I'm not sure I've ever eaten tofu…at least on purpose. Some people are not sure they've ever been around a Christian. This ought not be the case.
If you ask any vegetarian or fan of Asian cuisine, they'll tell you that tofu takes on the flavors of other ingredients around it, whether they're salty, spicy, or sweet. This parallels the cultural influence of many modern Christians. We are told to flavor the culture like salt on a steak, but we perform like spongy tofu instead. And this is what our culture not only expects, but demands of Christians.
Many modern Christians are like tofu, taking on the cultural flavor of those other social ingredients around them. They don't stand out, they don't make waves, and they contribute about as much value to their social context as a lump of tofu in your curry dish. Perhaps you can't taste it, but it gives you a bit of nutritional benefit (some protein, amino acids, etc.). Having Christians around is nice, isn't it? They're easy to push around, they don't make waves or even curse. How pleasant! But beyond that, many Christians, like tofu, don't actually do much of anything. They're more identifiable for what they're not: they're not unbelievers…and tofu is not meat.
Decreasingly, our children are taught to submit first to the Lordship of Jesus Christ and to obey Him first and principally in private, public, and political matters. The world is not asking for a reason for their hopefulness and joy. But then again, the ginger-scented tofu is rarely asked how it got its unique aroma, either.
The more we capitulate to the tyranny of this moral revolution, the less distinct we are from the world. We even take on the world's cultural flavor. We all know this, but few Christian parents know how to navigate (and flavor!) these waters when the waves just keep getting bigger and bigger.
> We commend the works of the Lord to another generation with the tools of classical education, weaponized laughter, and sacrificial labors so that they will carry and advance Christ-honoring culture.
This is big, but it's not really complicated.
We're trying to train our students to face their opponents with a gracious word and a confident grin. As they read many of the great works of Western Civilization, our students gain an understanding of where we have come from and where we are headed, philosophically, historically, ideologically and otherwise. They learn that Scripture provides the key for unlocking and answering many of the mysteries that have confounded Western thinkers from Plato to Nietzsche.
When we teach them Latin, we aim to teach them in precision of thought and the chief language in which the story of the West is told. There's no room for ambiguity in Latin.
When we teach them Logic, we aim to teach them in order of thought, giving them the ability to identify flaws in their own reasoning, and we teach them to identify the fallacious tricks that our opponents employ to deceive us and others.
When we teach them Rhetoric, we aim to train them in expression of thought. Those who can speak clearly, winsomely, and well…and who have something to say, will be the cultural bouillon cubes of the next generation.
We're trying to train them not to be free from work, but to be free to do a lot of work with joy. As we train them rigorously, they grow a big capacity for work. Work is good; it predates the fall. We don't want for our students to try to escape it, but rather to do a lot of it happily.
We're trying to train our students to laugh and sing at the right times, for the right reasons. We can laugh because we serve a sovereign and good God, and we're on the winning side of an already-determined outcome…even if it's still playing out right now. Happy Raggants have a song on their lips and a psalm in their hearts. People like that are hard to beat down. And boy, does that make Grendel cranky.
In an age of tofu-like Christians, what we need are for Christians to be cultural bouillon cubes. Bouillon cubes are not obnoxious, but when they're introduced to the boiling pot of veggies, it boosts and determines the flavor of the mixture. A few years from now, when our Raggant bouillon cubes are dropped into the spheres of politics, education, the arts and sciences and commerce, by God's grace may they have a potent and delightful impact…with that confident grin.


text:
<?php

namespace Coyote\Notifications\Topic;

use Coyote\Services\Notification\Notification;
use Coyote\Services\UrlBuilder;
use Coyote\Topic;
use Coyote\User;
use Illuminate\Bus\Queueable;
use Illuminate\Contracts\Broadcasting\ShouldBroadcast;
use Illuminate\Contracts\Queue\ShouldQueue;
use Illuminate\Notifications\Messages\BroadcastMessage;
use NotificationChannels\WebPush\WebPushMessage;

abstract class AbstractNotification extends Notification implements ShouldQueue, ShouldBroadcast
{
    use Queueable;

    /**
     * @var Topic
     */
    protected $topic;

    /**
     * @var User|null
     */
    protected $notifier;

    /**
     * @var string
     */
    protected $reasonName;

    /**
     * @var string
     */
    protected $reasonText;

    /**
     * @param User|null $notifier
     * @param Topic $topic
     */
    public function __construct(?User $notifier, Topic $topic)
    {
        $this->notifier = $notifier;
        $this->topic = $topic;
    }

    /**
     * @return string
     */
    public function getReasonName(): string
    {
        return $this->reasonName ?: '(nie podano powodu)';
    }

    /**
     * @param string|null $reasonName
     * @return $this
     */
    public function setReasonName(?string $reasonName)
    {
        $this->reasonName = $reasonName;

        return $this;
    }

    /**
     * @return string
     */
    public function getReasonText(): string
    {
        return $this->reasonText ?: '(nie podano powodu)';
    }

    /**
     * @param string|null $reasonText
     * @return $this
     */
    public function setReasonText(?string $reasonText)
    {
        $this->reasonText = $reasonText;

        return $this;
    }

    /**
     * Unikalne ID okreslajace dano powiadomienie. To ID posluzy do grupowania powiadomien tego samego typu
     *
     * @return string
     */
    public function objectId()
    {
        return substr(md5(class_basename($this) . $this->topic->title . $this->topic->id), 16);
    }

    /**
     * @return string
     */
    abstract protected function getMailSubject(): string;

    /**
     * @param User $user
     * @return array
     */
    public function via(User $user)
    {
        if (!$user->can('access', $this->topic->forum)) {
            return [];
        }

        return parent::channels($user);
    }

    /**
     * @param User $user
     * @return array
     */
    public function toDatabase($user)
    {
        return [
            'object_id'     => $this->objectId(),
            'user_id'       => $user->id,
            'type_id'       => static::ID,
            'subject'       => $this->topic->title,
            'excerpt'       => $this->getReasonName(),
            'url'           => UrlBuilder::topic($this->topic),
            'id'            => $this->id
        ];
    }

    /**
     * @return array
     */
    public function sender()
    {
        return [
            'name' => $this->notifier->name,
            'user_id' => $this->notifier->id
        ];
    }

    /**
     * @return BroadcastMessage
     */
    public function toBroadcast()
    {
        return new BroadcastMessage([
            'headline'  => $this->getMailSubject(),
            'subject'   => $this->topic->title,
            'url'       => $this->redirectionUrl()
        ]);
    }

    public function toWebPush()
    {
        return (new WebPushMessage())
            ->title($this->getMailSubject())
            ->icon('/img/favicon.png')
            ->tag($this->redirectionUrl())
            ->body($this->topic->title)
            ->data(['url' => $this->redirectionUrl()])
            ->options(['TTL' => 1000]);
    }

    protected function redirectionUrl(): string
    {
        return route('user.notifications.redirect', ['path' => urlencode(UrlBuilder::topic($this->topic))]);
    }
}

redpajama_set_name: RedPajamaGithub


I have probably mentioned it before, and will again, American legislators, generally, give short shrift to the arts and art programs in schools and these are always the first to be cut. But here in the Capital of New Mexico, Santa Fe, there are legislators who are most supportive of the arts and as in many other towns across the country there are many ordinary citizens who believe art is very important.
In what other town do you ever here things like the mayor saying, "I raised the percent for art (Art in Public Places) from one percent, mandated by the Governor in 1986 to two per cent and I hope to raise it to three percent." Where else would you hear your state representative say, "Art is our oil and gas"? This, where the new Governor was elected with solid support from the oil and gas industry.
In New Mexico we actually find politicians who are willing to stand up for the arts and there is good reason. In Santa Fe there are three main businesses: real estate, government and art. There are more museums, albeit small ones, than in most cities in this country. There are three different cultures that live side by side, Hispanic, Native American and Anglo which here includes black people who are still here in very small numbers. We rely on the tourist trade and one of the big reasons people come is for the arts.
There are about 300 galleries in Santa Fe of which 90 belong to the Santa Fe Gallery Association. Some of the fields they include are Native American, Spanish Colonial, Western, ceramics, furniture, sculpture, photography, and contemporary. ATADA with its large roster of members represents a veritable Who's Who of the American Indian and Tribal Art dealers and many of them are in New Mexico.
I believe that New Mexico is the only state that has a cabinet post for the head of the agency devoted to the cultural assets of the state. The New Mexico Department of Cultural Affairs created by the legislature in 1978 is now under threat from the new Republican Governor. It oversees the state museums, monuments, arts, libraries, heritage preservation, and archaeology programs.
I only learned the term Creative Tourism recently though I gather that it is not a new concept. It allows visitors to not only see art but to participate in it as well. I know a New York frame maker who comes to Taos, New Mexico for a week every year to learn the art of pottery, taught by New Mexico potters. These courses can last a few hours a day to full days for a set period, usually a week. UNESCO formed a creative cities network and in 2005 Santa Fe was the first so named city in the U.S. I plan to come back to the efforts made in regard to creative tourism later in the year.
Even though I am sure one could find cities with an equal number of arts programs or maybe more but relative to population I am sure the percentage is far higher in Santa Fe.
These are some of the reasons why Santa Fe is called the 3rd largest art market in the U.S.. Well, maybe it is not quite that high in the ranking but for certain areas of collecting it clearly is.
I am heading back east and will preview Master Drawings New York which brings together art dealers specializing in works on paper from all over.


text:
Хесен-Филипстал-Бархфелд () е основана през 1721 г. от още съществуваща странична линия на Хесен-Касел на ландграфския род Дом Хесен, назована на резиденцията им град Бархфелд в днешна Тюрингия.

История

Основател на линията е ландграф Вилхелм фон Хесен-Филипстал, вторият син на ландграф Филип I фон Хесен-Филипстал, който през 1685 г. основава линията Хесен-Филипстал.

Ландграфовете управляват малкото княжество (Mediatfürstentum ) от дворец Вилхелмсбург в Бархфелд, построен между 1690 и 1732 г.

Двете странични линии Хесен-Филипстал-Бархфелд и Хесен-Румпенхайм получават през 1880 г. от Прусия рента от 300 000 марки от доходите на Курфюрство Хесен (Fideikommis), също и дворците Ротенбург и Шьонфелд (Касел). Страничните линии на Хесен-Касел, Хесен-Филипстал-Бархфелд и Хесен-Румпенхайм са единствените съществуваши и днес линии на Дом Хесен.

Днес фамилията има главно седалище в Херлесхаузен, от където управлява наследените собствености на изчезналата линия Хесен-Филипстал.

Ландграфове на Хесен-Филипстал-Бархфелд
 Вилхелм 1721 – 1761
 Фридрих 1761 – 1772
 Адолф 1772 – 1803
 Карл 1803 – 1806
1806 г. анексирана от Кралство Вестфалия, 1813 г. възстановена
 Карл 1813 – 1854 (реставриран)
 Алексис Вилхелм 1854 – 1866
1866 г. анексирана от Прусия

Източници

Литература
 Eckhart G. Franz, Das Haus Hessen, Kohlhammer, Stuttgart 2005, ISBN 3-17-018919-0
 Philippsthal. In: Meyers Konversations-Lexikon. 4. Auflage. Band 12, Bibliographisches Institut, Leipzig 1885 – 1892, S. 1006.
 Das Haus Hessen-Philippsthal. In: Meyers Konversations-Lexikon. 4. Auflage. Band 8, Bibliographisches Institut, Leipzig 1885 – 1892, S. 486.

Външни препратки
 Genealogie Hessen-Philippsthal, Hessen-Philippsthal-Barchfeld

!

Исторически области в Европа

redpajama_set_name: RedPajamaWikipedia


text:
Bruce Campbell, Carl Weathers, Gates McFadden Added To FAN EXPO Portland Celebrities, Feb. 17-19
'Evil Dead,' 'Mandalorian,' 'Star Trek' Standouts Join Strong Roster at Oregon Convention Center
PORTLAND, Ore. - eMusicWire -- Three popular celebrity guests from some of fandom's most enduring franchises supplement an already stellar FAN EXPO Portland roster with today's announcement that Bruce Campbell (The Evil Dead, "Burn Notice"), Carl Weathers ("The Mandalorian," Rocky) and Gates McFadden ("Star Trek: The Next Generation") will attend the pop culture celebration, February 17-19 at the Oregon Convention Center.
Campbell first gained notice for his portrayal of "Ash Williams" in fellow FAN EXPO Portland guest Sam Raimi's Evil Dead franchise, appearing as the character in numerous films and series including the original 1981 movie, time-bending Army of Darkness in 1992, last decade's "Ash vs. Evil Dead" series and others. He is also well-known for a long run in the hit USA Network series "Burn Notice" and this holiday season starred in the Hallmark Channel movie My Southern Family Christmas.
Weathers, who portrays "Greef Karga" in "The Mandalorian," earned early acting acclaim for his role as boxer "Apollo Creed" in the first four Rocky films (1976–85). The former pro football player also has had memorable roles as "George Dillon" in Predator (1987), the title role in Action Jackson (1988), and "Combat Carl" in the Toy Story franchise. Weathers will be joined at FAN EXPO Portland by fellow "Mandalorian" standout Katee Sackhoff, as previously announced.
"Star Trek" fans already excited about the appearances of William Shatner (original series and numerous films), Brent Spiner ("The Next Generation"), Jonathan Frakes ("TNG," "Picard") and Anson Mount ("Discovery," "Strange New Worlds") get a boost with the addition of McFadden, who had the key role of "Beverly Crusher" in "TNG." She is also a stage actress, choreographer, director, teacher, and the host of the Nacelle Podcast "Gates McFadden InvestiGates: Who Do You Think You Are?"
They join a roster that already includes Back to the Future stars Michael J. Fox, Christopher Lloyd, Lea Thompson and Tom Wilson; Ron Perlman ("Sons of Anarchy," Hellboy; Anthony Daniels (Star Wars franchise); Matthew Lewis ("Neville Longbottom" in Harry Potter franchise; "The Office" trio of Kate Flannery, Oscar Nunez and Leslie David Baker; and the stars of "Trailer Park Boys" Mike Smith, John Paul Tremblay and Robb Wells.
Tickets for FAN EXPO Portland are on sale at http://www.fanexpoportland.com now, including individual single day, 3-day and Ultimate Fan Packages for adults, youths and families. VIP packages are also available now, with dozens of special benefits including priority entry, limited edition collectibles, exclusive items and much more.
Portland is the second event on the 2023 FAN EXPO HQ calendar; the full schedule is available at fanexpohq.com/home/events/.
http://www.fanexpoportland.com
Jerry Milani
jerry@fanexpohq.com
Source: FAN EXPO HQ

redpajama_set_name: RedPajamaCommonCrawl


Wash and soak the split pigeon peas for 20 minutes. In the pressure cooker add split pigeon peas, salt, turmeric, ginger, and chili paste and make 2 whistles and turn off the heat.
In the pot add oil, cloves, star anise, bay leaf, and cumin seeds sauté for 30 seconds, then add spinach and sauté for 3 to 4 minutes.
Open the pressure cooker lid and grind split pigeon peas and then add inside spinach and saute for another 5 to 7 minutes. Once it's done turn off the heat.


text:
Q: Woocommerce: help replacing html output My checkout-billing-fields and shipping-fields are output in html with 3 different row alignements. first, last and wide. I only want to set them to be first, and last - so that each input is next to the other.
Original:

Faktureringsdetaljer

Fornavn *<input type="text" class="input-text " name="billing_first_name" id="billing_first_name" placeholder="" value="">

Etternavn *<input type="text" class="input-text " name="billing_last_name" id="billing_last_name" placeholder="" value="">

Navn på firma<input type="text" class="input-text " name="billing_company" id="billing_company" placeholder="" value="">

Adresse *<input type="text" class="input-text " name="billing_address_1" id="billing_address_1" placeholder="Gateadresse" value="">

Postnummer  *<input type="text" class="input-text " name="billing_postcode" id="billing_postcode" placeholder="Postnummer " value="">

Sted *<input type="text" class="input-text " name="billing_city" id="billing_city" placeholder="Sted" value="">

Delstat / Fylke<input type="hidden" class="hidden" name="billing_state" id="billing_state" value="" placeholder="">

Epostadresse *<input type="email" class="input-text " name="billing_email" id="billing_email" placeholder="" value="kreegah@gmail.com">

Telefon *<input type="tel" class="input-text " name="billing_phone" id="billing_phone" placeholder="" value="">

What I want:

Faktureringsdetaljer

Fornavn *<input type="text" class="input-text " name="billing_first_name" id="billing_first_name" placeholder="" value="">

Etternavn *<input type="text" class="input-text " name="billing_last_name" id="billing_last_name" placeholder="" value="">

Navn på firma<input type="text" class="input-text " name="billing_company" id="billing_company" placeholder="" value="">

Adresse *<input type="text" class="input-text " name="billing_address_1" id="billing_address_1" placeholder="Gateadresse" value="">

Postnummer  *<input type="text" class="input-text " name="billing_postcode" id="billing_postcode" placeholder="Postnummer " value="">

Sted *<input type="text" class="input-text " name="billing_city" id="billing_city" placeholder="Sted" value="">

Delstat / Fylke<input type="hidden" class="hidden" name="billing_state" id="billing_state" value="" placeholder="">

Epostadresse *<input type="email" class="input-text " name="billing_email" id="billing_email" placeholder="" value="kreegah@gmail.com">

Telefon *<input type="tel" class="input-text " name="billing_phone" id="billing_phone" placeholder="" value="">

Anyone know where I can override these? I've been searching up and down in most of the /includes in the woocommerce folders. haven't got a clue.

A: Can you specify exactly what you want to change? It's quite hard to compare and spot the difference.
If you only want the change the classes on some of the fields, the right way to do that is:
add_filter( 'woocommerce_checkout_fields' , 'custom_override_checkout_fields' );

function custom_override_checkout_fields( $fields ) {

    $fields['billing']['billing_company']['class'] = array('form-row', 'form-row', 'form-row-first');
    $fields['billing']['billing_address_1']['class'] = array('form-row', 'form-row', 'form-row-first', 'address-field', 'validate-required');
    $fields['billing']['billing_postcode']['class'] = array('form-row', 'form-row', 'form-row-first', 'address-field', 'validate-required');
    $fields['billing']['billing_city']['class'] = array('form-row', 'form-row', 'form-row-last', 'address-field', 'validate-required');
    $fields['billing']['billing_state']['class'] = array('form-row', 'form-row', 'form-row-first', 'address-field', 'validate-state');
    $fields['billing']['billing_email']['class'] = array('form-row', 'form-row', 'form-row-first', 'address-field', 'validate-email');
    $fields['billing']['billing_phone']['class'] = array('form-row', 'form-row', 'form-row-last', 'address-field', 'validate-phone');
    return $fields;
}

You should absolutely not use JavaScript for this.

A: Add these class seems to be added dynamically by the theme or a plugin its hard to trace the root file for the cause of adding these class.
In order to change the classes you need to use jQuery as the last resort.And luckily there are ids for each field so you can select specific elements and change their properties.
Here is a code which might help you.
jQuery("#billing_company_field").removeClass( "form-row-wide" ).addClass( "form-row-first" );

The above code will change class for only one div element. Use,Modify and add the other needed code. This code should be enqueued on the page where you need the changes to be affected.

redpajama_set_name: RedPajamaStackExchange


St Brigid of Kildare, Feast Day February 1st.
Prayer to St Brigid of Kildare.
You brought light to the darkness. You brought hope to the downcast.
. Brigid you were a voice for the wounded and the weary.
Strengthen what is weak within us. Calm us into a quietness that heals and listens.


If you missed the first CLE webinar, register for this live replay with Venable attorneys Melissa Landau Steinman and Mikhia E. Hawkins to learn the legal issues relating to conducting a prize promotion through social and/or mobile media.
While there's nothing new about prize promotions such as sweepstakes and contests, merging such promotions with social and mobile media can be a particularly efficient and effective way of engaging consumers. Conducting a prize promotion through new media can, however, raise a host of – sometimes unanticipated – legal issues. As the regulatory landscape governing social and mobile media continues to evolve, marketers utilizing new media must adapt and be cognizant of potential legal issues.


These sardines are the youngest specimens of the Sardina pilchardus, an oily fish belonging to the Clupeidae family. They are easily recognizable by their silver sheen and have a high nutritional value.
The reason for this limited edition is that the catches are made using a sustainable, artisanal fishing method known as "Xeito" which has been used by Galician fishermen for centuries.
It comprises a rectangular cloth stretched between two tracks; the upper one is made up of a floating system of buoys that enables a variable depth to be set, and the lower one is weighted down with lead. This cloth remains attached to the boat by a rope of variable length, allowing the selective capture of the sardines, which have to be removed manually, one by one.
Store in a cool place. May be eaten straight from the can.


It looks like The Jake Castillo Trio took that Wednesday night house spot at Drink Texas. Gotta be impressed by their work ethic. These guys deserve the glory. They are true professionals.
If you need a Humpday break, this is the place to be.
I just might see you there.
Work on those chops with one of the best original artists in the city. Don't be skeered! These three dynamos are super sweet. Don't tell them I told you that!
If you like blues, you'll love the Jake Castillo Trio.
If you like rock, you'll love the Jake Castillo Trio.
If you like R&B, you'll love the Jake Castillo Trio.
If you like country, you'll love the Jake Castillo Trio.
Live on the patio. Cover starts at $5.
Wednesday night is about music, technology, and touring groups!
Noah Peterson hosts a weekly residency with varying local and touring artists.
Click here to visit Noah Peterson's website.


text:
Q: Proof that a topology = union of basis elements Lemma 13.1 in Munkres states:

Let $X$ be a set; let $\mathfrak{B}$ be a basis for a topology $\mathscr{T}$ on $X$. Then $\mathscr{T}$ equals the collection of all unions of elements of $\mathscr{B}$.

The first line of Munkres's proof is:

Given a collection of elements of $\mathfrak{B}$, they are also elements of $\mathscr{T}$.

I'm having trouble understanding why this is true. Can someone point me in the right direction?
EDIT (Added the definition of a basis):

If $X$ is a set, a basis for a topology on $X$ is a collection $\mathfrak{B}$ of subsets of $X$ (called basis elements) such that (1) For each $x \in X$, there is at least one basis element $B$ containing $x$; (2 )If $x$ belongs to the intersection of two basis elements $B_1$ and $B_2$, then there is a basis element $B_3$ containing $x$ such the $B_3 \subset B_1 \cap B_2$.

UPDATED attempt at proving this lemma:

A set $U \subset X$ is open in the topology generated by $\mathscr{B}$ if for each $x \in U$, there exists $B \in \mathfrak{B}$ such that $x \in \mathfrak{B}$ such that $x \in B \subset U$. Given $B \in \mathfrak{B}$, for any $x \in B$, we have $x \in B \subset B$, so $B$ is open, so $\mathfrak{B} \subset \mathscr{T}$. As $\mathscr{T}$ is a topology, it is closed under unions, so $\bigcup\limits_{B \in \mathfrak{B}} B \in \mathcal{T}$. Conversely, let $U \in \mathscr{T}$. As $U$ is open, given $x \in U$, there exists $B \in \mathscr{B}$ such that $x \in B_x \subset U$. As $B_x \subset U$ for each $x \in U$, we have $\bigcup\limits_{x \in U} B_x \subset U$. As $x \in B_x \subset \bigcup\limits_{x \in U} B_x$ for each $x \in U$, we have $U \subset \bigcup\limits_{x \in U} B_x$. Therefore, $U = \bigcup\limits_{x \in U} B_x$, and $U$ is a union of elements of $B$.

A: Welcome to MSE!
Remember how Munkres defines the topology generated by $\mathcal{B}$. This should be on the page before the one you're reading:

... we define the topology $\mathcal{T}$ generated by $\mathcal{B}$ as follows: A subset $U$ of $X$ is said to be open in $X$ (that is, an element of $\mathcal{T}$) if for every $x \in U$, there is a basis element $B \in \mathcal{B}$ such that $x \in B$ and $B \subset U$. Note that each basis element is itself an element of $\mathcal{T}$.

It's exactly this "note" at the end that Munkres is referring to in your question. Since if $B \in \mathcal{B}$, then obviously for each $x \in B$ there is a basis element $B$ with $x \in B$ and $B \subset B$! $B$ itself works! So $B$ is in the topology we generate. In particular, given a basis $\mathcal{B}$, every element of $\mathcal{B}$ ends up being open in the topology it generates.

I hope this helps ^_^


text:
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Daana Pharmaceutical Company, as one of the biggest and most advanced pharmaceutical complexes in the region, has been established in 1998 on the Hillside of mount Sahand and in the beautiful city of Tabriz.
Manufacturing activities of the company are Divided into two main parts; Antibiotics active ingredients (API) and finished dosage forms of pharmaceutical and food-supplement products.
APIs production facilities benefits from the highest production capacities of oral ß-lactam antibiotics API as well as being the sole producer of injectable antibiotics API in the region.
Products of this facilitiy include oral and injectable penicillins and cephalosporins, produced in five independent modern units.
With 16 advanced production lines for finished dosage products, Daana Pharma. is one of the biggest pharmaceutical Manufacturer of the dosage type of Injectable Vials, Soft Gelatin Capsules, Tablets, Capsules, Oral Suspensions and Sachets in the country. The high quality of the products has gained a unique share of pharmaceutical market which has been increasing remarkably during the recent years., All processes, In this Company, are coincident with cGMP and WHO criteria and to achieve best quality, all production steps and processes, are monitored under quality assurance facility supervision and controls at all times.
Research and Development facilities, are responsible for study, extensive research, experiments and formulations of new drugs and trying to collaborate with the most prestigious schools of medicine and pharmaceutical companies, to continuously improve the quality of products.
Respecting the rights and interest of stakeholders, Commitment to the principles of sustainable development, convergence with nature, Commitment to maintaining the health and vitality of human capital, efficient and expert, applying progressive achievements in new technologies are at the center of attention in this company. All of these factors lead to success in a row in the export of raw materials and manufacturing drugs in developing countries and countries in the region and has received various international standards.
In this context, Dana has in recent years won the highest national award category of food, medicine and hygiene Iran, received a golden statue of consumer rights and the best entrepreneurs in the country.
Daana pharmaceutical Company outlook : Coryphaeus of pharmaceuticals and active pharmaceutical ingredients (API's) Industries in the region.
Dana pharmaceutical company mission : Dana pharmaceutical company with the launch and development of pharmaceutical products and active pharmaceutical ingredients (API's) in accordance with the expectations of the medical community and pharmaceutical, to improve public health and quality of life, is active in domestic and foreign markets.
Daana pharmaceutical company values : Knowledge, Innovation and learning to respect the rights of customers and other stakeholders, joy, motivation, participation and commitment to the environmental health of employees.


IndonesiaTravelVisit.com | Ganjuran Church that was built in 1927 is not just a place to contemplate, but it also offers an opportunity to see the global Jesus in local appearance, wearing the Javanese clothes named surjan while listening to gamelan.
Ganjuran Jesus Sacred Heart Church, as its complete name, which is located around 20 kilometers from Yogyakarta can be reached by motorcycle or car. The scenery of the green rice field and pine trees will welcome you upon entering the Ganjuran village where this church is located. Visiting this church, you will know the history of the church, enculturation of Catholic people with local community and finally you will get peacefulness.
The complex of Ganjuran church was built in 1924 with the initiative of two Dutch relatives, namely Joseph Smutzer and Julius Smutzer. This church is one of the buildings built by the two relatives since they managed Gondang Lipura Sugar Factory in the area in 1912. Other buildings they constructed were 12 schools and one clinic as the embryo of Panti Rapih Hospital.
This church that was designed by a Dutch architect J Yh van Oyen is one form of church social spirit (Rerum Navarum) that the two Dutch relatives had, namely the spirit to love others, especially the surrounding community most of them were workers in Gondang Lipuro Sugar Factory who reached its golden time in 1918 - 1930.
In its development, the church complex was completed with the construction of a temple named Jesus Sacred Heart Temple in 1927. The temple with the terrace decorated with lotus flower and the statue of Jesus in Javanese clothes becomes another choice to celebrate holy mass and pilgrimage, in addition to the church offering closeness with Javanese culture.
Walking around the church, you will realize that this building was designed by integrating European, Hindu, and Javanese styles. European style is seen from the shape of the building forming a cross from above view, while Javanese style is seen from the roof forming tajug that is supported by four teakwood pillars, symbolizing four Gospel writers, Matthew, Mark, Luke and John.
Javanese nuance is seen at the alter, sancristi (where instruments for mass celebration are kept), doopvont (water containter for baptizing) and chatevummenen (the place of the teacher of Catholic religion). The statues of Jesus and Mary who is carrying Her son are depicted in Javanese clothes. The reliefs at every stop of the Sacrification Path Jesus is described as having hairs of Hindu monks.
You can take holy water from the left side of the temple. After taking water, you can sit cross-legged in front of the temple and say the prayer. The procession of the celebration is ended by entering the temple and say your prayer in front of Christ statue. Some pilgrims take the water and put it in a bottle then take it home after they pray for it.
If you want to take part in holy mass celebration done in Javanese language with songs accompanied by gamelan, you can come to this church on Thursdays to Sundays at 05:30 a.m., every night of first Friday, each Christmas and on Saturdays at 05:00 p.m. The holy mass is done at the yard of the temple, except daily mass at 05:30 a.m. that is done in the church.
After completing the celebration or pilgrimage, take your time to talk with local people in order to know the history of Ganjuran village where the church is located. In Javanese old history, Ganjuran was part of Alas Mentaok territory named Lipuro. The place was used by Senopati to meditate and was planned to become the center of Mataram kingdom.
The change of the name to Ganjuran itself was related to love story of Ki Ageng Mangir and Rara Pembayun who was exiled by Mataram. The love story of the two person later inspired the creation of the Javanese song: Kala Ganjur, which means human basic binding line in living life together based on love. It was from the name of the song that the name Lipuro of the village changed to Ganjuran.
If you spend time talking with local people, there are many other stories to explore, such as the cancellation of Lipuro to become the center of Mataram Kingdom, the reason for exiling Ki Ageng Mangir and Roro Pembayun and so on.
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Why is only part of my e-Statement printing?
This article will describe why you may be having problems printing your complete statement online.
In the e-Statement system, there are three buttons at the top of the page (next to the top part of the logo) and they are "View", "Print", and "Download".
There is a known issue with the print option that's accessed from the print button mentioned above. We are working on resolving this issue. This issue may or may not affect you. However, please make sure you use the "Print/Save in PDF" button instead if you are experiencing the issues using the other print option.
NOTE: Using the browser's built-in print function without changing it to the printer format would cause only part of the e-Statement to print.
NOTE: If you are using Google Chrome (not a supported browser), you will NOT see the print or save icon for the PDF toolbar because it does not use Adobe Reader as it's default PDF viewer.
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Born in Athens, Greece. He holds degrees of piano accordion (prof. Vassilis Kontogiannis), piano (prof. Nikos Manolikakis & Maria Kanatsouli), music theoretics (harmony, analysis, counterpoint, orchestration, fugue - prof. Nikos Kariotis, Kostas Evangelatos, Kostas Ramos) and two higher diplomas (for piano and composition) from Greece (from the "National" & the "Hellenic" Conservatories, prof. Maria Kanatsouli & Nikos Kariotis), and he has studied piano (perfection studies) in Ferenc Liszt music Academy in Hungary (prof. András Kemenes).
"GINA BACHAUER 2014" award, for his work as director/manager of ΑΝ ΑRT ARTISTRY, by the "Gina Bachauer International Music Association", for the quality and originality of his many actions and activities.
Third prize in the 1st national composition competition for choral music for his work "Christmas" (Municipal Conservatory of Katerini, 11/2008).
First prize in the 19th National Piano Competition (H.O.N. - category for qualified pianists, 2004).
First prize in the 9th National Choir Competition (H.ON 5/1999).
Award of outstanding performance and diligence (Vasilis Kontogiannis accordion class, 1993).
Honorary diploma of "member Emeritus", for his the support, cooperation and active role as part of juries in piano and composition National competitions of H.O.N. (Young Choir & Orchestra, 2/5/2014).
One year scholarship for piano courses (Conservatory Tigkerman, 2004).
Honorary Distinction for participation in a concert (Conservatory Mary Kontogianni 1998).
One year scholarship for piano - accordion courses (Vasilis Kontogiannis accordion class, 1993).
Reference to the book "The art of teacher pianist" by Maria Michalopoulou (editions "Kalitexnimata"), in the section on Greek piano school (pages 103 - 104).
Official report - reference on the World Social Forum "Dialogue of Civilizations" (Rhodes Forum 2009 - Cultural panel, about my compositions).


Hear 100% of your music, the way it was intended to be enjoyed -- in stereo -- with the Yuni!
The Yuni (developed and distributed by the Glassophonic audio technology company) is the world's first true single-sided stereo headphone! It was designed for listeners with unilateral/single-sided deafness or hearing loss, and also those who need to keep one ear open while listening to music but still want to enjoy stereo sound.
The Yuni uses a revolutionary system of vertical stereo-spacing (patent-pending), which places one transducer (i.e., speaker) above the user's ear opening and the other below the ear opening. This technology results in the user's ability to hear 100% of their audio, distinguish between the two stereo channels with a single ear, and hear stereo panning, when the sound moves back and forth between the two channels. More information can be found here or on our Kickstarter page. (The Kickstarter campaign ran from April 17th to May 17th, 2013. The information is still available on that page, but if you want to order a Yuni, you can now do so here).
If you're interested in the Yuni, join our mailing list so we can let you know what's new with us!


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Elon Musk says Tesla will 'probably' offer solar roofs on future cars
Cadie Thompson
You may some day be able to get a solar roof on your Tesla.
On Friday, CEO Elon Musk tweeted that the company would likely begin to include solar roofs as an option for its cars. Musk didn't share a specific timeline of when to expect the feature, but he did say in a follow-up tweet that it wouldn't be too expensive.
—Elon Musk (@elonmusk) November 4, 2016
Musk has been hinting at the possibility of Tesla building cars with solar roofs for some time.
After the unveiling of Tesla's solar glass shingles last Friday, Musk tweeted that the same glass technology could be used on the roof of a car to act as a defroster. Musk also added that solar glass on a car would be net positive, meaning that it would create more energy than it used to do things like defrost the hood of the vehicle.
—Elon Musk (@elonmusk) October 29, 2016
During a conference call on Tuesday, Musk said that Tesla had formed a new glass technology group and that they were working to develop a special glass for the Model 3, which is Tesla's first mass market car.
The Model 3, as you can see in the picture below, incorporates a lot of glass into the design.
Tesla seems to be moving in this direction in general with the design of its cars.
The Model X has a panoramic glass roof that covers the entire front end of the vehicle. And earlier this week Tesla quietly rolled out a new all-glass roof option for its Model S.
The new glass roof for the Model S doesn't appear to have any special solar functions, but the design change certainly suggests that Tesla is looking to incorporate its solar glass tech into more vehicles.
SEE ALSO: Tesla just launched a new glass roof for the Model S
More: Tesla Tesla Motors Model S Model 3


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The Dying Douglas at the Battle of Langside
Embroidered picture 'Mary Queen of Scots mourning over the dying Douglas at the Battle of Langside', England, c. 1870. Copyright Victoria and Albert Museum, London, acc. no. T.8-1927.
The Victoria and Albert Museum in London houses an embroidered picture illustrating 'Mary Queen of Scots mourning the dying Douglas at the Battle of Langside'. The embroidery is based on an oil painting by Charles Landseer (1799-1879). The battle was fought on 13th May 1568, and the defeat of Mary's loyal forces led her to flee from Scotland to England (and to her subsequent imprisonment by Elizabeth I).
The embroidery measures 110 x 154.3 cm. The embroideress of this work was Jane Brumlen (she died in 1909), and she completed this work in c. 1870. It is carried out with coloured woollen threads and is worked in cross stitch.
The Landseer painting was a very popular subject for embroideries. At the 1851 Great Exhibition in London, four embroideries based on the painting were exhibited.
V&A online catalogue (retrieved 2nd November 2016).
Last modified on Wednesday, 24 May 2017 11:17
Published in Secular representations


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I took a good look back at my posts this past year, and after noting I had failed in my new year's resolution to have and do more guest posts, I also noted that I had done only one album review this entire year. This is not a review blog, but just one review seems too few. I found this particularly strange because I tried out Apple's streaming service for 3 months, so I was listening to more new music than I usually do. This year, as in the past several years, I also listened regularly to NPR's Sound Opinions and All Songs Considered programs to get a handle on new music, so you might think that I would have responded to some of that music here on the blog, also.
In the end, though, I guess I didn't have much to say about a lot of music that came out this year. I do try and set the bar high for myself, meaning that if I have something to say, I better say it well. Also, with some styles of music (such as hip-hop), I don't feel like I have the expertise to really comment on it well.
In this post, I want to make some amends, and a mention is probably better than nothing. Instead of doing a top 10 albums or my biggest disappointments (like the Sounds Opinions annual Turkey Shoot), I'm just going to list some albums I listened to this year, divided into two groups: 1) albums I'm thinking about buying because I mostly enjoyed them, but didn't have a lot to say about them (and obviously weren't so strong that I bought them right away) and 2) albums I'm not thinking about buying, meaning I seriously considered buying them, but ended up taking them off my wishlist after I listened to them. For the second group, I don't think any of them are bad necessarily, but I didn't think they were worth buying, either.
Churches: Every Open Eye - I loved their first album; I was excited by the first single for this album, too, but it was mostly a letdown. I may still buy that single.
The Decemberists: What a Terrible World, What a Beautiful World - I mean, it was okay, but none of the tracks really grabbed me.
Watkins Family Hour - I got excited about this when I saw their tiny desk concert (link), but the songs they did for that turned out to to be the only one good tracks on the album.
Joanna Newsom: Divers - I probably needed more time to get into it, but am not willing to put in that time.
Rhiannon Giddens: Tomorrow is My Turn - My one #TweetReview for the year, which was not a positive one.
Joy Williams: VENUS - Definitely some good tracks, but not as strong as her Civil Wars records.
The best I album I discovered this year was actually Sarah Jarosz's Build Me Up From Bones, which came out in 2013. It was actually an album that Amazon had repeatedly suggested to me until I gave up and listened to it and loved it.
What albums did you buy this year, or were thinking of buying but changed your mind later? Should I rethink any of my album decisions?
Recently, I have felt guilty that I'm not doing more album reviews. After all, I have been doing a free Apple Music trial that will end in a few days and so I have had access to full albums that I probably wouldn't otherwise hear until well after their releases. And I have listened to a lot of new albums, including Watkins Family Hour, Courtney Barnett's Sometimes I Sit and Think, and Sometimes I Just Sit, Carly Rae Jepson's Emotion, Tomorrow is My Turn by Rhiannon Giddens, and Venus by Joy Williams, to name a few. But I haven't felt I had anything that needed to be added to the conversation—for example, I didn't want to jump onto the Ryan Adam's 1989 bandwagon and I feel like other people reviewed Chvrches' new album as well as I could.
One thing that did jump out at me this week is Hamilton. If you haven't heard of it yet, it is a hip-hop musical based on the biography of US founding father Alexander Hamilton (of the $10 bill fame) written by Lin-Manuel Miranda, who also stars as Hamilton. No, this is not a joke. Although this musical has been in the works for six years, under production and workshop since last February, and on Broadway for about two months, I just started hearing about it last week when the entirety of the cast album was streaming on NPR Music's First Listen series. It might still be there this week, as the album doesn't go to stores until October 16. I would suggest at least listening to at least 15–30 minutes to get the idea. The first act, by all accounts, is the better one.
In case you can't listen to the full thing, you can catch a few samples from this short podcast from NPR about why this hip-hop musical actually works. If you can't listen to the podcast, you can certainly read about it; there's no shortage of opinions. Besides the New York Times review, there's a long, pretty involved New Yorker article from when the musical opened for workshop off-Broadway, or an NPR review for when the musical opened on Broadway. Finally, a short article on why presidential candidates should see the musical, also from the New Yorker.
For my part, I listened to the first half of the musical yesterday, and I can say I was generally taken in. I was impressed at how General Washington ("a modern major general") translates into hip-hop bravado and the context of war and at the same time it comments on today's politics and invites us to learn more about what happened 240 years ago. If you dig into the music, there's lots of references to classical hip hop music and musicals. As the NPR podcast suggests, it is not all hip-hop, but a bonafide mix of musical and hip-hop and other styles. But it all works.
Try it out. There's a good chance your children may be putting it on as their high school play in 5 years.
From Flickr, under a creative commons license.
For some reason, in classical music concerts in America, we give a standing ovation at the end of pretty much every concert. This doesn't make sense. I am of the school that a standing ovation should mean something special, but also that musicians shouldn't feel bad when they don't get one. Also, there should be a middle ground between sitting and standing. European audiences have this solved: if they really like the concert, they will start clapping in sync with each other, which has the added effect of being way more interesting for an audience member than just continuing to clap asynchronously.
These Classical concert standing ovations often last for a long time, too, while the conductor or soloists come out and bow 3–4 times. I think hardly anyone (performers or audience) actually likes this. I think that classical music should take a cue from the theater and have one highly-staged bowing event (where the performers take turns bowing, with the soloists bowing last, and then one final group bow or two), and then they are done. If after this bowing event, the audience really doesn't want to stop clapping after a few minutes, that's the time to encore.
Also, at classical music concerts, there is the constant fear that someone will clap in between movements. I'm not sure what to do about that, partially because (believe it or not) during the early 1800s, people often clapped after every movement. In fact, sometimes they clapped hard enough to encore a single movement. Part of me thinks this makes more sense than the current system, but on the other hand, a lot of music in the late 19th and 20th centuries were written without the expectation of clapping between movements.
In most larger-venue popular concerts, we've gotten to the point that the audience expects the performers to do about three more songs as an encore. This annoying practice is so widespread that a few years ago I heard a performer say: "We're getting close to that time in the concert where I leave the stage and then come back on and play a few more songs." Let's have encores be real encores.
I know you are "supposed" to clap to for individual solos, but often we end up covering over the next's person's solo or other music. Couldn't we just wait until the music stops and then clap? Instead, how about some whoops or hollers that don't interrupt the music as much, but still give the soloist some energy?
No, I don't have some unified theory of clapping for music appreciation, though generally I think there should be less of it. In fact, the more I think about the act of clapping (banging hands together to show appreciation for some artistic performance) the weirder it gets.
The highest form of showing appreciation, of course? Paying the musicians. Something that is for the most part happening less.
Theme songs are important for TV—they signal the start of the show and brand it. The theme song can also channel the emotion of the show, both conveying the show designers' emotion and releasing the viewers' stored emotion (if the viewers have formed an emotional attachment to the show). If an American TV show has an opening theme, it is usually the same for all seasons, though in later seasons it may get a rewrite or two. The closing credits are also similar or the same to the opening theme, though not always.
Many recent Japanese Anime, however, operate differently, with a new theme song for every season. Being used to American TV, it was somewhat jarring to get to a second season of a show and hear completely new songs for both the opening and the closing credits. I can see the advantages—one theme song over multiple seasons can get boring, especially if you are watching the shows in a short period of time. Also, new theme songs can shape a different feeling for different seasons, which could be great for a storytelling arc. New materials also lets the show show progression, which is important for TV, where presenting a story over a long time can be a strength.
There are some problems, though. What if the new theme songs just weren't as good as the first ones? This was certainly the case with Fullmetal Alchemist: Brotherhood, a great anime series that I just finished (and would recommend). The first theme songs (with the opening and closing credits) were very good, catchy, and really fit the character of the show. I quickly became attached to these songs, not just because they were well-written, but because I associated them with the new, exciting show. Because they are the first things people associate with a show, the first theme songs are really the most important ones, and when a show chooses to pick a new one, it runs the risk of letting some people down. And I was let down by the second season's theme songs—not because they were necessarily bad, but because that for me, they didn't work as well as the first season's songs.
I can understand why the creators of Fullmetal Alchemist: Brotherhood decided to change the themes every season—it allowed them to create new opening and closing animation sequences that matched more closely what was happening in the show that season. It also allowed them to promote other artists' music, and this practice may be one reason for the still-profitable music industry in Japan.
Once I got used to the idea of new theme songs for each season, I wondered if this idea could be used even better. One could imagine taking this practice to the extreme and having different opening music for every show, but it would be costly and difficult to animate new opening and closes sequences every episode, and you would lose the branding abilities of the music (though the creators of Fullmetal Alchemist: Brotherhood did animate new sequences to the same music to great effect on several occasions). So it seems that a song every season can be a good compromise. One strategy the show's creators employed only once, but could have been used a lot more, is bringing back older themes when the story might call for it. It would be a great way to bring back emotions from earlier in the series, or create needed tension, or foreshadow events. Do you know of any TV shows that have done this?
1st season, end credits ("Uso," by Sid) - An expansive melody that starts with an innocent-sounding pentatonic melody, not unlike the simple attitudes of the brothers. As the theme progresses, thought, it adds a driving rhythm. Also, the best credit images, with a completely different animation style. Seriously, I've had this song stuck in my head for a month.
4th season, end credits ("Shunkan Sentimental" by Scandal) - The initial electric guitar melody tied best into the ends of episodes, add adding an excitement to the end that leaves the viewer believe that the next episode will continue the story in a great way.
1st season, opening credits ("Again," by Yui) - Also has a simple beginning with a child-like voice that breaks into richer and more powerful guitar chords. The quick delivery of the lyrics adds interest and urgency.
2nd season, opening credits ("Hologram" by Nico Touches the Walls) - This is the one piece that was effectively reused in the penultimate episode of the show.
3th season, opening credits - ("Golden Time Lover," by Sukima Switch) - Second-best constructed animated sequence credits, that had the normal snapshots of the season's animation and characters, but also told a story in itself.
Would you have picked a different ranking order? Why?
Has the copyright case against "Blurred Lines" opened a floodgate of bands wanting monetary rewards for supposedly borrowed work? Take for example the case of the band Spirit suing Led Zeppelin over "Stairway to Heaven." Read about it on NPR.
To summarize the NPR article, it takes a lot to prove that one song is stealing from another song. For example, they have to prove that the accused had access to the original song and probably listened to it (this is true in the "Stairway" case). In the end, though, song copyright infringement is really a theoretical question. What are the vital part of a song that makes it unique? Certainly melody, harmony, and rhythm. Yet, while rhythm and melody can be more distinct, many songs have similar harmonies. Also, similar types of melodies (such as arpeggiation) or rhythms are used over and over again. Yet despite the technical nature of the question (and the blurred lines between similar and a copy), it is interesting that expert witnesses or judges often don't make the final decisions, but juries.
But what about fair use? Parts of a copyrighted work can be included in a new work as long as the new work is transformative, meaning that it adds something new, with a different character, expression, meaning or message, or function. Artists recombine little bits of older material all the time. After listening to Spirit's "Taurus," I can only pick out one little guitar lick that is really similar—only part of a phrase. There is a striking similarity, yes, and there is an argument that this phrase has a similar aesthetic function, but the portion is so small and the surrounding music so different that I think there is very strong fair use case here.
"This lawsuit, it's in large part about having to re-educate the public that there was an individual called Randy California, and he was a phenomenal guitarist," Malofiy says. "And part of this is about re-educating the public [about] this relatively unknown song called 'Taurus.'"
First, why is this lawsuit about the public at all? The public doesn't argue the case, but lawyers, judges, juries, and musical experts. I don't think "juries" and "public" are the same thing. Also, now that I've been re-educated about "Taurus," I'm pretty sure that they don't have a case and that this lawsuit is a shameless money-grab.
Actually, "Stairway to Heaven" is so much more engaging than "Taurus," I'm just going to put it right here. Notice that by minute 3, when most pop songs are ending (including "Taurus"), "Stairway" is just getting started—and still leaving you wanting to hear more.
If this does turn into a flood of lawsuits, perhaps the saddest thing is that Marvin Gaye's estate didn't sue Thicke and Williams—it was the other way around. Thicke and Williams issued a pre-emptive lawsuit, which already sounds guilty. Gaye's estate would have probably done nothing by themselves. But we already knew from watching the video that these guys are creeps. At least they inspired one of Weird Al's best songs. Let's hope a failed "Stairway" suit will dam the possible flow.
Continuing last week's theme of why humans developed music, this week I want to highlight a recent post from NPR Music's feature The Good Listener, where Stephan Thompson answers the question: "Can a song really save your life?" Here's the original column.
While many of the comments and responses submitted were about people literally being saved by music, many others were about people allowing music to change their lives. NPR Music's All Songs Considered did a follow-up podcast on The Good Listener post and much of the discussion was about these life changes. Here is the follow-up podcast (9 minutes).
I think my favorite part of the podcast is this quote by Stephen Thompson: "Songs are windows into the perspectives of other people...they're windows into other ways of thinking and that can have a very positive impact on your judgement." In other words, because music allows strong emotions to be attached to words, all packaged in patterns made to be attractive to ears and memorable to brains, songs can really get our attention and cause us to think deeply about concepts. As songs are often written from a first-person perspective, these concepts can easily be directly related to ourselves, allowing introspection that may change our behaviors. If we let them, songs can change our perspective, perhaps more easily than other forms of communication.
Why do humans make music? Some theories.
There's a new theory for why humans make music, at least from the point of view of evolution. In this article, physics and cognition researcher Leonid Perlovsky discusses how he thinks that music helps humans smooth out cognitive dissonance. Two studies are given as examples: in one, children are asked to not play with their second favorite toy and researchers found that the children devalued the toy; however, when the same experiment was performed with music playing, "the toy retained its original value" (having not read the study, I'm not sure how they determined this). The second study asked 15-year-olds to take a multiple choice test and then rate the questions by difficulty; the researchers found that the students took longer on the harder questions (and therefore answered more correctly) when Mozart was playing than with no music.
Now, I think that coming to such a broad conclusion from these two small studies is premature. Neither of these studies has even generalized its own findings. Does the "retaining value" work with other things besides toys? What about other ages? Do student still do better on the hard questions if rock music is being played instead of Mozart? I don't think humans developed Mozart's music to do better on hard tests. What if the teenagers were just distracted enough by the music that it was less painful to work on questions, instead of helping them work out hard problems, and music is just a good universal distraction instead of "unifying the world into a whole" as Perlovsky hyperbolizes?
No, this article really should have headlined neuroscientist Daniel Levitin, who is only mentioned briefly at the end. Levitin did a "meta-analyses of more than 400 neurochemical studies and found that listening to music had a more measurable effect on people's anxiety and cortisol levels than did anti-anxiety drugs…and had a profound effect on social cohesion." Those sound like some generalizable results. The calming influence and becoming part of a group seem like important reasons why human would develop music. I'm certainly open to more good reasons, but I don't think Perlovsky really makes his grand case here with only two small studies.
If you want to read more about music and the brain, take a look at Levintin's book This is Your Brain on Music (2006).
How much do performers earn from this, anyways? From Flikr.
Someone a little unexpected showed up at the South by Southwest music festival a few weeks ago: economist Paul Krugman. He took part in a panel about celebrity economy in music. You can read a recap here.
Krugman's statistic goes hand in hand with Walter Benjamin's essay "The Work of Art in the Age of Mechanical Reproduction" (1936). Basically, Benjamin's argument is that as cheap reproductions of art flourish, what becomes valuable is the original or the authentic. In the case of music, where the original is often considered to be the cheaply-reproducible recording, live performance by the musicians becomes the sought-after authentic substitute. So while the music industry struggles to profit from the artists in this new age of even cheaper and more-widely available mechanical reproduction, the sad lot of the artist hasn't really changed much.
The moral of the story is…if you are going to form a band nowadays, make sure you can play live and you don't mind performing and touring all of the time. Which really isn't new.
1. This article by Linda Holmes about collegiate a cappella and her visit to the International Championship of Collegiate A Cappella in New York. I went to three universities that had big A Cappella scenes and I often wonder why that music has not made it more mainstream; perhaps the genre only works inside the university context.
2. This article by Kat Chow which starts as a review of a new Nickelodeon show called Make It Pop but soon turns to the South Korean government subsidizing the popular music industry. The article also links to a K-pop music video that could have been the sonic model for "Gangnam Style" and also unironically celebrates exactly the type of lifestyle that "Gangnam" mocks.
3. This article about British folk singer and socialist Ewan McColl and his Radio Ballads that were recorded by the BBC in the 50s. The article also features a sound clip from a show, with MacColl singing and Peggy Seeger (his wife) on banjo (You may recall I mentioned McColl in a previous post about a Sting song). P.S. Ewan MacColl was not his real name.
I hope you find something here you might also be interested in, too.
Last Saturday, April 18 was Record Day, which is a big day for some audiophiles, people eschew low-quality digital for high-fidelity analog. Even if vinyl's popularity is growing again, it is still a niche market, as evidenced by this article from NPR's blog the Record—the demand for records is going up, but not enough for anyone to make new record presses. As for myself, I do own several records, but I don't actually have any turntables—so it certainly isn't for the sound. I like my convenient digital music, though I do sometimes get annoyed at sound quality.
Saturday, Homestar Runner (now a YouTube channel) put out a great parody of those audiophile-types searching for the limited edition whichever on Record Day. One thing I love about the Brothers Chaps is that they are good musicians and do an excellent job imitating yet still making fun of music genres with the music, especially with their 80's hair-band Limozeen. In this video, they take the role of Sloshy, their indie band. I think my favorite part (besides the "Japan-only import," which is funny because it is true) is when they talk about music during the bridge. Enjoy the meta!


text:
U.N. calls for release of ex-aide to Egypt's Mursi, son jailed since 2013
Stephanie Nebehay ,
FILE PHOTO: Essam Al-Haddad waves with the Rabaa sign during his trial with other leaders of the Muslim Brotherhood on charges of spying and terrorism at a court in the police academy on the outskirts of Cairo
By Stephanie Nebehay
GENEVA (Reuters) - An Egyptian Islamist father and his son have been detained unlawfully since 2013 part of the political persecution of ex-aides to deposed president Mohamed Mursi, and should be freed immediately and compensated, U.N. human rights experts said.
The U.N. Working Group on Arbitrary Detention posted its findings last week after examining the cases of former Mursi adviser Essam al-Haddad and his son Gihad. The panel said that Egyptian authorities had not responded to its inquiries.
Abdel Fattah al-Sisi, the former army chief-turned-president, overthrew Mursi, the first democratically elected head of state in Egypt's modern history, in July 2013 and cracked down on the Muslim Brotherhood and its supporters.
A Cairo court overturned life sentences for espionage against Essam and Gihad in 2016. After retrials this year, both were acquitted in September, but Essam was sentenced to 10 years for membership in an illegal group, while Gihad was immediately charged with the same crime and remains in custody, according to a support group's statement.
The Haddad cases "appear to fit the pattern of systematic, widespread and grave violations of fundamental human rights directed against the senior figures of the ousted government of Mohamed Mursi and their real or perceived fellow supporters," the U.N. panel said in an opinion.
Their "deprivation of liberty is arbitrary," it said, calling on Egyptian authorities to report back in six months on compliance with its findings, and adding: "Their trials should never have taken place."
The panel said that prosecuting the pair under the anti-terrorism law for membership in the Brotherhood - which was banned in September 2013 and then designated as a terrorist group - did "not meet the principle of legality" as they were arrested prior.
Sisi, first elected president in 2014 and subsequently re-elected, says there are no political prisoners in Egypt. His supporters say the crackdown on dissent was necessary to stabilize Egypt after its 2011 uprising.
The father, and son, a former Brotherhood spokesman, have been held in indefinite solitary confinement since their arrest and denied medical care, according to the case brought for the family by Juan Mendez, a former U.N. torture investigator.
Children of high-profile Egyptian Islamists detained in the same prison as Mursi before his sudden death in June this year have voiced fears for their parents' health.
Egyptian officials have previously denied mistreating prisoners or neglecting their health.
(Additional reporting by Amina Ismail in Cairo; Writing by Stephanie Nebehay; Editing by Mark Heinrich)