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ICS EXCLUSIVE INTERVIEW!!!
CONVERSATION WITH GARY HOFFMAN
American cellist Gary Hoffman was born in Vancouver, Canada, in 1956. At 15 he made his London recital debut in Wigmore Hall; his New York recital debut occurred in 1979. At the age of 22 he became the youngest faculty appointee in the history of Indiana University School of Music, where he remained for eight years. Mr. Hoffman, who is frequently invited to hold master classes, has coached cellists at numerous institutions and festivals, including Aspen, the Gregor Piatigorsky Seminar at the University of Southern California, the Sibelius Academy in Helsinki, the Casals Festival in Prades, the Eastman School of Music, Schleswig-Holstein, Verbier, Ravinia, etc. He achieved international renown following his victory at the Rostropovich International Competition in Paris in 1986. He has appeared as soloist with some of the world's leading orchestras, including those of London, Chicago, Montreal, Toronto, San Francisco, as well as the National Symphony Orchestra and the English and Los Angeles Chamber Orchestras. His major recitals have included appearances in Alice Tully Hall, Suntory Hall in Tokyo, Th��tre des Champs-Elysees, Th�atre du Chatelet, Ambassador Auditorium in Pasadena, Teatro Pergola in Florence, the Tivoli in Copenhagen, the Gulbenkian in Lisbon, the St. Lawrence Center in Toronto, and McGill University in Montreal. A much sought-after performer at summer festivals, he has been a guest at Ravinia, Aspen, Bath, Marlboro, Mstislav Rostropovich's International Music Festival of Evian, the Casals Festival in Prades, La Roque d'Anth�ron or LaGrange de Meslay, Helsinki, and the Mostly Mozart Series. Gary Hoffman records for BMG (RCA), Sony, EMI, and Harmonia Mundi.
TJ:	You studied with the late Karl Fruh in Chicago prior to studying with Janos Starker. Did Starker have to undo a lot of Mr. Fruh's teachings?
GH:	No, it was more a matter of becoming completely aware of what I was doing. Karl Fruh was a fantastic teacher and had many good students. He was an outstanding cellist himself, and was often referred to as the "Midwestern Leonard Rose." He established a solid foundation in his students, both musically and cellistically, and taught us the fundamentals of good instrumental playing and music making. He did this in a non-idiosyncratic way, which was a great way to start off, since we didn't bring much "baggage" with us to our next teachers.
When studying with Janos Starker, I didn't so much undo my previous training as work on becoming more self-aware. For awhile I felt like I had lost my bearings because I was questioning everything about my playing. I played in a much less instinctive way during this period and felt at times like I was becoming overly self-conscious. Obviously this was part of an important internal process that had to take place in order for me to attain and maintain a professional playing level, for which I am now very grateful.
TJ:	We all know that Starker spends a lot of time developing his students' technique. Did he also discuss musical matters?
GH:	He discussed both. There are some teachers who are thought of as only talking about music, and there are other teachers who are thought of as only discussing technique. Starker doesn't fit either of these descriptions, since he integrates both in his teaching.
It is very important to him, however, that his students understand the principles of good cello playing, so there is a heavy accent on the technical side. He firmly believes that musical ideas can't truly come through until you have freed yourself of technical limitations, so he considers it of the utmost importance that you can actually play the cello. As he likes to say, "One of the twenty things you need to be able to do in order to be a successful cellist is to play the cello well."
This is a reflection of the way he feels about himself and his own development. He has said many times that he had reached a point many years ago where he felt like a bird who didn't know how he flew and yet he needed to know how he did it. This realization has carried through to his teaching, because he feels that his students need to know how they fly, if in fact they are flying.
TJ:	Some think of Starker as a "cold" player. Do you agree with description?
GH:	No. A cold player is somebody who doesn't express any true emotions or feelings. His playing is full of genuine emotion. He certainly doesn't wear his heart on his sleeve and he's definitely not an extrovert, but he is an emotional person, though he holds his emotions in check. I've heard him play with great enthusiasm and freedom and with obvious emotional involvement, and I've heard him play in a more reserved manner. It just depends on the circumstances of the performance and the piece. Some days one feels energetic and inspired, other days one doesn't. This is true of any artist.
TJ:	Do you think that it is disadvantageous for an aspiring musician to be an introvert?
GH:	Not necessarily. It may take the general public a little bit longer to appreciate what the musician has to offer because his or her message may not be so obvious at first hearing. In some ways it may actually be an advantage, since the audience's curiosity may be aroused and they may want to come back to discover more about the player and his ideas. As they say, "Still waters run deep." Those who go for the big impression can bore an audience because there's nothing left to discover and nothing to go back to.
I'm sure that Starker realized a long time ago that he was not the kind of person who was going to make a big splash and then be thrown onto the heap of used musicians a year later. My feeling is that as a very serious musician who's dedicated to having a long career and evolving as a person and having something to say at 70, and not just at 25, probably sees the long haul as the most satisfying path. This is something that I have come to value as I've made my way in my own career. There's a great comfort and a great deal to be said for this approach. We are fortunate in that we can bring more and more to our craft as we get older, unlike athletes, whose careers are often over at 30. I suspect that this notion has always been with Janos Starker, whether spoken or not.
Fads come and go in classical music regarding the degree of romanticism that is appropriate and how much media attention one should garner. Throughout the changes in popular values over the years, he has maintained his sense about who he is, what he teaches, and what he stands for. I must say that I find that extremely refreshing.
TJ:	I would like to ask you some questions about cello technique. These come from notes taken at two of your master classes, one in Bloomington and another in Seattle. How do you suggest that one work on the fourth finger (left hand) so that one isn't afraid to use it.
GH:	The first thing you should do is determine where in the music you would use it naturally if you weren't concerned about its relative disadvantages. The fourth finger is shorter and thinner than the other fingers, so it is natural to want to avoid it. But you should just use it, no matter how it may sound or feel. If you don't use it, you won't develop it.
There are many exercises that you can use to train the fourth finger. One is to practice tenths with the thumb and the fourth finger up high on the instrument, where the reach isn't too wide. The trick with this exercise is to learn how to apply power in a healthy manner, since the strings are much higher off the fingerboard in the upper registers. Obviously I'm not suggesting that you play three hours of tenths every day with the fourth finger because that could cause some damage.
Another exercise is to play double stops using the fourth finger, like thirds and sixths. Another is to play fingered octaves. And yet another is to go up and down the cello in sixths by half steps (1-3-2-4, 1-3-2-4, etc.), which is a good exercise since it helps to establish the feeling of support that one needs from the rest of the hand when using the fourth finger. It's important that you not play with a collapsed fourth finger in any of these exercises. It may be tough going at first, but eventually the muscles get trained appropriately, and the mind becomes better at detecting when the fourth finger regresses to old habits.
TJ:	You suggested to a student that he not lift his fingers too high while playing the fast sextuplets in the Lalo Concerto.
GH:	I wouldn't necessarily generalize this statement to all fast passages. It applied to the particular player in the class. I noticed that he wasn't seeing the passage in terms of note groupings; instead he was playing the notes as a series of individual vertical actions. I suggested that he not lift his fingers so high so that he would be able to feel the passage in terms of blocks of notes within each position. If you don't, you will find it much more difficult to play fast passages up to speed and with clarity. There are other circumstances in which one may not want to over-lift the finger besides fast passages, like in legato passages, for example. People often talk about the bow when playing legato lines, but I like to discuss the left hand too. How one lifts one's fingers and how one attacks notes with the left hand can add or detract from the sense of connection between the notes. In other words, how one lifts one's fingers is just as important as how one puts them down.
TJ:	Under what circumstances would it be acceptable to lift your fingers higher?
GH:	If the fingers are not being lifted equally high, an unevenness in sound can result. This can often be attributed to the fact that our fingers are of different lengths. In this case, we may need to increase the height that we raise individual fingers in order to even out the sound. Another case is when somebody plays so close to the string that there isn't enough articulation in the individual notes, resulting in a lack of clarity. He or she may need to lift the fingers higher in order to enunciate more clearly.
TJ:	You encouraged a student to not neglect the vibrato on the "small" notes. Do you believe cellists should play with a continuous vibrato on each note?
GH:	No, I don't believe in continuous vibrato, but I do believe that you should be able to vibrate whenever the music needs it. You need to develop your technique such that there are no notes that are too fast to vibrate. Even in the fastest passages, it's possible to have a slight feeling of vibrato in the arm, which can carry to the notes if you want.
The type and amount of vibrato one uses depends on the needs of the musical passage, of course. You may want a slight feeling of vibrato in groups of moderately fast notes, but you may want something very different in a lyrical passage, perhaps some notes without vibrato and others with a lot. You need to be able to stop and start vibrato at will and be able to alter its speed, width, and angle, depending on what color you are looking for on a particular note. There are times when vibrato may obscure the pitch if you are overly expressive, in which case you may not want to vibrate them at all or very little. There aren't any hard and fast rules. Ultimately one should be able to do whatever the musical demands, and not be forced to do something else because of technical limitations.
TJ:	You mentioned that one should approach the fingerboard from above, not below. What does this mean?
GH:	I didn't sense a feeling of openness between the forearm and upper arm, as if the student was clenching his elbow. I was trying to convey the concept of raising the arm away from the body, bringing it over the fingerboard, and then down, rather than having the arm at one side, folding your forearm up, then raising your arm to the cello. When starting with the feeling of an open position, one's muscles and technique tend to be much freer, which results in much more musical freedom.
TJ:	You recommend that one keep an open posture and not hunch over the cello when playing the cello, otherwise the flow of energy and natural power will be cut off. How do you follow this principle when playing in the high thumb positions? Do you need to lean over the cello in these upper positions?
GH:	There's a way of leaning where one does not cut off the energy flow to the fingerboard. Instead of your body following your arm as you move up the fingerboard, you need to maintain a feeling of lightness while producing the necessary resistance on the cello with your arm and fingers. You need to master this so that you are able to produce the necessary power and maximize your expressive resources at the top of the fingerboard. If you are crouched over and collapsing your left arm, you are basically asking the smallest muscles in your hand to do all the work, thus breaking the so-called "line of power." It's difficult to explain, but it's something that athletes are taught as well. A boxer will produce a greater impact in his punch if his body is more upright and his arm is going more at a right angle to his body. If you lunge with your punch, you will have less power upon impact. The same notion applies whether you are hitting a tennis ball, baseball, or golf ball.
TJ:	You also said that the only difference between the lower positions and thumb position is that the thumb is up. Does your hand position remain basically the same no matter where you are along the fingerboard?
GH:	Pretty much, yes, except for special cases where an angle change is desirable for expressive reasons. It is certainly my goal to maintain the same angle of approach with the fingers no matter where I am on the cello. If you can achieve this, thumb position will truly just be a matter of bringing the thumb up in the upper registers.
Sometimes when playing in the upper positions, I put the thumb under the fingerboard because it's better in certain circumstances, like when I'm alternating with open strings. Rather than keeping it up in the air or continually placing it back down again, it's just easier to put it under the fingerboard. At times I do this when playing high on the G and C strings too, since I'm able to use a fleshier part of my playing finger and achieve a more satisfying sound on these thicker strings.
TJ:	In the opening of the Dvorak Concerto, you cautioned against attacking the chords with a vertical bow. Why?
GH:	I think there always has to be a horizontal aspect to the attack. If not, you will either produce a crunch or just a dead thud, since the vibration of the strings will be dampened. There may be a certain loudness with this technique, but it will probably be a dull loudness. I'm not a huge fan of thuddy cello playing.
TJ:	You said, "One of the most difficult parts of playing is to actually listen to one's own playing. One must be disturbed by one's own bad intonation before it can be fixed." How do you develop this awareness?
GH:	A teacher isn't with you in your practice sessions, which is where you spend most of your time playing, so it's vital that you develop this awareness. There is a three-step process you should use when playing: first you hear a sound in your head, then you play it, then you listen to it and evaluate the result. Most people are pretty good at the first two steps, but they neglect the third step. You must train yourself to concentrate and actually listen to what is coming out of the instrument, not what you feel or hear inside yourself.
Everything must be also be evaluated in relation to the larger context of the music. Music is much more than just a bunch of individually strung notes or phrases, there is an overall shape and structure that must be taken into account. So you must always evaluate what you do with this wider view in mind. This means that you must spend a lot of time thinking about what's coming up next, as well as what happened previously.
TJ:	How do you find the balance between the need to articulate each note and the desire to shape phrases? How do you play such that your performance doesn't sound mannered and exaggerated?
GH:	Whenever I have any concern about this, the first thing I do, even today, is sing the phrase. This usually takes care of it. If it doesn't, then I need to take a closer look at the music and figure out why the phrase is so unusual.
Any good musician, even with a bad voice, will be able to sing a phrase in a way that will somehow illuminate its shape. You may have to try it several times until you find the most natural way for a group of notes to go, but you will get it. And then when you listen to yourself play, you will hear what you are or aren't doing, and you can usually find a way to correct any problem. Singing is a great technique because it gives you something to strive for musically. Without a clear sense of direction, the music will never gel and will sound like a bunch of individual notes. There must be some impulse to group notes together with some notion of hierarchy so that they form a coherent phrase.
TJ:	You talked about "filling in the gaps" in the opening of Lalo concerto. Is this a principle that you try follow in general when phrasing, finding key structural notes and then determining what you do in between them?
GH:	In a way, yes. The student wasn't making music between the notes, so he wasn't bringing the listener from one note to the next. The notes were like raindrops instead of a flowing stream. Unless a phrase is specifically written to feel static, it will usually have high points and low points, which will define its overall motion and shape, not that every phrase has to have dramatic peaks and valleys. Once the key notes are determined, you transition from point to point, like filling in between the dots on a graph.
TJ:	You also encouraged the student, in the beginning of the Lalo, to "come in anywhere but where one expects." Is this how you approach phrasing in general so that it doesn't sound too "square?"
GH:	It's certainly one of the techniques one can use when phrasing. Of course there are times when playing in a rhythmically precise manner is desired as well. In the particular case of the Lalo Concerto, the opening is more of a recitative, which implies the need for a certain rhythmic freedom.
The notion of "coloring outside the lines" can be applied in many ways. Starting at a young age, we all learn the conventions of music � sense of pulse and rhythm, four and eight bar phrases, tonic, dominant � which are embedded in our psyche. These are things that we have come to expect when listening to music. But one can play with more expression and freedom when one breaks free from these conventions, in a tasteful and an intelligent manner, of course. I think it's important that you first practice the music in a strict manner, which will help to prevent overly idiosyncratic playing. After you have engrained this "predictable" feeling, you determine which places won't have the necessary contrasts in character without more freedom. You don't want to play everything too freely, since there won't be any "surprises" left, and no sense of contrast. It would be like a comedian who tells only punch-lines, with no set-ups.
TJ:	On a related note, you also said, "Don't be afraid to do things that may surprise you." Do you use this approach in pieces that you are very familiar with?
GH:	Absolutely. Some people may become bored with a piece after they've played it a hundred times, like the Dvorak Concerto, feeling that they have nothing new to say with it. I avoid this by trying to remain open and free, not just to things that I see and hear around me, but also to the changes that are happening within me as I go through life. There are many things that simply can't be discovered in a practice room, and it is these things than can greatly affect your playing, if you are open to them. If it's important to you that your playing reflect who you are, then I think it's important that you allow yourself to be surprised. In metaphysical terms, you should nurture the desire to venture into the infinite and the indefinable.
TJ:	You said, "'Sustained' does not mean playing flatly or evenly; it means 'to build.'" What does this mean?
GH:	A common misconception is that "sustaining" means to be relentless, to never let up on a series of notes. Playing as evenly as possible from note to note is a good starting point, but it's not sustaining a phrase; it's just playing everything at the same dynamic level.
The key concept is actually "sustain a phrase," not just "sustain." You need to be able to sustain in a way that will make the phrase come alive, which may involve building and releasing to varying degrees across the phrase. It may even involve doing a tremendous amount within a single note, perhaps varying its intensity throughout, or beginning with an accent, or many other things that are hard to define.
TJ:	You said, "We must give the illusion of dynamic contrast." Does this apply more when playing in front of an orchestra?
GH:	It applies in any playing situation, whether you are alone, in a chamber group, in an orchestra, or a soloist. The actual change in volume is not that great when you compare our softest and loudest playing. The available dynamic range shrinks even further when playing in a large hall, since you won't be heard if you play too softly.
There are many ways one can create the illusion of wide dynamic contrast without resorting to actual changes in volume. This is done by varying one's colors and intensities � different vibratos, various right and left hand articulations, and so on. Your goal should be to widen your expressive palette as much as you can so that you can draw upon these subtle shades at will.
TJ:	You mentioned that you play the Bach Solo Cello Suites with trepidation. Why?
GH:	One is so exposed when playing Bach. Every aspect of one's instrumentalism and music making is there for all to observe, for better or for worse. There's no hiding in Bach.
I expect a lot of myself in the Bach Suites, as any cellist should, of course. The sheer greatness of these works and the personal meaning that they have for me as a cellist makes them a tremendous challenge, since they are probably the biggest monuments we have in our repertoire. I am simply in awe of this music.
I once asked Paul Tortelier after I heard him play a Bach suite, "Why is that you seem to feel so comfortable with this music?" He replied, "Bach was a child of God and we're all children of God." In addition to any religious connotations, I interpreted this as describing the feeling that Bach was a human being just like the rest of us, so why should we be afraid of his music? I found this to be quite helpful.
Having said all this, the times that I have felt at One with the music are some of the most satisfying musical experiences that I have ever had. The Bach Suites are so all-encompassing and so direct in their communication and direct in their pure musical expression that, when it goes well and when I am in harmony with the music, I feel an exhilaration that I haven't felt playing anything else.
TJ:	You talked a lot about the Preludes being opportunities for improvisation. Does this apply to the other movements as well?
GH:	I was also talking about the origin of the Prelude in music history, that it may have come from the lute players, who would improvise something before a dance suite started.
It's particularly important in the Preludes to look for moments of subtle freedom and variety, since they are essentially comprised of notes with the same value throughout. This principle will serve you well in the dance movements too, though they should have more of a sense of continuous pulse than in the Preludes, without being rigid. I don't mean to say that the Preludes shouldn't have a sense of pulse, it's just that they allow a little more room for improvisation.
There are times when an improvisatory feel is more appropriate in some of the dance movements too. The D Major Allemande, for example, seems like it could have been written by a composer before Bach, like Corelli. Corelli would have just written a bunch of chords and expected the player to fill in the music between them. Bach chose to write out the figures instead, as was the practice in his day, but it should still be played as if it is being improvised on the spot, while still maintaining a feeling of the main pulse. He departs from the basic feeling of a dance in this movement.
TJ:	At the end of the Sixth Suite Prelude, you discuss the importance of "voicing" the chords like a pianist, where certain notes are more emphasized than others within each chord. Recent research has revealed that musicians tended to arpeggiate three and four-note chords instead of trying to play as many notes as possible at the same time. How do you mesh the idea of "voicing" with the practice of arpeggiation?
GH:	I don't think they're mutually exclusive. It's very good to arpeggiate chords, especially in pieces like the Sixth Suite Sarabande, since it prevents an almost stubborn quality that the Sarabande can take on. I often hear players try to maintain as many notes as humanly possible, but I find that this can be counter-productive, since the melody can be drowned out by the harmonies. Arpeggiation helps to prevent this.
If you arpeggiate a 3 or 4-note chord, you may still place more accent or weight on certain notes within each chord. The trick is to voice the chords so that a sense of melody or melodies is maintained, which can be difficult since the melody is not always the top note; the key note can be the bottom note at one moment and one of the middle notes the next moment. Some don't consider this when playing Bach, as if the top note is always the melody.
TJ:	You said, "Just because music is baroque doesn't mean you should shy away from expression." Do you find that people are a little too respectful of baroque music?
GH:	Less so now. There was a time when baroque music seemed like it was a museum piece instead of living music. The recent research on baroque music and its practice has helped to free us from any restrictive rules on how it must be played. I admire many baroque players and I've learned a lot from listening to how they play and from my own investigations into baroque performance practice, though I wouldn't necessarily choose to play as they do. As with any period in history, different players have different ideas and personalities, so I don't believe that there was ever only one way to play a certain piece, though I would guess that there were some basic ideas that they all had in common. We are all becoming more informed and therefore have more choices to make, which frees us up, in a way.
TJ:	In your performance of Bruch's Kol Nidrei at Janos Starker's 75th birthday celebration, I noticed you used a "sobbing" vibrato? Was this a conscious choice?
GH:	No, I don't consciously choose my vibrato when performing, though I may consider it more carefully when practicing to make sure that I am not working against the phrasing. I try to let the music dictate the nature of the vibrato, and I just do what comes naturally to me. I'm usually more aware of my vibrato when it does not sound right.
I let my vibrato flow in a natural way, like the way your heart beats, which naturally speeds up and slows down, depending on the feeling at the time. We can't really control our heartbeat rate, it just happens. This is one of my goals when playing expressively, to allow my vibrato to continually change so that it completely reflects and adds to the character of the music at the moment. Vibrato, like everything we do, has to be extremely flexible. One has to be receptive to the messages of the music so that we are prepared to use whatever expressive means are necessary to bring the music to life. After all, the music must come first.
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Customer support is terrific. If you have any problems with your Clenbutrol, just email them initially. I got a reaction in hours. You can always get in touch with the numbers supplied.
Clen generally has a half-life of between 24-36 hours, and can still be identified in the bloodstream 48 hours after administering. Due to the reasonably moderate half-life, this compound is preferred among professional athletes who need to pass drug tests.
We covered how a normal clenbuterol cycle consists of 2 weeks on and 2 weeks off, for 6-10 weeks amount to. But there's a debate that cycles with 2 days-on and 2 days-off reduce side effects while still offering terrific results. Nevertheless, the opposite of this is that 2 days don't give you a strong opportunity to increase doses and get the complete weight-loss advantages. Going even more, clen has a relatively long terminal half life (2) and can continue producing outcomes during off days following a 2-week cycle.
The beta-2 receptors that clen binds to ultimately end up being saturated and down manage after 2 weeks (or longer), hence decreasing results. Taking some time off after 2 Week enables the b2 receptors to clear out and prepare for another round.
Some bodybuilders prefer to run Xenadrine, also known as ECA (Ephedrine, caffeine, aspirin), to complete the two weeks off clen. Like buterol, Xenadrine works at minimizing body fat while likewise helping to retain muscle. However others say prevent ECA in addition to clen since it also strikes b2 receptors, and you desire these totally clean before your next 2-week run.
You do not need to stress over Clenbuterol shipment to your address because presently Clenbuterol shipping is available to all areas or cities throughout Calafell.
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Facilitate physical, mental, and social health within your community with outdoor fitness equipment! This line of fitness stations features products that improve four different areas of fitness: aerobic, muscle strength, balance and flexibility, and core.
This outdoor fitness equipment offers ADA accessible options, is safe for people ages 13+, meets ASTM guidelines, and is appropriate for all fitness levels. Keep guests active - contact us to outfit your outdoor fitness park today!


In the 1950s, the Planned Parenthood Federation of America invited an American biologist, Dr. Gregory Pincus, to develop an ideal contraceptive, that was simple, safe, and esthetically acceptable to both husband and wife (Snider). Government and private sources donated some of the funds, and Planned Parenthood put up the seed money, and within a few years, the birth control pill was being tested in Haiti and Puerto Rico. The first birth control pill approved in the United States by the Federal Drug Administration (FDA) in 1960 was Enovid-10 (Snider). The pill contained 100 to 175 micrograms of synthetic estrogen and as much as 10 milligrams of synthetic progestin. The pills were 99 percent effective if taken as instructed.
Within two years, approximately 1.2 million women were using the pill, within five years five million women were using it, and by 1973, about 10 million American women were using the birth control pill (Snider). The FDA noted in the mid-1960s that so many people would never take such a potent drug voluntarily on a long-term basis for any reason other than having a disease. However, they continued to warn about possible side effects. According to the FDA, more studies have been carried out on the birth control pill than on any other medicine in history.
Lots of Essays. "Birth Control Pills." LotsofEssays.com. LotsofEssays.com, (December 31, 1969). Web. 21 Apr. 2019.


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Welcome! Manage your west elm credit card Account here.
Open app. Check balance. Pay bill. Done!
Apply for the west elm credit card today. The application process is easy and takes only a few minutes. Once you are approved and have received your account information, you can begin enjoying all the benefits of your west elm credit card account.
*The west elm credit card Rewards Program is provided by west elm, which is solely responsible for the program operation. west elm may change the terms of the program at any time. Transactions of $750 or more must choose between earning rewards or promotional financing. For full Rewards Terms and Conditions, please see westelm.com/creditcard.
**Promotional financing available with west elm credit card Accounts offered by Comenity Bank which determines qualifications for credit and promotion eligibility. $750 minimum purchase with your west elm credit card and minimum monthly payments are required. Subject to credit approval. Transactions greater than $750 must choose between earning rewards or promotional financing.
†Accounts opened in your birthday month or in the previous month will receive the birthday benefit during your birthday month the following calendar year. Must have a US account with a valid email address. Valid email address must be provided at https://comenity.net/westelm. Account must be in good standing with a purchase made in the past 24 months. Eligibility determined a month prior to birthday month.


In April 2018 we hosted free workshops to learn the Big Dance.
If you can't attend a workshop, you can learn the Big Dance by following our online tutorials and still book in to attend your local event. Alternatively, you could host your own Big Dance event!
If you are not attending a workshop, register to attend the Sydney event by clicking the links below.
Learn the Big Dance at one of our FREE workshops.Search by date or head to our Eventbrite to see our full list of workshops at each venue.
If you have a question about Big Dance workshops in New South Wales please call Ausdance NSW on 02 9256 4800.
Group registrations can be made here.
Learn the Big Dance at one of our FREE workshops.
Search by date or head to our Eventbrite to see our full list of workshops at each venue.
Register to attend and see the full list of workshop dates and times on Ausdance Victoria's Eventbrite.
If you have a question about Big Dance workshops in Victoria please call Ausdance Victoria on 03 9689 2055.
Big Dance Darwin is taking place on the top floor (level 6) of West Lane Car Park, Darwin CBD.
Register to perform the Big Dance.
If you have a question about Big Dance Darwin, please call Tracks on 08 8941 1410.
Ausdance ACT invites YOU to learn the Big Dance 2018 routine and join the crowd of people dancing together outside the National Portrait Gallery on Sunday 29 April, International Dance Day. The performance of Big Dance will be followed by the launch of Ausdance ACT's Australian Dance Week program.
Sunday 29 April, 2.30 - 3pm.
Book for a group here.
Book for an individual here.
You are welcome to host your own Big Dance event.
Please email info@bigdance.org.au so we can include you on our list.


Talkdesk, a cloud contact center software provider, today announced Talkdesk Workforce Management, a cloud-native and 100 percent microservices architecture fully unified with its contact center as a service (CCaaS) platform.
"Unlike legacy solutions focused on optimizing outdated processes, Talkdesk Workforce Management will redefine agent involvement and personal ownership within their roles," said Tiago Paiva, CEO of Talkdesk, in a statement. "As legacy, first-generation cloud providers scramble to migrate from monolithic, cluster-based models to microservices, Talkdesk will stay ahead and deliver greater value for our customers, faster."
"While we've seen several companies enter the contact center as a service market with shiny new microservices-based solutions, workforce management (WFM) has, for the most part, been addressing the move to the cloud with variants of premises-based applications. It is exciting to see Talkdesk take on the challenge of throwing the proverbial Erlang C book out the window to build a true cloud-native, single platform, artificial intelligence (AI)-to-the-core, WFM application," said Sheila McGee-Smith, founder and principal analyst at McGee-Smith Analytics.
Eliminate manual intraday analysis to determine optimal staffing levels. Powered by Talkdesk iQ, Talkdesk Workforce Management uses AI to present recommended staffing adjustments in real time. An intuitive interface allows users to accept or decline changes with the click of a button.
Simplify and automate agent schedule changes with self-service shift swaps and time-off requests accessible from agent desktops or mobile devices. Administrators can require management approval or automate the process if the change fits within predefined parameters.
Predict and plan for hiring needs with early notifications, visibility, and long-term forecasting. With this new AI-infused WFM solution, Talkdesk customers can receive advanced notifications when staffing levels are expected to drop below acceptable thresholds, calculate how many agents will be needed, determine start dates, and predict when new agents will reach optimal proficiency levels.
"After completing hundreds of customer interviews, we consistently heard that the majority of WFM products require the administration team to work for the software instead of the software working for the team," Paiva said. "This is the overarching theme we aim to resolve as we launch and expand Talkdesk Workforce Management. In the end, it's all about freeing time to improve the customer experience."


Kenso Tech: the name of my new comic?!?!
Yes, I'm still alive. Somehow.
I've finally broken free of my crappy ad supported account at Sphosting and moved my site to a new and superior host, NearlyFreeSpeech.NET, and registered a fancy new domain name, www.middlerun.net! I wanted www.middlerun.com, but apparently it's taken? So I was pissed off about that, but I guess there's no shame in using the .net TLD (after all, my new host uses it!). Incidentally, middlerun.org is some kind of church preservation association.
I've also done some work to make better use of CSS, so I can easily change the site appearance if I want to. I haven't upgraded the THC pages yet because it will take ages, so it's not up on the new site yet but it's still available here if you really want to see it. THC is up now.
And all this while I should have been studying. Oh well.
This page and all its contents © 2006-2010 Middlerun unless stated otherwise.


SSSCR declared list of accepted candidates for recruitment to the post of Superintendent of Govt 2015.
SSSCR declared list of accepted candidates for recruitment to the post of Superintendent of Govt. Selected candidates are required to appear for the interview on 19 November 2015 along with other necessary documents.


text:
An Overview of Newly Developed HSC Textbook
The newly developed HSC textbook 'English for Today' for classes 11 & 12 has appeared in the market which has been designed highlighting the National Curriculum 2012. The 205-page book accommodates fifteen units with fifty seven lessons replacing the previous 321-page book accommodating 24 units with 162 lessons. The units of the present book are: People or Institutions Making History, Traffic Education, Food Adulteration, Human Relationships, Adolescence, Path to Higher Education, Human Rights, Environment and Nature, Myths and Literature, Dreams, Diaspora, Peace and Conflict, Greatest Scientific Achievements, Art and Music and Tours and Travels.
The very titles of the units tell us the present day and current issues have been included in the text so that the learners can find the things they deal with in their classroom in their surroundings.
In Unit-1, lesson-2 contains the historical speech of 7th March by Bangabandhu which will certainly help students develop the background knowledge of our freedom struggle. Unit-2 tells us the difference between human brain and a computer. In lesson-2 we find the lines "Alleviating traffic congestion is one of the major development challenges of our time. Half of the world's population already lives in cities, and the United Nations estimates that the proportion will raise to nearly 70 percent by 2050. Dhaka, the world's densest and fastest growing city, is a case study in how this problem got so bad and why it's so difficult to solve." Just 7% of the city is covered by roads, compared with around 25% of Paris and Vienna. The cost of Dhaka's traffic congestion is estimated at $3.8 billion a year. These are very basic information which today's learners need to know. The traffic problems of Dhaka city have been depicted citing some practical examples and referencing the writing from websites but not tangible solutions referred. The readers are just thrown into a frustration that easing let alone removing traffic congestion is an unimaginable task. How the commuters and passengers individually contribute to easing traffic jam could have been mentioned.
Unit three deals with 'food adulteration' mentioning the alarming amount of pesticides used in the samples collected in Gulshan, Karwanbazar and Mohakhali markets which is 3 to 20 times greater pesticides in vegetable and fruits than the limits set by the European Union. Around 50% vegetables and 35% fruits were found to be contaminated with unsafe level of pesticides. The introduction of 'The Luncheon' in the second lesson of the unit deserves appreciation as it's a very popular short story of Somerset Maugham. Students will find interest in it and teachers will have means to retain the students in the classroom and it goes with 'eating Habits and Hazards', nicely chosen and well suited with the chapter. Students need to meet native writers' work to have the original test of English along with locally produced materials.
'Human Relationships' in unit-4 reflects how to behave with others and some basic rules of etiquette have been cited which deserve appreciation. Family etiquette, basically social etiquette and professional etiquette have been mentioned which are timely. Unit 5 talks about 'Adolescence'. For most people, there are four or five such stages of growth where they learn certain things. Infancy (birth to age 2), early childhood (3 to 8 years), later childhood (9 to 12 years) and adolescence (13 to 18 years). WHO identifies adolescence as the period in human growth and development that occurs after childhood and before adulthood. This phase represents one of the critical transitions in one's life span and is characterized by fast paced growth and change which are second only to those at infancy. In Unit Six: Path to Higher Education tells Tagore's philosophy of education. We are made to tread the mill of passing examinations, not for learning anything, but for notifying that we are qualified for employments under organizations conducted in English. Our educated community is not a cultured community, but a community of qualified candidates. 'The training we get in our schools has the constant implication in it that it is not for us to produce but to borrow. A teacher can never truly teach unless he is still learning himself. The unit really attaches significant importance to real teaching.
Unit seven deals with rights of children, women, the disadvantages and ethnic minorities. Everyone has the right to a standard of living adequate for the health and well-being of oneself and of one's family, including food, clothing, and housing and medical care and necessary social service, and the right to security in the event of unemployment, sickness, disability, widowhood, old age or other lack of livelihood in circumstances beyond one's control. Unit eight tells us about 'Environment and Nature' with particular reference to Hakaluki Haor, the endangered pandas, tigers and the description of ' Kuakata: daughter of the sea'. Lesson-3 of the last unit has nicely chosen Jonathan Swifts' Gulliver's travels which is a satire.
Today secondary level teachers have scope to receive training from different government projects and NGOs but these scopes still prove very scarce for higher secondary level teachers. In this perspective, NCTB could have supplied a Teacher's Guide for the teachers along with the text. Or could have attached some guidelines of using the text at the beginning of each lesson or unit otherwise texts will just be read with Bengali translations which has become the common practice instead of dealing with the practice of four language skills.
It is good on the part of NCTB that it invited language experts and practicing teachers on 04 August 2015 to learn their views regarding the assessment which will really reflect students 'grasping of English language. The writers of the book and another group of experts strongly believe in setting questions outside the text to learn students' real depth and knowledge of English. They argued to set questions from unknown sources to really test students' language skills. They believe it may discourage at least a little the private publishers to produce note and guide books to kill the creativity of the students and replace the text in the classroom. But the reality says that NCTB textbooks are always replaced by note and guide books available in the market. The situation calls for a thorough research on how to address this issue taking into consideration. All the realities such as we cannot banish the private publishers from the market rather we should have devised such means which will not affect the real acquiring of English by the students even though they take help from note and guide books. So, questions can be developed from following known and unknown sources.
The questions should been a little bit different as more than couple of decades similar items of questions such as multiple choice , true/false, passage with clues and without clues, flow chart, etc. Of course, these are the popular test items to check students' reading skills. Still, some new set of questions should been thought of which I tried to mention but got little importance from my fellow colleagues. Our students have developed the habit of answering questions as they are asked to write down the answers. To our utter surprise that most students cannot develop an interrogative sentence by themselves. So, provisions should have been kept to make questions of some answered items.
Listening occupies the most significant portion of our everyday communication. The research of Burley-Allen shows that more than forty percent of our everyday communication we do through listening. Then comes speaking which is thirty-five percent and reading sixteen and writing only nine percent. The lack of listening skills is a major challenge in the classrooms. It is the cornerstone for developing interpersonal relationships and yet it is one of the most neglected language skills in teaching. Listening completes the cycle of communication. Through the normal course of a day listening is used nearly twice as much as speaking and four to five times as much as reading and writing. There are four language arts: two of them are expressional ones such as speaking and writing and two are understanding ones and they are listening and reading. Nature has given us two ears but one mouth, because listening is twice as hard as talking. The two significant skills have been left to the political decision at the cost of students' permanent damage.
The whole textbook is reading skill dominated and next comes writing skill. Of course, real environment is also an important factor for introducing listening skills. Still, we should not sit idle to develop the four language skills of our students harmoniously. Using this text we could stimulate at least a little practice of these two skills. We could have shown this innovation in spite of having hundreds of limitations.
Bangladesh education English for Today English textbook Masum Billah

redpajama_set_name: RedPajamaCommonCrawl


text:
Star Trek II: The Wrath of Khan
Title: Star Trek II: The Wrath of Khan
Directed by: Nicholas Meyer
Starring: William Shatner, Leonard Nimoy, DeForest Kelley, James Doohan, Walter Koenig, George Takei, Nichelle Nichols, Bibi Besch, Merritt Butrick, Paul Winfield
Original Aspect Ratio: 2.39 : 1
Plot: It is the 23rd century. Admiral James T. Kirk is an instructor at Starfleet Academy and feeling old; the prospect of attending his ship, the USS Enterprise--now a training ship--on a two-week cadet cruise does not make him feel any younger. But the training cruise becomes a deadly serious mission when his nemesis Khan Noonien Singh--infamous conqueror from late 20th century Earth--appears after years of exile. Khan later revealed that the planet Ceti Alpha VI exploded, and shifted the orbit of the fifth planet as a Mars-like haven. He begins capturing Project Genesis, a top secret device holding the power of creation itself, and schemes the utter destruction of Kirk.


text:
Crossotarsus saundersi, commonly known as stem borer, is a species of weevil found in Sri Lanka, Australia and New Zealand.

Description
It is a common beetle abundantly during the autumn and the spring. They are known as pinhole borers where they attack freshly felled tree trunks. Beetles are abundant in regions of moderate rainfall and in wet zones.

References

Curculionidae
Insects of Sri Lanka
Beetles described in 1865

redpajama_set_name: RedPajamaWikipedia


Posted 18 months ago , 6 users are following.
Hello I am a 31 year old male with no previous medical history.
Over the past six months I have developed sleep apnea which has gotten progressively more acute. My symptoms are suddenly waking up gasping for air, sometimes I find my vision blurring and the sensation that blood isn't reaching my fingers. This is gotten steadily more acute for the last month, to the point, where I have episodes almost every night.
In addition I seem to have trouble with shortness of breath during the day time as well. I will just be sitting around watching television and suddenly feel like I am not getting enough air. I have also noticed trouble swallowing food (like a constriction/obstruction in the upper part of my throath).
I have been feeling something like a palpitation in my chest over the last week. It seems to get stronger when I eat, otherwise I notice a disturbance once every couple of minutes or so.
I am currently seeing a doctor and have undergone and overnight sleep apnea test, waiting on the result of that.
Any help with my systoms would be greatly appreciated, I have been worried that I have cardiac problems, given my latest symptoms.
the Sleep apnea test will give them some answers, hopefully not bad news.
Are you sleeping on a flat pillow or propping yourself up on multiple pillows?
Best wishes from the wife of a heart failure patient, he is doing well, 6 half years on, when they thought he wouldn't survive the week, so there is life even after a disastrous situation with his heart. Dr's amazed he is doing so well, he caught a virus that did serious damage to his heart muscle.
I was just wondering if you ever got any answers. I am actually going through something similar.
Hi sgracias, I had the exact same symptoms and turned out I needed iron supplements which somehow nobody recommended to me for a crazy long time. Please do consult with your doctor. Palpatation and breathlessness (feeling of being unable to take full or deep breaths) are both caused by iron deficiencies... I know two other people for whom this resolved the issue! However I'm not a doctor so please consult with your doctor first!


George Osborne ditched his leadership ambitions following the Brexit referendum because he had been "too partisan" during the campaign to unite the Conservative Party, the former Chancellor has said.
Mr Osborne said he was in "no position to run" in the contest that followed David Cameron's resignation, having vigorously campaigned against the UK's departure from the European Union. In an apparent swipe at Theresa May, who also supported the Remain side, he added that he did not want to spend his "time and effort on a project that I didn't believe in".
In an interview with Radio 4's Today programme, Mr Osborne also said that he was "not keen" on a vote and had always been "gloomy" about the likely result.
"I was not keen on having a referendum in the first place but I chose to be part of the collective decision making," he said. He had previously hinted at his opposition to the vote, simply saying there had been "a big and lively debate" in government about the decision.
Mr Osborne's comments came after he refused to rule out a return to public life, either as London mayor or as an MP, during a question and answer session earlier this month. In the radio interview, on Boxing Day, he said there was now a "circus" over who would become the next Tory leader.
Asked whether he had considered launching a leadership bid following Mr Cameron's resignation last year, Mr Osborne, who now edits the London Evening Standard, said: "The truth was that I had been too partisan in the Brexit referendum to run for leadership of the party. I don't regret that.
"I was so strongly of the view that it was a mistake for Britain to leave the European Union that, when David Cameron resigned after the vote went the other way, I just didn't think I was in any position to unite the Conservative Party, or indeed that I wanted to spend all my time and effort on a project that I didn't believe in, which is taking Britain out of the EU."
Mr Osborne continued: "That's not to say I don't completely respect those who disagree with me on the issue, but I will vigorously challenge how they want to interpret that result.
"I don't accept that just because we're leaving the EU we have to, for example, leave the customs union, or we have to radically clamp down on immigration."
Mr Osborne added that he was "very much at peace with myself" about the decision not to stand in the contest ultimately won by Theresa May last year.
"Now, of course, from the chair of a newspaper editor, I look with some amusement at the circus going on to see who will be the next Tory leader," he said.
The former MP also spoke of his friendship with David Cameron, including a private disagreement over the decision to hold a referendum at all.
But in another swipe at Mrs May, he said that in contrast to his time in the Cabinet, "there aren't obvious strong friendships at the top" of the current Government.
The interview was conducted by Tamara Rojo, the director of the English National Ballet, who was acting as guest editor of the Today programme.
Also asked about his apparent reluctance to be publicly seen enjoying opera while he was Chancellor, Mr Osborne said there was a "curious reverse snobbery" in Britain which meant it was more acceptable to go to a football match than enjoy the arts.
"There's nothing wrong - far from it, there are a lot of things right - with going to the opera, going to the theatre," he said.
"I was struck by the comparison in Germany where the German Chancellor, Angela Merkel opens every year the Bayreuther Festspiele, the Wagner festival, where she goes as the Chancellor of Germany and everyone in the nation, as far as I can see, thinks that's the correct thing to do."


When the Internet first came out it was restricted to a wired connection to a computer. Eventually technology improved, creating wireless Internet. At that point the Internet could be accessible through desktops, laptops and mobile devices without wiring. This means that the Internet was now portable. And as more mobile devices are getting created, consumers are exploring how to increase this portability. In fact, wireless Internet has gotten so popular with mobile devices, domain name companies have created a new extension. It's called .mobi.
So, why would a webmaster decide to invest in a domain name that is restricted to mobile devices, Well, it's mainly because they get an opportunity to center in on a market that is relatively new. Since most webmasters or companies are trying to take advantage of the .coms or the .nets, the .mobi has become somewhat forgotten. This means that it is prime for search engine keywords that would normally not be available for traditional domain names. It can also allow a webmaster a branding opportunity for their company.
However, since a .mobi domain name means a webmaster is creating a website specially designed for a mobile phone, it cannot have the types of frills that it could have if it was being promoted on a computer. Good mobile websites need to be mostly textual with very limited number of pics, (if any). Granted, plain text is not fancy, but it doesn't require much loading time. Mobile phone sites should also not be very large nor should they be created with frames or other more complicated layouts.
A webmaster may also want to consider trying to divert the mobile website visitor to a regular website. One way this can be done is by advertising the domain name that is associated with a traditional website. But it must be made clear that the site will only display appropriately on regular computers. Another option is trying to capture the person's email address by offering them something free, such as an e-book or low-cost merchandise.


Lock in a great price for Hotel Zum Fliegerwirt – rated 8.8 by recent guests!
Comfortable, clean and quiet room. Attentive and very nice staff. Good breakfast.
The room was lovely. The staff were great. They had a cool honesty bar. There was a brilliant Italian restaurant very close by. Lovely stop off. There was an Airfield close by which had light aircraft and autogyros. Plenty of parking.
The staff is very friendly and helpful, the bathroom and the rest of the room is good.
Fahrräder konnten wir über Nacht verschlossen abstellen. Getränke zu super günstigen Preisen. Schöne Zimmer mit Terrasse. Uns hat es gefallen.
sehr freundlicher, netter Empfang, wir fühlten uns fast wie zu Hause! Frühstück war sehr lecker!
nettes Personal, saubere Zimmer, einfaches einchecken, alles wie angepriesen vorhanden. Gutes und reichliches Frühstück. Bin zufrieden.
Netter Service. Gutes Frühstück. Jederzeit wieder.
Sehr gutes vielseitiges Angebot, was man wünschte war vorhanden oder wurde zubereitet.
Alles perfekt (disclosure: bin auch Flieger ;-) ).
Hotel Zum Fliegerwirt This rating is a reflection of how the property compares to the industry standard when it comes to price, facilities and services available. It's based on a self-evaluation by the property. Use this rating to help choose your stay!
Opposite Mengen's old EDTM military airport, this hotel offers soundproofed rooms with free Wi-Fi and free parking.
The privately run Hotel Zum Fliegerwirt provides bright rooms with satellite TV and modern bathrooms. Most rooms have a terrace.
The Fliegerwirt provides a healthy breakfast buffet each morning. In summer, this is served on the hotel terrace.
Sights near the Hotel Zum Fliegerwirt include Schloss Sigmaringen palace, just a 25-minute drive away.
This property is also rated for the best value in Mengen! Guests are getting more for their money when compared to other properties in this city.
When would you like to stay at Hotel Zum Fliegerwirt?
House Rules Hotel Zum Fliegerwirt takes special requests – add in the next step!
Hotel Zum Fliegerwirt accepts these cards and reserves the right to temporarily hold an amount prior to arrival.
TV had no english channels. Not even news.
Somewhat remote location, but very quiet and comfortable once you are there.
The manager was trying to put us in a basement room, without a private bathroom. Only after insisting on getting the room we originally booked (several months ago) did we get a nice room with a terrace. The location was inconvenient for us. Way out of town.
The hotel is very near the railroad and a busy stree.


It is a sad fact of life that some criminals will impersonate others to carry out despicable crimes, praying on vulnerable people in the community.
Unfortunately this type of crime does occur with bogus callers varying in appearance and using a number of excuses to try and trick their way into people's homes.
The aim of the bogus caller is to try and talk their way into your home, after all if they can walk through your front door after receiving an invite from you, why should they go to all the trouble of having to break into your property?
Before you open the door check to see who it is by looking through your front window or by using a door viewer if you have one.
Only open the door when you have put the chain on.
Get a good look at their clothing, some official callers will have a uniform bearing their company or organisation logo.
Utility services may operate a password system, contact your local branch to find out more.
Suggest that the caller should come back later, you can then check their story by telephoning the organisation or company they claim to represent.
Check any phone number they give you in your own telephone directory. Do not rely on the number on their card, it may be the number of their partner in crime.
Always lock the back door before opening the front or vice versa. Bogus callers sometimes work in pairs, one sneaking in at the back.
Let the police and your neighbours know if you have had a suspicious caller at the door.
Locks and chains are only a deterrent if they are used!
Emergency situations can arise, do not leave the door chain on all of the time as this may cause a delay. Only put the chain on before answering the door.
Remember if in doubt keep them out. Bogus callers in all shapes and sizes, including children, are at work.


text:
U.S. troops spring 41 Iraqis from Al Qaeda torture shop in Diyala
AllahpunditPosted at 12:46 pm on May 27, 2007
Roggio tipped me a few days ago to this MNF-I release about tribal leaders in Diyala province meeting to discuss purging AQ. He was ahead of the curve in reporting the stirrings of a Diyala "awakening" among the local Sunnis similar to the one that's got Anbar back on track. And now, this morning, what do you know:
U.S. forces rescued 42 Iraqi civilians Sunday from an Al Qaeda hide-out northeast of Baghdad, including some who showed signs of torture and broken bones, a senior U.S. official said…
U.S. forces previously have found a number of houses used by Al Qaeda for detention, including some where prisoners showed signs of torture. But the hide-out raided Sunday in Diyala province was the largest, Caldwell said in a telephone interview. He declined to be more specific about the location, citing security reasons…
Caldwell said a tip to U.S. forces from Iraqis in Diyala led to the rescue operation.
As for that Anbar awakening that the nutroots persists in sneering at despite the fact that because it's honest to goodness good news, the BushCo cheerleaders at the Chicago Tribune and Newsweek chime in with their own progress reports today. Verdict: no one can say yet how long it'll last or how deep the new loyalties are, particularly if the Maliki government doesn't reward them with reconstruction aid, but for the moment it's for real. Newsweek:
The Pentagon is praying that its new allies will reconfigure the war. The success of the Ramadi experiment has given rise to hopes that the model can be applied elsewhere in Iraq. A year ago insurgents were launching nearly 30 attacks a day in the city; now the daily average is less than one. Anbar province as a whole is showing similar improvements. Brig. Gen. John R. Allen, deputy commanding general of the Second Marine Expeditionary Force in Anbar and a tribal-affairs expert, describes the province as "a laboratory for counterinsurgency." From roughly 500 attacks a week, the rate has sunk to barely a third of that figure. Weapons-cache discoveries, based largely on tips from sympathetic Iraqis in Ramadi, have skyrocketed nearly 190 percent. The fledgling local police force could muster only 20 recruits a year ago; today, with local sheiks encouraging tribe members to sign up, it has 8,000…
"We're not naive," says Colonel Charlton. "Some police could've been insurgents at this time last year. But the sheiks have changed their fundamental understanding of who the threat is—and the threat is Al Qaeda."
Maliki was in Anbar yesterday to meet with the governor and police, no doubt at the urging of Petraeus and ambassador Ryan Crocker, who accompanied him. Meanwhile, Sadr met with his own inner circle this morning to talk about his plans for a kinder, gentler Mahdi Army — while, around the same time, U.S. troops were raiding Sadr City for the second day in a row and the Brits were hitting JAM forces in Basra. I wonder if the strategy now is to try to bait Sadr into responding with force, which would give us an excuse to put the hurt on him and cripple the movement before we start to draw down troops.
Finally, Zawahiri adds a little more nuance to Ron Paul's "blowback" theory of jihad by urging the leader of AQ in Iraq to expand the fighting to Syria, Lebanon, and Palestine to form a mini-caliphate of "greater Syria." See the NBC News report described at the end of this post for more about that.
Tags: al Qaeda Ron Paul terrorism


HONG KONG ― Chinese stocks will join an important global benchmark in a decision that opens the door for foreign money to flow into the China's markets.
The global stock index provider MSCI announced on Tuesday that the stocks of companies that trade in China's stock markets would be included in its influential emerging markets benchmark. For several years, money managers have anticipated the move, which will would make it more important to invest in China.
The MSCI decision on Tuesday represents a mostly symbolic victory for China. The Chinese government had lobbied MSCI for years to include in its indexes the so-called A shares traded on the Shanghai and Shenzhen stock markets. MSCI has added 222 large capitalization stocks on both exchanges.
Many investors measure the performance of money managers, like mutual fund and hedge fund managers, against MSCI indexes. That puts pressure on active managers to buy the shares in the index, and then add or subtract a few stocks in an effort to beat the index.
China's inclusion, even on a limited scale, means that money managers will find the indexes more attractive. Many investors have also gravitated toward index funds that try to match the indexes directly, by buying all or nearly all of the stocks in them.
The Chinese government long sought MSCI inclusion because it could help establish Shanghai and Shenzhen as global financial centers.
It could also push international money managers to pay more attention to corporate governance in China and demand that Chinese executives improve business practices, such as providing greater financial disclosure and limiting insider transactions.
"MSCI inclusion not only mandated global investors to allocate more funding into the Chinese A share market, but also provided a much-needed impetus to move Chinese stock markets closer to global standards," said Shen Jianguang, a China economist at Mizhuho Securities.
At the Lujiazui Forum, an annual gathering of top Chinese economic and financial policy makers in Shanghai, Chinese officials underlined on Tuesday their desire for foreign participation in the country's financial markets.
"The financial service industry is a competitive service industry which benefits from opening up, and will continue to expand its opening up," said Zhou Xiaochuan, the governor of the country's central bank, the People's Bank of China.
Yet a variety of restrictive measures that China has taken in the past had prompted MSCI to decide on three previous occasions not to include China in its global indexes. These restrictions have included weekslong suspensions in the trading of shares in companies that encounter financial difficulties, and the increased limits on moving money out of the country.
But international companies have to some extent been exempted from those restrictions, particularly since the start of this year, in an effort to convince them that if they put more money into China, they will be able to take it out someday. Limits on the repatriation of dividends have been removed, and limits on foreign trading of Chinese bonds have been lightened.
On the previous occasions that MSCI chose not to include Chinese shares, it was also considering whether to include them as a sizable percentage of its emerging markets index. The index company disclosed in a draft paper this year that it was considering a much smaller percentage role for Chinese shares in its emerging market index than in previous years, notably by reducing by two-thirds the number of Chinese stocks that would be tracked in the index.
Chinese shares traded on markets outside mainland China, such as in Hong Kong, already represent the largest concentration of companies from a single country in the MSCI emerging markets index, fluctuating at about a quarter of the entire index.
While China received a greenlight from MSCI, another emerging market hopeful, Argentina, was not so lucky.


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Palmetto man arrested for forcible rape
William Johnson
A Palmetto man has been arrested and charged with the forcible rape of a 16-year-old woman.
Being held in the St. Landry Parish Jail on the charge is Dennis Clark, 27, 273 Charles St., Palmetto.
"Detectives have been investigating the case since Nov. 30 when the young lady reported the act, which had allegedly taken place the night before," said Sgt. Clay Higgins with the St. Landry Parish Sheriff's office.
"Evidence indicates that the juvenile victim knew Clark, however a forensic interview indicate that the sexual encounter was not consensual," Higgins said.
He said that interview was arranged with the Hearts of Hope Child Advocacy Center in Lafayette to provide a non-threatening, child-friendly environment for a forensic interview and counseling support services.
"When something like this happens, we take great care to handle the investigation with sensitivity and empathy," said Sheriff Bobby Guidroz.
"The young victim and her family deserve our respectful understanding as we gather evidence and develop probable cause for arrest," Guidroz said.
"Although we acknowledge that an arrest has been made, details of the crime are withheld and will not be released. The suspect is now in jail and will have his day in court," Guidroz said.
"This incident is highly sensitive. No further details will be released by S.L.S.O. We ask that the families' privacy, of both suspect and victim, be respected," Higgins said.


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Retired Police Lieutenant Answers Call to Help Fire Victims from His Art Studio
As flames engulfed Sonoma County, Tom Swearingen picked up his brush and started working on an art series of 365 roses - one for each day of the year - to remind us that, for many, the struggle continues long after the fires are out.
By Karen Kizer
November 2017 November 2017
https://www.sonomamag.com/retired-police-lieutenant-answers-call-to-help-fire-victims-from-his-art-studio/
Retired Santa Rosa Police Lieutenant Tom Swearingen in his art studio. Swearingen has painted 365 roses, as part of his art series "Roses of Resilience," to support fire relief efforts. The roses have yielded a donation of $34,540 to the Redwood Credit Union's North Bay Fire Relief Fund. (Photo by Jeff Kan Lee)
One of the 365 roses (oil on panel) by Tom Swearingen.
365 days of roses in progress in Tom Swearingen's Santa Rosa studio.
A Brush with the Law (oil on panel) by Tom Swearingen.
Blue Skies (acrylic on panel) by Tom Swearingen.
Sunken Treasure (oil on canvas) by Tom Swearingen.
A Salt and Battery (oil on canvas) by Tom Swearingen.
Bare Bear (oil on canvas) by Tom Swearingen.
Colorful Chaos (oil on panel) by Tom Swearingen.
Tom Swearingen at work. (Photo by Jeff Kan Lee)
In the early morning hours of October 9, retired Santa Rosa Police lieutenant Tom Swearingen was awakened by his wife, who had been rousted from sleep by pings of Nixle alerts and blasts of propane tanks exploding. The North Bay Fires had turned the night sky a glowing bright orange, and evacuations were ordered up to the edge of Swearingen's neighborhood in Santa Rosa.
"I've never been more frustrated in my life," said Swearingen of his inability as a civilian to tend to public safety during those first hours of the fires and in the weeks to come.
"They're doing whatever they can," he said of first responder efforts, "and we're just sitting here watching it." He added that, while being a police officer is just one part of his identity, the fires "brought it out more than anything before."
Although living in an advisory evacuation area, Swearingen and his wife, former Petaluma police officer and SSU Criminology professor Margaret Swearingen, "chose to hunker down for days" at home and "were set to leave at the first sight of flames."
It's been 10 years since Swearingen retired from the police force, and now he works as a painter in his home studio, creating playful photorealistic works that require what appears to be painstaking service to detail. Having felt for some time that selling his artwork was becoming less interesting to him, the ravages of the fires revealed a new avenue of painting: a pledge to create 365 roses to raise funds for the relief effort and the commitment to post one rose a day for the next year on his blog and social media.
His decision to spread out the publication of his works over a year was deliberate, if not symbolic, "as a reminder we're not done," said Swearingen. Long after "the news cycles have changed" and those less affected are ready to "move on," the needs of those who've lost everything will continue, he continued. And so he aims to "keep this in front of people for a year."
Several of Swearingen's close friends lost homes in the fires, and he feels deep sympathy for everyone affected. Although his sale of 365 paintings has yielded a donation of $34,540 to the Redwood Credit Union's North Bay Fire Relief Fund, he believes the hardest recovery to make will not be a financial one, but emotional.
"It's not 'just stuff.' You can't go down to CVS and replace it," he says, citing, as an example of irreplaceable objects, the "crappy ceramic dinosaur" his son made growing up that sits on display in his home.
Through his 365-days of roses – or "Roses of Resilience" plan, Swearingen is asking buyers to name their paintings. The first painting in the series was named "570 JeanMarie" in honor of the house where he and his wife raised their two sons.
While the Swearingens have, years ago, moved away from that home, the location still holds many memories for them. 570 Jean Marie Drive, in the Larkfield neighborhood, did not survive the Tubbs fire.
Swearingen works diligently, even painting through our phone interview, to create his roses. Having spent many years in a "safety-first" occupation, he appreciates "being on the other step" of life in which aesthetics matter. "Making the world feel like it's something you want to be in feels good," he says.
But "it's hard to focus on aesthetics when you're worried about surviving the night," he adds, vividly aware of the dichotomy of experience in his professions, the fires and in life.
While Swearingen replicates the look of actual roses, he has to reinterpret some of the image from his imagination. The roses from which he paints often have wilting leaves that wouldn't look good in the painting.
When asked if his job is to improve on reality, Swearingen answers good-humoredly, "I'm trying."
Wine Country Fires: Artists and Designers Create Artwork, Decals, Prints for Fire Relief
Before & After: Sonoma & Napa Wineries, Restaurants, Landmarks Damaged or Destroyed by The North Bay Fires
Sonoma County Fires in 40 Photos
Tags: 365 rose paintings, 365 roses for fire relief, art for relief, north bay fires, north bay fires art, sonoma art, sonoma county fires, tom swearingen
A Beacon of Belief: St. Teresa of Avila
Raise a Glass of California Wine for Fire Relief
On a crisp and clear December night, St. Teresa of Avila church glows against a star-dusted sky like an illustration...


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Akron area gets Northeast Ohio's first 'R-rated' haunted house
"Don't bring your kids."
Author: Ray Strickland
Springfield Township — At this Akron area haunted house, you can be touched, your clothes can get ripped off, and you might even leave with a bruise or two.
Akron Fright Fest is dubbed the first "R-rated" haunted house in the area. It is located at Melanie Lake at Kim Tam Park in Springfield Township.
"We wanted to do something different," Pete Kolomichuk, the mastermind behind it all, said. "We wanted to rewrite how haunted houses are done."
It's a combination of six haunted houses. Among the features are a woman who appears to have lost her mind as she tries to scare you in a glass box full of rats, a man with a bloody pig head, a nurse who would like to give you a haircut with a saw, and many more spooky and creepy things.
"Don't bring your kids," Kolomichuk said.
But if you do, he says they won't separate them from their parents and the show will be tamed down a bit. Yet, it's still "R-rated," so they may need to wear ear muffs.
Among of the six houses, two of them are waiver houses. Yes, in order to experience the scariest part of Akron Fright Fest, you have to sign a waiver. This is where you can expect to possibly get force fed.
"They are going to put a hood over your head," Owner Jeremy Caudil said. "They are going to physically separate you from the group. We told people, 'You can get mildly hurt.'"
Jeremy Caudill recently bought the property, which was a essentially a water park. He wanted turn it into a yearlong attraction, and even gets frightened himself
"Yeah, I was pretty scared," he said.
The haunted house first opened last weekend, and Kolomichuk says 17 people came but only one person was brave enough to make it through the first four haunted houses.
"It's for adrenaline junkies who love horror movies and haunted houses."
Akron Fright Fest is open from around 7:30 p.m. (or whenever it get dark) until midnight. The cost is $25 dollars for three haunted houses, $30 for four haunted houses and $35 dollars for all six haunted houses, which includes signing the waiver.


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Steelers Versus Cowboys: Week 10 Projected Inactive List
Posted on November 13, 2016 at 9:00 am
The Pittsburgh Steelers will play the (7-1) Dallas Cowboys Sunday at Heinz Field and they enter that contest with a 4-4 record and losers of their last three games. Four players were also ruled out on the Friday injury report by the Steelers and that helps tremendously when it comes to deciphering which seven players will be wearing street clothes on Sunday. As usual, I will attempt to project the Steelers seven inactives for Sunday's contest below.
Game inactives are officially announced 90 minutes before kickoff, so make sure you check back at that time to see the names of the players for both teams who will be sitting the game out.
Zach Mettenberger – Now that starting quarterback Ben Roethlisberger is seemingly back healthy again, hopefully he will stay that way for the remainder of the season. His return means that Mettenberger should go back to being a weekly inactive for the time being.
DeAngelo Williams – Williams will miss Sunday's game against the Cowboys after undergoing a surgical procedure this past week on one of his knees that has been giving him issues. At a minimum, Williams is expected to miss three weeks and possibly longer. With Williams sidelined, running back Fitzgerald Toussaint will back-up starter Le'Veon Bell.
Darrius Heyward-Bey – Due to foot injury suffered last Sunday in the first half of the Steelers loss to the Baltimore Ravens, Heyward-Bey was unable to practice this past week. He was ruled out for the game Sunday against the Cowboys on Friday and it's currently unknown as to when he'll be healthy enough to play again.
Jordan Dangerfield – Like Heyward-Bey, Dangerfield was injured during last Sundays loss to the Ravens. He failed to practice all week and was subsequently ruled out for the game against the Cowboys on Friday.
Markus Wheaton – After presumably being a healthy scratch last Sunday in Baltimore, Wheaton practiced fully this past Wednesday. On Thursday, however, Wheaton was added to the Steelers injury report as limited as he apparently reinjured the shoulder that has been giving him problems all season. After failing to practice on Friday, Wheaton was officially ruled out for the game against the Cowboys. At this point, you must wonder if Wheaton will be headed to the Reserve/Injured list soon and if that ultimately happens, he may have already played his final snap in Pittsburgh as he's scheduled to be an unrestricted free agent at the end of the season.
L.T. Walton – With starting defensive end Cameron Heyward now back as of last Sunday after missing several weeks with a hamstring injury, the Steelers shouldn't have to dress six total defensive linemen. Walton was inactive again last Sunday and that will likely be the case this Sunday against the Cowboys.
Brian Mihalik – The Steelers probably won't need all 8 of their offensive linemen dressed Sunday against the Cowboys and if that turns out to be the case, Mihalik will likely be the odd man out just as he was last Sunday.
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Speed of Animals
Bottlenose Dolphin
Tursiops truncatus
length weight top speed (swimming) feels like
9'10" 551.2lb 21.7mph 13mph
Bottlenose dolphins, the genus Tursiops, are the most common and well-known members of the family Delphinidae, the family of oceanic dolphins. Recent molecular studies show the genus contains two species, the Common Bottlenose Dolphin (Tursiops truncatus) and the Indo-Pacific Bottlenose Dolphin (Tursiops aduncus), instead of one. They inhabit warm and temperate seas worldwide.
There have been numerous studies of their intelligence. Researchers have examined mimicry, use of artificial language, object categorization and self-recognition. Their considerable intelligence has driven interaction with humans. Bottlenose dolphins are popular from aquarium shows and television programs such as Flipper. They have also been trained by militaries to locate sea mines or detect and mark enemy divers. In some areas they cooperate with local fishermen by driving fish into their nets and eating the fish that escape. Some encounters with humans are harmful to the dolphins: people hunt them for food, and dolphins are killed inadvertently as a bycatch of tuna fishing.
Animals: land air water insect
Your height: 4' 0" 4' 1" 4' 2" 4' 3" 4' 4" 4' 5" 4' 6" 4' 7" 4' 8" 4' 9" 4' 10" 4' 11" 5' 0" 5' 1" 5' 2" 5' 3" 5' 4" 5' 5" 5' 6" 5' 7" 5' 8" 5' 9" 5' 10" 5' 11" 6' 0" 6' 1" 6' 2" 6' 3" 6' 4" 6' 5" 6' 6" 6' 7" 6' 8" feet meters
Graph: top speed feels like
Imagine what it's like for a tiny insect to jump and fly as quickly as they do. They might cover 40 body lengths in a second. To a six-foot person that's 164 mph. This site tries to understand how it feels to move like a fly, a squirrel, a cat, a rhinocerous, or a falcon.
Similar Animals
Thunnus orientalis top speed 43.5 mph
feels like 39.1 mph
Tursiops truncatus top speed 21.7 mph
feels like 13 mph
California Sea Lion
Zalophus californianus top speed 13.4 mph
Common Octopus
Octopus vulgaris top speed 24.9 mph
Emperor penguin
Aptenodytes forsteri top speed 4.7 mph
feels like 7 mph
King penguin
Aptenodytes patagonicus top speed 5 mph
feels like 9.9 mph
Isurus oxyrinchus top speed 31.1 mph
Istiophorus albicans, platypterus top speed 68.4 mph
Enhydra lutris top speed 5.6 mph
Tetrapturus audax top speed 50.3 mph
Xiphias gladius top speed 60.3 mph
Acanthocybium solandri top speed 47.8 mph


Pacing has changed little over the last 50 years. Pacemaker implantation requires a surgical procedure to create a pocket together with venous access to deliver one or more transvenous leads. Patients are concerned about device failure and longevity, cosmetic effect of the pocket, environmental interference and compromised life style and mobility.
Long-term clinical problems following implantation include pocket and lead infection, and lead interaction with cardiac structures. Lead fracture is a major concern (Table 1). Finally, the optimal site(s) of pacing to preserve or enhance heart function remains unclear or cannot be achieved. The complexity is increased with multiple pacing sites such as in cardiac resynchronisation therapy (CRT). In addition, increase in patient longevity will raise the incidence of lead-related problems (Poole et al; Circulation. 2010;122:1553-61). Amongst all components, the pacing and defibrillation leads are the "weakness link" between patients and cardiac implantable electronic devices (CIEDs). Apart from lead complications, CRT is currently delivered epicardially through the coronary sinus. The coronary sinus anatomy can make implantation difficult, and the benefit unpredictable since the optimal pacing site may not be always achieved.
Endocardial pacing in the left ventricle that obviates this limitation may provide an alternative approach in the 30% of patients who failed to respond to coronary sinus pacing (Derval et al; J Am Coll Cardiol 2010;55:566-575).
Consequently, the concept of a "leadless" pacemaker has been developed using either a totally self-contained intracardiac pacemaker or pacing from an external energy source.
The concept of a totally self-contained leadless intracardiac pacemaker was reported in 1970 by Spickler et al (J Electrocardiol. 1970;3:325-31) who delivered a 18 x 8mm totally implanted pacemaker through a transvenous sheath.
With improved battery energy and endocardial fixation and delivery system, this concept has now been revisited by several manufacturers. While stable implants in animals have been achieved, there remains concerns on the stability and durability of pacing and sensing function, extraction and replacement, and size that is at present too large to be used in cardiac chambers other than the right ventricle.
Smaller electrodes can be used via either an endocardial or epicardial approach if powered externally. Potential energy sources include intrinsic cardiac mechanical energy, ultrasound, magnetic induction and cardiac electrical energy.
There are many concerns on leadless technology: interference from ubiquitous environmental sources, the sensing circuit, and a reliable, easy to use and low risk delivery system. Nevertheless, with the increase recognition of lead related problems and advantages of endocardial pacing, leadless technology will be the next frontier of cardiac pacing.
See the expanded version of this article in the printed issue 20 of Cardiac Rhythm News.