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Virgil Boutellis-Taft est un violoniste français.

Biographie
Virgil Boutellis-Taft commence l'étude du violon et du piano à l'âge de 6 ans.

Il entre au conservatoire de Tours à 9 ans, dans la classe de Gilles Lefèvre, élève de Christian Ferras.  prix du Conservatoire de Paris à 16 ans, dans la classe de Suzanne Gessner, Virgil poursuit son parcours musical à l'étranger, invité par Géza Kapás, élève de Semyon Snitkovsky, à l'Académie de musique Franz-Liszt de Budapest. Il intègre ensuite la classe d'Itzhak Rashkovsky au Royal College of Music de Londres. Après avoir obtenu son "Artist Diploma", il part étudier avec Hagai Shaham, invité par l'Université de Tel Aviv dans le cadre d'un programme postdoctoral.

Par ailleurs, il participe à de nombreuses masterclasses données par des violonistes et pédagogues tels que Ida Haendel, Zakhar Bron, Ivry Gitlis, Shlomo Mintz, Igor Oïstrakh, Haim Taub, Almita Vamos, Michèle Auclair, Olivier Charlier, Miriam Fried ou encore Boris Kuschnir.

Carrière
Virgil Boutellis-Taft donne ses premiers concerts à l'âge de 9 ans avec la pianiste Fanny Raust, condisciple et partenaire de musique de chambre de Ginette Neveu.

Qualifié de jeune artiste « au talent extraordinaire » offrant une musique « lumineuse et solaire », au « son chaud et pur, élégant et sensuel », son dernier album "Incantation", « disque avec lequel vivre » selon le musicologue et écrivain Alain Duault, est enregistré avec le Royal Philharmonic Orchestra.

Virgil Boutellis-Taft donne régulièrement des concerts en tant que soliste et chambriste en Europe et aux États-Unis. Il se produit dans des salles telles que Carnegie Hall, Salle Gaveau, Kennedy Center, Théâtre des Champs-Élysées, Benaroya Hall Seattle, Philipps Collection, Harvard Club de New York, Wigmore Hall, Halle aux Grains de Toulouse, Arsenal de Metz, Tel Aviv Opera House.

Il joue notamment avec le Royal Philharmonic Orchestra, le Dayton Philharmonic Orchestra, le Springfield Symphony Orchestra, l'Israël Emeritus Chamber Orchestra, le Sinfonia Varsovia, l'Orchestre de chambre Pelléas, le Mid Atlantic Symphony Orchestra.

Il s'est produit également dans de grands festivals internationaux parmi lesquels Bowdoin Music Festival (États-Unis), Eilat et Red Sea-Valery Gergiev (Israël), Valdres (Norvège), Prussia Cove (Angleterre), Les Violons de légende, Clairvaux, La Roque-d'Anthéron, La Folle Journée, Les Moments musicaux de La Baule.

Sur la scène théâtrale, il offre une prestation remarquée au Festival d'Avignon en 2011, dans la pièce de Jean-Claude Grumberg « Maman revient pauvre orphelin », mise en scène par Stéphane Valensi.

Œuvres dédiées
Virgil se produit avec les pianistes et compositeurs Paul Cantelon et Tara Kamangar. Tous deux lui ont dédié des œuvres :

Paul Cantelon :
 « Nocturne », créée en  à Seattle avec le compositeur et enregistrée avec lui en  à New York.
 « Neshama », pièce composée en , créée en  au Carnegie Hall, avec le compositeur.

Tara Kamangar :
 « Once There Was and Once There Wasn't » composée en  et jouée en  au Carnegie Hall avec la compositrice, puis enregistrée en  pour Evidence Classics/Harmonia Mundi.

Drew Hemenger, compositeur américain, lui dédia également la pièce « Magatama », créée au Carnegie Hall en 2015.

Collaborations

Il partage la scène avec le harpiste Emmanuel Ceysson, les pianistes Guillaume Vincent, Lise de la Salle, JuYoung Park, Cathy Krier, Abdel Rahman El Bacha, Vanessa Wagner et David Aladashvili, le guitariste Thibaut Garcia, les violoncellistes Anne Gastinel et Camille Thomas, l'accordéoniste Vincent Lhermet. En 2015, Virgil a formé le duo La Rose et le Réséda avec la violoniste Irène Duval.

Discographie
Incantation, sorti le  chez Aparté, est enregistré au Henry Wood Hall à Londres avec le Royal Philharmonic Orchestra, sous la baguette de Jac van Steen.

Entre Orient et Occident, salué par la critique, est enregistré Salle Byzantine au Palais de Béhague à Paris avec le pianiste Guillaume Vincent. Sorti le  chez Evidence Classics/Harmonia Mundi, le concert de sortie s'est tenu Salle Gaveau. Cette anthologie regroupe des compositeurs tels que Chausson, Janacek, Debussy, Komitas, Bartok, Hossein, Hersant, Kamangar.

Instruments
 Domenico Montagnana :
Depuis 2012, Virgil Boutellis-Taft joue sur le Montagnana Venise 1742 Ex-Régis Pasquier, grâce à la générosité d'un mécène privé.

 Jean-Baptiste Vuillaume :
Entre 2008 et 2012, il joue sur le violon du luthier français Jean-Baptiste Vuillaume de 1850, copie du Sancy, Stradivarius joué par Ivry Gitlis.

Récompenses et distinctions
 Lauréat de la Fondation Banque populaire
  Prix Compétition internationale d'ISA, Autriche
 Myra Hess Trust Award, Londres
 AHRC Postgraduate Award, Londres
 Lauréat de la Fondation Bleustein-Blanchet pour la vocation, France
  Prix du Concours de violon Étienne Vatelot, Paris

Liens externes

 Site personnel de Virgil Boutellis-Taft

Notes et références

Violoniste classique français
Élève du Conservatoire national supérieur de musique et de danse de Paris
Lieu de naissance inconnu

redpajama_set_name: RedPajamaWikipedia


If you've been listening to East FM, you'd know by now that our team from Radio Africa will be on their way to cover the IIFA awards event live, with a lucky listener who will win this opportunity of a lifetime. Brought to you by Sunrice and supported by Ruh Travels, the team will leave for Macau and we will be bringing you live coverage as events and awards unfold. Watch out for a colourful spread this week and next week as well in The Star with exclusive pictures from the event. The focus on the event this year is celebrating 100 years of Bollywood and will be showcased in the entire event with what promise to be mind-blowing performances.
Conceptualized and produced by Wizcraft International Entertainment Pvt. Ltd. and supported by the key members of the Indian film fraternity, IIFA is the most appreciated South Asian film academy. Also, the IIFA Awards is India's biggest media event. With a viewership of almost 600 million, it is among the world's most-watched annual entertainment events. From a one night celebration in 2000 at the Millennium Dome, London, the last thirteen years have seen the International Indian Film Academy (IIFA) movement grow into a cine-packed weekend of film-festivals, workshops, exhibitions, film-showcases, global business forums and sporting events, all of which climax into the highlight of the Weekend, the IIFA Awards.


Dues: Individual annual membership is $20. Institutional or school annual membership is $99. Individuals also have the opportunity for dual membership in both NJAMLE and AMLE. This dual membership is only $69.99 for the year. Visit njamle.org for a membership application and more information.
Contacts: Christine Torre, administrative secretary, at ctorre@njamle.org. Follow NJAMLE on Twitter at @njamle, and like NJAMLE at facebook.com/njamle.


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Ex-NV deputy denies taking bribes in Francis case
RENO – A former Nevada sheriff's deputy facing a federal bribery charge says she never gave special treatment to the jailed creator of the "Girls Gone Wild" video empire in exchange for nearly $10,000 in gifts from a Hollywood associate of Joe Francis.
By SCOTT SONNERTHE Associated Press
34014697-0-1
RENO – A former Nevada sheriff's deputy facing a federal bribery charge says she never gave special treatment to the jailed creator of the "Girls Gone Wild" video empire in exchange for nearly $10,000 in gifts from a Hollywood associate of Joe Francis.
Ex-Washoe County Jail Sgt. Michon Mills took the witness stand for the first time in U.S. District Court in Reno Thursday to defend her oversight of Francis while he was jailed in Reno on federal tax charges for nearly a year ending March 2008.
Mills says she returned the $4,500 Cartier watch and a $5,000 Saks Fifth Avenue gift card to Aaron Weinstein, the associate who has pleaded guilty to a related charge.
She says she made mistakes, but never considered the gifts bribes and never did anything criminal.
Posted on: News
By Bill Barrow The Associated Press
The second set of summer Democratic presidential debates will feature a rematch with a twist, plus the first showdown of leading progressives as the party wrestles with its philosophical identity and looks ahead to a 2020 fight against President Donald Trump.
Clark County water sales tax may become permanent
The Southern Nevada Water Authority voted to ask the Clark County Commission to make permanent a quarter-cent sales tax that was set to expire in a few years.
Larry Burns, ex-Las Vegas police captain, laid to rest
Former Las Vegas police Capt. Larry Burns was laid to rest Thursday. He was best known for his committment to policing "with love" in the Historic Westside.
Ex-UNLV professor heard America was on the moon before most of US
By Amanda Bradford / RJ
William Corney was a communications engineer stationed in the middle of the Atlantic during the Apollo 11 mission 50 years ago, relaying messages to NASA's Mission Control.

redpajama_set_name: RedPajamaCommonCrawl


Getting accepted into a study abroad program means winning a mini-break from your day-to-day life. You get to live in another country, explore beautiful landscapes, meet new people and then, finally, you'll return home. What you may sometimes forget amidst all the excitement, and hustle and bustle, is that the loved ones you left behind didn't make this trip with you.
While you explore your new country, your friends and family are still at home. They are living the life you've temporarily vacated. Depending on how long you are gone (and how much you rub it in) this can create some distance.
I had to deal with this reality when I studied abroad. Right after being accepted into my program to a program in Australia, I met and fell in love with my boyfriend, Michael. I kept telling myself it was dumb to get attached since I was going to be gone for four months, but, as is often the case, feelings beat logic. After realizing that this relationship was the real thing, we wanted it to withstand the 9950 miles of land and ocean that lied between us. And, (spoiler alert) we did!
At times, it was incredibly difficult to keep myself from jumping the next plane to America to reunite with Michael and everyone else I desperately missed. But dedication to my study abroad journey and being enrolled in non-refundable courses encouraged me to stay. When it was time to make the 30 hours worth of flights back to Indiana, I was able to leave with pride; I managed to maintain my relationship and was able to experience the wonder of Down Under.
Whether it's monthly, weekly, or, possibly, even daily, try to keep your communication consistent. Talking to your parents, friends or significant other is important. Duh. It helps keep the connection alive and vivid and reminds you that they are still a real person. As time passes you may forget someone's idiosyncrasies. You don't have the physical aspect of being together and this makes conversation incredibly important. While I was abroad, I talked to Michael for about an hour every single day. We worked around a 14-hour time difference; while he was getting off from work I was waking up and having breakfast. Watching his day turn to night while I was eating my daily muesli was an odd experience. It actually worked out well because we were able to speak while we both had free time.
International texting and calling is expensive as hell. They are also entirely unnecessary if you understand the basics of messaging apps. There are many choices of modes of free communication. For video chatting, my personal favorites are Google Hangouts and Skype; they maintained the clearest picture and kept the audio in sync (most of the time.) As for texting, I kept my smartphone and simply turned off roaming, and put it in airplane mode except for when I connected to available Wi-Fi. Facebook messenger, Viber, and Couple were my preferred texting methods. Adelaide's citywide free Wi-Fi made it incredibly easy to stay in touch while I was eating delicious sushi and wandering through the city gardens. Though I bought a burner phone to keep in contact with my Australian friends, I saved a ton of money by switching to airplane mode and avoiding unnecessary roaming charges.
This is the most important aspect. If you retain anything from this article, I recommend keeping this section secured in your frontal lobe.
Watch a movie, read the same book, play phone games, share a meal over Skype – do something, do anything that gives you shared memories. I found that this was the most important piece to keeping our relationship alive. Having something to bond over is essential in maintaining any sort of relationship.
Just because you are apart, doesn't mean that you can't still surprise each other. While I was in Adelaide, I had a massive craving for cinnamon gum. For whatever reason, cinnamon gum isn't a thing in Australia. They have the mint and the fruity flavors, but no cinnamon! I longed for that spicy, sweet taste for months until Michael surprised me with an enormous package of gum. I chewed four pieces at once for about a week and cut back when I started to get sores from the gum. True story. The point is, you can still surprise someone even when you're on another continent.
Though these tips were directed toward maintaining a partnership, the principles can be applied to any sort of relationship you want to keep strong. Follow these tips and you're transition back home, and your relationships, will be all the less challenging.


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Q: How to Change Screen Resolution Programmatically? Let me tell you my problem. I want to change my screen resolution.
I can change it in an application but it changes only application's
screen. I wanna set system's resolution so it won't be important which
application is running on front. My device's resolution is set as 1280
* 720 p. Can I make it 1260 * 680? If it requires to make changes in
Android source code, I can. Just tell me where to change. Waiting for
your help.

A: This thread on xda-developers should set you on the right track.

A: Searching too a valid answer to this, but I have a lead to the solution :
WARNING Experimental buggy stuff :
/*
Requires android.permission.WRITE_SETTINGS
and android.permission.WRITE_SECURE_SETTINGS, thus it requires the app to be a system app.
 */
public void changeResolution(int x, int y){
    try { Class c = Class.forName("android.os.ServiceManager");
        try { Method method = c.getDeclaredMethod("checkService", String.class);
            try {
                IWindowManager mWindowManager = IWindowManager.Stub.asInterface((IBinder) method.invoke(null,Context.WINDOW_SERVICE));
                try { mWindowManager.setForcedDisplaySize(Display.DEFAULT_DISPLAY,x,y);
                } catch (RemoteException e) {e.printStackTrace();}
            }  catch (IllegalAccessException e) {e.printStackTrace();}
            catch (InvocationTargetException e) {e.printStackTrace();}
        } catch (NoSuchMethodException e) {e.printStackTrace();}
    } catch (ClassNotFoundException e) {e.printStackTrace();}
}

Add a reduced AIDL version of IWindowManager to your project :
/app/src/main/aidl/android/view/IWindowManager.aidl
package android.view;
interface IWindowManager
{
    boolean startViewServer(int port);   // Transaction #1
    boolean stopViewServer();            // Transaction #2
    boolean isViewServerRunning();       // Transaction #3

    void setForcedDisplaySize(int displayId, int width, int height);
    void clearForcedDisplaySize(int displayId);
    void setForcedDisplayDensity(int displayId, int density);
    void clearForcedDisplayDensity(int displayId);
}

The app will require to be in the system apps folder.
It does something for sure, but right now it also lead to severe bugs.
Rebooting seems to cancel changes.
Waiting for feedback on this.

A: If you are using Windows and know how to use JNI, Microsoft provides C++ Win32 function calls to do this:  ChangeDisplaySettingsEx() and EnumDisplaySettings().

redpajama_set_name: RedPajamaStackExchange


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Still photographs are the most powerful weapon in the world
Beologissmall installment loansStill photographs are the most powerful weapon in the world
09/08/2022 09/08/2022 / By Beologis / small installment loans/ 0 Comments
"The general killed the Viet Cong; I killed the general with my camera. People believe them; but photographs do lie, even without manipulation. They are only half-truths. … What the photograph didn't say was, 'What would you do if you were the general at that time and place on that hot day, and you caught the so-called bad guy after he blew away one, two or three American people?" (Wikipedia)
For Adams, the lie was the omission of context – that the plainclothes Lem had allegedly just been cese police but their civilian family members; that Loan was a good officer and not a cold-blooded killer… Like any great work of art, Adams' serendipitous photograph took on a life of its own… and a tapestry of meanings richer than its creator could ever have intended. (Text from the ExecutedToday website)
16. Leisure Time is another popular subject. This section features images that range from a 1958 photograph (by Loomis Dean) of an Elvis Presley serenade in the barracks to Stephen Colbert's 2009 Iraq appearance in a camouflage suit (by Moises Saman). More-intimate moments show an off-duty serviceman sleeping on a cot next to a wall of pinups (by Edouard Gluck) as well as another serviceman listening to music on headphones (by Alvaro Zavala). Army Staff Sergeant erican soldier stationed in Iraq, tending grass that the soldier has grown. (The soldier's wife sent him seeds from the United States, but he couldn't get the grass to grow until he purchased sod from a local Iraqi farmer.) (21 images)
17. Support features photographs of people planning operations and supplying troops behind the front, from flying troops and supplies to the battlefront, to making bread in factories and building temporary bridges. One iconic 1942 photo by Alfred Palmer shows women aircraft workers polishing the noses of bomber planes. A 1915-18 picture by an unknown photographer depicts two men working early battery-operated phones. In 2001, James Nachtwey captured a firefighter walking over burning rubble at the World Trade Center in New York. (13 images)
Alfred Palmer (American, 1906-1993) Women aircraft workers finishing transparent bomber noses for fighter and reconnaissance planes at Douglas Aircraft Co. Plant in Long Beach, California 1942 Gelatin silver print The Museum of Fine Arts, Houston, gift of Will Michels in honor of his sister, Genevieve Namerow
18. Medicine, divided into two subsections, presents doctors and nurses at work at the front, and individuals who are surviving with injuries. "Wartime Medicine" presents the conditions of medical operations on the battlefield, from Vo Anh Khanh's photograph of North Vietnam surgeons working in a swamp to Larry Burrows' emergency dressing station in Vietnam. "Subsequent to War" showcases survivors. A 2007 photograph by Peter van Agtmael shows a soldier with a prosthetic leg playing with his two sons and light sabres in a field. A 1985 photograph by Michael Coyne pictures a rehabilitation centre stacked with braces and artificial limbs for the victims of war in Iran and Iraq. Nina Berman's 2004 portrait of PTSD patient Randall Clunen, from the series Purple Hearts, relates the psychic scars of war get redirected here. (22 images)
Vo Anh Khanh (Vietnamese, b. 1936) A Cambodian guerrilla is carried to an improvised operating room in a mangrove swamp in this Viet Cong haven on the Ca Mau Peninsula 1970 © National Geographic Society
Peter van Agtmael (American, b. 1981) Darien, Wisconsin, Chromogenic print, ed. # 1/10 (printed 2009) The Museum of Fine Arts, Houston, gift of David and Cindy Bishop Donnelly, John Gaston, Mary and George Hawkins and Mary and Jim Henderson in memory of Beth Block © Peter van Agtmael / Magnum Photos


Parfumestock.club is 1 month old (current registration since 12 March 2019).
parfumestock.club is known by our system for 1 month. His IP address is 160.153.133.187 and there's at least 100 websites associated with this ip, it's a shared host.


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Q: Proof that for $2$ propositional formulas $F,G$ and $F \vDash G$, a formula $H$ exists with $F \vDash H$ and $H \vDash G$ For clarification, the symbol $\vDash$ means that for any allocation $\beta(F) =1 $ we get $\beta(G)=1$. Often this is associated with semantically entails. Moreover, $H$ only contains variables of $F$ and $G$.
To show this, I was thinking using the canonical DNF of $F$. If $F \vDash G$, there must be one or more conjunctions of Variables of $F$, that are true in both $F$ and $G$. Since $G$ might have additional variables, the allocation of these additional variables is irrelevant, i.e. they are always true, otherwise $F \vDash G$ would not hold.
Would this be a proper start? Any hints are highly appreciated!


Contractors discovered an air-raid shelter dating from the early 1940s beneath the Bann Bridge in Portadown in 2005. It is a rare find in Northern Ireland.
Building contractors discovered an air-raid shelter beneath the Bann Bridge in Portadown in 2005.
Thought to date from the early 40s, it's believed to be one of the last remaining in Northern Ireland. Widening and strengthening the Bann Bridge in the Edenderry area unearthed the discovery.
The shelter is an impressive wartime structure. It is one of the only intact examples of this type of air raid shelter in the country. Built into the river bank, it is both rare and well-preserved.
The VE Day celebrations in Portadown, Co. Armagh. Crowds gather outside St. Mark's Church from where you can see a water tank in the foreground and an air raid shelter further down the street. Photo from Portadown Photos.
The discovery in Portadown coincided with the 60th anniversary of Victory in Europe Day. Celebrations on VE Day occur on 8th May and 2005 became a significant one in the county Armagh town.
I would like to see the shelter kept and protected. It is a very important part of Portadown's history and it needs to be looked after.
Local people, historians, and enthusiasts decided to preserve the site for future generations.
After discovery, Farrans continued working around the 20′ x 6′ shelter before recovering it. The air raid shelter once again became hidden beneath the concrete bridge. The council placed a time capsule inside the shelter before covering it over. It contains a collection of items from the town's recent history. The hope is that a new generation might one day rediscover this historical site. From there, they will be able to learn more about the town and its post-war history.
Ten public air raid shelters such as this equipped the town of Portadown in County Armagh. In 1940, the government decided to protect towns from the threat of German bombers.
Portadown was well fortified for a town of its size. Public shelters were few across Northern Ireland. The government at first believed German planes would not be able to cover the distance to bomb Ulster. Their fuel tanks were too small to make it from Germany to Northern Ireland and back on a raid. With Nazi occupation of France in 1941, all this changed. The Belfast Blitz in April and May 1941 was proof the German's could make it.
Some older residents of the Portadown area remembered playing in shelters as children. It is not known where the other shelters stood or if any trace of them remains today. The Bann Bridge air raid shelter may be the only one preserved in the town.
Though it is inaccessible, the council placed a brass plaque on the outside of the shelter.
A plaque marks the site of the Air Raid Shelter under the Bann Bridge in Edenderry, Portadown. Built in the early 1940s, the site was rediscovered by a construction crew in 2005. Photo taken on 8th January 2014.
The plaque marks the site of the shelter next to the River Bann and details the date of its finding. Other examples such as the Carrickfergus shelter have not received the same care.
It is sad to see World War Two heritage disappear across the country in the name of development. We congratulate the Craigavon Borough Council for their foresight in maintaining this site.
If you enjoyed this post on "Bann Bridge Air Raid Shelter, Portadown, Co. Armagh", please share with your friends and followers.
Mrs. Maria Todd had been the organist at Tartarghan Parish Church for over 50 years when she died in a road accident during the blackout in October1940.
Drumcree Church of Ireland churchyard in Portadown, Co. Armagh contains five Commonwealth War Graves dating from World War Two between 1940 and 1946.
Seagoe Cemetery in the Co. Armagh town of Portadown contains fourteen Commonwealth War Graves relating to World War Two dating between 1940 and 1946.
The old Plaza Ballroom building on Bridge Street, Portadown has had many uses; in recent times a funeral parlour but in the 1940s, it was full of life.
The Bleary Pillbox is similar in construction to nearby structures at Drumlin Hill, Moyallan. It is one of seven pillboxes in the town making up defences along the River Bann.
Camp 11a, the Brownstown Prisoner of War Camp, was lost beneath redevelopment of the Brownstown Estate in the 1960s but residents remember German inmates.


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Ragnarok Productions' Joubin Mortazavi & Eli Frankel recently won Grand Jury Prize for their original screenplay DEAD BEHIND THE EYES at the 5th Annual Rhode Island International Film Festival.
The screenplay is a murder-mystery set in New Orleans that charts the dark journey of a homicide detective in his hunt for a serial killer.
Last year, 21 had its world premiere at this festival and won Best Picture!
As part of the Festival of Festivals, 21 was screened at the Mary Pickford Theater on the following dates:
Sunday, October 28 @ 1 PM
Thursday, November 1 @ 10:30 AM
The Mary Pickford Theater is located at East Palm Canyon Drive and Buddy Rogers in Cathedral City, California. Please call 760.328.7100 or visit www.festivaloffestivals.com for more information.
The Ragnarok Productions group recently travelled to New York for the IFP Market 2000. 21 screened on Saturday, September 16th at the Angelika Theatre. A party was held the night before at SPA, with an after-party at Revival.
Filmmakers Eli Frankel and Joubin Mortazavi joined cast members Matt Wheeler, Mike Shea, Dave Cast and Zack Carter, and their friends and family, for the New York premiere of 21.
On August 9, 2000, Joubin Mortazavi, Eli Frankel, "Boy Wonder" Etan Frankel, Mike Shea, Matt Wheeler, Zack Carter and Dave Cash travelled to Providence for the 4th Annual Rhode Island International Film Festival. There, they saw a lot of great films, partied a little too heavily and picked up an award for Best Picture.
The film festival staff, especially George T. Marshall and Christian de Resendez (pictured above, second from right), helped make it a once-in-lifetime experience.
Poster Design by Patricio Fuentes of Gel Communications


The ball will host 250 teenagers from 7pm to midnight. All food, beverages and goodie bags are included in the price of the ticket. There may be opportunities to purchase additional merchandise inside the event.
The dress code is to be confirmed - Tatler will not be enforcing any dress code but attendees are encouraged to embrace it.
A DJ and free photobooth are among the exciting entertainment on the night.
More details will be announced in the weeks preceding the event via Tatler online, Facebook and Twitter.
All personal possessions are guests' responsibility.
Tickets are available online via Tatler.com and Eventbrite.co.uk only and may be purchased by a parent or guardian using a credit or debit card.
No other ticketing agents will be selling Bystander Ball tickets.
No tickets will be available for purchase at the venue before or during the event.
Attendees must present their ticket at the door when requested and will not be admitted without it.
Tatler strictly upholds a no-drug policy at all events, as does the venue (Boujis).
Due to the age group, there is a no-alcohol policy at the event. No alcohol will be served and attendees will be searched on arrival.
If any guest arrives visibly intoxicated, they will be refused entry and monitored by a staff member until collection by a parent or guardian.
Any queue will be monitored by security and teens may be searched on arrival.
Teens will not be permitted outside without adult supervision.
On departure at any time, ALL teens must be collected on site by a parent or guardian.
Trained security staff will be on the door and inside the venue for the entirety of the event.
The event will be staffed substantially.
Qualified medics will be on site in case of any medical emergency.
Only Tatler-commissioned photographers and videographers will be permitted inside the venue, with image and film rights owned by Tatler. The photographs and video may appear in Tatler including all digital platforms, social media and other approved publications.
Cameras and cameraphones are permitted for use by teens.


text:
Miles Davis: The Autobiography
'MILES AHEAD...'
'MILES: THE AUTOBOGRAPHY'
by MILES DAVIS (with QUINCY TROUPE)
(Simon & Schuster 1989, Picador 1990
- £6.99 - ISBN 0-330-31382-7)
Today, John Coltrane is seen as the most spiritual performer in jazz history, with his visionary 'A Love Supreme' viewed as a transcendental vindication of the purest epiphany music can aspire to. Yet back then, Miles was forced to fire him from the group for nodding out between solos, picking his nose on stage and sometimes eating it. At the end of one Café Bohemia club set Miles allowed young gun Kenny Dorham up on stage to jam and was mortified when the guest's playing proceeded to blow the group to shreds. 'Man, was I pissed'. Fuming and nursing his hurt pride Miles schemed revenge. The following night he purposefully invited Dorham to join them earlier in the set, immediately following his solo by ramming into top gear, pulling every slick trick and maximising every technique from his not-inconsiderable resources of virtuosity, to wreak visceral havoc on the 'hippest audience in the city', and establish once and for all his supremacy in the pecking order.
Miles mistrusted and resented the white man, with good reason. 'Racist to the bone', segregation was still enforced, with lynchings used as a means of control and intimidation in the southern states, while even in more liberal NY whitey controlled every aspect of the music industry, radio, records, touring, deciding on arbitrary whim who would and would not achieve stardom. He respected and admired Louis Armstrong and Dizzy Gillespie, but despised what he saw as their wide-grin capitulation to minstrelsy white show-biz preconceptions. 'I wasn't about to kiss anybody's ass and do that grinning shit for nobody'. Yet, in a way unique to jazz, beyond wealth, popular status – or colour, cutting contests such as the one at the Café Bohemia, established respect. The one thing that set you apart was your improvisational skills. You could do it, or you were nowhere. When the more militant brothers protested to Miles why did he employ white musicians in his group when there were black players who needed the work?, his retaliation was instant, 'I'm hiring a motherfucker to play, not for what colour he is… if they're cool, they're cool, no matter what colour they are'.
Miles could be considered arrogant. Part of that was defensive. The press branded him difficult, aloof. He refused to announce the titles of the numbers he played on-stage. If the people were hip to what he was doing, they knew the titles already, if they weren't hip to it, they didn't matter. He extended his silence to deleting liner notes from his albums. Miles Dewey Davis III never condescended to anyone, and 'didn't take no shit off nobody'. He was not born poor-black. The son of a middle-class East St Louis dentist, he'd never come up through the impoverished blues tradition. He had absolute conviction in his ability, and that was enough. He knew his own value, and would accept nothing less. Supposedly at Julliard, he was taken in and adopted by the bop pantheon of 1940's New York, through whom he accelerated his chops, and picked up a heroin-habit. But neither drugs nor sex were as vital stimulants as music.
The eighteen-year-old Miles was 'sucking in everything. Man, it was something', with 'music all up in my body'. Chief among those 'scientists of sound', Charlie 'Bird' Parker was a genius musician, but a failed human being. 'I loved Charlie Parker as a musician – maybe not as a person'. Sharing a downtown cab on 52nd Street, Miles protested that Bird's gargantuan fried-chicken eating habit – not to mention the white girl down there fellating him, were unsettling. Bird suggested Miles stick his head out the window if he was offended. He did, but could still hear every damned chomp and slurp. 'Bird did more weird shit than anybody I ever met'. Later, dressed sharper than 'a broke-dick dog', Miles was hitting the first of his own multiple musical peaks with his 'classic sextet' ('Trane, Cannonball Adderley, drummer Philly Joe Jones, bassist Paul Chambers, with pianist Bill Evans replacing Red Garland). Each member playing 'above what he knows'. Miles was stripping the complexities of bop down into a new modal melodic simplicity named 'Birth Of The Cool' (1957), while collaborating on the new LP 'long-playing format' with Canadian arranger Gil Evans.
Yet by then, jazz was well into being relegated as the world's music of choice by the crude upstart Rock 'n' Roll. Miles never accepted such demotion. He evolved his clean unadorned style into the greatest jazz of the second half of the century through a series of audaciously inventive albums that did much to retain the profile and relevance of jazz itself. Later, hanging out with Jimi Hendrix and snorting coke with Sly Stone, he was intrigued as much by their musical innovations as by their access to the kind of mass sales-figures he felt he deserved. The results, the spacily electric million-selling psychedelia of 'Bitches Brew' (1970) and the ghetto-funkified 'On The Corner' (1972) spun the genre almost single-handedly into what became known as 'fusion'. Herbie Hancock, Chick Corea, Billy Cobham, Jack DeJohnette, John McLaughlin, and Weather Reporters Wayne Shorter and Joe Zawinul all perfected their art as part of the Miles Davis group, through his inspired tutelage. Miles died 28th September 1991, aged 65, soon after taping this autobiography. In (largely) his own words he's every bit as confrontationally extreme as his music, and as his spikily bristling reputation would suggest (while recalling exact detailed personnel lists from obscure sessions he'd played even in the depths of addiction). Much of what is now considered edgily cutting, he was doing back then, clear down to the hip-hop vocabulary. Everything is 'motherfucking'. Whether that means good or bad depends on context. As does good or bad. He lays out the evidence. The story as he lived it. Then leaves you to draw your own conclusions. He'd expect no less.
www.milesdavis.co.uk
Originally Featured on the website:
'SOUNDCHECKS MUSIC REVIEW'
www.soundchecks.co.uk/books
(UK - July 2007)
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Poem: "Slits In Aerosol Green"
Charlie Parker: 'Blues For Bird'
Eric Burdon & The New Animals 'Live'


text:
Leptodrassex hylaestomachi est une espèce d'araignées aranéomorphes de la famille des Gnaphosidae.

Distribution
Cette espèce est endémique des îles Canaries.

Publication originale
 Berland, 1934 : Description d'une araignée nouvelle du genre Leptodrassus. Proceedings of the Zoological Society of London, , .

Liens externes

Notes et références

Gnaphosidae
Espèce d'araignées (nom scientifique)
Faune endémique des îles Canaries


text:
This site requires JavaScript for being displayed.
How do I activate JavaScript in this web browser?
Diese Webseite benötigt JavaScript, um dargestellt zu werden.
Wie aktiviere ich JavaSript in diesem Browser?
Swiss Nanoscience Institute
Techtransfer
SNI Members
SNI Professors
Informationen for entrepreneurs
Nanosciences
Contacts and Dates
City Of Basel
Nano Imaging Lab
SNI INSight
schliessen / öffnen
What does nano mean?
Examples of projects
«The laws of the nanoworld are different from those of the macroworld. We aim to understand and apply them.»
Prof. Christoph Gerber, SNI Vice Director and awardee of the Kavli Prize
With the aid of an atomic force microscope, bromine atoms were arranged in the shape of a tiny Swiss cross (5.6 nm in size) on a sodium chloride surface. The structure is stable at room temperature and was produced by the exchange of chlorine and bromine atoms. (image: University of Basel, Department of Physics)
The nanosciences deal with objects only a few nanometers in size. Typically, these objects consist of just a small number of atoms and molecules.
The laws that govern this nanometric world are different from those encountered in the macroworld with which we are so familiar. Nanoscientists are trying to get to the bottom of these laws. In many cases, nature provides the model, as this is where the interaction of individual molecules and atoms is perfectly attuned.
At the nanometric scale, physical, chemical, and biological questions play an important role. In nanoscience research, however, the boundaries between the classical disciplines break down. In this area, success depends on close partnership working in interdisciplinary teams. Physicists, biologists and chemists – as well as material scientists, physicians and computer technologists – therefore work hand in hand to push forward nanoscience and applications in nanotechnology.
In recent years, nanoscience and nanotechnology have been responsible for some important technological achievements. The range of possible applications is huge. For this reason, nanotechnology is often described as the key technology of the 21st century.
SNI update
© University of Basel


Never been to (our) church before?
The service is a celebration of the Eucharist ('The Lord's own service on the Lord's own day') and it is celebrated in a way that affirms our Catholic tradition. It does, however, have a less formal feel than our usual Sunday morning Sung Mass.
The music is much more contemporary; we use a more modern and 'upbeat' Mass setting and a mixture of modern worship songs and traditional hymns, led by a small worship band and, sometimes, the organ. Our aim is to be more relaxed and open to the presence and gifts of the Holy Spirit. The service usually includes prayer ministry during Communion for those who want it.
From about 9.50 a.m. onwards, the music group sings worship songs to create an atmosphere of praise and worship. They may at this point sing some of the lesser-known songs that will be used later in the service so that they're not so unfamiliar later on.
The service itself starts at10.00am.
Below you can read an article which explains some of the reasons for this change. A number of people in our congregation had requested another less formal service, and the PCC was unanimous in agreeing to this proposal. We're sure that people will soon get to know the new Mass setting and enjoy the new worship songs and that we will all soon adapt to what will hopefully prove to be a very positive change.
The Tribes of the Lord?
The request came in a phone call from the minister of a neighbouring church in my last parish. Interestingly, this church wasn't Anglican; it was a Baptist church with a very strong evangelical ethos! The congregation there had started to explore a more 'liturgical' form of worship; they wanted to experience and express the 'otherness' of God, to combine the customary joy of their services with a sense of mystery, and to engage all five of their senses in praising God.
I have read in a number of publications about a growing trend amongst younger Evangelical Christians towards more traditional styles of worship. Change is most certainly in the air, but the traffic isn't all one way. For some time now, congregations with a strong sacramental and liturgical tradition have been incorporating more contemporary music and adopting a degree of spontaneity in their worship. We see this in the life of many Roman Catholic churches, and it reminds us that being "Catholic" doesn't mean being old-fashioned and only singing Plainchant or Victorian hymns.
The Church of England has always been a 'broad' church, encompassing a range of theologies and worship-styles. The word 'churchmanship' has traditionally been used to describe individuals and churches as 'Evangelical', 'Charismatic', 'Liberal' (middle-of-the-road) or 'Catholic'. These groupings have sometimes felt rather 'tribal', each having its own special customs and being rather suspicious of - or even hostile to - members of other 'tribes'.
There are signs that this is now changing.
Clergy friends in the London diocese in particular tell me that Evangelical and Anglo-Catholic churches are increasingly working together and often worshipping together, respecting their differences and also borrowing from each other's tradition and learning from one another. The new generation of clergy, whilst still having a 'churchmanship' identity seem to be less constrained by it, and the latest Ordination training course set up by the former Bishop of London, 'The College of St Mellitus' describes its ethos as 'Charismatic Catholic'.
In Wigston Magna, over the last year or two we have been developing an excellent working relationship with 'WIGWAM' (Wigston with a Mission) – a Fresh Expression of Church developed by Holy Trinity Leicester, a firmly Evangelical/Charismatic church. We have worked together on the monthly pop-up Café and other outreach ventures and we hope that they will join with us in our 'Fan the Flame' renewal week later this year. As our friendship grows, a natural development would be to start praying together and worshipping together, at least from time to time. But how is this possible, given our very different worshipping traditions?
The 'On Fire Mission' is a network rooted in the Church of England, and open to all, which is dedicated to promoting charismatic (spirit-filled) renewal blended with the riches of Catholic spirituality and sacramental worship. Some time ago, WIGWAM's co-ordinator Matthew and I attended a Midlands Renewal Day organised by The On Fire Mission in Warwick. Both of us were out of our comfort zone for different reasons. The worship in the afternoon was a Eucharist with full catholic ceremonial (vestments, bells and smells etc) but the music was very contemporary - and I mean contemporary – not the tired, trite 'ditties' of the 1970s/80s! There was space for silence and reflection and there was a time of informal prayer ministry. God was praised with both genuflexions and waving arms, and it was a very powerful, 'heady' mix. Both Matthew and I left feeling renewed, excited and challenged.
Since then, Matthew and I have been in conversation with my counterpart at Holy Trinity, the Revd John McGinley, with members of the Mission and Ministry Division of the Diocese and members of the Bishop's senior staff team. We have agreed that it would be good to explore our partnership with WIGWAM and Holy Trinity further, and as part of this, to look at how our worshipping traditions might be 'fused' together to bring a new element to our worship.
In addition to our friends from WIGWAM, our All Saints congregation has been joined recently by worshippers who come from a Charismatic tradition but who are now seeking a more Catholic spirituality. We also have the beginnings of a live worship band, and in Fr Clive, we have a Curate with a history of involvement with the On Fire Mission. I think, therefore, we can safely say that God is clearly at work here and giving us some fairly heavy hints of what he wants us to do!
The PCC has agreed to the gradual introduction of a 'New Fire Mass' on the third Sunday of each month and will be giving consideration to how we might further broaden the range of our services and explore what other traditions may have to teach us. In doing so, we won't be abandoning our own tradition as a firmly open, inclusive and Catholic parish, but we will hopefully be joining others in moving away from an outdated and unhelpful tribalism and offering a wider range of services that may attract new worshippers. We will certainly be attending to the promptings of God's Holy Spirit, and allowing him to lead us into what should be an exciting new chapter in our life.


text:
Q: Why do I need div table in my layout? - yii I'm running into a strange scenario involving a widget and the lay-out. I've created a layout that overrides the original column 2 lay-out. It calls a widget in the file and in that widget display a table on the side-bar of some information that I would like to show the user. The layout sidetable.php looks like this
    <?php $this->beginContent('//layouts/main'); ?>

            <?php
        $this->widget('ListSummaryWidget', array('totaldue'=>$totaldue));
        ?>

            <?php echo $content; ?>

    <?php $this->endContent();  ?>

Now all this works  - displaying a datatable on the left hand column of the screen. However, something strange happens. Whenever I git rid of

The whole view breaks - showing a ridiculous structure/layout that doesn't look much at all like the original. This is confusing/intriguing. In my widget I declare the exact same table and yet it does not seem to matter that I declare this table. Here is the code for my widget's view

    <form action="<?php echo Yii::app()->createUrl('recipient/processpayment', array('id'=>$id)) ?>" method="post" >

List Summary

              <?php echo $numpeople; ?> Recipient(s)

              Total Due:  <?php echo $totaldue ?> Rwf

 Mobile Money Accounts:

            <?php
            /*
                foreach($accounts as $account)
                {
                    echo $account->name; ?>:  <?php echo $account->balance; ?> Rwf
 <?php
                }
                */
            ?>

            <button class="btn btn-block btn-primary " type="submit">Pay Now</button>

    </form>

Could anyone explain why this is happening? Though it's not the worst thing in the world - I'm really intrigued as to why I'm required to have some html when I have the same html in the widget's view.

A: Resolved:
I didn't end the table in my widget. I should have added at the end