text:
An extraordinary evening...
An extraordinary evening, even by Metropolitan Opera standards....I arrived at Lincoln Center around 4:45 pm yesterday. The plaza was already filling up with excited people in their finery. First, I visited the Library of the Performing Arts to view the "60 Years of Tony Award Excellence" in which Broadway window cards of the winners for the best plays and musicals from the last 60 years were displayed. Then, I wandered around the plaza and took pictures. At 5:10 I headed in to the Met for the gala celebration performance in honor of Joeseph Volpe's retirement from the Met after 42 years (I love that he began as a carpenter and worked his way up to boss of the whole shebang).
Sally was already at our seats when I arrived. It was an overflowing balcony and family circle although there were a couple of empty seats here and there. The production began about ten minutes late. The scene for the opening number was the scenery for the prologue of Ariane auf Naxos. At the back of set, in front of the stair case, there was a sign that read "This way to General Manager's Office - No Backstage Personnel Allowed". It was obviously going to be a light-hearted evening. At roughly 5:40, Deborah Voigt kicked off the night with an original comedy song by Ben Moore called "We're Very Concerned". She looked smashing in a gorgeous gold satin gown. Gergviev then conducted Glinka's gorgeous Overture to Ruslan and Lyudmila. The conductors for the evening were participating in a relay race of conducting, so Peter Schneider next conducted the "Entrance of the Guest" from Wagner's Tannhauser performed by the Met Chorus. Marco Armiliato then conducted Juan Diego Florez and the Met Chorus in Rossini's Semiramide. Florez was the first opera hunk of the evening and the sopranos of the chorus were enjoying their proximity to him. We continued with Rossini's L'Italiana in Algeri with "Viva, viva...Oh che muso" performed wonderfully and quite comically by husband and wife Olga Borodina and Ildar Abdrazakov.
Then came the big moment I was anticipating. The Daddy of Opera Hunks took the stage....Placido Domingo sang "No puede ser" from Sorozabal's La Taberna del Puerto. Oh, his voice was beautiful. It was all and more that I anticipated. We were then treated to a couple of comedy bits. Accompanied only by piano, Frederica ("My Friend Flicka") Von Stade sang "Je cherche un millionnaire". She hammed it up and was rewarded by much laughter and applause. Next there was a scene change to the scenery for Act 1 of La Traviata with the curtains open and the Met stage hands on stage along with members of the Met Opera Ballet and comic Bill Irwin who had suited up as a stage hand for the evening. The stage hands wore tshirts that said "Volpe Gala". Seeing the mechanics of the scene change was thrilling, as the stage is as big of a star to me as anything or anybody else at the Met. Natalie Dessay continued the program with "Ah! Non credea, mirarti...Ah! Non giunge" from Bellini's La Sonnambula. She wore a beautiful powder blue gown. To me, her voice sounded darker than her Juliette that I heard earlier in the season, but she was still incredible. Next up was Dwayne Croft singing "Hai gia vinta la coausa...Vedro mentr'io sospiro" from Mozart's Le Nozze di Figaro. Then the gorgeous Denyce Graves, in a form fitting goldish green gown, showed off her "Can't Help Lovin' Dat Man" from Kern's Show Boat. WOW! She ended on a low note that would rival any baritone which quite pleased with herself and the audience. Renee Fleming followed with "Tacea la notte placida" from Verdi's Il Trovatore. She wore a new gown - a form fitting bodice with a full skirt, which accentuated her slim wasteline - the material of the gown seemed to be almost the color of her skin and there was a sheer black material with embroidered circle designs over that. She looked gorgeous, of course.
Peter Schnedier then conducted James Morris performing Wagner's "Die Frist ist um" from Der Fliegende Hollander. At this moment, the woman behind me decided it was time to remove her shoes and scratch her feet. Needless to say, I was distracted. Waltraud Meier (Ralph Fiennes' girlfriend!) then beautifully performed "Je vais mouris" from Berloiz' Les Troyens. She made the boldest fashion statement in a purple gown that had a sort of full length bright lime green jacket over it. Ben Heppner then nailed "Morgenlich leuchtend in rosigem Schein" from Wagner's Die Meistersinger von Nurnberg. WOW! I will take time to add here that most of the gentlemen solists wore tails and looked so handsome. It was then time for another huge moment anticipated by me - Kiri te Kanawa, looking incredibly glamorous and young in a black gown, sang "Gluck, das mir verblieb" (Marietta's Lied) from Korngold's Die Tote Stadt. ANOTHER WOW! I never thought I would get to hear Kiri perform live in person. We then enjoyed a very funny video tribute to Uncle Joe. Deborah Voigt then took the stage under the baton of Valery Gergiev for "Du bist der Lenz" from Wagner's Die Walkure. This was also the first time that I heard Debbie perform live and I am hooked. Placido Domingo finished Part I of the evening with a thrilling "Granada".
The intermission began at roughly 8:00 pm. and lasted about a half hour (which was much needed for the long, long restroom lines).
Part II began with a bare stage. Stage hands were creating special noise effects and there was a hugh old fashioned truck driving around the stage. "Volpe's Moving Truck" was written on the canvas covering the bed of the truck. It stopped downstage and a couple of stage hands jumped out of the bed of the truck and put up stairs...and then assisted a very glamorous Susan Graham, clad in an all white sleeveless gown, down the stairs. Her entrance was classic Suzi. She killed with Ben Moore's "The Audience Song". Ben Moore does have a great sense of humor and Suzi always kills the audience with her renditions of them. Maestra James Conlon then conducted the Met Orchestra in the Prelude to Act III of Wagner's Lohengrin. A very funny Stephanie Blythe, in a wine colored gown, then knocked our socks off with "Ah! que j'aime les militaires!" (I love soldiers) from Offenbach's La Grande-Duchesse de Gerolstein. Her fortissimo is shocking - even in the family circle! Hunky Thomas Hampson then perfomred "Mein Sehnen, mein Wahen" from Korngold's Die Tote Stadt. Where have you been all of my life, Thomas? Samuel Ramey then performed "Vous qui faites Pendormie" from Gounod's Faust. The scenery was then changed again in our view - this time to Act II of Don Carlo.
Placido Domingo took the baton for "Je jette avec grace mon feutre" from Alfano's Cyrano de Bergerac performed by Roberto Alagna (who must have left his wife at home). Domingo tossed the baton to Maestro Gergiev for two by Verdi. The dashing Dmitri Hvorostovsky performed "Per me giunto...OCarlo, ascolta" from Don Carlo. OH SWWWWWWOOOOOOOONNNNNNN. He wore a modern tuxedo sans tails and looked ever so delicious. Rene Pape, looking quite dashing, then took over with the heartbreaking "Ella Giammai m'amo". Conductor Marco Armiliato took the podium for Dolora Zajick's
"O mon Fernand" from Dohnizetti's La Favorite. OH MY GOD - HER RANGE AND POWER ARE THRILLING. Waltraud Meier and Wendy White, with the Met Chorus, then performed "Regina Coeli, laetare" from Mascagni's Cavalleria Rusticana.
The scenery then changed again to Act II of Die Fledermaus and it was time for more comedy. Patrick Summers took his turn with the baton on the podium from Mozart's Cosi fan tutte. Kiri te Kanawa and Frederica Von Stade did some slapstick in "Ah guarda sorella". Renee Fleming, Susan Graham and Thomas Hampson then performed the gorgeous trio "Soave sia il vento". Karita Mattila, gorgeous in a lavender gown, treated us to "Vilja" from Lehar's Die Lustige Witwe. ANOTHER WOW FROM ME! Thomas Hampson joined her for "Lippen schwiegen", in a wonderful rendition of one of my favorite duets.
Maestro Scnheider took the baton back for Strauss's "Eljen a Magyar Polka" and a festive performance by the Met Opera Ballet that highlighted the turntable of the Met stage. The stage turned to reveal a huge banquet - the stage was covered in confetti and confirmed that we were indeed at a marvelous party. At the banquet table were a number of the solo artist of the evening which I found at once thrilling and hysterical. Susan Graham then knocked our socks off with "Parto, parto" from Mozart's La Clemenza di Tito. She had changed into a sparkly and lacy silver top over sparkly slacks. When she finished she took a seat at the banquet table and helped herself to a glass of champagne. Baton then went back to Maestro Domingo for Ramon Vargas' thrilling performance of "Una furtiva lagrima" from Donizetti's L'Elisir d'Amore. Mirella Freni then gave a touching tribute to Mr. Volpe. She is a true legend.
The finale to Act II of Beethoven's Fidelio was conducted by Peter Schneider. The stage was completely filled by soloists Karita Mattila, Ben Heppner, Rene Pape, James Morris, Matthew Polenzani and Rachelle Durkin along with the Met Chorus, while the "guests" at the banquet remained in their seats. I could see that Thomas Hampson took a seat next to Suzi and they seemed to be cutting up and enjoying themselves - I think they thought they were hidden. Debbie Voigt kept looking over at them laughing. It was fun to sneak peeks at them. After the finale, the stage completely filled with all of the performers and stage hands of the evening and of course Mr. Volpe - although we could find Renee! The curtains closed but the lights remained down. Finally, they opened again with a grand piano on stage and Renee surprised all and sang another number in English directly to Mr. Volpe who was placed on a stool downstage from her. It was a beautiful sight.
Sally, Khaleem and I met up with Kari and our friend Sue at the freakline by the stage door. Most of the performers must have existed from the front doors to join the party upstairs, but we did see Dolora, Stephanie and Barbara Cook leaving. As we made our way up from the basement, we saw Frederika von Stade and Sally dared me to call out to her so I yelled "Bye Flika!" She turned and we all waved to each other. We then hung out on the plaza for a bit while we longed to join the party and speculated about which dances they would do and which stars would stay to boogie. We finally made our way to the Westside Diner for much laughter and discussion over many glasses of wine and excellent diner food. I don't think they had nearly as much fun at the official party as we did!
Labels: Barbara Cook
of the kosmos said...
Great job on the post, Sarah! By the way, the intermission was **a full hour** long! And Flicka responded to you, saying "Thank you!" or "Thank you very much!" That was a cool moment. It was very dark and quiet out there.
The concert was unbelievably excellent. The broadcast (and eventual DVD) will be such a great souvenir. But I'll never forget how those voices sounded in the house!
Fantastic Sarah! You did so well. Sounds like a fabulous evening. Thank you for recalling it for those of us who weren't lucky enough to be there with you.
I think Alagna left his wife at home because he knew you were going to be there. LOL
Oh, wow! I can't wait for the PBS broadcast, so I can see this for myself! I can't even imagine what it must have been like to BE there!
Renee's final number was a sentimental old chestnut called, "When I Have Sung My Songs" by Ernest Charles, who published songs in the 1930s and '40s. A pronoun was changed for this performance but otherwise it was far from original to the evening.
There wil be no DVD - PBS has the rights for exactly one week, then it goes into the vault - forever.


The company offers these customers the largest range of milling machines and heads on the market. We also offer an automatic head change system which uses the same interface in all machines, thereby guaranteeing maximum flexibility for machining a wide variety of different parts. Robust heads, designed to work under difficult conditions, with hard materials and long tools and in hard-to-access areas.


text:
Puppet Film: 'Vasilisa' - Complete with Spooky Doll & Lots of Bones
Frequent readers know we're happy to chat Baba Yaga stories any day of the year, but we don't think we've yet shared this spooky little amateur puppet film, by Justine Hanchar, which tells the story of Vasilisa the Fair, almost in entirety, and it's perfect for the 'Halloween' season.
It's a little dark on the lighting side of things, and an older film so expect it to be a little murky in places and somewhat grainy but it adds to the spookiness if you're watching it as a story.
Puppet films tend to be endearing but, to give you a heads-up, we got Little Otik vibes from Vasilisa's doll, which, interestingly, made that little magical creature a perfect match to foil the cannibalistic tendencies of Baba Yaga.
While it's still a family-friendly little film, it's definitely spooky and you may wish to preview it specifically for when Vasilisa gives her mother's doll food; the doll feeding is... unforgettable.
We especially like that the end of the tale includes the vengeance of the flaming skull on the step-family and Vasilisa burying the skull before it can cause more damage!
Note: The horsemen, who are three of the many servants of Baba Yaga, appear in this film in the wrong order. After walking all night the first horseman Vailisa sees in the story is the white, not the red. The white horseman signifies the liminal pre-dawn ("My Bright Dawn"), the red represents day or sunrise or midday* ("My Red Sun") and the black, the descent of night ("My Dark Midnight"). The fact that there are two horsemen that ride so closely together is interesting. The grey between night and daybreak (the twilight before daytime) is important enough a time to have its own servant/horseman.
Enjoy! (And Happy Halloweek!)
One word of caution: we did attempt to find out more about the creator and animator but she appears to have only made this one film, and there are suspicious links and weird dead-ends in searching for further information. It's a pity. A lot of thought and effort went into making this film and we'd love to see more work using fairy and folktales by her (and her family, who appeared to have jumped in to help her in many aspects, according to the credits).
* Depending on which source you use.
Posted by Gypsy Thornton at 29.10.19 Labels: animation, Baba Yaga, Halloween, puppets, Russian folk/fairy tales, short film, Vasilisa
Graphic Novel: Metaphrog's Feminist "Bluebeard" Coming May 2020
Publisher Papercut, has just acquired a new fairy tale graphic novel and it's one to watch for fairy tale and folktale folks.
The Eisner award-nominated graphic novel creators of The Little Mermaid (winner of The Excelsior Award Junior 2018) and The Red Shoes, Metaphrog, are already getting high-level kudos from The Walking Dead artist Charlie Adlard, and others well-known in the field, making it quite an anticipated addition to the world of graphic novels. (Images below are linked to their page on Amazon - each has an extensive preview available.)
Metaphrog, who have as the tag-line on their website 'The Dark Side of Fairy Tales: More Than Just Graphic Novels' are no strangers to adapting fairy tales for modern readers.
John Chalmers & Sandra Marrs of Metaphrog
We loved fairy tales as children and we still love them now. We especially love them dark. Fairy tales bring the magic back into our lives, they tell us about ourselves and about others, about human nature, and link us to our ancestors: fairy tales have been told and retold for generations. Lotte Reiniger, the silhouette animation pioneer and creator of The Adventures of Prince Achmed (1926) said: " I believe in the truth of fairy-tales more than I believe in the truth in the newspaper." Here we reimagine our favourite tales as graphic novels and hope to have created an immersive, lasting reading experience. (Sandra Marrs and John Chalmers aka Metaphrog)
Metaphrog, which consists of artist Sandra Marrs and writer John Chalmers, commented "'Bluebeard' is one of the darkest fairy tales and resonated with us when we were children because of this darkness. It felt necessary to create a feminist retelling and so we developed our heroine's backstory to highlight her struggles in the patriarchy. We hope the result is a compelling, suspenseful read. 'Bluebeard' is seldom seen in children's books nowadays and has never been adapted into a graphic novel, and we wanted our version to appeal to adults and children alike." (Multiversity Comics)
If the tale of Bluebeard fascinates you too, check out Metphrog's Tumblr account HERE which has a lot of Bluebeard artwork from different sources, movie clips, book covers and more. (And, yes, you can expect to see a little Beauty and the Beast in there too, since BatB is considered the flip side of the Bluebeard coin.)
Little Mermaid Wave by Metaphrog
Near the end of 2017 both members of Metaphrog were interviewed by Threadless, as they had just created a line of merchandise for the first time through the company, using their artwork. The interviewer, Carlyn Hill, asked specifically about Metaphrog's views on fairy tales and we thought we share that here. Here's an excerpt of the interview with Sandra ('S) and John ('J') of Metaphrog:
What inspires you most about finding the dark side of fairy tales? What are some of your favorite stories to put a darker twist on?
S: Fairy tales and folk tales often have a dark side, and that darkness holds a lasting power and helps get the core message of the story across. The darkness and light of such stories are held in balance.
J: For example, in The Red Shoes, although the story is dark and treats themes of obsession, possession, and hope, it still has a lightness and a strangeness. The reader is encouraged to suspend disbelief.
What do you think the importance of fairy tales – both light and dark – is for all of us as story lovers and as human beings?
J: Fairy tales and folk tales tell us what it is to be human. They tell us about ourselves and about others. Their messages are so powerful that they speak to us still, even after centuries. Sometimes there is more truth in a story than there is in the news.
Photographer unknown
S: Human beings need stories. Not only as something to provide escapism but also to allow us to learn and grow, to sympathise and empathise. Some stories carry powerful warnings while others provide hope or allow us to suspend disbelief and dream.
J: Both of us felt the thrill of reading as children and fairy tales, in particular, made the hairs on our necks stand on end.
Official synopsis of Bluebeard: A Feminist Fairy Tale:
"Award-winning duo Metaphrog transform the classic folktale into a feminist fairy tale, about the blossoming of a young child to womanhood striving for independence. Eve spends an idyllic childhood of long summer days with her sweetheart Tom, and together they dream of exploring the world. But that dream is soon shattered as she comes of age. The mysterious Bluebeard is looking for a new bride and has his sights set on Eve, and rumour has it that his former wives have all disappeared. What will Eve find in the castle beyond the enchanted forest? A forbidden chamber, a golden key and the most terrifying secret, take on a new life in this gothic graphic novel."
Bluebeard: A Feminist Fairy Tale will be available through all major booksellers on May 2020 in both the UK and the US. You can pre-order through Amazon (US) HERE right now.
Note: The Red Shoes and Other Tales includes another Andersen story, "The Little Match Girl", and an original story, "The Glass Case". ("... about a boy who runs away to be with a living doll in a museum—and then turns into one." Description from School Library Journal)
NB: Amazon links are for your convenience. We do not receive any commission from them and are not currently an affiliate.
Posted by Gypsy Thornton at 28.10.19 Labels: Bluebeard, book in the works, feminist issues, graphic novel, Little Mermaid, Red Shoes
Fairy Tale Funnies With a Side Of "Eek!" for Halloween
Jeff Stahler
Halloween is less than a week away and we can't help think about the dark side of fairy tales as they reflect us today, but it's easy to deal with fairy tales re-framed as horror. It's when we reframe them to laugh at them wryly we realize they are hit a little close to home and that makes for it's own sort of scary. There's a lot that could be said about fairy tale humor that takes a turn for the "eek". Many of these, while immediately funny, tend to leave you feeling slightly uncomfortable with the drop or more of truth they contain. Perfect for Halloween when we're facing our fears. We could write about how humor helps us deal with fear and process difficult situations but there are specialists who would do a much better job than we could. Folklorists would also have a lot to say about each of these panels if you find one handy to ask, so if they get your brain working, you know you're in good company, but rather than bore you with theory we'll just leave these single-panel comics for you to chuckle over, and perhaps have some other thoughts as well... (*cue X-Files music*)
by Harry Bliss
by John Atkinson
by Ben Zaehriger
by Dan Piraro
by Leigh Rubin
by Scott Hilburn
by Nate Frakes
by John Deering
by Maria Scrivan
by Mark Parisi
by Wayno & Piraro
by Dave Coverly
by Wayno
by Mike Peters
by Bill Abbott
Resources On Humor and Facing Fears:
Online Articles:
Halloween Quotes: What They Say About Our Fears - How does the holiday help us gain control over our deepest anxieties? - Psychology Today
Laughing At Scary Stuff: Humor and Fear - Psychology Today
Funny Ghost Stories - American Folklore.net
Laughing in the Face of Fear: Funny Horror Movies To Watch On Halloween - sideshow.com
Why Humor Helps Us Conquer Fear - KUT.org
Of Corpse: Death and Humor in Folkore and Popular Culture by Peter Narvaez 2003 (digital download available at link) Link to Amazon to purchase copy is HERE.
The Celebration of Death in Contemporary Culture by Dina Khapaeva 2017 (not just about humor but very helpful on contemporary views on Halloween, monsters, fear and death - links to Amazon
"The Celebration of Death in Contemporary Culture investigates the emergence and meaning of the cult of death. Over the last three decades, Halloween has grown to rival Christmas in its popularity. Dark tourism has emerged as a rapidly expanding industry. "Corpse chic" and "skull style" have entered mainstream fashion, while elements of gothic, horror, torture porn, and slasher movies have streamed into more conventional genres. Monsters have become pop culture heroes: vampires, zombies, and serial killers now appeal broadly to audiences of all ages. This book breaks new ground by viewing these phenomena as aspects of a single movement and documenting its development in contemporary Western culture."
Posted by Gypsy Thornton at 27.10.19 Labels: comics, death, fairy tales, fear, Halloween.humor, social issues, social media
The Mattress Tests Of Lords and Tinkers, Shrews and Peas
'The Princess And The Pea' by Louise Montillio
A passage from the ballad-folktale "Lord For A Day" caught our eye this week and, though it's not meant to be an important part of the text, it got us thinking about mattresses and peas; that is, tests of nobility or worthiness. Here is the passage, with a little context:
... the Khalif went in to the women of the palace, who came to him, and he said to them, "Whenas yonder sleeper awaketh tomorrow... say to him "Thou art the Khalif." ...
Then the rest of the women of the palace came all to him and lifted him into a sitting posture, when he found himself upon a couch, stuffed all with floss-silk and raised a cubit's height from the ground*.
*That is, a mattress eighteen inches thick.
So in this tale, a man sitting on a pile of mattresses, or a very high mattress, is supposed to be 'proof' of royalty? (Even if, in this case, it's set up falsely.)
Where is the next step of proof with the 'pea'? Why is it girls in tales always have to provide the pudding whereas men just get to eat it?
In The Real Princess, the bedraggled girl is immediately assumed to be falsifying her identity, to be common, and must prove she is royal - at physical cost to herself. In Lord For A Day, the ruse is getting a beggar to believe he is rich, then not, then rich again by turns. He is released from this weird torment because he makes the nobleman laugh. Despite being the butt of the joke, he ends up wealthier than he ever was and becomes a part of the noble's household. In The Real Princess, she is "black and blue" before she is accepted to be the person she says, and actually, is - a princess. She is "tamed" before being able to resume her station and be eligible for a new one (royal bride). The man is "freed" before bring raised to his.
Taming of the Shrew by Willy Pogany
Interesting that the Lord For A Day tale/ballad is considered one of the folkloric sources for The Taming of the Shrew. All of the other folktales that this play of Shakespeare's is based on are difficult to read because they are so very cruel; actively, sometimes viciously, stripping a woman of all individuality, autonomy and agency (not dissimilar to what happened to the Real Princess, by some interpretations). Why Lord For A Day, came back around to be used as commentary on suppressing the rights of a potential wife, is worth considering all by itself. The contrast between a man and a woman being raised/accepted in their station, gives great pause for thought, especially as Shakespeare uses a good part of Lord for A Day at the opening of Shrew; a direct set-up for the plot to come.
It's also interesting that most readings of Katherine have her as "feisty" (a word which in essence means the weaker, underdog naturally fights against convention and against the odds), even bawdy, and Hans Andersen's tale of the rain-soaked princess can also be read as feisty and (very) bawdy too.
An interesting note on Shakespeare's Taming of the Shrew:
Stephen Roy Miller argues that "Shakespeare was not adapting the folktale straightforwardly, but ironically" (1998, 14). He points to the changes that make Petruchio less of a violent ogre than the folktale husband, and concludes that "Shakespeare overwrites the 'old testament' of Type 901 with the 'new testament' of domestic relations," a humanist emphasis on eschewing domestic physical abuse (Miller 1998, 14). Shakespeare alters the traditional shrew-taming tale, like and through Katherine (and Petruchio, who is constantly performing as tamer), by following it closely and overenthusiastically, caricaturing it. (Extract from paper by Charlotte Artese 2009, quoting Miller, The Taming of a Shrew: The 1594 Quarto, 1998)
Petruccios Hochzeit (Petruccio's Wedding) by Carl Gehrts
Given the connections between Shrew, Real Princess and the folktale sources for Shrew, and the fact that Shakespeare is generally thought to be running social commentary on old and new relations between men and women by use of parody and exaggeration, it makes us wonder if Andersen was making (subconscious?) reference to this story group Shakespeare's play used in Taming of the Shrew, to do his own form of 'story taming'? Or, was he, in complete contrast, making his own caricature of these still entrenched conventions in society, having his own commentary safely hidden within a 'proper' tale of correctness and the required fragility of noblewomen?
We never made a connection between The Taming of the Shrew and the Princess and the Pea before. Now we cannot disconnect them.
Note: We are currently reading Shakespeare and the Folktale: An Anthology of Stories by Charlotte Artese. We hope to put up a review of the whole anthology soon, but at this moment we can tell you that this is a very interesting read so far and great food for thought. Obviously, Andersen's The Real Princess a.k.a. The Princess and the Pea, was written many years after Shakespeare's time and has no bearing on the Bard's writing. The speculation above came out of reading the book below (and a little further afield) and wondering if Shakespeare, in turn, had an influence on Andersen for the famous mattress tale. The two short extracts below sum up extremely well what we are enjoying about this book and why it's worth a read for people who love fairy tales and folklore - even if you're a little rusty on your Shakespeare.
From Charlotte Artese's Shakespeare and the Folktale: An Anthology Of Stories:
Folktales often served as common ground in Shakespeare's theater. The playwright and some members of his audience would have read literary versions of a play's folktale source, and those who could not read might have heard those tales told. In our own culture, when a movie or television show (or short story or novel) adapts a fairy tale, the creator knows the expectations the audience will bring, and the audience knows that the creator knows. The audience waits to see how this version of a well-known story will conform to tradition and how it will vary. Will Red Riding Hood fall in love with the wolf? Will the evil fairy repent and rescue Sleeping Beauty? When we learn the folktale traditions that Shakespeare adapts, we can join this interplay between playwright and audience.
Belsey+ concludes that the resemblances between Shakespeare's plays and folk narratives help to explain Shakespeare's place at the center of the Western literary canon. By absorbing the narrative traditions on which Shakespeare drew, we may peer into the heart of what makes him great: a profound connection to his audiences through the centuries and around the world.
+Catherine Belsey (author of Why Shakespeare? 2007), quoted in Artese's introduction to the volume.
Posted by Gypsy Thornton at 26.10.19 Labels: -Folktales-, book review, feminist issues, inequality, princess and pea, Princeton University Press, shakespeare, social issues, tale types
TODAY: 'Koshka's Tales' Back In Print (James Mayhew Dubbed 'Fairy Godfather Of Art & Tales' For The Kids Of The World)
Yes, James Mayhew is indeed the Fairy Godfather of art, music and tales for kids everywhere! That's the only succinct description that fits his extensive work and influence, not to mention magic... but first, let's take a look at this classic and beloved book (well worn in our own library) that has been unavailable for twenty years. Until today.
Today his Koshka's Tales is back in beautiful, quality print and available to share with the next generation.
Looks lovely, right? But who, you ask, is this 'Koshka', who gets to tell their version of The Snow Maiden, Vasilisa the Fair, Sadko the Minstrel, and The Firebird?
Here's a hint:
Close-up from the cover of UK 2000 edition
And here's the answer:
Koshka is simply the Russian word for 'cat'
(from the Author's Note in the 1993 edition)
Yes: These are "Cat's Tales"!
(Not, 'Koshka the Cat, by the way. That would be like saying these are "Cat the Cat's Tales"... heh.)
Here's a little extra info on Koshka, and why Mayhew chose her to tell the tales, from the Author's Note in the 2000 UK edition:
Meet Koshka, the extraordinary storytelling cat, as she spins a series of dazzling tales for a royal audience – accounts of the enchanting Snowmaiden, Sadko the minstrel and the Princess of the Sea, Prince Ivan, the Grey Wolf and the Firebird, and Baba-Yaga, the witch who lives in a hut with chicken legs.
Graffeg is delighted to be republishing Koshka's Tales, a wonderfully imaginative adaptation of five timeless stories from Russian folklore, written and illustrated by James Mayhew. Featuring unforgettable tales of handsome princes, wizards and princesses, golden apples and magical realms, the collection was first published in 1993 by Kingfisher Books and has been out of print for over 20 years.
Here's a gorgeous book trailer which treats you to glimpses of the delight waiting inside the covers - but let us warn you: seeing the illustrations online is a very poor substitute for the real thing. As beautiful as the pics in this post and video are, when they're on a page in front of you, they take on an extra dimension. The illustrations seem to refuse to lie flat on the page, but instead, draw you into the story-world and take on a sort of life.
It's magic!
As a bonus, a special calendar is now also available. (Shipped from the UK.) This time, not only will you be able to enjoy a crisp and beautifully printed copy of Mayhew's illustrations but you'll be able to put them on your wall... Or perhaps carefully detach the pages and frame them, or put them together and make a storytelling frieze to evoke magic in your room. Your choice. ;)
James Mayhew is not only a talented artist and writer but he spreads joy and beauty every day on Twitter via his account @mrjamesmayhew, with a special #BookIllustrationOfTheDay, and seems to be friends with everyone who follows him. He's also one of the kindest and most encouraging people in the Twitterverse and makes the world a better place this way every day.
But, honestly, we don't know how he makes time to for this, because James (we feel like we can call him James here, since he encourages us to on Twitter!) is a very busy man! Ever since 2007 he has been organizing classical music concerts for children, with wonderful orchestras, and not only presenting them, but painting - live - during the concert, combining art, music and storytelling. It is phenomenal to see (and we've only been able to see brief video clips!). More information is available via his website HERE. But in the meantime, we'll share some pics we love of him working in his passion:
The 'About' page on James' website details the HUGE amount of work he is doing but a driving force for him is to function as an ambassador and mentor, of art, music and culture, especially for children. Here's a very small excerpt from his bio page which reflects one part of the officially recognized capacity of his very personal mission:
I'm very pleased to be an adviser to Action for Children's Arts - a charity that campaigns for children's right to access the arts. I'm also a patron of Magic Lantern an art education charity who bring high quality art workshops and presentations into schools all over the country. In 2017 I joined Tanita Tikaram as an ambassador for the humanitarian charity Side by Side with Refugees.
a.k.a. Fairy Godfather of Art & Tales For Kids Everywhere
This is a completely legit title. Fairies are just not great at printing out certificates, but still: Legit. (So mote it be!)
Wish you could see him in action? In order to celebrate the re-release of Koshka's Tales, James is having a super-amazing competition, which is open to all UK & Irish schools. The prize is:
A FREE RUSSIAN-FAIRY-TALE-THEMED SCHOOL VISIT IN 2020, FROM JAMES MAYHEW!
"To enter, schools need to use the book to CREATE! Art, film, story... *anything*."
Gosh that's fabulous! Makes us wish we could have the US kid classes we know, enter too...
Details for the contest are HERE and the contest closes on Tuesday March 31, 2020, with the winner announced on social media (Twitter ad Facebook) Friday, April 24th 2020. Runner up classes will get Koshka themed swag. (There are going to be some very happy kids!)
For the rest of the world, who can join in online, James is also about to give a special #artychat: 'The Art of Painting to Music' (links below are clickable to take you to more information):
Two weeks until the super talented @mrjamesmayhew co hosts our #artychat on 'The art of painting to music' on 6th Nov. 8pm GMT.
Do you paint to music? Does it influence your creativity?
Pre-chat info here: https://t.co/nmQD3zvfMO
Really hope you can join us! pic.twitter.com/iDLdR581a4
— #ArtyChat (@artychat) October 23, 2019
This event is going on our Newsroom calendar.
By the way, did we mention that this new hardcover book is now out?
TODAY: October 24th, 2019
You can purchase a copy HERE (UK, and they ship internationally too), today.
If you already have a copy in your personal library (like we have) then consider getting a new copy for a holiday gift. This lovely collection is magic in book form and easily shows why so many folks fall in love with Russian tales.
Extra special note for fairy tale folks, storytellers & folklorists: We are delighted to let you know Mayhew has included notes on his main sources for the stories (which include operatic libretti as well as books) under the 'acknowledgments' at the front of the book, and his Author's Note at the end includes some history, context and much more useful information if you'd like to dig a little deeper. How much more can this Fairy Godfather endear himself to us?!
Posted by Gypsy Thornton at 24.10.19 Labels: book release, illustration, James Mayhew, Russian folk/fairy tales
Puppet Film: 'Vasilisa' - Complete with Spooky Dol...
Graphic Novel: Metaphrog's Feminist "Bluebeard" Co...
Fairy Tale Funnies With a Side Of "Eek!" for Hallo...
The Mattress Tests Of Lords and Tinkers, Shrews an...
TODAY: 'Koshka's Tales' Back In Print (James Mayhe...
The Carterhaugh School of Folklore and the Fantast...
Theater: Last Chance to See "Iron-Brow and Thorn-C...
Maleficent As A Modern Day Mélusine
Iconic "Pricked Finger" Appears At 'Maleficent II'...
Review: Workers' Tales (Socialist Fairy Tales, Fab...
#FolktaleWeek2019 Starts November 4th & You Are Al...
Of Glass & Fur Slippers (Appreciate A Translator T...

redpajama_set_name: RedPajamaCommonCrawl


text:
Veteran's Bike Swiped from Workplace
Posted 4:13 pm, July 16, 2019, by Stacy Lange, Updated at 04:14PM, July 16, 2019
SCRANTON, Pa. -- Security cameras caught a thief in Scranton stealing a bike from the back of a pizza restaurant last week. That thief may not have known that the bike was a man's only means of transportation.
Police and the owner of the pizza place are now searching for that suspect.
Someone swiped the bicycle from behind Brick Oven Pizzeria at the South Side Station Shopping Plaza on Friday afternoon. The owner turned to social media to try to find the thief. They haven't found him yet, but they did find a lot of support.
David Egan of Scranton saw combat overseas and used to work on jet engines in the Air Force. He's happy with a simpler life cooking at Brick Oven Pizzeria on South Washington Avenue and riding his bike to work.
On Friday during David's 13-hour shift, someone stole the bike from the back of the restaurant. It was the first day, Egan says, he didn't have a bike lock on it.
"He came in at 10:00 in the morning, worked a long shift and went to leave at 11:00 at night and realized his bike was gone," said Brick Oven's owner Brian O'Malley, who felt so sorry for Egan he wanted to do something to help out.
O'Malley posted the security camera pictures on Facebook, hoping somebody would be able to identify the thief and they'd be able to get the bike back. That hasn't happened yet, but they have gotten plenty of responses.
"We have had a lot of luck with veterans groups stepping forward and even the community, offering up donations of money, bicycles, and the support has been unbelievable," said O'Malley.
O'Malley says his original post has been shared hundreds of times and that people have even offered to buy Egan a car.
Egan says he appreciates it all but doesn't need it.
O'Malley says the greatest gift is knowing the community is looking out for a veteran.
"It makes me feel great because it's an uplifting feeling to know that the community would come together like that and try to help someone out."
While the Facebook post hasn't provided any tips yet, Scranton police are investigating the theft. Anyone who may recognize the thief in those photos is asked to call police headquarters.
Topics: bicycle, lackawanna county, scranton, theft
See the complete list here
Remembering West Scranton Pizza Icon
Escape from Probation Office Prompts Search
Vehicle Vandals Targeting Hospital Parking Garage
Getting Ready for 2020 in the Electric City
Farmers Frozen Out: Cold Weather Shutters Scranton Market
Holiday Shopping in Downtown Scranton
Crews Rescue Man from Grate in Bitter Cold
News Websites Mentioned
Study: Millennials Choosing to Become New Homeowners in Scranton
AAA: Middle East Conflict Could Cause Spike in Gas Prices
Driver Crashes Into Car, Porch in Scranton
Breathing New Life into Historic South Scranton Building
Police: Delivery Driver Robbed in Broad Daylight
Cash Box Stolen from Farm Stand in Wyoming County


text:
Q: Hibernate performance issue, export is taking hours to download the file. Mean while the browser went out of session Hibernate performance issue, downloading a file with large amount of data. Mean while the browser went out of session, due to this download status is not updated on browser as session gets timeout from client.
If someone know solution. Please suggest.

redpajama_set_name: RedPajamaStackExchange


Clinique Turnaround Accelerated Renewal Serum is a high-powered serum that optimizes cell renewal to continually reveal fresher, healthier-looking skin. Helps bring vibrant new cells to the surface for a refined, uniform texture and renewed healthy glow. Skin looks energized, feels velvety smooth. Oil-free.
Apply twice daily to face and throat. Avoid eye area. Follow with booster moisturizer.
Water / Aqua / Eau, Cyclopentasiloxane, Dimethicone, Polysilicone-11, Lactobionic Acid, Morus Nigra (Mulberry) Root Extract, Scutellaria Baicalensis Root Extract, Castanea Sativa (Chestnut) Seed Extract, Salvia Sclarea (Clary) Extract, Vitis Vinifera (Grape) Fruit Extract, Triticum Vulgare (Wheat) Germ Extract, Hordeum Vulgare (Barley) Extract / Extrait D'Orge, Laminaria Saccharina Extract, Polygonum Cuspidatum Root Extract, Oryza Sativa (Rice) Bran Extract, Padina Pavonica Thallus Extract, Saccharomyces Lysate Extract, Acetyl Glucosamine, Caffeine, Cholesterol, Squalane, Pantethine, PEG-10 Dimethicone, Salicylic Acid, Glycerin, Ethylhexylglycerin, Di-C12-18 Alkyl Dimonium Chloride, Polysorbate 20, Isohexadecane, Butylene Glycol, Caprylyl Glycol, Tocopheryl Acetate, Polysorbate 80, Sodium Hyaluronate, Acrylamide / Sodium Acryloyldimethyltaurate Copolymer, Ammonium Acryloyldimethyltaurate / VP Copolymer, Glycyrrhetinic Acid, Sodium Hydroxide, Hexylene Glycol, Disodium EDTA, Phenoxyethanol, Mica, Iron Oxides (CI 77491), Titanium Dioxide (CI 77891).


text:
Running The Show: Governors Of The British Empire 1957-1912
by Stephanie Williams
A. H. M. Kirk-Greene (Northern Nigeria 1950-65)
This is a first-class, multi-biographical portrait of Government House and its occupants across the British Empire during the half-century before World War 1. Stephen Williams, a Canadian citizen, has selected a score of colonial Governors who held office in diverse capitals of the Empire such as Glover in Lagos in 1862-1972. the Marquess of Lome in Canada in 1881, Swettenham in Malaya 1874-1903, the Tennyson in Australia 1899-1903, the Lugards in Nigeria 1901-1906 and the Cliffords in West Africa, Ceylon and Malaya 1912-1929. There is a detailed account of the colonial career of each of them, and great attention is duly paid to the role and record of their respective wives. The illustrations are superb, with over 70 of the occupants of Government House, including wives, family and staff, on tour or in G.H., as well as some 30 illustrations in the text. The text itself is as arresting and authoritative as the illustrations; with the result that here is indeed a book hard to put down. Were I asked to identify my favourite Governor (in the sense of being the most must-read-on character), from the score or so of the biographical sketches presented to us here, my choice would be Sir Hugh Clifford. My guess would also be that Clifford might rank as Stephanie Williams' most eye-catching colonial governor, too. "His episode in Ceylon is a fitting illustration", she concludes, "of the conflicts and tensions governors would continue to face. Such was his later celebrity as a governor, so adamant his refusal to cover his baldhead in the sun... that he inspired Noel Coward's famous song 'Mad Dogs and Englishmen'... By the time Clifford reached Malaya in 1927 he was quite mad. 'Most of us do like a personality,' pronounced British Malaya cheerfully".
If I comment that Stephanie Williams handles her academic sources with considerable delicacy, this skill enhances the readability as well as the reputation of her book. The cie rigueur academic sources are all there. But at the same time they are never allowed to distract the reader from the non-stop pleasure of the scenes and stories presented. Thus there is not a single footnote on any of the 420 pages of text. Instead, 70 pages of the book are reserved for the academic enjoyment and education of every scholar keen to learn more about the sources consulted: professional acknowledgements, 40 pages of valuable footnotes listed, chapter by chapter, and ten pages of bibliography, including personal papers, national libraries and archives, published books and Journal articles, and websites and electronic sources.
Not only do Governors and their wives (as well as some of their staff, notably ADC's) feature in the index, but Williams is equally good on Secretaries of State for the Colonies, the Colonial Office and its under-secretaries and, of course, the score of Government Houses as well as their occupants. My only regret is the silence over the selection of superb cartoons under the heading A Day in the Life of a Governor on the back of the dust-jacket.
If Stephanie Williams was right to feel, as she embarked on this book, that "you hardly need to go beyond the indexes of all the volumes that have been written about the history of the British Empire to discover that little has been written about the men who governed the colonies... Even in local histories they appear as little more than ciphers, remembered as founders or imitators or villains, in the names of towns or, more usually, streets", at least nobody would wish to cavil with another of her Judgements, that "there was no typical Victorian governor". In sum, for this superb addition to the literature on colonial governors between 1857 and 1912 we can thank Stephanie Williams most sincerely and in admiration.
There is Just about enough editorial space here to allow me to draw attention to the memorable (and little-known) Colonial Office file which stimulated Stephanie Williams to write this superb book: the four bound "Miscellaneous" volumes in what was until recently known as the Public Record Office, containing the answers to an early CO survey, namely the two-part printed questionnaire sent out by the Secretary of State for the Colonies in 1879 to every British Governor round the globe.
As you read this review of Stephanie Williams' highly significant contribution to Colonial Service history, you may also have noticed that your daily newspapers have already begun to remind us that there are only 100 shopping days left to Christmas. Let me assure you, here is a book that will likely help you make up your mind on what present to give your wife's grandfather or even good old Uncle X, who still seem to enjoy nothing more than recalling their experiences in say, pre-war South East Asia or pre-independence life in Africa. True, given its carefully constructed sub-title, warning us that the book's focus is the Victorian Governors of the British Empire, no member of OSPA will, personally, be able to recall any of these Governors. Yet that regret in no way reduces what I believe to be the certainty that in Running the Show you have to hand the ideal Christmas present for many of your friends (and maybe a few older relatives). By sending them such a certain favourite-to-be book as their 2011 Christmas present (exactly one hundred years since Stephanie Williams' portrait closes), you'll be arousing huge gratitude... If only dear old Uncle Gawain (Bell) had still been here to celebrate his 100th birthday this December!
978 0 670 918 04 1


Birmingham-based advertising agency, Luckie & Co., contracted me to write web content for a client (the Alabama Tourism Board) website celebrating "The Year of Alabama Food." I wrote several pieces about great eats around the state. From where to find the best slice of pie, or get locally-sourced ingredients prized by chefs, to a discussion of the passionate sides folks take over the "right" way to serve or prepare the state's favorite dishes.


text:
BOAT-SAMOLETY
The student design Bureau of our universities and colleges had a lot of interesting technical innovations. Most of them are audacious alloy of thought and rigorous scientific analysis. As well as some new alloys in the industry, they have amazing properties and thus to their appearance refute everything that was said about this earlier — for example, "cannot", "will", "not Mature enough" and "not ready".
And the most remarkable student development is, perhaps, the ability to separate the valuable from the casual perspective from unjustified. Especially interesting student work in the field of creation of new aircraft the original schemes. Planes, lanerolle, record and aerobatic gliders, microcategory and microviscosity — wig and AVP — this is not a complete list of student works in recent years. Some of them were demonstrated on VDNH USSR and immediately fell in love with our youth. Build them, fly them.
Editorial mail shows that enthusiasts microelectroni every year becomes more and more. As an example, a young worker Leonid Turbine and doctor of physical and mathematical Sciences Mikhail Gokhberg: they are both enthusiastically engaged in flying the PA hang gliders (paragliders) and achieved considerable success. Mikhail Borisovich Gokhberg — master of sports of water ski — annually demonstrates hang-gliding own designs on the Day of the Navy at the Khimki reservoir in Moscow, and Leonid Turbines leads a team of other enthusiasts, like himself, in the youth club "Luch" of their neighborhood. The club is located on the banks of the Moscow river. It is very convenient in the summer, the glider is placed on floats and can be towed by high speed boat; and in winter, when the waters covered with ice, for towing, used cars, motorcycles, snowmobiles or motonarty — all of this technology, also created with his own hands, has in the club "Luch". Residents of the neighborhood — IV first and foremost, of course, the kids are very proud of "his" club. Therefore, the flights are always a lot of spectators and fans. And no one is never surprised — even if on the ice with incredible speed sweep put on skates country aluminum chair with a propeller in the back or in the air suddenly appear a strange structure made of bamboo poles covered with old sheets. Fans know: for the guys from the club "Luch" nothing is impossible!
Fig. 1. The overall layout of the seaplane rkiiga-74:
1 — body motor boats "Progress", 2 receiver air pressure, 3 — engine M-332 is a 4 — strut wing, 5 — underwing float, 6 — wing (glider "Primorec), 7 — ropes tail farm 8 — node mounting the rear of the farm to the hull of the boats, 9 — fairing the boat (foam), 10 — tail farm, 11 — vertical tail, 12 — cable runs to the handlebars, 13 — horizontal stabilizer, 14 — cockpit.
But one day we received a lengthy letter. We opened it and could not believe their eyes after seeing photos sent by flying boat "Progress" to which some planking was fastened the wings and tail. Our turn came to be surprised — this has not happened! Invented, designed, built and conducted extensive testing of this "boat-samoleti" students from the Riga red-banner Institute of civil aviation engineers (abbreviated — riiga). Those students who were participants of the exhibition NTTM-72 and are mentioned in the list were awarded medals ENEA USSR. However, it is better to give the floor to them — creators of a new, original idea and implementation of the seaplane rkiiga-74. The editorial Board believes this project is worthy of attention because the construction of seaplanes and amphibians opens the possibility of using existing areas, while finding a fit for flying platforms on land, even for initial training of glider pilots — was very complex. The future obviously belongs to seaplanes and wig! So say the enthusiasts of the new vehicles. With them we can not agree: after all, two-thirds of our planet is covered with water!
In the main group of designers, developers and builders were: candidate of technical Sciences F. A. Mukhamedov, senior lecturer V. 3. Zeitlin and students of the mechanical faculty V. Agnus, J. Prybylski and A. Schweigert. In the design process of a seaplane was made: hydrodynamic calculation for hulls, aerodynamic calculation of the aircraft in General and the strength calculation. In the design proceeded from the availability of existing materials and tools. To simplify the work as the hull it was decided to use a serial motor boat "Progress", and the wings and feathers from well-known training glider Primorets.
Console wings fixed to the center section, installed on the racks of pipes hromansilevyh streamlined profile. Front pair struts holding the welded engine mount with nodes suspension engine M-332. Each console fastened to the body strut with controls cable and the brace that runs to the top of the keel. At the ends of the wings with the steel pipe streamlined profile reinforced floats made from foam PS-1 and covered with fiberglass. When transporting the floats off.
Fig. 2. Scheme in three planes seaplane rkiiga-74.
The boat connects with the tail openwork trusses, welded thin-walled pipes hromansilevyh. For mounting to the hull of the boat tail farm, as well as stands wing center section carrying the powerplant, the layout of "Progress" is slightly modified — the rear part of the cockpit separable dural sheet with a thickness of 1.2 mm, the frames are strengthened (especially in places of installation of the docking units), installed aircraft seats (two side by side), twin control (two steering wheels and two sets of pedals), the dashboard and the engine management system.
To reduce the aerodynamic drag of the boat transom to its attached fairings made from foam and covered with fiberglass. In the middle of the hull on the center of gravity of the installed fuel tank capacity of 90 liters and battery 12A-30 to power the starter, fuel pump booster and devices.
Powerplant of the aircraft — aircraft four-cylinder air-cooled engine M-332 inverted type with takeoff power 140 HP with direct fuel injection. A set of devices that monitor the operation of the power plant includes tachometer, temperature of cylinder heads, tehstroy pointer oil temperature, oil pressure and fuel. The kit flight and navigation instruments includes: airspeed indicator, altimeter, variometer, turn and slip, magnetic compass.
Control system are mostly cable. To control the ailerons applied quick-release connection, facilitating Assembly and disassembly of the wing. To remove the load from the rudder is installed trimmer with cable runs control.
DATA SEAPLANE RKIIGA-74
Dimensions, m:
the length of the plane…………………………………………8,10
height……………………………………………………….2,34
wingspan…………………………………………….13,42
boat length………………………………………………4,65
width of the boat……………………………………………1,7
the height of the boat (without visor)……………………….0,75
Wing area, m2……………………………………20,20
The relative elongation of the wing……………… 8,9
Profile…………………………………………………..NACA-43 012
Specific load, kg/m2…………………………….37,623
Specific engine power, HP/kg………..0,1866
Weight, kg:
engine………………………………………………….102
wing………………………………………………………..70
empty aircraft……………………………………….550
flight…………………………………………………..750
Speed km/h:
separation………………………………………………………80
landing……………………………………………….75
planning……………………………………………90
the maximum at the ground………………………………140
Rate of climb at ground, m/s………………….6
Practical ceiling, m……………………………4000
Run, m…………………………………………………..250
Mileage, m………………………………………………….80
The flight distance (main tank), km…..500
"Aquaglide-5"
The wig was created with the support of the "Arctic tergovernmental company" in Nizhny Novgorod. "Aquaglide-5" performed by the classical scheme of the aircraft with low-aspect-ratio...
KAMOV Ka-15M
The first experimental coaxial helicopter construction.And.Kamov, who headed at that time, the Bureau of new technology of TSAGI, took to the air in 1947. In 1948 N. And.Kamov continued...
SNOWMOBILE "SAKMARA" FROM SCOOTER
NEW "THE ZHIGULI"?


text:
Examining Togglescape
posted by Shane on 20th February 2019, at 3:24pm
Togglescape is a term that goes back years. To put it mildly the term implies that there is a toggle for any conceivable option in RuneScape. While at the extreme end this is not true, there are still a great many questionable toggles in game. Toggles are not bad. The general sense of the community seems to be that you can have the game options as they are now or you can have no toggles. That's not true; there is a middle ground.
Toggles in software go back decades. Entire fields in software engineering exist that examine how to build an effective user interface and then further examine how to tailor it to individual users by way of options and toggles. A good toggle should expose new or different functionality without introducing excess complexity. This does not mean that toggles should provide access to entirely different designs. Now that we're aware of what software toggles represent, let's pivot to RuneScape.
RuneScape's toggles are quite simply egregious in some places. While they do make sense for someone who has been playing the game consistently or knows RuneScape like the back of their own hand, they can cause severe issues for newer players. What the rest of this article is going to do is run through some of the options available in RuneScape and pose ideas of how they could be removed or made more straight forward.
Camera Mode – This setting dates back to the launch of RuneScape 3 in 2013. When RuneScape 3 launched the camera positioning was slightly different than that of RuneScape 2. An option was provided to allow players to have the old camera. Had this setting not existed, 6 years after the fact would we remember the old camera positioning? No. This setting should be removed.
Classic vs. Modern Camera
Potion Tooltips – Tooltips were added to potions at the tail end of 2018. Potion tooltips are great and many items in-game already have tooltips. Either remove the option to turn off tooltips for consistency or allow all item tooltips to be turned off (though this would deprive gamers of an important source of information).
Drag & Drop Items from Inventory/Bank – With RuneScape 3 came the ability to customize your interfaces as you see fit. One of the paradigms this brought in was the ability to drag inventory panels around thus introducing the player to the concept of drag and drop. Drag and drop can already be used to move items from bank to inventory, worn, or familiar. It doesn't make sense to have a toggle to drag to drop or drag to destroy. As long as existing confirmations are honoured there should be no problem with drag to drop.
Hit Splat Colours – This toggle makes almost zero sense. Poison damage is green, disease orange, healing is purple, general damage is red, etc. Each damage type is associated with a colour from the beginning on tutorial island. Allowing the player to break this association effectively breaks the interface because interfaces are defined by convention and expectation. The only place this may make sense is for colour blind players, though a single colour blind option could be added to toggle problem colours.
Ability cool down timers – People who don't do combat may find this a useful option but for anyone who does do combat, removing timers will hurt combat effectiveness. Also, the timers are so small that they are one of the most unobtrusive things in RuneScape.
Activate regeneration when leaving combat – This option is toggled on for players who have been absent for 3 months or more. It will also be on for all new players. Folks who PvM regularly will want this option off as it is a common practice to build adrenaline before going into a fight to have thresholds or ultimates ready to activate. Remove the option to have it activate automatically and instead educate new and returning players on the purposes of orb buttons on the action bar.
Mining Stamina Bar – Launched after the Mining and Smithing rework of 2019 this bar was initially struck from the design. Why? There are three levels of stamina: 0, 1–99, and 100. Having a constantly updating bar for only 3 states is misrepresenting what's actually happening. We already have audio cues and visual cues (coloured sparks: green (100), white(1–99), none (0)) to indicate what level stamina we are mining at. There is no need for it and the team initially made the right decision. It should be removed.
Toggle receiving Geodes – This is one of the newest toggles to be added to the game in an effort to clean up inventories while mining. Geodes in general are a mess for the inventory and aren't worth much but other options should have been considered. These could include increasing the value of geodes or making some kind of pocket/sigil item that converts them into something more usable.
Toggle receiving Clue Scrolls – While geodes are generally going to be worthless unless they are metamorphic, clue scrolls are not. Clue scrolls at the very least allow the player to garner free items and clue scroll points. This toggle is an opt out of content toggle which in itself should be worrying for Jagex. Why is there not some kind of clue scroll eating device that rewards token experience, components or items? If not this then the player should make the active decision to not pick up clue scrolls.
Special note for the Slayer Counter
The option to enable a Slayer counter appears 3 times. The toggle for the Slayer counter appears in optional interfaces, Skills -> XP, and Slayer options. Looking to computer operating systems it is common for there to be multiple ways to access a settings interface, it is however not common to have the same setting in 3 places. The Slayer toggle is an interface option first and foremost and should only appear there, it doesn't outright affect the Slayer skill in terms of playability and it doesn't affect any other skills.
The three places where the Slayer counter can be activated.
Special note for Combat XP
The toggle for choosing what kind of combat XP you receive appears twice. First under Combat -> Combat XP and then under Skills -> XP. As with the previous toggle, you can access it multiple ways, but it really should only appear once. The combat settings menu is the most logical place. As a side note, this used to appear in the Powers root menu with the launch of RuneScape 3. It makes more sense to have this in a general combat settings interface.
These are a series of toggles that could be modified or removed entirely. The idea to write on this began before the game started receiving changes for mobile. The move to mobile has helped in terms of slimming down some of the game settings. Toggles are a subjective subject since RuneScape players are creatures of habit. At the end of the day a discussion on togglescape is warranted and an active review of the in-place settings would do wonders for usability.


text:
@implementation OCMArg

+ (id)any
{
	return [OCMAnyConstraint constraint];
}

+ (void *)anyPointer
{
	return (void *)0x01234567;
}

+ (id __autoreleasing *)anyObjectRef
{
    return (id *)0x01234567;
}

+ (SEL)anySelector
{
    return NSSelectorFromString(@"aSelectorThatMatchesAnySelector");
}

+ (id)isNil
{
	return [OCMIsNilConstraint constraint];
}

+ (id)isNotNil
{
	return [OCMIsNotNilConstraint constraint];
}

+ (id)isNotEqual:(id)value
{
	OCMIsNotEqualConstraint *constraint = [OCMIsNotEqualConstraint constraint];
	constraint->testValue = value;
	return constraint;
}

+ (id)checkWithSelector:(SEL)selector onObject:(id)anObject
{
	return [OCMConstraint constraintWithSelector:selector onObject:anObject];
}

#if NS_BLOCKS_AVAILABLE

+ (id)checkWithBlock:(BOOL (^)(id))block
{
	return [[[OCMBlockConstraint alloc] initWithConstraintBlock:block] autorelease];
}

#endif

+ (id *)setTo:(id)value
{
	return (id *)[[[OCMPassByRefSetter alloc] initWithValue:value] autorelease];
}

+ (void *)setToValue:(NSValue *)value
{
	return (id *)[[[OCMPassByRefSetter alloc] initWithValue:value] autorelease];
}

+ (id)resolveSpecialValues:(NSValue *)value
{
	const char *type = [value objCType];
	if(type[0] == '^')
	{
		void *pointer = [value pointerValue];
		if(pointer == (void *)0x01234567)
			return [OCMArg any];
		if((pointer != NULL) && (object_getClass((id)pointer) == [OCMPassByRefSetter class]))
			return (id)pointer;
	}
    else if(type[0] == ':')
    {
        SEL selector;
        [value getValue:&selector];
        if(selector == NSSelectorFromString(@"aSelectorThatMatchesAnySelector"))
            return [OCMArg any];
    }
	return value;
}

@end

redpajama_set_name: RedPajamaGithub


text:
#ifndef _ETL_ASSERT_H_INCLUDED
#define _ETL_ASSERT_H_INCLUDED

#include "etl/attribute_macros.h"

/*
 * An assertion facility similar to the standard's, but which can call through
 * to a portable assertion handler instead of doing whatever the libc feels
 * like doing (often involving stack unwinding and other things we don't
 * support).
 *
 * In general, ETL_ASSERT(foo) is equivalent to assert(foo).  If the macro
 * ETL_USE_SYSTEM_ASSERT is defined, the two are *precisely* equivalent.
 * Otherwise, ETL_ASSERT compiles code that tests the assertion; if it fails,
 * the hook function etl::assertion_failed is called.
 *
 * The application is responsible for defining etl::assertion_failed.
 *
 * The ETL implementation of ETL_ASSERT_CE is designed to be usable in constexpr
 * functions.  When ETL_USE_SYSTEM_ASSERT is defined, your mileage may vary.
 */

namespace etl {
  /*
   * Hook used by ETL_ASSERT when an assertion fails.  This is relevant
   * only when ETL_USE_SYSTEM_ASSERT is not defined, but it's prototyped
   * here unconditionally so that applications can change modes without
   * needing to compile out their implementations.
   *
   * Note that while assertion_failed has an argument slot to receive a
   * function name, ETL_ASSERT (below) does not pass one.  This is due to
   * an odd interpretation of constexpr semantics by the GCC team in 4.8/4.9.
   */
  ETL_NORETURN void assertion_failed(char const * file,
                                     int line,
                                     char const * function,
                                     char const * expression);
}  // namespace etl

#ifdef ETL_USE_SYSTEM_ASSERT

  #include <cassert>
  #define ETL_ASSERT(c) assert(c)
  #define ETL_ASSERT_CE(c) assert(c)

#else  // !defined(ETL_USE_SYSTEM_ASSERT)

  #define ETL_ASSERT(c) \
    ((c) ? void(0) : ::etl::assertion_failed(__FILE__, \
                                             __LINE__, \
                                             __func__, \
                                             #c))

  /*
   * __func__ is defined, in C99 and C++11, as equivalent to a static const
   * string at function scope.  In GCC 4.8/4.9, referencing it seems to cause
   * it to be added to the function...causing the function not to consist of
   * a return statement, and thus violate the constexpr rules for C++11.
   *
   * Sigh.
   *
   * Thus we provide a separate assert macro for use in constexpr environments.
   * TODO(cbiffle): unify these macros if the compiler folks figure out what
   * the right behavior is.
   */
  #define ETL_ASSERT_CE(c) \
    ((c) ? void(0) : ::etl::assertion_failed(__FILE__, \
                                             __LINE__, \
                                             "" /* TODO */, \
                                             #c))

#endif  // defined(ETL_USE_SYSTEM_ASSERT)

#endif  // _ETL_ASSERT_H_INCLUDED


Could it be celiac disease or gluten/wheat sensitivity?
Many people have become acquainted with the following symptoms: abdominal pain, diarrhea, flatulence, headache and further unspecific complaints, such as anemia, loss of weight and tiredness after the consumption of food containing gluten, for instance of bread and pasta. Often the relation between gluten in food and the above mentioned complaints stay undetected, even when they could actually be a signal for a disease due to gluten.
In order to diagnose celiac disease or gluten/wheat sensitivity, food containing gluten should be consumed on a daily basis. There are no symptoms and the diagnostic tests are not significant when gluten is excluded from the diet as the diagnosis can only be given if there is a consumption of food containing gluten!
This online assessment is only intended for adults aged 18 years or over.
It will take you about 10 minutes to complete the online questionnaire.
The test you are going to take is anonymous. Your data will not be subjected to automated decision-making. This means that the test results will have no effect on the person who has completed the test. However, the information in your responses may yield results that should be presented to a physician or a nutritional advisor. The data that have been collected will not be distributed in any form. However, they may be brought to the attention of companies, freelancers, consultants, insurance companies or lawyers whose services are used by Dr. Schär AG/SPA.


text:
Leonard Matlovich
How gay Halloween became a major event in one small Indiana town in 1975
Some people were deeply closeted and used the Halloween dance's popularity to be around out LGBs while pretending to be straight.
Frank Kameny devoted his life to fighting for gay rights. He lived to see several victories.
Kameny replaced "Homosexuality is unfortunate" with "Gay is good" long before many LGBTQ historic figures were even out.
Meet Perry Watkins, the gay soldier the Supreme Court wouldn't let the Army discharge
After 16 years of serving his country in the Army and 9 years fighting his country in court, Perry Watkins finally won.
National LGBT Veterans Memorial planned at Congressional Cemetery
WASHINGTON — A national memorial honoring Lesbian, Gay, Bisexual, and Transgender veterans representing the five armed services — Army, Navy, Air Force, Marines and Coast Guard — is slated to be constructed on the grounds of the historic Congressional Cemetery in southeast D.C. Washington D.C.


Even if English is your native language, it doesn't mean it's easy to master. In fact, English is one of the most difficult languages to learn because there are so many exceptions to its rules. Even though most of us learn how to read and write in school, it is still very common for us to make mistakes from time to time. It could be an occasional slip up, or it could be a misunderstanding of the correct way to say things. When it comes to sentence construction, here are the five most common types of errors.
The subject of the sentence, and the verb that describes what the subject is doing, must match.
Incorrect Example: The boy mow the lawn.
"The boy" is the subject of the sentence, and "mow" is the verb that describes what he's doing.
Correct Example: The boy mows the lawn.
When two or more parts of a sentence are doing the same thing, they must have matching structures, or parallel structures.
Incorrect Example: Jamie loves to ride her bike, swimming, and to dance.
This sentence is saying that Jamie loves three different activities, and all of those activities must have the same parallel structure.
Correct Example: Jamie loves to ride her bike, to swim, and to dance.
Correct Example: Jamie loves riding her bike, swimming, and dancing.
Sometimes two or more parts of a sentence that are doing the same thing require different prepositions. Leaving out or using incorrect prepositions leads to more errors in parallelism.
Incorrect Example: Jessica is interested and excited about the book.
Correct Example: Jessica is interested in and excited about the book.
Two complete sentences can be combined, but they must be combined using both a comma and a conjunction. If two complete sentences are combined without both a comma and a conjunction, it is called a comma splice.
Incorrect Example: The dog walked on the beach, he didn't go in the ocean.
In this example, "The dog walked on the beach" is a complete sentence. "He didn't go in the ocean" is also a complete sentence. They are combined with only a comma, however, and without a conjunction.
Correct Example: The dog walked on the beach, but he didn't go on the ocean.
"But" is the conjunction used along with the comma to combine the two complete sentences.
Every sentence must have both a subject and a verb. If either a subject or verb is missing, it is an incomplete sentence, or a sentence fragment.
Incorrect Example: The kitchen messy.
In this sentence, "the kitchen" is the subject of the sentence, but there is no verb.
Correct Example: The kitchen is messy.
Correct Example: The kitchen was messy.
Elain Valentine is a student at the University of Texas and a writing tutor who enjoys helping other cut out grammatical errors in their writing. She loves to blog about everything from literary education to the best grammar checkers available, like Grammarly.
For extra grammar help (and a fresh set of eyes to check over your written words), contact the professionals over at editorr.com.
thankx for the helpful knowledge .
people to visit the web site, that's what this web page is providing.
I find it so interesting.


EA and Maxis can't do anything right lately, according to many fans of The Sims. The recent removal of several features of the game from The Sims 4 – including that ever so important transitionary period, the toddler stage – has angered them. Understandably so when their main complaint is that they'll sell it to them later, a practice that the publisher has shown devious willingness to do countless times. If that wasn't enough, new information has come to light that suggests The Sims 4 was originally developed with the same DRM as Sim City had. Yep, the one that wouldn't let you play the game without an internet connection. Why is this such a big deal, intrepid reader? When Sim City launched, the servers couldn't withstand the assault they found themselves under and went kaput, turning the £40-or-so product that many customers had just bought into a digital doorstop.
Sims 4 Got to work on clustered servers, chat systems, scaling and performance, and other internet style stuff when it was an internet based game. Also became python internals guru.
It's not a huge leap of the imagination to reach the conclusion that "internet based game" means "it won't let you play the game without an internet connection" from the very same companies that already implemented it once.
This is contrary to what EA said back in July of 2013, when Frank Gibeau told VentureBeat that "The Sims 4 would be built as a single-player, offline experience." You can't really get that with an "internet based game."; so it would seem that EA really did learn something from the Sim City backlash.
Credit to @DansGaming on Twitter for finding the LinkedIn.
This is old information and not contradictory. It was being developed as an always-on game initially, but then they scrapped that and switched to developing it as a single-player title.


A group of young women worked behind the scenes to breathe life into Walt Disney's films. They were the ones who added the magic to these timeless stories, frame by frame, sparkle by sparkle. Inspired by these female artists, TOMS went into the Walt Disney Archives and created a unique collection featuring original character sketches from classic Disney films. Our Disney Snow White collection is the third capsule in the Disney x TOMS collaboration. These cute printed Deconstructed Alpargatas are for those who build community and hold their friends close.


Jordan Springs has been recognised by the Urban Development Institute of Australia and awards for NSW Best Masterplanned Development. An already vibrant village community with plans to be home for 13,000 residents.
Surrounded by lakes, bushland and green open spaces. Close to parks, walking trails, bike tracks, Woolworths, specialty shops, restaurants and cafes.
new address in this popular area with regular bus service to Penrith Train Station.
Jordan Springs is a great place to live, easy access to the M4 and Great Western Highway. National Broadband internet connection powered by Opticomm for every home.


Thank you for your interest in Youngs products and for enquiring about opening a trade account with us. Youngs is a long established family business recognised as the front-runner of the home brew industry in Britain and Europe. From our modern freehold premises located at the hub of the Midlands motorway network, we are in the ideal location to ensure rapid UK deliveries. In addition to our own products, we represent most leading major branded products with over 2500 lines.
Once we have received your information, we will contact you directly to discuss your application further.
Due to the nature of the products we sell, unfortunately not all enquiries can be approved. The location of any new business is important to us. We would not want to risk any potential capital investment of anyone starting up.
All new customer approval is decided by the preceding criteria. Youngs respect the confidentiality aspect of any information submitted to us and reserve the right to decline and/or terminate any account we deem necessary.
Thank you again for your interest and hopefully we look forward to a long and profitable business partnership.
Please complete and submit the following form. All sections must be completed.


text:
Q: Modificar site de 1290px para 960px Terminei o front-end de um site, onde as margens máximas dos elementos vão até 1290px. Agora, tenho o layout para fazê-lo em 960px. Óbvio que irei reutilizar classes.
Eu poderia utilizar o @media, mas teria sérios problemas com o Internet Explorer.
Exite algum método em JavaScript/Jquery parecido com @media?

A: Você poderia condicionalmente definir uma classe para o body de sua página, de acordo com o tamanho da janela.
EDIT
Foi mal a demora, é que eu já respondi uma pergunta semelhante aqui no SOPT:
https://pt.stackoverflow.com/a/6911/1925


EVERYTHING IS FINE UNTIL IT'S NOT is a humorous, musical, & gripping one-woman show that explores the relationship between mothers and their children, and the ability to accept those you love, even if they're not who you expected.
Doreen is a workaholic film producer whose life goes off-script after her son is diagnosed with autism. As she tries everything the experts advise to help her young son become more "normal," she seeks strength from her mother and aunts, a funny, irrepressible crew of old-school African-American matriarchs born and raised in Newark, NJ. Doreen abandons her career and focuses all of her attention on her son, who, despite her efforts, is not progressing the way she hoped. Under the loving yet scrutinizing eye of her mother, Doreen feels like she's failing the one job that matters most.
A candid look at how we try to change the people that matter most to us, and how we cope when we realize we can't.


Portland Bolt has many free resources to offer for the design phase of your project. Although engineers and architects rarely procure materials for the projects they design, our technical expertise and experience with regard to anchor bolts and construction fasteners can be a big asset when making decisions about the availability and practicality of various diameters, grades, configurations, or finishes.
Portland Bolt's experienced estimators are on hand to answer all kinds of questions for the design phase of your projects.
Our estimators, Certification Manager, and General Manager are available 6:00 am – 5:00 pm Monday through Friday Pacific time to answer your fastener-related questions. Give us a call at (800) 547-6758!
Live chat is a fast and easy way to get your quick questions answered right now, by an expert. Chat with us now!
Our 9 estimators have over 110 years of combined experience. Let us provide you with budgetary or comparative pricing on the anchor bolts or nonstandard fasteners you are designing into your project.
Our FAQ database is the largest source of fastener-related Q&A on the internet.
Can I galvanize high strength bolts?
Is A193 Grade B7 a good specification to use for anchor bolts?
Let these interactive online tools do the work for you!
Our ASTM and SAE specification summaries highlight some of the critical aspects of various fastener-related specifications. We also encourage you to obtain a full version of the specifications you need by downloading them directly from ASTM or SAE.
Are you an engineer or architect that finds yourself frequently utilizing our website, support, and services? We certainly hope so. If you do, we would appreciate you passing Portland Bolt's name along to contractors as a potential source for the anchor bolts and nonstandard fasteners required for the projects and structures you design. Our outstanding customer service, quality products, and on-time deliveries will result in your projects running incredibly smoothly, and we thank you for your referral business.


Celebrate this season with things that make you go "vroom"! In this list, you'll find toy trucks, toy cars, toy trains, toy planes, and even a toy drone. Plus, RC cars aplenty, Bruder trucks, and of course, Thomas the Tank Engine!


text:
Russell Chandler - Owner & General manageR
Russ first moved to Colorado from Florida in 1979, and attended CSU and CU before becoming a software developer and later a CEO for three software businesses, before eventually becoming owner of Full Cycle. After graduating from CU in 1985, he lived in Arizona, California, and New York City before returning in to Boulder in 1994 where he founded and grew a geographic information systems software company, which he exited from in 2000. From 2000 until 2013, he served as CEO in two more tech companies before "retiring" into the cycling industry after the 2013 floods when he co-founded a local non-profit in Boulder called Cyclists 4 Community. He worked for a time helping Catalyst Communication launch a local cycling magazine called BikeLife Cities, before taking over Full Cycle in 2016. Over the past five years, he has transformed Full Cycle from a struggling 34 year old mountain bike and commuter oriented bike shop into a top-notch cycling retail and service center, as well as a community hub through introduction of a coffee shop and beer taproom in 2017, which gained notoriety in its own right as the Tune Up.
tim graczyk- operations manager
DAVIDE GIARDINI – MARKETING & COMMUNITY MANAGER
Davide is originally from the Italian Dolomites. He moved to the USA over 10 years ago to attend college, and moved to Boulder 6 years ago to pursue an MBA and a career as a professional triathlete.
Competitive sports have always been ingrained in Davide's life: he won an Italian national title and a New England regional title in alpine skiing, competed in a freestyle windsurfing world-cup event in the Canary Islands, swam for the college team in Rhode Island, competed on the SUP Surf World Tour trials in Hawaii, and for the past 4 years has been racing IRONMAN triathlons professionally. His pro career highlights include: 2x pro wins, 11x podiums, and 1x World Championship top 10 representing Team USA.
MEET davide
davide's favorite gear
VIEW DAVIDE'S GEAR
DAVIDE'S FAVORITE ROUTE
ROSS CRONIN – LEAD SALES MANAGER
Ross has been involved across multiple areas of the bicycle retail business for more than 12 years. Ross studied business at the Dixon Business School at Tulane University in New Orleans, and physical therapy at Delgado College. From 2008 until 2016 at Bayou Bicycles, a leading retailer in New Oreleans, he worked as asales associate, mechanic apprentice, assistant sales manager. He then moved on to Massey's outdoor outfitter 2016-2018, prior to relocating to Boulder. In 2020, he took over as Lead Sales Manager.
Ross is primarily a mountainbiker, though he can occasionally be caught riding other kinds of bikes, when not out walking his german shephard, Leia.
brett poulton – service manager
Brett grew up racing XC mountain bikes from a young age, consistently ranking top 10 in the nation within his age group. At the age of 18 he moved to Boulder, CO and went on to graduate from CU Boulder with degrees in Chemistry and Atmospheric Science. During this time he also became Vice President of the CU Cycling Team where the teams accrued multiple national championships across all disciplines. After spending three years at another local shop, Brett joined Full Cycle in April of 2020 at the start of the pandemic as a mechanic. After being diagnosed with Hodgkin's Lymphoma two months later at the age of 24, he transitioned to servicing all of the suspension components Full Cycle encountered. By January of 2021, the cancer was in remission, Full Cycle merged with Colorado Multisport, and three additional months past that Brett took over the service department and oversaw the move into the new space where the service crew has continued to grow into a strong team capable of performing premium services on any type of bike.
Dane ROWRAY– assistant service manager
SAM TELLER - RENTAL MANAGER
Sam originally hails from the great state of Virginia. A triathlete convert, Sam has an extensive background in distance running - including a four-year varsity cross country and track career at the University of Virginia.
Sam's heart currently lies in the sport of triathlon where he pursues a career as a pro-triathlete (fingers crossed!).
Ask Sam about his favorite road rides or running routes and he will be happy to give you a detailed description and what to expect on each route!
Meet sam
sam's favorite gear
sam's favorite route
Jeremy Cooper – SERVICE TECH
Jaime Jacoby - FIT SPECIALIST
Jaime has performed bike fits for every type of rider, from novice to professional, over the last 10 years. She has trained with our Performance Director, Ryan Ignatz, in Retul fitting technology, in addition to Shimano's Bike Fitting.
Bikes: Giant TCR, Ibis Ripmo AF, Ibis Hakka, an old Italian steel road bike, and a steel 29er mountain bike.
MEET jaime
JAIME's favorite gear
VIEW JAIME'S GEAR
JAIME'S FAVORITE ROUTE
CHRISTOPH CIKRAJI - LEAD SERVICE WRITER
Growing up between the Midwest and Durango, CO, Christoph has loved riding bikes, running, hiking, and being outside in on the trails from an early age.
With the help and encouragement of the Durango Cycling community, he began Cross Country Mountain bike racing and eventually settled into Enduro racing.
He competes in Enduro races both with the CU Cycling Team and the Commencal Co-Factory Racing Team while concurrently finishing his undergraduate degree in Astrophysics at the University of Colorado Boulder.
Christoph plans to (quite literally) shoot for the stars with his future, and also do a ton of mountain biking on his way there.
ENDURO TIPS FROM CHRISTOPH
CHRISTOPH's favorite gear
Christoph's Favorite Enduro Gear
CHRISTOPH'S FAVORITE ROUTE
HAYDEN NOEL – bar manager
Eric Harrison – bike technician
Nando cortes – assistant buyer
COLLEEn Sheehan– finance manager


This position will be responsible for the development of System and network engineering designs for IT projects. The position will research, analyze, evaluate and integrate as necessary new and emerging technologies in order to find ways to deliver a superior IT environment to the customer in a cost effective and secure manner. This position will support the continuing goal of incorporating these innovative technologies into the Department's equipment modernization program. This person will be responsible for security management, exchange administrator and management of the SQL server environment.
Supports EMC and other disk environments from engineering and administrative sides.
Mainframe and Client Server Printing systems - Design and implementation.
Design system/network/power/cooling/cable of data center.
Manage all aspects of email systems.
Manage all aspects of BizTalk environment.
Handles the purchasing of all IT products.
Responsible for the software used to pay taxing authorities, maintain and write code.
Responsible for design/implementation of IT disaster recovery solutions.
This position will perform other duties as assigned based on the needs of the department.
Ability to work flex and overtime hours.
Ability to learn new skills quickly.
Ability to read, analyzes, and interprets general business periodicals, professional journals, technical procedures, and/or governmental regulations.
Strong ability to multi-task and work independently.
Experience leading system integration projects as the technical lead.
Experience architecting, designing, and implementing enterprise networks.
Must have experience with network switches and routers in LAN/WAN environment.
Strong analytical abilities and professional office experience needed.
Experience working with customers to capture/document requirements.
Highly skilled with all aspects of Microsoft Server operating systems including in depth knowledge of Active Directory.
7+ years experience as a Network Engineer supporting SANS, SQL SERVER, Exchange, Sharepoint, and other Microsoft systems.
BA Computer Science or other related technical degree.


Jon Toogood couldn't be more grateful for his sold-out crowd braving the bitter elements to put their faith in a brand new band.
He, Julia Deans and Shayne Carter are still trying to find their footing, he insists. They forget their set lists and Carter picks up the wrong instrument.
It may be just weeks since The Adults released their first album, but this audience did not scramble for tickets just to show their support - they can't get enough.
Toogood's new baby was born fully formed; mature, wise and discerning, but with boundless fresh energy. As Deans says, "we're The Adults, not the retirees", and with that she shakes her fiery red tresses, Toogood gesticulates wildly and Carter's hand blurs with his guitar strings.
It's a big sound, like a tempestuous, sometimes ghostly and sometimes light, shimmery cloud released when the energy of Shihad, Dimmer and Fur Patrol collided. Emerging from the dust, are three local personalities whose musical histories are interwoven on a bed of throbbing drum machines and blanketed by the thick murmur of guitars.
They run through all the tracks in their very diverse repertoire; from the Samba number A New Beginning the peaceful, whispery pain of Most Important co-penned by Toogood and Carter, the three-part harmonies of big kids' lullaby Please Wake Up and even the slippery leathery track Short Change, a B side. It's unanimous: this is meant to be played live.
Gary Sullivan who is behind the feverish drums on the album is in the crowd. At first it seems a little strange that he does not jump on stage to fling his drumsticks around but that might upset the symmetry of the beautifully melded trio, who switch seamlessly between keyboard, guitar, bass and balance each other's vocals.
The album may read like a supergroup with cameos from greats like Anika Moa, Tiki Taane and Ladi 6 but in the intimate setting of the underground bunker-like Bacco Room, performing with any more than three artists would be a crowd.
They attempt to end on the tormented, sinister bass of another B-side Middle of the Universe, but the crowd demand more, and the trio oblige with dreamy sadness of Anniversary Day topped with the rabble-rousing Reunite. Fans are still singing the lyrics as they pull their coats around them and leave the venue to get home before pumpkin hour. Good, grown up fun.


A carefully structured, Yoga Alliance accredited, 200-hour Yoga Teacher Training programme, to kindly nurture and support your development, as an authentic yoga student and a knowledgeable teacher of yoga.
Providing an excellent foundation from which to explore your personal style, you will study classical Hatha and Ashtanga Vinyasa yoga, contemporary Flow and Yin yoga, plus modifications to safely include all individuals.
Asanas are explored with detailed anatomy, to provide an understanding of the intention and benefit of each, physically (muscles, joints, nervous system) and energetically (chakras, nadis, koshas).
We look closely at Yoga Philosophy and the 8 Limbs of Yoga; the foundation of yoga as a holistic practice for life.
Accompanied by an extensive training manual, the modules consist of workshops, lectures, hands-on practicum and home study, and will equip you with the tools to safely and confidently share your knowledge of meditation, pranayama, asana and yoga philosophy.
Imir Frazer has been studying yoga since 2000 and is registered E-RYT500 with Yoga Alliance. She has completed 200 hour, 300 hour and Ashtanga teacher trainings, and studied Vinyasa sequencing, Yin, Yogic Arts, Rocket, Tripsichore, Philosophy, Meditation and Anatomy with some of the world's most highly regarded senior teachers.
A booking deposit of £500 is required to secure your place.
Please email imirfrazer@hotmail.com for further information and booking.


text:
La Island Records è un'etichetta discografica fondata nel 1959 da Chris Blackwell in Giamaica. Fu la casa discografica che lanciò il reggae a livello internazionale e divenne presto famosa per il successo di Bob Marley, che la rese l'etichetta di riferimento per tale musica.

Storia
Quando l'azienda fu fondata, la Giamaica faceva parte della Federazione delle Indie Occidentali britanniche. Nel 1962 il Paese guadagnò l'indipendenza e Blackwell spostò la Island nel Regno Unito, dove nel corso degli anni avrebbe mantenuto la sede più importante.

Fra gli anni sessanta e gli anni ottanta pubblicò le prime incisioni degli U2, dei Traffic, di Robert Palmer, dei Jethro Tull. Dall'inizio degli anni '70 fu distribuita in Italia da Ricordi.

Nel 1990 fu acquistata dalla PolyGram, a sua volta assorbita nel 1998 dalla Universal Music Group. Negli anni novanta annoverava tra gli artisti prodotti anche The Cranberries, Melissa Etheridge e PJ Harvey.
Quando nel 1999 l'etichetta divenne la capofila di altre etichette, si aggiunsero al suo parco artisti altre celebrità quali Bon Jovi, Lionel Richie e i Def Leppard.

Attualmente, l'etichetta è di proprietà della major Universal Music Group e negli USA ha operato come una divisione della Island Def Jam Music Group sino al 2014, anno in cui il gruppo è stato chiuso e le sue sussidiarie Island, Def Jam e Motown sono diventate dipendenti direttamente dalla Universal.

Island Studios
Grande prestigio ottennero gli Island Studios fondati da Blackwell nel 1969 in una chiesa sconsacrata di Notting Hill, a Londra, che era diventata un magazzino per le statue obsolete di Madame Tussauds. Tra i maggiori musicisti della Island che incisero negli studi vi furono gli Iron Maiden, Bob Marley, Steve Winwood, i Free, i Bad Company, Robert Palmer, Jimmy Cliff, Nick Drake, i Fairport Convention, Amy Winehouse, John Martyn, i Mott the Hoople, i Roxy Music, Brian Eno, gli Sparks, Cat Stevens, gli Spooky Tooth, i Traffic e i Jethro Tull.

Molti furono anche gli artisti che incisero negli studi e non avevano un contratto con la Island, tra i quali i Clash, gli Eagles, i Dire Straits, gli Emerson, Lake & Palmer, The Rolling Stones, i Genesis, gli Yes, i Led Zeppelin e Joan Armatrading.

Nel 1982 gli studi furono venduti da Blackwell a una società facente capo al musicista Trevor Horn e furono incorporati nella rete di studi discografici della SARM Studios. Nel corso degli anni, gli studi sono stati poi ridimensionati dai nuovi proprietari ma hanno continuato ad ospitare incisioni di artisti di fama internazionale.

Note

Collegamenti esterni

Etichette discografiche giamaicane
Etichette discografiche reggae
Etichette discografiche rock
Etichette discografiche heavy metal

redpajama_set_name: RedPajamaWikipedia