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What you see is what you get: Yemen
Street scene in Sana'a, Yemen (2008)
Once I've visited a place, I pay more attention to news from and about that place. And that news seems more real: I have images, sights, smells, tastes, and sensations in my memories, maybe even tangible souvenirs on the shelves in my house, to give substance to the stories being told in the newspapers and on TV.
I've written about this before, from time to time, in the context of my longstanding interest and family history of experiences in Kashmir.
The last few weeks, I've been remembering my own visits to Cairo and Alexandria three years ago, as I watched live on Al Jazeera English (streaming online, since it isn't carried by US cable TV providers, even if we had cable) as demonstrators denouncing the dictator massed on the square we looked over from the balcony of our filthy and dilapidated but perfectly situated hotel on the corniche in Alexandria, and on the bridges across the Nile that we crossed each day from the much more comfortable hotel we stayed at on the island of Zamalek in the center of Cairo.
This week, the focus of the movement for democracy, and of my memories, has shifted to Yemen, where we spent an unplanned but fascinating week just before we got to Egypt, in the course of our most recent trip around the world. For me, it was one of the unexpected high points of that trip.
A recent monograph on Yemen produced for the U.S. Army War College, and which contains quite a good, if selective, general introduction to the country, begins, "Yemen is not currently a failed state, but..."
That's true -- I've said almost exactly the same thing lately to friends asking about Yemen -- but that's far from the whole story, as I wrote in recommending Sana's, Yemen, as one of the places most worth a stopover that I visited on my 2007-2008 trip around the world.
I'm frightened, both for Yemen and for myself as someone who has been there, that Yemen seems to have become the new bogeyman of the war on terror just when its long-suffering people are beginning to see a hope of self-determination.
People who have been to Yemen, for whatever reason, have been detained and interrogated when they returned to the USA. Some haven't been able to return at all, having been put on the US no-fly list while they were overseas despite being US citizens.
Last month I wrote about the case of a US teenager who went to Yemen to meet his father's family and study Arabic, was put on the US no-fly list later while he was in Kuwait, detained and tortured by the "friendly" (to the US government) Kuwaiti monarchist government, and told his only chance to be removed from the US no-fly list so that Kuwait could let him out of its immigration prison and torture center and deport him home to the USA would be if he made a full "confession" to his Kuwaiti torturers and the FBI of everything he knew (although he may have known nothing) about terrorists in Yemen.
This week there's the case of a British man who, several years ago, went to Yemen to interview for a job as an English teacher, but decided not to take the job. That and his having converted to Islam are the only reasons he can think of why he was put on the US no-fly list while visiting his wife's family in Canada, and prevented from flying home to the UK from Canada because airlines serving Canada are refusing to transport to or from Canada anyone on the US no-fly list.
The implicit assumption seems to be that there is no "legitimate" reason to visit Yemen, that anyone who does so must have an ulterior motive, and that -- because all Yemenis are terrorists, don't you know -- anyone who's been to Yemen must have information about the terrorists that they could divulge (and would, if tortured sufficiently).
It hasn't been a problem yet on half a dozen return entries to the USA, but I'm worried about what might happen the next time U.S. Customs and Border Protection notices the Yemeni (or Syrian) visa and entry and exit stamps in my passport. Will it warrant a notation in my permanent file in the "Automated Targeting System"? Or worse?
It's easy to demonize a country to a foreign audience none of whom have ever been there. I was reminded of this over the weekend, at a salon with friends where we talked about our visit to Yemen. "I had no picture to put with what I've been hearing about Yemen," one of them said.
I've never been to a country with fewer tourists than Yemen, or fewer people of any sort from the USA (tourists, business people, expats, whatever) . In a week in the capital city, Sana'a, staying at relatively westernized and upscale international hotels, we met no other tourists or US citizens, and only a handful of Europeans (academics and workers for NGO's).
It should go without saying, but I'll say it anyway: it makes no sense to presume that ordinary people, in a country where ordinary people are pouring into the streets to denounce the government, share that government's opinions on anything, including its views of either the US government or US people.
My impression is that ordinary Yemenis are much more hostile to the US government (as a supporter of despots and torturers in Yemen and everywhere nearby, and a consistent opponent of democratization or decentralization of power in favor of "stable" and "friendly" centralized authoritarianism) than is the current government of Yemen. But they don't assume that every US citizen supports the US government any more than they support the government that rules over them. And we received nothing less than a warm, personal, and seemingly genuine welcome, as US citizens, from everyone we met in Sana'a, regardless of their opinion of the US government. The greatest danger appeared to be the drivers. It's noisy, frenzied... and fun.
Ordinary Yemenis are heavily armed, but you could say the same about the USA. Few Yemenis are terrorists, but I'm sure there are plenty of villages up in the hills where the people are poor, the central government is rarely seen, and it wouldn't cost much in funding for local community development for a band of brigands, even foreign ones, to buy themselves a safe haven as long as they treated the locals well.
But there's a difference between a country where there are some terrorists and a "terrorist country". Not all Yemenis want to wage an Islamic jihad against the US, just as not all Americans want to wage a Judeo-Christian "Crusade" in the Middle East. Both have been tried, but that doesn't mean either necessarily has popular support today.
Perhaps the most important thing to understand about Yemen is that, as is instantly apparent to any visitor, it's its own highly distinctive place with its own culture, traditions, geography, architecture, and national identity -- unlike other Arab countries whose borders were defined not by the people's sense of who they were but by foreign colonial masters or monarchist fiefdoms. That common Yemeni national identity survived decades of partition between North and South Yemen before the country was reunified in 1990. Yemen is not just a state but an Arab rarity, a genuine nation-state.
Tower house in Sana'a's Old City (a UNESCO World Heritage Site)
Indeed, even to call Yemen an "Arab" nation at all may be as misleading as it would be to think of Yemen as a cookie-cutter or domino-theory country. Yes, they speak a dialect of Arabic. But unlike most of the Arabian Peninsula, Yemen is mountainous. The capital, Sana'a, is at more than 7,000 feet above sea level, in a bowl surrounded by peaks going up to more than 10,000 feet. (And with, as a result, that perfect warm mild climate of equatorial highlands.) Crucially, the mountains capture enough moisture for farming. Unlike the Arabian nomads of the low desert, Yemenis have been settled agricultural town-dwellers for centuries or millennia.
Sana'a skyline
Yemen's terrain also presents obstacles to both infrastructure and central control analogous to those of Afghanistan or, in the U.S. context, West Virginia.
Yemen has negligible oil, gas, or mineral resources. It's a poor country, more on an economic par with sub-Saharan Africa or South Asia than the rest of Arabia. Think of Yemen as being situated between Somalia, Eritrea, and Pakistan, not as being next to Saudi Arabia. (Just as Mexico is influenced by remittances from Mexicans working in the US, but culturally and demographically closer to Central America than to the US.) In many attitudinal respects Yemen looks west to Africa and east to South Asia, historically relatively close across the water by dhow, more than it looks north across the empty desert to the "Middle East".
Most of the people in Yemen still work in semi-subsistence agriculture. The coffee, like the food, is superb -- Yemen is one of the claimants to being the place coffee was first cultivated -- but the main cash crop is qat. The chief source of foreign exchange is remittances from Yemenis working abroad, mostly in the richer but more authoritarian Gulf Arab monarchies.
Not only is Yemen the only country on the Arabian Peninsula that isn't an an overtly absolute, hereditary monarchy, but it is the only one with any semblance of a democratic element to its past, at least in the memory of the ideals of the former socialist government of the People's Democratic Republic of Yemen (South Yemen). There are many refugees and immigrants in Yemen from even-poorer Eritrea, just across the Red Sea, but it's not clear to me what, if any influence the memory of the Eritrean war of national liberation might have on events in Yemen. Yemen and Eritrea have much in common geographically, but very different ethnic and cultural identities. For what it's worth, the present ruler of united Yemen, through I'm not sure what machinations and intrigues, is the former ruler of the part of the country that had fewer democratic pretensions, North Yemen. (For more on that history see Arabia Without Sultans, 1974, 2nd edition 2002, by the late Fred Halliday.)
And lest I forget, Yemen isn't as small a place as you might think: It has a population of between 25 and 30 million people, the largest in the Arabian Peninsula and slightly greater than than that of Saudi Arabia, including both Saudi citizens and "guest workers".
What will happen? I have no idea (although I hope that Syria's day for freedom will also come soon). I'm not an expert. I spent a week in Yemen. But I'm glad I have some pictures to put with the stories in the news.
[Addendum: Looking for more news and views from and about Yemen? The day after I wrote this, the New York Times published an excellent op-ed by Yemeni novelist Ali al-Muqri, Qat Got Their Tongues. Key takeaway? "While I understand the risks, I believe that the future cannot be worse than the present." Gregory Johnsen's Waq al-Waq blog ("Yemen, the Middle East, and the World Beyond") has been analyzing news and events with more subtlety than the typical lumping together of groups of actors into "pro-government" and "anti-government". Freelance journalist Iona Craig is blogging in English from Sana'a. If you are going to Yemen yourself, the Bradt Guide to Yemen by Daniel McLaughlin is the best guidebook available, although like a number of other Bradt Guides it's written by someone who speaks and reads the local language and is insufficiently attentive to the practical needs of independent travellers who don't and who don't have a translator/guide. And if you want some good stories about travel in Yemen, there's Eric Hansen's "Motoring with Mohammed: Journeys to Yemen and the Red Sea".]
Link | Posted by Edward on Wednesday, 16 February 2011, 15:25 ( 3:25 PM)
And here's another site about life in Yemen!
http://alnakhla-blog.blogspot.com
Posted by: alnakhla, 3 March 2011, 22:58 (10:58 PM)
"because all Yemenis are terrorists, don't you know -- anyone who's been to Yemen must have information about the terrorists that they could divulge (and would, if tortured sufficiently)."
A similar situation with Israel and Syria. If you were in Israel, you will not be allowed to go into Syria (((
Posted by: Yuriy, 4 March 2011, 02:18 ( 2:18 AM)
If you are a foreigner that has been to Syria you can still go to Israel.
They will ask you silly questions such as "Have you met any Arabs there?" "Yeah sure, the place is warming with them" "What are there names?!" "I met about two dozen Mohammeds, at least a dozen Ahmeds,..."
However, once you've been to Israel you cannot go to Syria anymore because they won't let you enter with an Israeli stamp or any other indicator that you've been there...
Posted by: Max Schneider, 28 April 2011, 05:11 ( 5:11 AM)
Yemen is a beautiful country, with a rich heritage. I have traveled there, and it was a rich experience.Thankx.
Posted by: Swetha Jain, 8 December 2013, 03:43 ( 3:43 AM)
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> Blog > Top Stories > In Memoriam: Brenda Maddox
In Memoriam: Brenda Maddox
We at the James Joyce Quarterly were saddened to learn of Brenda Maddox's passing last Bloomsday, June 16, 2019, at the age of 87.
Brenda Maddox was an American author and journalist who won wide critical acclaim for her biographies of figures ranging from Elizabeth Taylor to William Butler Yeats to Rosalind Franklin. In particular, her 1988 biography of Joyce's wife, Nora Barnacle, earned the Los Angeles Times Book Prize for Biography, the Silver PEN Award, and the French Prix du Mailleur Livre Etranger. Written at a time when the women surrounding male authors were given little scholastic focus–noted Joyce biographer Richard Ellmann wrote Maddox a letter disapproving "book-length studies of people who are clearly not of great importance in themselves"– Maddox's biography of Nora provided a fresh and invigorating perspective on a pivotal figure in Joyce's life.
Maddox was also a staunch supporter of Joyce studies in London and a regular participant in the recurring Charles Peake Ulysses seminar at the Institute of English Studies, University of London. The Institute of English Studies was also the host for the XXV International James Joyce Symposium (themed "Anniversary Joyce") in 2016, and it was the last Symposium that she attended. The Joycean community is indebted to her contributions to our field.
Maddox's papers, including her research materials, notebooks, and audio interview recordings, are currently housed in University of Tulsa's McFarlin Library Special Collections.
Blog, Top Stories

redpajama_set_name: RedPajamaCommonCrawl


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— Darfur — £ $ £ $
A New History of a Long War
Julie Flint and Alex de Waal
Darfur has become synonymous with genocide and humanitarian crisis. A guide to the conflict, this book provides a short history of the region, and traces the origins, organization and ideology of the infamous Janjawiid and other rebel groups, including the Sudan Liberation Army and the Justice and Equality Movement.
Written by two authors with unparalleled first-hand experience of Darfur, this is the definitive guide. Newly updated and hugely expanded, this edition details Darfur's history in Sudan. It traces the origins, organization and ideology of the infamous Janjawiid and rebel groups, including the Sudan Liberation Army and the Justice and Equality Movement. It also analyses the brutal response of the Sudanese government. The authors investigate the responses by the African Union and the international community, including the halting peace talks and the attempts at peacekeeping. Flint and de Waal provide an authoritative and compelling account of contemporary Africa's most controversial conflict.
Alex de Waal is a writer and activist on African issues. He is a programme director at the Social Science Research Council, a fellow of the Harvard Humanitarian Initiative and a director of Justice Africa. His books include Famine that Kills: Darfur, Sudan (1989), Famine Crimes: Politics and the Disaster Relief Industry in Africa (1997), Islamism and Its Enemies in the Horn of Africa (2004) and Aids and Power: Why There is No Political Crisis - Yet (2006)
Julie Flint is a journalist and film-maker. She divides her time between London and the Middle East. She has worked on from Colombia to China and has won several awards. She has been writing about Sudan since 1992, initially as Horn of Africa correspondent for The Guardian and later as a freelance with a special interest in human rights. Her work includes the BBC film Sudan's Secret War (1995) and The Scorched Earth (2000) and Darfur Destroyed (2004).
Dramatis Personnae
Preface to Second Edition
1. The People of Darfur
2. The Sudan Government
3. The Janjiwiid
4. The Rebels
5 . A War of Total Destruction, 2003-04
6. Wars within Wars, 2005-06
7. International Reaction
8. The Abuja Peace Talks
9. Endless Chaos
'Disentangling myth from reality in Darfur is so difficult that the credentials of those who judge events there are particularly important. Those of both authors of this ... work are excellent'
'A masterpiece.'
Sudan - The Passion of the Present http://platform.blogs.com/passionofthepresent/2005/11/the_word_is_gen.html
'This brilliant book is essential reading for anyone seeking to understand the complex history of Darfur and how the very name became synonymous with suffering.'
'Alex de Waal and Julie Flint have written the definitive history of the Darfur conflict. Very detailed and thoroughly documented from first hand sources, the book will quickly become a classic and will correct some of the outside misperceptions of who did what to whom and why. They have written a balanced account of a very disturbing story, made more confused by government and rebel propaganda, by letting participants and eyewitness observers tell their stories.'
Andrew Natsios, Former Administrator of USAID and US Special Envoy to Sudan
'This is among the best works available on the current Darfur crisis. For a blow by blow account of developments, there is none better.'
Mahmood Mamdani, University of Columbia
'The book is an impressive source of detailed information about a conflict that has been grossly over-simplified by most western reporters and advocacy groups.'
Alan J. Kuperman, Lyndon B. Johnson, School of Public Affairs University of Texas
'That is the book Darfur: fast: moving, insightful, elaborate and intriguing; ... So graphic the stories, it is as good as watching a movie on Darfur; you see what you read'
'For anyone who wants to understand the politics of Sudan, the history of the suffering peoples and the possible solutions, this is the right book.'
Sunday Monitor
'The best introduction is Darfur: A Short History of a Long War by Julie Flint and Alex de Waal...their accounts are as readable as they are tragic'
Nicholas D. Kristof in 'The New York Review of Books'
'A very clear-sighted account ... the book I would give first to anyone wanting to become acquainted with the crisis in Darfur.'
African Affairs
Product ISBNs: Paperback 2nd Edition: 9781842779507
eBook ePub 2nd Edition: 9781848136397
eBook Kindle 2nd Edition: 9781780322445
Library Edition 2nd Edition: 9781842779491
Previous Editions: Paperback 1st Edition: 9781842776971
eBook ePub 1st Edition: 9781848136380
Library Edition 1st Edition: 9781842776964
Congo's Environmental Paradox
Potential and Predation in a Land of Plenty
Theodore Trefon A concise and revealing analysis of Congo's forest, mineral, land, water and oil sectors, and the tangled politics behind them
Getting Somalia Wrong?
Faith, War and Hope in a Shattered State
Mary Harper Somalia is a comprehensively failed state, representing a threat to itself, its neighbours and the wider world. This title presents a comprehensive analysis of the chaos into which the country has descended and the United States' renewed involvement there.
A New History of a Turbulent Century
Richard Bourne An essential insight into the shaping of the 'African giant'.


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Conc
Conco
Concord grape
Concord grape explained
The Concord grape is a cultivar derived from the grape species Vitis labrusca (also called fox grape) that are used as table grapes, wine grapes and juice grapes. They are often used to make grape jelly, grape juice, grape pies, grape-flavored soft drinks, and candy. The grape is sometimes used to make wine, particularly kosher wine. Traditionally, most commercially produced Concord wines have been finished sweet, but dry versions are possible if adequate fruit ripeness is achieved. The grape is named after the town in Massachusetts where it was developed.
The skin of a Concord grape is typically dark blue or purple, and often is covered with a lighter-coloured epicuticular wax "bloom" that can be rubbed off. It is a slip-skin variety, meaning that the skin is easily separated from the fruit. Concord grapes have large seeds and are highly aromatic. The Concord grape is particularly prone to the physiological disorder Black leaf.[1]
In the United States 417,800 tons were produced in 2011.[2] The major growing areas are the Finger Lakes District of New York, Lake Erie, Lake Ontario, Southwestern Michigan, and the Yakima Valley in Washington.[3] They are sometimes found growing wild.
Concord grapes are often used to make grape jelly and are only occasionally available as table grapes,[4] especially in New England. They are the usual grapes used in the jelly for the traditional peanut butter and jelly sandwich, and Concord grape jelly is a staple product in U.S. supermarkets. Concord grapes are used for grape juice, and their distinctive purple color has led to grape-flavored soft drinks and candy being artificially colored purple while methyl anthranilate, a chemical present in Concord grapes, is used to give "grape" flavor. The dark colored Concord juice is used in some churches as a non-alcoholic alternative to wine in the service of communion.[5] Concord grapes have been used to make kosher wine[6] and sacramental wine. The oldest sacramental winery in America, O-Neh-Da Vineyard, still produces a Concord wine for the altar.[7] Non-toxic sprays that contain methyl anthranilate can be sprayed on the bushes as a cost-effective bird control management. The spray repellent renders the fruit and foliage unpalatable to the birds.[8]
The Concord grape was developed in 1849 by Ephraim Wales Bull in Concord, Massachusetts.[9] Bull planted seeds from wild Vitis labrusca and evaluated over 22,000 seedlings before finding what he considered the ideal Concord grape.[9] Genetic testing confirmed that V. labrusca has roughly one-third V. vinifera parentage.[10]
In 1853, Bull's grape won first place at the Boston Horticultural Society Exhibition.[9] It was then introduced to the market in 1854. Dr. Thomas Bramwell Welch developed the first Concord grape juice in his house in 1869.[9] Through the process of pasteurization, the juice did not ferment.[9] Welch transferred the juice operations to Westfield, New York, processing 300 tons of grapes into juice in 1897.[9]
Scuppernong
Concord Grape Association
National Grape Cooperative
R. Irvine & W. Clore The Wine Project pg 31 Sketch Publications 1997
Web site: Noncitrus Fruits and Nuts 2011 Summary. United States Department of Agriculture. 8 October 2012. yes. https://web.archive.org/web/20131231002232/http://usda01.library.cornell.edu/usda/nass/NoncFruiNu//2010s/2012/NoncFruiNu-07-06-2012.txt. 31 December 2013.
Web site: Concord grape. National Grape Association. 8 October 2012. https://web.archive.org/web/20120925073642/http://www.nationalgrape.com/02b_ccd.shtml. 25 September 2012. yes.
Web site: Why can't I find Concord grapes in the grocery store?. Concord Grape Association. 8 October 2012.
Book: Garrett Peck. The Prohibition Hangover: Alcohol in America from Demon Rum to Cult Cabernet. 3 August 2009. Rutgers University Press. 978-0-8135-4849-4. 180.
Web site: The 11th Plague? Why People Drink Sweet Wine on Passover . 2011-11-04.
Web site: O-Neh-Da Authentic Sacramental Wine. O-Neh-Da Vineyard. 30 December 2012. https://web.archive.org/web/20090510231800/http://www.onehda.com/Home.php. 10 May 2009. yes.
http://www.aphis.usda.gov/wildlife_damage/nwrc/publications/96pubs/96-84.pdf
Web site: The History of the Concord Grape. Concord Grape Association. Concord Grape Association. 30 December 2012.
Sawler J, Reisch B, Aradhya MK, Prins B, ((Zhong G-Y)) . 2013 . Genomics Assisted Ancestry Deconvolution in Grape . PLoS ONE . 8 . 11 . e80791 . 10.1371/journal.pone.0080791 . 3823699 . 24244717 . etal. 2013PLoSO...880791S .
This article is licensed under the GNU Free Documentation License. It uses material from the Wikipedia article "Concord grape".


"Strawgreen. Subdued aromas of licorice, spice, wet stone and earth. A fresh, smooth, rather gently styled riesling with moderate fruit intensity and structure. Offers a delicately fruity appeal, but the finish also displays typically sound riesling acidity. Includes 70% purchased grapes, mostly from the area of Riquewihr, especially sites with claylimestone soils."
"Aromatic, with a floral overtone to notes of mandarin orange, cream, spice and lemon zest. Wellknit, with a subtle, spiced finish. Harsh winter of 2011 with 26 days below zero. Early budding on April 7, May warm and dry and flowering 15 days ahead of time. Summer cool, damp and gloomy. Return to idyllic weather two weeks before harvest started on September 12, without any precipitation from beginning to end. Excellent maturity in a fair size crop with soft acidity. Wines already charming, easy to approach and early to drink soon after bottling. Originally from northern Italy, this is the emblematic grape of our region due to its slow maturation with cool nights giving its full varietal expression. Dry but intensely aromatic.Harsh winter of 2011 with 26 days below zero. Early budding on April 7, May warm and dry and flowering 15 days ahead of time. Summer cool, damp and gloomy. Return to idyllic weather two weeks before harvest started on September 12, without any precipitation from beginning to end. Excellent maturity in a fair size crop with soft acidity. Wines already charming, easy to approach and early to drink soon after bottling. Originally from northern Italy, this is the emblematic grape of our region due to its slow maturation with cool nights giving its full varietal expression. Dry but intensely aromatic. "


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#define $6          $n(6)
#define $7          $n(7)

#define $message(w, d, s, o) [&]( WebSocket* w , void* d , size_t s , u_int8_t o )
#define $connect(w) [&]( WebSocket* w )
#define $disconnect(w) [&]( WebSocket* w )

    void webSocket(cc_string, WsOnMessage);
    void webSocket(cc_string, WsOnMessage, WsOnConnect, WsOnDisconnect);

#define $CONTINUE   1
#define $ABORT      0
#define $SKIP_FLUSH 2
#define $ASYNC      3
#define $ON         1
#define $OFF        0

    void __halt(u_int16_t, cc_string);
    #define $halt(s, m) { __halt((s), (m)); return $ABORT; }

#define TIMER_ONESHOT       (0x01)
    void $timeout(timerid_t::timedout, u_int64_t, int flags = 0);
    #define $tm( tid )  [&]( timerid tid )

#define    $async(status) ({if(status != $ASYNC) return $ABORT; return $ASYNC; })

    namespace detail {
        class App;
    }

    namespace db {

        struct result_t;
        typedef struct  result_t *Result;
        class Sql;

#define $db(sql, res) [&]( sparc::db::Sql& sql , sparc::db::result_t& res )
        using OnAsync = std::function<int( Sql& sql, result_t& res)>;
        Result query(int dbid, Sql&);
        int    query(int dbid, Sql&, OnAsync);

        class Sql {
        public:
            Sql();
            Sql(Request& req);
            Sql(Sql&& sql);

            Sql& operator()(cc_string fmt, ...);
            Request& req() {
                return *req_;
            }

            Response& resp() {
                return *res_;
            }

            cc_string sql() {
                return sql_.toString();
            }

            void async(Request *req, Response *resp) {
                req_ = req;
                res_ = resp;
            }

            ~Sql();

            void debug();

            OVERLOAD_MEMOPERATORS();

        private:
            friend Result query(int dbid, Sql&);
            friend int    query(int dbid, Sql&, OnAsync);
            void setResult(result_t *result);
        private:
            Request         *req_;
            Response        *res_;
            result_t        *result_;
            buffer          sql_;
        };

        struct Row {
            Row(const Row &row)
                : result_(row.result_),
                  index_(row.index_)
            {}

            Row()
                : result_(nullptr),
                  index_(INT32_MAX)
            {}

            Row(result_t *result, size_t idx)
                    : result_(result),
                      index_(idx)
            {}

            virtual cc_string value(size_t idx) const {
                return NULL;
            };

            cc_string operator[](size_t idx) const {
                return value(idx);
            }
            virtual cc_string value(cc_string idx) const {
                return NULL;
            };

            cc_string operator[](cc_string col) const {
                return value(col);
            }

        protected:
            size_t      index_;
            result_t    *result_;
        };

        struct result_t {
            result_t() {}
            result_t(result_t&) = delete;

            struct row_iterator_t {

                row_iterator_t(const result_t* res, int index)
                    : index_(index),
                      results_(res)
                {}

                bool operator!=(const row_iterator_t& other) const {
                    return index_ != other.index_;
                }

                Row& operator*() const;

                const row_iterator_t& operator++() {
                    index_++;
                    return *this;
                }

                const row_iterator_t& operator++(int) {
                    index_++;
                    return *this;
                }

            private:
                const result_t       *results_;
                int                  index_;
            };

            typedef row_iterator_t  iterator;
            typedef const row_iterator_t  const_iterator;

            virtual iterator begin() { return iterator(this, 0); };

            virtual const_iterator begin() const { return iterator(this, 0); };

            virtual const_iterator cbegin() const { return iterator(this, 0); };

            virtual iterator end() { return iterator(this, count()); };

            virtual const_iterator end() const { return iterator(this, count()); };

            virtual const_iterator cend() const { return iterator(this, count()); };

            virtual Row* at(size_t index) const { return  NULL; };

            Row* operator[](size_t index) const {
                return at(index);
            }

            virtual size_t count() const { return 0; }

            virtual bool isSuccess() const { return false; };

            operator bool () const {
                return isSuccess() && count() > 0;
            }

            virtual Json* toJson() { return NULL; };

            virtual ~result_t() {}

            OVERLOAD_MEMOPERATORS();
        };

        class Context {
        public:
            virtual int init() = 0;
        protected:
            friend Result query(int, Sql&);
            friend int    query(int, Sql&, OnAsync);
            virtual Result exec(Sql& sql) = 0;
            virtual int exec(Sql&& sql, OnAsync onAsync) = 0;
        };

        class PgSqlContext : public virtual Context {
        public:
            virtual int init();
            PgSqlContext(cc_string name, cc_string connString);
            virtual Result exec(Sql& sql);
            virtual int exec(Sql&& sql, OnAsync onAsync);

            virtual ~PgSqlContext();
        private:
            c_string        name_;
            c_string        connString_;
            struct pgsql_db *db_;
        };
    }

    namespace config {
        cc_string ip(cc_string ip = NULL);

        cc_string port(cc_string port = NULL);

        cc_string domain(cc_string domain = NULL);

        cc_string user(cc_string user = NULL);

        cc_string pidFile(cc_string pidFile = NULL);

        cc_string accessLog(cc_string acessLog = NULL);

        cc_string httpBodyDiskPath(cc_string path = NULL);

        cc_string chroot(c_string path = NULL);

        u_int16_t maxHttpHeader(int16_t v = -1);

        u_int64_t maxHttpBody(int64_t v = -1);

        u_int64_t httpBodyDiskOffload(int64_t v = -1);

        u_int64_t httpHsts(int64_t v = -1);

        u_int16_t httpKeepAliveTime(int32_t v = -1);

        u_int32_t httpRequestLimit(int32_t v = -1);

        u_int64_t webSocketMaxFrame(int64_t v = -1);

        u_int64_t webSocketTimeout(int64_t v = -1);

        u_int8_t workers(int8_t v = -1);

        u_int32_t workerMaxConnections(int32_t v = -1);

        u_int32_t rlimitNoFiles(int32_t v = -1);

        u_int32_t workerAcceptThreshold(int32_t v = -1);

        u_int8_t workerSetAffinity(int8_t v = -1);

        u_int32_t socketBacklog(int32_t v = -1);

        u_int8_t  setForeground(int8_t v = -1);

        u_int8_t  debug(int8_t v = -1);

        u_int8_t  skipRunAs(int8_t v = -1);

        u_int8_t  skipChroot(int8_t v = -1);

        int64_t   sessionTimeout(int64_t v = -INT64_MAX);
        int db(db::Context *db);
    }

    namespace tls {

        class TlsConfigurationException : public std::runtime_error {
        public:
            TlsConfigurationException(cc_string msg)
                : std::runtime_error(msg)
            {}
        };

        cc_string certificateFile(cc_string cert = NULL);
        cc_string certificateKey(cc_string key = NULL);
        cc_string cipher(cc_string cipherlist = NULL);
        void clientCertificate(cc_string cafile, cc_string crlfile);
        void dhparam(cc_string param);
        int             version(int v = -1);
    }

    void $enter(int argc, char *argv[]);
    int $exit();
    using OnLoad = std::function<void(void)>;
#define $onload()   []( void )
    int $start(OnLoad onl);

    namespace admin {
        /**
         * retrive all the installed route handlers in json format
         * @return a json object containing all the installed routes
         */
        Json *routes();
    }

    namespace auth {
        enum auth_type {
            AUTH_TYPE_ANY,
            AUTH_TYPE_BASIC,
            AUTH_TYPE_DIGEST,
            AUTH_TYPE_TOKEN
        };

        struct auth_info_t {
            auth_info_t(auth_type t, cc_string uname)
                : type(t),
                  username(uname),
                  password(NULL),
                  salt(NULL)
            {}
            auth_type     type;
            cc_string     username;
            cc_string     password;
            cc_string     salt;
        };

        using AuthInfoCb = std::function<bool(auth_info_t&)>;

        struct user_t : public virtual auto_obj {
            operator bool() const {
                return authenticated;
            }

            cc_string getUsername() const {
                return username;
            }

            cc_string getPassword() const {
                return password;
            }

            auto_obj_dctor(user_t);
        protected:

            friend user_t authenticate(Request &, AuthInfoCb, auth_type);
            user_t(c_string user, c_string pwd)
                : auto_obj(),
                  username(user),
                  password(pwd),
                  authenticated(false)
            { }

            c_string    username;
            c_string    password;
            bool        authenticated;
        };

        user_t authenticate(Request &req,
                             AuthInfoCb getInfo,
                             auth_type t = AUTH_TYPE_ANY);

        bool authorize(Request& req,
                       Response& resp,
                       user_t& user,
                       cc_string realm,
                       auth_type type = AUTH_TYPE_ANY);

    }
}

#endif //SPARC_SPARC_H_H

redpajama_set_name: RedPajamaGithub


text:
Apps	July 9, 2019	66	Like
The tech giants and app developers giving huge importance to the users who have low-end devices and limited internet connectivity, that resulted in lots of applications on the Google Play Store. Well, now the popular music streaming platform Spotify has launched its own lite application on the Google Play Store
Spotify Lite supports both the premium and free version of services and the application will also allow you to perform the basic features such as searching for artists, discovering new music, and support for the playlists. Furthermore, the app will also allow to control data consumption.
With the lite version of the app, the company now wants to grow the audience base in the developing countries and it also wants to attract the users who use low-end devices. If we look from the point of customers, this is really good because people who cannot able to sustain on the unlimited internet connections or afford high-end devices will definitely feel joy with the new application because they can also move according to their favourite beats.
Speaking about the availability of the new application. It will be available in 36 countries across Asia, Latin America, Middle East, and Africa.


text:
Mad Men Recap: Season 2, Episode 3, "The Benefactor"
This has all been a fancy way of saying that Mad Men often feels like a collection of short stories about the characters rather than a conventional TV series.
Photo: AMC
After the fairly ground-shaking events of "Flight 1"—Pete's Dad dies! We learn the deal with Peggy's baby! Duck emerges as a full-blown Bad Guy!—I was somewhat surprised to find that "The Benefactor" was basically a standalone with only the tiniest bit of follow-up to the previous episode. But then the more I thought about it, the more I realized something: Almost all of Mad Men's "big" episodes, "Flight 1" included, are basically standalones. This approach is a reversal of the main TV model of the 1990s, and proof of just how much series creator Matthew Weiner learned from working on The Sopranos.
I recently absorbed most of Maps and Legends, Michael Chabon's collection of critical essays on genre fiction, in addition to rereading Scott McCloud's Understanding Comics, so I hope you'll forgive me for getting a bit academic and pin-headed here. Basically, for most of the history of television, dramas were divided into two varieties: Serials (from Peyton Place through Dallas, Dynasty, etc) and series that were basically collections of short stories about the characters (pretty much every crime/medical/science fiction series you can think of). The main similarity is that in both types of series, the characters never really changed.
Much of this has to do with the nature of the short story, the form that has arguably influenced episodic TV drama more than any other. I'm sure readers of this column will be able to come up with other examples (right now, all I'm coming up with are Ernest Hemingway and John Updike), but sequential short stories following a single protagonist are far less common in the realm of "serious" fiction than in the genre world—and genre fiction characters, like those on TV, are far less likely to experience real change.
In the 1980s, Steven Bochco began to combine the two forms of TV drama, but the process that leads us to Mad Men began in the early '90s with the arrival of Chris Carter's The X-Files and J. Michael Straczynski's Babylon 5. Both presented themselves (the latter more convincingly than the former) as novels for television, with a defined beginning, middle and ending, during which the characters would experience real change and growth. In the interest of luring in casual viewers along the way, Carter and Straczynski established a dichotomy between "mythology" or "arc" episodes—ones which solved lingering mysteries and advanced the larger plot—and entirely self-contained stories. This template was adopted by a zillion other series over the subsequent years (most notably by Buffy, Angel, Alias, Lost and Battlestar Galactica), and while it resulted in some awfully good TV, this paradigm tended to create a belief among TV fans that self-contained episodes are inherently inferior to continuity-oriented ones (with exceptions: some would argue that as the X-Files mythology spun increasingly out of control, its standalones got better and better).
The Sopranos was a highly serialized show from the beginning, and in some ways became more serialized as it went on (for evidence, look no further than the adventures of Vito Spatafore). But with the fifth episode of season one, "College", it became clear that David Chase was trying something new—coming up with a self-contained TV episode that would change the protagonist in ways that would be evident for the series's entire run. Over the course of The Sopranos's six seasons, Tony, Uncle Jun, Carmela, Dr. Melfi, Bobby Baccalieri and Johnny Sack (in the final season's superb "Stage Five") would all receive such episodes. With each one, The Sopranos became less a crime drama and more a portrait of individuals baffled by a changing world—who in turn added up to a community baffled by a changing world. Like light, which can be both particle and wave depending on your viewpoint, The Sopranos was both a serial and a collection of shared-universe vignettes, albeit perhaps one closer to Edgar Lee Masters's Spoon River Anthology than to Hemingway's Nick Adams stories or any of Updike's story cycles.
Which, finally, brings us to Mad Men. In his comments on my write-up of "Flight 1," Matt Seitz praised what Matthew Weiner is doing this season and connected it to The Sopranos, but I don't think he gave Weiner enough credit for taking the David Chase approach further than Chase himself ever has. The Sopranos launched a golden age in American TV—Deadwood, The Wire, The Shield…you know the drill—but most of Chase's acolytes have been content to stick with relatively conventional serial narratives (even if shows such as The Shield took the serial in bold new directions by embracing the novel as thoroughly as Chase has the short story). Only Weiner has seen fit to fully embrace Chase's vision and offer a sort of fractal drama—one that contains conventional continuity, to be sure, but also one where the narrative model is layered rather than strictly linear, and in which it takes quite awhile (unlike with B5 or The X-Files, which wore their complexity as a badge of pride) to realize that the whole is more than the sum of its parts.
This has all been a fancy way of saying that Mad Men often feels like a collection of short stories about the characters rather than a conventional TV series. Strip away the Peggy material from last week's episode and you're left with a beauty of a short story about Pete, one in which he learns hard lessons that TV characters seldom do. Prune away Betty's activities this week and what remains is an equally fine (and equally resonant) double-helix story about Don and Harry Crane.
As its thesis, "The Benefactor" argues that artists often wind up with the patrons they deserve: Leonardo and Michelangelo got the de Medicis; a mediocre insult comic like Jimmy winds up with Utz Potato Chips. But beyond the theme lies a deeper question: Are Don and Harry artists? As Don famously told us last season, SC is "home to more failed artists and writers than the Third Reich", but despite his jokes about a novel in progress—I've always taken them as jokes, at least—we've seen little evidence of conventional artistic ambition on Don's part. The artform he specializes in isn't making the client (or, ultimately, the consumer) feel what he does, nor is it the simple art of the con. To become the advertising whiz that he is—and to transform himself from Dick Whitman into Don Draper—he had to master the art of the managed expectation. Even those who specialize in such unorthodox art forms occasionally have to suck it up and kiss their patron's ass, and that's what Don does when he takes Jimmy and Bobbi to dinner with "Mr. and Mrs Utz" (a/k/a the Schillings—it can get confusing since at one point "shilling" is used as a verb).
Who is Don's patron in this scenario? It's both Jimmy and the Schillings, to some degree, but ultimately it's SC itself, and Don clearly thinks he deserves a benefactor who better appreciates his talents—otherwise he wouldn't be slinking off to French films in the middle of the day (though by doing so, he's hardly being a slacker—as with reading Frank O'Hara, he's practicing the art of the managed expectation by attempting to acquire a level of broad cultural awareness that one wouldn't typically associate with a suit like him).
Really, Jimmy has it easy—to please his patrons, all he has to do is cough up a simple apology (and while Jimmy may use alcohol and misanthropy to justify his behavior, his instructions to the cameraman make it clear he's enough of a professional to have known what he was doing). Don has to a) sell the Schillings on Jimmy's sincerity, b) manage Jimmy's expectations by letting him think that he's both smarter than Don and has a chance with Betty, and then c) use his masculinity as a literal blunt instrument when Bobbi threatens to use contractual loopholes to exempt her husband from apologizing (Don sliding his fingers into Bobbi may or may not be a basic cable first, but it's certainly the most sexually explicit scene Mad Men has offered yet). For her part, Betty has to "merely" string Jimmy along while simultaneously keeping the Schillings charmed. At first, Betty seems nonplussed about the dinner, asking what kind of prop she's supposed to be—a speaking one or a silent one—but in the final scene she's unexpectedly happy. Like her husband, she's just paid her freight by sucking up to the people who pay for her lifestyle—and, like Don, she just did so by managing expectations. The episode ends with something we rarely get from Mad Men—a scene in which Don and Betty feel like both a real couple and a real team.
The early scenes at SC dealing with Jimmy's disastrous commercial shoot don't say much about the degree to which Don does or doesn't see himself as an artist, but they do suggest that a hell of a lot of his SC cohorts—including Roger, Duck and even Ken "Published Author" Cosgrove—see advertising purely as a business. Of course, as we learned when Paul took Peggy on a tour of the agency back at the start of season one, the creative and accounts departments are just tiny slices of SC. The biggest department is media, a purely business department and one which thus far has only been represented by Harry Crane. Harry's an outsider in more ways than one among the junior execs—he's the only non-Ivy Leaguer among the lot, and presumably the only Midwesterner. If his department isn't particularly creative, Harry himself is—last year, he co-concieved (with Pete) the plan to lock JFK out of the TV ad market in Chicago, and this time he proves himself fairly visionary by first attempting to help out his friend at CBS and then urging the creation of a TV department at SC (that they don't already have one certifies dinosaur status).
But Harry clearly doesn't have the patron he deserves—if he did, the promotion would have come directly from Bert Cooper instead of being handled by Roger. When Roger offers Harry $225 a week, you just know he'd have given Harry $240 or $250 if he'd come back with a counteroffer instead of meekly ending the negotiations prematurely. Harry's wife, like Betty, takes pride in her husband sticking up for himself, likewise not knowing the whole story. What they both fail to realize about their husbands (as does Bobbi) is that being an artist—and obtaining the patron an artist deserves—requires as much balls as it does talent; while their spouses may not be entirely lacking in testicular fortitude, they haven't mastered the knack of summoning it when it's most needed.
Miscellaneous Notes: Not too much to touch on this time around, though there are some interesting casting notes. I've been a big fan of Patrick Fischler ever since his genius back-to-back bit parts in Mulholland Drive and Ghost World, so it was a big treat to see him in the meaty role of a second string Rat Packer obviously based in part on Don Rickles (if you don't know Fischler from his movie roles, you surely recognize him from his guest spots on everything from Girlfriends and Veronica Mars to Burn Notice and all three CSIs). And while her blond hair was hidden by her riding helmet (and the role, curiously, is not yet on her IMDB page), Betty's equestrian buddy is played by none other than Denise Crosby, a/k/a Lt. Tasha Yar of Star Trek: The Next Generation. And while Mad TV alumnae Christa Flanagan obviously impressed Weiner—otherwise Lois wouldn't have resurfaced as Don's secretary before getting fired this week—she had better well turn up elsewhere at SC; if she was fired both in real life as well as on camera, that'd be just too fucking cruel. The return of the Belle Jolie Lipstick executive, too, was a pleasant surprise; I'm sure I can't be the only fan who ID'd him by his voice before we even got a look at his face.
As to the story about the episode of The Defenders, most of it is true: As the New York Times reported on April 9, 1962, CBS was left high and dry when the series's three regular sponsors—Brown & Williamson tobacco, Lever Bros. and Kimberly-Clark (the latter two are mentioned by Harry's friend)—bailed on the abortion-themed episode, which wound up airing as scheduled on April 28, 1962. Since next week's episode spans most of April, everything lines up with the calendar just about perfectly. According to a 1997 Times article about Showtime's, er, abortive 1999 revival of The Defenders, the episode was ultimately sponsored by a watch company (unspecified in the article) which bought up all the ad time for pennies on the dollar. Despite the controversy, an article at the Museum of Broadcast Communication says audience response to the episode was 90% positive. The Defenders wound up running until 1965 and was later folded into the same continuity as Boston Legal (and a zillion other series) when David E. Kelley retconned a guest character played by William Shatner into having been a young Denny Crane. My one question: Did Weiner et al leave out clips featuring Robert Reed because there were none that fit, or because they didn't want viewers to laugh archly upon getting a glimpse of the young Mike Brady?
For more recaps of Mad Men, click here.
Review: Thank You, Mr. President: Helen Thomas at the White House
Generation Kill Recap: Episode 5, "A Burning Dog"
Game of Thrones Recap: Season 8, Episode 3, "The Long Night"
Game of Thrones Recap: Season 8, Episode 2, "A Knight of the Seven Kingdoms"
Review: The Romanoffs


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When video game fans think of video game music, they tend to think of the Super Mario Bros. main theme or the interludes and sound effects from Pac-Man or maybe Galaga. When video game music fans think of video game music, they often tend to think of music from Final Fantasy, Castlevania, and maybe Mega Man or Super Mario games. When asking someone about game music, Streets of Rage 2 isn't usually the first thing that pops into mind. But without this monumental and landmark soundtrack, one might forget an important turning point in video game music history.
In 1992, Sega released the much anticipated sequel to its fighting/action game Bare Knuckle with Bare Knuckle II (known as Streets of Rage 2 in the United States). Not only was it a great action game, but this is also the first game where a composer kept the copyright to his music. His name even appears on the title screen. This kind of attention to game music or its composer was so uncommon it was unheard of at the time. Even today with the increase of game music fans, mention of the composer is rarely seen on a title screen (though the games of today play out more like a movie with opening credits, etc.).
For 1992, the Streets of Rage 2 soundtrack was far beyond its time. This soundtrack sets the pace for all video game techno soundtracks, years before techno soundtracks were commonplace in video games.
I have so many favorite tracks on the album, but if I have to choose just one, it would be the "S.O.R. Super Mix." I've never felt so much emotion in an electronic dance track. Just hearing the first few haunting tones gets me riled up and motivated. These days I'm easily moved by electronica favorites like BT and Paul Oakenfold. But at the same time these guys were just starting to get their name out in the late 80's and early 90's, Yuzo Koshiro was writing dance floor anthems that have still yet to be heard by the masses. While no one in London's trendy clubs is shaking and sweating to "Go Straight" right now, who's to say they couldn't be? Good dance music is good dance music. But in this case, this is great dance music.
For fans of harder hitting dance music, tracks like "Never Return Alive" and "Jungle Base" are really going to hit home. Arguably the hardest hitting song, "Expander," was actually written by Motohiro Kawashima. This track will make you move no matter who you are. With its raunchy synth bass, panning synths, and the fastest tempo on the album, you will move. Kawashima assisted Koshiro and it's a real treat to get a chance to hear his works. "Expander," along with "Mad Max" and "Little Money Avenue," are really great tracks. Although Koshiro did not compose alone on this soundtrack, the consistency in style is never an issue. All of the tracks flow together well and make for a wholesome experience.
In contrast there are a few tracks that I usually skip because I feel they lack the intensity and feeling that the rest of the soundtrack provides. "Good End" is just too "lonely" of a piece for me. It is a little monotonous and lacks some substance. Without drive, it always makes me want to not beat the game, which doesn't resonate since it's the ending theme. In addition, while "Too Deep" gets its ambient point across, I don't think it holds up against the rest of the other tracks on the album. The piece also includes some sound effects that are very grating and catch me off guard because they sound like a ringing phone.
Yuzo Koshiro pushed the primitive Sega Genesis sound processor to its limit with this soundtrack. The voice samples are all clean and the sound effects are as thick and realistic as the primitive FM synthesizer would allow. It only takes a minimal understanding of music for a video game player to admit that during gameplay it's the music that gets all the attention. Whereas Squaresoft's latest offering at the time, Final Fantasy IV, had a great soundtrack (and arguably timeless in the realm of game music), the sound quality is weak. Streets of Rage 2 sounds like what most people considered "real music" — and it still does today. I've never had a complaint when listening to this CD around friends (unless they just don't like electronic music in the first place). "This is video game music?" It's always a question/statement that I love to hear.
But on the whole, if you haven't been convinced by now, everyone who is a fan of game music should at least hear this album at some point. The game is great, and the music is great in the game, but when the music stands on its own — that's where Yuzo Koshiro really shines. Even though he's an amazing game composer with epic and soaring orchestral soundtracks like Ys and the highly acclaimed ActRaiser, it's humbling to know that he also is the pioneer for good electronic dance music in games, and maybe even electronic dance music as a whole. After all, BT claims that video games and game music have been a big influence on him. Maybe Koshiro had an influence on him and others like me who can say we are where we are today because of Yuzo Koshiro.


text:
#ItGetsLighterFromHere
Tuesday 15th Dec 2020
The music charity responsible for Town Hall and Symphony Hall are joining over 30 partners from across the West Midlands, including Birmingham REP, The RSC and mac, to collectively provide a significant number of freelance artists or community members with paid commissions.
Hundreds of digital micro commissions, each no more than sixty seconds long, will be released across various social media platforms on Mon 21 December creating a region wide celebration of hope, optimism and possibility for the future, and of the value in creativity and the arts.
Mon 21 December is the shortest day of the year. It is also the last Monday before Christmas…the start of a festive season that is likely to be seriously overshadowed by the ongoing COVID-19 pandemic.
On the night of Mon 21 December – the Winter Solstice, marking the shortest day and longest night of the year - artists and cultural institutions across the West Midlands will come together to provide multiple moments of happiness and hope under the banner: It Gets Lighter From Here.
The project involves a huge cross-section of artists and art forms – from theatre and dance, to spoken word and music - and has raised a total of £34,050 for artist commissions, providing vital financial support for the region's freelancers and community members who have been left unsupported through the Covid-19 pandemic.
The artists commissioned by the music charity responsible for Town Hall and Symphony Hall
Alicia Gardener Trejo
Multi-instrumentalist and Composer Alicia Gardener-Trejo is in demand on the Birmingham jazz scene as a low reeds specialist.
Andrew Woodhead
Andrew Woodhead is an award-winning composer and musician working across a wide variety of disciplines including jazz, electronica & folk.
Archie Tulk
Archie Tulk is a saxophonist and composer from Birmingham currently studying at Trinity Laban Conservatoire in London.
Diddy Sweg
Diddy Sweg are a post apocalyptic party band consisting of three horns and a drummer.
Elliot Sansom
Elliott Sansom is a Birmingham based pianist & composer, named as one of the top 5 finalists for the 'BBC Young Jazz Musician' Award in 2016.
Kai Chareunsy
Kai Chareunsy is a drummer & composer specialising in jazz & improvised music who has performed & recorded with a number of outstanding artists.
Madi Saskia
Madi Saskia is a "young person with an old soul". Through her music she inspires & influences those around her through her imaginative material.
Millicent Chapanda
Millicent Chapanda is a proud cultural artist with a vibrant mission to bring the lived experience of women in Zimbabwe to international stages.
Reuben Reynolds
Reuben Reynolds has developed a reputation as a highly skilled, reliable and sought-after freelance musician & guitar tutor in Birmingham.
Tom Ford is a guitarist you may have already unknowingly heard, he is somewhat of an enigma appearing all over the UK music scene.
Central to Town Hall Symphony Hall's Jazzlines programme is its work supporting the creative and professional development of artists throughout their career. Commissioning new work, such as this, is one way of doing so.
Town Hall Symphony Hall's Jazzlines is a PRS Foundation Talent Development Partner and supported by Arts Council England under the National Portfolio Organisation scheme.
Joining the collective voice of Culture Central in marking the Winter Solstice, the music charity responsible for Town Hall and Symphony Hall will celebrate the unique jazz community that has developed in Birmingham. Each of the 10 commissioned musicians will perform their 60 second response to the jazz standard 'I'm Beginning to See the Light' which fits under the Culture Central main theme of #ItGetsLighterFromHere. The iconic venue's Jazzlines programme is proud to build on its legacy of commissioning and supporting creative new music. We stand together with the creative force that continues to flourish in the city through its exceptional jazz musicians.
Mary Wakelam Sloan, Jazz Programme Manager
It has been a great opportunity to do this short 60 second commission and to perform my response to the theme 'It Gets Lighter From Here'. As we move closer to another year, and hopefully ever closer to a sense of normality, I feel inspired by feelings of optimism which have sparked a sense of playfulness when interpreting the song 'I'm Beginning To See The Light'.
Following the event on 21st December the collection of work shared across social media platforms may be assembled into an online collection that will be available for sharing into 2021.
Town Hall, Symphony Hall
From world-renowned classical, rock and pop artists to award-winning comedians, you'll see performances that entertain and inspire you.
Gerry Marsden, frontman of Gerry and the Pacemakers, has sadly died aged 78
TOWN HALL AND SYMPHONY HALL RELEASE BRAND-NEW TRACK FROM GRIME MC DAPZ ON THE MAP
Birmingham born, multi-talented artist, Dapz On The Map has written a brand-new track for the music charity responsible for Town Hall and Symphony Hall titled "Stay Safe".
TOWN HALL AND SYMPHONY HALL TO BRING FAMILIES TOGETHER AT CHRISTMAS ONLINE
Following a successful fundraising campaign as part of The Big Give's Christmas Challenge, the music charity responsible for Town Hall and Symphony Hall have announced a brand-new digital broadcast of their annual Families Together at Christmas concert.


A bespoke series of development processes that aim to raise and transform leadership capability at all levels within the organisation.
THE VISIONARY LEADER. Here the focus is on looking outwards and working on the business more than working in the business; setting the change agenda and working on building a culture and talent pool for tomorrow, fostering and encouraging creativity and global thinking.
THE STRATEGIC LEADER. Here the focus is on 'How' to convert the vision into reality and communicate effectively across barriers and stakeholder groups – coaching, empowerment and developing high performing teams.
THE OPERATIONAL LEADER. Here the focus is on leading and managing change, managing performance, meeting goals and plans and delivering quality results through continual improvement and accountability.


text:
Q: Handle MessageHandlingException from spring integration web service outbound-gateway SI configuration of my application is like :
<oxm:jaxb2-marshaller id="myMarshaller" contextPath="com.test" />

<int:gateway id="servgateway" service-interface="com.services.ServiceGateway" error-channel="error-channel">
    <int:method name="getSum" request-channel="reqChannel" reply-channel="respChannel">
    </int:method>
</int:gateway>
<int:chain input-channel="reqChannel" output-channel="respChannel">
    <int-ws:outbound-gateway uri="http://SER:IP/mokFault" message-sender="httpSender" marshaller="myMarshaller"
    message-factory="soapMessageFactory"         />
</int:chain>
<int:channel id="error-channel" />

<int:service-activator input-channel="error-channel" ref="rrrorHandler" method="handleError"/>

Here this endpoint(SER:IP/mokFault) pointing to one SOAP Fault mock.
In Activator handling all exceptions. It's method looks like
public void handleError(Message<?> message) {

}

I tried to test this with juint, it's working fine and exceptions(SOAP Fault) are not coming in console.
If i call this gateway(servgateway) from my web application i am getting proper response
but exceptions(SOAP Fault) are coming in IBM WS server console.  I haven't used any printStackTrace of exception/logger in code.
Only this spring integration web service outbound-gateway exceptions (SOAP Fault,UnKnownHost,Unmarshall...)are coming in server console.
Is there any more configurations required for remove all these exceptions from console??
I am using spring integration version 2.2.3.RELEASE.
Below is the exception list:
GatewayProxyF W org.springframework.integration.gateway.MessagingGatewaySupport doSendAndReceive failure occurred in gateway sendAndReceive
                             org.springframework.integration.MessageHandlingException: error occurred in message handler [org.springframework.integration.ws.MarshallingWebServiceOutboundGateway#756f756f]
at org.springframework.integration.handler.AbstractMessageHandler.handleMessage(AbstractMessageHandler.java:79)
at org.springframework.integration.handler.MessageHandlerChain$1.send(MessageHandlerChain.java:154)
at org.springframework.integration.core.MessagingTemplate.doSend(MessagingTemplate.java:288)
at org.springframework.integration.core.MessagingTemplate.send(MessagingTemplate.java:149)
at org.springframework.integration.handler.AbstractReplyProducingMessageHandler.sendMessage(AbstractReplyProducingMessageHandler.java:216)
at org.springframework.integration.handler.AbstractReplyProducingMessageHandler.sendReplyMessage(AbstractReplyProducingMessageHandler.java:200)
at org.springframework.integration.handler.AbstractReplyProducingMessageHandler.produceReply(AbstractReplyProducingMessageHandler.java:165)
at org.springframework.integration.handler.AbstractReplyProducingMessageHandler.handleResult(AbstractReplyProducingMessageHandler.java:159)
at org.springframework.integration.handler.AbstractReplyProducingMessageHandler.handleMessageInternal(AbstractReplyProducingMessageHandler.java:141)
at org.springframework.integration.handler.AbstractMessageHandler.handleMessage(AbstractMessageHandler.java:73)
at org.springframework.integration.handler.MessageHandlerChain.handleMessageInternal(MessageHandlerChain.java:137)
at org.springframework.integration.handler.AbstractMessageHandler.handleMessage(AbstractMessageHandler.java:73)
at org.springframework.integration.dispatcher.UnicastingDispatcher.doDispatch(UnicastingDispatcher.java:115)
at org.springframework.integration.dispatcher.UnicastingDispatcher.dispatch(UnicastingDispatcher.java:102)
at org.springframework.integration.channel.AbstractSubscribableChannel.doSend(AbstractSubscribableChannel.java:77)
at org.springframework.integration.channel.AbstractMessageChannel.send(AbstractMessageChannel.java:157)
at org.springframework.integration.channel.AbstractMessageChannel.send(AbstractMessageChannel.java:128)
at org.springframework.integration.core.MessagingTemplate.doSend(MessagingTemplate.java:288)
at org.springframework.integration.core.MessagingTemplate.doSendAndReceive(MessagingTemplate.java:318)
at org.springframework.integration.core.MessagingTemplate.sendAndReceive(MessagingTemplate.java:239)
at org.springframework.integration.core.MessagingTemplate.convertSendAndReceive(MessagingTemplate.java:274)
at org.springframework.integration.gateway.MessagingGatewaySupport.doSendAndReceive(MessagingGatewaySupport.java:224)
at org.springframework.integration.gateway.MessagingGatewaySupport.sendAndReceive(MessagingGatewaySupport.java:203)
at org.springframework.integration.gateway.GatewayProxyFactoryBean.invokeGatewayMethod(GatewayProxyFactoryBean.java:306)
at org.springframework.integration.gateway.GatewayProxyFactoryBean.doInvoke(GatewayProxyFactoryBean.java:269)
at org.springframework.integration.gateway.GatewayProxyFactoryBean.invoke(GatewayProxyFactoryBean.java:260)
at org.springframework.aop.framework.ReflectiveMethodInvocation.proceed(ReflectiveMethodInvocation.java:172)
at org.springframework.aop.framework.JdkDynamicAopProxy.invoke(JdkDynamicAopProxy.java:204)
at $Proxy54.getSum(Unknown Source)
......................
Caused by: org.springframework.ws.soap.client.SoapFaultClientException: 1
    at org.springframework.ws.soap.client.core.SoapFaultMessageResolver.resolveFault(SoapFaultMessageResolver.java:37)
    at org.springframework.ws.client.core.WebServiceTemplate.handleFault(WebServiceTemplate.java:738)
    at org.springframework.ws.client.core.WebServiceTemplate.doSendAndReceive(WebServiceTemplate.java:564)

A: As you see it is WARN, so just turn off the 'warn' for org.springframework.integration.gateway category (or even for entire org.springframework) from your logging config. Or from WAS console, if you use it (by your comments).

redpajama_set_name: RedPajamaStackExchange


Serial Entrepreneur with 20+ years of experience in software services, network security and equipment companies. Founder of Array Networks.
Founder, Executive, Angel Investor and active Board Member of numerous startups. Co-founder of Ecosystems, NetIQ, Digital Market, Symphoniq and Centrify.
Engineering Leader with experience in core R&D organizations of numerous global enterprise software companies including HP, Amdocs and Nortel.
Founder, Executive and Director at HP, Alteon, Resonate and other startups.
Bring-up Engineering Manager for startup companies Combinet, Caspian and NebuAd. Technical Leader at Cisco and Ericsson.
Marketing and Sales Executive with experience at Philips Electronics, Citrix Online, Netgear, Honeywell and numerous startups.


Located in Mecca, A.M. Bagabas Hotel offers simply furnished units. Wi-Fi is available at an added fee. Al Masjid Al Haram is a 10-minute drive away. All units here will provide you with a flat-screen TV, air-conditioning and a seating area. There is also a refrigerator. Private bathrooms also come with a shower. At A.M. Bagabas Hotel you will find a 24-hour front desk. Guests can enjoy a variety of dishes at the restaurant throughout the day. Laundry and dry cleaning services are available upon request. Al Otaibia Market is a 2-minute walk and King Abdulaziz International Airport is 120 minutes away by car.


text:
Does Democracy Matter?
On Monday, October 20, 2014 at 9:00 – 2:30 ET
Is Democracy Failing?
DemocracyDemocracy PromotionDemocratic TransitionNorth AmericaUnited StatesRussia and Eurasia
Democracy, as a brand, has taken its lumps in recent times, and much of the damage is self-inflicted. In the United States alone, ongoing partisan battles have raised questions about the ability of the often self-proclaimed "world's greatest democracy" to meet its most basic obligations. Have these failures, real and perceived, damaged the ability of democracies around the world to promote democratic governance as the solution to a wide range of challenges and problems? In this episode of Wilson Center NOW, Larry Diamond provides thoughts on the status of democratic governance and the challenges it faces from within and without. He recently visited the Wilson Center to provide the keynote address during a day-long forum called, "Does Democracy Matter?"
Larry Diamond
The Kennan Institute is the premier U.S. center for advanced research on Russia and Eurasia and the oldest and largest regional program at the Woodrow Wilson International Center for Scholars. The Kennan Institute is committed to improving American understanding of Russia, Ukraine, and the region through research and exchange. Read more
Does the Light on the Hill Still Shine Bright? Reactions to the Capitol Siege
Wilson Quarterly Releases New Winter Edition: Back to the Future?
What Myanmar's 2020 Election Tells Us About U.S.-China Competition
By Lucas Myers on January 12, 2021
Africa: Year in Review 2020
Argentina's Historic Vote to Legalize Abortion
By Gregory Ross on January 8, 2021
Que Sea Ley: Argentina's Historic Vote to Legalize Abortion
Que Sea Ley
2020 Brazilian Municipal Elections
Bolsonaro & Biden: What's Next for Brazil-U.S. Relations?
Democracy in Asia
By Marvin Ott on December 22, 2020
Populists in the Kitchen: A Conversation with Andrés Velasco


text:
Egypt starts wheat harvest season on 3 mln feddans
Supply minister Ali Moselhi said last month that Egypt is targeting between 4 to 4.5 million tonnes of wheat in 2017
Ahram Online , Saturday 15 Apr 2017
File photo: Farmers harvest wheat on Qalyub farm in the El-Kalubia governorate, northeast of Cairo, Egypt May 1, 2016 Reuters
Egypt targeting 4 to 4.5 mln tonnes of wheat in 2017: Minister
Egypt raises supply price of wheat for the 2017 crop season
Egypt's wheat reserves enough to last for five months: Supply minister
Egypt's agriculture and land reclamation ministry announced the commencement of the wheat harvest season as of Saturday over a total arable area of 3.1 million feddans (roughly one acre), according to a statement emailed to Ahram Online by the ministry.
According to the ministry, the price of the strategic crop, to be delivered to the state's General Authority of Supply Commodities, will be EGP 555 per ardeb (roughly 150 kg) for the lowest quality, while the higher quality will cost EGP 565 and EGP 575.
Agriculture minister Abdel-Moneim El-Banna said that his ministry, in coordination with the supply ministry, will work on facilitating the wheat supply to the government, setting a limit of 72 hours to pay the farmers their dues.
Supply minister Ali Moselhi said last month that Egypt is targeting between four to 4.5 million tonnes of wheat in 2017.


text:
Venom Movie Initially Had Plans To Include A Scene With The Symbiote Planet
As long as we see Tom Hardy with them.
by Jeremy Alexander
Venom is doing really well at the box-office breaking the record for biggest October opening weekend despite the mostly negative reviews. The Tom Hardy flick may not by any means, be a cinematic masterpiece but it's still goddamn enjoyable mostly due to Hardy's performance. The film definitely had problems from its script, CGI, pacing, characters and okay, done listing out negatives but the Venom symbiote itself is a highlight (take that as you will). However, we didn't get a whole a lot about the symbiotes itself in regards to where they're from.
We saw how the symbiotes came to earth (sorta). Well, we saw how the humans got it after one of the Life Foundation's space crafts crashed into earth and we also got a little exposition in regards to how the symbiote-host bonding worked but not much on the alien race themselves. Well, it seems that there was some thought on providing more on the symbiotes pertaining to their home planet in the opening scene.
Director Ruben Fleischer spoke to Cinemablend revealing that not going this route was intentional in order to add a little bit more mystery in the air. He said:
"The beginning of the movie was a hard one. Like, how much do we want to tell the backstory? There was a version [of the opening] where there was a planet crawling with tons of symbiotes that were collected and taken back to Earth by the Life Foundation. They had encountered them. But it kind of felt like, my instinct was it would be better to keep it more mysterious and just know that they've retrieved something from space. We don't know exactly by what means or how. Jenny [Slate]'s character later says they encountered it on a comet that was passing, and they retrieved these samples and brought it back to Earth. But yeah, I thought it was better just leave it a little bit mysterious, the backstory of the aliens."
Fans would know that the symbiote planet is called Klyntar and it seems like they really considered it to be a part of the film as concept art for the planet was drawn according to the film's producer Matt Tolmach. He explained:
"We toyed with some art work that we loved… We toyed with it. But we wanted the movie – it's out there. It's part of our mythology. It's part of our backstory, Klyntar and where this all came from and who knows what's next. But, it made sense to, in this movie, to let the origin of those things kind of unravel in the storytelling is as opposed to going [to that planet]."
It's really uncertain how things would go if they actually had this in the film cause some general audiences might be a little confused. It would no doubt given a lot of backstory but it would have also taken a much longer time to see Hardy and Venom interact which is as mentioned before, is the film's saving grace. It did really well at the box-office so perhaps it'll be explored later on.
Source: Cinemablend
Tags: SonySony's Marvel UniverseVenom
Jeremy Alexander
Film Buff from Citizen Kane to Star Wars. Some would call it pretentious, I call it, trying too hard
Morbius Movie: Tyrese Gibson Joins Cast Of Venom Spin-Off
Venom 2 Is In Search Of A New Director
Into The Spider-Verse: Animation Storyboard Had A Gruesome Death
Sony Reportedly Considering Into The Spider-Verse Television Series
Venom Sequel In The Works With Original Writer Returning
Uncharted Movie Starring Tom Holland Loses Its Director


Tokyo Monster Kahagas, promoter TNT Keny G and NWA World champion Adam Pearce.
Former wrestler and promoter TNT Keny G, also father to independent wrestler Santana Garrett, has died after a long illness.
On Facebook, Luanne Garrett, Keny Garrett's wife of 26 years, confirmed the passing on December 10th: "If you knew him, you were immediately part of the family," she wrote. "Sunday breakfast or feeding everyone at our wrestling shows. You knew where you stood with him. No filter ever on his ideas. Not an easy life, I only wish I had more time with him. 26 years wasn't enough. 5 kids and a granddaughter wasn't enough. His body just betrayed him. I loved him and always will."
Santana Garrett informed her fans on December 4th that the lung cancer her father had been battling returned and an operation would not be possible.
"He was diagnosed with lung cancer and had multiple major scares over the years," Santana wrote. "[He] had his lung removed and was cancer-free for three years. The cancer came back on his only remaining lung about a month ago, and now he is having many complications. His kidneys are failing, he has blood clots and they are unable to perform surgery needed in order to treat the cancer."
Keny promoted HighVoltage Wrestling in Florida and St. Louis, working with the likes of Adam Pearce, Kahagas and others. He began running shows under the High Voltage banner in 2008 in the Midwest.
After having a stroke in 2014, Keny partnered with fellow St. Louis promoters, Jim and Crystal Yount, and their company, Dynamo Pro Wrestling, to host a benefit show for the American Stroke Association and to assist others who have had strokes. Santana, who was inspired to get into the industry by her father, was a special guest at that show.
"I remember being a little girl in my t-shirt .... in my classroom, asking everybody, 'What do you want to be when you grow up?'" Santana recalled at the Cauliflower Alley Club reunion in 2018, as she received a women's wrestling award. "Well, some of the girls want to be a ballerina, others wanted to be a nurse. The teacher got to me, and I said, 'When I grow up, I want to be a professional wrestler just like my dad.'"
Wrestling, she said, is what strengthened her relationship with her father.
"I got to see him pursue his dream, train with Dory Funk, and later become an independent wrestler and promoter, while all the way, I would help out in any way I could, whether it was selling tickets at the door, handing out flyers, or selling popcorn," Santana said at CAC.
On his Facebook page, St. Louis SICW promoter Herb Simmons shared his memory: "Kenny was another pioneer in the wrestling business. He and I had many discussions on how the business has changed. He worked in the business for many years and was responsible for a lot of current talent getting started in the business."
Keny leaves behind five children -- Savannah, 31; Santana, 30; Samuel, 22; Dustin, 21; Keny, 12 -- his wife, Luanne, and one granddaughter.
Kari Williams is a Midwest-based journalist. She can be reached at williams.kari09@gmail.com, and you can follow her on Twitter @Kari_Williams.


text:
You are in : All News > DSM and Evonik's Alternative Source for Omega 3 Fatty Acids From Natural Algae
DSM and Evonik's Alternative Source for Omega 3 Fatty Acids From Natural Algae
13 Mar 2017 --- Just like humans, animals also need their daily intake of essential, long-chain polyunsaturated fatty acids in their diet to ensure healthy growth. Until now, these fatty acids have been added to aquaculture feed and pet food almost exclusively from marine sources such as fish oil and fishmeal. DSM and Evonik now provide an alternative omega 3 source that is the first to offer both EPA and DHA and will be aimed at initial applications in salmon aquaculture and pet food.
Last week we reported that the joint venture between DSM and Evonik plans to invest around US$ 200 million in the facility (US$100 million by each party over circa 2 years). The initial annual production capacity will meet roughly 15% of the total current annual demand for EPA and DHA by the salmon aquaculture industry. The set-up of the joint venture, to be named Veramaris and headquartered in The Netherlands, will be finalized subject to regulatory approvals and other customary closing conditions.
Omega 3 fatty acids are a family of polyunsaturated fats, including eicosapentaenoic acid (EPA) and docosahexaenoic acid (DHA). A large and growing body of evidence shows that sufficient levels of omega 3 EPA and DHA support brain, eye and heart health in multiple species, including humans. "Omega 3s are important at all stages of life," says Chris Goppelsroeder, President & CEO DSM Nutritional Products. Omega 3s are not produced naturally by the body, and must be obtained from the diet or through supplementation. "However, the world is in a bad state and there is a worldwide EPA and DHA deficiency," says Goppelsroeder.
The healthy benefits of fish will continue to drive the growth of the fish industry. "Fish protein is already the biggest source of protein, and will continue to grow," says Goppelsroeder. Wild caught fish is a finite resource. Reinert Beste, Chairman of Management Board Evonik Nutrition & Care adds: ""The growing demand of fish increased from 20 million tons of fish production in 1950 to over 150 million tons of fish production. The majority of fish was taken from the ocean, but that has stagnated since the 1990's. To satisfy the growing need, the aquaculture kicked in. In 2030, 75% of the global fish will come from aquaculture."
Innovation breakthrough for aquaculture, pet food and beyond
With this growing demand of fish, some challenges will have to be overcome. For a salmon to grow well and be a healthy food source for human consumption, it needs omega 3s. "The current practice is to take the fish out of the ocean and process it to fish oil and fish meal in order to give the salmon a source of protein and fat," says Beste. "Approximately 70% of the wild caught fish is used for this purpose. We feed more fish ingredients to the fish than we grow fish, there is a negative fish output. And this already does not sound sustainable."
Click to Enlarge"Here is the dilemma," Beste continues. "We are running out of this natural fish source. The challenge is to get enough fish oil. With the growing demand, it is not sustainable to take out fish out of the ocean to feed the fish in aquaculture. It takes 2.6kg of wild caught fish to produce 1kg of farmed fish."
"This is where our innovation comes into play," says Beste. "By taking the natural marine algae, the natural source of salmon feed, and multiplying it in fermentation plants, we can then produce the algae oil. This oil means that the vision of salmon farming without using fish-based resources is – for the first time – becoming realistic," says Beste. By replacing fish oil in salmon feed with this EPA and DHA rich alternative, the fish-in-fish-out ratio could be turned around to a positive output. "1kg of algal EPA and DHA can replace 60kg of wild caught fish," says Beste. "This will contribute to the ecological balance and biodiversity of oceans and make fish farms grow more sustainably."
"Instead of out-fishing the ocean, we are helping to restore the biodiversity and balance of the ocean," says Goppelsroeder. "Basically, what we are doing, is that we found a microorganism in the marine algae that allows us to ferment the algae and produce a highly concentrated and pure alternative to fish-based omega 3, free from genetic modification. " Beste adds: "In our R&D we have selected and optimized this process for fermentation conditions, so that we get a high out-put and growth."
Click to EnlargeThe manufacturing plant will be located in the US. "These micro-organisms, they love dextrose or glucose. In Europe, these compounds are not that widely available. Therefore, we went to the US where we get the dextrose from corn," says Goppelsroeder. Beste adds: "It is logical within the fermentation industry to have production facilities and raw material supply closely together. l."
"In order to make it significant for the industry, the capacity that we are going to build in our joint venture will cover about 15% of the EPA and DHA demand of the global salmon industry," says Beste. "So this is not a small step, one of the key reasons is that we want to set a new standard in feeding and sustainability in the aquaculture, we need to supply significant quantities," Goppelsroeder adds: "Typical fish oil has on omega 3 content of about 20-25%, so if you produce it the way we do, one can increase the content, which makes a huge difference. If you increase the fat content, you leave room in the fish feed for other healthy components."
Beste concludes: "We worked on this strain for a long time, also on the downstream process. We think that this is hugely beneficial to the world, and both companies think that sustainability is a key topic for them as a corporation. Both DSM and Evonik have a strong commitment to make the world a more sustainable place."
By Maartje Geraedts
*Pictured from left: Chris Goppelsroeder, President & CEO, DSM Nutritional Products, Reinert Beste, Chairman of Management Board Evonik Nutrition & Care, Jurgen Krauter, Vice President Communications.
DSM evonik omega 3 polyunsaturated EPA DHA material natural fat
Supplier Profiles On FoodIngredientsFirst.com
DSM Food Specialties
Alexander Fleminglaan 1
www.dsm.com/food
info.food@dsm.com
ACTIVE CATEGORIES
bakery mixes and other bakery products; dairy products - natural and imitation; yeast and yeast products
Our aim is to help customers succeed in their markets through strong innovation, exceptional application expertise and insight into the many, ever-changing needs of consumers worldwide.
For food, beverage and supplement manufacturers we offer the comprehensive resources needed to provide customized solutions. Scientific excellence aside, that means a deep knowledge and understanding of markets, consumers and the defining trends in our industry. Namely:
A sharp focus on health benefits: Consumers across the world want to look and feel better. The empowerment and awareness of consumers from India to Indiana is a defining trend in food and beverage nutrition, which we meet through our family of nutritional ingredients and products.
Taste is a key qualifier: If a product doesn't taste good it doesn't stand much chance of success. As the world's tastes and preferences evolve and expand, we are increasingly helping customers innovate, with exciting, authentic and regional flavors and ingredients provided in a streamlined and efficient way.
The drive for convenience: Despite the trend for health foods, time-pressed consumers are looking to buy more processed and convenience food than ever. DSM is committed to helping customers address the need for fast, high-quality products.
Food safety and quality: Our ingredients are based on solid scientific evidence and application knowledge based on decades of experience in our markets. We're well aware that food safety and compliance is paramount for growing and ambitious food brands.
Trending naturality: Citrus, berries and flavors for meat alternatives thrive amid COVID-19 pressures
13 Jan 2021 --- The staple trend of ingredient naturality is becoming more pronounced as the COVID-19 health crisis has prompted consumers to opt for more natural flavors –... Read More
GNT expands Exberry range with oil-dispersible pink shade for fat-based applications
12 Jan 2021 --- GNT is extending its Exberry range of oil-dispersible Coloring Foods with the launch of a pink shade made from fruit and vegetables. Specifically developed for... Read More
Corbion sells frozen dough business to FroDo Baking Company
11 Jan 2021 --- Corbion has closed the sale of its frozen dough business, located in East Rutherford, New Jersey, US, to FroDo Baking Company. The new business owner is expected to... Read More
DSM appoints Lake Chemicals and Minerals as Ireland distributor of nutritional ingredients
05 Jan 2021 --- Under a new agreement, Lake Chemicals and Minerals' Salutivia Division has been selected for the distribution of DSM's products in the Republic of... Read More
05 Jan 2021 --- Global flavor and seasoning player McCormick & Company has acquired a 100 percent share of FONA International, an independent manufacturer of flavors, focusing... Read More


Personal Injury Attorney in Old Bridge, NJ | Andrew S. Maze, Esq.
If you have been seriously injured and someone is to blame, you should speak to an attorney as soon as possible to discuss your legal options. The impact of a serious injury can be overwhelming. Finding the right attorney shouldn't be. The Law Office of Andrew S. Maze has significant experience helping clients through all personal injury situations in New Jersey. You may be eligible for compensation for the emotional, physical, and financial impact of someone else's negligence. Speaking with an attorney to assess the viability of your case is best. For decades, Andrew S. Maze has proudly served clients in Old Bridge and all of New Jersey who are the victims of negligence. Contact The Law Office of Andrew S. Maze today when you need an experienced legal team to guide you through challenging times.
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