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LA Clippers Game Recaps
Clippers, Jazz trade wild swings in 117-111 Utah win in Game 2
Clips find themselves in a 2-0 hole once again.
By Alicia Rodriguez Jun 10, 2021, 10:04pm PDT
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Photo by Alex Goodlett/Getty Images
The LA Clippers weathered cold runs and surges in alternating fashion with the Utah Jazz, but ultimately it was the Jazz that prevailed in Game 2 of the teams' playoff series, by a 117-111 score on Thursday at Vivint Arena.
The Clippers trailed for nearly the entire game, but they kept pace with the Jazz for most of the night, never letting the game get out of hand. Their late rally nearly came together, but the Jazz had an even later surge after LA took their first lead of the night, and put the game to bed, going up 2-0 in the series in the process.
Ty Lue made one change to his starting five, bringing in Ivica Zubac to provide size in the lineup and moving Nicolas Batum to the bench. The other four starters — Kawhi Leonard, Paul George, Marcus Morris Sr. and Reggie Jackson — remained intact.
It was a quick start for the Jazz, with the home side racing out to a 10-2 lead, Lue calling a timeout before two minutes had elapsed in the game. Donovan Mitchell had eight of those points to tip off the game for Utah.
The Clippers managed to keep pace and claw their way back in short order. Luke Kennard hit a buzzer-beater to end the 1st quarter from the quarter, to give LA a one-point deficit, as Utah led 30-29 through 12 minutes.
As promised, Lue went with an expanded rotation in the 1st half for the Clippers, with Patrick Beverley and DeMarcus Cousins getting extended minutes and making good plays along the way.
The game stayed close in the 2nd quarter, but the Jazz hit back-to-back 3-pointers in the final two minutes of the half to extend their lead to 10 points, and then they went further, wrapping up the 1st half with a 66-53 lead, the Clippers leaving their work cut out for them after halftime.
Leonard was the only LA player in double digits at halftime, with 14, but Mitchell was nigh unstoppable in the first half, posting 27 points to continue his hot form from Game 1 for the Jazz.
It got worse to open the 3rd quarter, as a combination of Utah staying hot on offense and the Clippers racking up a bunch of early fouls left no mistake as to which team was in control of the game, as the Jazz extended their lead to 21 points.
But Jackson stepped up to hit some shots to keep LA within arm's length, the Clippers chipping the deficit to nine points midway through the 3rd quarter.
Reggie feelin' it.
He's got 14 points so far in the third. pic.twitter.com/2KIB0auRRb
— LA Clippers (@LAClippers) June 11, 2021
Utah hit a cold run and the Clippers made up ground, with a play in which every player on the court touched the ball ended with Zubac hitting a big slam dunk to make it a six-point deficit.
But Utah aired it out again, the Clippers battled back to stay alive in the game, and somehow all the swings in the 3rd quarter led to Utah leading 93-86. So the Clippers actually ended up ahead of where they were a quarter earlier.
In the opening seconds of the 4th quarter, Utah's Joe Ingles uncocked an elbow into Beverley's jaw, and the play ended up being called a Flagrant 1 foul, with Beverley burying both free throws and LA burying the 3-pointer on the following possession to narrow the game to two points.
And while George had his own ups and downs in the game, he pushed hard to drive to the rim in the 2nd half and found considerable success, hitting a series of shots amid major contact.
Finishing through contact. pic.twitter.com/a85Dszs5jw
Leonard struggled again by his lofty standards in Game 2, but he grinded to continue contributing down the stretch.
Jackson hit back-to-back 3-pointers midway through the 4th quarter to give LA their first lead of the game, at 101-99, hoping to invoke Lawler's Law in the process.
BIG TIME BUCKET. pic.twitter.com/WY266ozOOu
But the Jazz came right back, tying up the game quickly before Bojan Bogdanovic buried a 3-pointer to give the home team the lead again.
And from there the Jazz got on another big run, going up 113-103 as they found their shooting touch and the Clippers lost theirs. LA had another chance to tie up the game in the final two minutes, but they completely lost their shot and the Jazz saw out the game.
Jackson was the top player on the night for the Clippers, scoring 29 and lifting the team in their low moments. George had 27 points, and Leonard clawed (no pun intended) for 21, the stars both struggling to find their stroke from range on the night.
These teams will get a travel day and then will be back at it, on Saturday at Staples Center in Game 3. The Clippers are in a two-game hole again, but can they dig out of it this time? You can only go one game at a time, and they'll have their season on the line, effectively, again in the next game.
Clippers vs. Jazz 2021 second-round series
Three takeaways from the Clippers' Game 6 win over Utah
Clippers vs. Jazz Game 2 preview: LA aim to tie up series


Adrian Juras is a professional bass player residing in the Niagara Region. Fluent on both Double Bass and Bass Guitar, he has performed around North America with various different touring acts and worked for Carnival Cruise Lines entertainment in the Caribbean. You will find Adrian most often performing in production shows, theaters, as well as freelancing around Niagara and the GTA in various Jazz, R&B, Country, and Singer/Songwriter settings. His group will be performing a New Orleans flavoured set filled with swampy funk grooves and blues!


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Staff was friendly and helpful, and the view of the mountains was beautiful.
Where to find Gleneagle hotels near an airport?
Where can I find hotels in Gleneagle that are near tourist attractions?
For those visiting Colorado Springs and want to find an Expedia-listed hotel in Gleneagle, there are several places to choose from. There are 9 Expedia-listed apartments and hotels within easy driving distance of the heart of town.
There are only a handful of accommodation options within an easy walk from the center of Gleneagle. The Fairfield Inn & Suites Colorado Springs N./Air Force Academy is a good option as it's only 3 kilometres (2 miles) away.
30 kilometres (18 miles) away from downtown Gleneagle, is the The Broadmoor. The Old Town GuestHouse is situated 20 kilometres (14 miles) away. Some other accommodation options around Gleneagle include the Cheyenne Mountain Resort and the Garden of the Gods Club and Resort.
Keen on seeing more of the mountains and foothills this area offers? Why not book a few days in other destinations in Central Colorado? You can travel to the region's various sights or enjoy snowboarding and afterwards book a comfortable hotel.
20 kilometres (14 miles) from Gleneagle you will find Manitou Springs, where you can enjoy Manitou Springs Cave Dwellings and Pikes Peak Cog Railway. Some of our recommended Manitou Springs hotels and accommodations include the Cliff House at Pikes Peak and Comfort Inn. 9 kilometres (6 miles) to the south of Gleneagle, you'll find North Colorado Springs, which is home to the Staybridge Suites Co Springs-Air Force Academy and Holiday Inn Express Hotel & Suites Co Springs-Air Force Acad. The Trampoline World Gymnastics and Mr. Biggs Family Fun Center are popular sites to check out when visiting North Colorado Springs.
Before you head home from Colorado Springs, ensure you experience some local sport. Visit Pepsi Center to the north of Gleneagle. Book accommodation nearby to the action at the Four Seasons Hotel Denver or the The Ritz-Carlton, Denver.
For travelers planning on arriving through City Of Colorado Springs Muni Airport, you may find it convenient to book a bed at Homewood Suites Colorado Springs Airport, or Radisson Hotel Colorado Springs Airport, both of which are a short distance away.
What are the most popular Gleneagle hotels?
Are there hotels in other cities near Gleneagle?
What other types of accommodations are available in Gleneagle?
Explore Gleneagle with Expedia.ca's Travel Guides to find the best flights, cars, holiday packages and more!


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Childhood: 1891-1909
University and Medical Training: 1909-1921
Early Career in New York and Europe: 1921-1928
The Montreal Years and the MNI: 1928-1960
The Second World War: 1939-1945
Neuro Annual Reports: 1928-1984
Woman with Bicycle in Northamptonshire Hills, photograph.
A black and white photograph of a woman in front of a bike in the Northampton Hills. This woman is later identified as a member of the Jones family. It is the sixth photograph from page 12 of the 1919-1927 album compiled by Wilder Penfield.
image.photograph.black and white 6.8 x 5.8 cm
Bicycles.
Northamptonshire (England).
Women's clothing.
is Part Of:
Wilder Penfield Digital Collection
Wilder Penfield Fonds P142 -- Series O (Objects) -- Sub-Series O/V (Objects, visual) -- Photograph Album (1919-1927) -- page12 -- image6
Osler Library of the History of Medicine, McGill University
Woman with Bicycle in Northamptonshire Hills, photograph. [Online image]. Wilder Penfield Digital Collection Wilder Penfield Fonds P142 -- Series O (Objects) -- Sub-Series O/V (Objects, visual) -- Photograph Album (1919-1927) -- page12 -- image6 . Osler Library of the History of Medicine, McGill University . Retrieved January 20, 2022 from http://digital.library.mcgill.ca/penfieldfonds/fullrecord.php?ID=8850
This material has been made available with the consent of the copyright holders and can be used in accordance with fair dealing provisions of Canadian copyright law. For more information, please contact the Osler Library of the History of Medicine.
Caption reads: "Northamtonshire Hills".
Photograph part of page titled: "Oxford & Cambridge, March 12 & 13. 1920."
O/V Photograph Album (1919-1927)
© McGill University Library and Archives


Richard Olmstead is Professor of Biology and Curator of the Herbarium, Burke Museum, at the University of Washington. His upbringing in rural upstate New York led him to an interest in natural history and the out-of-doors from several perspectives. From an early curiosity of wanting to know what all the trees were in the forests of his childhood, he developed a scientific curiosity that led to questions about the origin of the diversity of life on earth in an evolutionary sense, ultimately circling back to the evolutionary trees that comprise the forest we call biodiversity. Another stimulus from an early age was the challenge of testing oneself in the natural world, which has led to a lifetime of mountain wandering, including an 8-year hiatus while he pursued his dreams as a climbing guide. Today, his work involves research in plant phylogeny, as a tool to understand patterns of biodiversity today, documenting baseline data on biodiversity for our ecoregion in the Pacific Northwest, and educating students and the public about plant biodiversity.
Richard Olmstead: He was always there, always had an open door. He was the sort of professor who wore a coat and tie to work everyday, but on the back of his office door hung his field clothes. Whenever undergrads came into his office at the end of the day, or between classes with some time to kill, he we was always willing to change out of that tie and coat and drag us down to his Volkswagen bus that was parked behind the building and go out to the local woodlot to see what was flowering, or go to the local marsh to see if the cranberries were ripe yet. That influence of a teacher who had an individual interest in students and in natural history, influenced me to want to be the same.
Karen Reagan: Well, I can tell you that his modeling for you really paid off. My first interaction with you outside of the classroom was finding a horsetail. I had no idea what it was, but there was a lot of it so I didn't feel bad about plucking it out of the ground. I came into your office and I said, "What is this?"
And you talked at length about equisetum and its role in history and how it was one of the most primitive plants that we had in our current environment. You talked about where to find it, and you then encouraged me to come back any time I had a question. You probably don't remember me hauling in mock orange and golden chain and all sorts of non-native plants that were also in the environment, to ask you, "What are these? Where did they come from? What's their history?"
Your door was always open.


A mix of scenic lakes, up and coming industrial districts and exquisite skyscrapers, Minneapolis is the perfect place to enjoy a sunny and delightful weekend. Here are are the top things to see and do on your next visit to Minneapolis.
Minneapolis, Minnesota is best known as being the city of ten thousand lakes surrounded by up and coming industrial districts and exquisite skyscrapers, along with a melting pot of world-class dining and music royalty's greatest legacy. Check out this short travel guide and figure out the best ways to spend time in this mid-western city.
Perhaps made famous by a certain popstar, Minneapolis is rapidly becoming one of the hottest destinations in the world, with a booming food scene and plenty to do, guests can indulge in hearty Midwest fare and local craft beer – or take a highly recommended trip to Prince's personal home and colorful playground, Paisley Park.
From there you can hop across the pond and head to the city's booming city center: a buzzing, friendly metropolis of music, art and history that will keep your days busy and your nights late. From the dark corners of notorious jazz clubs and fancy steakhouses of downtown, to the museum-filled university district and famous suburb that houses Prince's famous house-compound and now museum, your dollar will stretch here much farther than in other major US cities.
After years of being somewhat cast in the shadows of the likes of NYC and Chicago, the Minnesotan city (one half of the Twin Cities – the other being the adjacent St. Paul) lays claim to some of the states' most highly invested-in sports stadiums and art museums such as the Minnesota Vikings' home ground, the U.S. Bank Stadium, and the revered contemporary art museum The Walker. The latter has just this month reopened the newly restored must-see, Sculpture Garden. Shop till you drop at the US' largest shopping center, the Mall of America – which even has its own newly appointed poet-in-residence.
What makes this city so special? The openness. That is, the expanse of the streets, the warehouse buildings that are being turned into trendy cafes and hip hotels, many of which have a view of one of Minneapolis' vast waters. This is a city in which you can really relax and breathe, all while taking in a vibrant energy of artistic and artisanal growth – a lot of artists, musicians and small businesses have set up studios here due to the lower rental costs and sea of opportunity surges throughout the city.
Jump on the light rail from the airport when you arrive and get a glimpse places like Minnehaha while on the way to Downtown Central. Once you are there the first thing you'll see stepping off the light rail is a giant mural of Bob Dylan, staring down at you near Nicollet Ave and Mall. Dotted around the city are an abundance of tremendous lakes where you can take boat rides or water ski and swim, making for a fun trip during the summer.
It's a place with one striking feature you can't escape: a local legacy that's arguably one of the most inspiring across America. Minneapolis was the lifelong home to a person who sought to defy prejudice with songs and a style that was representative of a diverse and free-thinking modern future – Prince is still kept very much alive here today, after his untimely passing in 2016. Make time for the Purple Rain singer, and start with a bus tour with Captain Randy, a lively and hilarious guide who will show you Prince's old stomping grounds. En route to Paisley Park, stock up on vinyls at his old favorite record shop, Electric Fetus and check out the famous old Capri Theater where he played his first show. You might find an amazing young gospel choir in rehearsal today. At your final destination, you can experience enlightening personal tours of the icon's astonishing vault of costumes and instruments, an enormous sound stage and much more in his sprawling futuristic-looking glimmering white home in nearby Chanhassen. Prince would host impromptu public concerts both at his home and in town, so pay your respects with a night of dancing. After dark, head for drinks at the Foshay and any of the fantastic dive bars along Hennepin, before letting your hair down at First Avenue, the still-poppin' since 1970 danceteria where Purple Rain was filmed and where all ages, sexes and colors come together to get loose on the dance floor. For a more sophisticated affair, reserve a table at Dakota Jazz Club, where Prince was seen watching a band on his second to last night alive. A table remains reserved for him with a bunch of lilacs.
You'll notice a lot of hearty, beautiful, locally-sourced produced on your table at dinner (though it's recommended you reserve more stomach space for brunch, the most popular and decadent meal of the day – especially if you're on holiday). Enjoy Friday Fish Fry at Red Stag Supper club, or sample their epically delicious breakfast corned beef hash and sweet potato pancakes. Get your Irish fix with a Wake-Up Beer: stout with a shot of espresso. Another great dining spot any time of day is the Oscar Wilde themed Wilde Roast Cafe (decorated with his favorite peacock wallpaper). For dinner, nothing beats Murray's, stunning classic downtown steakhouse to the stars, complete with cozy booths, heavy silver cutlery and slick but friendly family-run service since 1946. Order their famous garlic toast, orange seared scallops, fillet mignon medium rare with spinach and potatoes and a slither of their notorious family recipe raspberry pie. Wash down your decadence with a dry martini, a Malbec and a house port.


A WOMAN mysteriously drowned in a swimming pool in Bali after dancing alone at the water's edge following a "perfect evening" with her boyfriend, an inquest heard today.
He told the hearing in Pontypridd, South Wales: "I think she was having a cigarette and got up from the chair, having a dance.
"I assume she must have been at the side of the pool when she slipped and hit her head.
"If she was conscious she would have been able to stand up in the pool."
Describing their evening together, he said: "It was literally one of the most perfect evenings that you could have had.
"We were making plans for the future. It was such a nice day there was nothing sad about it at all."
The inquest heard Andrew jumped into the water to drag Natalie's lifeless body to the poolside where he gave CPR.
The inquest heard Natalie was "not a great swimmer" but the 1.5m-deep pool would not have caused her any issues.
It also revealed Natalie was "marginally" over the drink-drive limit.
Natalie's older sister Janine Lloyd, 41, told the hearing in a written statement: "She had a sparkling personality; she was a lovely, special girl.
"She was at her peak before her death. She was a light that shone so brightly, it seemed impossible it would go out."
Coroner Andrew Barkley recorded a narrative verdict that Natalie, from Cardiff, "drowned in circumstances that were unclear" on September 3 last year.
He said: "Natalie was well-loved and in the prime of her life and was enjoying an exciting holiday Bali.
"She and her boyfriend were staying at a private villa, some drink had been consumed, both were a bit tipsy.
"But the evidence does not reveal how she entered the water."


A danish crown pastry, filled with raspberry, strawberry and vanilla filling.
Bake from frozen at 180°C for 19 min. NOTE! Baking times and temperatures are guidelines depending on the oven. Baked product weights about 95g.
WHEAT flour, water, vegetable oil and fat (palm, rapeseed), sugar, EGG, raspberry 2,7%, yeast, strawberry 2,1%, thickeners (E1414, E404, E440, E401), partially hardened fat composition (coconut oil, MILK protein), apple 0,7%, WHEAT GLUTEN, salt, emulsifier (E472e), acidity regulator (E330), citrus fiber, stabilizers (E333, E450), preservative (E202), flavours (eg. vanilla), colour (E160a, elderberry concentrate), flour treatment agent (E300). May contain traces of almond, soya.


Mix sweetener, cornstarch, and lime juice. Add chopped pears and ginger tossing to coat well. Pour into pie crust. Top with second crust or create lattice top with second crust. Cut slits or shapes if using whole top crust.
Brush top of pie or lattice with soymilk mix sugar and spices together and sprinkle onto the moistened top crust. Bake 400 degrees for 35 to 45 minutes until crust is golden.
* I usually cover the edge of the pie for the first 30 minutes of cooking. I then uncover it and it does not get too brown around the edge.


Flowers are one of our main crops and play an essential role in peoples' celebrations and every day lives. Weddings, graduations, Mother's Day, Father's Day, St. Valentine's Day, Easter, Christmas and funerals all demand flowers and plants.
Dahlias are bushy, tuberous perennial plants native to Mexico and Central America. They are colourful spiky flowers which generally bloom from July to the first frost, usually in October. They come in a variety of colours, patterns and range in size, from giant 10-inch "dinnerplate" blooms to 2-inch lollipop-style pompoms. Most varieties grow to be 4 to 5 feet tall. We currently grow over 350 different varieties of Dahlias for cut flowers, tuber production and flower shows. We sell dahlia tubers and plants, fresh cut flowers, flower arrangements, and cater to weddings and special events.
Dahlia Tubers become available for purchase in April 2019. Please stay tuned for our online list of available 2019 Tubers.
Chrysanthemums, also known as 'mums', are native to Asia and Northeastern Europe and start blooming early in autumn. Which numerous varieties and colours to chose from, they are one of the prettiest varieties of perennials and one of the most popular flowers during the month of November.


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The Basset Clarinet of Anton Stadler
Pamela Poulin
basset clarinet
Sussmayr
Anton Stadler was a clarinet virtuoso of Vienna and close friend of Mozart (Fig. 1).1
Figure 1. Silhouette of Anton Stadler. Courtesy of the Deutsche Staatsbibliothek, East Berlin.
Stadler and Theodor Lotz (who was Royal Instrument Maker to the Viennese court) extended the range of the clarinet down to small c and added key work for the pitches e-flat, d, c-sharp, and c. These pitches will be called basset notes throughout this article. At the time the instrument was known as a bass clarinet, basset clarinet, or simply as "a newly-invented clarinet." Today it is usually called a basset clarinet. As evidenced by musical examples and journals of the time, the basset clarinet was made in the keys of B-flat, A, and C.2 Recent research by Ernst Hess and Jiri Kratochvil has shown that Mozart's Concerto in A Major, K. 622 was written for Stadler's basset clarinet, thereby attesting to the importance of both the instrument and the inventors.3 The basset horn was a member of the clarinet family, invented during the 1770s, and pitched in F or G. The basset horn's shape varied from that of a sickle to a right or obtuse angle. The improvement Lotz made was to extend the lower range of the basset horn to small c.
According to records recently found by Karl Maria Pisarowitz, Anton Paul Stadler was born on June 28, 1753 at Bruck an der Leitha, outside Vienna. Three years later his family moved to Vienna, where his brother Johann was born. The musical training of Anton and Johann was probably supervised by their father Joseph Stadler, who was a musician and shoemaker.4 Musical dictionaries of the eighteenth century report that the brothers played clarinet and basset horn. The Journal des Luxus und der Moden of 1801 includes a description of Anton as "a great artist on many wind instruments."5 In a letter to Ignatz von Beecke dated November 1781, Anton writes that he and his brother "can also play a little violin and viol [sic]."6
The Stadler brothers' performing career in Vienna began as early as 1773, when they appeared in a concert on March 21 at the Ktnertortheater.7 Until 1782 Anton and Johann held various positions. According to the open account books of the imperial court of 1779 they were hired by the court on a per-service basis.8 A concert program of March 12, 1780 identifies the brothers as being in the service of Count Carl of Palm.9 As of October 1780 Anton was employed by the Piaristen religious order of Maria Treu as a "manorial musician."10 In 1781 Anton was in the service of Count Dimitri Galizin.11 In the same year Kaiser Joseph II designated their services as "indispensable."12 This designation was obviously not enough to contribute to their financial and artistic security, because on November 6, 1781 one of the Stadlers wrote a letter to Ignatz von Beecke of the Wallerstein orchestra seeking employment for himself, his brother and a fellow bassoonist named Griesbacher. Dr. Volker von Volckamer, archivist of the Wallerstein'sche Bibliothek und Kunstsammlung, has informed me that none of the three ever secured employment there (Fig. 2).13
Figure 2a. Address & first page.
Figure 2b. Second page.
Finally, on February 8, 1782 the brothers were invited to join the orchestra of the imperial court in Vienna. The imperial report read as follows, "The two brothers Stadler who play clarinet are appointed to the orchestra because they are often needed and they might travel or go into service elsewhere."14 According to Gerber's Lexikon of 1792 the brothers were members of the Kaiser's wind octet, called Harmonie, in 1783. Reportedly Anton played second clarinet. Stadler's interest in extending the chalumeau register of the clarinet may be traced to his playing second clarinet in the Harmonie. The treatment of the clarinet at the time was similar to that of the French horn; the second part was written for the lower range of the clarinet. The brothers' positions were reversed for the court orchestra, however, with Anton assuming the first chair.15
It is not known exactly when Mozart and Stadler first met and became friends. Mozart moved to Vienna in March 1781. Mozart composed basset horn music, which may have been inspired by Stadler, as early as 1783. According to Otto Deutsch in his Mozart Documentary, the first performance by Stadler of a Mozart work took place on March 23, 1784 in the first performance of the Serenade in B-flat for 13 instruments, K. 361.16 It is possible that the two had met earlier than this date. In a letter to his father in October, 1781, Mozart mentions a clarinetist who took part in the first performance of the Serenade in E-flat, K. 375 for pairs of clarinets, horns and bassoons. "The six gentlemen who executed it are poor beggars, who however, play quite well together, particularly the first clarinet and two horns."17 By all accounts the description would have fitted Stadler, who was a good musician and probably quite poor.
Mozart, Stadler and Theodor Lotz were all members of the Palm Tree Masonic Lodge in 1785. Lotz played first clarinet and viola at the court of the Fürstbischof in Pressburg, and there made improvements to the basset horn in 1782. In 1788 he was appointed as Royal Instrument Maker to the Kaiser in Vienna. A basset horn and a clarinet of his manufacture survive today.18
The earliest mention of the basset clarinet appears in the program of a concert given at the Royal and Imperial Theater in Vienna on February 20, 1788 (Fig. 3).
"Herr Stadler the elder, in the service of His Majesty the Kaiser, will play a concerto on the Bass-Klarinet and a variation on the Bass-Klarinet, an instrument of new invention and manufacture of the Royal and Imperial Instrument Maker, Theodor Loz [sic]. This instrument has two more low tones than the normal clarinet."19 The added notes may have been d and c or e-flat and d. Small d and c would enable the performer to complete the lower pitches of C Major, the clarinet's "favorite" key at that time.20 However, the musical evidence suggests that the pitches were e-flat and d. It is not known which concerto and variations were performed. The Mozart concerto was not completed until 1791. The compositions may have been written by Stadler. The Hofmeister-Whistling catalogs of 1817, 1828-29 and 1844-45 list a total of seven works for clarinet by Stadler which include Variations on Different Favorite Themes and ten variations on You Must Not Take Amiss With Me. The variations cited in the February program may have been one of these. The concerto has yet to be identified. Stadler may also have taken existing compositions and added notes where appropriate.
Mozart had already written for basset clarinet in B-flat a year earlier, in the spring of 1787. Ninety-three measures of an incomplete quintet movement for clarinet and strings, K. 516c, Anhang 91, survive in the Bibliothèque Nationale. The written pitch d or basset note d appears seven times. When writing for basset clarinet, Mozart refers to it in his scores, simply as clarinet. The basset notes are written in the bass clef in the great octave range, as are French horn parts. In 1970 Nagels-Verlag published a completed version of the fragment, composed by Robert Levin.21
A second quintet fragment by Mozart, K. 581a, Anhang 88, for the same combination was sketched in Vienna during September 1789.22 In the 102 measures Mozart wrote only once for the extended range: a single whole note e-flat. To be sure, the basset clarinet of 1787-89 had at least e-flat and d keys. This fragment is also interesting because of the use of soprano, alto, tenor, bass and treble clefs in the space of only 15 measures (measures 55-69).23 Mozart later used the melody from the fragment in aria 24 of Così fan tutte, which also makes use of basset clarinet.
Mozart wrote Così fan tutte during the last months of 1789. In the second clarinet part (in A-flat) of the autograph of the second act, aria 24 "Ah! lo veggio, quell'anima bella," sung by Ferrando, written small d is included a total of seven times (measures 43-51 and 75-79). These few measures are the only examples of basset note writing in the second act. The autograph score of the first act of Così (part of the Mendelssohn Archiv, Staatsbibliothek Preussische Kulturbesitz in West Berlin) was destroyed during World War II so it is impossible to determine if basset note writing occurs in the first act.24
Four keys are mentioned by Gerber in his Lexikon of 1792. ". . . the elder (Anton Stadler) . . . has, according to recent reports from Vienna, from the year 1790, lengthened his instrument a third in the low tones: so that he can, instead of having e as the lowest tone, play easily down to d-sharp, d, c-sharp and c." By 1790 the basset clarinet had four additional keys and was pitched in B-flat. Credit for the improvement has now been given to Stadler instead of Lotz, although Lotz may have added the first two keys and Stadler the remaining two. Stadler may also have taken credit when he could outside the city of Vienna, and certainly did so after Lotz's death in 1792.25
On September 6 and 30, 1791 Stadler played clarinet and basset horn in the Prague performances of La Clemenza di Tito. Mozart included two obbligato arias for each of these instruments.26 The first, aria 9, "Parto, parto ma tu ben mio," is for basset clarinet in B-flat. For the first time Mozart writes small c. The chromatic pitches are not used, only d and c. Mozart returned to Vienna after the first performance, which was not well received. Stadler presumably stayed on for the second performance at the end of the month. Mozart wrote to his wife after the second performance, "Cries of bravo were shouted at Stadler from the balcony and even from the orchestra."27
On October 7, 1791 Mozart wrote Constanze that he had "orchestrated almost the whole of Stadler's rondo." This most assuredly refers to the last movement of the clarinet concerto.28 In his book Mozart in Prag Rudolf Procházka wrote that according to Prague city records Stadler gave a concert there at the Royal Old City Theater on October 16, 1791.29 Georg Nikolaus von Nissen, the first biographer of Mozart, relates that Mozart "composed a concerto for clarinet in October, gave the composition to him [Stadler] and traveling money to Prague and made certain that he would make use of it [the concerto] there."30 This account suggests that Mozart made arrangements for the first performance of the concerto. Mozart gave Stadler the completed concerto on October 9 or 10. The trip would take four days (October 13 or 14) and the first performance of the concerto could have taken place on October 16. A program for that concert has not been located.
The autograph of Mozart's clarinet concerto is lost. However, the exposition of the first movement for a concerto for basset horn in G survives as part of the Rychenberg-Stiftung at Winterthur, Switzerland. Consisting of 199 measures, it is the same as the clarinet concerto except for being in the key of G and its use of basset notes. The fragment dates from the last few months of 1789. Ernst Hess found a curious key change in measure 180. Mozart suddenly changes the orchestral accompaniment from the key of the subdominant of G to the subdominant of A. The clarinet part remains the same. Time may have elapsed, because smaller and darker writing at that point also shows that Mozart changed to a new pen point. Evidently Mozart lost interest in the concerto in 1789. Interest was renewed in 1791 when he envisioned the concerto for basset clarinet. After measure 180 Mozart continues writing for basset notes and for the tonic key of A major. It seems that Mozart finished the concerto, now for clarinet in A, with basset notes. He probably rewrote the opening and gave it to Stadler along with the score that may have followed measure 199. It is very possible that Stadler lost the concerto during his concert tour of Europe between 1791 and 1795. The Prague performance was the beginning of that tour. Mozart's widow wrote to the music publisher André on May 31, 1800, "For information about other works of this kind you should apply to the elder Stadler, the clarinetist, who used to possess the original manuscripts of several, and has copies of some trios for basset horns that are still unknown. Stadler declares that while he was in Germany his portmanteau, with these pieces in it, was stolen. Others, however, assure me that the said portmanteau was pawned there for 73 ducats; but there were, I believe, instruments and other things in it as well."31
A reviewer for the Allgemeine musikalische Zeitung (March 1802) cites specific passages from all three movements of the clarinet concerto where unknown editors rewrote Mozart's music to suit the normal clarinet.
Finally, the critic feels obliged to say that Mozart wrote this concerto for a clarinet encompassing low c. Thus, the following passages in the principal voice have all to be transposed to the lower octave. . . . And in this way, very many places became transposed upwards and altered. . . . However, since clarinets encompassing c must at present be counted among the rarer instruments, thanks are due the editors for these transpositions and alterations, although they have not improved the concerto. Perhaps it would have been just as well to have published it in the original version and to have inserted these transpositions and alterations in smaller notes.32
An article in the Musikalisches Wochenblatt (January 1792) announced the arrival of Stadler in Berlin.
Mr. Stadeler [sic], clarinetist from Vienna. A man of great talent; he is also recognized for this [talent] at court, where he has been heard several times already. His playing is brilliant, and polished; he also has acquired a precision which shows his assuredness. But all in all, he does not have the ingratiating soft tone and taste for performance which Mr. Tausch, court musician with Her Majesty the Queen, so often delights his listeners. Mr. Stadler has also added several notes to his instrument by means of keys. However, the gain, through the added keys, is not very great, because the instrument is almost overladen with keys. One is complimented that Mr. Stadler is now heard in public; however, since the public here is dissipated and sated with music, one can only wish him well.33
In Berlin Stadler's tone and more complicated instrument seem not to have been appreciated as much as they were in Vienna, where he had been well received. A reviewer of a concert he gave in 1784 had written, "Never should I have thought that a clarinet could be so capable of imitating a human voice so closely as it was imitated by thee. Verily, thy instrument has so soft and lovely a tone that nobody who has a heart can resist it."34 The Berlin announcement provides further information about the basset clarinet. The added notes are manipulated by some sort of keywork or levers. That the "instrument is almost overladen with keys" must refer to the addition of more chromatic pitches in the upper parts of the clarinet, not the usual five-keyed clarinet previously supposed.
Franz Tausch, who is mentioned in the quotation above, came to Berlin from the Mannheim orchestra in 1790. Professor Arthur Ness of Daemen College has shared with me the title and cadenza pages for a concerto labeled "Clarinetto Concertato" which he believes to have been written by Tausch (Ex. 1).
Ex. 1. A cadenza to a concerto for two clarinets attributed to Franz Tausch (1762-1817).
Three cadenzas which employ basset notes of d and c are amended to the clarinet part in handwriting which differs from the solo part. It is possible that Stadler himself added the cadenzas and performed the work while he was in Berlin in an effort to win the public's regard.
During the month of January 1792 a pupil of Mozart, Franz X. Süssmayr, started writing a concerto in D Major for clarinet in A. Two sketches of the first movement are in the British Library (Ex. 2).
Ex. 2. Sketch to a Concerto in D for Clarinet in A by F.X. Süssmayr, page 120 verso of manuscript British Library.
Mozart wrote to Constanze on October 7, 1791, "Do urge Süssmayr to write something for Stadler, for he has begged me very earnestly to see to this."35 The sketches are clearly written for basset clarinet in A but only for the basset notes d and c. As in the Mozart works, the basset notes are often approached and left by leap from different registers, thus substantiating the ease with which Stadler could play the instrument. It appears that Süssmayr never completed the concerto.
On May 5, 1794 the St. Petersburg Gazette advertised a concert to be given on May 9 at the Theater-Kamenny by the "remarkable Viennese clarinetist Anton Stadler," featuring "diverse pieces on a clarinet of his own invention."36 According to the Hannoversch Anzeigen of September 7 and 11, 1795, Stadler gave a concert in the Ballhofe of the London Hotel in Hannover on Saturday evening, September 12. The concert was first scheduled in the smaller Londonschenkensaale for Thursday, September 10, but at the "public's request" was changed to the larger hall. The announcement stated that Stadler would play "on a clarinet of his invention which is distinguished by its softer tone and range of four full octaves. . . . a concerto and eight variations on his invented clarinet."37 It is worthy of note that the program of 1788 introducing this instrument also lists a performance of a concerto and variations. Unfortunately, a program for the later concert has not been located.
According to the Staatliche-Schematismus of Vienna, Stadler returned to the orchestra in 1795 and played until 1797 when his brother Johann assumed the principal chair. Johann kept that position until his death in 1804. Anton did play again in the orchestra during the years 1807-1808. According to Köchel he was pensioned in 1799 at full salary and continued to play in the opera orchestra.38
Not until 1801 do more detailed descriptions of the basset clarinet appear. According to the Journal des Luxus und der Moden, October 1801, Stadler performed at the Augarten. His instrument "did not, as is usual, run straight down to the opening of the bell, but was fitted with a transverse pipe that constituted the lower fourth of the instrument. From this pipe, the bell projected even further outward. The advantage of this modification is that the instrument gains more depth by this means, but sounds like the French horn in the low tones." The description resembles the Kasten of the basset horn, a box containing three vertical tubes that serve to lengthen the basset horn and yet make the added length manageable. It is unlikely that the reviewer would mistake this for a basset horn. Actually the added piece seems to have been a horizontal pipe, and one fourth the size of the instrument. The lower section seems also to bend outward.39
By 1803 Franz Scholl advertised in an issue of the Kaiserliche Wiener Zeitung "his newly designed and considerably improved wind instruments, a portion of which are of his own invention. (1) His clarinet (in B-flat or C) extended two tones lower, that is to low C, which since one has the tonic note for cadences, always produce a good effect. . . . Scholl has received a patent on his inventions from his Imperial Majesty the Kaiser." This advertisement not only creates more confusion as to the inventor of the basset clarinet, but also informs us that basset clarinets were available to other clarinetists besides Stadler and also pitched in the key of C. Other works also must have been written for basset clarinet in both B-flat and C.40
Performances of December 23, 1805 and March 31, 1806 at the court theater included "an aria by Paer sung by Madame Campi, accompanied by Stadler on a clarinet with modifications of his own invention" (Fig. 4).
Several concert arias by Paer with obbligato instrument are listed in the Hofmeister-Whistling catalogs; none feature clarinet. The aria may have been taken from one of Paer's operas written in Vienna.41
A clarinet method by J.G.H. Backofen published around 1803 informs the reader,
Another more recent and excellent invention is this, that clarinets with d and c are now being made in Vienna. This makes the clarinet so much better, because it now besides the great advantage it gets through low c, which until now it missed so much in its favorite key of C, has three full octaves, in which every clarinetist can play easily. . . . For now, I will skip the great advantages of the preceding and of this new invention, in order to talk about these clarinets in more detail when they come into normal use.42
Unfortunately, Backofen does not refer to these clarinets in his later publications. It is noteworthy that he does expect the clarinets to become widespread.
Reports of Stadler's clarinet continued to be made after his death in 1812. A second more detailed description was made in 1834 by Wilhelm Schneider in the Historische-Technische Beschreibung der musikalischen Instrumente. (Many music dictionaries between 1802 and 1878 mention Stadler's clarinet and the added keys but do not increase our knowledge of the instrument.) He writes:
In 1801, Stadler, royal musician in Vienna, made certain modifications to his clarinet at its lower end; namely he lengthened and bent the mouth of the bell sideways where he drilled four holes, namely d-sharp, d, c-sharp, and c. It appears, however, that this invention was not very widespread, since one sees few such instruments.43
From this description it seems that the bell itself was lengthened and the tone holes located directly on the bell. The bell projected to the side instead of forward as in some basset horns.
A third detailed description appears in 1835 in the Musikalische Tonwerkzeuge written by Heinrich Welcher.
The court musician, Stadler, in Vienna, lengthened (around 1790) the instrument (clarinet) and bent it somewhat sideways at the bell, in the same way as the bent flute of Midas. Although within this larger format, the four low notes of d-sharp, c [sic], c-sharp, c, were gained, this type did not find any widespread use.44
Because of the lack of both precise descriptions and extant examples of eighteenth-century basset clarinets, it is difficult to determine the instrument's appearance. The descriptions given of a longer clarinet with a "transverse pipe," a projecting bell and additional keywork apply equally well to the basset horn. As royal instrument maker, Lotz made clarinets, basset horns and other wind instruments. Perhaps his basset clarinet was modeled in part on the basset horn. A closer inspection of basset horns in general and Lotz's instruments more specifically (their dimensions, pitch, etc.) may reveal basset clarinets previously designated as basset horns.45
Several clarinetists of this century (Murt Birsak, Berhard Kroll, Hans Deinzer, Alan Hacker, Milan Kostoryhz, Jiri Kratochvil, W. Rey, David Satz, and Hans Rudolf Stadler) have commissioned the building of special lower joints in order to perform more authentic versions of the Mozart clarinet concerto. A reconstructed version of the concerto by Jiri Kratochvil appears in the Neue Mozart Ausgabe. Recordings of the reconstructed concerto are also available, for example Hans Stadler on Musica Mundi, VMS 807, and Hans Deinzer on Harmonia mundi, BASF, Stereo 20 21798-1.
Philip Bate recently discovered a nineteenth-century basset clarinet on a barrow in a London street market (Fig. 5).
The basset clarinet in B-flat has added keywork for small d and c, manipulated by the little fingers of both hands. Anthony Baines believes the instrument to be of French origin and that it was probably used to perform La Clemenza di Tito. It is to be hoped that further research will reveal additional compositions for the basset clarinet, as well as eighteenth-century examples of the instrument.
1This article is based on a paper given at the national meeting of the American Musicological Society held in New York City in November 1979. I wish to express my thanks to Philip Bate; Anthony Baines, Oxford University; Karl-Heinz Köhler, Deutsche Staatsbibliothek; Hedwing Mittringer, Gesellschaft der Musikfreunde; Heinrich Sievers, Hannover; Irmgard Taylor, State University of New York at Cortland; and Volker von Volckamer, Wallerstein'sche Bibliothek und Kunstsammlung.
2Program of February 20, 1780, K.K. National Hoftheater secured from the Österreichische Nationalbibliothek, Vienna; Hannoversche Anzeigen, No. 72 (September 7, 1795) and No. 73 (September 11, 1795).
3Ernst Hess, "Die ursprüngliche Gestalt des Klarinetten Konzertes KV 622," Mozart Jahrbuch (1967), pp. 18-30; Jiri Kratochvil, "Ist die heute gebrauchliche Fassung des Klarinetten Konzerts und des Klarinetten Quintetts authentisch?" Beiträge zur Musikwissenschaft (1960), pp. 27-43.
4Karl Maria Pisarowitz, "'Müasst ma nix in übel aufnehma' Betragversuch zu einer Gebrüder-Stadler-Biographie," Mitteilungen der Internationalen Stiftung Mozarteum (February 1971), pp. 29-33; hereafter cited as Pisarowitz.
5Bertruch, "Wiener Kunstnachrichten," Journal des Luxus und der Moden XVI (October 1801), 543-544; hereafter cited as Bertruch.
6A letter of one of the Stadler brothers to Ignatz von Beecke, Hauptmann for the Orchestra at Wallerstein, November 6, 1781, Fürstlich Oettingen-Wallerstein'sche Bibliothek und Kunstsammlung.
7Program of March 21, 1773, Kärtnertortheater, Gesellschaft der Musikfreunde, Vienna.
8Daniel N. Leeson and David Whitwell, "Mozart's 'Spurious' Wind Octets, Music and Letters LIII (October 1972), 378.
9Program of March 14, 1780, Kärtnertortheater, Tonkünstler-Societät, Gesellschaft der Musikfreunde, Vienna.
10Pisarowitz, p. 30.
11Karl Ferdinand Pohl, Denkschrift aus Anlass des hundertjährigen Bestehens der Tonkünstler-Societät (Vienna, 1871), p. 91.
13To my knowledge this is the only letter by either Stadler brother. The text, translated from the German, is as follows:
The consideration which your Eminence was kind enough to show during your stay in Vienna encourages us to take the liberty to request in this letter something on which our future happiness may depend. We have been informed that in Wallerstein a good bassoonist is wanted, that the whole Palfysche Music has resigned, and that Griesbacher, who was first [bassoonist] there will come up with pleasure if he is acceptable to you. Otherwise the two horn players know him well, and you could also inquire of your local friends about his morals.
As far as we two brothers are concerned, we are also willing to fill the clarinetists' position, if it is still open. We also play basset horn with Mr. Griesbacher in trios, also in duets on clarinet, and each of us alone in concertos, and we can also put together octets on clarinet and oboes, or basset horn and oboes in various combinations that make quite a good effect. In a pinch you can use us instead of oboes, and [we] can also play a little violin and viol [viola]. Should one or the other proposals be acceptable, we ask your Excellency to have a little talk with the most gracious Countess of Thun, who is also favorably inclined toward us, in order to tell about this matter more fully—for Which kindness we are waiting with all possible respect.
15Ernst Ludwig Gerber, Historisch-Biographisches Lexikon der Tonkünstler, 2 vols. (Leipzig: Breitkopf, 1790-92), s.v. "Stadler"; hereafter cited as Gerber. The Staatliche-Schematismus-1788, Österreichische Nationalbibliothek lists five clarinetists, including Anton (first) and Johann (second).
16Otto E. Deutsch, Mozart: A Documentary Biography, trans. Eric Blom, Peter Branscombe and Jeremy Noble (Palo Alto: Stanford University Press, 1966), pp. 256-257; hereafter cited as Deutsch.
17Emily Anderson, The Letters of Mozart and His Family, 2nd ed., prepared by A. Hyatt King and Monica Carolan (New York: St. Martin's Press, 1966), II, 638; hereafter cited as Anderson.
18Joseph Saam, Das Bassetthorn, seine Erfindung und Weiterbildung (Mainz: B. Schotts Söhne, 1971), pp. 37-38; J. Geoffrey Rendall, The Clarinet (New York: Norton, 1971), pp 128-129; Lyndesay G. Langwill, An Index of Musical Wind Instrument Makers, 6th ed. (Edinburgh: the author, 1980), p. 110.
19Program of February 20, 1788, National Hoftheater, Österreichsche Nationalbibliothek, Vienna.
20Johann Georg Heinrich Backofen, Anweisung zur Klarinette, nebst einer kurzen Abhandlung über das Basset-Horn (Leipzig: Breitkopf und Härtel, c. 1803), p. 3; hereafter cited as Backofen.
21W.A. Mozart, ergänzt von Robert D. Levin, Allegro in B zu einem Quintette für Klarinette, zwei Violinen, Viola, und Violoncello, KV Anh. 91 (516c), Fragment (Kassel: Nagels Verlag, 1970).
22Housed at the International Stiftung Mozarteum, Salzburg.
23The passage could easily have been written in treble clef, suggesting that perhaps Mozart was teasing Stadler, as he had done with Joseph Leutgeb, for whom he wrote the horn concertos.
24In the first edition of Così fan tutte some of the basset notes still appear; others are written an octave higher.
25Gerber, loc. cit.
26Housed at the Staatsbibliothek Preussisches Kulturbesitz, Musikabteilung, Mendelssohn Archiv, Berlin.
27Anderson, pp. 966-967.
28Anderson, p. 967.
29Rudolph Procházka, Mozart in Prag (Prague: Dominiens, 1892), p. 174, n. 47.
30Georg Nikolaus von Nissen, Biographie W.A. Mozarts [etc.] (Leipzig: Breitkopf und Härtel, 1828), p. 684.
31Paul Nettl, Mozart and Masonry (New York: Da Capo Press, 1970, reprint of original 1957 edition), p. 21.
32"Recension," Allgemeine musikalische Zeitung IV (March 1802), 411-413. See also Arthur J. Ness, Some Remarks Concerning the Basset Clarinet and Mozart's Concerto in A Major (K.V. 622), (unpublished master's thesis, Harvard University, 1961), p. 80.
33Johann F. Reichardt and F. Ae. Munzen, ed., Musikalisches Wochenblatt (Berlin: In der neuen Berlinschen Musikhandlung, 1793), p. 41.
34Deutsch, p. 223.
35Emily Anderson, The Letters of Mozart and His Family (London: MacMillan, 1938), III, 1438.
36Robert Mooser, Annales de la musique et des musiciens en Russie au XVIIIe siècle (Geneva: Mont Blanc, 1948-52), II, 613.
37Staatliche-Schematismus, 1770-1812, Österreichische Nationalbibliothek; Ludwig Ritter von Köchel, Die kaiserliche Hof-Musikkapelle in Wien von 1542 bis 1867 (Vienna: Beck und Holder, 1869), pp. 90-91.
38Hannoversche Anzeigen, No. 72 (September 7, 1795) and No. 73 (September 11, 1795).
39Bertruch, pp. 543-544.
40Kaiserliche Wiener Zeitung, April 2, 1803.
41Programs of December 23, 1805 and March 31, 1806, K.K. Hoftheater, Gesellschaft der Musikfreunde.
42Backofen, p. 35.
43Wilhelm Schneider, Historisch-Technische Beschreibung der musikalischen Instrumente (Neisze und Leipzig: T. Hennings, 1834), XII, 28. For further historical background see Pamela L. Poulin, The Basset Clarinet of Anton Stadler and its Music (unpublished master's thesis, Eastman School of Music, 1977).
44Heinrich Welcher von Gontershauen, Musikalische Tonwerkzeuge (Frankfurt-am-Main: Im selbst Verlag des Verfassers, 1855), s.v. "Clarinette."
45More detailed information is contained in Poulin, op. cit.
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Nanten Iwa (von ) ist ein kleiner, rötlicher Felsvorsprung im ostantarktischen Königin-Maud-Land. Er ragt 8 km nordöstlich des Kurakake Yama in der Nunatakkergruppe Minami-Yamato Nunatak-Gun auf.

Japanische Wissenschaftler nahmen 1973 Vermessungen und 1981 die Benennung vor.

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Niko Datković (ur. 21 kwietnia 1993 w Zadarze) – chorwacki piłkarz występujący na pozycji obrońcy. Od 1 lutego 2018 roku zawodnik Cracovii.

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May 16th, 2009 – Skepticism in Helsinki, Finland
by Enda Miller on May 18, 2009
Shall the words not sing of sorrow
Leave for others words of lament
The label 'Funeral Doom Metal' is used to describe a plethora of bands that share a largely fatalistic ideological outlook in common. This is an extreme interpretation of the inherent misery of Doom Metal as a wider movement that dates back to when 70′s bands such as Pentagram and Pagan Altar, and 80′s bands St. Vitus, Candlemass and Cathedral from the early 90′s carried the baton bearing these surface qualities taken from Black Sabbath. It was, later still, passed on to bands best represented by Paradise Lost, My Dying Bride and Katatonia, who integrated this slow and doleful style with Death Metal techniques, as this movement had reached it's apex in the remarkable 'goldmine' period (1989 – 1993). This style called Doomdeath would eventually become more extreme, spawning suicidal and eschatological Funeral Doom Metal bands such as Mournful Congregation, Paramaecium, Worship and Pantheist. They would claim more of a descent from the band most synonymous with the tag: Finland's Skepticism, however, whose consistancy and contribution to Metal music as a whole far outweighs their status as the archetypal form of some sub-sub-genre. Emerging almost simultaneously from the South of Finland, both Skepticism and Thergothon were playing music less concerned with the self-obsessed emotions of Doom Metal; infact, they followed more in the footsteps of Death and Black Metal, illustrating their reverence for nature/cosmos, it's eternal patterns and magestic forces that confront our fragile and often illusory perceptions (and feed the despair of most Doom Metal in it's fatalism).
This appropriately brings us to the annual 'Dooomstock' festival held at the Lepakkomies bar in the Sörnäinen district of Helsinki. More importantly, it brings us to Skepticism's role not only as headliner, but the most uncompromising example of what has been discussed so far: that Skepticism – who bring the epic spirit of Romantic, nihilistic Metal to the Doom scene – reign supreme in a sea of shit. It's the second day of the festival, and the opening act – Funeral Planet – amounted to little more than an extremely heavy and slow Rock band, which is the most unfortunate symptom of this kind of Black Sabbath worship. Thanks to the trial-and-error, improvisational nature of Rock composition, one or two riffs could be enjoyed but, without some meaningful musical context, only as a soundtrack to consuming bottles of Karhu – Finland's premium lager. The Celtic Frost cover was a nice addition to the set but only served to increase the anticipation for Skepticism by hearing the work of another legendary band. Such an honourable title, the Finns in attendance would tell you, couldn't be more applicable to the country's original Doom Metal band and second act on the line-up: Spiritus Mortis, now being fronted by Sami Hynninen who is more well-known as Albert Witchfinder from Reverend Bizarre. Their brand of traditional Doom Metal is more competent than the preceding act, in that their sound hybridizes a wider range of influences, from Trouble and St. Vitus to the somehow rousing dirge-anthems of Pagan Altar and post-Nightfall Candlemass. But was there more to the set than a collection of tightly-played tribute songs for a diehard group of Finnish Doom Metal connoisseurs? Beside's Sami's enthusiasm for singing to his own band within this lot of fans, in a voice more suited to Spiritus Mortis than to a bizarre cover of Burzum's 'Dunkelheit', the answer would be that there was no more meaning. The next band, Ophis from Germany represented the new generation of Doomdeath bands, and delivered almost as promised, a juvenile set of clichéd tracks that rip-off the approach played first by diSEMBOWELMENT and littered this with token chugging lifted from the cruder moments of Worship's first album. Ending the set with a cover of a band that nobody had heard of planted Ophis solidly into the grave, but it did feature a lot more of that chugging which is ambrosia for the Doom Metal fan, as shredding is for speed-addicts.
With all of this noise done and dusted, the stage was set for the mighty Skepticism, and those who seemed to have better understood the significance of what would come made their way to the feet of the masters. Skepticism's image is about as disparate from their peers' as their music is, with the band maintaining a strictly non-Metal sartorial code, led by Matti on vocals and his dishevelled conductor's suit. The set began with an awe-inspiring and trance-inducing rendition of the classic 'Sign of a Storm', opener to the debut album. The opening words are growled more chthonically than on record, accompanied by Matti's gestures as he appears to summon and conduct the elemental forces of nature, explaining his customary choice of attire. His performance as vocalist is in sharp contrast with Sami's; his actions are erratic extensions of a music which is greater than himself and, though he is aware of the audience, knows his role as mediator at all times. In the basic element of sound, Skepticism sound more like a coherent whole rather than an unbalanced loudspeaker for an isolated riff, some crowd-friendly chugging or double-bass layer. The next song, as the tracklist of the Stormcrowfleet album dictates is 'Pouring' and demonstrates the brutal harmony of their sound. None of their coherence is sacrificed as the set enters the classic 'Aether' from the second album, which creates a lot more ambient space and dynamic demands that are delivered expertly. 'The Curtain' and 'The Arrival' from the latest album, Alloy follow to demonstrate the quality music that Skepticism is still creating – a very rare phenomenon in the world of Metal. Next came two tracks that, while enjoyable, explain why 'Farmakon' was such a hit-and-miss affair. The riffs are quite cumbersomely arranged, but with their characteristic power and glimpses of innovation, Skepticism drive them forward regardless. To close, nothing could have been a more fitting choice of song than the epic 'March October' as the band returns to 'Alloy' one last time. What a gift to leave behind for the audience to be inspired – sonic patterns of the continuum of life. The epic Skepticism transcended the Doom Metal festival in every aspect of their music and performance, and this is what, perhaps paradoxically, makes a Metal band great; by letting the form of the music be shaped and directed by the fundamental impulses that inspire it, like the sea upon the coming of a storm.
-ObscuraHessian-
Proudly join the tunes sounding
Gallant ways the pulse beating
Take their place in the Alloy
Fortify the compound forming
And unite the substance growing
And meld matter made for lasting
To complete the March October
Tags: Death Metal Live Reviews, Death Metal Live Shows, Death Metal Show Announcements — Tags: Death Metal, Doom Metal, Finnish Death Metal, Heavy Metal


A Chinese financial services supplier, China UCF Group Co., Ltd. also join in the round.
from four different companies & investors from China in February 2016.
China Opportunity Fund, a growing investment provider to Chinese innovation.


Computer networks lessons. In-home private Computer networks lessons, ads for efficient Computer networks teachers and Computer networks students offering private lessons and tuition to your children and for all levels.
Where do you want your classes for computer networks?
IoT Systems and Design: Designing and Developing End-To-End IoT Systems using Industry Standard Resources.
I am a strong believer of application oriented learning and strongly refute the idea of a 'One size fits all' approach to learning. I understand that each person has different requirements from a teacher and cater accordingly. I have taught in several workshops on campus and have continually offered my mentor-ship to my peers to get started in the field.
Computer Science Tuitions (Grade 3 - 9), Location - Noida Sector 78, Near sector 101 Metro Station.
I am a Computer science teacher from Siliguri. Online and offline(at my place) tuition is available.
The main purpose of this course is to provide students with pedagogical and content knowledge and experiences to be effective computer science teachers in high school. Upon completing this course students will be able to: Use the national high school computer science model curriculum; analyze potential learning difficulties and adjust teaching for students with different needs.
A b.tech graduate, 99.99 percentile scorer in GATE and currently an IITian gives tuition on subjects of computer science.
My teaching methodology is picking up a topic, giving its brief introduction and then explaining it with as much example as possible. I do not beleive in mugging up theory only because in the end we have to practically use it and create something so explaining it with examples is the best approach. I teach degree level Computer science subjects.
My teaching method mainly depends on the Powerpoint slide. I like to teach in the classroom. My lecture includes technical details with diagram and numerical examples. In each class, I try to solve some problems and give assignments to the readers.
I am an academically brilliant and an experienced sincere professional giving classes for all subjects at school level and Computer science and Mathematics at higher level.
My teaching method consists of making complex topics easier and simple through examples and demonstrations so that you have a good grasp of it.I can give you clear concepts at higher level . Being a brilliant student I can help students excel at school level.
Still a student....just gave my 12th this year. I belong to Science stream and looking forward to teach all the knowledge of Computer Science i have.
I start from Basics...i never start from between the chapter or leave it for future. Once I start I try my level best to complete it as soon as possible. So that students can spend their time in other subjects as well.
I start to teach from the basics. I uses model technique for the better understanding of stundents. I teaches MS Office, Computer Networks, Data Structures, C language, Theory of Computation, Compiler Design, Database Management System. Operating System, Digital Electronics. I teaches from school to college level.
My teaching method is very simple, I more focused on the practical domain to our day to day life in place of bookish reading. I believe in purely understand the topic, so the person never forgets it. I mostly give real-life examples to teach any topics.
My teaching methods are based on latest topics and practical approach.Industry based training and teaching with real life examples. I can teach from child of age of 6 up to degree level. MY APPROACH IS TO TEACH ACCORDING TO CHILD LEVEL .
Networking in Cisco, Juniper and Huawei also security in all vender .
Right now I am a telecom ISP engineer leading backbone and support both team . Handling query of customer like ( Business and retail ). configuration, troubleshooting, implementing and testing all the thing I am doing here. working on Router, Switch and firewall devices of cisco, juniper and Huawei.
My teaching techniques is simple and easy to every students can learn very easy way. No students can worried about my teaching class.
All Computer Science and Engineering subject with Data Science and Analytics domain specialization in Nagpur.
My teaching methods is students centric with real time teaching technique.Willing to teach always computer science students for programming language and data science.Also In marketing those who want to learn digital marketing like SEO SEM technology in marketing.
Teaching & IT profession with 4 years of exp is ready to give tuitions to engineering students..
I method of teaching is by Interactive-two way communication with real time examples and i will give possible notes....Will make the students to understand the concept clearly by using presentations also.. Have Clear Objectives for Lessons with good Communication skills.
Student who wants to learn computer can be part of my class.
I can provide training as Webex session or Class room session based on available time.
Student who want to learn about computer and internet they can contact me.
My teaching methods is i want to clear each and every point about the topic which someone discuss with me in the class then i'll start the next topic i like to teach how the people want to understand in their own words with the examples.
Student in Engineering gives the tution of Basic Computer from lower class to college level from Kolkata.
My teaching method is so much practical and friendly. I deeply give the knowledge towards the students. I give the point to point information of every word of Computers. I teach every students in a different way which is more comfortable for the students and easy to understandy teaching.
i am a IT Executive in a company , i love to teach IT subject .
Not all students learn the same way, but all can be encouraged to participate actively in the classroom to build new knowledge. Creativity is vital for a classroom to be successful. As students' interests expand and diversify, so do the teaching techniques and styles. The following are some of the innovative methods I use to engage students in my class 1 I start my class with a 'Mind Warm-Up'.
I try to first see the understanding level of the student and try to talk to them and understand how they will learn easily. Then depending on the student I start my classes. I try to maintain a friendly relationship with all students so that they can easily approach me for doubts or issues.
Thousands of tutors can teach you Computer networks.


When dirt, dead skin cells, and other toxins clog pores, oil gets trapped beneath the skin, causing bacterial infections that result in acne breakouts on the face, neck, chest, and back. Acne is also triggered by hormonal imbalances, poor diet, poor hygiene, and other factors.
Treatments range from relatively benign over-the-counter creams and soaps to extreme prescription medications that cause intense side effects. But you don't have to deal with any of those. Papaya is a natural, affordable, effective home acne remedy, and we're about to tell you exactly how to use it. First, take a look at why it works.
Papaya removes dead skin cells and excess lipids from the skin's surface, leaving it soft and smooth.
It is anti–inflammatory, so it reduces redness, swelling, and the formation of pus-filled breakouts.
Papaya contains lycopene, which protects skin from the free radicals that cause acne.
It also helps lighten acne scars.
Papaya contains papain and chymopapain, two enzymes with anti–fungal, antibacterial, and antiviral properties. They exfoliate to unclog pores, and they provide the proteins skin needs to fight the formation of acne.
The beta-carotene in papaya triggers the generation of new, healthy skin cells, reducing the appearance of dark spots, scars, and other blemishes.
Papaya contains vitamin B and C, which strengthen the immune system and discourage the production of excess oil.
Papaya can be used alone and in combination with other natural ingredients that keep skin healthy and clear. Try all the methods below until you find the one that's right for you.
Put fresh papaya chunks in a blender on high until smooth.
Apply papaya to skin and leave on 20 – 30 minutes or until dry.
Rinse with warm water, pat dry, and apply natural moisturizer.
Raw honey moisturizes and softens skin while killing the bacteria that cause acne.
In a blender, mix 4 papaya chunks with 2 teaspoons raw, organic honey until smooth.
Apply to skin and leave on 30 – 45 minutes.
Note: You can add 1 egg or few drops of papaya oil or half mashed apple for added benefits.
Peel and chop 1/4 part of ripe papaya into pieces.
Blend papaya and 1 tablespoon of honey and 1/2 teaspoon of fresh lemon juice in it.
Now take a steam to open skin pores and apply this as a face mask.
Leave on 15 – 20 minutes.
Rinse with lukewarm water followed by cold water to close the pores.
Repeat once a week to get relief from the acne along with scars.
Mix 2 tablespoons each of ripe papaya pulp and cocoa, 3 teaspoons of heavy cream, 2 teaspoons of honey and 3 teaspoons of minced oatmeal or oatmeal powder.
Apply this mask on the clean face and leave for10 – 15 minutes.
Mix 1 tablespoon each of papaya pulp, ground oatmeal and honey in a bowl.
Apply on the face and massage it gently for f3 minutes in circular motion.
Leave on 15 – 20 minutes and wash it off with warm water and then cold water.
Raw papaya juice prevents the formation of pus, reduces pain and swelling.
Crush or blend fresh unripe papaya chunks and strain them to extract juice.
Apply to skin and leave on 15 – 20 minutes or until dry.
For added benefit, include fresh pineapple juice.
Strawberry juice is a natural astringent that purifies pores, and lemon juice kills the bacteria that cause acne while bleaching away scars.
In a blender, mix 6 fresh papaya chunks with 3 fresh strawberries and ½ teaspoon of fresh lemon juice until smooth.
Apply papaya mixture to skin and leave on 20 – 25 minutes or until dry.
Rinse with lukewarm water and then with cool water.
Grate papaya and place it in glass jar.
Fill the jar with vinegar and keep it aside for 3 days.
Now mix papaya vinegar with water in 1:10 ratio.
Use this as a skin cleanser to get rid of acne.
Yogurt restores the balance of good and bad bacteria, while cream soothes the skin to reduce pain, itching, and redness.
Put 2 papaya cubes in the blender on high until smooth.
Add 2 tablespoons plain Greek yogurt, 1/2 teaspoon of honey 1/2 tablespoon of milk cream (if you have dry skin) or 1/2 teaspoon of lemon juice (if you have oily skin).
Stir well and apply to clean skin and leave on 15-20 minutes.
For added benefit, include ½ tablespoon oatmeal.
Apple cider vinegar balances the skin's pH level and the body's acid—alkaline ratio.
Mix 2 tablespoons of papaya powder, water and few drops of apple cider vinegar.
Soak clean wash cloth in warm water and wring out excess water.
Place the cloth on face and leave on for few minutes.
Apply paste to skin and leave for 20 minutes or until dry.
Note: You may experience a slight tingling or burning when applied on the skin but it go away after few minutes.
You can apply carrier oil like jojoba or hemp or argan oil after rinsing with water.
Put papaya seeds in blender on high until they turn into powder.
Add small amounts of water and blend until you get a smooth paste.
Wash face and apply papaya seed paste.
Leave on 5 minutes or until dry.
Orange juice is a natural astringent that controls oil production and purifies pores.
In a blender, mix 4 papaya chunks with 1 tablespoon fresh orange juice.
Apply papaya orange mixture to skin and leave on 15 – 20 minutes.
Sandalwood exfoliates to remove toxins from pores.
In a blender, mix a few ripe papaya pieces, 1 teaspoon each of sandalwood powder and honey.
Clay detoxifies the pores and aloe vera moisturizes, hydrates, and nourishes the skin to prevent acne.
Mix 2 teaspoons of cosmetic clay, 1 teaspoon of aloe vera, and 2 tablespoons of papaya pulp.
Apply to clean skin and leave on 15 – 20 minutes.
Dry 4 fresh papaya leaves.
Crush leaves to make a paste and mix with ½ teaspoon of water.
Apply to clean skin and leave on 5 minutes or until dry.
Mix 1 tablespoon of lemon juice and 3 tablespoons of mashed ripe papaya.
Apply on the clean or dry skin.
Leave on for 30 minutes to overnight, depends up on the severity of the problem.
For best results, follow the advice below when using papaya to treat and prevent acne.
Before starting regular treatments, do a patch test to find out if you are allergic to papaya.
In addition to using papaya as a topical treatment, make sure you consume fresh papaya daily.
Some healthy and beauty brands offer papaya soaps. If you choose to use one, make sure it is organic and made without chemicals or pesticides.
You can also try using papaya extract in the above recipes.
Eat a healthy diet, get regular exercise, and stay hydrated.
If these remedies yield no results after 2-8 weeks, consult your doctor.
Have you tried any of these methods for treating and preventing acne with papaya? Do you know of any we haven't mentioned? Share your experience with us!
Image – Flickr 1, 2.
Hi I'm Jackie Lopez well I been having a lot of acne like a lot in my cheeks , and my chin . So my aunt gave me this acne treatment and sometimes it would work for like a week but then I would get more pimples but this time it would get worse and worse . It's so frustrating for me because I'm a 15 year old girl that wants a good heathy face but I can't because of all this acne I have so I want to try this to see if it would help my skin .
Try any of the above mentioned remedies to reduce the present acne. Hormonal changes during puberty can be one of the reason for your acne, it is better to concentrate on the root cause to fix the problem permanently. For that you have to exercise regularly, reduce stress levels, eat a nutrition rich diet, and drink plenty of water to flush out toxins. Apart from that exfoliate and moisture your face regularly.


Din Tai Fung needs no introduction, it is probably the most famous dumpling restaurant in the world. My dinner at the World Square branch certainly lived up to the restaurant's reputation. The Xiao Long Bao was intricately crafted as usual. The delicious soup and meat filing was wrapped by a thin layer of dumpling skin.
Each flavour stayed true to its name. Now whether the dumpling gems are good or bad is really up to one's taste. Personally I like the adventure of trying a dish that is unique and different, so the dumpling gems get a thumbs up from me!
The pork chop noodle consists of hand made noodles and Din Tai Fung's signature pork chop. The noodles were cooked well, the soup balanced and the pork chop was crispy.
Yes, the next time I have a dumpling craving Din Tai Fung will be where I'll be heading.


An outdoor living experience wouldn't be complete without a custom fire or water feature. Let our designers build a custom fire pit to add warmth to your living space. Or create a serene environment in your backyard by adding a water feature.


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Chicago Steel Live Strong As Steel Assembly
May 13, 2020, 10:00 am - 11:00 am
« Loog Fest
Ralph's World Virtual Concert Series »
The Chicago Steel Hockey Team's signature "Live Strong As Steel" program is presented to thousands of students annually. In partnership with Two by Two Character Development, each fun and educational assembly promotes character traits such as kindness, respect, responsibility, cooperation, empathy, citizenship, perseverance, and fairness all while helping students learn about the game of hockey.
The "Live Strong As Steel" program is geared towards elementary school students.
academic, aurora, batavia, bloomingdale, elementary school kids, elgin, geneva, naperville, school, south elgin, sports, st. charles, west chicago, wheaton
https://zoom.us/webinar/register/WN_vSQ_x-BlQ4227_pGPI9BNQ
Zoom Virtual Meeting
Chicago Steel Hockey Team
ChicagoSteelHockeyTeam.com
Big Game Pre-Game
February 3, 5:30 pm - 6:30 pm
Ice Fishing Derby
February 4, 9:00 am - 12:00 pm
Fishing: Hard Water Classic
February 11, 12:00 pm - 3:30 pm
i9 Sports – Facebook Live
Fishin' Kids
Our Amazing Sponsors
30 Restaurants Where Kids Eat Free in Chicago's Western Suburbs
2022 Summer Camps for Kids in the Western Suburbs
The Best Places to Go for Each Age Group
All the 2023 Museum Free Days in Chicago and the Suburbs
How to Find the Best Preschool or Daycare for Your Family
Family Photographers Who Serve the Western Suburbs
The Best Kids Birthday Party Places, Kids Party Entertainment, Party Rentals, and more
Your Guide to Kids Classes and Teams in the Western Suburbs


text:
Q: Android Studio XML Requires Layout_Height and Layout_Width I found this code while searching for a button with good graphics,
<?xml version="1.0" encoding="utf-8"?>
<shape xmlns:android="http://schemas.android.com/apk/res/android" android:shape="rectangle" >
<corners
android:radius="100dp"
/>
<gradient
android:angle="45"
android:centerX="35%"
android:centerColor="#7995A8"
android:startColor="#E8E8E8"
android:endColor="#000000"
android:type="linear"
/>
<padding
android:left="0dp"
android:top="0dp"
android:right="0dp"
android:bottom="0dp"
/>
<size
android:width="270dp"
android:height="60dp"
/>
<stroke
android:width="3dp"
android:color="#878787"
/>
</shape>

However, when I copy and paste it into an XML file in Android Studio, it shows and error that says:

"element shape does not have required attribute android:layout_height"

and another error:

"element shape does not have required attribute android:layout_width"

I tried setting the android:layout_width="" and android:layout_heigth""
and android:layout_width"wrap_content", android:layout_heigth="wrap_content", the error is gone, but I can't set any button to have this as it's background ... so I can't use this XML this way.
What should I set them to?

A: There are no android:layout_width and android:layout_height attributes for <shape>, because <shape> does not go in a layout resource, where you are trying to put it. A <shape> goes in a drawable resource, such as in res/drawable/ in your project.
This sample project demonstrates the use of <shape> drawable resources. You will see that the <shape> elements are in the res/drawable/ directory.
You can also read more about <shape> drawable resources in the documentation.

redpajama_set_name: RedPajamaStackExchange


I tried to install Version 2.1.2 on some Win7-x64 PCs.
It is not possible to establish a connection because of "all Adapters being in use".
reverting to 2.1.1 works fine.
This is fixed in OpenVPN 2.1.3. That is a rebuilt version of 2.1.2, with the proper driver signing in-place.


The Star Tribune recently ran an opinion piece by James Lefestey, who advocated for an increase in the gas tax to finance infrastructure improvements and to reduce carbon dioxide emissions, but cautioned lawmakers to keep rural Minnesotans in mind when crafting this policy.
While it is admirable that the author wants to be sensitive to the needs of rural Minnesotans, the editorial further illustrates how people living in the metro-area have scant idea how the policies they advocate harm those living outside of it.
I grew up on a small dairy farm in rural Wisconsin, helping my family raise 140 head of cattle while farming 500 acres, and many of the challenges we faced are the same challenges families currently face throughout rural Minnesota. Hopefully my life experiences can help me communicate the rural perspective to a broader audience.
First, it is important to realize that reducing carbon dioxide emissions from the agricultural sector will be a much larger undertaking than promoting wind and solar, having an electric farm exhibit at the State Fair, or subsidizing electric farm equipment.
The largest obstacle to reducing carbon dioxide emissions is that it simply isn't possible to run a farm on just wind or solar.
Electric fences only work when they're electrified, but wind and solar only produce electricity when the wind is blowing or the sun is shining. Farms require electricity every hour of the day. In Minnesota, this electricity is provided by coal, natural gas, and nuclear power plants because they generate electricity regardless of weather conditions.
I've chased enough fleeing cows back into the pasture at 2 a.m. in the middle of January to know that few farmers will forego a steadily electrified fence so people living in the metro can feel warm fuzzy feelings about reducing their carbon dioxide emissions.
Electric tractors are also problematic. The John Deere electric tractor discussed by the author costs $634,000 and can only run for up to four hours before it must be recharged for three. In contrast, a nearly new Case IH Magnum tractor retails for $264,000, and these tractors can run for up to eight hours before they must take about fifteen minutes to refuel.
Even if costs were not an issue, the four hour battery life would be. It is not unusual for farmers to spend 12 to 16 hours per day behind the wheel during planting season to prepare the fields, plant the crops, apply fertilizer etc. There simply isn't enough time to wait for three hours for recharging during this time of year, especially if we have a late, or exceptionally wet, spring.
Electric conversion kits for trucks are also unrealistic because converted trucks have a range of about 87 miles, without factoring in diminished range for hauling livestock or grain to market. My dad frequently hauled cattle 376 miles, round trip, to a sale barn in Bloomington, Wisconsin, which routinely paid the best prices for beef cattle.
An electric truck simply won't get this job done, and a 25 cent per gallon gas tax assessed on a truck that gets 11 to 14 miles per gallon while towing six 1,500 pound steers feels like piling on when the United States Department of Agriculture projects net farm income will be down 12 percent this year.
I appreciate the author's intent, but this article still feels like the author is talking at, rather than listening to, how the policies being advocated by the author will make it more difficult for small farmers to keep food on our tables and make a living off the land.


text:
Q: CPU permanently at 65% Windows XP, SP3, Intel Core 2 Duo
Here are the symptoms:

*

*Since a couple of days is my System task permanently at about 35%

*When I want to Turn Off the computer then the Explorer needs to be force quit (not responding).

*One core is always at 100%, the other is always at about 30%

*Top busy tasks in the Task Manager: System 35%, System Idle Process 50%, Explorer 5%

*Nothing strange is showing up with ProcessExplorer, which would explain the CPU usage.

*Firewall is on.

*I don't have any AntiVirus Software installed (it's not connected to the internet ever anyway)

The computer is NEVER connected to the internet in any which way (and also not connected to my LAN because I have a massive paranoia in terms of Windows). I did not install anything in the last months. I only use the PC to develop some software (VS 2010).
How can I find out what's going on? Why do I need to force quit the Explorer when I shut it down? Something is probably "stuck" there and clogs the CPU...
Edit:
Disabling the Startup items with MSCONFIG.EXE does not help. Even with everything disabled the System task is still at 35%.

A: Run MSCONFIG.EXE to examine the programs that start up when your system is booted.  Disable all startup items, reboot, and see if your system still has high CPU utilization.  Assuming everything is back to normal, starting adding the startup items back in one at a time, rebooting after each change, until you have identified the program that is the culprit.  I've had good luck tracking down programs that cause high CPU utilization with this troubleshooting method, but it does take some patience.

A:
Top busy tasks in the Task Manager: System 35%, System Idle Process 50%, Explorer 5%

This means the problem lies with something in the System, this could most likely be due to drivers.

Nothing strange is showing up with Process Explorer, which would explain the CPU usage.

Have you checked the threads tab under the System process?
Also, you could try this procedure which allows us to see in detail what the System process is doing? It would turn all the guess work and irrelevant solutions into knowing exactly where the problem lies...
As your problem is always happening rather than on event, you might as well get a faster answer by trying out LatencyMon and looking in the Drivers tab at the processes that have an abnormal DPC count or highest execution time. Either one of these will cause high CPU in the System process, unless it was something in the kernel which I highly doubt but is still possible...

A: Sounds like Malware to me, see my post in this thread to remove malware
How can I remove malicious spyware, malware, adware, viruses, trojans or rootkits from my PC?

A: First, install the latest driver software for the hardware you have on your computer.  Once in a while a driver will screw up and drive up the CPU time.
If that does not help, do a backup and reinstall windows.  I have been repairing computers for two decades and strongly recommend against after-the-fact virus removal.
Not only does it rarely work, but you never know if you really got rid of the virus or just stopped some of the more obvious systems while leaving..whoops...the keylogger/emailer functions.  See Microsoft MVP Robear Dyer's answer to this as well.
System restore also cannot be depended upon for virus removal.  The restoration files sit on the same system as the infected machine and since you are logged in as administrator then any potential viruses will simply run as you ensuring full admin rights to destroy the backup.

A: Since you say that it is never connected to the Internet, we can all but rule out viruses, so you almost certainly have almost certainly corrupted some important program file along the way.

*

*Start by opening a command prompt and run the command: sfc /scannnow . That will check to make sure that all your important Windows files are correct and intact.

*See if it does it in Safe Mode. If that does not do it, you will need to figure out what process is killing you. Open msconfig.exe and go to the startup tab. Uncheck or disable them all. Then see if that fixes it. Re-enable them one, or a few at a time until you find the one that is causing the problems. Repair or reinstall the program associated with that startup item.

*If none of this works, there are other ways you could have infected yourself, so just in case, run both Malwarebytes and Superantispyware.


text:
New opening produces another draw in chess title match
Nettie A. Casper	 Nov 30, 2021
Roca still leading in Senior National Chess Championship online grand finals
Roca still leading in Senior National Chess Championship online grand finalsThrough Marlon bernardinoPhilBoxing.comMon Nov 29, 2021Ranking after round 4: (12 player field, single round robin,…
A chess player almost won a game of chess
The Dubai auditorium that hosts the 2021 World Chess Championship is reminiscent of the American Museum of Natural History in New York. Each has a large, dark room with a bright diorama, filled with still drama. And in…
Magnus Carlsen wants to beat all-time best ranking at the World Chess Championship | Blue Mountain…
news, national, Chess, World Championship, Magnus Carlsen, Hrant Melkumyan, Canberra, DubaiComparing former sports champions with today's greats is generally a futile exercise. When it comes to chess, however, few manage to argue that…
Dallas Cowboys: Micah Parsons Must Be A Chess Piece
Quick show of hands: where is Micah Parsons most valuable, on the borderline or as a linebacker? After watching the Penn State rookie totally dominate as an edge rusher, I imagine most people would say he's the most valuable down the…
"He's a chess player and a few moves ahead of normal people" – Dinesh…
Karthik also backed Chahal to compete in next year's T20 World Cup in Australia.Yuzvendra Chahal. (Photo by Ryan Pierse / Getty Images) Indian wicket-beater veteran Dinesh Karthik has praised Yuzvendra Chahal for showing a lot…
How to overcome a whitetail deer's keen sense of smell
A whitetail deer's sense of smell is anything but beyond our comprehension.Dogs too.My bird dog locks on point while retrieving a downed bird.Somehow, this dog was able to smell a woodcock through all that heady grouse scent swirling around…
Levon Aronian is still a fantastic chess player, in case you forgot
As in the past, Levon Aronian dominated the Armageddon playoffs and won the 2021 Tata Steel Chess India Blitz. The Armenian GM, who visibly missed the last headlines, managed to win the tournament solid on tie-breaks. Thank you Levon, we…
How Spanish Chess Journalist David Llada Got 200 New Twitter Followers Because "Jethalal Did…
You can hate him or love him, but you cannot ignore Taarak Mehta Ka Ooltah Chashma and Jethalal Gada and their family. Spanish chess journalist David Llada recently got a taste of the show's popularity when he shared a meme of the show's…
Alireza Firouzja, the youngest chess player to beat 2800
While there are currently over a thousand Grandmasters in the world, only 14 players in history have crossed the 2800 mark mark. General manager Alireza Firouzja is the most recent addition to the 2800 club after scoring a…


text:
Jennifer Berube
Writing Services and Project Management
Biography of Gary Snyder
March 14, 2011 The Beat GenerationBeat Generation, beat poets, Beat Writers, San Francisco Renaissance, Black Mountain Poets, Reed CollegeJennifer
As one of the most famous American poets, Gary Snyder has been linked to the Beat Movement, the Black Mountain Poets and the San Francisco Renaissance. As a lover of nature and Zen Buddhism, Snyder focuses his works around those themes, and dedicates much of his life to environmental activism.
Gary Sherman Snyder was born on May 8, 1930 in San Francisco, California. He grew up on small farms in Washington state and Oregon. At an early age, Snyder became obsessed with nature and angered by the destruction of the Pacific Northwestern forests.
He also became aware of the presence of Coast Salish people and developed an interest in American Native peoples and their traditional relationship with nature.
When he was seven, Snyder burned his feet badly while burning brush and couldn't walk for four months. While laid up at home, his parents brought him books from the Seattle Public Library and as he recalled in an interview with Al Aronowitz, "it was then I really learned to read and from that time on was voracious – I figure that accident changed my life. At the end of four months, I had read more than most kids do by the time they're 18. And I didn't stop."
In 1942, after his parents divorced, Snyder moved to Portland, Oregon with his mother and his younger sister, Anthea. In 1947, he started attending Reed College on a scholarship and met Philip Whalen and Lew Welch.
Snyder published his first poems in a student journal while attending school. He graduated with a dual degree in anthropology and literature in 1951, and attended Indiana University with a graduate fellowship to study anthropology.
In 1950, Snyder married Alison Gass, but they separated after seven months and divorced in 1953.
In the summers of 1952 and 1953, Snyder worked as a fire lookout in the North Cascades in Washington.
He decided not to return as a graduate student of anthropology, instead enrolling in the Asian culture and languages program at the University of California, Berkeley in 1953.
On October 7, 1955, Snyder participated in the Six Gallery poetry reading in San Francisco, making him famous in the literary scene.
That same year, the First Zen Institute of America offered him a scholarship to study Zen Buddhism in Japan. Snyder spent one year studying, researching and translating Zen texts. Then he travelled throughout Asia for six months and met the Dalai Lama.
He remained overseas until 1958, when he returned to California. But, Snyder would inevitably go back to his studies in Japan; he rented a cottage outside Kyoto in 1959.
On his trip back to the states, he had met and fallen in love with Joanne Kyger, a fellow poet. The couple married on February 29, 1960, after she arrived in Japan to meet Snyder.
Between 1956 and 1959, Snyder would split his time between California and Japan. He continued to study Buddhism, at the same time writing and publishing many poems.
While he seemed to be on the path to spiritual enlightenment, and was successful in his career, his married life was falling apart. Snyder and Kyger divorced in 1965.
In 1966, Snyder, Allen Ginsberg and two friends went in on a piece of property in the Sierra foothills. In 1970, Snyder moved there permanently.
While back in Japan during the summer of 1967, Snyder met and married Masa Uehara. Together, they had two sons, who were raised in the Sierra Nevada Mountains of Northern California, in a house built on the land Snyder had recently purchased.
In 1986, Snyder bean teaching writing at the University of California, Davis.
After 22 years of marriage, Snyder and Uehara divorced in 1989. Shortly afterwards, Snyder married Carole Lynn Koda; they remained married until her death in 2006.
Snyder has been awarded many great honours, including the American Poetry Society Shelley Memorial Award, the American Academy of Arts and Letters award, the Bollingen Prize, a Guggenheim Foundation fellowship, the Bess Hokin Prize, and the Robert Kirsch Lifetime Achievement Award from the Los Angeles Times.
His works include Riprap and Cold Mountain Poems , No Nature , The Practice of the Wild , Left Out in the Rain , Axe Handles , Turtle Island , Regarding Wave , and Myths and Texts .
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Copyright © 2019 Jennifer Berube