in the way it feels, but hopefully in the gift of making it and that it's special to each person."
"But then COVID hit," she continued, "and there were no gigs so there wasn't a lot to do." Being active in her church, which had congregants worshipping remotely, Bradley took the suggestion of the pastor that everyone create a special place to worship in their homes. Bradley made a table runner that represented the Pentecost—and then the George Floyd incident happened. The event and its ramifications on social justice in the US caused Bradley to decorate the runner as an homage to the growing Black Lives Matter movement. She created a map of the US in black, on which she sewed over 50 names of people murdered this year. She then added portraits of the victims most in the news last year: George Floyd, Brianna Taylor, and Ahmaud Arbery.
"I'm not an artist; they weren't meant to be portraits. It was more of a way for me to fit what this country has done over the years, and the horrors of systemic racism, and understand it," she says. "It was a way for me to sit with it and to worship and say their names and learn about them and read their stories—to put them in a quilt and put them on an altar and pray their names."
That was Bradley's beginning in quilting her way through the pandemic and all the social injustice and racial tensions occurring through the country last year. She was also sewing face masks for the pandemic, and, after accruing a box of scraps, she thought maybe she would make a "scrap quilt" when she was done. During this time, one media photograph particularly resounded with her: A photo of seven-year-old Kai Ayden standing in front of a line of riot police, raising his fist while demonstrating in Atlanta on May 31. She decided to sew that image into a quilt block—"and then it just got going," she says.
After that, Bradley made quilt blocks of people and events making news as heroes of 2020. Ultimately, she made 15 blocks, depicting images such as portraits of deceased Congressman John Lewis, deceased Supreme Court Justice Ruth Bader Ginsburg, Vice President-elect Kamala Harris, Dr. Anthony Fauci, and Georgia Democratic politician Stacey Abrams. Bradley also made images depicting healthcare workers, firefighters, a police officer kneeling with BLM protestors, a teacher and student communicating through Zoom, her son graduating from high school, and she and her husband (also a musician) performing music on a balcony while neighbors listen.
"I wanted it to be something that showed, as time went on, not just 2020 but the heroes of 2020 and what makes us carry through and grow stronger as we go forward," Bradley says.
The 15 blocks were put on a black background, with the lines in between them all representing roads, surrounded by a border made of scraps from her face masks (from her initial idea). On the roads and around the border are also images of other items: cars, people, food, medicine, and more. Of course, a union label was also included (right under Justice Ginsburg).
In the end, Bradley estimates it took her close to 250 hours of work to create the quilt. "It was something that I started that I couldn't put down; I felt driven to do it," she says. "It was a way to sit with each of these things, to sit with all of it, and find peace through sewing. I missed my friends, playing with them, creating music, and this was a way to put that energy into something."
Bradley completed her quilt on December 27, 2020. She has no specific plan on what to do with the quilt, she says, but it will probably be hung on the wall in a guest bedroom in her house. "It won't go on the bed. I have dogs. I put too much work into it for that," she says with a laugh.
Marta Bradley, secretary-treasurer of Local 161-710 (Washington, DC), poses with her social justice quilt, which depicts the events and heroes of 2020. She spent more than 250 hours of work on it.
local 161-710quilt
Kennedy Center Ratifies One-Year Modification
January 1, 2021 IM
In late October, the musicians of the Kennedy Center Opera House Orchestra (KCOHO) and Washington National Opera (WNO), members of Local 161-710 (Washington, DC), ratified modifications to the third year of their agreements that expire on August 31, 2021.
Musicians had previously agreed in April 2020 to a 25% cut in all scale wages for the period from May 1 through August 31, 2020. By June, management signaled they wanted to have economic conversations about the 2020-21 season. Nothing was proposed until mid-September.
Initially, WNO sought a 27% reduction in the annual guarantee, and a freeze in wages based upon unmodified 2019-20 rates. Having successfully resisted several attempts in recent years to reduce annual guarantees, it was important that this guarantee not be decreased in this modification, so musicians instead accepted a pay reduction, which was commensurate with that accepted by their colleagues of the National Symphony Orchestra (NSO). By pointing to standards established in NSO bargaining, KCOHO and WNO musicians were able to keep larger concessions at bay, thanks in part to the hard work of the NSO musicians at their bargaining table. The two current contracts expire August 2021.
Kennedy Center Opera House Orchestralocal 161-710
National Symphony Orchestra Agrees to Modifications and Extends Contract
December 1, 2020 IM
Musicians of the National Symphony Orchestra (NSO) ratified the second of two "COVID agreements," in September, addressing issues brought about by the pandemic.
Under the first COVID agreement, which was ratified in April, base salary was reduced to 75% through August 10. In addition, terms of the 2019 CBA—originally a four-year agreement—were extended for a fifth year, through September 2, 2024. Salary increases that had been negotiated for the second, third, and fourth years of the contract were delayed by one year.
The latest COVID agreement, which went into effect September 8, reduces base salary, seniority, and overscale to 75% for the 2020-21 season. In addition, 2% of wages will be earmarked as an Electronic Media Guarantee.
Orchestra size remains at 96 musicians plus two librarians, but one position in each section may be left vacant for the 2020-21 season. Participation in chamber music, education, and fundraising events will be voluntary through December 31, 2020.
As part of both COVID agreements, management agreed not to invoke Force Majeure through specified dates.
NSO musicians are represented by Local 161-710 (Washington, DC).
covidlocal 161-710
The Many Jazz Hats of Leigh Pilzer
November 1, 2020 Stephen Laifer
A review on jazz saxophonist and arranger Leigh Pilzer's website describes her playing as "gruff and punchy," with "a lot to say." Speaking with Pilzer, you quickly realize she herself is anything but gruff. But she does indeed have a lot to say. A member of the Smithsonian Jazz Masterworks Orchestra, the Bohemian Caverns Jazz Orchestra, and DIVA (more on that later), Pilzer has toured extensively, and her arrangements enjoy regular play by college and professional jazz groups, including DC-area military jazz bands.
A DC native and longtime member of Local 161-710 (Washington, DC), Pilzer played cello as a kid, but that all changed in high school the first time she saw a big band. "I used to go hear live music with friends after orchestra rehearsals," she recalls. "One day I met Bill Potts, a writer/pianist/arranger at a local community college. He played some jazz music for me—and then he took me to hear Count Basie." Pilzer likens that to a line by Mario Puzo in The Godfather: "You can't hide the thunderbolt. When it hits you, everybody can see it." She suddenly knew she needed to play jazz.
"As a cellist, the logical choice would have been bass. But I wanted a clean slate. So I chose the saxophone." Pilzer started on an alto. After just six months, she had a Goldilocks moment when she got called for a gig at the same community college. "The baritone sax player couldn't make the gig, so they handed me the big bari. And immediately I knew it was the right fit."
She cemented that fit at the Berklee College of Music—along with other skills that would later be combined in her professional life. "I had gotten a great grounding in music theory and arranging from Bill Potts at the community college back home, so I studied arranging at Berklee," she says. "But toward the end of my time there, I also realized I really did love playing and making music with other people." Pilzer feels she's fortunate to be from Washington, DC, which she says offers a large and varied amount of work. From the moment she graduated, she was playing clubs, corporate shows, and gigging with the National Symphony Orchestra on its pops concerts.
At Berklee, Pilzer had tested out of the first two years of theory and advanced into upper-level arranging classes. Jump to today, where her arrangements have been widely adopted by big bands. Pilzer finished her doctorate in May of this year, and with live performances halted by the COVID-19 pandemic, she began wondering what was next. The obvious answer was a natural segue from arranging to composition. "My arranging has tended toward standard forms like the Great American Songbook and Ellington," she says. "But I'm taking an online jazz composition course at Berklee and I've started looking at composing in a different way than I have before—freer, less tune- or form-based." Big band, says Pilzer, is still the voice she hears in her head, but these days she can now also see herself writing for smaller groups.
But still, there's the nagging longing to make music—even in a pandemic. While she admits it doesn't take the place of a live audience, she and a few DIVA colleagues have started using JamKazam, a nifty little piece of tech that allows for real-time interaction over the Internet. DIVA, for those unfamiliar, is an all-female jazz orchestra. Pilzer has been a permanent member on bari sax since 2003— "Well, I actually stalked them since 1992," she laughs—and has also done orchestrations for them. "I love my male colleagues, but the hang with DIVA is a little different. And the young women we play for are inspired by DIVA in a way that other bands can't. It has a tremendous impact on them." And also, on the younger men, Pilzer points out, who might not realize that many women do this.
"With JamKazam we streamed some material, including a three-movement suite," she says. "It's strange with no audience. But we banter between ourselves and interact, and we draw the (virtual) audience in. We invite listeners into our process and our experience. They feel the love." Pilzer was recently approached about outdoor concerts, 45-minute sets at DC-area homes. Like so many others, she is cautious about restarting. "As a wind player, I can't be masked. It's hard to protect the people around me until we know a bit more about the risks."
When live performance does resume, Pilzer knows the AFM will have her covered, as it always has in past. "I joined the union as soon as I finished college," she recalls. "My first gig with the National Symphony was with Mel Torme. And playing Capitol Concerts and Memorial Day concerts with them have been extremely moving experiences. I would certainly not be doing any of this without union membership. When I think about it, many of my most memorable career highlights have been through the union."
For more on Leigh Pilzer, visit her website at www.leighpilzer.com. For info on the DIVA Jazz Orchestra, visit www.divajazz.com.
Jon Barnes Photography
Leigh Pilzer uses:
Baritone: My main instrument is a late 1950s low A Selmer Mark VI with a hard rubber Berg Larsen 110/0 refaced by Brian Powell, with Select Jazz 3S reeds. Travel horn is a Yanagisawa B992, with same mouthpiece and reeds. I also have a mid 1960s low Bb Selmer Mark VI. Mouthpiece for that horn is either one of the Bergs or a hard rubber Vandoren V16, also refaced by Brian Powell.
Soprano: Yamaha 62 (1980s?),
Selmer S80 F or Super Session F, blue box Vandoren 2½ or 3 reeds.
Alto: Mid 1960s Selmer Mark VI, Vandoren medium chamber V16 5 or 6, blue box Vandoren 2 reeds.
Tenor: Late 1950s Selmer Mark VI, hard rubber Berg Larsen 120/0, blue box Vandoren 2½ reeds.
Bass: Late 1960s Selmer Mark VI, hard rubber French blank mouthpiece, orange box Rico 2½ or 3 reeds.
Favorite Apps: Finale and ForScore. These days, other regularly used software also includes Logic, Final Cut, and JamKazam, in combination with a Focusrite Scarlett 2i2 interface and a Shure KSM32 mic.
local 161-710saxwashington dc
In the Jazz Club and Classroom, Percussionist Nasar Abadey Inspires
June 15, 2018 IM
Just after this photo was taken in 2010, Nasar Abadey of Local 161-710 embarked on a month-long Supernova tour to East Africa sponsored by the US State Department. (Photo credit: Jos A. Beasley.)
This month, Nasar Abadey, drummer, bandleader, and educator will receive the DC Jazz Festival Lifetime Achievement Award, alongside Cuban pianist Chucho Valdés.
Abadey, of Local 161-710 (Washington, DC), has played with masters of the jazz world, among them fellow DC union members Andrew White and Lennie Cuje. Abadey was tapped by Sun Ra in the early 1970s in New York City. "I was sitting in with McCoy Tyner's band at a club called Slugs' on the Lower East Side. When I left the bandstand, Sun Ra's manager he asked if I was interested in playing with Sun Ra. I said, 'Well, sure.' He said, 'Meet me at Penn Station tomorrow at noon.'"
Named Best Drummer in Jazz in 2011 by the Washington City Paper, Abadey went on to play with other greats, like Stanley Turrentine, David Sanchez, Charlie Rouse, Gary Bartz, Cyrus Chestnut, Gregory Porter, Frank Morgan, Dizzy Gillespie, Hank Jones, and Bobby Hutcherson.
Back in 1976, Abadey was playing gigs in his hometown of Buffalo, New York, when he got a call out of the blue to play with Ella Fitzgerald. Throughout his long career, he's built a solid reputation as a sideman with many groups. He has recorded and performed with innovators Malachi Thompson and Joe Ford (saxophonist in Abadey's group Supernova).
With Supernova, Abadey performs jazz steeped in hard bop, modal, and avant-garde, often incorporating traditional African rhythms, bebop, fusion, Afro-Cuban, and Afro-Brazilian influences. He is also founder and artistic director of the 16-piece band Washington Renaissance Orchestra (WRO).
For a time the family lived in Buffalo with his mother's cousins, the Dunlops. Frankie Dunlop was the prodigious drummer who famously played with Thelonious Monk and Sonny Rollins, among others. He says that Frankie practiced every day in the attic and became one of his main influences. Abadey was just six years old when Frankie put a set of sticks in his hands and showed him how to start playing.
"I didn't know who he was. He left Buffalo when I was seven years old and I didn't see him again until I was 13. I had a transistor radio and I heard the song 'Monk's Dream' on a jazz program and I said, 'Wow, the drummer sounds like my cousin Frankie.' When they announced the group members, the drummer was Frankie. I remembered his sound." They reconnected when Abadey moved to New York City. He'd often visit Dunlop in his Harlem home where Dunlop would tell him stories about his years playing with jazz legends.
Abadey who has lived in Washington, DC, since 1977, embarked on his own career in jazz that placed him in a class all his own. Drawing on influences from powerhouse drummers such as Tony Williams, Max Roach, Roy Haynes, and Elvin Jones, he built a solid career as an artist and teacher. Now, he is one of the mid-Atlantic region's premier jazz drummers.
In 2006, Abadey was asked to join the faculty of the Peabody Institute. "The process of education has been an organic kind of thing. Each semester, each year, I find myself incorporating more into what I teach and how I teach. As a result, I become a better musician and drummer," he says.
"I like to think of music as going in many directions simultaneously—poly-directional." Which he calls "multi-D": multi-dimensional and multi-directional, a term that is also easy to pronounce and remember in any language. "It helps the listener understand that they are experiencing various dimensional realms while listening to music. I like to think the music is more complex than traditional forms of jazz."
Abadey invokes plenty of John Coltrane's automatic technique, which he says allows the music to lift off into a spiritual zone. "The unknown can always render something new because it is the unknown. How your spirit interacts with the creative endeavor," he says.
He encourages his students to go to his gigs to hear him play so they know that what he's teaching is not abstract. He adds, "It's also important to articulate the source of a particular rhythm when I play it and understand it when I hear it played. I look at Africa as the source and different rhythms from Cuba, Brazil, Puerto Rico."
Throughout his career, the union, which he joined at 18, has provided support. He says, "With the union, you're associated with an organization that has what every musician needs to indulge their art and the backing to make sure we're getting proper wages, benefits, and pension. When you get gigs, you will not be paid below a certain amount. All those things are in place. Plus, you have legal representation."
In addition to Supernova and the Washington Renaissance Orchestra, Abadey leads the Renaissance Trio (rhythm section) and the Washington Renaissance Orchestra Octet. In between gigs this summer, he is working on a project writing for strings for his 11-piece Supernova Chamber Orchestra.
AFMdrummerdrumsinterviewlocal 161-710member profilepercussionistunionupbeat
AFM Members Join in Working People's Day of Action
April 2, 2018 IM
Working People's Day of Action was about demanding an end to the rigged economy and defending our freedoms. On February 24, working people across the country came together to defend our freedoms and fight for decent and equitable pay for our work, affordable health care, quality schools, vibrant communities, and a secure future for all.
Working People's Day of Action was planned to take place in advance of the February 26 US Supreme Court hearings in Janus vs. AFSCME. The anti-union forces behind this case simply do not believe that working people should be afforded the same freedoms and opportunities as they are.
The day also recalls when Dr. Martin Luther King came to the aid of Memphis sanitation workers in February 1968. They were protesting discrimination, low pay, and inhumane conditions that had led to the gruesome death of two workers on the job. On February 12, the sanitation workers went on strike to demand that their dignity, their humanity, and their union be recognized. On February 21, the strikers began to march every day, carrying signs that boldly proclaimed, "I AM A MAN."
This year, on February 24, working people and their allies joined together to demand an end to an economy that's rigged against working people and defend the freedoms that Dr. King fought and died for. As Dr. King told the sanitation workers in Memphis, "Freedom is not something that is voluntarily given by the oppressor. It is something that must be demanded by the oppressed."
AFM members across the country joined demonstrations with their union brothers and sisters to stand up for the right to unionize. Among them, Local 655 (Miami, FL) President Charles "Chas" Reskin, Secretary-Treasurer Jeffrey Apana, and other musicians attended a rally at Bayfront Park in Miami. Among representatives of Local 802 at the New York City rally were Maria DiPasquale and CLC delegate Marvin Moschel. In Washington, DC, demonstrators, including Local 161-710 Executive Board Director Doug Rosenthal, gathered at Freedom Plaza. Local 4 (Cleveland, OH) chartered a bus and filled it with musician members to participate in a Columbus rally.
"Under current law, every public service worker may choose whether or not to join the union—but the union is required to negotiate on behalf of all workers, whether they join or not. Since all the workers benefit from the union's gains, it's only fair that everyone chip in toward the cost. That's why 40 years ago a unanimous Supreme Court approved the kind of cost-sharing arrangements known as 'fair share.' The Janus v. AFSCME case is an effort to outlaw this fair share procedure," explains Local 4 President Leonard DiCosimo.
Representatives of Cleveland Jobs with Justice and the North Shore AFL-CIO Federation of Labor joined Local 4 on their bus. "Though the Janus case deals with public employees," DiCosimo says, "it is still relevant to the primarily private-sector employees of the AFM. Our presumption is that, if the ruling is in favor of Janus, there will be a movement to get a case before the Supreme Court that is basically the same dynamic for private-sector unions."
AFMamerlocal 161-710Local 4local 655Local 802Working People's Day of Action
Nurit Bar-Josef: Behind the Scenes with the National Symphony Orchestra Concertmaster
November 3, 2017 IM
When Nurit Bar-Josef of Local 161-710 (Washington, DC) was selected as concertmaster for National Symphony Orchestra (NSO) at age 26, she was the youngest concertmaster ever appointed to a major symphony orchestra. More than 16 years later, she recalls initial surprise on finding out she'd won the spot.
"I knew some of the others who had auditioned—it's a small world—and I thought they might think I was too young or too inexperienced," she says.
The young musician was aware of the huge responsibility she had accepted. "I knew what to expect from my previous experiences in St. Louis and Boston, where I saw just how much the concertmaster has to deal with on a daily basis," she says. Bar-Josef was assistant concertmaster for Boston Symphony Orchestra and Boston Pops when she auditioned with NSO.
Leading from First Chair
"It's constant pressure; when you are sitting in that chair, you are expected to always be on—it's 120%, all the time. I feel like I represent the orchestra and there are times when the whole orchestra is looking to me for guidance," she says. "That's the biggest challenge; no matter what is going on at home, or what's going on around you, or on the podium, you are out there for your colleagues."
Meticulous preparation is key, she says. "Knowing the score well, in and out, and knowing everything that's going on. You have to have that first violin part down like no one else," she says. "And because you are number one, you have to always play the solos and play them well. I try to do my best every single time."
"It's a good lesson in time management because there is so much music coming out, week after week," says Bar-Josef. "It forces me to prioritize and manage my practice, even when I have limited time. I have to figure out what I need to do now and what can wait."
Above all, she has a passion and dedication to the current repertoire, whatever it may be. "Every week, whatever we are playing, I throw myself into it. That's what we live and breathe for that week. Oftentimes, I feel like we are actors given a role to play," says Bar-Josef. "If we play a Shostakovich symphony, he becomes my favorite composer that week. If we are playing Brahms, I am all about Brahms, emotionally and physically."
For pleasure, she says, "I always, always enjoy playing a Beethoven symphony or even a Beethoven violin sonata. I wouldn't say that he's my favorite composer, but I would say anytime I'm playing Beethoven I'm musically and technically fulfilled," she says.
Like all principal string players, Bar-Josef spends time marking bowings. "The other principals are waiting to get my part in order to mark their bowings to match mine, and I've got the library waiting for all of that to happen. That's added pressure," she says. "Part of the process is making sure my colleagues have the music well enough in advance to feel comfortable."
A Conductor's Liaison
Bar-Josef has the honor of meeting guest conductors and acts as a liaison to the rest of the players. She ensures a smooth working relationship between members of the orchestra and the conductor. This, she says, "is an incredibly rewarding responsibility."
"I learn a lot from working with conductors," she says, explaining that many of them request a one-on-one meeting before the concert, especially if she will perform a solo. "Every musician who comes to visit is different. It's really important to me that I represent the orchestra well. No matter what is going on, I try to connect with the person on the podium."
"Conductors travel the world and they conduct all different orchestras, from the top notch to smaller groups in smaller towns," she continues. "I want them to feel like the NSO is an all-around good experience. As concertmaster, I am part of that—making that connection with the person. It's a short period of time and it can be really intense for those few days."
Though Bar-Josef relishes the challenge of these responsibilities, she admits her role can be isolating, sometimes setting her apart from her colleagues. The time requirements mean she has less time for socializing, particularly when they are out on tour. "When we go on tour, I'm constantly thinking about what we are playing tomorrow, what we are playing tonight, and how much time I have to prepare. I don't have a whole lot of time to hang out and have fun in some new city."
Though she is passionate about playing solos, Bar-Josef admits, "It's one of the hardest things I do. It's very rewarding that I get to play amazing solos like Scheherazade, though it's stressful. There's a lot of pressure playing solos with some of the greatest conductors standing one foot away from me."
Bar-Josef is currently one of an estimated 25 women concertmasters in the US and Canada. While there have been some remarkable women in this leadership role over the years—for example, Cecylia Arzewski (Atlanta Symphony Orchestra 1990-2008) and Emmanuelle Boisvert (Detroit Symphony Orchestra for 23 years)—their numbers are still far below the current ratio of women to men in orchestras. Bar-Josef feels like more women will likely take the leadership role in the future.
Of course, blind auditions help to ensure the best candidates, male or female are selected fairly. And fortunately today, unlike just a couple decades ago, female orchestra musicians enjoy equal treatment. "I have never felt that anyone looked at me as a female or thought they'd rather have a man in my position; I never once felt that a guest conductor was disappointed by having a female concertmaster," says Bar-Josef. "Today, I feel it's all about the music and what type of musician you are—gender doesn't matter."
The Joy of Chamber Music
When Bar-Josef has a chance, she looks forward to performing in smaller chamber groups. "I always love playing chamber music," she says. "I enjoy the camaraderie and the intimacy of it—sitting in a group close together, having my sound blend with theirs and not having to worry about leading a section. I can be much more free in a chamber group."
A founding member of Kennedy Center Chamber Players, she performed with them for nine years. "It's basically a core group that started out as the principals of the National Symphony—Principal Viola Daniel Foster, Principal Cello David Hardy, and Principal Keyboard Lambert Orkis. We would ask other people from the orchestra, both titled and nontitled players, to join us for four chamber music concerts a year at the Kennedy Center Terrace Theater."
The other group she's been involved with for a long time, the Dryden String Quartet, came together less formally about 16 years ago. "When I first moved to DC, I didn't have any family here. I had to play over Thanksgiving so I was stuck in town," she recalls. "Daniel Foster asked me if I wanted to go to his family's house for Thanksgiving and he said, 'Bring your violin, we might do some sight reading.' He's cousins with [Time for Three] violinist Nicholas Kendall and [Philadelphia Orchestra Assistant Principal Cello] Yumi Kendall. It ended up being a pretty good group."
The group named itself after John Dryden Kendall, grandfather to Foster and the Kendalls, who brought the Suzuki method to the US. "The first concert we played was at an embassy event in honor of their grandfather," says Bar-Josef. "Unfortunately, everybody is just so busy in their own lives it's difficult to find time. We try to get together at least once a year, sometimes twice if we are lucky."
Every now and then Bar-Josef finds time to perform in other chamber groups. "I like to do outreach with different NSO players and Millennium Stage performances at the Kennedy Center, house concerts, or whatever pops up," she says.
She has performed at the Seattle Chamber Music Festival, Bay Chamber Festival, Aspen Music Festival, and festivals in Tanglewood, Portland (Maine), Kingston (Rhode Island), Steamboat Springs, Garth Newel, and Caramoor, where she performed piano quartets with André Previn at his Rising Stars Festival.
This season Bar-Josef looks forward to working with incoming NSO Music Director Gianandrea Noseda. "I am excited that we have so many great programs coming up with him," she says. In particular, she looks forward to playing Chausson's Poème in November. "It's just such an honor and a privilege. I've always wanted to perform that piece and what better opportunity than with the NSO and Noseda conducting."
Nurit Bar-Josef currently performs on the G.B. Guadagnini, 1773, the "ex-Grumiaux, ex-Silverstein" violin.
articlecover storydcfeatured articleinterviewlocal 161-710nuritnurit bar-josefon the coverorchestrasymphonywashington
Local 161-710: It's Not Just About the Funds, Create a Culture of Advocacy
Local 161-710 TEMPO Signature Members (L to R) Board Member Doug Rosenthal, Vice President Patty Hurd, Board Member Ann Ament, Secretary-Treasurer Marta Bradley, Leslie Silverfine, and President Ed Malaga.
In 2014, the AFM Office of Government Relations helped double the AFM TEMPO bottom line. Measures such as a new TEMPO compliance manual for locals and a TEMPO Signature Program yielded added income. Local 161-710 (Washington, DC) raised the most money in TEMPO contributions, and has the highest number of Signature members.
"The membership of Local 161-710 boasts so much intellect and activism, I believe the biggest source of success is the long-standing culture of advocacy and awareness here," says Douglas Rosenthal who is Local 161-710 TEMPO Coordinator, as well as a member of the local's executive board.
As TEMPO coordinator, he promotes TEMPO in his local and to fellow musicians at the Kennedy Center Opera House Orchestra, where he plays trombone. However, he says, "I'm not sure these things had much to do with our turnout. The members here are already so committed."
AFM members that he's come into contact with conclude that TEMPO is the best PAC to advocate on behalf of musicians. "The TEMPO program provides the opportunity for our elected representatives to hear directly from AFM musicians on issues important to them," says Local 161-710 President Edgardo Malaga. "It certainly is a goal of our local's administration to provide increased visibility for AFM issues on Capitol Hill. The support here for that effort is very broad-based, not only with orchestra musicians, but also club musicians in the area."
It doesn't seem surprising that the local closest to the nation's capital would be the most politically active, however, Rosenthal believes that the local's commitment to TEMPO is more a result of the musicians themselves. "Politics are certainly in the air here, but I'm not sure it's our proximity to the Federal government that gives us an edge; our membership is saturated with brilliant minds and effective advocates. Together, we would be equally successful anywhere else," he says.
Key to a successful campaign, according to Rosenthal, is to not just ask for annual donations, but for TEMPO coordinators to create a culture of political advocacy in their locals. "Make TEMPO part of a broader picture of advocacy and activism," he advises.
"Aside from TEMPO contributions, our local's members are proud to lend a presence to AFM efforts on Capitol Hill for things such as performance rights, NEA funding, the African ivory elephant issue, and musical instruments as carry-on baggage," says Malaga.
legislative updatelocal 161-710tempotempo coordinator


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Home Page Medicine Hiv HIV Virus Essay
HIV Virus Essay
University/College: University of California
The Invisible Tyrants A Brief History of the H.
I. V. VirusFebruary 27th, 1994Frank Manciniemail protected Supposedly 1. 6 million years have passed since the earliest human like ancestors.
250,000 years since the earliest Homo Sapiens and 1962 years since Jesus Christ was executed. Although not everyone agrees on whether the existence of Christ is true or not, that is what the standard calendar defining days and time is based upon and that is the way we deal economically and politically worldwide. Millions of years have passed, civilizations have appeared and disappeared, we have had harmonious as well as destructive societies and fought for the evil and the good. Dictators have come and gone and missions out of this world have been accomplished, from walks on the moon to the launch of dozens of satellites scattered throughout the universe.
We will write a custom essay on HIV Virus specifically for you
We call it progress, evolution, intellectual advancement. Although in some parts of the world we still have wars being fought and dictators in power, there are other societies which consider themselves at the peak of evolution and progress, these societies are part of the first world and western civilization. They are able to create state of the art automobiles, luxurious homes, efficient and organized industries, automated and complex computerized machinery and atomic weapons. Most of these humans are governed by a democratic system and a belief of freedom.
This first world like the third world is also populated by Dictators with the only difference that they are special, unseen a naked eyes, they are invisible and invincible. These invisible tyrants are called microorganisms. Underdeveloped countries as well as "developed" countries are at the mercy of the invisible tyrants which come in the form of: Viruses, Bacteria, Fungi and Parasites. The most dangerous of these is the Virus, some with limited powers such as the flu is able of enslaving humans to a week or two of soreness, stuffy nose and may lead up to minor bronchial complication. Then there is a more controlling, severe, non-discriminating, merciless tyrant with enormous corrupting influences infiltrate all of civilization rising mountains of sorrow and oceans of pain It's not just submicroscopic pathogens consisting of a particle of nucleic acid enclosed in proteins and able to replicate only within a living cell.
It's more complex and responsible for the enormous chaos and fear in the world today, bringing outward the basic faults of us humans, placing in the light our lack of awareness and abundance of ignorance. This complex and confusing Dictator, king of all tyrants is called Human, Immunodeficiency, Virus or H. I. V.
The H. I. V. it's not just a virus, it's a retrovirus and one of the few retroviruses found in humans. Retroviruses are commonly identified in many animal species but in Humans H. I.
V. or it's variants such as HTLV I, HTLV II, HTLV III are found. The only way this virus can be transmitted is through blood, semen and vaginal secretions. H.
I. V. is a retrovirus of the Lentivirus group and is the etiologic agent of Acquired Immune Deficiency Syndrome (AIDS). Briefly AIDS was first recognized as a disease syndrome in 1981 and HIV was identified as its cause in 1984. Coincidentally viruses isolated by a French researcher Dr.
Montgnier as (Lymphadenopathy-Associated Virus LAV) and by Dr. Gallo (HILV-III) and Levy (AIDS Related Retrovirus ARV) in the United States, they were all found to be identical and to be associated with AIDS. The virus is now known universally as HIV, its antibodies were found in serum drawn in parts of Africa in the early 1970 leading most investigators to believe that the disease originated in Africa and spread to the Caribbean and then to the United States, furthermore two strains of HIV have been identified, HIV-1 which is predominant isolate in clinical AIDS and found in central Africa and other regions in the world and HIV-2 which is generally limited to west and central Africa and has not demonstrated the virulence of HIV-1. In trying to assess its origin let's take a look at the following possibility. AIDS first appeared in Equatorial Africa, the earliest evidence of its presence on the African Continent dates from a plasma sample drawn in 1959 in what was then Leopoldville, the Belgian Congo and is now Kinshasa, Zaire. The timing seems .
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Topic: HIV Virus Essay
The Invisible Tyrants A Brief History of the H.I. V. VirusFebruary 27th, 1994Frank Manciniemail protected Supposedly 1. 6 million years have passed since the earliest human like ancestors. 250,000 years since the earliest Homo Sapiens and 1962 years since Jesus Christ was executed. Although not everyone agrees on whether the existence of Christ is true or


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Everything that Happens Will Happen Today
About Lyrics and Credits Press Related
Lyrics and Credits
Music Review: David Byrne and Brian Eno, Everything That Happens Will Happen Today
David Byrne & Brian Eno: Everything That Happens Will Happen Today
Eno, Byrne 'Happen' with bright sounds about dark times
By Greg Kot
The new album Everything That Happens Will Happen Today marks the first collaboration between David Byrne and Brian Eno in nearly three decades, and once again it brings out the best in both artists.
With Eno producing, Byrne's Talking Heads evolved from an edgy, somewhat brittle-sounding new wave band into a riotous funk-punk beast on three albums from 1978 to 1980, climaxing with the landmark "Remain in Light." During that time, Eno and Byrne also teamed up to create a futuristic collage, My Life in the Bush of Ghosts which anticipated the sample-based recordings of hip-hop.
Everything That Happens Will Happen Today is unlike any of those earlier projects. For one thing, it's distributed without the aid of a major record company. The album is available to be streamed for free or downloaded (320 kbps MP3s with no copying restrictions) for $8.99 from a Web site, everythingthathappens.com. A physical CD can also be ordered for $11.99 (or as a $69.99 "deluxe package") but won't be available for at least a few more weeks.
Musically, it departs from the more turbulent work Eno and Byrne have done previously. On the surface, it's an inviting, song-based collection of major-key melodies. But as usual with these two artists, there's more to it. This is a bright sounding album about dark times.
The two artists collaborated via e-mail, with Eno creating most of the music and Byrne supplying lyrics and vocals. A handful of musicians add instruments here and there, but the sound is unmistakably Eno-esque in the way it blends tones into an evocative wash of blurred aural colors. These atmospheric arrangements spur one of the strongest vocal performances of Byrne's career.
He and Eno have described the music as "electronic gospel." Byrne will never be mistaken for a gospel singer, but his adenoidal yelp has never sounded fuller, warmer, more confiding. He appropriates gospel's attitude as much as its technique, its unyielding optimism in the face of hard times, whether the environmental disaster of burning lakes and falling stars that consumes "My Big Nurse" or the soul-crushing oppression of "Poor Boy."
Eno's burbling soundscapes suggest the impending turmoil even as they fight against it; the brass section in "Life Is Long" sounds like a freedom-march fanfare from the civil rights era. And Byrne's vocals refuse to knuckle under, name-checking Sam Cooke's "A Change Is Gonna Come" for inspiration in "The River."
"Tigers walk behind me, they are to remind me that/I'm lost but I'm not afraid," Byrne sings.
In the end, music is a last refuge.
In the lovely, closing hymn "The Lighthouse," darkness is about to envelop everything. But a gentle chorus sings "the whole night through" until, finally, the moon appears.


text:
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN" "http://www.w3.org/TR/html4/loose.dtd">

<TITLE>
RemoteWebDriver.RemoteTargetLocator
</TITLE>

<META NAME="date" CONTENT="2010-04-22">

<LINK REL ="stylesheet" TYPE="text/css" HREF="../../../../stylesheet.css" TITLE="Style">

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org.openqa.selenium.remote

Class RemoteWebDriver.RemoteTargetLocator

java.lang.Object
  org.openqa.selenium.remote.RemoteWebDriver.RemoteTargetLocator

All Implemented Interfaces:
WebDriver.TargetLocator

Enclosing class:
RemoteWebDriver

protected class RemoteWebDriver.RemoteTargetLocator
extends java.lang.Object
implements WebDriver.TargetLocator

Constructor Summary

protected
RemoteWebDriver.RemoteTargetLocator()

Method Summary

 WebElement
activeElement()

          Switches to the element that currently has focus, or the body element if this cannot be
 detected.

 WebDriver
defaultContent()

          Selects either the first frame on the page, or the main document when a page contains
 iframes.

 WebDriver
frame(int frameIndex)

          Select a frame by its (zero-based) index.

 WebDriver
frame(java.lang.String frameName)

          Select a frame by its name or ID.

 WebDriver
window(java.lang.String windowName)

          Switch the focus of future commands for this driver to the window with the given name

Methods inherited from class java.lang.Object

clone, equals, finalize, getClass, hashCode, notify, notifyAll, toString, wait, wait, wait

Constructor Detail

RemoteWebDriver.RemoteTargetLocator

protected RemoteWebDriver.RemoteTargetLocator()

Method Detail

frame

public WebDriver frame(int frameIndex)

Description copied from interface: WebDriver.TargetLocator

Select a frame by its (zero-based) index. That is, if a page has
 three frames, the first frame would be at index "0", the second at
 index "1" and the third at index "2". Once the frame has been
 selected, all subsequent calls on the WebDriver interface are made to
 that frame.

Specified by:
frame in interface WebDriver.TargetLocator

Returns:
A driver focused on the given frame

frame

public WebDriver frame(java.lang.String frameName)

Description copied from interface: WebDriver.TargetLocator

Select a frame by its name or ID. To select sub-frames, simply separate the frame names/IDs
 by dots. As an example "main.child" will select the frame with the name "main" and then it's
 child "child". If a frame name is a number, then it will be treated as selecting a frame as
 if using.

Specified by:
frame in interface WebDriver.TargetLocator

Returns:
A driver focused on the given frame

window

public WebDriver window(java.lang.String windowName)

Description copied from interface: WebDriver.TargetLocator

Switch the focus of future commands for this driver to the window with the given name

Specified by:
window in interface WebDriver.TargetLocator

Returns:
A driver focused on the given window

defaultContent

public WebDriver defaultContent()

Description copied from interface: WebDriver.TargetLocator

Selects either the first frame on the page, or the main document when a page contains
 iframes.

Specified by:
defaultContent in interface WebDriver.TargetLocator

activeElement

public WebElement activeElement()

Description copied from interface: WebDriver.TargetLocator

Switches to the element that currently has focus, or the body element if this cannot be
 detected.

Specified by:
activeElement in interface WebDriver.TargetLocator

Returns:
The WebElement with focus, or the body element if no element with focus can be
     detected.

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redpajama_set_name: RedPajamaGithub


Contemporary Botanical image perfect for any seating area in your home or begin a collection of the series for a terrific eye stopping wall display. Bring Green in - with these magnificent colors! Measures 14" x14" on 14 or 18 mesh mono deluxe needlepoint canvas. We are partial to silk or merino wools for this piece, but will gladly select and add appropriate silk, wool or perle cotton threads to help complete. Available in alternate sizes. One of a series of ten. Please contact us if you would like us to add the fibers of your choice.


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Derek Landy (* 23. Oktober 1974 in Lusk) ist ein irischer Schriftsteller und Drehbuchautor.

Leben und Werk
Landy verfasste die Drehbücher zu der Thrillerkomödie Dead Bodies (2003) und dem Zombiefilm Boy Eats Girl (2005).

Von 2007 bis 2014 erschienen neun Bände seiner Jugendbuchreihe Skulduggery Pleasant, die alle in deutscher Übersetzung erschienen sind. 2008 wurde Landy mit dem Red House Children's Book Award ausgezeichnet, der zweite, fünfte und achte Band gewannen jeweils den Irish Book Award in der Kategorie "Irish Children's Book – senior" (Jugendbuch) in den Jahren 2009, 2010 und 2013. Darüber hinaus wurde der erste Band 2010 zum irischen Buch des Jahrzehnts gewählt.

2007 verkaufte Landy die Rechte zur Verfilmung der Bücher an Warner Bros. Einem Gerücht zufolge sollte bereits 2013 eine Verfilmung von Der Gentleman mit der Feuerhand entstehen. In seinem Blog erklärte Landy allerdings, dass er die Rechte zurückgezogen habe, da er mit dem Konzept des Drehbuches nicht einverstanden war.

Werke der Serie Skulduggery Pleasant

Bisher sind folgende Bände der Buchreihe Skulduggery Pleasant erschienen,
bis Band 11 alle übersetzt von Ursula Höfker:

 Band 1: Skulduggery Pleasant, HarperCollins Children's Books 2007, ISBN 0-00-724163-1, auch als  "Scepter of the Ancients", Harper Trophy 2008, ISBN 978-0-06-173155-6
 Der Gentleman mit der Feuerhand, Loewe 2007, ISBN 978-3-7855-5922-2
 Band 2: Playing with Fire, HarperCollins Children's Books 2008, ISBN 978-0-00-725703-4
 Das Groteskerium kehrt zurück, Loewe 2008, ISBN 978-3-7855-6001-3
 Band 3: The Faceless Ones, HarperCollins Children's Books 2009, ISBN 978-0-00-730215-4
 Die Diablerie bittet zum Sterben, Loewe 2009, ISBN 978-3-7855-6001-3
 Band 4: Dark Days, HarperCollins Children's Books 2010, ISBN 978-0-00-732594-8
 Sabotage im Sanktuarium, Loewe 2010, ISBN 978-3-7855-7077-7
 Band 5: Mortal Coil, HarperCollins Children's Books 2010, ISBN 978-0-00-732598-6
 Rebellion der Restanten, Loewe 2011, ISBN 978-3-7855-7130-9
 Band 6: Death Bringer, HarperCollins Children's Books 2011, ISBN 978-0-00-732602-0
 Passage der Totenbeschwörer, Loewe 2012, ISBN 978-3-7855-7131-6
 Band 7: Kingdom of the Wicked, HarperCollins Children's Books 2012, ISBN 978-0-00-748022-7
 Duell der Dimensionen, Loewe 2013, ISBN 978-3-7855-7452-2
 Band 8: Last Stand of Dead Men, HarperCollins Children's Books 2013, ISBN 978-0-00-748920-6
 Die Rückkehr der Toten Männer, Loewe 2014, ISBN 978-3-7855-8286-2
 Band 8,5 Armageddon Outta Here, HarperCollins Children's Books 2014, ISBN 978-0-00-755953-4 (Kurzgeschichtensammlung)
 Apokalypse, wow!, Loewe 2015, ISBN 978-3-7855-8141-4
 Band 9: The Dying of the Light, HarperCollins Children's Books 2014, ISBN 978-0-00-748925-1
 Das Sterben des Lichts, Loewe 2015, ISBN 978-3-7855-7611-3
 Band 10: Resurrection, HarperCollins Children's Books 2017, ISBN 978-0-00-816902-2
 Auferstehung, Loewe 2017, ISBN 978-3-7855-8887-1
 Band 11: Midnight, HarperCollins Children's Books 2018, ISBN 978-0-00-828456-5
 Mitternacht, Loewe 2018, ISBN 978-3-7855-8982-3
 Band 12: Bedlam, HarperCollins Children's Books 2019, ISBN 978-0-00-829366-6
 Wahnsinn, Loewe 2019, Übersetzer Franca Fritz und Heinrich Koop, ISBN 978-3-7855-8983-0
 Band 13: Seasons of War, HarperCollins Children's Books 2020, ISBN 978-0-00-838617-7
 Untotenland, Loewe 2020, Übersetzer Franca Fritz und Heinrich Koop, ISBN 978-3-7432-0833-9
 Band 14: Dead or Alive, HarperCollins Children's Books 2021, ISBN 978-0-00-838629-0
 Tot oder Lebendig, Loewe 2021, Übersetzer Franca Fritz und Heinrich Koop, ISBN 978-3-7432-0944-2
 Band 15: Until the End, HarperCollins Children's Books 2022, ISBN 978-0-00-838635-1
 Bis zum Ende, Loewe 2022, Übersetzer Franca Fritz und Heinrich Koop, ISBN 978-3-7432-0945-9

Darüber hinaus erschienen 2012 zum Welttag des Buches die Bonusgeschichte The End of the World und 2013 ein Zusatzband, welcher ebenfalls in der Welt von Skulduggery Pleasant spielt:
 The Maleficent Seven, HarperCollins Children's Books 2013, ISBN 978-0-00-750092-5
 Tanith Low – Die ruchlosen Sieben, Loewe 2015, Übersetzerin Ursula Höfker, ISBN 978-3-7855-8286-2

Werke der Serie Demon Road

2015 startete Landy eine weitere Jugendbuchserie, welche als Trilogie angekündigt wurde. Alle übersetzt von Ursula Höfker.

 Band 1: Demon Road, HarperCollins Children's Books 2015, ISBN 978-0-00-816050-0
 Hölle und Highway, Loewe 2016, ISBN 978-3-7855-8508-5
 Band 2: Desolation, HarperCollins Children's Books 2016, ISBN 978-0-00-815697-8
 Höllennacht in Desolation Hill, Loewe 2017, ISBN 978-3-7855-8509-2
 Band 3: American Monsters, HarperCollins Children's Books 2016, ISBN 978-0-00-815710-4
 Finale Infernale, Loewe 2018, ISBN 978-3-7855-8510-8

Weblinks

 Derek Landy in der Science Fiction Awards+ Database (englisch)

 Deutsche Webpräsenz der Buchreihe Skulduggery Pleasant

Einzelnachweise

Autor
Drehbuchautor
Literatur (21. Jahrhundert)
Literatur (Englisch)
Literatur (Irland)
Fantasyliteratur
Kinder- und Jugendliteratur
Roman, Epik
Kurzgeschichte
Schriftsteller (Dublin)
Brite
Ire
Geboren 1974
Mann

redpajama_set_name: RedPajamaWikipedia


BURLINGTON, Ont. -- Police say a man from Burlington, Ont., is facing two charges after allegedly making a false 911 call.
Halton Regional Police say they received a call Tuesday evening that a woman had been shot at a home on Walkers Line.
They say officers and paramedics responded, but found the report to be false.
A 27-year-old man was arrested at the scene and charged with public mischief and conveying a false message.
Police allege the man made the 911 call in order to speed up the response to his report earlier in the day of a missing cellphone.
Halton Regional Police respond to a home in Burlington after a man allegedly made a fake 911 call about a shooting.


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