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28-XX è la sigla della sezione primaria dello schema di classificazione
MSC dedicata alla teoria della misura e alla integrazione.

La pagina attuale presenta la struttura ad albero delle sue sottosezioni secondarie e terziarie.

28-XX
misura ed integrazione
{per l'analisi sulle varietà, vedi 58-XX}
28-00 opere di riferimento generale (manuali, dizionari, bibliografie ecc.)
28-01 esposizione didattica (libri di testo, articoli tutoriali ecc.)
28-02 presentazione di ricerche (monografie, articoli di rassegna)
28-03 opere storiche {!va assegnato almeno un altro numero di classificazione della sezione 01-XX}
28-04 calcolo automatico esplicito e programmi (non teoria della computazione o della programmazione)
28-06 atti, conferenze, collezioni ecc.

28Axx
teoria classica della misura
28A05 classi di insiemi (campi di Borel, σ-anelli ecc.), insiemi misurabili, insiemi di Suslin, insiemi analitici [vedi anche 03E15, 26A21, 54H05]
28A10 funzioni definite su insiemi ed a valori reali o complessi
28A12 contenuti, misure, misure esterne, capacità
28A15 teoria astratta della differenziazione, differenziazione di funzioni definite su insiemi [vedi anche 26A24]
28A20 funzioni misurabili e non misurabili, sequenze di funzioni misurabili, modi di convergenza
28A25 integrazione rispetto a misure e ad altre funzioni definite su insiemi
28A33 spazi di misure, convergenza di misure [vedi anche 46E27, 60Bxx]
28A35 misure ed integrali in spazi prodotto
28A50 integrazione e disintegrazione delle misure
28A51 teoria del lifting?sollevamento [vedi anche 46G15]
28A60 misure sugli anelli Booleani, algebre di misure [vedi anche 54H10]
28A75 lunghezza, area, volume, altra teoria geometrica della misura [vedi anche 26B15, 49Q15]
28A78 misure di Hausdorff e di impaccamento
28A80 frattali [vedi anche 37Fxx]
28A99 argomenti diversi dai precedenti, ma in questa sezione

28Bxx
funzioni definite su insiemi, misure ed integrali con valori in spazi astratti
28B05 funzioni definite su insiemi, misure ed integrali a valori vettoriali [vedi anche 46G10]
28B10 funzioni definite su insiemi, misure ed integrali con valori in gruppi o in semigruppi
28B15 funzioni definite su insiemi, misure ed integrali con valori in spazi ordinati
28B20 funzioni definite su insiemi e misure aventi insiemi come valori; integrazione di funzioni aventi insiemi come valori; selezioni misurabili [vedi anche 26E25], 54C60, 54C65, 91B14
28B99 argomenti diversi dai precedenti, ma in questa sezione

28Cxx
funzioni definite su insiemi e misure su spazi con strutture addizionali
[vedi anche 46G12, 58C35, 58D20]
28C05 teoria dell'integrazione mediante funzionali lineari (misure di Radon, integrali di Daniell ecc.), funzioni rappresentanti insiemi e misure
28C10 funzioni definite su insiemi e misure sui gruppi topologici, misure di Haar, misure invarianti [vedi anche 22Axx, 43A05]
28C15 funzioni definite su insiemi e misure sugli spazi topologici (regolarità delle misure ecc.)
28C20 funzioni definite su insiemi e misure ed integrali in spazi di dimensione infinita (misura di Wiener, misura gaussiana ecc.) [vedi anche 46G12, 58C35, 58D20, 60B11]
28C99 argomenti diversi dai precedenti, ma in questa sezione

28Dxx
teoria ergodica basata sulla teoria della misura
[vedi anche 11K50, 11K55, 22D40, 47A35, 54H20, 37Axx, 60Fxx, 60G10]
28D05 trasformazioni che conservano la misura
28D10 famiglie di trasformazioni che conservano la misura rette da un parametro continuo
28D15 gruppi generali di trasformazioni che conservano la misura
28D20 entropia ed altri invarianti
28D99 argomenti diversi dai precedenti, ma in questa sezione

28Exx
argomenti vari in teoria della misura
28E05 teoria non standard della misura [vedi anche 03H05, 26E35]
28E10 teoria della misura sfumata [vedi anche 03E72, 26E50, 94D05]
28E15 altre connessioni con logica e teoria degli insiemi
28E99 argomenti diversi dai precedenti, ma in questa sezione

Voci correlate
Teoria della misura
Integrale

Schema di classificazione MSC


Four years ago, my life was everything I wanted it to be: I had everything I wanted, everything I needed, in my best friend and newly wedded husband—Tyler.
The dreams we'd shared, the future we'd planned—all of our hopes and desires, were ripped away in mere seconds.
most of her free time reading, writing, and when the weather permits lounging out on a beach.


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Johann Georg Rosenhain (* 10. Juni 1816 in Königsberg i. Pr.; † 14. März 1887 in Berlin) war ein deutscher Mathematiker.

Leben
Johann Georg Rosenhain stammte aus einer jüdischen Familie zu Königsberg (Eltern: Nathan und Röschen geb. Joseph). Nach dem Besuch des Collegium Fridericianum studierte er ab dem Sommersemester 1834 Mathematik an der Albertus-Universität Königsberg. Er hörte bei Carl Gustav Jacob Jacobi und Friedrich Julius Richelot. Noch während seiner Studentenzeit gab er einige Vorlesungen von Jacobi heraus, dessen Theorie der elliptischen Funktionen seine eigenen Arbeiten inspirierte. 1844 ging er an die Schlesische Friedrich-Wilhelms-Universität Breslau, an der er sich über die Abelschen Integrale habilitierte und als Privatdozent lehrte. Für seine Schrift wurde Rosenhain 1846 (1849 offiziell verkündet) von der Pariser Akademie der Wissenschaften ausgezeichnet. Nachdem er sich an der 1848er-Revolution beteiligt hatte, musste Rosenhain Breslau wohl verlassen und ging nach Wien, wo er sich 1851 erneut habilitierte. 1856 wurde er zum korrespondierenden Mitglied der Göttinger Akademie der Wissenschaften gewählt. 1857 kehrte er als a.o. Professor nach Königsberg zurück. Hierfür musste er allerdings in Hinblick auf seine politische Vergangenheit zunächst eine offizielle Erklärung abgeben, sich fortan nicht wieder demokratisch zu betätigen. 1859 wurde er zum korrespondierenden Mitglied der Preußischen Akademie der Wissenschaften gewählt.

Rosenhain galt auch als begabt in Sprachen und Musik; allerdings bemerkten einige Beobachter, dass er die hohen Erwartungen seiner jungen Jahre nicht erfüllte und nach seiner preisgekrönten Arbeit keine nennenswerten Beiträge mehr veröffentlichte. Er lehrte bis zum Wintersemester 1884/85 in Königsberg, wurde beurlaubt und ging nach Berlin, wo er kurz vor seinem 71. Geburtstag starb.

Publikationen
 Exercitationes analyticae in theorema Abelanium de integralibus functionum algebraicarum. Pro Venia Legendi die XXIX. mensis Martii a, MDCCCXLIV. Publice defendet Joannes Georgius Rosenhain. Grass, Barth u. Co, Vratislaviae 1844 (Breslau, Univ., Phil. Habil.-Schrift 1844)
 Heinrich Weber (Hrsg.): Abhandlung über die Functionen zweier Variabler mit vier Perioden, welche die Inversen sind der ultra-elliptischen Integrale erster Klasse.Engelmann, Leipzig 1895 (Ostwald's Klassiker der exakten Wissenschaften 65) Archive
 Mémoire sur les fonctions de deux variables, qui sont les inverses des intégrales ultra-elliptiques de la première classe. Nationale, Paris 1851
 Carl Gustav Jacob Jacobi (Hrsg.): Vorlesungen über Zahlentheorie. Wintersemester 1836/37, Königsberg. Rauner, Augsburg 2007 ISBN 3-936905-25-8

Literatur
 Wolfgang Eccarius: Johann Georg Rosenhain. Mathematiker und Demokrat. In: Helmut Bleiber, Walter Schmidt und Rolf Weber (Hrsg.): Männer der Revolution von 1848. Bd. II. Akademie Verlag, Berlin 1987, ISBN 3-05-000285-9, S. 305–326

Weblinks

Einzelnachweise

Mathematiker (19. Jahrhundert)
Hochschullehrer (Albertus-Universität Königsberg)
Hochschullehrer (Universität Breslau)
Mitglied der Preußischen Akademie der Wissenschaften
Mitglied der Akademie der Wissenschaften zu Göttingen
Deutscher
Geboren 1816
Gestorben 1887
Mann

redpajama_set_name: RedPajamaWikipedia


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Bana at the Oscars: Is anyone fooled?
If she is 8, then she was 6 in 2016 -- and posting on Twitter. Right!
By Tom Winter On Mar 6, 2018
The story that a seven-year-old girl from East Aleppo tweets in a foreign language against the evil Russians and Syrians is, on the face of it, a very obvious counterfeit for propaganda purposes … especially given that in live TV interviews, she couldn't speak a word of English, or anything else. Did we mention her parents are ISIS? – Tom Winter
Once again Hollywood's crème de la crème strolled the red carpet at the 90th Academy Awards. Glamorous dresses, shiny shoes, and perfectly fitting suits lined up – each trying to outdo the other in elegance. Amidst the hustle and bustle: Bana, the little girl from Aleppo.
This year's Oscar ceremony had a particularly young guest: the eight-year-old Bana al-Abed. The little girl had since been Twittering the world with reports from destroyed Aleppo since 2016. Interesting is the question of why a seven-year-old girl can have a Twitter account, when the absolute minimum worldwide age for it according to the Twitter Terms and Conditions is 13.
The story that a seven-year-old girl from East Aleppo tweets in a foreign language against the evil Russians and Syrians is, on the face of it, a very obvious counterfeit for propaganda purposes, as the operators of the Bana Twitter account repeatedly expose themselves with their tweets, their speech skills, and messages. Really good English prevails, which you can probably ascribe to English native speakers. A simple look at the Bana Alabed account is enough to understand that these foreign-language English Twitter messages can not come from an Arabic-speaking seven-year-old girl. The supposedly ingenious foreign language talent is in complete contrast to the English language skills shown in their videos.
I always find it extremely unfortunate that one abuses such small children for propaganda purposes and still wish the little one all the best, because she probably does not realize the whole hype around her …
Nevertheless, there she was on the red carpet for the world's most glamorous event for the documentary "Last Men in Aleppo". The film, featuring Bana, was nominated for Best Documentary.
No Oscar, but still reason to shine
Although the team was not the winner and the Oscar went to the documentary "Ikarus". Bana had all reason to shine anyway. Eventually, she appeared on stage with rap singer Common and singer Andra Day performing the song "Stand Up for Something." At the moment, the eight-year-old lives with her family in Turkey. In October 2017, she published her first book, "Dear World," a call for peace in the war over the embattled Aleppo.
I append the top comments:
Well, just rausrotzen an assertion. Someone will believe it without reflection.Sabine Mayer
She is just being marketed.
For sure, you can not sell lies better than with a cute laughing little girl.
The poor little thing will definitely not get any money or anything for it!
Martina Keens
If this girl is now 8 years old, then she was six in 2016. I hardly think she was on twitter at this age, and certainly not posting any reports there. The Internet would not work in such a situation. What a nonsense is once again being spread here!
# 25 | Report before 20 hrs
NORBERT FRANKE
Wow, I am deeply impressed — by so much audacity of the media!
Is it clear to you that you achieve exactly the opposite of what you had planned?
Source GMX.net
Tom Winter 1507 posts 0 comments
Contributing editor and volunteer translator Tom Winter, retired Classics professor, monitors the news in 6 languages, and sometimes cannot help writing satire, since that's what today's news mostly deserves
Nord Stream II overcomes another hurdle
Accomplice to Genocide: US's fake news Ghouta campaign at its ugliest yet
For MLK's 92nd Anniversary: Great Speeches to Strengthen the Soul in Times of…

redpajama_set_name: RedPajamaCommonCrawl


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Junior Eurovision🇮🇹 Italy
🇮🇹 JESC countdown: how are things going with Vincenzo Cantiello?
His first love became Italy's first winner
Conor KellyNovember 13, 2020Last Updated: November 13, 2020
Earlier in this countdown series we talked about Gaia Cauchi. Now it's time to check up on Vincenzo Cantiello, the JESC 2014 winner from Italy!
Marsa 2014: throwback
The twelfth edition of the Junior Eurovision Song Contest took place in Marsa, Malta. It had 16 participants, the highest number since the 2007 contest. Bulgaria, Croatia, Cyprus and Serbia all made a return to the contest this year. Three countries made their debut appearance in 2014, these were Italy, Montenegro and Slovenia. Unfortunately three countries: Azerbaijan, Moldova and North Macedonia decided to withdraw from the contest.
An online voting system had been planned to feature in JESC 2014. This would have allowed viewers from outside the participating countries to also cast their vote. The results of this vote was not going to make an impact in the official voting, but would have crowned a separate 'online voting winner'. However, the official Junior Eurovision website crashed, making it impossible to crown an online voting winner. Online voting would later be introduced at the 2017 contest, this time playing a much bigger role in deciding the outcome of the contest.
The winner of the contest was Vincenzo Cantiello from Italy. It was the first ever appearance from Italy at JESC, and also the first victory from a debuting nation (not counting Croatia in the inaugural 2003 contest). But what is Vincenzo's story? How did he get to the Junior Eurovision Song Contest?
Tu primo grande amore
Vincenzo was born on the 25th of August 2000 in Sant'Arpino, Italy. Always having a keen interest in music, he sang in a church choir before starting singing solo at the age of nine. In 2014, Vincenzo participated in the seventh edition of Italian talent show 'Ti lascio una canzone'. He reached the final of the show, won by Federica Falzon who would also go on to participate at JESC 2014 representing Malta.
Italian broadcaster announced Vincenzo Cantiello as their representative in September 2014. The chosen song, 'Tu primo grande amore', released one month later. Vincenzo was notably the only male contestant in the Junior Eurovision that year. After a powerful performance of his song, Vincenzo managed to win the entire contest with a total of 159 points. Italy won the jury vote and came 3rd in the public vote.
Life after the Junior Eurovision
Vincenzo made his homecoming back to Italy on Sunday afternoon, where he and the Italian delegation arrived to many smiling faces. A big party had also been organised by both by his family at home and his school. Vincenzo made many television appearances, including both the final of the 2015 Eurovision Song Contest and the Junior Eurovision Song Contest.
What is Vincenzo up to now?
In 2016 Vincenzo released an album entitled 'Never Too Much', which had success after promotion at the Junior Eurovision Song Contest that year. He released a single titled 'Cosa Diventerai' in 2019. The music video was shot in Milan.
https://www.youtube.com/watch?v=MqwFQDqxTU8
Have you watched Vincenzo's performance in 2014? Comment below or share your opinion with @escxtra on Twitter, Facebook and Instagram.
Comments on 🇮🇹 JESC countdown: how are things going with Vincenzo Cantiello?
&nbspVarious
&nbspOGAE Italy
63d956fc678fb
By Conor Kelly
Our #ESC250 2020 votes – Part 8 – Conor
🇮🇱 Slideback Sunday: The Shiru Group brought the ultimate Israeli choreography to Eurovision '93
🇵🇱 JESC countdown: how are things going with Viki Gabor?
🇬🇪 JESC countdown: how are things going with Candy?


The video performance of the X1 Yoga is horrible. Connected to the OneLink+ dock, and driving two external monitors as well as the X1 screen, edits made in Microsoft Excel take 5 to 10 seconds to roll across spreadsheets, even on relatively small (5MB) workbooks. Additionally, video resolution on external monnitors doesn't support the default resolution for them. Instead, resolution is lower, making everything larger than needed.
Are these knoiwn video driver issues? Is a fix in the works?
I use the X1 Yoga with two external displays (1920x1200), and have no problems whatsoever.
Do you try to use 4K displays by any chance? Running 2x 4K displays plus the Yoga's own screen is not possible at the same time, even with the OneLink+ (as far as I know), which could explain why you get lower than native resolution.
As for the performance problem in Excel, I cannot really explain it. Is it just a display issue? If you disconnect your notebook from the OneLink+ dock and do the same thing on the notebook screen, does it still lag, or does it work better?
Changing the displayport connections did nothing to improve video performance. It is still poor, with long lags between file edits and their visibility on screen even on relatively small files.
Could you check if the data update delay exists if you use the notebook disconnected from external displays, and viewing the data on the display of the notebook itself?
The delay exists on the laptop screen as well as on the external monitors. Delay on the laptop continues whether connected to the dock or not.
Another issue arose today, when a notification popped up that the video drive stopped working. The screen never flickered and never wnet dark, but the notice popped and then disappeared.
The Intel driver crashes happen sometimes, it is not just an issue with Lenovo or ThinkPads. Luckily in Windows 10 it can recover from these, although it is annoying when it happens.
As for the blackening screen, hopefully Lenovo can investigate your issue further, if the driver, firmware and BIOS update did not solve your problem.
The issue was a conflict between the video drive and DisplayLink driver. Removal of the DisplayLink driver likely cured this issue.


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KJ Apa seen showing PDA with actress Britt Robertson!
Monday, 22 July 2019, 3:45PM
Kiwi superstar KJ Apa might just have a new girlfriend, as he was reportedly seen putting on a fair few public displays of affection with actress Britt Robertson at a Comic-Con party at the weekend.
PEOPLE report the pair were "holding hands throughout the night" and that KJ had his arm around Britt's waist. The pair also reportedly shared a kiss.
KJ, 22, and Britt, 29, previously worked together on the 2017 film A Dog's Purpose and are both set to star in the upcoming Jeremy Camp biopic, I Still Believe.
Britt has formerly been linked to actor Graham Rogers, as recently as December. Prior to that, she dated Teen Wolf star Dylan O'Brien from 2012 until they split in 2018.
Meanwhile, this is the first time KJ has been romantically linked to anyone since shooting to Hollywood stardom in Netflix's hit series Riverdale.
He previously told Cosmopolitan that he was "just waiting for the right time, right girl", adding to Seventeen magazine; "it's not for us to decide when we meet the love of our lives."
KJ was also spotted catching up with fellow Kiwi star Karl Urban at Comic-Con, posting a snap of the pair together and calling Karl a "legend".
Photo / Instagram
Karl also took to Instagram to post a photo with KJ, along with the message to none other than the All Blacks.
Congrats @allblacks Ballistic game 🔥 @sandiegocomiccon2019 @kjapa
A post shared by Karl Urban (@karlurban) on Jul 20, 2019 at 3:12pm PDT
This article was originally published at nzherald.co.nz and is reproduced here with permission
L&P launch new Kiwi as flavour
Melodownz - No Mercy
Rei - Worry Bout Yourself


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Design, Menu, Residential
THE MIRROR HOUSES by PPA – Peter Pichler Architecture
Contemporary, high class vacation in South Tyrol
Bolzano, Italie, 2014 STATUS: built TYPE: residential units CLIENT: Staffler COSTS: confidential PHOTOGRAPHY: Oskar Da Riz The Mirror Houses are a pair of holiday homes, set in the marvellous surroundings of the South Tyrolean Dolomites, amidst a beautiful scenery of appletrees, just outside the city of Bolzano. They were designed by architect Peter Pichler. The Mirror houses offer a unique chance to spend a beautiful vacation surrounded by contemporary architecture of the highest standards and the most astonishing Landscape and beauty nature has to offer.
The Architecture
The client, who lives in a restructured farmhouse of the 60s on the site, asked to design a structure for renting out as luxury holiday units. Guests have their small autonomous apartment and can fully enjoy the experience of living in the middle of nature. A maximum degree of privacy for both the client and the residing guest should be taken into consideration.
The new structure is oriented towards east with their private garden and an autonomous access and parking for the guests. Each unit contains a kitchen / living room as well as a bath- and bedroom with big skylights that open to allow natural light and ventilation. A small basement serves for temporary storage. The projects initial volume is split in 2 units that are slightly shifted in height and length in order to loosening the entire structure and articulating each unit.
Both units are floating on a base above the ground evoking lightness besides offering better views from their cantilevering terraces to the impressive surrounding landscape. The volume opens towards east with a big glass facade that fades with curvilinear lines into the black aluminium shell. Mirrored glass on the west facade borders the garden of the client with the units and catches the surrounding panorama while making the units almost invisible.
The mirrored glass is laminated with an UV coating preventing birds collision. From certain views of the clients garden the old existing farmhouse is mirrored in the new contemporary architecture and is literally blending into it rather then competing against.
PETER PICHLER
Peter Pichler was born in Bolzano, Italy in 1982. He was studying Architecture at the university of applied Arts Vienna and in the US at the university of California, returning back to Vienna where he graduated with distinction in the masterclass of Zaha Hadid and Patrik Schumacher.
Already during his studies Peter is joining Zaha Hadid in London, where he worked on several competitions covering all scales and on the award winning Nordkettenbahn in Innsbruck. He spent a while in Rotterdam working for Rem Koolhaas after turning back to Vienna and joining the team of Delugan Meissl, collaborating on an award winning concert hall in Amman, Jordan. After finishing his diploma Peter goes to Hamburg where he is working for Zaha Hadid as a project architect on the new library and learning center in Vienna and on a 150.000m² mixed used development in Bratislava. He turns then back to Italy in 2013 and establishes Peter Pichler Architecture.
Peter Pichler is a registered Architect in Italy and member of the chamber of architects of the autonomous Province of Bolzano. He was nominated as young italian talent by the national chamber of architects in Italy.
PETER PICHLER ARCHITECTURE
PPA is a Milan based architecture and Design firm dedicated to develop an innovative and contemporary approach towards architecture, urbanism and design. Our declared aim is to achieve highest possible quality, excellent detailing and the creation of an integrated strategy involving the individual needs of the user, regardless of the budget. In all projects an appropriate integration of the architecture into its surroundings is a priority, all project solutions are determined and informed trough sustainability, value engineering and rationalization. From an early stage projects are set up with the ambition to develop intelligent building solutions regarding room layout, structure, building process and reduction of construction costs.
Architecture | Landscaping | Project management | Masterplanning | Cost estimation | Analysis | Research | Strategy | Concept | Feasibility studies | Architectural design | Planning applications | Building regulation applications | Detailed design | Site supervision | 3D modelling | Building surveys | sustainable design | Interior Design
Corso San Gottardo 22
http://www.peterpichler.eu
info@peterpichler.eu
Part.IVA 02837900212
http://www.peterpichler.eu/
casalibrary September 21, 2015 October 10, 2016 Design, Menu
Next Next post: WESTRIDGE, Los Angeles, California


Guests are taken on game drives in an open game vehicle in the early morning and late afternoon/evenings. Afternoon game drives include a sundowner at a majestic viewing spot, over the Mohwareng Hills, chosen by your ranger. Plus, you will be spoilt with sightings of nocturnal creatures.
The game frequently sighted in the reserve includes elephant, rhino, lion and hippo. In between meals and game drives, watch the animals and birdlife by relaxing at the pool or observing from the Hide. Alternately, join a walking safari through the wild, accompanied by an experienced armed ranger. It is a thrilling, exciting and unforgettable experience seeing the animals on foot.
Group tours are available to the nearby village of Welverdiend, where guests will learn about the relationship between traditional and contemporary living.


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You are here: Home / The Species / Pangolins: Even Their Armor Cannot Protect Them From Extinction Threat
Pangolins: Even Their Armor Cannot Protect Them From Extinction Threat
Many of us might still don't know about the existence of this animal, but somehow this animal is one of the most famous creatures on earth. Meet Pangolin, or some call it as scaly anteaters, the only mammal in the world to have protective scales covering its skin.
One of the proves that this animal has gained popularity is when Dota 2, a globally recognized online game, chose to feature Pangolier the Pangolin as one of their playable 'heroes'. The hero is considered as one of the strongest and deadliest hero in the game.
However, in real life this animal is far from the image of strong and deadly. Instead it shows gentle and a little bit shy (or cowardly) nature. When this animal is threatened, instead of fighting like a hero (like what it is depicted in the game), it choose to defend itself by rolling into a small scaly ball.
Well, enough introduction of this animal, let's learn more about it before it rolls up because of feeling shy and threatened by our attention.
They Don't Know Armadillo And Anteaters
With an appearance like a living pine cone, pangolins are actually easily distinguishable from other animals alike. The species range in size, starting from 30 centimeters to 1 meter long. Pangolin's diets consist of various ants and termites.
This animal has extremely long tongue, which is pretty useful for them to lick those small insects, like what anteaters do to feed. Indeed many people mistaken this animal for armadillo and anteater, but actually the they are not related to each other.
In fact, armadillo is indeed related to the anteaters, and they also come from the same family as South American sloths. While pangolin's closest relative are big carnivores that become their natural predators nowadays.
The animal has two kinds of defense mechanism to protect itself from its predatory cousins. The first one is by emitting noxious-smelling chemicals from glands near their anus to scare the predators away and if it doesn't work they will curl up into a small scaly ball.
Like mentioned before, one of the most recognized physical feature of this animal is definitely the scales covering its skin. Every Pangolin is protected by about 120 pieces of scales lined up neatly to fully cover its body from head to tail.
The scales are made of keratin which is pretty similar to what our finger nails are made of. So, we can say that the entire body of this animal is covered with nails-like armor which make up about 20% of its body weight.
The armor is its main defense mechanism and they rely on it a lot. It can be seen on how anytime this animal is sensing danger it will curl up its body, showing a ball full of scales. And this defense mechanism is pretty much effective to get rid of their natural threats.
The scale is hard enough to protect the rest of its body. It needs extra hard work for predators like lions, tigers, and leopards to penetrate it using their claws and fangs. Most of the time, the predators will give up their prey before they can penetrate it.
An urban myth said that the scales of Pangolin is really hard, even shotgun bullets cannot get through it. The story said that a man who tried to shoot the animal ended up getting killed by its own ricocheting bullets.
Intelligence Beats Brute Force
The scaly armor may be effective enough to protect this animal from its natural threats. However, their biggest threats might not come from the sharp claws and fangs of predators, but from human's gentle touches.
Pangolins are currently listed as critically endangered animal, and you should know how can they come to this phase. It is because of us, human kind, who hunt down this animal for centuries that the population keeps on decreasing time by time.
Pangolins are hunted for their meat and scales which is said to have medical quantities. In many parts of the world, especially Africa and China, the demand for this animal is so high, making the price for one whole pangolin sold in black market sky high.
Just one piece of pangolin scale is worth up to $5! Multiply it by average number of scales an adult pangolin have, which is around 120, and the answer is about $600. Not only that, pangolin meat is also an expensive commodity in black market, worth about $300 per kilogram.
No wonder this animal is hunted down by human for its worth. Illegal poaching and trades of this animal has been their biggest threat. Like mentioned before, sharp claws and fangs of predators might not be able to penetrate the scales, but such defense mechanism doesn't work for human since we can just take it away while it is still rolling.
This animal is currently listed as critically endangered, meaning there are only a few individuals left in the nature. Yet the demand for it has not changed a little bit, people still want to hunt it down as much as possible.
In fact, pangolin is the most trafficked mammals in the world! Countries with the biggest pangolin consumption rate are China and Vietnam, since people in those countries consider this animal as a delicacy whose scales also work as traditional medicine for asthma, rheumatics, and arthritis.
However, still there is no medical prove about whether this animal has such medicinal quantities. That's why international ban for pangolins trade has been issued. It means people in any country can no longer freely sell, buy, or serve foods made of pangolins and any of its body part.
But the ban still cannot control the black markets. In example, in 2013 about 11 tons of pangolin meat were seized in Philippines. Another example is taken from 2016 where Indonesian man was raided at his home where police found 650 frozen pangolins on his property.
Like we said earlier, this animal is one of the most famous animal in the world, but it apply mostly to those people in black market. It is time for us to bring the name of this animal to the light, so we can straightforwardly protect it from total extinction.
https://en.wikipedia.org/
https://news.nationalgeographic.com/
https://www.wwf.org.uk/
https://www.profauna.net/
July 5, 2018July 5, 201800
By sataksigIn The SpeciesTags endangered, mammals, pangolin, rare
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This week, our team is taking a look at five different law schools across Canada to assess how they have been responding to TRC Call to Action 28. As identified in yesterday's post, Call to Action 28 asks law schools to take specific actions to work towards reconciliation.
Conducting blanket exercises for all first-year law students in September 2016 which were facilitated by the Mi'kmaw Native Friendship Centre. For more on the Blanket exercise, check out this blog post about the exercise at the University of Alberta.
In September 2017, the law faculty launched a course called "Aboriginal and Indigenous Law in Context" (AILC), which is a new mandatory two-credit course. It was delivered to all first-year students in two intensive components, one at the beginning of each semester.
Additionally, the faculty's TRC Committee, which Metallic has co-chaired since December 2016, has been developing a database of teaching materials for professors who want to incorporate more Indigenous content into their classes and have a dedicated research assistant to help them prepare curriculum in this regard.
At this time, the faculty is "exploring options" for implementing a mandatory course in Aboriginal Law for upper-years (2nd and 3rd year students).
It is clear that, especially with the continued work of Ms. Metallic and the Schulich School of Law, along with resources that have been provided by the Faculty and University, Dalhousie's faculty of law has made great strides forward in responding to Call 28. In an interview with the school's newsletter, Metallic listed three principles that can aid with the work of reconciliation in school departments: "(1) making space (in scheduling, curriculum, policies, thinking); (2) giving support (with time, money, advocacy, raising awareness); and (3) following the mantra "Nothing about us without us."".
It seems that the Schulich School of Law can be marked as an exemplary faculty in terms of their responses to Call 28. It is inspiring and exciting to see what other changes will be made in the years to come with Ms. Metallic as Chair of Aboriginal Law and Policy.
 For all information, please see: "Schulich School of Law's Response to the TRC Calls to Action", Dalhousie University, December 2018, online: <www.dal.ca/faculty/law/news-events/news/2018/12/11/schulich_school_of_law___s_response_to_the_trc_calls_to_action.html>.


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But every once in a while the artist will pull back. He'll straighten his back, relax his limbs, even take a step or two back from his work to view it from a more distant vantage point. He'll disengage his soul from his work, so as to see it from the outside rather than from within. For a long minute he'll just stand or sit there, detached, even aloof. Then he'll dive back in.
Imagine that you wanted to put all the wisdom in the world in a single document -- a document compact enough to be copied by hand from scroll to scroll, transported from place to place and transmitted from generation to generation for thousands of years. How would you do it?
You would, of course, pick your words very carefully, so as to take advantage of each word's multiple meanings. You'd construct sentences so that they can be read several different ways, again imparting multiple messages. You'd use metaphor to tell a story inside a story, a law within a law, an idea within an idea. If you gave each letter a numerical value and made certain letters interchangeable with others, then each word in your document will also be a code -- actually a series of codes -- conveying more layers of meaning. You'd also embed allusions in the very shapes of the letters, in the flourishes of the calligraphy, and in the format of the spaces between the letters, words and paragraphs. Finally, you would use context and juxtaposition to convey even more information.
That is what the Torah does by interjecting the commandment to rest on the Shabbat in the middle of its instructions on how to build the Mishkan (the portable sanctuary that served the Children of Israel during their travels through the desert). The laws of Shabbat fill hundreds of pages in the Talmud and many thousands of pages in the commentaries and halachic works; yet all is encapsulated in a few short sentences in the book of Exodus. A major source of Shabbat law derives from the association the Torah makes between Shabbat and the Mishkan.
"Six days shall work be done, but the seventh day shall be holy to you, a sabbath ('ceasing' of work) of sabbaths to G‑d" (Exodus 35:2). The word the Torah uses for "work," melachah, actually means "creative work" -- which is why watering a plant is work forbidden on Shabbat, while carrying a heavy piece of furniture across the room is not. The Talmud lists "forty minus one" (i.e., thirty-nine) categories of such creative work, from "planting" and "plowing" to "tying a knot" and "lighting a fire." Each of the 39 also includes numerous actions that derive from it (for example, watering a plant is a toladah or "derivative" of planting).
How does the Talmud compile this list? By examining the types of "creative work" involved in the making of the Mishkan. Regarding the Mishkan, the Torah is uncharacteristically elaborate. More than a dozen long chapters are filled with detailed instructions on the design and construction of the Sanctuary's 48 wall panels, 69 pillars, 165 foundation sockets, 26 tapestries, 169 hooks (59 gold, 60 silver, 50 copper), and its various "vessels" -- the Ark of the Covenant, the Menorah, the Showbread Table, the indoor and outdoor Altars, etc. More chapters describe how the Mishkan was assembled at each encampment in the desert, and then disassembled and transported to the next campsite. By juxtaposing the laws of Shabbat with the laws of the Mishkan, the Torah defines the "work" forbidden on Shabbat as the work of making the Mishkan.
The chassidic masters add a third side to this equation.
The Midrash points out that when the Torah commands, "Six days shall work be done, but the seventh day shall be holy," it's not only telling us to cease work on Shabbat. It is also instructing us that for six days shall work be done. Working during the week is a mitzvah, just like ceasing work on Shabbat is a mitzvah.
1) The details of the Sanctuary constructed by the Children of Israel in the desert.
2) The definition of "work" forbidden on Shabbat.
3) A definition and description of the work of life. Why are we here? What is our task in this world? What is the "creative work" in which G‑d wants us to engage six days a week? The making of a Mishkan -- a home for G‑d that is created by shaping the materials of physical life into "vessels" that are receptive to, and expressive of, the goodness and perfection of their Creator. Want to know how to make your life a "home for G‑d"? It's all there in the closing chapters of the Book of Exodus, enfolded within the detailed description of the materials, design and craftsmanship of the work of the Mishkan.
Yet on Shabbat we cease this work. Is Shabbat a time outside life? In a way it is, since we desist from the creative labor of life. Yet at the same time, it is also an integral part of that work. Like the artist taking a step back from his work to reconnect with his overall vision lest he lose it in his immersion in the details, so, too, "making a home for G‑d in the physical world" requires a weekly interlude of unfettered spirituality, lest we lose sight of the overall purpose in our preoccupation with the materials out of which that home is being fashioned.
Therein lies the deeper significance in the curious Talmudic phrase we mentioned above -- "forty labors, minus one." Why not simply say that there are "thirty-nine labors" forbidden on Shabbat? Our sages explain: the fortieth labor is the "work of heaven" we do on Shabbat.
Building the Mishkan actually involves forty categories of creative work: the thirty-nine modes of constructive involvement with the physical world in which we engage during six days a week and which we cease on Shabbat; and the spiritual labor of Shabbat. The fortieth labor requires the cessation of the first thirty-nine, for this is the act of stepping out of, and above, our weekday Mishkan building; yet it is ultimately an indispensable component of the job of constructing a home for G‑d in our physical lives.


text:
Here's Exactly How Hard the Oscars Worked to Combat #OscarsSoWhite
By Eliza Berman
The Academy of Motion Pictures was under significant pressure Sunday night to deliver a show that ran counter to its image as a mostly-white organization dragging its feet on matters of inclusion. Between host Chris Rock's scathing opening monologue and Academy President Cheryl Boone Isaacs' more measured remarks on the organization's recent efforts, race felt very much front and center at the show.
But the Oscars' producers took great pains to ensure that it would look front and center, as well. Of the night's 48 presenters and performers (including Rock and Isaacs), 19, or about 40%, were not white. That's not including Angela Bassett's pre-recorded segment, Rock's daughter's Girl Scout troop or the three Asian-American children brought to the stage for a rather unfortunate joke about accountants.
The Academy's progress toward becoming a more inclusive body is, of course, more than a percentage for a single night when the whole world is watching. And for many, something doesn't sit quite right about inviting people of color to present awards for which few, or in many categories zero, people of color were nominated. The real test will come when next year's nominees are announced in January 2017. If true progress has been made in a year's time, the 89th Academy Awards won't be marked by that nagging feeling that something is being compensated for.
Write to Eliza Berman at eliza.berman@time.com.
What to Know About the Pro-Gun Rally in Richmond


text:
Viale della Gloria era il nome di un tratto di una strada di Busto Arsizio che congiunge tuttora, con diverse denominazioni, la zona dei Cinque Ponti alla zona nordoccidentale del comune di Castellanza.

Storia

Fin dal 1860 il tracciato del viale della Gloria era occupato dalla sede dei binari della ferrovia Domodossola-Milano e dalla vecchia stazione, oggi demolita, che sorgeva dove l'attuale viale incrocia corso XX Settembre.

Lungo la sede della ferrovia sorsero diversi stabilimenti, oggi tutti dismessi, come il calzaturificio Giuseppe Borri, il cotonificio Dell'Acqua-Lissoni-Castiglioni, la manifattura Tosi & C., i molini Marzoli Massari, la ditta Pio Garavaglia, la tintoria Giovanni Garavaglia.

Nel 1905 iniziarono i lavori di realizzazione del nuovo tracciato ferroviario che oggi taglia la città di Busto Arsizio circa 900 m più a nord-est rispetto alla linea precedente. La stazione fu demolita e sostituita dall'attuale stazione di Busto Arsizio, inaugurata da Benito Mussolini il 26 ottobre 1924. Il vecchio tracciato ferroviario fu smantellato e successivamente considerato come nuovo viale dal Piano Regolatore e suddiviso in tre tronchi in quanto a denominazione e numerazione civica. Nel 1929, il tratto dall'attuale largo degli Alpini (Cinque Ponti) a via Gavinana fu denominato viale Armando Diaz, il successivo viale della Gloria e il terzo viale Luigi Cadorna. Ma nel 1934 "ritenuto che è stato più volte e da diverse persone osservato che la denominazione la Gloria [...] non rappresenta alcun avvenimento, né si riferisce ad alcun determinato fatto [...] si stabilisce di sostituire la denominazione viale della Gloria con viale Duca d'Aosta". Dal 1953 il tracciato di viale Cadorna si arresta al sorpasso della ferrovia Nord-Milano e da quel punto fino al confine del territorio di Busto Arsizio viene intitolato a Giuseppe Borri.

Edifici notevoli
Sull'ex viale della Gloria prospettano diversi edifici degni di nota dal punto di vista storico e architettonico. Tra questi, sicuramente di rilievo sono le architetture industriali che erano strettamente collegate all'antico tracciato ferroviario. Tra questi i Molini Marzoli Massari e l'ex calzaturificio Giuseppe Borri.

Sempre affacciati sull'ex tracciato delle FS partendo dalla località Cinque Ponti troviamo il tribunale civile e penale di Busto Arsizio, Palazzo Gilardoni, sorto come Ospedale di san Giuseppe e trasformato in palazzo municipale a partire dal 1922 e, in territorio del comune di Castellanza, l'Istituto Statale di Istruzione Superiore Cipriano Facchinetti, progettato tra il 1962 e il 1965 dall'architetto Richino Castiglioni.

Note

Altri progetti

Strade urbane della provincia di Varese
Trasporti a Busto Arsizio


While it can be easy to find 3 bedrooms for rent, sometimes, you only require two. Regardless of the number of bedrooms you require, you don't want to be stuck in a tiny place with little room to move about and feel comfortable. You need something spacious that allows you to have room for all your stuff. It's also helpful to have a lot of space if you have children because they tend to roam about the house and leave their toys everywhere. You can find a variety of apartment homes in the Ontario region, which ensures that you can live comfortably and safely.
The Paseos at Ontario is a gated community that offers many amenities. It truly is the perfect fit for your lifestyle and can grow and expand as you do. For example, you may not have children right now but may want to start a family in the future. Getting three bedrooms now saves you from having to move. Along with such, they have a children's part with a tot lot on site, which means your children will always have a safe place to play. Those who enjoy working out will find resort-style pools, two different gyms and saunas/steam rooms to help you relax away the stress of your workout.
Apartments for rent in Ontario CA are the perfect way to live in a community, spend time in the place you love, and remain safe while doing it all. Gated communities are becoming more popular because they include everything you need. However, you are free to come and go as you please without being restricted on timing. The guardhouse is manned, and you'll have to pass through it, but it's a safety precaution that many people enjoy because it ensures that no intruders get inside where they can cause problems, steal items, or otherwise harm residents.


That's what we keep saying every time we check our mail.
Please join with us in some wonderful, "Oh, wow!" moments.
I send you "some" (a lot of) pictures of a Zentangle exhibition in Belgium here at PaperArtStudio. This way my students each have the opportunity to exhibit their own work together with four Ensembles we created as a group. The choice to use white, black and red is because Zentangles are "black and white" drawings, the Zentangle logo is a red square and also the flower in the PaperArtStudio logo is red.
You can learn more about our concept of Zentangle Ensembles here.
Thank you Jella and all who participated. We wish we could have posted all of your wonderful pictures.
I have a "learning difference". When I was in an elementary school art class, the art teacher watched me struggling to draw the turned edge of a leaf. Eventually, rather then helping me, she chastised me and angrily asked, "What's wrong with you?" Her harshness left an indelible mark on me and I spent the next 40+ years creating pictures with words NOT lines!
Thank you for finding a way to let me create art!
Thank you so much, SM, for sending us those beautiful images and that powerfully inspiring story.
Here are some recent examples of what you'll find on our blog . . .
Tidbits from our "Backstares Gallery." This one's called "Hole in One."
And lots of great Zentangle creations . . .
Our next training is scheduled for October 12-15, 2010. As we get closer to that date (probably early June) we'll open registrations. Learn more about our Certified Zentangle Teacher (CZT) training here and read through our previous newsletters that discuss our seminar.
To learn more, you can read this blog FAQ on our CZT program. If you have any questions, let us know and we'll add to that entry.


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T20 World Cup 2021: Full prize money details for winner, runner-up and all teams
Winner of the upcoming T20 World Cup in the United Arab Emirates will take home a cheque of $1.6 million in prize money, the International Cricket Council announced on Sunday.
The runner up will receive half of that amount.
Sixteen teams competing at the ICC Men's T20 World Cup 2021, scheduled to be played between October 17 and November 14 in the UAE and Oman, will be awarded a total of $5.6 million.
The two losing semi-finalists will get $400,000 each while the other eight teams from the Super 12 will each be awarded $70,000.
READ: DRS to feature in men's T20 World Cup
The four teams that will be eliminated from the qualifying round will each receive $40,000.
For every victory in the Super 12 stage (30 matches), the winning side will get a bonus of $40,000 with the same amount allocated for a match win in the qualifying round (12 matches).
Playing Conditions
The playing conditions for the tournament have also introduced scheduled two-and-a-half minute drinks intervals at the midpoint of each innings in every match.
Here's the break up of the total prize money –
Winners 1 $1,600,000 $1,600,000
Runners-Up 1 $800,000 $800,000
Losing Semi-finalists 2 $400,000 per team $800,000
Super 12 wins 30 $40,000 per match $1,200,000
Eliminated from Super 12 8 $70,000 per team $560,000
Qualifying round wins 12 $40,000 per match $480,000
Eliminated from qualifying round 4 $40,000 per team $160,000
Sydney Sixers Women v Melbourne Stars Women
T20 World Cup full schedule of India's matches: Timings, venues, dates


text:
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using System.Collections.Generic;
using System.Linq;
using System.Text;

namespace org.bantu
{
    public class BantUException: Exception
    {
        public BantUException(String message)
            :base(message)
        {
        }

        public BantUException(String message, Exception ex)
            :base(message, ex)
        {
        }
    }
}

redpajama_set_name: RedPajamaGithub


Our Ferndale facility features password-controlled gates, recorded-video surveillance and on site resident management to ensure someone is always watching. For additional safety and security the site is completely surrounded by a 8-foot barbed wire fence.
We are in the process of upgrading a number of our security measures. The site lighting will feature high intensity light towers that will provide stadium-like lighting.
In addition we will soon be providing climate controlled self storage unitsand wine storage.
We are called Safe Storage Solutions for a reason and it is our aim to provide you the safest facility in the Ferndale and Canadian border area. Our management team along with our contracted security consultants are constantly researching ways to provide safest storage possible.


text:
Norian Maro's Deliriously Entertaining Korean Harvest Spectacle Keeps the Crowd on Their Feet
You might think that a drum-and-dance troupe performing an ancient Korean peasants' nongak harvest festival celebration would draw a mostly Korean audience, right? Friday night at Flushing Town Hall in Queens, Korean ensemble Norian Maro (whose name translates roughly as "Premier Performance") had an unmistakably multi-ethnic, sold-out New York crowd, ranging from in age from kids to their grandparents, on their feet, cheering and stomping along with the irresistibly kinetic performance onstage.
The show reached a peak and then stayed there for its final twenty minutes or so, the performers clad in bright costumes and wearing caps topped with streamers on a swivel. The group members charged with the task – pretty much everybody – first spun their heads in a semicircle to activate the swivel and get the streamers flying in big arcs behind them, all the while spinning around the stage, and also playing intricate polyrhythms on a diverse collection of drums at the same time. And nobody onstage could resist a grin as they worked an ecstatic call-and-response with the crowd – and made it all look easy. How they managed to do that without losing their balance, or the beat, or a lot more, was mind-boggling. As a display of sheer athletic grace combined with musical prowess, it's hard to imagine witnessing anything more impressive in this city in the past several months.
Norian Maro premiered the piece, titled Leodo: Paradise Lost, at the Edinburgh Fringe Festival last fall. It's a metaphorical tale of the cycle of renewal, personified by a lithe dancer who gets caught in an ocean undertow and then comes face to face with the sea gods, among them a strikingly decorated dragon figure requiring two group members to keep him on his feet. After some very vigorous resuscitation, she's transported to a magical isle where she comes to life again. One of the women in the group sang the narrative in Korean, in low, mysterious, otherworldly microtones, a revealing glimpse of the ancient, mysterious roots of dramatic Korean pansori singing.
As meticulously choreographed and spectacularly athletic as the dancing was, the stars of the show were the drummers, on a series of janggu drums ranging from a big, boomy tom, to a metal gong, to smaller metal hand drums that provided both clanging and mutedly shimmering tones. The star among all the players was a petite woman with a double-headed drum slung over her shoulder that was almost as big as she was, which she played in two separate time signatures at once, at one point firing off long volleys with a single mallet on both drum heads. Of all the players onstage, including Jong Suk Ki, Jung Hyeon Yung, Min Kyoung Ha, Sungjin Choi and Yoo Jeong Oh, she seemed to be having the most fun. Although one of the guys in the group had an equally good time with a tassel that he swung about fifty feet into the crowd, then later spun and spun until he had it flying from the roof to the floor of the stage, practically cartwheeling to keep it in motion.
The Korean Cultural Service, who staged this show, have a series of enticing concerts and spectacles coming up here. The next one is by Korean classical pianist Eunbi Kim playing works by Debussy, Fred Hersch, Daniel Bernard Roumain and others at 7 PM on Feb 26. Admission is free, but you have to RSVP, the sooner the better: and make sure to get to Flushing Town Hall's historic Gilded Age auditorium, about five blocks from the last stop on the 7 train, at least a half hour early in order to claim your seats.
January 17, 2015 Posted by delarue | concert, dance, drama, folk music, Live Events, Music, music, concert, New York City, review, Reviews, theatre, world music	| asian music, concert, concert review, dance, drama, folk music, Jong Suk Ki, Jung Hyeon Yung, korean cultural service, korean music, Min Kyoung Ha, Music, music review, nongak, Norian maro, norian maro flushing town hall, norian maro flushing town hall review, norian maro review, Sungjin Choi and Yoo Jeong Oh, theatre, world music | Leave a comment
An Exhilarating Celebration of Ancient Yet Sophisticated Korean Sounds at Symphony Space
Saturday night's celebration of traditional Korean music and dance staged by Sue Yeon Park of the Korean Performing Arts Center at Symphony Space featured sounds that were as cutting-edge as they were rustic. Korean pansori singing, and much of Korean singing in general, employs microtones and trills and downwardly bent notes that would baffle an awful lot of western musicians. In her gritty, expressive contralto, like something of a Korean mountain-music counterpart to Tina Turner, iconic pansori chanteuse Shin Young-Hee made it look easy throughout a rather macabre-tinged excerpt from the 19th century love epic Chunhyung-ga. Famous Korean percussionist Lee Kwang-Soo – a gregarious and engaging guy with an edgy sense of humor – led a drum troupe through a thunderously hypnotic, subtly polyrhythmic benediction of sorts. Virtuoso Gee-Sook Baek teamed up with drummer Soung-Jae Cho, who spurred her on through a rivetingly spacious, suspenseful performance on the gayageum, a twelve-string lute that throws off otherworldly tremoloing tones and seems like it could be a predecessor of the sitar. Meanwhile, the night's emcee, a musicologist from Seoul, reminded the crowd that all this music dated from an era when there was no distinction between performer and audience: participation is pretty much mandatory. All this did nothing to discourage the commonly held notion that Koreans are the 24-hour party people of Asia.
There was plenty of drumming, notably a skull-pounding interlude to open the second half of the concert by the Rutgers Korean Cultural Group, to rival the kind of explosively shamanistic Brazilian sounds produced by BatalaNYC. There was also dancing, lots of it. Park herself took a solo, a graceful number that saw her practically disappear into the stage, facedown, at the end, the folds of her silken costume edging closer and closer downward. It's one thing to do the splits, Chuck Berry style – it's another to hold that position in place. Park was doing that twenty years ago and clearly hasn't lost any athleticism in the ensuing two decades, no small achievement.
A bevy of women swayed and gently exchanged places throughout a stately fan dance, serenaded by the band offstage. Several of the drummers wore ribbons on a swivel affixed to the rear of their uniform helmets, which they spun by moving their heads quickly, side to side – how they managed to keep their footing, keep the ribbons swirling, and keep time, without losing their balance or running headfirst into the the back wall of the stage, was impressive, to say the least. One of them finally made a circle of the stage, spinning faster and faster, leaning in toward the center in a more explosive take on what Turkish dervishes will do at the peak of a musical number. The night's final performances brought a full musical ensemble together with the dance/drumming contingent (there was a lot of overlap among them, the night's organizer included); tersely intense geomungo (six-string zither) player Mi Jin Park being a standout among them.
The Korean Peforming Arts Center and their house ensemble, Sounds of Korea, stage frequent outdoor concerts during the warmer months, from Lincoln Center to Little Korea just south of 34th Street and points further south as well; bookmark theirwebpage if sounds as sophisticated yet ancient as these are your thing.
October 27, 2014 Posted by delarue | concert, dance, folk music, Live Events, Music, music, concert, New York City, review, Reviews, world music	| asian music, concert, concert review, dance, dance review, folk music, Gee-Sook Baek, korean music, Korean Peforming Arts Center, Lee Kwang-Soo, Music, music review, Rutgers Korean Cultural Group, shin young-hee, sounds of korea, sounds of korea review, Soung-Jae Cho, sue yeon park, sue yeon park review | Leave a comment
A Pensive, Quietly Dynamic, Relevant Album of Japanese-Tinged Themes from Kojiro Umezaki
Kojiro Umezaki's axe is the shakuhachi, the rustic Japanese wood flute, an instantly recognizable instrument that can deliver both ghostly overtones and moody, misty high midrange sonics. Umezaki's background spans the world of folk music and indie classical – he's a member of Yo-Yo Ma's Silk Road Ensemble -and is a frequent collaborator with groundbreaking string quartet Brooklyn Rider. Umezaki also has an album, Cycles, out from that group's violinist Johnny Gandelsman's maverick label In a Circle Records and streaming at Spotify. It's a mix of originals along with reinvented themes from folk and classical music. As you might imagine, most of it is quiet, thoughtful and often otherworldly, a good rainy-day listen.
The opening track, (Cycles) America reimagines a theme from Dvorak's New World Symphony as a solo percussion piece for Joseph Gramley, who opens it on drums with hints of majestic grandeur, then provides loopily resonant vibraphone. The album's thoughtfully spacious second track, 108 is where Umezaki makes his entrance, joined after a terse, slowly crescendoing intro by Dong-Wan Kim on janggo drum and Faraz Minooei on santoor. It builds to a swaying and then rather jauntily dancing groove with hints of South Indian classical music as Umezaki chooses his spots.
The traditional Japanese lullaby that follows is as gentle – and ghostly – as you might expect from a melody that could be a thousand years old, a graceful solo performance. Umezaki then delivers a circular, uneasily looping piece modeled after a famous 1923 post-earthquake work by Japanese composer Nakao Tozan, bringing it into the present day as a tense, distantly angst-ridden contemplation of a post-3/11 world.
On For Zero, Gramley plays lingering vibraphone interspersed with the occasional emphatic cymbal crash or fuzzy wash of low-register synth. The album's final track is a new version of a collaboration with Brooklyn Rider that originally appeared on the quartet's 2010 album Dominant Curve, alternating between raptly inmersive atmospherics and edgy interplay between the quartet and the wood flute, a shakuhachi concerto of sorts.
October 19, 2014 Posted by delarue | avant garde music, folk music, Music, music, concert, review, Reviews, world music	| 21st century music, album review, ambient music, asian music, atmospheric music, avant-garde music, brooklyn rider, chillout music, Faraz Minooei, flute music, folk music, indie classical, instrumental music, japanese music, joseph gramley percussion, kojiro umezaki, Kojiro Umezaki cycles, Kojiro Umezaki cycles review, Kojiro Umezaki review, Music, music review, new music, silk road ensemble, world music | Leave a comment
More Kronos Quartet at Lincoln Center
If you could see the Kronos Quartet two nights in a row – for free – wouldn't you? That's part of the premise of this year's Lincoln Center Out of Doors festival. It was no surprise that the seats filled up early last night for an exhilarating string-driven cross-continental journey that began in Syria and ended in Greece, with flights to Palestine and India in between.
The group opened with a deliciously intense, hauntingly pulsing number by Syrian star Omar Souleyman titled I'll Prevent the Hunters from Hunting You, a particularly apt choice considering the ongoing revolutionary struggles there. Violinist John Sherba's nonchalantly sizzling swoops and dives soared against the beat of violist Hank Dutt, who was playing goblet drum, amped up in the mix for a ba-BOOM swing that put to shame any drum machine ever devised. They followed with a gorgeously ambered, austere old Yachiel Karniol cantorial tone poem of sorts, Sim Shalom (Let There Be Peace), a feature for the group's new cellist Sunny Yang to air out the whispery, occasionally wailling ghosts in her instrument.
An electrocoustic take on Palestinian group Ramallah Underground's gritty, metaphorically charged Tashweesh (Distortion) was next, the ensemble adhering tightly to a backing track for a hypnotic, menacingly Lynchian ambience. Avant garde Vietnamese-American zither player Van-Anh Vo then joined the ensemble on the traditional, spiky dan tranh and vocals (and later played keening, sinister glissandos on a loudly amplified dan bao) for a lush pastorale possibly titled Green Delta. Violinist David Harrington led them through Vo's Christmas Storm to a wild chamber-metal crescendo out; Dutt switched to a screechy wood flute for a third Vo work, before returning to his usual axe as the piece morphed into a lithe dance. After a long, rapt Ljova arrangement of the anxiously dreamy alap section of a Ram Narayan raga, Harrington switching to the resonant sarangi, the ensemble brought up Magda Giannikou, frontwoman of the disarmingly charming French lounge-pop group Banda Magda, to play a new, custom-made lanterna with its deep, rippling, pinging tones. The world premiere of her new work Strope in Antistrophe mingled biting yet playful cadenzas and tricky back-and-forth polyrhythms within a warmly tuneful, enveloping atmosphere.
Aptly named Irish chamber-folk quartet the Gloaming opened the evening with a series of resonantly nocturnal arrangements of ancient songs as well as a couple of new ones that sounded like them, violinist Martin Hayes' otherworldly, deceptively simple washes of melody rising over Dennis Cahill's casually meticulous guitar, along with piano and vocals. What's the likelihood of seeing something this esoteric, and this much fun? In the next couple of weeks, pretty much every day.
July 27, 2013 Posted by delarue | avant garde music, concert, Live Events, middle eastern music, Music, music, concert, New York City, review, Reviews, world music	| asian music, banda magda, chamber music, concert, concert review, David Harrington, dennis cahill, gloaming band, greek music, Hank Dutt, indian music, jewish music, John Sherba, kronos quarter lincoln center review, Kronos Quartet, kronos quartet lincoln center, kronos quartet review, magda giannikou, martin hayes, middle eastern music, Music, music review, Omar Souleyman, ram narayan, Ramallah Underground, review, sunny yang, va anh vo review, van anh vo lincoln center, van anh vo review, Van-Anh Vo, vanessa vo, vietnamese music, world music | Leave a comment
Debussy Was Right – And Apparently So Was Obama
Debussy was right about gamelan music. In a marathon three-and-a-half show Friday night at the Asia Society, famed Javanese dhalang (shadow puppeteer) Purbo Asmoro led New York's Gamelan Kusuma Laras along with musicians from his own gamelan troupe Mayangkara in a lush, hypnotic, often thrilling and frequently hilarious modern update on the medieval wayang kulit (shadow puppet theatre) epic Dewi Ruci. Subtitled "Bima's Spiritual Enlightenment," it's an Indonesian spin on an old Indian myth. The plotline concerns a spiritually-inclined prince's Herculean adventures in the search for enlightenment: who knew that a quest for personal growth could be so arduous? Bima tackles ogres in the woods and dives to the ocean floor to do battle with a giant sea serpent, all in the name of wisdom. Which makes sense, given his lineage. Utimately, the story could be termed a battle between blue and red states: Bima's family, the peaceful Pandhawas, are vying with their rivals, the materialistic Kurawa clan, for control of an empire. As part of a "comic interlude" that was only supposed to take five minutes but which went on much longer (to the delight of the remarkably diverse crowd of expats and Americans), a Barack Obama puppet made an appearance, which only made sense: as Asmoro told it, Obama was exposed to wayang as a child in Indonesia and enjoyed it. And who wouldn't.
Simultaneously playing the role of lyric baritone, comedian, and conductor, Asmoro was a force of nature, acrobatically spinning his wayang (puppet figures manipulated with what look like giant chopsticks) to cast shadows on the screen, aggressively thumping his giant wooden puppet box, clattering his foot cymbals to signal dynamic shifts and all the while entertaining the crowd. This was all the more impressive considering that he and most of his ensemble played the entire show seated, their backs to the audience, which is the style in Indonesia these days (apparently the desire for a backstage pass is universal). Throughout the performance, audience members traipsed onstage to get a look at the figures on the shadow screen facing the band, which was also being projected via live video on the side of the stage. To the immense benefit of the non-Javanese speakers in the crowd, gamelan member Kitsie Emerson furiously typed a witty and insightful simultaneous English translation that was projected high above the musicians.
The music itself covered the range of the entire sonic spectrum. Director I.M. Harjito led the group as they built calmly dreamy ambience with a hypnotic, gently polyrhythmic, pointilliistically glimmering web of instrumental "welcoming music" with their bells, gongs and fiddle that went on for practically a half-hour before Asmoro took the stage. Alternately dramatic, intense, droll and ribald, he shifted voices as much as he shifted characters while the band rose and fell along with the plotline. When the stage momentarily lost power, puppets blamed each other; Freudian metaphors abounded, and Asmoro got the crowd roaring with his explanation of how New York winter cold affected his manhood. Musically, the highlight of the show was a harder-charging interlude meant to illustrate soldiers in what seemed to be competitive training exercises, the tinkling of the bells balanced by the low, richly reverberating boom of the gongs. In between acts, a choir sang choruses along with soloists from the ensemble (notably soprano Ibu Yatmi, with her meticulously nuanced, piercingly microtonal melismas). After about an hour and a half, wine and snacks were served upstairs: people made their way up and back into the theatre, happy for a break but eager to see what else the group had in store. It was after eleven when the show finally concluded, Bima victorious at last in his search for wisdom, the future of the Pandhawa uncertain, the crowd still invigorated, on their feet, wanting more.
March 19, 2012 Posted by delarue | concert, drama, folk music, Live Events, Music, music, concert, New York City, review, Reviews, theatre, world music	| asian music, concert, concert review, folk music, gamelan kusuma laras, gamelan kusuma laras asia society, gamelan kusuma laras review, gamelan music, i.m. harjito, ibu yatmi, indonesian music, javanese music, kitsie emerson, mayangkara, mayangkara review, Music, music review, musical theatre, puppetry, purbo asmoro, purbo asmoro asia society, purbo asmoro dhalang, purbo asmoro review, shadow puppets, theatre, wayang, wayang dewi ruci, wayang kulit, world music | Leave a comment
Ancient and Avant-Garde Korean Sounds From Janya
This page might not be the first place you'd expect to discover an ensemble that made their stage debut at the Kennedy Center, but the pleasure is yours, if you're in an adventurous mood – or if you speak Korean. Avant-garde Korean quartet Janya (meaning "to be born") premiered there last spring: they sound like Bjork playing ancient Korean court music. Frontwoman Lola Jung Danza is an idiosyncratic, original singer, sometimes coy, sometimes completely in your face. She whispers, growls, and gets misty and ethereal with a bluesy nuance: she may come from a jazz background. Other than one absolutely triumphant, soaring solo by daegeum (wood flute) player Seungmin Cha, the melodies on this group's debut album don't move far from a central tone: as in south Indian music, the dynamics and rhythm are front and center rather than melodies themselves, making much of this very hypnotic despite the insistent rhythmic intensity of Woojung Sim's janggo (Korean drum) and Eunsun Jung's gayageum (zither). The tonalities are rustic; the often jagged, abrupt shifts in rhythm, cadence or theme are contemporary.
Most of Danza's lyrics are in Korean, although she also sings in English on a couple of tracks, the first a matter-of-factly crescendoing anthem on a theme of newfound existential awareness, its narrator eventually deciding to embrace her fate of deciding how she wants to fill in the space between the "tick" and "tock" of the clock. Whithered sets agitated, Siouxsie-esque vocals in conversation with the drums and zither, building to a gently rolling gallop, while Generations features jazzy scatting and sitar-like bent notes from the zither. A tense, unresolved atmosphere lingers from song to song, notably on the slowly swaying Epic, where the vocals playfully shift lower as Danza runs them through a pitch pedal. Their signature song juxtaposes scrapy, cello-like zither against an ominous drum drone which eventually brightens, quite unexpectedly, while Mother ponders the life of immigrants in the role of the "other" in a new society, eventually building to a triumphant resolution. At the opposite end of the spectrum is the apprehensive No Escape, where Danza's mantra is "love hate love hate," the instruments building on a jazz-tinged three-chord riff which is the closest thing to western music here. Strange, intriguing, compelling stuff: they're playing Drom at 8:30 PM tomorrow, Jan 6.
January 5, 2012 Posted by delarue | avant garde music, experimental music, folk music, Music, music, concert, review, Reviews, world music	| asian music, avant-garde music, eunsum jung, experimental music, folk music, janya album, janya band, janya ensemble, janya korean band, janya music, korean music, lola danza, lola jung danza, new music, seungmin cha, woojung sim, world music | 1 Comment
A Moving Sound Puts Their Original Spin on Ancient Chinese Music
Taiwanese group A Moving Sound's music is not deferential or folkloric, at least in the sense that it tries to fossilize a traditional musical style for the same of mass appeal, or for yuppie cultural tourists who assuage their bourgeois guilt by proving to the world how multicultural they are. It's cutting-edge, entertaining stuff that just happens to be played on instruments that go back several hundred years, using ancient Chinese folk tunes as a springboard for original songs and arrangements that draw on influences as diverse as indie classical and worldbeat. The songs' lyrics are in native dialects. Frontwoman/singer/dancer Mia Hsieh's heritage is mainland Chinese: her parents fled the terror of Mao to Taiwan, only to end up under Chiang Kai-Shek's iron thumb. Hsieh won a Fulbright scholarship, studied with Meredith Monk and then returned home, bringing along multi-instrumentalist Scott Prairie, with whom she founded the group. The members also include Zheng-jun Wu on percussion and erhu (spike fiddle), Tang-hsuan Lo on erhu, Hua-zhou Hsieh on guitar and zhong ruan (four-string lute) along with guest sitarist Yi-chen Chang on one track.
The microtonal erhu adds an acidic bite to many of the songs, notably on the stately, processional opening suite, Silk Road – it's hard to to tell where the erhu leaves off and Hsieh's voice takes over, such is the clarity of both the vocals and Lo's playing here. An instrumental, The First Thunder of Spring takes a graceful walk down the Asian scale and turns it into dramatic, ominous acoustic art-rock with an absolutely wicked chorus. The slowly slinky, joyously minimalist Harvest is followed by The Market Song, sort of like a Taiwanese Pogues tune, memorializing Hsieh's parents' hectic days as open-air vendors. At a semi-private mini-concert for bloggers and such earlier today, Hsieh lit into this one with a cheery, animated grace; as a singer, she switched confidently between hushed nuance and the stratospherically high leaps that give away her avant garde background.
Gu Gin, based on an 11th century poem, drolly celebrates playing in the rain, while Flying Dombra moves slowly and deliberately with Prairie's spaciously placed bass chords. Dynasty has an upbeat, jangly folk-rock feel, nicking an old Allman Brothers lick at one point, followed by Toh Deh Gong, which contrasts Hsieh's irrepressible vocal swoops and dives with stern, austerely percussive melodies. The album ends with the bouncy Howling Wind and then the aptly titled Ghost Lake, an ancient traditional song reinvented as a long, hypnotic tone poem with a trick ending. It's out now on Motema; a Moving Sound plays Drom this Friday, Sept 23 at 9:30 PM. $12 advance tickets are still available as of today.
By the way, just in case it's crossed your mind lately, this music is just the tip of the iceberg in terms of what the world stands to lose in the wake of Fukushima (Taiwan got hammered by the tailwind from 3/11). Think about that for a minute. Isn't it time we got rid of nuclear power forever?
September 21, 2011 Posted by delarue | folk music, Music, music, concert, review, Reviews, world music	| a moving sound, album review, asian music, avant-garde music, chinese music, chinese rock, folk music, hua-zhou hsieh, mia hsieh, Motema records, Music, music review, scott prairie, taiwanese music, tang-hsuan lo, world music, worldbeat, yi-chen chang, zheng-jun wu | Leave a comment
Album of the Day 8/14/11
Every day, our 1000 best albums of all time countdown continues all the way to #1. Sunday's album is #534:
New York City: Global Beat of the Boroughs
This 2001 Smithsonian Folkways release may be a long series of ludicrously bad segues, but multicultural party playlists don't get much better than this. It's predominantly latin and Balkan music played by obscure but frequently brilliant expatriate New York-based groups, although other immigrant cultures are represented. While the tracks by Irish group Cherish the Ladies and klezmer stars Andy Statman and the Klezmatics are all excellent, it's surprising that the compilers couldn't come up with the same kind of obscure treasures they unearthed from Puerto Rican plena groups Vienta de Agua and Los Pleneros de 21; or Albanian Besim Muriqi's scorching dance tunes; or stately theatrical pieces by the prosaically titled traditional groups Music From China and the Korean Traditional Performing Arts Association. There are also rousing Greek and Bulgarian romps from Grigoris Maninakis and Yuri Yunakov, respectively; a soulful suite of Lebanese songs by crooner Naji Youssef; and even a spirited if roughhewn version of the Italian theme for the Williamsburg "Walking of the Giglio," a big wooden tower paraded through the streets by a large troupe of hardworking men every August, among the 31 fascinating tracks here. Mysteriously AWOL from the usual sources for free music, it's still available from the folks at the Smithsonian.
August 14, 2011 Posted by delarue | folk music, gospel music, gypsy music, irish music, latin music, lists, middle eastern music, Music, music, concert, New York City, world music	| andy statman, asian music, best albums, best albums all time, best albums alltime, best albums ever, best albums list, best albums lucid culture, best music, best music ever, best obscure albums, best obscure albums all time, best obscure albums alltime, best obscure albums ever, best underrated albums, best world music albums all time, best world music albums alltime, best world music albums ever, bulgarian music, cherish the ladies, folk music, greatest albums all time, greatest albums alltime, greatest albums ever, greatest obscure albums, greatest world music albums all time, greatest world music albums alltime, greatest world music albums ever, greek music, grigoris maninakis, gypsy music, klezmatics, klezmer, latin music, lebanese music, middle eastern music, most underrated albums, most underrated albums all time, Music, musica plena, naji youssef, new york city global beat of the boroughs, plena music, top albums all time, top albums alltime, top albums ever, world music, yuri yunakov | Leave a comment
A Gorgeous, Groundbreaking East-West Collaboration
What if you could blend the hypnotic otherworldliness of classical Indian music with the lush melodicism of European classical music? That possibility comes to life on the new album Samaagam, a groundbreaking collaboration between Indian sarod virtuoso Amjad Ali Khan and the Scottish Chamber Orchestra conducted by David Murphy. For those unfamiliar with the instrument, the sarod (sort of) is to the sitar what the mandolin is to the guitar – it has less resonance, with more emphasis on the upper register. Amjad Ali Khan is one of the world's great masters (his website is sarod.com); on this album, he begins with three abbreviated versions of classical Indian ragas, followed by the epic title suite. The ragas set the stage, each of them clocking in at a relatively brief seven minutes or so: the first an apertif of sorts, the second more aggressive with insistent staccato passages and the last the most complex and suspenseful.
The title piece, meaning "village meeting" in Sanskrit, is a concerto for sarod and chamber orchestra with terse, even minimal tabla rhythm, a fascinating and richly beautiful mix of Indian and Western melodies. Much of it evokes earlier Western music inspired by the sounds of India, specifically the late 60s rock of the Grateful Dead and Moody Blues. Rather than an integral suite, it's actually a pastiche of new and older material: for example, the first two sections debuted in Indian in 1992, the third in 1964. Throughout the work, the orchestra shifts through rhythms that probably have never been attempted before with a Western orchestra, but Murphy leads them seamlessly, whether on their own or in tandem with the sarod. Likewise, they switch between the melismas of Indian music and the crisp Western dynamics with equal aplomb.
A quote from Also Sprach Zarathustra opens it playfully before Khan enters. They shift down to a quiet, plaintive arrangement, the sarod in and out as the orchestra swirls, moving to a rapt, pianissimo call-and-response passage between the sarod and the ensemble with a familiar melody that's been appropriated by many western outfits over the years. Flute features prominently in the quiet, gentle sections that follow before it picks up with a rustic sway, a swirl of cadenzas with wordless vocals from Khan. The last three segments are traditional raga themes: the first ironically sounding like a Haydn arrangement of a south Indian melody, the second a brisk overture and the third a popular theme traditionally played as a "morning raga," i.e. to wind up a concert in the wee hours. It's the showstopper here, both poignant and boisterous, an echo chamber where the sarod and then the orchestra engage in a dizzying conversation that finally goes doublespeed and out with a bright, unexpected ending. An apt way to conclude this warmly beautiful, groundbreaking album, just out on World Village Music.
May 10, 2011 Posted by delarue | classical music, Music, music, concert, review, Reviews, world music	| album review, Amjad Ali Khan, Amjad Ali Khan samaagam, Amjad Ali Khan samaagam review, asian music, classical music, david murphy conductor, indian classical music, indian music, instrumental music, Music, music review, raga, raga music, sarod music, scottish chamber orchestra, symphonic music, world music, world village music | Leave a comment
The Rough Guide to the Music of Afghanistan: Great Album and Important Historical Document
The recently released Rough Guide to the Music of Afghanistan is as important historically as it is fascinating. Let's not forget the "ban" in Taliban – during their official reign (many parts of Afghanistan are still de facto Taliban territory), music was outlawed. And even prior to the Taliban takeover, Afghan musicians who challenged previous regimes often paid with their lives, as in the case of balladeer Ahmad Zahir – represented here by a hypnotic, orchestrated, somewhat lo-fi hit – murdered at the peak of his popularity at age 33. Also included here is Setara Hussainzada, a finalist from the popular tv program Afghan Star (the Afghani equivalent of American Idol), driven into hiding after a wardrobe malfunction (her burqa slipped, revealing her face). Her contribution is a brief, somewhat woozy Bollywood-ish dance-pop number.
Although sarinda fiddle player Mashinai's life was spared, his son's was not. His child murdered and his house blown up, Mashinai was forced to give up playing and worked as a butcher at a local open-air market until music returned to the Afghan airwaves in 2001. Here he turns in a bracing fiddle-and-tabla instrumental. Perennial Afghan chanteuse favorite Mahwash contributes the collection's best song, the furtively majestic Mola Mamad Djan, which with its intense dambura lute solo and insistent vocals reminds how deeply the levantine art songs of Oum Kalthoum and Fairouz had penetrated the Islamic world. The levantine mood recurs with a towering instrumental by the late rubab (lute) virtuoso Ustad Rahim Khushnawaz, accompanied by damburist Gada Mohammad and percussionist Azim Hassanpur, and on an understatedly lush ballad by female singer Naghma, Lebanese pop teleported to Kabul.
Of the other tracks here, rubab player Homayun Sakhi has a catchy, hypnotic instrumental punctuated by some genuinely breathtaking tremolo-picking. Damburist Mehri Maftun delivers a trickily polyrhythmic live performance, the crowd clapping along happily (which makes sense, given how long Afghanis went without the opportunity to do that). 20-year-old Rafi Naabzada (the 2009 Afghan Star winner), accompanied here by multi-instrumentalist Hameed Sakhizada has a deliciously tuneful, psychedelic pop song that sounds like a Central Asian Chicha Libre. Farhad Darya has two versions of the same song, a plea for peace: one a crunchy 2/4 rock number that gives shout-outs to cities around the world (in English), the other with more of a Bollywood dance-pop flavor. There's also a long, trance-inducing traditional number from the Ahmad Sham Sufi Qawwali Group, who are included on a full-length bonus cd of similarly soaring, hypnotic devotional songs and instrumentals. The album is out now from World Music Network; those who like this may also enjoy the recently updated Rough Guide to the Music of India.
January 6, 2011 Posted by delarue | folk music, middle eastern music, Music, music, concert, review, Reviews, world music	| afghan music, afghan star, afghani music, ahmad sham sufi qawwali group, ahmad zahir, asian music, azim hassanpur, bollywood music, fairouz, farhad darya, gada mohammad, hameed sakhizada, homayoun sakhi, homayun sakhi, mahwash, mahwash singer, mashinai, mashinai fiddler, mashinai music, mashinai musician, mehri maftun, music from afghanistan, naghma, naghma singer, oum kalthum, rafi naabzada, rough guide anthology, rough guide to music of afghanistan, rough guide to music of afghanistan review, rough guide to music of india, setara hussainzada, ustad rahim khushnawaz, world music | Leave a comment


Get all 6 of the most beloved classics in Beatrix Potter's famous children's books series to read on your iOS devices for just $3.99!
Get all 6 of the most beloved classics in Beatrix Potter's famous children's books series to read on your iPad for just $3.99!
Beatrix Potter's beloved children's book sees new life in these beautiful eBooks! In this bundle, you'll get The Tale of Peter Rabbit, The Tale of Tom Kitten, and The Tale of Jemima Puddle Duck, The Tale of Miss Moppet, The Tale of Benjamin Bunny, and The Tale of the Flopsy Bunnies – all available to read in iBooks format!


Are you feeling low about yourself ? Are you finding it difficult to train for excellence ? Are you really confused about yourself ? Here is a proper post that will provide the basics of becoming champion in life. These are simple steps in which one can master his ability in life.
Previous Post The Golden Qualities Of Leadership.
You should always listen to your heart.


Applying techniques from many different healing modalities to create an authentic experience of allowing your soul to be free of your physical body and trusting the therapist to stay connected to your energy field so intuitive healing unravels.
Blending of Mindful Meditations, Sound Therapy with Quartz Crystal Singing Bowls, Reiki, Aromatherapy and Customized Bodywork to feed the spiritual senses.
Allow your soul to travel from the cages of the physical body. After the session feel the sense of re-connection and a calm mind. Although, this style of massage will address the disciplinary aspect of the human body, it is primarily focusing on identifying with your deeper, energetic being.
The Integrative experience is based upon the individuals needs. There will be proper massage techniques applied such as; Swedish, Deep Tissue, Trigger Point Therapy, Myofascial Release, Facilitated Stretching and Deep Massage (Lauterstein Method).
By complementing the body's natural healing processes CST is a gentle, hands-on method of evaluating and enhancing the functions of the membranes and cerebrospinal fluid that surround and protect the brain and spinal cord. Using a soft touch practitioners release restrictions in the craniosacral system to improve the functioning of the central nervous system.
Ashiatsu is broad gliding pressure from the Massage Therapists feet, for a deeper than "Deep Tissue" sensation, without the pokey pain from an elbow or thumb. The therapist will be standing on the table holding onto overhead bars for balance as you relax on the massage table.
With such deep work on the muscles, there will be many changes within the body which will consist of elongating your spine, decompressing your joints, loosening tissue and hyper toned muscle fibers, and increased circulation of fluids within your whole body. Your blood pressure and blood-sugar levels may change, sinus flow may be affected, and you might feel a bit, "dazed" and these are all natural responses to this type of work.
If you enjoy more broad, deep work and an overall deep sense of relaxation then this may be the massage for you. If you're interested in this work but also in a more detailed focus with other modalities then you may speak with Jacqueline about Integration.
Lomi Lomi is a unique healing massage which originated from the Polynesians and the master healers of Hawaii. The practitioners apply the ancient Hawaiian philosophy, known as "Huna" which translates as love and harmony. The circular massage techniques applied by the therapists forearms create an interconnected flow giving a sense of being totally supported and cared for.
One of the healthiest things you can do during your pregnancy is to relieve stress mentally, physically and emotionally. Jacqueline will create a relaxing environment for you and your baby to relax and decompress. Trained in Pregnancy Massage and as a Certified Doula, you can trust Jacqueline's expertise.


Todd Tucker, partner in Calfee's Intellectual Property group, recently spoke on intellectual property management at an event hosted by the Cincinnati Intellectual Property Law Association at the Cincinnatian Hotel. The presentation was entitled "The Good, The Bad, & The Ugly: Strategies for Managing IP in China." Todd focuses his practice on intellectual property litigation and intellectual property counseling. He has served as lead trial counsel in patent litigation actions before district courts and International Trade Commission, including numerous jury trials. He has also argued before the Federal Circuit. Additionally, Todd counsels companies on the procurement of intellectual property assets and the management of their worldwide intellectual property portfolios with a particular emphasis on protecting IP assets in China. He also provides Chinese companies with general counseling on doing business in the United States.


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text:
A Brief History of Placenames
The Geology of Birmingham
The Geography of Birmingham
A Brief History of Birmingham
The Bronze Age
The Iron Age
Anglo-Saxon Birmingham
The Vikings
Norman Birmingham
Medieval Birmingham
Tudor Birmingham
Stuart Birmingham and the Civil War
Georgian Birmingham
The 1791 Riots
Victorian Birmingham
Evidence from the Domesday Book shows a thinly occupied area worth little for tax purposes. After the Conquest Norman lords of the manor took the place of most of the Anglo-Saxon ones though the number of Norman incomers must have been very small. The area was ruled from Dudley Castle. The status of the peasant population changed very little. Analysis of the Domesday Book 1086 suggests a national population of some 1¼ million.
On 14 October 1066 William, Duke of Normandy defeated the Anglo-Saxon King Harold at the Battle of Hastings. Before 1066 many Birmingham manors had belonged to Earl Edwin, the Anglo-Saxon Lord of Mercia, and had Anglo-Saxon lords of the manor. When Vikings sailed up the River Humber to invade England in 1066 Edwin went to do battle; he was heavily defeated at the Battle of Fulford Bridge near York. King Harald II arrived next day and defeated the Viking army at the Battle of Stamford Bridge, and then immediately marched back to be himself defeated at the Battle of Hastings. Edwin was unable to go with him. Thus, when William punished those who had supported Harald, Edwin was not amongst them and so was allowed to keep his lands.
In 1068, however, Edwin revolted against William who then confiscated his holdings. William rewarded his followers at Hastings by giving them estates well spread out to prevent them becoming too powerful. Ansculf of Picquigny, however, acquired some 30 estates belonging to Edwin centred on his castle at Dudley. By 1086 these estates were owned by his son, William FitzAnsculf who owned altogether over 100 manors in 10 different counties of England.
Another great Anglo-Saxon landowner was Thorkell or Turchill of Warwick later surnamed Arden. His father was descended from Vikings and had been sheriff of Warwick under King Edward. He had not risen against William and was one of only two Anglo-Saxons in Warwickshire to keep their lands after the Conquest.
Most Birmingham manors now had Norman lords. There were probably Norman manor houses at Aston, Birmingham, Castle Bromwich, Duddeston, Edgbaston, Erdington, Hamstead, Handsworth, Sheldon, Perry, Weoley Castle and Witton, some of which were certainly of Anglo-Saxon origin.
Domesday manors in the Birmingham area were poor and sparsely populated. The manor of Birmingham itself was one of the poorest with only 50 inhabitants. Manors usually had more than one population centre, though these were tiny. Aston Manor, for instance included settlements at Bordesley, Deritend, Castle Bromwich, Duddeston, Heybarnes, Little Bromwich, Park Hall near Castle Bromwich, Saltley, Ward End and Water Orton which lies to the east of Castle Bromwich.
The Birmingham area had a population of about 1000 people; Warwickshire perhaps 24 000, the majority on the better agricultural land to the south. In 1086 20% of the Birmingham area was woodland, the Forest of Arden still covering much of Warwickshire north of Stratford-upon-Avon; 10% was ploughland, most of laid out as open strip fields; the rest was a mixture of common grazing land, meadows, streams and waste.
The change of ownership must have made a considerable difference to people at the top of the social hierarchy, but for the majority of people the struggle to feed themselves from the land and to pay tax and labour to their lord continued in much the same way as it always had.
William Dargue 18.04.09


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This beautiful three-bedroom 118 sqm home is situated about 600m from the Plaka village centre ... close enough to take full advantage of the fine amenities and services in the village and yet far enough away to enjoy the peace and quiet of the Cretan olive groves and countryside. And the fine beaches at Almerida are just a short drive away. The property is perfect for permanent living or it could be rented out for holidays and there is plenty of space for a pool should the new owner desire.
The home has been built with the main living area on the first floor to take advantage of excellent countryside views. The ground floor comprises three bedrooms, two good sized double bedrooms and one with a single bed. The master bedroom has an ensuite shower room; the family bath is shared by the two guest bedrooms and the clothes washer has been conveniently located here. All bedrooms have plenty of wardrobe space and individual air-conditioning units. Both guest bedrooms have French doors opening out to the lower level front terrace and the master bedroom has direct access to a private covered terrace. There is also a closed storage room under the stairway.
Marble steps lead from the main entry door to the spacious first floor living area with an open-plan lounge, dining area and fully equipped kitchen. French doors lead from the lounge area to the broad and partly covered north-east facing terrace with lovely views toward Drapanos mountain and the surrounding countryside. The U-shaped kitchen is well equipped with built in stainless steel appliances and plenty of cupboard and worktop space. The entire area light and airy. There is also a WC on the first floor.
The plot of about 1,070 sqm is completely bounded by stone walls and fencing. There are nine mature olive trees on the plot, more than enough for a good harvest and your own virgin olive oil. The owners have also planted several fruit trees and flowering shrubs and bushes and have also set aside so pleasant seating areas to enjoy our fine weather. The central heating boiler is situated in a separate outside building and the owners have also added an external storeroom for gardening and workshop tools.