text:
Family : Solanaceae
Text © Prof. Giorgio Venturini
Solanum lycopersicum flower are bisexuate, actinomorphic, yellow and form in variable number, 3 to 20, on inflorescences usually produced at the leaves axil © Giuseppe Mazza
The tomato is the edible fruit-berry of the Solanum lycopersicum, South American native solanacea, nowadays cultivated, in countless varieties almost all over the world.
The alimentary use of the tomato, raw or prepared in several ways has rendered it a symbol of the Mediterranean feeding.
In almost all the languages are utilized names such as tomato-tomate coming from the Aztec term tomatl. Actually, the term tomatl referred to the tomatillo, a Physalis similar to the bladder cherry, and when the Aztecs began to cultivate the tomato coming from the Andes, bigger and redder, did call it xitomatl. The Spaniards exported in Europe the xitomatl calling it tomate.
The term pomodoro, that refers to the golden look of the fruit, was born in Italy and has been imported in few other languages, such as the Polish.
The scientific name Solanum comes from the Latin "solamen" = consolation, solace, because of the medicinal and sedative properties of some species of this genus; lycopersicum from the Greek λυκος (lycos) = wolf and "persicon" from the Latin term "persica malus" = apple from Persia, that indicated the fruit of the peach tree, therefore wolves' peach, in reference to the toxic properties that in the past were attributed to the tomato, actually present only in the green parts of the plant.
Due to the existence of many varieties the botanical description is necessarily generic.
The tomato is an herbaceous plant, usually annual, 50 cm to 2 metres tall, initially erect but tending to become procumbent especially because of the weight of the fruits.
The stem and the leaves are pubescent due to the presence of glandular hairs and are characterized by a characteristic pleasant smell.
The leaves are large (10-25 cm), formed by unequal leaflets with more or less engraved margin.
In some varieties the stem has indeterminate development, producing for the whole life a growing apical meristem, with production of new leaves and inflorescences. In other varieties, the apical bud transforms in inflorescence and the plant gets bushy look and contained size. The indeterminate development varieties in the tropical climates may be perennial, whilst in the temperate ones they die annually. The determinate development varieties are always annual. The root is tapering and ramifies producing a dense rooting apparatus.
The anthers are merged to form a columnar sleeve surrounding the pistil © Giuseppe Mazza
The flowers are bi-sexuate, actinomorphic, yellow and form in a number varying from 3 to 20 on inflorescences usually produced at the axil of the leaves. The size of the flower is of 1-2 cm. The corolla is formed by pointed petals. The anthers are merged to form a columnar sleeve surrounding the pistil. The ovary is free from the receptacle, plurilocular and pluriovular.
In the cultivated varieties the flowers are usually self-pollinating, with the pollen transferring from the anthers to the stigma of the same flower. The crossed pollination takes place only occasionally. When this happens, the pollinator is an insect, usually a bumblebee.
The fruit is a berry of variable shape and size depending on the variety and of the cultivation conditions, of red colour when ripe due to the presence of carotenoid pigments.
Inside the fruit a series of cells, different in number depending on the varieties, contains numerous discoidal seeds.
The denomination Solanum lycopersicum was attributed by Linnaeus (1753), later on Miller proposed another genus, different from Solanum, classifying the plant as Lycopersicon esculentum, name that was then accepted for long time, as an alternative to Lycopersicon lycopersicum.
More recently, the studies of genetics have led to insert again the tomato in the genus Solanum, restoring the name of Solanum lycopersicum nowadays generally accepted even if not unanimously.
To the genus Solanum, group lycopersicum are presently ascribed other 12 species of wild tomatoes, some of them completely intercrossable with the tomato.
It is thought that the cultivation of the tomato has developped in South America, between Peru and Ecuador. Rightly in these areas still now grow the wild species that are deemed having originated the cultivated tomato, in particular the Solanum pimpinellifolium.
In the cultivated varieties the flowers are usually sefpollinating, with the pollen moving from the anthers to the stigma of same flower. Crossed pollination is a quite rare fact. When it occurs the pollinator is an insect, often a bumblebee, at times introduced in the greenhouses to increase production © Le Tomatologue
The Mesoamerican populations consumed the tomato, in a variety characterized by small fruits, since remote times: already around the 500 BC it was cultivated in Mexico and nearby regions. Besides the food use, it was thought that the ingestion of the seeds would help the divinatory powers. The modern varieties of the tomato come probably from the original forms after mutations and selections.
Pinnatisect leaves. The fruit is a variable in shape and size berry depending on variety and culture conditions, naturally red when ripe due to the presence of carotenoid pigments © Giuseppe Mazza
The tomato sauce was part of the Aztec cuisine.
The Spanish conquistadores accompanying Cortés did observe that the Aztecs ate a fruit they called xitomatl and the Franciscan Bernardino Sahagun wrote that the Aztecs mixed tomatoes and chili for preparing a sauce.
It seems that the introduction of the tomato in Spain is to be attributed to Hernan Cortés after the conquest of Tenochtitlan (Mexico City) even if some historicians suggest that already Christopher Columbus might have carried some specimens since 1493.
The tomato arrived first on Seville and from there reached Italy.
The first botanical description of the tomato is due to Mattioli, in a herbarium dated 1544, who describes it as a new variety of the eggplant introduced in Italy, christening later on as "mala aurea: pomo d'oro" and classifying it amongst the poisonous species, though referring news of its alimentary use, fried in oil.
In 1554, a Dutch herbalist, Dodoens, made a detailed description of it and the fruit earned the reputation of aphrodisiac. This reputation explains the terms "pomme d'amour" in French and "love apple" in English with wich the tomato is defined.
Actually, by mid '500, the tomato was consumed cooked, but, more often, only as ornament for the table. In fact, the taste of the tomato initially rejected many people and in a French text of '600 it is written that this plant was better than the taste and smell and that, if eaten, caused nausea and vomiting.
There are almost 15.000 varieties. Here some dissected fruits showing the biodiversity created by man © Le Tomatologue
The diffusion of the cultivation of the tomato is due to the Spaniards who, besides exporting it in the various American colonies, cultivated it in the Philippines, whence the cultivation diffused in most of Asia. The same Spaniards did carry the tomato in Italy where, in Naples, it is included in a recipe book dated 1692. However, since 1548 they narrate of tomatoes given as ornamental fruits by Cosimo de' Medici. The fact that the fruit grew almost resting on the ground, along with the bad taste of some varieties and the toxicity of the green parts of the plant, discouraged for a long time the alimentary use in Europe.
High calibre variety. Some like African Breed may exceed the kilogram © Le Tomatologue
The value of the tomato and of other plants of the New World as curiosity is demonstrated by the Arcimboldo's work that in the portrait of the Emperor Rudolph II, painted around the 1590, he inserts two cherry tomatoes, corn cobs and chilies.
In northern Europe, the cultivation of the tomato is documented by the end of the '500 in England, where however it was considered as not edible and poisonous. After the middle of the '700, anyway, the alimentary use had diffused also in England and in its American colonies.
In USA and in general in the Americas, from where it came, the affirmation of the tomato as edible vegetable found on the contrary many difficulties for the widespread popular belief of its toxic powers. An important incentive to the alimentary use came from Thomas Jefferson who had appreciated them during his stays in France.
In order to advertise the use of the tomato and to show the absence of toxicity, in 1820 the American colonel Robert Gibbon Johnson publicly ate a tomato in front of an incredulous crowd. It is said also that they have tried to poison Lincoln administering him some tomatoes. The president did not die poisoned and, conversely, became a tomatoes consumer.
Small and medium calibre varieties stock © Le Tomatologue
The Europeans have afterwards introduced the tomato in the Middle East and in North Africa, where has become essential part of the almentation.
The tomato in the cooking recipes
Black Cherry: bunches with 10-12 very sweet 20-25 g fruits © Le Tomatologue
Castore Durante in his "Herbario novo" (1585) writes that "The tomatoes are eaten in the same way as the eggplants, with pepper, salt and oil, but give little and bad nourishment."
It's starting from the 18th century that the tomato is gradually utilized as cuisine ingredient. The oldest Neapolitan recipe that we know is the " Spanish style tomato sauce" and dates back to 1692.
In 1839, the Neapolitan don Ippolito Cavalcanti, duke of Buonvicino, in his "Home cooking with the Neapolitan language", in the appendix to the "Theoretical practical cuisine", gives the recipe for his "Sauce of ripe tomatoes" to be used to flavour the vermicelli but also other foods.
"Buy four "rotoli" of tomatoes, cut them, take off the seeds and that water…" after having cooked and sieved "consume it on the fire putting there a third of flare fat, when the sauce has well consumed cook twelve "rotoli" of green vermicelli, and well drained mix them into that sauce" seasoned with salt and pepper are then sautéed on the fire to absorb well the sauce. It is suggested also to put the sauce also "on the meat, on the chicken, on the fish, on the eggs". One "rotolo" (divided in 1000 "trappesi") was a unit current in the Kingdom of Naples and did correspond to about 891 grams.
Green Zebra: 5-7 60-120 g and 5-7 cm fruits bunches. Firm not sour pulp © Le Tomatologue
In the XIX century the tomato appears in the important gastronomical works, like in the "Cuoco galante" written by the Neapolitan cook of the court Vincenzo Corrado where it describes many recipes based on tomatoes "To serve them they must be first rolled on the embers or, briefly, place them in the boiling water to take off the skin. Take off the seeds or by dividing in half or by making a hole" .
In the same time appear news of pasta with tomato and pizza with tomato. The classical recipe of the macaroni with tomato and Parmesan is documented much more recently and in 1913 the agronomist Antonio Bizozzero writes: "be sure that the macaroni with tomato, with relevant seasoning of pure cream butter and very old Parmesan cheese, will become world institutions". During the second half of the '800 an enquiry informs that the consumption of tomato is very diffused in southern Italy and in particular in the Naples region, where it is the most utilized favouring form the macaroni and with them the most common aliment. The caloric intake of the tomato is almost insignificant and it is the only great use culture in the world that has no precise dietary rôle. To its success contributed the easy storability of its derivatives.
The conservation of the tomato
Peppermint, with 250-350 g fruits. It's an old variety turning yellow native to Tennessee © Le Tomatologue
The industry of the tomato conservation was born in Italy where it has had later on a remarkable success. Until the mid '800 in Emilia the countrymen produced the "loaves of pulp of tomato", that were then dried in the sun for the conservation. At the initiative mainly of an agronomy professor of Parma, Carlo Rognoni, was founded in 1874 a company of farmers for the preparation of the tomato preserves.
Faworit: medium size variety of Polish origin. Firm pulp. Ideal for stuffing © Le Tomatologue
In 1896 in Parma were active 11 producers of tomato preserve, an industry that gave Italy a leading position in Europe.
At the same time, first in Piemonte and then in Naples, Francesco Cirio will enter the production of tomato preserves, specializing later on in the production of peeled tomatoes, produced starting from the typical Campanian tomato, the San Marzano.
The production of the tomato
Presently the main producers of tomatoes in the world are China and India, Italy being the first European producer.
The total annual production is of more than 150 million of tons, in some thousands of different varieties.
Some varieties produce small sized fruits, less than one centimetre, whilst other ones produce fruits much more over the 10 centimetre with a record of weight over the 3 kg; the colour varies from red to yellow to purple up almost to blue almost black due to the presence of anthocyanins. Despite being the Italian tomatoes among the best in terms of taste and scent, the organoleptic qualities of the tomatoes currently on the market are much lower than those present in a recent past.
Nelson's Golden Giant: showy pulpy 180-500 g fruit © Le Tomatologue
This decline in quality is the result of crossings and selections, begun during the first mid of the '900, tending to produce tomatoes ripening uniformely producing fruit of homogenous red colour.
This characteristic, nowadays introduced in most of the commercial varieties, is due to the inactivation of a gene that is involved in the production of sugars and flavours: in this way they have obtained tomatoes with appealing appearance but poor of taste.
In Italy, the tomato is cultivated in all regions, being Sicily and Calabria the main producers.
Usually, the tomato is sown in seedbeds and later on transferred in the ground, even if in the industrial cultivations they prefer the direct seeding in the field. It loves averagely sunny soils and requires a moderate irrigation.
In the cultivation in full field it is practiced the alternation with other cultures, not solanaceans, in order to avoid an excessive growth of specific parasites. Some varieties, especially those for the fresh consumption require the positioning of supports, reeds for instance, whilst other varieties do not require them. For some varieties is applied the "disbudding", that is the removal of the axillar gems to reduce the vegetative development and strenghten the fruit production.
Marmande de Montpellier comes from crossing Marmande Garnier, wrom which come the taste and the firmpulp, and Feuerwerk from which come the attracting tigre look. Can reach 800 g © Le Tomatologue
The harvesting is made by hand for the table varieties, picking up the fruits by the beginning of the ripening, whilst for the industry tomato the fruits are collected completely ripe, usually utilizing machines. Some industry varieties drop the ripe fruit that therefore is collected from the ground.
Adversities and parasites
Alterations may take place in the development or in the ripening due to water imbalances, such as the apical rottenness of the fruits or the splitting of them.
Among the parasites we recall fungi that attack the roots and the collar such as Fusarium oxysporum and Vertillium dahliae, Rhizoctonia solani, Botrytis cinerea and Pythium.
Other parasites attack the aerial part, such as the Late blight (Phytophtora infestans) that attacks the leaves, the stem and the fruits or the Early blight (Alternaria solani) that forms necrotic spots and lesions and chokings of the collar. We recall also the Anthracnose (Colletotrichum coccodes), the Botrytis (Botrytis cinerea). Among the animal parasites are te be recalled the larvae of the noctuids and of the elaterids besides the aphids (Myzus persicare) and the Red spider mite (Tetranychus urticae). Dangerous are also some nematodes. Among the viroses we recall the tobacco mosaic virus.
The variety Poire Jaune produces many poorly sour fruits © Giuseppe Mazza
The leaves, the stems and the green unripe fruits contain small quantities of the toxic alkaloid tomatine, besides the solanine. Though the concentrations are very low, lethal intoxications have occurred after the use of infusions of tomato leaves or of salads of green leaves.
Cases of salmonellosis have occurred due to the consumption of infected tomatoes.
In USA in 2006 have occurred 172 cases of infection attributed to the tomato and in 2008 after other cases of salmonellosis some lots of tomatoes have been confiscated.
Positive effects on health
The regular consumption of tomato has been associated to a decrease in the risk of chronic degenerative diseases and of some tumors. Since time some epidemiological studies seem to confirm these observations in particular a reduction in the risk of cancer to the prostate and suggest that the effects may be linked to the presence of various antioxidant substances such as the carotenoids, in particular the lycopene, the abscorbic acid, the vitamin E and various flavonoids.
Studies of bioavailability of the carotenoids and of the lycopene in particular, that is of the concentrations of these substances in the blood after a meal, have proved that the association of the raw tomato with a dressing made with olive oil guarantees a high input of these antooxidants.
Yellow Pears are usually excellent for sauces, preserved and stuffed © Giuseppe Mazza
These data have been considered as support to the utility of a Mediterranean diet, rich of tomato and of oil, in the prevention of various pathological states.
Another potentially important substance present in the tomato is the kaempferol, holding antioxidant and antinflammatory properties that have proved useful, at least in the laboratory animals, in various pathologies such as diabetes and asthma and in the attenuation of cancerous substances. Some students suggest that the association of this substance with the traditional chemotherapeutics is in condition of increasing the effectiveness of the therapy and reducing the side effects.
The cooking of the tomatoes and also the transformation in canned products, along with the association with olive oil, greatly increase the assimilation of the lycopene. Consequently, the use of tomato sauces or of pizza with tomato results as particularly positive.
It appears that the lycopene can act as antioxidant and as regulator of the cellular proliferation. Even if the biological effects of the lycopene can be important, it is not to be forgotten that the tomato is an excellent source of important nutrients, such as the folate, the vitamin C, carotenoids, polyphenols, all substances having potential anticancer effects, not forgetting the richness in potassium and in the vitamins A and E.
Recently, has been done an extensive review of epidemiological studies on the effects of a diet rich of tomatoes of aliments rich of lycopene that seem to confirm the absence of negative effects on the health and, conversely, the presence of a capacity of reducing the risk of prostate, lungs and stomach cancers and, even if with minor significativity, of pancreas, colon and rectum and uterus cancers. These data in any case require further confirmations, as also it is not sure that the effects are due to the lycopene or to other substances, seen that the tomato is rich of other antioxidant substances or anyway capable to reduce the levels of potentially cancerous free radicals. Although if are missing extensive epidemiological studies that may confirm definitively these data also on the man, it is considered reasonable to suggest the consumption of about one portion per day based on tomato as a general strategy to reduce the risks of prostate cancer as well as of other tumors or degenerative diseases.
The Cherry varieties are ideal for appetizers, even offhand with bread © Le Tomatologue
The tomato and the Mediterranean diet
The epidemiological studies during the second half of the twentieth centry seem to confirm that the populations living in the Mediterranean basin enjoy of a health condition characterized by reduction of the degenerative diseases in respect to other populations. The data show that the recourse to the so called "Mediterranean diet" characterized by high consumption of fibres, fish, fruits and vegetables and olive oil leads to a reduction of the risk of cancer and of cardiovascular diseases.
It is thought that this positive effect is due, at least partially, to the abundance of antioxidant substances in these aliments, in particular in the olive oil and in some vegetables among which the tomato. Another compound potentially beneficial present in the Mediterranean diet is the resveratrol, present in some aliments among which the red wine. To this substance have been attributed antitumor and antinflammatory actions.
Genetically modified tomatoes (OGM)
The first genetically modified tomato for which was authorized the human consumption in USA in 1994 was the FlavrSavr. A gene inserted in these plants interferred with the production of an enzyme, the polygalacturonase, involved in the softening of the tomato.
Healthy salad of tomato and basil in merry coloured scheme © Le Tomatologue
It was then obtained a ripe fruit that remained firm longer after the harvesting, but especially tomatoes that could ripe for long time on the plant, fully developping their taste and scent. As a matter of fact we have to remind that presently the tomatoes are collected still unripe and then ripened artificially before placing them on the market, furnishing therefore a product lacking of taste. The product did not meet the favour of the public also due to mistakes in the commercialization and was then taken off from the market in 1997. However, in England a puree of OGM tomatoes has obtained a remarkable even if transitory commercial success.
Other types of OGM tomato have been produced with the same aim (to delay the ripening of the fruit and so to have a ripe fruit remaining firm longer after collection), as well as a tomato resistant to the insects attack. But also these ones have not met a commercial success.
More recently they have produced OGM tomatoes with high nutritional value that are still in the experimental phaes, as well as tomatoes resistant to the ambiental stress. Further attempts were focused on the production of tomatoes, with better taste, obtaining a product that encountered the preference of the 60% of the persons that have tasted them, but it has come that they did contain very low quantities of lycopene.
Besides good, tomato is the base of Mediterranean diet and has sure medicinal properties due to presence of various antioxidant substances like carotenoids, lycopene in particular, ascorbic acid, vitamin E plus serveral flavonoids © Le Tomatologue
Presently in commerce there are no OGM tomatoes of any type anywhere in the world. An aspect of remarkable interest is that of the studies underway for the production of OGM tomatoes capable to synthesize various types of antibodies, such as, for instance, those against the hepatitis B, the anthrax, the rabies, the poliomyelitis or the SARS (Severe acute respiratory syndrome). These tomatoes might represent a very important source of antibodies to utilize in medicine or in veterinary.
We have also to make present that the genetic manipulation of the tomato is amply utilized as instrument for the study of the genetic mechanisms of base and of the vegetal physiology.
Tomato genome sequencing
In 2012 they have sequenced the complete genome of one of the varieties of tomato. It is possible that this acquisition will be able to help in an important way to the research on this species.
Synonyms: Solanum lycopersicum var. Lycopersicum ; Solanum pomiferum Cav. (1802).
→ To appreciate the biodiversity within the SOLANACEAE family please click here.
Solanum lycopersicum was last modified: February 21st, 2018 by Giuseppe Mazza


text:
Lyca Productions strikes back at Kamal Haasan for the safety mishap at Indian 2 sets; Read statement
Last week, the Indian film industry witnessed a tragic accident on the sets of Kamal Haasan starrer Indian 2. After a crane crashed during the shooting of the upcoming movie, three crew members lost their lives and the entire Tamil film industry went into shock for the lack of safety measures which resulted in the unfortunate incident.
A few days after the accident, lead actor of the movie, Kamal Haasan, issued a public statement addressing the production house, Lyca Productions, and questioned them about the steps taken to ensure the safety of the crew members. In the letter, the actor also asked the production house if the crew members were covered with accidental insurance or not. Responding to Kamal Haasan's letter, Neelkant Narayanpur, director of Lyca Productions, issued a public statement regarding the incident.
In the statement, Lyca Productions has mentioned that they did the needful for the safety of the crew members and the entire production of the actioner along with insurance policies with nationalised insurance companies in place. The statement further read that the production house announced financial assistance to the families of the deceased and to those who suffered injuries during the crane crash. The public statement issued by Lyca Productions also added, "incidents of this nature need to be dealt with in the spirit of collective responsibility and rectification." questioning Kamal Haasan for his letter.
A post shared by Lyca Productions (@lyca_productions) on Feb 26, 2020 at 9:05am PST
Talking about Indian 2, the movie is a long-awaited sequel to the Kamal Haasan starrer Indian. Kamal Haasan will be reprising his character from the first instalment while Kajal Agarwal, Rakul Preet, and Priya Bhavani play significant characters in the S. Shankar directorial.
Kamal Haasan
Lyca Productions
Previous articleTeaser of Salman Khan starrer Radhe to be released on THIS date, find out
Next articleSalman Khan to shoot with 500 auto-rickshaws for Radhe? Find out

redpajama_set_name: RedPajamaCommonCrawl


Flexibility, speed, modularity. And a glimpse into the future. TGW FlashPick® is the Smart Piece Picking System which meets tomorrow's needs already today. A lot of things change, but one thing always needs to stay the same: our customers' success. FlashPick® contributes to that.
You touch the display once with your fingertip and the book in the virtual shopping cart is already being sent to you. Social Media suggests buying an article of clothing, and two clicks later you've ordered it. If it doesn't fit, you simply send it back. Also companies order their replenishment of tools or office supplies via tablet or smart phone. Our society and its buying behaviour can no longer be compared to that of some years ago – both B2B and B2C. We are buying things in a faster and more flexible way from anywhere, and want to hold our goods in our hands in perfect condition, and at best on the very same day. "We want everything fast and flexible – and we, the material handling experts, need to provide solutions for this. The demand is to know already today what we need tomorrow," knows Christoph Wolkerstorfer, Managing Director of TGW Logistics Group.
In different industries, TGW is already implementing several installations with the FlashPick® system, the solution for automated split case picking. The modular system stands out due to its flexibility and speed, and not only allows for shorter lead times, but also for combining different distribution channels, order structures and fast article and assortment changes by lowest labour costs. "The TGW FlashPick® is a standardised, but at the same time, flexible and modular high-performance picking system. The benefits have been and are immediately visible and convincing for our customers in all projects for which we have offered and implemented this system! " explains Christoph Wolkerstorfer.
Focusing on the discrete handling of single orders is the FlashPick® system's primary secret of success. All strategies and processes have been designed to process incoming orders within the shortest possible time.
The FlashPick® system is characterised by low operating costs and will amortise very quickly –depending on the local labour costs even in less than two years. Its basis is well-proven TGW modules interacting with each other at high performance. The system's profitability is consequently not only checked in terms of an investment, but also in consideration of how operating costs develop and of the overall cost for the system – the Total Cost of Ownership. Speed combined with intelligence turns the system into an unbeatable solution. It delivers balanced performance, uses resources carefully, and keeps an eye on profitability and energy efficiency.
The high-performance TGW PickCenter workstation is the core element of the FlashPick® system, enabling highest and sustainable performance thanks to optimum ergonomics and an appealing design. The flexible, intelligent KingDrive® conveyors provide high-speed transport of the goods at industry leading operational costs with low maintenance and high-energy efficient components across the installation. The goods are stored in up to 25 metre high TGW Stingray Shuttle aisles providing highest storage density. All this is coordinated by the user-friendly and reliable TGW Software Suite which controls and optimises all material flow processes. FlashPick® is a smart system innovation that allows the performance to increase in a nearly unlimited way – at any time also during live operation.
No matter how the business and the consumer behaviour of our society will change, FlashPick® will quickly and flexibly adapt to any requirement, being an ideal solution for omni-channel distribution. With the TGW FlashPick® system TGW sets new standards regarding the speed and flexibility of logistics systems. Small or large orders, express orders, fast article or assortment changes, flexibility in the layout, extension options during live operation. Our international TGW customers, well-known brands across the world, are already working with FlashPick® – whether food, apparel or general merchandising. Whatever the future may bring, "Be fast – stay flexible."


text:
Play Opening Credits
The Mod Squad was the enormously successful groundbreaking "hippie" undercover cop show that ran on ABC from September 24, 1968, until August 23, 1973. It starred Michael Cole as Pete Cochren, Peggy Lipton as Julie Barnes, Clarence Williams III as Linc Hayes, and Tige Andrews as Captain Adam Greer. The executive producers of the series were Aaron Spelling and Danny Thomas.
The iconic counter-culture police series earned six Emmy nominations, four Golden Globe nominations plus one win for Peggy Lipton, one Directors Guild of America award, and four Logies. In 1997 the episode "Mother of Sorrow" was ranked #95 on TV Guide's 100 Greatest Episodes of All Time.
Buddy Ruskin
Julie Barnes
Tige Andrews
Ross Elliott
Season 5 of The Mod Squad premiered on September 14, 1972.
Julie Barnes: Peggy Lipton R.I.P.
by clunybrown2017
Favourite character?
by genplant29
of its time
Go to Discussions
The Partridge Family 6.6
Please Don't Eat the Daisies 7.2
Rhoda 5.7
Family Affair 6.8
The Flying Nun 5.9
Baretta 7.1
The Jack Benny Program 8.3
Dragnet 6.7
namjoereh73
Cherche Moi


Front Suspension / Wheel Travel: 36mm inverted telescopic cartridge fork with 20-way compression damping/10.8 in.
Rear Suspension / Wheel Travel: Uni-Trak® single shock system with 24-way compression and 21-way rebound damping, plus adjustable spring preload/10.8 in.
Uni-Trak® single shock system with 24-way compression and 21-way rebound damping, plus adjustable spring preload/10.8 in.


text:
from __future__ import unicode_literals

from django.db import migrations, models

class Migration(migrations.Migration):

    dependencies = [
        ('courseevaluations', '0015_auto_20151214_1422'),
    ]

    operations = [
        migrations.AlterModelOptions(
            name='evaluationset',
            options={'permissions': (('can_view_status_reports', 'Can view status reports'), ('can_view_results', 'Can view results'), ('can_view_student_links', 'Can view student links'), ('can_send_emails', 'Can send e-mails'), ('can_create_evaluables', 'Can create evaluables'), ('can_unmask_comments', 'Can unmask comments')), 'ordering': ['created_at']},
        ),
    ]

redpajama_set_name: RedPajamaGithub


text:
In Artsakh, Education, History, Information, News, Scholarship
The memory of Mr. Michael Martin, the late caretaker of the Armenian Church, Dhaka now stretches further than ever before.
Today we are featuring the applicants who received the Mr. Michael Martin Scholarship to matriculate at the Artsakh State University under the Yunus Social Business Centre.
Participants who applied for the scholarship had to present a business proposal and these eight candidates now have access to an education and the resources needed to be able to pursue their small business plans and help drive the economic and social future of Artsakh.
The Armenian Bangladesh Church strives to not only give back to the community in Bangladesh, but in Artsakh and Armenia as well.
Our warmest congratulations are extended to these best winning business ideas:
Narine Krikoryan – Grigoryan's Natural Cosmetics
Artsakh Abrahamyan – Haka Group
Samuel Kirkoryan – ARTsakh's GReeN Garden
Hasmik Ardzanyan – Sand Planet Learning Center
Milena Ohanyan – Ohanyan Dairy Factory LLC
Lusine Vanyan – Languages Learning Platform
Margarita Afanasyan – DedoBabo
Nanar Aleksanyan – Fun Way Training + Development Center
The same scholarship opportunities were provided to a group of students at Gavar State University in Armenia earlier this year.
The Board of the Armenian Church of Holy Resurrection, Dhaka, will continued to extend assistance through the respective Mr Michael Martin Programs both here in Bangladesh and Armenia, and we are very much looking forward to new ways and opportunities of helping each community.
On December 25th 2021 the BBC published a short information film on the Armenian Church Bangladesh, it is actually mostly in English with some Bengali, please do take a look. Our warden, Armen Arslanian speaks about our historic building and his involvement in keeping the church preserved, and our Heritage Coordinator, Liz Chater, speaks about the history of the church as well as her own family ties to Dhaka.
We continue to raise awareness of our unique and special Armenian heritage and the footprint the Armenians had in Bangladesh. To watch the clip please follow either of these links.
https://www.facebook.com/BBCBengaliService/videos/305869961456366
https://www.youtube.com/watch?v=NQLbJXbrlrI
In History, Information, News
We are very excited about the latest Armenian General Benevolent Union's August 2019 magazine. The issue focuses on Armenians in Asia, including our very own Church here in Dhaka on page 20 This downloadable pdf is a must for anyone with an interest in Armenians in Asia.
Page 06 – The Asia Effect
Page 14 – All Roads Lead Back to New Julfa
Page 19 – Soft Diplomacy
Page 20 – Bangladesh: Brethren of Bangladesh
Page 24 – Hong Kong: Rise and Shine
Page 26 – South Korea: Seoul Search
Page 30 – India: The Kolkata Connection
Page 32 – Singapore: A showcase in Singapore
Page 34 – Puzzle Pieces to the Past
Page 38 – Branching Out
Page 48 – The Roots of Positive Self-Image
On the 10th January local Christians were welcomed in to the Armenian Church, Dhaka for a service conducted by visiting missionaries. Later, a celebration meal was served. It is good to see the church with so many people.
On 5th January, the Armenian Church at Dhaka had the pleasure to receive the U.S. Ambassador to Bangladesh, Mr. Earl Miller.
Welcoming Mr. Miller to the church were church staff members Md. Hasnat and Shankar Gosh. During his time here, the Ambassador toured the compound and later signed the visitor's book.
We are delighted that he was able to make time to visit us and look forward to seeing him again in the coming months.
Wishing all our followers a very happy Armenian Christmas.
Ambassador Miller signing the Church visitor book.
On 19th October 2018
Armen Arslanian hosting the first informal meeting of Armenian Heritage Project contributors in London.
In a brief visit to London on 18th October Armen Arslanian the Warden of the Armenian Church Bangladesh, held an informal coffee afternoon with some of the newly signed up contributors of the Bangladesh Armenian Heritage Project.
The aim of the project is to reach out to the Armenian Diaspora around the globe, particularly those who have family connections to India and Bangladesh.
The project is keen to reconstruct the history and family stories of this once vibrant Armenian community. Whilst in the UK, Armen was delighted to meet with those who could attend the gathering. Everyone had something to show and share; photo albums with precious images, family documents, and incredible business correspondence that shared the day-to-day trials and challenges of running enterprises in Bangladesh in the late 19th century. The informal and relaxed occasion was full of personal stories, swapping anecdotes and a passion and verve that set the room alive.
Mr Arslanian said: "We started this project 9 months ago and today has been an exceptional milestone for this ambitious venture. The Board of the Bangladesh's Armenian Church of Holy Resurrection is fully committed to bringing back to life the rich history of the once thriving community here. On behalf of the board of the church, I'd like to thank all our friends who are contributing to this project and particularly to those who attended our first meeting in London. We especially and sincerely want to thank the coordinator, without whom this project would have been unviable. Her contagious enthusiasm and resolute commitment towards the project, coupled with her family history knowledge and expertise has been invaluable."
The Bangladesh Armenian Heritage Project is still accepting contributions, and is keen to reconstruct the history and family stories of the Armenian presence in Bangladesh. The project has already received material from contributors in the USA, Canada, UK, Australia and India. If you have something you would like included, please get in touch project@armenianchurchbangladesh.com. Or any of their social media pages Facebook, Twitter and Instagram


From Route 495: Follow I-495 to exit 23B (Route 9 West). Take next exit on Route 9 to Computer/Research Drive. Take a left at the end of the ramp, go over Route 9 East/West overpass. At next set of lights take a left onto Research Drive. Go straight through next set of lights. Approximately 100 yards after the light, take a right onto Friberg Parkway. 200 Friberg Parkway is the first building on your right (brown tiled building). Partnership offices are on the first floor, Suite 1003.
From Worcester Route 9 East: Route 9 East into Westborough. Take the Computer/Research Drive exit. Stay to your left on the ramp, take a left at the lights and immediate right onto Friberg Parkway at University of Phoenix. 200 Friberg Parkway is the first building on your right (brown tiled building). Partnership offices are on the first floor, Suite 1003.
From Framingham Route 9 West: Route 9 West into Westborough. Take a right onto Computer/Research Drive (right after 495 North/South exits). Take a left at end of ramp, go over Route 9 East/West overpass. At light take a left (Piccadilly Pub) onto Research Drive. Go straight through next set of lights. Approximately 100 yards after light, take a right onto Friberg Parkway (University of Phoenix). 200 Friberg Parkway is the first building on your right (brown tiled building). Partnership offices are on the first floor, Suite 1003.


text:
Q: Docusign One click Sign-in Hi @all DOCUSIGN users,
Instead of reviewing the document and sign in every pages of the envelop document, i need to make the process simple. We will show the documents as like Terms & Conditions with agree option. Thus required to get the customer signature, only once in a form (basically within the application) and automatically signed off on every template document, in respective places, with that eSignature. Please suggest me the possibility to do with Docusign in a better way.
Thanks.

A: One option for single-click is to use the DocuSign Click product with clickwraps.
Here is an example of using it for Terms and Conditions just like you asked.
See if this does what you want.

redpajama_set_name: RedPajamaStackExchange


Used for all light and medium duty fixing in Building Industry. For e.g. : Electrical, Sanitary Installation work, Air-conditioning, Mounting of suspended ceilings, Heating systems etc.
Brass BS 2874 - CZ 131 CW 614 N EN 12164 BS 2874 - CZ 114 BS 2874 - CZ 115.


Visiting PEI - any advice?
My family and I are looking to visit PEI next summer for the 100th anniversary of LMM & Anne Of Green Gables. Does anyone have any advice on where to stay? We've never been to PEI.
"I am not easily fooled by your work, Felix King. You're up to no good and I know it."
I've been there. I only went for two nights. I guess it all depends on how long you are going to stay. How long exactly are you planning to stay?
If you can afford it, if you plan to be there for a few days to a week, I suggest getting an "apartment"-type room (two bedrooms) or a cottage. Chances are, it may be cheaper than paying for a bunch of regular rooms (depending on the number of people who are going with you), not to mention they may be equipped with a kitchenette so you'd have the option of making a meal instead of fast food/takeout.
This is where I stayed both times I went there (mid/late August 2001 with my mother, early August 2003 with her and my dad). Both times we got an apartment-type room (two bedrooms, two bathrooms, kitchenette, living room space). There's a grocery store a couple minutes or so away from there; and there's a boardwalk with stores and a few restaurants (and, I think, a Subway) a short drive away, too.
http://www.peiplay.com ~ This will help, too, methinks.
We stayed in the town/village of Clinton, PEI. A beautiful B&B called Red Road Country Inn. Even during the month of September it was nice to stay a bit away from the more "tourist-y" areas, and have a quiet place in the country to come home to at the end of the day.
I imagine it will be very crowded in PEI during the summer if there are special celebrations going on for the 100th anniversary? Will look forward to hearing from anyone who visits this summer.


Available & Timely. Get 25 Photos for $125.
Top Producer Pix? Yes, we furnish real estate listing photos for some of the top producing listing agents in our region. They repeatedly remark, "Your pictures sell homes."


text:
Photographers are capturing the stark mood of major cities amid the coronavirus pandemic
As many self-employed photographers face work losses due to Covid-19, others document the "seriousness of what is happening on a personal and community level"
Gabriella Angeleti
"Fever" tagged on a van in New York City James Maher
As the coronavirus (Covid-19) pandemic continues to cause major disruptions to daily life as around two billion people worldwide isolate in their homes, many photographers working in major cities are continuing to go outside and capture the zeitgeist of the historic health crisis, even while facing financial losses due to loss of work.
The New York-based photographer Bryan Anselm says he feels fortunate to still be able to work despite the pandemic. "Any work I have been assigned over the last two weeks has been virus-related, and I'm assuming that will continue to be the case throughout the course of the outbreak in the New York area," he says, especially as the city has become the epicentre of the outbreak in the US.
"It's a bit comforting being in empty streets and parks for me right now as opposed to indoors or crowded areas; it was eerie for the first few days, but I feel much more uncomfortable now seeing even small groups of people together or standing closely in line at stores."
Anselm regularly contributes to the New York Times and other major publications, which now require that photographers take strict precautions to protect their safety and the safety of their subjects. "I now wear a mask and gloves any time I leave the house to work and have been requesting to meet subjects outside on the street or in parks as opposed to entering their homes, if possible," he says. "I'm also obsessively conscious now about everything I touch and have found ways to work on the streets for hours without touching anything—something I wouldn't have even given a second thought about last month."
The Los Angeles-based photographer Philip Cheung has had a different experience, however. After he was commissioned by The New York Times to photograph how the pandemic affected popular public spaces around Los Angeles once a "safer-at home" order was issued, he was surprised by the "indifferent" attitude people had toward the outbreak.
"They didn't—and many still don't—seem to grasp the seriousness of what is happening on a personal and community level," he says.
The Pacific Park amusement park in Santa Monica, California, during the coronavirus pandemic, March 2020 Philip Cheung
Nine more people have died after contracting Covid-19 in Los Angeles County, bringing the death toll to 21, public health officials announced Thursday. The county has now reported 1,216 confirmed cases of the virus.
The pandemic has had a profound impact on Cheung's work, as various commissions in the US and abroad were cancelled. "I've always been prepared for slowdowns throughout the year by maintaining savings for emergencies and having a diversified income flow, such as gallery sales and image licensing alongside my commissions, [but] this time I'm uncertain and worry about when and if the industry will recover," he says. Looking on the bright side, he says the slowdown has given him a chance to develop new project ideas.
The New York-based street photographer James Maher says he has "no interest in capturing the city empty or in detail at a horrible point like this", and is opting to self-isolate with his family instead.
"The city is meant to be full of people and life and that's how I want to capture it and think of it," he says. "This is a temporary time in the history of the city and it's one that I would rather not remember."
Maher stopped his normal urban landscape projects around two weeks ago, but did capture some photographs related to the virus taken around his neighbourhood, which he shared exclusively with The Art Newspaper.
A man "shelters in place" in his home in New York James Maher
Alyssa Shuckar , a Washington DC-based photographer, is similarly sobered by the virus. Like many independent photographers, she has seen her income "nearly zero out", and has lost commissions and postponed photography workshops.
"So much of our momentum and hard work seems suddenly halted, but I keep thinking that this is a good opportunity to live a little more quietly and to reflect on what really matters to us and why we do what we do," she says. "Our collective vulnerability reminds us of our responsibility to be moral and decent to one another, to take responsibility for our actions and to flatten the curve." An unusually quiet photograph of the National Mall is one of the more unsettling images she has captured since the outbreak.
Meanwhile, as the global number of infections surpasses 500,000, the Netherlands's Droom en Daad Foundation in Rotterdam has commissioned five photographers—Khalid Amakran, Loes van Duijvendijk, Willem de Kam, Geisje van der Linden and Marwan Magroun—to photograph the city during the pandemic.
"The measures that have been taken to control the coronavirus outbreak impact daily life around the city in a major way [and] these five photographers will capture how the people in Rotterdam are impacted by these measures," the foundation says in a statement.
The photographer Loes van Duijvendijk captured abandoned construction containers behind the Erasmus University Medical Center in Rotterdam Loes van Duijvendijk/Droom en Daad Foundation
The photographers will create a series of ten images from March until the beginning of May, which will be acquired by the Municipal Archives of Rotterdam and presented in a publication or exhibition. The project also aims to support freelance artists, a substantial part of the cultural sector.
Freelancers "often have limited reserves, and due to the coronavirus pandemic, in many cases their income has come to a complete standstill", the foundation says. "On the one hand, the foundation wants to make sure this historic period in time is captured, and, on the other, aims to support photographers who are affected greatly by the current crisis."
PhotographyNew YorkLos AngelesCoronavirusPersonal stories of coronavirus


The creature has a segmented body with a dark brown head and many legs (though we aren't sure exactly how many.) While at first glance we don't recognize this specimen, that is actually really good news for our reader! The most common organisms that readers find on their beds are carpet beetle larvae, and this is definitely not a carpet beetle larva. Carpet beetle larvae are particularly annoying household pests because they have destructive appetites and can do a lot of damage to household items such as furniture and fabrics. They feed on a wide range of materials, including animal products such as wool and feathers, so it makes sense that they are often found by our readers on their beds.
Getting rid of carpet beetle can be quite a headache, but luckily our reader can avoid that. While we aren't totally sure what our reader discovered, we can confirm with confidence that it isn't a carpet beetle larva. Its numerous legs and segmented body remind of us a millipede, but we don't think that's a match either. We believe it is either moth larva or beetle larva, but we aren't sure which based on the limited information that we have. Regardless, we don't think our reader needs to worry too much about this specimen.
We recommend she change her sheets and investigate her mattress and bedding, but as long as she has only found one of the specimens, she shouldn't go out and buy a new mattress. If she discovers more creatures, then she might be dealing with a bigger issue, but until she has proof we encourage her to stay calm!
To wrap up, we aren't sure if the creature our reader found on her bed is a moth larva or beetle larva, but we are confident that it isn't a carpet beetle larvae. We think changing her sheets and washing her bedding is a good idea, but we don't think she needs to begin an intense cleaning regime or purchase a new mattress!
We aren't sure if the creature our reader found on her bed is a moth larva or beetle larva, but we are confident that it isn't a carpet beetle larvae. We think changing her sheets and washing her bedding is a good idea, but we don't think she needs to begin an intense cleaning regime or purchase a new mattress!


text:
Chicago Cubs Lineup (7/23/19): Schwarber Leads Off, Almora Bats Fifth(?!), Garcia at 2B, Darvish Starting
Evan AltmanJuly 23, 2019
Kyle Schwarber is leading off in left, followed by Javy Báez at short, Kris Bryant at third, and Anthony Rizzo cleaning up at first. Then, and this may have been a clerical error, Joe Maddon has Albert Almora Jr. batting fifth. Maybe he comes around, but Almora has been one of the worst offensive producers in the game over the last calendar year.
Jason Heyward is in right, Robel Garcia has taken control of the second base gig In part due to his monster home run last night, and Victor Caratini is catching.
They'll be facing Madison Bumgarner, who I was shocked to realize is still a week away from his 30th birthday. You could have told me the red-assed MadBum was 35 and I'd still have thought you were off by a year or more. It's probably because he was anchoring those Giants' World Series rotations from the jump and has the burly frame and surly demeanor more closely associated with a bygone era.
It also seemed as though the big southpaw was slipping a little as he approaches the end of his contract, though he's turned things on in a big way over the last month. After pitching to a 4.28 ERA with remarkably consistent 4.26 FIP and 4.23 xFIP marks that included 8.66 K/9, 1.96 BB/9 and 1.49 HR/9 over his first 16 starts, Bumgarner has been lights-out.
It looked as though things were heading in the opposite direction, especially after the grudge match with the Dodgers that saw MadBum surrender six runs on two homers over 3.2 innings. With the shame of having to fish Max Muncy's homer out of the ocean faded, the lefty has taken off. He's allowed a total of six runs (five earned) over his last five starts, posting a 1.55 ERA with 10.55 K/9 and 1.55 BB/9 in 29 innings.
Bumgarner's repertoire has remained remarkably consistent over the years and his use of the fastball, cutter, curve and change are all within 2% of his career averages. The same is true of his velocity, which has hardly changed at all, so the pitcher the Cubs will see tonight is nearly the same guy they have seen over the last decade. He's just a damn good pitcher who will force you to beat him.
As you might imagine from his extremely low walk numbers, Bumgarner throws a ton of strikes. But it's when and how he throws them that makes him successful, as he likes to jump ahead early before running and hiding, so to speak. Though Bumgarner's 68.7% first-pitch strike rate is higher than all but three other qualified starters, his 42.2% in-zone percentage ranks 40th. The moral of the story: Attack early strikes.
The righty batters may have to carry the load in this one since lefties have a .533 OPS and .227 wOBA against MadBum this season. Of course, no one has hit him well over the last several starts, so maybe we just toss out the splits and hope the Cubs can do that thing where they beat up on an established veteran ace.
Yu Darvish is on the bump for the visitors coming off of his first win at Wrigley and riding a wave of really competent pitching. Darvish has gotten the walks under control and is locating much better, avoiding the home runs that had plagued him throughout June. Lefty batters have pounded Darvish this season, so he'll need to avoid that bugaboo to keep the Cubs in this one.
First pitch is once again set for 8:45pm CT and will be broadcast by ABC-7 and 670 The Score.
Here is tonight's #Cubs starting lineup. #EverybodyIn
Game preview: https://t.co/RIbHWJ0orx pic.twitter.com/o8xS1e8kfH
— Chicago Cubs (@Cubs) July 23, 2019


text:
Universalis, une gamme complète de resssources numériques pour la recherche documentaire et l'enseignement.

ISBN : 9782341011228

© Encyclopædia Universalis France, 2016. Tous droits réservés.

Photo de couverture : © Johnkwan/Shutterstock

Retrouvez notre catalogue sur www.boutique.universalis.fr

 _Pour tout problème relatif aux ebooks Universalis,
merci de nous contacter directement sur notre site internet :
http://www.universalis.fr/assistance/espace-contact/contact_

### Bienvenue dans la collection _Les Fiches de lecture d'Encyclopædia Universalis_.

Ce volume présente des notices sur des œuvres clés de la littérature ou de la pensée autour d'un thème, ici Le style classique de Charles Rosen.

Afin de consulter dans les meilleures conditions cet ouvrage, nous vous conseillons d'utiliser, parmi les polices de caractères que propose votre tablette ou votre liseuse, une fonte adaptée aux ouvrages de référence. À défaut, vous risquez de voir certains caractères spéciaux remplacés par des carrés vides (□).

# Le style classique

* * *

Le style classique, tel que l'envisage Charles Rosen, dans Le Style classique. Haydn, Mozart, Beethoven (Gallimard, 1978, initialement paru aux États-Unis en 1971, sous le titre The Classical Style), « c'est d'abord un tournant dans l'évolution » de la musique ? cinquante ans de musique occidentale qui précipitent, par le fait de trois compositeurs, Haydn, Mozart et Beethoven, le XVIIIe siècle dans le XIXe, grâce à l'affirmation et à la confirmation, l'un par l'autre, du système tonal et du tempérament égal. C'est ensuite et surtout un épiphénomène de tout ce qui a précédé, et qui peut se caractériser en termes de maniérisme, ou de maniérismes au pluriel. Il ne saurait donc être question de se faire illusion sur la notion de « style » : « La notion de style », écrit l'auteur dès sa Préface, « est indispensable à une bonne compréhension de l'histoire de la musique, mais je me refuse à l'élever à la dignité d'un véritable fait. » Tout au plus sera-t-il question ici du classicisme comme d'un « style de groupe » ; et cela n'équivaut nullement à une « école ». « La notion de style de groupe est un compromis permettant d'éviter cette fragmentation impossible... [Elle] est une fiction, une tentative pour créer un ordre, une construction de l'esprit permettant d'éclairer l'évolution du langage musical sans se laisser rebuter par la masse des compositeurs secondaires... » Dès lors, les trois compositeurs réputés « classiques » trancheront bel et bien sur le passé dans la mesure où leur manière consistera à « unir en une entité cohérente toutes les composantes (rythmiques, harmoniques, mélodiques) du style musical contemporain ». Et ce sera à partir d'eux que l'on appréciera le reste : c'est « l'individu de troisième ordre qu'il convient d'examiner à la lumière des principes de Haydn et de Mozart – comme s'en écartant parfois de manière intéressante, ou même originale ».

Si bien que « les qualités de la musique de Haydn qu'aujourd'hui nous trouvons les plus étonnantes sont souvent les moins personnelles : les juxtapositions osées de tonalités éloignées, l'usage abrupt du silence, un phrasé irrégulier – tout ceci relevait de l'héritage de la musique des années 1750 et 1760 ». Le classicisme, c'est le maniérisme au degré zéro – mais cette annulation apparaît comme l'une des possibilités du maniérisme comme tel, en sorte qu'elle ne le dément pas, même à titre rétrospectif. Les « grands » classiques n'imposent à ce qui les précédait le « passage à la limite » dont ils ont le secret que parce qu'ils respectent d'une façon cohérente, la tradition – même dans ses surprises.

D'où la prise de position fondamentale : « Sans vouloir faire de Haydn, Mozart et Beethoven des disciples avant la lettre de Hegel, la façon la plus simple de résumer la forme classique est de la définir comme la résolution symétrique de forces opposées [...]. II s'agit bien, en réalité, tant par ses aspirations que par ses exploits, d'un style normatif. » Cette normativité, Charles Rosen va la mettre à l'épreuve par un jeu éblouissant de descriptions et de comparaisons précises : ce n'est que si une telle notion résiste qu'elle peut être dite opérative ; elle opérera comme un type idéal, susceptible de se concrétiser toujours à nouveau, sans pour autant représenter un « véritable fait ». Le classicisme, ce sera une sorte d'« idée esthétique », une idée ou un schéma régulateur.

Ainsi, la fugue de la Hammerklavier apparaît-elle comme la fugue classique par excellence ; Beethoven cristallise la forme préclassique en lui donnant valeur et fonction d'archétype. Plus clairement encore, la « forme sonate premier mouvement » comprend « deux sections dont chacune peut être reprise » – mais la relation de symétrie que le compositeur établit entre ces deux sections « n'est pas strictement définie d'avance [...]. La première section, ou exposition, contient deux événements, un mouvement vers la dominante et une cadence terminale à la dominante [...]. Ces événements s'articulent par autant de mélodies différentes que le compositeur le juge bon ». Rosen nous fait ainsi prendre conscience de la liberté du travail thématique : la forme n'apparaît jamais qu'in statu nascendi.

Dans le cas du concerto, « l'auditoire attend que le soliste fasse son entrée, et qu'après s'être arrêté, il recommence ». Aussi le concerto aura-t-il quelque chose à voir avec l'air d'opéra – ce qui conduira à la double exposition de la forme allegro de la sonate –, figure typiquement mozartienne de la dramatisation : « Ce phénomène correspond à une intention dramatique, et non à une simple ordonnance thématique : il est dû en effet à un sens aigu de la dissonance harmonique à grande échelle, en d'autres termes à la présence non pas d'une note dissonante dans un accord, mais d'un long épisode dissonant dans une œuvre résolue globalement selon les lois de la tonalité. »

Réciproquement : « Même dans les cas où la situation dramatique ne se prête ni à la résolution ni à la réexposition symétrique, l'esthétique de la sonate reste de mise dans les opéras de Mozart. » Qu'il y ait ainsi « concordance entre schéma abstrait et schéma dramatique », cela dédouane la forme des classiques de tout assujettissement à une règle fixe. Dès le début de l'ouvrage, Rosen signifiait son désir de prendre ses distances à l'égard de la forme : « Loin de moi l'intention d'ériger une entité métaphysique mystérieuse et invérifiable appelée Forme, sans rapport avec les œuvres particulières, et pour laquelle le compositeur agirait comme révélateur plutôt que comme inventeur. » C'était pour mieux cerner le style : antérieur à la forme, le style voit s'accomplir l'information – « dramatique » – de cette forme. « C'est l'œuvre elle-même [...] qui crée ses propres attentes, les déçoit et finalement les satisfait. » Et s'il n'y a jamais violation des règles formelles par les « grands » compositeurs, c'est parce que ces règles ne sont jamais formelles au sens canonique du terme, mais stylistiques. Les moments que Rosen privilégiera dans ses analyses, ce seront donc les instants où il lui semble que le style suscite, sécrète la forme : les variations du mouvement lent de l'Appassionata « atteignent les proportions du style sonate, son profil dramatique et sa disposition des points de tension et de résolution », de telle sorte que « les forces ayant créé la sonate, son sens de l'événement et des propositions, se meuvent ici sans entraves dans une forme qu'elles-mêmes ont façonnée ».

C'est en définitive à l'idée – bergsonienne – d'un schéma créateur dynamique que Rosen nous renvoie : pour lui comme pour Bergson, la forme n'est que « mouvement enregistré » (La Pensée et le mouvant) – et Aristote observait déjà que si les mélodies nous influencent, c'est « parce qu'elles ont un mouvement, justement ce mouvement avec lequel le son nous meut » (Problèmes musicaux). L'« introspection » dont Rosen crédite Beethoven, ne serait-ce dès lors qu'une nouvelle version de l'intuition – et dès lors, une figure de style ? – Oui, si l'on concède que le style, c'est le mouvement vers la forme.

Ainsi – et par des analyses raffinées dont nul compte ne saurait être rendu – une thèse nous est subtilement suggérée, qui retourne comme un gant celle que développait jadis, en des ouvrages assez antibergsoniens, Gisèle Brelet : pour elle, la musique classique était affaire d'entendement et ignorait « ce rubato, cette inégalité de tension et d'écoulement qui appartiennent au temps vécu » (Le Temps musical, t. II, P.U.F., Paris, 1949) ; pour Rosen, la pastorale haydnienne masque la « pulsation dansante », le quintette mozartien rend « la tonique instable sans la contredire », et introduit par ricochet à de voluptueuses subversions, susceptibles de corrompre jusqu'à nos « valeurs sentimentales », et Beethoven, qui prononce l'équivalence du rapide et de l'immobile dans le trille de la quatrième variation de la sonate en ut mineur (l'Opus 111), brouille définitivement les catégories et estompe l'agogique... Le « style classique » de Rosen correspond assez précisément à ce qui se décrivait jadis en termes de « romantisme ». On ne s'en alarmerait que si l'on attachait au lexique une valeur absolue, et intemporelle. Mais le lexique de Rosen importe bien moins que l'art qu'il dépense à nous faire pénétrer, plus avant que la plupart de ses prédécesseurs, jusqu'au plus intime des constellations sonores qu'il décrit. Si bien que les polémiques qu'il esquisse – en général avec beaucoup de justesse –, à l'égard de certains des tics de la musicologie passée ou présente, paraissent tout à fait fondées, et finalement fort peu académiques. Ce livre est d'un virtuose. Sachons gré à Marc Vignal de l'avoir traduit lui-même en virtuose.

Daniel CHARLES

# ROSEN CHARLES (1927-2012)

* * *

Le pianiste américain Charles Rosen demeurera surtout connu en France pour sa contribution majeure à l'histoire de la musique, en particulier sur le classicisme viennois.

Charles Welles Rosen naît le 5 mai 1927 dans le quartier new-yorkais de Manhattan. Il prend ses premières leçons de piano à quatre ans, intègre la Juilliard School deux ans plus tard, puis étudie de onze à dix-sept ans sous la tutelle de Moriz Rosenthal, ancien élève de Liszt. Entré à l'université Princeton (New Jersey), il suit des cours de français, de mathématiques et de philosophie, et obtient un doctorat de littérature française en 1951. Charles Rosen commence alors, tardivement, sa carrière de pianiste à New York et grave ses premiers disques, notamment la première intégrale des Études de Debussy. Pendant quelque temps, il donne en parallèle des cours de français au Massachusetts Institute of Technology pour gagner sa vie, mais se produit déjà souvent aux États-Unis et en Europe. Privilégiant les œuvres réputées intellectuelles, il est familier de L'Art de la fugue et des Variations Goldberg de Bach, des Variations Diabelli et des six dernières sonates de Beethoven. Ce pianiste au jeu subtile et pénétrant possède cependant un répertoire éclectique : il interprète également Chopin, Liszt, Schumann, Stravinski – il est le premier à enregistrer Mouvements, pour piano et orchestre –, Schönberg ou encore Webern – il participe à l'enregistrement de l'intégrale de ses œuvres que Pierre Boulez dirige entre 1967 et 1972. Appréciant tout autant la musique contemporaine, il laisse au disque des œuvres de ce chef compositeur, notamment sa Deuxième Sonate et sa Troisième Sonate. Il grave par ailleurs, à partir de 1961, l'intégrale des pièces pour piano d'Elliott Carter et crée ainsi son Double Concerto pour piano, clavecin et deux orchestres de chambre avec Ralph Kirkpatrick. Il est enfin l'un des quatre pianistes à lui commander Night Fantasies (1980).

Charles Rosen commence son activité de critique musical au milieu des années 1960. Son premier ouvrage, The Classical Style (1971, Le Style classique), rencontre un vif succès : il analyse les caractéristiques de la période classique, notamment à travers les quatuors à cordes et les trios pour piano de Haydn, les opéras comiques et les concertos pour piano de Mozart ainsi que les sonates pour piano de Beethoven. Le livre Sonata Forms (1980, Formes sonate) trouve son origine dans un article que le dictionnaire de musique Grove avait rejeté. Chroniqueur pour le New York Review of Books, Charles Rosen rassemble avec Henri Zerner ses critiques sur l'art du XIXe siècle dans Romanticism and Realism (1984, Romantisme et réalisme). Ses travaux musicologiques prennent définitivement le pas sur sa carrière de soliste dans les années 1990. Il publie à cette époque The Romantic Generation (1995, La Génération romantique), recueil de conférences données à Harvard. L'écrivain-musicien enseigne en effet dans cette prestigieuse institution ainsi qu'à l'université d'État de New York sur le campus de Stony Brook et à l'université de Chicago. Vers la fin de sa vie, il fait paraître Music and Sentiment (2010) et Freedom and the Arts (2012), ouvrage sur l'interprétation des œuvres musicales et littéraires. Charles Rosen meurt quelques mois plus tard, le 9 décembre 2012, à New York.

E.U.
Votre avis nous intéresse !
Laissez un commentaire sur le site de votre librairie en ligne et partagez vos coups de cœur sur les réseaux sociaux !

# Table des matières

Le style classique ROSEN charles (1927-2012)

# Table des auteurs

Daniel CHARLESmusicien, philosophe, fondateur du département de musique de l'université de Paris-VIII

E.U.services rédactionnels de l'Encyclopædia Universalis

redpajama_set_name: RedPajamaBook


text:
N$600m poultry project in trouble
Posted by admin | Apr 12, 2013 | Headlines
The Namibia Poultry Industries' N$600 million investment is in jeopardy if no protection is given to the project against cheap imports, a company official said this week.
Namib Mills Group CEO, Koos Ferreira told The Economist on Tuesday that the company's investment through subsidiary company, Namibian Poultry Industries (NPI), in the chicken project inaugurated by President Hifikepunye Pohamba in last year, is in need of any form of protection from the authorities in order to survive competition from cheap imports.
Ferreira said NPI has run up losses amounting to millions since the project started. He, however, could not be drawn to reveal to what extent the project was in the red. He said: "Trade and Industry must make it [protection] available. We just need some protection, whether it is IIP or import export; protection will be protection.
"If we don't get any protection, then I can tell you it [the investment] is in jeopardy. I saw some figures, but I wouldn't want to specifically quote a figure at this stage, but it's a lot. Millions."
Ferreira said he can only speculate on the reason why the government has not implemented the Infant Industry Protection for the broiler industry despite confirming the approval in writing to NPI and its financiers through the Ministry of Trade and Industry on 28 July 2011.
"We got insurance from the ministry [Trade and Industry] that it has been granted, but I can not tell you why the ministry has not implemented it yet. I suggested that it maybe due to the problems being experienced with the cement court case that is pending," he said.
Ferreira argued that Namibian Poultry Industries is not in a position yet to compete with South American and EU imports that are subsidized and being dumped in Africa. He added that not even the strong South African poultry industries can compete against these cheap imports and are currently suffering major losses as well with thousands of jobs being compromised in the process.
South Africa has filed a notice at the World Trade Organisation that it intends to formally charge Brazilian producers of dumping.
Ferreira said Namibia is the only country with an "open border" policy that attracts imports from both South Africa and abroad. "This has caused unrealistic low prices in the market, pushing NPI into making substantial losses."
As a result Ferreira believes that any protection, in some form, was urgently required. He said he was grateful that the government has agreed to utilise the Import Export Control Act, 1994 to give Namibian Poultry Industries interim protection.
If given the protection, expected to be in place before the end of May, Ferreira said Namibian Poultry Industries will be able to compete against the South African and regional industries in the longer run as the company was manufacturing its own feed which constitutes more than 50% of input costs. "We are on the same raw material parity lines as our competitors. [We] erected a new Feed Mill at N$80 million. We get our parent stock from the same source and are in control of the hatching of our own day-old chicks," he said.
Although the government has agreed in principle to grant Namibian Poultry Industries with Import Export protection, no percentage has been determined yet. "The details of that has to be discussed," said Ferreira. However, the group CEO believes that Namibian Poultry Industries will probably be able to supply about 70% of the local market's poultry requirements. "In certain products we can supply 100% and in certain products we can supply nothing."
PreviousNB – job and pregnancy case you pay after success
NextBank Windhoek lists in June
Woermann Brock banks with Standard for 100 years
SADC ministers prepare for Heads of State summit
Protest against construction of MTC masts
Namibia is Africa's last Eurobond issuer bucking junk status


LiveWeather is an online web application for storing and visualizing weather data. It uses the possibilities that come with modern browser support for HTML5 to make it possible to display data using different displays on different customer platforms, from desktops to mobiles. A legacy version using Adobe's Flash technology can be used by users who are running an older version of Internet Explorer. Alongside current weather reports, the application provides a flexible charting display for viewing data going back in time, on any time scale.
The map below shows the locations of the weather stations currently being operated through LiveWeather. If you'd like to try LiveWeather out simply click on one of the locations and follow the link to the station's main view.
Weather stations sponsored by the following companies. Click on a logo image to visit a company's website.


The Epic EHR system will be implemented across BJC and Washington University School of Medicine in a series of go-live events starting in Q2 2017. While the exact details of each go-live are still in development, the sequence of sites have been confirmed.
Many factors were considered in the selection of this timeline - including safety, staffing levels, geographic location, and specific impacts to each facility. While there are pros and cons to any sequencing proposal, leadership is confident this is the best plan to effectively transition all of BJC and WUSM to a single integrated system. We will continue to provide updates as details are finalized.
Why was Epic Chosen as our Electronic Medical Record Vendor?


text:
Home > Politics > LFA Chief Bility Disqualification to Court of Arbitration
LFA Chief Bility Disqualification to Court of Arbitration
January 12, 2016 admin	Liberia, Musa Bility, News
The Editor,
FIFA's Electoral Committee disqualified Musa Bility based on their findings and the "multitude of proceedings" that were brought against him! So what part of "multitude of proceedings" does Bility not understand? (Re "LFA Chief Bility Detests Disqualification to Court of Arbitration")
Sure, Bility is entitled to due process, but here are some of the "multitude of proceedings" brought against him:
1) There's an on-going FBI investigation of bribery and corruption against FIFA officials, including Bility, who accepted bribe money to vote for Qatar to host the World Cup!. Bility deposited the money in a Swiss Bank, so the FBI is waiting for him to go Switzerland to be arrested! (Re "Liberia's football Chief Bility Probe in Wake of FIFA Scandal", Frontpageafrica)
2) Bility was indicted, but never convicted for tax evasion! That means a grand jury evaluated the evidence against Bility and determined that there is probable cause to believe that Bility is a tax cheat! (Re "Gov't Takes Bility to Court for Tax Evasion, Heritage Newspaper)
3) Bility was indicted, but never convicted for stealing from the Liberian people! That means that a grand jury evaluated the evidence against Bility and determined that there is probable cause to believe that Bility is liable! ((Re "Liberia Indicts Ellen Crookum, Musa Bility, LBDI, FIB Diaspora Consultants, Other", Frontpageafrica)
As you can see, Bility was indicted twice, but never convicted. But we all know that where there's smoke, there's fire..
But Bility says that none of the legal issues brought against him in Liberia led to a guilty verdict. Ok, so what?
In most criminal cases, the prosecution (government) bears the burden of proof and is required to prove their case beyond a reasonable doubt, and in some cases, they (prosecution) may be unable to do so for a variety of reason (s)..Hint: 99.99999 of the crooks in Liberia never get convicted in the Criminal Court C when Judge William K Ware is presiding!
But people with common sense, including FIFA's Ad-hoc Electoral Committee, can look at the evidence (things that we know and see with our own two eyes, like Bility's pattern of crooked behavior) and have opinions about the case, regardless of the judge or jury's verdict.
For example, Liberia leads Africa in corruption, but 99.9999 of the crooks are NEVER found guilty!
In 2008, a jury found Snowe, Divine and Gyude not guilty of stealing!
In 2009 or 10, I met then Senator Divine, in Atlanta. And he told me that, on any given day, he'd go to work (LPRC) and see a brown envelope stuffed with US$15,000 on his desk! It was a kickback, but who cares? Of course Divine took the money!
But did our government (prosecution) ever prove in the court of law that Divine receive kickback (corruption)? Hell no! Does that mean Divine isn't corrupt in the court of public opinion? Hell no. You and I know…!
Back to Bility.
Bility's verdict of "not guilty" or "innocent" inside a court room doesn't mean jack!. All it means is, that government was unable to prove that Bility was guilty beyond a reasonable doubt!
But outside the court room, there's no beyond a reasonable doubt standard for Bility. FIFA's investigators can disqualify Bility based on their findings and "the multitude of proceedings" that were brought against Bility.
Martin Scott,
Pic: Musa Bility
Liberian police chief and presidential guards clash in the streets as UN Leaves
2017: These Are Five men who should Be Running For President In Liberia
'We need young people in Pan African Parliament:' Malema
June 6, 2018 November 6, 2018 admin2 Malema, Pan African Parliament, South Africa
Tshidi Madia South Africa is committed to strengthening the pan-African parliament even though...
Women and the movement for African unity
May 2, 2018 May 24, 2018 admin2 African Women Liberation
Many articles have been written reflecting on five decades of historical experience — referred...
Renovate the Executive Mansion
April 25, 2018 admin2 Executive Mansion, Liberia
How long will the President of Liberia be internally displaced? Former President Ellen Johnson...


Disaster can strike at any time and a little hope goes a long way.
When disaster strikes, you can help impacted Young Living families get back on their feet. Whether it's a hurricane, earthquake, fire, or flood, we want to stand with our members everywhere and provide them with hope as they put their lives back together.
We are looking to raise $1 million to be able to respond quickly when a disaster impacts Young Living members recovering from the devastation. These funds will be used to facilitate relief efficiently and provide care kits filled with Young Living products.
With the support of thousands of donors from around the world, we have already responded to help Young Living families who were impacted by Hurricanes Harvey, Irma, and Maria, and to the earthquake in Mexico as well as many other disasters.
Together with your donations and the tremendous support of Young Living Essentials Oils, we have provided well over $6 million in aid and 4,000 care kits!


The bespoke suit, made for a gentleman by gentlemen. A bespoke suit defines the man, wearing a great choice of cloth and a fit that's made for you is what sets you apart.
Step 1: Choosing a style.
There are so many to choose from, single button, tuxedo, business suit, power suit, double breast, single breast, peak, shawl or notch lapel. As you may know it can get terribly confusing if you have no idea what you want. So the best option is to look at styles ahead of time or we can show you a selection of styles. When choosing a style, the occasion you are wearing the suit for is key. You can't be wearing a tuxedo for work neither should you wear a morning suit to a casual affair. So we will take all the factors into account when choosing your style.
The choice of the cloth is a whole lot more important than many people realize. It does not only depend on the colour, but the feel and quality can actually define the suit. The better the quality the better it will feel and fall on your body. Pure wools and wool and cashmere blends are the best options for business and formal affairs. Polyester blends retain heat and do not last as long as pure, natural fabrics. When looking for a suit for a casual or traveling affair, linen and cottons are excellent options.
When it comes to prints or plains. It comes down to personal choice and fashion preferences. A check suit can be pulled of by the stylish gentleman and a pinstripe suit can dominate a room just by you walking in wearing it.
Measurements are taken once we have selected the cloth and style. Measurements are done to your whole body and are taken with the fit you would like in mind. Weather you would want a slim fit, a conservative fit, a business fit, and so on. Also during measurements we will take into account if your body is changing in any way. God knows that before a wedding everyone tries to loose some extra kilos, if that's the case we will make note of it while cutting your suit. If you're a gym rat and in a bulking phase, we will also take that into our notes.
When you come in for your first fitting we will have the shell of the suit/shirt/jeans ready you will try it on and with friends/family to give you an opinion if need be. This is a very crucial part of the bespoke process. At this stage our stylist and tailors will be examine how the suit sits on your body. What needs to be changed, what needs to be made looser, tighter, shorter or longer. All of these aspects are changed to make the suit, yours and our definition of utter perfection.
After the first fitting is done we allow each customer to decide on ways to personalize the suit to their own preference. You as the customer will now choose items like linings, buttons and different colour stitching. To add a bit of yourself and personality to the suit/shirt/jeans, to really make it your own.
When you visit us the third time. You will be at the end of your bespoke process. You will try on your suit/shirt/jeans for the final time and make sure everything in perfect and everything you've imagined. You will bring your shoes a long just to make sure every detail of the item is perfect.
Now that you have the whole look fully done and ready to go. Our in house stylists will accessorize your look with our ties, bow ties, pocket squares and lapel pins. If you need to match your date, the theme of your wedding or would just like to be fashionable our stylist will take all the details into account when Accessorizing you.
When the whole process has come to an end and you are happy with your perfect fitting item. We now keep the record of your measurements with all changes done and we save it onto our database. So that if you would like to order something from us in the future we have your size and the process becomes a whole lot easier.
When ordering an item from us please note a deposit of 50% is required on your first appointment for us to get started with your order.
When we have completed your order the final amount will be paid before the item can leave the store.
Subject to the dollar-rand rate our prices vary.
Normal time frame on all orders is four - six weeks.
If a rush order of minimum three days - a week is required it can be done at an increased fee and subject to the schedule at the time.


text:
BSNL launches IPTV in Haryana
State-owned Bharat Sanchar Nigam Ltd (BSNL) has launched IPTV services for its customers in the Haryana circle, in a bid to hold on to its falling landline subscribers. BSNL launched the service in Gurgaon, Faridabad and Ambala in association with Smart Digivision. The wireline subscriber base decreased to 38.05 million in the month of November 2008 against 38.22 million subscribers in October 2008.
The Smart TV Group has entered into long term contracts with MTNL and BSNL for providing co-branded interactive video services to their customers in 54 large cities across India.
Gartner: IPTV up 64%
Microsoft signs $500m IPTV deal with Reliance
Sri Lanka Telecom IPTV launches
Tiscali launches IPTV service in Italy
Wind launches IPTV service with Alcatel-Lucent


text:
using namespace llvm;

STATISTIC(NumDeletes,          "Number of dead instructions deleted");

namespace {
  class DeadMachineInstructionElim : public MachineFunctionPass {
    virtual bool runOnMachineFunction(MachineFunction &MF);

    const TargetRegisterInfo *TRI;
    const MachineRegisterInfo *MRI;
    const TargetInstrInfo *TII;
    BitVector LivePhysRegs;

  public:
    static char ID; // Pass identification, replacement for typeid
    DeadMachineInstructionElim() : MachineFunctionPass(ID) {
     initializeDeadMachineInstructionElimPass(*PassRegistry::getPassRegistry());
    }

  private:
    bool isDead(const MachineInstr *MI) const;
  };
}
char DeadMachineInstructionElim::ID = 0;
char &llvm::DeadMachineInstructionElimID = DeadMachineInstructionElim::ID;

INITIALIZE_PASS(DeadMachineInstructionElim, "dead-mi-elimination",
                "Remove dead machine instructions", false, false)

bool DeadMachineInstructionElim::isDead(const MachineInstr *MI) const {
  // Technically speaking inline asm without side effects and no defs can still
  // be deleted. But there is so much bad inline asm code out there, we should
  // let them be.
  if (MI->isInlineAsm())
    return false;

  // Don't delete instructions with side effects.
  bool SawStore = false;
  if (!MI->isSafeToMove(TII, 0, SawStore) && !MI->isPHI())
    return false;

  // Examine each operand.
  for (unsigned i = 0, e = MI->getNumOperands(); i != e; ++i) {
    const MachineOperand &MO = MI->getOperand(i);
    if (MO.isReg() && MO.isDef()) {
      unsigned Reg = MO.getReg();
      if (TargetRegisterInfo::isPhysicalRegister(Reg)) {
        // Don't delete live physreg defs, or any reserved register defs.
        if (LivePhysRegs.test(Reg) || MRI->isReserved(Reg))
          return false;
      } else {
        if (!MRI->use_nodbg_empty(Reg))
          // This def has a non-debug use. Don't delete the instruction!
          return false;
      }
    }
  }

  // If there are no defs with uses, the instruction is dead.
  return true;
}

bool DeadMachineInstructionElim::runOnMachineFunction(MachineFunction &MF) {
  bool AnyChanges = false;
  MRI = &MF.getRegInfo();
  TRI = MF.getTarget().getRegisterInfo();
  TII = MF.getTarget().getInstrInfo();

  // Loop over all instructions in all blocks, from bottom to top, so that it's
  // more likely that chains of dependent but ultimately dead instructions will
  // be cleaned up.
  for (MachineFunction::reverse_iterator I = MF.rbegin(), E = MF.rend();
       I != E; ++I) {
    MachineBasicBlock *MBB = &*I;

    // Start out assuming that reserved registers are live out of this block.
    LivePhysRegs = MRI->getReservedRegs();

    // Add live-ins from sucessors to LivePhysRegs. Normally, physregs are not
    // live across blocks, but some targets (x86) can have flags live out of a
    // block.
    for (MachineBasicBlock::succ_iterator S = MBB->succ_begin(),
           E = MBB->succ_end(); S != E; S++)
      for (MachineBasicBlock::livein_iterator LI = (*S)->livein_begin();
           LI != (*S)->livein_end(); LI++)
        LivePhysRegs.set(*LI);

    // Now scan the instructions and delete dead ones, tracking physreg
    // liveness as we go.
    for (MachineBasicBlock::reverse_iterator MII = MBB->rbegin(),
         MIE = MBB->rend(); MII != MIE; ) {
      MachineInstr *MI = &*MII;

      // If the instruction is dead, delete it!
      if (isDead(MI)) {
        DEBUG(dbgs() << "DeadMachineInstructionElim: DELETING: " << *MI);
        // It is possible that some DBG_VALUE instructions refer to this
        // instruction.  Examine each def operand for such references;
        // if found, mark the DBG_VALUE as undef (but don't delete it).
        for (unsigned i = 0, e = MI->getNumOperands(); i != e; ++i) {
          const MachineOperand &MO = MI->getOperand(i);
          if (!MO.isReg() || !MO.isDef())
            continue;
          unsigned Reg = MO.getReg();
          if (!TargetRegisterInfo::isVirtualRegister(Reg))
            continue;
          MachineRegisterInfo::use_iterator nextI;
          for (MachineRegisterInfo::use_iterator I = MRI->use_begin(Reg),
               E = MRI->use_end(); I!=E; I=nextI) {
            nextI = llvm::next(I);  // I is invalidated by the setReg
            MachineOperand& Use = I.getOperand();
            MachineInstr *UseMI = Use.getParent();
            if (UseMI==MI)
              continue;
            assert(Use.isDebug());
            UseMI->getOperand(0).setReg(0U);
          }
        }
        AnyChanges = true;
        MI->eraseFromParent();
        ++NumDeletes;
        MIE = MBB->rend();
        // MII is now pointing to the next instruction to process,
        // so don't increment it.
        continue;
      }

      // Record the physreg defs.
      for (unsigned i = 0, e = MI->getNumOperands(); i != e; ++i) {
        const MachineOperand &MO = MI->getOperand(i);
        if (MO.isReg() && MO.isDef()) {
          unsigned Reg = MO.getReg();
          if (TargetRegisterInfo::isPhysicalRegister(Reg)) {
            LivePhysRegs.reset(Reg);
            // Check the subreg set, not the alias set, because a def
            // of a super-register may still be partially live after
            // this def.
            for (MCSubRegIterator SR(Reg, TRI); SR.isValid(); ++SR)
              LivePhysRegs.reset(*SR);
          }
        } else if (MO.isRegMask()) {
          // Register mask of preserved registers. All clobbers are dead.
          LivePhysRegs.clearBitsNotInMask(MO.getRegMask());
        }
      }
      // Record the physreg uses, after the defs, in case a physreg is
      // both defined and used in the same instruction.
      for (unsigned i = 0, e = MI->getNumOperands(); i != e; ++i) {
        const MachineOperand &MO = MI->getOperand(i);
        if (MO.isReg() && MO.isUse()) {
          unsigned Reg = MO.getReg();
          if (TargetRegisterInfo::isPhysicalRegister(Reg)) {
            for (MCRegAliasIterator AI(Reg, TRI, true); AI.isValid(); ++AI)
              LivePhysRegs.set(*AI);
          }
        }
      }

      // We didn't delete the current instruction, so increment MII to
      // the next one.
      ++MII;
    }
  }

  LivePhysRegs.clear();
  return AnyChanges;
}


A skydiver in New Zealand survived a 12,000 foot fall after his primary and secondary chutes failed.
Previously Unpublished September 11 Photos?
Posted in Culture War, History	| Comments Off on Previously Unpublished September 11 Photos?
Dad had a blast at work today. He oversaw a demolition shot this afternoon in Jacksonville, Florida. Update: A video of the shot can be seen here.


Production Design, Animation, Concept Art, Storyboards, Layout, Texturing, Compositing.
Copyright of The Mind Studio 2011. All Rights Reserved. Artwork is copyright of The Mind Studio and the respective companies involved where applicable.


text:
Budenicus ist der Name eines gallischen Lokalgottes, der nach der Interpretatio Romana mit Mars gleichgesetzt wird. Der Südgallische Stamm der Bedunicenses soll nach ihm benannt sein.

Mars Budenicus wird in einer einzigen Weiheinschrift aus Bezouce (Collias, römische Provinz Gallia Narbonensis; bei Uzès, Département Gard) genannt:
Marti / Budenic(o) / Gratus / Severi / filius ().

Siehe auch
 Liste keltischer Götter und Sagengestalten
 Keltische Religion
 Keltische Mythologie

Literatur
 Helmut Birkhan: Kelten. Versuch einer Gesamtdarstellung ihrer Kultur. Verlag der Österreichischen Akademie der Wissenschaften, Wien 1997, ISBN 3-7001-2609-3, S. 650.
 Bernhard Maier: Lexikon der keltischen Religion und Kultur (= Kröners Taschenausgabe. Band 466). Kröner, Stuttgart 1994, ISBN 3-520-46601-5, S. 61.

Einzelnachweise

Gallische Gottheit

redpajama_set_name: RedPajamaWikipedia


text:
Jubel - Dancing In The Moonlight Download
Modern streetscape paves the way for capital change
Wednesday, May 6th, 2015 5:07pm
Plans for a major redesign of Douglas promenade, creating a street layout never seen before in the Island, are to go on public display.
Infrastructure chiefs say the proposals will give greater priority to pedestrians and create new public spaces on the capital's main thoroughfare.
The DoI's £21 million modern streetscape scheme would see traffic lights and zebra crossings swept away, in an attempt to improve flow.
Diagonal parking would be extended to both sides of the road and a new Cultural Quarter created for street artists and performers.
The horse trams would run along a single track on the walkway.
The plans go on public display in the Sea Terminal from midday on Friday, May 8th, for a month.
Infrastructure minister Phil Gawne says the vintage rail has been a key consideration:
Listen to this audio
Leisure centre in Braddan due to open in summer
The development started in June 2021


text:
Pop Culture Column #673
So now that 'It' has smashed box office records and dragged in a massive amount of money after its first week, it seems fairly safe to say… actually, what is safe to say about It? Most of the reviews (including mine) have hovered around the "good, not great" level, which suggests
a film that's most likely over-performed (think Jurassic World, another film that did vastly better than expected at the box office) for reasons that aren't exactly hard to nail down.
For one thing, it's not like there's been a whole lot of choice at the box office of late: when the biggest film around is The Hitman's Bodyguard, you know people are just waiting for a halfway decent film to throw their cash at. Canny advertising definitely played a part too: the trailers for It actually looked scary, which isn't something you can say about every horror
movie out there, and when it comes to something creepy to stick in your trailer to get people talking you really can't go past "evil clown".
But what really made It the film for right now is the way it managed to tap into two of the bigger trends in entertainment during a time when it feels like things are going to hell: horror and nostalgia. Horror has always been somewhere at the movies this century, whether it's the Saw series or the Paranormal Activity series, or even the various spin-offs from The Conjuring, and in recent years there's been a series of indie horror films working beyond the more typical mainstream jump scares – It Follows, Don't Breathe, and this year's previous massive horror hit, Get Out.
Meanwhile, nostalgia – especially '80s nostalgia – is coming back in style, and what's more '80s than Stephen King? Well, lots of things, especially as Big as Steve is, still writing books and getting movies made today, but with It the nostalgia is coming from multiple directions: the novel was a huge hit upon release in 1986, and the early '90s TV mini-series scared a fair few kids too. Then they decided to update this film version to an '80s setting (the book is split over two time periods, 27 years apart: by moving the kids half forward to the '80s, they can do the adult sequel in the present day), adding yet another layer of nostalgia to it all.
Basically, it was a perfect storm of current movie trends, backed up with great promotion (the guy cutting my hair last week said he wouldn't be seeing it because it looked too scary, which is probably not the result they were aiming for) and released it after weeks of nothing decent at the movies, so the pent-up demand for anything was at its peak. All of which suggests that the sequel, which the studio gave the go-ahead to roughly ten seconds after they saw the box office numbers, may not do anywhere near as well when it arrives in a couple of years time. But who knows what people will want to watch at the movies by then? A movie set in the present day where a bunch of 40 year olds are wandering around a sewer might just be a pretty good reflection of the way we're all feeling.
By Anthony Morris
I Love The 90's Tour returns to Australia


About Skinner Co. | Skinner Co.
Skinner Co. is a three-person podcasting powerhouse of creativity and unexpected dance moves. We write, narrate, illustrate, and sing, as needed, all of which lends itself well to our current main project, Flash Pulp.
Soon, however, the tentacles of our family enterprise will extend beyond our pulp tales and into your heart.
2 Responses to About Skinner Co.
I'd feel awful about putting Jessica May out of a job.


A Year of Being Here: Wendell Berry: "Sabbaths 1999, VII"
"Sabbaths 1999, VII" by Wendell Berry. Text as published in Given: Poems (Counterpoint, 2005).
Art credit: "Autumn Leaf Falling from Tree," photograph by Verity E. Milligan.


Whether you want to schedule a personal consultation, are having a hard time choosing which program would fit your needs best or just have a general question about the Full-Time MBA program, we are here to help. Please click button below to fill out the form and a member of the Admissions team will be in touch with you. You can also reach us directly at the number or email address below.


text:
In loving memory of Clifford Conner: 1938-2023
Posted Wednesday, January 11, 2023 1:23 pm
The family of Clifford Charles Conner is sad to announce his passing on Jan. 1, 2023. Cliff was born on July 30, 1938, to John and Edith Conner. He had an older brother, Mel, and a younger brother, Glen. Cliff was a lifelong Battle Ground resident, graduating from Battle Ground High School in 1956. He married his high school sweetheart, Lois Stark, in December 1956, and they recently celebrated 66 years together. Cliff is survived by his wife, Lois; daughters, Tani (Elton) Mask and Denise (Randy) Stuart; and son, Don (Kari) Conner. He has 10 grandchildren and nine great-grandchildren.
After high school, Cliff attended Clark College. He spent most of his career working in the tire business and in construction. In retirement, Cliff and Lois enjoyed traveling in their RV, spending winters in Arizona and square dancing.
Cliff enjoyed people. He always had a story to tell. He loved visiting with friends at BGHS class reunions and with relatives at family reunions. One of Dad's favorite places to make new friends and swap stories was the softball fields in Brush Prairie. He spent more than 30 summers there, wearing a variety of hats including cofounder, player, coach, umpire, tournament director and concessionaire. He also liked writing poetry, creating birthday cards and working jigsaw puzzles.
Cliff loved competition, playing or watching, whether it was sports or a card game. He especially loved baseball as a youngster with his dad and brother, playing through high school. He played tennis, golf and slow pitch softball into his 70s. Other favorites included Yahtzee and Scrabble with Lois, pinochle, watching BGHS basketball and cheering for his grandchildren in anything they were doing.
There will be a celebration of life at 10:30 a.m. Jan. 19, 2023, at Battle Ground Community Center, 912 East Main St., Battle Ground.
In lieu of flowers, we prefer donations to Alzheimer's research (alz.org).