Bill Buckner is stepping down as a minor league hitting coach in the Chicago Cubs organization.
Buckner Cheap Jerseys China Free Shipping , 64, spent the past two seasons with the Boise Hawks of the short-season Class A Northwest League.
"Just too much time away," he told reporters. "My wife has put up with it for 30-something years."
Buckner won the 1980 National League batting title and appeared in the 1981 All-Star Game while playing for the Cubs.
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Finding fun things to keep your child busy this summer can be a bit complicated. Although Cheap Sports Jerseys , there are numerous of activities which they can get involved in doing, it might be a little bit more difficult to find special needs activities NYC for your child. However, some things that you might consider is creating your own fun things for them to do.
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text:
Saratoga Community Briefs for the week of October 22 – The Mercury News
An eye-catching and scary sight
The West Valley Light Opera returns to the Saratoga Civic Theater with a show that is expected to attract fans of both the musical theater and the Halloween season.
While "The Addams Family" doesn't open until November 6, Charles Addams' spooky and wacky comic book clan-based musical is in the holiday spirit. The comedy revolves around
Wednesday Addams as she tries to introduce her fiance – who loves puppies, sunrises and Disney World – to her unconventional family.
The 2010 Broadway production "The Addams Family" won the Tony Award for Best Music by Andrew Lippa. It starred Nathan Lane as Gomez and Brooke Shields as Morticia. The 19 members of WVLO are all local talents and will be accompanied by a professional orchestra.
"The Addams Family" runs from November 6 to December 12. 4 at the Saratoga Civic Theater, 13777 Fruitvale Ave. Tickets are $ 25 to $ 49 on wvlo.org.
Student tickets are available for $ 25 with a valid high school, university or staff ID at the box office 30 minutes before the curtain; no advance reservations are available.
Halloween artistic party
The Montalvo Arts Center is hosting an outdoor Halloween Art Party on the garden terrace. This family-friendly event for all ages is scheduled for October 31 from 10 a.m. to 2 p.m. at 15400 Montalvo Road.
Customers can create seasonal decor such as ghosts, skeletons and signs. A pop-up photo booth will be set up for people to capture each other in costume. Although the costumes do not need to include a mask, protective masks are required.
Art supplies will be provided and local art vendors will sell Halloween-themed items.
The suggested admission donation is $ 5. RSVP at https://tockify.com/montalvoarts.
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redpajama_set_name: RedPajamaCommonCrawl


For me, the act of creation is a collaboration between myself, the clay and the fire. Collaboration means finding what the clay wants to be and bringing out its beauty in the way that the beauty of our surroundings is created through natural forces. Undulations in sand that has been moved by the wind, rock formations caused by landslides, the crackle and patina in the wall of an old house; all these owe their special beauty to the random hand of Nature. The fire is the ultimate random part of the collaborative equation. I hope the fire will be my ally, but I know it will always transform the clay in ways I cannot anticipate.
Akira Satake(佐竹晃)was born in Osaka, Japan and has been living in the U.S. since 1983. In 2003 he relocated from Brooklyn, New York to Swannanoa, North Carolina, where he has a wood-fired kiln and a gas kiln. In 2013 he opened Akira Satake Ceramics/Gallery Mugen as his working studio and exhibition space in the River Arts District in Asheville, NC.


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This article is about the cricket ground in London. For other uses, see Oval (disambiguation).
"Surrey Cricket Ground" redirects here. For the cricket ground in Sri Lanka, see Surrey Village Cricket Ground.
"Kennington Oval" redirects here. It is not to be confused with Kensington Oval.
The Oval, currently referred to for sponsorship purposes as the Kia Oval, is an international cricket ground in Kennington, in the London Borough of Lambeth, in south London. The Oval has been the home ground of Surrey County Cricket Club since it was opened in 1845. It was the first ground in England to host international Test cricket in September 1880. The final Test match of the English season is traditionally played there.
In addition to cricket, The Oval has hosted a number of other historically significant sporting events. In 1870, it staged England's first international football match, versus Scotland. It hosted the first FA Cup final in 1872, as well as those between 1874 and 1892. In 1876, it held both the England v Wales and England v Scotland rugby international matches and, in 1877, rugby's first Varsity match. It also hosted the final of the 2017 ICC Champions Trophy.
The clock by the Members' entrance.
The Oval is built on part of the former Kennington Common. Cricket matches were played on the common throughout the early 18th century. The earliest recorded first-class match was the London v Dartford match on 18 June 1724. However, as the common was also used regularly for public executions of those convicted at the Surrey Assizes (it was the south London equivalent of Tyburn), cricket matches had moved away to the Artillery Ground by the 1740s. Kennington Common was eventually enclosed in the mid 19th century under a scheme sponsored by the Royal Family.
In 1844, the site of the Kennington Oval was a market garden owned by the Duchy of Cornwall. The Duchy was willing to lease the land for the purpose of a cricket ground, and on 10 March 1845 the first lease, which the club later assumed, was issued to Mr. William Houghton (then president of the progenitor Montpelier Cricket Club) by the Otter Trustees who held the land from the Duchy "to convert it into a subscription cricket ground", for 31 years at a rent of £120 per annum plus taxes amounting to £20. The original contract for turfing The Oval cost £300; the 10,000 grass turfs came from Tooting Common and were laid in the Spring of 1845 allowing for the first cricket match to be played in May 1845. Hence, Surrey County Cricket Club (SCCC) was established in 1845.
The popularity of the ground was immediate and the strength of the SCCC grew. On 3 May 1875 the club acquired the remainder of the leasehold for a further term of 31 years from the Otter Trustees for the sum of £2,800.
In 1868, 20,000 spectators gathered at The Oval for the first game of the 1868 Aboriginal cricket tour of England, the first tour of England by any foreign side. Thanks to C.W. Alcock, the Secretary of Surrey from 1872 to 1907, the first Test match in England was played at The Oval in 1880 between England and Australia. The Oval, thereby, became the second ground to stage a Test, after Melbourne Cricket Ground (MCG). In 1882, Australia won the Test by seven runs within two days. The Sporting Times printed a mocking obituary notice for English cricket, which led to the creation of the Ashes trophy, which is still contested whenever England plays Australia. The first Test double century was scored at The Oval in 1884 by Australia's Billy Murdoch.
Surrey's ground is noted as having the first artificial lighting at a sports arena, in the form of gas-lamps, dating to 1889. The current pavilion was completed in time for the 1898 season.
In 1907, South Africa became the second visiting Test team to play a Test match at the ground. In 1928, the West Indies played its first Test match at The Oval, followed by New Zealand in 1931. In 1936, India became the fifth foreign visiting Test side to play at The Oval, followed by Pakistan in 1954 and Sri Lanka in 1998. Zimbabwe and Bangladesh have yet to play a Test match at The Oval.
The Oval is referenced by the poet Philip Larkin in his poem about the First World War, "MCMXIV". During World War II, The Oval was requisitioned, initially housing anti-aircraft searchlights. It was then turned into a prisoner-of-war camp, intended to hold enemy parachutists. However, as they never came, The Oval was never actually used for this purpose.
The first One Day International match at this venue was played on 7 September 1973 between England and West Indies. It hosted matches of the 1975, 1979, 1983, and 1999 World Cups. It also hosted five of the fifteen matches in the 2004 ICC Champions Trophy, including the final. The Oval once held the record for the largest playing area of any Test venue in the world. That record has since been surpassed by Gaddafi Stadium in Pakistan, although The Oval remains the largest in Great Britain.
Billionaire Paul Getty, who had a great affinity for cricket and was at one time SCCC President, built a replica of The Oval on his Wormsley Park estate.
The famous gasholders just outside the ground were built around 1853. With the gasholders long disused, there was much speculation as to whether they should be demolished; however, many believe they are an integral part of The Oval's urban landscape and, therefore, their future looks secure. In 2016 the main gasholder was given official protected status as a historically important industrial structure.
On 20 August 2006, The Oval saw the first time a team forfeited a Test match. Pakistan were upset after umpires Darrell Hair and Billy Doctrove docked them five runs and changed the ball after ruling that the team had tampered with it on the fourth day of the final Test against England. Pakistan debated the matter during the tea break and then refused to come out for the final session in protest. By the time they relented and decided to resume, the umpires had already called time on the match and awarded the game to England by default.
The Oval hosted its hundredth Test, against South Africa, on 27 July, 2017, becoming the fourth Test venue in the world after Lord's, MCG and SCG to do so. Moeen Ali also became the first player to ever take a Test hat-trick at The Oval, bowling out South Africa in the second innings to win the match.
In Tests, the highest team score at The Oval is 903/7 declared by England against Australia on 20 August, 1938. The leading run scorers are Len Hutton (1,521 runs), Alastair Cook (1,217 runs) and Graham Gooch (1,097 runs). The leading wicket takers are Ian Botham (52 wickets), Derek Underwood (45 wickets) and James Anderson (44 wickets).
In ODIs, the highest team score at The Oval is 398/5 by New Zealand against England on 12 June 2015. The leading ODI run scorers are Eoin Morgan (573 runs), Marcus Trescothick (528 runs) and Ian Bell (473 runs). The leading ODI wicket takers are James Anderson (30 wickets), Darren Gough (13 wickets) and Andrew Flintoff (12 wickets).
The north-western end of The Oval is traditionally known as the Vauxhall End, as it is nearer to the district of Vauxhall and its railway station. The opposite end (south-east) is known as the Pavilion End as it is the location of the Members' Pavilion.
At the end of the 2002 cricket season, Surrey started redeveloping the Vauxhall End. The development included demolishing the outdated Surridge, Fender, Jardine, and Peter May north stands, and creating in their place a single four-tier grandstand, currently known as the OCS stand, as it is sponsored by Outsourced Client Solutions International Facilities Management Services. This work was completed in May 2005 and increased ground capacity to around 23,000.
In January 2007, Surrey CCC, announced plans to increase capacity by a further 2,000 seats, this time by redeveloping the Pavilion End. The Lock, Laker, and Peter May south stands were to be replaced by a new stand, which would have a hotel backing on to it. The Surrey Tavern at the entrance to the ground would be demolished, and a new pedestrian plaza would be created in its place, improving access to the ground and opening up views of the historic pavilion. These plans were delayed by objections raised by the Health & Safety Executive as the ground is close to a gasometer. Planning permission was eventually granted, but not before the credit crunch struck, as a result of which the plans were not proceeded with.
In 2009, four masts of semi-permanent telescopic floodlights costing £3.7m were installed for use in late-day through evening matches. The floodlights were especially designed to comply with strict residential planning regulations to lessen their visual impact and any light overspill to residents, as well as to improve the game experience within the ground by reducing excess glare that can affect players, umpires, broadcasters and spectators. Precision reflector systems were fitted for tight beam control to decrease overspill and direct light only where needed. Each mast was made extendable to a maximum height of 47.6 metres (156 ft) and, when not in use, retractable to 30 m (98 ft). At the end of each season, all four masts can be removed and stored away.
After the 2013 season, a new project was started to add 'wings' to either side of the OCS Stand at the Vauxhall End of the ground. The development was finished in time for the start of the 2014 season. Each 'wing' added 500 seats, increasing the capacity from 23,500 to 24,500.
In September 2015, the Peter May and Tony Lock stands were demolished, to be replaced by a single new and much larger stand named after Peter May. May led Surrey to their sixth and seventh consecutive County Championships in 1957 and 1958 and also captained England from 1955 to 1961, winning the Ashes in 1956. Construction of the new stand, which cost around £10m, began in September 2015. It officially opened on 15 May 2016, increasing the capacity of the ground by 1,300 seats to 25,300.
Following the demolition of the Tony Lock stand, the club renamed the Laker Stand as the Lock/Laker Stand, continuing to honour the contribution made by the spin partnership of Tony Lock and Jim Laker, who collectively took 3,108 wickets for the club.
The Oval is also an important site in the historical development of football in England, before a separate national stadium was constructed specifically for the sport. Football had been played in this part of London for many years prior to the inauguration of The Oval: "The Gymnastic Society", arguably the world's first football club, met regularly at Kennington Common during the second half of the eighteenth century to play the game. Between 1950 and 1963 amateur club Corinthian Casuals played at The Oval, with the pitch at the Vauxhall End.
The Oval was the venue for the first representative football match in the world on 5 March 1870, England against Scotland, organised by The Football Association. The game resulted in a 1–1 draw, but is not recognised by FIFA as the first ever official international match because the Scotland team was selected only from London-based Scottish players. Similar representative international matches between England and Scotland took place at The Oval until February 1872.
On 8 March 1873, the England national team beat Scotland 4–2 in the first officially recognised international match to be played in England. England continued to play occasionally at The Oval until 1889.
The Oval was the site of the first ever FA Cup final, and also both semi-final matches. On 16 March 1872, The Wanderers beat the Royal Engineers 1–0 to win the first ever FA Cup. This final was notable for the Engineers' then innovative footballing style of teamwork rather than individual play. C. W. Alcock, Secretary of The Football Association, was the prime mover in the creation of the competition. He had also just become Secretary of Surrey CCC, so The Oval was the natural choice of venue for the final. Alcock was also captain of the successful Wanderers side.
Apart from 1873 The Oval hosted all subsequent FA Cup finals until 1892.
The Oval is one of two grounds (Bramall Lane in Sheffield being the other) to have staged England football and cricket internationals and FA Cup finals.
The Oval also hosted the first Rugby Union international match to be held in England, between England and Scotland, in 1872.
On Wednesday 3 March 1875, The Oval held the final of the United Hospitals Challenge Cup, the oldest rugby union cup competition in the world.
As well as being an international sporting venue, The Oval has a conference and events business. The Corinthian Roof Terrace built on the OCS Stand in 2013 features panoramic views of the London skyline.
The ground has also hosted other events, including hockey fixtures and concerts.
The Oval has hosted exhibition matches for Australian rules football. The first such match was held between Carlton and a team of All-Stars in 1972. In 2005, a record crowd for Australian rules football in England (18,884) saw the Fremantle Dockers defeat the West Coast Eagles. In 2012, approximately 10,000 attended a post-season exhibition match between Port Adelaide and the Western Bulldogs, which Port Adelaide won by 1 point.
In October 2011, the ground served as the practice facility for the NFL's Chicago Bears.
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(5" x 3" 600 dpi jpeg, 2 MB) by Julie Marten.
Shown: Matthew Montfort with scalloped fretboard guitar.
This solo program by Matthew Montfort, the leader of the world fusion music ensemble Ancient Future, focuses on Montfort's ability to bring unusual tonalities from world music traditions to the guitar. It is a great option for solo guitar showcases, music festivals (easy staging), acoustic music round robins, house concerts, fine arts programs, educational programs, and yoga studios.
Recognized as one of the world's 100 Greatest Acoustic Guitarists (DigitalDreamDoor.com), Matthew Montfort is a pioneer of the scalloped fretboard guitar (an instrument combining qualities of the South Indian vina and the steel string guitar). Montfort spent three months in intensive study with vina master K.S. Subramanian in order to fully apply the South Indian gamaka (note-bending) techniques to the guitar. He is also known for his work on Glissentar (an 11 string fretless guitar), flamenco guitar, electric guitar, sitar, charango, mandolin, and gamelan, and as Ancient Future's main composer.
Matthew Montfort holds a B.A. in World Music and Composition and an M.A. in Arts and Media Technology from Antioch University. He has studied with the master musicians of many world music traditions, including sarangi master Ram Narayan, sarod master Ali Akbar Khan, mridangam master Guruvayoor Dorai, and gamelan director K.R.T. Wasitodipuro. He has recorded with legendary world music figures ranging from Bolivian panpipe master Gonzalo Vargas to tabla maestros Swapan Chaudhuri and Zakir Hussain. He has performed concerts worldwide, including at the Festival Internacional de la Guitarra on the golden coast of Spain near Barcelona and the Mumbai Festival at the Gateway of India in Bombay. He has performed live on national radio and TV shows such as the Echoes Living Room Concerts on Public Radio International, and the Rachel Maddow Show on MSNBC. Montfort wrote the book Ancient Traditions – Future Possibilities, drawing from his years of study of many world music traditions to create a training method based on the rhythms of Africa, Bali, and India.
Workshops and masterclasses are also available for many genres and specialties, including world music traditions, rock, jazz, folk, classical, flamenco, bass, ukulele, mandolin, charango, and music theory for guitar.
Montfort is also available as part of a Global Guitar Summit featuring international acoustic guitar virtuosos performing solo and ensemble pieces. In addition to Matthew Montfort, the summit has included artists such as Italian guitarist and musicologist Giacomo Fiore, German fingerstyle guitarist Teja Gerken, Indian jazz guitarist Konarak Reddy, and American fingerstyle guitarist Tim Sparks. The music performed includes new arrangements of classical works, Celtic music, Indian classical, contemporary compositions, popular songs, and much more.
Guitar Player Magazine Presents: Mattthew Montfort performing 'Purple Raga' on Glissentar 11 string fretless guitar. Originally recorded on Seven Serenades for Scalloped Fretboard Guitar. Watch on guitarplayer.com (uses Flash).
Mattthew Montfort performs 'Soul Serenade' from Seven Serenades for Scalloped Fretboard Guitar.
The Rachel Maddow Show on MSNBC Presents Matthew Montfort on Godin Glissentar (11 string fretless guitar), and Bui Huu Nhut on dan bau (Vietnamese single string instrument) at the Festival of Music for People and Thingamajigs. This clip can also be viewed on nbcnews.com.
Amber (Montfort. 2:09) iTunes. >YTmusic. FREE MP3 (excerpt). 459K. From Guitar Works by various guitarists. (Narada Lotus ND-61032) CD- $16.98: Add 1 to Cart. Buy 1 Now.
Soul Serenade (Montfort. 6:28) iTunes. >YTmusic. From Seven Serenades for Scalloped Fretboard Guitar by Matthew Montfort. (Ancient-Future.Com AF 2008). Pre-Release Signed CD- $24.98: Add 1 to Cart. Buy 1 Now.
I Mett Her in the Medowe, a and b (traditional, arr. Montfort. 5:31) iTunes. >YTmusic. Scottish lute melody from 1615. From Planet Passion by Ancient Future. (Ancient-Future.Com AF-2001). CD/Gift Card, $17.98: Add 1 to Cart. Buy 1 Now.
"Montfort's newest album, Seven Serenades, is remarkably similar to a classical Hindustani improvised performance. There are brief guest spots featuring supportive background performances of didjeridu, santoor, and violin, but most tracks are single note melodies on guitar, accompanied by nothing but an unobtrusive drone. The basic form of most of the tracks is the Hindustani alap/jhor/jhala, that slowly explores every part of the selected scale, first with no rhythm at all, then with a slowly increasing rhythmic pulse that builds to a heavily strummed crescendo.
"But although some of the scales on this album are based on traditional ragas, they do not come from a single guru, but from every corner of Montfort's diverse musical history. 'Celtic Raga' is based on the Hindustani scale khamaj, known as mixolydian in the west, which is the basis for many Irish fiddle tunes. Montfort's interpretation starts by evoking a slow Celtic air, then gradually falls into the structure of a dancing Irish reel as it picks up tempo. 'Lilalit' is built on the challenging scale of raga lalit. Montfort's interpretation combines the broad stark intervals of that raga to reveal jazzy chords that sound dissonant at first, but are actually following a special kind of consonance. 'Purple Raga' unpacks the melodic rules contained within the guitar riff of the famous Jimi Hendrix song 'Purple Haze' and reveals some powerful connections between Afro-American and Hindustani musical roots.
"Matthew Montfort is a true guitar master. His instrument conveys the smallest nuances of the artist's emotions. Also, Matthew Montfort's manner of playing scalloped fretboard guitar is very diverse. He masterfully combines a perfect performance with Eastern meditative approach. As a result his music sounds very unique. And it is filled with the delicate flavor of the East.
"The artist is not afraid to improvise and to blend various genres in his guitar music. His 'Purple Raga' is adorned with the captivating drones of an Australian didgeridoo. I could name this composition as world raga rock. In general Matthew Montfort's music goes beyond any boundaries. He is truly one of the world's best guitarists.
"I first realized Matthew Montfort was a true guitar wizard when he called me on the phone and played me one flawless Hendrix riff after another. We were in the seventh grade. By the time we escaped high school, Matt had gone acoustic, turning coffee house basements into his own planet with fierce improvisations touching on an occasional Spanish or Celtic launching pad."
"Now a pioneering master of world fusion, Matt continues to travel, study, absorb and immerse himself in musics and traditions all over the globe. His knowledge and depth are staggering, yet he doesn't let it get in the way of the joy and spirit and soul that we like about music in the first place."
"The sparkling presence and sustain you hear is not an amplified acoustic with a lot of reverb, but a scalloped fretboard guitar. Matt's the only person I know who can play one. Most rock musicians I've mentioned it to seem shocked that it even exists."


text:
Biografia
Diplomata nel 1990 alla Scuola Internazionale dell'Attore di Alessandro Fersen. Laureata con lode in Lettere Moderne all'Università degli Studi di Roma "La Sapienza". Ha studiato arti sceniche alla Scuola d'arti drammatiche di Mosca con Anatoly Vasiliev. È stata una delle insegnanti di recitazione e dizione di Artès, scuola diretta da Enrico Brignano, e attualmente è docente di dizione ad Officina Pasolini, sezione teatro diretta da Massimo Venturiello e ad Action Academy di Nando Moscariello.

Teatro
Ciascuno a suo modo di Luigi Pirandello regia di Anatoly Vasiliev
La gatta Cenerentola di Roberto De Simone
Don Giovanni di Maurizio Scaparro
Memorie di Adriano di Maurizio Scaparro
L'opera da tre soldi di Bertold Brecht regia di Tato Russo
Contadini del Sud di Rocco Scotellaro e Amelia Rosselli regia di Ulderico Pesce
Avec le temps Dalida  di Pino Ammendola
La cantata dei pastori di Peppe Barra
 Cena a sorpresa di Neil Simon regia di Giovanni Lombardo Radice
Caligola di Albert Camus regia di Pino Micol
 Uscirò dalla tua vita in Taxi regia di Pino Ammendola
Musicanti il musical con le canzoni di Pino Daniele (Ingenius)
Il folle volo, l'ultima notte di Amelia Rosselli scritto e diretto da U.Pesce

Filmografia

Cinema
 Stregati dalla luna regia di Pino Ammendola e Nicola Pistoia (2001)
 La rivincita, regia di Armenia Balducci (2002)
 Signora regia di Francesco Laudadio (2004)
 Avec le temps Dalida  regia di Pino Ammendola (2008)
 Passannante, regia di Sergio Colabona (2011)
 Youth - La giovinezza regia di Paolo Sorrentino (2015)

Televisione
 Provaci ancora prof! - serie televisiva del 2008
 Un medico in famiglia - serie televisiva del 2006
 Il bello delle donne - serie televisiva del 2001
 Una donna per amico - serie televisiva del 1998
 Un bacio nel buio - TV movie del 1999
 Caterina e le sue figlie - serie televisiva del 2005
 Il coraggio di Angela - serie televisiva del 2008
 Rodolfo Valentino - La leggenda - serie televisiva del 2014
 Furore - serie televisiva del 2014
 L'onore e il rispetto - Ultimo capitolo - serie televisiva del 2017
 Il bello delle donne... alcuni anni dopo - serie televisiva del 2017
 Furore 2 - serie televisiva del 2018

Discografia
 Viaggio intimo con Mercedes Sosa
 Youth - La Giovinezza / O.S.T.

Onorificenze

Altri progetti

Collegamenti esterni

redpajama_set_name: RedPajamaWikipedia


I had a wonderful time photographing Whitney & Mark's wedding. Whitney was a beautiful bride with a gorgeous dress. Mark has been a friend of mine since I was in highschool, so it was really fun to get to be there for their wedding, and to capture these memories for them!


Philda is an admitted advocate of the High Court and has over 10 years' experience within the commercial, legal and financial services industries. Philda has a history of delivering on challenging and complex goals. Dynamic, resilient and good at problem solving.
Amma has a solid record of over 13 years in financial management, reporting and control, auditing, technical accounting (IFRS), strategic risk planning and management and improved business performance. She also has international work experience (US GAAP) in the infrastructure, construction, financial services, property management, asset management and other industries. Prior to joining MWPF, she was Finance Executive of a division of a JSE Listed Company.
Lungelo has over 20 years in HR leadership which was mostly spent in the financial services industry. In addition to providing strategic HR leadership and overseeing all aspects of Human Resources practices and processes, he has a proven track record of influencing and coaching.
Nathan is a high energy, business conscious and goal-driven individual who approaches each new business challenge with his intrinsic flair for innovation, creative problem-solving and measured risk-taking to drive consistent bottom-line improvements and shareholder value.
Having been in the sales environment for 20 years, Muziwandile has developed a strong can-do attitude, leaving no stone unturned. Accustomed to driving hard to exceed targets while maintaining profitable relationships with all involved. An effective communicator with good interpersonal, negotiation skills, people leadership, technical and human resource management skills.


text:
Authenticity and Desire: A Conversation with Darryl Pinckney
Rachel Charlene Lewis interviews Darryl Pinckney
IN A WORD, Darryl Pinckney is lovely.
At the start of his reading at University of California, Riverside's Writer's Week, he says that he is "truly very nervous." This nervousness contrasts with the lack of any sort of self-consciousness apparent in his work. He is a rule-breaker who argues his points with confidence. He knows what he is talking about, or at least projects as much, whether he is taking us through the rebuilding of Berlin or giving us a concise — and all too relevant — retelling of the role of voting within the black community. He sounds authoritative. And yet in person his voice is nearly soothing and his eyes soft; he says he is known to faint, and then notes that such a comment probably wasn't a very "manly" thing to say, now was it?
We communicate partly through what we do not need to say. On our walk along the pathway leading from the reading space to the room where I will conduct our interview, we try and determine whether or not the Super Bowl is coming up soon and I say that my partner wants to watch it, so it must be within the week. There, a look of acknowledgment of our small sameness. Too, he notes that my hair is not quite a ball, as Cello, a character from his most recent novel, Black Deutschland, styles her own "good hair." I nod and say it tends to do as it pleases. Again, a place we are painted with the same brush, not completely, but in a way that says, I get it. We are instantly comfortable, and fear of outing oneself as too black or too gay or too critical of current standards of what it means to be a marginalized writer dissipates. Vulnerability realized, we gain access to the space we need to discuss his work.
A longtime contributor to The New York Review Of Books, and author of two novels, most recently Black Deutschland, and Blackballed: The Black Vote and US Democracy, a mediation, Pinckney is immersed in both the past and the present. He is a thinker on history and a disbeliever that we can move totally beyond where we came from. Just as his characters seek escape and do not find it, Pinckney exists in flux, speaking both to what it means to pick between the lesser of two evils come election time and to desire, desperately, a fresh and untethered experience. Pinckney, though, also knows the values of such tethers, and the immense knowledge held in these, our bodies.
RACHEL CHARLENE LEWIS: Throughout your work there are themes of identity construction, reconstruction, rebuilding, and destruction, both in the theoretical and in the physical.
DARRYL PINCKNEY: Growing up black in the '60s there were a lot of questions about what it meant to be black. Where did you fit, are you black enough? These questions were very much influenced by ideas of coming of age, and the revolution of black consciousness was of course a part of it. During this revolution of black consciousness, Stonewall happened. A lot was going on in terms of what one was, what one wanted to be.
We have to remember that identity isn't static. It changes over the years. You go from being a younger person to a middle-aged person, an old person. You change a lot. Identity, too, is made up of many things.
By questioning and complicating identity, there is room to drown the identity question, which, in the end, I'm not so interested in except where it touches political reality or social destiny.
Jed, the narrator of Black Deutschland, constructs a new identity up against the architectural piece of the novel. For the bulk of the novel, he works for an architectural theorist. He is surrounded by physical rebuilding during his own sort of theoretical rebuilding of constructs of self.
I was always interested in the architecture of Berlin. Because it had been destroyed, there was a lot of room for building. Part of being in Berlin was looking at modernism in 20th-century Berlin and its influence on this destroyed city. Being in Berlin encourages you to question the old buildings and empty spaces and the stories they tell.
I wasn't aware of identity building as relating to or echoing the architecture's restoring or rethinking of the novel. You know, you try to be aware of what you're doing in your writing but it doesn't always work out that way. It's interesting to see how readers take your work to different places and read it in different ways.
Part of what holds the structure of the fragmentary work or deliberatively interrupted narrative together are the patterns, the secret links that fit together in the overall work, and, in that way, you're right, it is like constructing a physical space.
What is it that draws you to this fragmentary structure?
I have a sort of fondness for the strange, small lyrical work. I had different works in mind by men as much as women. Bruno Schulz, The Pure and the Impure by Colette, Sleepless Nights by Elizabeth Hardwick. At this point, I don't have to call these authors to mind; their works are just a part of me. I'm interested in putting together stories where you don't have to say, "The sun rose, this is the middle, and the sun set."
In Black Deutschland, since Jed's moving between Berlin and Chicago and is a work of memory, the bits fit together in a more fragmented way — there is already an autobiographical voice, and so I didn't want it to be so chronological — the bits fit together in a more fragmented way. This adds interest because it leaves room to move in different directions toward the same point.
In some ways the fragmentary nature of the novel simply reflects the protagonist's inner state. He of course is speaking from where the book ends and looking back on how the book began. Gates once pointed out that the slave narrative is already a consolation because it implies that the slave got away to a better place where they can look back. This guy is looking is looking back, but I don't think he's in a better place.
In terms of the inner workings of the narrator, both in High Cotton and Black Deutschland, I noticed a sort of stoicism. In a Q&A following your reading at UCR, you said that you tend to replace expression of emotion with history. I kept feeling that in the story: we get more history than emotional breakdowns or anything like that on the page.
Jed is falling apart, but he is not in touch with his emotions. It's also meant to be a surprise. It's better to say, "Coretta Jones had to sell all her jewels" rather than, "She's sad." It has a different texture. When you don't do something, you have to do something else, and writing is figuring out how to do that compensation.
Every writer faces intimidation of the blank page, and has limitations — as writers, we have to play to our strengths. The history that comes in: Is that Jed dealing with it? Or is emotion being expressed in other means? Each chapter of Black Deutschland begins with a historical riff, using a near-omniscient voice rather than being limited to a first-person narrator. Here, we don't need to see breakdowns. I don't think I believe in this show don't tell — telling is showing, especially for black subjects. You could show, and then people might still get it wrong. If you tell, and people get it wrong, it's not your fault.
I also lean toward modernist fictions that aren't afraid to have voyages into the essayistic. The American suspicion of novels with ideas is one that we should get over.
I've been thinking a lot recently about how writers trying to portray a universal experience. Especially when you don't fit into the dominant culture as a white, male writer, you often have different life experiences. What one writer or reader finds universal, another may totally not pick up on or find impossible to empathize with. Can you speak to the idea of universality is a thing writers should strive for?
When I was a student, there seemed to be the idea that blacks could write autobiography because the black experience was so powerful, but maybe we couldn't do well in fiction (this was pre-Toni Morrison) because being black was such a limiting thing.
But every story has universal meaning because each is dealing with the human problem. The specifics are what makes it interesting, and what makes it new.
Do you think a reader must understand every word on the page for a work to be successful? You mentioned the idea of small references being missed out on, which made me think of the many references to hair you make in both of your novels. Some nonblack readers may not understand the significance of a character having long, "good" hair, and may wonder why it's worth being written down.
No, not every reader has to get everything. Everything should be clear in context so that a reader can sort of figure out the meaning. I try to make the narrator someone who doesn't get everything himself so it's fine for the reader not to. There are a few historical stories in the Black Deutschland that Jed tells incorrectly. It's not the Google generation, and it's come to him wrong. It's not that he's unreliable narrator, he just doesn't know. If the reader misses some small thing, the piece is not ineffective, just as Jed is not unreliable for believing a version of history that isn't true.
In your 2014 interview with Guernica, you spoke on Hillary's need for the black vote. I've heard pushback from the black community regarding white people infantilizing black people by insisting they vote for Sanders because it's in their best interest. Do you think this has shaped support for Sanders, and how do you think this will influence the outcome of the election?
Black people aren't stupid. The problem is getting people to vote, especially the young. It's kind of sad for me to see them excited for Bernie Sanders because something grave is facing us. People say he's this kind of idealist. He's not really; he's actually kind of a mean guy who hates everyone except his own spiritual vanity.
At the end of the day, we can't waste time playing games with the Right Wing.
Everything is so corrupt and crazy. So much is going on to manipulate the voting process and who is and isn't able to vote. We have people redrawing lines to keep local and state government in their hands. It really matters who's president because of the patronage and the power gained by who appoints justices.
So what of the disregard for Clinton?
There's a lot of snobbery about the Clintons. Bill is sort of this poor guy and she's this alrightnik — student government president at Wellesley, unhip clothes, stuff like that. People sneered about that and still sneer about her. It's what we have, and it's not bad. I don't hate the Clintons. They were very poor and they made money, but I don't hold it against them. Why should I? I just don't like the snobbery about them. It's a fool's position.
People forget that when they came to Washington, they were the outsiders. They were the strangers in town. People say the Clintons are dishonest, that they're corrupt. Who do they think the Bushes are? Or Dick Cheney or Donald Rumsfeld? The people who gave us the Iraq War and Blackwater? The Clintons are small-timers compared to how grand the scale of larceny is in the Republican Party.
Ultimately, it would be really awful if a Republican won. The Right Wing in America is very serious — they never stopped. They never stopped in their opposition of the Voting Rights Act, they went on and on until they eviscerated it. Hillary can beat them all. They've killed her and killed her and killed her and killed her and she's still here.
Since we're talking about bullshit, what did you mean during your reading when you said that James Baldwin didn't go along with the bullshit?
Baldwin was always very consistent. In the last years of his life, the big thing people were saying was that Baldwin had sort of fallen off. Popular black writers who had criticized him for being the darling of whites, specifically Amiri Baraka, came to embrace him once he was not popular with whites. His late essays maybe lack a certain verve, but he is consistent about what he's saying and about his positions. He had this way of sort of saying, "If you don't shape up, it will be morally hard for the country." But that worked only insofar as the country cared about its morality.
Once the country ceased to care about morality, his exertions rang rather hollow. His work wasn't addressing a nation with morals. Baldwin's late work felt, at the time, rhetorical. But looking back, his work is not, it's instead despairing in some ways. Baldwin was consistent throughout his writing life. He just got tired.
Your writing explicitly discusses issues of race and sexuality. Christopher Soto, a poet, wrote about the consumption of the pain of people of color by white readers in a piece for The Best American Poetry. Do you ever worry about your work being consumed in a way that is tokenistic and inauthentic?
The question has a long history. The slave narratives were of course primarily for a white audience to be told something they didn't know. They were also read by blacks who could read, and these narratives were addressed to them. This was their story, or a story they could certainly understand from the inside.
In the late 19th century/early 20th century we get Charles Chesnutt on one hand and Sutton E. Griggs on the other.
When Chesnutt first wrote for The Atlantic Monthly, he didn't tell the editors he was black. They were made uncomfortable by his stories and didn't know why. It had everything to do with what he left out. What made The Atlantic Monthly uncomfortable were things he left out in his descriptions — there were no descriptions of his black character having bug eyes, or mentions of lips and baggy pants. He does not make fun of him at all. This implied respect. Ultimately, that's what made these editors uneasy. The absence of codes, and racial identification they were used to seeing as a means of mocking and dehumanizing black characters. The editors had to kind of relate to the guy.
On the other hand, we have Griggs, who wrote militant works and sold them at black churches. They always have fierce proud black heroes, whereas Chesnutt's characters are all light skinned because he wants the white readers to identify with blackness. Griggs had no interest in convincing white readers to relate to black people. These writers represent two different traditions in black literature.
So what do we do about this?
You just have to accept that a large part of your readership is going to be nonblack. Even Ta-Nehisi Coates's Between the World and Me is really addressed to white people, not black people, because he's sort of telling them, not what we already know, but of an existence and experience we already know of, even if we haven't experienced it directly.
If the goal of your writing is to influence and enlighten, black writers should remind themselves that whites and nonwhites and everybody needs to hear this stuff rather than these writers feeling bad about it, or inauthentic because of it.
One of the upsetting things that occurs during the Harlem Renaissance is the concept that nobody paid attention until whites paid attention. Some black writers really mind that black audiences didn't pay attention to them until white writers began to pay attention. They were frustrated by the idea that success in that world — the white world — made you big in your own. The reality is that it seemed like once whites say that what you're saying is okay, it is sort of okay. We're kind of not at that place anymore.
I think you have to address yourself to an ideal reader and often that reader is in the future. In the meantime it's important to escape the code and the frames and force people to react to what you're saying or to your characters without help, without mediation.
If you're being honest, they have to too. Otherwise, why do it?
Rachel Charlene Lewis is a freelance writer and editor.
Fat Girl as Humanized Disaster
By Rachel Charlene Lewis
Remembering Slavery, Again
By Susan Gillman
In Church in Charleston
By DéLana R.A. Dameron
Let It Fly: A Serious Half-Serious Proposal
By Ben Ehrenreich
The Holy City: Charleston, A Remembrance
Reentering Society: Sabine Heinlein's "Among Murderers"
By Jillian Steinhauer
Hope Is a Complicated Concept: An Interview with Behrouz Boochani
By Emanuel Stoakes
Martin Luther King Jr., the Civil Rights Movement, and American Jews
By Peter Dreier
The Proliferation of Profilicity
By Paul J. D'Ambrosio
Navigation Through Longing: On Laurie Stone's "Everything is Personal: Notes on Now"
By Daisy Alioto
Step by Step Across California: A Conversation with Nick Neely
By Scott Burton
ADD TO YOUR BOOKSHELF
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The Presidency on Saturday reacted to the All Progressives Congress (APC) presidential primary across the country, which endorsed President Muhammadu Buhari for re-election.
A statement issued by the Senior Special Assistant to the President on Media and publicity, Garba Shehu, said the successful ouctome of the pimary is an indication of what will happen during the 2019 presidential election.
Shehu also urged politicians to start raising their act by emulating the leadership style of President Buhari.
He said; "The outcome of the All Progressives Congress, APC, American-style direct presidential primaries on Friday 28th of September 2018, held across the states with President Muhammadu Buhari as the sole aspirant is a major boost to his success at next year's general election.
"In a more direct way, the huge turnout of millions of registered party members at all voting centres proves that the President has an incomparable ability to reach out to people and mobilise votes.
"It is significant that President Buhari has won a major victory, fair and square through direct nationwide primary, a system that seeks to break the mould.
"The President has shown that you don't have to be a party owner or go through a difficult inner party consensus to emerge as candidate.


Self-service helps customers in availing of services without requiring any support from direct service employees. With the help of self-service, customers can perform all the required tasks in a short period of time and at lower costs. Self-service increases customer satisfaction and delivers standardized services. It also helps employees to work remotely and makes the offering of services possible from any location worldwide. Self-service webcasting is used to make virtual events successful. Trends in webcasting, such as the adoption of self-service webcasts, enable the delivery of high-impact video events.
Browse The Press Release: https://www.transparencymarketresearch.com/self-service-webcasting-market.html Self-service webcasts are browser-based and the most secure and customizable webcasting platform in the market. Self-service webcasts can be viewed on any mobile device, laptop, and computer through a single URL. They enable automated video signal acquisition from existing IP-based video conferencing units or encoders, telephone lines, and webcams.
Self-service webcasting enables users to control the process of webcasting with modified features. Users at any skill level are able to broadcast, customize, and schedule video or audio webcasts. The shift toward self-service models has made webcasting simpler to use, thus lowering costs, boosting utilization rates, and propelling the addressable market. Therefore, pricing models are developing to flat-rate, subscription-based pricing, letting users host several events.
The new generation of webcasting, driven by effective and easy-to-use self-service solutions, meets the requirements of businesses for greater agility and speed. Additionally, companies are able to leverage their present investments in other communication assets such as telephony infrastructure, audio conferencing, and video conferencing, by easily integrating them into webcasts.
Webcasting comprises a set of cloud technologies that allow the delivery of web-based content in real time. Users choose webcasting solutions over web conferences when there is a requirement for greater scalability, reliability, support, branding, and other customization capabilities.
Brochure With Latest Advancements and Application @ https://www.transparencymarketresearch.com/sample/sample.php?flag=B&rep_id=54342 Advanced technologies such as remote service management and wireless communications are expected to drive demand for self-service webcasting in the near future. Self-service webcasting delivered through the cloud decreases complexity and costs and is critical to drive adoption. Social webcasting is gradually supporting the idea of driving audience interaction and engagement by allowing integration with different social media and communities. The emergence of self-service webcasting has moved the power from limited trained event professionals in an enterprise to numerous users that can now effortlessly produce high-impact, professional-quality events right from their mobile devices or desktops. Webcasting enables video signal acquisition from a range of sources, allowing flexible video capture that delivers performance tracking, greater control, and high quality. These factors are expected to boost the global self-service webcasting market in the coming years.
However, high cost of the solutions and errors in self-service webcast solutions are projected to restrain the global self-service webcasting market during the forecast period. Nevertheless, the rising popularity of and demand for self-service webcasting are anticipated to offer attractive growth opportunities to major players in the global self-service webcasting market in the next few years.
The global self-service webcasting market can be segmented based on device, operating system, and region. In terms of device, the self-service webcasting market can be categorized into desktop, laptop, and mobile. Self-service webcasting can be viewed on any desktop, laptop, or mobile device through a single URL. Based on operating system, the self-service webcasting market can be classified into iOS and Android.
In terms of region, the global self-service webcasting market can be segmented into North America, Europe, Asia Pacific, Middle East & Africa (MEA), and South America. North America is anticipated to hold a leading share of the global self-service webcasting market during the forecast period. This is attributable to the presence of global players in the region.
Some of the leading companies operating in the global self-service webcasting market are TalkPoint, West Corporation, Company Webcast, Arkadin Cloud Communications, Cisco Systems, Adobe Inc., InXpo, Inc., ReadyTalk, and ClickWebinar.


text:
package org.aries.tx.util;

import java.io.ObjectStreamException;
import java.io.Serializable;
import java.util.Collections;
import java.util.HashMap;
import java.util.Map;

public abstract class Enumerated implements Serializable {

	/**
	 * The enumerated value.
	 */
	private final Object value ;

	/**
	 * Construct the enumerated value.
	 * @param value The string value of the enumeration.
	 */
	protected Enumerated(final Object value)
	{
		this.value = value ;
	}

	/**
	 * Compare the specified object to this one.
	 * @param rhs The other object to compare.
	 */
	public boolean equals(final Object rhs)
	{
		if (rhs == this)
		{
			return true ;
		}

		if ((rhs != null) && (rhs.getClass() == getClass()))
		{
			final Object rhsValue = ((Enumerated)rhs).value ;
			return (value == null ? rhsValue == null : value.equals(rhsValue)) ;
		}
		else
		{
			return false ;
		}
	}

	/**
	 * Return a hash code for this enumerated entry.
	 * @return the enumeration hash code.
	 */
	public int hashCode()
	{
		return (value == null ? 0 : value.hashCode()) ;
	}

	/**
	 * Get the key representation of this enumeration.
	 * @return the key representation.
	 */
	public Object getKey()
	{
		return value ;
	}

	/**
	 * Get the string representation of this enumeration.
	 * @return the string representation.
	 */
	public String toString()
	{
		return (value == null ? "<null>" : value.toString()) ;
	}

	/**
	 * Resolve the value of an enumeration.
	 * @param value The value of the enumeration.
	 * @return The enumeration.
	 * @throws InvalidEnumerationException if the enumeration value is invalid.
	 */
	protected abstract Enumerated resolveEnum(Object value);

	/**
	 * Replace any serialised version of this class with the same instance.
	 * @return The instance of the enumeration.
	 * @throws ObjectStreamException
	 */
	protected Object readResolve() {
		return resolveEnum(value) ;
	}

	/**
	 * Generate the map of enumeration values to enumerations.
	 * @param enumerations The enumerations to configure.
	 * @return The enumeration map.
	 */
	protected static Map generateMap(final Enumerated[] enumerations)
	{
		final int numEnumerations = (enumerations == null ? 0 : enumerations.length) ;
		final Map result ;
		if (numEnumerations == 0)
		{
			result = Collections.EMPTY_MAP ;
		}
		else
		{
			result = new HashMap() ;
			for(int count = 0 ; count < numEnumerations ; count++)
			{
				final Enumerated enumeration = enumerations[count] ;
				result.put(enumeration.getKey(), enumeration) ;
			}
		}
		return result ;
	}
}

redpajama_set_name: RedPajamaGithub


text:
La Commission royale d'enquête sur tous les griefs affectant les sujets de Sa Majesté dans le Bas-Canada (Royal Commission for the Investigation of all Grievances Affecting His Majesty's Subjects of Lower Canada) est une commission royale d'enquête mise sur pied en 1835, sept ans après la publication du rapport d'un Comité spécial de la Chambre des Communes sur le gouvernement civil du Bas-Canada dans lequel des modifications constitutionnelles importantes avait été recommandées.

C'est le nouveau gouverneur général de l'Amérique du Nord britannique, Archibald Acheson,  de Gosford, qui dirigea la commission d'enquête avec l'aide de deux autres commissaires, Charles Edward Grey et George Gipps. Des instructions sur la façon de conduire l'enquête leur furent remises par Charles Grant,  Glenelg, secrétaire d'État à la guerre et aux colonies.

Le rapport
Cinq rapports, en plus d'un sixième rapport général furent préparés par la commission.

Les commissaires publièrent un premier rapport sur les questions financières en . Rédigé par Gipps, le rapport recommandait que tous les revenus de la couronne soient rendus à l'Assemblée législative à l'exception d'une liste civile modeste. Un deuxième rapport fut publié en mars. Il recommandait l'abrogation du Revenue Act de 1831 afin que l'exécutif dispose de fonds suffisants pour la livraison des services essentiels du gouvernement. En mai, un troisième rapport rejeta la proposition de la Chambre d'Assemblée du Bas-Canada de modifier la constitution de façon que les membres du Conseil exécutif soient responsables devant celle-ci.

Le rapport final fut publié le , 1836. Il rejeta la proposition de modifier le système électoral de façon à augmenter la représentation des colons britanniques dans la colonie.

Les travaux de la commission servent de point de départ à la rédaction des dix résolutions que John Russell, Secrétaire d'État au département de l'intérieur, présente à la Chambre des communes britannique le .

Notes

Bibliographie
  Phillip Buckner, « 2e comte de Gosford », dans le Dictionnaire biographique du Canada en ligne, consulté le
  Reports of Commissioners on Grievances Complained of in Lower Canada. Ordered by the House of Commons to be printed, 20th February, 1837, dans Parliamentary Papers, 1837, XXIV, 3-416.
 « Résolutions que lord John Russell entend soumettre, à un comité de toute la Chambre, relativement aux affaires du Canada (mars 1837) » sur Wikisource

Voir aussi
 Rébellion du Bas-Canada
 Histoire constitutionnelle du Canada

Histoire du Québec
Histoire du Royaume-Uni
Bas-Canada
Commission d'enquête du Québec


It's a big world out there, with no shortage of couples seeking to tie the knot. Yet more and more weddings are being held in appealing travel destinations, rather than local venues or formal church settings. From the warm breezes of a Caribbean island, to the majesty of a luxury estate, to the freshness of the great outdoors, and beyond—the destination wedding is a growing trend.
But what does this mean for the wedding photographer, and how does this change in setting affect a photographer's process? The following insights from destination wedding shooters Javon Longieliere, Donna Von Bruening, Brian Leahy, and Rochelle Cheever are intended to lend some clarity to this exciting, yet multifaceted, wedding niche.
Javon Longieliere, author of the forthcoming book Destination Weddings: The Photographer's Guide to Shooting in Exotic and Unexpected Locations, attributes the growing popularity of destination weddings to these advantages: freedom, availability, and cost.
He points to Instagram as a good resource for finding affordable venues, such as in European chateaus that have been recently purchased and renovated. "These types of places are just getting started, so you can find good deals in really beautiful locations," he says.
While wedding photography generally requires a photographer to think on his or her feet, the added variables of a destination wedding make this even more of a crucial concern.
While Von Bruening finds that overall planning for a destination wedding is not necessarily longer, "it does require a deeper dive into preparation and travel plans. You may be traveling to a location that doesn't have a camera store, or big box chains, where you can buy replacements if something happens, like stolen gear or malfunction," she explains.
Brian Leahy, a Southern California-based wedding photographer whose destination work is projected to top 75% of his business by 2018, often depends on his clients' travel agent or destination management company as a key resource in his planning process. "These folks can really guide you through the easiest and most convenient ways of traveling to very remote or far-off locations," he says. At the same time, he cautions that the slower pace of such distant locales may result in a delayed response time. "Patience is a virtue," he says.
Longieliere, who books about 80% of his destination clients through wedding planners, sees that relationship as an essential part of his planning process. "In our experience, planners who specialize in destination weddings tend to handle everything," he says. "They want it to be this fairytale experience for the bride and groom, so they need to have everything down. If you have a really good relationship with these folks, you sometimes know as much, if not more, than the bride," he adds.
Leahy's pre-planning with destination couples, "generally revolves around location scouting ideas and timeline preparation. I want to make sure we have time to take advantage of being in such an incredible location," he says.
In Von Bruening's experience, "Communicating with your couples requires in-depth conversations about why they chose the location, and their vision for photographs," she explains.
Another useful communication tip is to ask each client if they plan to include any special or unusual wedding customs. Unique customs Longieliere has discovered—and photographed—during various destination weddings include a German couple who sawed a log together after finishing their vows, and a Venezuelan wedding that blossomed into a Mardi Gras-type theme during the reception. "They dropped masks and hats and boas from the ceiling, and everyone went around wearing them for the rest of the reception," he says.
Von Bruening, who uses a Think Tank bag to keep her gear safe, recommends, "If it is feasible, fly first class. If flying coach/economy, you should pay for the upgrade to board first and secure overhead space, or ask the flight attendant if you can store your gear in the pilot's closet." She also recommends separating all lenses from the camera bodies, "Since the added stress of travel and having your bag banged around might break off the seal," she explains.
While Longieliere's most essential gear goes with him on the plane, he packs certain items—such as tripods and larger lights—in checked luggage. Although he has run into past issues with breakage due to rough handling, "You can still shoot the wedding," he says. In one instance, after Longieliere's battery pack was rendered inoperable, he was able to borrow lights from a videographer working the same event.
Of the photographers we interviewed, Cheever is most hands-on about her process for location scouting, which she starts two to three days in advance. "I try to enter the culture and lifestyle of the location, to embed it into the wedding photographs," she says.
After scouting everything and testing all the locations, "the day before, I go out and do a preliminary run of the wedding day, at the exact time events will be occurring, especially the newlywed photographs," she adds.
In addition to recommending Instagram when searching for destination venues, Longieliere also likes to use it for location scouting from afar. "Get on Instagram and see what other people have tagged in pictures," he says.
Von Bruening's on-site scouting efforts often involve, "Both checking the light, and driving destinations or traffic patterns, if needed," she says.
One important element for clarifying this is with a contract. Leahy, Cheever, and Von Bruening all include additional information in their destination wedding contracts regarding travel fees and logistics.
"I'll generally include fully detailed information on what the client is responsible for covering versus what I'm responsible for covering," says Leahy. The client covers airfare for 1 or 2 photographers, lodging and ground transportation, whereas Leahy covers meals and incidentals. "Ideally, the more detail included in the contract, the less [of a] chance for miscommunication and unforeseen costs associated with traveling," he adds.
When it comes to liability insurance, $1,000,000 is the industry standard. "Some venues require this for you to even step through the door," says Longieliere.
To cover destinations outside the United States, Von Bruening often adds a rider to her standard insurance policy, while Leahy carries a $2,000,000 policy, which remains consistent across local and destination bookings. "Some properties require a higher insurance amount, so it's always better to be fully covered, just in case," he says.
Destination weddings in international locations can often involve other rules and restrictions, which are essential to investigate in advance. "Many foreign countries require a work permit or visa and, in some countries, you need to work for an affiliate to obtain such authorization," Von Bruening says.
For help in clarifying these types of business issues, many photographers turn to professional associations, such as Professional Photographers of America (PPA).
Since starting her business in 2008, Cheever has seen a huge increase in elopements. "People are also getting very creative about the locations where they tie the knot—Mexico, Greece, France, Hawaii, Arizona, Joshua Tree," she notes.
An exciting trend that Leahy recently encountered is the addition of what he calls "Adventure Shoots" piggybacked with his destination wedding work. Generally scheduled after the wedding, Leahy and his clients spend a day getting more adventurous photos around the location. He is currently planning for such a shoot later this season, after a big wedding in a wilderness setting.
Do you have any helpful advice to share about destination wedding photography? If so, please add your voice to the Comments section, below.
I am wondering if a photographer would break immigration laws by accepting paid work in a country where he / she has no work authorization papers.
One of the photographers of this article has dual EU / US citizenship so he can work anywhere in the European Union's states.
I am not a destination wedding photographer, just shot wedding occasionally through word of mouth but would be good for the article to be more informative about the work authorization issues for foreign locations.
Hi Stefano, thanks very much for your question about the legalities of shooting weddings internationally. You bring up a very important point, which is really an article in and of itself. From what I understand, each country has it's own procedures that should allow a photographer to legally shoot a wedding in a given foreign locale, however this varies widely from one country to the next. I mention this in the article and suggest that photographers contact the association Professional Photographers of America for further guidance, but somehow this reference did not get hotlinked in the story. We have updated the story to add this link, https://www.ppa.com/, my apologies for this oversight. We will definitely cover this matter in a stand alone article sometime in the future. Thanks again for writing in, and for reading Explora!
I guess I have to wonder... Why not hire a local photographer for a destination wedding? All the travel problems, all the familiarization problems, they all go away if the photographer is local. I assume you (the customer, not the photographer) have some sort of agent or manager on location. You would need someone you trust to have set up the other arrangements: venue, catering, etc. Why not have them also arrange for the photography?
I "covered" my son's destination wedding (Caribbean) 8 years ago. Their wedding venue handled the arrangements, and had a house photographer, so I was just doing additional private pictures. I was on-scene a couple of days in advance, so I sort of knew what to expect. But I was not the "home team", and didn't really have the feel of exactly where everything would happen. After the fact, yes I got some shots that the official photographer did not. But she got far more that I did not. She knew what to expect, what angles she would need, etc. I found that most of my good shots came from watching her and taking my cues from her what was going to happen next and where it would happen.
Thanks for your comment, Dave. It's great to hear that the house photographer at your son's wedding venue got some great photos of this happy occasion. While this is definitely a viable option for a destination wedding, many people hire a wedding photographer based on a specific photographic style, an artistic approach, or a trust factor built on a personal relationship - qualities that are not necessarily found in a photographer whose primary motivation is to photograph for a given venue. Although a local photographer may be more innately familiar with geographic and logistical details of a given area, this knowlege can be easily acquired through background research and well directed questions. Whichever route one takes to hiring a wedding photographer, it's always advisable to see samples of their work in advance, and to get recommendations from past clients (preferably the same subjects' that are in the image samples). Thanks again for writing in, and for reading Explora!


By: Bill Malkin, a real charitable dude.
Tomorrow night, GBNJ will be loading our legendary NJ- Ecto-1 and heading down to Xfinity Live to support 93.3 WMMR radio hosts Preston and Steve for there annual Camp Out for Hunger. If you have the time gather any and all non-perishable food items and head down to Philly and drop off your donations. We will be there at approximately 6pm, but charity is not about self promotion, it is about giving back and this time of year we need to think about those less fortunate than ourselves, so you can donate at any time as well as through your local Acme Supermarkets.


According to the news source Textron Marine & Land Systems recently leased a 2,500 square-foot facility at the Oak Hill Business Center, while Oshkosh Defense recently opened a 7,300 square-foot facility at the center.
The news provider reports that much of the defense industry growth in the area is a result of activity at the nearby Marine Corps Base Quantico and the 3,000 new BRAC jobs set to come to the area this year.
Typically, defense and intelligence jobs such as the ones heading to North Stafford, Virginia, require applicants with security clearance who have already undergone a lifestyle polygraph test and taken the other necessary measures.
In addition to the new defense jobs, a number of townhouses and a mixed-use complex are also expected to be developed in the area, the news source said.


text:
Het Vesperbild (Duits voor piëta) is een kleine houten beeld in de collectie van The Cloisters, New York. Het beeld dateert uit circa 1375-1400 en is afkomstig uit de Rijnvallei in Zuid-Duitsland.

Het beeld werd door het Metropolitan Museum of Art in 1948 gekocht met geld uit het Jacob S. Rogers fund. Voorheen was het beeld in bezit van kustverzamelaar en kunsthistoricus Lucien Demotte en te zien in de kunstgalerijen Demotte in Parijs en New York.

Beschrijving
Het beeldhouwwerk toont de dode Christus op schoot bij Maria, de moeder van Jezus. Deze afbeelding weerspiegelt de geschriften van de Duitse mystici, die geloofden dat de Maagd, in haar verdriet, zich voorstelde dat ze Christus weer als een baby in haar armen hield.

Het beeld is gemaakt van populierenhout en gips, geverfd en verguld en achteraan uitgehold. Waarschijnlijk was het vroeger vastgemaakt aan een reliekhouder. Aangezien zijn beperkte grootte was het beeld waarschijnlijk niet bedoeld voor het hoofdaltaar maar voor het zijaltaar of een familiealtaar. Deze Duitse stijl werd later overgenomen door Franse beeldhouwers, maar met zachtere en minder brute realistische kenmerken.

Details

Andere piëta's in het museum

Beeld van Jezus Christus
Beeld van Maria
Beeldende kunst in Duitsland
14e-eeuwse beeldende kunst
Gotische beeldhouwkunst


text:
Council modifies zoning of MTA's Western Rail Yard
City Council • Rezoning • Hudson Yards, Manhattan
Proposed development of the MTA's Western Rail Yard site, including eight mixed-use towers, as envisioned by the Related Companies. Image: Courtesy of Related Companies.
The Council's Land Use Committee approved the proposal after the developer agreed to provide permanently affordable on-site housing. On December 14, 2009, the City Council's Land Use Committee modified and approved Goldman Sachs and Related Companies' proposal to develop the Western Rail Yard site on the far west side of Midtown, Manhattan. The thirteen-acre site is bounded by West 33rd Street to the north, West 30th Street to the south, Eleventh Avenue to the east, and Twelfth Avenue to the west. The High Line runs along the site's southern and western edges, but it is not part of the proposed project.
The approved plan will convert the Metropolitan Transit Authority's open rail storage yard into a 5.7 million sq.ft. development that would include eight mixed-use towers, containing roughly 4,600 – 5,700 dwelling units, 5.4 acres of open space, and a new public school. The proposal included setting aside twenty percent of the project's rental units as affordable housing. Related submitted applications to rezone the site from an M2-3 to a C6-4 district, obtain special permits to build two parking garages with a maximum of 1,600 combined spaces, and to extend the Special Hudson Yards District to include the site.
As part of the project's broader goals to develop permanent affordable housing in the area, the Department of Housing Preservation and Development requested permission to dispose of two off-site City-owned properties as locations for affordable housing. An MTA-controlled site, located at Ninth Avenue between West 54th and West 53rd Streets, would provide 100 residential units and 30,000 sq. ft. of office space. A second site at Tenth Avenue between West 49th and West 48th Streets is controlled by the Department of Environmental Protection and would provide an additional 200 units of affordable housing. The City would identify developers for the sites through a formal RFP process.
The City Planning Commission modified the proposal during its review of the project, including altering design criteria for the open space areas and individual towers. The Commission also required that the Special Hudson Yards District include definitions for the High Line and the High Line bed in order to ensure its proper integration and preservation.
At the Subcommittee's November 23 public hearing, elected officials and community groups expressed concern about affordable housing. David Hanzel, a member of Manhattan Community Board 4, said only approximately eight percent of all on-site housing would be temporarily affordable. He requested the project include at least twenty percent of all on-site units as permanently affordable. State Senator Thomas K. Duane, by written statement, said he was "grateful" for the plan's two off-site affordable housing projects, but that the 30,000 sq.ft. set aside for MTA office space at the Ninth Avenue site was unacceptable. He asked the MTA to relinquish the space in order to provide more affordable housing in the Ninth Avenue building.
Speaker Christine C. Quinn, whose district includes the Hudson Yards, generally praised the proposal. Quinn noted that the MTA selected Related to develop the site because it had the strongest plan regarding affordable housing. She continued that "we expect" a guarantee on a minimum number of permanently affordable on-site units. Chair Tony Avella closed the hearing without a vote to allow for further discussions.
When the Subcommittee reconvened, Avella announced the proposal had been modified. In addition to setting aside additional space for the public school and increasing community input concerning the allocation of open space, Related agreed to set aside more than twenty percent of all residential units as affordable housing permanently.
The Subcommittee approved the modified proposal, and the Land Use Committee followed suit, with Chair Melinda R. Katz abstaining and Council Member Charles Barron voting no. The Council referred the modified plan back to the City Planning Commission for review.
Council: Western Rail Yard (C 090433 ZMM – rezoning); (C 090408 MMM – map amend.); (C 090422 HAM – UDAAP); (C 090423 HAM – UDAAP); (N 090429 ZRM – text amend.); (C 090430 ZMM – rezoning); (N 090434 ZRM – text amend.); (C 090435 ZSM – spec. perm.); (C 090436 ZSM – spec. perm.) (Dec. 14, 2009).
Tags : City Council's Land Use Committee, City Planning Commission, Department of Environmental Protection, Goldman Sachs, Manhattan Community Board 4, Special Hudson Yards District, The Department of Housing Preservation and Development, Western Rail Yard


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Tag Archives: Field Studies
Featuring "Birds" – Quasi
Featuring "Birds" is one of my very favourites. When it came out in 1998, it sounded like no other album I'd heard. Sam Coomes wrote fragmentary, snarky little songs with immediately memorable pop melodies, and then buried them in huge, gunky layers of distorted Rocksichord (a chintzy electronic keyboard from the late 1960s). Janet Weiss (Sleater-Kinney's drummer), meanwhile, played drums with frantic, nervously twitchy energy, but with the confidence to fill every available space in the songs.
The album sets out its stall immediately with Our Happiness is Guaranteed. Weiss plays a syncopated pattern with improvised rapid-fire fills while Coomes makes as much noise as possible, segueing into the song proper via a series of tone clusters (there's a melody in there, but the harmonies applied to it seem to be a result of keyboard mashing) and a brief riff that recurs prior to every subsequent verse. The song, when it begins, is a sci-fi fable with a sing-song melody, which Weiss harmonises sweetly. The whole thing is over in under three minutes.
The tension between the group's melodies and its casual dissonance and sonic aggression made the music thrilling to me, as did the unconventional song structures (many tracks are just a verse and a chorus, or even just a verse on its own) and Weiss's gonzo drum fills, which sounded like her mind was only a stroke or two ahead of limbs and she didn't quite know where she was going to go next. The musical tension may well have been fed by personal tension, too; Weiss and Coomes had been married but were already separated by the time of Featuring "Birds", and as the group were a two-piece, there was no one else to defuse things when they got heated. I imagine the rehearsal studio was an interesting place to be at times.
The album is full of songs like Our Happiness is Guaranteed – wonky little tunes that are definitely pop, but that are skewed by Coomes's sardonic delivery and the group's full-bore commitment to its sonic aesthetic. I Never Want to See You Again, California (with its hilarious intro: "life is dull, life is gray/at its best, it's just OK/but I'm happy to report/life is also short"), the surprisingly poignant I Give Up and Nothing from Nothing are all gems, and Please Do shows that Coomes could even rival his friend and sometime bandmate Elliott Smith with an acoustic guitar in his hand and nothing but his fingerpicking to fall back on.
Alas, the group couldn't repeat the trick. Field Studies, from 1999, was a less frantic affair all round, and saw the group diluting its signature sound with more electric guitar and piano, less distorted keyboard, and more bass guitar (courtesy of a guesting Smith). It also saw Coomes's chippy observations losing their freshness and becoming dulled by his reliance on unvarying end rhyming and repetitive melodic phrases. I checked out after Sword of God, which suffered even more badly from the same problems (and also sounded rubbish, as the group had recorded themselves), and never really picked them up again. But I still come back to Featuring "Birds" and would recommend it unhesitatingly to anyone with any love for 1990s indie.
This entry was posted in Music and tagged Elliott Smith, Featuring Birds, Field Studies, Heatmiser, Janet Weiss, Quasi, Sam Coomes, Sleater-Kinney, The Sword of God on January 24, 2018 by rossjpalmer.
Underrated Drum Tracks I have Loved 2014, Part 7 – I Give Up – Quasi
My last few posts have been in praise of drummers who played for the song. The strength of Earl Young's performance on Didn't I (Blow Your Mind this Time) is the well-placed, authoritative backbeat. The more I've played with drummers as a songwriting guitarist, or as a drummer with another songwriter, the more I've valued that skill. While the title of this series of posts is slightly tongue in cheek, the skill involved in playing a simple groove with precision and a good feel that works for the song is something I've come to appreciate more with each passing year.
Teenage wannabe drummers don't get it, of course. It's all about notes per second. I understand that. I do. As a teenage guitarist, I considered myself above appreciating 'shred' guitarists, being more attracted to noise-mongers on one hand and 'feel' players on the other. But as a music fan who understood a little bit about drums from playing bass in a high school band, I loved to hear drummers playing loads of really cool fills, preferably ones with a lot of notes, so to speak. And in 1998-99, no one I listened to played more cool fills than Janet Weiss, particularly on the Quasi album Featuring "Birds".
It sounded like no other record I'd heard. Sam Coomes wrote fragmentary, snarky little songs and then covered them in huge, gunky layers of distorted Rocksichord. Janet Weiss's drums, meanwhile, were frantic, full of nervous twitchy energy, but with the confidence to fill every available space in the songs.
Quasi were a 2-piece – organ/vocals and drums/vocals – so there was a lot of space. Weiss had no bass player to lock in with, no lead guitarist to give room to. In any other style of music, to play as Weiss did on Featuring "Birds" would have to be considered overplaying. With Quasi, she had almost no restrictions, even fewer than with Sleater-Kinney, so the fun in listening to Featuring "Birds" for me was the wacky shit Weiss would throw in there.
I Give Up is a great example of their Featuring "Birds"-era style. It starts off with a melodic theme played by Sam Coomes on the organ with the right hand on the organ, no vocals, while his left hand plays a wandering, rising-and-falling bass line. The tone is distorted, and there's some fun dissonance in there to stop everything sounding too perky. The B section, arrived at via a big fill from Weiss, is still eighth-note 4/4, but based on a five-bar pattern, and with a pushed accent and a huge fill that starts halfway through the fourth bar while the organ holds an E chord. After repeating this four times, the feel shifts to triplets and the drums temporarily stop. Coomes begins singing in his nasal monotone while Weiss harmonises on top. Lyrically, the song takes an unexpected turn for the serious:
They say 'Hold on to your dream'
That plays good on TV
But never worked for me
Now I need to find a way to occupy my time
Until the day I die
'Cause I give up
It's gone so wrong, so long
It's gone so wrong
So long, so long
Concision was the great strength of early Quasi, diluted when Coomes tried to play his former Heatmiser bandmate Elliott Smith's game and adopt conventional song structures and lengths. I Give Up says more in its 11 lines than anything on Sword of God, When the Going Gets Dark or American Gong. But anyway, back to Janet Weiss. When she comes back in, it's with a shuffle pattern on floor and snare, at the line 'Cos I give up'. Then, at the song's emotional climax ('It's gone so wrong, so long), she lifts the song by shifting back to a full triplet pattern on hats and, after that, ride. The key thing is that at each point of the song's journey from its playfully circular and twisting beginning, through its goofy middle section to its unexpectedly poignant ending, Weiss always does the right thing: when the openings are there to be filled in the middle section, she fills them confidently, vigorously and with a sort of quizzical aggression. You get the sense her mind's only a stroke or two ahead of limbs and she doesn't quite know where she's going to go next. But when she has to rein it in and give space to the lyric, she's just as adept. Indeed, with Elliott Smith and the Go-Betweens, Weiss has shown she's more than capable of backing more classic singer-songwriters than Coomes, her former colleagues in Sleater-Kinney and her illustrious post-S-K employers, and with the frankly impossible Drumgasm (a drum trio record with Matt Cameron and Zach Hill) behind her, I'm intrigued to see who she'll team up with next.
Janet Weiss c. 2000-ish?
Some of you may be interested in hearing some of my own recent work. Here you go!:
This entry was posted in Music and tagged 4/4, alternative rock, American Gong, Didn't I (Blow Your Mind this Time), drum fills, Drumgasm, drummers, drummers who can drum, Drums, Earl Young, Elliott Smith, Field Studies, Go-Betweens, Heatmiser, I Give Up, indie, Janet Weiss, kill rock stars, Matt Cameron, organ, Quasi, Rocksichord, Sam Coomes, shuffle, Sleater-Kinney, Sword of God, triplets, underrated drum tracks, underrated drummers, When the Going Gets Dark, Zach Hill on October 1, 2014 by rossjpalmer.


How Long do Workers' Compensation Benefits Last in SC? | Axelrod & Associates, P.A.
Assuming you do not resolve your case with a lump-sum settlement, how long your workers' compensation benefits will last depends on the type of injury you suffered, the severity of your injuries, and, more importantly, when your doctors say that you can return to work.
When and how do workers' compensation benefits end in SC?
(22) for the total or partial loss of, or loss of use of, a member, organ, or part of the body not covered in this section and not covered under Section 42-9-10 or 42-9-20 - five hundred weeks.
(23) serious permanent disfigurement of the face, head, neck, or other area normally exposed in employment - fifty weeks.
When are Workers' Compensation Benefits Terminated in SC?
Apart from the maximum number of weeks listed above, the most common ways for workers' compensation benefits to end are 1) when your doctor releases you to return to work or 2) when your own actions (such as returning to work) end the benefits.
Do I Have to Accept "Light Duty" if it is Offered?
If your doctor says that you can perform "light duty," and your employer offers you a "light duty" position, you must accept it and return to work - if you do not, your workers' compensation benefits could end.
You refuse medical treatment or evaluation.
You return to work for a different employer.
Do Workers' Compensation Benefits End if I am Fired?
If you are fired for misconduct or poor performance, your workers' compensation benefits will end.
On the other hand, if you are fired because you filed a workers' compensation claim, you can sue your former employer - call your SC workers' compensation attorney at Axelrod and Associates immediately if you suspect you were fired in retaliation or to prevent you from collecting benefits.
Your Myrtle Beach worker's compensation lawyer on the Axelrod team will help you to file your claim, determine how long your workers' compensation benefits may last, and represent you before the workers' compensation commission for any hearings and appeals.
Call now at (843) 916-9300 or message us online to speak with a SC worker's compensation lawyer today.
Related Posts: How Do Workplace Chemicals Enter the Body?, How Much Does Workers' Compensation Pay in SC?, Does Workers' Compensation Cover Exposure to Toxic Chemicals in SC?, What is Workers' Compensation in SC?