text:
Just Another Bass
Thoughts and Experiences from Choral Singing
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Critical Reviews of the Verdi Requiem
As I once wrote elsewhere, compliments from the critics are rarely the external validation our chorus seeks – the applause of the audience is sufficient reward, and in the end we sing to scratch our own creative itches, to know we had a hand in making the music come alive. That said, I've found it helpful to review the reviews and weigh the comments of the critics against my own experiences. These days we typically get comments from three publications:
Jeremy Eichler of the Globe was unusually complimentary and keenly accurate in his observations, impressed by Gatti's fluid, poised conducting, and attention to musical details:
From the hushed opening bars, Gatti drew out long singing lines from the orchestra, while also clearly prizing textural and rhythmic clarity. He showed a knack for organic tempo choices and transitions that captured the full drama and, at times, fury of this remarkable score. The same might be said of his conducting of the Tanglewood Chorus, which sang superbly, its performance in the Dies Irae duly terrifying yet free of stridency, its Sanctus measured with a welcome dignified gait[…] The BSO as a whole seemed alert and highly responsive to Gatti's direction.
I agree with him calling out the responsiveness of the orchestra to the "organic tempo choices"–I'd call Gatti's frequent rubato, dramatic fermata, and fluidity the defining factor of his time on the podium. I love Eichler's observations on the Sanctus, because it means we delivered on Gatti's previous direction to sing it "with respect." It's satisfying to get that independent validation of our ability to communicate something so intangible.
Eichler also correctly noted that the quartet was "capable but uneven," preferring the mezzo's voice the most, but complimenting the female Agnus Dei duet. Amusingly, he professed confusion over our leaping to our feet several times for our big forte interruptions–and the next night, we cut one of those leaps to make things a little less frantic. He wasn't the only one who saw it as a problem.
Brian Jones wrote up our Friday performance in the Boston Music Intelligencer, and almost loved it: "In retrospect, this was a performance to admire in so many ways that I wish I could say I was as deeply moved as one hopes to be with this splendid music." On top of his praise for the soloists he lobbed fair criticisms about the soprano's odd vowel modifications and the bass's lack of power. And it's clear he noted the responsiveness in dynamics, tone, and tempo between us and the maestro:
His sensitive reading of the score brought forth many lucid and musical moments, and great credit goes to the Tanglewood Festival Chorus for just the right hushed sound here, or magnificent triumph there. The utter security of singing from memory makes the chorus's contribution even more significant. Maestro Gatti also conducted without a score.
[…]The other movements were mostly beautiful, and handled with the appropriate degree of intensity and reflection. Gatti made perfect sense of the famous opening bars, with their legendary, hushed iterations of "Re-qui-em,", and his use of rubato was appropriate and compelling. (One interesting touch in the second movement was as the chorus actually spoke the words "quantus tremor" ("how great a terror"): I had never heard that effect before, and it worked. The Offertorio, Sanctus and Agnus Dei were given much better tempos, although orchestra, chorus and soloists occasionally threatened to slip off the tracks. Several expressive moments in the Lux Aeterna went by with little recognition, but the final movement ("Libera Me") was the highlight of the evening, and beautifully conceived.
However, noticing them does not mean approving of them. Despite his praise above, overall he did not seem to care for Gatti's frequent tempo shifts:
The famous requiems of Verdi, Mozart, Brahms, Faure and a few others present interesting interpretive challenges: so many musicians and listeners are familiar with them that conductors often feel the need to "leave their mark" in ways which sometimes stretch and even snap the threads of musical line for which these works are justifiably noted. Gatti's approach was most successful in all the shorter movements, but in the second, long movement his tendency to take extra time with breaks in the music, as well as his tempo in the famous "Dies Irae" music (too slow to achieve the gripping drama of those repeated notes and triplets), made the long second movement seem even longer than should have been the case. Many of the numerous sections of this movement were handsomely dealt with, but the overall architecture and sense of line suffered.
I've noticed many reviewers similarly criticize an interpretation of a performance if it didn't match their own favorite version. While I understand Jones's commentary on "activist conductors," I'm pretty sure Gatti's extra time was borne not out of an egotistic desire to claim the piece as his own, but rather out of a true love for the music and how he conceives it. I had never heard the Dies Irae that deliberate myself, but while Jones said it sacrifices the gripping drama, I'd say it's a welcome trade off that allows the internal lines to sing through–it creates an overall effect that's even more terrifying than bulldozing through the whole thing.
Finally, David Wright spoke of our opening night performance at Boston Classical Review. I hesitate to even include him, given his inexplicably contrarian review of our Brahms Requiem, but he has occasionally given passable commentary. He continues with his usual questionable, attack-filled observations again, suggesting that we lacked diction and rhythmic drive in the Sanctus, claiming the chorus "sounded more like a crowd scene than a chamber choir," and later calling us "a firm, unobtrusive presence in its supporting role." I'll give him the benefit of the doubt and assume he's referring to passages where we sing under the soloists. That said, he did praise our "gusto" for the Dies Irae and the Lacrymosa, and I'd say he was spot on in his observations of the soloists' strengths and weaknesses individually and as a quartet. He also wrote well of Gatti's stewardship:
Throughout the evening, Daniele Gatti's firm hand could be felt shaping every aspect of the performance, from the almost inaudible opening bars to the soft, measureless chanting of Libera me at the close, and all the high drama in between.
I like the philosophy that "Understanding is a three-edged sword: your side, their side, and the truth." The commonalities in all three reviews confirm that this was truly a marvelous performance, distinguished by Gatti's fluid direction, a challenged but still enjoyable quartet of soloists, and some of the chorus's most attentive, dedicated singing. Bravo all, and let's do it again for Andris Nelsons in the summer!
Posted in Reviews
Tagged Gatti, reviews, TFC, Verdi Requiem
Critical Reviews of the Brahms
Well, this was another lesson in "don't put too much stock in the reviewers." Our Thursday performance was perhaps one of the better performances I've been privileged to be a part of. Our Friday matinee was also outstanding, though I admit I felt more emotionally connected to the Thursday performance… Fridays was more mechanical, and a little tougher for the chorus to keep the pitch up at the end, no doubt a little vocally weary after singing this twice in 16 hours.
But you wouldn't believe that based on some of the reviews.
Jeremy Eichler of the Boston Globe had this to say about the chorus:
And of course the hard-working Tanglewood Festival Chorus was in the spotlight for the entire evening. There were a few moments of wayward pitch, but overall these singers achieved a beautifully warm blend and sang from memory with a musical responsiveness that would be gratifying for any conductor. Certainly, as the response made clear, it was gratifying in the hall.
We initially bristled at the characterization of "a few moments of wayward pitch," but a few chorus members in the audience dutifully confirmed just that: one or two moments of wavering. Hardly significant, though, and by all accounts did not detract from the full enjoyment of the piece. If anything, it's disappointing what the reviewer did NOT mention: the slavish attention to detail with regard to diction and dynamics that produced a clarity of sound rarely heard in any Brahms Requiem performance.
The next Boston-area review, by David Wright of Boston Classical Review, was just a darn shame. It practically devolved into insulting us. He *really* didn't like the performance, calling it "dull" and "a lugubrious miasma." And while many of us considered the soprano good but not great, he held her up as the bright spot…
…on a night characterized by plodding tempos, lax rhythms, congealed orchestral textures, and choral singing that sounded harsh in forte and fuzzy in the softer dynamics.
Mr. Wright also claimed Dohnányi's performance lacked in Brahmsian energy and warmth, said the Wie lieblich had no gentle sway to it, and claimed the emotional contrasts of the second movement "were grayed out in Dohnányi's slack, one-tone-fits-all rendering." He further writes:
In fact, the entire performance was a cautionary study in how important a firm rhythmic foundation is, no matter what the music's mood. Without it, phrases lost shape and direction, ensemble playing grew shaky, crescendos lacked emotional conviction and became just a dialing-up of sound, the chorus's tone and diction sagged—and, for the listener, minutes began to seem like hours.
To this, most of us say, "Huh?" It's hard to understand whether Mr. Wright was in the same Hall as the rest of us. I could go through and refute each one of his points (except maybe the sagging tone), as each one of them was countered by the specific praise we heard from sharper, more experienced ears than his: non-roster chorus members attending, native speakers who praised our diction, brass at the BSO, orchestra members, and John Oliver himself. My guess is that he fell into the same issue that I mentioned at the end of a previous blog post: his favorite interpretation of the Brahms Requiem no doubt indulges in more upbeat tempi, more swells, and [hyper]emotional melodrama. Yet I still can't explain his characterization of congealed orchestral textures, fuzzy choral singing, and lack of a rhythmic foundation. Maybe he sat behind a pole or something. Shrug.
The last review published online was the most spot on, from my ears, and not just because he said nice things. Joel Schwindt, of the Boston Musical Intelligencer, wrote:
The combined forces offered a sensitive, supple interpretation of the work's varied textures and temperaments, and the chorus displayed a remarkable unity of concept in their rendition of the Biblical and secular texts. This high level of unification included an impressive rapport between conductor and chorus, conductor and orchestra, and even the less-frequently-found rapport between chorus and orchestra, all of which was well served by the chorus's memorization of the work.
He said the soloists were the only disappointment of the evening–not because their performances were poor ("executed their parts skillfully and gracefully") but because they didn't adapt their light-hearted vocal style sufficiently to meet the gravitas of Brahms. He cited their backgrounds: Müller-Brachmann came across as if doing a Schubert song-cycle, and Prohaska resembled her colortura opera roles. I hadn't thought of this when hearing them, but I'm convinced he's correct.
He closes with a movement by movement analysis of the performance, complimenting our performance as an ensemble rather than as chorus + orchestra + conductor. I'd call it all exceedingly accurate and have no real quibbles with his observations and criticisms:
Soloists aside, the ensemble communicated Brahms's message of "comfort for the living, rather than the beloved departed" (to paraphrase the composer) in a very moving fashion. A small amount of reticence at the opening of the performance completely vanished by the return of the first movement's opening music, a moment that what was perhaps the most sublime of the entire evening. If the recapitulation of the first movement was the most sublime, then the return of the opening text in the second movement ("Denn alles fleisch es ist wie Grass/Then all flesh is as the grass") was certainly the most moving. The ensemble offered a very tender rendition of the simply textured fourth movement, and its promise of eternal blessing after death. The sixth movement had its high and low points: the chorus's staccato articulation at the opening led to a loss of the "horizontal" qualities of the musical and textual line, though the fluidity and intensity of lines that followed created a very effective buildup to the Vivace of the triumphant, "Tod, wo ist dein Sieg?" (Death, where is your victory?) Dohnányi's choice of tempo in the Vivace was very exhilarating, though it was generally too fast to allow the chorus effectively to articulate of the syntax of the text. All of these issues disappeared, however, in the group's exuberant rendition of the movement's closing fugue. The final movement, "Selig sind die Toten, die in dem Herrn sterben" (Blessed are the dead, who die in the Lord), offered a touching close to the group's stirring performance.
It's telling that Mr. Schwindt's byline gives his credentials as pursuing a Ph.D. in musicology at Brandeis as well as having vocalist and conductor experience. It shows in his writing and his analysis of the performance.
Tagged Brahms, Brahms Requiem, Dohnányi, reviews, TFC
Critical reviews of the Lobgesang
The two usual commenters on our performance these days are the Boston Globe's and the Boston Classical Review website. Both did not disappoint with what I felt were accurate and insightful reviews. Both caught on to the fact that, while this piece is magnificent in scale, its compositional form limits it. They both also noted that, while our Chorus performed quite well, we were still missing a certain something.
I will say that our Friday performance exceeded our Thursday one — no doubt because we became yet more comfortable with the technicalities of the music (entrances, dynamics, fugues) so we could throw more weight toward the emotional connection as well as the melodic lines, and not sound quite so harsh. I bet Saturday's and Tuesday's performances are even better! Assuming anyone comes to them — the hall was half empty again on Friday.
Some of Jeremy Eichler's comments from the Boston Globe:
Last night Symphony Hall had many empty seats, whether due to the unusual repertoire or the prospect of another substitute conductor. It was a pity because Tovey led a swift and sure-footed performance of the work, largely true to its Romantic heft, but never at risk of collapsing beneath the weight of its own grandiloquence.
There were times one wished he managed transitions with a bit more dramatic flair or harnessed the work's rhetorical force to greater cumulative effect, but there were pleasures to be found in the constitutive parts.
The Tanglewood Festival Chorus unleashed a robust and joyful noise at its first entrance, and by and large sustained its potent energy. […] The work ends without any grand Beethovian apotheosis, but last night the chorus still found plenty to celebrate in the arrival of dawn.
David Wright echoed some of these comments in his Boston Classical Review:
Even a beautifully polished and committed performance by the orchestra, the Tanglewood Festival Chorus, and three capable vocal soloists under the direction of Bramwell Tovey (substituting for the indisposed Riccardo Chailly) couldn't quite make the case for this musical miscellany as a coherent symphonic work.
The Tanglewood Festival Chorus sang with its usual precision, but its sound sometimes went uncharacteristically hard and blatant, as if it were trying to kick some life into Mendelssohn's chronically short, square phrases.
Privately, there seems to be a consensus from choristers and their attending guests that the piece just doesn't quite hang together, and that our exuberance sometimes toed the line between fortissimo and "shouty." With no subtlety or dramatic tension short of the Watchman-to-Dawn transition, there's not much to hang your hat on besides making sure your sound reaches the back row. I do feel we're finding some of those subtleties and will continue to bring them out in the remaining performances. Assuming we survive — Tovey may kill us all on these fugues, as they've gotten a little faster with each performance.
Posted in Reviews, TFC
Tagged Lobgesang, Mendelssohn, performances, reviews, TFC, Tovey
Reviews of Stravinsky and Mozart (and Mahler)
Reviews have trickled in for last weekend's concert. They're not as harsh as I thought they would be, which just goes to show that it's always easier to be hypercritical of one's own performance.
Of the Stravinsky, Jeremy Eichler of the Boston Globe writes:
This was a surely paced, elegant performance with fine singing from the Tanglewood Festival Chorus, conveying by turns the restrained serenity and the disquieting mystery at the core of this music.
We'll take it. As for the Mozart, he does not criticize the soloists as I did, writing:
Thomas and a keenly responsive chorus brought out the pathos and dark drama of this work, particularly in the "Rex Tremendae,'' "Confutatis,'' and "Lacrimosa'' movements. Soile Isokoski, Kristine Jepson, Russell Thomas, and Jordan Bisch were the capable soloists.
For my wife's performance of the Mahler 3, he notes that "The American Boychoir and the women of the Tanglewood Festival Chorus turned in lively performances," and offers minor criticism of the players. (The orchestra on Saturday were Tanglewood Music Center Orchestra, not the BSO as on Friday. My wife thought they played with much more pathos though admittedly less technical merit… most notably when Maestro Thomas had to snap at an oboe player to get him to look up and pay attention to the tempo!)
The New York Times was complimentary but not as kind. It praised Maestro Thomas for "keeping a firm grip on the young band" to produce "superbly balanced sonorities and stunning climaxes" in the Mahler 3 performance, though the reviewer caught that "Mr. Thomas was reduced at one point to snapping his fingers, evidently in response to a missed entrance in the wind section." About the chorus, James R. Oestreich had a lot to say after all:
The Tanglewood Festival Chorus, which John Oliver has developed into one of the nation's outstanding choirs, and which also performs with the Boston Symphony at its home in Boston, is celebrating its 40th anniversary, and its program here with the orchestra on Friday night, Stravinsky's "Symphony of Psalms" and Mozart's Requiem, was particularly apt. […]
It was especially good to hear the 125-strong Tanglewood choir at full voice in the Mozart (with an orchestra about half that size). Now that decorously small, historically sanctioned choruses have become the norm in Mozart, it is good to be reminded of the punch this music can pack in an appropriate setting like the outdoor Shed. (Shaw used a chorus of 200.) And the singing was simply terrific, in moments of meditative quiet as well as at full throttle.
As usual on Mr. Oliver's tight ship, the chorus performed from memory. Mr. Levine, in his time as the orchestra's music director, has dispensed with a further trademark: Mr. Oliver's favored seating plan, a complex interweaving of high and low, male and female, voice types. Now it is the standard left-to-right lineup: sopranos, altos, tenors and basses.
The Stravinsky performance made a listener usually disinclined to second-guess Mr. Oliver wonder too about the wisdom of pointedly performing from memory. In the first two movements, somewhat diffuse in nature, attacks were often tentative, rhythms and pitches imprecise, despite the chorus's recent experience with the work in Boston.
But by the third and final movement, with its repetitive textual and musical phraseology, the chorus was singing with its customary assurance and flair, with splendid results. Mr. Thomas's incisive approach ideally suited Stravinsky's guarded effusions, and the orchestra improbably carried it through on a soggy evening.
Quite a bit there! I've never heard any reviewer point out that we no longer interleave the voices like we used to a few years ago. I admit I prefer that "hashed chorus" greatly to what we do now, since it lets you hear what else is going on much better. Supposedly conductors enjoy being able to cue the singers like they cue the cellos or the woodwinds or the brass. But if we're waiting for our cue, then we're already screwed.
This reviewer called out our tentative attacks, and I agree we had some. I'm betting we didn't all have this as solidly memorized as we have other concerts. But there was a curious lack of cues from Maestro Thomas compared to his explicit conducting during the choir and orchestra rehearsals, and I think it threw us a bit. I also disagree with the reviewer: I think the first movement of the Stravinsky was pretty solid, the second had some flaws (our laudate dominum refrains were not together), and the third was where I felt we were really sort of out there. Still I wouldn't castigate the memorization philosophy for these faults.
A third review appeared in the Times Union newspaper, though Priscilla McLean spent a good part of the article discussing the history of the pieces. About the performers herself, she mentioned:
Stravinsky's orchestration excludes violins, violas and clarinets, but is otherwise complete, allowing the upper voices in the chorus to be clearly heard while becoming part of the orchestral palette. This was carried off by the voices and instruments flawlessly.
The "Psalms" seems a more dire, solemn piece than, surprisingly, Mozart's "Requiem," and the third movement of the Stravinsky is a hymn of praise, but sounding more dirge-like than joyous. The contrast of the chorus singing long narrow phrases over the busy orchestra, which had more complex contrapuntal and rhythmic lines, made for interesting listening, with excellent tempi and fine balance between the different groups.
[…] The sections that are Mozart's shine with clarity and variety, and a strange joy. Of the four vocal soloists, the soprano Soile Isokoski had the purest sound[…]
The most poignant and hauntingly powerful section was the Lacrimosa, with the chorus and an ominously beating timpani. […]
Michael Tilson Thomas, the BSO, chorus, and soloists were consistently first-rate. It is a joy to attend Tanglewood and hear such wonderful quality performance.
I'm surprised that the Berkshire Eagle didn't put out a review or that I didn't find any more online. If I do, I'll add them here.
Tagged hashed chorus, Michael Tilson Thomas, Mozart Requiem, reviews, Stravinsky, Symphony of Psalms, Tanglewood, TFC
Reviews of Mahler 2nd
The reviews are in! And they're pretty darn glowing. Well, mostly.
Jeremy Eichler of the Boston Globe praised Michael Tilson Thomas for his ability to draw different emotional contexts out of the various movements. About us, he wrote:
Mahler's finale is one of the most memorable in his oeuvre, full of hair-raising music depicting the end of days, but also containing some of his most spellbindingly quiet passages, as in the hushed first entrances of the enormous chorus. The TFC here sounded magnificent, as it did singing at full throttle.
Lloyd Schwartz of the Boston Phoenix spent most of his digital ink talking about the intricacies of the performance, with more (well-deserved) praise for Stephanie Blythe's voice than for the chorus itself.
Clarence Fanto of Berkshire Living was more effusive, saying it was no surprise that MTT's interpretation would be a "magnificent, insightful, thoughtful and viscerally thrilling performance."
Superlatives abound whenever John Oliver's chorus performs; the singers' hushed entrance in the final movement (mysterious, very slow and a triple-pianissimo as Mahler instructed) was as delicate yet well-articulated as imaginable. When Tilson Thomas urged them on to sing triple-forte for the final lines of Mahler's text ("Die shall I in order to live…"), their exclamation of joyous redemption lifted the rafters skyward.
The performance was so tightly focused and unblemished technically — even the off-stage brasses and the distant marching band — that an instant CD or MP3 download could be released with no touchups required. Some of us would gladly pay for the privilege of owning a memento of this memorable event.
Well, then!
Meanwhile, the more austere Berkshire Eagle was very harshly critical, calling the performance a "bumpy ride" and "idiosyncratic." The writer acknowledge MTT's style as closer to Bernstein's, but derided him for lacking Bernstein's "structural coherence and molded sound." It sounds like Andrew Pincus was lashing out for the absence of James Levine, blaming the performance on "a visiting conductor" and comparing MTT's "swirling, stabbing demands" unfavorably to "Levine's more measured, though no less visceral, approach." Time to get over it, people! We may not see James "J.D. Drew" Levine again. About us, he acknowledged:
From its hushed first entry – one of the most stunning moments in all music – the Tanglewood Festival Chorus rose to almighty thunder in the concluding ode.
And because Tanglewood is regarded as a New York activity as much as a Boston one (you should've heard the concert-goer who told me afterwards that the performance was "auw'asum"), the New York Times weighed in too. Anthony Tommasini wrote a lot about the absence of James Levine, but he also delved into the performance. He praised MTT for bringing "lucid textures and structural coherence" to the otherwise disparate movements of the work. About us, he gave a passing of-course-they-were-good nod of appreciation:
[MTT] drew brilliant playing from the orchestra, magisterial singing from the Tanglewood Festival Chorus and inspired performances from the two vocal soloists […] In the "Resurrection" poem by Friedrich Gottlieb Klopstock, with Mahler's added verses, the always impressive Tanglewood Festival Chorus (directed by John Oliver) sang with robust sound and sensitivity.
A New York Times blog post by Daniel Wakin included snippets of an interview with MTT about how he chose to interpret the piece, but the interesting thing there are the comments by the musical literati. Some called MTT's Mahler "the best there is" and others condemned him for making changes to the composer's notes or called his conducting style superficial and showy.
Quite a roundup. My thoughts on the performance will follow in the next post.
Tagged Mahler's 2nd, reviews, Tanglewood, TFC
Don't want to leave "On Leaving"
Suffering, oppression, and struggle
What to expect in this Verdi Requiem
Choir dynamics and hula hoops
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A silky fox-fur ruff adds luxe treatment at the hood of a warm duffle coat fashioned from a tweed-woven wool blend. A fit-and-flare silhouette updates the classic design, while gleaming hardware polishes the style.
52% wool, 42% polyester, 4% nylon, 2% other fibers with genuine blue fox fur (USA).
Dry clean. Remove hood before cleaning.


We've all done it. A call drops, but we keep talking. Sometimes it takes a few seconds and sometimes it takes a few minutes, but eventually, we realize no one is listening.
How do I know He heard me?
Daniel can relate to that feeling. When Daniel found himself in a difficult situation, he humbled himself and prayed. When Daniel didn't get an immediate answer from God, he fasted and prayed some more. It wasn't easy, but Daniel kept calling out to God the same way we keep calling back when an important call gets dropped.
The difference between calling God and calling another person is that God never loses touch with us. God's messenger reassured Daniel that God heard every word and started working in Daniel's life the moment he cried out (Daniel 10:12-13).
God always hears our prayer. Fighting through the frustration and persevering in prayer is about our hearts more than it is about getting God's attention. With each prayer, we remind ourselves where our help comes from and we make space in our day to hear from the Lord.
God is working and we can trust Him, even when it seems like nothing is happening. Take heart in knowing God hears you and is working all things, even the hard things, together for your good (Romans 8:28).
How comfortable do you feel with prayer? What, if anything, stops you from reaching out to God when life is hard?
Is there a prayer you've given up on or felt like God forgot? Take some time today to pray, trusting that God does hear you and is working on your behalf.


There is so much to do at Westfield Hurstville these school holidays that we've designed a planner to help you make the most of it. Read on to find out how you and the kids can maximise the fun before the school bells ring again.
Here are some of the events we are running here at Westfield Hurstville.
Collect your map in Fresh Food outside Tong Li and follow the clues that will lead you to all your favourite retailers. Hop your way to the finish line to collect a delicious Darrell Lea surprise.
Join us as we celebrate Youth Week, with a good old student cook off! Come and support our 5 teams, as they prepare and cook up a storm.
We're celebrating the release of Wonder Park, in cinemas April School Holidays, with a Wonder Week of fun craft and family activities.
In this hands-on workshop, kids will enjoy learning the fundamentals of sushi making, as well as the health benefits of Japanese cusine and cooking. Kids will create their very own thick sushi roll out of a variety of healthy and fresh ingredients (cucumber, tuna or chicken available).Bookings essential. Secure your spot here.
Come down to Events Cinemas to see the latest kids' movies available. The kids will be entertained for a couple of hours and you'll get to sit down and enjoy a bit of downtime.
Westfield Hurstville offers a range of Kids play areas which are available for children to use when visiting the Centre.
Bring the kids, along with a picnic blanket for our open space play world located in our Rooftop Dining precinct, level 4 and encourage outdoor play whist enjoying a Coffee.
Westfield Hurstville also offers two (2) interactive screens, located on Ground Level close Coffee Emporium, and Level 3 opposite Kmart.
Children must be supervised while using all play equipment.


text:
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Health insurance is an insurance that covers the whole or a part of the risk of a person incurring medical expenses, spreading the risk over a large number of persons. By estimating the overall risk of health care and health system expenses over the risk pool, an insurer can develop a routine finance structure, such as a monthly premium or payroll tax, to provide the money to pay for the health care benefits specified in the insurance agreement.[1] The benefit is administered by a central organization such as a government agency, private business, or not-for-profit entity.
Hospital and medical expense policies were introduced during the first half of the 20th century. During the 1920s, individual hospitals began offering services to individuals on a pre-paid basis, eventually leading to the development of Blue Cross organizations in the 1930s.[19] The first employer-sponsored hospitalization plan was created by teachers in Dallas, Texas in 1929.[20] Because the plan only covered members' expenses at a single hospital, it is also the forerunner of today's health maintenance organizations (HMOs).[20][21][22]
Early hospital and medical plans offered by insurance companies paid either a fixed amount for specific diseases or medical procedures (schedule benefits) or a percentage of the provider's fee. The relationship between the patient and the medical provider was not changed. The patient received medical care and was responsible for paying the provider. If the service was covered by the policy, the insurance company was responsible for reimbursing or indemnifying the patient based on the provisions of the insurance contract ("reimbursement benefits"). Health insurance plans that are not based on a network of contracted providers, or that base payments on a percentage of provider charges, are still described as indemnity or fee-for-service plans.[19]
With Teladoc, you can talk with a doctor within minutes rather than days or hours. Teladoc doctors can diagnose, treat and prescribe medication (when medically necessary) for non-emergency medications. This includes treatments for the flu, sore throat, allergies, stomach aches, eye infections, bronchitis, and much more. The copay is $10 per consultation. To set up your account now so you can talk with one of Teladoc's board-certified doctors anytime when you don't feel well, call 1-800-Teladoc (1-800-835-2362) or visit Teladoc.com/emblemhealth
Medicare Advantage plans expand the health insurance options for people with Medicare. Medicare Advantage was created under the Balanced Budget Act of 1997, with the intent to better control the rapid growth in Medicare spending, as well as to provide Medicare beneficiaries more choices. But on average, Medicare Advantage plans cost 12% more than traditional Medicare.[48] The ACA took steps to align payments to Medicare Advantage plans with the cost of traditional Medicare.
States regulate small group premium rates, typically by placing limits on the premium variation allowable between groups (rate bands). Insurers price to recover their costs over their entire book of small group business while abiding by state rating rules.[74] Over time, the effect of initial underwriting "wears off" as the cost of a group regresses towards the mean. Recent claim experience—whether better or worse than average—is a strong predictor of future costs in the near term. But the average health status of a particular small employer group tends to regress over time towards that of an average group.[75] The process used to price small group coverage changes when a state enacts small group reform laws.[76]
Medicaid was instituted for the very poor in 1965. Since enrollees must pass a means test, Medicaid is a social welfare or social protection program rather than a social insurance program. Despite its establishment, the percentage of US residents who lack any form of health insurance has increased since 1994.[51] It has been reported that the number of physicians accepting Medicaid has decreased in recent years because of lower reimbursement rates.[52]
In 1935 the decision was made by the Roosevelt Administration not to include a large-scale health insurance program as part of the new Social Security program. The problem was not an attack by any organized opposition, such as the opposition from the American Medical Association that derailed Truman's proposals in 1949. Instead, there was a lack of active popular, congressional, or interest group support. Roosevelt's strategy was to wait for a demand and a program to materialize, and then if he thought it popular enough to throw his support behind it. His Committee on Economic Security (CES) deliberately limited the health segment of Social Security to the expansion of medical care and facilities. It considered unemployment insurance to be the major priority. Roosevelt assured the medical community that medicine would be kept out of politics. Jaap Kooijman says he succeeded in "pacifying the opponents without discouraging the reformers." The right moment never came for him to reintroduce the topic.[23][24]

redpajama_set_name: RedPajamaCommonCrawl


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Top 10 Tourists Attractions of Udaipur
admin February 6, 2017	Places to Visit 2 Comments 128 Views
Udaipur is rightly called the city of beautiful lakes. It has five lakes, of which two lakes– Lake Pichola and Fateh Sagar Lake are renowned due to their glorious past and the tourist attraction, as well as cleanliness etc. Every day thousands of tourists, from all over the country and international destinations visit and enjoy therir time at the lake.
Top 10 Tourist Attractions of Udaipur
Udaipur is a beautiful city and nonetheless the craze of lakes among tourists, there are certain more attractions, beyond the lakes. Out of these tourist attractions in Udaipur city, top 10 Tourist Attractions of Udaipur are being dealt here:
A majestic architectural marvel towering over the lake on a hill surrounded by crenellated walls, it is a conglomeration of courtyards, pavilions, terraces, corridors, rooms and hanging gardens. City Palace boasts of the wonderful blend of Medieval, European and Chinese Architecture.
City Palace, Udaipur (Pic: wayfarersgo.in)
The Palace has various towers, domes and arches, which add to the flavor of heritage site. Towering on the banks of Pichola Lake, City Palace is truly a feast to the eyes. City Palace is a marvelous assortment of courtyards, pavilions, terraces, corridors, rooms and hanging gardens. Encircled by fortifications, this imposing Palace is wholly built in granite and marble.
City Palace comprises 11 wonderful palaces, which were built by different rulers still they resemble each other. With the sheer glimpse of unique paintings, antique furniture and exquisite glass mirror & ornamental tiles work of these palaces, you will get amazed. Manak Mahal (Ruby Palace) has figures of crystal and porcelain. However, Bhim Vilas flaunts a fabulous collection of miniature paintings depicting the real life stories of Radha-Krishna.
Jag Mandir Island
Jag Mandir is a palace built on an island in the Lake Pichola. It is also called the "Lake Garden Palace". The palace is located in Udaipur city in the Indian state of Rajasthan. Its construction is credited to three Maharanas of the Sisodia Rajputs of Mewar kingdom.
Jagmandir Palace of Udaipur is also a beautiful tourist attraction (Pic: www.dreammakersevent.com)
The construction of the palace was started in 1551 by Maharana Amar Singh, continued by Maharana Karan Singh (1620–1628) and finally completed by Maharana Jagat Singh I (1628–1652). It is named as "Jagat Mandir" in honour of the last named Maharana Jagat Singh. The royal family used the palace as a summer resort and pleasure palace for holding parties. The palace served as a refuge to asylum seekers on two separate occasions
Jagdish Temple
Built in 1651 A.D. by Maharana Jagat Singh, this Indo-Aryan temple is the largest and the most beautiful temple of Udaipur with noteworthy sculpted images. The Jagdish Temple is raised on a tall terrace and was completed in 1651. It attaches a double-storey Mandapa (hall) to a double-storey saandhara (with a covered ambulatory) sanctum. The mandapa has another storey tucked within its pyramidal samavarna (bellroof) while the hollow clustered spire over the sanctum contains two more, nonfunctional stories.
Jagdish temple of Udaipur (Pic: sonyaandtravis.com)
To reach the main shrine, one must climb 32 marble steps, intercepted by a Brass image of Garuda in the end, being the mount (vahana) of God Vishnu. Shri Jagdish Temple is the most beautiful example of Hindu Iconography, consisting of three stories of hand carved stone, with a steeple nearly 79 feet high and is the largest temple of Udaipur.
Bharatiya Lok Kala Mandal
Bharatiya Lok Kala Mandal is a cultural institution based in Udaipur in Rajasthan state in India engaged in studying folk art, culture, songs and festivals of Rajasthan, Gujarat and Madhya Pradesh and to popularise and propagate folk arts, folk dances and folk literature.
Bhartiya Lok Kala Mandal Udaipur (Pic: www.udaipurblog.com)
It was set up in 1952 by Devilal Samar. The institution has a museum that exhibits collection of folk articles from Rajasthan like rural-dresses, ornaments, puppets, masks, dolls, folk musical instruments, folk deities and paintings. There is puppet theater (Kathputli) too where puppet shows are held at regular interval.
Bagore-Ki Haveli
It was built in 18th century, It a museum having 100 rooms, houses rajasthani costumes, modern art, paintings and have few bullock carts & every evening you can enjoy the folk dance organised by West Zone Cultural Center.
Bangore Ki Haveli Udaipur (Pic: www.groupouting.com)
( Time: 19.00 to 20.00 Tickets: Adult Rs. 60 /child Rs. 30. )
Moti mangri: Maharana Pratap Memorial
The beautiful hilltop garden is located on the banks of Fateh Sagar Lake. It has a stunning bronze statue of Maharana Pratap with his reliable horse "Chetak".
Moti Magri, Udaipur (Pic: welcome2rajasthan.in)
It has beautiful gardens, fountain, few shops and has wonderful view of the lake & mountains.
Sahelion Ki Bari
The lovely garden was built in 18th century by Maharana Sangram Singh for the ladies of the court.
Sahelion Ki Bari, Udaipur (Pic: mindfreshtrips.com)
It has four pools including 1 lotus pool, fountains, the huge trees with lush green lawns.
Sajjan Niwas Garden or Gulab Bagh
Sajjan Niwas Garden was built by Maharana Sajjan Singh. There is a functioning toy train which runs on an interval of 20 minutes daily during working hours.
Sajjan Bagh of Udaipur (Flickr.com)
Shilpgram
Located in the heart of Aravallis, just 15 mins away from the city, the ethnic village is devoted to Rajasthani craft & it means craftsmen's village. It covers an area of 70 acres & has museum, art gallery, traditional Rajasthani huts & shops, It as a huge outdoor auditorium called "Mukta Kashi".
Shilpgram Udaipur (Pic: www.theholidayindia.com)
Every year in the last week of December West Zone cultural center organises a huge 10 day cultural festival called Chirmi, where artist & craftsmen from all across India displays their artwork. Its really a must visit attraction.
Vintage Car Museum
The Vintage and Classic Car Museum, or Vintage & Classic Car Collection was unveiledto general public on 15 February 2000. It was inaugurated by Lord Montagu of Beaulieu, founder of the National Motor Museum in England. The Vintage & Classic Car Collection is a car collection and a museum, showing all the vehicles belonging to the Maharanas of Mewar both past and present.
A view of Vintage Car Museum Udaipur (Pic: thenomadicguy.wordpress.com)
The collection is housed in the original former Mewar State Motor Garage, which currently serves as this museum. Garden Hotel and Restaurant, a property of HRH Group of Hotels, Udaipur, is also contained within the garage's grounds.
The semi-circular motor garage with its forecourt is housed within a greater courtyard. It also houses one of the original Shell petrol pump, which is still assumed to be in usable condition. Despite some vehicles being over seventy years old, each one is still kept in working condition.
A blogger and photographer by interests, interested in worldwide travel related information, travelogues and visuals. Love different types of cuisines, try hand on Indian and Mughlai dishes, when time permits. Writes in Hindi too. Expresses inner feelings through poetry, at times.
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Hello, Thanks for sharing such a fantastic blog.I really appreciate your blog to share information about Tourist attraction of Udiapur …Great blog…
Raj Gopal Singh Verma
Thanks for appreciating efforts.
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I am coaching a T Ball team, ages 4 1/2 - 5 yrs. I have previously been told that infielders' ready position is with the tip of the glove down, specifically just touching the dirt. I have recently had some input indicating that is not correct, that the glove should be held higher, perhaps up by the knees.?? Is it a matter of personal preference or is there science behind the infielders' stance showing which is most effective? I'm currently teaching "get your glove dirty" to keep the ball from going thru their little legs. Thanks.
Thank you for your question. The most important thing about T-ball is teaching the basics. For me, the most basic thing is teaching the fielder to get her glove down. But if you are going to do that, make sure they bend at their knees. You do not want them to stoop over with stiff knees. They will only get sore backs, not a good look at the ball which could lead to other problems.
So here is a thought. I would suggest they start with the gloves on the ground and as the batter starts to swing, they start to move in towards home (charge the ball), while lifting their glove from the ground. If the ball is to them, they are to put the glove back on the ground. This will accomplish two things: First, it will teach them to have the glove on the ground and secondly, how to be aggressive and charge the ball, thereby allowing them play the ball versus the ball play them.
As they progress out of T-ball, they might want to be in the ready position with the glove off the ground (still moving towards home as the ball is pitched)as they will already have learned the "get the glove dirty" concept from you.


Foreign investment in the mining industry of Australia has been happening for well over a century and is common practice. Despite a long and successful history, community sentiment is often impacted by the 'selling the farm' ideology emphasised by the increasing involvement of China in our recent mining boom.
Australia's history of foreign investment in our mining industry has its origins in the 1880's with investments coming from New York and London after discovering the gold fields in Western Australia and Victoria.
It was the second wave of investors in the 1960s after the first mining boom that attracted Asia and Japan.
Japanese steel mills back in the 1960's made sure that they had a direct stake in the supply of raw materials, ensuring them security with contracts being bought for the long term. The benefits of this relationship also flowed to the Australian mining companies, stabilising the market for long term growth.
In recent years, it has been China leading foreign investment in our mining industry.
With employment and housing of China's rising middle class, Australia's raw material has become an imperative source in recent times. Chinese buyers last year imported record volumes of iron ore causing the price to rise 15 per cent, which in turn boosted miner's earnings with China buying 60 per cent of seaborne iron ore on a global scale.
When it comes to the Foreign Investment Review Board in Australia, rejected applications are few, with the FIRB reviewing every application for investment from companies that are state-owned enterprises, to decide as to whether they are in the interest of the nation or not.
Foreign Investment Review BoardAlthough they may be happy to approve the investment, the FIRB will impose conditions, e.g. the output of the company marketed at an arm's length basis, selling ore to China by a company that is Chinese and has invested in iron ore that has to sell at the international market price, rather than the transfer price.
Keeping in mind that the FIRB's role is to advise and make recommendations to the Treasurer on these proposals, the Treasurer is not bound by them. A recent example is Treasurer Joe Hockey lifting conditions placed on Chinese mining company, Yanzhou. Many in the industry are calling for clearer and more transparent guidelines in the Foreign Direct Investment process to ensure as Prime Minister Tony Abbott has claimed, "absolutely crystal clear that we are open for business, we are open for foreign investment".


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Michael Begley je lahko:

Michael Begley (politik), irski politik
Michael Begley (veslač), ameriški veslač
Michael Joseph Begley, ameriški škof

redpajama_set_name: RedPajamaWikipedia


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Pressures of Taking Global Actions to Protect the Environment
The pressure of taking global actions to protect environment intensifies recently (Low, 993), so identifying which group of countries should make more efforts become important. Generally, developing countries contribute more than developed countries on environmental issues. One of the problems is deforestation, which can be explained by population increase and industrial activities development, and occurs most in developing countries. Another problem is greenhouse gas emissions, which is due to the rapid economic growth in developing country. It will become even more serious without control.
Deforestation is one of serious environmental issues, which can most due to the developing nations. There are two main reasons that can explain it.
The first reason is that population keep on increasing rapidly in developing countries (Bryant, Carver, Butler and Anage, 2009, p 853). According to Lucas (2003, p 3), the annual growth rate of population from 1990 to 2000 2.5% in Africa, 1.6% in Latin America, 1.5% in Asia, only 1.0%, in North America and 0.2 in Europe. The average rate of the world is 1.4%. Consequently, with the rapid population increase, people need more crops and livestock to meet their daily requirements, which means that more forests should be destroyed for agriculture (Lindsey, 2007, p 1). As well, urban extension which is also caused by population growth can lead to deforestation (Pauchard, Aguayo, Pena, Urrutia, 2006, p 274). From 1975 to 2000, In Concepcion, a city in Chile, the area which used to be cropland, forest and shrub land occupy the area which has been urbanised 45% (Pauchard, Aguayo, Pena, Urrutia, 2006, n.p.).
Next, another significant cause for deforestation is commercial activities in developing countries. For example, in Amazon, more forest destroyed for wood production in world mark, and in Indonesia, deforestation on Borneo and Sumatra results from commercial bio-fuel production (Lindsey, 2007, P2).
Therefore, forest depletion occur most in modernising countries. South America, Africa, and Southeast Asia are on the top list of deforestation (Lindsey, 2007, p 3). Especially, Uganda may loss all the natural forests without controlling by the end of this century (Bryant, Carver, Butler and Anage, 2009, p 854). From 1990 to 2005, the greatest area of deforestation appears in Brazil. It is 42,330,000 hectares, the same size as California (Lindsey, 2007, p 3). Following Brazil, other top 5 countries of destroying forest are Indonesia, Sudan, Myanmar and the Democratic Republic of Congo (Lindsey, 2007, p 3). By contrast, Forest will expand in Europe and remain stable in United State and Canada (FAO, 2009, pp.vii-xi).
Another harmful influence on environment in developing countries is emissions of greenhouse gases, which plays a key role in climate change. This problem is due to rapid economic growth (Gregg, Andres and Marland, 2008, p 2) in developing nations. More fossil energy sources such as coal and oil are consumed to support economic growth, so higher level of CO2 emissions, a kind of greenhouse gases, is produced during this process (Gregg, Andres and Marland, 2008, p 2). For instance, with amazing growth in gross domestic product (GDP), the industrial waste gas emissions in China rise from approximately 110 billion cubic meters to more than 530 billion cubic meters from 1994 to 2006 (Liu and Matsler, 2009, P30).In addition, international trade development as a important part of economic growth contributes to more emissions . Some factories in developing countries may use hazardous material to produce goods for other countries and create more greenhouse gases. Production for experts is responsible for one third of 1,700 million tons of CO2 emissions in China in 2005 (Liu and Matsler, 2009, P35).
More importantly, the problem of CO2 emissions will become deteriorate without any control in developing countries, especially in China. According to Campbell-Lendrum and Corvalan (2007, i110), thought per capita of emissions in China is lower than in China , China certainly over take United Station become the largest CO2 emissions country before 2010. The rate of emissions increase is at 10% annual growth, which means it may double again in less than nine years (Gregg, Andres and Marland, 2008, p 2). Furthermore, China as a developing country also is not required to achieve the emission reduction aims under the Kyoto Protocol (Gregg, Andres and Marland, 2008, p 4), which means this trend may not be control seriously.
In conclusion, developing countries should be responsible more than developed countries for environmental impacts. The reason is that deforestation caused by population growth and commercial activities increase is serious in developing countries, increase. As well, greenhouse gas emissions, which is due to rapid economic growth, continue getting worse in developing countries.
Bryant L., Carver L., Butler, C. D. and Anage A.2009, 'Climate change and family planning: least-developed countries define the agenda', Bull World Health Organ, vol. 87, No. 11, pp. 852-857.
Campbell-Lendrum D. and Corvalan C. 2007, 'Climate Change and Developing-Country Cities: Implications For Environmental Health and Equity', Journal of Urban Health: Bulletin of the New York Academy of Medicine, Vol. 84, No. 1 pp.i110-i117.
Food and Agriculture Organisation of the United Nations, 2009, 'State of the World's Forests', , pp.i-152.
Gregg J. S, Andrest R. J, and Marland G. 2008, 'China: Emissions Pattern of the World Leader in CO2 Emissions from Fossil Fuel Consumption and Cement Production', Geophysical Research Letter, Vol. 35, pp.1-5.
Lindsey R. 2007, ' Tropical Deforestation', Nasa Eearth Observatory, Accessed 13 December 2010, , pp.1-5.
Liu J. and Matsler M. 2009, 'China's Environment and Globalization: Unexpected Connections', In lee X. (ed) 2009 Lectures on China's Environment. Report #20, Yale School of Forestry & Environmental Studies, accessed 14 December 2010, , pp.29-42
Low P., 1993, 'Trade and the Environment: What Worries the Developing Countries', Environmental Law.
Lucas P. 2003, 'World Population Growth', pp.1-5.
Pauchard A., Aguayo M., Pena E. and Urruta R. 2006, 'Multiple Effects of Urbanisation on the Biodiversity of Developing Countries: The Case of a Fast-growing Metropolitan Area (Concepcion, Chile)', Biological Conservation, Vol. 172, Issue 3. pp.272-281.


How is Martin Kippenberger related to the Dodo? The answer is in Kippenberger's reaction towards the emptiness of art: he tries to make it even more empty, driving it ad absurdum. He is critical, inventive and deliberately clownesque, just as Lewis Carroll's Dodo. The most hated artist, as described by one of his contemporaries, Kippenberger spared no effort to confront and to provoke in a fresh, light but still complex (as for the ideas, ideologies and meanings) manner.


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Nedeczei Nedeczky Lajos Károly (Lesencetomaj, Zala vármegye, 1800. július 8. – Balatonederics, Zala vármegye, 1841. június 8.), Zala vármegyei földbirtokos, főszolgabíró, Zala vármegye helyettes alispánja.

Élete
A régi nemesi származású nedeczei Nedeczky család sarja. Édesapja nedeczei Nedeczky Ferenc (1769–1835) zalai árvaszéki elnök, édesanyja lomniczai Skerlecz Mária Klára (1777–1828) volt. Az apai nagyszülei nedeczei Nedeczky Tamás (1737-1773), földbirtokos és adamóci Ambró Franciska (1744–1792) voltak. Az anyai nagyszülei lomnicai Skerlecz Ferenc (1731–1803), helytartó tanácsos, békési főispán (1783–1785), királyi tanácsos, a Szent István-rend vitéze és nemeskéri Kiss Rozália (1739–1822) voltak. Nagybátyja nedeczei Nedeczky Károly (1766–1823) választott drivasztói püspök volt. Édesanyja révén gróf Batthyány Lajos miniszterelnök elsőfokú unokatestvére volt.

1819-ben végezte a jogi tanulmányait a Győri Királyi Jogakadémián. Ezután a fiatal Nedeczky Lajos 1823. december 29. és 1828. június 8. között Zala vármegye másodaljegyzője volt. 1828. június 8-tól 1834. szeptember 22-ig a szántói járás főszolgabírája lett.

Nedeczky Lajos Deák Ferenc közeli kedves barátja volt; felesége, nemeskéri Kiss Emma pedig Deák Ferenc unokahúga volt.

Házassága és gyermekei

1831. augusztus 20-án Pakson vette el a nemeskéri Kiss családból való nemeskéri Kiss Emma (1813–1856) úrhölgyet, nemeskéri Kiss József (1786–1829) és kehidai Deák Jozefa (1791–1853) lányát. Nemeskéri Kiss Emma kehidai Deák Ferenc unokahúga volt. Nedeczky Lajos és nemeskéri Kiss Emma házasságából született:
nedeczei Nedeczky István (1832–1908) 1848/49-es honvéd, országgyűlési képviselő.
nedeczei Nedeczky Emma (1833–1906) Férje névedi Botka Imre (1826–1879).
nedeczei Nedeczky Ilona (1834–1834)
nedeczei Nedeczky Eleonóra (1836–1857) Férje békási Békássy Gyula (1833–1904), országgyűlési képviselő, 1848/49-es honvéd.
nedeczei Nedeczky Ida (1838–1907) Férje csallóközmegyercsi Szabadhegy Sándor (1830–1883), 1848-as huszárkapitány.
nedeczei Nedeczky Jenő (1840–1914)
nedeczei Nedeczky Emma (1858–1883)

Jegyzetek

1800-ban született személyek
1841-ben elhunyt személyek
Lajos 1800


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North Texas Soccer Player Trying for Blind Soccer National Team
Ricardo Castaneda found his passion for soccer after he lost his vision
By Noelle Walker	• Published December 26, 2019 • Updated on December 26, 2019 at 4:48 pm
NBC 5 News
Ricardo Castaneda started losing his sight when he was 4 years old. By age 14, it was gone.
"I went to school, ran into a couple walls, figured out I was going blind," Castaneda said. "The doctor said I was completely blind and there was no recovery from that."
The 19-year-old said the prognosis had him on the sofa for a few months, until he rediscovered his love of sports.
"Because it distracted me from what I had and what I could do," Castaneda said. "It made me more inspired to do more things."
Things like soccer. When Castaneda plays, he comes alive.
"Soccer has just been a passion of mine," Castaneda said. "The running, the dribbling, the teamwork. It just comes together to just, like, make a big ball of joy for me."
In December, Castaneda became the first blind Hispanic player to be invited to take part in the Blind Soccer National Team ID Camp near San Diego. It's the first step towards playing on the team.
Players use a soccer ball that jingles when it moves. They also have to communicate as they play.
"People should watch it just to see how we work and how we can actually do blind soccer," Castaneda explained. "It's a lot of communication, a lot of teamwork, a lot of just talking to your teammates and knowing what you're doing."
Castaneda might be the first blind Hispanic player to try out at that level, but he's not the first in his home to overcome challenges.
"I've been blind since I was born," Castaneda's mother, Maria Vera said. "I never thought that my son was gonna have a future, but he's out there."
Castaneda wants to be a physical therapist when he graduates from college. Right now, his goal is the make the Blind Soccer National Team.
"Sometimes it can get frustrating," Castaneda said. "But we just have to keep fighting through."
Fort WorthsoccerAthleteBlind


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Why the mutant coronavirus is 'a potential catastrophe': report /
Why the mutant coronavirus is 'a potential catastrophe': report
COVID-19 patients at Imam Khomeini Hospital in Tehran, Iran, March 2020, Mohsen Atayi
Many health officials are being asked whether or not they believe that the new COVID-19 variant that has been spreading rapidly in the U.K. could reduce the efficacy of the vaccines now being distributed. Socoiologist Zeynep Tufekci notes that so far, "many scientists" believe that this variant "will not decrease vaccine efficacy much, if at all." But Tufekci, in an article published by The Atlantic on the last day of 2020, also warns that even if the variant slamming the U.K. doesn't limit the vaccines' efficacy, the variant's arrival is still terrible news.
"A more transmissible variant of COVID-19 is a potential catastrophe in and of itself," explains Tufekci, a native of Istanbul, Turkey who now lives in the United States. "If anything, given the stage in the pandemic we are at, a more transmissible variant is, in some ways, much more dangerous than a more severe variant. That's because higher transmissibility subjects us to a more contagious virus spreading with exponential growth — whereas the risk from increased severity would have increased in a linear manner, affecting only those infected."
Tufekci adds, "Increased transmissibility can wreak havoc in a very, very short time — especially when we already have uncontrolled spread in much of the United States. The short-term implications of all this are significant, and worthy of attention, even as we await more clarity from data. In fact, we should act quickly, especially as we await more clarity — lack of data and the threat of even faster exponential growth argue for more urgency of action."
Heard about the new variant? That it appears to be much more transmissible but not more lethal? That's true but no… https://t.co/yAO0CYbonW
— zeynep tufekci (@zeynep tufekci)1609439144.0
I have the quote of the year here, from @dylanhmorris "Exponentials are so cruel that nobody wants to look them in… https://t.co/D0giAwlhSx
Some cases of the new COVID-19 variant have already been found in the U.S. And Tufekci stresses that even though this variant doesn't appear to be any more likely to kill the infected person than the familiar COVID-19 strain that has been raging in the U.S., the fact that it is so infectious is major cause for concern.
"Severity increases affect only the infected person," Tufekci explains. "That infection is certainly tragic, and this new variant's lack of increase in severity or lethality thankfully means that it is not a bigger threat to the individual who may get infected. It is, however, a bigger threat to society because it can dramatically change the number of infected people. To put it another way, a small percentage of a very big number can easily be much, much bigger than a big percentage of a small number."
Tufekci notes that according to estimates by scientists, the new COVID-19 variant — which is being called "B117" — is around 50-70% more transmissible than "regular COVID-19." And she stresses that the variant might require even stricter precautions and social distancing measures.
"This uncertainty in understanding the variant's exact mechanisms means that we don't know if our existing tools — masks, distancing and disinfecting — are as effective as they were compared with an identical scenario with the regular variant," Tufekci writes. "To be clear, the variant is still a respiratory virus; so, the basic tools will not change, and they will all continue to work. In fact, they have become more important, but we may need to be stricter — less time indoors, better masks, better ventilation, more disinfection of high-touch surfaces — to get the same bang for our protective buck. It may be a small difference, or not. We don't know. We won't know for a while."
The coronavirus is mutating — here's what that means - Alternet.org ›
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Here's the damning timeline of Trump's conduct during the siege of the Capitol


text:
FA:ED, vol. 3, 501The Deeds of Blessed Francis & His Companions (1328-1337)
The Deeds of Blessed Francis & His Companions (1328-1337) - 501
9 For Brother Pellegrino never wished to be a cleric, and he remained lay, though he was well-educated, an expert in Canon law. Because of his humility he arrived at the greatest perfection of virtue, particularly at the grace of compunction and love of our Lord Jesus Christ. Burning with the love of Christ and inflamed by desire for martyrdom he went to Jerusalem to visit the most sacred places of the Savior, carrying with him the Book of the Gospels.
12 As he viewed the holy places where God and humans had walked, and touched them with his feet and observed them with his eyes, he bowed over to pray to God. He embraced those most holy places with the arms of faith, kissed them with the lips of love, and watered them all with tears of devotion, so that he moved all who saw him to the greatest devotion. However, as arranged by divine plans, he returned to Italy and, as a true Pellegrino,a a pilgrim of the world and citizen of the heavenly kingdom, he very rarely visited his noble relatives. But he encouraged them to despise the world, and by speaking to them seriously urged them to love God, and then he would leave them promptly and quickly, saying that Christ Jesus, who makes the soul noble, is not found among relatives and acquaintances. Lk 2:44
15 Brother Bernard, the first-born of his most holy Father Francis, had this one remarkable thing to say about this Brother Pellegrino: that Brother Pellegrino was one of the most perfect brothers of this world. He was indeed a true pilgrim: for the love of Christ which always burned in his heart did not permit him to find rest in any created thing, nor to fix his affection on anything passing, but always to push on toward his homeland, to long for his homeland and to rise from virtue to virtue until the lover is transformed into the beloved. Finally, filled with virtue, he passed to Christ whom he loved with all his heart, and, with many miracles before and after his death, he rested in peace.
To the praise of our Lord Jesus Christ.
SAINT FRANCIS FREES BROTHER RICCERIO FROM A VERY GREAT TEMPTATION
1 Brother Riccerio, companion of that same Brother Pellegrino on earth and now a fellow citizen with him in heaven, while he lived
A play on his name, Pellegrino, which, in Italian, means "pilgrim."


text:
Q: How to identify different id's that start with the same but vary in a value in JavaScript Hello I'm trying to do something with JavaScript/CoffeeScript and Ruby on Rails:
I've got several comments (rendered over a for each iteration) of which I want to show something under each of them when I click a button in that comment.
I've done this for id'ing the buttons and the sections inside the code that renders each comment:

    <a id="show-link-<%=comment.id%>" href="#">
        This will show whats in the section

<section id="show-section-<%=comment.id%>">
    This is what I want to show

And then I want to do this in coffeescript:
$(document).on 'turbolinks:load', ->
  $('#show-link-[SOMEID]').click (event) ->
    event.preventDefault()
    $('#show-section-[SOMEID]').toggle()

And I want the script to detect which button was clicked and show its respective section, for each comment.
The SOMEID in the script would be the possibility to identify some number there and use it inside the function.
Hope you can help, and thanks for your time!

A: When all you have is a hammer...
You're using a wrong tool for the job (trying to embed data in an id).
This is much better done using data attributes and classes. Use a class to mass-assign click handler and use a data attribute to store section name in full form, which does not require any processing.

    <a class='show-link' data-section-id="show-section-<%= comment.id %>" href="#">
        This will show whats in the section

<section id="show-section-<%= comment.id %>">
    This is what I want to show

Then
$('.show-link').click (event) ->
  event.preventDefault()
  commentSectionId = $(this).data('sectionId')
  $('#' + commentSectionId).toggle()

Demo

$('.show-link').click(function(event) {
  var commentSectionId;
  event.preventDefault();
  commentSectionId = $(this).data('sectionId');
  return $("#" + commentSectionId).toggle();
});

            This will show whats in the section

        This is what I want to show

A: I can't speak to the ruby or coffeescript, but how about just using the DOM API and this?

// Get all the "buttons"
var links = document.querySelectorAll(".showLink");

// Loop the "buttons" and wire an event handler to the click event
links.forEach(function(element){
  element.addEventListener("click", function(){

    // Find the parent of the "button" (the
)
    var parent = this.parentNode;

    // Go to that div element's next sibling and show it:
    parent.nextElementSibling.setAttribute("class", "show");
  });
});
.section {display:none;}
.show {display:block;}

    <a id="show-link-<%=comment.id%>" href="#" class="showLink">
        This will show whats in the section

<section id="show-section-<%=comment.id%>" class="section">
    Section 1 Content

    <a id="show-link-<%=comment.id%>" href="#" class="showLink">
        This will show whats in the section

<section id="show-section-<%=comment.id%>" class="section">
    Section 2 Content

    <a id="show-link-<%=comment.id%>" href="#" class="showLink">
        This will show whats in the section

<section id="show-section-<%=comment.id%>" class="section">
    Section 3 Content

redpajama_set_name: RedPajamaStackExchange


Funky or folky, the sheer variety of dining options in Dunedin will surprise you. Following is just a small taste of what's on offer; we suggest you visit http://www.insidersdunedin.co.nz/culinary-insider or https://www.zomato.com/dunedin to whet your appetite further!
Dunedin's newest Turkish kid on the block, colourful, tasty, and good value for money. Cosy into a corner booth with your favourite people and a Sila meze platter to share. Take-out also available.
Must try: the walnut dip.
Ombrellos Kitchen and Bar is Dunedin's premium craft beer restaurant. With up to 15 craft beers, a quirky restaurant and cosy private dining rooms, along with a stunning courtyard – Ombrellos is also perfect for summer lunches and after-work drinks. Live music in the courtyard on Friday nights.
Supreme Winner of the 2014 New Zealand Cafe of the Year Award, Ironic caters for all tastes and seasons. Dine indoors in front of the fire while enjoying the view of Dunedins' iconic railway station, or wallow in the sculpture enhanced courtyard in the evening sun while enjoying the selection of local wine or beer.
Must try: the pohutakawa smoked beef.
Serving up inspired shared plates in the heart of Dunedin, the Vault 21 team believethe best way to enjoy their food is to share amongst your table. The only Dunedin restaurant boasting locusts as a menu item! Winners of the 'Best Venison Dish' at the Silver Fern Farms 2017 Master of Fine Cuisine awards.
Hutong is all about fast, fresh flavour – casual cuisine inspired by the narrow, bustling streets of Southeast Asia. Sip a lychee cocktail under the lanterns as you watch the chefs do their thing.


text:
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Interesting Facts About My Country :)
The word "Palestine" originates from the word "Phillistia", given by the Greek writers to the land of the Phillistines.
For centuries, 'olives' have been an integral part of the Palestinian culture, tradition and ethos.
Jerusalem is the capital of Palestine.
Muslims make up a majority of Palestinians though there is a large population of Christians as well.
Did you know that 11 out of 100 children in Palestine, suffer from chronic malnutrition? The figures are only increasing.
The official language is Arabic, the script of which is written from the right to the left.
Did you know that Palestine is the only country in the world which has been frequently condemned by the United Nations?
Over half of the Palestinian population, live under poverty line, with majority of the poverty-stricken areas found in the Gaza strip.
Did you know that there is a register for maintaining the records of the number of Palestinian refugees in the Middle East? Till date, the total is a whopping 4,618,141 in the Middle East alone and over 5.5 Palestinian refugees around the world.
Population of Palestinian territories is about 4 million; West Bank is 2.5 million and Gaza Strip is 1.5 million.
Bethlehem celebrates Christmas 3 times a year: Once on December 25 as per western tradition, then on 6 January as per the Greek Orthodox Church and then on 18 January, as per the Armenians.
45% of the land in Palestine is dedicated to olive production. Most of this land is found in the West Bank.
Today, Palestinians are facing a housing crisis, due to the inadequate urban planning by the Israeli officials. More than 225,000 Palestinians are at a risk of losing their homes due to this.
Leaving its brutal past, Palestine is the only Arab country that is still widely being portrayed as the upholder of peace in the Middle East.
The currency of Palestine is the pound just like the previous currency used in the time of the British Mandate of Palestine between 1927 and 1948. A Palestinian Pound, with the mill being its smaller denomination, is issued by the currency Board of Palestine.
Palestinian culture does not accept Lesbianism and Homosexuality.
The current Palestinian government works along the rules and regulations laid down in the Constitution of Palestine which came into existence in 1968.
Dead Sea, the lowest natural point of elevation on Earth, is in Palestine.
British archaeologist Dorothy Garrod was the first to fully examine the Old Stone Age in Palestine. The study shows that at that time, Palestine was culturally linked to Europe, and the recovered human remains showed that the inhabitants belonged to the same group as the Neanderthal inhabitants of Europe.
Visit of Parliamentary State Secretary of German Federal Ministry of Education and Research (BMBF) to Al-Quds University
Tips for writing a winning cover letter
What to do before and during an exam?
Academic Coordination between the Institute of Business and Economics and College of Business at Staffordshire in England
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Articles in Media
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CPS International
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Aiming Directly at the Target
The American writer, Charles Garfield, who has made a thorough, psychological study of peak-achievement, says that 'in a study of 90 leaders in business, politics, sports and arts, many spoke of 'false starts' but never of 'failure.' Disappointment spurs greater resolve, growth or change. Moreover, no matter how rough things get, super-achievers always feel there are other avenues they can explore. They always have another idea to test.' (Readers' Digest, October, 1986).
Accepting Defeat
In 1831, an American citizen went into business. In 1832 his business failed, so he entered the field of politics, but was no more successful in that sphere. He reverted to business in 1834, and was again a failure.
Death the Leveler
An Air India plane, a Boeing 747, took off from Montreal on 23 June 1985, carrying 329 people aboard including the crew. It was bound for Delhi via London.
At Palam airport, Delhi, large numbers of people were waiting, as usual, to receive their relatives and friends. Some of the passengers were coming back home after working hard at their studies or their business. There were some girls and boys who were coming to India to get married. Still others were to visit their homeland after a long interval to meet their near and dear ones.
An Eye for a Talent
When the Industrial magnate, G.D. Birla (1894-1983), was thirty years old, he received a letter from an unknown student in Calcutta. This is what the student, in an informal and forthright manner, had written:
If only you can help me with an amount of Rs 22,000 for the purchase of a special type of instrument which has to be imported, I may assure you that I may be able to get the Nobel Prize for my discovery.
Albetano, an ancient Roman philosopher, is recorded as having said: 'The angry man always thinks he can do more than he can.'
When a man is intoxicated with alcohol, he is not in control of himself. He may even go so far as to bang his head on a stone, unmindful of the fact that it may not be the stone that breaks but his own head. This is because, in his besotted state, he wrongly gauges his own abilities and proceeds to do things which can have unfavourable consequences.
In the Ohio University of the U.S.A. there is a department known as the Disaster Research Centre. It was established in 1963, and has so far studied over one hundred different calamities affecting human beings on a vast scale. It was discovered that at moments of crisis, an extraordinary new potential develops in people which saves them from succumbing to disasters and their aftermath. In 1961, for example, Texas was struck by a severe coastal tempest, but less than half of the inhabitants opted to vacate the area.
The Order of Nature
Try closing your room, going away, and returning after a few weeks. What do you find on your return? A thick layer of dust all over the room. This is so unpleasant that you don't feel like sitting in the room until it has been dusted. Equally unpleasant is the dust blown in your face by a high wind, you find yourself longing for the wind to drop, so that there should be no more irritating dust.
Hasten Slowly
A young man once came to a venerable master and asked, 'How long will it take to reach enlightenment?' The master said, 'Ten years.' The young man blurted out, 'So long!' The master said, 'No, I was mistaken. It will take you twenty years.' The young man asked, 'Why do you keep adding to it!' The master answered, 'Come to think of it, in your case it will probably be 30 years.' (Philip Kapleau, Readers Digest, 1983)
The Life Force
A creeper growing in a courtyard once had the misfortune to have its roots and branches buried under mounds of earth and rubble when the house was undergoing repairs. Later, when the courtyard was cleaned up, the owner of the house cut away the creeper, which had been badly damaged, and even pulled out its roots so that it would not grow again. The whole courtyard was then laid with bricks and cemented over.
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Too often the signs are right in front of us and we just don't read them.
There is beauty in all forms of food. I love watching yeast risen doughs bubble and breathe. They are so full of life. Each one is different and special and utterly inspiring.
This was a true divide and conquer experience. Aki mentioned that lobsters were on sale. I was aware enough to pick up on her subtle hint. We all went shopping together. Aki watched Amaya while I hand picked the lobsters. I cooked and cleaned the lobsters. Amaya offered to help clean the lobsters. Aki made the lemon dressing. I cut up the lobster meat and dressed the salad. Aki griddled the buns, added the Benton's bacon and hot pepper rings. We both crushed these lobster rolls. Amaya declined and ate bacon with here hot dog.
Teamwork plays to the strengths of the players.
Sugar isn't always sweet but it always adds flavor.
Yes, we know that Bobby Flay has been grilling lemons for years. It's one of his favorite tricks and rightfully so, that caramelized edge add great flavor. These lemons have been caramelized with a bit of sugar in a non-stick pan. You get an extra layer of flavor that is surprisingly un-sweet because of all the acid in the fruit. The juice from these lemons is pretty special. We love it. You can use it anywhere you normally use lemon juice, it has just that extra complexity to give your food a lift.
We, (ok let's set the record straight, I) bought a couple of "tomahawk chops" looking for a great grilled meat experience. They have clean lines, are trimmed down to the bare essentials and they come with a handle. The trouble is, all of the trimming left a lot of good stuff on the cutting room floor. And if you are married to a chef, who enjoys freeing morsels of goodness from a steak a tomahawk chop is a downright insult. I should have known better. Besides, one of my favorite joys is licking the juices from a grilled steak off of my fingers. Our need to make food beautiful and pristine takes away some of the processes the diner actually enjoys.
We've fried them, folded them into eggs, laminated them in noodles, stuffed them with everything under the sun, shredded them into soups, pureed them, frozen and powdered them and guess what, they were just ok. While we loved the idea of cooking with squash blossoms we were underwhelmed with the flavor. Whatever we did to them is what made them delicious. The ingredient acted as the catalyst for ideas. The blossoms are beautiful and so we wanted to show them off. Unfortunately they are basically tasteless. They become the starting point and their delicate nature guided the path we took with them. We bought into the hype without ever understanding why squash blosoms were important. Then we realized that spark that leads us to create something delicious is invaluable.
We sliced the tomatoes and seasoned them with powdered dehydrated kimchi. Then we drizzled them with olive oil and sprinkled on a few miniature opal-globe basil leaves. The tomatoes were refreshing and bright with the tang and spice of the kimchi and the herbal anise notes of the basil. The olive oil added a smooth richness. The only thing I was missing was warm tender mozzarella. That is why there is a next time.
We fire up the egg and throw on the corn. When the first side is good and charred we flip it and char the other side. We remove the corn from the grill and when it is still hot but manageable we rip off the husks and put the cobs on a plate. We cover the corn with a cotton towel and bring the plate to the table. We have plenty of cold butter and salt on hand. And extra napkins.
We took some of our watermelon rind burnt ends and vacuum sealed them with the juices from pickled cherry peppers. Then we cut them into smaller pieces, drained off the pickling liquid and coated them with olive oil and dried oregano. This is a crisp and spicy condiment perfect for the end of summer. If you love watermelon it's well worth making enough to take you through the fall and winter.
Every inspiration came from somewhere.
The idea of mimicking parsnips as geoduck did not pan out in our first trials. Thankfully, I was able to take the parsnips in a whole new direction. I was inspired by the chewy texture of the parsnips and out daughters love for tootsie rolls that now come in a rainbow of flavors. We took the parsnips and vacuum sealed them and then rolled them flat. (These parsnip sheets will more than likely pop up in other dishes as well.) Once the parsnips were flat we froze them so that we could cut them and manipulate them. We cut the bag off of the parsnips and then cut them into strips. We then let the parsnips come to room temperature and rolled the strips into tubes the size of tootsie rolls. Then we used candy wrappers to seal them up. We store them in the refrigerator and when we pull them out and unwrap them they have the shape and texture of a tootsie roll with the intense flavor of a parsnip.
Since we have A on hand and B on hand it only made sense to bring them together. We sliced our smoked and cured watermelon rind on a mandoline and then vacuum sealed it with kimchi juice. We let the rind marinate for a half an hour. Then we cut the bag open and were delighted by the harmonious combination. As with many condiments, now we need to find it a home.
We saved the pulp left over from juicing cucumbers for my ice cube project. The cucumber pulp has a beautiful texture and reminded me of porridge. So, I took my cue and made cucumber porridge. I warmed up the cucumber pulp and folded in creme fraiche, seasoned it with a bit of salt, swirled in a knob of butter and finished it off with some grated Parmigiano-Reggiano cheese. In the bowl I topped the porridge with a 13 minute egg coated with kimchi flour. Aki didn't even get to try it. I foresee a lot more cucumber porridge in my future.
Coursera is a pretty amazing concept. It allows people to take online classes that are taught from instructors from some of the best schools in the country. You earn a certificate at the end of the course as a tangible result of your work. It brings higher education to anyone who is willing to put in the effort needed to learn and you can do it (mostly) on your own schedule. It's an invaluable service and the TED talk below tells you why they created it. VIsit their website and push yourself to learn something new. Imagine what we could all do with this kind of opportunity.
After arriving in upstate New York I glanced around the garden and saw a pot "planted" with lamb's quarters and a random rhubarb stalk. I thought it was very clever to have a potted plant of weeds by the back door, but I did wonder about the rhubarb and how it got there.
It turns out it used to be a rhubarb pot and had been forgotten. The lamb's quarters made the most of the opportunity and took root. I look forward to making the most of the lamb's quarters later today. In an odd bit of connection, we did a dish with rhubarb, smoked trout and lamb's quarters a few years ago and it was nice to see that nature agreed with our pairing.
I often want the flavor of kimchee without the bulk of the cabbage. Other times I want to incorporate it into a dish without the additional liquid that it soaks in. To accomodate my quirks I decided to separate kimchee into solids and liquid using a masticating juicer. Now, we can control the flavor and the texture of the ingredient and really explore the possibilities.
This is one of those videos that will make you want to get in the kitchen and cook, whether you are a Julia Child fan or not.
Watch Julia Child's 100th birthday on PBS. See more from WGBH Specials.
I woke up this morning and knew it would be a good day for pie. I also knew that if I didn't get it started immediately the day would get away from me and this would be just another unsatisfied longing at the end of the day. So as soon as I hit the kitchen I began looking around the fridge to see what I had to put in the pie. I rejected the cherries because it would take to long to pit them and make the filling. There were blueberries though, 2 pints, which was almost enough to fill a pie. I pulled them out, picked through them and gave them a rinse. Then I opened the freezer and looked through the frozen fruit.
Put the sugar, lemon juice and salt in a small sauce pot set over medium heat and let it caramelize, stirring occasionally with a heat proof spatula. Once the caramel is a deep golden brown, remove from heat and add the frozen blueberries. Stir to mix in the berries and set over medium heat, stirring to melt any hard caramel that forms. Once the caramel is liquid again stir together the cold water, tapioca starch and cornstarch until all of the starch has dissolved. Add it to the caramel and stir until all of the starch has dissolved and then pour the slurry into the caramel. Cook, stirring constantly, over medium heat until the mixture thickens to the texture of cold jelly. Strain the mixture into a clean bowl and chill. Once the mixture is cold, fold in the fresh blueberries. Use immediately to fill a double-crusted pie.
***I bake my double crusted pies on the bottom shelf of the oven at 400°F for 30 minutes and then turn the heat down to 350°F without opening the oven and cook them for another 30 minutes. They don't get as dark as they do when I start at a higher temperature but I get a very consistent cook of both top and bottom crust, which to me is more important than color. This make a surprisingly juicy pie. If you like a more solid filling you can mix 1 tablespoon (7 grams) cornstarch into the fresh blueberries before folding them into the blueberry gel, though I like a messy pie myself.