text:
Q: unable to update variable in angular component I am learning angular and I am having an issue updating a variable.
the function toggleVariable should toggle isUserNameEmpty but its not working at all
export class ServersComponent implements OnInit {

  userName = '';
  isUserNameEmpty=true;

   onUserNameUpdate(event:any){
    this.userName = (<HTMLInputElement>event.target).value;
    this.toggleVariable( this.userName,this.isUserNameEmpty);
  }

  toggleVariable(variableName,variableToToggle){

    if(variableName!=''){
      console.log('not empty');
      console.log('variableName: '+variableName);
      console.log('variableToToggle: '+variableToToggle);
      variableToToggle=false;
    }
    else if (variableName==''){
      console.log('empty');
      console.log('variableName: '+variableName);
      console.log('variableToToggle: '+variableToToggle);
      variableToToggle=true;
    }
  }

  clearUserName(){
    this.userName = '';
  }

}

A: You are not modifying the isUserNameEmpty property.  You are only modifying the value of variableToToggle within the scope of the method. try this
  toggleVariable(variableName) {

      this.isUserNameEmpty = variableName === '';

  }

redpajama_set_name: RedPajamaStackExchange


By The Associated Press April 17, 2019 Updated: April 17, 2019 7:22 a.m.
Authorities are searching for 18-year-old Sol Pais, who they say has made threats and is "infatuated" with the 1999 mass shooting at Columbine High School.
Godiva is rolling out over the next six years 2,000 cafes that will serve a complete menu of items like the croiffle, a croissant and waffle hybrid.


The Kings Journey is an absorbing puzzle game, based on the moves that the king makes in the game of chess. You may have come across knights tour puzzles, where you must work out how the knight can move around the board visiting each square once.
The Kings Journey puzzle is played on a grid of varying sizes, and you must work out how the king moves from the first square to the last square of his journey, which are numbered. Various steps along the way are numbered, and you must arrive at these in turn.
For instance, if a square has the number '5' in it, this must be the fifth square the king visits. Your task is to retrace the king's path, bearing in mind that he can move only one square at a time, in any direction (vertically, horizontally, or diagonally). He must only visit each square once. Can you work out the king's journey from the first to the last square (here denoted in pink), visiting each of the green cells at the required stage?
Because of the way the king moves, in this example we know that the number '3', corresponding to the third move of the king, must be in either cell 2 or cell 8 of this 7x7 puzzle. We can place '25' straight away, as it must go to the right of the square numbered 24 as there is no other way to connect 24 and 26. There is one unique solution to each puzzle that can be worked out through logic alone (no guessing required).
If you are interested in buying this absorbing puzzle game (you may have played it under names such as hidoku), then we can supply a range of different grid sizes, difficulty levels and grid patterns (including blocked cells and so on for added interest and challenges).
Publishers - Please contact us to buy Kings Journey puzzles for publication in your book, magazine, newspaper, any other printed media or online.


About 17 kids joined KKC, February 2018, in the village Pollur, located in Andhra Pradesh state in southest India. 30 kids is the aim, but KKC need more sponsors. Please, contact KKC if you would like to support the activites in Pollur.
In Pollur most of the people belongs to the religions Hindu or Christians. People living here are sessional labour. The children in KKC Pollur originates from poor backgrounds. The community people go for labour work to the urban areas. Many of the people are illiterate. Many children in Pollur are not able to get proper education. There health facilities are poor and child labour is very common.


As one of my last tasks as a SW guy in Sun Austria, we'll do a Glassfish and MySQL breakfast tomorrow. Starting at 830 at the "Salzberg". See details here and here.
Alexis will do one of his great glassfish presos/demos.


text:
The UK (England, Scotland, Northern Island and Wales) offers an extended history of teaching some of the world's greatest personalities. England has been the most dominant among the four countries in the UK, with about 80% of the total population share.
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New Zealand is an island country with a population of only 4.5 million and a total land area of around 268,000 square kilometers. It is situated in the southwestern Pacific Ocean and is part of Oceania.
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Europe comprises of 44 countries out of which there are 26 Schengen countries which is quite popular for their scenic beauty, beaches, museums, cultural diversity, cuisines, history and much more.
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redpajama_set_name: RedPajamaCommonCrawl


text:
Q: How to access midi percussion on delphi? I know how to play the 128 sounds form midi instruments, what I am needing is how to access the midi percussion.

A: Using Wikipedia, MSDN and MIDI.org, I found out how to use the percussion 'instruments'. (That is, I found out how to set the channel.) Try the following code. It is totally awesome.
unit Unit5;

interface

uses
  Windows, Messages, SysUtils, Variants, Classes, Graphics, Controls, Forms,
  Dialogs, MMSystem;

type
  TForm5 = class(TForm)
    procedure FormCreate(Sender: TObject);
  private
    { Private declarations }
  public
    { Public declarations }
  end;

var
  Form5: TForm5;

type
  TMIDIInstrument = (midiAcousticGrandPiano, midiBrightAcousticPiano,
                     midiElectricGrandPiano, midiHonkyTonkPiano,
                     midiRhodesPiano, midiChorusedPiano, midiHarpsichord,
                     midiClavinet, midiCelesta, midiGlockenspiel,
                     midiMusicBox, midiVibraphone, midiMarimba, midiXylophone,
                     midiTubularBells, midiDulcimer, midiHammondOrgan,
                     midiPercussiveOrgan, midiRockOrgan, midiChurchOrgan,
                     midiReedOrgan, midiAccordion, midiHarmonica,
                     midiTangoAccordion, midiAcousticGuitarNylon,
                     midiAcousticGuitarSteel, midiElectricGuitarJazz,
                     midiElectricGuitarClean, midiElectricGuitarMuted,
                     midiOverdrivenGuitar, midiDistortionGuitar,
                     midiGuitarHarmonics, midiAcousticBass, midiElectricBassFinger,
                     midiElectricBassPick, midiFretlessBass, midiSlapBass1,
                     midiSlapBass2, midiSynthBass1, midiSynthBass2, midiViolin,
                     midiViola, midiCello, midiContrabass, midiTremoloStrings,
                     midiPizzicatoStrings, midiOrchestralHarp, midiTimpani,
                     midiStringEnsemble1, midiStringEnsemble2, midiSynthStrings1,
                     midiSynthStrings2, midiChoirAahs, midiVoiceOohs,
                     midiSynthVoice, midiOrchestraHit, midiTrumpet, midiTrombone,
                     midiTuba, midiMutedTrumpet, midiFrenchHorn, midiBrassSection,
                     midiSynthBrass1, midiSynthBrass2, midiSopranoSax, midiAltoSax,
                     midiTenorSax, midiBaritoneSax, midiOboe, midiEnglishHorn,
                     midiBassoon, midiClarinet, midiPiccolo, midiFlute,
                     midiRecorder, midiPanFlute, midiBottleBlow, midiShakuhachi,
                     midiWhistle, midiOcarina, midiLead1Square,
                     midiLead2Sawtooth, midiLead3CalliopeLead, midiLead4ChiffLead,
                     midiLead5Charang, midiLead6Voice, midiLead7Fifths,
                     midiLead8BrassLead, midiPad1NewAge, midiPad2Warm,
                     midiPad3Polysynth, midiPad4Choir, midiPad5Bowed,
                     midiPad6Metallic, midiPad7Halo, midiPad8Sweep, midiFX1Rain,
                     midiFX2Soundtrack, midiFX3Crystal, midiFX4Atmosphere, midiFX5Brightness, midiFX6Goblins,
                     midiFX7Echoes, midiFX8SciFi, midiSitar, midiBanjo, midiShamisen,
                     midiKoto, midiKalimba, midiBagpipe, midiFiddle,
                     midiShanai, midiTinkleBelll, midiAgogo, midiSteelDrums,
                     midiWoodblock, midiTaikoDrum, midiMelodicTom, midiSynthDrum,
                     midiReverseCymbal, midiGuitarFretNoise, midiBreathNoise,
                     midiSeashore, midiBirdTweet, midiTelephoneRing,
                     midiHelicopter, midiApplause, midiGunshot);

const
  MIDI_NOTE_ON = $90;
  MIDI_NOTE_OFF = $80;
  MIDI_CHANGE_INSTRUMENT = $C0;
  MIDI_DEVICE = 0;
  MIDI_VEL = 108;
  MIDI_PERCUSSION_CHANNEL = 9;

implementation

{$R *.dfm}

var
  mo: HMIDIOUT;

function MIDIEncodeMessage(Channel, Msg, Param1, Param2: integer): integer;
begin
  result := Channel or Msg + (Param1 shl 8) + (Param2 shl 16);
end;

procedure SetCurrentInstrument(CurrentInstrument: TMIDIInstrument);
begin
  midiOutShortMsg(mo, MIDIEncodeMessage(0, MIDI_CHANGE_INSTRUMENT, ord(CurrentInstrument), 0));
end;

procedure NoteOn(Channel, NewNote, NewIntensity: byte);
begin
  midiOutShortMsg(mo, MIDIEncodeMessage(Channel, MIDI_NOTE_ON, NewNote, NewIntensity));
end;

procedure NoteOff(Channel, NewNote, NewIntensity: byte);
begin
  midiOutShortMsg(mo, MIDIEncodeMessage(Channel, MIDI_NOTE_OFF, NewNote, NewIntensity));
end;

procedure TForm5.FormCreate(Sender: TObject);
var
  i: Integer;
begin
  midiOutOpen(@mo, 0, 0, 0, CALLBACK_NULL);
  midiOutSetVolume(mo, $FFFFFFFF);

  // Normal MIDI
  SetCurrentInstrument(midiChurchOrgan);
  NoteOn(0, 20, 127);
  sleep(200);
  NoteOn(0, 50, 127);
  sleep(200);
  NoteOn(0, 80, 127);
  sleep(200);
  NoteOn(0, 110, 127);
  sleep(1000);
  NoteOff(0, 110, 127);
  sleep(200);
  NoteOff(0, 80, 127);
  sleep(200);
  NoteOff(0, 50, 127);
  sleep(200);
  NoteOff(0, 20, 127);

  SetCurrentInstrument(midiAcousticGuitarNylon);
  NoteOn(0, 100, 127);
  NoteOn(0, 50, 127);

  sleep(1000);

  // Percussion
  for i := 0 to 127 do
  begin
    NoteOn(MIDI_PERCUSSION_CHANNEL, i, 127);
    sleep(100);
  end;

end;

end.

As you can see, you only need to include the channel into the MIDI message. The percussion channel is 9 (the 10th channel). (All other channels are 'normal' channels; see the Wikipedia article.)

A: The MIDI standard itself does not define any instruments or percussion sounds.
The General MIDI specification defines 128 instruments, and 47 percussion sounds.
All channels except channel 9 (counting from zero) play instruments, channel 9 plays percussion sounds, with different note numbers resulting in different sounds.
Other specifications (General MIDI 2, GS, XG etc.) define more sounds, and have mechanisms to select which channel(s) to use for percussion sounds.


text:
Caseload Statistics Data Tables
This section of uscourts.gov provides statistical data on the business of the federal Judiciary. Specific publications address the work of the appellate, district, and bankruptcy courts; the probation and pretrial services systems; and other components of the U.S. courts.
Filter for statistical tables by topic, report, or date. Topics include court of appeals, district and bankruptcy courts, and the U.S. Supreme Court. The district court topic includes sub-topics for data on jury, civil, criminal, magistrate judges, probation, pretrial services, and trials.
Search by table number
Select a publication name
-- All --Bankruptcy Abuse Prevention and Consumer Protection Act (BAPCPA)Civil Justice Reform Act (CJRA)Delayed Notice Search WarrantStatistical Tables For The Federal JudiciaryWiretapFederal Court Management StatisticsFederal Judicial Caseload StatisticsJudicial BusinessJudicial Facts and FiguresBankruptcy Filings
-- All --Delayed Notice Search WarrantU.S. Courts of Appeals-Bankruptcy Appellate Panels-Circuit Courts-Federal CircuitU.S. Bankruptcy Courts-Bankruptcy-Adversary Proceedings-BAPCPAU.S. District Courts-Civil-Civil Justice Reform Act (CJRA)-Criminal-Federal Defenders-Grand Jury-Magistrate Judges-Passports/Oaths of Allegiance-Petit Jury-Pretrial Services-Probation-Three-Judge Hearing-TrialsJudges-Active/Senior/Recalled Judges-Judgeships-Judicial Complaints-Judicial VacanciesCourts of Special Jurisdiction-Court of Federal Claims-Court of International Trade-Judicial Panel on Multidistrict LitigationU.S. Supreme CourtWiretap
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-- All --ending March 31stending June 30thending September 30thending December 31st
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Table Number
U.S. Federal Courts - Work of the Federal Judiciary JCI March 31, 2019 Federal Judicial Caseload Statistics Download Table JCI—U.S. Federal Courts Federal Judicial Caseload Statistics (March 31, 2019) (xlsx, 18.63 KB)
U.S. Federal Courts - Work of the Federal Judiciary JCI March 31, 2002 Federal Judicial Caseload Statistics Download Table JCI—U.S. Federal Courts Federal Judicial Caseload Statistics (March 31, 2002) (pdf, 8.39 KB)
U.S. Federal Courts - Work of the Federal Judiciary JCI June 30, 2014 Statistical Tables For The Federal Judiciary Download Table JCI—U.S. Federal Courts Statistical Tables For The Federal Judiciary (June 30, 2014) (pdf, 36.26 KB)
U.S. Federal Courts - Work of the Federal Judiciary JCI December 31, 2016 Statistical Tables For The Federal Judiciary Download Table JCI—U.S. Federal Courts Statistical Tables For The Federal Judiciary (December 31, 2016) (pdf, 60.37 KB)
U.S. Federal Courts - Work of the Federal Judiciary JCI March 31, 2016 Federal Judicial Caseload Statistics Download Table JCI—U.S. Federal Courts Federal Judicial Caseload Statistics (March 31, 2016) (pdf, 60.02 KB)
U.S. Federal Courts - Work of the Federal Judiciary JCI June 30, 2001 Statistical Tables For The Federal Judiciary Download Table JCI—U.S. Federal Courts Statistical Tables For The Federal Judiciary (June 30, 2001) (pdf, 8.2 KB)
U.S. District Courts - Weighted and Unweighted Filings per Authorized Judgeship 6.2 September 30, 2019 Judicial Facts and Figures Download Table 6.2—U.S. District Courts–Combined Civil and Criminal Judicial Facts and Figures (September 30, 2019) (pdf, 101.59 KB)
U.S. District Courts - Weighted and Unweighted Filings per Authorized Judgeship X-1A September 30, 2016 Judicial Business Download Table X-1A—Other Judicial Business (September 30, 2016) (pdf, 108 KB)
U.S. District Courts - Weighted and Unweighted Filings per Authorized Judgeship X-1A September 30, 2019 Judicial Business Download Table X-1A—Other Judicial Business (September 30, 2019) (pdf, 92.64 KB)
U.S. District Courts - Weighted and Unweighted Filings per Authorized Judgeship X-1A September 30, 2002 Judicial Business Download Table X-1A—Other Judicial Business (September 30, 2002) (pdf, 15.3 KB)
U.S. District Courts - Weighted and Unweighted Filings per Authorized Judgeship 6.2 September 30, 2009 Judicial Facts and Figures Download Table 6.2—U.S. District Courts–Combined Civil and Criminal Judicial Facts And Figures (September 30, 2009) (pdf, 39.01 KB)
U.S. District Courts - Weighted and Unweighted Filings per Authorized Judgeship 6.2 September 30, 2016 Judicial Facts and Figures Download Table 6.2—U.S. District Courts–Combined Civil and Criminal Judicial Facts and Figures (September 30, 2016) (pdf, 13.9 KB)
U.S. District Courts - Weighted and Unweighted Filings per Authorized Judgeship X-1A September 30, 2003 Judicial Business Download Table X-1A—Other Judicial Business (September 30, 2003) (pdf, 399.26 KB)
U.S. District Courts - Weighted and Unweighted Filings per Authorized Judgeship 6.2 September 30, 2005 Judicial Facts and Figures Download Table 6.2—U.S. District Courts–Combined Civil and Criminal Judicial Facts And Figures (September 30, 2005) (pdf, 8.67 KB)
U.S. District Courts - Weighted and Unweighted Filings per Authorized Judgeship X-1A September 30, 2018 Judicial Business Download Table X-1A—Other Judicial Business (September 30, 2018) (pdf, 396.9 KB)
U.S. Bankruptcy Courts - Voluntary and Involuntary Cases Filed, by Chapter of the Bankruptcy Code 7.2 September 30, 2009 Judicial Facts and Figures Download Table 7.2—U.S. Bankruptcy Courts Judicial Facts And Figures (September 30, 2009) (pdf, 38.37 KB)
U.S. Bankruptcy Courts - Voluntary and Involuntary Cases Filed, by Chapter of the Bankruptcy Code 7.2 September 30, 2019 Judicial Facts and Figures Download Table 7.2—U.S. Bankruptcy Courts Judicial Facts and Figures (September 30, 2019) (pdf, 78.2 KB)


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Home » Celebrities » People Are Furious Over This Photo of "The Rock"
Dwayne "The Rock" Johnson is a pretty well-liked guy, from his fun action movies to his relationship with girlfriend Lauren Hashian. The actor and former pro wrestler is also known for his funny Instagram posts, but a recent photo the actor posted is causing some controversy.
On Friday, Johnson posted a photo of himself smiling while sitting on top of alligator and holding its mouth shut.
While the picture now has over a million likes, and some fans didn't see anything wrong with what Johnson did, a noticeable amount of critical comments can be seen under the photo.
"Wrong is wrong. He shouldn't be sitting on an alligator," one follower wrote. "Try to wrestle the gator in her natural environment and not punish her because of how she ate to survive. Animal cruelty," another added. "@instagram why is there no "report animal abuse" option? This is intolerable!" a third wrote.
As W Magazine previously reported, Johnson posted a similar photo in April. In the caption, he explained how he prepared for his movie Rampage, in which he fought a crocodile, but he received negative comments on that photo as well.
"Gorillas weren't the only animals I spent time with for my RAMPAGE research.
Luckily, I'm a country boy who lives only a few miles from the swamps of the Florida Everglades," he wrote.
Johnson hasn't commented on the outrage on either photo.
The Animal Rights Foundation of Florida has previously condemned alligator wrestling, and in 2017 Vice reported that while attractions like gator shows and alligator wrestling are fueling the independent tourism industry in Florida, it's a felony to kill or injure an alligator unless authorized by the Fish and Wildlife Conservation Commission in the state. Thankfully, The Rock doesn't seem to be injuring the alligator in his photo, but he did anger a lot of animal-rights activists.
Hillary Clinton Reveals If She's Team Dwayne Johnson or Vin Diesel in 'Fast & The Furious' – Watch Now!


text:
Shop » Products tagged "Morellino di Scansano"
Morellino di Scansano DOCG
is an Italian red wine made in the hilly surroundings of the village of Scansano, in the Maremma region of coastal Tuscany, which has an ancient, but obscure, tradition of winemaking. Morellino di Scansano became a DOCG wine only with the 2007 harvest, even though it was established as a DOC in 1978.
Morellino di Scansano does not need to age in wood and can be released in March after harvest, meaning that it can be found on the shelf at less than 8 months old, thus is often a fresh and crisp wine. Ruby red colour, a winy aroma with fruity notes, a good freshness and sapidity, combined with softness or sometimes a slight tannic texture.
Morellino di Scansano Riserva can be released on 1 January two years after the harvest, at least one of which it has to age in wood. Intense red colour, which tends to become ruby red with ageing, a fruity aroma (marasca cherries, red fruits and plum), spicy and vanilla notes. When tasted it is dry, full-bodied, from slightly tannic to soft.
Bottling also must be made within the area of production of the grapes, except for the wineries that historically bottled Morellino di Scansano outside the are of production, before the DOCG recognition.
Despite being relatively recent addition to the wine route, the history of Morellino di Scansano DOCG is deeply rooted in the ancient times. Numerous archaeological findings dating back to the Etruscan period, especially in the areas of Scansano and the Albegna valley, prove that the local production of grapevines was already fundamental for the Etruscans. Other discoveries such as terracotta jars containing some vitis vinifera seeds, bronze statuettes and other artefacts confirm the strong relationship with wine at that age. After having conquered the Fortress of Ghiaccioforte, around 280 B.C., the Romans took possession of the territories of Scansano and allow the further development of agriculture. Wine was thus produced for the western provinces of the empire, as evidenced by the discovery of several shipwrecks and kilns used for the production of wine amphorae, which confirm the flourishing trade, both by sea and through the Aurelia and Clodia roads. In fact, the wreck contained a large number of wine amphorae marked with the letters SES, the initials of the powerful Roman Sestii family, traders and landowners in the area of Cosa, present-day Ansedonia. With the decline of the Roman Empire, Scansano, as well as the rest of the Maremma region, inevitably experienced a period of crisis and deterioration due to the abandonment by the population, which led to the hydrogeological instability and swamping of the coastal areas. Although wine production survived around the inhabited centres of earlier Etruscan settlements, the extensive production of the Roman settlements failed. Viticulture remained a residual practice of smallholders and farmers who kept vineyards, often on terraced ground, for wine production destined for family consumption and the local market. After a relative decline in the Middle Ages, during the 19th century the practice of the "Estatatura" (seasonal migration of people), inaugurated by Peter Leopold I of Lorraine in 1737, determined the arrival of the wealthy families in the Scansano area, encouraged by the Grand Duke to invest and enhance the Maremma district. It was a sort of peaceful migration, which lasted from June to October, where the public offices of the province of Grosseto moved to Scansano to escape malaria. According to tradition, Morellino takes its name from the bay horses called 'morelli', which were used to tow the carriages of the families and officials when they moved to Scansano. The word 'morelli' evokes all the strength and intensity of this type of horses. The name may also come from the morello cherry, a dark red cherry with great tartness and acidity. Morellino di Scansano became a DOCG wine only with the 2007 harvest, even though it was established as a DOC in 1978. The DOCG regulations make some changes to the previous technical specification. The Production area was cemented as the historical one, that is, the whole town of Scansano and part of the towns of Campagnatico, Grosseto, Magliano in Toscana, Manciano, Roccalbegna, Semproniano. Minimum 85% of Sangiovese grapes. Maximum 15% of other grapes from black grape varieties allowed in Tuscany (Canaiolo, Ciliegiolo, Malvasia, Colorino, Alicante, and more recently also Merlot, Cabernet Franc, Cabernet Sauvignon, Syrah, and other international black grape varieties). Production is restricted to 90 quintals per hectare (while the DOC regulation allowed 120 quintals per hectare). Producers historically kept to this limit anyway, despite being allowed more by the DOC regulation. A clear indication of the quality pride in the region. Vinification process must take place only in the production area of the grapes, as provided for by the previous regulation dated back to 1978. Bottling must take place in the production area of the grapes, without prejudice to the right acquired by the firms that have historically bottled Morellino di Scansano outside the aforementioned area before the transition to DOCG. This wine, in the "Vintage" type, shows a ruby red colour, a winy aroma with fruity notes, a good freshness and sapidity, combined with softness or sometimes a slight tannic texture. It can be marketed from the spring after the harvest. The Morellino di Scansano in its Riserva version has an intense red colour, which tends to become ruby red with aging, a fruity aroma (marasca cherries, red fruits and plum), spicy and vanilla notes. These characteristics are due to the long aging, at least two years, one of which in wood. When tasted it is dry, full-bodied, from slightly tannic to soft.
More information at https://www.consorziomorellino.it/
Italy, Red, Toscana, Wine
Cecchi Morellino di Scansano La Mora 2017 75cl
Cecchi Morellino di Scansano Riserva 2011 75cl
Maxime Trijol Extra Grande Champagne 70cl €158.49 inc. VAT
San Niklaw Kappella San Nicola Mourvedre 2015 75cl €62.00 inc. VAT
Marchesi di Barolo Vini di Collina 4 x 75cl €94.75 inc. VAT


text:
Captain Crow's Company, Enrolled April 20, 1832
Oct 14, 2016 | Military | 0 comments
Of the Brigade of Mounted Militia Volunteers commanded by Brig.-Gen. Samuel Whitesides, United States Army. Mustered out of the service of the United States at the mouth of Fox River, on the Illinois, on the 27th day of May, 1832; distant 250 miles from the place of enrollment.
Name and Rank Residence Enrolled Remarks
David Crow Quincy, Ill. April 20, 1832
First Lieutenant.
Christopher Howard. Quincy, Ill. April 20, 1832
Second Lieutenant.
Elijah G. Lillard Quincy, Ill. April 20, 1832
Sergeants.
Jno. Crawford, 1st Quincy, Ill. April 20, 1832
George Campbell, 2d Quincy, Ill. April 20, 1832 Sick and present
John F. Battell, 3d Quincy, Ill. April 20, 1832
James Crawford, 4th Quincy, Ill. April 20, 1832
Corporals.
Daniel Harty Quincy, Ill. April 20, 1832
Coleman Talbert Quincy, Ill. April 20, 1832
Jno. Fletcher Quincy, Ill. April 20, 1832 Furloughed
Jeremiah Stone Quincy, Ill. April 20, 1832
Privates.
Beatty, Robert Quincy, Ill. April 20, 1832
Campbell, Clayborn Quincy, Ill. April 20, 1832
Campbell, Joseph Quincy, Ill. April 20, 1832
Crow, Isaac Quincy, Ill. April 20, 1832
Dunlap, David Quincy, Ill. April 20, 1832
Edwards, Andrew Quincy, Ill. April 20, 1832
Hatton, James Quincy, Ill. April 20, 1832
Hillory, Alexander Quincy, Ill. April 20, 1832
Hines, Wm. Quincy, Ill. April 20, 1832
Harty, Abram Quincy, Ill. April 20, 1832
Lang, John Quincy, Ill. April 20, 1832 Furloughed
Lewis, Jno. Quincy, Ill. April 20, 1832
McCoy, Joseph Quincy, Ill. April 20, 1832 Furloughed
McCoy, Robins Quincy, Ill. April 20, 1832 Furloughed
Points, John Quincy, Ill. April 20, 1832 Furloughed
Payne, Stephen O. Quincy, Ill. April 20, 1832
Riddle, Ebenezer Quincy, Ill. April 20, 1832
Ruddle, John Quincy, Ill. April 20, 1832 Ret'd home from Henderson river on May 8
Shephard, Jno Quincy, Ill. April 20, 1832
Smith, Elisha Quincy, Ill. April 20, 1832
Smith, Stedman Quincy, Ill. April 20, 1832
Southward, Wm. Quincy, Ill. April 20, 1832
Williams, Benj. Quincy, Ill. April 20, 1832 Furloughed; lost horse at Camp Dixon
Worrell, Atwell Quincy, Ill. April 20, 1832
Source: Record of the services of Illinois Soldiers in the Black Hawk War 1831-32 and in the Mexican War 1846-48: containing a complete roster of commissioned officers and enlisted men of both wars, taken from the official rolls on file in the War Department, Washington, D. C. With an appendix giving record of the services of the Illinois Militia, rangers and riflemen, in protecting the frontier from the ravages of the Indians from 1810 to 1813. Prepared and published by authority of the thirty-second General Assembly by Isaac H. Elliott, Adjutant-General of the State of Illinois. Springfield, Ill: Journal Company, printers and binders, 1902.


Campaign Principle #3- Run on a budget.
This may not be the most controversial principle but it is by far the least followed. Politics and fundraising has become as inseparable as college and student loans. Most feel you can't have one without the other. And while I am not opposed to all fundraising and campaign donations, the extent to which it is done is ridiculous.
In 2016 Hillary Clinton and her Super PAC raised over $1.2 billion dollars. And that is less than Barack Obama in 2012. Does anyone really think that if only she had a few more million dollars to throw out a few more adds in the swing states she would have pulled it off?
The problem is that one of the major ways we base how a candidate is doing is the "Money Race". How much do they have on hand? How much is in their "war chest"? Of course, their is legitimate reasons we do this. If someone is willing to put money into someone's campaign they are extremely likely to vote for them. Hence, why the "small dollar" donations are seen as an important metric. Yet, the majority of the money coming into campaigns is not "small dollar". This is true at all levels.
1. We have them learn that the way to get things done is to spend, spend, spend and then we scratch our heads that they cannot find a way to put forth policies that maintain a reasonable budget.
2. Nobody is immune from influence. If someone pays us money we feel indebted to them, it's human nature. The more they give us the more indebted we feel. You can be the best person on earth but if someone pays you thousands of dollars to help get you elected, you are going to give them more heed when they come knocking on your door, than some else who did not.
3. Money spent on elections is money that could have been spent elsewhere. We all know there are many things that are needed in our community. Our schools are underfunded, with underpaid teachers, people throughout the world go hungry, and high school kids swim in pools that don't meet their needs. Shifting campaign funds to these issues would not solve them, but it would be a step in the right direction.
We could make laws trying to craft how much each person can contribute? (owe wait we did that). We could cap the total and dictate every aspect of fundraising?
That is not my vote. Rather I would love to see candidates run on a budget. And if I run for office that is exactly what I will do. Pick a reasonable amount you feel it would cost to run. For example, if you are running for city council review what you feel it will costs you to to run an effective election, say, $10,000. Then cap your fundraising at that. If I were to do it, I would say I would only take $20 donations from 500 people. After that, if you want to give more I would encourage they put the money to something more worthwhile than getting me elected. (That shouldn't be too hard to find.) If I were running this year for city council/mayor I would encourage any excess go to a fund to donate private donations to the pool, or other cause I feel is important.
This would do several things: show that I am able to plan and execute within a budget, and don't simply look to money to solve my woes. It would encourage small donations, because people would know how I plan to fund my election, and lastly it would ensure that I am not overly indebted to one person or organization. It's a very unique model, but I would love to see it catch on. If anyone tried it, they would go very far in winning my vote.


We collaborate with clients across EMEA to help them succeed in their business change and achieve the best outcomes for their people through transformative workplace design.
M Moser London is located on a two-minute walk from Monument tube station.
There is also a place to park Santander bikes in front of 10 Lower Thames Street, EC3R 6HE.


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OEM « Global Market Insights, Inc.
With augmented safety protocols in the aviation industry and rising technological advancements, aircraft evacuation market is expected to depict remarkable growth trends in the coming years. The aviation industry being highly vital to today's economic growth, this business sphere is gaining immense traction to eliminate or minimize costly and tragic consequences. If reports are to be believed, the year 2018 recorded over deaths of more than 534 passengers due to commercial aircraft accidents. The death toll has been much worse the previous years.
As per a report by the European Transport Safety Council, more than 90% of the commercial airplane accidents are technically survivable. Pertaining to same, stringent government regulations toward implementing advanced safety systems while emergency landing. A report by Global Market Insights, Inc., claims that the aircraft evacuation market is expected to become a billion-dollar business by 2025.
The report further claims that in terms of the product landscape, ejection seat is anticipated to witness remarkable investment trends over the coming years. Ejection seats are witnessing robust demand from the military and defense forces. Strict safety standards and inspection systems have provided a positive outlook for the product demand. An instance bearing testimony to the same is of the U.S. Air force's contract with the leading aircraft evacuation industry players Martin Baker and United Technologies Aerospace Systems for the development and production of evacuation ejection seats.
Moreover, the UK-based safety equipment and ejection seats manufacturer Martin Baker has also secured a new contract for delivering Mk18 ejection seat for its KAI's (Korea Aerospace Industries) aircraft development program. The company will also be supplying escape systems for the KF-X, Republic of Korea Air Force's new fighter.
It is prudent to mention that besides ejection seats, escape slides segment is also to set to propel the product landscape of aircraft evacuation market. Technological advancements in slide materials, operation techniques, and durability have significantly enhanced the product demand in the recent years. In order to cater to the rising demand of advanced evacuation systems, several airline & carrier companies are deploying or replacing old structures with new systems for enhanced safety features. With the rising demand for air carriers across the globe, OEMs are turning out as lucrative growth avenues depicting phenomenal commercialization trends for aircraft evacuation industry expansion. The segment growth is attributable to its ability to provide replacement, maintenance, and technical services for aircraft systems.
In 2016, an Estonia based aircraft maintenance company Magnetic MRO entered into a contract with Kazakhstan's domestic flag carrier Air Astana to provide escape slide repair and overhaul requirements. The company added an escape slide evacuation workshop to its repair & maintenance services in 2014, as a part of a strategy to cater to the growing consumer base. The firm now boasts capabilities for Air Cruisers and Goodrich escape slides for Boeing aircraft types such as 757, 767,737 CL, and 717-200, as well as Airbus A320 Family aircraft. The OEM player also recently announced that it raised USD 9 million for acquiring one of its competitor and aims to expand rapidly in the competitive aircraft evacuation industry.
Taking into account the geographical landscape, Europe aircraft evacuation market accounted for significant share, given the robust expansion in the defense and commercial sectors of the regional aviation industry. Asia Pacific is also another lucrative region witnessing growing investment trends from aircraft evacuation industry players, given the increasing regional air travel rate. According to a report by IATA, APAC regions is witnessing an annual expansion rate of over 5.5% in passenger traffic, and is thus attracting investors to set up facilities and provide aircraft services.
The progressive growth of aircraft evacuation market is further set to witness advancement in systems such as introduction of RFID-based life vests. Additionally, with the rising penetration of top techs such as AI, blockchain, Internet of Things, and big data analysis, the global aircraft evacuation market is certain to traverse along a profitable growth graph in the ensuing years.
This entry was posted in Aerospace and Defense and tagged Aftermarket, Aircraft Evacuation Market, Aircraft Evacuation Market Size, Civil Helicopter, Ejection Seat, Escape Slide, Evacuation Raft, Fighter Jet, Fixed Wing, Global Aircraft Evacuation Market, Inflatable Floatation, Life Vest, Military Helicopter, Narrow Body, OEM, Regional Aircraft, Rotary Wing, Wide Body.
Over the recent years, the global aerospace landing gear market share has observed an exponential growth owing to a significant uptick in air passenger traffic and the consequent increase in the demand for lightweight aircrafts. Owing to the criticality of these subsystems, which support aircraft weight during landing and ground operations, the commercial airlines have focused on incorporating high-grade landing gears in the recent times. Moreover, the swift escalation in the number of commercial aircraft production across the world has emerged as one of the foremost factors to have contributed toward rapid growth of the aerospace landing gear industry.
Elaborating further, the U.S. based Boeing for instance, delivered an astonishing 763 commercial airplanes in the year 2017. Reportedly, the aerospace behemoth surpassed its previous delivery record set in 2015. In this context, it would be prudent to mention that 2017 was the seventh consecutive year that registered a decent increase in the delivery of commercial aircrafts by foremost manufacturers.
Apparently, the number of commercial aircraft deliveries stood at 1740 in 2017. This remarkable surge in the total fleet of the commercial airplanes, which was estimated to be around 31,000 worldwide in the same year, has been instrumental in establishing the prominence of commercial aircrafts in the aerospace landing gear market. In fact, the commercial aircraft space is projected to be the major growth segment in the overall aerospace landing gear industry in the upcoming years. Incidentally, commercial aviation held over 58% of the aerospace landing gear market share in 2017 and will emerge as a dominant segment by 2024.
Concurrently, it has been observed that there has been a gradual uptick in the number of collaborations being formed between firms operating in MRO (maintenance, repair and operations) industry and various commercial microsatellites & orbital transportation service providers. Needless to mention, these collaborations have invariably boosted the commercialization scale of the overall aerospace landing gear market in the recent times. The U.S. headquartered Triumph Group for instance, has recently teamed up with a systems integrator specializing in microsatellite services, Sierra Nevada Corporation (SNC), to provide landing gear system for the Dream Chaser spacecraft.
In this regard, the agreement mentions that Triumph Group's Washington based Integrated Systems business unit will work together with SNC to supply the main and nose landing gear to a lifting-body vehicle, the Dream Chaser. Reportedly, this spacecraft would be utilized to support NASA's Commercial Resupply Services 2 project that is slated to resupply the International Space Station. The partnership is being increasingly termed as quite remarkable in the aerospace landing gear industry given that the contract further includes the supply of integrated actuation solutions for the landing gear and door systems which would be developed by both the firms.
Speaking in the similar context, numerous dominant commercial and defense aircraft manufacturers around the globe have continued assisting airline operators to leverage exchange offerings of landing gears and overhaul of performing equipment as well. Powered with a robust global network of repair service centers, these aircraft manufacturers are well-positioned to lower maintenance time and provide reliable landing gear repair services to major airlines. To cite an instance of the same, Boeing had declared the launch of its new landing gear exchange programs in 2014 for Air Canada's 777-200LE (Longer Range) and 777-300ER (Extended Range) airframes.
As per the contract, the American aerospace behemoth had agreed to provide certified and fully overhauled landing gear shipsets for a total of 23 aircrafts belonging to the largest domestic and international airline in Canada. Apparently, such cost-effective offerings by prominent aircraft manufacturers have optimistically influenced and proliferated the aerospace landing gear industry space over the past few years.
The prominent aerospace regulating authorities such as Federal Aviation Authority and Civil Aviation Safety Authority have laid out strict guidelines to deploy advanced technologies including Radio-Frequency Identification and wireless sensor network to enhance operational safety of airplanes. Furthermore, the increasing adoption of advanced landing gear systems across major airlines would impel product penetration, cite analysts. Driven by a rapid increase in commercial aircraft deliveries coupled with the burgeoning air passenger traffic, the aerospace landing gear market is slated to grow at an exceptional pace in the years ahead. In fact, as per a research report collated by Global Market Insights, Inc., the revenue portfolio of aerospace landing gear industry is estimated to surpass USD 21 billion by 2024.
This entry was posted in Automotive & Transportation and tagged Aerospace Landing Gear Market, Aerospace Landing Gear Market Analysis, Aerospace Landing Gear Market Research, Aerospace Landing Gear Market Trends, Aerospace Landing Gears Market Report, Aerospace Landing Gears Market Size, Commercial Aviation, Fixed Wing, General Aviation, Main Landing Gear, Military Aircraft, MRO, Nose Landing Gear, OEM, Rotary Wing, Tail Landing Gears, Tail Wheel, Tandem, Tri-cycle.


Published on Monday, February 6, 2012, 10:09 AM Last Update: 7 year(s) ago	by Sidney P.
Sidney Jackson has been featured in Lifestyle Magazine, and rated one of the nations Top Celebrity Barbers. iShowcase CEO, Scott Messina learned about Sid (2) years ago, and thought it would be a great idea to honor him in Celebration of his talents, and it being Black History Month. "Sid's attention to detail and expertise is unmatched!" says Messina.
If you would like to set-up an appointment with Sid, email us at info@iShowcase.net and put Sid in the subject line. ~ To learn more about Sidney Jackson, click this link below.


text:
El Teatre Olimp (Teatro del Olimpo) va ser un teatre particular de Barcelona, ubicat al carrer dels Mercaders, números 38-40, i que va funcionar entre 1849 i 1888. Amb altres usos, va perllongar la seva existència fins al 1952. L'edifici fou enderrocat el 1955.

Data del començament de 1849, quan l'Instituto Dramático del Olimpo, entitat recreativa d'aficionats al teatre, formada per uns vuitanta socis i vint alumnes de declamació, va habilitar un local per a fer-hi les seves representacions. Va ser, doncs, un teatre particular, dels anomenats teatres d'alcova, importants per a mantenir la vida teatral. Es va condicionar la planta principal d'un habitatge, al carrer dels Mercaders, amb una sala amb cabuda per a 400 persones, sala de descans i cafè, i un jardí al nivell de la planta.

L'èxit va dur a ampliar la sala el 1851, fent-ne una de nova en forma de ferradura, amb platea i tres pisos de galeries, il·luminada amb gas. El mestre d'obres va ser Josep Fontserè i Mestre. La societat va fer accions per a finançar les obres, convertint-se els accionistes en copropietaris del teatre. La nova sala s'inaugurà el 18 de gener de 1852 amb Flor de un día de Francesc Camprodon.

El 1866 es constituí, dintre de la societat, una nova entitat filial, La Talia Catalana que tenia per objecte promoure el teatre en català, que s'incorporà així a la programació habitual del teatre.

Tot i ser un teatre d'aficionats, les seves representacions van tenir molta qualitat i èxit de públic. En algunes d'elles actuaren actors professionals d'anomenada com Josep Maria Dardalla, Joaquín García Parreño i d'altres.

El 1871 va passar a ser propietat d'Antoni Tutau, actor. El 1875 el dirigia Rossend Arús. Finalment, el 1882 va ser venut en subhasta pública. El 1888 es pot donar per acabada la seva història com a teatre, llogant-se per a tot tipus d'actes.

El 1926, Joaquim Vidal i Ninell hi instal·la la seva escola de música Teatro Lírico Práctico (que havia fundat el 1916), dedicant el teatre a sala d'actuacions musicals de l'escola, també oberta al públic. Li donà llavors el nom de Sala Capsir, en honor de la soprano Mercè Capsir, que havia estudiat en la institució. Cap al 1936 tornà a recuperar l'antic nom.

Després, als anys quaranta, va ser la seu de la Penya Cultural Barcelonesa (que després es traslladaria al Carrer Més Baix de Sant Pere, núm. 55), entitat recreativa que hi representava, els diumenges, obres de teatre i sarsueles, a més de fer-hi balls i altres activitats. El 2 de juny de 1951 hi tingué lloc la primera representació pública d'una obra teatral de Joan Brossa: Farsa entenent que els espectadors observessin l'escenari a vista d'ocell i Nocturns encontres. La següent temporada, al juny, va tancar les seves portes per l'imminent enderroc de la finca.

El 1955 va ser enderrocat l'edifici per a obrir l'avinguda de Francesc Cambó.

Referències

Teatres de Barcelona desapareguts
Teatres dels barris de Sant Pere, Santa Caterina i la Ribera

redpajama_set_name: RedPajamaWikipedia


Ever since Stanley Kubrick's homicidal computer HAL 9000 hit our screens in 2001: A Space Odyssey there has been a growing concern that ever improving technology will one day outsmart humans.
And it seems those fears have come sooner than expected for authorities at Tsinghua University in China.
That's after they were forced to shut down a much lauded intelligent computer system at its library when it appeared to have 'learned' a host of X-rated remarks.
According to the Beijing News the library's sassy assistant Xiaotu had been programmed to answer more than 10,000 questions about borrowing books and searching for essays.
But as a result of pranks by students it now has now been taught 40,000 responses for users, many of which have been deemed too saucy by the university.
Red faced authorities have had to shut down the service now but hope to 'retrain' it before the start of the next term.
Speaking to the Beijing News, Weng Xiaoqi, a Tsinghua student from the Computer Science and Technology faculty defended the system.
THE INTELLIGENT LIBRARY COMPUTER: SMUTTY OR FUNNY?
Q How old are you, Xiaotu?
He said 'It's certainly not Xiaotu's fault, just some silly Web users would teach Xiaotu these unspeakable phrases, as it has an auto-learning function.
Not everyone thinks Xiaotu needs to be fixed, however.
Dai Ying, a PhD candidate at Tsinghua University, added: 'We checked out Xiaotu after I heard it could be very funny and chatty, and we did have a conversation which was amazing.
'Xiaotu told my friend I am pretty and shy.


text:
Q: How to see app crashes on XCode Organizer? I have an application that is uploaded trough a build machine to iTunes Connect. I'd like to be able to see the crash reports from apple service on my local machine trough Crashes tab on Organizer.
I have access to iTunes Connect and to development program for the project, I filled my credentials on XCode preferences but the app is not showing on Organizer.
At first I thought only the machine uploading the binary would be able to see this but another developer working on the project is seeing the app on his local Organizer tool
We compared settings and both seems to be the same. What Am I missing?

A: Lets assert that you have followed the full following steps in order
Step 1: Go to Xcode -> Preferences ( Shortcut - ⌘ + , )

*

*Go to 2nd tab - Accounts

*Add Account selecting "+" from bottom left

Step 2: Select the team profile and download all profiles

Step 3: Go to Windows - Organizer

Step 4: Select the app from left panel and let it download the crashes from server

Step 5: Final and most important step select the correct build

Do let me which is the step you are not able to reproduce on your machine.
If everything is followed as above you should be able to see the crash logs on your xcode.

A: You might want to isolate the problem first. Is it your computer problem, account problem or Xcode problem?
Some general techniques are:
1
Quit and restart Xcode
2
Restart you computer
3
Update your Xcode
4

*

*Logout all accounts of your team in your colleague's computer

*Quit and restart Xcode

*Login with your account to check the Crash tab

5
Do the previous section of steps but with your colleague's account in your computer
6
Check the Console app and filter with "Xcode" for errors


text:
Euro zone debt crisis hits (2010)
Already struggling from financial turmoil that had washed up on its shores from the U.S. 2008-09 subprime mortgage collapse, a new home-grown crisis erupted in Europe in 2010. Markets began to mistrust a number of countries, requiring ever higher interest rates when they borrowed on the market. They judged them increasingly risky: their governments had let their deficits balloon, lost competitiveness, or allowed lax oversight of banks. Eventually, the unthinkable started to happen in 2010. Countries began to lose market access. They needed help; Greece was first to ask. The country received bilateral loans (Greek Loan facility) from the other euro zone countries on a bilateral basis.
A temporary backstop
The EFSF is established (June 2010)
The European Financial Stability Facility (EFSF), which was set up as a temporary solution in June 2010. The EFSF still exists as a legal entity and a big issuer of bonds, but it can no longer make new loans.
Signing ceremony of the European Financial Stability Facility on 7 June 2010. (Image: AFP/George Gobet)
The ESM is established (October 2012)
The European Stability Mechanism (ESM) was set up in October 2012 as a successor to the EFSF. It is a permanent solution for a problem that arose early in the sovereign debt crisis: the lack of a backstop for euro area countries no longer able to tap the markets. The EFSF and ESM remain separate legal entities but share staff, facilities, and operations. Together, the EFSF and the ESM had €700 billion in firepower.
Euro area Member States establish the European Stability Mechanism. Their Finance Ministers become its Board of Governors. (Image: European Union)
The programmes
EFSF and ESM disburse total of €254.5 billion (2010 – 2016)
The EFSF and ESM have so far disbursed €254.5 billion to five countries. They helped keep the euro together. They proved that cash-for-reform programmes work, and that countries that do their financial and structural homework emerge fitter and better equipped to grow. These programmes have also eased the debt burden on countries receiving loans, passing on low interest rates, and pushing out the repayment period. They testify to the solidarity among euro area countries, and are a telling example of how the crisis has brought Europe closer together.
EFSF assists three countries: Ireland, Portugal, and Greece (2010 – 2012)
Three countries knocked at the EFSF door for help. First came Ireland (February 2011), then Portugal (June 2011). Greece came back in March 2012. Fears the euro area would be torn apart grew. As events tumbled ahead, European leaders realised they needed to do more.
Klaus Regling, the European Financial Stability's CEO and ESM's Managing Director, depicted as a prize weightlifter after a successful bond issue. The EFSF and ESM issue debt on the markets to fund their loans to programme countries.
Spain first to get ESM disbursement (December 2012), Cyprus follows (May 2013)
Spain (December 2012) was the first programme country to receive disbursements from the ESM to recapitalise its ailing banking system. Later in May 2013, Cyprus received the first tranche of financial assistance in what became the first fully fledged ESM programme.
Greece gets third assistance programme (August 2015)
In the middle of 2015, Athens entered a new ESM programme of up to €86 billion. It was the third programme for the country, and followed months of tense negotiations. It is currently the only ESM or EFSF programme that is still active.
The most visible example of the success of the two institutions is the improved performance of the countries that requested help. Cyprus (March 2016), Ireland (December 2013), Spain (December 2013) and Portugal (May 2014), successfully exited their EFSF/ESM programmes without a follow-up arrangement. After suffering severe financial distress just a few years ago, they emerged from European rescue loan programmes stronger and were able to return to normal market access (see figure below).
Greece also made great progress but, dogged by more initial problems than the others, it entered a new programme in 2015. With four successful programmes so far, the approach by the ESM and the EFSF underlines that Europe has found the right approach to the crisis.
ESM's 5th anniversary
Five years ago, on 8 October 2012, the ESM formally began operating when the finance ministers of the euro area countries took part in the inaugural meeting of the ESM Board of Governors.
ESM 5th anniversary web page
Video statement on ESM's 5th anniversary


Psl Sect 13 in Port Saint Lucie is really a wonderful location. The Port Saint Lucie location is amazing. But, if this isn't the community for you, you might like one of the other local communities like Newport Isles or Hidden River Estates or Torino that are located here as well.


c.AD410 Romans leave England and its shores unprotected.
c.AD450 First Anglo-Saxons arrive in Britain.
c.AD597 St. Augustine preaches Christianity.
c.AD597 St. Augustine builds Canterbury Cathedral in Kent.
c.AD625 Burials at Sutton Hoo.
c.AD731 Venerable Bede finishes writing the Ecclesiastical History of the English People.
c.AD783 Offa's Dyke construction finished.
Subpages (11): Anglo-Saxon Clothes and Jewellery Anglo-Saxon Food and Drink Anglo-Saxon Place Names Anglo-Saxon Religion Anglo-Saxon Society Anglo-Saxon Villages Anglo-Saxon Writing Beowulf Offa's Dyke Sutton Hoo Ship Burial Where did the Anglo-Saxons come from?


Video is an excellent way to communicate your message in a dynamic interactive way.
Web Video to make a great impression and is one of the most effective methods of communicating your business essentials. Tell your story quickly, compellingly and relevantly! Online video adds a new dimension to content marketing by enhancing your website and should be considered by any website owner who is serious about making their website effective and competitive. Contact Shafik Mansur of Noonday Photography today to get your video project started.
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on videos and upload them to YouTube. Then tweet about these videos, or mention them on Facebook, to get people to see them. .
your customers' most frequently asked questions, including questions they should ask, but possibly don't know to ask.
Does your company adhere to some painstaking quality control standards?
Show these extra steps on video. Even if your competitors follow the same processes, you will come to "own" the quality control standards with your videos.
that when people see the steps you take to make a quality product, they place a higher value on it.
Demonstrate how your product is used.
Show it in action, show how easy it is to use or how it solves a problem. Don't assume your customers already know all this.
Whether its subtly blended into your web pages, stand alone clips or on a branded YouTube channel, Redberry Designs video production team can help you make an impact. We film, edit and create fast downloading flash web video for websites.


At St. Theresa's Nursing Home we offer a person centred approach to care and our trained staff work with Residents and their families to ensure that all needs are met.
For those living with dementia St. Theresa's Nursing Home provides a safe and secure environment within which they can continue to live a happy and fulfilled life. Our trained staff understand and work with Residents who have dementia by ensuring that contact is maintained with the familiar things of their lives and that they are always comfortable in their surroundings and their community.
We also provide respite care services, for carers who would wish to avail of this.


text:
Азуга () — город в Румынии, входит в состав жудеца Прахова.

Город расположен на расстоянии 119 км к северу от Бухареста, 67 км северо-западнее Плоешти, 23 км к югу от Брашова.

Население
Согласно переписи населения в 2002 году здесь проживало 5128 чел.

Национальный состав населения города:

Родным языком назвали:

Состав населения города по вероисповеданию:

Примечания

Ссылки
 Официальный сайт Азуга

Города Румынии
Прахова (жудец)


Tithi in Hindu Calendar on Wednesday, January 3, 2018 – Dwitiya Tithi or the second day during the waning phase of moon in Hindu calendar and Panchang in most regions. It is Krishna Paksha Pratipada Tithi or the first day during the waning phase of moon till 6:22 AM on January 3. Then onward it is Krishna Paksha Dwitiya Tithi or the second day during the waning phase of moon till 4:07 AM on January 4, 2018. All time based on India Standard Time.
Good – Auspicious time on January 3, 2018, as per Hindu Calendar – Good and auspicious time after 8:52 PM.
Nakshatra – Punarvasu or Punirtham Nakshatra till 11:39 AM on January 3. Then onward it is Pushya or Poosam or Pooyam Nakshatram till 10:07 AM on January 4.
In western parts of India (Maharashtra, Gujarat, Goa and south Rajasthan), Punarvasu or Punirtham Nakshatra till 8:49 AM on January 3. Then onward it is Pushya or Poosam or Pooyam Nakshatram till 6:08 AM on January 4.
Rashi or Moon Sign – Mithuna Rashi till 6:03 AM on January 3, 2018. Then onward it is Karka Rashi till 8:47 AM on January 5.
In western parts of India (Maharashtra, Gujarat, Goa and south Rajasthan), Mithuna Rashi till 3:32 AM on January 3, 2018. Then onward it is Karka Rashi till 3:54 AM on January 5.
Vikram Samvant 2074 – Magh Krishna Paksha Dwitiya Tithi or the second day during the waning phase of moon in Magh month in North India - Delhi, Rajasthan, Uttar Pradesh, Bihar, Jharkhand, Madhya Pradesh, Haryana, Punjab, Himachal Pradesh, Uttarakhand, Chhattisgarh, Orissa and Jammu and Kashmir.
Hemalambi or Hevilambi nama Samvatsara/ Shalivahana Saka 1939 – Paush Krishna Paksha Dwitiya Tithi or the second day during the waning phase of moon in Paush month in Karnataka, Andhra Pradesh and Telangana.
Hemalambi or Hevilambi nama Samvatsar/ Shalivahana Saka 1939 – Paush Krishna Paksha Dwitiya Tithi or the second day during the waning phase of moon in Paush month in Maharashtra and Goa. (It is Paush Krishna Paksha Pratipada Tithi or the first day during the waning phase of moon in Paush month till 4:08 AM on January 3. Then onward it is Paush Krishna Paksha Dwitiya Tithi or the second day during the waning phase of moon in Paush month till 12:37 AM on January 4.) This time is applicable only in western parts of India.
Vikram Samvant 2074 - Paush Krishna Paksha Dwitiya Tithi or the second day during the waning phase of moon in Paush month in Gujarat. (It is Paush Krishna Paksha Pratipada Tithi or the first day during the waning phase of moon in Paush month till 4:08 AM on January 3. Then onward it is Paush Krishna Paksha Dwitiya Tithi or the second day during the waning phase of moon in Paush month till 12:37 AM on January 4.) This time is applicable only in western parts of India.
Yog – Aindra (good) till 1:02 AM on January 3. Then onward it is Vaidhriti (good) till 8:52 PM on January 3. Then onward it is Vishkambha (bad) till 5:02 PM on January 4.
Karana – Kaulava (good) till 4:08 AM on January 3. Then onward it is Taitila (good) till 2:20 PM on January 3. Then onward it is Garaja (good) till 12:37 AM on January 4.


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Memories…how precious they are. We can bring to our remembering much joy through our memories. What was it about your childhood that you most enjoyed? What was something your family did that was fun for all of you? What are some memories that first come to mind when you think of your childhood?
summer up the road to a Service Station where they had shelves of penny candy. Then, walking home peering into our sack of goodies, thinking about which we would eat first on the way home. We each have different memories. I trust your brain has flashed some great memories before your eyes by just reading this paragraph.
Maybe we have forgotten that meaningful living takes time. We have maybe forgotten the joy of a leisurely walk, or a siesta time on the deck with coffee, watching the sky turn colors as sun sets, or sitting with coffee or tea and a good book. We feel guilty when we do that and feel we aren't accomplishing anything. We have let culture dictate how we live our lives. No one said that making a different way is easy. We have to be intentional in our efforts to live that way. When we know what we want in life, we also know what we can eliminate. We can examine how we spend our time, Think about what you want to do in comparison to what you are doing. We really can redesign our lives if we want to. Ask yourself if there is one thing you really want to do that you aren't doing it right now. What do you have to do to make that happen? Then write down at least one thing you like about your life right now. Maybe get yourself a book and start writing some of these things down. Keep it up to remind yourself…make it your Life Re-design Book. I have a journal that I write everything in. It's a proven fact that writing things down enact the mind to move forward toward that written goal or dream. It's like a pair of shoes…the old ones can be comfortable and we like wearing them because they are so comfortable. But, that doesn't mean they are good for our feet anymore. We aren't getting the support from them that we need. It takes time and effort to go out and find a new pair, spend the money for them, and they break them in again. However, sometimes we have to give up the old, in order to better take care of our needs. We may need to examine our support and make sure we are getting what we need to move us forward. We can find out that we didn't even know how those old comfy shoes were holding us back until we put on the new. I want to be seeking all the "new" that God has for me in every area of my life.
I have shared before about making a home to feel like your haven. In my case, it is where I spend a vast majority of my time. So I want to enjoy it. I want to enjoy what I see around me. What are some of the things that reflect the spirit of your home or space? For example, what might be your favorite spot in your home? Favorite piece of furniture? It's fun to take the time to think about those things. It gives you a sense of belonging and peace to feel that as you look about your home.
Here's another area to think about…when you are alone in your home, what do you most like to do? Do you find yourself looking around and feeling trapped by where you are? Angry about your circumstances? Don't feel at home in your space? Or, do you look around and feel comfort, and excitement that you have some time to enjoy your home? Maybe you want change something up, or bake or read? What does your home bring out in you? Do you like to open your home up for company? Maybe a one-on-one? Are you doing that?
Let me give you a peek into mine. I love every home I have lived in, because it is where God placed for that season. I love decorating, so that is the first thing I begin working on when I move in. I spend a lot of time IN my home, so I want it to be reflective of me and my hubby. Because of that, I have items in my home that I love and that bring me joy. I know that if I have that in my home, I will be happy and content there. My home breathes of me and my hubby. However…probably more of me, since he used to be a clean lines kind of guy. But he loves me, and has come to know my love of vintage and all things that remind me of my story, as well as his life story. I have a couple of reading spots, I have a creative spot, I have a cooking and baking spot in my kitchen, and my rooms all inspire me. I love to read and have a bookshelf filled with books in my living room and my cabin/office. I am also Norwegian so you would see reflections of that through out my home. I have furniture that belonged to my grandparents and my parents, which gives me wonderful memories every time I see them.
I have the sights and sounds of my story throughout my home. I love to see and enjoy nature, so you would see wall to wall windows in my cabin. Right now there are no curtains on the windows, with the exception of the window facing the street. Even with that, I made sure I could see the light coming through. My intent is to put up lace valances only so I can continue to enjoy what I see. I love reflective light and so I have things in my home that reflect sunlight when it comes in. My home is a delight for me. It gives me a place where my story can write itself. I love that.
Now…with that in mind, let's get back to how we started. We all have a story; some have more hardships in their story than others. However, that TOO, can be used by God to walk along side someone who is hurting. God uses all of our story, not just parts of it. Moods can gauge our days. So know what triggers that in you. If you need light in your space, find a way to make more of it…a favorite lamp, open the windows curtains, change the curtains to allow more light, candles, or whatever will bring that into your space. Make time to be with your family and connect. Connection is totally lost on us these days. We text or Facebook, but we have trouble making the time to connect face to face. The more alone you stay, more the daily grind can take its toll. Spend time enjoying your family together. It doesn't have to be a big thing. But what a joy it brings to gather together again. If you don't teach that to our kids and grandkids, it will be lost.
If we aren't moving forward, we are moving backwards by virtue of… no forward motion. I am eager to move forward and make memories of my own as I go. I enjoy connecting with others and feel it is important to do so. Because of that, I make arrangements to do that when ever I can. I want the people in my life to know how important they are to me. I took my grandson to a store that I found that has all the old candy I used to get. It was so fun to share that with him. We got some so he could have that same experience I had. I have planned pb&j picnics with him. He didn't care what we ate. He was happy to have time together. I did a rainy day picnic sitting in the back of, at that time, my Ford Focus, and we had the back up with umbrellas on each side to keep the rain out and we watched the water and took pictures together. He still remembers that time spent together. I shared more of my story with him. I have grown sons who have said to me, "I have never knew that about you, Mom!" I have changed that. I have now shared with them where we came from and about their heritage. I want them to know how I came to be the person I am today, in other words, more of my story. That pleases me that God has allowed my hubby and I to be able to do that for my boys and grandson. One day, I won't be here to ask, just as I can't ask my parents or grandparents the questions I would love to ask, or share with them what I have found or where I have gone. So I share with them in the here and now. I leave a legacy.
The path may be more narrow, but I am living the last half…so I can live like no one else. That is a choice I am happy to live with.
P.S. Just for fun for those that want to know: The windows you see are my windows in my cabin/office. The hanging lights came from a purchase in Norway this last trip, along with the wooden bowl you see. The hanging light is in my living room and came from a mansion in Seattle, and I adore it! I was sitting in one of my favorite spots and admiring it, and couldn't help taking a picture of it with my iPhone. The pumpkin is one of my reflective pieces for Fall. The picture is of some of my family at a reunion I helped organize to get our family together. The sewing machine is my grandmother's, along with the pin cushion, and the Army hat of my dad's, and many other gifts and memories sit there. The vest was made by my mom for me as a little girl and was my favorite. The shoes? Courtesy of my cousin in Norway. Ssssshh…don't tell him I took the picture. It represented this point for me when I saw them side by side. Why? Because he didn't want to purchase new ones. 🙂 The path is a path walked by my grandson and my son when they went to Norway with me.
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Wonderful message!!!! To me It reminds us of the times we felt loved and allows us to recreate those memories with our own families and to carry on family traditions.
Thank you JoAnn. So much.
Always welcome. I thought of you and beach house times. Loved it.
I always enjoy your writing. I admire your ability to express yourself! Thank you!
Thank you Barb! As always it's great to hear from you!
Thanks for stopping by and glad it invoked some good memories for you. I agree with you…we went to see relatives most every week as I said and it certainly kept our families close. It is my personal belief that we could go back to some simpler times, but it takes time to change the cultural view in our immediate environment. Thank you regarding the Scrabble tiles…I have several "word of the year" tiles set up around my home. Great reminders! Stop by again!


text:
SYNONYM

#### According to
The Catalogue of Life, 3rd January 2011

#### Published in
Illinois Biol. Monogr. (Urbana) 11(2): 201 (1927)

#### Original name
Glomerella bromeliae F. Stevens & Weedon, 1927

### Remarks
null

redpajama_set_name: RedPajamaGithub


Hubert Klyne Headley (1906-1995) enjoyed enviable success as a composer, conductor and educator in the United States before settling in Canada around 1960. He would spend most of the remainder of his long life here, composing, conducting, leading the choir at Kerrisdale Presbyterian Church, and teaching music in the Vancouver, Langley, and Sunshine Coast School Districts. Klyne also spent several years in the 1970s establishing the music program at Cambrian College in Sudbury, Ontario, and taught at Douglas College in New Westminster before his retirement.
This evening, we are thrilled to present three of Hubert Klyne Headley's greatest chamber works. Together, they offer a fascinating insight into a searingly brilliant and largely unexplored musical mind. The program begins with a charming set of miniatures for oboe and piano, Vignettes for Ballet, inspired by ancient Chinese poetry.
The ebullient, neo-classical Septet for Woodwinds and Strings, last heard in Vancouver in 1962, is made up of themes drawn from Klyne's mostly unperformed magnum opus, the choral symphony Prelude to Man.
Klyne's dark-hued, solemn, almost Brahmsian Quintet for Clarinet, Strings and Piano is the most substantial work on the program. As far as is known, the piece has not been heard since its first performance in 1957.
It is not often that one has the opportunity to experience for the first time such extraordinary compositions. We hope you enjoy the concert as much as we have enjoyed rediscovering Hubert Klyne Headley's compelling story. And above all, we hope that this concert is a first step towards Klyne's music becoming more widely known and appreciated.
Composed 1950 in Santa Barbara, CA.
The Vignettes for Ballet is one of Headley's most light-hearted and popular works, having received several documented performances throughout the years (although the date and location of the premiere is uncertain). The work seems to have existed in some form as early as 1947, when it was reported to have been performed by the composer in one of his many solo piano recitals.
Composed 1952/53 in Santa Barbara, CA.
Hubert Klyne Headley's Septet for Woodwinds and Strings was composed during what was evidently a blaze of inspiration between December 29th, 1952 and January 17th, 1953. According to dates on the composer's manuscript pencil score (a fair copy does not survive, if one was ever made), the individual movements were apparently written very quickly, each within only two or three days.
The performance parts contain numerous small changes and improvements, also in pencil, no doubt made by the composer himself during rehearsals. An excellent recording made at the time shows how these changes, mostly small improvements to articulation and phrasing, but also including minor amendments to orchestration, were incorporated in the rehearsal process.
The Septet received its first performance on April 19th, 1953, at the Lobero Theatre in Santa Barbara, as part of a series of local concerts Headley had organized during his tenure at UC Santa Barbara. The program on this occasion was almost entirely dedicated to Headley's music, and featured no fewer than six of his works, save for two selections by Maurice Ravel, to whom the ten-year-old composer had apparently once been introduced.
Performing the Septet was an all-star ensemble made up of some of the finest American and European orchestral and chamber players of the day, including Arthur Gleghorn, flute; Joseph Rizzo, oboe; Edmund Chassman, clarinet; Charles Gould, bassoon; Joachim Chassman, violin; Zoltan Kurthy, viola; and Michel Penha, cello.
According to Headley's meticulously-kept scrapbooks, a second performance was given on February 2nd, 1962, by the Vancouver Virtuosi (an ensemble consisting mainly of leading Vancouver Symphony players) at the Vancouver Public Library Auditorium, in a series coordinated by the Vancouver Chamber Music Society.
Of the Septet's musical material, Headley writes that "this small chamber work is a 'keyhole impression' of a four-volume Symphonic Cycle Prelude to Man built around a great tome by Chard Powers Smith. Here is presented in verse the pageant of the modern story of Genesis." Chard Powers Smith (1894-1977), a New England poet and writer, is not very well-known today, but his work was the source of tremendous inspiration to Hubert Klyne Headley, and the creative spark for some of his very finest music. Besides Prelude to Man (which is in essence Headley's second symphony), he also set a selection of poems from Smith's collection Along the Wind into a thrilling song-cycle of the same title for tenor and piano.
Composed 1957 in Seattle, WA.
Hubert Klyne Headley's largest and most ambitious chamber work, the Quintet for Clarinet, Strings and Piano, received its first (and only known) performance on May 15th, 1957, as the finale of a six-concert chamber music series held by Seattle's Cornish School of the Allied Arts (where Klyne was on faculty for a time) that year. The program on this date also included works by Beethoven (the String Trio, op. 9 no. 1) and Chausson (Poème). The Quintet was dedicated to Olive Kerry, heiress to a Washington State lumber empire, and an important early benefactor of the Cornish School.
The ensemble on that occasion was made up of notable musicians from the Seattle area, including both Cornish faculty and Seattle Symphony members: Helen Louise Oles, piano; Ronald Phillips, clarinet; Byrd Elliot, violin; William Bailey, viola; and Phyllis King, cello. As with the Septet, a fine recording of that first performance has survived.
A dark-hued, solemn and intensely lyrical masterpiece, the piece is at times reminiscent of the late romanticism of Johannes Brahms, but also of Dmitri Shostakovich, who shares Headley's birth year, and whose own Piano Quintet had appeared several years earlier in 1940. Given certain similarities in the mood and in the ensemble writing, one cannot help but wonder if Headley had somehow encountered Shostakovich's Quintet prior to composing his own. It is possible; at least two American commercial recordings of that work already existed by the early 1950s.
Headley's autograph score of the Quintet, if it survives at all, was not included in the substantial collection that was donated to the Canadian Music Centre's Vancouver library in 2016. The instrumental parts, including the performers' annotations and amendments from the Seattle performance, are the only sources that apparently remain. For the present performance, the score was reconstructed from these parts, with a significant effort made towards correcting numerous inconsistencies in articulations and dynamic markings.
Composed c.1952 in Santa Barbara, CA.
She was my love, and thirty, and she died.
My grief, what mockery desiring is!
Are seashells singing false eternities.
Yearned hill and flower and soul and song to birth.
The will created and shall not be wronged.
Lives on to tempering in nobler fires.
Joan is also an active teacher. Though she has a small private class, many of her students have gone on to be professional musicians. She has also taught at the University of British Columbia, Kwantlen College, the Symphony Orchestra Academy of the Pacific, Vancouver Academy of Music, and the VSO School of Music. Joan adjudicates at festivals throughout BC.
Roger Cole was appointed Principal Oboist of the Vancouver Symphony by Maestro Kazuyoshi Akiyama in 1976. At age 22 he was the youngest principal player of the VSO. Today he is the oldest principal player. From 1976-2008 he was also the principal oboist of the CBC Radio Orchestra. Mr. Cole received his early musical training in Seattle, Washington and went on to become a scholarship student at Yale University and The Juilliard School where he studied with the renowned American oboist, Robert Bloom. Mr. Cole has participated in the summer music festivals of Aspen, Tanglewood, and Marlboro. He has recently taught, conducted and performed at the Marrowstone Music Festival (Bellingham, Wa.) and the PRISMA Music Festival (Powell River, BC).
He performs regularly in solo and chamber music recitals and has appeared as soloist with the VSO and the CBC Vancouver Orchestra many times. He has recorded a CD for CBC Records with his VSO colleague, pianist Linda Lee Thomas entitled "The Expressive Oboe". Mr. Cole teaches at the University of British Columbia, the Vancouver Academy of Music and the VSO School of Music He has given master class across N. America and in Asia. He also has an active oboe studio at his home in N. Vancouver. In June 2003 Mr. Cole was named Music Director and Senior Orchestra Conductor of the Vancouver Youth Symphony Orchestra. Under his guidance the VYSO has flourished and is considered one of the finest Youth Orchestras in Canada. The VYSO has performed many times along side the VSO under Maestro Bramwell Tovey. From 1998-2012 he was the principal oboist of the Carmel Bach Festival in California.
Born in Sorel-Tracy, Sophie Dansereau obtained the "Prix avec Grande Distinction à l'unanimité" in bassoon and chamber music from the Conservatoire de Musique du Québec as well as a Masters of Music from Yale University. Her main teachers are Richard Gagnon, Frank Morelli, Christopher Millard and Stéphane Lévesque.
Contrabassoonist and assistant principal bassoonist of the Vancouver Symphony and principal bassoonist of the CBC Radio Orchestra, Sophie has performed with the Auckland Philharmonic (New Zealand), the New World Symphony, the National Art Centre and l'Orchestre Symphonique de Québec, as well as several major music festivals around the world. She has worked on several occasions with the finest conductors, such as Bramwell Tovey, Seiji Ozawa, Robert Spano, Michael Tilson Thomas, Pinchas Zukerman, Alain Trudel, Yannick Nézet-Séguin, and Charles Dutoit. Sophie has been awarded many prizes in major national and international competitions and was featured as a soloist on many occasions with the APO and the VSO. A sought after bassoonist in chamber music, she is a member of the Admare Quintet. Sophie, who had received the Governor General Medal for Academic Merit in 1992, has also served on the faculty of the University of British Colombia. She is now teaching at the Vancouver Academy of Music and is the instructor for the woodwind section.
Called "classical music's secret weapon", Tegen Davidge is a musician who, both on and off the stage, strives to awaken a renewed passion for the arts. She currently resides in Vancouver, British Columbia, where she is a member of the Vancouver Symphony Orchestra. She has performed solo and chamber music in renowned venues throughout Canada, the United States, China, and Europe. This has included solo performances with the Shanghai Opera Orchestra, the Youth Orchestra of the Americas, the Cleveland Institute of Music (CIM) Orchestra, and the Medicine Hat College Academy Orchestra. She was recognized as the best viola performer both at the 2006 Kingsville and 2010 Corpus Christi Competitions, as well as the winner of the String Category Prize at the 2008 Canadian National Music Festival. She has performed with esteemed artists such as Roger Tapping, Jeffrey Irvine, Paul Kantor, Melissa Kraut, Seth Knopp, Michael Kannen, Maria Lambros, Bonnie Hampton, Violaine Melancon, Nathasha Brofsky, Katherine Murdock, Nicholas Mann, and Peter Frankl.
Tegen is an artist who strives to promote positive change within society. She spent the summer of 2013 volunteering as an intern with Sistema Scotland, a program that aims to rebuild communities by teaching children teamwork and discipline through the study of orchestral music. From September 2012 until May 2014, she was a faculty member at Opportunity Music Project, a non-profit organization that gives free music lessons to New York City children from low economic backgrounds. In the October of 2013, Tegen spearheaded the "Price of Life NYC" movement at the Juilliard School, which aimed to raise awareness about human trafficking and educate students about how they can use their art to fight for justice. This movement culminated in her initiation of the "Behind Closed Doors" concert series, a fundraising concert to benefit International Justice Mission, in which 17 Juilliard artists and alumni participated. Tegen began studying the violin at the age of seven, before taking up the viola at age 14. She received her Bachelor of Music degree from the Cleveland Institute of Music, and recently graduated with her Masters' degree from the Juilliard School. Her major teachers have included Michael van der Sloot, Jeffrey Irvine, Hsin-Yun Huang, and Heidi Castleman.
Pianist Corey Hamm is establishing a unique musical profile performing widely in North America and in Asia as both a soloist and as a chamber musician. His CD of Frederic Rzewski's hour-long solo piano epic The People United Will Never Be Defeated! won Spotify's Best Classical Recording 2014, and Best Classical Recording at the 2014 Western Canadian Music Awards. Further recording plans include the complete works for piano by Henri Dutilleux, and a CD of solo works written for him by Canadian composers. Corey Hamm has commissioned, premiered and recorded over 200 works by composers from all over the world. His most extensive collection of commissioned works includes over 60 pieces for PEP (Piano and Erhu Project). Some of these works are already released on two volumes of PEP CDs with two more to come in 2017 and 2018.
He has also commissioned dozens of works for The Nu:BC Collective and for Hammerhead Consort. As a founding member of Hammerhead Consort, he received the 1993 Sir Ernest Macmillan Memorial Foundation Chamber Music Award, and was winner of the 1992 National Chamber Music Competition. In recent years, Corey Hamm has, recorded and toured one of the great piano works of the last decades, Frederic Rzewski's monumental The People United Will Never Be Defeated! (Redshift TK431). He is planning further concerts of this masterpiece, notably for Rzewski's 80th birthday in 2018. Dr. Hamm is an award-winning Associate Professor of Piano at the University of British Columbia in Vancouver. He is on the Piano Faculty of the Summer Institute for Contemporary Performance Practice (SICPP) at NEC in Boston. His beloved teachers include Lydia Artymiw, Marek Jablonski, Stéphane Lemelin, Ernesto Lejano, and Thelma Johannes O'Neill.
Stefan Hintersteininger is a Vancouver-based cellist, librarian, educator, composer and arranger, equally at home in a vast range of different musical styles. Stefan is a regular extra player with the Vancouver Symphony Orchestra, and a member of Erato Ensemble, Vancouver Inter-Cultural Orchestra, and a founding member of Vancouver's cutting-edge improvising new music sextet, Ethos Collective. A new music specialist, Stefan has worked extensively with Vancouver New Music, Turning Point Ensemble and City Opera Vancouver, as well as in commercial recording studios and as guest principal cellist with the Vancouver Island and Prince George Symphonies. Stefan is increasingly becoming known as a composer, having written works for many of Vancouver's foremost ensembles. His Concerto for Soprano Saxophone received its world premiere performances in June, 2017, with soloist Julia Nolan and the West Coast Symphony Orchestra. Further performances are planned for the WCSO's 2018 Balkan tour.
Stefan Hintersteininger studied cello at Western Washington University with Dr. John Friesen, at the University of British Columbia with Eric Wilson, and undertook graduate studies at DePaul University in Chicago with CSO member Katinka Kleijn. As an educator, he joined the cello faculty of the Vancouver Academy of Music in 2015. Having also completed a Master's Degree in Library Studies at UBC in 2009, Stefan presently holds the position of BC Head Librarian at the Canadian Music Centre in Vancouver.
Canadian clarinetist Liam Hockley is a versatile musician, equally at home in the standard classical canon as in new music, jazz, and improvisation. He is currently a candidate for the Doctor of Musical Arts degree in clarinet performance at the University of British Columbia and maintains an active freelance schedule in Vancouver. In addition to the classical canon, Hockley's repertoire encompasses major works from the twentieth and twenty-first centuries, and his advocacy for new repertoire leads him to regular collaborations with Canadian and international composers on innovative new works. Hockley has been the recipient of numerous prizes and awards including an interpretation prize at the Stockhausen-Konzert und -Kurse Kürten in 2015. Hockley holds a Master's degree from the University of British Columbia, and received his Bachelor's degree with distinction from the University of Victoria. His teachers have included François Houle, Cris Inguanti, Patricia Kostek, Earl Thomas, and Christian Gossart.
An outspoken advocate of new music, Mark has given the premiere performances of numerous works, many written especially for him, including Anna Höstman's flute concerto Trace the Gold Sun with the Victoria Symphony, Turmalin for solo flute by the Danish composer Anders Nordentoft, and two new works, Mercy & Mankind and Sesto Libro di Gesualdo, by the acclaimed British composer Michael Finnissy. In 2010/11 he presented new flute concertos with the Aventa Ensemble by Piotr Grella-Mozejko (for Aventa's national tour to Montreal, Toronto and Edmonton) and James Beckwith Maxwell. A dedicated educator, Dr. McGregor has served on faculty at the UBC Summer Music Institute and the Western Canadian Amateur Musicians Society Summer Camp, and as an instructor of Baroque Performance Practice at the University of British Columbia. His own tuition includes studies with Samuel Baron, Denis Bluteau, Camille Churchfield, Margaret Crawford, Paul M. Douglas, Aurele Nicolet, and Kathleen Rudolph, as well as Baroque studies with Lisa Beznosiuk, Sonja Boon, and Wilbert Hazelzet. He holds a Concours de Musique from the Conservatoire de Musique de Montréal, a Master of Music degree from the University of Sydney (Australia), and a Doctor of Musical Arts from the University of British Columbia.


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Mary Gauthier - Rifles & Rosary beads | FESTIVALPHOTO
Mary Gauthier - Rifles & Rosary beads
Mary Gauthier's new album, Rifles & rosary beads isn't just another album from this talented songwriter, it's something special. The songs on this album were all co-written with US miltary veterans and their families as part of the five-year-old Songwriting With Soldiers program. Participants of the program have shared that the experience of songwriting was life changing for them, some even said life saving. Something about writing that song — telling that story — is healing. What program co-founder Smith calls post-traumatic-growth. With 22 veterans each day comitting suicide in the US, any project that can help reduce that number must be welcome.
Given this then it's understandable that the songs here all have a military theme, but not what I would describe as typical songs about the military. Instead you have songs about a female member of the military being harassed by her fellow soldiers, the emotions experienced as a veteran, the stresses on relationships and more.
It's an incredibly powerful album that focusses on the emotional side of things and which feels deeply personal. Without the involvement of the veterans and their families I doubt that it would have been possible to get it so personal without sounding false.
Very early in the opening track, "Soldiering on", you get the idea of some of what this album is about with the line "What saves you in the battle, can kill you at home". The adjustment faced when moving from miltary to civilian life, particularly after a war is a challenge that many veterans struggle with.
"The war after the war" is told from the viewpoint of the wife of a veteran faced with the stresses of living with a veteran. It's something often overlooked - people think about the difficulties faced by veterans but not necessarily how that affects those they live with.
This is a superb album. Mary Gauthier has helped the veterans and their families express their feelings in an incredibly personal and moving way that makes these songs so amazingly powerful. A fantastic album that I can't recommend highly enough.
"Rifles & Rosary beads" will be released on 26th January 2018
1. Soldiering on
2. I got your six
3. The war after the war
4. Still on the ride
5. Bullet holes in teh sky
6. Brothers
7. Rifles & rosary beads
8. Morphine 1-2
9. It's her love
11. Stronger together