text:
Home » Tropical Storm Henri develops southeast of Bermuda; no current threat to land.
Tropical Storm Henri develops southeast of Bermuda; no current threat to land.
MIAMI — Another tropical storm has formed in the Atlantic but poses no current threat to land.
The U.S. National Hurricane Center says Tropical Storm Henri was centred Wednesday night about 405 kilometres southeast of Bermuda.
Henri has maximum sustained winds of 65 km/h and is moving north at just five km/h.
No coastal watches or warnings are in effect.
The Canadian Hurricane Centre says at this point, it appears Henri will remain south of Atlantic Canada and may brush Newfoundland's Avalon Peninsula on Saturday before racing east into the Atlantic.
The Halifax-based centre says it is too early to make any predictions about rainfall and wind speeds associated with the storm.
In the Pacific, the former Hurricane Linda has weakened to a tropical storm, with maximum sustained winds dropping to 100 kmh.
Linda was located about 405 kilometres southwest of Punta Eugenia, Mexico and moving northwest at 15 kmh.


This Event Expired on April 4, 2015. If you are the coordinator for this event please login to edit your show dates and information. If you do not yet have an OldRide Membership, please create a free membership then login to this page and submit the 'Request to Manage' form.
park in back and check out all the vendors and possible animal adoption too, we need your help to raise money for all these special animals.


Well derp. That's what I get for trying to use php on Windows. Back on Linux again. Speed is much improved. We should be good now. Unless I configured something wrong. Which is possible. Spent way too much time trying different settings.


I remember taking a career test when I was in the second grade. From this, it was determined that I would be best suited for a "service/helping profession." This was the first time that I ever heard of a job described as a "service." When I asked my mom, she said that a "service profession" was one in which your job was to serve others, like being a teacher or doctor or counselor. That's weird, I thought. I thought you had a job to make money. In other words, to serve yourself.
Later in a college, I sat next to a guy who had a tattoo on his ankle. It was a large tattoo, about 4-5 inches high, of (presumably) a Chinese character. At one point during the course, the guy sitting in front of me asked my neighbor about his tattoo. "What does it say?" he asked. My neighbor replied that it read "Servant." The guy in front of me let out an incredulous gasp, almost laughter. "Servant? Why would you get the word 'servant' tattooed on your leg?" My neighbor replied, matter-of-factly, "So that I'm always reminded that I'm a servant of God." The guy in front of me managed an awkward "oh, uh, that's cool" followed by an uncomfortable silence.
Given the culture we live in, I admire my desk neighbor's tattoo. Not because of its religious overtones, but because it expressed a kind of humility, a symbol of dedication to someone or something other than himself. It's a reminder that his existence isn't the most important one; it serves as a buffer against that impulse we all have to look out for Number One.
My neighbor's tattoo also answers one question I think we all ask ourselves at some point: Why am I doing this? When you work to serve others, the answer to that question is easy. There's no justification involved; it just is. Even on those days when things couldn't possibly get worse but they do just to spite you, you can at least take solace in knowing that you're somehow fulfilling a greater good. I believe that the most rewarding life is spent in the service of others.
In our carpe diem world, we sometimes forget that it's not about doing what you want because life is short. If life is short, then all the more reason we need to make it matter. And think, then, how wonderful it would be to be worthy, finally, of rest.


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/*
    src/example1.cpp -- C++ version of an example application that shows
    how to use the various widget classes. For a Python implementation, see
    '../python/example1.py'.

    NanoGUI was developed by Wenzel Jakob <wenzel.jakob@epfl.ch>.
    The widget drawing code is based on the NanoVG demo application
    by Mikko Mononen.

    All rights reserved. Use of this source code is governed by a
    BSD-style license that can be found in the LICENSE.txt file.
*/

#include <nanogui/opengl.h>
#include <nanogui/glutil.h>
#include <nanogui/screen.h>
#include <nanogui/window.h>
#include <nanogui/layout.h>
#include <nanogui/label.h>
#include <nanogui/checkbox.h>
#include <nanogui/button.h>
#include <nanogui/toolbutton.h>
#include <nanogui/popupbutton.h>
#include <nanogui/combobox.h>
#include <nanogui/progressbar.h>
#include <nanogui/entypo.h>
#include <nanogui/messagedialog.h>
#include <nanogui/textbox.h>
#include <nanogui/slider.h>
#include <nanogui/imagepanel.h>
#include <nanogui/imageview.h>
#include <nanogui/vscrollpanel.h>
#include <nanogui/colorwheel.h>
#include <nanogui/graph.h>
#include <nanogui/tabwidget.h>
#include <iostream>
#include <string>

// Includes for the GLTexture class.
#include <cstdint>
#include <memory>
#include <utility>

#if defined(__GNUC__)
#  pragma GCC diagnostic ignored "-Wmissing-field-initializers"
#endif
#if defined(_WIN32)
#  pragma warning(push)
#  pragma warning(disable: 4457 4456 4005 4312)
#endif

#define STB_IMAGE_IMPLEMENTATION
#include <stb_image.h>

#if defined(_WIN32)
#  pragma warning(pop)
#endif
#if defined(_WIN32)
#  if defined(APIENTRY)
#    undef APIENTRY
#  endif
#  include <windows.h>
#endif

using std::cout;
using std::cerr;
using std::endl;
using std::string;
using std::vector;
using std::pair;
using std::to_string;

class GLTexture {
public:
    using handleType = std::unique_ptr<uint8_t[], void(*)(void*)>;
    GLTexture() = default;
    GLTexture(const std::string& textureName)
        : mTextureName(textureName), mTextureId(0) {}

    GLTexture(const std::string& textureName, GLint textureId)
        : mTextureName(textureName), mTextureId(textureId) {}

    GLTexture(const GLTexture& other) = delete;
    GLTexture(GLTexture&& other) noexcept
        : mTextureName(std::move(other.mTextureName)),
        mTextureId(other.mTextureId) {
        other.mTextureId = 0;
    }
    GLTexture& operator=(const GLTexture& other) = delete;
    GLTexture& operator=(GLTexture&& other) noexcept {
        mTextureName = std::move(other.mTextureName);
        std::swap(mTextureId, other.mTextureId);
        return *this;
    }
    ~GLTexture() noexcept {
        if (mTextureId)
            glDeleteTextures(1, &mTextureId);
    }

    GLuint texture() const { return mTextureId; }
    const std::string& textureName() const { return mTextureName; }

    /**
    *  Load a file in memory and create an OpenGL texture.
    *  Returns a handle type (an std::unique_ptr) to the loaded pixels.
    */
    handleType load(const std::string& fileName) {
        if (mTextureId) {
            glDeleteTextures(1, &mTextureId);
            mTextureId = 0;
        }
        int force_channels = 0;
        int w, h, n;
        handleType textureData(stbi_load(fileName.c_str(), &w, &h, &n, force_channels), stbi_image_free);
        if (!textureData)
            throw std::invalid_argument("Could not load texture data from file " + fileName);
        glGenTextures(1, &mTextureId);
        glBindTexture(GL_TEXTURE_2D, mTextureId);
        GLint internalFormat;
        GLint format;
        switch (n) {
            case 1: internalFormat = GL_R8; format = GL_RED; break;
            case 2: internalFormat = GL_RG8; format = GL_RG; break;
            case 3: internalFormat = GL_RGB8; format = GL_RGB; break;
            case 4: internalFormat = GL_RGBA8; format = GL_RGBA; break;
            default: internalFormat = 0; format = 0; break;
        }
        glTexImage2D(GL_TEXTURE_2D, 0, internalFormat, w, h, 0, format, GL_UNSIGNED_BYTE, textureData.get());
        glTexParameteri(GL_TEXTURE_2D, GL_TEXTURE_WRAP_S, GL_CLAMP_TO_EDGE);
        glTexParameteri(GL_TEXTURE_2D, GL_TEXTURE_WRAP_T, GL_CLAMP_TO_EDGE);
        glTexParameteri(GL_TEXTURE_2D, GL_TEXTURE_MAG_FILTER, GL_NEAREST);
        glTexParameteri(GL_TEXTURE_2D, GL_TEXTURE_MIN_FILTER, GL_LINEAR);
        return textureData;
    }

private:
    std::string mTextureName;
    GLuint mTextureId;
};

class ExampleApplication : public nanogui::Screen {
public:
    ExampleApplication() : nanogui::Screen(Eigen::Vector2i(1024, 768), "NanoGUI Test") {
        using namespace nanogui;

        Window *window = new Window(this, "Button demo");
        window->setPosition(Vector2i(15, 15));
        window->setLayout(new GroupLayout());

        /* No need to store a pointer, the data structure will be automatically
           freed when the parent window is deleted */
        new Label(window, "Push buttons", "sans-bold");

        Button *b = new Button(window, "Plain button");
        b->setCallback([] { cout << "pushed!" << endl; });
        b->setTooltip("short tooltip");

        /* Alternative construction notation using variadic template */
        b = window->add<Button>("Styled", ENTYPO_ICON_ROCKET);
        b->setBackgroundColor(Color(0, 0, 255, 25));
        b->setCallback([] { cout << "pushed!" << endl; });
        b->setTooltip("This button has a fairly long tooltip. It is so long, in "
                "fact, that the shown text will span several lines.");

        new Label(window, "Toggle buttons", "sans-bold");
        b = new Button(window, "Toggle me");
        b->setFlags(Button::ToggleButton);
        b->setChangeCallback([](bool state) { cout << "Toggle button state: " << state << endl; });

        new Label(window, "Radio buttons", "sans-bold");
        b = new Button(window, "Radio button 1");
        b->setFlags(Button::RadioButton);
        b = new Button(window, "Radio button 2");
        b->setFlags(Button::RadioButton);

        new Label(window, "A tool palette", "sans-bold");
        Widget *tools = new Widget(window);
        tools->setLayout(new BoxLayout(Orientation::Horizontal,
                                       Alignment::Middle, 0, 6));

        b = new ToolButton(tools, ENTYPO_ICON_CLOUD);
        b = new ToolButton(tools, ENTYPO_ICON_FF);
        b = new ToolButton(tools, ENTYPO_ICON_COMPASS);
        b = new ToolButton(tools, ENTYPO_ICON_INSTALL);

        new Label(window, "Popup buttons", "sans-bold");
        PopupButton *popupBtn = new PopupButton(window, "Popup", ENTYPO_ICON_EXPORT);
        Popup *popup = popupBtn->popup();
        popup->setLayout(new GroupLayout());
        new Label(popup, "Arbitrary widgets can be placed here");
        new CheckBox(popup, "A check box");
        popupBtn = new PopupButton(popup, "Recursive popup", ENTYPO_ICON_FLASH);
        popup = popupBtn->popup();
        popup->setLayout(new GroupLayout());
        new CheckBox(popup, "Another check box");

        window = new Window(this, "Basic widgets");
        window->setPosition(Vector2i(200, 15));
        window->setLayout(new GroupLayout());

        new Label(window, "Message dialog", "sans-bold");
        tools = new Widget(window);
        tools->setLayout(new BoxLayout(Orientation::Horizontal,
                                       Alignment::Middle, 0, 6));
        b = new Button(tools, "Info");
        b->setCallback([&] {
            auto dlg = new MessageDialog(this, MessageDialog::Type::Information, "Title", "This is an information message");
            dlg->setCallback([](int result) { cout << "Dialog result: " << result << endl; });
        });
        b = new Button(tools, "Warn");
        b->setCallback([&] {
            auto dlg = new MessageDialog(this, MessageDialog::Type::Warning, "Title", "This is a warning message");
            dlg->setCallback([](int result) { cout << "Dialog result: " << result << endl; });
        });
        b = new Button(tools, "Ask");
        b->setCallback([&] {
            auto dlg = new MessageDialog(this, MessageDialog::Type::Warning, "Title", "This is a question message", "Yes", "No", true);
            dlg->setCallback([](int result) { cout << "Dialog result: " << result << endl; });
        });

        vector<pair<int, string>>
            icons = loadImageDirectory(mNVGContext, "icons");
        #if defined(_WIN32)
            string resourcesFolderPath("../resources/");
        #else
            string resourcesFolderPath("./");
        #endif

        new Label(window, "Image panel & scroll panel", "sans-bold");
        PopupButton *imagePanelBtn = new PopupButton(window, "Image Panel");
        imagePanelBtn->setIcon(ENTYPO_ICON_FOLDER);
        popup = imagePanelBtn->popup();
        VScrollPanel *vscroll = new VScrollPanel(popup);
        ImagePanel *imgPanel = new ImagePanel(vscroll);
        imgPanel->setImages(icons);
        popup->setFixedSize(Vector2i(245, 150));

        auto imageWindow = new Window(this, "Selected image");
        imageWindow->setPosition(Vector2i(710, 15));
        imageWindow->setLayout(new GroupLayout());

        // Load all of the images by creating a GLTexture object and saving the pixel data.
        for (auto& icon : icons) {
            GLTexture texture(icon.second);
            auto data = texture.load(resourcesFolderPath + icon.second + ".png");
            mImagesData.emplace_back(std::move(texture), std::move(data));
        }

        // Set the first texture
        auto imageView = new ImageView(imageWindow, mImagesData[0].first.texture());
        mCurrentImage = 0;
        // Change the active textures.
        imgPanel->setCallback([this, imageView, imgPanel](int i) {
            imageView->bindImage(mImagesData[i].first.texture());
            mCurrentImage = i;
            cout << "Selected item " << i << '\n';
        });
        imageView->setGridThreshold(20);
        imageView->setPixelInfoThreshold(20);
        imageView->setPixelInfoCallback(
            [this, imageView](const Vector2i& index) -> pair<string, Color> {
            auto& imageData = mImagesData[mCurrentImage].second;
            auto& textureSize = imageView->imageSize();
            string stringData;
            uint16_t channelSum = 0;
            for (int i = 0; i != 4; ++i) {
                auto& channelData = imageData[4*index.y()*textureSize.x() + 4*index.x() + i];
                channelSum += channelData;
                stringData += (to_string(static_cast<int>(channelData)) + "\n");
            }
            float intensity = static_cast<float>(255 - (channelSum / 4)) / 255.0f;
            float colorScale = intensity > 0.5f ? (intensity + 1) / 2 : intensity / 2;
            Color textColor = Color(colorScale, 1.0f);
            return { stringData, textColor };
        });

        new Label(window, "File dialog", "sans-bold");
        tools = new Widget(window);
        tools->setLayout(new BoxLayout(Orientation::Horizontal,
                                       Alignment::Middle, 0, 6));
        b = new Button(tools, "Open");
        b->setCallback([&] {
            cout << "File dialog result: " << file_dialog(
                    { {"png", "Portable Network Graphics"}, {"txt", "Text file"} }, false) << endl;
        });
        b = new Button(tools, "Save");
        b->setCallback([&] {
            cout << "File dialog result: " << file_dialog(
                    { {"png", "Portable Network Graphics"}, {"txt", "Text file"} }, true) << endl;
        });

        new Label(window, "Combo box", "sans-bold");
        new ComboBox(window, { "Combo box item 1", "Combo box item 2", "Combo box item 3"});
        new Label(window, "Check box", "sans-bold");
        CheckBox *cb = new CheckBox(window, "Flag 1",
            [](bool state) { cout << "Check box 1 state: " << state << endl; }
        );
        cb->setChecked(true);
        cb = new CheckBox(window, "Flag 2",
            [](bool state) { cout << "Check box 2 state: " << state << endl; }
        );
        new Label(window, "Progress bar", "sans-bold");
        mProgress = new ProgressBar(window);

        new Label(window, "Slider and text box", "sans-bold");

        Widget *panel = new Widget(window);
        panel->setLayout(new BoxLayout(Orientation::Horizontal,
                                       Alignment::Middle, 0, 20));

        Slider *slider = new Slider(panel);
        slider->setValue(0.5f);
        slider->setFixedWidth(80);

        TextBox *textBox = new TextBox(panel);
        textBox->setFixedSize(Vector2i(60, 25));
        textBox->setValue("50");
        textBox->setUnits("%");
        slider->setCallback([textBox](float value) {
            textBox->setValue(std::to_string((int) (value * 100)));
        });
        slider->setFinalCallback([&](float value) {
            cout << "Final slider value: " << (int) (value * 100) << endl;
        });
        textBox->setFixedSize(Vector2i(60,25));
        textBox->setFontSize(20);
        textBox->setAlignment(TextBox::Alignment::Right);

        window = new Window(this, "Misc. widgets");
        window->setPosition(Vector2i(425,15));
        window->setLayout(new GroupLayout());

        TabWidget* tabWidget = window->add<TabWidget>();

        Widget* layer = tabWidget->createTab("Color Wheel");
        layer->setLayout(new GroupLayout());

        // Use overloaded variadic add to fill the tab widget with Different tabs.
        layer->add<Label>("Color wheel widget", "sans-bold");
        layer->add<ColorWheel>();

        layer = tabWidget->createTab("Function Graph");
        layer->setLayout(new GroupLayout());

        layer->add<Label>("Function graph widget", "sans-bold");

        Graph *graph = layer->add<Graph>("Some Function");

        graph->setHeader("E = 2.35e-3");
        graph->setFooter("Iteration 89");
        VectorXf &func = graph->values();
        func.resize(100);
        for (int i = 0; i < 100; ++i)
            func[i] = 0.5f * (0.5f * std::sin(i / 10.f) +
                              0.5f * std::cos(i / 23.f) + 1);

        // Dummy tab used to represent the last tab button.
        tabWidget->createTab("+");

        // A simple counter.
        int counter = 1;
        tabWidget->setCallback([tabWidget, this, counter] (int index) mutable {
            if (index == (tabWidget->tabCount()-1)) {
                // When the "+" tab has been clicked, simply add a new tab.
                string tabName = "Dynamic " + to_string(counter);
                Widget* layerDyn = tabWidget->createTab(index, tabName);
                layerDyn->setLayout(new GroupLayout());
                layerDyn->add<Label>("Function graph widget", "sans-bold");
                Graph *graphDyn = layerDyn->add<Graph>("Dynamic function");

                graphDyn->setHeader("E = 2.35e-3");
                graphDyn->setFooter("Iteration " + to_string(index*counter));
                VectorXf &funcDyn = graphDyn->values();
                funcDyn.resize(100);
                for (int i = 0; i < 100; ++i)
                    funcDyn[i] = 0.5f *
                        std::abs((0.5f * std::sin(i / 10.f + counter) +
                                  0.5f * std::cos(i / 23.f + 1 + counter)));
                ++counter;
                // We must invoke perform layout from the screen instance to keep everything in order.
                // This is essential when creating tabs dynamically.
                performLayout();
                // Ensure that the newly added header is visible on screen
                tabWidget->ensureTabVisible(index);

            }
        });
        tabWidget->setActiveTab(0);

        // A button to go back to the first tab and scroll the window.
        panel = window->add<Widget>();
        panel->add<Label>("Jump to tab: ");
        panel->setLayout(new BoxLayout(Orientation::Horizontal,
                                       Alignment::Middle, 0, 6));

        auto ib = panel->add<IntBox<int>>();
        ib->setEditable(true);

        b = panel->add<Button>("", ENTYPO_ICON_FORWARD);
        b->setFixedSize(Vector2i(22, 22));
        ib->setFixedHeight(22);
        b->setCallback([tabWidget, ib] {
            int value = ib->value();
            if (value >= 0 && value < tabWidget->tabCount()) {
                tabWidget->setActiveTab(value);
                tabWidget->ensureTabVisible(value);
            }
        });

        window = new Window(this, "Grid of small widgets");
        window->setPosition(Vector2i(425, 300));
        GridLayout *layout =
            new GridLayout(Orientation::Horizontal, 2,
                           Alignment::Middle, 15, 5);
        layout->setColAlignment(
            { Alignment::Maximum, Alignment::Fill });
        layout->setSpacing(0, 10);
        window->setLayout(layout);

        /* FP widget */ {
            new Label(window, "Floating point :", "sans-bold");
            textBox = new TextBox(window);
            textBox->setEditable(true);
            textBox->setFixedSize(Vector2i(100, 20));
            textBox->setValue("50");
            textBox->setUnits("GiB");
            textBox->setDefaultValue("0.0");
            textBox->setFontSize(16);
            textBox->setFormat("[-]?[0-9]*\\.?[0-9]+");
        }

        /* Positive integer widget */ {
            new Label(window, "Positive integer :", "sans-bold");
            auto intBox = new IntBox<int>(window);
            intBox->setEditable(true);
            intBox->setFixedSize(Vector2i(100, 20));
            intBox->setValue(50);
            intBox->setUnits("Mhz");
            intBox->setDefaultValue("0");
            intBox->setFontSize(16);
            intBox->setFormat("[1-9][0-9]*");
            intBox->setSpinnable(true);
            intBox->setMinValue(1);
            intBox->setValueIncrement(2);
        }

        /* Checkbox widget */ {
            new Label(window, "Checkbox :", "sans-bold");

            cb = new CheckBox(window, "Check me");
            cb->setFontSize(16);
            cb->setChecked(true);
        }

        new Label(window, "Combo box :", "sans-bold");
        ComboBox *cobo =
            new ComboBox(window, { "Item 1", "Item 2", "Item 3" });
        cobo->setFontSize(16);
        cobo->setFixedSize(Vector2i(100,20));

        new Label(window, "Color button :", "sans-bold");
        popupBtn = new PopupButton(window, "", 0);
        popupBtn->setBackgroundColor(Color(255, 120, 0, 255));
        popupBtn->setFontSize(16);
        popupBtn->setFixedSize(Vector2i(100, 20));
        popup = popupBtn->popup();
        popup->setLayout(new GroupLayout());

        ColorWheel *colorwheel = new ColorWheel(popup);
        colorwheel->setColor(popupBtn->backgroundColor());

        Button *colorBtn = new Button(popup, "Pick");
        colorBtn->setFixedSize(Vector2i(100, 25));
        Color c = colorwheel->color();
        colorBtn->setBackgroundColor(c);

        colorwheel->setCallback([colorBtn](const Color &value) {
            colorBtn->setBackgroundColor(value);
        });

        colorBtn->setChangeCallback([colorBtn, popupBtn](bool pushed) {
            if (pushed) {
                popupBtn->setBackgroundColor(colorBtn->backgroundColor());
                popupBtn->setPushed(false);
            }
        });

        performLayout();

        /* All NanoGUI widgets are initialized at this point. Now
           create an OpenGL shader to draw the main window contents.

           NanoGUI comes with a simple Eigen-based wrapper around OpenGL 3,
           which eliminates most of the tedious and error-prone shader and
           buffer object management.
        */

        mShader.init(
            /* An identifying name */
            "a_simple_shader",

            /* Vertex shader */
            "#version 330\n"
            "uniform mat4 modelViewProj;\n"
            "in vec3 position;\n"
            "void main() {\n"
            "    gl_Position = modelViewProj * vec4(position, 1.0);\n"
            "}",

            /* Fragment shader */
            "#version 330\n"
            "out vec4 color;\n"
            "uniform float intensity;\n"
            "void main() {\n"
            "    color = vec4(vec3(intensity), 1.0);\n"
            "}"
        );

        MatrixXu indices(3, 2); /* Draw 2 triangles */
        indices.col(0) << 0, 1, 2;
        indices.col(1) << 2, 3, 0;

        MatrixXf positions(3, 4);
        positions.col(0) << -1, -1, 0;
        positions.col(1) <<  1, -1, 0;
        positions.col(2) <<  1,  1, 0;
        positions.col(3) << -1,  1, 0;

        mShader.bind();
        mShader.uploadIndices(indices);
        mShader.uploadAttrib("position", positions);
        mShader.setUniform("intensity", 0.5f);
    }

    ~ExampleApplication() {
        mShader.free();
    }

    virtual bool keyboardEvent(int key, int scancode, int action, int modifiers) {
        if (Screen::keyboardEvent(key, scancode, action, modifiers))
            return true;
        if (key == GLFW_KEY_ESCAPE && action == GLFW_PRESS) {
            setVisible(false);
            return true;
        }
        return false;
    }

    virtual void draw(NVGcontext *ctx) {
        /* Animate the scrollbar */
        mProgress->setValue(std::fmod((float) glfwGetTime() / 10, 1.0f));

        /* Draw the user interface */
        Screen::draw(ctx);
    }

    virtual void drawContents() {
        using namespace nanogui;

        /* Draw the window contents using OpenGL */
        mShader.bind();

        Matrix4f mvp;
        mvp.setIdentity();
        mvp.topLeftCorner<3,3>() = Matrix3f(Eigen::AngleAxisf((float) glfwGetTime(),  Vector3f::UnitZ())) * 0.25f;

        mvp.row(0) *= (float) mSize.y() / (float) mSize.x();

        mShader.setUniform("modelViewProj", mvp);

        /* Draw 2 triangles starting at index 0 */
        mShader.drawIndexed(GL_TRIANGLES, 0, 2);
    }
private:
    nanogui::ProgressBar *mProgress;
    nanogui::GLShader mShader;

    using imagesDataType = vector<pair<GLTexture, GLTexture::handleType>>;
    imagesDataType mImagesData;
    int mCurrentImage;
};

int main(int /* argc */, char ** /* argv */) {
    try {
        nanogui::init();

        /* scoped variables */ {
            nanogui::ref<ExampleApplication> app = new ExampleApplication();
            app->drawAll();
            app->setVisible(true);
            nanogui::mainloop();
        }

        nanogui::shutdown();
    } catch (const std::runtime_error &e) {
        std::string error_msg = std::string("Caught a fatal error: ") + std::string(e.what());
        #if defined(_WIN32)
            MessageBoxA(nullptr, error_msg.c_str(), NULL, MB_ICONERROR | MB_OK);
        #else
            std::cerr << error_msg << endl;
        #endif
        return -1;
    }

    return 0;
}

redpajama_set_name: RedPajamaGithub


A well managed CMW schedule makes a music fanatic into a very happy camper. This particular night turned into a smooth transition from melancholic electro-pop to indie dance and we loved (almost) every bit of it.
Vogue Dots at the Rivoli: A charming producer duo from Halifax, Babette Hayward and Tynan Dunfield were the first on the Saturday night's bill at the Rivoli. The room was already partially occupied from a private party as the CMW attendees wandered in. Hayward and Dunfield were facing each other for most of the show complementing each others compositions vocally and on keys. The duo have recently released their Mauka EP which was a lovely combination of melancholic vocals with dark electronic noise smoothed out by nocturnal overtones, equally well presented in a live performance. In retrospect, Vogue Dotes are a band you should take your date to dance a little or hide in a dark corner, whatever your level of PDA is.
LYON at the Drake Underground: After playing a well received show at the MOD Club on Friday night, Lauren Malyon, aka LYON, played a surprise show at the Drake Underground with a smaller band. With a limited, but solid repertoire of synth-pop tracks Malyon has already been noticed by media but is yet to find her inevitable big break.
Wolf Saga at the Drake Underground: The first time I heard Wolf Saga was a track called "You Are Hear Now." It was shared with me by a friend and made a rather inspirational morning walk to work. A solo project of Johnny Saga, Wolf Saga has been compared to M83 and Phoenix and that resemblance is very noticeable both live as well as on record. Saga performed by himself and while at times it did feel like he barely had enough hands to make the sound happen, his ability to multitask and the fired-up fan club made the show a fun and memorable one.
HUMANS at The Great Hall: West Coast duo made up of Robbie Slade and Peter Ricq. HUMANS are a combination of indie-pop lyrics and electronic beats accented by a variety of drums, a set of notes that illustrates experience and skill. Having toured across North America's major festivals, Slade and Ricq definitely know how to impress a crowd. Illuminated by a blow up honey comb mountain (not sure exactly what it was but let's call it that), the show was a promise of an intense dance party, but due to some venue restrictions the dance floor was partially filled with a scattered crowd while a big number of fans were pouting on the balcony where all of the wristbands were exiled to. Watch out for these two, we bet their big break is just around the corner.


text:
Q: Обработка ошибок при получении почты. Добрый день, уважаемые программисты! При получении почты изредка, но возникает ошибка со следующим текстом:
Access violation at address 004F34D7 in module 'Project1.exe'. Read of address 05580000

Понятия не имею  в чем причина и как бороться с данной ошибкой. При возможности прошу помочь советом, либо литературой.
Почту получаю следующим образом:
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  IdPOP31.Port:=110;
  IdPOP31.Username:='имя';
  IdPOP31.Password:='пароль';
  IdMessage1.Clear;
  IdPOP31.Connect;
  IdMessage1.CharSet:='utf-8';
  IdMessage1.Clear;
  Application.ProcessMessages;
  lb_letters.Clear;
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  if j>0
  then for i:=j downto 1 do
  begin
    IdMessage1.Clear;
    IdPOP31.RetrieveHeader(i, IdMessage1);
    if AnsiCompareText(IdMessage1.From.Address,'webmaster@mark-itt.ru')=0
    then begin
      IdPOP31.Retrieve(i, IdMessage1);
      IdPOP31.Delete(i);
      Application.ProcessMessages;
    end else Panel1.Caption:=IdMessage1.From.Address;
    p_attachment.Caption:=IntToStr(i)+'/'+IntToStr(j);
  end;
  IdPOP31.Disconnect;

Ошибка возникает в модуле IdGlobal в строке:
Function  PosIdx (const ASubStr,AStr: AnsiString; AStartPos: Cardinal): Cardinal;
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if lpS^ = LChar then begin
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redpajama_set_name: RedPajamaStackExchange


text:
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Our Kids Camp for 5-11 year olds took place on Tuesdays and Thursdays throughout the month of July 2018.
Thanks to some great weather and enthusiastic young participants, everyone had a great time staying active and learning about the environment.
Our kids camps take place throughout the year. Want to be the first to know when theyr'e open for booking? Sign up to our monthly mailing list.


text:
Edward Kennedy "Duke" Ellington (April 29, 1899 – May 24, 1974) was an American jazz pianist, composer, and leader of his eponymous jazz orchestra from 1923 through the rest of his life.

Born and raised in Washington, D.C., Ellington was based in New York City from the mid-1920s and gained a national profile through his orchestra's appearances at the Cotton Club in Harlem. A master at writing miniatures for the three-minute 78 rpm recording format, Ellington wrote or collaborated on more than one thousand compositions; his extensive body of work is the largest recorded personal jazz legacy, and many of his pieces have become standards. He also recorded songs written by his bandsmen, such as Juan Tizol's "Caravan", which brought a Spanish tinge to big band jazz.

At the end of the 1930s, Ellington began a nearly thirty-year collaboration with composer-arranger-pianist Billy Strayhorn, whom he called his writing and arranging companion. With Strayhorn, he composed multiple extended compositions, or suites, as well as many short pieces. For a few years at the beginning of Strayhorn's involvement, Ellington's orchestra featured bassist Jimmy Blanton and tenor saxophonist Ben Webster and reached a creative peak. Some years later following a low-profile period (Hodges temporarily left), an appearance by Ellington and his orchestra at the Newport Jazz Festival in July 1956 led to a major revival and regular world tours. Ellington recorded for most American record companies of his era, performed in and scored several films, and composed a handful of stage musicals.

Although a pivotal figure in the history of jazz, in the opinion of Gunther Schuller and Barry Kernfeld, "the most significant composer of the genre", Ellington himself embraced the phrase "beyond category", considering it a liberating principle, and referring to his music as part of the more general category of American Music. Ellington was known for his inventive use of the orchestra, or big band, as well as for his eloquence and charisma. He was awarded a posthumous Pulitzer Prize Special Award for music in 1999.

Early life and education
Ellington was born on April 29, 1899, to James Edward Ellington and Daisy (née Kennedy) Ellington in Washington, D.C. Both his parents were pianists. Daisy primarily played parlor songs, and James preferred operatic arias. They lived with Daisy's parents at 2129 Ida Place (now Ward Place) NW, in D.C.'s West End neighborhood. Duke's father was born in Lincolnton, North Carolina, on April 15, 1879, and moved to D.C. in 1886 with his parents. Daisy Kennedy was born in Washington, D.C., on January 4, 1879, the daughter of two former American slaves. James Ellington made blueprints for the United States Navy.

When Ellington was a child, his family showed racial pride and support in their home, as did many other families. African Americans in D.C. worked to protect their children from the era's Jim Crow laws.

At age seven, Ellington began taking piano lessons from Marietta Clinkscales. Daisy surrounded her son with dignified women to reinforce his manners and teach him elegance. His childhood friends noticed that his casual, offhand manner and dapper dress gave him the bearing of a young nobleman, so they began calling him "Duke". Ellington credited his friend Edgar McEntee for the nickname: "I think he felt that in order for me to be eligible for his constant companionship, I should have a title. So he called me Duke."

Though Ellington took piano lessons, he was more interested in baseball. "President [Theodore] Roosevelt would come on his horse sometimes, and "stop and watch us play", he recalled. Ellington went to Armstrong Technical High School in Washington, D.C. His first job was selling peanuts at Washington Senators baseball games.

Ellington started sneaking into Frank Holiday's Poolroom at age fourteen. Hearing the music of the poolroom pianists ignited Ellington's love for the instrument, and he began to take his piano studies seriously. Among the many piano players he listened to were Doc Perry, Lester Dishman, Louis Brown, Turner Layton, Gertie Wells, Clarence Bowser, Sticky Mack, Blind Johnny, Cliff Jackson, Claude Hopkins, Phil Wurd, Caroline Thornton, Luckey Roberts, Eubie Blake, Joe Rochester, and Harvey Brooks.

In the summer of 1914, while working as a soda jerk at the Poodle Dog Café, Ellington wrote his first composition, "Soda Fountain Rag" (also known as the "Poodle Dog Rag"). He created the piece by ear, as he had not yet learned to read and write music. "I would play the 'Soda Fountain Rag' as a one-step, two-step, waltz, tango, and fox trot", Ellington recalled. "Listeners never knew it was the same piece. I was established as having my own repertoire." In his autobiography, Music is my Mistress (1973), Ellington wrote that he missed more lessons than he attended, feeling at the time that piano was not his talent.

Ellington continued listening to, watching, and imitating ragtime pianists, not only in Washington, D.C. but also in Philadelphia and Atlantic City, where he vacationed with his mother during the summer. He would sometimes hear strange music played by those who could not afford much sheet music, so for variations, they played the sheets upside down. Henry Lee Grant, a Dunbar High School music teacher, gave him private lessons in harmony. With the additional guidance of Washington pianist and band leader Oliver "Doc" Perry, Ellington learned to read sheet music, project a professional style, and improve his technique. Ellington was also inspired by his first encounters with stride pianists James P. Johnson and Luckey Roberts. Later in New York, he took advice from Will Marion Cook, Fats Waller, and Sidney Bechet. He started to play gigs in cafés and clubs in and around Washington, D.C. His attachment to music was so strong that in 1916 he turned down an art scholarship to the Pratt Institute in Brooklyn. Three months before graduating, he dropped out of Armstrong Manual Training School, where he was studying commercial art.

Career

Early career
Working as a freelance sign painter from 1917, Ellington began assembling groups to play for dances. In 1919, he met drummer Sonny Greer from New Jersey, who encouraged Ellington's ambition to become a professional musician. Ellington built his music business through his day job. When a customer asked him to make a sign for a dance or party, he would ask if they had musical entertainment; if not, Ellington would offer to play for the occasion. He also had a messenger job with the U.S. Navy and State departments, where he made a wide range of contacts.

Ellington moved out of his parent's home and bought his own as he became a successful pianist. At first, he played in other ensembles, and in late 1917 formed his first group, "The Duke's Serenaders" ("Colored Syncopators", his telephone directory advertising proclaimed). He was also the group's booking agent. His first play date was at the True Reformer's Hall, where he took home 75 cents.

Ellington played throughout the D.C. area and into Virginia for private society balls and embassy parties. The band included childhood friend Otto Hardwick, who began playing the string bass, then moved to C-melody sax and finally settled on alto saxophone; Arthur Whetsel on trumpet; Elmer Snowden on banjo; and Sonny Greer on drums. The band thrived, performing for both African American and white audiences, rare in the segregated society of the day.

When his drummer Sonny Greer was invited to join the Wilber Sweatman Orchestra in New York City, Ellington left his successful career in D.C. and moved to Harlem, ultimately becoming part of the Harlem Renaissance. New dance crazes such as the Charleston emerged in Harlem, as well as African American musical theater, including Eubie Blake's and Noble Sissle's (the latter of whom was his neighbor) Shuffle Along. After the young musicians left the Sweatman Orchestra to strike out on their own, they found an emerging jazz scene that was highly competitive with difficult inroad. They hustled pool by day and played whatever gigs they could find. The young band met stride pianist Willie "The Lion" Smith, who introduced them to the scene and gave them some money. They played at rent-house parties for income. After a few months, the young musicians returned to Washington, D.C., feeling discouraged.

In June 1923, they played a gig in Atlantic City, New Jersey and another at the prestigious Exclusive Club in Harlem. This was followed in September 1923 by a move to the Hollywood Club (at 49th and Broadway) and a four-year engagement, which gave Ellington a solid artistic base. He was known to play the bugle at the end of each performance. The group was initially called Elmer Snowden and his Black Sox Orchestra and had seven members, including trumpeter James "Bubber" Miley. They renamed themselves The Washingtonians. Snowden left the group in early 1924, and Ellington took over as bandleader. After a fire, the club was re-opened as the Club Kentucky (often referred to as the Kentucky Club).

Ellington then made eight records in 1924, receiving composing credit on three including "Choo Choo". In 1925, Ellington contributed four songs to Chocolate Kiddies starring Lottie Gee and Adelaide Hall, an all-African American revue which introduced European audiences to African American styles and performers. Duke Ellington and his Kentucky Club Orchestra grew to a group of ten players; they developed their own sound via the non-traditional expression of Ellington's arrangements, the street rhythms of Harlem, and the exotic-sounding trombone growls and wah-wahs, high-squealing trumpets, and saxophone blues licks of the band members. For a short time, soprano saxophonist and clarinetist Sidney Bechet played with them, reportedly becoming the dominant personality in the group, with Sonny Greer saying Bechet "fitted out the band like a glove". His presence resulted in friction with Miley and trombonist Charlie Irvis, whose styles differed from Bechet's New Orleans-influenced playing. It was mainly Bechet's unreliability—he was absent for three days in succession—which made his association with Ellington short-lived.

Cotton Club engagement
In October 1926, Ellington made an agreement with agent-publisher Irving Mills, giving Mills a 45% interest in Ellington's future. Mills had an eye for new talent and published compositions by Hoagy Carmichael, Dorothy Fields, and Harold Arlen early in their careers. After recording a handful of acoustic sides during 1924–26, Ellington's signing with Mills allowed him to record prolifically. However, sometimes he recorded different versions of the same tune. Mills regularly took a co-composer credit. From the beginning of their relationship, Mills arranged recording sessions on nearly every label including Brunswick, Victor, Columbia, OKeh, Pathé (and its subsidiary, Perfect), the ARC/Plaza group of labels (Oriole, Domino, Jewel, Banner) and their dime-store labels (Cameo, Lincoln, Romeo), Hit of the Week, and Columbia's cheaper labels (Harmony, Diva, Velvet Tone, Clarion) labels which gave Ellington popular recognition. On OKeh, his records were usually issued as The Harlem Footwarmers. In contrast, the Brunswicks were usually issued as The Jungle Band. Whoopee Makers and the Ten BlackBerries were other pseudonyms.

In September 1927, King Oliver turned down a regular booking for his group as the house band at Harlem's Cotton Club; the offer passed to Ellington after Jimmy McHugh suggested him and Mills arranged an audition. Ellington had to increase from a six to eleven-piece group to meet the requirements of the Cotton Club's management for the audition, and the engagement finally began on December 4. With a weekly radio broadcast, the Cotton Club's exclusively white and wealthy clientele poured in nightly to see them. At the Cotton Club, Ellington's group performed all the music for the revues, which mixed comedy, dance numbers, vaudeville, burlesque, music, and illicit alcohol. The musical numbers were composed by Jimmy McHugh and the lyrics by Dorothy Fields (later Harold Arlen and Ted Koehler), with some Ellington originals mixed in. (Here, he moved in with a dancer, his second wife Mildred Dixon). Weekly radio broadcasts from the club gave Ellington national exposure. At the same time, Ellington also recorded Fields-JMcHugh and Fats Waller–Andy Razaf songs.

Although trumpeter Bubber Miley was a member of the orchestra for only a short period, he had a major influence on Ellington's sound. As an early exponent of growl trumpet, Miley changed the sweet dance band sound of the group to one that was hotter, which contemporaries termed Jungle Style, which can be seen in his feature chorus in East St. Louis Toodle-Oo (1926). In October 1927, Ellington and his Orchestra recorded several compositions with Adelaide Hall. One side in particular, "Creole Love Call", became a worldwide sensation and gave both Ellington and Hall their first hit record. Miley had composed most of "Creole Love Call" and "Black and Tan Fantasy". An alcoholic, Miley had to leave the band before they gained wider fame. He died in 1932 at the age of 29, but he was an important influence on Cootie Williams, who replaced him.

In 1929, the Cotton Club Orchestra appeared on stage for several months in Florenz Ziegfeld's Show Girl, along with vaudeville stars Jimmy Durante, Eddie Foy, Jr., Ruby Keeler, and with music and lyrics by George Gershwin and Gus Kahn. Will Vodery, Ziegfeld's musical supervisor, recommended Ellington for the show. According to John Edward Hasse's Beyond Category: The Life and Genius of Duke Ellington, "Perhaps during the run of Show Girl, Ellington received what he later termed 'valuable lessons in orchestration from Will Vody." In his 1946 biography, Duke Ellington, Barry Ulanov wrote:

Ellington's film work began with Black and Tan (1929), a 19-minute all-African American RKO short in which he played the hero "Duke". He also appeared in the Amos 'n' Andy film Check and Double Check released in 1930, which features the orchestra playing "Old Man Blues" in an extended ballroom scene. That year, Ellington and his Orchestra connected with a whole different audience in a concert with Maurice Chevalier and they also performed at the Roseland Ballroom, "America's foremost ballroom". Australian-born composer Percy Grainger was an early admirer and supporter. He wrote, "The three greatest composers who ever lived are Bach, Delius and Duke Ellington. Unfortunately, Bach is dead, Delius is very ill but we are happy to have with us today The Duke". Ellington's first period at the Cotton Club concluded in 1931.

Early 1930s
Ellington led the orchestra by conducting from the keyboard using piano cues and visual gestures; very rarely did he conduct using a baton. By 1932 his orchestra consisted of six brass instruments, four reeds, and a rhythm section of four players. As the leader, Ellington was not a strict disciplinarian; he maintained control of his orchestra with a combination of charm, humor, flattery, and astute psychology. A complex, private person, he revealed his feelings to only his closest intimates. He effectively used his public persona to deflect attention away from himself.

Ellington signed exclusively to Brunswick in 1932 and stayed with them through to late 1936 (albeit with a short-lived 1933–34 switch to Victor when Irving Mills temporarily moved his acts from Brunswick).

As the Depression worsened, the recording industry was in crisis, dropping over 90% of its artists by 1933. Ivie Anderson was hired as the Ellington Orchestra's featured vocalist in 1931. She is the vocalist on "It Don't Mean a Thing (If It Ain't Got That Swing)" (1932) among other recordings. Sonny Greer had been providing occasional vocals and continued to do in a cross-talk feature with Anderson. Radio exposure helped maintain Ellington's public profile as his orchestra began to tour. The other 78s of this era include: "Mood Indigo" (1930), "Sophisticated Lady" (1933), "Solitude" (1934), and "In a Sentimental Mood" (1935).

While Ellington's United States audience remained mainly African American in this period, the orchestra had a significant following overseas. They traveled to England and Scotland in 1933, as well as France (three concerts at the Salle Pleyel in Paris) and the Netherlands before returning to New York. On June 12, 1933, the Duke Ellington Orchestra gave its British debut at the London Palladium; Ellington received an ovation when he walked on stage. They were one of 13 acts on the bill and were restricted to eight short numbers; the booking lasted until June 24. The British visit saw Ellington win praise from members of the serious music community, including composer Constant Lambert, which gave a boost to Ellington's interest in composing longer works.

His longer pieces had already begun to appear. Ellington had composed and recorded "Creole Rhapsody" as early as 1931 (issued as both sides of a 12" record for Victor and both sides of a 10" record for Brunswick). A tribute to his mother, "Reminiscing in Tempo", took four 10" 78rpm record sides to record in 1935 after her death in that year. Symphony in Black (also 1935), a short film, featured his extended piece 'A Rhapsody of Negro Life'. It introduced Billie Holiday, and won the Academy Award for Best Musical Short Subject. Ellington and his Orchestra also appeared in the features Murder at the Vanities and Belle of the Nineties (both 1934).

For agent Mills, the attention was a publicity triumph, as Ellington was now internationally known. On the band's tour through the segregated South in 1934, they avoided some of the traveling difficulties of African Americans by touring in private railcars. These provided accessible accommodations, dining, and storage for equipment while avoiding the indignities of segregated facilities.

However, the competition intensified as swing bands like Benny Goodman's began to receive widespread attention. Swing dancing became a youth phenomenon, particularly with white college audiences, and danceability drove record sales and bookings. Jukeboxes proliferated nationwide, spreading the gospel of swing. Ellington's band could certainly swing, but their strengths were mood, nuance, and richness of composition, hence his statement "jazz is music, the swing is business".

Later 1930s
From 1936, Ellington began to make recordings with smaller groups (sextets, octets, and nonets) drawn from his then-15-man orchestra. He composed pieces intended to feature a specific instrumentalist, such as "Jeep's Blues" for Johnny Hodges, "Yearning for Love" for Lawrence Brown, "Trumpet in Spades" for Rex Stewart, "Echoes of Harlem" for Cootie Williams and "Clarinet Lament" for Barney Bigard. In 1937, Ellington returned to the Cotton Club, which had relocated to the mid-town Theater District. In the summer of that year, his father died, and due to many expenses, Ellington's finances were tight. However, his situation improved in the following years.

After leaving agent Irving Mills, he signed on with the William Morris Agency. Mills, though, continued to record Ellington. After only a year, his Master and Variety labels (the small groups had recorded for the latter) collapsed in late 1937. Mills placed Ellington back on Brunswick and those small group units on Vocalion through to 1940. Well-known sides continued to be recorded, "Caravan" in 1937, and "I Let a Song Go Out of My Heart" the following year.

Billy Strayhorn, originally hired as a lyricist, began his association with Ellington in 1939. Nicknamed "Swee' Pea" for his mild manner, Strayhorn soon became a vital member of the Ellington organization. Ellington showed great fondness for Strayhorn and never failed to speak glowingly of the man and their collaborative working relationship, "my right arm, my left arm, all the eyes in the back of my head, my brain waves in his head, and his in mine". Strayhorn, with his training in classical music, not only contributed his original lyrics and music but also arranged and polished many of Ellington's works, becoming a second Ellington or "Duke's doppelgänger". It was not uncommon for Strayhorn to fill in for Duke, whether in conducting or rehearsing the band, playing the piano, on stage, and in the recording studio. The decade ended with a very successful European tour in 1939 just as World War II loomed in Europe.

Ellington in the early to mid-1940s

Two musicians who joined Ellington at this time created a sensation in their own right, Jimmy Blanton and Ben Webster. Blanton was effectively hired on the spot in late October 1939, before Ellington was aware of his name, when he dropped in on a gig of Fate Marable in St Louis. The short-lived Blanton transformed the use of double bass in jazz, allowing it to function as a solo/melodic instrument rather than a rhythm instrument alone.Terminal illness forced him to leave by late 1941 after around two years. Ben Webster's principal tenure with Ellington spanned 1939 to 1943. An ambition of his, he told his previous employer, Teddy Wilson, then leading a big band, that Ellington was the only rival he would leave Wilson for. He was the orchestra's first regular tenor saxophonist and increased the size of the sax section to five for the first time. Much influenced by Johnny Hodges, he often credited Hodges with showing him "how to play my horn". The two men sat next to each other in the orchestra.

Trumpeter Ray Nance joined, replacing Cootie Williams who had defected to Benny Goodman. Additionally, Nance added violin to the instrumental colors Ellington had at his disposal. Recordings exist of Nance's first concert date on November 7, 1940, at Fargo, North Dakota. Privately made by Jack Towers and Dick Burris, these recordings were first legitimately issued in 1978 as Duke Ellington at Fargo, 1940 Live; they are among the earliest of innumerable live performances which survive. Nance was an occasional vocalist as well, although Herb Jeffries was the main male vocalist in this era (until 1943) while Al Hibbler (who replaced Jeffries in 1943) continued until 1951. Ivie Anderson left in 1942 for health reasons after 11 years, the longest term of any of Ellington's vocalists.

Once more recording for Victor (from 1940), with the small groups being issued on their Bluebird label, three-minute masterpieces on 78 rpm record sides continued to flow from Ellington, Billy Strayhorn, Ellington's son Mercer Ellington, and members of the orchestra. "Cotton Tail", "Main Stem", "Harlem Air Shaft", "Jack the Bear", and dozens of others date from this period. Strayhorn's "Take the "A" Train", a hit in 1941, became the band's theme, replacing "East St. Louis Toodle-Oo". Ellington and his associates wrote for an orchestra of distinctive voices displaying tremendous creativity. The commercial recordings from this era were re-issued in the 3-CD collection, Never No Lament, in 2003.

Ellington's long-term aim, though, was to extend the jazz form from that three-minute limit, of which he was an acknowledged master. While he had composed and recorded some extended pieces before, such works now became a regular feature of Ellington's output. In this, he was helped by Strayhorn, who had enjoyed a more thorough training in the forms associated with classical music than Ellington. The first of these, Black, Brown, and Beige (1943), was dedicated to telling the story of African Americans and the place of slavery and the church in their history. Black, Brown and Beige debuted at Carnegie Hall on January 23, 1943, beginning an annual series of Ellington concerts at the venue over the next four years. While some jazz musicians had played at Carnegie Hall before, none had performed anything as elaborate as Ellington's work. Unfortunately, starting a regular pattern, Ellington's longer works were generally not well received.

A partial exception was Jump for Joy, a full-length musical based on themes of African American identity, which debuted on July 10, 1941, at the Mayan Theater in Los Angeles. Hollywood actors John Garfield and Mickey Rooney invested in the production, and Charlie Chaplin and Orson Welles offered to direct. At one performance, Garfield insisted that Herb Jeffries, who was light-skinned, should wear makeup. Ellington objected in the interval and compared Jeffries to Al Jolson. The change was reverted. The singer later commented that the audience must have thought he was an entirely different character in the second half of the show.

Although it had sold-out performances and received positive reviews, it ran for only 122 performances until September 29, 1941, with a brief revival in November of that year. Its subject matter did not make it appealing to Broadway; Ellington had unfulfilled plans to take it there. Despite this disappointment, a Broadway production of Ellington's Beggar's Holiday, his sole book musical, premiered on December 23, 1946, under the direction of Nicholas Ray.

The settlement of the first recording ban of 1942–44, leading to an increase in royalties paid to musicians, had a severe effect on the financial viability of the big bands, including Ellington's Orchestra. His income as a songwriter ultimately subsidized it. Although he always spent lavishly and drew a respectable income from the orchestra's operations, the band's income often just covered expenses. However, in 1943 Ellington asked Webster to leave; the saxophonist's personality made his colleagues anxious and the saxophonist was regularly in conflict with the leader.

Early post-war years
Musicians enlisting in the military and travel restrictions made touring difficult for the big bands, and dancing became subject to a new tax, which continued for many years, affecting the choices of club owners. By the time World War II ended, the focus of popular music was shifting towards singing crooners such as Frank Sinatra and Jo Stafford. As the cost of hiring big bands had increased, club owners now found smaller jazz groups more cost-effective. Some of Ellington's new works, such as the wordless vocal feature "Transblucency" (1946) with Kay Davis, were not going to have a similar reach as the newly emerging stars.

Ellington continued on his own course through these tectonic shifts. While Count Basie was forced to disband his whole ensemble and work as an octet for a time, Ellington was able to tour most of Western Europe between April 6 and June 30, 1950, with the orchestra playing 74 dates over 77 days. During the tour, according to Sonny Greer, Ellington did not perform the newer works. However, Ellington's extended composition, Harlem (1950), was in the process of being completed at this time. Ellington later presented its score to music-loving President Harry Truman. Also during his time in Europe, Ellington would compose the music for a stage production by Orson Welles. Titled Time Runs in Paris and An Evening With Orson Welles in Frankfurt, the variety show also featured a newly discovered Eartha Kitt, who performed Ellington's original song "Hungry Little Trouble" as Helen of Troy.

In 1951, Ellington suffered a significant loss of personnel: Sonny Greer, Lawrence Brown, and, most importantly, Johnny Hodges left to pursue other ventures. However, only Greer was a permanent departee. Drummer Louie Bellson replaced Greer, and his "Skin Deep" was a hit for Ellington. Tenor player Paul Gonsalves had joined in December 1950 after periods with Count Basie and Dizzy Gillespie and stayed for the rest of his life, while Clark Terry joined in November 1951.

André Previn said in 1952: "You know, Stan Kenton can stand in front of a thousand fiddles and a thousand brass and make a dramatic gesture and every studio arranger can nod his head and say, Oh, yes, that's done like this. But Duke merely lifts his finger, three horns make a sound, and I don't know what it is!" However, by 1955, after three years of recording for Capitol, Ellington lacked a regular recording affiliation.

Career revival
Ellington's appearance at the Newport Jazz Festival on July 7, 1956, returned him to wider prominence. The feature "Diminuendo and Crescendo in Blue" comprised two tunes that had been in the band's book since 1937. Ellington, who had abruptly ended the band's scheduled set because of the late arrival of four key players, called the two tunes as the time was approaching midnight. Announcing that the two pieces would be separated by an interlude played by tenor saxophonist Paul Gonsalves, Ellington proceeded to lead the band through the two pieces, with Gonsalves' 27-chorus marathon solo whipping the crowd into a frenzy, leading the Maestro to play way beyond the curfew time despite urgent pleas from festival organizer George Wein to bring the program to an end.

The concert made international headlines, and led to one of only five Time magazine cover stories dedicated to a jazz musician, and resulted in an album produced by George Avakian that would become the best-selling LP of Ellington's career. Much of the music on the LP was, in effect, simulated, with only about 40% actually from the concert itself. According to Avakian, Ellington was dissatisfied with aspects of the performance and felt the musicians had been under-rehearsed. The band assembled the next day to re-record several numbers with the addition of the faked sound of a crowd, none of which was disclosed to purchasers of the album. Not until 1999 was the concert recording properly released for the first time. The revived attention brought about by the Newport appearance should not have surprised anyone, Johnny Hodges had returned the previous year, and Ellington's collaboration with Strayhorn was renewed around the same time, under terms more amenable to the younger man.

The original Ellington at Newport album was the first release in a new recording contract with Columbia Records which yielded several years of recording stability, mainly under producer Irving Townsend, who coaxed both commercial and artistic productions from Ellington.

In 1957, CBS (Columbia Records' parent corporation) aired a live television production of A Drum Is a Woman, an allegorical suite which received mixed reviews. Festival appearances at the new Monterey Jazz Festival and elsewhere provided venues for live exposure, and a European tour in 1958 was well received. Such Sweet Thunder (1957), based on Shakespeare's plays and characters, and The Queen's Suite (1958), dedicated to Britain's Queen Elizabeth II, were products of the renewed impetus which the Newport appearance helped to create. However, the latter work was not commercially issued at the time. The late 1950s also saw Ella Fitzgerald record her Duke Ellington Songbook (Verve) with Ellington and his orchestra—a recognition that Ellington's songs had now become part of the cultural canon known as the 'Great American Songbook'.

Around this time Ellington and Strayhorn began to work on film scoring. The first of these was Anatomy of a Murder (1959), a courtroom drama directed by Otto Preminger and featuring James Stewart, in which Ellington appeared fronting a roadhouse combo. Film historians have recognized the score "as a landmark—the first significant Hollywood film music by African Americans comprising non-diegetic music, that is, music whose source is not visible or implied by action in the film, like an on-screen band." The score avoided the cultural stereotypes which previously characterized jazz scores and rejected a strict adherence to visuals in ways that presaged the New Wave cinema of the '60s". Ellington and Strayhorn, always looking for new musical territory, produced suites for John Steinbeck's novel Sweet Thursday, Tchaikovsky's Nutcracker Suite and Edvard Grieg's Peer Gynt.

Anatomy of a Murder was followed by Paris Blues (1961), which featured Paul Newman and Sidney Poitier as jazz musicians. For this work, Ellington was nominated for the Academy Award for Best Score.

In the early 1960s, Ellington embraced recording with artists who had been friendly rivals in the past or were younger musicians who focused on later styles. The Ellington and Count Basie orchestras recorded together with the album First Time! The Count Meets the Duke (1961). During a period when Ellington was between recording contracts, he made records with Louis Armstrong (Roulette), Coleman Hawkins, John Coltrane (both for Impulse) and participated in a session with Charles Mingus and Max Roach which produced the Money Jungle (United Artists) album. He signed to Frank Sinatra's new Reprise label, but the association with the label was short-lived.

Musicians who had previously worked with Ellington returned to the Orchestra as members: Lawrence Brown in 1960 and Cootie Williams in 1962.

The writing and playing of music is a matter of intent... You can't just throw a paintbrush against the wall and call whatever happens art. My music fits the tonal personality of the player. I think too strongly in terms of altering my music to fit the performer to be impressed by accidental music. You can't take doodling seriously.

He was now performing worldwide and spent a significant part of each year on overseas tours. As a consequence, he formed new working relationships with artists from around the world, including the Swedish vocalist Alice Babs, and the South African musicians Dollar Brand and Sathima Bea Benjamin (A Morning in Paris, 1963/1997).

Ellington wrote an original score for director Michael Langham's production of Shakespeare's Timon of Athens at the Stratford Festival in Ontario, Canada, which opened on July 29, 1963. Langham has used it for several subsequent productions, including a much later adaptation by Stanley Silverman which expands the score with some of Ellington's best-known works.

Last years

Ellington was shortlisted for the Pulitzer Prize for Music in 1965. However, no prize was ultimately awarded that year. Then 66 years old, he joked: "Fate is being kind to me. Fate doesn't want me to be famous too young." In 1999, he was posthumously awarded a special Pulitzer Prize "commemorating the centennial year of his birth, in recognition of his musical genius, which evoked aesthetically the principles of democracy through the medium of jazz and thus made an indelible contribution to art and culture."

In September 1965, he premiered the first of his Sacred Concerts. He created a jazz Christian liturgy. Although the work received mixed reviews, Ellington was proud of the composition and performed it dozens of times. This concert was followed by two others of the same type in 1968 and 1973, known as the Second and Third Sacred Concerts. Many saw the Sacred Music suites as an attempt to reinforce commercial support for organized religion. However, Ellington simply said it was "the most important thing I've done". The Steinway piano upon which the Sacred Concerts were composed is part of the collection of the Smithsonian's National Museum of American History. Like Haydn and Mozart, Ellington conducted his orchestra from the piano—he always played the keyboard parts when the Sacred Concerts were performed.

Duke turned 65 in the spring of 1964 but showed no signs of slowing down as he continued to make recordings of significant works such as The Far East Suite (1966), New Orleans Suite (1970), The Afro-Eurasian Eclipse (1971) and the Latin American Suite (1972), much of it inspired by his world tours. It was during this time that he recorded his only album with Frank Sinatra, entitled Francis A. & Edward K. (1967).

In 1972-1974 Ellington worked on his only opera, Queenie Pie, together with Maurice Peress. Ellington got an idea to wrote an opera about a black beautician in 1930s, but did not finish it.

Among the last shows Ellington and his orchestra performed were one on March 21, 1973, at Purdue University's Hall of Music, two on March 22, 1973, at the Sturges-Young Auditorium in Sturgis, Michigan and the Eastbourne Performance on December 1, 1973, later issued on LP. Ellington performed what is considered his final full concert in a ballroom at Northern Illinois University on March 20, 1974. Since 1980, that ballroom has been dedicated as the "Duke Ellington Ballroom".

Personal life

Ellington married his high school sweetheart, Edna Thompson (d. 1967), on July 2, 1918, when he was 19. The next spring, on March 11, 1919, Edna gave birth to their only son, Mercer Kennedy Ellington.

Ellington was joined in New York City by his wife and son in the late 1920s, but the couple soon permanently separated. According to her obituary in Jet magazine, she was "homesick for Washington" and returned. In 1929, Ellington became the companion of Mildred Dixon, who traveled with him, managed Tempo Music, inspired songs, such as "Sophisticated Lady", at the peak of his career, and raised his son.

In 1938, he left his family (his son was 19) and moved in with Beatrice "Evie" Ellis, a Cotton Club employee. Their relationship, though stormy, continued after Ellington met and formed a relationship with Fernanda de Castro Monte in the early 1960s. Ellington supported both women for the rest of his life.

Ellington's sister Ruth (1915–2004) later ran Tempo Music, his music publishing company. Ruth's second husband was the bass-baritone McHenry Boatwright, whom she met when he sang at her brother's funeral. As an adult, son Mercer Ellington (d. 1996) played trumpet and piano, led his own band, and worked as his father's business manager.

Ellington was a member of Alpha Phi Alpha and was a Freemason associated with Prince Hall Freemasonry.

Death
Ellington died on May 24, 1974, of complications from lung cancer and pneumonia, a few weeks after his 75th birthday. At his funeral, attended by over 12,000 people at the Cathedral of St. John the Divine, Ella Fitzgerald summed up the occasion: "It's a very sad day. A genius has passed."

He was interred in the Woodlawn Cemetery, the Bronx, New York City.

Legacy

Memorialized
Numerous memorials have been dedicated to Duke Ellington in cities from New York and Washington, D.C. to Los Angeles.

In Ellington's birthplace, Washington, D.C., the Duke Ellington School of the Arts educates talented students who are considering careers in the arts by providing art instruction and academic programs to prepare students for post-secondary education and professional careers. In 1974, the District renamed the Calvert Street Bridge, originally built in 1935, as the Duke Ellington Bridge. Another school is P.S. 004 Duke Ellington in New York.

In 1989, a bronze plaque was attached to the newly named Duke Ellington Building at 2121 Ward Place NW. In 2012, the new owner of the building commissioned a mural by Aniekan Udofia that appears above the lettering "Duke Ellington". In 2010 the triangular park, across the street from Duke Ellington's birth site, at the intersection of New Hampshire and M Streets NW, was named the Duke Ellington Park.

Ellington's residence at 2728 Sherman Avenue NW, during the years 1919–1922, is marked by a bronze plaque.

On February 24, 2009, the United States Mint issued a coin with Duke Ellington on it, making him the first African American to appear by himself on a circulating U.S. coin. Ellington appears on the reverse (tails) side of the District of Columbia quarter. The coin is part of the U.S. Mint's program honoring the District and the U.S. territories and celebrates Ellington's birthplace in the District of Columbia. Ellington is depicted on the quarter seated at a piano, sheet music in hand, along with the inscription "Justice for All", which is the District's motto.

In 1986, a United States commemorative stamp was issued featuring Ellington's likeness.

Ellington lived out his final years in Manhattan, in a townhouse at 333 Riverside Drive near West 106th Street. His sister Ruth, who managed his publishing company, also lived there, and his son Mercer lived next door. After his death, West 106th Street was officially renamed Duke Ellington Boulevard.

A large memorial to Ellington, created by sculptor Robert Graham, was dedicated in 1997 in New York's Central Park, near Fifth Avenue and 110th Street, an intersection named Duke Ellington Circle.

A statue of Ellington at a piano is featured at the entrance to UCLA's Schoenberg Hall. According to UCLA magazine:

The Essentially Ellington High School Jazz Band Competition and Festival is a nationally renowned annual competition for prestigious high school bands. Started in 1996 at Jazz at Lincoln Center, the festival is named after Ellington because of the significant focus that the festival places on his works.

Tributes
After Duke died, his son Mercer took over leadership of the orchestra, continuing until he died in 1996. Like the Count Basie Orchestra, this "ghost band" continued to release albums for many years. Digital Duke, credited to The Duke Ellington Orchestra, won the 1988 Grammy Award for Best Large Jazz Ensemble Album. Mercer Ellington had been handling all administrative aspects of his father's business for several decades. Mercer's children continue a connection with their grandfather's work.

Gunther Schuller wrote in 1989:

Ellington composed incessantly to the very last days of his life. Music was indeed his mistress; it was his total life and his commitment to it was incomparable and unalterable. In jazz he was a giant among giants. And in twentieth century music, he may yet one day be recognized as one of the half-dozen greatest masters of our time.

Martin Williams said: "Duke Ellington lived long enough to hear himself named among our best composers. And since his death in 1974, it has become not at all uncommon to see him named, along with Charles Ives, as the greatest composer we have produced, regardless of category."

In the opinion of Bob Blumenthal of The Boston Globe in 1999: "[i]n the century since his birth, there has been no greater composer, American or otherwise, than Edward Kennedy Ellington."

In 2002, scholar Molefi Kete Asante listed Duke Ellington on his list of 100 Greatest African Americans.

His compositions have been revisited by artists and musicians worldwide as sources of inspiration and a bedrock of their performing careers:
 Dave Brubeck dedicated "The Duke" (1954) to Ellington and it became a standard covered by others, including Miles Davis on his Miles Ahead, 1957. The album The Real Ambassadors has a vocal version of this piece, "You Swing Baby (The Duke)", with lyrics by Iola Brubeck, Dave Brubeck's wife. It is performed as a duet between Louis Armstrong and Carmen McRae. It is also dedicated to Duke Ellington.
 Miles Davis created his half-hour dirge "He Loved Him Madly" (on Get Up with It) as a tribute to Ellington one month after his death.
 Charles Mingus, who had been fired by Ellington decades earlier, wrote the elegy "Duke Ellington's Sound Of Love" in 1974, a few months after Ellington's death.
 Stevie Wonder wrote the song "Sir Duke" as a tribute to Ellington, which appeared on his album Songs in the Key of Life released in 1976.

There are hundreds of albums dedicated to the music of Duke Ellington and Billy Strayhorn by artists famous and obscure. Sophisticated Ladies, an award-winning 1981 musical revue, incorporated many tunes from Ellington's repertoire. A second Broadway musical interpolating Ellington's music, Play On!, debuted in 1997.

Discography

Awards and honors
 1960, Hollywood Walk of Fame, contribution to recording industry
 1964, Honorary Doctorate of Humanities from Milton College
 1966, Grammy Lifetime Achievement Award.
 1969, the Presidential Medal of Freedom, the highest civilian award in the US
 1971, an Honorary PhD from the Berklee College of Music
 1973, the Legion of Honour by France, its highest civilian honor.
 1999, posthumous Special Pulitzer Prize for his lifetime contributions to music and culture

Grammy Awards
Ellington earned 14 Grammy awards from 1959 to 2000 (three of which were posthumous) and a total of 24 nominations

Grammy Hall of Fame
Recordings of Duke Ellington were inducted into the Grammy Hall of Fame, a special Grammy award established in 1973 to honor recordings at least 25 years old that have qualitative or historical significance.

Honors and inductions

See also
 List of people with synesthesia

References

Bibliography

.

  Covers all of Duke's travels and films from the 1929 short film Black and Tan onwards.

Further reading

 . Especially pp. 318–357.
 . Esp. pp. 46–157.

External links

 Duke Ellington in Grove Music Online (by subscription)
 Duke Ellington Oral History collection at Oral History of American Music
 Duke Ellington Legacy Big Band & Duke Ellington Legacy Band – official website of the family organization Duke Ellington Legacy

 Art Pilkington collection relating to Duke Ellington, 1919–1974 at the Library of Congress
 Duke Ellington and Billy Strayhorn: Jazz Composers – April–June 2009 exhibition at NMAH
 Duke Ellington: 20th International Conference, London, May 2008

 FBI file on Edward Kennedy Duke Ellington
 Duke Ellington recordings at the Discography of American Historical Recordings.
 His life is retold in the radio drama "Echos of Harlem ", a presentation from Destination Freedom

1899 births
1974 deaths
20th-century American composers
20th-century American conductors (music)
20th-century American male musicians
20th-century jazz composers
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redpajama_set_name: RedPajamaWikipedia


Thread: What Will Donovan McNabb's Legacy Be?
I think even with a ring he isn't a HOFer...It's so hard, in the current state of anything, to think ahead and look back. Say 2025 comes around...will there be an argument...Who deserves to be a Hall of Famer more...Donovan McNabb, or Mark Brunell...easy answer, right? OBVIOUSLY MCNABB!!! Well, not really as of today. I know McNabb will tally more yards before his career is over, but as of right now, their stats are very very similar. So yes, he's had a good career, but unless he gets a ring, and tallies a couple more 3,000 yard seasons, I don't see it happening.
Look at the number of playoff wins v. Brady, Manning. Obviously those two have rings but the number of all three will surprise you. Look at Brunell's record as a starter v. McNabb's as well as Pro Bowls. Then again, compare to Manning and Brady. I also don't remember Brunell ever finishing 2nd in MVP voting. He's barely above .500 as a starter. Finally, look at who are the winningest QB's since McNabb's been in the league. The winning percentages and names of those in the top 3 will surprise you. And I'm sure I don't need to throw in the td-int ratio all time.
If none of the aforementioned came as a surprise to you, then I don't know how you could say their stats are very very similar. Unless of course you are only looking at passing yards because McNabb has a whole season's worth of TD's more than Brunell, and, you guessed it, fewer career picks.
Last edited by HiloVulcan; 07-13-2010 at 04:48 AM.
I'm not saying McNabb's not better than Brunell...I'm just trying to look into the future, because some players seem invincible and **** now, but in the history of the game, maybe they aren't in that top tier, which would be the Hall of Fame. Also, keep in mind, Brunell was on a Jacksonville team that was a franchise...should be a credit to him that they ever got to the playoffs. He had 10 career playoff games, McNabb has 16...so that makes him a Hall of Famer? Brunell was .500 as a playoff starter, McNabb's a game over at 9-7. Listen, I'm not arguing the fact that McNabb is better...it's a fact. I'm just saying, when you look back in 15-20 years, when there are 30 more quarterbacks with the same if not better stats, is he a Hall of Famer or just a really good player?
I think the true test is asking yourself, "would he have been dominant in any era?". I think with McNabb the answer to that question is yes. Along with Brady and Manning. In fact, a younger McNabb would've ripped up those slower secondaries of yesteryear. If you really think about it, McNabb was what people thought Vick would become - the perfect blend of mobility against the rush, threat to run and pocket passing ability. His rushing yardage is among the highest in NFL history at the QB position, and his passing statistics are also in the upper tier. I still remember the 00-01 season before they drafted Westbrook. He accounted for 70% of that year's offense. That was the year he finished 2nd in MVP voting to Faulk in his first year as a starter. I'm not so sure there's ever been a QB who's done more with less throughout his career.
If I were McNabb, I would take any mention of Brunell's name and mine in the same sentence as an insult.
Can't just be a stats monkey. Schaub just passed for 4,700 yards, and no one can tell me they think this guy is dominant and can take over games. You're going to get inflated numbers with the rule changes, and changes in offensive philosophy. It becomes more important to look at the complete picture at that point.
Last edited by HiloVulcan; 07-13-2010 at 04:23 PM.
Funny thing is that I'm not a stats guy all that much really haha. I think McNabb was very good. He was groomed to be that way. The high school he went to is an athletic POWERHOUSE (as much as I hate them), and he proved himself. I'm just trying to make a point that I'm not quite sure if he DOES stand out enough, as far as the big picture goes. As far as cultural impact, is it bigger than Cunningham even though Cunningham did it first in a way? And I agree with the Vick thing, although, well, Vick gets his own category. And I will say, playing as Vick in Madden was one of the most fun times of my life haha. As of now I don't feel he's a HOF...next few years will be deciding factor in my opinion.
HOFer but enshrinement will take a few years.


text:
Вильгельм VIII Палеолог (;  — ) — маркиз Монферратский с 1464 года.

Происхождение
Третий сын маркиза Джованни Джакомо, унаследовавший владения после смерти своего старшего брата Джованни IV.

Биография
Вильгельм был кондотьером на службе у миланского сеньора Франческо I Сфорца, а позже наставником его младшего сына Галеаццо Марии Сфорца. Когда последний был убит (в 1476 г.), Вильгельм стал модератором Миланского герцогства при регентше Бонне Савойской.

От императора Фридриха III он получил назад территории, уступленные его отцом Савойе в 1435 году.

Семья
Вильгельм женился трижды, но не имел законного сына. Свою дочь Джованну он выдал замуж за Лудовико II Салуццкого.

После его смерти в Казале-Монферрато, ему наследовал его брат Бонифаче III.

Маркграфы Монферрата
Палеологи
Правители Европы XV века
Кондотьеры


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text:
← Out of the medieval darkness: The REAL story of medieval theology
How theology became the Queen of the Sciences (and how Aristotle helped us see that "all truth is God's truth") →
Thinking God's thoughts after him: the rise of the medieval scholastics
Posted on September 4, 2013 | 1 Comment
Scholasticism (Photo credit: Wikipedia)
I've been posting bits of my forthcoming Getting Medieval with C S Lewis as they get written. Today I launch into a three-part section of the chapter on the medieval passion for theology. This whole section deals with the peak movement in medieval theology: scholasticism.
Scholasticism is a much-misunderstood movement still covered with the mud of Enlightenment disdain ("All they did was sit around debating the number of angels that could dance on the head of a pin"). But its actual goals, development, and achievements lead us to some surprisingly modern applications. These take-aways for today have to do with the ways scholastic thinkers managed to hold together (not without tension and controversy) faith & reason, love & logic, religion & science, and Word and world, which will be the subject of the section following these three. As usual, all of this is still in draft stage, so you'll see the sawdust and rough edges of the workshop.
So, on to part I of what my friend Bruce Hindmarsh likes to call the "potted history" of this fascinating movement in medieval Christian thought:
Definition, significance, and brief potted history of scholasticism
Although many areas and movements in medieval thought are worthy of study, this chapter will focus on scholasticism.
"Scholasticism" just means "theology done in the schools." The schools in question were "the monastic and cathedral schools of the eleventh and twelfth centuries—Bec, Laon, Chartres, Saint Victor, Notre Dame de Paris—and the universities of the thirteenth and fourteenth centuries—Paris and Oxford and the long line of their younger sisters."[1] Essentially, medieval scholasticism was the birthplace of systematic theology: the attempt to apply logical categories and modes of argumentation – especially Aristotelian dialectics – to the materials of Scripture and Christian tradition.
One of the remarkable things about scholasticism was the way it wove reason and tradition together. Though the 12th-century renaissance did amount to an awakening on "the positive value of human logic and the autonomy of the human mind," it was based as well on the value of authority. We would do well to imitate the scholastics in this, for among those later Western thinkers who Fairweather says used the forms of thought, asked the questions, and raised the solutions of the scholastics are Luther, Calvin, Descartes, Spinoza, Leibniz, and Kant. He concludes, "The great teachers of medieval scholasticism are among the most significant intellectual ancestors of the modern West, and their theological and philosophical ideas have played a large part in the doctrinal formation of every Christian communion which stems from Western Europe."[2]
Potted history (part I)
Without getting bogged down in the details, it is important to get a sense of how this hugely influential movement happened.
If we go right back to the beginning, we find in pre-Christian Greece and Rome a classical system of thought that sought, through the exercise of reason on philosophical principles and through the use of dialectic, the answers to why we're here on earth and all of those important life questions. Once those answers were firmly found in Christ, there was a period of a few centuries represented by Clement of Alexandria, Justin Martyr, and other Christian philosophers of appreciating and syncretizing – not in a negative way – that classical knowledge and that classical quest with the new Christian information from the Judeo-Christian scriptures.
The next milestone is Augustine of Hippo. In one sense, all of medieval theology, including scholasticism, was a series of footnotes on Augustine. The great North African, building on earlier apologists and theologians who had absorbed classical learning to the Christian framework (a move Wilken calls "the Christianization of Hellenism"), insisted that knowledge begins with faith and faith provides a foundation for knowledge.
But it was many centuries after Augustine before scholasticism finally began to develop as a systematic, rational approach to faith. It arose in the context of what has been called the 'making of Europe.' Essentially, after classical society dissolved following the fall of Rome (which Augustine lived to see coming—and he wrote The City of God to address it), there came a rebuilding. At first, in the early Middle Ages (500 – 1000; still sometimes called the "Dark Ages"), this rebuilding was slow and piecemeal, as the patchwork social order of the feudal age took shape. However, by the 12th century Europe had become an organized international community, bound together by a common allegiance to the Roman Catholic Church.
The stability provided to all of European culture by that overarching church was the missing piece. Back in the 4th century, the reign of Christian-friendly Emperor Constantine had given peace and social stability to Christians to do their theology in the context of the early councils. Here, at the height of the middle ages, we see a similar dynamic, this time under the stabilizing protection of the papacy, allowing a flowering not just of theology, but of all forms of learning.[3]
The next milestone toward a full-blown scholasticism was when the Holy Roman Emperor Charlemagne, the 9th century, insisted that cathedrals (major churches in cities—the "seats" of bishops) should run schools for the clergy that taught the liberal arts, Scripture, and the writings of the church fathers in a systematic way. As urban centers continued to grow through the 10th and 11th centuries, especially in France, so did the cathedral schools. As these urban centers expanded their citizens' intellectual interests and social needs, the cathedral schools focused more and more on the liberal arts, differentiating themselves increasingly from the old monastic schools.
The next milestone—what may be considered the "birth moment" of scholasticism, in fact—was what has been called the 12th-century renaissance, when a whole new intellectual atmosphere developed, largely in the cathedral and monastic schools that were to become the first universities of Europe. In the late 11th century, a critical mass of both cathedral and monastic schools began to develop, and more and more brilliant and ambitious young men flocked to them from all over Europe, studying together in their common language, Latin. This laid the groundwork for the 12th-century evolution of some of the cathedral school into the university. This was the precocious educational child of the church that, many centuries hence, would begin to eat its parents—but nobody knew that yet.
At this stage, the university was compelled by the powerful impulse we have been describing: to dutifully exercise the power of reason, which is a gift of a good God, to explore God's creation in ways that delight and illuminate the mind, feed the spirit, and increasingly, benefit humanity in more tangible ways, as science began to birth technological advances.[4]
The new interest in the scientific exploration of the universe arose in Europe especially as Aristotle's lost scientific works were rediscovered in the West in Arabic translations (with whom Europeans came into contact through commerce and urbanization) and in Greek works from the East. In the Greek philosophers, particularly the scientific and metaphysical works of Aristotle, Christian thought was confronted with a new and comprehensive philosophical and scientific worldview. As a result, the developing universities worked with a wider range of knowledge than the earlier monastic and cathedral schools.
The stage was set for the full flourishing of the scholastics, who as we'll see appropriated the methods and modes of discourse of the sciences for their own theological purposes.
Among key early scholastics were the following:
–Anselm of Canterbury (1033-1109), who wrote subtle rational treatises on the existence of God and the nature of the atonement of Christ, as well as a set of impassioned devotional poems and prayers—on which, more in the "affective devotion" chapter;
–Peter Abelard (1079-1142, who proved the need for "dialectics" (logic) in theology by pulling together contradicting statements from many church fathers into one book, Sic et Non, while he wasn't penning impassioned love letters to his sweetheart, the cloistered Heloise, or writing woeful memoirs bemoaning his unluckiness in love; and
–Peter Lombard (1095-1152), who created the first textbook of systematic theology, the Sentences, and taught in that book both that when the believer loves, he or she is by that love actually taken up into the life of the Trinity—a novel teaching that never caught on, and that marriage was consensual and did not need to be consummated to be considered perfect—a novel teaching that later won the day.
(If you see a bit of a theme here related to logic and love, then I begin to make my point about that particular area of balance in medieval theology.)
A word more on Lombard's Sentences: it was the theology textbook that everyone in medieval Western Europe used—and that every significant theologian eventual wrote a commentary on. It was also the first book (really four books) arranged in the now-familiar topical pattern of systematic theologies, with each topic and subtopic supported with quotations from the church fathers.[5]
In pioneering scholastics like Abelard and Anselm, we begin to see a concern to adapt to the study of the things of God the techniques of reasoned debate used in the contemporary "liberal arts" departments of the schools. Increasingly in the 12th c., the masters of the schools organized theology into a science with its own rules, according to criteria stemming from the rational nature of their subject matter, not "the needs . . . of pastoral responsibility or of subjective, pious intentions."[6]
The continued monastic stream
Before we continue, it is important to note that not every theological thinker was so taken by this new "scientific" approach. Scholastic theology was not the only game in the Middle Ages: Benedictine monasticism, born in the 7th century and harnessed to the educational task under Charlemagne in the 9th, created not only some of the root conditions for scholasticism, as we've seen, but also a continuing parallel stream of Christian thought throughout the scholastic period—a stream sometimes in significant tension with scholasticism, as we'll see. Inasmuch as Benedictine monasticism was an intellectual movement – and it was really not a movement primarily for learning, at least not for secular learning – it was a movement for attending to, listening to, hearing God in a way that we might call spiritual theology.
So when Abelard pushed the claims of dialectic within theology, Cistercian monk Bernard of Clairvaux, himself a great intellect and quite capable of slinging syllogisms with the best of them, objected that the hot-headed young scholastic was endangering the piety of the church, and he pursued him relentlessly through the political machinery of the church hierarchy.
Undeterred, the masters of theology in the schools continued to be so impressed by the categories of rational analysis used to understand natural phenomena that they imported these categories into doctrine and theology. Thus, you could actually find in theological works of the time the title "On Transferring Terms from the Study of Nature to Theology." Much of this effect of science on theology had to do with the rediscovery of Aristotle's works.
[1] [Fairweather, A Scholastic Miscellany, 18]
[2] (Fairweather, 17)
[3] [For more on how Western civilization developed under the auspices of the church during the Middle Ages, see Christopher Dawson's Religion and the Rise of Western Culture.]
[4] (Stark, Hannam, Lindberg)
[5] K S Latourette: "The first treated of God, His nature, the Trinity, the attributes of God, and predestination. The second was devoted to God's creation, including angels, but principally, man, sin, free-will, and the need of redemption. The third dealt mainly with the work of redemption through Christ. The fruits of the Spirit were covered, and the seven cardinal virtues. The fourth book was chiefly concerned with the sacraments and eschatology." History of Christianity, 506.
[6] (Chenu, ##?)
The evangelical abdication of Truth; or, Two out of three is really, really bad (gratefultothedead.wordpress.com)
We must not abdicate the theological task – a word from C S Lewis and the medievals (gratefultothedead.wordpress.com)
Out of the medieval darkness: The REAL story of medieval theology (gratefultothedead.wordpress.com)
This entry was posted in Medieval Wisdom for Modern Protestants and tagged Anselm of Canterbury, Aristotle, Augustine, Charlemagne, faith and reason, Middle Ages, Peter Abelard, Peter Lombard, reason, scholasticism, the university, Theology, Thomas Aquinas, universities. Bookmark the permalink.
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