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Melodic Death Metal / Hardcore Punk • Sweden
Arch Enemy is a Swedish melodic death metal band from Halmstad, Sweden, formed in 1996. Founded by Carcass guitarist Michael Amott along with Johan Liiva, both originally from the influential death metal band Carnage. The band has released seven studio albums, a live album (Burning Japan Live 1999), two DVDs and three EPs. The band was originally fronted by Johan Liiva, who was replaced by Angela Gossow as lead vocalist in 2000
Arch Enemy, the brainchild of Michael Amott (Carcass, Carnage, and Spiritual Beggars) was originally assembled when Michael Amott left Carcass. Guitarists Michael Amott and younger brother Christopher Amott (Armageddon) joined with vocalist Johan Liiva (ex-Carnage, Furbowl, Furbowl|Devourment) and then-session drummer Daniel Erlandsson (Eucharist) in what Michael Amott called "an attempt to merge melody with aggression and technicality."
The band's debut, entitled Black Earth was recorded at Studio Fredman and released by the now defunct Wrong Again Records read more...
Thanks to UMUR, bartosso, adg211288 for the updates
ARCH ENEMY Online Videos
ARCH ENEMY - House Of Mirrors (OFFICIAL VIDEO)
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Arch Enemy - Deceiver, Deceiver (OFFICIAL VIDEO)
ARCH ENEMY - No More Regrets (OFFICIAL VIDEO)
adg211288
ARCH ENEMY - You Will Know My Name (OFFICIAL VIDEO)
ARCH ENEMY - War Eternal (OFFICIAL VIDEO)
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More places to buy metal & ARCH ENEMY music
ARCH ENEMY Discography
ARCH ENEMY albums / top albums
Melodic Death Metal 1996
Burning Bridges
Wages of Sin
Anthems of Rebellion
Rise of the Tyrant
The Root of All Evil
Khaos Legions
War Eternal
ARCH ENEMY EPs & splits
Burning Angel
Dead Eyes See No Future
Revolution Begins
Råpunk
ARCH ENEMY live albums
Burning Japan Live 1999
Tyrants of the Rising Sun: Live in Japan
As the Stages Burn!
ARCH ENEMY demos, promos, fans club and other releases (no bootlegs)
ARCH ENEMY re-issues & compilations
Manifesto of Arch Enemy
Dawn of Khaos
Covered in Blood
ARCH ENEMY singles (3)
Doomsday Machine (sampler)
The World is Yours
ARCH ENEMY movies (DVD, Blu-Ray or VHS)
Live Apocalypse
Astro Khaos 2012 - Official Live Bootleg
ARCH ENEMY Reviews
ARCH ENEMY Will to Power
Album · 2017 · Melodic Death Metal
Sweden's Arch Enemy are the kind of band who I have always enjoyed but not necessarily found to be the most remarkable act around. Very hit and miss in terms of how interesting I find their albums, I was actually blown away by how much I enjoyed their last offering War Eternal (2014). Though the last ten years have resulted in a real up and down listening experience in terms of quality, I had high hopes resting on their eleventh album Will to Power (2017), which sees Jeff Loomis of Nevermore fame joining their ranks.
This is not just because of War Eternal being a new career high point for them, but because everything leading up to Will to Power seems to have being putting all the pieces in place for Arch Enemy to break their mould and deliver something that, at long last, brings their music to the next level. They have a vocalist in Alissa White-Gluz whose dual style of growls/clean singing was only lightly scratched on War Eternal (in a real blink and you'll miss it kind of way). They were showing tendencies of experimentation with symphonic elements on the last album, which were integrated well. And now they also have Jeff Loomis, one of the main writers of major (and very different to Arch Enemy) metal band Nevermore, whose new blood is surely going to influence their sound right?
Wrong. Loomis didn't contribute a single thing to Will to Power. The album feels so typically Arch Enemy that Michael Amott may as well just have played all the guitars himself and hired a session player for the second guitarist role when playing live. Such a noted player like Loomis feels wasted here as is. As for the other things I spoke of in the previous paragraph, the symphonic elements do make an appearance on a single track, the closer A Fight I Must Win, but mostly outside of a metal context. Otherwise they've evaporated into thin air. Alissa White-Gluz does use her clean singing voice on one song, Reason to Believe, which feels very much like a testing the waters kind of track to see how well fans receive it, while playing it completely safe with the rest of the release. And that's exactly how Will to Power comes across by and large. Safe and phoned in. The songs aren't bad in themselves, but it's nothing we haven't heard before from this band and many others in their genre.
In all fairness this isn't anything new with Arch Enemy, but unlike their best albums such as War Eternal and Rise of the Tyrant (2007) most songs aren't memorable individually after the event. That makes all the difference with a band like this. But as has always been the case in the past, Will to Power is not a terrible record by any means. I don't think Arch Enemy have ever made one of those. But it is very average and only made at all noteworthy by that one song Reason to Believe that uses clean vocals. That works really well, as I expected it would given the bands polished production sound. If only they'd been brave enough to use more of the clean singing.
Will to Power is the kind of record that makes one think whether Arch Enemy knows how much potential they have right now (I can't be the only one to hear it) or are content to just keep doing the same thing over and over, occasionally producing a War Eternal or Rise of the Tyrant quality album. I'm sure there's someone out there reading this and thinking 'but that's what they play, why should they change it?' and it's a valid point. And it would be fine if every album was as good as War Eternal. But as I see it when you're turning out more albums like Will to Power and the earlier Khaos Legions (2011) and Doomsday Machine (2005), where the term 'uninspired' springs to mind surely it's time for a bit of bravery with your writing and to use every weapon at your disposal? A band doesn't have to leave their established genre behind to make a record that sounds different from their others. This one just sounds over 90% recycled.
more than 2 years ago
Report #375889
Nightfly
When Angela Gossow left Arch Enemy in 2014 it could have quite easily been the end of the band but in came Alissa White-Gluz and stamped her mark on the War Eternal album with an impressive and professional performance as if she'd been there all along, such was the seamless transition. War Eternal whilst having a few weaker moments robbing it of greatness was nevertheless a solid melodic death metal album with a plentiful supply of hooks and strong riffs. Shortly after War Eternal was released former Nevermore guitarist Jeff Loomis joined the band and I was eager to hear what the first studio album to feature him would be like as he never failed to impress me with his incredible playing in Nevermore.
Will To Power will not hold any surprises (well there may be one) for fans of the band as for the most part it's pretty much business as usual. Loomis as expected proves to be a great addition with plenty of jaw dropping shredding. Musically it's a similar mix of melodic death/power metal as War Eternal and equally good. After the short intro Set Flame To The Night, The Race comes in firing on all cylinders featuring compelling riffing and a fantastic Loomis solo proving immediately what a great addition he is and is a good omen of great things to come hopefully. Like War Eternal however there are one or two less than stellar moments. I'd already heard The World Is Yours and the first thing that struck me about it was how much better it would have worked with clean melodic vocals on the chorus. A bone of contention I sometimes have with melodic death metal, at least when it really ups the melody quotient is how much better it could sometimes be with clean vocals. Of course some melodic death metal bands already mix it up and do it but I know it could be sacrilege to some fans of the band. Well what do you know, on the semi-ballad Reason To Believe White-Gluz sings cleanly and bugger me, she's really good too. Maybe they didn't want to over-do it and risk alienating a sizeable part of their audience but a bit more of this could have raised the bar on a couple of the songs. As a song it's not one of the best but the vocals save it. The Eagle Flies Alone is merely an ordinary piece of mid-paced melodic metal. If a strong vocal melody had been added it could have been so much more. Now don't get me wrong, Ms White-Gluz is a perfectly able growler and it works fine on the more balls out stuff and I'm not suggesting that all death metal bands should go and get a more traditional singer, as I said I'm just talking about the particularly melodic stuff.
Anyway enough controversy and back to the album. Overall I'd say the second half is the strongest – Murder Scene kicks ass and I always enjoy a galloping kick drum pattern as used on First Day In Hell. In fact there's no shortage of good songs with strong hooks on side two of my vinyl copy with no weak moments to speak of. My Shadow And I is particularly impressive with drummer Daniel Erlandsson putting in a particularly fine performance. Album closer A Fight I Must Win is another highpoint with its memorable riffing and groove and the brief addition of strings to the intro and outro add some colour.
Hats off to Arch Enemy for not being afraid to use clean vocals then. If I was them I'd expand on this next time as they're a strong and welcome addition. Not essential then, but nevertheless Will To Power is another very good album that whilst unlikely to be the favourite of most people who've followed the band shouldn't disappoint either. I'm still waiting though for the masterpiece that I know they have in them.
ARCH ENEMY Doomsday Machine
"Watch the skeleton dance."
Many people seem to see melodic death metal as a real hit-or-miss genre, rarely being middle of the road. It either misses like a miscalculated golf swing, or hits hard as steel. I see it no differently. While the genre is home to many albums that just fall flat, there's always a handful of hole-in-ones that makes up for any bad shots that may be prevalent.
One complaint I have for melodic death metal, is that it often loses a lot of that raw and aggressive punch that is so essential to death metal. However, Arch Enemy's underrated Doomsday Machine should be the guidebook for how to make a death metal album that has a melodic sensibility but still kicks your ass. As you enter the machine, you're greeted with some of the most piercing and grooving riffing that has ever been present in death metal. I could name off any song to showcase this, but perhaps one of the best examples is the screeching homing missile attack of a main riff of "Nemesis". "My Apocalypse" may very well be my all time favorite death metal song, and just crushes the listeners skull with it's pummeling groove. That aggression is contrasted perfectly with a quiet atmospheric bridge, which features echoed-tone chords and a sublime guitar solo. The similarly toned chords that open up "Mechanic God Creation" is one of the best moments on the album, and is just as satisfying to hear every time I listen to it.
Speaking of, the Amott brothers' guitar playing is absolutely phenomenal and among the finest in death metal. Unlike the normal constant chugging of many modern technical and brutal death metal bands, these guys have infectious thrashing hooks and virtuoso soloing. I'm sometimes reminded of Rust in Peace-era Marty Friedman and Dave Mustaine's leads with some of the melodies. Sometimes there's even references to neo-classical shredders, such as the main riff in the instrumental "Hybrids of Steel". Angela Gossow's vocals are at their best on this album, and are among the most brutal in metal. Her growls and snarls pierce the skin just as much as the guitar licks. Her vocal performance on the first few songs and "Skeleton Dance" is especially fantastic. The whole album just sounds so damn colossal. The rhythm section is commanding, and the production is loud and almost mechanical sounding. The album really feels like a machine being constructed in a clanking and rattling factory.
Doomsday Machine is not only a unique melodic death metal album, but it's quite a unique album in general. I haven't heard an album that blends melodic guitar leads, death, thrash, and groove this well before. The tones and overall sound of the album as well is something that I've yet to hear replicated. If I had to choose, this is probably my all-time favorite death metal album. It's got raw brutality, groove, and crushing aggression all with a sense of harmony. It's a modern classic that still sounds fresh over a decade later. Hope you found this review helpful, feel free to comment!
ARCH ENEMY War Eternal
Necrotica
I've long considered Arch Enemy one of metal's great guilty pleasures; while they never achieved the overall level of quality many of their contemporaries reached in their heydays (Dark Tranquillity, Children of Bodom, etc.), they've been known to have a really fun anthemic quality to their music nonetheless. And that's what it really comes down to... I don't think many people take the band's music very seriously, but judging by how flat-out entertaining songs like "Nemesis" and "Silent Wars" are, this point can be pretty convincing. Unfortunately, it doesn't always mask the sad truth that much of Arch Enemy's output is hopelessly generic, particularly when it comes to both guitar leads and the primary riffs that serve as the basis for each song. Aaaaaand unfortunately, that's a serious problem when it comes to a genre like melodic death metal, with which both of those factors prove to be two of the most important elements of a band's sound. Both the leads and riffs are the primers that hold the songs together, and lead guitarist/primary songwriter Michael Amott has proven his penchant for creating bland motifs and solos for the last 10 years or so. However, there was one glimmer of hope on the horizon when looking at War Eternal: the fact that Angela Gossow would be replaced by The Agonist frontwoman Alissa White-Gluz. While Gossow was a great death metal singer, some fresh blood in the band would at least hopefully prompt some change in the band's dynamic and style. Well, that's wishful thinking, isn't it?
War Eternal proves that getting too comfortable with one specific style over time can prove fatal to a band's work, the entire record being littered with bland composition after bland composition. While there are some interesting moments here and there, such as the soft clean guitar-driven intro of "You Will Know My Name" or the electronic experimentation of the bonus Mike Oldfield cover "Shadow on the Wall," they aren't frequent enough to distract from the overall mediocrity at work here. First of all, the production is about as lifeless and synthetic as things can get, completely draining the impact of the more inspired and heavy riffs on the record; the whole album suffers from the same overproduction as many of the mainstream deathcore records from bands like Suicide Silence and Emmure. Compare this to records like Children of Bodom's Halo of Blood or Carcass' Surgical Steel, which have a clean sound to them but just enough rough edges to make them sound menacing. However, of course, the music itself doesn't help the band's case at all.
After listening to this album many times, I can safely say that I remember almost none of it; the riffs and melodies are so uninspired that it's simply remarkable that nobody from Century Media told them to alter their work before packaging it for record stores. Along with the production adding to the mediocrity, there almost seems to be a general lack of interest from the musicians as well. The title track, for instance, utilizes a grand total of one note (C) for most of its main riff, before devolving into a boring mid/fast-tempo set of melodies that sound recycled right out of a Carcass record. Songs like "Stolen Life" and "As the Pages Burn" go more for the "fast and brutal" approach, only to feature even blander riffs that end up muddled under White-Gluz's overdone vocal performances anyway. Speaking of which, Alissa's vocals aren't all that remarkable here; while it's nice to hear someone other than Gossow in this band for a change, Alissa certainly doesn't sound as inspired here as she did in The Agonist. However, I'll admit that the clean vocals she occasionally employs are a nice change in pace from the typical growls and screams... one just wishes they were perhaps used a bit more, honestly. When you get down to it, though, the compositions are what absolutely kill this record. Even a song like potential highlight "Avalanche," with its interesting keyboard arrangements and neoclassical vibe, instantly kills its own inspired intro with an extremely weak verse; once the keyboards come back in, the experience just feels inconsistent and underwhelming.
As if I haven't hammered the point into your heads enough, the entire album is just so damn uninspired and bland. It goes beyond that, though... it may sound tough for a metal album to put somebody to sleep, but this could easily do the trick. Every good moment on this record, such as the occasional usage of a dark atmosphere or some of the vocal highlights, is completely raped and pillaged by every boring riff and the choruses that define the phrase "going through the motions." The entire package feels synthetic, unappealing, unimaginative, sloppily written, sloppily paced, and just awful from almost every conceivable angle. Even with a new singer, War Eternal is just a depressingly lifeless mess of a record. Look on the bright side, though: at least it makes for a good coaster for your beverage, as well as a good substitute for reading bedtime stories to your kid(s) at night!
(Originally published on Sputnikmusic)
ARCH ENEMY Wages of Sin
Vim Fuego
When people look back on the metal of 2001, what is best remembered? Slayer's return with 'God Hates Us All'? Slipknot's overhyped but dire 'Iowa'? Emperor's final exit with 'Prometheus…'? Deicide's crazed contractual obligation album 'In Torment In Hell'? If there was any justice in the world, 'Wages of Sin' would be hailed as the defining album of 2001. It isn't, but hey, life ain't fair.
Right from the get go Arch Enemy command respect. Even on first listen, the technical brilliance of the band is awe–inspiring. The riffing and soloing is amazing. It immediately gets in your face, grabs you by the ears, and shakes until you can't help but give it your full attention. This is not something to listen to while you're working, as you'll be constantly distracted. That's not to say it's overly technical in a prog–rock kind of way. No, this is interchangeable twin guitar rifferama, as pioneered by Judas Priest and Iron Maiden, where rhythm and lead guitar blend seamlessly.
Choosing the outstanding tracks on this album is impossible. As each new track begins you think "this is the one!" but then the next track begins you think "or maybe this". There is not a dud, filler, or weaker track among them. Just as a random example, "Heart of Darkness" starts with what sounds like a riff left over from Carcass' pathologically essential 'Necroticism: Descanting The Insalubrious'. Angela Gossow's guttural growl (it says here it's a female vocalist, though it's difficult to believe!) also sounds a lot like that produced by the Carcass lads.
Latter day Carcass seems to be a reference point repeatedly, and if any band deserves to revisit the likes of 'Heartwork' and 'Swansong', its Arch Enemy. After all, Michael Amott helped define their post–'Symphonies of Sickness' sound. All the same, it would be misleading and unfair to call Arch Enemy Carcass clones. This band has its own unique musical identity, out–muscling a majority of so–called melodic death metal bands, but still retaining that essential listenability and attention to detail missing from more brutal bands.
While the brainwashed, baggy–trousered hordes think they have found the essence of "extreme" metal in Slipknot and Disturbed, anyone with an ear for what metal CAN be will be tracking this down and smiling quietly and blissfully.
ARCH ENEMY Movies Reviews
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ARCH ENEMY Shouts
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Q: Loop only outputting last iteration of data in R I'm running a loop in R, where I want to take some information about different Speakers from one dataframe and combine it with information in another dataframe. When I run a test using one speaker, the code runs fine, but when I run the loop the output gives me only the final speaker in the data.
 # Create sample dataframes
 library(tibble)

 df1 <- tribble(~Speaker, ~age,
           "A", 10,
           "B", 14,
           "C", 44,
           "D", 22)

 df2 <- tribble(~Speaker, ~age,
           "A", 10,
           "A", 11,
           "A", 12,
           "B", 13,
           "B", 14,
           "B", 15,
           "C", 45,
           "C", 46,
           "C", 47,
           "D", 22,
           "D", 23,
           "D", 24)

 # create empty dataframes for outputted data
 output <- data.frame(matrix(ncol = 3, nrow = 0))
 col_names <- c("Speaker", "age", "group")
 colnames(output) <- col_names

 for (i in df1$Speaker) {
  data_age <- df2 %>%
  filter(Speaker == i) %>%
  filter(Speaker == df1$Speaker & age >= df1$age) %>%    # take data from or after age in df1
  mutate(group = "group1") %>%
  select(Speaker, age, group)
  output <- data_age
  }

My expected output should look like:
 output <- tribble(~Speaker, ~age, ~group,
           "A", 10, "group1",
           "A", 11, "group1",
           "A", 12, "group1",
           "B", 13, NA,
           "B", 14, "group1",
           "B", 15, "group1",
           "C", 45, "group1",
           "C", 46, "group1",
           "C", 47, "group1",
           "D", 22, "group1",
           "D", 23, "group1",
           "D", 24, "group1")

From what I can find in other posts, this seemed to be something to do with the first line of the loop, where I don't have i in 1:length(), or perhaps the output file that I am trying to create, which is being overwritten (as in this post). When I change the code in line with either of these suggestions, I end up with a blank data frame.

A: You have three issues. First your filter() needed adjusting. You don't need to filter for both Speaker == i and Speaker == df1$Speaker since i is defined as an element from df1$speaker. Second, you need to provide a specific value of df1$age that matches i. Finally, each run of the loop overwrites output rather than something like rbind() to add rows to output.
for (i in df1$Speaker) {
  data_age <- df2 %>%
    filter(Speaker == i) %>%
    filter(age >= df1$age[which(df1$Speaker == i)]) %>%    # take data from or after age in df1
    mutate(group = "group1") %>%
    select(Speaker, age, group)
  output <- rbind(output, data_age)
}

A: As the initial question has already been answered, I'd like to provide you with an alternative approach.
To combine data.frames usually you should use joins over for-loops, as they are much faster.
Here is a data.table-way to get to the same output:
library(tibble)
library(data.table)

df1 <- tribble(~Speaker, ~age,
               "A", 10,
               "B", 14,
               "C", 44,
               "D", 22)

df2 <- tribble(~Speaker, ~age,
               "A", 10,
               "A", 11,
               "A", 12,
               "B", 13,
               "B", 14,
               "B", 15,
               "C", 45,
               "C", 46,
               "C", 47,
               "D", 22,
               "D", 23,
               "D", 24)

setDT(df1)
setDT(df2)

output <- df2[df1, on = "Speaker"][age >= i.age, group := "group1"][,i.age := NULL]

> output
    Speaker age  group
 1:       A  10 group1
 2:       A  11 group1
 3:       A  12 group1
 4:       B  13   <NA>
 5:       B  14 group1
 6:       B  15 group1
 7:       C  45 group1
 8:       C  46 group1
 9:       C  47 group1
10:       D  22 group1
11:       D  23 group1
12:       D  24 group1

A: It could be done without loops:
output <- df2 %>%
    left_join(
        df1 %>% rename(age_min = age)
        ,by="Speaker"
    ) %>%
    mutate(
        group = if_else(age >= age_min, "group1", NA_character_)
    ) %>%
    select(Speaker, age, group)

redpajama_set_name: RedPajamaStackExchange


text:
////////////////////////////////////////////////////////////////////////////////
/// DISCLAIMER
///
/// Copyright 2014-2020 ArangoDB GmbH, Cologne, Germany
/// Copyright 2004-2014 triAGENS GmbH, Cologne, Germany
///
/// Licensed under the Apache License, Version 2.0 (the "License");
/// you may not use this file except in compliance with the License.
/// You may obtain a copy of the License at
///
///     http://www.apache.org/licenses/LICENSE-2.0
///
/// Unless required by applicable law or agreed to in writing, software
/// distributed under the License is distributed on an "AS IS" BASIS,
/// WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied.
/// See the License for the specific language governing permissions and
/// limitations under the License.
///
/// Copyright holder is ArangoDB GmbH, Cologne, Germany
///
/// @author Tobias Goedderz
/// @author Michael Hackstein
/// @author Heiko Kernbach
/// @author Jan Christoph Uhde
////////////////////////////////////////////////////////////////////////////////

#pragma once

#include "Aql/AqlItemBlockManager.h"
#include "Aql/ConstFetcher.h"
#include "Aql/ExecutionBlock.h"
#include "Aql/ExecutionState.h"
#include "Aql/InputAqlItemRow.h"
#include "Aql/SingleRowFetcher.h"
#include "Aql/VelocyPackHelper.h"
#include "Basics/Common.h"
#include "Basics/GlobalResourceMonitor.h"
#include "Basics/ResourceUsage.h"

#include <velocypack/Buffer.h>
#include <velocypack/Builder.h>
#include <velocypack/Slice.h>

namespace arangodb {

namespace aql {
class AqlItemBlock;
class AqlItemBlockManager;
class InputAqlItemRow;
class AqlItemMatrix;
}  // namespace aql

namespace tests {
namespace aql {

/**
 * @brief Mock for SingleRowFetcher
 */
template<::arangodb::aql::BlockPassthrough passBlocksThrough>
class SingleRowFetcherHelper
    : public arangodb::aql::SingleRowFetcher<passBlocksThrough> {
 public:
  SingleRowFetcherHelper(arangodb::aql::AqlItemBlockManager& manager,
                         size_t blockSize, bool returnsWaiting,
                         arangodb::aql::SharedAqlItemBlockPtr input);

  // backwards compatible constructor
  SingleRowFetcherHelper(
      arangodb::aql::AqlItemBlockManager& manager,
      std::shared_ptr<arangodb::velocypack::Buffer<uint8_t>> const& vPackBuffer,
      bool returnsWaiting);

  virtual ~SingleRowFetcherHelper();

  uint64_t nrCalled() { return _nrCalled; }
  uint64_t nrReturned() { return _nrReturned; }
  uint64_t nrItems() { return _nrItems; }

  size_t totalSkipped() const { return _totalSkipped; }

  arangodb::aql::AqlItemBlockManager& itemBlockManager() {
    return _itemBlockManager;
  }

  bool isDone() const { return _returnedDoneOnFetchRow; };

 private:
  arangodb::aql::SharedAqlItemBlockPtr& getItemBlock() { return _itemBlock; }
  arangodb::aql::SharedAqlItemBlockPtr const& getItemBlock() const {
    return _itemBlock;
  }

  void nextRow() {
    _curRowIndex++;
    _curIndexInBlock = (_curIndexInBlock + 1) % _blockSize;
  }

  bool wait() {
    // Wait on the first row of every block, if applicable
    if (_returnsWaiting && _curIndexInBlock == 0) {
      // If the insert succeeds, we have not yet waited at this index.
      bool const waitNow = _didWaitAt.insert(_curRowIndex).second;

      return waitNow;
    }

    return false;
  }

 private:
  bool _returnedDoneOnFetchRow = false;
  bool _returnedDoneOnFetchShadowRow = false;
  bool const _returnsWaiting;
  uint64_t _nrItems;
  uint64_t _nrCalled{};
  uint64_t _nrReturned{};
  size_t _skipped{};
  size_t _totalSkipped{};
  size_t _curIndexInBlock{};
  size_t _curRowIndex{};
  size_t _blockSize;
  std::unordered_set<size_t> _didWaitAt;
  arangodb::aql::AqlItemBlockManager& _itemBlockManager;
  arangodb::aql::SharedAqlItemBlockPtr _itemBlock;
  arangodb::aql::InputAqlItemRow _lastReturnedRow{
      arangodb::aql::CreateInvalidInputRowHint{}};
};

class ConstFetcherHelper : public arangodb::aql::ConstFetcher {
 public:
  ConstFetcherHelper(
      arangodb::aql::AqlItemBlockManager& itemBlockManager,
      std::shared_ptr<arangodb::velocypack::Buffer<uint8_t>> vPackBuffer);
  virtual ~ConstFetcherHelper();

 private:
  std::shared_ptr<arangodb::velocypack::Buffer<uint8_t>> _vPackBuffer;
  arangodb::velocypack::Slice _data;
};

}  // namespace aql
}  // namespace tests
}  // namespace arangodb

redpajama_set_name: RedPajamaGithub


text:
What Every Employer Needs to Know About Sexual Harassment
Last week's column defined sexual harassment. This week, we take a look at the legal ramifications for employers of allowing sexual harassment in the workplace.
Let's look first at the legal liabilities for employees who are found to have sexually harassed another employee:
In such cases, a supervisor and/or the individual harasser is subject to:
"Aiding and abetting" liability as defined by the Connecticut Fair Employment Practices Act may apply to co-workers, other non-supervisors, and even third parties who engage in or encourage sexual harassment.
Civil "tort" suits brought by the victim (e.g., intentional or negligent infliction of emotional distress; defamation; negligence in hiring, supervision and/or retention; invasion of privacy; false imprisonment).
Criminal prosecution (e.g., sexual assault, stalking, computer crimes).
Discipline or discharge from employment.
Does an employer have any exposure for acts of sexual harassment by employees?
Yes. Employers are subject to the following:
Strict liability for the actions of supervisors with immediate or successively higher authority over the victim.
This standard applies to both "quid pro quo" and hostile work environment harassment.
The key question is whether the supervisor took tangible employment action against the victim.
Preventive precautions will not automatically exonerate the employer but often help to lower the compensatory and punitive damage awards.
Potential affirmative defense may be available to an employer only if the victim did not suffer tangible employment action and employer shows that it took reasonable steps to prevent and correct sexual harassment, such as training and policy, and that the victim unreasonably failed to take advantage of employer's protections.
Liability for conduct between co-workers. Employers are responsible where they (or its agents or supervisory employees) knew or should have known of the conduct unless it shows that it took immediate and appropriate corrective action. The key questions here are:
Did the employer "know or have reason to know" of the alleged harassment?
Ignorance is not a defense if reasonable inquiry would have put the employer on notice.
Did the employer care, by taking prompt and appropriate corrective action?
Did the employer have a policy prohibiting sexual harassment which was effectively communicated to all employees?
Liability for third party behavior (e.g., contractors, vendors, customers):
There is liability whenever an employer knows or should have known of the poor conduct of a third party and fails to take immediate and appropriate corrective action.
Final liability may turn on how much control the employer exercises over the third party.
Liability for retaliation against victims who "blow the whistle" or assist in anti-discrimination agency proceedings:
By the employer
By the harasser
Lawsuits by the alleged harasser.
What can a sexually harassed employee expect as remedies for any harm they have suffered?
The Connecticut Fair Employment Practices Act comes into play here allowing for the following:
Reinstatement, back pay, front pay, lost fringe benefits (including pension rights); unlimited compensatory and punitive damages; attorneys' fees.
Entitlement to a jury trial.
Title VII and the Civil Rights Act of 1991 also come into play as remedies…
Same remedies as available under state law plus punitive damages for private employers and attorney's fees.
Compensatory and punitive damage caps against private (not public) employers ranging from $50,000 for employers with from 15 to 100 employees to $300,000 for employers with 501 or more employees.
Being an employer is not an easy task, but when it comes to matters of sexual harassment, there are preventative measures that can be taken that offer a degree of legal protection while improving the chances that your employees will enjoy a positive work experience.
Make sure you have a clear and visible anti-harassment policy and complaint procedure.
Adopt and publish grievance procedures providing for prompt and equitable resolution of all sex discrimination complaints, including complaints of sexual harassment
A sexual harassment grievance procedure should:
Bypass a supervisor or other staff member who may be the harasser
Provide the victim access to someone of same-sex
Provide access to a person trained in human resources and/or counseling
Assure confidentiality of complaints and records to the fullest extent possible
Ensure no retaliation
Take every complaint seriously.
Always conduct a prompt, full and fair investigation.
Always take prompt corrective action as may be necessary.
The ultimate goal is to create a work environment in which all persons understand, through the policy statements and the actions taken in support of that policy, that sexual harassment will not be tolerated.
If you are an employer in Connecticut and need guidance on the topic of sexual harassment, contact the attorneys at Kainen, Escalera & McHale. We do one thing and one thing only – we are an employer defense law firm – in fact, we are one of the largest employer defense law firms in the region. What's more, each of our attorneys has over 20 years of experience in employment law and labor law matters and can provide your business with comprehensive legal counsel ranging from assistance with necessary preventive measures to trial advocacy. Please contact us if we can help you.
The information provided above is made available by Kainen, Escalera & McHale, P.C. for educational purposes only. It is not intended to provide specific legal advice to your individual circumstances or legal questions. You acknowledge that neither your reading of, nor posting on, this site establishes an attorney-client relationship between you and our law firm or any of the attorneys in our firm. This information should not be used as a substitute for seeking competent legal advice from a licensed professional attorney in your state nor is it provided for the specific purpose of soliciting your business on any particular matter. Readers of this information should not act upon anything communicated in it without seeking professional counsel.

redpajama_set_name: RedPajamaCommonCrawl


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Big Upside Potential for American International Group, Inc. (AIG)
Published on February 15, 2013 at 4:37 pm by The Motley Fool in News
American International Group, Inc. (NYSE:AIG) has been one the central players in the 2008/2009 financial crisis, during the credit bubble the company made what was perhaps the worst kind of bet it could possibly make: insuring investors against losses in subprime mortgage assets. Needless to say, when the bubble exploded AIG was left in a seriously fragile position.
A collapse of AIG could have carried dramatic consequences all over the world, as it would have left other investors – including big banks – unprotected from their losses. The company was effectively declared "too big to fail" and received a $182 billion bailout from the federal government in order to backstop a crisis that could have produced ripple effects all over the global financial system. In some sense, the AIG bailout could be considered an indirect way to help many other investors who had purchased insurance from the company.
But that seems to be already in the past, the government owns no more stakes in AIG, and the company has been materially improving its financial position over the last years. Although the insurer is not completely out of the woods, the worse is likely over for AIG investors, and the stock is offering some attractive upside potential for those willing to ride the recovery.
New Management, New Company
Robert Benmosche was appointed as chairman and CEO of AIG in August 2009, and he has been responsible for the company´s turnaround since them. Benmosche had a successful experience as CEO of Met Life from 1998 to 2006; during his tenure he oversaw MetLife's successful transition from mutual company to publicly traded firm. His experience at Met Life was probably one of the reasons why he was chosen to lead AIG ´s transition back to private ownership.
Benmosche is famous for being frontal and outspoken, saying he was planning to avoid "those crazies down in Washington" in his first meeting with employees after being appointed for the job. Under his leadership, AIG has reduced its workforce from 116,000 to around 60,000 employees; the company sold its Asian life insurance business and is also planning to dispose its aircraft leasing operations.
More importantly, AIG has materially reduced its exposure to credit derivatives and low quality investment securities on its balance sheet. The company is clearly much sounder in terms of risk exposure.
AIG has remarkably reduced its risks over the last years, and the company looks ready to focus on growth by implementing measures like concentrating in the more profitable property-casualty business, which has higher margins than life insurance, consolidating data centers to cut costs and applying better data analysis to improve product pricing.
Allstate Corp. (ALL)American International Group Inc. (AIG)NYSE:AIGNYSE:ALLNYSE:TRVTravelers Companies Inc (TRV)Show more...Show less
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The Lawsuit That'll Make or Break Bank of America Corp (BAC) 3 Earnings Reports That Caught My Attention Last Week: The Allstate Corporation... 1 Terrible Investing Habit You Need to Break: American International Group,...


text:
Saint Peters (St. Peters) est une ville du Missouri, dans le comté de Saint Charles aux États-Unis.

Personnalités liées
 Le groupe de musique américain Love Lost But Not Forgotten en est originaire

City au Missouri
Comté de Saint Charles

redpajama_set_name: RedPajamaWikipedia


text:
ACCEPTED

#### According to
Index Fungorum

#### Published in
Mycologia 4(4): 212 (1912)

#### Original name
Limacella roseicremea Murrill

### Remarks
null


Converse, Inc. announced SNEAKERS CLASH - a series of artistic installations that brings together top street artists to transform blank walls into massive art pieces; designed to disrupt and clash against a gray world. Sneakers Clash is directly inspired by the bold and colorful spirit of the Chuck Taylor All Star, with the series now finding its way to Manila.
Sneakers Clash is inspired by the Spring 2014 Converse All Star sneaker collection, featuring dynamic color pops and elevated silhouettes to provoke youthful self-expression. The undoubled hero of the collection is the Converse All Star Chuck '70 - a new take on an American icon.
Timed against the launch of the Spring 2014 Converse All Star sneaker collection, the Sneakers Clash series will be brought to life on Philippine soil through #clashwall. Converse teamed up with 3 local artists to contribute to the creative initiative, uniting these local street artists with clashing styles at unexpected locations - challenging them to unleash their most visceral work against a static wall.
Kicking off the Sneakers Clash Philippines series was artist and designer Chad Manzo. The #clashwall project will be followed by the next two artists in the three-man roster, artist Archie Geotina aka Chichimonster, and designer Nicolo Nimor.


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Fast and fun can be affordable and accessible
When introduced a year ago to the marketplace, Jason Ker's Bolt 37 design seemed like an impossible dream: a manageablesized pure race boat that promised to be fast, fun to sail, offshore-capable, and with all the features expected in a modern race boat, but at a price affordable to a broad marketplace. And nearly a year after the launch of the first boat, its speed on paper and in design renderings have translated into reality, with boat-for-boat horizon jobs achieved against many larger racer and cruiser-racer designs.
But how can this be possible for a production boat, and one fitted with a Hall high-modulus carbon spars and Harken hardware, at a base boat price of only €149,000? Anything else that comes this close in performance is usually twice this price.
The answer is in the careful attention made to choosing the right trade-offs in performance and cost-efficiency in both the design features and the materials and production techniques used in the build. These choices have been made with the extensive experience Ker has had with numerous other performance designs created in both custom and production form from a variety of builders around the world.
'Our brief was to create a low-cost high-performance boat that could interest the large market of club-based racers who wanted an accessible, easy-to-race design,' said Jason Ker. 'Furthermore, this boat had deliver excitement and performance, but also at a modest price and good build quality. We think we have achieved this in the Bolt.'
In design, Ker's extensive use of Fine-Marine RANS CFD computations on their in-house cluster of computers has produced an attractive low freeboard hull shape that nicely balances the opposing forces of stability and drag. The quite generous sail plan produces plenty of power, and with minimal wetted surface area the hull shape allows impressive boatspeed when other boats are struggling just to move in light air. Yet when the breeze comes on, the hull shape has excellent form stability and sufficient righting moment to continue to harness that power and hit planing speeds sooner than most of the competition.
While offered at a low price, the build process for the Bolt 37 represents the same no-compromise approach using the latest techniques found among any contemporary high-performance production boat builder. The hull, bulkheads, stiffeners and the deck are built in female tooling with E-glass and use of Core-cell M-Foam core, a superior material 40% more expensive than conventional PVC foams, with vinylester resin infused with vacuum assistance to minimize voids and control the amounts of resin to keep the design weight consistent enough for one-design standards and at just under 4000kg. This choice of resin in the laminates takes advantage of the compatibility of vinylester with the gelcoat finish for a further reduction in cost and build time.
CNC-moulded composite skins encase the cast steel keel fin, which supports the antimony-lead alloy bulb cast in CNC-milled plug, then faired with templates and painted. This approach ensures that no additional fairing and finishing is necessary before racing. Static and dynamic loads from the keel are linked to the hull and rig via an internal alloy frame structure bonded to the hull.
At such an impressively low price, the Bolt 37 could be bought in bulk and easily start sprouting one-design fleets. However, an important aspect of the Bolt's design is in the excellent value for rated performance when racing under ORCi and even IRC handicaps. No doubt the cost-control credits being built in to the HPR rule will also make the Bolt an attractive option for those that want to play among similar-sized high-performance designs but at a fraction of the cost.
'We are very pleased with the reception we have had among the first several Bolt owners,' said Karem Ozkan of KA Yachting, developer of the Bolt 37. 'Even with teams that represent a mixture of talent levels, they are still able to access the high performance levels in this design. In this way we feel the Bolt is truly a breakthrough in its ability to deliver unparalleled performance value to the racing sailor.
'We look forward to seeing the Bolt come to more racing venues throughout Europe and beyond so that everyone can see that high performance does not have to come at a high price.'
Click here for more information on Bolt 37 »


Is the 'Parent Trigger' Finally Being Given a Chance?
When parents in Compton tried out the so-called "parent trigger," their petition was thrown out in court. But two weeks ago, the school board in the high-desert town of Adelanto turned over control of Desert Trails Elementary to an outside operator. Last week, a crowd of parents from 24th Street Elementary in South LA showed up to demand immediate, significant change from LA Unified.


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Yongjinglong — род травоядных динозавров-завропод из группы титанозавров, живших во время нижнемеловой эпохи. Представлен единственным видом — Yongjinglong datangi.

Остатки динозавра найдены в 2014 году в северо-западной части Китая. Обнаруженный фрагментированный скелет скорее всего принадлежит молодой особи, а взрослые динозавры предположительно достигали 18 м в длину. Авторы, описавшие таксон, отнесли род Yongjinglong к группе титанозавров — самых крупных наземных животных, когда-либо населявших нашу планету. Специалисты определили нового титанозавра как самого «эволюционно продвинутого» из населявших Азию.

Примечания

Титанозавры
Монотипические роды архозавров
Динозавры мелового периода
Динозавры Азии
Фоссилии из меловых отложений Китая
Фоссилии, описанные в 2014 году


Photographer John Stanmeyer reflects on the emotional experience of documenting the flight of refugees who fled across the Syrian-Turkish border to escape the arrival of ISIS to the area.
Click here to read more about the crisis in Syria and see additional photos by John Stanmeyer.
Learn more about the Out of Eden Walk.


With Trump slipping in the polls and his defensiveness over, well everything, and his inability to let any attack go unanswered, combined with Hillary's desire to provoke The Donald, I expect to see blood on the floor. Especially with foreign hot spots and fitness to be president topics it should get very ugly.
She explained that Hillary Clinton has been in government for decades, so she must take ownership of what many Americans believe to be a corrupt and broken system.
I don't see how Trump does anything but attack, attack, attack.
That doesn't sound exactly like what Frank Luntz had in mind when he explained what Trump had to do to win tonight. Although Luntz did say Trump needs to talk about Hillary in terms of her three decades in Washington.
So I expect the debate will be a no holds barred slug fest and even if Trump manages to win the debate by being Trump and by "prosecuting" Hillary, he will lose. He will lose the debate and the election. His only chance is to be calm cool collected and more presidential.


Editor's Note: This is a reprint of an earlier blog post, but I believe it bears repeating.
We provide Thanksgiving dinner for 600 people in our hall. No questions asked. And we take over Meals on Wheels for the day for Arlington County, Virginia. We deliver 1,500 meals on Thanksgiving.


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Inspired Life
'You Belong. Stay Strong. Be Blessed': A Texas man's roadside message to Muslims
Justin Normand outside the Islamic Center of Irving. (Courtesy of Justin Normand)
By Lindsey Bever
As some Muslims — and the mosques they worship in — have been subjected to racism, bigotry and hate, a man in Texas has been spreading a positive and powerful message.
Over the past several days, a photo has swept across social media, showing 53-year-old Justin Normand, with a white beard and wearing a cowboy hat, holding a sign outside the Islamic Center of Irving near Dallas.
"You Belong. Stay Strong," it reads. "Be Blessed. We Are One America."
Normand, of Dallas, told The Washington Post on Wednesday that he never intended to draw nationwide attention when he first went to the mosque Friday, then for a short time Saturday and Sunday. He said he just wanted to express support for his Muslim neighbors.
But his message struck a nerve when it was posted on Reddit and Twitter, reaching thousands who said it gave them hope.
"It is the message — not me — that is transcendent," Normand said in a phone interview. "I just spoke what is on a lot of people's minds."
Multiple mosques threatened: Trump will 'do to you Muslims what Hitler did to the Jews'
The Islamic Center of Irving said that a man had been seen standing outside the mosque over the weekend, sympathizing with the Muslim community during a time of fear over what a Donald Trump presidency will mean for followers of the faith.
Nick Pelletier, director of outreach for the Islamic Center of Irving, spoke with Normand on Saturday outside the mosque.
"We are out here to help one another," Normand told him, in a video posted on Facebook. "And your community needs help.
"I'm an American and — regardless of who's here, Americans or immigrants — we've got to be here for one another. I'm just here because somebody's got to speak up and say, 'You're valued. You're okay. You're part of what's going on here.' "
During the presidential campaign, Trump proposed a "total and complete" ban on Muslims entering the United States; he later backtracked, calling instead for a suspension on immigration from countries "compromised by terrorism." But since Trump's election, the Council on American-Islamic Relations, or CAIR, reported that there have been some 100 anti-Muslim incidents across the country.
Numerous mosques in California and one in Georgia were recently targeted with letters threatening that Trump will do to Muslims what Adolf Hitler "did to the Jews," according to CAIR.
Irving and its Islamic Center have struggled with their own anti-Islam incidents.
The city, about 15 miles from Dallas, has a small but growing Muslim population of thousands among the city's 232,000 residents.
As The Washington Post reported in 2015, Irving Mayor Beth Van Duyne criticized a Muslim mediation panel rumored to be set up in an Irving mosque to settle civil disputes using Sharia law — which opponents worried would lead to practices and punishments seen in some Muslim countries, as well as clash with the United States' constitutional rights. Van Duyne began referring to the tribunal as a "court" and warned that foreign law cannot be applied when it "violates public policy, statutory, or federal laws."
Irving's mosque "categorically" denied hosting a court, stating that its imam acted as an arbitrator on a tribunal in the Dallas-Fort Worth metroplex.
Then there was Ahmed Mohamed.
The teenage boy, whose family worshiped at the Irving mosque, was arrested when he brought a homemade clock to school — igniting national outrage.
The mosque is also the site where demonstrators gathered late last year, armed with long guns and signs proposing to "Stop the Islamization of America," the Dallas Morning News's Avi Selk reported at the time. The anti-Muslim protests followed the Islamic State terrorist attacks in Paris that killed at least 130 people and injured hundreds of others in November 2015.
The protest's organizer, David Wright, also published names and addresses for "every Muslim and Muslim sympathizer that stood up for … Sharia tribunals in Irving," according to the newspaper.
The history of anti-Islam controversy in Ahmed Mohamed's Texas city
Earlier this week, Normand identified himself as the mysterious man outside the mosque and explained the motivation behind his message.
"Like most everyone I know, I have been in a malaise and at a loss since Election Day," Normand wrote on Facebook. "What to do? With myself? With my time? To make things better, or even just to slog through?
"I manage a sign shop, and so I had had the urge for a week or so to do this. Friday, I had a couple of spare hours in the afternoon, so I did. I made a sign, and I drove to the nearest mosque and stood out on the public sidewalk to share the peace with my neighbors. My marginalized, fearful, decent, targeted, Muslim neighbors."
Normand, who described himself as a longtime activist, said the response has been visceral — thousands and thousands have shown their support, even as others have spoken out against his actions. But he said he has been deeply humbled by the reaction.
"For me, this wasn't about expressing agreement; I remain Presbyterian, not Muslim," he wrote on Facebook. "It wasn't about demonstrating my outrage to right-wing drivers driving down Esters Road in front of the mosque. I can never, and will never, change any of the haters. It's not about them. Not this time, and not here.
"This was about binding up the wounded. About showing compassion and empathy for the hurting and fearful among us. Or, in some Christian traditions, this was about washing my brother's feet. This was about my religion, not theirs. And, it was about what I think I must do as an American when our way of life is threatened. Targeting people for their religion not only threatens our way of life, it is the polar opposite of our way of life."
Normand's husband, Gary Cathey, said that after the election the two had been praying for a way to make a positive impact.
"This came from what Justin felt like someone following the teachings of Jesus would do," Cathey said of Normand's message. "This came from a very spiritual place. Justin made the sign and God has done the rest."
As a result, Normand said, he has learned how "downtrodden" some Muslims feel and wants them to see themselves as an "integral part of who we are" in America.
This story, which was originally published Nov. 29, has been updated.
Read more Inspired Life:
A church was defaced with 'Trump Nation, Whites Only.' The community had a different message.
Deep in Trump country, this Clinton voter found renewed faith in her neighbors and America


Vincentian singer/songwriter, Problem Child released his very first album, "Problem Is A Problem," on all digital platforms worldwide. The debut album contains 17 songs – a compilation of unreleased songs, hit songs and previously released tracks that just did not receive the love they deserved. The album artwork features Problem Child bare-chested and bare feet in a dazzling white suit and bucket hat.
According to Problem Child, releasing an album was on his bucket list of achievements, but first he had to explore the mechanics behind such an undertaking. He believes that every artist, who is serious about their craft, should put out at least one album as a part of their legacy.
Now, that his first album has broken ground, Problem Child will begin working on next year's album very soon. Soca lovers and fans alike can now expect annual album releases from the Party Animal artist, featuring all brand new tracks. When it comes to Vincy Mas, however, the Middle of Something artist admits that his involvement is up in the air as he is currently undecided on whether he will be contributing any songs to this year's festivities.
Problem Child recently wrapped up a tour in the Emirates as part of the "Soca On The Seas" cruise, for which he was contracted. He visited and performed in Qatar, Abu Dhabi, Bahrain & Dubai.


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Bureau home
Recent climate
Climate updates
Tracking Australia's climate through 2019
Tracking Australia's climate through 2019
Issued 2 December 2019, Updated 4 December 2019
The year is not yet done, but with most of it behind us, we can look at what's happened so far, and how it might look once the year is complete. The temperature and rainfall rankings for 2019 could still change in the remaining weeks, but we can certainly say that almost the whole country has had a very warm and very dry year so far.
Almost certain to be amongst the four warmest years on record for Australia
Days especially warm
Annual rainfall for Australia as a whole likely to be in the driest ten years on record
Much of Australia affected by drought, especially severe in New South Wales and southern Queensland
Flooding across northern Queensland and the Gulf Country between February and April, leading to a significant filling of Lake Eyre / Kati Thanda
Significant heatwaves in January contributed to Australia's warmest summer on record
Large bushfires affected Victoria and Tasmania between January and March
Prolonged period of bushfires affecting southeast Queensland and northeastern New South Wales from September
How is the year shaping up?
2019 will rank amongst Australia's warmest and driest years on record.
Australia's mean temperature over January to November has been the highest on record for large areas of eastern and northern New South Wales, extending into southeastern Queensland, and for a large area extending from the Pilbara coast in Western Australia to northwest South Australia. January–November was the warmest on record for just over one quarter of the country, and very much warmer than average for the remainder outside of areas of western and northern Queensland.
The Bureau's climate outlooks indicate a strong likelihood of above-average temperatures for December 2019.
Based on this climate outlook and the behaviour of recent years, it's likely the final annual mean temperature will be between 1.3 °C and 1.4 °C above average. That puts the annual mean temperature for 2019 on track to be one of the four warmest years on record. Australia's January–November 2019 mean temperature was the second-warmest on record, at 1.36 °C above the 1961–1990 average.
Regardless of where 2019 does place in the final ranks, it will continue a run of very warm years. All of the years since 2013 have been amongst the ten warmest on record for Australia. Of the ten warmest years, only one (1998) occurred before 2005.
Australian annual mean temperature anomaly
Continuation of January to November anomaly (2019 anomaly of about +1.4 °C)
December temperatures are the 1961–1990 average (2019 anomaly of about +1.3 °C)
December temperatures are the coolest on record (2019 anomaly of about +1.1 °C)
Persistent warmth during 2019 has been driven by the combination of the long-term warming trend and natural climate drivers including a long-lived positive Indian Ocean Dipole (IOD). The overall sea surface temperatures pattern in the Indian Ocean was generally consistent with a positive IOD from late May, and firmly in positive territory since August. During spring the IOD index reached the highest weekly values observed in the Bureau's dataset, which extends from 2001. The peak value, +2.15 °C for the week ending 13 October, was well above the previous record of +1.48 °C for the week ending 5 November 2006.
This very strong, positive IOD has contributed to very low rainfall across Australia. A positive IOD often results in below average winter–spring rainfall over southern and central Australia. It also typically means warmer than average winter–spring days for the southern two-thirds of Australia.
Given the positive IOD remains so strong, it is likely its influence could persist well into mid-summer. This is reflected in a continued dry outlook for most of Australia for December.
Sudden stratospheric warming also played a role in spring, when the stratosphere high above the South Pole began rapidly heating at the end of August. This shifted the belt of westerly winds over the Southern Ocean towards the equator, resulting in warmer than average spring temperatures and below average rainfall across large parts of eastern Australia.
Low rainfall also contributed to higher daytime temperatures over Australia during 2019, as dry soils reduce evaporation from the landscape, which would otherwise exert a cooling influence. Those same dry soils contributed to the relatively low night-time temperatures seen in winter across much of inland Australia.
Despite many areas seeing unusually cold nights during at least one month between May and November, the overall mean minimum temperature for the year so far has also been above average for most of the country.
Previous warm and dry years have often been associated with El Niño, but the tropical Pacific Ocean remained ENSO-neutral during 2019.
In addition to the influence of natural drivers, Australia's climate is increasingly influenced by global warming and natural variability takes place on top of this background trend. Australia has warmed by just over one degree since 1910, with most of the warming occurring since 1950.
A very dry year so far
Overall, 2019 to-date has been a very dry year for Australia. January–November rainfall has been the second-lowest on record for Australia as a whole (spanning 120 years), coming in behind only January–November 1902. For the year to date, rainfall has been below to very much below average over most of Australia except central to northern Queensland.
Rainfall for January–November was above average across parts of Queensland's northwest and northern tropics, mostly as a result of very much above average rainfall during the first quarter of the year.
The year commenced with significant rainfall deficiencies in place across large areas of eastern Australia, and low rainfall during the year has resulted in an increase in the severity of rainfall deficiencies and an expansion of the area affected (see Special Climate Statement Drought conditions in eastern Australia and impact on water resources in the Murray–Darling Basin).
As well as the significant deficiencies affecting New South Wales, southern Queensland, eastern Victoria, and eastern South Australia, rainfall deficiencies intensified throughout the year in Western Australia — including across the South West Land Division.
Several active tropical systems, including severe tropical cyclone Trevor, brought above average rainfall to parts of northern and western Queensland during the first months of 2019. Significant flooding resulted in and around Townsville during late January to early February. In the Gulf Country and western Queensland extensive and long-lived flooding lasted from February into April, spread at its peak across an area some 70 km wide and an estimated 15 000 square kilometres in total area. Further information on the flooding can be found in Special Climate Statement An extended period of heavy rainfall and flooding in tropical Queensland. Floodwaters from these events eventually made their way to Lake Eyre / Kati Thanda in South Australia, for the most significant filling event for Lake Eyre / Kati Thanda since 2010–11.
In Western Australia, severe tropical cyclone Veronica caused major flooding in the coastal Pilbara during March.
Although March and April were wetter than average for some parts of eastern Australia, April was very much drier than average for eastern New South Wales and most of Victoria.
For the remainder of the year rainfall was generally below average over large areas, with conditions turning especially dry from July onwards across continental southern Australia. July–November rainfall was the lowest on record for the southern half of Australia.
In addition to the very dry second half of the year, parts of Queensland and New South Wales have had significantly below average rainfall for several years. Extremely dry conditions and very much above average temperatures led to increased fire risk across New South Wales and Queensland during spring (see Special Climate Statement Severe fire weather conditions in southeast Queensland and northeast New South Wales in September 2019).
Rainfall deciles
Widespread warmth throughout the year, and significant fires
Low rainfall has been accompanied by very high daytime temperatures. Maximum temperatures have been above, to very much above average for most of Australia for nearly every month so far this year, with minimum temperatures not far behind, despite being below average for some areas in the months from May.
Daytime maximum temperatures in particular have been very warm nationally. The mean maximum temperature for January–November was 1.90 °C above average, the highest on record for the 11-month period. The annual value is likely to be among the five warmest on record.
Minimum temperatures have also been warmer than average, at 0.83 °C above average for January–November, the seventh-highest on record for the period. While drought years have often seen cooler than average minimum temperatures in the past, the background warming trend (+1.4C °C since 1910) now means that minimum temperatures are more often above average, even in years of extremely low rainfall.
The year got off to a very warm start for much of the country, as prolonged stable and sunny conditions and a delayed onset of the monsoon in northern Australia led to a build up of heat. January was exceptionally warm, and was the hottest month on record for every State and Territory except South Australia and Western Australia. New South Wales broke its previous record by more than 2 °C. More details, including a summary of records, can be found in Special Climate Statement Widespread heatwaves during December 2018 and January 2019.
Widespread warm and dry conditions, on top of well below average rainfall over multiple months, contributed to significant fires during January in Gippsland in Victoria and across large areas of Tasmania. Though less extreme than during January, above average maximum temperatures persisted well into autumn, and along with a lack of rainfall contributed to further significant fires during February and early March.
Monthly mean minimum temperatures were very much below average for southwest Western Australia during May, with some stations having for their coldest May night on record during the middle of the month.
Monthly mean minimum temperatures were very much below average for southeastern Australia during August, and during September for parts of the mainland southeast and for large areas of the northern tropics. Frost events during the first half of September led to severe frost damage to crops in southwest Western Australia, and some areas of crop damage in southeast South Australia and western Victoria.
September, October, and November mean maximum temperatures were very much warmer than average over large parts of Australia. Several times over the three months, warm spells with high temperatures, very low humidity, and strong winds led to dangerous fire weather conditions. A large number of fires were active across southeastern Queensland and northeastern New South Wales in early September. Additional fires started as spring progressed, with significant fires across eastern New South Wales reaching as far south as the outskirts of Sydney. Dry lightning also led to fires in East Gippsland and northeast Victoria towards the end of November.
Maximum temperature deciles
Minimum temperature deciles
What about the globe as a whole?
For the globe as a whole, 2019 is on course to be the second or third warmest year on record, continuing the recent pattern of very warm years.
The World Meteorological Organization (WMO) issued its preliminary statement on the climate of 2019 on 3 December.
The last four years—2015, 2016, 2017, and 2018—were the four warmest on record, and although 2019 is unlikely to reach the record set in 2016, this year will almost certainly be in that top group.
All of the ten warmest years globally have occurred between 1998 and the present. Global mean temperatures have increased by over 1 °C since records began in 1850, and, according to information collated by the World Meteorological Organization (WMO), 1978 was the last time the global annual mean temperature was below the 1961–1990 average.
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Zestril is the drug that affect ' cardiovascular system. The drug active substance with the same name, belongs to the group of APF inhibitors. This drug is similar to Dirotone. In other words, Zestril impedes the transformation of Angiotensin I into Angiotensin II, which results in the pressure drop in the major vessels (mostly in the arteries). On the contrary, the blood flow to the capillaries is increasing. You can note the maximum reduction of blood pressure in about 6 hours after the drug intake. Zestril improves the condition of heart muscle. In the long-term use, hypertrophic myocardium returns to its natural state. Besides, this drug can reduce the excretion of protein with urine (due to the improved state of filtering tissue in kidneys).
Zestril is available in pills with different concentrations of active substance. You should start the treatment with low dosages, which must be then corrected depending on the effectiveness. According to the instruction, the patients using diuretics must withdraw them a few days before starting to use this drug. Otherwise, it can cause significant reduction of blood pressure. Therefore, the patient must be under the medical supervision 6 hours after the intake of Zestril to correct (if necessary) the patient's condition, maintaining the normal level of blood pressure).
The patients with kidney dysfunction and the old patients require the correction of dosage, as lisipronil disrupts the metabolism of lisinopril. Actually, the indications to the use of this drug are outlined in the instruction.
You can take this drug irrespective of the mealtime.
The most frequent side effects are cough, headache, sickness and diarrhea, fatigue, skin rash, too low blood pressure. In rare cases, the patients suffer from the side effects related to the disruption of different body systems.
Overdose can cause the expressed reduction of blood pressure, dry mouth, urinary retention and constipations, irritability, anxiety and drowsiness. The treatment includes the restoration of water and salt balance and control and maintenance of blood pressure. Haemodialysis is also possible.


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E. Alpha Diversity
...continued from Alignments and Trees
Perform multiple rarefactions at different depths
Analyze alpha diversity of individual samples
In this step we'll look into alpha diversity - a measure of species richness or diversity within an individual sample.
Perform Multiple Rarefactions
You may think of diversity, or species richness, as "the number of species" that are present in the system. That is the general definition of diversity. However, the deeper you sequence, the more species you will find. That is problematic, especially if you gathered 500 reads from one sample and only 100 reads from another sample. You would expect to find more species if you sequenced 5x as many reads! To account for this, we perform an in-silico (i.e., on your computer) experiment called rarefaction. A rarefaction is a random collection of sequences from a sample, with a specified depth (number of sequences). For example, a rarefaction with a depth of 75 reads per sample is a simulation of what your sequencing results would look like if you sequenced exactly 75 reads from each sample. To look at alpha diversity systematically, we can perform many rarefactions: at multiple depths and repeat many times at each depth. In QIIME, this task is performed on your OTU table. The QIIME script multiple_rarefactions.py takes your OTU table and makes a folder full of many OTU tables, all of which are repeats of rarefactions at specific depths. Let's use multiple_rarefactions.py as follows:
multiple_rarefactions.py -i otu_table.biom -m 20 -x 100 -s 20 -n 10 -o rare_20-100/
Some options for multiple_rarefactions.py:
-i [file] The input OTU table file
-m [number] The lowest rarefaction depth in the series of depths
-x [number] The highest rarefaction depth in the series of depths
-s [number] The step size to increment from the low to high depths
-n [number] The number of replicates to perform at each depth
-0 [name] The name of the new directory to be created
From that command above, you can see that we are performing rarefactions starting at 20 seqs/sample, and stepping up to 100 seqs/sample in increments of 20. In other words, we'll perform rarefactions at 20, 40, 60, 80, and 100 seqs/sample. The -n option specifies that we'll do 10 replicates at each of those depths. It is important to chose the rarefaction depths based on how many total sequences per sample you have. For example, it would not make sense to do rarefactions from 20 to 100 seqs/sample if I had a larger data set with an average of 5000 seqs/sample. If I did that, I would be throwing out a lot of my data and statistical power!
Run the command, and it will make that directory named rare_20-100/. If you look inside that new directory with ls, you will see that we've created 50 new files. Each of those files is a new OTU table with all the samples rarefied at the specified level! We're going to look at alpha diversity in those rarefied OTU tables, not in our original OTU table.
Calculate Alpha Diversity
There are many measures of alpha diversity. Depending on your ecological allegiances, you may have a preference for Chao1, Simpson's Diversity, Shannon Index, etc. These all measure different things, so it's important to think about what is most meaningful for your experiment, and your question. The QIIME script for calculating alpha diversity in samples is called alpha_diversity.py. There are many options for what metrics to use, and you can chose to run a bunch of metrics all at once if you like. All the possible alpha diversity metrics available in QIIME are listed here.
alpha_diversity.py -i rare_20-100/ -o alpha_rare/ -t rep_set_tree.tre -m observed_species,chao1,PD_whole_tree
Some options:
-i [directory] The name of the directory containing rarefied OTU tables
-o [name] The name of the directory to create for output
-t [file] The file for your phylogenetic tree
-m [list] The list of metrics, separated with commas and no spaces
If you run the above command, it will calculate alpha diversity metrics for all of your rarefied OTU tables and place the results in a new directory called alpha_rare. The metric PD_whole_tree is Faith's Phylogenetic Diversity, and it is based on the phylogenetic tree. Basically, it adds up all the branch lengths as a measure of diversity. So, if you find a new OTU and it's closely related to another OTU in the sample, it will be a small increase in diversity. However, if you find a new OTU and it comes from a totally different lineage than anything else in the sample, it will contribute a lot to increasing the diversity.
There are still a ton of separate files, and we need to "collate" them together into a nice, neat collection of results that are easy to graph.
Summarize the Alpha Diversity Data
The QIIME script collate_alpha.py takes the output directory from alpha_diversity.py as its input, and creates a new output directory containing files that are much easier to look at in a spreadsheet.
collate_alpha.py -i alpha_rare/ -o alpha_collated/
Take a look at the new files in the alpha_collated/ folder-- they are each organized quite nicely for spreadsheet analysis. The observed_species and chao1 metrics don't seem to show us much in this particular experiment, but check out the data in PD_whole_tree.txt (graphed below).
It looks like the fasted samples had a higher phylogenetic diversity than the control mice microbiomes. I made this graph in the OpenOffice spreadsheet program, by importing the alpha_collated/PD_whole_tree.txt file. The diversity, however, depends very strongly on sequencing depth. That reinforces the fact that you need to perform rarefactions if you're comparing diversity between samples.
Next step: Beta Diversity (Comparing Samples to Each Other)


These days, the most common sites for filing federal income tax returns are the official Internet Revenue Service website at www.irs.gov and that old standby the post office, where hordes of people still gather at the 11th hour of April 14 to try and get their returns postmarked before they turn into late-filing pumpkins at midnight.
That said, there are many other places where you can dump your forms into the chopper -- oops, did we say chopper? I'm sure we meant hopper. In any case, you can drop your forms off at any Internal Revenue Service office or, if you have your tax returns processed by one of the numerous major tax preparation services whose storefronts are major revenue producers for strip mall landlords throughout the United States, have them perform the electronic filing service for you.
Wherever -- and for that matter, whenever -- you file your tax return it will eventually wind up at the Internal Revenue Service regional processing center nearest the address listed on the return. Once there it will, in the case of almost all gainfully employed individual and married taxpayers, be computer scanned for obvious errors -- like two and two being added and reported as five or certain details being written on the wrong line on the form -- and outlandish. potentially dishonest claims (like someone with an income of $18,000 a year claiming 137,452.23 in business travel expenses.
If the computer finds nothing wrong, it shuffles the return off to another computer which processes the payment received with the return or prepares and authorizes a tax refund depending on the situation.
If the initial automated tax examiner (aka the bloody computer) doesn't like something on the return or discovers that tax is reported as owed but no money has been received, it will "red flag" the return and file it at the end of a gigantic queue of files waiting to be analyzed by human examiners. Or, if the discrepancies, contradictions and generally unsavory nature of the return in question seem egregious, the computer can mainline it right to the head of the awaiting human intervention queue.
Moral of the story? The content of any federal income tax return is far more important than where it was filed.
Control of one's personality is handled by swiping or down to jump over or even slide under obstacles up, and swiping still left or to change when necessary. Tilting your device moves the character back and in the lane for collecting coins and avoiding additional hazards forth.
Great thoughts and words! Make sense just like mPanchang, the provider of Mangal Dosh Calculator information. You amaze me man, keep up the good work!


I asked Hilary to support us to recruit two key senior nursing positions. We had previously tried our own recruitment campaigns and other agencies, but with no success. Hilary was consumately professional. She took time to visit us and the services we were recruiting for. By understanding our specific requirements, Hilary had real clarity of the profile of the candidates we were looking for. Throughout the recruitment process, I was kept fully informed of progress. The nature of the roles and skill set required made them very challenging to fill, but we were delighted with the shortlisted candidates, all of whom we could have appointed. The successful candidates are ideal and I am very grateful for Hilary's professionalism and tenacity in finding them for us. I would thoroughly recommend Hilary's expertise, diligence, stakeholder engagement and value for money to support with key hires for which finding the right candidates is so important.
The largest asset our charity owns is a care homes business, whose profits are used to support the charity's ability to fulfil its purpose. Hilary ran a critical (and highly successful) search for a new CEO for the care home business – our most important recruitment activity for years. Not only was the process of going through the search and interview genuinely seamless and also totally confidential, but Hilary went far beyond the standard brief.
By really understanding the culture of the group, the successful candidate was not only professionally outstanding but also a remarkable fit for the wider organisation. Hilary invests in understanding the heart and soul of a business and as a result finds those who have the genuine character to match the CV.
Hilary Shenton delivers the highest quality service and she is fully committed to the client and the agreed process. We were always confident that she would do what she said she would do.
The candidates we were presented with were from the top shelf for the position we were looking for. She clearly understood our needs and then was spot on with the candidates.
We were presented only with really relevant candidates, which saved us a lot of time. And from the moment she started looking for people until the position was filled took only a few weeks.
High quality services do not always come cheap. However, given the high rate of success and the speed of the process, I would argue that you get more value for your money by using people like Hilary Shenton. We never worried, we always knew she deliver – and on the budget agreed upon in advance.
It was a success working with Hilary. The candidate has now been working for us for some months, and he is already delivering first class results – exceeding expectations! And it is comfortable and exciting to work with Hilary as well. Hope to do more work together in the future!


Over the last couple of years I've 'had the Rightmove alerts on', idly wondering about a move from a townhouse in Cirencester to the proper sticks. It's not a sensible move: it would mean way more ferrying about in cars and not drinking (sighhh) and distance from neighbours that have become close friends. For me the call of the wild is all about falling in love with a rambling, scruffy old house – the sort I grew up in – where the children can run feral and I can get off on the history and atmosphere while phoning the plumber.
What has surprised and depressed me is that this sort of house seems barely to exist now, at least not here in the Cotswolds where there is perhaps too much money sloshing around than is good for us. What HAS appeared on my Rightmove search is a disappointing parade of period properties, often originally designed as quite modest cottages or small farm houses, that have been gutted, extended and generally pimped until they are completely unrecognisable as old buildings from the inside. Walls are squared off and re-skimmed; beams are 'shaved' to look new; ceilings are ablaze with downlights; windows, doors, staircases, skirtings and mouldings are replaced with 'period-esque' equivalents; kitchens are stuffed with granite and gadgetry; bathrooms are hotel bathrooms and glass boxes abound.
Great kitchen. Where's the cottage?
For me, depressing. But why? No-one's getting hurt, the original architects are long dead and immune to offence, and many of these structural changes have genuine environmental advantages and make old spaces better suited to modern domestic life. It's a cliché, but it comes down to the old owner versus custodian mentality. Few of us are self-effacing enough to be entirely custodian focused, but I would suggest that a generation of house price craziness has made us way too owner-minded: houses aren't places to appreciate and get to know, they are investments and they owe us; they are ours and they must bend to our will.
How bare would you dare?
Unfortunately the house as gravy train or one-person vanity project almost always loses its personality and individuality – things that are impossible, really, to put back and that estate agents agree are actually very valuable assets. Wobbly walls, wonky stairs and old plasterwork are, to me, things of real beauty, full of texture and intrigue in their imperfection, and hinting at tantalising histories that we can never know. It seems bizarre that so many of us want our houses to look old on the outside, but like modern show homes inside. Of course we need to modernise and be practical, and to put our stamp on a place, but perhaps the lucky few who find an unmodernised property should approach any doing up as a respectful collaboration between occupant and all past occupants, whatever the age and style of the building – before the whole idea of a historic interior is itself consigned to the past.


THE HAGUE, Netherlands (AP) — Pakistan accused India on Tuesday of sponsoring terrorism and of using the United Nations' highest court for "political theater" as it urged judges to dismiss an Indian case seeking to save an alleged spy from execution.
The International Court of Justice case centers on the fate of Kulbhushan Jadhav, who was convicted of espionage and sabotage by a Pakistani military tribunal and sentenced to death in April 2017.
Pakistan says it will put him on trial on terrorism charges if the U.N. court orders his convictions overturned.
The hearings in the wood-paneled Great Hall of Justice in The Hague come amid soaring tensions between the nuclear-armed neighbors following a deadly attack Thursday in the disputed Kashmir region in which a militant rammed an explosive-laden van into a paramilitary bus. It was the worst attack against Indian government forces in Kashmir's history.
India denies Jadhav is a spy and has asked the world court to order his release because he was denied access to consular assistance, in breach of an international treaty, and not allowed to choose his own defense lawyer at trial.
Pakistani Attorney General Anwar Mansoor Khan insisted that Jadhav was a serving Indian navy officer and spy who was traveling under a fake name on an authentic Indian passport when arrested in March 2016.
Another lawyer representing Pakistan, Khawar Qureshi, accused India of going to court in an attempt to score political points.
"These are proceedings launched for political theater, making a claim for relief that is unsustainable and that should be dismissed," he told judges.
Qureshi said that even if the U.N. court found that Pakistan breached an international treaty on consular relations, the judges should not order Jadhav's release, but instead call for a review and reconsideration of his convictions.
The U.N. court last year ordered Pakistan not to execute Jadhav pending the outcome of the case in The Hague.
Judges will likely take months to reach a decision. The court's rulings are final and legally binding.


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Home / View Point / Letters to the Editor / Young: USA is 'treasured partner' of T&T; Opposition Leader spreading 'unfounded' fears
Young: USA is 'treasured partner' of T&T; Opposition Leader spreading 'unfounded' fears
Letters to the Editor Monday 28 January 2019	Letters to the Editor, View Point Comments Off on Young: USA is 'treasured partner' of T&T; Opposition Leader spreading 'unfounded' fears
"Notwithstanding efforts by the UNC to undermine Trinidad and Tobago's position—particularly at this time of sensitive negotiations—Trinidad and Tobago reaffirms its principle positions and counts the USA among its treasured partners in observing and protecting these principles."
The following release on relations between Trinidad and Tobago and the United States, in the context of either nation's stance on Venezuela, was forwarded to Wired868 by Minister of Communications Stuart Young:
Photo: National Security Minister, Communications Minister, Minister in the Office of the Prime Minister and MP Stuart Young (right) has a word with Prime Minister Dr Keith Rowley.
(Copyright Trinidad Newsday)
The Government is compelled to reassure citizens that the attempt to cause panic by the United National Congress (UNC), and in particular, the Leader of the Opposition Mrs Kamla Persad Bissesar, by creating fear about a change in relations between Trinidad and Tobago and the United States of America (USA) is unfounded and a naked attempt to cover up the most recent overwhelming criticism of the Opposition.
We remind that CARICOM, and many other countries, took an identical position of non-interference and non-intervention with respect to Venezuela. CARICOM has sent a delegation, including Prime Minister Dr the Honourable Keith Rowley to the United Nations to have discussions surrounding the Venezuelan issue and its potential threat to regional security, social and economic disruption.
Photo: (From left) Venezuela president Nicolás Maduro, Russia president Vladimir Putin and US president Donald Trump.
Dear Editor: Non-intervention has always been T&T's policy; and Kamla backed Maduro in 2015
US Embassy 'deeply concerned' by T&T's stance on Venezuela; Caricom re-affirms non-intervention
Dear Editor: The trouble with the neighbours; why we should be concerned about Venezuela
UN concerned by T&T's "repatriation" of 82 Venezuelans, including asylum seekers
Dear Editor: More analysis needed on US/Russia war-games in neighbouring Venezuela
Kamla Persad-Bissessar Keith Rowley PNM Stuart Young UNC US Embassy Venezuela intervention 2019-01-28
Tags Kamla Persad-Bissessar Keith Rowley PNM Stuart Young UNC US Embassy Venezuela intervention
About Letters to the Editor
Want to share your thoughts with Wired868? Email us at editor@wired868.com. Please keep your blog between 300 to 800 words and be sure to read it over first for typos and punctuation.
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Parking: Park on the street.
Comes highly recommended by Michael Harris. "The owner is European and very clean and the food is to die for. The lay out is good for big people. I know the Chef there and if we don't get in soon he's going back to India on the 15 march for 2 months he in a great chef its way better then Sitar. It would be nice to go there before he leaves as we all would enjoy the food."
Mark Derricutt adds "Damn good curry there."
RKD - I think a wonderful time was had. The food was certainly good and I think the service was exceptional. Whilst out of the way for some … certainly a good venue.


Kick the World depicts the act of walking through Miho Bunka Land, a theme park with miniature versions of famous buildings of the world, while kicking an empty cola can, recorded in a single take with a portable video camera. It is one of Nobuhiro Kawanaka's pieces that combine video and performance with sound (of kicking the can) and image (Kawanaka's perspective seen through the portable camera) in complete unison. In a text written about this piece, Kawanaka reminisces about playfully kicking around empty cans in his childhood. Part of Japan's first wave of video art and a member of the artist group Video Hiroba, Kawanaka is mostly known for his production of diary-like films concerned with the everyday life and memories of the individual, while at the same time he continuously explores video's possibilities as a medium able to facilitate collaborative production.


Preview of a very special party for a lvoely rfamily a few weeeks ago, in a marquee in their own back garden! Designed and delivered by our friends at Uptown Events, PTP's Annabel & Jen had a fantastic night captruing this beach-style batmitzvah party. This was the second such party PTP covered for this family after Jack's party in November 2014 - and we knew it was going to be a night to remember!


Well, first, there's the liberty of expression. In Europe, it's a fundamental right. Then comes the sensitive thing – to criticise God. I think it depends on cultures. Some cultures are just more open and accept criticism more than others. In some cultures, such a thing is unacceptable.
Lionel Messi + Cesc Fabregas: The best.
Dilray, I support your point of view. The outrage of the Muslims is justified, but they cannot ask for their "justice" to be applied in a country where liberty of expression is a fundamental right. And, as such, I support the Danish authorities to refuse categorically to "negotiate" with them.


@embrasmitty Some primates escaped from the Edinburgh zoo, but they had an Ape-Re-Caught just a short while ago.
What did the wildlife ranger say when they freed a monkey and it ran directly into another snare?
Peaches the gorilla escaped from the zoo, but when they got him back they had to change it because it turns out he had become an Ape Re-caught.
Peaches, the gorilla, escaped from the zoo.
When they got her back, they had to change her name because she had become an ape re-caught.


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Home » Collection » Ast, Balthasar van der
Balthasar van der Ast
Dutch, 1593/1594 - 1657
Arthur K. Wheelock Jr., "Balthasar van der Ast," NGA Online Editions, https://purl.org/nga/collection/constituent/9893 (accessed January 19, 2021).
Apr 24, 2014 Version
Jan 01, 1995 Version
Balthasar van der Ast was born in Middelburg. The date of his birth is not recorded, but legal documents indicate that Balthasar reached the age of maturity (twenty-five) between June 30, 1618, and September 13, 1619. He had been orphaned when his father, Hans, a wealthy widower, died in 1609. Balthasar then may have lived with his older sister Maria and her husband, the still-life painter Ambrosius Bosschaert (Dutch, 1573 - 1621), whose work had an impact on the precise technique and symmetrical compositions of Van der Ast's early paintings. Van der Ast seems to have accompanied his brother-in-law when he moved from Middelburg to Bergen op Zoom in 1615 and then to Utrecht the following year.
In 1619 Van der Ast joined the Saint Luke's Guild in Utrecht. While there he probably trained Bosschaert's three sons after their father died in 1621. He also taught Jan Davidsz de Heem (Dutch, 1606 - 1684). Influenced by the Utrecht painter Roelandt Savery (Dutch, 1576 - 1639), Van der Ast began to paint in a softer, more atmospheric manner and to animate his still lifes with small animals and insects. In 1632 he moved to Delft and joined the Saint Luke's Guild there. Although most of his still lifes are modest in scale, he painted a number of larger canvases during his Delft period that reflect a looser style. Van der Ast married Margrieta Jans van Buijeren in Delft on February 26, 1633; the couple had two children. Van der Ast died in December 1657 and was buried in the Oude Kerk in Delft.
Arthur K. Wheelock Jr.
Bol, Laurens J. The Bosschaert Dynasty: Painters of Flowers and Fruit. Translated by A.M. de Bruin-Cousins. Leigh-on-Sea, 1960.
Bol, Laurens J. 'Goede onbekenden': Hedendaagse herkenning en waardering van verscholen, voorbijgezien en onderschat talent. Utrecht, 1982: 52-56.
Meijer, Fred J. "Balthasar van der Ast." In Dawn of the Golden Age: Northern Netherlandish Art 1580-1620. Amsterdam, 1993: 299.
Wheelock, Arthur K., Jr. Dutch Paintings of the Seventeenth Century. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1995: 5.


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