text:
October 29, 2016 | By Antara Nanda Mondal
S D Burman used his solid grounding in classical music and his wide exposure to folk music most effectively to create compositions that broke traditions and became hugely popular with the mass audience. His style of singing and quality of voice was his own, unique and unmatched. "Such is the youthfulness of his tunes that he seems a live presence even today. Age-wise, he may have belonged to the first generation composers but his tunes have a contemporariness that puts him ahead of the fourth generation."
Rare picture of S D Burman refined from an autographed picture "With love Shachin" in Sachin Dev Burman 'Smriti Samaroh' Smarika (Hindi journal)
"Wahaan kaun hai tera, musafir… jayega kahaan…"
When you hear the inimitable S D Burman sing this song in his unique, rustic style, you can't help get carried away into a world far beyond the humdrum of everyday life, a world of your own, pensive, thoughtful, evocative…
This 'musafir' from the north-eastern state of Tripura, fondly called Burman Dada, who made music his love, his being and his identity may not have imagined that 40 years since he passed away, his music will continue to rule the hearts of hundreds of thousands of music lovers.
What makes Burman Dada's music stand the test of time? What gives it that everlasting appeal? What makes music lovers turn back to him wanting more? What gives his music a signature that is unmistakably his?
Roots and Heritage
"He was one of the music greats of our country, his thinking and creativity was unique. The range of music he gave from Bandini to Pyaasa to Guide, he was amazing at everything. His melodies had a different appeal," sarod maestro Ustad Amjad Ali Khan had said at the launch of the book Sun Mere Bandhu Re. "One of the best things about him was that he brought folk music in film tunes."
Born in Kumilla, Tripura (now in Bangladesh) on 1st of October 1906, to the royal family of Tripura, S D Burman went through rigorous training in classical music under his father Nabadweepchandra Dev Burman who was his first guru. He then learned the intricacies of Indian classical music from the then legendary musicians including K C Dey, Ustad Badal Khan, Ustad Allauddin Khan and Bishmadev Chatterji.
"To Sachin Kumar, music was his first love. As a prince of the royal family, he obviously grew up in style. And there were rules set for the members of the royal family which forbid free movement. Sachin Kumar disobeyed these as he wanted to be with the common people. This became an issue for the royal family.
In 1920, Sachin Kumar passed the matriculation examination. He was then 14 years of age. Though widely acknowledged as a good student, school life was however, not much fun. Arithmetic and grammar gave him headaches. It was time to go to college for intermediate studies. He made a faint appeal to go to Calcutta. But Nabadwip wanted him in Comilla. Sachin Kumar had some fascination for literature and so he took Arts at Comilla Victoria College. He had little time for studies though! He moved from village to village, sailed from one river to the other, skipping classes… all to collect folk songs; and during the days at home he would sit by the lake or river with his flute.
"Chhoto Karta, it's time to go." The young man with the flute knew it was Madhav. The sun had just set and the rays cast a spellbinding effect on the Ranidighi lake. There was no reaction in Chhoto Karta. He continued with the flute. This was the Tiperra flute made out of bamboo, which is no longer seen these days. Sachin Kumar was immersed in his world of music. This was a common sight also by the bank of the river Gumti or the Dharmasagar lake, writes researcher Pannalal Roy of Sachin Dev Burman's early days."
~ Incomparable Sachin Dev Burman – by HQ Chowdhury
Incomparable Sachin Dev Burman by HQ Chowdhury
SPECIAL PRICE: Rs. 399 only
Amazon India | Flipkart | Blue Pencil Web Store
I was bent towards folk music, simultaneously with classical music. Madhab was an old hand in our family. He used to sing Ramayana for us on Sunday afternoons after lunch. His simple rhythmic style used to make me ecstatic! There were no stunts and he used to sing effortlessly. Bauls, Bhatiyali singers, Fakhirs, Baishnabs, singers of Lord Shiba and Goddess Kali, and similar folk singers used to come to our house regularly. Their singing enthralled me…" – S D Burman in his autobiography, Sargamer Nikhad
S D Burman, V. Balsara, Bhupinder Singh and Kishore Kumar
Sachin Dev Burman (S D Burman) first shot into reckoning as radio singer composer in Calcutta Radio Station. With a mix of Bengali folk and light Hindustani classical music, S D Burman's compositions and song renditions created a unique niche, enjoying raging popularity with both the connoisseurs and the mass audience. His inimitable Bengali Thumri (Ami chhinu eka basaro jagaye) impressed everyone from Gurudev Rabindranath Tagore to Vijayalakshmi Pandit, from K L Saigal to Ustad Abdul Karim Khan of Kirana Gharana.
Fondly known as 'Sachin Karta' in his native Bengal and Tripura and as Burman Dada or Sachinda or simply SD in Bombay, S D Burman used his solid grounding in classical music and his wide exposure to folk music most effectively to create compositions that broke traditions and became hugely popular with the mass audience. His style of singing and quality of voice was his own, unique and unmatched.
Mera sundar sapna beet gaya – Do Bhai (1947)
Storming the West
With more than 132 Bengali songs sung with the illustrious Bengali musicians and poets and compositions for several popular Bengali plays and films under his belt, S D Burman moved west to storm the highly competitive portals of Hindi film music. There was no looking back.
"Her (Geeta Dutt's) collaboration with SD Burman in films such as Do Bhai, Baazi, Pyaasa and Kaagaz Ke Phool remain at a special pedestal and encompass all the possible genres and emotions in music." (Pic courtesy: Internet)
S D Burman introduced a unique sweetness into film music, creating compositions that perfectly expressed the situations they were made for. He started making music that created moods.
The singer-composer, who had scaled the peaks of fame in Calcutta, hit stardom in Bombay with Do Bhai (1947), although he had done quite a few notable Hindi films before that. Do Bhai's iconic Mera sundar sapna beet gaya made history, catapulting both the composer and the singer Geeta Roy (Dutt) into the national limelight.
As Punita Bhatt wrote in an article, "S. D. Burman composed music for exactly 89 films, adding up to a total of 689 songs. It is said that SD Burman had the highest hit songs as compared to others. This much can be said without hesitation: S. D.'s music never grated or jarred the sensibilities. How many music directors today can make even this claim? At his best, Burman's compositions were uncluttered little masterpieces in which singer and melody became partners to beguile the ear."
Yeh raat yeh chaandni phir kahaan – Jaal (1952)
SD Burman's Choice of Voice
S D Burman's uncanny ability to choose the right voice for each song lifted the song to the level of a perfect song in all aspects. Not surprisingly, he was instrumental in discovering, honing, nurturing and mentoring talents who went on to become legends in their own right. Says Moti Lalwani, whose dedicated and steadfast research into S D Burman's life and works and massive collection of rare archival material has been the backbone of many articles and a book on the music maestro's life Sathya Saran's Sun Mere Bandhu Re, "Hemant Kumar's 1st Hindi song, Asha Bhosle's 1st cabaret song, Lata's 1st cabaret song, Kishore's 1st few lines in Hindi films, Manna Dey's 1st successful Hindi song, Anuradha Paudwal's first few lines (Shiv shlok) in films when she was a housewife bringing lunch for husband Arun who was SDB assistant, Danny Denzogpa's 1st Hindi song, Bhupinder's 1st words (Oh Shaaloo…!) in Jewel Thief, Meena Kapoor's 1st released song, all by SDB."
Dev Anand, Dada Burman and Mohd Rafi
S D Burman knew which voice would fit which song, which instruments would capture the mood of the song perfectly, which situation demanded what kind of music… simply put, he knew the pulse of the audience. From path-breaking club songs Tadbeer se bigdi hui in Baazi (1951) to the best adaptation of the Bengali kirtan in Hindi Aaj sajan mohe ang lagaa lo in Pyaasa (1957), he used the dulcet voice of Geeta Dutt to traverse the entire spectrum of film music.
From the passionate romantic beckoning of Hemant Kumar's Yeh raat yeh chandni phir kahaan (Jaal, 1952) to the fun and frothy Kishore Kumar in Mere sapnon ki rani kab aayegi tu in Aradhana (1969); from fully exploiting Geeta Dutt's Bhaav-gayaki in the immortal Waqt ne kiya kya haseen sitam in Kaagaz Ke Phool (1959) to Lata Mangeshkar's classical Piya tose naina laage re in Guide (1965); from Asha Bhosle's melancholic yearning in Kaali ghata chhaye mora jiya tarsaaye in Sujata (1959) to Rafi's intense Dekhi zamaane ki yaari in Kaagaz Ke Phool in the same year, S D Burman's impeccable choice of voice made these songs become the benchmarks of Hindi film music. "Her (Geeta Dutt's) collaboration with SD Burman in films such as Do Bhai, Baazi, Pyaasa and Kaagaz Ke Phool remain at a special pedestal and encompass all the possible genres and emotions in music," says AK, the writer on music in his article Geeta Dutt's best songs by SD Burman.
Piya tose naina laage re ~ Lata Mangeshkar
S D Burman had the uncanny knack to simplify complex compositions into hummable super hit numbers that topped the charts. For instance, for Hai apna dil to awara in Solva Saal, S D Burman insisted on Hemant Kumar to playback for Dev Anand much to the chagrin of director Raj Khosla who wanted to sing it himself! (Raj Khosla also wanted to sing 'Yeh raat yeh chandini' in Jaal.) The song topped the '58 Binaca Geetmala charts, after staying there for almost a year irrespective of the fact that the film did not do well at the box-office. Music lovers still marvel at the innovative orchestration in this song, especially the use of the harmonica played by RD Burman.
Says Moti Lalwani, "He used minimum instruments to achieve maximum sweetness in his songs. For background music/climax music, where music directors used 50 to 75 to 100 musicians, Dada used only one instrument at least twice I know of, in Kala Pani (1958) and in Bandini (1963)."
Hai apna dil to awara – Sohlva Saal (1958)
The ghazal in a form like never before
The chart-busting Tadbeer se bigdi hui taqdeer bana le in Guru Dutt's directorial debut Baazi (1951) had S D Burman turning a ghazal by Sahir Ludhianvi into a sensual club song much to the chagrin of the famed lyricist-poet. However, the ploy worked as Baazi proved a hit on the strength of that song alone. For the young singer Geeta Roy, the song was the turning point where "Geeta Roy's vivacity was matched every inch by Geeta Bali on-screen".
Geeta Dutt's 'Tadbeer se bigdi hui' became one of the most popular club songs ever, picturised on Geeta Bali and Dev Anand in Baazi
Says Manek Premchand, author of Romancing the Song and several other popular books on music and cinema, "Sadly for me, Dada Burman passed away much before I got the feeling I must examine him from close range. His style of planning, rehearsing, state of finickiness…or want of it. For here was a man who completely lived on another planet…one inhabited by instruments and tunes. It is becoming more and more clear to me with the passage of time, that all Dada wanted was some words and some voice to project his music forward. He created a very unique mood with his tunes, regardless of whether he was composing for a ghazal or nazm, rejecting set ideas of how they should be tuned and rendered. Even most film composers did not risk things here. But Dada Burman? He was perhaps saying, "Read my lips", which is a nice way to say, "Let me do it my way". It is for this reason that he composed ghazals so differently, sometimes tinged with humour too. This one from Funtoosh is an example. A dashing Dev Anand, snubbing a wannabe boyfriend to the ravishing Sheila Ramani, and I wonder if Sahir did not die smiling about his poetry here! Consider the song's calmness, when melody was Queen–nay Goddess! Consider the divinity in Kishore and Asha's vocals too. But don't forget to notice the "haiya ho, haiya". What a ghazal!
Aankh jhukakar baithne waale (Funtoosh, 1956) SD Burman / Sahir Ludhianvi / Kishore Kumar and Asha Bhosle
The grooming of Kishore Kumar
When Kishore Kumar was struggling to find a foothold as a singer in Bombay, his only anchor was S D Burman's steadfast faith in giving this great talent the right opportunities starting with Pyar (1950) and Bahaar (1951). Jeevan ke safar mein raahi in Munimji (1955) was one of the first super hits of the duo. Kishore Kumar was a force to reckon with in the fifties as the voice of Dev Anand. But it was with Burman Dada's Aradhana (1969) that Kishore Kumar shot ahead of other singers.
Kishore Kumar had a knack and expertise in delivering songs in a way that they sounded like no other singer could perform the song that way, as if these songs were created for him only. As Amit Kumar had explained in an interview to Peeyush Sharma, "Yes, that was Baba's biggest quality. He would sing it in a way that it always appeared as if it was made for him only." Amit said this technique was also taught by SD Burman. The senior Burman used to emphasise that you must sound unique and different, so adopt the song in a way as if it is your own and shape it, mould it, deliver it in your unique style. That is what will leave a lasting impression. "This advice Baba followed all through his career. He became a champion at it, a master of this craft," said Amit.
The tall and lean S D Burman with wife Meera, son Rahul Dev Burman and singer Asha Bhosle
When Rafi's soft and introspective beginning reached a high-pitched crescendo in Yeh duniya agar mil bhi jaaye to kya hai (Pyaasa), the world sat up amazed. With Sahir's evocative lyrics and Guru Dutt's direction, this song composed so sensitively by S D Burman became a proverbial lament on the futility of the material world.
As Majrooh Sultanpuri had remarked in an interview to Peeyush Sharma, "Rafi would rehearse and train with him (SD Burman) for hours. He used to say, he (Dada) is a University of music. Whatever you learn here proves to be very useful in every recording. He used to respect Dada a lot. Dada also was very fond of Rafi." Read this interesting incident about how SD Burman had trained Rafi to soften his voice for the Pyaasa songs.
When Asha Bhosle's voice swung in "masti" along with the notes to capture the delight in Deewana mastana hua dil, jaane kahaan hoke bahaar aayi (Bambai Ka Babu), listeners could not help smiling and humming along.
When Manna Dey's classical expertise made the complex Raag Ahir Bhairav sound easy in Poochho na kaise maine rain bitai (Meri Soorat Teri Aankhen), one could not help marveling at S D Burman's expertise in bringing the elite classical to the mass audience.
Yeh duniya agar mil bhi jaye to kya hai – Pyaasa (1957)
Seamless Transition from Bangla to Hindi
S D Burman, Lata Mangeshkar and R D Burman rehearsing a song.
S D Burman's hugely successful compositions in Bengali non-film music became chart toppers in Hindi as well. Can we ever get enough of Jaane kya tune kahi (Pyaasa), adapted from S D Burman's superhit Bengali non-film song in his own voice Mono dilo na bodhu that was a best-seller? "SD Burman's voice is so unique that the two versions impact the listener in completely different ways," writes AK, the writer on music who blogs at Songs of Yore. He adds, "Down the internet era, I stumbled upon the largest treasure trove of SD Burman – his Bengali songs numbering over 130 (132 actually), about 35 of which were adapted in Hindi, mostly by SD Burman himself in different voices – Rafi, Lata Mangeshkar, Manna Dey, Geeta Dutt, etc for films. A few were also adapted by other composers. SD Burman himself sang some of these Hindi adaptations in films as well as non-films. Most of these songs have achieved everlasting popularity, without the listeners becoming aware of their original source… That still leaves about 95 Bengali songs which to my knowledge have no Hindi versions. Therefore, I term them as pure Bengali songs. It is Bengali folk, which was the soul of his music. This is what he had absorbed in his childhood, and this was his natural habitat."
There are several such shining examples of a seamless transition from Bengali musical traditions to something that has a pan-Indian appeal. Hence, Shono go dokhino hawa composed in the Bangla 'tappa' style became the romantic Khai hai re humne kasam in Talaash (1969); Rongila rongila rongila re turned into Aan milo aan milo Shyam sanwre in Devdas (1955); Ke jash re written by Mira Dev Burman transformed into Sun ri pawan purwaiya from Anurag (1972) and the classical Alo chhaya dola was adapted into the racy yet complex Pawan diwani from Dr Vidya (1962).
Says Moti Lalwani, "He brought in folk in film songs, and simplified classical to fit in films. He changed with times so that his music didn't become dated. Dada's music was not such that if you have listened to it once, you have listened to it always."
This ability to create everlasting music that would cut across generations of music lovers came from an endearing persona of S D Burman, which was at the same time mature as well as childish, rustic as well as urbane.
Khai hai re humne kasam – Talaash (1969)
The Master of the Situation Song
Perhaps no other composer could fully capture the "mood" of the situation through music as Burman Dada could. The way S D Burman weaved music into the words, the music was powerful enough to create graphic images in your mind even if you are not watching the scene. Listen to 'Baajoo…. Babu, samjho ishaare' and you can picturise the three harum-scarum brothers in the madly driven jalopy of Chalti Ka Naam Gaadi.
When Hemant Kumar's deep baritone sings 'Jaane woh kaise log thhe jinke pyaar ko pyaar mila' (Pyaasa), Sahir's words make you drop everything and get immersed in the angst of the failed lover. The pathos of the bidaai (a bride's departure from her parents' home) is perfectly expressed in Mukesh's heart-wrenching Chal ri sajni ab kya soche (Bambai Ka Babu).
Baajoo…. Babu, samjho ishaare – Chalti Ka Naam Gaadi (1958)
"This ability to compose what the film needed and not get identified with one kind of music (such as Naushad's classical image or Madan Mohan's ghazal fascination) was what made SD the only composer in Bollywood who was much sought after right till his death. Had SD lived longer, son RD would have faced the predicament of competing with his father for the top slot," writes Ganesh Anantharaman in his book Bollywood Melodies: A History of the Hindi Film Song.
A brilliant example of a romantic duet which is actually a musical conversation is Chupke se mile pyaase pyaase (Manzil, 1960). On the face of it, it's a duet. But it has parts where each singer sings his/her own tune separately and yet together, two parallel tracks that never submerge the other, never overshadow. Simply put, it's a game in music in perfect harmony and sublime love.
Read a full analysis of this delightful experimentation:
The Tender Musical Tête-à-tête in Chupke Se Mile (Genius of SD Burman)
The Music Makers – Naushad, SD Burman, Jaikishan and Madan Mohan
Listen to 'O re maajhi' (Bandini) and the moving, intrinsically folk music in Burman Dada's inimitable voice perfectly captures the agony of a woman who is pleading to a majhi (boatman) to help her cross the river to meet her beloved, providing the most defining climax of this Bimal Roy classic.
If Sa-re-ga-ma, ma-sa-re-ga (Chupke Chupke, 1975) makes you giggle, Aaye tum yaad mujhe (Mili, 1975) transports you to a world of love and longing. The evocative Tum na jaane kis jahaan mein kho gaye (Sazaa, 1951), the mischievous Haal kaisa hai janaab ka (Chalti Ka Naam Gaadi), the passionate Roop tera mastana (Aradhana), the soulful Piya bina piya bina (Abhimaan, 1973), the romantic Na tum humein jaano (Baat Ek Raat Ki, 1962) or the ultimate nok-jhonk of lovers in Achchha ji main haari (Kala Pani, 1958) – each song sketches the scene visually through the music, the orchestration and the interlude.
Achchha ji main haari – Kala Pani (1958)
Honthon pe aisi baat… The Perfect Music for a Royal Heist
Says Lata Jagtiani, the author of several books including O.P. Nayyar King of Melody, "A composer par excellence, SD Burman sometimes leaves me electrified with his stunning compositions. This song from Jewel Thief, incidentally the film most identified with Dev's checked hat, is not only a masterpiece in percussion, in dancing, in costumes, direction, etc, its a veritable feast for headgear!"
Dev Anand plays an unusual instrument in Hoton pe aisi baat
"Lata Mangeshkar is simply brilliant and suits a distraught Vyjyantimala to a T. The lyrics by Majrooh talk about secrets both from Vyjyantimala and also from a terse Dev who beats a percussion I have never seen before. Such drama, such a high-point in a film!"
"But what takes the cake by far, is the brilliant orchestration! I have been enthralled by this song and its interludes, its heavy sense of drama conveyed by strategically utilised instruments, sometimes its the guitar, most times its the percussion, tambourine, you name it! This is an amazing song from Jewel Thief. "
"It's hats off to SDB! Real magic, a cinematic high-point, a song of a crisis where things are said and not said and yet understood fully…a heist is about to take place, the victims are the king and Viju….take it away SDB! An aural, visual treat, Honthon pe aisi baat main daabake chali aayi!"
Honthon pe aisi baat main daabake chali aayi (Jewel Thief , 1967) SD Burman / Majrooh Sultanpuri / Lata Mangeshkar and Bhupendra. This song uses a medley of instruments, something SD Burman would use only and only if the situation demanded it. Dev Anand plays an unusual drum too.
"Agar yun kaha jaaye, ki sangeet hi Sachinda ka poora jeevan tha, to galat na hoga. Jaagte, sote, uth-te, baith-te, sair karte hue, yaan football match dekhte hue, unka tan-man kewal sangeet hi mein mast rehta.
Unka sangeet samarpan itna gehra tha, ki sachmuch hum sab ke liye seekhne ki baat thi." – Lata Mangeshkar on Dada Burman
Creating the Best for the Best
Lata rehearsing for Dada Burman
If we list the best songs of the most well-known lyricists of Indian film music, every list is sure to include songs composed by S D Burman:
* Majrooh Sultanpuri (20 films including Abhimaan, Sujata, Phagun, Jewel Thief, Baat Ek Raat Ki, Nau Do Gyaarah, Paying Guest)
* Sahir Ludhianvi (18 films including Pyaasa, Taxi Driver, House No. 44, Munimji, Baazi)
* Shailendra (Bandini, Meri Surat Teri Aankhen, Guide, Kala Bazar, Insaan Jaag Utha)
* Gulzar got his first big break with Bandini's Mora gora ang lai le sung by Lata Mangeshkar.
* Aradhana and Chupke Chupke are among the best films of Anand Bakshi.
* Lyricist Yogesh Gaur, who wrote the lyrics of Us Paar and Mili for Dada Burman remembered in an interview with Moti Lalwani that while R D Burman was composing the music for Basu Chatterji's Shaukeen, the ace filmmaker told RD to specifically pick his father's own song Nitol paye rinik jhinik payel khani baje for the music of Jab bhi koi kangana bole. The song sung by Kishore Kumar became a hit.
Legends All – At the S. D. Burman nite in 1967, with Mukesh, Majrooh Sultanpuri, Talat Mahmood, S.D Burman, Lata Mangeshkar, Nargis, Mohd Rafi and Manna Dey
(Pic courtesy: Madanmohan.in)
Says Sangeeta Gupta, daughter of the legendary music director Madan Mohan, "In 1967, the first major S.D. Burman Nite was held at Shanmukhananda Hall, which I attended and met RD Burman for the first time. Madanji and Nargis were privileged to be the comperes for the evening. This evening also saw the coming together again of Lataji and Mohd. Rafi Saab on stage singing Dil pukare, aa re, aa re, aa re from Jewel Thief, after a gap of a few years when they were not singing together due to a difference of views."
Wahah kaun hai tera musafir jayega kahan(Guide, 1965)
The Timeless Magic of SD Burman
The music that is intrinsic to the Indian psyche, the music that belongs to the masses, the music that is deeply rooted in the ethnic, folk and traditional culture of India, the music that cuts across generations in its appeal and connect – S D Burman picked that rich heritage and brought it into the national arena. Ganesh Ananthraman aptly summarises the timeless magic of S D Burman in Bollywood Melodies: A History of the Hindi Film Song, "Such is the youthfulness of his tunes that he seems a live presence even today. Age-wise, he may have belonged to the first generation composers but his tunes have a contemporariness that puts him ahead of the fourth generation. SD composed Meet na mila re man ka when he was all of 67 years old!" Today, nearly forty years after he passed away, the music of S D Burman continues to be remembered, loved, hummed and serve as a source of inspiration to the young generation of melody makers and singers.
– Book extract is courtesy HQ Chowdhury
– Reference material used in this article is courtesy Moti Lalwani
– Pictures used in this article are courtesy sdburman.net, S D Burman (Sachin Dev Burman Fan Club) and Internet
(This article was first published in Learning and Creativity. This is an updated and revised version.)
The Genius of SD Burman: Silhouette Exclusive October Special Features
Pioneering Experiments that Became Trends: SD Burman and His Experiments (Part-I) – By Moti Lalwani
Evergreen Hits of Dev Anand-Hemant Kumar – By Peeyush Sharma and Antara
'Deewana Mastana Hua Dil' – Mesmerizing Music of SD Burman-Majrooh (Oct 1 Anniversary Special) – By Peeyush Sharma
The Tender Musical Tête-à-tête in Chupke Se Mile (Genius of SD Burman) – By Anand Desai and Antara
When Kishore Protested and SD Burman Persisted: The Making of Dukhi Man Mere – By Peeyush Sharma
Antara Nanda Mondal (81 Posts)
Editor in Chief, Learning and Creativity; Consulting Editor, Silhouette Magazine. A former business journalist, Antara writes extensively on the changing trends of music, direction and filmmaking in cinema. Her articles aim to provide well-researched information on the legends of cinema for the movie and music enthusiast. She is also the Founder-Editor of Blue Pencil, a New Delhi-based publishing house. She edited and published Incomparable Sachin Dev Burman, the biography of SD Burman written by HQ Chowdhury. She has co-authored a chapter on Hemant Kumar's Bengali music in the acclaimed book The Unforgettable Music of Hemant Kumar, written by Manek Premchand. Her articles have also been published in Dearcinema.com and Du-kool.com. Antara is Editor-Creative Director of Wisitech InfoSolutions Pvt. Ltd.
All Posts of Antara Nanda Mondal
Rahe Na Rahe Hum: 'Mahanayika' Suchitra Sen's Aura Lingers On…
Waqt Ne Kiya – The Introspective Songs of Kaifi Azmi
OP Nayyar — Music Alchemist
The Spontaneity of Nutan That Rose Above 'Acting'
4 thoughts on "The Incomparable Music Of S D Burman Transcends Generations"
Moti Lalwani October 29, 2016 at 7:34 pm
A massive article with so much of detail, requires justice to be done by a laidback reading. In the first reading I simply loved it, now to read it again at leisure to enjoy it to the full.
Congratulations on this superb article during Sachinda's birth month. It's a great, great treatise on the music of Sachinda. Thanks.
Sriram S April 14, 2017 at 8:00 pm
Antaraji, I have read this article several times and I am surprised that why I have not provided a feedback on this excellent article written by you.
I live and Breathe Dada Burman music. This is a very well written article on the greatest film music composer of India.
Dada Burman's music was very well explained by an interview with Anand of Anand Milind (Thank you Mr Lalwani)
Every song of every movie of his sounds so different. How different Mukhda and Antara sounds and yet merges so beautifully
Moti Lalwani April 18, 2017 at 6:00 pm
S. Sriram,
Thanks for appreciating the interview of Music Director Anand of Anand-Milind team.
As you are a diehard fan of S. D. Burman I suggest that you see all the other videos uploaded by me on the YouTube, in case you have not already seen. Thanks.
Antara April 18, 2017 at 9:01 pm
Thank you Sriram,
You have summed it up beautifully. Dada Burman's music has outlived trends and times, technologies and socio-cultural changes. It is just as evergreen as it was more than half a century ago.
Thanks for the generous appreciation. I enjoyed writing this piece thoroughly every moment… Delighted you liked it.
Please do view the other interviews of Moti Lalwani ji. They are most enlightening about the various aspects of Dada Burman's work and personality.
Tags: Asha Bhosle, Dev Anand, Geeta Dutt, Hemant Kumar, Lata Mangeshkar, madan mohan, madhubala, Majrooh Sultanpuri, Mohd Rafi, Moti Lalwani, nutan, S D Burman, Sahir Ludhianvi, Suchitra Sen


text:
Haliburton, Kawartha, Pine Ridge District Health Unit unanimously appoints new leadership
Provincially appointed representative David Marshall and newly elected Port Hope Mayor Olena Hankivsky acclaimed to chair and vice-chair posts
Set Kawartha Lakes as My Local news
By Catherine WhitnallReporter
Fri., Jan. 20, 2023timer2 min. read
David Marshall is back at the head of the health unit board table.
Having served as the Haliburton, Kawartha, Pine Ridge District Health Unit's interim board chairperson during last year's municipal election, Marshall was acclaimed to the seat officially during the board's monthly meeting Thursday, Jan. 19.
Marshall was appointed to the board by the province in 2021.
A seasoned business executive, Marshall brings considerable global and North American experience in all facets of human resources.
Currently serving as the vice-president of human resources and corporate services of NeatBee Home Services Inc. in Oshawa, Marshall spent seven years as the executive director of human resources and labour relations at the Great Blue Heron Casino in Port Perry.
"Strengthening partnerships with local community agencies and municipalities will be a focus for the board of health this term," stated Marshall. "We will work together to increase the awareness of the role of public health and the programs and services provided within the HKPR district areas, so we can work together to improve the health of our communities."
The board also appointed recently elected Port Hope Mayor Olena Hankivsky as vice-chair. Hankivsky represents Northumberland County on the board.
During the meeting, the health unit welcomed returning members Bob Crate (Northumberland County) and Tracy Richardson (City of Kawartha Lakes) as well as newly elected representatives John Logel (Northumberland County) and Mike Perry (City of Kawartha Lakes). A representative from Haliburton County will be announced shortly. Members will serve on the board until 2026.
The board of ensures that the health unit's strategic, business and operational plans, policies and activities are consistent with the Ministry of Health's policy directions as communicated by the Minister of Health. On behalf of the board, medical officer of health Dr. Natalie Bocking manages the delivery of public health programs and services in agreement with the mission, vision and values of the health unit.
"With the support and leadership of our board of health, we remain committed to addressing health inequities, focusing on client-centred approach to program and service accessibility," said Bocking. "We look forward to continuing to work collaboratively and efficiently to serve the health priorities of our communities."

redpajama_set_name: RedPajamaCommonCrawl


On this website we recommend many pictures abaout pictures of garage doors that we have collected from various sites Garage Inspiration For You , and of course what we recommend is the most excellent of picture for pictures of garage doors. If you like the picture on our website, please do not hesitate to visit again and get inspiration from our website.
And if you want to see more images more we recommend the gallery below, you can see the picture as a reference design from your pictures of garage doors.
Thank you for seeing gallery of pictures of garage doors, we would be very happy if you come back.
Similar Keyword pictures of garage doors : images of carriage garage doors, images of garage door hardware, images of garage doors with windows, images of homes with black garage doors, pics of black garage doors, pics of carriage garage doors, pics of garage doors with windows, pics of painted garage doors, pictures carriage garage doors, pictures garage doors, pictures of black garage doors, pictures of carriage style garage doors, pictures of garage doors on homes, pictures of garage doors on houses, pictures of garage doors painted, pictures of garage doors that look like wood, pictures of garage doors with decorative hardware, pictures of garage doors with hardware, pictures of garage doors with windows, pictures of homes with black garage doors, pictures of houses with black garage doors, pictures of painted wood garage doors, and more.


-- The Cabal file format works very well for small projects.
-- lists when you refactor.
-- plain-text file format helps deal with a lot of these problems.
-- update your module lists.
-- different Cabal package whose sole job is to build your Cabal file.
-- package.  It describes how to build this project.
-- \"sh buildprep\" to generate the Cabal file.
-- builds the Cabal file.
-- generate the Cabal file.
-- pacakge that generates the Cabal file.
-- package that builds the Cabal file.
-- [@hello\/hello\/Setup.hs@] For the main Cabal package.
-- [@hello\/hello\/buildprep@] From this directory, run \"sh buildprep\"
-- to generate the Cabal file.
-- @description@, and any additional @build-depends@.
-- top-to-bottom reading will make sense.
-- and values listed here.
-- the 'BuildsExe' class captures these.
-- use 'exposed' and 'condBlock'.
-- | An executable consists of one more more 'ExecutableField's.
-- 'exitcodeFields', and 'condBlock' bindings.
-- | Renders a header for the Cabal file.
[ "-- This Cabal file generated using the Cartel library."
, "-- Cartel is available at:"
-- | Generic header to prepend to Cabal files.
-- prepend to the output (if any).
-- @const (return \"\")@ here.
-- test suites, benchmarks, and repositories in the list of 'Section'.
-- printed to standard output and the program invokes 'exitSuccess'.
-- Output will always be UTF-8, consistent with Cabal's requirements.


As a metaphor, rivers appear in music, art, literature, and all the major religious traditions. Rivers symbolize the creative origins of life, a source of purification, and a means of transport–for both body and soul.
Rivers take on mythical and mystical meanings for each person, according to their experiences, upbringing, and education. Mark Twain made the river a character in his novels. The song "Moon River" has become an icon for life's transitions. The Ganges and Yangtze and Jordan rivers are holy waters of purification, redemption, and enlightenment.


Home / Guest Posts / I Want Peace!
Peace is a state of mutual harmony between people or groups, especially in personal relations. It is true that this definition goes beyond personal relations and holds good for relations between nations, groups, races and sects of people living in this world. It is aptly symbolized by a white dove or pigeon. A flying bird, which is not easy to catch hold of; however, we never stop running after it. Only a clean and saintly mind would be able to catch hold of peace in its true sense. Peace is defined by different people in different ways. Some say if they have lots and lots of money, they will be at peace. Some think if they are famous, they will attain peace. There is another group of people who thinks that peace lay in God. They work towards meeting and unite with God and that is the way they choose to conquer peace. There are still different types of people who have defined peace in still different ways. All of us move in a direction we think will give us peace and we move on until affected by an external force which shatters our faith and we take on a different route – again to arrive at peace! Almost like Newton's law of motion, is not it? But, this is how it has been. Some search for peace in earthly belongings, some search for it in love and some search for it in their work (Karma)… A few attain peace, by the last breath of their lives. For some, even that is not so – peace elude them throughout!
Happiness and peace are two different states. One may be happy but not in peace; however, one in peace is happy – almost always. Happiness is with you and peace is a mutual state of thought. If you are at peace with yourself, with your soul you ought to be happy. We will talk about it later. Let me tell you a short story here that I heard yesterday which prompted me to write this. You will enjoy this.
I am not sure if the lady understood the notion or how many of us would understand the same; but this is all about attaining peace. This story was told to me yesterday by Rajesh Madhavan, who heard it in his childhood from one of his beloved teachers. I wish, I could meet that teacher of his!
Peace is inside us – inside oneself. We need not go out to look for it. Satisfaction and Self Esteem are two things to reflect on in the route to achieve peace. One thing that is in absolute necessity in today's world is peace. If all the nations and sects are in perfect synchronization with each other, there will be peace worldwide. Peace can never come riding on the shoulders of terror or atrocity. May you be in peace – may God bless us all with it. May there be peace all around us – making Earth a better place to live in!
he he .. i can make my PEACE with the I part for that refers to lettin go of ur ego and giving equal importance and space to others views and beliefs as you would to your own .. but WANT ??? Isn't what you WANT here the desire to be peaceful .. ??
That said i am not questioning what was said in the story but citing the mis interpretation that exists .. The Want factor arises from the philosophy of karma in Bhagvad Gita .. You want to be in peace .. as long as you want it you will never have it ... he he .. this is a very very very deep topic and I feel a comment would not suffice . nor a small post ..
One of my readers suggested, we should shout PEACE together - everyone from each corner of the world ... that may bring peace upon us all!!
What say? Should we try that??
Gyaan baatnese phyaalta hai ... hai na?


Show Related Q&As Which Schools Offer Cooking Classes in Raleigh, North Carolina? Dietetic Technician: Career and Salary Facts Food Service Director Jobs: Salary and Career Facts How is a Caterer Different from a Hotelkeeper?
Learn about cooking classes in the Kansas City, KS, area. Get information about programs available, admission, costs and requirements to make an informed decision about cooking classes. Schools offering Art of Cooking degrees can also be found in these popular choices.
Those with an interest in cooking can take a plethora of classes in Kansas City, Missouri. One can chose to enroll in a few cooking courses or dedicate themselves to earning a certificate or associate's degree in the culinary arts.
You can most readily locate cooking classes in Kansas City, KS, through individual food and culinary arts courses, certificate programs and associate degree apprenticeship programs. You may choose to focus on professional cooking, culinary arts, baking/pastry or chef apprenticeship. Individual courses can vary in length, while certificate programs usually last one year, and associate degree apprenticeship programs take three years to graduate. Keep reading for cooking course, certificate and degree options in Kansas City.
The food classes at the University of Missouri in Kansas City (UMKC), MO, are offered through its adult education program titled Communiversity. Classes change seasonally and fees vary by material requirements. Some of the classes offered have covered Mediterranean cooking, raw fast food, barbecue cooking and sushi. These classes are offered free of charge if you are a student of UMKC.
Located about fifteen miles from Kansas City, KS, Northland Career Center has a culinary arts training program that covers many cooking classes. In Culinary Arts I, your first semester will cover safety and sanitation and basic cooking terms, skills and tools. Then you will move on to popular sandwiches, salads, soups and sauces. You'll learn your skills through hands-on preparation of meals. Culinary Arts II covers more advanced cooking of chicken, beef, fish, vegetables and starches, and the final is a complete dinner prepared for four people.
Prerequisites/Requirements: Complete application for adult admission and submit $150 non-refundable fee, complete criminal background check and have high school transcript or GED certificate sent to school. Must enroll at least two days before class begins via mail, fax, phone or in person with enrollment form and fees. Students must have a high school diploma or GED to receive a certificate.
Kansas City Kansas Community College (KCKCC) has a certificate program with an array of cooking classes. The curriculum includes daily practical work, along with classroom studies. Courses available cover topics like cooking methods, industry equipment, food production, hospitality, menu planning and baking. KCKCC's program also includes a capstone project and internship and prepares you for a career in food service industries like restaurants and catering.
Prerequisites/Requirements: The only requirement is a high school diploma or be 18 years old and successfully passed the GED.
Johnson County Community College (JCCC) is located sixteen miles from Kansas City, and its pastry/baking certificate program has many cooking classes you can pursue. The specialty program covers pastry shop principles, production and business basics. Sugar and patisserie are also required in the curriculum. Before entry, you must pass specific courses in professional cooking and food service sanitation. You can begin enrollment in this program during the fall semester.
Prerequisites/Requirements: Must complete prerequisite courses of Food Service Sanitation and Professional Cooking I to enroll in program.
An Associate of Applied Science (A.A.S.) chef apprenticeship degree program is also offered at Johnson County Community College that emphasizes food preparation. Classes in advanced food preparation and garde manger (cold food preparation), baking, menu planning and professional cooking help provide a solid cooking foundation. This degree program also focuses on hospitality management and business with courses covering topics like accounting, beverage control, purchasing, supervisory management and interpersonal communication.
Prerequisites/Requirements: Registered apprentice membership with the American Culinary Federation Educational Institute upon job placement and Department of Labor for 6,000 hours indenture to supervising chefs at sponsoring affiliate chapter of institute.
To sum up the information you just learned, many universities in the state of Missouri offer coursework, certificate programs, and associate's degree programs in the art of cooking, all of which will supply you with skills you'll need in order to strengthen your culinary talents.


text:
Dwarf Runes in "The Hobbit":
After the Runes came to Britain, many local variations developed. J.R.R.Tolkien used one if these variations in his book "The Hobbit". These Runic inscriptions appear on Thror's map of Lonely Mountain. Here are the two inscriptions with translation:
Right-side of Map Inscription:
Moon-Letter Inscription:
J.R.R Tolkien's Anglo/Saxon Dwarf-Rune Chart
Why were the Dwarves using Anglo/Saxon Runes for these inscriptions instead of the Angerthas/Cirth Runes (described in "The Lord of the Rings", Appendix E) ?
In order to write "The Hobbit", Tolkien had to developed a culture for the Dwarves. The Dwarves were known for and prized their expertise in mining and their craftsmanship in wood, stone and metal- working. Although they were equally skilled as calligraphers, employing most of the writing systems in Middle-earth, when writing for themselves, they preferred to a Runic style alphabet.
I believe that Tolkien planned for the Dwarves to use a Runic alphabet unique to Middle-earth, but when "The Hobbit" was written (in 1937), he had not yet invented the Elvish Angerthas/Cirth Runic alphabet that the Dwarves would eventually come to use.
In "The Hobbit", the words of the Hobbits, the Elves, the Goblins and the Dwarves are all translated into English. Likewise the Runic inscriptions are written with the more familiar English or Anglo/Saxon Runes rather than the Elvish/Dwarvish Angerthas/Cirth Runes of Middle-earth.
Primary sources:
"The Hobbit" by J. R. R. Tolkien
Houghton-Mifflin
"The Return of the King" by J. R. R. Tolkien
Daniel Steven Smith
Back to Main page.


Food for Life is a showcase conceived in collaboration with the Consorzio di Tutela del Prosecco DOC, main sponsor of Sole Luna Doc Film Festival since its first edition in Treviso in 2014. For this third year we propose a series of three events dedicated to the topic of taste, food and environment in its various facets. Each event will be characterized by a panel with food industry experts, by a tasting offered by local producers, with the support of Ecor NaturaSì, and by the screening of three valuable and important documentaries.
Every film has been chosen both for its stylistic qualities and to stimulate reflection on the issues covered: the heroic viticulture, the return to earth and the culinary contaminations between East and West.
In this edition Sole Luna Doc Film Festival dedicates a heartfelt tribute to Tobia Scarpa, architect and designer, who has supported us since the very first edition of the Treviso festival as a guest and as a juror, and who has designed for us the Sole Luna Award sculpture. We pay him tribute by presenting the book by Elisa Pajer and Elena Brigi entitled Tobia Scarpa. The secret soul of things and screening the documentary by Elia Romanelli which has the same title of the book.
From Treviso to Riace, passing through Bologna and Padua, with Where the clouds go the director Massimo Ferrari wants to tell the stories and the experiences of those who had the courage to try to transform fear into opportunities and utopia into reality. A documentary film which is a journey through Italy and Migrants Emergency: amazing models of coexistence, of humanity on the move. One of the chapters is dedicated to the group of six refugees hosted at the Calò family in Treviso. It is the first case in Italy and this experience has become a laboratory for new forms of widespread welcome in the family.
Entirely self-financed through a campaign on kickstarter, the Inner Me project was born following the meeting of the director Antonio Spanò with the deaf community of Butembo during his previous work Silent Chaos. The stories of Immaculée, Sylvie and Stuka are stories of every day life, of daily toil and struggle against injustice and oppression. But in their condition of being the very last among the others, these women tell, also and above all, the stubborn desire to recapture the uncertain threads of their fate every morning.
Aid is any tool of specialized production used by disabled people to alleviate their disability. Jeoffrey is an African child who is unable to move independently and who needs specialist equipment. How can it be ensured in a rural town of Kenya where they lack basic services? The cardboard chair answers this question with a unique experience in the world: for Jeoffrey, as well as for other children, aids are built using simple materials such as recycled cardboard.
The work of young cartoonists, like that of young artists, is often precarious, intermittent, flexible. Our main character is a young actress, author and director of her own shows. She succeeded after a long search, to realize a socially committed work whose subject is the biography of a young Italian independent publishing house dedicated exclusively to comics of reality. Two weeks before the debut our young actress collides with the producers and with the organizers of the culture industry.
Workshop of documentary film with director Andrea Segre. Deadline: 5th September 2016.
As part of the programming of Sole Luna Treviso Doc Film Festival, Zeta Group in collaboration with the association Sole Luna – Un ponte tra le culture presents the documentary film workshop held by the director Andrea Segre. The workshop is open to documentary filmmakers and film lovers and aims to create some video documentaries to be shot in the sorroundings of Treviso. The workshop results will be shown during the festival.
The direct voice of Ethiopian migrants on the brutal ways in which Libya, on behalf of and with the funding coming from Italy and Europe, is controlling migration flows from Africa. Dag was studying Law in Addis Ababa, Ethiopia. Due to the strong political repression in his country he has decided to emigrate. Like a man on earth is a journey of pain and dignity, through which Dagmawi Yimer manages to give voice to the almost impossible memory of human suffering, for which Italy and Europe have responsibilities that can't be hidden much longer.
Fifteen homeless people attended a course taught by two professional photographers for two months, Gianmarco Maraviglia and Aldo Soligno, coordinated by Federica Balestrieri and by the association Terza Settimana. They have learned the technique, but not the subjects. They were asked to tell of life, as they see it. The result is an exhibition, an extraordinary kaleidoscope of images where poverty never takes over. You can feel its lumbering presence; but the narrative voice speaks of hope, of beauty, of a domineering instinct towards the future: of redemption, indeed.
On this album, Faris brings 12 rural Delta blues songs back home to Africa, revisiting them in the guitar style known as Assouf and showing how close the souls of these two worlds are to each other. Faris is a guitarist, singer-songwriter and multi-instrumentalist. Born of a Touareg mother and an Italian father, he grew up in a musical environment, lived in several countries and was influenced by many musical styles. After years of collaborations and touring with Tartit, Terakaft and Tinariwen, he released his debut album Mississippi To Sahara in 2015. The record was critically acclaimed.


Dubarwa, 24 December 2016 – The Central Committee of the National Union of Eritrean Women (NUEW) conducted its 4th regular meeting from 21-22 December in Dubarwa.
In the past few days, the London-based Alsharq Al-Awsat has published – in its Arabic and English editions – a number of distorted "news stories" on Eritrea.
Asmara, 15 December 2016- The Eritrean Ambassador to the Russian Federation, Mr. Petros Tsegai presented credential to Mr. Alexander Lukashenko, President of Belarus as non-resident Ambassador.
At the event held on 13 December, Ambassador Petros conveyed a message of good will from President Isaias Afwerki. He also gave briefing as regards the current situation and Eritrea's readiness to create strong cooperation with Belarus.
President Lukashenko on his part expressed his country's eagerness to strengthen relations and cooperation with Eritrea in all sectors. He also wished good health to President Isaias Afwerki as well as peace and stability to the Eritrean people.
President Isaias Afwerki and President Abdel Fattah El-Sisi of the Republic of Egypt met and held talks on 29 November in Cairo as regards boosting bilateral relations and cooperation between the two countries.


Part One, Tense and Relax: this audio exercise takes you on a mental journey through the entire system of voluntary muscles in your body. You can take that journey in a comfortable chair, in bed, or even on the floor. With your eyes closed, you attend to the messages that each muscle sends to the brain as you first tense, then relax that muscle. As you move from muscle to muscle, you learn first the sensation of tension, then the sensation of relaxation. You experience the good feeling of that first wave of relaxation following sustained tension. Then you will discover the wonderful feeling as the muscle relaxes further and further. You may feel more relaxed than you have ever felt. When there is no tension that remains in the muscle, that it deep muscle relaxation.


It was so thrilling to see this family again for their little man's 3 month session!! They're part of my Baby's First Year program, a photographic journey that will document their baby's life from newborn through their first birthday. Last time I saw his sweet face was for his newborn session–and it never ceases to amaze me how much babies grow and change in such a short time! We took advantage of some perfect weather and cloud cover and headed out to their backyard. And this little fella was just loving it!! His bright eyes were just twinkling away, watching everything around him.


text:
School of Modern Languages and Cultures: Russian Studies
School of Modern Languages & Cultures ⇨
School of Modern Languages and Cultures: Russian Studies ⇨
Staff in the Department of Russian
Dr Konstantin Zamyatin, PhD Humanities (Helsinki)
ORCID profile
COFUND Junior Research Fellow in the School of Modern Languages and Cultures
Room number: ER254, Elvet Riverside II
Contact Dr Konstantin Zamyatin (email at konstantin.i.zamyatin@durham.ac.uk)
Dr Zamyatin joined the Cross-Language Dynamics (OWRI) project in April 2018 as COFUND Junior Research Fellow. His research project focuses on transnational ethnopolitics along the EU-Russia border.
Before this, Dr Zamyatin was Postdoctoral Researcher at the Department of Finnish, Finno-Ugrian and Scandinavian Studies, Faculty of Arts, University of Helsinki, Finland. In 2017-2018 he worked on a project that examined the impact of policies of language revivalism in Russia's ethnic republics. In 2014-2016 he worked on a project focused on the internationalization of minority politics in Mari El, one of the ethnic republics in the Russian Federation. He holds a PhD in Finno-Ugrian Studies from the University of Helsinki. His PhD thesis was about the official status of minority languages, based on the empirical case of Russia's Finno-Ugric republics.
Dr Zamyatin is currently completing a monograph with the working title Language Policies in the Finno-Ugric Republics of Post-Soviet Russia: When Language Revival Fails? He is the author of An Official Status for Minority Languages? A Study of State Languages in Russia's Finno-Ugric Republics (2014). He has co-authored (with Janne Saarikivi and Annika Pasanen) a popular monograph entitled Why and How Languages of the Peoples of Russia are to be Maintained (in Russian, 2012).
•	Nationalism studies, ethnopolitics, indigenous rights and minority rights in international law.
•	Language policy, sociology of language, sociolinguistics minority language education, minority language politics.
•	Russian and East-European studies
•	Finno-Ugrian studies
2018 'A Russian-Speaking Nation? The Promotion of the Russian Language and Its Significance for Ongoing Efforts at the Russian Nation-Building', in Grin, F. & Kraus, P.A. (eds.), The Politics of Multilingualism: Linguistic Governance, Globalisation and Europeanisation, John Benjamins.
2018 'Language Policy of Russia: Uralic Languages', in Laakso, J, Skribnik, E & Bakró-Nagy, M (eds.), Oxford Guide of Uralic Languages, Oxford University Press.
2017 'Indigenous Peoples and Education in the Russian Federation', in (ed.), State of the World's Indigenous Peoples. Vol. 3. Education, United Nations, pp. 187-206
2016 'Russia's Minority Education and the European Language Charter', in Saarikivi, J. & Toivanen, R. (eds.), Linguistic Genocide or Superdiversity: New and Old Language Diversities, Multilingual Matters, pp. 249-283
2017 'Power-sharing or Ethnic Domination? Ethnic Representation in the Republics of Russia in the Late 2000s – Early 2010s', Journal on Ethnopolitics and Minority Issues in Europe 16, pp. 26-54
2016 'An Ethnopolitical Conflict in Russia's Republic of Mari El in the 2000s: The Study of Ethnic Politics under the Authoritarian Turn', Finnisch-Ugrische Forschungen 63, pp. 214-253
2016 'Russian Political Regime Change and Strategies of Diversity Management: From a Multinational Federation towards a Nation-State', Journal on Ethnopolitics and Minority Issues in Europe 15, pp. 19-49
•	Cross-Language Dynamics: Reshaping Community (Transnational Strand)
•	Profile on Academia.edu
•	Profile on Google Scholar
•	Profile on ResearchGate
•	Profile on University of Helsinki Research Database Tuhat
2018: Durham International Junior Research Fellowship
2017: Postdoc Scholarship granted by Finnish Cultural Foundation, Finland
2014: Postdoc Scholarship granted by Kone Foundation, Finland
2013: Doctoral Scholarship granted by Finnish Cultural Foundation, Finland
2011: Research Associateship on project funded by Academy of Finland, Finland
2010: Doctoral Scholarship granted by Finno-Ugrian Society, Finland
2010: Doctoral Scholarship granted by Society of Swedish Literature in Finland, Finland
The Russkiy Mir Centre
<< Back to MLAC
Dress Culture
Updated: 21st October 2019


Post 911 GI Bill veterans are experiencing hardship like most Americans in this economy, albeit their hardship is because of backed-up paperwork, which is resulting in late checks for college. The Department of Veterans Affairs wants to change all that.
The Department of Veterans Affairs is immediately issuing checks (as of October 1, 2009) of up to $3,000 of GI Bill benefits that are overdue to eligible college-student vets. Some students have had to take out loans or other extracurricular work just to pay tuition and other educational-related expenses.
"It is heartening to see the Secretary and his department responding so swiftly and decisively to this unfortunate situation," said National Commander Clarence E. Hill of The American Legion. "This is a brand new benefits program, instituted just weeks ago, so some startup glitches are to be expected," he continued, "but the VA's willingness to rectify the problem should be applauded. As I said earlier this week, our veteran students should be free to concentrate on their studies rather than be worried by financial burdens. Secretary Shinseki has echoed my sentiment.
Post 911 GI Bill veterans can contact the American Legion by calling (202) 263-2995 or by emailing askvalerie@legion.org.
Vets can also visit www.MyGIBill.org for more information about post 911 GI Bill benefits.


text:
Przysieka – zamknięty przystanek osobowy w Dąbrowie Łużyckiej, w gminie Przewóz, w powiecie żarskim, w woj. lubuskim, w Polsce. Został otwarty w 1913 roku przez LE. W 1945 roku nastąpiło jego zamknięcie. Był to końcowy przystanek linii kolejowej z Przewozu.

Przypisy

Bibliografia

Linki zewnętrzne

Stacje i przystanki kolejowe w powiecie żarskim
Dąbrowa Łużycka

redpajama_set_name: RedPajamaWikipedia


text:
Q: Read long integers from txt in java I have a list of long integers in a text file. I want to read those numbers to long  arraylist in java.  Out numbers are stored in the file:
2.2278e+08
1.2339e+09
6.1868e+08

My code to read those long numbers are the following:
for (String line : Files.readAllLines(Paths.get("ids.txt"))) {
                    ids.add(Long.parseLong(line, 10));
                    System.out.println(Double.valueOf(line).longValue());
}

However I got the following exceptions:
Exception in thread "main" java.lang.NumberFormatException: For input string: "2.2278e+08"
at java.lang.NumberFormatException.forInputString(NumberFormatException.java:65)
at java.lang.Long.parseLong(Long.java:589)
at twittertrendsetters.TwitterTrendSetters.main(TwitterTrendSetters.java:580)

Java Result: 1
How can I convert 2.2278e+08 to the long integer number 22278111 which is in fact

A: The thing is that numbers like 2.2278e+08, 1.2339e+09 and 6.1868e+08 are in floating-point notation and therefore cannot be parsed as long numbers directly.
However you could parse them as double values doing something like
long l = Double.valueOf("2.2278e+08").longValue();

Of course this departs from the assumption that you know that all these numbers are integers and that they fit in the size of a long value. Otherwise you may need to resort to other techniques.

redpajama_set_name: RedPajamaStackExchange


text:
Q: Clear my master branch and send a clean pull request I am new to use git and here is the question. I have forked a repo and get one patch merged to the original project already without any trouble. After that, a major release of that project is out, I do a pull the upstream master to merge my master branch with new updates. But after I have done that, I try that whether I can make a clean pull request after I have pushed my orign master after the merge. The result turns to be that I have modified files(not modified by me) and commits logs from others in the pull request page. I think that is a little strange.
I think I have messed up some important steps when I update with the upstream. If I do not want to delete my fork and refork the repo, How can I do to clean my repo to sync with the upstream master and do not hurt my original commit history? (I do not want the commit history on and after I pull and merge the upstream master)

A: Have you considered git rebase?


text:
//**************************************************************************/
// Copyright (c) 1998-2006 Autodesk, Inc.
// All rights reserved.
//
// These coded instructions, statements, and computer programs contain
// unpublished proprietary information written by Autodesk, Inc., and are
// protected by Federal copyright law. They may not be disclosed to third
// parties or copied or duplicated in any form, in whole or in part, without
// the prior written consent of Autodesk, Inc.
//**************************************************************************/
#pragma once

#include "strbasic.h"

// Flags passed to MapKeys and DeleteKeys
#define TRACK_DOSEL			(1<<0)
#define TRACK_DOALL			(1<<1)  // ignore selection
#define TRACK_SLIDEUNSEL	(1<<2)  // Slide unselected keys to the right
#define TRACK_RIGHTTOLEFT	(1<<3)  // Enumerate right to left. If TRACK_SLIDEUNSEL is set, keys will slide to the left.
#define TRACK_DOSUBANIMS	(1<<4)  // This flag is only passed to MapKeys
#define TRACK_DOCHILDNODES	(1<<5)	// This flag is only passed to MapKeys
#define TRACK_MAPRANGE		(1<<6)	// The range, if not locked to first and last key, should be mapped as well.
#define TRACK_DOSOFTSELECT	(1<<7)	// Apply soft selection weights to the results of Time map.  This flag is only passed to MapKeys
#define TRACK_INSERTKEYS	(1<<8)	// Unselected keys after the insertion point get moved to the right
#define TRACK_REPLACEKEYS	(1<<9)	// Unselected keys within selected keys' range get deleted

// Flags passed to EditTimeRange
#define EDITRANGE_LINKTOKEYS	(1<<0)	// This means if one of the ends of the interval is at a key, link it to the key so that if the key moves, the interval moves.

// Flags passed to hit test tracks and fcurves.
#define HITTRACK_SELONLY		(1<<0)
#define HITTRACK_UNSELONLY		(1<<1)
#define HITTRACK_ABORTONHIT		(1<<2)
#define HITCURVE_TESTTANGENTS	(1<<3)
#define HITTRACK_SUBTREEMODE	(1<<4)  // Subtree mode is on so the anim is being asked to hittest itself in one of its ancestor's tracks
#define HITCURVE_TESTALLTANGENTS (1<<5) // If PAINTCURVE_SHOWALLTANGENTS is set then you also want to hit test all tangent handles

// Flags passed to SelectKeys
// Either SELECT, DESELECT, or a combination of CLEARKEYS and CLEARCURVE
// will be specified.
#define SELKEYS_SELECT			(1<<0)
#define SELKEYS_DESELECT		(1<<1)
#define SELKEYS_CLEARKEYS		(1<<2)
#define SELKEYS_CLEARCURVE		(1<<3)
#define SELKEYS_FCURVE			(1<<4) 	// indicates that were operating on keys of a function curve, not a track

// Flags passed to GetTimeRange
#define TIMERANGE_SELONLY		(1<<0)	// The bounding interval of selected keys
#define TIMERANGE_ALL			(1<<1)  // Whatever the channel's time range is - usually the bunding interval of all keys.
#define TIMERANGE_CHILDNODES	(1<<2)  // A node's time range should include child nodes.
#define TIMERANGE_CHILDANIMS	(1<<3)  // A animatable's child anim ranges should be included

// Passed to the functions that modify a time range such as copy,paste,delete,reverse
#define TIME_INCLEFT		(1<<10)  // Include left endpoint
#define TIME_INCRIGHT		(1<<11)  // Include right endpoint
#define TIME_NOSLIDE		(1<<12)  // Delete any keys in the interval but don't actually remove the block of time.

// In addition to the TIME_ flags above, the following flag may be passed to PasteTrck()
#define PASTE_RELATIVE		(1<<20)	// Add the keys relative to existing keys

// Flags passed to AddKey
#define ADDKEY_SELECT		(1<<0)  // Select the new key and deselect any other selected keys
#define ADDKEY_INTERP		(1<<1)  // Init the new key to the interpolated value at that time. Otherwise, init the key to the value of the previous key.
#define ADDKEY_FLAGGED		(1<<2)  // Flag the newly created key as if FlagKey() was called for it

// Flags passed to CopyKeysFromTime()
#define COPYKEY_POS			(1<<0)	// These filter flags are passed to a tm controller. The tm
#define COPYKEY_ROT			(1<<1)	// can decide what to do with them... they have obvious meaning
#define COPYKEY_SCALE		(1<<2)	// For the PRS controller.

// Flags passed to GetNextKeyTime()
#define NEXTKEY_LEFT		(1<<0)	// Search to the left.
#define NEXTKEY_RIGHT		(1<<1)  // Search to the right.
#define NEXTKEY_POS			(1<<2)
#define NEXTKEY_ROT			(1<<3)
#define NEXTKEY_SCALE		(1<<4)

// Flags passed to IsKeyAtTime
#define KEYAT_POSITION		(1<<0)
#define KEYAT_ROTATION		(1<<1)
#define KEYAT_SCALE			(1<<2)

// Flags passed to PaintTrack and PaintFCurves
#define PAINTTRACK_SHOWSEL			(1<<0)
#define PAINTTRACK_SHOWSTATS		(1<<1)	// Show for selected keys
#define PAINTCURVE_SHOWTANGENTS		(1<<2)	// Show for selected keys
#define PAINTCURVE_FROZEN			(1<<3)  // Curve is in a frozen state
#define PAINTCURVE_GENCOLOR			(1<<4)	// Draw curve in generic color
#define PAINTCURVE_XCOLOR			(1<<5)	// Draw curve in red
#define PAINTCURVE_YCOLOR			(1<<6)	// Draw curve in green
#define PAINTCURVE_ZCOLOR			(1<<7)	// Draw curve in blue
#define PAINTTRACK_SUBTREEMODE		(1<<8)  // Subtree mode is on so the anim is being asked to paint itself in one of its ancestor's tracks
#define PAINTTRACK_HIDESTATICVALUES (1<<9)  // Indicates that static values shouldn't be displayed in tracks.
#define PAINTCURVE_FROZENKEYS		(1<<10) // Show keys on frozen tracks
#define PAINTCURVE_SHOWALLTANGENTS	(1<<11) // Show tangents for unselected keys as well
#define PAINTCURVE_SOFTSELECT		(1<<12) // Draw curves using Soft Selection
#define PAINTCURVE_WCOLOR			(1<<13)	// Draw curve in yellow

// Flags passed to GetFCurveExtents
#define EXTENTS_SHOWTANGENTS		(1<<0) // Tangents are visible for selected keys
#define EXTENTS_SHOWALLTANGENTS		(1<<1) // Tangents are visible for all keys
#define EXTENTS_FITINRANGE			(1<<2) // Fit only keys with a value falling within the currently displayed time range

// Values returned from PaintTrack, PaintFCurve and HitTestTrack
#define TRACK_DONE			1		// Track was successfully painted/hittested
#define TRACK_DORANGE		2		// This anim has no track. Draw/hittest the bounding range of it's subanims
#define TRACK_ASKCLIENT		3		// Ask client anim to paint the track
#define TRACK_DOSTANDARD	4		// Have the system draw and hit test the track for you -- Version 4.5 and later only

// Values returned from HitTestFCurve
#define HITCURVE_KEY		1	// Hit one or more keys
#define HITCURVE_WHOLE		2   // Hit the curve (anywhere)
#define HITCURVE_TANGENT	3	// Hit a tangent handle
#define HITCURVE_NONE		4	// Didn't hit squat
#define HITCURVE_ASKCLIENT	5	// Ask client to hit test fcurve.

// These flags are passed into PaintFCurves, HitTestFCurves, and GetFCurveExtnents
// They are filters for controllers with more than one curve
// NOTE: RGBA controllers interpret X as red, Y as green, Z as blue, and A as yellow.
#define DISPLAY_XCURVE		(1<<28)
#define DISPLAY_YCURVE		(1<<29)
#define DISPLAY_ZCURVE		(1<<30)
#define DISPLAY_WCURVE		(1<<31)

// Values returned from GetSelKeyCoords()
#define KEYS_NONESELECTED	(1<<0)
#define KEYS_MULTISELECTED	(1<<1)
#define KEYS_COMMONTIME		(1<<2)  // Both of these last two bits
#define KEYS_COMMONVALUE	(1<<3)  // could be set.

// Flags passed to GetSelKeyCoords()
#define KEYCOORDS_TIMEONLY		(1<<0)
#define KEYCOORDS_VALUEONLY		(1<<1)

// Variable definitions for SetSelKeyCoordsExpr()
#define KEYCOORDS_TIMEVAR	_M("n")
#define KEYCOORDS_VALVAR	_M("n")

// Return values from SetSelKeyCoordsExpr()
#define KEYCOORDS_EXPR_UNSUPPORTED	0	// Don't implement this method
#define	KEYCOORDS_EXPR_ERROR		1   // Error in expression
#define KEYCOORDS_EXPR_OK			2   // Expression evaluated

// Returned from NumKeys() if the animatable is not keyframeable
#define NOT_KEYFRAMEABLE	-1

// Flags passed to AdjustTangents
#define ADJTAN_LOCK		(1<<0)
#define ADJTAN_BREAK	(1<<1)

// Flags passed to EditTrackParams
#define EDITTRACK_FCURVE	(1<<0)	// The user is in the function curve editor.
#define EDITTRACK_TRACK		(1<<1) 	// The user is in one of the track views.
#define EDITTRACK_SCENE		(1<<2)	// The user is editing a path in the scene.
#define EDITTRACK_BUTTON	(1<<3)	// The user invoked by choosing the properties button. In this case the time parameter is NOT valid.
#define EDITTRACK_MOUSE		(1<<4)	// The user invoked by right clicking with the mouse. In this case the time parameter is valid.

// These are returned from TrackParamsType(). They define how the track parameters are invoked.
#define TRACKPARAMS_NONE	0	// Has no track parameters
#define TRACKPARAMS_KEY		1	// Entered by right clicking on a selected key
#define TRACKPARAMS_WHOLE	2	// Entered by right clicking anywhere in the track.

// Flags passed into RenderBegin
#define RENDERBEGIN_IN_MEDIT   1   // Indicates that the render is occuring in the material editor.

redpajama_set_name: RedPajamaGithub


helicopter charter services, including Aerial photography and sightseeing tours. B.A.C. Helicopters also provides quality flight instruction for students with no experience to those who already have their airplane or helicopter license. B.A.C. Helicopters provides training from Private Pilot to CFI.


Townhouses for sale in Benajarafe Spain!
Townhouses for sale in Benajarafe in Spain - CASA:UNA covers Costa del Sol, Andalucia, Mallorca, Costa Blanca - in Spain. CASA:UNA Spain Property has properties for sale in Benajarafe within a short drive from the airport. Benajarafe Townhouses are highly recommended if you wish to relocate to Spain or just to have your Townhouse as a holiday home.
Nice terraced house with a little sea views, 300 m far from the beach, furnished, several terrace, community pool & gardens with own exit.


The Fujifilm X-Pro2 is a small, discreet, no apologies camera. It's size allows me to pack a lighter bag for work and travel, and during portrait sessions my clients are more at ease because the placement of the viewfinder allows me to maintain eye contact with them throughout the shoot. Portrait photography is about people after all, and I can always build a stronger rapport with my subjects when my face isn't hidden behind a large camera.
When I am out for a day of street photography the size of the camera also helps me remain unobtrusive, allowing me to photograph beautiful candid moments without disturbing the scene in front of me. I experience the same thing when photographing weddings, where my goal is to be unseen so I can photograph humour, touch and emotion without people recognizing me as "the photographer".
Ergonomically the camera is a pleasure to use. I have immediate access to all aspects of the exposure triangle simply by looking down at the top of my camera. Having all of the buttons on the back positioned to the right of the LCD means I can access everything I need with my right hand while shooting, further simplifying the process. Finally, the camera's weather resistance is nice peace of mind.
All of the above is important, but only if the final image quality is there. In this regard the Fuji X-Pro2's 24.3mp X-Trans III sensor and the X-Processor Pro deliver. The autofocus is fast, the dynamic range is beautiful and the versatile in camera film simulations allow you to capture images that require little in the way of post production.


Our regional representatives are our link to our local scientific communities.
After many years of service, our regional reps for Otago and Manawatu have stepped down. If anyone would like to volunteer to be a rep for either of these regions, please let us know. It doesn't take a lot of time, but our reps are an important presence for us at the local level, and play a big part in growing/maintaining our membership numbers. Thanks to Kathryn (Manawatu) for stepping in until we can find someone longer-term!
Ivan attained his undergraduate degree in Chemistry at the University of Oxford, as a member of St Peter's College. He completed a DPhil in the laboratories of Profs Christopher J. Schofield FRS and Timothy D. W. Claridge, during which he applied NMR spectroscopy to study enzymes from an extended family of non-haem iron oxygenases that use 2-oxoglutarate as a cosubstrate. After his DPhil he spent a further two years in the same group as a postdoctoral research assistant, working on a variety of projects ranging from protein-ligand interactions, enzyme mechanisms, biocatalysis and enzyme inhibition. He has also spent time as a visitor in the laboratory of Dr Isabelle Landrieu at the Université Lille 1, during which he utilised biomolecular NMR techniques to study protein dynamics. Since September 2014, Ivan has been part of the University of Auckland. He is currently a Senior Lecturer in Chemical Biology.
I started my working life as a technician, worked through an NZCS in Chemistry, followed by BSc(Hons) and PhD in Biochemistry, Massey University, Palmerston North. After a post doc at the Sir William Dunn School of Pathology, University of Oxford, I returned to Massey to take up a position as a lecturer in Biochemistry, in the then Department of Chemistry and Biochemistry. I have always had a keen interest in supporting post graduate students and have been post graduate director in the Institute of Fundamental Sciences for some time. I have taught a range of courses in Biochemistry, Molecular Biology and Genetics and my main research interest has been (and still is) based around the rare genetic disorder Malignant Hyperthermia (MH). I developed an IANZ accredited diagnostic service for MH from my research efforts which started with manual Sanger sequencing and running gels, through a range of kinetic PCR diagnostic methods and finally whole exome sequencing. I have been a regional rep and secretary for the NZSBMB before as well as editor of New Zealand Bioscience. I put my hand up to fill the gap (temporarily) for Manawatu as I think it is important for all the centers to be represented and fly the flag for Biochemistry and Molecular Biology in New Zealand.
I am a molecular microbiologist and enzyme engineer, with a primary focus on discovery, characterisation, engineering and application of useful bacterial enzymes, and of novel antibiotics to counter the spread of multi-drug resistant bacteria. My particular speciality is in tailoring enzyme activities by directed evolution - a powerful approach for enzyme engineering that applies Darwinian evolutionary principles at a single-gene level, using iterative rounds of focused mutagenesis followed by artificial selection of enhanced variants to improve desirable activities. One of the coolest things about that approach is that if you have designed your system sufficiently well, you don't necessarily need to understand how your enzyme works to achieve some very useful outcomes, which can in turn shed light on key mechanistic details. One of the less cool things is that, as with Aladdin's genie, you need to be very precise about what you wish for – if things can go wrong, they probably will! But they say we learn more from our mistakes than our successes, so there's that.
Margreet is the Associate Dean of Research in Pathology at University of Otago (Christchurch).
Please contact us if you are interested in being our regional rep for Otago!
I am a molecular biologist and biochemist with a strong interest in all things to do with RNA. I received my PhD in Biochemistry and Molecular Biology in 2011 investigating toxin-antitoxin systems in Mycobacteria. I subsequently spent three years as a post-doc at the University of Cambridge in the Department of Biochemistry, researching transcription and post-transcriptional regulation in the remnant chloroplast of malaria. My current research looks at transcriptional regulation and metabolism in pathogenic bacteria such as Neisseria gonorrhoeae and Mycobacterium tuberculosis and enzyme engineering for RNA based biotechnology applications.


text:
Gwardie Świętopełkowe () – czeska kolaboracyjna formacja paramilitarna działająca podczas II wojny światowej.

Zostały utworzone na Morawach w sierpniu 1939 r. jako Gwardie Faszystowskie (Fašistické gardy). Na ich czele stanęli Arnošt Pořízka, b. żołnierz Legionu Czechosłowackiego w Rosji i Jakub Niemczyk, morawski działacz polityczny.

Liczyły ok. 800 ludzi, noszących jednolite odzienie (spodnie jeździeckie, wysokie buty i biała koszula z czarnymi wyłogami). Panowała wśród nich wojskowa dyscyplina.

Poszczególne oddziały były zorganizowane jak hitlerowskie SA. Podstawową jednostką była rota w sile 169 ludzi. Planowano sformować z gwardzistów 16 pułków na całym terytorium Protektoratu Czech i Moraw, ale nigdy do tego nie doszło.

Nie podporządkowały się Narodowemu Zjednoczeniu, natomiast od 1940 r. podjęły bliską, ale krótkotrwałą współpracę z faszystowskim Czeskim Obozem Narodowo-Społecznym "Vlajka" Jana Rysa-Rozsévača. Przemianowały się wówczas na Gwardie Światopełkowe. Ich nazwa pochodziła od imienia księcia wielkomorawskiego Światopełka z IX wieku. Korzystały także z cichego poparcia Niemców, którzy udostępnili ich członkom miejsce do ćwiczeń na Wyspie Strzeleckiej w Pradze. Gwardziści pozdrawiali się zawołaniem Vůdci zdar!.

8 sierpnia 1940 r. gwardziści brali udział w nieudanym faszystowskim puczu Vlajki w Pradze. W późniejszym okresie Gwardie Światopełkowe odgrywały coraz mniejszą rolę (ich członkowie stracili prawo noszenia własnych strojów), aż rozpadły się na pocz. 1943 r., a ich członkowie przeszli do innych kolaboracyjnych i faszystowskich organizacji. W kwietniu 1945 r. niektórzy b. gwardziści wstąpili do formowanej Ochotniczej Kompanii SS "Św. Wacława".

Po wojnie przywódcy Gwardii zostali osądzeni – J. Niemczyk dostał karę dożywotniego więzienia, a A. Pořízka 20 lat więzienia.

Bibliografia
 Tomáš Pasák, Český fašismus a kolaborace, 1999

Linki zewnętrzne

Protektorat Czech i Moraw
Organizacje paramilitarne
Czeskie formacje kolaboranckie w służbie Niemiec hitlerowskich


Elegant, almost scientific, evidence that there is no real separation between you and me, that we are interconnected infinitely with all humans (and the rest of creation) can be found in Stanley Milgram's Six Degrees of Separation.
Another essential work of Milgram's is his controversial study in Obedience to Authority. This investigation of people's behavior would never get by an ethics committee today. It concludes that many people do not have the courage to see the truth, especially if asked/expected by a forceful authority to be absurdly obedient to something that feels oppressive and dangerous to others.
But "I was just-following-orders" is no excuse for a person who is unwilling or unable to refuse to inflict human distress, and operate at the level of truth and courage. We all have been such a person. It is far less stressful for most people to be obedient. They don't use their brains and hearts up to their capabilities, because of their relentless need for security.
Our people, who have suffered, and been labeled with mental health conditions, have been closest to the reality that one cannot begin to be physically healthy unless someone feels free to express the ferocious will of their robust spiritual health, which requires letting go of the needs for security, control, and recognition, even if it forces a financial loss.
Healthy people, labeled or not, release pain, tension and emotional distress quickly. If this release does not look like other peoples', some all-knowing people will label, quarantine, separate, and warehouse us. That label becomes who we are. It is always "for our own good." It does not understand that real security is only found in the ability to ask, choose. and then to let go .
Unhand us from your "for- our-own-good" agendas!!!
The health and well-being of our planet and "our" people require you to wake up and do your best to see this, and just listen to what seems trustworthy.
"Of all tyrannies, a tyranny sincerely exercised for the good of its victims may be the most oppressive. It would be better to live under robber barons than under omnipotent moral busybodies.


Prepare for the 300-208 Exam Skills For All Candidates From All Over The World Auto-doors.
And how and 300-208 Exam Courses when do they return Dinna jest wi Implementing Cisco Secure Access Solutions 300-208 Prep Guide Fate an the Dead.
He would not give any reason for refusing to go in He blew out the candle, and turned the key in the cisco 400-101 real exam questions and answers, took it out, and put it in his pocket.
I gave her one end http://www.exambestpdf.com/300-075.html of the rope and we commenced simultaneously to ravel the piles.
At first the figures, chiefly of the barbarians, were not CHM Test Questions many but as the sad procession passed a100% free 300-075 exam 300-208 Prep Guide Auto-doors dumps I could see how each later year had brought its ever growing tale of loss and disaster, and 300-208 Real Exam Questions added more and faster to the grim harvest of the sea.
I passed to the 300-070 050-718 Prep Guide certification exam of the cavern and looked round.
It was not 100% free 300-075 exam dumps before Stephen availed herself of the permission to come again.
There was stir of all on 300-208 Prep Guide our ship.
His vague purpose was to cross the American Continent to San Francisco, and there to take passage for the high latitudes north of the Yukon River.
Of this the 300-208 Certification southern side is sheer, the black rock dipping into the 300-208 Vce Files waters of the little bay of 1Z0-808 answer analysis, in the 300-070 certification exam of which C-TAW12-71 Certification Exam is a picturesque island Implementing Cisco Secure Access Solutions 300-208 of rock shelving steeply from the water on the northern side, as is the tendency of all the gneiss and granite in this part.
Black haired, black eyed, swarthy, large mouthed, snub nosed 300-208 Material Pdf the very type and essence of unrestrained, impulsive, Implementing Cisco Secure Access Solutions 300-208 Prep Guide emotional, sensual nature.
It is always thus the experience of every young man is the same.
It was his life or mine and he had to pay the penalty of his crime.
As I sat on the Sand Craigs I almost fancied I could see Marjory s 000-386 Actual Questions figure once again on the lonely rock.
I should dearly have liked to take Miss Anita alone in the boat, but I feared that such was not safe.
The great Trust was to me in the first instance in that His Holiness Pope exam topics Fifth and my good kinsman known as the Spanish Cardinal held graciouslly that I was one in whose heart the ancient latest of our dear Spain had a place of lodgement so secure that time alone could 300-208 Certification not efface it nor its continuance in the hearts of my 100% free 300-075 300-208 Prep Guide exam dumps.
I tried to set him at ease by the heartiness of 300-208 my thanks.
Cry on, dear heart she said as she kissed CCNP Security 300-208 Prep Guide practice questions Cry on It will do thee good She was startled once again as the other seemed for an instant to grow rigid in her arms, and raising her hands cried out in a cisco ccna security 210-260 exam dumps of almost hysterical passion Cry cry Oh my God my God Then becoming conscious of her wet face she seemed Cisco 300-208 Prep Guide to become in an instant all limp, and sank on her knees again.
The wave pulled us back.
Of high mountains patched with heather which here and 300-208 Pdf http://www.examsales.com/300-070.html there, early in the year 300-208 Actual Exam as it was, broke out in delicate patches of pink of overarching woods whose creaking branches swaying 300-208 Prep Guide in the wind threw kaleidoscopic patterns of light a100% free 300-075 exam dumps our way of a brown river fed by endless streams rushing over a bed of stones which here and there lifted their dark heads through the foam of the brown white water of green fields stretching away on cisco 300-135 test questions pdf side of the river or rising steeply from our feet to the fringes Cisco 300-208 Prep Guide of high lying pines or the black mountains which rose just 300-208 Official Study Guide beyond of endless aisles of forest where, through the dark shade of the brown trunks, rose from the brown mass of 100% free 300-075 exam dumps fallen pine needles which spread the ground below, and where patches of sunlight fell in places with a seemingly intolerable glare Then out 070-516 Ebook into the open again where the sunlight seemed all natural and even the idea of shade unreal.
I worked away hour after hour, and fatigue seemed to come and 300-208 Latest Dumps I was not sleepy, and there was a feverish eagerness on me which would not let me rest.
Stephen always in Leonard s presence showed some300-115 switch practice exam of the cisco ccna security 210-260 exam dumps attitude.
Our relationship with you doesn't begin and end with your monetary transaction with us. In case you have issues in finding or using any product be it related to 300-208 or other Cisco , our friendly support staff will assist you promptly whenever you contact us.
At itrealexam, we provide thoroughly reviewed Cisco 300-208 training resources which are the best for clearing 300-208 test, and to get certified by Cisco . It is a best choice to accelerate your career as a professional in the Information Technology industry. We are proud of our reputation of helping people clear the 300-208 test in their very first attempts. Our success rates in the past two years have been absolutely impressive, thanks to our happy customers who are now able to propel their careers in the fast lane. itrealexam is the number one choice among IT professionals, especially the ones who are looking to climb up the hierarchy levels faster in their respective organizations. Cisco is the industry leader in information technology, and getting certified by them is a guaranteed way to succeed with IT careers. We help you do exactly that with our high quality Cisco 300-208 training materials.


text:
Q: How to put several animations into one widget in flutter? I'm trying to put several animations for one widget, but as I'm beginner of Flutter, I don't know what feature I have to use to perform this. When there was only one animation per one widget, it was fine. Just add one bool to field and cover widget with AnimatedContainer. Like this,
bool init = false; //Bool about animation

//Somewhere of codes...
child: AnimatedContainer(
    transform: init ? matrixA : matrixB,
    child: FlatButton(
        child: Text("Press Me"),
        onPressed: () {
            //Change init to true
            setState(() {
                init = true;
            });
        }
     ) //FlatButton
) //AnimatedContainer

I can perform icon animation using Flare, and also can perform lazy animation using Future.delayed() (Sorry, if this behavior is bad practice, advise me if I'm doing wrong). Problem is that there must be several animations for one widget, and there will be about 3 widgets like this. I once tried to put 2 animation for one widget first of all. In my app, I put flare icon animation. After this animation ends, I'm making button show up. When users tap this button, button will go up to specific position. Since button must be at below screen at first, I will need 3 Matrix4 variables. I tried to put 2 animation to one widget with same way above and this was the result.
bool init = false; //This will make button show up
bool pressed = false; //This will make button go up

//Somewhere of codes...
children: [
    FlareActor("assets/animation.flr",
        animation: "anim",
        callback: (name) {
            //Notify flare animation is ended
            //and make button show up by calling setState
            if(name == "anim") {
                this.setState(() {
                    init = true;
                });
            }
        }), //FlareActor
    AnimatedContainer(
        transform: init ? pressed ? matrixA : matrixB : matrixC, //This is problem
        duration: pressed ? Duration(milliseconds: 300) : Duration(millisecons: 150),
        child:FlatButton(
            child: Text("Press Me"),
            onPressed: () {
                //Change pressed to true to make it move up
                setState(() {
                    pressed = true;
                });
            }
        ) //FlatButton
    ) //AnimatedContainer
]

I know this codes don't contain full information (like matrixA, matrixB, matrixC), but I think this is enough to make you understand what I'm trying to do. If you need more information about codes, you can ask me at comment. I just put 2 bools into field and... it already started to look complicated, especially transform parameter in AnimatedContainer. Imagine that there will be 4 bools for each 3 widgets, there will be 12 bools in total, and this will make codes a lot messed up and look like complicated.
You may ask why I'm trying to put several animations to 1 widget, but well, just simply because I'm trying to make app more alive, not just simple screen change, dialog, or boring animation. Of course, I searched about this and what I found was Stream and AnimatedBuilder. I don't know if Stream can help me because even though I use Stream, I can't directly set property (location, scale, opacity) of widgets. Just sending boolean to listener, and calling setState(), and it becomes same like above. AnimatedBuilder looked fine, but all posts I found were about Putting animation to several widgets, not Putting several animation to one widget.
So here are the questions :

*

*Is this the only way to perform several animations to 1 widget?

*If no in first question, what will be better (or the best) way to perform this?

A: Okay, I think there is no way to improve this situation, because... Flutter isn't yet that popular or stable unlike Android Studio, but I just somehow improved this situation by manually adding my own class called AnimationManager. I know codes are still complex and it becomes a lot more complex when I put different animation for each orientation (and this is making me frustrated...), but it's at least better than putting many bools for one widget and better to look. I'm still hoping that there will be someone who can help me to improve way better than this yet, but I will give an example.
Instead of bunch of bools for each widgets, this AnimationManager can set Animation by int variable. Let's assume that we want to put animation about Duration, Transform, and Opacity. I didn't test putting many animations for many widgets, so I really don't know its performance yet.
class AnimationManager {
    static const int DURATION = 0;
    static const int TRANSFORM = 1;
    static const int OPACITY = 2;

    Map map = HashMap<int, List<int>>();

    List du = new List<Duration>();
    List tr = new List<Matrix4>();
    List o = new List<double>();

    void createIndex({@required int index}) {
        List<int> data = map[index]; //Check if index is already created

        if(data != null) {
            throw Exception("Index $index already exists!");
        }

        data = [-1, -1, -1]; // Duration, Transform, Opacity

        map[index] = data;
    }

    void addDuration({@required Duration duration}) {
        du.add(duration); //Add Duration info to du
    }

    void addTransform({@required Matrix4 transform}) {
        tr.add(transform); //Add Transform info to tr
    }

    void addOpacity({@required double opacity}) {
        o.add(opacity); //Add Opacity info to o
    }

    void setDuration({@required int index, @required int mode}) {
        //Set specific duration mode for specific index data

        List data = map[index];

        data[DURATION] = mode;

        map[index] = data;
    }

    void setTransform({@required int index, @required int mode}) {
        //Do same thing like Duration
    }

    void setOpacity({@required int index, @required int mode}) {
        //Do same thing like Duration
    }

    Duration getDuration({@required int mode}) {
        return mode < 0 ? Duration(milliseconds: 300) : du[mode]; //NOT SAFE
    }

    Matrix4 getTransform({@required int mode}) {
        //Do same thing like getDuration
    }

    double getOpacity({@required int mode}) {
        //Do same thing like getDuration
    }

    Widget build({@required int index, @required Widget child}) {
        //Put child into AnimatedContainer with specific index data

        List data = map[index];

        return AnimatedContainer(
            duration: getDuration(data[DURATION]),
            transform: getTransform(data[TRANSFORM]),
            child: child
        );
    }

    Widget buildWithOpacity({@required int index, @required Widget child}) {
        List data = map[index];

        return AnimatedContainer(
            duration: getDuration(data[DURATION]),
            transform: getTransform(data[TRANSFORM]),
            child: AnimatedOpacity(
                duration: getDuration(data[DURATION]),
                opacity: getOpacity(data[OPACITY]),
                child: child
            ));
    }
}

This code lacks safe checking, but since I'm just giving concept, this will be enough. This example only can contain duration, transform, opacity data, but actually I added curve, height, width data too. It can be used like this
AnimationManager am = AnimationManager();

bool initialized = false;

@override Widget build(BuildContext context) {
    if(!initialized) {
        //Initialize data
        am.addDuration(duration: Duration(seconds: 1));

        am.addTransform(transform: matrixA);
        am.addTransform(transform: matrixB);
        am.addTransform(transform: matrixC);

        am.addOpacity(opacity: 0);
        am.addOpacity(opacity: 1);

        am.createIndex(index: 0);

        am.setDuration(index: 0, mode: 0);
        am.setTransform(index: 0, mode: 0);
        am.setOpacity(index: 0, mode: 1);

        initialized = true;
    }

    //Somewhere of codes...
    children: <Widget> [
        am.buildWithOpacity(
            index: 0 //Build AnimatedContainer with specified index data
            child: FlatButton(
                child: Text("Press me"),
                onPressed: () {
                    setState() {
                        am.setTransform(index: 0, mode: 1);
                        am.setOpacity(index:0, mode: 0);
                    }
                }
            )
        ),
        //Add more Widget which needs animation
    ]
}

Still codes will be complicated if there are many widgets in there, but I prefer this way than putting bools and making long 1 lined codes like init ? pressed ? done ? matrixA : matrixB : matrixC : matrixD, etc. The only problem here will be memory handling because if we use bools, these Matrix4, Duration, etc will be temporarily created and collected by GC, but now AnimationManager holds every animation data. But still better because this way can handle orientation change, or situation when there will be animation with different orientation layout easier than putting bools. Gif picture below is test result using AnimationManager, it can be controlled anywhere if setState is callable.


Is the Internet safe? Some will say yes, and some will say no. Personally, I think that it is not a safe place anymore. There are hundreds of thousands of websites on the internet but you cannot say whether any specific website is safe for browsing or not. There are links on websites that leads you to spam websites, install malicious software on your computer, steals your personal information, etc. Even if you have a good antivirus program installed, you can still not be sure whether the link you are about to click is safe or not. If you want to find out whether the website is safe for browsing, check out some tools mentioned below.