text:
Atul Desai
Posted by Sruti Magazine at Wednesday, January 31, 2018 0 comments
Mohan Maharishi
Posted by Sruti Magazine at Tuesday, January 30, 2018 0 comments
Gajananrao Joshi
Gajananrao became a highly skilled violin player by the time he turned 20 and, by virtue of accompanying stalwarts from different gharana-s, he developed a natural instinct of absorbing the best from everyone. This broadminded attitude made him a scholar of music. With tireless perseverance, he also overcame the handicap with his throat and took lessons from great masters like Ustad Vilayat Hussain Khan of the Agra gharana, Ramkrishnabua Vaze of the Gwalior school and Bhurji Khan of the Jaipur-Atrauli gharana. Gajananrao was initiated in the gayaki of Gwalior gharana by his father but his quest for more took him to other musicians and he assimilated other styles in his music. He also learnt table under the guidance of Pandit Vinayakrao Ghangrekar. His parallel career was the result of a lifelong association with violin-playing and singing.
To read full story, visit sruti.com and buy Sruti 317
Labels: Meena Banerjee
V. V. Sadagopan
Posted by Sruti Magazine at Monday, January 29, 2018 0 comments
Inderlal Dhandra
Padma Talwalkar
Posted by Sruti Magazine at Sunday, January 28, 2018 0 comments
Jasraj
T. K. Govinda Rao
Krishnarao Phulambrikar
Posted by Sruti Magazine at Saturday, January 20, 2018 0 comments
Valayapatti Subramaniam
Posted by Sruti Magazine at Friday, January 19, 2018 0 comments
Labels: Manna Srinivasan
Bahadur Khan
Bahadur Khan (1931-1989) was an outstanding, though inadequately recognised, sarodist, trained by his uncle, the legendary Ustad Alauddin Khan (Baba). By kinship and tutelage, Bahadur Khan was a product of the Maihar-Senia lineage, a trailblazer in modern Hindustani instrumental music. Interest in his musicianship has received a fillip in recent years, because of his disciple Tejendra Majumdar's emergence as a frontranking sarod player.
Bahadur Khan was the son of Ayet Ali Khan, younger brother of Allauddin Khan. Ayet Ali was an exponent of the surbahar (a large-sized bass sitar). A man of withdrawn nature, he eschewed a performing career and devoted his life to teaching and the manufacture of instruments. Baba and Ayet Ali Khan had another brother, Fakir Aftabuddin, who was an accomplished musician but became a religious preacher. Something of a family pattern emerges here: the men had high accomplishments in music, brought up families, but adopted ascetic, non-conformist, or reclusive lifestyles.
Labels: Deepak S. Raja
Sawai Gandharva
To read full story, visit sruti.com and buy Sruti 68
Posted by Sruti Magazine at Thursday, January 18, 2018 0 comments
Heisnam Kanhailal
Ashutosh Bhattacharya
A Different Kind of Festival
By Saindhavi Venugopal
Dolls was the title of a series of six monologues by six women presented by Crea Shakthi on 29th September at Wandering Artist, an increasingly popular creative space in Chennai. The programme was directed by young theatreperson Dushyanth Gunashekar, and hosted in association with Sakthi Finance, as a part of their Navaratri Festival, 'Celebrating Shakthi'. These six monologues were on varied themes, each powerfully reflecting aspects of woman's place in the world today.
Six dolls were innocuously arranged in the middle of the stage, and as each doll was selected by a member of the audience, its owner would then present a monologue. Each doll's significance to its respective monologue shone through, whether visibly or subliminally.
The first monologue, presented by Kirthi Jayakumar, drew parallels to the story of rape victim Jyoti Singh, or 'India's daughter'. She unreservedly brought out the skewed, perverse ideals of a nation that teaches its women to overcompensate under the guise of 'safety' instead of tackling the actual predicament. The delivery of the monologue as poetry, interspersed with lines from the song 'Yeh Moh Moh Ke Dhaage' was an intriguing variant from the other, descriptive and narrative, monologues.
Manasvini Ramachandran presented the second monologue, enthralling the audience with a lucid, vivid picture of a millennial woman on a journey to reclaim her roots. From experiencing the restoration of a neglected family temple as a child, to teaching the children in her native village as a grown woman, she seamlessly illustrated her bond with the quaint community strengthening over time. She portrayed a strong, independent urban woman unapologetically claiming her roots with pride while maintaining her progressive outlook on life.
Janaki Sabesh, through her piece, related her aunt's indefatigable ways of living up to the determination and incessant efforts of one of India's legends, Sachin Tendulkar. Depicting the similarities in both these individuals, as well as her aunt's love and admiration for Sachin and his numerous achievements, she described their eventual meeting and its resultant significance to her. She brought out her aunt's obstinate yet endearing character through light, comedic, one - sided banter and rib - tickling reactions.
The fourth monologue took the engaging shape of a TED talk, its guest, Kadambari Narendran, speaking about her tribulations as a working woman in a modern Indian society. Through droll snippets of conversation with a potential mother-in-law, she brought out the provincial, conservative mindset that still exists with regard to modern, working women in our country. Her sardonic reactions to society's narrow minded notions surrounding women gave the entire monologue an entertainingly satirical edge.
The theme of appearance versus reality took form in Namita Krishnamurthy's monologue, where she spoke about struggling with the acceptance of one's natural self and the staggering amount of pressure imposed upon women to live up to conventional beauty standards in today's world. Recounting a lamentable event from her childhood, she reminisced about grappling with numerous insecurities that nearly every young girl transitioning into womanhood can relate to.
The final monologue presented by Zarin Shihab essayed a tale of relocation. Though comedic at first, bringing out the horror of her mother, whose daughter was quite taken with the 'American Dream', it soon morphed into something akin to a nightmare once reality struck,. She painted a poignant picture of a mother struggling to hold on to what shreds of her culture and integrity she had left as everything she had once known, changed.
The performances were augmented by the aesthetically compact hall which brought an air of intimacy to the entire ensemble, apt, considering the personal nature of these monologues. Being in such close quarters with each artist served to allow the audience to effortlessly fall into each recounted experience as if it were their own.
Though each monologue had its distinct charm, the use of dolls as a connecting device led the audience to wonder if it meant to hint at the prevailing dogma of women as mere articles of beauty and docility, even in a society that considers itself progressive. The captivating stories of each of these women bravely contradicted this parochial mindset and made this riveting presentation one that left an evocative impact on each and every member of the audience, in one way or another.
Labels: Saindhavi Venugopal
Ramashish Pathak
Thakur Jaidev Singh
Music to Jaideva Singh was a passion, no doubt, but never his profession or main occupation. He was essentially an academic with philosophy as the subject of his specialisation, but with varied interests. Paradoxically, though a distinguished scholar, he neither obtained any research degree, nor did he ever adorn the faculty of any university. He remained a college teacher, all through, first at the D.A.V. College, Kanpur and then as the founder-principal of a degree college at Lakhimpur, U.P. Late in life, his scholarship was duly recognised and three universities including the Banaras Hindu University conferred on him the honorary degree of D. Litt. As an executive of All India Radio he was mainly an administrator or supervisor framing policies and ensuring their effective execution. He was neither a platform performer nor, to the best of my knowledge, did he ever claim to be a composer. As such Jaideva's real eminence lay in the domain of musicology, which he enriched and interpreted, often, through his captivating discourses and through his scattered writingsbooks, articles and broadcast scripts.
Jaideva received his initial training in classical vocal music while pursuing his academic studies at Varanasi. The musical atmosphere of this holy city provided a added impetus to the boy in the pursuit of his hobby.
To read full story, visit sruti.com and buy Sruti 111,112
Nādasangamam
Narada Gana Sabha Trust (Phone No. 2499 3201)
9th-11th February At Thennangur
About the residential camp for young musicians…
Nadasangamam as the name implies is an effort to instill in young artists the rich musical tradition of South India. It is not just about singing or performing well. It is an ethos wherein the student learns about yoga, breathing exercises, voice training, manodharma in music, the richness of our compositions, other allied arts like harikatha and bhajana sampradaya.
A two day workshop for young aspiring musicians between 9th-11th February February will be conducted at the Temple Complex of Dakshina Halasyam at Thennangur about 110 km away from Chennai.
Dr. R. S. Jayalakshmi will be the Convener of the camp. Dr. Sumathi Krishnan will co ordinate the event. Eminent musicians, scholars and experts in the field including Sangita Kalanidhi Smt. R. Vedavalli, Smt. Seetha Narayanan, Sri Delhi P. Sunderrajan, Sri Mannarkoil Balaji and Smt. Sankari Krishnan will be the resource persons this year. There will be teaching/learning sessions, talks, interactive sessions and opportunity for creative development.
Participants will learn in a serene environment in close proximity with the gurus and will also get an opportunity to express their musical talent.
Departure for Thennangur will be in the afternoon from Narada Gana Sabha on 9th February and return will be late evening on 11th February. A bus will be arranged and the fare of Rs. 500 for transportation should be borne by the participants.
Application forms will be available at the Naradagana Sabha Office (Ph.No: 24993201). Applicants should register their names and submit completed application forms at Narada Gana Sabha between 10 and 6 p.m. on or before 30th January 2018. Participants should be between 15 and 35 years. They should have reasonable ability in manodharama (raga alapana, niraval and kalpanasvaram) and a passion for the art.
The music camp is designed to stimulate interest and inspire the creative element latent in the participants. Since the number of participants is restricted please register on or before the specified date. A panel will select the participants and their names will be put up at the Narada Gana Sabha foyer on the 5th of February, 2018.
K. Harishankar
Sadanam Balakrishnan
My first interaction with Kathakali exponent Guru Sadanam P.V. Balakrishnan was during the middle of the 1980s. I was the Secretary of the Kathakali club in Kannur, now defunct like several other Kathakali clubs of those times. The Club annually presented at least one performance of Sadanam Balakrishnan. He was then the chief of the International Centre for Kathakali in Delhi, so we invited him to Kerala during the summer vacation months. His performances attracted a good crowd of Kathakali enthusiasts from far and near. He was not a 'star' yet, but Kathakali aficionados loved him.
His performances, like those of his mentor Keezhpadam Kumaran Nair, were extremely neat. He imparted dignity to both the character and the play, even if the character he was playing was 'rajasic' or wicked. He respected his co-actors and accompanying musicians, and gave them their space. His portrayals were a real feast for head and heart alike. His performances were for learned audiences.
Last year, sitting in the campus of Kalakshetra in Chennai, I asked Sadanam Balakrishnan a question my mother often asked me some 25 years ago: "Why did he move to Delhi? Would he not miss his space in Kerala and the art a talented actor?"
Sadanam replied: "Indeed, I missed Kerala and the performance space at a crucial stage of my career. Once I did express to my asan my intention of going back to Kerala. He gave me good counsel saying that the Kathakali scenario of Kerala was not so good at that time for a person of my nature. I listened to his advice as my guru's blessings are always my strength."
Chennai Fine Arts Annual Music Festival
Chennai Fine Arts presented the Gotuvadyam Narayana Iyengar Award for excellence and the title Digvijaya Nada Vani for 2017 to violin maestro V.V. Subramanyam, and a Lifetime Achievement Award to R. Chakrapani, Secretary-SICA, Hyderabad. T.S. Krisgnamurthy (former Chief Election Commissioner of India) presented the awards in the presence of Vidwan G.S. Mani and P.N. Muralidharan (Chennai Fine Arts). Prizes were also distributed to the winners of the mangala isai music competition.
Letter from a `Budding Rasika` to Sruti magazine
The 400th issue of Sruti magazine which I read in two sittings is truly a collector`s item. I am a recent entrant to the world of Carnatic music and a reader of Sruti magazine only for the last two years. Though I found every article written by veterans in their respective field interesting and informative, I could particularly relate to the article by Jaya Akknapragada titled `Joy in the morning` where she talks about how accidentally she got hooked to Carnatic music and how she is thoroughly enjoying the experience now. I would like to share my own experience with Carnatic music.
I have been a resident of Chennai for the last 44 years, the citadel of performing arts. However the Carnatic music bug never caught me in spite of the best efforts of my good friend R.T.Chari of the Tag fame . In the mid eightees he used to conduct `Chamber music` in his flat and invite a few friends including people like me to share the joy of listening to Carnatic music, which he discovered late in life. Since my late wife was fond of Carnatic music, I used to accompany her to a few Concerts. I would become fidgety after an hour into the concert. I was guilty of not allowing her to listen to the full concerts at Hamsadhwani, where I had become a member for my wife`s sake. However, after she passed away 5 years ago, in celebration of her memory I started attending a few concerts and willed myself to stay till the end. I also started listening to Carnatic music at home at least for an hour every day by visiting the `You Tube` - a treasure house of all kinds of music. At a click of a button I am able to access the recording of a singer of my choice. Though I still cannot recognize the ragas, I am not only enjoying the music but also find it very relaxing. Apart from listening to stalwarts I find the enormous talent being displayed by the younger & upcoming singers amazing. I am now truly hooked to Carnatic music so much so that any other light music does not interest me anymore. And Sruti has only helped me to increase my appetite for Carnatic music.
I find the magazine very interesting, even to a lay Rasika like me. I am glad that I subscribed to it two years ago because it has been helping me improve my knowledge base on music and also about people who are contributing to its popularity. I eagerly look forward to receiving my copy of the magazine every month . I must congratulate the entire team behind the magazine for bringing out an excellent magazine devoted to Performing Arts. I wish them all the best in their future efforts.
Though I have started late, I am happy that at least after 70 I have come under the spell of Carnatic Music and my life has become that much more interesting. As they say `It is better late than never`.
Ulhas Kashalkar
Sankara Iyer
R K Srikantan
Shiv Kumar Sharma
Shyamanand Jalan
Isai Chudaroli to Prof S. Rajeswari
Prof S. Rajeswari, retired Principal of the Tamil Nadu Government Music College, was honoured by Sahana Fine Arts in Mogappair. The title of Isai Chudaroli was conferred on the Carnatic musician by the chief guests Natya Kalanidhis Shanta and V.P. Dhananjayan on 7 January 2018. The Dhananjayans paid rich tribute to the awardee and described her as an all-rounder--a concert singer, excellent teacher, musicologist, and composer who has the special qualification of singing with aplomb and conducting a Bharatanatyam performance. They also recalled how connoisseurs would throng to watch Kamala--the doyen of Bharatanatyam-- and listen to S. Rajeswari 's excellent vocal accompaniment.
A good crowd attended the event and the Carnatic vocal concert of vidushi S. Rajeswari who was accompanied on the violin by Usha Rajgopalan and on the Mridangam by Tanjavur Subramaniam. This is the ninth year that Sahana Fine Arts is conducting a music and dance festival, and next year being the tenth, the convenor Arun Karthik (a violinist) announced that a ten-day art festival would be held to mark the occasion, which was welcomed with applause by the audience.
Amir Khan and the South II
By Thomas W. Ross
Grape, banana, and coconut
Because the goddess Saraswatī holds both the book and the vīṇā, we are encouraged to summon both mind and heart in the pursuit of any learning.
This apparent contradiction has guises such as left brain/right brain, Apollo/Dionysus, and many more. It's handy for sketches of the familiar: Herbie Hancock/Wynton Kelly, Béla Bartók/Aaron Copland, or Steely Dan/Justin Bieber.
But Indians seem to acknowledge a middle ground between these extremes: the triumvirate of South Indian composers, Tyāgarāja (1767–1847), Śyāma Śāstri (1762–1827), and Muttusvāmi Dīkṣitar (1775–1835), are likened to the grape, banana, and coconut. The first you pop in your mouth immediately. The second has to be peeled. And the third has a shell protecting its alabaster treasure.
The three are vaggeyakaras, ill-translated as composers: the term implies an equal mastery of book and vīṇā, of words and music. Dīkṣitar, for one, came from an illustrious line of musician-scholars whose formidable pieces betray a poet's knowledge of Sanskrit.
Viswa told me that he first learned Dīkṣitar's highbrow, gnarly, big-design coconut pieces, to the neglect of the other two composer-saints. Such august fare earned his early performances the gossip of being one-sided, so he added Tyāgarāja (the ultimate bhakti popularizer) and Śyāma Śāstri (a middle-ground) pieces as an appeasement. Same with swara kalpana, improvised solfege: they joined his concerts as a nod to mainstream Karnatak orthodoxy.
Dīkṣitar's semi-legendary life has striking parallels to the eclectic and sombre Amir Khan's. The vīṇā-playing devotee of Siva visited tirthsthans (pilgrimage sites) all over India, including a stint in Banaras. His interaction with the glacial-tempoed dhrupad singers and bīnkars of that music-drenched town (when indeed the Hindustani and the Karnatak weren't so far apart as today) seem to me likely to have had a profound effect on his compositions.
The Word and the Lute, the Sword and the Flute. Amir Khan was an alert and thoughtful gatherer of influences that he came to call the Indore gharānā or school. A common cultural memory of Mughal/Rajput, worldly and ascetic, resonated between the disparate worlds of a Muslim animus in the North and a Hindu anima of the South. Khansahab admittedly could be downright ponderous in the slowest of his Jhumra (14-beat) renditions. I'm not the first to nod off with him occasionally. But his rāgas were leavened later in a performance by astonishing flights of tān melismas, even while retaining their bhava or particular flavor.
The Balasaraswati family style also championed the leisurely and architectonic together with the sensual and the pyrotechnic, both by their renderings of the Dīkṣitar repertoire and in the sultry seriousness of the padams with which Bala ended her concerts. This musician's musician's milieu was Amir Khan's during his visits, where the admiration went both ways. It's a good guess that the impossibly slow tempi of his opening khayāls were encouraged, if not by direct influence, by a common taste for gravity.
In the Balasaraswati style, here's Muktamma's version of Dīkṣitar's devastatingly gorgeous Vina pustaka dharini (we were taught it in Jhampa tāla, a slow 10 beats, 7 + 3). Like Ahīr Bhairav in the North, the rāga Vegavahini (also called Chakravakam) is 1 b 2 3 4 5 6 b 7.
https://www.youtube.com/watch?v=em40V5nXeZE
Borrowed and stolen
Amateurs borrow, professionals steal. (Variously attributed)
Two Dīkṣitar pieces have recently been given amateur or professional treatments by the North, I'm thinking: Vatapi Ganapatim and Anandamritavarshini. From the latter, I hope to shed light on a mystery rāga by Amir Khan, sometimes called Amirkhani.
I was taught Vatapi, the closest to a potboiler that Dīkṣitar ever wrote, by S. Ramanathan at Wesleyan in 1963. The kṛiti, in the sunny rāga Hamsadhvani, is the icing on a serious composerly cake, albeit well-wrought:
https://www.youtube.com/watch?v=ud-QqxtbixY
Later I learned its Northern offshoot in the same rāga, starting with the words Lagi lagana. The little khayāl appropriates, as it were, the first two lines of a famous poem (and no more) without acknowledging it's by someone called Robert Frost. This in turn has recently spawned its own grotesquerie in an army of high school-level sitārists fronted by dark-skinned ringers from the South:
https://www.youtube.com/watch?v=IBtK2HeDnt0.
Amir Khan's quick khayāls in Hamsadhvani retain some of the rāga's lightheartedness. Its smile is wider than a major scale. In this rendition, he keeps Lagi lagana's basic melody but abandons the brief Brjbhasha text, transforming Dīkṣitar's saṅgati variations into a brisk drum-syllable tarānā:
https://www.youtube.com/watch?v=YpH5FBsHIS8
But what of this mystery rāga? One of the last recordings Khansahab made, at a Calcutta gathering, featured an unknown rāga that he treated with his characteristic introspection. It combines the optimism of the kalyan family with a lowered 7th degree: 1 3 #4 5 b 7. Any effort so far to parse it points South, either as an arcane offshoot of the Vachaspati family or, I'm guessing, as an ingenious twist on the rāga to Dīkṣitar's most famous and accessible tune, Anandamritavarshini. It differs from the mystery rāga only in its 7th degree, and given the preference in Bala's household for Dīkṣitar's music, I think Khansahab lowered the 7th degree of Amritavarshini for what's now called Amirkhani:
https://www.youtube.com/watch?v=4ODEI8rs12w.
Although we must be thankful for all of Khansahab's contributions, this last caps a career which included an openness to anything musical transpiring in the Madras home of his hosts, the Balasaraswati family.
Priyamvada Sankar
Herambanathan
Leela Venkataraman
Shanta Serbjeet Singh
K. J. Yesudas
Palghat Raghu
Darshana Jhaveri
Chennai Fine Arts Award
Kelucharan Mohapatra
Ajoy Chakrabarty
G. N. Balasubramaniam
Radha Mami
Balakrushna Dash
S.N. Ratanjankar
T Chowdiah


text:
KNUST Registrar
KNUST Registrar...
The Registrar's Offices is headed by the Registrar , who is the University's Chief Administrative Officer and Secretary to the Council of the University. The Registrar's Offices is responsible, under the Vice-Chancellor, for the day-to -day administration and management of the University. To achieve this, the Registrar works in concert with and collaborates with other Offices of the University's Central Administration and Services.
The Registrar is also assisted by a crop of Administrators and Professionals made up of Deputy Registrars, Senior Assistant Registrars and Assistant Registrars who handle the variousDepartmentsof the Office and service Committees and Boards of the University.
The Registrar's Offices is currently made up of five (5) main Divisions and five Sub-Divisions. The Divisions are headed by Deputy Registrars while the Sub-Divisions are headed by Senior Assistant Registrars and/or Assistant Registrars.
The Divisions are:
Academic & Student Affairs
Legal & Welfare
University Relations Office
The Sub-Divisions are:
Legal Services Unit
University Alumni Centre
University Guidance and Counselling Unit
Contact School of Public Health KNUST
University of Ghana UG Registrar
University for Development Studies UDS contact
University for Development Studies UDS address
PUCG Appointment Of Public Relations Officer
University for Development Studies UDS academic calendar
Admission requirements for University College of Management Studies
Admission requirements for University College of Management Studies are as follows; We enroll students
Contact Cape Coast University School Of Distance Learning
Contact Cape Coast University School Of Distance Learning Contact UCC All enquiries should be

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: How to plot a series of ggplots inside the loop I have a data set with the following columns: "Site" (15 locations), "Real_date" (date of sampling) and "SL_mm" (size of objects)
I want to make a graph with geom_boxplot for each site. And each site will have a boxplot for each date (dates are different for each sites)
num = unique(sub2008$Site)
library(ggplot2)
ls=list()
for (i in 1:length(num)){
  df = subset(sub2008, sub2008$Site == num[i])
  ggplot(df) + geom_boxplot(aes(factor(real_date), SL_mm)) +
    theme_classic() +
    labs(title = paste0(num[i], ' 2008'))
}

But no graph is plotted. I probably missed something. It works for plot() function when I use par()but not sure what to do with ggplot then (I know about multiplot function but no idea how to incorporate it into the loop)

A: sub2008 <- data.frame(
  Site = c("a","a","a","b","b","c","c","c","c"),
  real_date = c(1,2,3,4,5,6,7,8,9),
  SL_sm = c(4,2,4,1,2,4,7,4,10)
)

num = unique(sub2008$Site)
ls=list()
for (i in 1:length(num)){
  df = subset(sub2008, sub2008$Site == num[i])
  plot <- ggplot(df) + geom_boxplot(aes(factor(real_date), SL_sm)) +
    theme_classic() +
    labs(title = paste0(num[i], ' 2008'))
  print(plot)
}

Within the loop, the plots will not print automatically.  You have to explicitly use the print method.
Also, the variable in your code is "SL_sm" though in your question, you referred to it as "SL_mm", so double check that you are referring to it consistently.
As suggested by the commenter, this is a good use case for faceting:
sub2008 <- data.frame(
  Site = c("a","a","a","b","b","c","c","c","c"),
  real_date = c(1,2,3,4,5,6,7,8,9),
  SL_sm = c(4,2,4,1,2,4,7,4,10)
)
plot1 <- ggplot(sub2008) + geom_boxplot(aes(factor(real_date), SL_sm)) +
  theme_classic() +
  labs(title = paste0(num[i], ' 2008')) +
  facet_grid(Site~.)
print(plot1)
plot2 <- ggplot(sub2008) + geom_boxplot(aes(factor(real_date), SL_sm)) +
  theme_classic() +
  labs(title = paste0(num[i], ' 2008')) +
  facet_grid(.~Site)
print(plot2)

redpajama_set_name: RedPajamaStackExchange


Here is a question that we have received quite a bit recently... what do I do with old fire extinguishers so that I can dispose of them properly?
Fire extinguishers are dated with an expiration date about 10 years after you buy them and, as a result, many of us have 1 or 2 of these old fire extinguishers sitting around the house. Unfortunately, disposing of them is not as easy as tossing them in the trash. You must first discharge them! Here are our recommendations.
#1. Go to a unused, or "scrappy", area of your yard and discharge the fire extinguisher as you would normally. Fire extinguishers are filled with sodium bicarbonate, which is the whitish material that blankets the would-be fire. This foamy material will vanish in time, so if you spray it over an area of your property that is out of sight, it should not cause any harm.
#2. If you prefer to avoid the mess of discharging a fire extinguisher, then option #2 is to flip the fire extinguisher upside down when dispensing. With this method, you will remove the pressure without discharging the sodium bicarbonate.
Once you remove the pressure from the unit completely, you may put the fire extinguisher out for the trash pick-up safely!
Hope this info helps! Thanks for reading everyone.


Bilingualism: Language and Cognition's 2013 Special Issue features computational modeling studies of bilingualism and second language acquisition. Seven research papers illustrate seven different but highly related computational models designed to understand the workings of the bilingual mind from a cognitive science perspective. This Special Issue fills a large gap in the literature, in that the specific, algorithmically implemented, models of bilingualism provide a good variety of computational architectures, cover a range of theoretical issues, and analyze both spoken and written languages across different bilingual populations. Moreover, they integrate theories and mechanisms of learning, representation, and development in order to account for a variety of phenomena, in bilingual aphasia, lexical memory, word translation, grammatical acquisition, speech perception, and reading development.
Readers of this Special Issue will be convinced that computational models have much to offer to the understanding of the bilingual mind, over and beyond what general verbal, hypothesis-driven, models can do. Implementation of computational models forces the researcher to be very explicit about their hypotheses, predictions, materials, and testing procedures, and at the same time, gives the flexibility of parameter selection and reliability of testing that are often not found in empirical studies. Indeed, the potential of a bilingual computational model lies in its ability to identify gaps in experimental designs, and in systematic manipulation of variables such as age of acquisition (early vs. late), proficiency (high vs. low), and memory resources (large vs. small), variables that may be naturally confounded in experimental or realistic learning situations.
The seven models presented in this Special Issue demonstrate the advantages and the need for developing more computational models of bilingualism, as they deepen our understanding of the complex interactive mechanisms involved in the acquisition and processing of multiple competing linguistic systems. For example, the effects of dynamic interactions in the competing languages at different times of learning can be clearly simulated, providing alternative accounts of the critical period effects from the perspectives of competition, entrenchment, and plasticity. These models examine the extent to which early learning impacts later learning and the extent later learning can soften or even reverse early-learned structures. In addition to simulating known patterns in the empirical data, the computational models presented here will also inform theories of bilingualism by making distinct predictions under different hypotheses or conditions. In so doing, they will provide a new forum for generating novel ideas, inspiring new experiments, and helping formulate new theories.


text:
Q: Performing multiple API calls before dispatching an Action an NgRx Effect I'm using NgRx @Effect and for some effect I need to perform 2 API calls: the result of the first one is used in the second one and the I want to dispatch an Action with the 2nd API call as payload this way :
@Effect()
FetchDetails() {
  return this.actions.pipe(
    ofType(actions.SOME_ACTION),
    switchMap((action: SomeAction) => this.myService.getContext()),
    switchMap((ctx: Context) => this.myService.fetchDetails(action.id, ctx.requesterType)
      .pipe(
        map((response: Details) => new SetDetails(response)),
        catchError(err => {return of(new SetFetchDetailsError(err))})
      )
  )
}

Using a double switchMap like this I can't access action.id so I think my operators orchestration is not correct !

A: Just do this in pipe inside:
@Effect()
FetchDetails() {
  return this.actions.pipe(
    ofType(actions.SOME_ACTION),
    switchMap((action: SomeAction) => this.myService.getContext().pipe(
      switchMap((ctx: Context) => this.myService.fetchDetails(action.id, ctx.requesterType)
    ))
      .pipe(
        map((response: Details) => new SetDetails(response)),
        catchError(err => {return of(new SetFetchDetailsError(err))})
      )
  )
}

A: Maybe you need a new function, which will call getContext(), but will return what you need. Something like :
getContextAction(action: SomeAction): Observable<any> {
  return this.getContext().pipe(
    map(ctx => { action, ctx });
}

Then
@Effect()
FetchDetails() {
return this.actions.pipe(
  // ...
  switchMap((action: SomeAction) => this.myService.getContextAction(action)),
  switchMap((value) => this.myService.fetchDetails(value.action.id, value.ctx.requesterType)
  // ...
}

You can also edit you current function getContext() in order to return the given action.

A: Here is the solution that I found using concatMap operator :
@Effect()
    FetchApiDetails() {
        return this.actions.pipe(
            ofType(apis.FETCH_SELECTED_API_DETAILS),
            concatMap((action: FetchSelectedApiDetails) =>
                this.contextInit.getContext()
                    .pipe(
                        switchMap((ctx: Context) => this.apisManagementService.fetchApiDetails(action.apiId, ctx.requesterType)
                            .pipe(
                                map((response: ApiDetails) => new SetApiDetails(response)),
                                catchError(err => {
                                    return of(new SetFetchApiDetailsError(err))
                                })
                            )
                        ),
                        catchError(err => {
                            console.log('An error happened when fetching context ' + err);
                            return of(err);
                        })
                    )
            )
        );
    }


text:
Q: Universal appindicator wrapper Suffering from ditched system tray support in 13.04. :(
Is it technically possible to create universal appindicator wrapper for arbitrary application which supports only system tray icon? Maybe there are already existing infamous projects?
Thanks.

A: There is no universal wrapper (not that I've found), but the best thing (that I did find) is copy and learn...
1) Some documentation.
2) Many indicators with their source from which to choose and model.
3) My own indicators are a good starting point ;-)


text:
Survey: Drug shortages resulted in patient deaths
By erin.mulvaney@chron.com (Erin Mulvaney) on April 16, 2012 at 11:27 AM
A new survey released by a national anesthesiologist group shows the consequences of drug shortages could be fatal, according to a report from Good Morning America.
The American Society of Anesthesiologists released a survey that reported seven doctors reported that a low supply of drugs used before, during and after surgery resulted in the deaths of their patients, ABC News reported. The survey was conducted online and more than 3,000 of the 28,000 in the group responded, the report said. Although it is not considered a scientific report, president of the group Jerry Cohen told ABC that the survey should be a warning sign.
"We are at risk," Cohen told ABC. "If I proceed, if I don't have the drug I need — and know I don't have the drug I need — and I have a bad outcome, I'm responsible."
The survey showed that of the respondents, 97.6 percent reported a shortage of at least one drug and 96 percent said they were forced to use an alternate drug for procedures when the correct drug was not available. The alternative had negative consequences, the survey showed, including nausea, longer recovery times and the potential for patients to experience more difficulties coming out of anesthesia.
Local and general anesthesia drugs often run low, such as propofol, the survey shows. Propofol is known as the drug that led to the death of Michael Jackson, according to the report.
Anesthesiologists also reported problems getting thiopental, also known as sodium penthothal, an ultra-short acting barbiturate that's used less frequently today in hospitals, but remains in demand for the lethal cocktail many states use in executions. The shortage has left some prisoners longer on death row. Last year in Texas, supplies ran low for the Texas Department of Criminal Justice in its supply of its lethal injection drug for death row.
The report said that Congress and policymakers are faced with a nationwide crisis, where hospitals scramble for antibiotics and anesthetics to meet medication shortages to treat cancer and other illnesses.


text:
Q: How to add LittleEndian Pitch Detector SDK to Xcode? I am trying to add the LittleEndian Pitch Detector SDK to Xcode project. However, I am getting errors after adding the development static libraries and header files to the project.
Steps I did were,

*

*Downloaded the LittleEndian Pitch Detector SDK

*Drag and drop the static libraries available in the libs/development to the project

*Drag and drop the include folder to the project

*Set the user header search paths in the build settings to the include folder

*Add the   #import "pitchDetector.hpp" after the #import "ViewController.h"

after that I am getting 3 errors

A: To include an .hpp file in an Objective-C implementation, change the ViewController.m to ViewController.mm; you're living in Objective-C++ land now!
(Note: This is still important in a Swift-based project, since we'll need Objective-C wrappers to be able to call these library functions from Swift.)


text:
Ireland Gets Maritime Oil Pollution Plan
Ireland Gets Maritime Oil Pollution Plan - Almost 34 Years After Kowloon Bridge Sinking Irish Coast Guard deputy director Gerard O'Flynn has hailed as a "milestone" the publication of the State's framework for handling major maritime pollution incidents. The plan released by the outgoing government last Friday (June 26) fulfils long-awaited commitments made after the grounding of the Kowloon B...
Verde Nigeria & JV Partner PW Nigeria awarded 250,000m2 Tier 2 Assessment Contract in Ogoniland
Verde Nigeria & JV Partner PW Nigeria awarded 250,000m2 Tier 2 Assessment Contract in Ogoniland On 27 February 2020 Verde Nigeria and its JV Partner PW Nigeria signed a contract for the award of a 250,000m2 Tier 2 Assessment of Gio-B-Dere (Tai) and Baraalue (Tai) in Ogoniland, Rivers State. This will give us a good indication of the conditions on the ground and a real insight into the levels...
Council probing source of oil spill in Tralee river
Kerry County Council is working to identify the source of a major pollution incident that has seen the Lee River in Tralee covered by a slick of spilled fuel. The fuel spill appears to have occurred late last week, and since Friday council staff have been working to clean the spilled fuel from the river, which is a popular trout fishing spot and flows into the sea near Tralee's wetlands wildlif...
Clean-up on Brazil beaches affected by oil spill
Thousands of people have taken part in a huge clean-up operation to remove oil and tar from beaches along Brazil's north-eastern coast. Volunteers, as well as government workers, used wheelbarrows, spades and plastic gloves to remove the thick tar from the sand and water. The source of the spill, which was first detected on 2 September, remains a mystery. Experts say ...
River Shannon Oil Spill kills birds and fish
Efforts are under way in Westmeath to locate the source of an oil spill in the River Shannon over the weekend. A number of animals, including cormorants and cygnets were covered in oil in the incident on the River Shannon in Athlone at an area known locally as the "Big Meadows". A spokesperson for Athlone SPCA said some of the birds have been taken for special cleaning to an animal sanctuary in ...
Dispersants Can Be an Effective Tool for Managing Marine Oil Spill Impacts, Report
A new report from the National Academies of Sciences, Engineering, and Medicine examines the effects and efficacy of using dispersants in marine oil spill response. Dispersants reduce oil at the water's surface by promoting the formation and diffusion of small oil droplets that may biodegrade more readily. Field and modeling studies show that dispersants can be a useful tool for oil spill respons...
Limerick family who claim they suffered respiratory issues after oil spill settle actions
A Limerick family who claimed they suffered respiratory type problems as a result of an alleged leak of kerosene heating oil from another property on their housing estate has settled five different actions at the High Court for a total sum in the region of six figures. The family who lived in The Meadows housing estate at Murroe, Co Limerick sued over breathing in fumes from an oil spill allegedl...
Product Focus – Oil Only Absorbents
Verde supplies a specialised range of high quality oil only absorbent and chemical binders, providing our clients with the best absorbent and binding materials available on the market today for use in dealing with environmental contamination both inside and out. All oil-only products will float indefinitely up to full saturation. Manufactured from high tensile strength polypropylene, the pro...
Calgary university utilizing investigative tool for wildfires, oil spills
A crime-scene-type tool is being used by an Alberta university to help investigators looking into the cause of wildfires, arsons and oil spills. Gwen O'Sullivan of Mount Royal University in Calgary said the $550,000 mass spectrometer separates complex mixtures and can detect chemical compounds at very low levels. She says that makes it possible to determine if flammable liquids were used to start...
What to look out for when buying your new home…is there an oil tank on site?
The National Planning Framework has a National Policy Objective (No 32) to target the delivery of 550,000 additional households by 2040. There will be an increased need for engineers and related professionals, such as remediation experts to provide an excellent service to house buyers as they embark on what for many will be the biggest investment of their lives. Safety A safe place to live is...


text:
Every Time I Die Premieres "Decayin With The Boys" Video At Revolver
Every Time I Die shares their new video "Decayin' With The Boys" at Revolver. In this NSFW video, Every Time I Die plays a show at an over-the-top house party http://www.revolvermag.com/?p=59936. The video is the follow-up to the "Thirst" video that follows two diehard ETID fans trying to get to the party.
On July 1, the Buffalo, NY hardcore heroes will release their newest album From Parts Unknown via Epitaph Records. Fans can catch the Every Time I Die live all summer long on the Vans Warped Tour kicking off on June 13 in Houston, TX.
The album title, From Parts Unknown, refers to the band approaching things in a completely different way this time. With 16 years under their belt, it would have been easy to go into autopilot and do the same thing but that would have been "boring and baseless", according to front man Keith Buckley. With new faith and energy injected into their craft, ETID went into the studio with heavyweight Kurt Ballou at his Godcity Studio in Salem, Massachusetts. "At a time when a lot of bands are going for a more crowd-friendly sound, we wanted to go in the opposite direction," said Buckley. "Instead of making something that the kids can all sing along to, we wanted to make music that scares them." The band stayed at a notoriously haunted home near the studio where the band was fully aware of the presence of something else. Maybe it was that and the book-obsessed Buckley reading on magic and the occult that inspired the band's most awesomely devastating release.
From Parts Unknown is available for pre-order now at href="https://itunes.apple.com/us/album/from-parts-unknown/id879166805?ign-mpt=uo%3D4">iTunes> or the href="http://kingsroadmerch.com/every-time-i-die/">Every Time I Die store. For more information, visit: http://everytimeidie.net/
New Hot Water Music EP 'Shake Up The Shadows' Out Now
Too Close To Touch Release 'I'm Hard To Love, But So Are You,Vol. 3'


The following is a showcase of some of our clients utilizing web services from DPO Data Services. Provision of web services does not constitute an endorsement by the Democratic Party of Oregon. If you're interested in learning more, please contact us directly.


text:
Drag & Drop elements for the Sidebar here
About Acacia
Shape Divider - Style tilt
Helping you build a brand that inspires and drives revenue
Acacia is a specialist branding consultancy working internationally.
Our mission is to reposition and rejuvenate brands and businesses to make them more successful.
If you're at your next stage of growth and want to make a real impact, get in touch.
Meet Acacia
Hi, I'm François Reynier
I am the founder and Creative Director of Acacia.
I bring 25 years of experience working in the UK and Europe with some of the world's leading brands such as Deutsche Bank, Mercedes-Benz and Sony.
I am passionate about helping visionary entrepreneurs succeed by making a real impact in the world.
If this is you, we have lots to talk about.
"It was a pleasure to work with Acacia. It was particularly reassuring for there to be such a sound rationale behind the design and for it to be explained clearly."
Malcolm Trotter, IAB
"Acacia's ideas and illustrations really helped to bring the Boots brand to life for the audience."
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"We'd recommend Acacia to any organisation wishing to stand out from their competitors in order to attract and retain their ideal customer base."
Ben Bradford, BB7
How branding attracts new business and boosts sales
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text:
Wilfredo Miranda Aburto (1992) es un periodista nicaragüense que inició su carrera periodística en Confidencial. Sus notas periodísticas se publican y reproducen también en varios medios en español.

Reconocimientos
Wilfredo ha recibido reconocimientos por tres de sus reportajes publicados en Confidencial:

 "El Gran Lago Amenazado": 2.º lugar, junto a Carlos Salinas, en la categoría Impacto del Premio Periodismo de Investigación en las Américas (2015); del International Center for Journalists en alianza con CONNECCTAS, una plataforma periodística para las Américas.
 "Violencia en el Caribe nicaragüense": 2.º lugar en la categoría Impacto del Premio Periodismo de Investigación en las Américas (2016) —para notas publicadas entre el 1 de abril de 2015 hasta el 23 de septiembre de 2016.
 "¡Disparaban con precisión: a matar!" (del 26 de mayo de 2018): Premio Iberoamericano en los Premios Internacionales de Periodismo Rey de España (2018), de Agencia EFE y la Agencia Española de Cooperación Internacional. Sobre este el jurado afirmó:

Referencias

Periodistas de Nicaragua

redpajama_set_name: RedPajamaWikipedia


I noticed a saddle at a jumble with a label saying '1910 BSA.' Chatting to the seller I discovered he had the whole bicycle minus its saddle and a few other parts. So I immediately bought it, without seeing it. Plus, of course, its saddle.
I was delighted when I went to collect it the following week and saw it for the first time. Though it looks to me more like a 1914 model than 1910.
It certainly does not deserve to be broken for spares. Though that is the sad state of affairs these days – whole bicycles are rarely worth as much as their components sold separately.
It has now been restored mechanically, with the original paintwork intact. It didn't have its saddle post, so I fitted a later straight tube to reduce the saddle height. When I have time, I'll also install a gear trigger and set up the gears.


Eligible Trustees (as defined below) on the board of trustees (the "Board") of Spirit MTA REIT (the "Company") shall be eligible to receive cash and equity compensation as set forth in this Non-Employee Trustee Compensation Program (this "Program"). The cash and equity compensation described in this Program shall be paid or be made, as applicable, automatically and without further action of the Board, to each member of the Board who is not an employee of the Company, Spirit Realty Capital, Inc. ("Spirit") or any of their respective parents, affiliates or subsidiaries (each, an "Eligible Trustee"), unless such Eligible Trustee declines the receipt of such cash or equity compensation by written notice to the Company.
This Program shall become effective upon the distribution by Spirit to its shareholders of all of the outstanding common shares of beneficial interest of the Company (the "Effective Date") and shall remain in effect until it is revised or rescinded by further action of the Board. This Program may be amended, modified or terminated by the Board at any time in its sole discretion. No Eligible Trustee shall have any rights hereunder, except with respect to equity awards granted pursuant to Section 2 of this Program.
a. Annual Retainers. Effective upon the Effective Date, each Eligible Trustee shall be eligible to receive an annual cash retainer of $125,000 for service on the Board.
b. Meeting Fees. After the occurrence of six meetings of the Board following the Effective Date, each Eligible Trustee will be paid $1,500 for each meeting of the Board attended in person or telephonically.
c. Payment of Retainers. The annual cash retainers and meeting fees described in Sections 1(a) and 1(b) above shall be earned on a quarterly basis based on a calendar quarter and shall be paid by the Company in arrears not later than thirty days following the end of each calendar quarter, with the final calendar quarter payment being made prior to the end of the applicable fiscal year.
2. Equity Compensation. Eligible Trustees shall be granted the equity awards described below. The awards described below shall be granted under and shall be subject to the terms and provisions of the Company's 2018 Incentive Award Plan or any other applicable Company equity incentive plan then-maintained by the Company (such plan, as may be amended from time to time, the "Equity Plan") and may be granted subject to the execution and delivery of award agreements, including attached exhibits, in substantially the forms approved by the Board prior to or in connection with such grants. All applicable terms of the Equity Plan apply to this Program as if fully set forth herein, and all grants of equity awards hereby are subject in all respects to the terms of the Equity Plan. Notwithstanding any provision to the contrary in this Program or the Equity Plan, the amount of any cash compensation and/or the grant date fair value (determined as of the date of the grant under Financial Accounting Standards Board Accounting Standards Codification Topic 718, or any successor thereto) of all awards granted under this Program shall be subject to any limitations imposed under the Equity Plan or any other applicable Company agreement, program, policy or plan. Capitalized terms not otherwise defined herein shall have the meanings ascribed to them in the Equity Plan.
by the volume weighted average price per share of the Company's common shares over the 30 consecutive trading-day period beginning on (and including) the first trading day following the Effective Date (the "VWAP Period"), rounded to the nearest whole common share and subject to adjustment as provided in the Equity Plan. Each such award will be granted on the trading day immediately following the last day of the VWAP Period, and each such award shall vest in full on the earlier of (i) the date of the meeting of the Company's shareholders immediately following the grant date or (ii) the one-year anniversary of the Effective Date, subject to continued service.
b. Initial Restricted Share Awards. Each Eligible Trustee who is initially elected or appointed to serve on the Board after the Effective Date automatically shall be granted on such date, a Restricted Share award covering a number of the Company's common shares equal to $375,000, divided by the closing price per share of the Company's common shares on such election or appointment date, rounded to the nearest whole common share and subject to adjustment as provided in the Equity Plan. Each such award shall vest in full on the one-year anniversary of the grant date, subject to continued service.
c. Annual Restricted Share Awards. An Eligible Trustee who is serving on the Board as of the date of the annual meeting of the Company's shareholders each calendar year beginning with calendar year 2019 automatically shall be granted, on such date, a Restricted Share award covering a number of shares of the Company's common shares equal to $125,000, divided by the closing price per share of the Company's common shares on the trading day immediately preceding the applicable grant date, rounded to the nearest whole common share and subject to adjustment as provided in the Equity Plan. Each such award shall vest in full on the earlier of (i) the date of the meeting of the Company's shareholders immediately following the grant date or (ii) the one-year anniversary of the grant date, subject to continued service.


text:
Posted in: Disc Reviews by Michael Durr on May 20th, 2007
Released Tuesday, May 22, 2007
Interracial relationships in movies tend to be hit or miss. If treated fairly, it can make the movie an uplifting picture, one that will make people stand up and cheer for a satisfying ending. Misused, and it just becomes an ugly context for the movie to hide around. Constellation starts out with the love story between Carmel Boxer (played by Gabrielle Union), an african-american lady and her white boyfriend & solider Bear (young version played by …aniel Bess, older version played by David Clennon). The problem here is that this love story is placed in the heart of Huntsville, Alabama before the civil rights movement takes place. So the love is forbidden but never falters. However, it never ends up where it should truly be. Fifty years pass (now the present) and Carmel has died, bringing together both families back in Alabama. Bear is hosting the funeral with his daughter Celeste (played byEver Carradine). Carmel's relatives that join the procession include her brother Helms (played by Billy Dee Williams) and his two daughters Rosa (played by Zoe Saldana) and Lucy (played by Melissa De Sousa).
Once the film fast forwards fifty years later, the story becomes centered on Bear forgiving himself for the events that took place when he was younger and on Helms who tries to accept that his sister has passed in his own special way. The characters in this film are very strong and their acting is actually quite good. Billy Dee Williams as Helms is very smooth (and very much the ladies man as one would expect him to be) but has the satisfying character arch as he moves from one scene to the next. The daughters as well as Helm's two wives (Nancy and Jenita; played by Lesley Ann Warren & Rae Dawn Chong respectively)also exhibit strong characters that attempt to convince Helms to go to the funeral while dealing with their own stories that become integral to the picture. Of particular interest is the past relationship between Rosa and Errol Hickman (played by Hill Harper), the latter coming to the funeral out of respect and honor even though him and Rosa are no longer together. Errol is basically a younger version of Helm's character and is very interesting as well.
The problem as you can see here is that this movie is only ninety six minutes long and sports all of these major characters. Therefore anybody outside of Helms and Carmel's characters are not fully developed. The former relationship love triangle between Rosa, Errol, and Celeste isn't explored as quite as much as should be. Neither is the dynamic between Lucy and her husband, Kent (played by Alec Newman). These stories are thrown in for a few minutes and you have so many questions that are never answered. Furthermore, the movie suffers heavily from camera cuts. Scenes are awkwardly cut and resumed. Scenes that should have been taken on one or two cuts; look to be patched into half a dozen. Therefore it creates no connection between the audience and the story as it moves forward. The ending is awesome and touching but it could have been so much more powerful if the previous scenes were edited to create more flow. I'm sure this was probably a technique on the director's part (Jordan Walker-Pearlman) but it just didn't work here.
This film is presented in 2.35:1 anamorphic widescreen. This is a beautiful picture, no mistake about that. Every scene looks good and the colors are well used. The setting of Alabama (where it was also shot) looks fantastic here and almost makes me want to visit. All the stars look striking and the lighting is excellent.
Sound is also strong here with the included Dolby Digital 5.1 Soundtrack (English). Surrounds are actually used from time to time which is rare for a tear jerker such as this. No complaints, dialog is clear and I never feel the film gets overly quiet or overly loud except where appropriate. Subtitles are also provided in English, Spanish and French.
Automatic Trailers & Original Trailer – Woman Thou Art Loosed, Gas & the original trailer are the only extras provided. Behind the scenes or interviews with the director would have been appreciated. Heck, a commentary with just Billy Dee Williams (okay maybe not) would have been interesting. Forewarned, in my opinion; the trailer does give away some of the ending.
Constellation as a movie falls into the shoulda coulda woulda aspect. It should have been a great film, it had great characters and some really solid acting. It could have made us care more about the fantastic ending but it didn't as various plots and scenes are not fully explained nor executed properly. It would have been a complete tear jerker had the director not awkwardly cut the movie at key spots creating a disjunction between the movie and the audience. The video and audio are certainly solid and are pleasing to the eye. If nothing else, you get to see Billy Dee be Billy Dee. But this movie would have benefited greatly from thirty more minutes and better editing. As such, my recommendation sits somewhere in the middle; the acting should be appreciated but the directing should not.
Automatic Trailers (2)
Original Trailer
True Confessions Highly Defined – The World of High Definition


Episode 26 – Part 1 of this two part episode, Eric Sommer guest host to discuss swimming HardyBreed style. This is the one topic we have avoided for a while, due to the fact that Jason and I are not that great of swimmers. Also Eric stresses the importance of the group swim. Stick around for the next 20 minutes. You'll be glad you did!


Product prices and availability are accurate as of 2019-03-22 14:22:33 EDT and are subject to change. Any price and availability information displayed on http://www.amazon.com/ at the time of purchase will apply to the purchase of this product.
Garlen Cart with Metal accent is full of function for your entertaining. Serving Tray, Glass Rack, Wine Rack and storage. Perfect for your living room, game room or play room. Stylish and modern look. Cart top serving surface is 24"W x 14.89"D. Removable Serving Tray has inside area of 14.96"W x 13.62"D x 1.46"H. Shelf on the left is adjustable with size of 13.78"W x 9.13"H. Cabinet has wood door and opens to 28.23"W x 14.73"D x 9.21"H for storage. Overall assembled size of 3.25"W x 16.77"D x 34.37"H. Construction with combination of solid and composite wood in espresso finish. Assembly Required.


text:
Tlou Energy
Close to upgrading its coalbed methane gas resources to reserves in energy-hungry Botswana
Home > Tlou Energy
In the last year, Australian coalbed methane (CBM) gas company Tlou Energy (ASX: TOU; AIM: TLOU) achieved its first gas flow, increased its contingent resources and listed on London Stock Exchange's AIM market. All of which sets the pioneering junior in good stead for becoming Botswana's first natural gas producer in 2016.
I catch up with Tlou's Chief Financial Officer Colm Cloonan, Executive Director Gabaake Gabaake and downstream power financial advisor George Rogers shortly after the ceremony marking the company's AIM listing. George describes the decision to list in London as the logical "next step" for the Botswana-focused company.
"While our Australian shareholders have been supportive over the years, the interest and appetite for African projects is traditionally greater in London," he says.
"We wanted to reach a new group of shareholders who otherwise may have been less inclined to invest in an Australian company. It opens up a much larger market than we had access to in Australia, and gives us a platform from which to push into larger developments in the years ahead."
One of the lead speeches at the ceremony was given by Gabaake, an accomplished former Botswana Government Senior Public Servant who headed the country's Ministry of Minerals, Energy and Water Resources for two and a half years. He joined Tlou this year, following 24 years of working within government.
"I've always been passionate about monetising Botswana's large coal resource, so my aims complement Tlou's," he says.
"I was brought in to strengthen the company's focus and presence in Botswana, and because I'm dealing with processes that I used to manage, it makes them easier to navigate."
Project developments
The Lesedi CBM project got off to a good start in January 2015, achieving gas flows during short term testing at the Selemo 1 pilot well of approximately 400,000 cubic feet per day (cfd) peak and 200,000 cfd average. Tlou became the first company in Botswana to flow CBM gas at such rates. The results from the short-term test indicated that commercial development may be possible.
In June Tlou began drilling two flanking lateral pods, Selemo 2 and Selemo 4, either side of Selemo 1 to assist with dewatering and enhance gas deliverability. CFO Colm explains:
"Selemo 2 and 4 are actually horizontal pods incorporating one vertical and one horizontal well, and sit about 125 metres to the north and south of Selemo 1. These shielding wells were completed in September, dewatering operations began later that month, and they've reached critical desorption point."
Tlou recommenced gas flows in January 2016 and plans to carry out longer-term flow tests at the Selemo project. These tests will build on the current data and help to show how much gas can be flowed from the Selemo wells over a sustained period of time, giving Tlou an indication of the gas available from this field. This will enable the project's current contingent resources – bumped up from 2.3 trillion cubic feet (tcf) in 2011 to 3.2 tcf in 2015 – to be upgraded to bankable reserves.
"Once we've booked the reserves, it'll then be a case of talking to interested parties, a process that we've begun already, and working towards securing investment for an initial 10-megawatt pilot project," says Colm.
"This project will involve drilling out extra wells, obtaining our environmental impact assessment, agreeing on a power purchase agreement with a preferred off-taker and installing the relevant infrastructure to bring the gas and power to market."
Beyond this pilot project, Tlou is looking at providing gas to the 90-megawatt Orapa Power Station, set to convert from diesel to gas-fired generation. Gabaake says that Tlou has pre-qualified as one of the tender partners and is optimistic about its chances of being selected as the preferred party.
He adds: "The government sent representatives to the site and they saw the progress we have made and the gas being flared at the Lesedi project, so are very encouraged regarding our capabilities. We're currently discussing possibilities with them."
The benefit of starting out with a small, 10-megawatt pilot project is that it will hopefully make production and commercialisation possible in the near term. But the company's eventual aim is to produce enough gas from Lesedi to facilitate 300 megawatts of power generation.
"The processes for such a large operation are much more substantial, and it may take time for us to get there," says Colm.
"But we believe this field has more than enough gas for 300 megawatts of power production, and that's something we expect to be working on from 2017 onwards. In addition, the partners we're talking to now are all very interested in being part of that larger-scale financing as it progresses."
The ultimate vision is that Tlou's 300-megawatt project will help to meet Botswana's power demand, which currently exceeds domestic generation by a long way. This goal holds particular prominence for Gabaake, a Botswana native with a strong connection to the country's resources management.
"The more power we can feed into the country the better, and once domestic need has been met the government is very keen to see us exporting power into the southern African region," he says.
"Ultimately, it surmounts to the development of a new industry in Botswana, and that comes with employment and economic development. This could be a valuable development for us, the government, and the country as a whole."
http://tlouenergy.com
Botswana, Oil & Gas, Spotlight, Tlou
Rio Tinto's licence for $2.4 billion lithium project revoked by Serbia January 21, 2022


Myth Makers DVD Re-Release & New Interview - Out Now!
Out Now: Blake's Seven – 7 Stars Liberated From The Classic TV Series!
To celebrate the 40th Anniversary of Blake's 7, Koch Media are releasing a Special Collectors' Edition of Blake's 7 Myth Makers interviews.
Produced by Keith Barnfather and presented by Nicholas Briggs, this 2-disk compilation comprises six hours of documentaries featuring in-depth interviews with Gareth Thomas, Jacqueline Pearce, Jan Chappell, Stephen Greif, Peter Tuddenham and Mat Irvine. There is also a brand new interview with Michael Keating recorded this year at Winspit Quarry, and a special bonus introduction by Nicholas Briggs and Keith Barnfather.
This new compilation is being launched at Cygnus Alpha 4.0 at the end of September, but is also available now from Reeltime Pictures.
The latest Myth Makers DVD features a brand new interview with Michael Keating, filmed at Winspit Quarry in Dorset. This is an extended version of the interview, which will feature as part of Myth Maker's Blake's 7 compilation B7 Collectors Edition, to be released in September.


Hooded Merganser, male at J.N. Ding Darling NWR, Sanibel, FL recently. Hunting for fish, diving, surfacing, such interesting water colors and patterns. What a treat to photograph. Photographing birds allows you to not only appreciate the elements of a photo, but also to become absorbed in the bird's life and behavior and thus gain a new appreciation for that bird in its environment.
Cute duck and has a wonderful picture. Regards.
They are such beautiful birds! Wonderful captures!
Hooded Mergansers are quite handsome! I too enjoy watching them forage for food. Wonderful series of photographs!


Kenneth Alvin Hahn, age 78, died Wednesday morning August 2, 2006 surrounded by his loving family. A Durham resident for the past three years, Mr. Hahn was born in Chicago, IL to the late Alvin and Ethel Johnson Hahn.
Mr. Hahn is survived by his four children: Jennifer Donner and husband, Scott, of Durham, NC; Barrett Hahn of Hillsborough, NC; Hannah Riester of Cary, NC; and Andrew Hahn and wife, Leah, of Durham; seven grandchildren: Barrett, Ida, Hildy and Gustav Donner; Sheley and Samuel Riester; and Malissa Hahn; and his kind and loving caretaker, Emelie Tucker. He was preceded in death by his wife, Sheila Musgrove Hahn.
Please accept my heartfelt condolences on the loss of Mr. Hahn. He will be missed.
May God Bless his family through this time of grief.
I know Ken would not want us to cry for him but it is difficult keep the tears from flowing. We were business associates for many years and I could not say enough good things about him.
He was one of the best!
I am sorry to learn of your loss. At this time of your grief, God has provided his Word, the Bible, to comfort you.
Please read John 5:28, 29 and Acts 24:l5.
I hope you will find some comfort when considering these scriptures.


Healing Resonance Testimonials: I Feel Really, Really, Really Great!
For some time things have felt "off" for me, both personally and professionally. I have experienced a high level of frustration and also a lack of patience with myself and others. Intellectually I knew what I wanted and needed to change, but I just seemed "stuck".
Since my session with Kristi last week I feel really, really, really great. I cannot even tell you exactly what happened in the session, but I feel like a new person! Essentially, I am now un-stuck!
Kristi's Perspective Reboot® process helped shift and release old energies and allowed me to see myself and the world in a new way. I have choices in how to be and react that were not available to me before. What a freeing and empowering space in which to live! She also provided tools for me to recognize and shift my patterns, deepen the release, and continue to find more joy.
I have to say it has been amazingly effortless. Basically, I've been having a lot more patience and feeling a lot more joy and happiness in everyday life with my family, extended family and beyond. I am not bothered by the things which used to upset me … it's not that I'm not engaged, I'm just to not so negatively affected by others. It's wonderful!
I am so grateful for your assistance, Kristi. I know you would say I should thank myself for allowing the shifts to happen, but you have helped me more than you know!
I Feel Really, Really, Really Great!


text:
InfoQ Homepage News Oracle Issues Draft OpenJDK Bylaws
Oracle Issues Draft OpenJDK Bylaws
Charles Humble
Oracle has issued a first draft set of the bylaws that it hopes will guide the processes of the OpenJDK. These governance issues were originally supposed to have been solved by the OpenJDK interim governance board, which Sun created in May 2007, but despite an extension the board was unable to complete the work. Mark Reinhold, chief architect of the Java 7 Platform who served as editor for the document, has stated that the new document:
draws upon the earlier work of the Sun-chartered OpenJDK Interim Governance Board and has exactly the same goal: To be a written set of rules that will foster the long-term health and growth of the OpenJDK Community by enabling and encouraging its members to act in an open, transparent, and meritocratic manner.
"This is a starting point, not a done deal. There are numerous bugs and missed corner cases in this draft and, no doubt, even more numerous ways in which it can be improved," Reinhold suggests. He will accept and consider comments until March 3, after which he will submit it to OpenJDK Community members for ratification.
Some criticism has already appeared noting the work's heavy reliance on Oracle and IBM personnel. Former member of the interim governance board and Chief Open Source Officer at Sun Microsystems, Simon Phipps, scored the proposal -3 on a scale form -10 to 10, citing a number of issues but particularly the way the governing board is put together. The board comprises Mark Reinhold and Adam Messinger (both Oracle), Jason Gartner (IBM), and two independents - Doug Lea best known for his work on Java concurrency, and Mike Milinkovich, the Eclipse Foundation Executive Director. This team wrote the draft bylaws along with John Duimovich, also of IBM. Phipps wrote:
This is initially a closed plutocracy comprising mostly people who have never been involved in OpenJDK, as long-term Free Java leader Mark Wielaard has pointed out. The initial Board is all appointed by Oracle and IBM and they have picked only people they can trust to represent them and taken few risks (only Doug Lea has spoken out in the past, when he resigned from the JCP) and omitted key OpenJDK contributors Red Hat and Google (and recent joiner Apple). Future Boards will always comprise at least two Oracle staff and one IBM member. Interestingly, this is not conformant with the original OpenJDK Charter, which gave a majority of seats to elected representatives.
There is scope for the Board to be grown in the future and it's theoretically possible eventually for the Board to have community-appointed members outnumbering the Oracle-IBM axis, but the rules are poorly defined and there's undoubtedly scope for them to be gamed in order to maintain control.
The aforementioned Wielaard has also expressed concern about the licensing conflict between work done through the JCP and OpenJDK:
As you know the current platform JSRs have licenses for the spec, ri and tck published by the JCP under terms that are in conflict with the GPL. It would be wise to resolve this before it gets people in trouble
Milinkovich, however, defended the work, noting that the draft "largely succeeded" in setting up an impartial governing structure.
This content is in the Java topic
Open source Java
Open JDK
AdoptOpenJDK Welcomes Dragonwell
TornadoVM: Java for GPUs and FPGAs
Red Hat Releases OptaPlanner 8
Apache Netbeans 12.2 Supports Java 14 and 15
What's New in MicroProfile 4.0
GraalVM Offers COBOL Support
Running Axon Server in Docker and Kubernetes
A Year with Java 11 in Production!
Java InfoQ Trends Report—September 2020
Azure + Spring Boot = Serverless - Q&A with Julien Dubois
Maximizing Applications Performance with GraalVM
The Opportunity in App Modernization
by Martijn Verburg /
There were some great discussions in person with Mark, Simon et al over the weekend at FOSDEM. This is a great time for the community to engage with the likes of Oracle and IBM and so please do consider joining the discussion, details on the mailing list are at mail.openjdk.java.net/mailman/listinfo/gb-discuss
Martijn - FOSS developer and London JUG co-organiser


Boof wrote an interesting and provocative article for BeyondBlackAndWhite.com called "Billionaires Prefer Black Women." In her opinionated editorial on this issue, Boof gives an abundance of examples of non-black billionaire men who both date and marry black women exclusively.
Boof was definitely observing a trend that has evolved over the years. Both singer Rihanna and supermodel Naomi Campbell have been romantically linked to Saudi billionaire Hassan Jameel. Jameel's family owns exclusive rights to sell Toyota automobiles throughout their native country of Saudi Arabia.
He was spotted affectionately hanging out with Campbell in London last summer during a cultural festival. More recently, steamy pictures of him surfaced online getting very explicit in a swimming pool with Rihanna at a lavish villa in Spain.
To read Boof's article in its entirety, visit the link to the research source given for this article below.


text:
Listening Booth: Al Green, "Lay It Down"
Last week I reported on the recent spate of old school soul releases by, for the most part, younger artists. It's a trend that I'm as grateful for as I am for the sunlight and warm breezes that have replaced the cold and dark of winter. So while I will not diminish those efforts in any way, I must take note of the fact that one of the form's great masters has returned, and in essence is here to show the young bloods how it's really done.
I can clearly recall the first time I heard "Tired of Being Alone." It was 1971, and my friend Billy owned Village Records in South Orange, N.J. It was still above the camera shop at that point, but would later move down the street into a storefront of its own. I was a regular customer, and a semi-regular employee, so Billy was well aware of my penchant for the great soul and r&b on the '60s. One day, no sooner had I reached the top of the stairs leading to the store when Billy said, "hey, you have to hear this." He wiped off a 45 rpm single that bore an unfamiliar label, and slapped it on the turntable. It was a seminal moment in my appreciation of music.
Al Green spent the rest of the '70s enjoying one hit single after another, and the albums that included the hits were must-listens as well. But all of the success apparently didn't provide Al with what he was really looking for, and eventually God, as he will do, intervened. Soul legend Al Green became Reverend Al Green, and the '80s and '90s saw him release a series of gospel albums. Just when it seemed that the secular music world had lost him for good, he released the brilliant I Can't Stop in 2003, and followed it up two years later with the even greater Everything's OK.
Now the 62 year-old Green has returned with Lay It Down (Blue Note), and it's a career-capping triumph. The Good Reverend hasn't lost a bit off his fastball, and he still slings a pretty effective curve too. On several tracks he duets with prominent neo-soul exponents Anthony Hamilton, Corinne Bailey Rae, and John Legend, and while they all acquit themselves nobly, they are something of an afterthought. There's no doubt about who the star of this show is.
Lay it Down was so brilliantly produced by Green, keyboard player James Poyser, and The Roots' "?uestlove" Thompson, that you almost don't miss the presence of the great Willie Mitchell, who produced so many Al Green classics. Adam Blackstone's bass and Thompson's drums are way up there in the mix. ?uestlove can do more with a kick drum, snare, and hi-hat than most drummers can do with a huge kit. "Spanky" Alford's guitar fills and Poyser's organ stabs fill in the spaces that the rhythm section leaves for them, and the horns rise over the top of it all. At the end of the day though, it's all about the once-in-a-lifetime voice of Al Green, and the redemptive power of love.
If you took the time to read this far, listening to the deep soul of "Just For Me," or the hard funk groove of "I'm Wild About You," which features one of Green's greatest vocal performances (and that's saying something!), will tell you everything you need to know. It all comes down to this — Al Green is back, and you can't miss it.
There is nothing nostalgic about this music. It demands to be listened to in the context of today's world, and it easily finds its place. At the same time it never bows to current fashion by employing production tricks, and Green's young duet partners reign in their more melismatic impulses. Al Green knows who he is, and when you hear his music, so do you. He has never pretended to be anyone else because he wants you to recognize him. That, by definition, makes this music timeless. This is one of the best albums of this, or any year.
Lay It Down will be released on May 27. Run, don't walk, to your favorite record store, whether it be in the ether, or on dry land, and get yourself a copy. While you're at it, buy copies for your friends. They'll love you for it.
Listening Booth, Music
Al Green, Anthony Hamilton, Corinne Bailey Rae, John Legend, Ken Shane, Listening Booth
Ken Shane
Ken Shane lives in Narragansett, R.I. He is a freelance writer and far and away the oldest Popdose writer. In fact, he may be the oldest writer, period. He wants you to know that he generally does not share his colleagues' love for the music of the '80s, and he does not forgive them for loving it.
When Good Albums Happen to Bad People: Rick James, "Street Songs"
Listening Booth: "The Green Owl Comp: A Benefit for the Energy Action Coalition"


On Tuesday, the Departments of Health and Human Services, Labor, and the Treasury (the "Departments") issued proposed regulations revolutionizing the existing ACA landscape with respect to employers and individual health insurance policies.
The proposed regulations would be applicable for plan years beginning on or after January 1, 2020.
The prior rules with respect to individual policies date back to the infamous "Friday the 13th Guidance," from September 13, 2013. (DOL Technical Release 2013-03; IRS Notice 2013-54).
For more details on the IRS prohibition of Employer Payment Plans, as clarified in IRS Notice 2015-17, see our previous alert: IRS Yet Again Reiterates ACA Prohibition of Individual Policy Reimbursement Arrangements.
For more details on the ACA integration rules to avoid a prohibited Non-Integrated HRA, as clarified in IRS Notice 2015-87 (the "ACA Potluck Guidance"), see our Office Hours Webinar: ACA Potluck: IRS Provides Full Serving of New ACA Guidance.
That previous guidance permitted employers to assist in the purchase of individual policies only as a standard increase in taxable wages (e.g., cash bonus or increase to the employee's hourly or salary pay rate) intended to cover the cost of an individual policy but not conditioned in any way on the actual purchase of an individual policy.
Employers wishing to provide additional compensation to employees to assist in the purchase of individual market coverage therefore had to ensure: a) the employee had an unrestricted right to receive those funds as cash, b) the employee was not required to use that case to purchase health coverage, c) there were no health-plan related conditions on receiving the additional cash, and d) the employee was never required to substantiate the purchase of individual market coverage.
Employers offering an HRA had to always meet the integration requirements from the Friday the 13th Guidance. Those rules generally required that the employee be enrolled in an employer-sponsored major medical group health plan (not an individual policy) meeting certain requirements in order to be eligible for reimbursement from the HRA.
In other words, HRAs could not be integrated with individual market coverage.
Offering an Employer Payment Plan or Non-Integrated HRA for employer reimbursement of individual policies would violate the ACA and trigger $100/day/employee excise taxes under IRC §4980D. That would result in potential penalties of $36,500 per employee, per year.
The Departments' new proposed regulations obliterate the current landscape with a radical new approach to employer interaction with individual policy reimbursement. The new approach stems from President Trump's Executive Order 13813 from just over a year ago directing the Departments to expand employer ability to offer HRAs for individual policy reimbursement.
For more details, see our Office Hours Webinar: 2017 Year in Review: Plus What Lies Ahead in 2018.
Important Note: These proposed regulations are extremely complex, detailed, and comprehensive. The following is a short, high-level overview of the key points only.
- Employees who cease to be covered by the individual policy must forfeit the HRA.
- Employer can divide employees into to separate classes eligible for either HRA or traditional GHP (but not both).
- Classes include full-time employees, part-time employees, seasonal employees, employees covered by a CBA, employees who have not completed the waiting period for the traditional GHP, employees under age 26, non-resident aliens with no U.S.-based income, and employees based on region (primary site of employment in the same rating area).
- The Departments solicit comments on whether employers should be able to offer employees a choice between a traditional GHP and an HRA integrated with individual coverage.
- The ACA added IRC §125(f)(3), which prohibits employers from allowing employees to make pre-tax salary reduction contributions toward coverage on the Exchange.
- However, employers may permit employees to use the Section 125 cafeteria plan to contribute on a pre-tax basis for non-Exchange individual market coverage.
- This is important because the HRA may not cover the full cost of the individual market premium, and the employee would otherwise have no tax-advantaged mechanism to pay the remaining share.
- Republicans have long pushed to permit tax-free HSA distributions for premiums, including individual market and Exchange coverage. That may be the final key to unlocking the individual market for employers. For more details, See our ABD Commentary: HSAs to Lead the Way After ACA.
- Offering a more generous HRA to individuals based on an adverse health factor is not permitted.
- The HRA allocation may increase based on age (larger allocations for older employees) or number of dependents (larger allocations for more dependents).
- HRA carryovers and ability to pay any remaining cost pre-tax with salary reductions must be uniform for each class.
- The HRA must have reasonable procedures in place to verify that anyone covered by the HRA is actually enrolled in individual health insurance coverage.
- The employer must provide written notice to eligible participants at least 90 days before the beginning of each plan year describing the HRA.
- The notice must include the maximum dollar amount available, statement of the right to opt-out, description of the alternative availability of Exchange subsidies, the eligibility consequences of being covered by the HRA, the requirement to notify the Exchange of the HRA if applying for subsidies, the substantiation requirements, and the employee's responsibility to inform the employer upon loss of individual coverage.
The proposed regulations also provide a new mechanism for employers to offer an HRA of up to $1,800 in value that is not integrated with individual market (or any other) coverage. This is accomplished through permitting HRAs to qualify as an excepted benefit not subject to the ACA market reform provisions under certain conditions.
- Only employees who are eligible for a traditional GHP can be eligible for the HRA.
- Employees do not have to actually enroll in the traditional GHP to benefit from the HRA.
- The amounts made newly available for a plan year in the HRA cannot exceed $1,800.
- Only permitted premiums would be excepted benefits like dental or vision coverage, short-term limited duration policies, and COBRA premiums.
The proposed regulations would continue to treat an HRA as an "eligible employer-sponsored plan" to qualify as minimum essential coverage and therefore be treated as an offer of coverage under §4980H(a) (the "A Penalty" or the "Sledge Hammer Penalty.").
The Treasury Department and the IRS intend to issue guidance addressing how and when the HRA could be treated as providing minimum value and being affordable under §4980H(b) (the "B Penalty" or the "Tack Hammer Penalty"). That B Penalty guidance will be especially critical for employers to understand in determining how much to offer through the HRA, and which individual market plan options should be available to employees.
For more details on the ACA employer mandate pay or play affordability rules, see our Compliance Alert: How the 2019 ACA Affordability Increase to 9.86% Affect Employers.
These new proposed regulations are extensive and completely change the ACA landscape for employers going forward. The Departments will likely receive a deluge of comments on the rule, and therefore we should expect significant changes before the rules are finalized.
In the meantime, employers wishing to provide alternative means of offering health coverage to employees can look forward to having far more options available in the near future.
The Departments are accepting comments until December 28, 2018.
The regulations, if finalized, would be effective for plan years beginning on and after January 1, 2020.


text:
Lille Grønnegade Theatre was a Danish theatre which was active from 1722 to 1728. It was the first public theatre in Copenhagen in Denmark.

History

In 1721, the French troupe La troupe du Roi de Danemark, which had performed for the royal court in Copenhagen since 1682, was fired by the king, who wished to hire an Italian opera troupe instead. As the French actors, who in many cases had lived in Denmark for generations, did not all wish to leave, René Magnon and another French immigrant, Etienne Capion, asked for permission to open a public theatre. They were granted royal permission and in 1722, and the first public theatre was opened in Copenhagen on Lille Grønnegade, the first Danish-language theatre open to the public.

Capion was the director, Magnon was responsible for the actors, and Marie Madeleine de Montaigu became the first actress to have performed for the Danish public at an official theatre. The female actors were few: among them were also Helene le Coffre, Maren Magdalene Lerche and Marie Madeleine's own daughter Frederikke Sophie. Plays were performed in Danish but there was also dance: in 1726, Jean-Baptiste Landé was a guest ballet master.

The economic troubles, however, proved to be too difficult. In 1728, the theatre was closed, and in 1730, theatre was banned in Denmark until 1746.

References
 Dansk kvindebiografisk leksikon
 Gidlunds förlag: "Ny svensk teaterhistoria. Teater före 1800" (New Swedish theatre history. Theatre before 1800) (In Swedish)

Former theatres in Copenhagen
History of theatre
1722 establishments in Denmark
1728 disestablishments
18th century in Copenhagen


text:
SOFI	+13.68% 13.71
BIIB	-1.28% 230.81
MU	-3.09% 90.00
Subject: Alcoa Earnings Report Uneasy Start to Second Quarter (NYSE: AA)
URL: http://mney.co/1FEB2dU
Alcoa Earnings Report Uneasy Start to Second Quarter (NYSE: AA)
By Diane Alter, Contributing Writer, Money Morning • July 10, 2012
Investors already have a cautious stance in the market amid growing fears about the world's biggest economies, and Monday's Alcoa (NYSE: AA) earnings report didn't help.
The aluminum producer, which always kicks off the earnings season, delivered more of a punt than a kickoff. The Dow bellwether reported an 81.3% drop in profits, as the global slowdown and production cuts weighed on profits.
Reporting after Monday's market close, Alcoa said income from continuing operations came in at $61 million, or 6 cents a share, on revenue just a hair under $6 billion. While significantly lower than the same period a year ago, the lackluster results still managed to beat Wall Street's tepid expectations (analysts were looking for 5 cents on revenue of $5.8 billion).
Chairman and CEO Klaus Kleinfeld said in a statement following the earnings release, "Alcoa maintained revenue strength amid solid liquidity by driving high profitability in our mid and downstream businesses and by reducing costs and improving performance in our upstream businesses."
Contributing to the profit decline was a global glut resulting from stagnant and slowing growth in many areas around the world, especially China.
Don't Expect Much from Second Quarter Earnings Season
The less-than-stellar report from Alcoa sets the stage for a dismal second-quarter earnings season.
Earnings red flags have been flying over all sectors as the Eurozone debt crisis and China's waning growth have already taken a toll on companies' profits. Meanwhile, things on the home front are no better with the looming fiscal cliff, unhealthy unemployment level, Obamacare ruling, Election 2012 and overall uncertainty dragging on the struggling U.S. economy.
And then there is the rising dollar which has spiked against the euro and other currencies, reducing profits U.S. companies earn from international sales.
Most analysts are forecasting S&P 500 companies to generate, on average, $25.21 in earnings per share for the second quarter. That is down from expectations of $25.89 at the beginning of the quarter, according to S&P Capital IQ.
"Earnings season will be very, very important, especially in terms of company guidance and how they are managing through this soft patch deceleration in China and Europe," Quincy Krosby market strategist at Prudential Financial, told USA Today.
Dismal returns for shareholders, as companies grapple with obstacles, have left many investors with one foot out the door. While investors may be willing to take on risk, it's the uncertainty that is unsettling.
Gregory Harrison, an earnings analyst with Thomson Reuters, said company announcements have been the worst since the fourth quarter of 2008, The Wall Street Journal reported.
Upcoming Earnings Reports
While always closely watched and dissected, the real earnings test comes Friday when JPMorgan Chase (NYSE: JPM) reports.
Already beaten down and under scrutiny for its billion-dollar losses last quarter, JPMorgan has suffered more than a hit to its bottom line. Its once highly respected reputation has been seriously marred.
Industry analysts expect JPMorgan to reveal even more trading losses when they announce numbers Friday. While the company has maintained that it expects to be "solidly profitable" for the quarter, many have their doubts.
Also reporting Friday is Wells Fargo & Co. (NYSE: WFC). What analysts will be looking for from Wells is not how much they earned, but which areas of business generated that revenue.
And, expected to be the most highly anticipated earnings release this quarter, and sure to be closely scrutinized are Facebook's (Nasdaq: FB) numbers. The social media giant will report its first quarterly results as a public company on July 26 after market close.
There hasn't been much to "like" about Facebook since its fiasco of an initial public offering. To date, shares are down some 17% since its IPO on May 18, as anxiety has grown that future earnings may not validate its current and projected valuation. The consensus estimate is for Facebook to earn 9 cents a share.
Related Articles and News:
Earnings Season Begins in the Stock Market Today
Alcoa (NYSE: AA) Kicks Off First Quarter Earnings Reports That Could Put Brakes on Market Rise
Forbes:
Alcoa Earnings Drop 81% As Global Slowdown, Production Cuts Dull Profits
New Jolt Looms for Investors: Earnings
Alcoa Kicks Off Earnings Season with a Slight Beat
USA Today:
Negative outlook for earnings season


I couldn't ignore Bieber's cry for help any longer.
I was jogging along the East River a few weeks ago, rocking out to mindlessly distracting hip-hop on Pandora, when I heard a cry for help. The man in distress was 21-year-old Justin Bieber, and he was really confused about how to be in a relationship with a woman (and probably pretty unsure about the best way to style his hair).
I tried to tune it out and just keep time with the catchy beat (I mean, it's not the first time Justin Bieber has been in need of serious relationship help!). But his repeated question, "What do you mean?" began to pull at my heartstrings.
You see, I can't even count the number of times I wish that past boyfriends had sought out a deeper understanding of the feminine perspective when they didn't know what was going on or how to communicate with me. So for all the confused men and misunderstood women out there, here's my answer to the proverbial question, "What do you mean?" This one's for you, Biebs.
01. She is not your bro.
Ah, yes, the very thing that draws you to her is the very thing that confuses the hell out of you. It's the age-old problem between the sexes. At one point Bieber offers up a helpful solution: "Be more straightforward!" he shouts out as the song is coming to a close. Sigh. Now do you see why I feel the need to help a brother out?
There are exceptions to every rule, of course, but generally women don't want to have to spell it out for you. Now, I don't mean that we consciously speak in riddles. I mean that our communication patterns naturally tend toward a desire for discovery. Dr. John Gray, author of Men Are from Mars, Women Are from Venus, explains that it is understanding what women seek. A woman wants you to seek her, to discover her needs, and then meet them. This requires asking her questions and listening. "Remember, you don't fully have to understand her point of view to succeed in being a good listener," Dr. Gray explains.
02. Take the lead, Biebs.
I hate to break it to you, man, but it's very likely that a lot of this confusing behavior is a result of your lack of decisiveness. Whether a woman likes a man who takes the lead or not, she almost always wants the guy she is with to know what he wants. To be honest with you, Biebs, it seems like you are doing a whole lot of wondering and not enough articulation of what you want and what you mean.
If I were the object of your affection in this situation, I would want you to take a little more initiative in the relationship. In fact, I have been in relationships with twentysomething cuties like you, and their lack of initiative did cause me to act a little indecisive. I wanted to be with them, but they weren't always pursing me in a way that made me feel desired and respected. To get what I wanted, I would pull away just enough to make them wonder and thus seek to discover me a little more. Sure, I should have just told these guys that I was not impressed, but I stupidly wanted to be with them despite their tomfoolery (something like Bieber Fever, I imagine).
You say you want this to work? I guarantee all confusion will be cleared up if you tell her what you want from the relationship and continually reassure her of your feelings and commitment. A little vulnerability on your part will go a long way in helping her to "make up her heart" (as you put it) and feel comfortable enough to be straight with you.
03. It might be a maturity thing.
Perhaps we should back up and ask one important question. Why don't you want "this thing to end"? It sounds like a bit of a nightmare, quite frankly. Sure, she is beautiful, and you want to be her boyfriend and all that. But if you are seeking to discover her as a woman and being clear to her about your feelings, and she is still acting all over the place, then this girl likely has some growing up to do.
A self-possessed woman knows what she wants in a relationship and won't vacillate between hot and cold. In fact, she is much more likely to put you on notice or drop it (it being your relationship) like it's hot if you aren't pursuing her in the way she needs to be pursued. Mature women don't have patience for drama and certainly have no desire to take a man on an emotional roller-coaster ride.
I know that Bieber isn't the first man who wishes someone would explain to him why women won't just spell it out for them. Honestly, I wish more men were humble enough to ask for help. Maybe writing a song isn't the best approach. (After all, that's a little passive, which is what we're trying to avoid.) But if more men were to reach out to women for help when they are struggling with the nuances of the feminine dialect, there would be a lot less frustration and a lot more happy couples.
Not everything in marriage is a joint effort.