text:
by David Dunlap Jr. May 6th, 2005 August 29th, 2020
Though I own more than 20 records featuring Sir Richard Bishop, I never had a good idea what he looked like until recently. I certainly didn't expect the distinguished, folky gentility of a Rounder recording artist from the man responsible for such releases as Horse Cock Phepner and Three Fake Female Orgasms. Of course, my surprise can be blamed on the fact that Bishop and his bandmates' faces are often obscured by costumes at live shows. His visage has been hidden by a variety of masks: hockey, Kabuki, Balinese, Saddam Hussein, and one that appeared to be a papier-mâché rendering of an adobe dwelling. Bishop is primarily known for his many years with the Sun City Girls, who are, I can say without hyperbole, absolutely the strangest and most fascinating band in rock history. Formed in the early '80s with Bishop's brother, Alan, and Charlie Gocher, the group has released more than 40 full-lengths since then; some of the albums consist of little more than hastily conceived nonsensical skits, and some contain beautiful, hallucination-inducing, Eastern-tinged psych-rock. The Girls have gone from playing punk shows with Black Flag and JFA to playing on Indonesian cruise ships to becoming renowned ethnomusicologists with their current Sublime Frequencies series of releases. These days, Bishop whiles away his time making amazing solo wooden-guitar records, revealing a style somewhere between the Middle Eastern stylings of Robbie Basho and the impressive Americana-influenced dexterity of Takoma Park's John Fahey. And though he would probably deny it, it's obvious now that it was Bishop behind the Sun City Girls' prettiest moments. Not only will it be nice to see him play his intricate melodies in a live setting, but it will also be good to finally see him face to face. Sir Richard Bishop plays with Double Leopards, Mouthus, and Kohoutek at 8 p.m. Saturday, May 7, at 611 Florida Ave. NW. $5 (suggested donation). (202) 360-9739. (David Dunlap Jr.)

redpajama_set_name: RedPajamaCommonCrawl


Don't let just anyone handle major renovations on your property! Make sure that you choose the fully licensed, bonded, and insured team that's been proving themselves since 1982. Our family owned and operated team will give you quality work and great service for a fair price. Call today for your FREE estimate!
Make the most of your property by teaming up with the local experts in home improvement, additions, and handyman services! We'll help you make your property more functional and beautiful.


text:
Interview with Henri Jayer's two daughters
Baghera's chronicles, Henri Jayer The Heritage
#HenriJayer, #HenriJayerTheHeritage
Julie Carpentier, Baghera/wines: What motivated your decision to sell the last bottles from the private reserve of your father Henri Jayer?
Lydie and Dominique : After our father passed away in 2006, and then our mother, more recently, we inherited of the entire collection of bottles remaining in the cellar, in Vosne-Romanée. We knew our father was deeply attached to the fruit of his labour: his wines. We took great care of the cellar during all those years since they had passed away. But we definitely would not have been able to drink all of these bottles and magnums, so the natural reaction was to offer them for sale to Henri Jayer connoisseurs so that they could acquire and drink the bottles, in his memory.
What did these bottles "sleeping" in the cellar represent for your father?
Our father was passionate about his work, which he lived with great intensity. We knew he kept wine in the cellar for his personal consumption, as he very often shared some of these wines with us, members of his family. He took great pleasure in regularly opening old vintages in order to assess their ageing potential. Our father was perpetually curious and a perfectionist. The bottles and magnums in his private reserve were somehow like his lab… a way to watch his wines mature over the years.
What does this auction mean for you?
It is clear that Domaine Henri Jayer will be turning its last page on the 17th of June, in Geneva. Fifty years of meticulous, passionate work during which our parents – Marcelle and Henri – tirelessly gave the best of themselves both in the Domaine's vineyard and in the cellar. The incomparable fruit and delicacy of our father's wines built his reputation, and it is with considerable emotion that we make those wines available to amateurs of Burgundies. We hope these bottles will extend our father's work in the secular history of the Côte viticole.
How do you feel about the craze generated by your father's wines ?
We progressively became aware of the recognition of the Domaine's wines over the years. In particular when our father travelled to the United-States in the 1990s. We appreciate that these very last bottles directly emanating from Domaine Henri Jayer are eagerly awaited. We hope they will soon be resting in the cellars of wine-enthusiasts who will actually enjoy opening and drinking these bottles. Wine is sharing. Let's not forget that these wines were produced to be consumed above all else.
Would you mind sharing with us an anecdote, a moment you remember that would be emblematic of your father's relationship with the vineyard and the wine?
Our father became involved in viticulture during WWII. In addition to his theoretical knowledge acquired during his Diplôme National d'Œenologue, our father was a keen observer of Nature and he worked a lot by empiricism. He experimented enormously and that is how, over the years, he succeeded in increasing the quality of his wines, vintage after vintage. He was also a perfectionist and did not tolerate approximation. People who harvested the grapes at the Domaine remember him for it: each and every harvesting basket was scrupulously inspected by our father in the vineyard, even before the grapes were taken to the sorting table. Not one imperfect berry (dry or root affected) was entitled to enter the cellar!
According to you, which wine most symbolizes the sale of these last bottles from your father's cellar ?
Cros-Parantoux, without a doubt. He was particularly proud of this plot of vines and of the resulting wine. So many years spent creating this vineyard, nurturing the vines and then vinifying these grapes, year after year… It is no coincidence that our father had kept several hundred bottles and magnums of Cros-Parantoux in his own personal reserve at the Domaine: it was his baby !


Actress and singer Selena Gomez seen arriving at LAX Los Angeles Airport after returning from Miami. The former Disney star and current girlfriend of singer Justin Bieber was enjoying a break from filming new movie 'Getaway' which is a remake of the classic 1972 film staring Steve McQueen.
Selena Gomez's travel style was laid back, low-key, and cozy with this tan frayed scarf.
Selena Gomez arrived in LA in style in these oversized aviators.
Selena Gomez lugged around her things in this stylish navy blue Louis Vuitton duffle.


You are here: Home / About Us / How much does stress impact fertility?
Most people understand that there is a link between stress and our health since the media does cover some of the research that proves stress plays a role in many health issues. Our culture today also makes it impossible to just remove stress from our lives, and the truth is today we have unparalleled levels of depression, anxiety and stress. Expectations and demands come as a result of societal and family pressure, not to mention financial and career anxiety that underlies everything.
On top of the "new stress norm" of today's world, there are studies that show women who are experiencing problems getting pregnant have similar levels of depression and anxiety as those suffering from life-threatening diseases like cancer or heart disease. This makes sense to us because infertility impacts every facet of ones life, similar to life-threatening diseases. Our programs are meant to help you to take a break from the stress that normal life throws AND the added stress trying to get pregnant piles on. They allow you to take time for yourself every day to truly check out and deeply relax. And we take it one step further and provide medically based visualization exercises that track to your monthly cycle, opening the mind-body connection. Underlie that with wonderful alpha-state music that sets the stage for peace and tranquillity.
Stress negatively impacts our fertility. And unfortunately, stress is compounded when we try to conceive month after month, creating a downward spiral that is difficult to break.
You may have heard countless stories of couples who give up on pregnancy and finally elect to adopt, and then miraculously get pregnant. Or, they go on vacation to forget their tribulations with their infertility struggle, and then viola, they get pregnant while away. Up until now, such anecdotal stories were just that – wives tales that had the effect of causing even more stress on infertile couples making them think the failure to conceive was their fault.
Emory University's Dr. Sarah Berga describes the link between stress and infertility with the fact that the hypothalamus is fertility's "master of ceremonies," a major nerve center in the brain that ALSO is the regulator and receptor of stress, emitting cortisol when needed to keep our bodies in balance. Let us repeat this extraordinary fact: a walnut-sized portion of our brain – the hypothalamus – handles BOTH stress and the functioning of our reproductive system, underscoring that every month there is a very delicate interplay of hormones leading to successful ovulation.
A cascade of events, beginning with stress, leads to reduced levels of two hormones crucial for ovulation.
In a study of 16 women reported in 2003 journal of Fertility and Sterility, Dr. Berga showed that ovulation was restored in 7 of 8 women who underwent cognitive behavioral therapy, compared with 2 of 8 who did not get therapy.
In 2006, in the Journal of Clinical Endocrinology & Metabolism, she reported that women who did not ovulate had excessive levels of cortisol, a stress hormone, in the brain fluid.
Research has shown that women undergoing treatment for infertility have a similar, and often higher, level of stress as women dealing with life-threatening illnesses such as cancer and heart disease, according to the American Society for Reproductive Medicine. In addition, they report that "infertile couples experience chronic stress each month, first hoping that they will conceive and then dealing with the disappointment if they do not. When diagnosed with infertility, many couples may no longer feel in control of their bodies or their life plan. Infertility can be a major crisis because of the important life goal of parenthood is threatened.


text:
The Literary Film and TV You Need to Stream in October
Every month, all the major streaming services add a host of newly acquired (or just plain new) shows, movies, and documentaries into their ever-rotating libraries. So what's a dedicated reader to watch? Well, whatever you want, of course, but the name of this website is Literary Hub, so we sort of have an angle. To that end, here's a selection of the best (and most enjoyably bad) literary film and TV coming to streaming services this month. Have fun.
Catherine Called Birdy
Stream it on: Prime Video, October 7
Literary bona fides: based on Catherine, Called Birdy by Karen Cushman (1994)
Trust Lena Dunham to adapt one of the classic millennial childhood texts, which won a Newbery Honor in 1995. A medieval comedy with a plucky heroine, it's kind of wild it's taken this long for someone to give it the big screen treatment, but from the looks of things, Dunham has done it justice.
Stream it on: AMC, October 2
Literary bona fides: based on Interview with the Vampire by Anne Rice (1976)
AMC's Anne Rice franchise push begins with a bonkers-looking modern tv adaptation of the novelist's most famous work. Can Rolin Jones (Friday Night Lights) improve on the cult classic 1994 adaptation starring Brad Pitt, Tom Cruise, and Kirsten Dunst? My heart says no, but my brain says obviously—especially since it's looking like this version will be a lot more queer (just as Rice intended).
Stream it on: Netflix, October 5
Literary bona fides: based on "Mr. Harrigan's Phone," a novella by Stephen King published in If It Bleeds (2020)
Another day, another Stephen King adaptation, this one of a novella (a cool 88 pages) directed by John Lee Hancock. It's set in the early days of iPhones, which is frightening enough without what happens after one is buried with a billionaire.
Luckiest Girl Alive
Literary bona fides: based on Luckiest Girl Alive by Jessica Knoll (2015)
Knoll wrote the screenplay for this adaptation of her 2015 thriller, in which a woman who has carefully papered over her childhood traumas finds them clawing their way to the surface.
The Midnight Club
Literary bona fides: based on The Midnight Club by Christopher Pike (1994)
A group of terminally ill teens assemble every night to tell each other scary stories, and promise that the first one who dies will make contact with the rest from the other side. Looks perfect for Spooky Season.
Stream it on: Showtime, October 9
Literary bona fides: based on Let the Right One In by John Ajvide Lindqvist (2004)
Here's another series based on a classic vampire novel that has already been made into a very good film (and an acceptable American remake); in it, a young boy befriends a new next-door neighbor, who turns out to be a vampire turned at the tender age of 12. One of the most human vampire stories in the canon.
Shantaram
Stream it on: Apple TV+, October 14
Literary bona fides: based on Shantaram by Gregory David Roberts (2003)
The novel—a redemption story based in part on the author's life—is beloved for, among other things, its evocative depictions of 1980s Bombay and its underworld; a glossy high profile adaptation could be just the ticket.
Stream it on: Netflix, October 19
Literary bona fides: based on The School for Good and Evil by Soman Chainani (2013)
Children being whisked away to a magical school that looks like a castle? Could be a replacement for your kids' problematic fave, especially with Charlize Theron, Kerry Washington, Laurence Fishburne, and Michelle Yeoh in the mix.
Stream it on: Prime Video, October 21
Literary bona fides: based on The Peripheral by William Gibson (2014)
The latest project from Westworld creators Jonathan Nolan and Lisa Joy stars Chloë Grace Moretz as Flynne Fisher, "a woman trying to hold together the pieces of her broken family in a forgotten corner of tomorrow's America." The trailer looks very cool . . . even to those of us who've been hurt by Nolan and Joy before.
Literary bona fides: based on The Good Nurse by Charles Graeber (2013)
Based on the true crime book—which Janet Maslin compared to In Cold Blood—about Charles Cullen, a night nurse who may have, over the course of a 16year spree, secretly been the most prolific serial killer in history. Chastain stars as Amy Loughren, another nurse who begins looking into Cullen's behavior.
Confess, Fletch
Stream it on: Showtime, October 28
Literary bona fides: based on Confess, Fletch by Gregory Mcdonald (1976)
Jon Hamm steps into Chevy Chase's 33-year-old shoes as your new Fletch in this adaptation of the second book in Mcdonald's popular comedy/mystery series. Plus, you've got to be charmed by the Hamm/Slattery reunion.
THROWBACK:
Terms of Endearment (1983)
Stream it on: HBO Max, October 1
Literary bona fides: based on Terms of Endearment by Larry McMurtry (1975)
The cast (Debra Winger, Shirley MacLaine, Jack Nicholson, Danny DeVito, Jeff Daniels, John Lithgow!), the vibes, the many, many awards . . . it's an iconic, bittersweet '80s banger.
The Color Purple (1985)
Literary bona fides: based on The Color Purple by Alice Walker (1982)
Another iconic (and heartrending) '80s movie that's worth revisiting, corny Spielberg flourishes and all.
Literary bona fides: based on The Silence of the Lambs by Thomas Harris (1988)
Hey, I hear cannibalism is in again!
The Age Of Innocence (1993)
Stream it on: Hulu, October 1
Literary bona fides: based on The Age of Innocence by Edith Wharton (1920)
I still kind of can't believe that Martin Scorsese adapted Edith Wharton's novel of manners, but he did. "It was the spirit of it—the spirit of the exquisite romantic pain," he once explained to Roger Ebert. "The idea that the mere touching of a woman's hand would suffice. The idea that seeing her across the room would keep him alive for another year." Hell, it works.
I Know What You Did Last Summer (1997)
Stream it on: Paramount+, October 1
Literary bona fides: based on I Know What You Did Last Summer by Louis Duncan (1973)
Yes, the ur-90s-teen-slasher-flick is based on a novel, though barely—in fact, Duncan hated the final product, for very good reasons. Still, a good, stupid watch for anyone feeling a little nostalgic for the three-named-heartthrob era.
Literary bona fides: based on Homer's The Odyssey
Not a top tier Coen brothers movie, perhaps, but a pretty smooth way to spend some time.
Literary bona fides: based on Queen Bees and Wannabes by Rosalind Wiseman (2002)
Why yes, Mean Girls is technically a literary adaptation. Now you can feel better about rewatching it this weekend—as if you felt bad at all.
For Colored Girls (2010)
Literary bona fides: based on for colored girls who have considered suicide / when the rainbow is enuf by Ntozake Shange (1975)
The incredible cast—Janet Jackson, Whoopi Goldberg, Phylicia Rashad, Thandiwe Newton, Loretta Devine, Anika Noni Rose, Tessa Thompson, Kimberly Elise, Kerry Washington, Macy Gray—doesn't quite ease the rocky transition from iconic play to film here. But even if this movie isn't more than the sum of its parts, a lot of those parts are pretty powerful.
Literary bona fides: based on The Girl With the Dragon Tattoo by Steig Larsson (2005)
Rooney Mara is astoundingly good in David Fincher's inky adaptation of Larsson's posthumous bestseller—her performance alone is worth the price of admission.
Call Me By Your Name (2017)
Stream it on: HBO Max, Netflix, October 1
Literary bona fides: based on Call Me By Your Name by André Aciman (2007)
A wonderful, enjoyable, and very literary film, not least because of the way it, almost by magic, manages to translate all of the novel's furious interiority. Definitely something to watch as the weather gets cold and you need a little infusion of (sad, aching) sunlight.
All My Puny Sorrows (2021)
Literary bona fides: based on All My Puny Sorrows by Miriam Toews (2014)
Alison Pill is exceptional in this muted adaptation of Toews semi-autobiographical novel about two sisters, one of whom is intent on killing herself. It's not a romp, but then, it shouldn't be.
film adaptationsfilm and TVliterary adaptationsstreaming guideTV adaptationsWhat to Watch
Sandra Cisneros on the Private Act of Writing Poetry
"Before the Burnings"
The following first appeared in Lit Hub's The Craft of Writing newsletter—sign up here. * August 30th, 2022, Casa...


text:
Historical Novel Society reviews 'Flavia's Secret'
The Historical Novel Society has now reviewed Flavia's Secret:
In second-century Roman Britain, the Lady Valeria maintains a blissful household devoted to good talk and good reading, staffed with a beloved "family" of slaves—including beautiful young Flavia. When Lady Valeria dies, the household passes into the possession of young Roman officer Marcus Brucetus, a veteran of the perpetual border-warfare in Germania.
As is the way in such stories, these two are immediately attracted to each other, despite the fact that not only is he a free man and she a slave, but she's his slave, his property along with everything and everyone else in the house. Lindsay Townsend handles this complication with unerring skill and some very pleasing human touches. In one scene, Marcus makes an offhand comment about how tightly Flavia pins her hair. She acerbically reminds him that he can change anything he dislikes, since he owns it all. He simply touches one of her hairpins, and she replies:
"You have made your point." Suddenly Flavia felt weary, weary of being a slave, weary of fighting this man and her own feelings.
Marcus looked at her a moment longer, then sighed and stepped back.
"You are right," he said. "That was a crass thing to do."
"Yes," said Flavia steadily. "It was."
Such exchanges are frequent in Flavia's Secret, and they constitute the book's main pleasure. Townsend has a great ear for snappy dialog, and even her most minor characters spring instantly to life with a carefully-chosen sentence or description. Most details of Roman Britain at the time are faithfully rendered, although at its heart, this is a timeless story of two people finding love where they least expect it. Flavia's Secret is cheerfully recommended. -- Steve Donoghue
Historical Novels Review Online is here.


An analysis of Electric Screwdriver market has been provided in the latest report launched by Market Study Report that primarily focuses on the market trends, demand spectrum, and future prospects of this industry over the forecast period. Furthermore, the report provides a detailed statistical overview in terms of trends outlining the geographical opportunities and contributions by prominent industry share contenders.
Electric screwdriver is a type of power tool that relies on a current control motor to quickly tighten the screws to the set torque.
The Electric Screwdriver market research study estimates this business vertical to accrue substantially modest proceeds by the end of the projected timeline. The report is inherently inclusive of prominent details subject to the market dynamics – like the myriad driving factors influencing the commercialization scale of this industry and the diverse risks that this business sphere is characterized by, in conjunction the numerous growth opportunities prevailing in the said marketplace.
As per the Electric Screwdriver market report, what are the firms that are included in the competitive landscape of this industry?
Which among the various companies along the likes of Stanley Black & Decker, Bosch, Makita, Ken, TTI, Positec, FEIN, Dongcheng, Hitachi, Hilti, Kawasaki, Chervon Holdings, Ozito, Dixon Automatic, Mountz and XU1 Powertools, has been envisaged to be tagged as one of the most lucrative growth grounds of this market?
How much market share do each of these companies procure in the industry?
What are some of the pivotal products manufactured by these companies in the Electric Screwdriver market?
What are the profit margins and price trends of each firm in the Electric Screwdriver market?
Which among the regions of North America, Europe, Asia-Pacific, South America & Middle East and Africa is most likely to procure the maximum market share?
What are the sales figures and the revenue statistics of each of the topographies in question?
How much is the current valuation of each region and what will the projected revenue of each zone be pegged at?
What is the estimated growth rate claimed to be registered by each of the geographies in the Electric Screwdriver market?
Which among the product types – viz, Cordless and Cord, is likely to procure maximum returns in the Electric Screwdriver market?
How much is the market share of each type in the industry?
What is the sales estimate of each of the types in question by the end of the estimated timeframe?
Which among the application spanning Industrial and Household is touted to be the most remunerative segment in the Electric Screwdriver market?
How much is the market share of each application segment in this vertical?
How much is the remuneration that each application is likely to accrue by the end of the projected period?
In a nutshell, the Electric Screwdriver market research study comprises an expansive evaluation of this industry vertical that concentrates not only on the regional expanse of this market but also a plethora of other insights such as the sales volume, market share, market concentration rate, revenue projection, as well as the market competition trends. Further, the study presents details with respect to the sales channels deployed by numerous manufacturers in a bid to make sure that the most appropriate manner of product marketing is chosen. Information with regards to the contribution of distributors and traders in the supply chain are also elucidated in the study.
This report categorizes the Spectrometer market data by manufacturers, region, type and application, also analyzes the market status, market share, growth rate, future trends, market drivers, opportunities and challenges, risks and entry barriers, sales channels, distributors Analysis.
This report categorizes the Electric Control Cabinet market data by manufacturers, region, type and application, also analyzes the market status, market share, growth rate, future trends, market drivers, opportunities and challenges, risks and entry barriers, sales channels, distributors Analysis.


text:
Q: Visual Studio msbuild I have a question regarding the commandline options of msbuild. I am
currently using msbuild to build projects using the existing solution
files. These solution files have references to external dll which have
different paths on each machine. I am currently writing a build script
and passing the specific path to the project file via the /p: switch of
msbuild.
My current build line is:
msbuild test.sln /p:ReferencePath="c:\abc" /p:ReferencePath="c:\rca"
What i have noticed that Reference Path now contains only c:\rca and
not c:\abc. this is causing problems for me since, the external dlls
lie in two different directorys. I am allowed to keep multiple
reference paths via visual studio, but not via the commandline.
Is there any known way by which i can do this

A: I believe you can use this /p:ReferencePath="c:\abc;c:\rca"
At least that is what that link is hinting at, they are using %3B to encode the ";" within the build file.

A: Although the correct syntax for providing more the one reference path is listed above, I would suggest solving the root cause which in my opinion is the different locations of your referenced assembly. I would suggest you put all thirdparty dependencies, apart from the framework assemblies in your source code repository for the following reasons:

*

*Relatitve paths are consistent across computers

*The source code is always in sink with the correct version of your thirdparty assembly (if you for instance need to build an old version of your software 2 years from now).

*Upgrading your thirdparty assembly is as easy as upgrading on one machine and then committing your changes to the repository. (In a previous project we even went as far as checking in the entire java runtime environment and were quite happy with the given setup.)

A: Try seperating your pathes with a semi-colon (;)
Like this:
c:\abc;c:\rca

A: You may be better off by synchronizing your libraries across machines. I have found that Visual Studio makes this easy. Simply add a solution folder, and add your libraries there. Then, in each project, reference the libraries from this common place. This way, each developer has them in the same place.
This will remove one of variables you have when trying to script out builds.

A: The command line options for setting the reference path will work just fine (assuming you escape the semi colon, it seems both %3B and ; will work). However, when the argument was passed in from nant (and I needed multiple paths), creating a 'Visual Studio Project User Options file' seemed to work better.
I just emit (echo) a file to the file system with the following format:
<Project xmlns="http://schemas.microsoft.com/developer/msbuild/2003">
<PropertyGroup>
    <ReferencePath>
        C:\abc;c:\rca
    </ReferencePath>
</PropertyGroup>

I give the *.user file an appropriate name (given a project file MyProject.csproj, my user file would be MyProject.csproj.user)

redpajama_set_name: RedPajamaStackExchange


text:
Q: Script working fine on development server but not remote server Am having problems with my PHP/MySQL website. It is running fine on my development machine but on Godaddy it has started giving me problems. After running it multiple times I either error 500(Internal server error) or connection timed out. Am now convinced that its not the web host as files like sitemap.xml are loading very fast.
I attempted profiling it with the NuSphere profiler and the total time it takes to load the scripts is 143.0ms. Using the Zend Controller benchmark tool(without any performance-related components) I can make an average of 12 requests per sec on my local script. Using
I get PHP function memory_get_usage I get 1340648
My questions are

*

*What is the the allowable amount of time that a script should take to load

*How can I know the CPU utilization of my scripts

*How can I know the memory utilization of my scripts

I use windows with Zend CE. I have checked the error logs and nothing shows. I have googled but none of the solutions seem to work .

A: If its timing out on the server it's more than likely because a link to a resource in your script is not pointing to the correct location.
Leading to a function call not working or other resource not being found.


With its toolbox of techniques and technologies to encourage health behavior change, health coaching has helped to move a nation toward better self-management of chronic illness.
And now, integrated health coaching continues to move the needle on population health management with interventions that span the health risk continuum — keeping the healthy, healthy without compromising the clinical support needed for high-risk, high utilization individuals.
In this 30-page report, Kelly Merriman, HealthFitness vice president of service delivery and Dennis Richling, MD, chief medical and wellness officer at HealthFitness, highlight their organization's integrated health coaching program. They use individual vignettes to illustrate key program features, from participant assessment to coach assignment to program impact.
and much more, including an extensive Q&A section covering coach training, recommended case loads, participant engagement tactics and the use of incentives in coaching, among other issues.


text:
Grażyna Dudek (ur. 20 sierpnia 1960 w Katowicach) − polska łyżwiarka figurowa startująca w konkurencji solistek. Uczestniczka igrzysk olimpijskich w Innsbrucku (1976), uczestniczka mistrzostw świata i Europy, 5-krotna mistrzyni Polski (1974–1978).

Córka Zbigniewa i Teresy Mikoszek. Była reprezentantką MKS Iskry Katowice (1965-1967), Naprzodu Janów (1969-1974), KKŁ Centrum Katowice (1975-1979) i wychowanką trenera Zygmunta Kaczmarczyka, a następnie trenera Henryka Hanzela. Obok Urszuli Zielińskiej i Heleny Chwili - najlepsza polska solistka lat 70. Studiowała na Uniwersytecie Karola w Pradze na wydziale wychowania fizycznego ze specjalizacją łyżwiarską, gdzie wyszła za mąż. Następnie na stałe wyemigrowała do Danii.

Osiągnięcia

Przypisy

Bibliografia

Polskie łyżwiarki solistki
Polscy łyżwiarze figurowi na igrzyskach olimpijskich
Polscy olimpijczycy (Innsbruck 1976)
Łyżwiarze figurowi Naprzodu Janów
Ludzie urodzeni w Katowicach
Urodzeni w 1960

redpajama_set_name: RedPajamaWikipedia


Lowe's House Improvement Inc. pays its workers an average of $13.19 an hour. Hourly pay at Lowe's Residence Improvement Inc. ranges from an average of $9.84 to $18.39 an hour. Lowe's Home Improvement Inc. workers with the job title Senior Programmer Analyst make the most with an average hourly rate of $37.05, while staff with the title Sales Clerk/Cashier make the least with a mean hourly rate of $9.22. Dynamic obtain permits for limitless 3D merchandise to be used, and a cache server updates merchandise to make them available immediately to customers with no latency. The Lowe's Holoroom shopping expertise includes multi-tiered classes, a number of product photographs, filtered lists, and featured alternate products. sab, I enjoyed reading what you wrote and found it encouraging. I hope you might be still having fun with Lowes. I begin Monday in the flooring dept.
A project of Lowe's Dwelling Improvement, Lowe's Innovation Labs and SciFutures, the Lowe's Holoroom is powered by Marxent's 3D Furniture Cloud 3D Cloud, the virtual products platform. VisualCommerce 3D Cloud allows Lowe's to handle hundreds of SKUs as virtual 3D objects, together with their related meta data. With the flexibility to populate a 3D area with precise products stocked by Lowe's, Lowe's shoppers can design their excellent toilet or kitchen and literally walk into it, share it through YouTube 360 and then buy the merchandise to show their digital design into actuality.
The highest-paying ability to have on this position appears to be Sales Management; staff claiming this as part of the toolbox earn a median of round $17.sixteen per hour. Customer Service is a well-liked talent in the Lowe's Residence Improvement Inc. workforce; the greater a part of those surveyed report placing it to use in their jobs. Many workers normally know Money Handling, Buyer Relations, and Gross sales as effectively.
Im a CSA in flooring at Bardstown Ky. retailer 2530. Love my job, my co-staff and all my management. Simple going Job and good pay. Managers here do there half and the shop runs very clean from day to day. Its attention-grabbing studying new issues on a regular basis. Marxent is the main VR and AR app growth company for furniture and residential decor.
My biggest downside is the constant standing which makes my legs really feel wood and sometimes causes capturing pains at hip and knee. I work at Lowe's as a cashier. It is usually pretty busy. Every store does have their own tradition and politics. To view their design, customers walked into the Holoroom holding an iPad and experienced their room in 3D space, at full measurement. They may walk round their room to guage the layout and see the spaces between merchandise. Shoppers could zoom into merchandise to see textures up close.


text:
Yvette Martínez
Interview by Elizabeth Sayre, November 15, 2020
[0:12] Elizabeth Sayre: Today is Sunday, November 15, 2020 and it's my honor to be interviewing you, Yvette Martínez. My name's Elizabeth Sayre, I'm in Oakland, California today. And thank you to Raíces for inviting us to be part of this Gender and Folkloric Expressions panel, and these interviews are part of that project.
[0:39] So welcome Yvette, and would you- I also want to say thank you for the inspiration because over time, as a musician, I heard about ¡Retumba!, your project, and then met you and had a chance to work with you a little bit and you all- you know,, knowing that you all were out there was an inspiration and a touchstone and a, you know, a positive model to be aware of so it's really, it's a pleasure and it's an honor to talk to you today. So would you please introduce yourself and tell me what forms of art and folkloric expression are you involved in?
[1:29] Yvette Martínez: Ok, thank you Elizabeth. That's beautiful, you almost made me cry.
[1:32] Elizabeth: Awww.
[1:35] Yvette: So much. It's such a pleasure to be able to just chat with you and be part of this great project and I just thank everyone involved and it's just a real thrill to be here. But I'm involved in the Caribbean- the music and dance of the Caribbean and folkloric music. I'm director of ¡Retumba! And "retumba" means "resound" and we come resounding with our drums, our songs and our dance and it's one of the things that we enjoy bringing community- to the communities- is music and dance of the African diaspora.
[2:29] We first- ¡Retumba! was formed in 1981. At that time we were called "Retumba con Pie". That was the name of the company when we started. And "Retumba con Pie" meant "retumba with dance, resounding with dance". "Dale con pies" is what we say in Puerto Rico when we're telling somebody, "Yeah go ahead, improvise, dance, let me see you dance." It's like with hip-hop now. So "Dale con pies" is "let me see what you can do and dance." And for ten years we were using "Retumba con Pie". People recognized us and I still have fans that when they call "'Retumba con Piel' is here" I know that they know us from the very beginning. But for ten years we were "Retumba con Pie" and for promotional purposes, and when we came out with a CD and music, we decided to shorten it to make it easier. For a long time we kept being introduced as "Retumba con 'pie,'" For years. I kept saying I was going to educate everyone, "It's 'Retumba con pie'", you know? And there was one year that we went to do the Hispanic- Black and Hispanic Caucus in New Jersey, it's this big national conference they would have and they're introducing us, it was a great show, but the woman, Latina, introduces us as "Retumba con 'pie'" and I was like [GASPS]. It just- and I said after that, I said, "You know what", we thought of accents, we thought of different things, and I said, "Well." And then, in reality is, we sat with the members and some of the board members and said, "You know, let's for promotional purposes." And that's how then we became ¡Retumba! with the exclamation points on either side.
[4:28] Anyway with ¡Retumba! I've had the wonderful pleasure and journey to celebrate music and dance of the African diaspora. We started first with Cuba and Puerto Rico, we started with bomba and plena and we also did rumba and palo and- but we started with just six members and we were invited to do a presentation at El Museo del Barrio in 1981 to celebrate Women's History Month and it was- it became a very- it was an important show for us. That was the beginning of ¡Retumba! We only, of the six women who first got together, we just wanted to present this one program and figured, "Let's get together, let's work on this program," and never thought that six months later- we still didn't have a name, we were just called "The Afro-Caribbean Group". And six months down the line, we just kept getting called for one gig after another and we ended up doing- going on a tour of a lot of colleges and that really gave us a great beginning for ¡Retumba! and just really giving us work. The Association of Hispanic Arts, used to be called AHA, no longer exists, it was painful that couldn't- they're not around anymore, but they really supported us, and really would recommend us. Elba Cabrera was just somebody very important to the company, someone who's been in the arts, the Latino arts, for many years, a supporter. And that really gave us a really wonderful opportunity to bring it to college students and we would, you know, it just brought us a lot of joy doing that and it's something that we decided to stay together as a company.
[6:38] And so this coming March, we're going to be celebrating our 40th anniversary and wow. It's an achievement that just was something, for me very- I'm very proud of and I'm so glad that I've been able to give women the opportunity to have a platform where they can perform and feel safe, in a safe environment, you know. And for- as members would come into ¡Retumba! They would bring their gifts, they would bring their culture and that's how ¡Retumba!'s expanded our repertoire so we've been able to celebrate music from Puerto Rico, the Caribbean Islands, as well as South America, Mexico, music from Brazil, and expand into- we started with folklorico, folkloric music. We love just the stories and sharing the stories and music and the dance. And we also, we've expanded to also include contemporary because it's- we just have such a vast array of music that is beautiful. And in doing, also ¡Retumba! Is one of the things that I love about the company is that we're a multi-cultural company, women from different backgrounds, different languages. In ¡Retumba! we have like five different languages that are spoken and-
[8:23] Elizabeth: May I ask you, Yvette, who were your original members, your six originals?
[8:30] Yvette: Right, our six originals was Nancy Friedman and myself, Yvette Martínez, are the two originals still. We have Nydia "Liberty" Mata, who was also one of the co-founders of the company. Back- ¡Retumba!, when we started, it was a collective of six of us. And then Nina Jaffe, percussionist. And then we had Linda Delerme, a dancer, she's now a reverend, and dances still, if she has to, but she is now a reverend. And we have Rosie García, a dancer. She's in Puerto Rico and she's in the hospitality business right now.
[9:36] But it started as a collective and everyone would bring, you know, in ideas and we'd rehearse and we'd try this out and try that out and we started putting it, bringing it together, presentations with a story and background. And it was just exciting to see the variety of the similarities that we all have in our cultures and how unique they all are and the beauty and that's what I really enjoyed and it was such a great experience to learn about these other cultures and at the same time be able to share it and affirm how so much alike we all are.
[10:26] Elizabeth: And what are the five- I cut you off before- what are the five languages that are represented in the group nowadays?
[10:35] Yvette: In ¡Retumba! we have English and Spanish, Hebrew, Creole…Creole. Let's see, French, we also have Portuguese. And it depended on who was in the company and when Erminia Apolinario, who I loved was in the company, she would in her music, her dance, we did a lot of music from Bahía. And so whoever came through the company, and we've had such a wonderful group of people come to through the company.
[11:32] And ¡Retumba! we started as an all women's company, an all women's, female company to celebrate Women's History Month back in 1981, which was one day. And I've- we're not exclusive, we have had men work in our company and I have men as subs, you know? There have been issues and it has to be men who are very comfortable with working with women as bosses. And, you know, we've had a few challenges, but, you know, we have always maintained ourselves, you know, to be strong. And in order to be in ¡Retumba! You've got to come with the right mind, spirit, and soul because it's not just about the music. For me it's, you know, we're working with music of the soul, for me, and the heart and here we come together to celebrate, and celebrate music and each other and humanity, for me, because music and dance is in every culture around the world, you know. And I think it's such a great way to bring people together so-
[12:42] Elizabeth: So congratulations on your upcoming forty year anniversary. That's an incredible- that's an incredible achievement to have taken an idea that, you know, was pulled together for a performance and make it last and develop it and go through all these different evolutions, that's really remarkable.
[13:05] Yvette: We had a lot of pushback. I mean I've- we've had people like, you know, just saying that it can't be done, that women shouldn't be playing drums, that "Oh that's not womanly", and, you know, we've had men in the company who you could feel and people would also would address the men who were in the company before addressing the directors of the company, you know, so that's something that commonly happens in so many arenas, you know? But it- the one thing is that, you know, bringing us all together was the music, the dance, and being able to celebrate, you know? And see the beauty.
[13:55] And ten years down the road of ¡Retumba! being a company, we decided to create a non-profit organization, in order for us to continue doing the work that we were doing. We really enjoyed- one of our most joyful things we love doing is bringing programs to schools, and performances, and just seeing the joy in the eyes and just seeing how they feel, seeing them after a performance or after taking a workshop, you know? It's very- it was very gratifying and we wanted to continue that and we started the One World Arts. And One World Arts is our non-profit organization and through that we've been able to apply for grants and get funding and support and it's allowed us to bring a lot of the programs aside from just- ¡Retumba!'s the performance arm of One World Arts, but we also have been able to support other artists that have gone through One World Arts to continue doing their work. And it's through One World Arts we've been able to- we present at schools all over New York City, in the tri-state area. We've traveled around the United States through One World Arts, bringing programs of diversity and community building. We've- through One World Arts we do seniors' homes, we're able to bring presentations to senior citizens, communities, and it's just really been a real pleasure.
[15:50] One of the things through One World Arts that we're doing is developing a healing arts component to our organization, you know? As we come out of this and come out of Covid and we get through all these challenges that we've been going, healing is just going to be so important in all our- you know, from children to adults to our seniors, you know? Many of whom especially our first responders dealing with PTSD and all these issues of having to deal with all these tragedies that we've had that we found it important to focus our energy in creating this component of One World Arts. And also bringing in music and dance as a way of healing so that's something that is really important to the organization.
[16:57] And we hope that it continues. I'm working right now on succession rights for some future young ones who are going to hopefully continue the work that we started. I hope that ¡Retumba! continues performing and expanding the repertoire and, you know, it's something that- there are no one stars in ¡Retumba!- all of us together as a company, you know? So I've had challenges where it'd be you have some folks that are very diva and want to, and you know, it can't work, you know, sometimes. Because we're all together, a unit, and together as that's where we're our strongest.
[17:44] Elizabeth: Even so, would you, just for the purpose of the interview, and for people. Would you just tell me a little bit about your individual growth as an artist. You know, how did you start dancing? How did you start playing music? Who were some of your important teachers and what- you know, how did you develop yourself as an artist because I really appreciate what you're saying about the group, the group identity being really important. Nobody's the "star."
[18:25] Yvette: Right.
[18:26] Elizabeth: Everybody's working together to present a strong collective image, because these are collective and community based arts. And it doesn't work, one person can't do it, or two people can't do it, you know? But I'd like to know, I think people would probably love to know just a little bit more about you as an individual. Could you just tell me about growing up and how you connected with music and dance in your life?
[18:54] Yvette: Ok, yeah, well, I was born in the South Bronx, and I was born and raised. My household, we heard music. My mother always used to love playing music and I grew up in a mostly Puerto Rican community, neighborhood. Spanish was my first language, even though I was born and raised here, so when I went to school, my first grade, English went right over my head. I was like a newly arrived immigrant, I didn't know the language, and I learned it. It took me a long time.
[19:30] But music was something very important in our household, and my mother and my mother and father used to enjoy having company and family because both my parents were the eldest of each of their families. They both met in New York, they were from different parts of Puerto Rico, but they met in New York, and they were the first ones so of course, as family came, they always were- landed in our household. So family gatherings were always something very important, music, dancing. And my mom always used to talk about the wonderful memories and the wonderful- the music. She used love, every time we used to play "Mi Viejo San Juan", it was like, "Oh", always a tear jerker for all of us.
[20:21] But it influenced me very much, my mom's story. She- then she became a single mom and she really instilled family and honor and "remember, remember where you came from." And I love where- the community I grew up in was mostly Puerto Rican and everybody looked out for each other.
[20:51] When I went to high school, that's where I found I needed to reaffirm my cultural heritage. I went to an all white school. I went to parochial schools, so it was a big culture- and I was intrigued and never felt, but that's where I started to feel, "Oh this is it…" and I knew of racism and I knew that color was- you know, it made you different and I would see it. I saw the riots and we grew up around that time so we knew what was happening but to really be in a, you know, school, and being on a team, being in a classroom and feeling it also from teachers, you know? So that kind of made me reaffirm, you know, who I was and what my cultural identity was, that kind of made me feel proud of who I was.
[21:45] And I joined Aspira. Aspira was a club that we had in high school, and I'm telling you, it's- Aspira was also another, it's an organization and I think Aspira is still around, I think it started in 1961. And it was about empowering students to further education, to become leaders. So it really created a space for young Latino students to network, to gather. Each school had their own club, we would have a borough center where students could meet, and Friday nights we used to come and hang and play music and a band was created so it gave us a community feeling. And we all were learning our cultural heritage because back then Aspira was mostly Puerto Rican students, and it was developed by, created by Antonia Pantoja and she saw such a need in the Puerto Rican young youth who were not going to college and not following further studies and she wanted to inspire them to, you know, follow, you know, further education, developing leaders, whatever it is that you wanted to do and out of that we have a lot of activists that have come out of it.
[23:19] As I became a president of Aspira when I was in my junior year and as a president you're taken to Puerto Rico, as a group, with the other New York City "Aspirantes" from all different schools and clubs, and we went and connected to other Aspira students there, we went to the museums, we studied, we took us on tours, it really gave us a great overview of all of Puerto Rico which I knew bits and pieces, you know, my mother would tell me things, but to really get it there and just do that was very inspiring and that's another reason that I ended up loving the music, you know?
[24:02] But when I graduated from college, I was going to go into a medical lab technician. You know, my family felt that you've got to have something to fall back on, you know? I loved dancing, you couldn't stop me dancing, I was always mimicking what I saw on TV. I would go and I- so they knew that I was just always a little performer, you know? And they were always, you know, spurring me on, so it was really easy, but I was very shy.
[24:37] But I did, I went into and I took electives of modern dance, and that's really where I said, "Oh my goodness, I love modern dance." And that was my first study of dance, was modern dance. I did start late and couldn't afford to go to get professional dance. I took dance wherever free program had dance, I would take an after-school program. Back then we used to have the Casita María, we used to go to- and they had all these different types of programs. But I never was able to take professional dance as a child until I got to high school and then college and that's when I decided I wanted to do it as a profession. Modern dance, was, I wanted to and I delved into it while I was still going to school to be a medical lab technician.
[25:33] And I was discouraged. I was discouraged to- first, in high school, I was discouraged that- not to go into medical lab because it might be too hard. I should go into secretarial studies. But I went and pursued it anyway and I started to, but then I diverted when I started doing the dance class electives. I enjoyed that so much more and I really started to delve into it even more and study it and train. And when I approached a teacher that I wanted to do it professionally and I wanted to get started, they told me I was a little too old to get into the modern dance profession, which kind of devastated me.
[26:23] By then I was a young mother and I was married. I was a young mom. And I was like, "No." And I used to attend plays and go to dance performances, I loved it so much, and that devastated me. I didn't want to do anything, I didn't want to go to any shows. I said, "No I can't do this."
[26:43] But I got a scholarship to attend the Puerto Rican Traveling Theater's training unit and I'm telling you, it was such a great- it was a great opportunity. I took music, theater, dance, improvisation, diction- they even had classes on diction and it just was such a great opportunity. It was like for two years, I did the training unit. And out of those classes, in the modern dance, I was doing modern dance, I was still heading into modern dance, one of the students was saying, "Hey, there's a group from Hunter College starting a bomba and plena group. They're looking for dancers."
[27:28] And I was like, "Ooh, yeah, bomba and plena, yeah I would love to." That was something I definitely wanted to do was something from my cultural background and bomba was- in Puerto Rico, my mother wasn't allowed to go see bomba because bomba was considered, you know- when they got together to dance bomba, they never knew, it was supposed to be something, you never know what happens in these places, you know? So bomba was- and back then, you know, my grandfather didn't allow them, you know? And I was always curious as to why, you know?
[28:09] And when I heard this, I said, "You know what, I think this is a great way." And I said, "Yes, I'll be there." I went to the first rehearsal, kind of audition-rehearsal, and I ran into two old good friends who were also curious about it and that's, I joined this group called Baile Boricua and it was like- I said, "Oh my god, this is absolutely."
[28:33] And that very first year, we were invited to come dance at El Festival de Loíza, in Loíza Aldea, which is one of the biggest festivals in Puerto Rico, and we were so super thrilled. There were sixteen of us, eight men and eight women in this particular group. And it was a group from Hunter so we performed in Hunter a few times, and then as we got the opportunity to go to Puerto Rico, it was just great, fabulous.
[29:07] And the day we were performing, the group that was coming at the end. They put us in at the beginning of the show, they showed us as a young group, from New York. We were so- it was just a wonderful experience. Backstage was a group that was coming in, they were the elders. And I was just so fascinated with the drums, the costumes and they were- we were sharing stories and they were so happy that we were still keeping up the tradition and how lovely. And I, you know, we were just enthralled by them and we were talking and they had been doing it for years and one of the women was saying, "Yeah, you know, we're bomba dancers and we're going to die bomba dancers." And the youngest person in the group was seveny-five years old and I was like, "What?"
[30:01] And that's when I decided, ok this is where I'm staying, in the folkloric music of Puerto Rico because you could be any size, any age, and all you need to do is to have the love, the music, and the dance and that's how- what influenced me to get into bomba and plena and then it just- I resonated with bomba so much just because of the freedom of dance and expression. And especially the bomba de Loíza. The bomba de Loíza is the one that just, every time I would dance it, it would just, you know, it just made me feel so great.
[30:42] And I was shy at first because I didn't know what the heck I was doing, but I, you know, I learned and would go to the festivals and years later I ended up- actually that year- I ended up meeting the Cepeda family and they were so happy that we were doing that. And I ended up taking a picture with Rafael and Julia. Julia was like five years old and it was just such a thrill. And then I- years later I would come to take workshops with Julia when they came to New York to do the program, Dos Alas.
[31:25] Elizabeth: Do you still have the picture? You should-
[31:29] Yvette: I will.
[31:30] Elizabeth: You have to scan it or you know- so it would be great to have it with your interview or with your materials on Raíces' website, you know. I think that's amazing.
[31:39] Yvette: Absolutely, I am going to dig that through. I have so much, so many connections with the different members of the family and to me, it was such an honor. And I did interview Rafael Cepeda a few times when we were doing our research, and he was so welcoming, you know? And it was just so nice for him to take the time and it was a real honor.
[32:05] And that's what really got me started. And after that we decided, "Ok, we're going to stay together for sure," and the company just kept working. And then we got approached in 1981. Linda Dererme, one of the dancers was approached to- they wanted to do a presentation at Museo del Barrio for Women's History Month. And we considered taking the company of sixteen, but then when we went to see the space, we saw how little it was and it was like, "Ooh, we're not going to be able to perform with sixteen dancers." And we were trying to redesign the program. Then, one of the coordinators asked, "Is there any possibility we could keep it all women, it's a women's event, it's Women's History Month", and that's when the wheels started…And we said, "Yeah, well you know what, yeah." And Linda knew two- two other percussionists, and Rosie and I, we were the dancers, and then we called a rehearsal together and that was in 1981, that's when I first- in January.
[33:17] And that's when I met Nydia and Nancy and I had never seen women drummers before. I had heard about them, "well, yeah, sure sure," and we talked. And so here we are in the first meeting, I was nervous as all heck. Just because I wasn't all that sure of all my history also, so I had to kind of, we're trying to develop a program that I'm still learning about and so we got there and so we talked about it, we had about an hour, we're discussing back and forth and I say, "Ok, let's try some rhythm." And then I see the women, the three women, they get up and they sit on the conga drums, and I was like, "Holy smokes!" And then I started hearing them playing and I was like, "Ohhhh, wow!" It just really, it's the first time I had seen and I- it just really, it impressed me very much and I said, "Wow, this is exciting."
[34:17] And it was just from there. Everybody was really interested in the work and in continuing it, and about, I think it was in 1982, we were approached by Pete and Toshi Seeger. Pete Seeger. They did a yearly festival called the Hudson River Revival and it was a wonderful festival. They bought- they had like maybe, I think it was like five stages and they would have outdoor. It was a big- it was a three day festival and, you know, they had performances, they had workshops, they had family things. It was in a big, in a big location, outdoor. So that, for us, was, for us, for the three dancers, because the other musicians had been performing professionally already, but for us that was the biggest professional gig for us. And we were getting paid! So it was a real boost to our- to ¡Retumba!, and from then, it just became something that, you know, we kept developing, working, bringing in new people. We've had some fabulous women being part of ¡Retumba!, I'm so proud of the women that have come. People have come and gone, the doors are always open.
[35:52] And there's- about two years ago, I had the opportunity to perform at Lancaster Music Festival, the Latin American Music Festival in Lancaster, Pennsylvania. They have an annual festival which is fabulous because he brings groups from different music and dance of Latin America and he wanted us to come and present Puerto Rico and focus on that because there's a large community of people from Puerto Rico. I said sure, and I started calling everybody together and it was- when I was introducing the members on stage- I was able to bring I think twelve people with us, which was- throughout the years has been very difficult. The group has ranged from six, it grew to ten, I've had up to fourteen. And it's fabulous, I love it when I have the whole company. And then as time, funding, things get cut and the group went from here, here, different- and so we've always been creating different programs, different repertoires so we can stay active.
[37:05] Anyway, getting back to the- we- as I was introducing the members at this festival, I was like, I got so emotional because I had members from every decade of ¡Retumba! on stage who have gone and come back or- And I was like, "Wow, from the beginning."
[37:26] Nydia was away- one of the cofounders, Nydia Mata- she was away for like twenty years, you know, and then came back. And she as at this festival. My bass player had been out with child, studying, getting her two masters and her- producing her own stuff, and it was just fabulous to have all of these, you know, people coming together and it's something that I'm happy to, to have- that people have been with me for many years, you know? It's a great-
[38:01] And we've also performed in great venues, you know, which has been really fabulous. We've- in a couple of theaters, at Lincoln Center, we've done Carnegie Hall. I did Carnegie Hall with Pete Seeger as well as through the Carnegie Hall Foundation where they bring performances for the community. We've done NJPAC, the Apollo Theater, we just did last year which was a fabulous thrill. You know, Florida, Tampa Bay, The Disney Concert Hall in California. And it's just been a really wonderful journey and I'm thrilled. It's always started as something just to celebrate our music and it's, it's taken me, and I am so thankful every day that I had been able to continue to do the work and be able to support myself and the members of the company.
[39:07] And a lot of it is through the Arts in Education programs that we bring to the schools, which is the- one of the reasons that I wanted to start, we started the One World Arts- is that bringing programs and educational, as cultural, educational, as well as entertaining programs to schools and communities has been a real thrill. And all our programs are interactive so that the audience gets involved either through singing, through clapping, through dancing, we always open the stage up for everybody- you know, people to come up and dance with us. It's part of- if you don't come up and dance with us, we can't leave. That's always been something I threaten, but I just find that it's so much fun to share. And music and dance, I find that it breaks down barriers. It brings people to have fun and enjoy and so-
[40:10] Elizabeth: Yvette, tell me a little- just because that's my special interest. Tell me a little bit about how you connected to- I know you mentioned meeting Nydia and Nancy prior to your foundational gig in 1981. Tell me how you connected to Cuban folklore, dance, and music. Just tell me a little bit about that journey too. Because I know that's been a big part of your performance as well.
[40:39] Yvette: Absolutely. Yeah, back in the- well, for me, back when I started to really delve into our cultural background and I used to spend a lot of time in East Harlem, el Museo de Barrio, at the Centro, Hunter College, at el Centro, este Puerto Rican studies and just constantly doing research and I would, we would, Pepe Castillo, is a cuatro player and we would- anytime they had workshops, I started with the Puerto Rico. Cuba came a little, I would say maybe about two years after ¡Retumba! started that I got involved with the Boys' Harbor. Many of our musicians, I myself, we attended and took classes at the Boys' Harbor Performing Arts School. They have a fabulous Latin Music component, I mean, performing arts center. And it was just fabulous, great teachers. And I became part of their folkloric group and Roberto Borrell, when he first came from- when he arrived here, they started a group called Kubatá, and they started looking for dancers and I was just really, really interested, and started taking workshops and Roberto invited me to come as a dancer and I was like, "Yeah, let's just, let's do it."
[42:16] And I just loved it and it just- what a wonderful teacher he is and a terrific choreographer. I learned so much from him and that clave boy he made sure you knew that clave in and out, no excuses- not being able to come in on the bombo, you know, which is really difficult to do. But it's- was a wonderful teacher and I always think of him dearly because he was so patient and, you know, even with the company members, we came in and there's three or four of us who were Nuyorquinas, you know, so we had a lot to learn in terms of the Cuban. Ooh man, the songs, it was just a vast amount of music and dance. It was like, "Wow." It was just- it opened up another avenue of music and it's so intense as well as so incredibly interesting. The rhythms, the music, the dance, from the folkloric to the religious to the contemporary. So it just- it was just a wonderful thing.
[43:37] And the mambo, which is- it was the first dance I learned when I was five years old was the mambo. And just recently, I delved into, into teaching the proper mambo, which, you know, I have been afraid for a long time, people kept saying, "Only a Cuban can teach mambo, only a Cuban can teach mambo." So I reluctantly would not do it. But people would ask and it was part of our music, part of our dance. And mambo is not the salsa that people know, but it was such a fascinating dance, and the history, that I ended up doing it just recently, last year, as a community engagement workshop here, where I live and it- people loved it. And just because of connection of swing and just bringing all of those elements of what influenced the mambo, it's just fascinating. So yeah, that's-
[44:45] I'm still learning, I'm still a student of learning and also it's something that I started maybe ten years ago maybe, also playing the okonkolo in the family of batá, which, you know, I would never would have thought of playing percussion, you know? And I do love- the güiro, I play the güiro, I love the panderetas, and clave, but drumming was not something- I love it- but it's not something that I picked up, and this came so natural to me, and I think because of learning to dance and the songs. What I learned first was the songs and the dance and I was so fascinated, just by the movement, and the depth of history in the dance and music of the Orishas that- it was just fascinating. And I- the okonolo is almost like, I hear the rhythm, don't tell me what I'm playing, but my hands, they know what to do. It's because, of course, Roberto was such a great teacher that I know what I want to hear and I know when it's not right. So it's been a big joy for me to pick that part up, to pick up percussion and playing it as part of the ensemble, which has been a great- a lot of fun.
[46:20] Elizabeth: That's, that's wonderful. And Roberto is still at it, and he is my teacher as well.
[46:30] Yvette: I love it. Oh my god. Give him a big hug for me when you see him.
[46:34] Elizabeth: For sure. Ok, let me- you've been talking about your educational work, that's really an important part of ¡Retumba! and has been a big part of your work over your years. Tell me a little bit about your teaching. Do you consider yourself to be a traditional folkloric teacher? What are you like as a teacher when you go into a school and give a workshop, or give a- do a residency, and what's important to you as a teacher?
[47:11] Yvette: Yeah, well, wow. That's a great question because there's so many- and it's, you know, of course, throughout the years it's evolved. Right now for me, the most important thing for me when I leave a student, whether I've done a year long residency where I've done maybe ten sessions, one sessions, two sessions, you know, three session segment, is that- leaving them with feeling good about themselves, and feeling that there is a lineage that we all come from.
[47:53] All of us come from, you know, come from great an- our ancestors, who fought so hard to make such a better place for us that for me it's important to honor, and to learn and to feel, you know? Study your legacy, study your history so that you know, gives you where to go, you know, what you need to do to inspire you to become the leader that they need to become. That is important to me, that they feel good about themselves.
[48:30] Then of course is learning technique, you know? When we're doing dance, having the proper technique is important. And then learning the history of the dance. And that's my order of, when I am planning a residency or a workshop is to give as much information but also make it fun, interactive, and have it so they feel engaged so that after they're finished, they feel like they've been on a journey, you know, through the music, through the movement, through the dance. So that's always been, it's my goal when I go into a school or a residency or also at a senior center or, you know, any location where there's people who are eager to just learn.
[49:33] Elizabeth: Let's see. I want to make sure I ask you some of the- some more of these great questions.
[49:41] Yvette: One of the things that I love, I mean it's just now because it's been so many years, oh my god, I run into students, I run into people who have been to our show or- and it's great. It's great to hear that they remember, you know? And we were "Retumba con Pie" almost, you know, forty years ago, and for people to call when I'll be somewhere and somebody will say, "Hey, 'Retumba con Pie'." It's like oh my gosh, that's somebody that's come.
[50:12] And then, you know, you see students, I run into students and they'll be like, "Hey Ms. Martínez, do you remember me?" And I'm like- here, I usually do fourth, fifth, sixth. That's my favorite age- four, five, six, and up through high school. Early childhood I love them and they're so adorable, it just takes a whole different mindset, but for me I just, I enjoy that at that fourth, fifth and sixth, they're willing to try. Then they start getting too shy about themselves and they don't take as many risks. But it's, it- where was I going with this, I'm sorry, but it- when I plan a residency, I always try to have an end product for them too, you know? That's one thing that I love so that it's something that they can talk about, it's something that they can share with someone else, you know? So to me that's just something that- important for us, that when you leave hanging out with us, that it's like, "Wow, we had a great time," and that it be memorable, you know?
[51:33] Elizabeth: Tell me- you've mentioned a few really key moments, memorable gigs. You've mentioned a few of those. Tell me about another achievement in your, with ¡Retumba! or your own personal achievement or both if you want to give me one personal thing and one thing about the group that you're proud of.
[51:59] Yvette: Ohhh. Oh my god, there's so many, so many wonderful moments that we've had. Ooh, one of the greatest experiences that I remember having is I did a- the performance I did at Carnegie Hall with Pete Seeger. It was a combination of diff- he was doing his music and he had- including using words so people could sing along. He had Ellen Uryevick on a folk harp, on a concert harp. He had Nydia "Liberty" Mata, a Cubana playing percussion. He had Madeleine Yaya Ondele Nelson, may she rest in peace, playing shekere. He- and Willie White playing percussion also. He had such an array of multicultural on stage and I danced bomba to an Irish jig. And I normally I go out to the audience and I dance and so sure he tells me, "ohhh yeah," and you know, I went out to dance to the audience in my bomba dress and I'm dancing around and as he's singing he says, "Ok Yvette, where are you? I can't see you." It was just a thrill, Carnegie Hall, it was just something that I'll never forget.
[53:26] And then just recently we did the Apollo Theater which is such a legendary theater and just being backstage and seeing the old backstage and all the folks that have been through, you know, Carnegie Hall, and we did a fabulous show there. I worked with the Education Director of the Apollo and she really wanted us to- and I worked with her in developing the program that we brought to the Apollo and it was a program that we normally do, it's called "Journey Through the Caribbean", but we enhanced it with multimedia, background pictures, the music, the lighting, and the stories, and the costumes, and the kids were just, "ahhhhh, ohhh," so it was a real thrill and I was just so thankful to have that opportunity.
[54:22] And I think the biggest thing for me is just being able to- the education part. I mean that to me is passing on our stories, passing on. And as years go on, I see more and more of our kids losing that connection to our ancestors. And for me, that's always been a goal of, you know, making sure that we don't forget. So and now, you know, there's a lot of interest. There's a lot now with Ancestry and with all these- so it's wonderful that all of this is coming to light and people are getting more interested.
[57:07] But, you know, when I would ask in our Q & A's- that's another thing I love when we do our programs at schools is have that Q & A because you really get to hear the great answers- I mean questions- that they have, and you see that our kids need to have that connection, more and more and more importantly. We're forgetting our language, you know, some students are forgetting.
[55:32] I would ask the kids, you know, "Hey, I would tell my mom la bendición, I would ask for the blessing," and in our intro we do a piece "Fanga", a welcoming dance and we give you blessing. And in Puerto Rico we give you "que Dios que bendiga, you know a blessing and I would ask, "How many of you would ask for la bendición?" which is a tradition. You want into a household, you ask for the blessing, you know, that was a sign of respect and it was something you always do when you present yourself or walk into a household of elders. And less and less, I'd see the kids, you know, they're not- it's not something that's being taught anymore so it's kind of- and that's why we need to do what we need to do.
[56:18] And as ¡Retumba! keeps growing and going on, I got some folks who are going to take the charge and keep moving, you know, so I'm thrilled about that.
Yvette: One of the things that I'm really, really proud of too that I've been able to accomplish with One World Arts is to be able to bring a group of students from the Bronx to visit Sonia Sotomayor at the Supreme Court in Washington, D.C. It was something that she had asked me to do. I met her through the Bronx Children's Museum. That she was a very important idea that she had many years ago to create a museum for children, you know, in the Bronx.
And so every time they have their annual celebration, Sonia Sotomayor comes in and I would always run into her, meet her, and she even took a workshop of bomba with me. When we were doing our event and she came as an observer and it was just so wonderful. And she had asked me if I were ever able to organize a trip of children because she knows I work with so many students from the Bronx, to come and visit. And it took me almost five years to achieve it because of the scheduling and we were never able to find a right time with the school schedule and the Supreme Court schedule. And finally we did it and what an opportunity for the kids, it's just- they were so thrilled. It was group of fifth and fourth- fifth graders- fifth and sixth graders who were about to graduate, to go to junior high school. And we had done a whole program on cultural studies of Puerto Rico and then different islands in the Caribbean.
And we had a great staff of teachers who worked with us. And they- we brought a select group of students to come up and meet and they had these wonderful questions. And Sonia Sotomayor was- she came into the meeting, they took pictures with her, and they also were able to ask her individual questions. And she was in the room, and they had us sitting down, like you know, in one of the courthouses, in the small rooms, and she would walk right up to the student and listen to their question and she would answer the question so beautifully like directly at the students and share her story and her upbringing and the challenges that she went through, and it was just a thrill to be able to provide that for a group of our students. It's something they'd never- they're never going to forget.
Elizabeth: Maybe we're, I think we're at about our hour now but I just want to ask you one more- I want to ask you two more questions.
Yvette: Sure
Elizabeth: One is, how do you feel like things have evolved for your group as a female led, a woman led group, over time? How do you feel like that project is going, you know? How are things now compared to how they were when you started and also how they were in the middle of your project?
Yvette: Yeah, absolutely. Listen, we've had all kinds of challenges, especially from the beginning. First from my own community, you know, of how women playing drums, it's like, you know, unseen. And even though I did bring workshops to the community- I was trying to get more women involved in playing percussion. And you know, they were- I don't know- they didn't want to mess up their- they didn't want to get calluses, they didn't want to mess up their fingernails, you know, and so I was- so I reached out and we tried to get more, and thankfully we've had so many women coming in, but in the beginning we got a lot of pushback. Certain gigs that I know we didn't get. We were getting called because we were a women's group, we were getting called for lingerie parties, yeah, lingerie parties. We were one time called, you know, "Sabado Gigante" which was a big, big show on Channel 47, I don't know if it's still going on. I kind of boycott, you know, I don't like the image of women in these Spanish stations. And they called and my mother was always- my father, my mother would always encourage me. "Oh, you should go on. It's Sabado Gigante, you should go, it's a great show, they're always featuring new groups," and stuff like that.
I said, "ok, ok, you know, yeah yeah yeah."
And you know one year they did call, they did call me. And we were on the phone and I'm like, "Ok well let me see what the, you know, what con-", we're conversing and seeing what the group is about and wanted information.
Then the person who called me is a guy, and then he's asking me, "So as women, what kind of things do you do?" He started asking questions that were, I think, inappropriate, you know, because we were an all women's group.
And I said, "Well, you know what, yeah, I don't think, you know, this is the kind of show that we want to be part of."
And you know, I've turned down gigs that I know would have been great for us, but no, I couldn't compromise my integrity in that way and the rest of the company's integrity, you know. So it's been a challenge, and even organizations also, you know, who were not thrilled of the multicultural aspect of our company, you know? Some people had issues with white women playing drums, and people who were also- were purists, you know, in terms of the folkloric, in terms of the religion. And I know, you've had that issue yourself, and it's, you know- so we've been able to go, but you know what, that even made us even stronger. And it's like, "You know what, I'm going to do it."
And that's- you know, it's the same thing that happened to me when I started studying bomba and plena. I had a relative ask me why do I want to dance "el baile de los negros", the dance of the Black people. I couldn't believe it. Our complexion, our lips, our nose, our hair. You know, a lot of my family members have kinky hair, what are we talking about? And it was just, you know, that kind of pushback and things that people- and of course, going into the music and dance, it was also, "Ohhh, that's not gonna- how can you support yourself?"
But you know? Thankfully, it's just, it's been a real, you know- we've had challenges, you know, that rollercoaster of funding and money not being, you know. But, you know, we always have been, you know, get through it and we've done some great work and, you know, it comes one way or another. I just have to keep reminding myself, "Trust", and it does, it does.
Elizabeth: Well, also I wanted to ask, is there anything that we haven't talked about that is important to you about your journey, about being a strong woman leader in your field, about gender, about representing the music and dance of the African diaspora, about the Caribbean, about what you see for the future, or any other topic that we haven't touched on that you want to mention.
Yvette: Well, you know, what I foresee, and for me it's like, it's just my, on my mind right now and it's where I want to go, in this direction, and that is, you know, bringing about healing to our communities, you know. The reason we started One World Arts is "one world arts". We're one human race, and only together we can work and make this happen because that's the strength. And we can make changes just if we work together, respect one another. And you know, and understand each other, which people are afraid. And color really makes a difference in understanding and understanding and breaking down barriers is one of the things that we've always been wanting to do and it's always been a disappointment when I feel it and I still see it.
But with all of these issues happening now, it's just brought everything to light, and I think now we're going to start listening. As humanity we have to bring it together, we have to come together. Let's just hope that, you know, we can get to a point where we can be civil to one another and understand. And you know what, there's many more of us than they are, they just are really loud and noisy, and just bringing them around. But that's, that's, you know, as one world, one human race, together, let's work as a- and minds, rise as a nation because we can do it.
Elizabeth: Well, thank you so much Yvette, it's a pleasure to hear about all of your different experience. I'm sure we could talk for many more hours.
Yvette: Absolutely, absolutely, we definitely will.
Elizabeth: So I'm going to turn the recording off. Thank you to you for sharing your time-
Yvette: Thank you.
Elizabeth: On this project. And thanks again to Raíces for inviting us to be part of this panel and have the opportunity to learn more about each other but also to share that learning with the audience that's going to watch these interviews.
Yvette: Absolutely
Elizabeth: Ok, I'm going to turn off the recording.
Yvette: It's been wonderful working with you, talking with you, what a pleasure it was, a real thrill. Thank you.
Elizabeth: Thank you
Return to the Project Library
This project is supported by a grant from the New Jersey Council for the Humanities with funding from the National Endowment for the Humanities (NEH) Any views, findings, conclusions, or recommendations expressed in this website or in our programs do not necessarily represent those of the NEH or the New Jersey Council for the Humanities.


Watercoolerpros provide buying guides and detailed reviews of all types of water coolers and dispensers. If you are looking for a water dispenser for your home or office you must visit our website for the buying guides.
Watercoolerpros offers the opportunity for all Students who want to apply for the scholarship by writing a 1000 words article about given Topics.
How to find suitable watercooler?
Why Water is Important For Healthy Life?
If you think that you can make a substantial contribution to Watercoolerpros as a writer, this is the best time to send in your Article.
Once you have verified your eligibility for this scholarship, the next step is to start the application process. Your knowledge on the fields discussed above is of utmost importance. Your passion in writing as well as intent to learn more about Content on websiteis valued.
Students need to submit a piece of article that makes them proud (upto1000 words). This can be any type of submission including (but not limited to) Topics Given above or a decent content matching the theme of our website.
The scholarship is annual. The yearly deadline for submission is April 20th and the winner will be selected by 31st. The winner will be contacted by End of April. The winner must reply within two weeks or a new winner will be selected. We are offering $1000 as a scholarship to a selected winner.
Send in your application requirements to scholarship@watercoolerpros.com including few words which can describe yourself. To prevent any delays on your application, make sure that you provide the correct details.
Be the first to comment on "Scholarship"


text:
Japan mulls setting up consulate in Wuhan, China: source
Japan is considering setting up a consulate within two years in the central Chinese city of Wuhan, where the novel coronavirus was initially detected late last year, a diplomatic source said Monday.Calls have been growing among business circles for the Japanese government to open a consulate in Wuhan, known as a business and transportation hub with a population of some 11 million, after the pandemic started earlier this year.


In January 2014 UBANG showed the AW14 collection at the lovely fair Playtime in Paris. Ulla and Merete (the DK and international sales representative) enjoyed the very well visited fair and managed to gain many new interesting contacts. Playtime Paris is of all fairs the most inspiring fair if you like lovely creative ideas, beautiful fabrics, crazy designs and a great atmosphere.


text:
Q: Possible to check .onion link as when pinging a normal link? I was wondering if this is possible:
Can I check if a port is up on one of my servers using this:
try:
 urllib2.urlopen('http://1.555.666.3(ip):1720(port)', timeout=1)
 return True

But would it work if I just replaced the ip address with a .onion address and of course replaced the port with a port listening on that .onion address.
The thing is that normal web browsers can't reach these links right...
Any thoughts? Thanks!


I have been thinking about this for sometime. I have completed one year of the domain and thus on this occasion finally I am on a spree to do complete makeover of the blog.. Do visit the site to see the changes. There are couple of more planned which will be coming soon. So, keep looking out.
Previous Previous post: Option to login with any provider.


Compare transfers from Geneva Airport to La Belle Plagne. You will get the best offers from local companies.
We will send your request to local, independent taxi and airport transfer companies near Geneva Airport and La Belle Plagne that have registered on our site.
Do you offer transfers from Geneva Airport to La Belle Plagne?
Interested in shared transfers from Geneva Airport to La Belle Plagne?
We might have some shared or last minute transfers from Geneva Airport to La Belle Plagne.
We found 117 companies operating taxis or transfers from Geneva Airport to La Belle Plagne.


Join a fast-growing, remote-friendly startup that has all the excitement, growth and empowerment that comes with the territory, but without all the long hours, exhaustion and grind.
We are respectful, thoughtful, and empathetic. We treat our people the way we would want to be treated.
We own our work, drive it forward, and don't make excuses.
We go above and beyond to build things that make people happy.
We are open by default to create visibility into our work and progress.
We ask questions and seek to better understand our work.
We hire great people and trust them to do what's right. We look to minimize process while still achieving the best outcome.
We foster a work environment which shares the same principles of our product – productive, supportive, and enjoyable.
Whatever software & hardware needed to get the work done!
Clubhouse wants to bring joy to all of our customers and - we've found - that the best ideas for doing that come from people with different experiences and perspectives. Put simply: we believe that diverse teams make better products.


text:
Several cities in South Africa to celebrate 'International Day of Yoga'
Issued by: Mortimer Harvey
The Indian High Commission in South Africa and its consulates in Johannesburg, Durban and Cape Town, in collaboration with yoga schools and other stakeholders, will be celebrating 'International Day of Yoga' before and on 21 June in several cities in South Africa.
Her Excellency Ms. Ruchi Ghanashyam, High Commissioner of India to South Africa, says a United Nations Resolution to celebrate 'International Day of Yoga' on 21 June each year was adopted In December 2014. "The resolution, piloted by India, was co-sponsored by 177 countries, a record in the UN, including South Africa and a large number of African countries." 'International Day of Yoga' is being celebrated worldwide and the day will see millions coming together to celebrate this special gift to mankind.
All events being organised in South Africa are free and open to all. Leading South African personalities and institutions are expected to endorse this event with a call to all to come forward in support of healthy living and wellness" says Ghanashyam.
The main celebration will be held in Johannesburg at Zoo Lake on Sunday 19 June 2016 to ensure large public participation. Separately, on 21 June – 'International Yoga Day' – there will be a special celebration in Soweto put together by the Art of Living and the Consulate General of India, Johannesburg.
Yoga Sessions are also being organised on Sunday 19 June in Lenasia, Benoni, Mafikeng and Nelspruit.
World renowned Indian Yogi, Mystic and Author, Sadguru Jaggi Vasudev, will be In conversation with Mr Pravin Gordhan, South Africa Minister of Finance on 'Inner Engineering – Directing your Destiny' on 15th June 2016 at Emperors Palace.
The Art of Living Foundation SA, the BKS Iyengar Yoga Institute of Southern Africa, ISHA Foundation SA, Gayatri Parivar, Incredible India, Himalaya drugs, ZEE TV, Bank of Baroda, State Bank of India and a host of other partners are collaborating in celebrations in Gauteng.
Yoga is a spiritual discipline based on science. It focuses on bringing harmony between mind and body, says Ghanashyam. "Yoga is popular across the globe. Its power to bring wellbeing, health benefits, therapeutic care and spiritual upliftment to its practitioners is well established."
Mortimer Harvey welcomes 5 new digital creatives to the family 8 Jul 2020
Jacque Matthee appointed as executive creative director at Mortimer Harvey 18 Feb 2020
Campaign to raise $10 million for anti-poaching technology to protect rhinos 17 Oct 2019
Mortimer Harvey wins Fidelity Services Group 24 Jul 2019
Mortimer Harvey wins Vodacom Business 16 Jul 2019
Mortimer Harvey
Mortimer Harvey has been building brands, solving problems and making magic happen for the past 28 years. We're a 100% fiercely independent, digitally-integrated, results-driven, multi-channel advertising agency in the heart of Johannesburg focused on creating work that really works.
Profile | News | Contact | Twitter | Facebook | RSS Feed
Copyright © 2022 Bizcommunity.


Jason Kulpa is the Founder of UE.co, a San Diego Software Company. UE.co is a tech-enable software and solutions firm that builds platforms for small businesses. The platforms are custom built for companies looking to better manage their consumer data. UE.co has been highlighted on the Inc. 5000 list of Fastest Growing Private Companies for four consecutive years. In 2012 and 2013, the National Association of Business Resources recognized UE as one of the Nation's Best & Brightest Companies.
I know where my heart belongs. At Edubirdie. This is where i want to be.
Witam, jestem Mariola i chciałam polecić nasze środki chemiczne do uzdatniania wody. Mamy 40 lat doświadczenia! Oferujemy profesjonalne kondycjonowanie wody do celów przemysłowych.
Vi realisere din drøm om et hus – dit hus for fremtiden.
Tipobet giris adreslerini sitemizde bulabilirsiniz. Tipobet en yüksek bahis oranlari.
We offer a wide choice of escorts whose fees are amongst the most competitive in Mumbai. For precise and comprehensive details of fees please refer to individual web pages. For longer bookings and any special requirements please speak to our operator. Payment terms are that all fees should be paid cash in full to the lady at the commencement of an assignment.
I am a filmmaker, painter, illustrator, writer and designer based in Calcutta, India. I am the co-founder and the publishing, editing & creative head for www.eyeartcollective.com and ts webzine. As an anarchist and an anti-fascist, I also create agitprop for the leftist circuit in my city. But I do freelance for agencies, studios and non-profit organisations.
Much of my work tries to portray a twisted, psychedelic dystopia where capitalism, the state and other institutions of power roam free in their monstrous personifications. In my free time, I run away into the forest and hide for long periods of time with my dogs, Frida, Nyx and Cookie.
Cord blood can treat a variety of different disorders and injuries and is considered to be the cornerstone of regenerative therapies. It can be safely stored for many years offering possible future uses in yet unknown fields.
Kay Parkar is the co-founder of HokuApps that helps startups and enterprises in Mobile Application Development Technology. He loves Low-Code Development Platforms, especially Rapid Application Technology. He works in a leading iPhone application development with skilled iOS app developers that has developed innovative Iphone applications across various fields such as Entertainment, Productivity, Social Causes, Education, Finance, Insurance, Health also we Convert iOS App to Android and much more and has bagged numerous awards for the same.
due to faulty vein valves or weak vein walls.
Company dedicated to the world of web pages, from design to optimization of these. You can find us on our website.
the vehicles that operate under their purview.
OP쓰 인천인스타 주소: opss5.com 인천인스타 출근부 흥 빨리 올라가줘요.
Cleaning the litter box is not the most glamorous job in the world, but as a cat parent, you know that it is a job that needs to be done, no matter how much you dislike it. If you are searching for alternatives to daily cleaning then consider investing in an automatic litter box.


In 529 AD the emperor Justinian closed the Academy in Athens. The remaining heirs of Plato chose to travel to the court of the Sassanid Persian King of Kings in order to continue their studies there. Finding conditions among the barbarians uncongenial, in time they returned.
But it raises the question of why we never hear of translations of Greek literature into Persian. The Persian empire was a potent adjacent power throughout the Greek classical period, and revived in the 3rd century and continued down to the Moslem conquest in the 7th century.
I never read L. D. Reynolds and N. G. Wilson, Scribes and Scholars (3rd) without learning something. On page 256 I learn that a few texts are indeed extant in translations into Pehlevi.
Wilson lists four texts: the novel about Alexander the Great known as ps.Callisthenes; the Geoponica; and two astrological texts, the handbook of Vettius Valens which we have discussed before, plus Teucer of Babylon's Paranatellonta, which is a new text to me.
Wilson references "Studies presented to E. G. Browne, 1922" (in his usual casual fashion), which turns out to be A Volume of Oriental Studies Presented to Edward G. Browne on his 60th birthday (7 February 1922), and thankfully online at Archive.org. The specific article is that by C. A. Nallino, which turns out to be on p.345-363 and entitled Tracce di opere greche giunte agli Arabi per trafila Pehlevica. Unless my eyes deceive me, this is about texts which ended up in Arabic via Persian, rather than about Greek texts in general. The article merely discusses these four texts, and the evidence for them.
It would seem, therefore, that there might be more, were one to look.
The Diatessaron is in Persian, but probably via Syriac not Greek.
Thank you both — I've learned something.
I had no idea that a Persian version of the Diatessaron existed. I don't think it matters that it reached it via Syriac — that would be probably true for all Greek literature.


This has got to be one of the most highly anticipated world tours: 24K Magic in the air. Set to travel across continents from the US to the UK and later on to Europe, Bruno Mars has finally made his stop in London!
Due to popular demand, two extra nights were added this week, summing up to a total of four nights just in London alone. His concert was held at O2 arena which has a seating capacity of 20,000. That sums up to an impressive 80,000-strong audience gathered in London for Mars!
The opening act was Grammy-nominated artist Anderson Paak who kickstarted the night of musical excitement. Blasting off his first concert in London, Mars took over the limelight with most of the hit songs from his third studio album, 24K Magic. These included Finesse, 24K Magic, Perm, Calling All My Lovelies, Chunky, That's What I Like, Versace on the Floor and Straight Up and Down.
This continued with his older hits like Marry You and Runaway Baby with stronger drum patterns from his band, The Hooligans. A sudden switch in mood with When I Was Your Man had the crowd screaming out loud and then falling into complete silence. Mars gave a touching rendition of the song, with a slight moment where he appeared to be holding back his tears too.
Moving along, the audience only got more hyped as Mars grooved to his international singles including an amazing fiery performance of Grenade on electric guitar as well as a mass sing-a-long with Just The Way You Are.
Mars kept the concert short with 16 songs, including encore hits Locked Out Of Heaven and Uptown Funk. Needless to say, the concert ended at its very peak as the entire arena got to their feet for the finale. It is no wonder one can still hear people grooving to I'm too hot (hot damn) on the tube.
Upcoming dates for Bruno Mars' 24K Magic World Tour can be found on his website. And we can only patiently wait for the day when Mars returns to Singapore for a full concert!