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PERFORMANCE REVIEW: Giacomo Puccini – MADAMA BUTTERFLY (T. Trevigne, M. Brandenburg, M. Sumuel, L. Ammann, I. McEuen; North Carolina Opera, 30 October 2015)
GIACOMO PUCCINI (1858 – 1924): Madama Butterfly—Talise Trevigne (Cio-Cio San), Michael Brandenburg (Benjamin Franklin Pinkerton), Michael Sumuel (Sharpless), Lindsay Ammann (Suzuki), Ian McEuen (Goro), Wei Wu (Lo zio Bonzo), Jesse Malgieri (il Principe Yamadori), Charles Hyland (Il Commissario Imperiale), Kate Farrar (Kate Pinkerton), Jacob Kato (Lo zio Yakusidé), Tom Keefe (L'Ufficiale del Registro), Annette Stowe (La madre di Cio-Cio San), Margaret Maytan (La zia), Austenne Grey (La cugina), Ella Fox (Dolore); North Carolina Opera Chorus and Orchestra; Timothy Myers, conductor [E. Loren Meeker, Director; Mark McCullough, Lighting Designs; Alice Bristow, Costume Designs; David P. Gordon, Set Designs; Sondra Nottingham, Wig and Make-up Designs; North Carolina Opera, Memorial Auditorium, Duke Energy Center for the Performing Arts, Raleigh, North Carolina; Friday, 30 October 2015]
Writers are often told that the surest path to success is writing about situations and sensibilities that they know from their own experiences. In a pragmatic sense, perhaps the best advice for composers is that they will find greatest inspiration in contemplation of that which cannot be known, those realms of thought and feeling for which words alone are inadequate. There is no better argument in favor of the veracity of this counsel than the genesis of Giacomo Puccini's Madama Butterfly. When in the summer of 1900 the composer first encountered David Belasco's dramatization of John Luther Long's 1898 story 'Madame Butterfly,' itself an adaptation of Pierre Loti's Madame Chrysanthème, on the London stage, his knowledge of English extended little beyond 'Hello.' The play's atmospheric setting and the demeanor of the long-suffering Butterfly herself engaged Puccini's emotions and creative instincts in ways that transcended language, however, and the transformation of the delicate heroine of Long's story and Belasco's play into the operatic Cio-Cio San began in earnest. Considering not only the straightforward evidence of his correspondence but also interpreting his music, it is no exaggeration to state that Puccini fell in love with the ill-fated ladies who populated his scores. Lingering criticism of Puccini's skill and originality as a composer notwithstanding, the uncanny emotional potency of his scores is derived in large part from the fact that audiences, too, fall in love with the proud Manon Lescaut, the idealistic Mimì, the despondent Suor Angelica, and the selfless Liù. Even among her sisters in the Puccini canon, Cio-Cio San is unique. Manon Lescaut dies in her beloved's arms, Mimì is sustained by the boundless love of her friends until disease will be put off no longer, Angelica expires in an ecstasy of absolution and reunion with her child, and Liù gives her life as the purest declaration of devotion. Her wings broken by the betrayal of a man for whom she rejected her own culture, Butterfly dies alone, reclaiming her identity by committing the sole act via which, in the social order into which she was born, the honor of a compromised woman might be restored. There are no sentences of exile imposed by indifferent judges, no ravages of disease, no longing for the company of a departed loved one, no secret more valuable than living: deserted by hope, happiness, and the illusions upon which they were founded, only Cio-Cio San's own hands possess the power to free her. Pinkerton's distant cries of 'Butterfly!'—perhaps the most heartrending instance in opera of too little, too late—serenade a soul already liberated from its purgatory. Psychologically, perhaps the final scene of Madama Butterfly resonates so intensely with many observers because Cio-Cio San's suicide controverts Western philosophies' unremitting dedication to preserving life at any cost. Emotionally, though, the blade that pierces audiences' hearts is wielded by Puccini's music. Treating the score not as a nostalgic postcard from Nagasaki but as a blueprint for crafting upon the stage a cyclorama of humanity, North Carolina Opera's production of Madama Butterfly sharpened that blade to an acute level of dramatic musicality.
Musically and scenically, Madama Butterfly is very difficult to get right. Though Puccini's intentions were undoubtedly wholly respectful of the ancient customs and traditions of Japan, the opera walks on the edge of the precipice overhanging uncomfortable stereotypes and misguided, ill-informed representations of a timeless culture. In reality, criticism of his sentimentalized use of Japanese folk tunes and 'The Star-Spangled Banner' ultimately possessing little validity, Puccini engaged in very little musical moralizing in Madama Butterfly. There is no doubt that his sympathy was with Cio-Cio San, but there is sufficient beauty in his music for Pinkerton to make the sailor as charming as he is caddish. Charm was an essential component of North Carolina Opera's production, which placed the drama in a Nagasaki of delightful but deceptive natural beauty. Natural imagery is of tremendous importance to the plot of Madama Butterfly, and David P. Gordon's sets, effectively and sometimes stunningly illuminated by Mark McCullough's lighting designs, impressively recreated Imperial Japan on the Memorial Auditorium stage. A production of Madama Butterfly need not take every word of Puccini's and his librettists', Giuseppe Giacosa and Luigi Illica, staging instructions literally, but the opera demands a greater degree of specificity of time and place than many of its companions in the standard repertory. Unfathomably, the notion of 'traditional' productions continues to be anathema to the decision-makers at many opera companies despite the manifold indications that audiences respond as readily to composers' original thoughts as to today's directors' rethinkings. E. Loren Meeker's direction of North Carolina Opera's Madama Butterfly focused attention precisely where it must be centered if the opera's drama is to realize its full potential to enthrall the senses, on the relationships among the principal characters. There are in a tale of collisions between Eastern and Western cultures so many possibilities for insensitivity, but Alice Bristow's costumes and Sondra Nottingham's wigs and make-up gave every individual upon the stage a clearly-defined rôle in a thoughtful manner that avoided sensationalized exaggeration of the societal chasm between Cio-Cio San and her relations and Pinkerton's Americanism. Too many productions of Madama Butterfly are an act of jigai away from being The Mikado, but North Carolina Opera's detailed, discerning production was traditional in the best sense: the audience was privy to a performance of Puccini's Madama Butterfly, not someone else's.
Madama Butterfly is a musical chimera that assumes vastly different appearances according to the constituent parts of the score that conductors choose to emphasize. In this performance, North Carolina Opera's Artistic and Music Director Timothy Myers facilitated a reading of Puccini's score in which the music's lyricism, tinges of verismo, and Twentieth-Century modishness were all given their due. Composed in 1903 and revised to the form known today after an unsuccessful première at Teatro alla Scala in 1904, Puccini's score is both a continuation of the modes of expression that proved cogent in Manon Lescaut and La bohème and an expansion of the direction in which he traveled in Tosca. The modernity of the music is often overlooked, but Myers unveiled the almost-Stravinskian pungency of many of Madama Butterfly's harmonies, heightening the significance of the opulently Italianate melodies. One of Voix des Arts' Best Artists of 2015, Myers is a conductor whose approach to music is dedicated in equal proportions to content and context. In exploring the latter, he reminded the casual listener that Madama Butterfly is a contemporary of Richard Strauss's Salome and Claude Debussy's Pelléas et Mélisande. During his tenure in Raleigh, Myers has nurtured exponential increases in the confidence and capabilities of the North Carolina Opera Orchestra, and the musicians joined him in making of the notes on the pages before their eyes a vibrant world in sound. String playing was consistently well-balanced, especially in the gossamer writing in the love duet, and the brass and woodwind players alternated cacophony and caresses as the score required. The prevalence of poorly-executed performances should eradicate the misconception that Puccini's operas are not as demanding as the scores of many of his non-Italian contemporaries, but Myers and his orchestra gave the impression of effortlessness in their mastery of Madama Butterfly. Equally heartening has been the artistic growth of the NC Opera Chorus in recent seasons, and Chorus Master Scott MacLeod's fastidious training of the ensemble was apparent in the world-class choral singing in this performance. As Cio-Cio San's attendants and relations in Act One, the choristers sang with precision, and their traversal of the famous 'a bocca chiusa' humming chorus that bridges Acts Two and Three was bewitching, sopranos and tenors alike braving the top B♭s fearlessly. Whether singing from the stage, playing from the pit, or presiding from the podium, North Carolina Opera's personnel acquitted themselves with consummate professionalism and the passion for their collective craft that makes Raleigh one of America's foremost destinations for opera lovers.
This was an unusual Madama Butterfly in that there were no singers in supporting rôles who were not up to their tasks. Austenne Grey's Cugina, Annette Stowe's Madre, Margaret Maytan's Zia, Jacob Kato's Zio Yakusidé, and Tom Keefe's Ufficiale were all ably-sung, carefully-acted portraits. Baritone Charles Hyland conducted the wedding ceremony handily, voicing the Commissario's 'È concesso al nominato Benjamin Franklin Pinkerton' authoritatively, and fellow baritone Jesse Malgieri created a Yamadori of vocal means equal to his wealth with a resonant voicing of 'Tra le cose più moleste è l'inutil sospirar.' Bass Wei Wu roared chillingly as Zio Bonzo, detonating 'Cio-Cio-San! Cio-Cio-San! Abbominazione!' with ferocious muscle and a voice of granitic eloquence. Special mention must be made of Ella Fox, who without singing a single note stole every heart in the theatre with her adorable portrayal of Cio-Cio San's and Pinkerton's child Dolore.
To suggest that Kate Pinkerton is a thankless rôle is an understatement. Audiences are understandably predisposed to vilifying the 'other woman,' but her music, though hardly redolent of empathetic motivations, is not devoid of kindness and sincere concern for the welfare of Pinkerton's child. Mezzo-soprano Kate Farrar was a prepossessing 'sposa americana' who sang her few lines admirably. Both her 'Glielo dirai?' and her 'E le darai consiglio d'affidarmi?' throbbed with reluctance and genuine interest in Dolore's well-being. One of the production's most touching details was the image of Kate hiding herself outside Butterfly's house, weeping for the the poor girl's sad fate and her own unwitting part in it.
It is perhaps when his music is poorly sung that audiences most appreciate what a crucial rôle Goro plays in Madama Butterfly. Inexplicably, the part often seems to be regarded as an opportunity for whining, wheezing, and indulging in embarrassing pseudo-Oriental babbling. By contrast, it is astonishing to note how significantly a good Goro can heighten the impact of a performance of the opera, and North Carolina Opera had in tenor Ian McEuen a singer who upheld the seldom-equaled standard of Piero de Palma. Having recently garnered notice in Nashville Opera's production of Turandot, McEuen came to Raleigh's Madama Butterfly with a battle-tested familiarity with Puccini's style of fast-paced, mock-Asian writing, and his portrayal of Goro was distinguished by a refusal to sacrifice musicality in pursuit of cheap humor and an attractive, well-integrated instrument that required no faking of notes at the range extremes. Propelling the start of Act One with the nervous energy of a salesman eager to please (and to have his commission), McEuen sang 'Vanno e vengono a prova, a norma che vi giova nello stesso locale' with clear, well-placed tone that fell all the more dulcetly upon the ears for being free of caricature. Goro's ramblings have considerably more words than actual content, and McEuen carried on with the glee of an orator who fancies the sound of his own voice. His statement of 'Una stella dai raggi d'oro' disclosed the presence of an imagination far more extensive than many Goros bother to suggest. Furthermore, McEuen's singing in Act Two, when in 'Il ricco Yamadori. Ella è povera in canna' Goro attempts to facilitate a match between the abandoned Cio-Cio San and the affluent Principe Yamadori, was too cordial to be solely commercial in nature. No, this Goro, lurking at the periphery and observing everything, was sensitive to his surroundings and to Butterly's silent suffering, and McEuen's resourceful, splendidly-sung performance displayed the prime quality of Puccini's writing for the character.
North Carolina Opera's Madama Butterfly had in contralto Lindsay Ammann a Suzuki not just capable of singing the rôle—a trait more precious than might be supposed—but also unusually adept at being not merely a companion but a genuine comfort and confidante for her Butterfly. She was the epitome of nervous energy in Act One, rattling through 'Sorride Vostro Onore? Il riso è frutto e fiore' with girlish elation. She voiced 'Ecco! Son giunte al sommo del pendio' beguilingly. Suzuki's prayer at the start of Act Two, 'E Izaghi ed Izanami, Sarundasico e Kami,' received from Ammann firm, focused tones, and there was compassion even in her stark 'Mai non s'è udito di straniero marito che sia tornato al nido,' reminding Cio-Cio San that foreign husbands who return to their distant wives are an unknown species. The contralto's 'Vespa! Rospo maledetto!' was Wagnerian in scope, her top Fs and G♭s flashing like lightning bolts. In Act Three, Ammann's declamation of 'Già il sole!' was a crestfallen acknowledgement that Suzuki's fears were well-founded, and she sang 'Come una mosca prigioniera l'ali batte il piccolo cuor!' heartbreakingly. Ammann projected notes in chest register of which a baritone would have been proud, and she portrayed an animated, poignantly sisterly Suzuki.
Bass-baritone Michael Sumuel was a Sharpless who was unafraid of chastising his friend Pinkerton and was visibly shaken by Butterfly's noble suffering. Dressed in a drab suit, he was the prototypical low-level American bureaucrat to the life. Entering in Act One with a brawny 'E suda e arrampica!' that coursed through the theatre excitingly, Sumuel sang excellently throughout the performance. There was true admiration in his 'Miss Butterfly...Bel nome, vista a meraviglia,' and his blandishments to the unheeding Pinkerton were all the more dire for being so handsomely sung. In his Act Two scene with Butterfly, this Sharpless was virtually crippled by the pain that his visit was inflicting on the proud woman. When quizzed by Cio-Cio San about when robins nest in America, his responses of 'Mi rincresce, ma ignoro' and 'Non ho studiato ornitologia' were infused with tenderness. Unnerved by the interruptions to his well-planned delivery of the news of Pinkerton's abandonment, Sumuel's Sharpless sang 'Ora a noi. Qui sedete, legger con me volete questa lettera?' ponderously, but his quiet pronouncement of 'Quanta pietà!' was the cry of a man who could bear no more. His 'Sovente a questa siepe veniste a riguardare lungi' was a profound moment, the significance of which many Sharplesses ignore. Sumuel was marvelous in Act Three, voicing 'Scegliemmo quest'ora mattutina per ritrovarti sola' and 'Io so che alle sue pene non ci sono conforti!' with rich tone. The kinship between Sharpless and Marcello in La bohème was especially apparent in Sumuel's deeply-felt performance. A thoughtful Marcello conveys that he loves Mimì almost as much as Rodolfo loves her, and Sumuel left no doubt that his Sharpless cared for Butterfly in a way that was far more enduring and pervasive than Pinkerton's infatuation. Sumuel made a character whose level-headedness can seem callous the emotional spine of the performance.
On the surface, Benjamin Franklin Pinkerton is one of the most despicable characters in opera. As portrayed by young tenor Michael Brandenburg, he was particularly loathsome because he was also so captivating. Tall, handsome, and debonair in his Navy whites, he was a Pinkerton who surely set hearts in every port of call aflutter. Brandenburg launched Act One arrestingly with his boyish singing of 'E soffitto e pareti' and 'Gran perla di sensale!' In his first aria, the Allegro sostenuto con spirito 'Dovunque al mondo lo Yankee vagabondo,' he ascended to the top A and B♭ with fantastic ease, and he phrased 'Amore o grillo, dir non saprei' with true feeling, taking the three top B♭s in stride. His 'Vieni, amor mio!' radiated romance, but his defense of Butterfly against her relations' crushing denunciation raged in his athletic singing of 'Ehi, dico: basta, basta,' the top As piercing the din of the relations' scorn, and 'Sbarazzate all'istante. In casa mia niente baccano e niente bonzeria.' Brandenburg voiced the Andante affettuoso 'Bimba, bimba, non piangere per gracchiar di ranocchi' with hypnotic tranquility that was echoed in his seductive delivery of the Andantino calmo 'Viene la sera.' His fervent delivery of 'Bimba dagli occhi pieni di malìa' in the love duet coruscated with passion, and he was the rare Pinkerton whose decision to join Cio-Cio San on the top C at the duet's close was justified by the gleaming solidity of the tone. Creeping into Act Three with shame already crippling the youthful gait with which he bestrode Act One, Brandenburg voiced Pinkerton's aria 'Addio fiorito asil di letizia e d'amor' with sincerity, the character's regret finding resonant outlets in the top A♭s and B♭. In this performance, Pinkerton's off-stage cries on top F♯s of 'Butterfly!' as Cio-Cio San silently dies were emotionally torturous. Significantly, seeing Butterfly's lifeless body still upright according to the Japanese tradition of dying honorably, it was Pinkerton who collapsed, his virility capitulating to the weight of his carelessness. Brandenburg's vocal comfort in the music was unmistakable, and it was wonderful to encounter in Raleigh what is rare even in the world's largest opera houses: a young, attractive Pinkerton who sang as strikingly as he looked.
Puccini's music for Cio-Cio San brings to mind Richard Strauss's instruction that his Salome should be sung by a teenaged soprano with an Isolde voice. After contending with one of the most demanding entrance scenes in opera, Cio-Cio San playfully declares herself to be fifteen years old, and one of the greatest challenges for a singing actress is credibly depicting the evolution of the child bride of Act One into the mature woman who embraces the fatal mandate of her centuries-old culture in the opera's final scene. Visually, soprano Talise Trevigne was the ideal Cio-Cio San. A petite, delicately-featured lady of great beauty, she did not merely wear her costumes but truly gave them life, inhabiting Butterfly's physical identity to a degree that blurred the boundary between everyday reality and the alternate reality of opera. Indeed, there are native Asian singers who are not so wholly natural as Cio-Cio San as Trevigne was, but hers was a connection with the character and her music at the molecular level rather than a studied, Stanislavskian impersonation. Making her entrance in Act One with the gracefully tuneful 'Ancora un passo, or via,' she soared to top B♭ and thrilled with the freshness of her sound. In fact, not one note of her performance was strained, strident, or wobbly. The disarming sweetness of her 'Siam giunte' was invigorating, and there was not even the slightest hint of self-consciousness in her utterance of 'Nessuno si confessa mai nato in povertà,' the evenness of the bottom octave of the voice counting for much. Her guileless articulation of 'Morto' in response to the question about her father contrasted markedly with the radiance of her account of the beautiful Andante 'Ieri sono salita tutta sola in secreto alla Missione.' Both 'Non piango più' and 'Siete alto, forte' were shaped with the restraint expected of a well-bred Japanese lady, but Cio-Cio San's new-found sensuality blossomed in Trevigne's exquisitely-phrased account of the Andante sostenuto 'Vogliatemi bene un bene piccolino,' the line rising through top B♭s to the glorious top C with which she surrendered to Pinkerton's ardor. The soprano's artless enunciation of 'Pigri ed obesi son gli dèi giapponesi' in Act Two drew laughs from the audience, but there was nothing funny about the despair of her 'Suzuki, è lungi la miseria?' This Butterfly gave great meaning to 'Perchè con tante cure la casa rifornì di serrature' and 'Io te lo dico,' her voice ringing with the conviction of her words. Trevigne made the famous 'Un bel dì, vedremo' an intimate statement of her faith and devotion no less galvanizing than Tosca's 'Vissi d'arte, vissi d'amore,' rising to the top B♭s with seemingly limitless breath control. In the scene with Sharpless, her 'Io son la donna più lieta del Giappone' glowed with the joy of promises fulfilled, but the simplicity of Butterfly's happiness was upended in Trevigne's intense singing of the daunting Andante molto mosso 'Che tua madre dovrà prenderti in braccio ed alla pioggia e al vento andar per la città.' The climactic top B♭s poured from her throat like emotions that could no longer be controlled. The affection for her son that emanated from 'O mio piccolo amore, mia pena e mio conforto' was poignant, and few Cio-Cio Sans equal Trevigne's serenity in 'Scuoti quella fronda e dei suoi fior m'innonda.' She met the demands of Act Three without a trace of artifice, her voicing of 'Dormi, amor mio, dormi sul mio cor' eerily calm and comforting, not only quieting Dolore but restoring her own resolve. Her 'Tu Suzuki che sei tanto buona, non piangere!' was a clandestine final expression of love for her devoted maid and companion. Trevigne drained the color from her voice for the parlando 'Con onor muore chi non può serbar vita con onore,' but her singing of 'Tu, tu piccolo iddio! Amore, amore mio, fior di giglio e di rosa' was remarkable for the way in which the warmth of life gave way to the coldness of death. Few people in the audience are apt to have been unaware that Madama Butterfly ends with the heroine's suicide, but there were audible gasps when this performance's Cio-Cio San unaffectedly plunged her father's tantō into her neck. This was evidence of the singular force of Trevigne's portrayal of Butterfly. A beautiful sound is not all that is required to sing the rôle memorably, but the pure beauty of Trevigne's voice was unforgettable. In movement, in voice, and in expressivity, she was a Butterfly worthy of mention alongside Maria Callas, Eleanor Steber, Leontyne Price, and Renata Scotto.
There is an aphorism about even the blind squirrel occasionally finding acorns, and, applying the same logic, every opera lover occasionally witnesses performances that redefine their understanding and responses to composers, scores, particular rôles, or the genre as a whole. North Carolina Opera's Madama Butterfly was a production that disclosed Puccini's genius as a musician and man of the theatre in ways that in turns gladdened and broke the heart whether one was experiencing the opera for the first or the thousandth time. In truth, though, one might see Madama Butterfly a thousand times without ever seeing another performance as satisfying as this one.
Qui sedete, legger con me volete questa lettera: Sharpless reads Pinkerton's letter in Act Two of Giacomo Puccini's Madama Butterfly [Illustration by Leopoldo Metlicovitz, © by Casa Ricordi]
© by Joseph Newsome
All content © by Joseph Newsome.
Please do not reproduce material without consent.
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Nederlands Radio4 - one of the world's most reliable broadcasters of concert music and opera, with several live streams available [site in Dutch]
NewOlde.com - a comprehensive resource for information and insightful analysis of new and reissued recordings of Early Music repertory, focusing on Historically-Informed practices [written by John Wall]
OPERADIS Operatic Discography - a simple-to-use and meticulously-maintained database containing complete discographies for a large array of operas
OperaBaroque.fr - an incomparable source of information regarding Baroque operas, composers, productions, and recordings [portions in French; no longer actively updated]
Opera Lively - a splendidly erudite and insightfully-written source for information about all aspects of operatic performances, including excellent interviews with singers and operatically-inclined personalities
Opera Today - a superb online resource for reviews, analysis, and in-depth information about operatic productions and performers
Thank you for reading Voix des Arts.
Questions or comments? Your feedback is always welcomed.
© 2008 - 2020 by Joseph Newsome. Please do not reproduce articles without permission. Simple theme. Powered by Blogger.


text:
Creative Writing and Memoir Class Notes
September 16, 2020 Carol Brennan King
Creative Writing September 16, 2020
Dan Foster writes about a tool he developed to help know and understand your character.
I modified his tool to make it a bit more useful to our work as writers of Fiction. In class I used a two column/two row format to organize the information, but you can just draw it like the accompanying diagram.
I replaced Smells Like at the top to Believes. You, as the writer, must know what your character believes, about him/herself, about the world, and the family, all of those things that influence his or her behavior.
Looks like is self-explanatory. Certainly we are talking about how the person looks physically, but consider how they present themselves, through their dress, posture, carriage, associations. Think about their habits or tics that help us recognize this character and may impact what happens.
Opposite Believes, I put feels like. Think emotions. Is this character reserved, or expressive about feelings? Or so quiet you or other characters must lean in to them. Does the character wear his or her emotions on her sleeve or does he keep every thing all bottled up, to explode in secret or when under the influence of alcohol? How can you show your character's feelings as they encounter challenges or successes?
Opposite Looks we find Sounds like. Is this character his or her own person, or is it apparent that he or she is making an effort to be or look like someone else? Think about the insecurities that might cause him or her to want to look differently from who this person really is. Consider speech patterns. or accents or use of slang or dialect. Why does this person look or act this way? Look for how they might deviate from being authentic, and consider why.
Remember that people choose to look and act and do the things they do because it makes sense to them. You must know or find out why it makes sense to them.
Note: you can also use this chart or one like it to describe a place or thing. Consider what the smells might be associated with this place or thing. Then list words that would help you understand what this place or thing looks like.
Finally think about the sounds that are associated with this thing or place, like a city park, a basketball game, a factory where your character works or even the house at a Christmas event. REMEMBER: a place can function as a character in your story.
This url will take you to the source for some of my material here:
https://writingcooperative.com/how-to-create-powerful-imagery-bd949537a851
We also talked about some other tools you can use to know your character better. Remember, you have to know who the character was before he or she stepped onto your page.
Spend some time writing dialogue so you know what your character sounds and how he or she communicates.
Consider what your character's values are. Remember, characters do what they do because it makes sense to them. You need to know why they make the choices they do.
Think through what weaknesses you character has. Or where the foundation he or she has built life on might be weak or broken or breaking.
Assignment: Write a two page scene where we learn even more about the character by thinking through what we see the character doing.
Memoir Class 9/16/2020
First of all, Memoir students, you can use a lot of the material presented to the Creative Writing students, so take some time to browse through those notes.
The first character we discussed in our class was the narrator, as in a first-person narration telling the story of another real person, or family, or even his or her own story. The narrator speaks from a time distance, a place where the he or she can be more objective. However, the narrator may speak to the reader…for instance, the writer may begin the book with the words, "You may not like this story, especially if you are looking for a happy ever after ending."
We are talking about you, the author and the first character we hear from: the narrator
Writers of memoir simultaneously serve as
players in their stories from the past and
2. interrogators of other characters and
3. interpreters of those stories as they tell them, so that the reader understands those stories through the eyes of the writer.
Sometimes the narrator is part of a scene although the scene was not about the narrator. Think about a scene at the dinner table when the narrator was a child, and the book is about the father, also at the table.
The narrator/author can think out loud in a passage – as she/he considers what happened or what the consensus is about what happened. The narrator may question the actors' choices or behavior.
It might sound like this: "I never understood why my dad did that, but as I rehearse those days, I am beginning to see it without so much baggage."
Pivotal moments in memoirs/ or fiction books aren't always about trauma. Sometimes it is a small detail that touched the narrator and that caused life changes.
What do you think about this line? "I heard my father talk to the guy next door, a Viet Nam vet, like my dad. Suddenly things begin to make sense."
The reflective narrator, whether in memoir or fiction, is always dramatizing an experience to examine and find out what's to be known in the here and now. In other words, the writer tells the stories of the past to learn from them that might be useful to him or her in the present.
Assignment: Write about two pages which feature the narrator telling/showing part of the story. Certainly there will be another person in this work, but we want to look at the way you write the narrator. Have the narrator do a little stage craft, perhaps telling the reader something about a character, or telling the reader something the character did so we can figure out what kind of person that character is.
For more information on this topic, you might look at Lee Martin's work at https://leemartinauthor.com/2020/07/06/the-reflective-narrator/

redpajama_set_name: RedPajamaCommonCrawl


text:
The ash-breasted antbird (Myrmoborus lugubris) is an insectivorous bird in the antbird family, Thamnophilidae. It is found in Brazil, Colombia, Ecuador, and Peru. Its natural habitat is subtropical or tropical moist lowland forests.

The ash-breasted antbird was described by the German ornithologist Jean Cabanis in 1847 and given the binomial name Myrmonax lugubris. The current genus Myrmoborus was introduced in 1860.

References

Myrmoborus
Birds described in 1847
Birds of the Amazon Basin
Taxonomy articles created by Polbot

redpajama_set_name: RedPajamaWikipedia


text:
Man arrested nearly 38 years after baby thought to have died of SIDS
FARMINGTON, Maine – Almost four decades after a Maine baby's death, authorities have charged the boy's father with murder.
Police arrested Burton "Ben" Hagar Friday at his home in Farmington. (Franklin County Jail)
On Friday, Maine State Police detectives arrested 62-year-old Burton "Ben" Hagar at his home in Farmington, which lies just over 60 miles north of Brunswick, where he lived when his infant son died, according to the Kennebec Journal.
On May 9, 1979, Hagar's 4-month-old son Nathan was found unresponsive in Hagar's apartment and later died at a local hospital. Detectives concluded at the time that Nathan died of sudden infant death syndrome, or SIDS.
In 1991, however, Maine State Police detectives "reopened the case quietly," according to the paper. It wasn't until unspecified evidence surfaced during the past year that detectives were able to make a breakthrough in what was the state's oldest cold case.
Hagar is expected to make his first appearance in court Wednesday afternoon in Portland, Maine, police said.


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We all know the standard rewards a good credit card can provide: discounts on gas and groceries, free hotel stays, free flights (or upgrades and companion tickets) and good ol' cash back.
But if you take the time to peruse the merchandise and packages your rewards points can get you, you may be surprised at the bounty you're missing out on -- from kitschy to luxurious to downright bizarre.
We all know the standard rewards a good credit card can provide – discounts on gas and groceries, free hotel stays, free flights (or upgrades and companion tickets), and good ol' cash back.
But if you take the time to peruse the merchandise and reward packages your points can buy, you may be surprised at the bounty you're missing out on – from kitschy to luxurious to downright bizarre.
The straight poop. Citi Thank You Rewards has an entire section devoted to pets. A mere 2,200 points will buy you a plastic poop-bag dispenser that attaches to your dog's collar. ("When doody calls, don't be without this," the description reads.) Another 2,600 points allows you to go green with biodegradable doo-doo bags. If you're taking your pup into the wilderness, you can also spring for the recycled fleece dog jacket (10,600 points).
Outdoor adventure. Chase Ultimate Rewards program offers endless enticements for thrill seekers. You can score a bungee jump in Angeles National Forest in California (7,800 points), take scuba diving lessons in Michigan (7,900 points) or go paragliding in Georgia (10,900 points). Capitol One will trade 106,000 miles for a private hot air balloon ride with champagne for two, or 61,000 miles for a tandem skydive from a two-mile altitude.
Chase cardholders who prefer their adventures peril-proof can try indoor skydiving in New Hampshire for 11,400 points or a ride on a military flight simulator in Anaheim, Ca. For 9,900 points, they can live out their fighter pilot fantasies without ever leaving the ground.
Rapper's delight. If your fantasies run more to 8 Mile than Top Gun, you may prefer a one-hour private lesson at New York City's Scratch DJ Academy, founded by Jam Master Jay of Run DMC. Spend $144 on your Chase card and you can learn to scratch vinyl on turntables, mix, sample, beat juggle, and come away with some music theory, of a sort.
Virtual fun and games. Since American Express partnered with Zynga in November, card holders can use their reward points to pay for limited-edition physical and virtual game cards for Zynga games such as CityVille, or they can try their hands at virtual-designing FarmVille manors and windmills, Café World fountains and stoves and YoVille roadsters and robots.
Exotic travel. Among the myriad journeys listed under American Express Travel 'Exclusives' is a 62-day cruise of the Mediterranean and Black Sea (priced from $10,499) on the ms Prinsendam, which combines "the feel of a classic yacht with the spaciousness of a cruise ship." Passengers depart Ft. Lauderdale and stop at Madeira, Seville, Valetta, Istanbul, Odessa, Athens, Santorini, Venice, Barcelona, Tangier, and Lisbon – in between spa treatments, Vegas-style shows and gambling, and meals prepared by guest chefs who offer demos and wine pairing seminars.
Join the glitterati- or at least sparkle like them. AmEx Platinum card members can redeem points on haute designer labels from the "First Collection" rewards, including Jimmy Choo shoes, Bottega Veneta fashions, and Tag Heuer watches.
Personal concierge service. Ever since American Express launched the mysterious and exclusive Centurion Card, better known as the "Black Card," many have coveted the VIP treatment that results from flashing the carbon – especially the 24-hour concierge service. One phone call to this service will supposedly get you inside the velvet rope at an exclusive nightclub or seated at a sold-out restaurant. Of course, the Black Card requires proof of outrageous income and a $2,500 annual fee. So it's no surprise that the concierge services of more accessible cards don't always measure up. Both the AmEx Platinum and the newer Visa Black Card, for example, offer 24-hour concierge service for a $450 and $495 annual fee, respectively. Rumor has it that the Platinum card's concierge is somewhat more effective, but while these services may save you some time lining up theater tickets and golf tee times, don't expect true Black Card treatment.
Eat, pray, love. For the yogis among their customers, Capitol One offers one-hour classes in yoga, tai chi, Pilates, meditation and Reiki for 11,000 miles, to be held at qualifying yoga centers across the U.S. Foodies may prefer to save up their miles (143,000) for a gourmet dinner party in their own homes, hosted by a professional chef who will show up with pots, pans and groceries to perform a two-hour cooking demonstration for guests, then serve a three-course meal.
Your wish is their command. With competition for choice credit card customers heating up, card issuers are going to great lengths to make their rewards programs irresistible. Citi Thank You Rewards has a category called "Your Wish Fulfilled," where members with at least 10,000 points can contact a "wish specialist" who will help them find their dream reward among the millions listed.
Capitol One recently began conducting quarterly customer surveys dubbed the Rewards Barometer. Popular requests by cardholders include Apple merchandise (especially iPads, iTunes and iPhones), housecleaning services, spa treatments, health insurance, and NASCAR items.
A few have also requested Botox, cowboy hats and boots, a personal chef, a balcony view of the running of the bulls in Pamplona, Spain, and dinner with Lady Gaga.


Ben asked me to build him a road frame based on the V3 carbon ISP platform. We went back and forth a little to get the geometry just right for his fit and aesthetic. He decided to have it built to suit a mechanical shifting, rim brake groupset.
The frame features Enve carbon tubing for the integrated mast and the headtube insert, with mostly Columbus Life tubes elsewhere. All the cable routing is internal, and there is an Extralite headset and stem mating to the Enve fork.
Ben wanted to do something special with the paint, but needed creative help – we called on Roger of Svelte Cycleworks to help come up with the design, which was then painstakingly executed by Eric at Colorworks.


The central noradrenergic system belongs to a group of brainstem neuromodulatory systems previously referred to as the ascending reticular activating system. In this article a heuristic model is presented of the central noradrenergic system depicting the major projections to other cerebral areas, its interactions with other neuromodulatory systems, mechanisms through which it can influence cerebral function, as well as the major functions and disorders associated with alterations in central noradrenergic activity. It is not the aim of this paper to provide fine detail on the various aspects, but rather to provide a concise overview where structure and function, as well as the interactions with other systems are brought together. The contents of the paper are summarized in a diagram.


text:
Pope Anianus was the 2nd Patriarch of Alexandria. He was ordained by Saint Mark the Evangelist, and was also the first convert Mark won to Christianity in the region.

Connection with Saint Mark

As St. Mark was entering Rakotis, a suburb of Alexandria, after his trip from Cyrene to the Pentapolis, the strap of his sandal fell off. He found a cobbler, St. Anianus, to repair it. While he was working on the sandal, the awl slipped in Anianus' hand, piercing it. Anianus cried '"Heis ho Theos" ("God is one") in response to the pain. Mark took the opportunity to slay
the Gospel of Christianity to him, at the same time reportedly miraculously healing Anianus of his wound.

How it was that Anianus was a monotheist in Alexandria is a matter of conjecture. Some have suggested that he was himself a Jew, or perhaps a pagan native who had come under the influence of the wealthy Jewish community, and learned his monotheistic beliefs there. Others have held that Anianus was a noble, although this does seem to be contrary to the documents available.

In any event, Mark was invited to Anianus's house, where he taught Anianus' family the Gospel and baptized them all. A large number of natives of the area were quickly converted by Mark and his followers, causing those citizens who did not convert to feel obliged to defend their local gods against the new faith.

Ordination of Anianus
Mark, the outsider, decided it might be best if he were to leave the area for a while. He ordained Anianus to be bishop in his absence. He also ordained three presbyters and seven deacons at the same time, charging the group of them with watching over the church of the area in his absence.

Mark was gone for a period of two years, during which time he is said to have gone to Rome, Aquileia, and the Pentapolis, preaching, performing miracles, and winning converts to Christianity at each location. On Mark's return, he found that the church in Alexandria had grown significantly, and that they were able to build a church for themselves at Bucolia on the shore of the eastern harbor of Alexandria, also known as the Portus Magnus of the Ptolemaic dynasty.

Following the martyrdom of Mark on the 30th day of Baramudah, Anianus became the patriarch of the church in Alexandria. He would remain in that capacity for over seventeen and one-half years. During that time, the number of Christians in the area grew significantly, and Anianus ordained new priests and deacons for the growing church. The extent of the evangelization they performed is unknown, although it has been thought by some that it was done at least somewhat covertly, given the hostility the pagan population demonstrated to the new faith. Anianus died in bed, and was buried next to Mark at the church in Baucalis.

Dispute
It is a matter of some dispute whether Anianus was the first or second Patriarch of Alexandria. The Catholic Church and some others hold that Anianus was the first patriarch. The Coptic Orthodox Church of Alexandria holds that Mark was the first patriarch of Alexandria, making Anianus second.

Veneration
He is regarded as a saint, with a feast day of November 29 in the Coptic Orthodox Church and 25 April in the Catholic Church and Eastern Orthodox Church.

Church Dedications
The church of St. Anianus in Monroe Township, NJ is the first Coptic Orthodox Church in the world dedicated in the name of St. Anianus.

References
General
 St. Anianus, 2nd Pope of Alexandria

External links
 The Official website of the Coptic Orthodox Pope of Alexandria and Patriarch of All Africa on the Holy See of Saint Mark the Apostle
 Coptic Documents in French

83 deaths
1st-century Popes and Patriarchs of Alexandria
1st-century Christian saints
Burials at Saint Mark's Coptic Orthodox Cathedral (Alexandria)
Saints from Roman Egypt
Year of birth unknown


text:
Refill Nantwich
Situated on the banks of the River Weaver, Nantwich is famous for the medieval timbered buildings dotted around the town. Stroll through the atmospheric streets and visit for bijoux boutiques, antiques dealers and contemporary craft shops
Breaking Down Barriers
The number of single-use water bottles that are bought and thrown away in the UK every year is shocking and we want to do something about that as a town and community.
The community has shown a tremendous amount of support for a campaign to reduce the use of single-use plastics and local businesses have been eager to join to work towards Plastic Free Status.
We want it to be the norm to refill your reusable water bottle, and to break down social barriers to be able to do so!
Change Together
Emilie Janman and Plastic Free Nantwich are behind this push for change. Plastic Free Nantwich is an environmental group campaigning to reduce the use of single-use plastics in the town which started up in February 2019.
If you want to get involved contact Emilie Janman via [email protected] or via social media at Facebook Plastic Free Nantwich, Instagram PlasticFreeNantwich or Twitter @FreeNantwich.


text:
Comic-Con 2013: 'Sons of Anarchy' teasers debut, Charlie Hunnam talks Jax
Chris E. Hayner July 21, 2013
"Sons of Anarchy" closes out Comic-Con 2013 with the week's final panel in the cavernous Hall H. Before that begins, there's new video to see. First up is a bit of a trailer for the new season, which includes a lot of footage. It's narrated by Jax (Charlie Hunnam), the way his father's voice narrated the early seasons of the show He's seen in his son's room, writing. Perhaps he's putting together a memoir of his own?
We get a quick glimpse at Tara's (Maggie Siff) life in jail, and the reveal that Chibs (Tommy Flanagan) has taken over the role of Vice President, after Bobby (Mark Boone Junior) stepped down in season 5. There's also clips of the club together, seemingly stronger than they were left off last season. Based on the teaser promo that was released, that cannot be the case.
After that, another teaser is screened, featuring very quick shots of all kinds of mayhem that will be featured during the season. Some of the violence included Chibs attacking Juice (Theo James), Tara fighting someone in prison, and a brawl between Clay and Jax, both in their cuts. That could mean viewers will see Clay out of jail and back with the club at some point during the season. There's also a shot of Otto (Kurt Sutter) attacking yet another person, Tig (Kim Coates) trying to drown someone in what looks like a bathtub filled with urine and lots of Donal Logue's character.
After taking the stage, the first question was directed at Sutter, who is also the creator and showrunner. He's said the show will end after seven seasons, does he have it all mapped out? "I have a sense of what I want the last scene of the show to be." He adds that he goes into each season with a blueprint, but has learned to keep a loose grip on it, allowing the story to go where it wants.
What about the season 6 blueprint? "It continues to be Jax's journey in terms of, can he be the leader of this outlaw organization and still be a good father and husband," Hunnam explains, adding, "Can he have everything he wants and remain true to what he is?" There's also the struggle of which father Jax will become, John Teller or Clay Morrow (Ron Perlman).
As for Clay, he's been framed for murder and thinks time may be running out. "Season six is [Clay] knowing there is no more leveraging, no more maneuvering and no more choices. There's just this bounty on his head and he has no control." He was also betrayed by the only two people he thought he could trust, Gemma (Katey Sagal) and Juice. Gemma, of course, always wants to be at her son's side and will do whatever it takes to make sure she is. "She has no regret about it," Sagal says. It's her betrayal that stings Clay the most. "That scene was like getting hit in the gut, knowing all the rules were going to change," Perlman remembers. James thinks the moment Clay realized what's happened sheds a new light on Clay. "You've felt all this hatred for Clay for five seasons, but there's not one person in this room who didn't feel bad for him when these two people turned on him."
The big question is whether or not the club can actually survive all of the chaos and self-destructiveness, coming out stronger on the other side. There's only one man who knows that answer and it's Boone. "Bobby Munson knows everything and he seems to be the light at the end of the tunnel." We couldn't agree more.
Category: News & FeaturesTV Shows: Sons of AnarchyCelebrities: Charlie Hunnam Kurt SutterTV Network: FXEvents: Comic-Con
Posted by:Chris E. Hayner
Chris E. Hayner is equal parts nerd, crazy person and coffee. He watches too much TV, knows more about pro wrestling than you do and remembers every single show from the TGIF lineup. You may have seen him as a pro-shark protester in "Sharknado 3." His eventual memoir will be called "You're Wrong, Here's Why..." TV words to live by: "I'm a firm believer that sometimes it's right to do the wrong thing."
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text:
package org.jboss.resteasy.reactive.server.mapping;

import java.util.ArrayList;
import java.util.Arrays;
import java.util.Comparator;
import java.util.HashMap;
import java.util.List;
import java.util.Map;
import java.util.regex.Matcher;

import org.jboss.resteasy.reactive.common.util.URIDecoder;

public class RequestMapper<T> {

    private static final String[] EMPTY_STRING_ARRAY = new String[0];

    private final PathMatcher<ArrayList<RequestPath<T>>> requestPaths;
    private final PathMatcher.Builder<ArrayList<RequestPath<T>>> pathMatcherBuilder;
    private final ArrayList<RequestPath<T>> templates;
    final int maxParams;

    public RequestMapper(ArrayList<RequestPath<T>> templates) {
        pathMatcherBuilder = new PathMatcher.Builder<>();
        this.templates = templates;
        int max = 0;
        Map<String, ArrayList<RequestPath<T>>> aggregates = new HashMap<>();
        for (RequestPath<T> i : templates) {
            ArrayList<RequestPath<T>> paths = aggregates.get(i.template.stem);
            if (paths == null) {
                aggregates.put(i.template.stem, paths = new ArrayList<>());
            }
            paths.add(i);
            max = Math.max(max, i.template.countPathParamNames());
        }
        aggregates.forEach(this::sortAggregates);
        aggregates.forEach(this::addPrefixPaths);
        maxParams = max;
        requestPaths = pathMatcherBuilder.build();
    }

    private void sortAggregates(String stem, List<RequestPath<T>> list) {
        list.sort(new Comparator<RequestPath<T>>() {
            @Override
            public int compare(RequestPath<T> t1, RequestPath<T> t2) {
                return t2.template.compareTo(t1.template);
            }
        });
    }

    private void addPrefixPaths(String stem, ArrayList<RequestPath<T>> list) {
        pathMatcherBuilder.addPrefixPath(stem, list);
    }

    @SuppressWarnings({ "rawtypes", "unchecked" })
    public RequestMatch<T> map(String path) {
        int pathLength = path.length();
        PathMatcher.PathMatch<ArrayList<RequestPath<T>>> initialMatch = requestPaths.match(path);
        if (initialMatch.getValue() == null) {
            return null;
        }

        ArrayList<RequestPath<T>> value = initialMatch.getValue();
        for (int index = 0; index < value.size(); index++) {
            RequestPath<T> potentialMatch = value.get(index);
            String[] params = (maxParams > 0) ? new String[maxParams] : EMPTY_STRING_ARRAY;
            int paramCount = 0;
            boolean matched = true;
            boolean prefixAllowed = potentialMatch.prefixTemplate;
            int matchPos = initialMatch.getMatched().length();
            for (int i = 1; i < potentialMatch.template.components.length; ++i) {
                URITemplate.TemplateComponent segment = potentialMatch.template.components[i];
                if (segment.type == URITemplate.Type.CUSTOM_REGEX) {
                    Matcher matcher = segment.pattern.matcher(path);
                    matched = matcher.find(matchPos);
                    if (!matched || matcher.start() != matchPos) {
                        break;
                    }
                    matchPos = matcher.end();
                    for (String group : segment.groups) {
                        params[paramCount++] = URIDecoder.decodeURIComponent(matcher.group(group), false);
                    }
                } else if (segment.type == URITemplate.Type.LITERAL) {
                    //make sure the literal text is the same
                    if (matchPos + segment.literalText.length() > pathLength) {
                        matched = false;
                        break; //too long
                    }
                    for (int pos = 0; pos < segment.literalText.length(); ++pos) {
                        if (path.charAt(matchPos++) != segment.literalText.charAt(pos)) {
                            matched = false;
                            break;
                        }
                    }
                    if (!matched) {
                        break;
                    }
                } else if (segment.type == URITemplate.Type.DEFAULT_REGEX) {
                    if (matchPos == pathLength) {
                        matched = false;
                        break;
                    }
                    int start = matchPos;
                    while (matchPos < pathLength && path.charAt(matchPos) != '/') {
                        matchPos++;
                    }
                    params[paramCount++] = URIDecoder.decodeURIComponent(path.substring(start, matchPos), false);
                }
            }
            if (!matched) {
                continue;
            }
            if (paramCount < params.length) {
                params[paramCount] = null;
            }
            boolean fullMatch = matchPos == pathLength;
            boolean doPrefixMatch = false;
            if (!fullMatch) {
                //according to the spec every template ends with (/.*)?
                doPrefixMatch = (matchPos == 1 || path.charAt(matchPos) == '/') //matchPos == 1 corresponds to '/' as a root level match
                        && (prefixAllowed || matchPos == pathLength - 1); //if prefix is allowed, or the remainder is only a trailing /
            }
            if (fullMatch || doPrefixMatch) {
                String remaining;
                if (fullMatch) {
                    remaining = "";
                } else {
                    if (matchPos == 1) {
                        remaining = path;
                    } else {
                        remaining = path.substring(matchPos);
                    }
                }
                return new RequestMatch(potentialMatch.template, potentialMatch.value, params, remaining);
            }
        }
        return null;
    }

    public static class RequestPath<T> implements Dumpable {
        public final boolean prefixTemplate;
        public final URITemplate template;
        public final T value;

        public RequestPath(boolean prefixTemplate, URITemplate template, T value) {
            this.prefixTemplate = prefixTemplate;
            this.template = template;
            this.value = value;
        }

        @Override
        public String toString() {
            return "RequestPath{ value: " + value + ", template: " + template + " }";
        }

        @Override
        public void dump(int level) {
            indent(level);
            System.err.println("RequestPath:");
            indent(level + 1);
            System.err.println("value: " + value);
            indent(level + 1);
            System.err.println("template: ");
            template.dump(level + 2);
        }
    }

    public static class RequestMatch<T> {
        public final URITemplate template;
        public final T value;
        /**
         * The matched parameters in order.
         * <p>
         * Note that this array may be larger than required, and padded with null values at the end
         */
        public final String[] pathParamValues;
        public final String remaining;

        public RequestMatch(URITemplate template, T value, String[] pathParamValues, String remaining) {
            this.template = template;
            this.value = value;
            this.pathParamValues = pathParamValues;
            this.remaining = remaining;
        }

        @Override
        public String toString() {
            return "RequestMatch{ value: " + value + ", template: " + template + ", pathParamValues: "
                    + Arrays.toString(pathParamValues) + " }";
        }
    }

    public void dump() {
        this.requestPaths.dump(0);
    }

    public PathMatcher<ArrayList<RequestPath<T>>> getRequestPaths() {
        return requestPaths;
    }

    public ArrayList<RequestPath<T>> getTemplates() {
        return templates;
    }
}

redpajama_set_name: RedPajamaGithub


text:
Smart Handheld Device Market Will Enjoy Robust Growth in 1999 and 2000, According to IDC
FRAMINGHAM, Mass., May 25, 1999 — The smart handheld device (SHD) market continues to undergo healthy market growth, with 1999 worldwide unit shipments expected to total 8.9 million, according to a just-released forecast report by International Data Corporation (IDC). This volume represents a healthy increase of 34.5% over actual 1998 unit shipments of 6.6 million. By 2000, IDC expects growth to increase to 44.5% as the industry continues to see strong demand for the $300 personal companion segment, a growing interest for sub-$200 devices based on the Palm OS and Windows CE, and the emergence of new smart phones from major handset suppliers.
"There is a rising interest for deploying smart handheld devices in the enterprise to meet the needs of the mobile workforce. This demand will become a key factor in driving the accelerated growth for the SHD industry," said Diana Hwang, research manager with IDC's Smart Handheld Devices program.
From a regional perspective, the United States accounts for 45% of worldwide SHD shipments today, but Western Europe and Japan will quickly become stronger areas of growth in the handheld companion and emerging smart phone markets.
"There is a need for a low-cost integrated wireless device and value-added service that enables users to conduct voice calls, send and receive short e-mails, and access snippets of Internet data," Hwang said. "Regions such as Western Europe and Japan are poised to be the market leaders due to their wireless infrastructure and propensity for adopting cellular technology."
On the competitive front, IDC believes 3Com will continue to be the leading vendor in the overall SHD market in 1999 due to the strong demand for the Palm platform. In fact, 3Com garnered 27.1% of the worldwide SHD market in 1998, followed by Sharp Electronics with 7.7%. In the handheld companion market, 3Com enjoyed a market share of 42% in 1998, representing an 84% increase from yearend 1997.
The handheld companion market grew worldwide to 4.3 million units in 1998, lower than the previously anticipated 4.6 million units. These results were due to the flat performance of Windows CE hardware device vendors, as well as product delays in the Palm-size PC and H/PC Professional Edition (Jupiter) market.
The worldwide personal companion market closed at 2.65 million units in 1998, with 3Com shipping over 65% of that product segment. IDC anticipates shipments of nearly 4 million units in 1999 due to the anticipated success of the new Palm V platform and the entry of new Palm-size PCs from vendors such as Hewlett-Packard and Compaq Computer.
Y2K concerns, new product jitters, and a lack of market education affected the adoption of H/PC Pro Windows CE devices in enterprise markets, causing a market slowdown for this form factor. IDC believes enterprise buyers will remain conservative in their wide-scale deployment of H/PC Pro and use the rest of 1999 and 2000 as pilot test years for custom solutions.
Japan's handheld companion market will exhibit changes as users move from the classic PDA form factor and begin to embrace the smaller pen-based personal companion and keyboard-based PC companion segments.
Handheld devices will face increasing pressure from emerging technologies such as PIM-enabled pagers and smart phone solutions during the forecast period.
The smart phone market continued to grow, despite the low volumes of 654,000 units shipped worldwide in 1998. IDC expects the market to surge ahead in 2000 and 2001 as early technology adoption from regions such as Japan, new products based on the Symbian alliance, and interim two-piece solutions accelerate the market. Worldwide unit shipments for smart phones will earn a compound annual growth rate of 78.3% from 1999 to 2003.
The worldwide vertical application device industry continued to exhibit steady year-over-year growth despite the increasing competition from horizontal handheld vendors seeking new opportunities in traditional vertical markets.
Size Matters: The Worldwide Smart Handheld Devices Market Review and Forecast, 1999-2003 (IDC #B19319) is a revised forecast of the smart handheld devices market. It contains unit shipments, shipment value (US$), and average system price (US$) forecasts, as well as final yearend 1998 and 1997 U.S. and worldwide market share data. To order a copy of the report, contact Sue Beauregard at 1-800-343-4952, ext. 4774 or at sbeauregard@idc.com.
International Data Corporation is the information technology industry's most comprehensive resource on worldwide IT markets, trends, products, vendors, and geographies. IDC provides data, analysis, and advisory services to the world's leading IT suppliers as well as IS professionals in finance, insurance, entertainment, advertising, consumer goods, and publishing. IDC's research and opinions are based on the results of more than 300,000 end-user surveys, in-depth competitive analysis, broad technology coverage, and strategic analysis. IDC is committed to providing global research with local content through its 500 analysts in more than 40 countries worldwide. Additional information on IDC can be found on its Web site at http://www.idc.com.
IDC is a division of International Data Group, the world's leading IT media, research, and exposition company.
All product and company names may be trademarks or registered trademarks of their respective holders.


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Concert by Sveta & Slava (Cello and Piano)
Holmes Chapel Music Society
"You had the sense that you were listening to the future, and the near future at that." - The New York Times
Russian cellist Svetlana Mochalova and Ukrainian pianist Slava Sidorenko first met at the Royal Northern College of Music. A musical relationship blossomed into a personal relationship and the couple are now married. Between them, they've won multiple awards and performed at venues including the Purcell Room, the Barbican, Wigmore Hall and Glastonbury. As part of their mission to engage with audiences in a more imaginative way, they've developed their own Sveta & Slava app. This allows concert goers to see their Music á la Carte menu and vote for the pieces the duo will perform.
Performing:
Rachmaninoff - Romance - Do Not Sing to Me, My Beauty Op.4 No.4
Debussy - Sonata for Cello and Piano in D minor L.135
Rachmaninoff - Sonata in G minor for Cello and Piano Op.19
Second half - Music à la carte - audience vote
Saturday, 23 November 2019 -
8:00pm to 10:00pm
Members £11, Non-Members £17, Children (under 16) with ticket-holder, Students in full-time education and Benefit claimants £1
Event Poster:
HCMS 20191123.pdf
Find out more or book now
Holmes Chapel Leisure Centre
Selkirk Drive Holmes Chapel
CW4 7DZ Crewe, Cheshire


Deliveries are made within 48 hours or on the scheduled delivery date, whichever is earlier, from the time of confirmation.
If the delivery date happens to fall on a public holiday or a general strike, the delivery may be made on the next day. GDS Online Shopping is not liable for delay in deliveries due to any cause beyond our control (eg. riots, strikes etc).
The delivery address and the contact number of the recipient should be correct and accurate.
Deliveries will be made to the address specified after a confirmation call to the person mentioned as the recipient.
A delivery slip shall be provided to the recipient. A copy of the same shall be signed by the him/her and provided to us.
Items will be delivered as per the picture and description of the products displayed on the website. However, there may be variations in appearance and color, especially in the case of perishable items, like flowers.
Currently, we take orders for deliveries all over Nepal.
Delicate items such as cakes, liquors, tobacco and perishable goods will not be delivered.


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Louis McHenry Howe (1871-1936) était un ami et conseiller du président américain Franklin Delano Roosevelt. Il le soutint notamment pendant l'élection de 1932.

Biographie
Louis Howe est né en 1871 à Indianapolis. Un accident de vélo laissa son visage marqué par des cicatrices. Son père était propriétaire d'un journal à New York, dans lequel Louis Howe travailla. Howe rencontra Roosevelt en 1911, dont il devint rapidement le conseiller.

Dans la fiction
 Dans la série télévisée The First Lady (2022), son rôle est interprété par Jackie Earle Haley.

Liens externes

Conseiller du président des États-Unis
Naissance en janvier 1871
Naissance à Indianapolis
Décès en avril 1936
Décès à 65 ans
Décès à Bethesda (Maryland)


There are pay-for-print black & white and color printers located on Lower Level of the Du Bois Library and on the main (2nd) floor of the Science and Engineering Library. There is also a black & white only printer outside the Graduate Commons on the Du Bois Library 5th floor.
The pay-for-print stations accept a UCard (UMass ID card) with money on the account or a Guest Card. You can add money to your UCard or purchase a Guest Card at the black machine mounted on a brick columns near the print stations and copiers on the Lower Level of the Du Bois Library and at the grey machine next to the entrance to the Science and Engineering Library. These machines accept $1, $5, $10, and $20 bills.


Images from the first T20 International between India and New Zealand in Wellington on Wednesday.
A below-par India slumped to their worst-ever defeat in T20 Internationals as New Zealand outclassed the visitors by a comprehensive 80-run margin in the first T20 International in Wellington on Wednesday.
Put into bat, wicketkeeper-batsman Tim Seifert took the Indian bowling apart as he blasted 84 off 43 balls to power New Zealand to a huge 219 for six in their 20 overs.
With the crack opening pair of skipper Rohit Sharma (1) and Shikhar Dhawan (29) departing early, the chase became a difficult one for the visitors and they kept losing wickets at regular intervals to be bowled out for a lowly 139 in 19.2 overs.
Mahendra Singh Dhoni (39 off 31 balls) did play his part but it was always an impossible chase with wickets falling at regular intervals at the other end. India had never lost a T20 International by 50 or more runs prior to this match. Their previous worst was a 49-run loss to Australia back in 2010.
"We failed to get a good partnership. 200 was never going to be easy to chase," said Rohit after the match.
New Zealand bowlers kept the pressure on Indian batsmen, especially the two spinners -- left-arm spinner Mitchell Santner (2/24 in 4 overs) and leg-spinner Ish Sodhi (2/26 in 3 overs).
Senior pacer Tim Southee, who took 3/17, bagged the key wicket of Rohit early before he went on dismiss Vijay Shankar and Dhoni at the end.
The middle order failed to fire as the likes of Rishabh Pant (4), Dinesh Karthik (5) and Hardik Pandya (4) all being dismissed cheaply.
On a pitch where Indian spinners Yuzvendra Chahal (1/35 in 4 overs) and Krunal (1/37 in 4 overs) went for plenty, the Kiwi spinners built up the pressure in the middle overs with some disciplined bowling.
While Pant didn't do his chances any good, Vijay Shankar (27 off 17 balls) impressed during his little cameo but would need to do more in order to book a place in the World Cup bound squad.
The Pandya bothers -- Krunal and Hardik -- endured a contrasting day. While Krunal (he also scored 20 off 18 balls) had an okay outing, Hardik struggled with both bat and ball -- (2/51 in 4 overs and 4 runs).
Wicketkeeper-batsman Tim Seifert ripped the Indian bowling attack apart with a scintillating 84 off 43 balls to power New Zealand to a huge 219/6 in the first T20 International in Wellington, on Wednesday.
Seifert, who opened the innings in place of the injured Martin Guptill, gave the hosts a flying start as he put on 86 runs in only 8.2 overs for the opening wicket with Colin Munro, who stroked 34 off 20 balls.
The right-hander was at his attacking best, as he slammed seven fours and as many as six sixes.
Seifert went on the attack right from the start as he swung Bhuvneshwar Kumar over midwicket for a six, followed by a straight boundary back past the bowler.
Munro joined the party as he hit left-armer Khaleel Ahmed for two successive sixes, as 44 came from the first four overs.
Seifert was lucky to survive when wicketkeeper Mahendra Singh Dhoni put down a tough chance after the right-hander had edged left-arm spinner Krunal Pandya, before he hit the next ball for a six over square leg.
Hardik also suffered at the hands of the Kiwi opener as he hit for a boundary on either side of the pitch, before he hit the medium pacer for a four and a six in his next over.
Krunal finally made the breakthrough as Munro was caught in the deep by Vijay Shankar.
But Seifert never let the momentum drop as he hit two more sixes off Krunal, while he swept Yuzvendra Chahal for a six over the leg side.
He missed out on a deserved centry as Khaleel bowled him with a full delivery, in the 13th over.
Captain Kane Williamson continued the momentum as he stroked a fluent 34 off 22 balls, while Scott Kuggeliejn provided the finishing touches as he hit a quickfire 20 not out from just seven balls.


Hi I'm Julie, an award winning travel blogger and founder of this site. I love to travel the world on my own. Have you ever wanted to travel alone?
Solo travel as a not so young woman can be quite the experience. If I could have a dollar for every time someone has told me I was brave I would be a wealthy woman. I have always had the yearning to travel. When I was young my greatest desire was to don a backpack and take off to see the world.
My family came a little earlier than expected and I found myself with 2 wonderful children by the age of 23 (not that I minded), – my travel plans were put on hold. So as soon as my family was grown and I found myself single again, that old desire returned and off into the world I went.
A Not So Young Woman Abroad has been born of my experiences as a solo traveller who has no desire to "do" any country much less be confined on my travels. It has grown into a community of amazing women from all around the world.
A Not So Young Woman Abroad was inspired by my own experiences trying to find information for older solo female travellers go it alone. Travelling alone in the world I have had the most amazing adventures. I've found lots of off the beaten track places to go and have met some wonderful people along the way.
I consider myself lucky to call Melbourne Australia home and when not travelling am often found photographing and exploring my wonderful surrounds.
Great to hear about your unique experience Julie?
Your doing something I can only dream about! So, thank you for letting us enjoy our dreams through you!


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Q: Save an image in sqlite Android? i have this class, where i create my tables in sqlite, everthing is working so good, in my project you can insert,delete and update (the info) of students and teachers, but now i want save an image, it means that apart of save the info of the student or teacher i want to save an image, please can someone helps me? y dont know anythig about how to do that.
package MyClasses;
import android.content.Context;
import android.database.sqlite.SQLiteDatabase;
import android.database.sqlite.SQLiteDatabase.CursorFactory;
import android.database.sqlite.SQLiteOpenHelper;

public class sqliteClass extends SQLiteOpenHelper{

String sqlAlumno = "CREATE TABLE Alumno(id integer primary key,nombre varchar(30),apellidos varchar(25),especialidad varchar(25),email varchar(25))";

String sqlProfe = "CREATE TABLE Profe(id integer primary key,nombre varchar(30),apellidos varchar(25),especialidad varchar(25),email varchar(25))";

    public sqliteClass(Context context, String name, CursorFactory factory,
            int version) {
        super(context, name, factory, version);
        // TODO Auto-generated constructor stub
    }

    @Override
    public void onCreate(SQLiteDatabase db) {
        db.execSQL(sqlAlumno);
        db.execSQL(sqlProfe);

    }

    @Override
    public void onUpgrade(SQLiteDatabase db, int oldVersion, int newVersion) {

    }

}

A: In general terms :
add a column with type blob ,say image blob, into your create table query
to insert an image :
ContentValues cv = new ContentValues();
ByteArrayOutputStream out = new ByteArrayOutputStream();
yourBitmap.getBitmap().compress(Bitmap.CompressFormat.PNG, 100, out);
cv.put(KEY_IMG, out.toByteArray());

to restore an image:
fetch the images using Cursor#getBlob() method and store it in a byte[] array
byte[] blob = cursor.getBlob(cur.getColumnIndex("image"));

convert byte[] into bitmap :
Bitmap bmp = BitmapFactory.decodeByteArray(blob, 0, blob.length);

However I think in big level storing images in database is not valuable because sqlite have limited space so storing the image path is valuable.

A: There are several ways to store an images to android sqlite database.
stackoverflow.com/questions/10977584
stackoverflow.com/questions/9357668
stackoverflow.com/questions/9273008
hope these help!

A: It's generally considered bad form to save binary data like an image in a database. In most cases, for some technical reasons, it will actually end up damaging the performance of your database. Instead, save the images you want to cache to the SD card and just store the filepath of those images in the database.
Always make a habit of saving images path to database. For a list view, be sure just to use those image's thumbnail. This will help you in fast loading of these images in list.
long selectedImageUri = ContentUris.parseId(Uri.parse(anniEntry.getUri()));
 Bitmap bm = MediaStore.Images.Thumbnails.getThumbnail(
                    mContext.getContentResolver(), selectedImageUri,MediaStore.Images.Thumbnails.MICRO_KIND,
                    null );
Here anniEntry.getUri() is the image uri.Now,put it in second code.U can get micro or mini thumbnail according to requirement

redpajama_set_name: RedPajamaStackExchange


On February 21, Mercury moves into Pisces, the zodiac sign of mysticism. It will only be in this sign until March 9, when it moves on to Aries. But a short stay by Mercury indicates that it is moving at its fastest pace; this is when the planet of communication is at its most powerful and effective. When planets move through the sign of the fish, we on earth are more susceptible to a deeper appreciation of art, emotions and unspoken passion. For Mercury, communication favors the non-verbal when this little planet is in Pisces. You will notice a lot more gestures occurring to complete sentences and people will pull out their phones to show visuals more than usual. All of this energy taking the place of verbal conversation can often be clearer than words, but the downside is that there are bound to be misunderstandings, as the precision of language is missed when pictures don't illustrate the thousand words you meant to express.
Explaining your vision for how things are to get done will be difficult, but embrace the clarity with which you see the direction things need to go. Finding the way to the next level of success, be it romantic or professional, becomes apparent in a manner that is shockingly simple. You will wonder why you didn't think of it earlier.
You might wish this visit of Mercury lasted a little longer as you will be getting great feedback and offers of help. You can get a lot finished up when others are pitching in, so make a list and hold people to promises. Don't, however, expect much after March 10; get moving on the project that is attracting everyone.
A lover will have a hard time getting through to you because of your intense career pursuit. You need to make sure that this person knows he or she is loved and get on with the fantastic work you are doing. If you plan to network after Mercury leaves Pisces, even better for you to have as much as possible available to show future contacts what makes you great.
Prepare for some confusion with a foreign language or the customs of people who do things radically different than you do. Your preparation should not be for failure or success, though. It should be for looking ridiculously cute and attractive as you make your best effort. Becoming a love magnet hardly sums up how gorgeous some people are going to find you.
Passion is intense with Mercury in Pisces. You might make love every day of this forecast period without saying a word to your partner. Ironically, this could be the happiest period of physical pleasure you have ever experienced. On the downside, you could be creating distance with your lover if you are not bringing an occasional gift along.
Your natural partnership section of the zodiac is Pisces, so expect lots of interplay with one-on-one relationships. A good way to look at things is that with murky Pisces energy, enforcing boundaries with a close partner in your life allows you to control the situation to your satisfaction.
Being a busybody usually means that you are popular. Mercury in Pisces confers this special status on you. Party invites and nights out with your lover may dominate, but so will the need to keep working in order to maintain this exciting position in which you have found yourself. The chance to make big strides in love and career is here!
Mercury in Pisces is a goldmine of love and success for you. The intensity of what a love interest is about to give you might be too much for even you to handle. IF you are prepared to understand love without a word being spoken, than you will surely be seduced by the silence that is going to envelop you.
Your idea of what to do around the house will meet with some unusual obstacles. Perhaps a partner disagrees with you, and some other relationship issues that have not been addressed are suddenly inspiring an argument. Other tension may occur when what you want to spend and what you need to spend on repairs are two different figures.
Someone might misunderstand some gossip and give you access to a part of town to which you are usually not privy. This is a short window of opportunity to network toward some access that would usually be denied to you. Your status can rise when you say the right words that the usual members of the club just cannot seem to spit out.
Finances may be murky as communication with your bank gets you too involved with chaos to be a pleasant partner or dinner companion. Your co-workers, classmates and family might get sick of hearing about the tension that this miscommunication is causing.
Mercury in your sign lightens the load you usually have, as people will be able to follow you more clearly than usual. No matter how deep you go and despite the tangents on which you choose to digress, many more people than usual will follow along. This could make you much more attractive to a possible soulmate.


text:
Magic's Nik Vucevic 'lucky' to survive '06 train crash
By Brian Schmitz
Montenegran policemen search for victims around a carriage of the derailed train near Podgorica, 24 January 2006. (SAVO PRELEVIC/AFP/Getty Images) (AFP, AFPGetty Images)
This time of year always reminds Magic center Nik Vucevic "just how lucky I am" – how lucky he is to be alive.
"Every time I see a train," he said, "I think about it."
On this day eight years ago, Jan. 23, 2006, Vucevic was among hundreds of terrified passengers who were on a runaway train that derailed in Montenegro, killing 47 people and injuring nearly 200.
Vucevic, then 15, escaped with bruises and cuts as did his father, Borislav.
"For a crash like that, I was lucky," he said. "It's very scary. You don't know if you're going to live or die.
"It makes you look at life differently, not take things for granted. It makes you think about a lot of things. You try to appreciate life more."
Vucevic and his father were returning from a youth basketball camp in the mountain resort town of Kolasin in Montenegro, heading to their home in the coastal city of Bar, as the train suddenly sped uncontrollably down the tracks.
Court records stated later that the brakes had failed.
Vucevic said he knew something was amiss early in the trip. Railway employees were advising adults of the peril ahead, preparing all passengers for a crash. Nik recalled that an assistant coach with another group of players said the train was "out of control."
"He said, 'There's no conductor.' Everybody started panicking because they had lost control of the train. They tried to pull the emergency brake," Vucevic said.
"At one point we knew something was happening. It was like we were going downhill. Not just 20, 30 miles an hour, but like 60 or 70. Way too fast."
Nik said he and his father were sitting in the first or second railway car when the train left the tracks in the middle of the mountains. The car slowed when it struck the side of a tunnel before tumbling down a ravine and rolling over, somehow coming to a stop on its wheels.
Other mangled cars were upside down or on their sides, making rescue operations difficult in harsh, inaccessible terrain.
"I don't know how long I was laying there. I was lost. My shoulders were bruised. I had some cuts," Vucevic said. "First thing I did was look for my Dad. I found him and he started helping other people. I was so relieved.
"We stopped a few feet from the (Moraca) river. There was like a 100-foot fall before we'd hit the river. There's no way we would have survived."
At least 250 passengers were on board, including 90 schoolchildren who were on a ski trip. Emergency crews searching the wreckage pulled bodies from the smashed cars late into the night.
The state declared three days of mourning for the victims.
Vucevic said a basketball player from another age-group participating in the camp died. He remembers his team paying its respects later at his parents' home. But he said the coaches would not allow him and other players to attend the funeral or the burial because "they thought it would be too much stress for us."
Vucevic said he believes some of his young teammates were traumatized by the accident.
"They were affected a lot. Some really good players … they couldn't play at a high level after that," he said.
Vucevic has been out of the Magic's lineup for the past nine games. He has been recovering from a concussion he sustained when he fell awkwardly to the floor about two weeks ago against the Los Angeles Clippers, his second concussion since last March. Before that, he missed some time with an ankle sprain.
Not surprisingly, Nik takes any injuries on the court in stride.
"You can't compare, you know?" he said. "It's basketball."
And it's around this time of year — or when he sees a train chugging along the tracks — that the dark memories flood back.
"It's something you never forget," he said.
bschmitz@tribune.com.
FBI reveals Brian Laundrie claimed responsibility for Gabby Petito's death in notebook, closes investigation


Sometimes experimenting with insects can be tricky because many of them possess wings or they move really fast. To solve this problem you can use this tranquilizing chamber to calm them down without killing them.
Na2CO3(Baking Soda) + 2HC2H3O2(vinegar) -> 2NaC2H3O2 + H2O + CO2 One of the products is carbon dioxide in gaseous form, if you produce enough of it to fill the chamber, there will be no oxygen left. You can actually calculate how much vinegar and baking soda you will need if you have a scale and you know the volume of the container, but adding a lot of vinegar and baking soda works too.
Preferably for a few minutes, but not for too long or they will die!
If you do not add enough baking soda and vinegar to replace air in the cup with CO2, it is not going to work. It took me a few times to find the right amount to make Pipa fall asleep. In the image above, she tried to fly away, but tranquilized, she got stuck in that awkward position with the wing half-opened(she is fine now). If you want calculations for how much vinegar and baking soda you need, I can add this here too.
Very nice and cool! Creative usage! Definitely deserves a win!
Okay, I understand the technique, but why? What are you going to do to them when they are "asleep"?
Good question! This "sleep" can be very helpful when doing experiments on insects. For example, lets say you have 100+ insects, and you want to separate males from females. If they are flies or some other rapid moving insect, it can be very difficult because they will move around all over the place. However, if you put them to "sleep", you can easily pick them out.
Interesting. This is certainly one application for baking soda that I had never thought of.


text:
Šafarevič [šafárevič] ima več pomenov.

Osebnosti
Priimek več osebnosti (rusko Шафаре́вич).
 Andrej Igorjevič Šafarevič (*1963), ruski matematik.
 Igor Rostislavovič Šafarevič (1923-2017), ruski matematik, filozof, publicist in politik.


text:
Thruxton Historic 11th & 12th June 2022
By Wilts North AR 18th Jan 2022 - 14:19
50% off event tickets now available.
For all the info go to 'Exclusive Member Deals & Discounts'.
Halfords Discount Voucher
By Toughie 14th Jan 2021 - 15:55
Please note, Halfords have issued a new discount voucher which comes into force immediately.
The new voucher is valid until 31/12/2021.
The Wheel Specialist Discount Extended Till December 2021
By Geoff Brown 7th Jan 2021 - 15:17
15% off four wheels. Negotiable on single wheels.
Caterham Art from Allan Levy - 10% off
By Geoff Brown 26th Nov 2020 - 16:22
Fancy a Caterham photograph printed onto wood, acrylic glass, or metal and arriving ready to hang. If you weren't sure what you wanted for Christmas, why not put one of these on the list?
Castle Combe Autumn Classic - 5th October 2019 - Discounted 'Early Bird' Club Tickets Available Until 9th September 2019
By Geoff Brown 7th Aug 2019 - 11:56
Bicester Sunday Scramble - 6th October 2019 - Discounted 'Early Bird' Tickets until 6th September.
By Geoff Brown 25th Jul 2019 - 16:23
Discounted 'Early Bird' tickets available until 6th September 2019. Full price from 7th September 2019.
Charity Prize Draw
By Golf Juliet Tango 13th Mar 2019 - 17:56
The last available of these lovely watches has been put up as a prize in a prize draw.
Merchandise - bulk buy
By Golf Juliet Tango 7th Jan 2019 - 11:23
In response to requests in BlatChat, I have set up a bulk buy for wicking T-shirts. These will be long sleeved base layer style with a club logo on the back, between the shoulder blades. These will be available in both men's and women's fit and in a range of colours. The bulk buy will close o


text:
Cabi (Tidligere: Center for Aktiv BeskæftigelsesIndsats) er et landsdækkende videns-, netværks- og konsulenthus med bevilling fra Beskæftigelsesministeriet med fokus på den aktive beskæftigelsesindsats, arbejdsmarkedet og CSR.

Organisation
Cabi er organiseret under Beskæftigelsesministeriet og refererer til Styrelsen for Fastholdelse og Rekruttering. Centret udspringer fra de syv landsdækkende formidlingscentre, som blev oprettet af Socialministeriet 1. januar 1995. I forbindelse med regeringsskiftet i 2001 blev centret en selvejende institution under Beskæftigelsesministeriet.

Cabi beskæftiger 35 medarbejdere og er beliggende på på Åboulevarden 70, 3., 8000 Aarhus C. Direktøren er Mette Rønnau.

Eksterne henvisninger
Officiel hjemmeside
Organisationer fra Danmark
Beskæftigelsesindsatsen i Danmark