So the siblings went their separate ways in 2011, having no contact for nearly two years while they each worked on solo albums. But despite their best efforts, the universe—or rather, Rick Rubin—conspired to bring Angus and Julia together again.
OLIVIA FLEMING: You recorded the new album at Rick Rubin's Shangri La Studios in Malibu. What was that experience like?
JULIA STONE: We were in Shangri La for about five weeks before overdubbing extra parts closer to Santa Monica, and it was so good for us to have a focused period of time to make a record. In the past we always recorded between tours—whenever we had a break we'd go into a studio, so it was always this higgledy-piggledy thing of carrying around hard drives of different songs and at the end of a year or so we'd have to piece it all together. There is something cool about that, but for us it was exciting to be in the one place—just to have so much focus. Rick makes that possible because his space is so well equipped and isolated, and everything's taken care of. Angus and I had never worked like that, where you have people ordering your food and bringing you coffees and whatever—it's like whatever you could think of, it would just appear like magic!
FLEMING: So that you didn't have to think about anything else other than the music?
STONE: Exactly. It does make you a bit crazy sometimes, though, because you almost need those mental breaks. But we worked really hard, and I guess for Angus and myself we'd spent more than a year and a half totally apart. We hadn't spent that much time together in a long time, and all of a sudden we're in this studio every day for hours and hours—which we'd never done before. We were in this tiny little box together singing and playing. And I think that was good for our relationship as well; we just realized how relaxed we were with each other.
FLEMING: Rick told The New York Times that the entire process had a "family healing" aspect to it, and that you are now better friends today than you have ever been. Is that true?
STONE: That's absolutely, 100 percent true. We were really happy with having our space and being apart, and it was a big move for us as brother and sister to come back together. By the end of making this record, Angus was a really close friend of mine. And in the past, we hadn't been so much friends as we'd been collaborators, or just brother and sister… whatever that means. We were harder with each other than we are now. And I feel so grateful to Rick, that he even heard our music and wanted to work with us, but that he also gave us an opportunity to become friends again.
FLEMING: So it was all very serendipitous?
FLEMING: Why did you guys split up in the first place? And how did Rick convince you to come together again?
STONE: I think for both of us, we always felt that we weren't close in a way you want to be close with the people you collaborate with. We just realized early on that we could sing together and it worked—it made a nice sound. We were enjoying the traveling and the making-music, but something never felt like we'd actually chosen to work together, we were just sort of doing it. We weren't friends growing up. Our teenage years weren't an easy time, and I think that carried on into our working relationship, we hadn't found a mutual respect for each other. I didn't really feel super pumped about spending time with him, and I know he didn't either. Finally we got to a place where we felt confident to make the decision to go our separate ways. We didn't have any contact, we didn't talk, we were doing our own adventures. It's still hard for me to talk about, and explain, and answer without really digging up our past. But when Rick contacted us, it was a really big surprise, and obviously we knew about the work he had done and the records he had made and we knew he was someone we had to meet, so we started talking again. We asked each other things like: "What do you want out of life? Who are you? What do you care about?" And we realized that we care about the same things. So we went ahead with Rick, but we both agreed that if something doesn't feel right, or the music doesn't feel right, or a show doesn't feel right, then we'd have the freedom to say yes or no and we'd both be okay with it. We set up all these parameters for how we would work together. It took months and months to make the decision. Even when we got into pre-production, we were like, "Okay, if writing together doesn't feel right, if jamming together on these songs doesn't feel right, we can still walk away." That was two weeks before we walked into Shangri La. But the real reason it started working is because we both wanted to attempt to make it right.
FLEMING: This is the first record on which you actually wrote songs together. Which do you prefer better, writing by yourself or with Angus?
STONE: I don't think there is a better in this case. We were both really surprised how easily we could write together, and I think that was because of all the time we'd spent apart. I don't think it was possible before. Writing a song is a personal thing, and you have to have a lot of trust to try things and not be embarrassed. Previously, we both didn't feel like we could expose ourselves in that way to each other. The time apart gave us a real sense of independence and confidence, that we could both be our own people. So when we came back together and started writing together, it just felt easy—we both just went for it. This record isn't all written together, though, it's a combination of what we are. We each wrote four songs separately and then we wrote four songs together, so you have this mix of me, and then Angus, and then Angus and me together. That I think is how it will always be, we're very independent people, and we need to feel that. But we're also really close, and have so much history. He's now the most important person to me, for sure, in my life. And that is becoming easier to accept.
FLEMING: Who is the youngest sibling?
FLEMING: So you're not the sensible older sister?
STONE: In some ways I am, but Angus is a lot wiser than I am. He has this way about him: he is much quieter, and he's very observant. He never says a lot, but when he does, you know he's been watching everything and he's heard everything. They seem to be qualities of someone who has been through a lot, and he has been through a lot, and so have I—but he's taken it on in a very adult way. He and Rick actually remind me of each other, they are very gentle people, they don't speak so much, they just really listen. And very good listeners are very rare. I'm definitely the talker!
FLEMING: Speaking of your childhood, you mentioned during a recent show in London that the song "Main Street" is about stealing light bulbs—is that true?
STONE: Ha! It's not "about" stealing light bulbs, but there is a lyric that came from one particular experience. When Angus and I moved into The Cottage, dad's old house in a valley of Northern Sydney, it was straight after high school, which is when we first started sharing our songs with each other. But we didn't have a lot of money. We decided we wanted to convert the garage into a stage and put shows on there, so we built it using stuff thrown away at old construction sites. Angus built an amazing Tropicana bar in the corner, so it was all set up! But we knew we needed lights. The colorful garden lights we wanted were out of our budget, and Angus joked that we should just go down to Kmart and steal the lights. I was hesitant, I had stolen something when I was really young and I never forgot the feeling! But I really wanted the lights, and I thought if we did it together then it would be ok. His plan was pretty simple; we'd pay for one set and put other lights in the same box. I felt really sick the whole time, I was so nervous! But it all turned out fine. [laughs] The memory of that came to me when I was writing "Main Street," and that's a lyric in the chorus. But the song is really about a memory of an old boyfriend. After we split up, I saw him for the first time a year later, and he took me for a bike ride down a street called Main Street. I'll never forget how generous and warm he was towards me as a friend. I remember feeling really moved by that, because he's always stayed in my heart—I just really appreciate how cool he is—he's proof that you don't have to hate people if it doesn't work out.
FLEMING: Are all of your songs based on real experiences?
FLEMING: On that note, can you tell us what your newest single, "Death Defying Acts," is about?
STONE: That's a good segue from the book thing! I was sitting in a house with a book on a shelf that said something like Defying Death. I looked at it, and just started singing. There's nothing in that song that is tied to any personal experience.
FLEMING: "Main Street" was originally written on an acoustic guitar, but the end result features a lot of electric guitar—which is very new for you. Whose decision was that?
STONE: Angus and I jammed together before we got into the studio, and we were were still figuring out which tracks we felt strongly about. I originally wrote "Main Street" as more of a Simon and Garfunkel song, it was very folky. But a lot of the musical direction of this record came from Angus and his encouragement of me to experiment with the electric guitar, which I was totally open to do. I had written a lot more folky songs for this record. In my head, I wanted to make a record that was really stripped back, just me and Angus and two guitars kind of style. And I thought, because of how Rick had done Johnny Cash, that that's what we would do. But that's not we ended up doing at all. Rick always wanted to make a record with us that was groovy and more beat-inspired, and Angus wanted to explore more electric sounds. So the songs really shifted a lot, and that's how it works now— we're in the studio and I start playing something or Angus starts playing something and then we start building lyrics off the sound. Sometimes it's an old song, sometimes it's new lyrics that are popping up in the moment.
FLEMING: Your parents were a folk duo themselves; how have they influenced you and Angus?
STONE: They were a folk duo for about year before they had kids—they traveled and they sang together. It wasn't a career for them, it was just something they did. When they played music together, they were really happy, and I think for us growing up, when you're a little kid, everything that you're seeing is becoming your idea of truth. I guess Angus and I both come from that place where, when you watch your mum and dad sing and they're happy and it brings them joy, it is then a natural choice to go where the joy is. Music was always that place in our family. So yeah, because they loved music so much, it sort of filtered through to us as kids. Now it's such a big part of who we are and how we live. And it still is for Mum and Dad—I mean, Dad's just been on tour with us through Europe! The guy is more obsessed with music than we are, for sure. [laughs] He's been on the tour bus with us for the past couple of weeks, he's a pretty legendary dude. He does it quite often, actually; he just takes time off work, he flies to wherever we are, and he jumps on the bus. All the boys in the band love him and he hangs out and becomes part of the gang, and then drifts off and goes back to his world. He's very cool.
ANGUS AND JULIA STONE IS OUT TODAY. FOR MORE ON THE DUO, PLEASE VISIT ITS WEBSITE.


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The 8-time CCMA Entertainer of the Year has also taken home the CCMA Female Vocalist of the Year award five times. She has made her mark on radio with more than twenty singles, including six Number Ones in Canada and the USA - hits such as such as "Better Things To Do," "Poor Poor Pitiful Me," "Girls Lie Too," and "I Just Wanna Be Mad."
Terri has sold over five million albums and achieved Gold, Platinum, Double Platinum, and Triple Platinum status as certified by the CRIA and RIAA. She also has the honor of being the only Canadian female artist to be a member of the Grand Ole Opry.
Terri is a dynamic, no-holds-barred live performer and one of the rare female country artists capable of throwing down some impressive guitar work. Terri has toured with such superstars as Brad Paisley, Toby Keith, Brooks & Dunn, Reba McEntire, and George Strait. In addition, she continues to headline sold-out tours throughout Canada.
Recently Terri ventured into an exciting new chapter of her career as radio co-host of "America's Morning Show" with Blair Garner. They can currently be heard across the country on Cumulus Radio NASH-FM stations. She is well on her way to establishing her position as an all-around entertainer in the country music industry.

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: while installing composer file for Laravel it giving the below error While I want to user Laravel 5 with PHP after installing XAMPP server I downloading composer from its website and while installing composer file in last step it is giving the error:

The "https://getcomposer.org/versions" file could not be downloaded: failed to open stream: No connection could be made because the target machine actively refused it."

redpajama_set_name: RedPajamaStackExchange


"This is an enormous threat, and an enormous possibility. Voice over IP in the mobile space is a more complex online service that needs to be online. I wish them good luck in that," Baksaas said.
NEW DELHI: Uninor may have faced existential challenges in India but all those are behind and the telecom operator is looking to grow its presence in the country through sharing and trading of airwaves, said Jon Fredrik Baksaas, outgoing CEO of the company's Norwegian parent Telenor.
"We entered India at a time the financial markets were in a meltdown and we were hit by the licence crisis. However, India is critical to Telenor's global portfolio now and we are here to stay and grow," Baksaas told ET. Uninor was among the 22 operators that saw licences cancelled by the Supreme Court in 2012.
Baksaas, who retires on August 16, will be succeeded by Telenor's Asia head and a former India CEO Sigve Brekke. He said Uninor has performed well in the mid-tier market, is strong in its voice services and serves the mass-market consumers with basic voice and Internet services at the "lowest" tariffs in the market. Uninor operates in six circles, and is expected to start services in Assam shortly.
Baksaas said they will continue to offer the best in "low-cost voice model", but it also needs to understand transition to wireless data. "As an organisation, we need to grow and be ready to understand and sell data which will be completely different from what we have been doing till now," he said. However, voice will continue to be critical for the company for the next two years, he said.
"It is around 2017 when 4G / LTE ecosystem will be ready for the masses with handsets at sub $20 (about Rs 13,000) and relevant services like financial and health services, or citizen services on mobile devices," said Baksaas. Uninor currently services 46 million subscribers using 2G technology. It needs to make a decisive move on data growth in India, given that it doesn't have 3G spectrum and 4G is still some way from large-scale adoption.
Baksaas said Telenor has applied for a payment banking permit and is waiting to hear from the Reserve Bank of India. "We have had a very strong interest in financial market services and are globally present in this," he said, explaining the keen interest in the payment banking permit.


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I often ponder the blissfully ignorant life of our house rabbit, Sadie, with not a care or concern in the world apart from: "where's my food?" or "where are you, humans?" Life is sweet, lounging on the couch with delicious parsley on the dinner menu; easily forgotten that rabbits in the wild are resilient and thriving survivors. In this luxurious existence, it's not until poor health becomes a concern that the prey animal's evolutionary instincts become apparent – that rabbits in the wild must conceal their ailments, because it's the weak that a predator will target. Rabbit companions are instructed to seek medical attention immediately should a rabbit show signs of poor health, because an outward display of symptoms indicates that the ailment has reached a critical point. The rabbit so toughly persists through the pain until it may be too late.
Is the human animal so different?
The dichotomy of vulnerability and stoicism in dealing with pain or threat; there is a biological basis for this phenomenon in all animals, including us. It stems from the primal instinct for survival, with each species uniquely programmed with a genetically dictated, instinctive reaction to stimuli – such as the "fight or flight" response to a threat. Beyond these instincts, more intelligent animals have also developed traits and, due to a certain level of consciousness, learned certain behaviours that have been conditioned by their unique survival needs, environs and social structures. There's the mentality of ambition; the innate desire to succeed, or even to be the best. Then, in the most intelligent animals, there's the conscious ability to alter those genetically dictated instincts – they've adapted their behaviours to optimise the outcome of the circumstance. Animals exist within their species' social structure, which I imagine to be like a ladder, each rung representative of varying degrees of survival success. With the juiciest fruits of the best life at the top of the ladder, we are all instinctively driven to climb there. Obstacles, such as pain and threat from predators, impede our progress along the way. Yet we clamber on. How often have you put on that brave face and gone to work, despite a raging head cold perhaps, because you wanted to prove yourself strong and worthy to a superior; or singularly persisted through a presentation despite debilitating, heartbreaking news about a loved one? Don't show your weakness, lest you become the targeted prey.
I glance around the studio during class at the other dancers; lithe bodies of ready and robust musculature elongating and articulating with apparent ease. There is intent focus, but not a skerrick of exertion detectable on their finely formed faces. There is something akin to anticipation permanently hanging in the air – a sort of restless energy, a conglomerate of twitching minds and eager souls, always on alert, though calmly composed in their environment. I perform the same exercise that my colleagues have just completed, and only now do I comprehend the hard work that belies the outward composure. Calm faces take on an edge of noble bravery; they belie a rampant internal monologue of minute cognitive cues, the exertion of muscles being pushed to their utmost limit, and the silent protest of aches from the show the night before. I wipe my sweat-sodden brow and observe others doing the same. Some knead their knotted limbs on torturous rollers, with alternate sighs of relief and grimaces of agony. Others lean on the barre with their heads buried in their crossed arms, stretching out their spines as their ribcages heave with gasps for air. And yet when the next exercise is set, we continue.
A herd of deer, having just fled from a pack of wolves, has searched out a bounteous green pasture. There is a quivering buzz of freshly-frantic heartbeats, gradually decelerating to a normal pulse as they cautiously begin to graze upon the grass. Delicately sculpted faces are counterpointed by deepest dark but keen eyes – from afar the eyes appear sweetly at ease, but up close they nervously dart about. Graceful necks arch alternately between the ground, for food, and high in the air, to keep watch. Some are wounded, but that is only subtly apparent in the oddness of a gait, or the discreet nursing of an abrasion. They can't rest indefinitely, but if they don't feast now, they won't have the energy to flee the next predator. They would not survive. There is something akin to anticipation permanently hanging in the air…
For us, it's obviously not a life-or-death matter, no matter how melodramatic you are. Our survival mechanisms are evident in many aspects of our approach and response in our daily life, even though there is no real predator - at least in a literal sense. There are, however, threats to our progress, if we allow it, that may transpire in our responses to stimuli: the external - our superiors' expectations, or the audience's expectations; and the internal – our expectations of ourselves. The ballet world is an environment in which the pursuit for perfection heightens those expectations, in which the disciplined and relentless nature of the profession magnifies those demands, in which, at our worst, we find ourselves pushing through pain in order to prove our worth. To stay alive, in hope to thrive, we must learn to sense the first signs of the predator's surreptitious stalk and demonic gaze, and flee from it. And if the predator already has you cornered, you must fight, sometimes with every last vestige of that artillery called Self-Belief that you have.
It's well known that a professional dancer's pain threshold is considerably higher than the average person's (my awareness of this is renewed whenever I straight-faced tell people how pointe shoes feel like house slippers to me), but not so well-documented is the unrelenting challenge in accepting human weakness in the quest for perfection ideals and desire for the top positions, and how that relates to pain perception. Could brave faces just be foolish faces? No, but there comes a point of exhaustion at which sheer guts and grit has to yield to intelligent strategies for successful survival. A smart professional dancer has learnt, with the help of medical professionals, how to distinguish between different types of pain and navigate the grey areas in between. These professionals will also guide the dancer back to full strength in a tailored recovery program, designed to correct the off-kilter biomechanics that may have caused the injury, in a safe and nurturing manner. Dancers often remark that their heightened physical awareness as a result of this rehabilitation enriches their dancing. There is the obvious character-building aspect, too. Here is an example of how, as highly intelligent animals capable of altering our natural responses to stimuli, we can make the pain experience one of courage and growth rather than a perception of succumbing to weakness. This isn't just the terrain of a professional dancer, nor is this evolutionary intelligence applicable only to physical pain.
The pressure of attaining and maintaining our position at the top of that ladder is an anomaly in that it constantly drives us to better ourselves, to reach for that fruit, but can also potentially destroy us. In a prestigious ballet company we are expected to be amongst the best dancers in the world, and this is extraordinarily difficult to live up to on a daily basis, and in every performance. We are always on edge – anticipation hanging permanently in the air - the day after a season opens, we are in the studio the next morning rehearsing the upcoming season that likely opens only a few days after the current one has closed. There is little time for kudos. And we are rarely satisfied. Ever onwards, sometimes persisting through ailments, often persisting through self-doubt, impelled by the primal urge to succeed, not just survive. The evolutionary instinct to conceal pain isn't exclusive to prey animals like rabbits. One of our closest relatives, chimpanzees, shares more than just DNA with humans. The alpha male chimpanzee will hide any signs of illness or injury, because if he doesn't, he may be ousted from his position at the top by a feisty young male, who sees the illness as an opportune time to challenge the alpha to a fight for superiority. Then all the perks of being at the top: a harem of mates, royal treatment, the best food, are all granted to him. The most ambitious of animals achieve dominance through physical fitness, special skills, intelligence and aggression. They maintain it by wearing a mask. Powerful and composed, belying an ever-ringing cacophony of fears and weaknesses.
Keep calm and carry on.
The madness-inducing monotony of constantly keeping face and maintaining the status quo. If we are so vastly superior to other species, what has so stunted our evolution and progress as to suppress the essence of being a happy and productive human: to liberate oneself from the shackles of expectation, to be comfortable in our own skin, to have the freedom to honestly express - even pain - without inhibition (with compassion or at least consideration for others of course), to feel with passion, to live without fear? To let our hearts guide us, with vigour and love for what we do, for others and for ourselves – that is courage, and, used with intelligent and decisive strategies, leads to progress. Accepting the easy solution even though it's a compromise, being guarded, deceitful or duplicitous, acting with agenda, lacking perception – this is weakness and indecision that only leads to friction and disillusionment for others. We become static, and no one dares to disturb.
Are we so blinded by ambition that this conformist, pack mentality is seen as the only viable path to success? Conditioned by societal pressures, the yearning for the top can surreptitiously morph into singularity and greed all too easily. That greedy ambition has escalated in our results-driven, consumerist age: success equals power, and power can be addictive. There is nothing inherently wrong with pure ambition, but pursued with an imbalance of response to the external, rather than the internal, could surely only lead to superficial and transient happiness, and given its often unrealistic pressures, is potentially damaging for our souls.
So perhaps wearing a mask is a necessity, to keep everything in life "nice". No one wants to see someone who is placed upon a pedestal show weakness. They are placed there because everyone looks to them for inspiration, as a beacon of their ideals. And yet ruthlessness, or even cruelty, is also an innate animal behaviour. We can willingly tear these people apart - this one's too strong, this one too soft, this one was just right until their vulnerability superseded their heroism. Tall poppy syndrome, celebrity bashing, bullying, backstabbing gossip, sexism, calculating manipulation ... anyone and everyone can be fair game. There is no way to avoid it - everyone is fighting to survive and succeed in their own way, some more evolved in their behaviour than others.
The most successful of us humans, and of all animals, are the ones who have best adapted their intrinsic and learned behaviours to their advantage. Unfortunately, whether their intentions are noble and decent, or conniving and corrupted, is inconsequential in the grand scheme of that metaphorical ladder. This is the nature of the pursuit of power and survival in the modern world, one that is driven by the incessantly beating heart of our primal urges. It's a dog-eat-dog world out there, and it's up to us to decide whether we want to emerge from the battlefield with a clear conscience. Life's trials, and threats, shape our progress and identity, and if humans have the ability to exploit that, why wouldn't we evolve to coexist more harmoniously with and at the aid of others, and indeed the other animals with whom we share such common traits? Let's not forget that feeling love and compassion are also instinctive behaviours. We can still achieve the prestigious top rung with grace and humility, along with stoicism and the occasional healthy acknowledgement of our human and animal flaws. We could be unstoppable in pursuit and in flight. The hunted might not become the hunter, but they'd cease to be merely easy prey. A resilient, thriving and successful survivor.
Thank you to Hiro 'Two One' Tsuri for allowing me to use his beautiful art work to illustrate my writing. His art really speaks to me, and I'm sure you can understand why after reading this.
Posted by Juliet Burnett 9 comments:
my grandmother, Raden Ayu Catherine Ismadillah, in costume for the Bedoyo
Ketawang dance. The Sultan chose her for this sacred dance at the court of
Jogjakarta. I always stick this photo up at my dressing table in the theatre - a
constant reminder of a family legacy.
I have always felt a very special connection with the Indonesian (or, more correctly, Javanese-Indonesian) half of my identity, despite having been born and bred in Australia. I could put this down to Mum and Dad's at-least-annual visits with my sister Jasmine and I, instilling that connection from childhood with the country and our sprawling family network over there. But that's not entirely it. There is something that runs thick in my blood, beyond explanation by genetics or family pilgrimages. And I only really became aware of it when I started my career in dance.
learning my grandmother's art with respected Javanese classical dance teacher Bu Rusini at her studio in Solo, 2012
my sister and I with our 'famous uncle' W.S. Rendra, in Jakarta around 1993
During my years as a student aspiring to be a professional dancer, I never thought much about why I wanted a career in dance. I just knew that I needed to dance and couldn't imagine life without it. Being in a select group as a student in The Australian Ballet School, it wasn't until I was accepted into the company, where suddenly I was one of nearly 70 dancers performing around 200 shows a year, that I began to feel overwhelmed and was forced to confront the question of why. I was lucky that a huge part of my answer would not only help drive me to achieve the heights I hoped for, but also give me a strong sense of individuality – which is difficult when you feel like one fish swimming in a school of corps de ballet dancers. I had realised that my point of difference stemmed from my Javanese heritage, namely the artistic legacy of my grandmother, Raden Ayu Catherina Ismadillah, who had been the Sultan's principal dancer in the Jogjakarta court, and of my uncle, Indonesia's most prolific poet/playwright/performing artist, the pioneer of modern Indonesian theatre and radical human rights activist W.S. Rendra.
... read more of this article that I wrote for Behind Ballet in 2012, in which I learn traditional Javanese classical dance, the acting techniques that my uncle pioneered, and reconnect with the culture that has shaped me.
reenacting childhood adventures on the slope of Mt Merapi, Jogjakarta
Posted by Juliet Burnett No comments:
me, aged around 10, with my teacher Valerie Jenkins
In this series I want to take you into my mind as I work through the dancer's daily ritual of morning ballet class. Much like a swimmer's morning laps, it's a training essential for professional dancers in all ballet companies and also many contemporary dance companies. When we are in rehearsal periods, it's for fine-tuning technique, developing artistry, increasing stamina, exercising mental intelligence, and warming up for the day's rehearsals. When we are performing, while we are still working on those aspects, class becomes a more varied undertaking: a way of checking the body back in after the show the night before, for ironing and evening out a body addled by perhaps one-sided choreography, warming up for the day's rehearsals; all with measured exertion so that there's enough energy left for the show that night. Even though we have a different teacher and pianist each day, and the exercises that are set (on the spot) vary, it's one of the only constant factors in a profession full of inconstants. It's a daily chance to discover your body and its expressive possibilities. It can be confronting. It can be a meditation. It can be the highlight of your day, a confidence booster, or it can be frustrating and send you off on a low note. But it's still our oxygen.
Today, the best word to describe my body was 'discombobulated'. My right hip feels like it's up by my ear, my ankles feel like they need a good spritz of WD40, and the entire left side of my torso appears to have been left behind in the USA, from where we have just returned after an outrageously successful tour of Graeme Murphy's Swan Lake. I've long resigned myself to the reality that a constant sensation of complete symmetry is elusive, but the pursuit of it and the expression of it is fundamental in classical ballet. To me, trying to achieve that equilibrium in the body is more about trying to find a neutrality, a connection from the core so that all movement and dynamics can emanate from the centre rather than the extremities. While it's important to find a sort of 'squareness' and alignment of the torso and hips, this is for the purpose of being able to use it as a home base, a departure point for full movement, not to dance with a rigid frame in a rigid manner. One of our guest teachers, Johnny Eliasen, often uses the visual cue of Da Vinci's great depiction of the symmetry and proportion of the human body, the Vitruvian Man. Classical ballet should be about purity of form and expression, and too often today, caught up in this obsession with quantity over quality, this purity is forgotten. Many of classical ballet's pathways move in circles, so the encircled Vitruvian Man provides a perfect reference when executing a simple port de bras, the tips of the fingers reaching and drawing the shape of the circle around the body; or a rond de jambe, which, if you were to execute one at the beach, would leave the trace of a perfect semi-circle in the sand.
Leonardo da Vinci's Vitruvian Man
My appreciation for the purity of classical ballet can be accredited to my training in the Cecchetti method. Enrico Cecchetti was famously Anna Pavlova's personal teacher, and ballet master of Diaghilev's Ballets Russes. His syllabus (I completed all the exams from Grade One to Advanced) was designed to develop expression and sensitivity but with a hallmark simplicity of style. There is no affectation of port de bras that so taints some other training methods. It's honest dancing. Valrene Tweedie, who taught my teacher Valerie Jenkins and who also took me for special coaching, instilled in me a mantra that is still of foremost pertinence for me: "simplicity and sincerity". I apply it to all my work, from class to rehearsal to performance. I think it has also become a bit of a life mantra.
Maestro Cecchetti and Anna Pavlova
So when, like today, my body feels like a slackly strung marionette, I go back to basics. More Pilates in my warm-up to reawaken the core and strengthen and lengthen the muscles. If the choreography favours one leg (Graeme's choreography tends to favour the right leg), then I try to even out the load on the body by repeating the exercise twice on the unfavoured side. I start at the barre with more subtle movements and carefully measured exertion, to find the connection in the joints and gently ease the points of tension. In all the exercises, the focus is on placing the energies back into the centre of the torso, as though my body were a hive and I was summoning the bees, buzzing nearby but somewhat haphazardly, back home. After the long flight from LA, my neck was unbelievably stiff and my left shoulder seemed to only want to roll forward instead of rotating backward and gliding downwards, as is the ideal classical ballet posture. Even after a series of scapula placement exercises before class and a wariness of that placement and release of neck tension throughout class, any rotation of my head was restricted – kind of made spotting for pirouettes a frustrating ordeal. And so it was off to the physio room to book myself in for what seems to be transpiring to be a routine post-flight neck and upper back release.
It will take a few more days before the body reacquaints itself with its connections. This may be aided by the repertoire we are rehearsing: La Bayadére, with its stylised but still very classical ballet technique. When we perform classical ballets, whilst exhausting, they do help the body to feel 'more ballet' - pulled up and with an established equilibrium - in class. It is then that class will be about ensuring that my movement doesn't get too stiff, too precious or worst of all, contrived. But we have to travel to Sydney – yes, barely a week after our return from the US – first.
labels: at the barre
real ballet, real dance: Baryshnikov
Mikhail Baryshnikov by Max Waldman
Every time I read an interview with Baryshnikov I am reminded of how much I resonate with his philosophies about the art form of ballet. He is perceptive, restless, and daring. His dancing was the definition of raw, unaffected masculinity and brilliance. But despite his technical prowess - his technique was often described as "flawless" - he understood even from a young, precocious age that technique and fireworks is at the service of the dance. Artistic integrity comes first.
"I am interested in the emotions under the skin that a dancer can project...you have to be simply honest, you cannot act it out."
My parents took my sister and I to see him dance with his White Oak Dance Project in Sydney when I was around 12, and even though he was already in his 40s and perhaps not as mobile as he once was, I was greatly affected by the power of his dancing despite its subtlety and artful restraint - a supreme stillness unlike anything I've seen since, as though he were a god dancing on a celestial stage. Power from purity.
Even though, like Madonna, he only really needs to be referred to with one name, he is a super level-headed guy. "Have a life besides dance. Go to see works in the galleries, go to music concerts, and read a book. You know, bunhead, it's bunhead. But there should be something in that bun."
Don't forget to share your favourite images of real ballet and real dance on social media. Check my previous "real ballet, real dance" post for the lowdown.
labels: real ballet real dance
climate refugee in Bangladesh, by Munem Wasif: "Flood waters remain logged. The people have adapted to
this aspect of climate and continue to exist in waist-deep flood waters, sometimes even inside their homes."
Take take take, more more more. The consumerist world that has been created for us by the rich and powerful is like a bubble, with little connection to the Earth that gives us life. We've become conditioned to accept that meat comes in packets, expect that clothing should be super-cheap and have unlimited stock, and that fuel just comes out of a convenient metal tank at a service station. How can we have harmony with the environment and have a moment to question where these products come from, when everything is moving so fast that we want them NOW? Reconsidering our habits, lifestyle and consumer choices are changes we can effect within us, and it's never too late to do so. With so many resources at our fingertips on the internet - whether it be switching to green power, conscious eating, or recycling - it's easier than ever to be green. Even the smallest actions count, all amounting to one great, powerful effect. It all starts with a thought.
Changing our own lives is important. But the biggest changes must come from above. Calling to account our governmental leaders to reflect their people's concern for the environment presents a problem that apparently isn't as straightforward as taxing big polluters and investing in renewable energy sources. Agendas are riddled by back-room handshakes from greedy magnates and vested interests. It's maddening to watch their thumb-twiddling, head-scratching and back-and-forthing as the news tells us that people are already suffering, their lives at risk, as a direct result of climate change. The increasing occurrence of natural disasters has been linked to it. Human greed has contributed vastly to the problem. Take take take, more more more.
We all know the Earth is dying, now at an urgent rate. It's up to the individual whether that is accepted (or worse, dismissed) as inevitability beyond repair, or whether deep concern for future generations translates to hope for change. One thing is certainly unanimously acknowledged: saving our planet is no longer an alternative mandate. The science has spoken, people are galvanising, and world leaders should be taking notice.
amongst 30, 000 Melbournians in the worldwide People's Climate March
I was proud to be one of approximately 30, 000 citizens marching in Melbourne today as part of the worldwide People's Climate March, preceding the UN Climate Summit of world leaders in New York this week. We want our leaders to know that we want immediate and real action on climate change, with an economy that works for all global citizens and of course the planet we live on. It was a glorious sunny day, with a humbling vibe of goodwill. I don't think I've ever high-fived and smiled at so many strangers before. Kids, uni students, adults of many ages, the elderly, people on wheelchairs, a rainbow of cultures: a broad representation of impassioned Australians. If any commercial news channels only choose to give airtime to the most stereotypical-looking of 'hippies' at the event, please consider that this is likely due to a subconscious prejudice and blatant information control; provision of fuel for those most opposed to the issue at hand, who will readily bah-humbug this as an uprising of smelly stupid hippies misguided by lefty idealism. Questioning the reliability and twisted intentions of our news sources is not only another important step in progressing the issue at hand, but also in opening up our acceptance of others.
a little post-march snooze in the sun wearing House of Riot and The Future eye
I am also proud to represent The Future, a new climate justice group that originated in the UK and has just commenced operations in Australia. Ollie Henderson from The Future has a clothing label called House of Riot, and she generously gave me one of her cool and succinctly-sloganed t-shirt designs for me to wear today. It was a tough call with so many great slogans, but I chose "SAVE THE HUMANS" in the end. It got a fair bit of attention, but my favourite was from a delightful elderly man who stopped me and said "I just love the message of your t-shirt. To me it is the most important reason that I am here today. I'm not sure that the politicians realise that is what it's about, too - their people." We also painted circles around our eyes – the defining visual campaign for The Future, which is a statement to our leaders: "we are watching you".
And I will be. Very closely.
real ballet, real dance
Endless photos of dancers in leg mounts/splits/backbends have saturated ballet-related hashtags on Instagram. I'm not just tired of it, I'm concerned. The power and influence of social media is undeniable, especially amongst the younger generation. Plaguing social media with misrepresentation of the art form is not just doing a disservice - it skews and even cheapens the public's perception of what ballet and dance really is, and engenders a warped set of values for young dance students. Ballet is ballet, just as contemporary dance is an entity unto itself (albeit in countless forms), for example, and both these art forms are a world away from gymnastics and other sports. But if you were to peruse one of these hashtags, you would see that there is confusion.
There are of course some Instagram accounts that I follow with beautiful performance and studio shots (try @nikolairusser and @balletandphotos for a start) but I wish these types of accounts weren't so scarce. There seems to be zillions of accounts which are focussed on more 'likes' and 'follows'. This is part of a broader concern of mine that in an effort to gain a sense of worth - and increasingly so in this fast-moving age of the internet and social media, through the dangerous trap of seeking out more likes - art is being quantified. Quantity, not quality. Quantifying art is of course impossible (the idea of scoring a performance out of ten baffles and enrages me - more about that in an upcoming blog): art is subjective and every one responds differently to its endless manifestations. That is the greatest thing about art - it is a true reflection of the diversity of humankind.
I love that so many people are enthusiastic about ballet and dance; wonderful. But I would love to communicate to them what it's really about - not immediate results, more 'likes', winning competitions, boniest bodies, higher legs, bendy backs. Let's turn that enthusiasm into something healthier, and more fulfilling in inspiration.
So, I have an idea to address the imbalance, with photos of 'real' ballet. Photos highlighting the art, the emotion, the depth, the drama, the beauty, the humanness, the rawness, the joy ... DANCING, not posing. I plan on making this a regular feature on my Instagram, and I will also feature the photo here. Follow the hashtags #realballet and #realdance.
I will kick things off with a photo of my inspiration to become a dancer: Italian ballerina Alessandra Ferri. This is her as Juliet. I had this photo on my bedroom wall as a young student - my imagination and dreams captivated by the truth of her joy and effervescence. Until I saw her dance, when she guested with The Australian Ballet in Onegin, I had no idea that ballet could have such dramatic and expressive possibility. That is when the tune within me changed.
Alessandra Ferri as Juliet, photographer unknown
I had a video of an American Ballet Theatre gala in which she and Julio Bocca danced the famous balcony pas de deux from MacMillan's Romeo and Juliet. It was a very, very well-worn tape. Some ballet experts would criticise her classical technique in this photo - that her supporting leg is turned in, that her attitude leg is also turned in. I don't give a damn. To me, she is perfect.
Please use the hashtags #realballet and #realdance on Instagram, or you can send me your favourite photos of real ballet or real dance either via Instagram message or even Twitter (both @julietburnett) or by leaving a link to the image in the contact form at left. Let's show the world the richness and integrity of the art of dancing!
Oh, and if you follow any Instagram accounts that fit the bill, please share your suggestions in the comments below.
Thanking you all in advance!
ballerina Nora Kaye by Gjon Mili, 1947
I've always hated numbers.
Time is a wicked friend.
Not enough…too much.
Tempus fugit. Hurry, hurry! Get it while you can! Limited time only!
Time dictates life. Its miserly measure tempers our freedom. Our frustrations, dilemmas and destructors are borne of a lack of time, ill-timing, or poor time management. How can we find happiness when we are unfairly allocated such scant time in which to achieve success and find fulfilment?
I am constantly asked "what is the lifespan of a dancer?" Lifespan. As though life stops when I will stop dancing (one less eloquent person enquired "what is your expiry date?"). It's true that in the context of our lives, the lifespan of a dancer is short, and that knowledge perennially taunts us in the periphery of our consciousness. Dancers are prisoners of time not just in the broad sense. We can work our guts out towards a role and yet there never seems to be enough time to rehearse - "we only have enough rehearsal time to put three casts on" – the opportunity passes. Maybe next time?... We want all this rehearsal time, and we also want to use some of our spare time in between for body conditioning such as Pilates, but that imposes on our rest and recovery time, so we risk exhaustion and muscle fatigue. In the rare instances where we feel as if we have too much time to prepare for performance, we easily become agitated by the lack of fresh stimulation or seemingly soulless repetition. We dance within the framework of the music. We must keep with the beat. Our movement prescribed by the time signature. Plié on 3, jeté on 4, land on 5. Keep in time. Stay with the music, or you're screwed, we are told. Finding freedom of expression within parameters. Daring to push or even nudge boundaries. Can we challenge time?
Patience and impatience are virtues that reference how we deal with time. Finding the balance between the grace of patience and the yearning of impatience is one of life's ongoing and hardest lessons. Patience: being satisfied, perhaps complete; impatience: dissatisfied and incomplete. Oh how well acquainted and unreconciled we all are with the latter. The human condition is shaped by the pace of the perpetual movement of life in which it exists, so in this age of fast-tracking, technology and immediate results, finding the stillness of patience is immensely difficult. When we are taught to constantly strive for our goals, that hard work will be rewarded, that our success is in our own hands, how can we reconcile within ourselves the notion of just letting go, and waiting in hope for opportunity to impose itself on you?! The unbearable starving in between. Tick tock tick tock tick tock tick tock tick tock tick tock…
Patience has something up its sleeve, though: the reward of delayed gratification. Teasing, tormenting, tediously delayed gratification. The great pay-off for all that waiting, working, waiting. The knowing reminder that the cliché is right (succinct clichés, not wasting time with roundabout ruminations) about the journey being more important than the destination. Because those are the minutes and hours and days and years in which you grow and learn purely for yourself, not in addition to moulding yourself towards an endpoint. Your experience of the essence of living and happiness boils down to how you choose to use that time.
Time can be beautiful. Its fleetingness incites us to hold it close to our heart (beating: measured in beats per minute). The dreaded news that your time with a loved one has been estimated as a matter of days before they depart this world hits like a sickening punch in the gut. But an inexplicable part of our human resilience instinctively kicks in, steering you from a wallowing, dispirited mess towards courage and an open heart. You give all of yourself in the hope of creating beautiful memories of those final precious moments. When unfortunate circumstances arise, we have an increased capacity to optimise our time, and, once the pain has passed and the light is in view, inspire us to take on life with renewed vigour. Are these bittersweet life lessons designed to force us to confront our vulnerability so that we may strive more urgently for solace/gratification? Is the lesson that there actually may be no gratification, no destination, or that those things are as humble as simply living, when the one we love has to die?
Beethoven's Sonata No. 4 (Opus 7) by Jorinde Voigt, 2012
The cold, hard mathematics of time is the means to an end. Art needs the stringency of parameters to channel rampant expression into a clearly articulated art work. All artists need to practice their technique - taking their time - to optimally communicate their ideas. The precision of technique is the means to the end. Dancers need the structure of music to truly express the intention of the dance work, using the rhythm and accents of the music as stimuli for punctuation in the sentence of the movement phrase. Dance with the music, dance in time. Plié on 3, jeté on 4, land on 5. The endless possibilities of expression with that phrase transcends words.
Time: the great organiser of the dizzying cacophony of life.
Life's too short to fully contemplate this stuff.
Tempus fugit. Carpe diem.
Tick tock tick tock…
I've created this blog website to share. I spend a lot of time in the studio at work thinking, then over-thinking. I am perennially curious about the nature of things; I struggle to just do, just let things be as they are (my parents will attest to baby Juliet's habit of touching and handling everything. Inordinate amounts of time were exhausted in tidying up the fascinating debris on my path of destruction. I refer to it as early research).
Why write? Yes, to share my thoughts so they may provide insight, in the hope of eradicating misconceptions about my profession and lifestyle. But also so I can focus my fervently oscillating mind, then, through the cleansing ritual of laying my thoughts bare on the page, be released from them so I can be free to dance uninhibited.
Artists are sharers, by proxy. Onstage in performance we are divulgers of ideas, projectors of beauty, provocateurs of questions. The art form of dance is mute, yet dancers have a voice - speaking manifests in the language of the body. What we can say onstage, however, is framed by the dancer's role to fulfil tasks: the choreographer's intention, telling the story, interpreting the music. On occasion we have opportunity to lose ourselves in a ballet with which we resonate completely, that affords us that cherished moment of abandon and oneness in dance. As a restless artist, I have a need to explore beyond the framework. Using words, my second medium of expression, I want to share with you my journey into understanding dance, art, life, and their confluence in this turning (ever-changing, wondrous, beautiful, maddening, decaying...) world.
Dear Thoughts,
Please don't cloud or trap me. Inform me, define me, but in an
harmonious dance with awareness and spontaneity: the flux of living.
To be conscious is not to be in time ...
Allow me to temporarily relinquish the temporal.
Help me search for the still points.
At the still point of the turning world. Neither flesh nor fleshless;
Neither from nor towards; at the still point, there the dance is,
But neither arrest nor movement. And do not call it fixity,
Where past and future are gathered. Neither movement from nor towards,
Neither ascent nor decline. Except for the point, the still point,
There would be no dance, and there is only the dance.
Consciously, yieldingly, sincerely,
Poetry excerpts from T.S. Eliot's Burnt Norton | photo by Thuy Vy | styling by Nadia Barbaro | make-up/hair by Olivia Still


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John Cena: The busiest Superstar in sports-entertainment
WWE Champion John Cena just might be the busiest man in sports-entertainment. Tonight, he'll guest star on an episode of FOX's MADtv. That's just one of his many appearances building toward Oct. 13, the nationwide opening of the movie he stars in, WWE Films' The Marine.
Cena recently shot the cover of the November FLEX magazine; he toughed out boot camp with the U.S. Marines at Parris Island, S.C.; he just attended Mr. Olympia bodybuilding competition in Las Vegas; and he filmed the MADtv episode, which airs tonight at 11 ET. But on Oct. 3, Cena will kick it into overdrive at the world premiere of The Marine at U.S. Marine Corps Base Camp Pendleton in southern California.
"My schedule means a lot less sleep, a few more cups of coffee and a whole lot of good times," Cena told WWE.com.
From September to October, Cena has three military base visits in his plans -- Tinker Air Force Base in Oklahoma City; Fort Jackson in Columbia, S.C.; and Scott Air Force Base in St. Louis.
"I'm looking forward to all of these upcoming events, especially those with the Marines," Cena said.
After the world premiere on Oct. 3, Cena's schedule certainly doesn't slow down. Before the movie opens nationwide on Oct. 13, the WWE Champion will do shoots for People magazine and USA Today newspaper, and will be featured in a USA Weekend story on Oct. 8. He'll walk the red carpet at VH1's Hip Hop Honors at the Hammerstein Ballroom in New York City on Oct. 7, and appear on the morning talk show Live with Regis and Kelly on Oct. 9 and on VH1's Totally '80s the same week. He'll tape segments for MTV's The Ten and M2's Rock Countdown, and will embark on a satellite media tour and a national radio press tour. Whew! And that's just covering a portion of the WWE Champion's schedule. Cena insists on keeping a whirlwind pace to promote The Marine, WWE and WWE Films. But even with his busy schedule, Cena never fails to neglect his No. 1 priority -- defending the WWE Championship.
"I think the success of The Marine is an integral part of launching WWE Films as a brand. If WWE Films does well, WWE does better -- it all works in conjunction with everything. If more people who don't know what WWE is about watch The Marine and decide to tune into RAW, we get a bigger audience. I said this five years ago when I started -- we have the best show on earth, and I want everyone to know about it, and The Marine is a way for everyone to know about it," Cena said.
"I've done everything from Parris Island to train with the United States Marine Corps, to shooting the cover of FLEX magazine, to Entertainment Tonight, MADtv, VH1 -- basically just trying to get the word of The Marine out there."
The Marine offical Web site
Marines boot camp with Cena
Photos of boot camp
Cena shoots the FLEX magazine cover
Cena films MADtv
Photos at Tinker Air Force Base


Selling a barely used OJ 945 prop, I got this prop to try out last year and used it for about a month and half and didn't really love it for the weight I was running and then winterized the boat and the dealership was supposed to return the prop but then forgot about it and it was too late to return it so now I've been stuck with it. I had kept it as a backup just in case and never ended up needing it and now I want to try and ACME 3065 and want to sell this one. It's in excellent condition, maybe used about 8 trips out.
What didn't you like about it? That was one of the props I was looking at.
So it's a very long story, but there ended up being a problem with my exhaust manifolds that was causing overheat alarms to go off, PCM tried to blame the prop(stupid, I know) and we've since figured out that wasn't the case, but my engine was running high RPM than it should be with the prop so it didn't work for me. I know there are several on here that run the 945 and theirs work fine and they have lower RPM than I was turning, but it turned out to be an underlying issue with my motor that's not relevant anymore because I swapped out for the 6.0 and the gearing is too low for that prop now.
I was getting good plane times with heavier weight, just the RPM was higher than other 350s with that prop. I know Gibbs on here runs it with great success.
This is my favorite prop my T23 is a monster with it on there.
I also run it on my '14 A22. Great prop.


Close to town at an affordable price. This home has over 3100 sq ft of living space and easy access to town. This home has an outstanding mountain view and a peek-a-boo view of the lake that can be improved with some tree thinning. The simple floor plan and masonry fireplace on the main level is rare to see anymore. The home is in fine shape to use as the family does now, or update while you enjoy. Priced to sell this season!
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You are here: Home / Everyday DIY Craft Ideas / DIY Garden Things / Looking For Homemade Insecticides?
Keeping the amount of insects, bugs and crawly things controlled in any garden using homemade insecticides can be as simple as planting companion plants in most cases.
This is where you sow the type of plant you want to grow alongside a plant that actively repels the insects most likely to infest the one you wanted all along.
Unfortunately, while companion planting is the most environmentally friendly way to control insects and pests, sometimes an infestation is just too heavy and something a little stronger may be required.
The majority of people will go to the store and buy a commercial insecticide spray to control pests. But did you know you can make your own homemade insecticides that are just as effective as the store-bought sprays, they're much better for the environment and they're cheaper too!
Aphids are the tiny little green or black bugs that attack newly forming leaves and new buds on your plants.
An aphid infestation can destroy the yield on fruit trees or inhibit the growth of new blooms on flowering plants. A severe infestation can destroy foliage making new leaves appear curled and stunted.
To get rid of a minor aphid infestation easily without commercial insecticides, simply squeeze a few aphids between your thumb and forefinger. Wipe the residue on the surrounding leaves and buds and any aphids near the area will move out.
For a more severe infestation, collect more bug corpses. Squash them and mix them well with a little water and put the mixture into a spray bottle. Spray liberally over the affected plant and the aphids will leave.
Some people might not be happy with the idea of squashing hundreds of little aphid corpses into a spray bottle, just to make homemade insecticides, so here's an alternative recipe to keep aphid infestations under control.
Mix three cap-fulls of Castile soap with a quart of water and spray onto affected plants.
This is a very gentle soap so the solution won't harm plants or animals but will get rid of soft-bodies insects quickly.
The mixture will need to be re-applied after rain as it will wash away.
Spider-mites are very common plant pests. They can damage and injure your plants by causing discoloration of the leaves and often you may notice little flecks or spots on foliage.
Spider-mites feed on the leaves, sapping nutrients which can lead to loss of leaves and eventually death of the plant. High numbers can often be found in gardens where over-use of commercial insecticides have killed off their native predators.
Try mixing one teaspoon of Tabasco sauce with four cloves of garlic and one quart of water. Mix very well in a blender and strain out any larger pieces.
Pour into a spray bottle and spray liberally over any affected plants.
You should find this mixture will also help repel whiteflies, aphids and caterpillars as well as spider-mites.
Nobody likes fleas so any options to get rid of them from your pets or your home are always welcomed. Here are some ideas for homemade flea repellents.
When washing your dog, add 1 cup of apple cider vinegar to a bucket of water and rinse your dog's coat with this solution after you've shampooed. Fleas hate it!
To keep fleas out of your carpets and rugs, simply tear open a few Earl Grey tea bags and sprinkle the tea leaves over your carpets. Leave these overnight at least and then vacuum them up. You won't find any fleas in your carpets.
Mosquitoes might seem like annoying blood-sucking insects, but they're actually quite sensitive and very easy to control.
If you want to keep mosquito numbers down around your home or away from your family while you're camping, entertaining or otherwise enjoying being outdoors, here are some simple tips for repelling mosquitoes.
The simplest mosquito repellent is to plant specific shrubs, herbs or flowers that actively deter mosquitoes. These can include basil, peppermint, rosemary, geranium or lemon grass.
While mosquitoes also won't go anywhere near onions or garlic, these aren't quite so attractive growing near doorways around your home.
If you'd prefer to have a little more protection closer to you then you can make a simple repellent oil by mixing 10 drops of peppermint oil with 2 tablespoons of vegetable oil. Stir the ingredients together to be sure they've blended well and then dab a few drops onto your skin to keep mosquitoes away.
To keep guests or visitors safe from mosquito attacks you can try this homemade insecticide. Place a saucer of water in the middle of your table and drop a few drops of lemon detergent into the water. Mosquitoes will love the smell and come to investigate but the detergent will kill them quickly.
One of the most successful homemade mosquito repellents I have made is 1/2 – 3/4 cup olive oil and about 10 drops of Eucalyptus essential oil. Mix it up (I put it in a spray bottle), spray it on and rub in. The smell is pleasant and it keeps mosquitoes at bay – plus the olive oil moisturizes the skin.
Works great for the weeds in cracks in cement.


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Q: Error when connecting android device with C# web service I am trying to connect my android device with simple C# web service but I am getting this error

org.xmlpull.v1.XmlpullparserException:expected:START_TAG{http://schemas.xmlsoap.org/soap/envelope/} Envelope(position:START_TAG@2:7 in java.io.inputStreamReader@1db98270)

It is my code:
package com.example.khalifa_.webservice;
import org.ksoap2.SoapEnvelope;
import org.ksoap2.serialization.PropertyInfo;
import org.ksoap2.serialization.SoapObject;
import org.ksoap2.serialization.SoapSerializationEnvelope;
import org.ksoap2.transport.HttpTransportSE;

import android.app.Activity;
import android.content.Intent;
import android.os.Bundle;
import android.os.StrictMode;
import android.view.View;
import android.view.View.OnClickListener;
import android.widget.Button;
import android.widget.EditText;
import android.widget.TextView;

public class MainActivity extends Activity
{
    /** Called when the activity is first created. */
    private static final String SOAP_ACTION = "http://tempuri.org/findContact";

    private static final String OPERATION_NAME = "findContact";// your webservice web method name

    private static final String WSDL_TARGET_NAMESPACE = "http://tempuri.org/";

    private static final String SOAP_ADDRESS = "http://192.168.1.3:29824/Service.asmx";
// for the SOAP_ADDRESS, run your web service & see
//your web service Url :1506/WebSite3/Service.asmx ,1052 will be change according to your PC

    TextView tvData1;
    EditText edata;
    Button button;
    String studentNo;
//http://localhost:1827/WebSite1/Service.asmx/HelloWorld

    //http://10.0.2.2:1827/WebSite1/Service.asmx
    @Override
    public void onCreate(Bundle savedInstanceState) {
        super.onCreate(savedInstanceState);
        setContentView(R.layout.activity_main);
        StrictMode.ThreadPolicy policy = new StrictMode.ThreadPolicy.Builder().permitAll().build();
        StrictMode.setThreadPolicy(policy);
        tvData1 = (TextView)findViewById(R.id.textView1);

        button=(Button)findViewById(R.id.button1);

        button.setOnClickListener(new OnClickListener() {

            public void onClick(View v) {
                SoapObject request = new SoapObject(WSDL_TARGET_NAMESPACE,     OPERATION_NAME);
                PropertyInfo propertyInfo = new PropertyInfo();
                propertyInfo.type = PropertyInfo.STRING_CLASS;
                propertyInfo.name = "eid";

                edata =(EditText)findViewById(R.id.editText1);
                studentNo=edata.getText().toString();

                request.addProperty(propertyInfo, studentNo);

                SoapSerializationEnvelope envelope = new SoapSerializationEnvelope(
                        SoapEnvelope.VER11);
                envelope.dotNet = true;

                envelope.setOutputSoapObject(request);

                HttpTransportSE httpTransport = new HttpTransportSE(SOAP_ADDRESS);

                try  {
                    httpTransport.call(SOAP_ACTION, envelope);
                    Object response = envelope.getResponse();
                    tvData1.setText(response.toString());
                }  catch (Exception exception)   {
                    tvData1.setText(exception.toString()+"  Or enter number     is not Available!");
                }

                tvData1 = (TextView)findViewById(R.id.textView1);
            }
        });

        //client = new DefaultHttpClient();
        //new Read().execute("text");
    }
}

A: You must write code in background thread. use asynctask for background thread. For more info refer this.


Carhartt does a decent job of balancing the two: I've found their 12-oz. duck pants are reasonably durable and very affordable at $40 a pair; however, their 8.5-oz. canvas carpenter jeans, which are the same price, are something you can expect to replace often if you expose them to any kind of wear.
Can Filson do better? The 120-year-old workwear brand has steadily crept upmarket, manufacturing durable clothing that no factory worker can afford, thanks to rising labor costs and efforts to keep manufacturing close to home. But now they've announced a new line, C.C.F. (for company founder Clinton C. Filson) that claims to offer both durability and prices that working folks can afford.
It still seems a bit pricey to me, and I'm not confident CCF will take any market share from Carhartt and Dickies; but Filson's downmarket initiative is a welcome one, and I'm eager to see how it evolves.


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Q: Highlighting Words That Fit a Specific Criteria I have some simple code below but I am failing to see the results.
Essentially, I have some static text in a div with class="container" I'm trying to apply a function to this div to highlight any word that begins with a specified letter, in this case the start letter = "t". Then return the new text (with highlights) to the original div.
What am I doing wrong here?

//highlight ANY word that starts with t

function highlighter(text) {
  text = text.split()
  for (var i = 0; i < text.length; i++) {
    if (text[i][0] == 't') {
      text[i] = "" + text[i] + "";
    }
  }
  return text
}

  This is a simple test to see how the function will perform.

A: In your example you compute the output, but don't actually set it:
<!DOCTYPE html>

    This is a simple test to see how the function will perform.


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Anatomy of a debut — Kane Farrell
Contributor 01.08.2018
Being drafted from a regional town in Victoria to an interstate club, I didn't expect to be playing my first AFL game so close to home.
I grew up in Castlemaine so when Kenny told me in a meeting that I was going to be making my AFL debut in Ballarat against the Western Bulldogs that weekend, I was stoked.
I quickly rang my parents and told them I was coming back to Victoria… to play a game of elite level footy.
It was only Thursday so I tried to stay as relaxed as possible for the rest of the week. I didn't want to get ahead of myself so keeping things simple was the way I went about it.
We flew over on Saturday morning but I'd already packed my stuff well before then because I was so excited to get over and play.
Obviously, we didn't get a massive crowd, there was around 6,500 there, but it was the best spot for me to play my first game because all my friends and family were there to watch.
I had played a few games at the stadium growing up and, after living in the region, I had a fair idea of how the weather was going to be.
I gave the boys a heads up that it was going to be cold despite how the weather is on the day.
Despite the smaller crowd, it was still cool hearing the noise of the cheer squad behind the goals and the build-up still had me a little nervous beforehand.
We stayed at a hotel close to the ground on Saturday night and I played the game over in my head a bit but not too much. I actually had a good sleep the night before the game.
Waking up on Sunday morning, I had breakfast and went back up to my room to lie down some more. I like to stay relaxed as much as possible in the lead up but I went for a walk and a stretch before going leaving for the game.
On the way to the ground, I was on the edge of my seat. I just wanted to get in there and have a kick on the ground.
Dad presented my jumper to me in the rooms beforehand. It was a special moment, not only for me but also for the whole family.
Before running out, I was joking around with my teammates, many of which I was playing with for the first time, to calm the nerves.
I don't usually get nervous and the only time it affected me was just before running out. With the build up to the game, that was the only time I felt it.
But once I got a footy in my hands, I felt fine.
I started the game on the bench and I actually don't really remember coming onto the ground – that part has blurred into one.
I remember my first touch – it's something I'll never forget despite how insignificant the disposal may have seemed. It was a special moment.
It was a nice, easy uncontested mark in defensive 50 – it was a bit of a cheap touch. I was still nervous about kicking the ball for the first time but I was happy with how it ended up.
Kicking a goal at the end of the match just capped off the whole day, though, and we had a convincing victory – the day couldn't have been any better!
The whole experience was just really fun. From being told I was playing, to the flight over and finally winning on game day, I enjoyed everything. There was a whole different vibe around the club knowing I was playing and everyone made it a fun one for me.
The highlight, though, was running out for the first time. It was a moment I'll never forget and the Gatorade shower at the end of the game was also pretty cool.


Anju Bobby George was born on April 19th, 1977 in Changanasseri, Kerala. Her talent was first noticed in the national schools games where she won third place in 100m hurdles and 4x100m relay. She was the first Indian woman to win a bronze medal at the Commonwealth Games at Manchester 2002. She achieved her personal best at the 2004 Olympic Games at Athens that brought her the sixth position.
Anju was a recipient of the prestigious Arjuna award in 2002-2003, Rajiv Gandhi Khel Ratna award in 2003-2004 and Padma Shri in 2004. The credit for her achievement and success goes to her husband and coach Bobby George, a former National Champion in Triple jump.


Ignoring the need for a thorough vehicle check before the onslaught of winter could put motorists at risk.
Changes in the weather, with cooler temperatures on their way, highlight issu es that often go unseen during warmer weather. The Good Garage Scheme has drawn up a comprehensive 20-point check up for driving a more roadworthy and reliable vehicle in winter conditions. The Good Garage Scheme has made this 20 point checklist freely available to its 2,835 plus members.


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Levant/Middle East/NEWS
Turkey-Russia exchange view on developments in Syria
Russian President Vladimir Putin discussed the situation in Syria, Libya, and the Caucasus region with Turkish President Recep Tayyip Erdogan, a statement by the Presidential Communications Directorate said.
Russian President Vladimir Putin discussed the situation in Syria, Libya, and the Caucasus region with Turkish President Recep Tayyip Erdogan, a statement by the Presidential Communications Directorate said Sunday.
During a telephone conversation, the Turkish and Russian Presidents touched on international topics, including proposals for legally establishing formal agreements that guarantee Russia's security, the situation in the Caucasus, and settlement issues in Syria and Libya.
The two leaders "exchanged New Year's greetings, summarized the main results of bilateral cooperation and confirmed the desire to further intensify the mutually beneficial partnership between Russia and Turkey."
Moscow's 2014 annexation of Crimea has drawn criticism from Turkey, along with the rest of NATO, who voiced support for Ukraine's territorial integrity as Kyiv's forces battle pro-Russian separatists in eastern Ukraine.
Last month, Putin criticized Kyiv for deploying Turkish-made drones in its conflict with pro-Moscow separatists.
Ankara says it cannot be blamed for Ukraine's use of Turkish-made drones, adding that if a state buys Turkish weaponry, it is no longer a Turkish product but belongs to the country that has purchased it.
Turkish Foreign Minister Mevlüt Çavuşoğlu urged Russia last week to drop "one-sided" demands and adopt a more constructive approach in its standoff with Western powers and NATO over Ukraine.


Think of this as IPAs little brother if you like. It has a similar pale appearance and refreshing character with malts and hops in good balance, but it's all pitched at a gentler level.
It should pour a pale golden to light amber colour with a good head of white foam. It should range from clear to slightly hazy. Any more murk than that suggests too much hopping for the style and sees you edging away from pale ale territory into the land of IPAs. It's always going to be a bit of a blurred line however.
The malt character should be light and clean, possibly with some speciality malt flavours such as bready, toasty or biscuity. Caramel might be a step too far here. A classic English pale ale would be identifiable by its hop character with spicy, herbal and earthy aromas being the order of the day. American pale ales display fruitier hop aromas, as you'd expect; look for stone fruit, toprical fruit, berry or melon, citrus, floral, pine or resinous. The yeast profile here is usually neutral to lightly fruity.


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3 Marijuana Stocks Aiming to Cash in on the Premium Flower Market
Premium cannabis is a niche category that these growers are looking to conquer.
(TMFUltraLong)
Mar 14, 2019 at 9:06AM
You could rightly say that the marijuana industry is growing like a weed. With the industry having generated less than $10 billion in global sales in 2017, the team of Arcview Market Research and BDS Analytics now expects global sales to more than triple to $31.3 billion by 2022. Certain investment banks on Wall Street are looking for even more aggressive long-term growth, with global sales expected to hit $75 billion by 2030, according to Cowen Group.
But as with any new industry, there's a process to maturation involved. This process saw marijuana stocks focused on capacity expansion during the first half of 2018, and more recently on consolidation. The next step, now that recreational weed is legal in Canada and expected to continue gaining legitimacy worldwide, is differentiation.
The premium dried cannabis segment offers intrigue
There are a lot of ways pot stocks can differentiate themselves. For some, like OrganiGram Holdings, it's an out-of-the-way growing location with a three-tiered growing system. For others, like CannTrust Holdings, it's a focus on hydroponic growing methods rather than traditional soil. And for yet others, such as Tilray, it's a devotion to higher-margin medical marijuana patients, despite a burgeoning adult-use market in Canada.
Yet, one of the more under-the-radar differentiating factors that could pack some serious punch is the premium dried flower market. Whereas we often think of dried cannabis as some lump-sum product that consumers buy, we may be overlooking that there are varying grades of quality, as well as cannabinoid content (i.e., tetrahydrocannabinol [THC] and cannabidiol [CBD]), in dried flower. Whereas most dried flower will fall into a discount or standard segment, a much smaller percentage of production is targeted at the premium side of the market.
The premium dried flower market will feature product that has a substantially higher per-gram price -- a price that isn't likely to be subject to downward pressure or commoditization. This is also a market that more affluent consumers will frequent, meaning there's less chance of disruption should Canada's economic growth slow or contract. Ultimately, we're talking about a segment with generally high levels of product loyalty, as well as superior margins. And with superior margins typically comes healthy profits.
Right now there are three marijuana stocks vying for their piece of the premium market, with two of these three devoting essentially their entire production line to high-end flower.
Flowr Corp.
One of those two companies with a laser focus on premium flower output is British Columbia-based Flowr Corp. (NASDAQOTH:FLWPF).
Flowr's Kelowna campus is currently only producing at a run rate of about 5,000 kilos a year. However, grow room expansion that's ongoing will push peak production to about 60,000 kilos a year by 2021. This would probably place Flowr in perhaps the top 15 or 20 growers in the country by peak annual production. But it's not the quantity that matters here; it's the quality and efficiency.
Using genetics, Flowr's crop offers ultra-premium cannabis that'll cater to a very specific but motivated buyer in the marketplace. Plus, according to the company, yield from its Kelowna campus should range between 300 grams and 450 grams per square foot. This is meaningful because the average yield throughout the industry (for all types of cannabis, not just premium) is about 100 grams per square foot.
And Flowr isn't necessarily satisfied with these figures. It and Scotts Miracle-Gro -- yes, the same company that develops products to make your lawn look nice and improve crop yields for farmers -- are working together to further improve output and efficiency. Scotts Miracle-Gro, or should I say its subsidiary Hawthorne Gardening, is bringing its knowledge of hydroponics, soil, lighting, and nutrients to the partnership, while Flowr brings its knowledge of premium cannabis to the lab.
Production isn't everything, and Flowr may prove this point with juicy operating margins.
The Supreme Cannabis Company
The other of the two companies focusing pretty much all of its production on the premium flower segment is Ontario-based Supreme Cannabis Company (NASDAQOTH:SPRWF).
Supreme Cannabis Company offers a number of the same traits as Flowr, with perhaps the exception of Flowr's absurdly high yield per square foot. Supreme Cannabis' lone grow facility, known as 7Acres, will feature 440,000 square feet of growing space and a projected annual output of approximately 50,000 kilos a year. That's close to 114 grams per square foot, or a bit above the industry average.
More importantly, Supreme Cannabis' production features a dried flower product that contains a higher concentration of THC than nearly all product currently on dispensary store shelves. THC is the cannabinoid that gets a user high. This higher potency will feature a premium price point and, almost certainly, a pretty loyal following willing to pay that higher price.
What'll be really interesting is if Supreme Cannabis can find a market for its premium flower outside of Canada. The company recently signed a letter of intent with Malta Enterprises, the economic development agency of Malta, to obtain a production license. Malta is uniquely situated to be a perfect stepping stone for export to various European countries. And since most of the EU has given the green light to medical marijuana, it's a logical jumping-off point for Supreme Cannabis to broaden its premium flower horizons.
Check out the latest earnings call transcripts for the companies we cover.
The third and final company angling for a piece of the premium dried flower market is none other than Aurora Cannabis (NYSE:ACB), the grower that's expected to be at the head of the pack once at full capacity.
To be clear, most of Aurora's 700,000 kilos of estimated annual production will likely be of the standard variety. However, two acquisitions have put Aurora directly into the thick of the premium cannabis market.
The first came last year when Aurora acquired MedReleaf for about $2 billion in July. MedReleaf offered a broad spectrum of cannabis brands to consumers, but had introduced the world to AltaVie in early April. AltaVie is a premium brand that targeted consumers who didn't necessarily have a direct connection to cannabis culture, but preferred a higher-end product that was unlike the majority of dried flower available in Canada at the time.
The second comes courtesy of Aurora's newly completed purchase of Whistler Medical Marijuana for a little north of $130 million. British Columbia-based Whistler Medical offers organic and premium brands, giving Aurora another opportunity to target this higher-margin niche. Although Whistler's Pemberton facility is only on track for a little over 5,000 kilos at peak capacity, Aurora believes its superior production methods could yield more than 15,000 kilos out of the site, with some additional expansion.
If you're looking for prospective winners within the premium cannabis space, these three marijuana stocks are a great place to start your research.
SPRWF
NASDAQOTH:SPRWF
NYSE:ACB
Flowr Corp
NASDAQOTH:FLWPF
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3 Marijuana Stocks Aiming to Cash in on the Premium Flower Market @themotleyfool #stocks $SPRWF $ACB $FLWPF Next Article


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Hunt, Mello Endow College of Business Scholarship
JONESBORO — Dr. Shane Hunt, dean of the Arkansas State University College of Business, and Dr. John Mello, professor of supply chain management at A-State, have funded the Hunt-Mello Textbook Scholarship for business students at the university.
The two faculty members have donated portions of sales across the country and throughout the world of a textbook the pair co-authored in 2014 titled, "Marketing." The book was written to demonstrate to students around the world the connection between marketing and their future careers, whether students choose to pursue a major in marketing or another field. The textbook was adopted by colleges and universities across the country, and includes an interactive tablet-based edition.
Hunt said the endowed scholarships will be awarded to multiple scholarship winners each year in the College of Business.
"Our incredible students at Arkansas State University were the inspiration for us to write the book, and we are both very thankful we can help in providing these additional scholarships for our students," stated Hunt.
Requirements for the scholarship are the recipients must have a major in the College of Business, a minimum 2.75 grade point average and must have completed a minimum of 75 hours toward a degree. Financial need is also a consideration.
"I am delighted to be partnering with Dr. Hunt in providing our deserving students with this scholarship," added Mello. "I can think of no better way to ensure that our students achieve all of their potential than to give them the financial means they need to receive a college education from this fine institution."
Hunt received his Ph.D. in marketing from Oklahoma State University where he was an American Marketing Association Sheth Foundation and National Conference in Sales Management Doctoral Fellow. He is the recipient of the 2010 National Inspire Integrity Award from the National Society of Collegiate Scholars and the 2010 Lt. Col. Barney Smith Award as Professor of the Year at Arkansas State.
Mello, who received the College of Business award for excellence in research in 2015, received his Ph.D. in logistics from the University of Tennessee. He is a well-respected educator at both the undergraduate and graduate levels and is the recipient of the 2012 Excellence in Graduate Teaching Award from the Arkansas State's College of Business. Prior to completing his Ph.D., Mello spent 28 years in the consumer packaged goods industry in a variety of positions at Unilever and Playtex Products. He holds a bachelor's degree from Central Connecticut State University and master's degrees from the University of New Haven and Wilmington College.
Dr. John Mello (left) and Dr. Shane Hunt


Lawrence Pumps was acquired by Flowserve in 2011. Nickerson Pump Company is an exclusive dealer of Lawrence Pumps.
Nickerson Company has been in the business for over 90 years, so we know a thing or two about high quality pumps. We only recommend and sell the best. That's why we're an exclusive dealer of Lawrence Pumps by Flowserve.
Lawrence is one of the most highly regarded manufacturers of centrifugal pumps for abrasive slurry and toxic liquids. If your job requires harsh service conditions, Lawrence can meet those demands. Many factors go into choosing the right pump for your unique industry. Nickerson Company has the longevity and experience to truly understand your individual issues and expectations to provide you with the most innovative solutions available.
To view specific pump types and specs, please visit the Lawrence/Flowserve website.
When something goes wrong with your wastewater pumps, you want it fixed… yesterday. You can rest assured that Nico Pumps can service and repair virtually any type of water pump from any manufacturer. But the fact that we are an exclusive dealer for Lawrence Pump means we're even better suited to provide top notch service.
Our large regional pump repair facility in Salt Lake City has complete mechanical, machine and fabrication shops.That means we can do everything from total overhauls to protective coatings, supplies, parts, re-fabrication, upgrades and retrofits. What's more, we are staffed with multiple licensed and bonded field service technicians with the knowledge and specialized equipment to diagnose and repair your Lawrence Pump product on the spot.


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Q: Evan's proof of global approximation by smooth function
In the Evan's proof, he defined $\lambda$ and $\epsilon$ at the same time. I am wondering whether we could just define $\epsilon$. For $\epsilon$ small enough, the property should still hold.


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About Global IQX
Elevate Your Success With Gratitude
The Automated Insurer | Insurance Leadership
Lead by example and embody positivity, confidence, humility, and gratitude.
The New Year is the perfect time to take a moment to show gratitude and thank the people who contribute so much to our businesses – employees and clients alike. After all, they are two of the most important parts in making a business successful.
Our remarkable team works tirelessly day in and out; whether it be delivering solutions to customers or creating ground-breaking innovative solutions. With their dedication, entrepreneurial energy and commitment we are able to capitalize on opportunities that drive success all year round – making them an integral part of realizing any dream.
As business leaders, we owe a debt of thanks to our employees for their hard work and dedication in making our businesses successful.
Business success relies on developing positive partnerships with our clients. By listening to their needs and considering their perspectives, we show them that they are valued partners in the process – not just customers but collaborating partners.
This helps build strong relationships based on mutual trust and respect where all parties benefit from working together towards shared goals; something which often leads to friendship among employees and clients alike! While there may be challenges along the way, when you treat your clients like true partners it sets everyone up for greater opportunities down the road.
3. Perseverance
Succeeding in any goal requires a combination of both perseverance and luck. It's not enough to just rely on chance; having the inner strength, motivation, and courage to bravely tackle whatever challenges stand between you and your goal is equally essential.
I've been fortunate (lucky) enough to have the right people come into my life at the right time, and their support has been instrumental in helping me reach my goals. I'm grateful for all the help and guidance I've received along the way, and I know that without it, I wouldn't have achieved as much as I have.
There really is no "i" in team.
Leadership is the ability to guide and direct others towards a common goal or vision. It involves inspiring and motivating team members, setting clear expectations, providing support and guidance, and making tough decisions when necessary.
It's important for leaders to show appreciation and gratitude to their team members for their hard work and contributions. When team members feel valued and appreciated, they are more likely to be motivated and engaged in their work. This helps to foster a positive and collaborative work environment, and can lead to better outcomes for the team and organization.
Leadership will have a significant impact on the success of a team or organization. Showing gratitude and being open to feedback are key components of effective leadership that can help to inspire and motivate team members.
So What Does The Sailing Photo Have To Do With Gratitude?
That's me on the bow of an Oyster yacht racing at Antigua race week. Sailing is one of my passions. Without success I'd likely not be able to to sail as much. For that and for all that have put their trust in me and helped along the way, I am truly grateful.
I hope this year brings all the growth and success you wish for.
Fair Winds and a Happy New Year !
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Mike de Waal
Mike de Waal is president and founder of Global IQX, an Ottawa-based software provider of AI-driven sales and service solutions to employee benefits insurers. He has deep experience in both software development and business management skills. Early in his career, he worked as a computer programmer and then went on to become a financial planner and a benefits consultant with giant Manulife Financial before becoming a tech entrepreneur. He can be reached at [email protected].
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Insurance Technology: 25 Trends for 2023
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