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Daily Motivations - Follow
Aidan Quinn (born March 8, 1959) is an American/Irish actor, who made his film debut in Reckless (1984). He has starred in over 80 feature films, including Desperately Seeking Susan (1985), The Mission (1986), Stakeout (1987), Avalon (1990), Benny & Joon (1993), Legends of the Fall (1994), Mary Shelley's Frankenstein (1994), Michael Collins (1996), Practical Magic (1998), Song for a Raggy Boy (2003) and Unknown (2011).
Quinn has received two Primetime Emmy Award nominations for his work in An Early Frost (1985) and Bury My Heart at Wounded Knee (2007). He played Captain Thomas "Tommy" Gregson in the CBS television series Elementary (2012–2019).
Quotes by Aidan Quinn
Celebrity, to me, is not a thing to seek.
Copyright 2019 GoodQuote

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Wedding is always be woman special moment, thus every girls out there has their crazy imagination about their future wedding. But one thing for sure, they do love unforgettable wedding, and it's never matter about big or small ceremony and reception, or glamorous and things. But it's all about the feeling. Every girls always dream about the perfect wedding in their mind -in their way of course. So that's why there is no exact same dreamy wedding from one to another girls.
They really have gorgeous wedding dresses anyway!
if you pick up dresses, glamchase prom dresses reviews gives you amazing choices.


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Phil Ivey wins big on FTP and Joe Cada returns to PokerStars
Online poker is quickly getting back to its glory seen a few years ago as more players join the large poker rooms to get a piece of the action. The promotions and bonuses certainly make everything more attractive and users have some nice offers to consider in 2013. This is just a small sample of how playing on the internet can be more profitable for regular players. On the other side of the stakes list, there has been a lot of action taking place on Full Tilt Poker which has taken back its spot as the best place to play high stakes games on the internet. After seeing Viktor Blom bank millions of dollars in a couple of weeks to take the top spot for this year, Phil Ivey made an appearance on the popular poker room and dominated the tables.
Phil Ivey is currently working on his own poker site where users will be able to learn how to play the game "the right way" from a long list of professionals that have made a name for themselves in both live tournaments and online games. While it looks like the site is not yet ready to be launched, Ivey decided to take a break and join the Full Tilt Poker tables for a few sessions. After being eliminated from the 2013 Aussie Millions Main Event in 30th place on Thursday, he made $589,000 while playing pot-limit Omaha, no-limit Hold'em and mixed games. This puts his total profits for three days up to $818,000 on Full Tilt Poker, making it the first time he is in the green since November, when PokerStars re-launched its former competitor. The biggest pot for Ivey on Thursday was in a no-limit Hold'em game for $300/$600 stakes against Alex "IReadYrSoul" Millar. Ivey was holding pocket Tens and shoved preflop while Millar Called with A-K. After the board went dry for both players, Ivey took the $135,598 pot. Two other large pots were made which also went to Ivey and he was up $280,000 when the one hour sessions ended.
Joe Cada announced his return to PokerStars
Joe Cada, who is a resident of Michigan, has recently announced that he will set up a new residence in Canada so that he can play online poker and rejoin the PokerStars tables he is very familiar with. The former world champion has been away from the virtual poker action since Black Friday in 2011 and now plans on making the 45-minute drive to the border every weekend in order to play online. He will join the large selection of players from Team PokerStars Pro that moved out of the United States in order to play on the internet such as Chad Brown, Chris Moneymaker and Randy Lew. In 2009, Cada won the WSOP Main Event and became the youngest champion in history and had a lot of success as a cash-game player as well. After the US Department Of Justice banned PokerStars in 2011, he stopped playing online poker. He declared on Facebook that he doesn't know why he waited this long before getting back to PokerStars and that he is now looking to take part in more live tournaments as well.


TSS (tungsten super shot) is dynamite on turkeys, but how does it potentially perform on bad guys?
Are the new TSS shotgun shells all they're made out to be? Can it be used for home defense?
It's difficult to define where regular cartridges end and magnums begin.
Here are the top new bullet and ammunition breakthroughs helping redefine accuracy.
Solid bullets have become much more than a big ol' hunk of lead.
The .30 T/C was a great performer that never gained traction in the shooting world.
In a lethal-force event, shot placement can outweigh all other factors in bringing an attack to a close.
6.5 Creedmoor ballistics are a thing of beauty and make the cartridge more than simply a long-range flyer.
Ammunition reviews and articles from expert authors, gunsmiths, shooters and gun experts at Gun Digest.


Continue reading "What to Do When Government Goes Bad"
Continue reading "Abraham and Jesus"
Continue reading "The Greatness of Gratitude (Colossians 3:15-17)"
Continue reading "God's Light in Clay Pots (2 Corinthians 4:6-18)"
Continue reading "The Only Hope for America"
Continue reading "Genesis 1:1 The Existence of God"
Continue reading "Presidential Inauguration Prayers"
Continue reading "A Biblical Response to Government"
Abraham Lincoln wasn't a Blockhead. Am I?
Continue reading "Who Should We Vote For?"
Continue reading "Should Christians Vote?"
Continue reading "Capitol Bible Study: A Politician's Downfall (Mark 6:14-32)"
Continue reading "Capitol Bible Study: "Clash of Kingdoms" (Mark 6:12-32)"
Frank Erb is a Husband, Father, Bible-Teacher, Speaker, Writer, Personal Coach, Pastor to the California State Capitol and beyond, and, above all, one who wants to shine to the glory of God and help others to do the same.


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Michael Vick Biography
First published on:May 30, 2019
Facts of Michael Vick
Michael Dwayne Vick
Michael Boddie
Brenda Vick
Newport News, Virginia, United States
$7 Million i n average
Currently Married
Kijafa Frink
$ (Jada Vick, Mitez Vick, London Vick, Michael Vick Jr.)
Michael Vick is an American football coach for the American Football Alliance's Atlanta Legends and former quarterback who played 13 seasons in the National Football League, mainly with the Falcons of Atlanta and the Eagles of Philadelphia.
The four-time Pro Bowl Champion Michael, who is reported to have a net worth over $16 million, was honored with the NFL Comeback Player of the Year in 2010. He was also the Big East Offensive Player of the Year in 1999.
Is Michael Vick Married? His Family and Personal Life
Michael Vick has been married since 2012. He tied the knot with his sweetheart / Baller Wives star, Kijafa Frink on June 30, 2012, in Miami. The couple reportedly met in 2002 in a night club where they first exchanged their glances.
After he finished his prison time, Vick proposed Frink for marriage in 2009. He got down on one knee at her 29th birthday party and married after three years.
Michael and his wife SOURCE: essence
Some of the NFL stars like LeSean McCoy, Andy Reid, Plaxico Buress, Roddy White, and Aaron Brooks attended the ceremony.
Frink has been a supportive partner of the former star of Philadelphia right from the moment when Vick had trouble with the law. Kijafa was his girlfriend at the time and is said to have helped him pull through a lot of life stuff.
Three amazing kids – daughters London Vick and Jada Vick, and a son, Michael Vick Jr. (born November 2017) blessed the marital relationship of the couple.
Happy Birthday my ??...Anything you want just say it and it's done!.. Make a wish [email protected]
A post shared by Michael Vick (@mikevick) on Dec 15, 2018 at 8:03am PST
According to the sources, Frink is also a stepmother to the older son of Vick (Mitez Vick) who came from an earlier relationship. Before Vick came into contact with the reality star of the Baller Wives, he had a long-term relationship with Tameka Taylor as well as with Sonya Elliott, whom he dated from 2001 to 2002 for one year.
Besides this, Micheal spends quality time with his family and also takes the for trips for the refreshment and relaxation. Talking about his body measurements, he has a height of 1.83m and weight of 220lbs.
Michael Vick Net worth, Salary And Career Earnings Till 2019
Vick is one of the few athletes to sign a contract worth more than $100 million. Before his retirement, he had all those contracts over $100 million and had a great endorsement with the huge brand Nike but after his controversy, he lost it but again got it after a year.
Tag @nike #bringthemback
A post shared by Michael Vick (@mikevick) on Oct 7, 2018 at 5:26am PDT
According to the different sources and news portals, he has a net worth over $16 million. He reportedly earned $124,758,908 in his 15-year long career with the annual average salary of about $7 million in a year.
Vick's Contract and Earnings:
Year Salary/ Earnings
2001 $5,000,000
2004 $12,500,000
Peeking over his Instagram, we can definitely say that he is living his best life so he has a great amount of salary.
Micheal takes his family on lavish vacations and let them live to the fullest. Besides that, he has a great collection of expensive cars. Further, he has Rolls Royce, BMW, etc.
Michael Vick Early Life and Bio
Athlete Michael Dwayne Vick was born in Newport News, Virginia, on June 26, 1980, to the parents Michael Boddie and Brenda Vick. Also, he has younger siblings but their identity has not been revealed yet. Additionally, he holds the nationality of America and has the racial background of the African. Further, his zodiac sign is Cancer.
Vick showed an early talent for the game like his father, who gave him his first football at the age of three. Vick grew up near the coach of the football team at Warwick High School, Tommy Reamon, a former star of the World Football League.
At Homer L. Ferguson High School in Newport News, Vick first came to prominence. He impressed many as a freshman with his athletic ability; that year he threw in a game for over 400 yards. Vick scored three rushing touchdowns in just over a quarter of play in his first college game as a redshirt freshman against James Madison in 1999.
Michael Vick Professional Life and Career
Vick ran the 40-yard dash in 4.33 seconds during his Pro Day workout; his time was clocked as low as 4.25, which is the fastest-ever quarterback for an NFL. He signed a contract worth $62 million for six years. On September 9, 2001, Vick made his NFL debut with the San Francisco 49ers and saw limited action.
After the season, after leading Atlanta to their third division title, Vick, whose single-season rushing total was the third-highest for a quarterback in NFL history, was named his second Pro Bowl. On December 23, 2004, he signed an extension of $130 million for nine years.
In August 2007, hours after Vick in the Bad Newz Kennels dog fighting investigation pleaded guilty to federal charges, the NFL suspended him indefinitely without pay for violating his player behavior policy. NFL commissioner Roger Goodell said in a letter to Vick that the quarterback had admitted conduct that was "not only illegal but also cruel and reprehensible."
At a press conference on August 27, Falcons owner Arthur Blank said the Falcons would try to recover a portion of the signing bonus from Vick. He said the team had no plans to cut ties with Vick immediately, citing salary-cap problems.
The Falcons sent a letter to Vick on August 29 calling for him to reimburse them for his $37 million bonus of $20 million. The case was sent to arbitration, and an arbitrator ruled on October 10 that Vick had to pay $19.97 million to the Falcons. The arbitrator agreed with the claim of the Falcons that when he signed his new contract in 2004, Vick knew he was engaged in illegal activity and that he had used the bonus money to pay for the operation.
Vick was mentored by former Indianapolis Colts coach Tony Dungy after his release from jail. As his suspension and incarceration continued, the prospect of his return to professional football was the subject of much conjecture. In 2007, John Clayton of ESPN said that few general managers were strong enough to consider taking a chance on Vick, and even then most NFL owners would be concerned about a fan and media backlash.
On August 13, 2009, Vick signed a one-year contract with the Philadelphia Eagles. The contract amounted to $1.6 million, with no guaranteed money. It included a $5 million team option for the 2010 season. On March 21, 2014, the same day that the Jets released Mark Sanchez, Vick signed a one-year $ 5 million contract with the New York Jets. One week later, the Eagles signed up to Sanchez.
Vick signed with the Pittsburgh Steelers a one-year contract worth $970,000 on August 25, 2015.
Vick announced in 2016 that he would be playing in the NFL for another season. However, he officially announced his retirement from professional football on February 3, 2017, after not signing with a team all season. Vick retired as an Atlanta Falcon on June 12, 2017.
After Retirement
Vick joined his former coach Andy Reid as a coaching intern with the Kansas City Chiefs during their 2017 training camp after expressing his previous interest in coaching. Vick finally left the role on Fox NFL Kickoff on FS1 to become an NFL analyst.
NFL American Football Coach Kijafa Frink Micheal Vick American Football Alliance


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Iran's terror threat and nuclear compliance should be dealt with separately, NATO chief says
Published Wed, Dec 6 2017 11:44 AM EST Updated Wed, Dec 6 2017 5:34 PM EST
Hadley Gamble@_HadleyGamble
The U.S. has linked the 2015 nuclear deal to Iran's alleged connection to terror organizations
NATO agrees that the international community has to address Iran's funding of certain groups
But the military alliance argues the nuclear deal should remain intact
NATO's Stoltenberg: Iran nuclear deal should remain in place
Street Signs Europe
NATO has warned that U.S. concern over Iranian terror activity should not spell the end of a fragile nuclear deal.
In 2015, a group of countries that included the U.S., agreed to ease sanctions on Iran if the country agreed to curtail development of its nuclear program.
Since coming to power in January, U.S. President Donald Trump has said he could cancel American participation in the agreement "at any time." Trump is concerned that Tehran is continuing to funnel funds to terrorist groups.
Speaking at the close of a two-day meeting of foreign ministers in Brussels, Belgium, on Wednesday, NATO Secretary-General Jens Stoltenberg agreed that Iran's connections to groups such as Hezbollah remained an issue.
But Stoltenberg called for the two issues of nuclear compliance and state–sponsored terrorism to be considered separately.
U.S. President Donald Trump poses with fellow world leaders during a NATO summit in Brussels, Belgium, May 25, 2017.
Jonathan Ernst | Reuters
"This kind of agreement of those issues should be addressed outside the Iran nuclear deal," he said. "That's the best way to ensure unity between allies and also between Europe and the U.S. on how to deal with Iran."
Earlier Wednesday, Israeli President Benjamin Netanyahu called on the international community to help prevent Tehran's attempts to export terror and expand Iranian influence.
Trump has lambasted NATO members for their lack of financial commitment to the organization and has threatened to reduce U.S. involvement.
But Stoltenberg said U.S. commitment to NATO was strong and ongoing.
"Deeds speak louder than words. We see now increased presence of the U.S. in Europe with more troops, equipment and training and also more funding for U.S. presence in Europe," he said.
"U.S. commitment to NATO and the transatlantic bond is strong and increasing."


MARY ANN D'URSO's features and essays have been published in The Boston Globe, The New York Times, The Philadelphia Inquirer, The Record, Newhouse publications, and for Reuters and Gannett news services. With a background in English literature and journalism, Mary Ann is also a photographer and educator. She has won several New Jersey Press Association awards.
In college, Mary Ann cut her teeth writing obituaries for The Record, a daily newspaper in northern New Jersey. Name. Age. Town. Cause of death. Her professional life in journalism had begun and with it, her understanding of the power of story, however brief or final.
Mary Ann went on to work at weekly and daily newspapers, as assistant to the editor at a woman's magazine in New York, and as Managing Editor of the in-house newspaper at an international law firm. She has also: sold kitchen gadgets at Crate and Barrel; taught literature and writing at high school prep schools; developed curriculum at an alternative school for at-risk women; been a school photographer, and served as the European sales rep for disposable urine thermometers. All the while, she collected stories and images.
For assignments or inquiries, Mary Ann can be reached at madursophotography@gmail.com.
Lulu Moran and her father, Michael.
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Les Nocturnes de Claude Debussy est un triptyque symphonique avec chœur de femmes. Le projet initial est né de la vision de tableaux du peintre américain James Whistler, que Debussy appréciait. Cette version originelle s'intitulait Trois scènes au crépuscule et comportait une partie de violon principal destinée à Eugène Ysaye. Composés entre 1897 et 1899, les trois nocturnes sont Nuages, Fêtes et Sirènes. Les deux premiers nocturnes furent créés le  à Paris aux Concerts Lamoureux, l'œuvre entière le . L'œuvre est dédiée à Georges Hartmann. À noter que Maurice Ravel fit une réduction de l'œuvre pour deux pianos (1902-1909).

Analyse

Nuages
Nuages est considéré comme un des chefs-d'œuvre de ce que l'on a appelé l'impressionnisme musical. Par un mouvement statique et régulier, et par des procédés harmoniques saisissants, le compositeur parvient à évoquer le mouvement des nuages avec une grande économie de moyens.

L'œuvre est écrite dans la forme A - B - A' .

Partie A
Le thème principal, qui ouvre l'œuvre en apparaissant aux clarinettes et aux bassons, est à bien des égards caractéristique du style de Debussy. Il se constitue presque exclusivement de quintes et de tierces parallèles, entre lesquelles il oscille de façon douce, répétitive et régulière, prenant ainsi le caractère « aérien » suggéré par le titre. C'est en effet un procédé courant chez Debussy que d'utiliser seulement une partie d'un accord (ici, la quinte ou la tierce) plutôt que l'accord complet, et de doubler cette partie, à l'octave supérieure ou inférieure, de manière à créer un parallélisme. On mesure déjà là à quel point le compositeur se détache de l'harmonie classique, qui préfère les accords complets et abhorre, de manière générale, les parallélismes — et par-dessus tout les quintes parallèles qu'elle interdit rigoureusement.

D'autre part, ce thème illustre l'approche véritablement non conventionnelle (si l'on se réfère à l'harmonie classique) de la tonalité chez Debussy. Si l'on peut considérer la partie A comme étant écrite en si mineur, il faut cependant bien garder à l'esprit que le si mineur de Debussy n'a rien à voir avec celui que l'on pourrait trouver chez Bach, Mozart ou même Wagner.
L'art développé par le compositeur, dans ces quelques mesures, pour éviter que la tonique ne s'installe clairement au sens classique du terme, est extraordinaire. Un compositeur a la possibilité d'affirmer la tonalité principale de deux manières : soit dans la simultanéité — c'est-à-dire en superposant, à un moment précis, les trois notes de l'accord parfait (,  et ) ; soit dans la durée — c'est-à-dire en faisant se succéder ces trois notes, de façon à que la conscience auditive puisse reconstituer l'accord parfait. L'établissement de la tonique dans la simultanéité, Debussy y échappe, comme nous l'avons vu, en utilisant uniquement des fragments d'accords et non des accords complets. Mais il évite tout aussi habilement d'établir si mineur dans la durée : ainsi, après que l'œuvre a débuté par la quinte si - fa # ( et ), on pourrait penser que la présence d'un ré () allait établir clairement l'accord parfait : mais, malicieusement, le compositeur place sous ce ré un si bémol, et embrouille par là toute la signification harmonique qu'il pourrait prendre.

Après quatre mesures, le premier thème est interrompu par un étonnant triolet, joué par le cor anglais, qui aboutit à un accord dissonant auquel se joignent les flûtes et les cors. De par son harmonie et son instrumentation, ce motif, qui aura un rôle très important tout au long de l'œuvre, n'est pas sans évoquer Wagner et le début du célèbre prélude de Tristan et Isolde (seul opéra de Wagner pour lequel Debussy ne reniera jamais son admiration).

Après un court passage pianissimo, marqué par un très léger frémissement des timbales, le thème principal réapparaît aux violons avant d'être poursuivi par l'ensemble des cordes, qui, à partir de la , entament un thème très expressif dont on peut considérer qu'il dérive du thème principal. Si, comme nous l'avons vu, ôter des notes à un accord est un procédé typique de Debussy, on en retrouve ici un autre, qui consiste au contraire en l'adjonction de notes à un accord : ainsi les accords parfaits de fa mineur, aux mesures 15 et 16, se retrouvent-ils gratifiés d'un si bémol qui leur est harmoniquement étranger. Utiliser dans un même morceau ces deux procédés peut paraître paradoxal, mais en réalité leur visée est la même : il s'agit d'empêcher une tonalité de s'installer clairement, dans un cas en ôtant la note qui permettrait à cette tonalité de s'affirmer, dans l'autre en rajoutant une note qui a pour conséquence de l'« embrouiller ».

À partir de la mesure 21, le premier thème réapparaît, constitué cette fois de sixtes, et joué par l'ensemble des cordes. Le motif du cor anglais lui est superposé. Pendant que le thème principal se poursuit aux cordes, les cors entament un motif très simple, consistant en une quinte diminuée descendante. Non diminuée, elle est ensuite reprise par les violoncelles et les contrebasses. La même succession de motifs est répétée les quatre mesures suivantes.

De la mesure 29 à la mesure 42, l'orchestre tout entier reprend le thème dérivé du thème principal, dans une mouture plus développée et plus variée que précédemment. Enfin le thème principal réapparaît aux cordes, mesure 43, gratifié à nouveau de l'exquis triolet du cor anglais. Il est par ailleurs accompagné d'un motif rythmique saccadé des premiers altos et des premiers violoncelles (ils ont chacun été divisés en deux groupes) qui jouent pizzicato. L'ensemble semble lentement s'éteindre, ne conservant que la douce oscillation régulière des violons et le chant du cor anglais, quand les hautbois font entendre, mesure 57, le thème principal tel qu'il était dans les premières mesures. Il est accompagné par le sublime contre-chant d'un alto solo. La partie A s'achève, trois mesures plus tard, dans un doux pianissimo préparant à la suite.

Partie B
La partie B ne marque pas un contraste fulgurant avec ce qui a précédé, loin de là. Même s'il est indiqué qu'elle doit être interprétée d'une manière « un peu animée » par rapport à la partie A, le rythme, très régulier et oscillant, évoque toujours le mouvement des nuages, tandis que le registre dynamique ne quitte pas le pianissimo. Il y a néanmoins un certain nombre d'éléments nouveaux, sur le plan tonal tout d'abord : de la tonique si mineur nous sommes passés à sa dominante majeure, fa # majeur. Notons par ailleurs qu'une harpe s'est rajoutée pour apporter une couleur plus particulière à l'orchestre.

L'unique thème de la partie B, d'abord entamé par les flûtes et la harpe, est bâti sur le mode pentatonique souvent appelé « chinois », qui correspond aux touches noires d'un piano. À la mesure 71, le thème est repris par les cordes, mais transposé hors de son mode initial. Quittant un instant l'atmosphère extrême-orientale, il revient à des harmonies plus wagnériennes. Cinq mesures plus tard cependant, il réapparaît une dernière fois, à nouveau aux flûtes et à la harpe, et à nouveau dans le mode « chinois ». Les mesures 77 et 78, qui terminent la partie B, nous offrent un très bel exemple de la polytonalité, et même de la polymodalité debussyste : tandis que le thème, pentatonique sur certains degrés de fa # majeur, se poursuit aux flûtes et à la harpe, les cordes font se succéder, pianissimo quanto possibile, des accords de mi bémol majeur et de si bémol mineur.

Partie A'
La partie A' est bien plus courte que la partie A ; il faut surtout la considérer comme un épisode conclusif qui reprend certains des premiers éléments de l'œuvre. Elle est introduite par le motif du cor anglais, qui annonce le retour à si mineur. Accompagné par de légers trémoli de l'orchestre, le motif de la quinte diminuée descendante réapparaît alors aux cors.  L'ensemble est repris une seconde fois, avant que l'on n'entende plus qu'une complainte du cor anglais, accompagnée de frémissements de timbales et de très légers trémoli des violoncelles et des contrebasses.  À la mesure 94, un fragment du thème principal de la partie A apparaît aux bassons, et à la mesure 98, c'est la  flûte qui joue un fragment du thème B. Les cors font encore entendre, une dernière fois, le motif de la quinte diminuée descendante, avant que Nuages ne s'achève, pianissimo quanto possibile, sur les pizzicati des cordes.

Fêtes
Dans le second nocturne, Fêtes, le compositeur ne peint pas seulement le mouvement, l'atmosphère rythmée et dansante de la fête ; mais aussi et surtout la part d'irréel, de rêve ou peut-être d'ivresse .

Tout comme le premier nocturne, Nuages, Fêtes est écrit dans la forme A - B - A'  avec coda.

Partie A

Première section
Sur un accord des flûtes, ce sont les violons, fortissimo, qui ouvrent la fête avec des quintes se répétant à un rythme effréné. Le cor anglais et les clarinettes font alors leur apparition en entonnant, forte, une très vive tarentelle. Cors et trompettes ajoutent encore leurs timbres colorés à l'ensemble, tandis que les quintes des violons deviennent diminuées, annonçant de nouvelles perspectives harmoniques. À la mesure 9, alors que l'ensemble s'est tu, altos, violoncelles et contrebasses reprennent pianissimo le rythme des violons. Deux mesures plus tard, flûtes et hautbois font entendre à nouveau la tarentelle, mais cette fois piano. Puis c'est au tour des bassons ; le rythme s'intensifie à nouveau joué en gamme par ton de la mesure 15 à 19, et repris à l'identique un demi ton au-dessus de la mesure 19 à 22, et un grand crescendo des bois et des cordes au complet débouche sur un puissant motif de cinq accords entonnés par les cuivres, sur lequel s'achève, après un roulement de timbales fortissimo quanto possibile, la première section de la partie A.

Deuxième section
La deuxième section est introduite par un saisissant glissando des harpes. De fa mineur nous sommes passés à la majeur, et le compositeur ne manque pas d'indiquer : « un peu plus animé ».
Le rythme, plus piqué, plus dansant et plus léger que précédemment, apparaît d'abord piano aux bois, avant d'être repris mezzo forte par les cordes, à la mesure 30. À ce moment-là, la tarentelle revient, forte, jouée par les flûtes et les hautbois. Tout ceci est ensuite littéralement répété.
Les cuivres font alors résonner des accords très marqués ; mais rapidement, on entend les bois reprendre des fragments de la tarentelle. Les accords des cuivres réapparaissent, mesure 45, avant d'être repris par les clarinettes, les bassons et les cordes mesure 51.

Troisième section
Un nouveau motif, très simple (la - do - la) est entonné par les hautbois sur le léger frémissement des cordes. Il est ensuite repris, par deux fois, une tierce plus haut, par les flûtes. L'intensité monte et, à la mesure 73, les cordes reprennent, mezzo-forte, le motif sur lequel les cuivres avaient clos la première section, tandis que l'ensemble des vents tournoie vivement. Un premier crescendo s'élève mais, après avoir abouti à un fortissimo de l'ensemble de l'orchestre à la mesure 83, il débouche sur un pianissimo où ne se font plus entendre que des fragments de ce qui a précédé. Une douzaine de mesures plus tard, débute un nouveau crescendo ; mais lui aussi s'éteint rapidement, après un saisissant épisode de pizzicati chez les cordes. Ce sont maintenant les cordes, justement, qui reprennent le motif tournoyant joué jusqu'ici par les bois, tandis que ceux-ci, à l'inverse, font entendre les motifs légers et réguliers joués jusqu'ici par les cordes.  Un troisième crescendo, beaucoup plus important que les deux précédents, va maintenant s'étaler sur quatorze mesures, pour aboutir directement à la partie B.

Partie B

Première section
La partie B affiche une armure de ré bémol majeur, même si on ne peut pas dire que cette tonalité y apparaîtra véritablement. Toujours est-il que le précédent crescendo, après avoir atteint le fortissimo, a à nouveau débouché sur un pianissimo : la fête s'est donc tue.
On entend d'abord qu'un rythme, constitué de pizzicati des violoncelles et des contrebasses, de légers coups ininterrompus des timbales et de frôlements de harpes, auquel va se superposer, à partir de la mesure 128, une marche singulière, jouée par les trompettes qui font leur apparition dans l'œuvre. Ce thème est tout de suite répété, toujours par les trompettes, une tierce mineure plus haut, et Debussy indique : « un peu rapproché ».

Deuxième section
Crescendo, le thème est repris une tierce majeure plus haut par l'ensemble des bois, soutenus par des pizzicati qui se sont étendus à l'ensemble des cordes. On peut considérer ici, avec cet étoffement de l'orchestration, qu'une deuxième section commence -- même si la division de la partie B en sections n'a rien d'aussi évident que celle de la partie A. Les appels des cors, aux mesures 152 et 154, intensifient encore le gigantesque crescendo, qui aboutit à ce qui peut être perçu comme la troisième section.

Troisième section
La marche apparaît enfin au grand jour, jouée par les trombones et le tuba sur un rythme effréné des bois, des cors et des timbales, tandis que les cordes entament, en triolets, un thème dérivant de la tarentelle de la partie A.
Débutant pianissimo quanto possibile et s'achevant fortissimo, la partie B décrit indéniablement le mouvement d'une fanfare, que l'on entend d'abord au loin et qui se rapproche de plus en plus jusqu'à apparaître « devant nous ».

Partie A'

Première section
À la mesure 178, la tarentelle, en ré bémol majeur cette fois, revient aux flûtes, marquant ainsi le début de la reprise de la partie A. L'ensemble de l'orchestre poursuit ensuite, sur le même rythme, un motif dérivant de la tarentelle. Arrivé à fortissimo quanto possibile, mesure 204, la fanfare fait son ultime apparition.

Deuxième section
La mesure 212 voit l'armure repasser à la majeur : c'est la reprise de la deuxième section de la partie A, qui est répétée ici de manière quasi-littérale, mais pas dans son intégralité -- il s'agit seulement des mesures 28 à 39. Les changements résident pour ainsi dire surtout dans l'orchestration, qui est plus étoffée, et dans nuances, qui sont plus marquées : par exemple, le mezzo-forte de la partie A devient ici un forte.

Troisième section
C'est ensuite la troisième section de la partie A qui refait son apparition avec le fameux thème de trois notes, dont deux se voient ici réduites en appoggiatures. Après avoir atteint le point culminant, le fortissimo de l'ensemble de l'orchestre, la fête semble peu à peu s'évanouir. Comme souvent dans les fins de morceaux chez Debussy, les instruments, parsemés, n'entonnent plus que, pianissimo, des fragments clairsemés de ce qui a été entendu auparavant.

Coda
Mais après une vingtaine de mesures, apparaît la coda. Accompagné des pizzicati des cordes, le hautbois solo fait entendre une tendre complainte à laquelle répondent les flûtes, les hautbois et les bassons.
Enfin réapparaît, aux violoncelles et aux contrebasses, le rythme de la tarentelle ; mais il s'éloigne irrémédiablement, comme l'indique la partition : « et toujours s'éloignant davantage ». Après que les cors et les trompettes ont fait entendre leurs derniers accords, il ne reste plus que les contrebasses, qui, après deux mesures, s'éloignent définitivement.

Sirènes
Par cette œuvre au titre évocateur, le compositeur aborde avec génie à la fois le thème de la mer, qu'il affectionne particulièrement, et l'univers fascinant du rêve. Dans une note de présentation, il a lui-même résumé ainsi l'esprit de ce nocturne :

Une grande caractéristique de Sirènes est l'introduction d'un chœur de femmes (huit sopranos et huit mezzo-sopranos) qui chantent sans paroles, et font donc l'objet d'un traitement instrumental.

Ce nocturne se constitue de cinq parties, exploitant principalement deux motifs principaux.

Première partie
Sur de sourdes quintes jouées pianissimo quanto possibile par la harpe, les violoncelles et les contrebasses, l'œuvre s'ouvre sur le paysage de la mer, paisible, et de ses vagues légèrement oscillantes que l'on peut entendre par un motif de deux notes, joué par les cors, et auquel répondent des arabesques des clarinettes. Ce motif de deux notes, que l'on pourra appeler motif des vagues, est le plus important de Sirènes ; car c'est de lui que sera issue la plus grande partie de toute la substance musicale de l'œuvre.

Dès la seconde mesure, au loin, se font entendre les sirènes, qui se laissent porter par les vagues. La mer commence à s'animer, et rapidement le motif des vagues, ou l'arabesque qui l'accompagne, s'empare de tous les instruments au cours de brefs crescendo.
Après avoir évoqué, sans les affirmer réellement, les tonalités de si et la majeur, Debussy emploie un mode pentatonique caractéristique de son expression musicale.

C'est alors que, à la douzième mesure, apparaît au cor anglais le second grand motif de l'œuvre, une complainte chromatique de cinq notes. Elle est ensuite reprise, en diminution, par le hautbois et les bassons, tandis que les sirènes, portées par des vagues de plus en plus fortes, ne cessent de se rapprocher. L'appel du cor anglais se fait entendre à nouveau, et encore une fois la mer s'agite avant de retrouver son calme pour quelques mesures : les sirènes sont là.

Deuxième partie
Et c'est à ce moment, à la mesure 26, que les sirènes entament leur chant, basé sur le motif des vagues, oscillant irrégulièrement sur seulement quelques notes, alternant croches simples et croches en triolet. Pendant ce temps, les violons reprennent, en diminution, le motif chromatique du cor anglais, avant que ce ne soit au tour des flûtes, du cor anglais et des clarinettes d'en faire autant. En quelques mesures, les oscillations de l'eau ont gagné tout l'orchestre au son du chant séducteur des sirènes.

À la mesure 38, le chant s'interrompt un instant, laissant place aux bois — qui, sous les pizzicati des cordes, rappellent le motif de l'appel du cor anglais — avant de reprendre, agrémenté d'un magnifique accompagnement des cordes constitué de notes piquées et répétées très rapidement. Après d'intenses glissandi des harpes, le motif en mode pentatonique réapparaît forte, tandis que le chant des sirènes peu à peu s'éteint.

Troisième partie
La troisième partie, où Debussy indique « un peu plus lent », est plus sombre que les deux qui ont précédé. Sur fond de réminiscence du chant précédent, dont cors, clarinettes et altos reprennent des fragments, les sirènes entonnent un nouveau chant, qui n'est autre que le motif de la complainte du cor anglais, cette fois-ci non pas diminué mais augmenté — et même doublement augmenté.

À la mesure 72, le compositeur demande d'animer, « surtout dans l'expression ». De fait, une expression tourmentée s'empare de tout l'orchestre et s'intensifie jusqu'à véritablement atteindre un point culminant, à partir de la mesure 75, où les cordes, forte dans le registre aigu, font entendre une mélodie à la fois sublime et déchirante, qu'ils poursuivent jusqu'à la mesure 82 où Debussy indique « Retenu avec force » ; sur les cordes diminuant, les trompettes entonnent alors l'appel initial des sirènes, dans cette gamme par tons si chère au compositeur.
Le tempo redevient plus lent, et le sombre chant des sirènes, reprenant la complainte chromatique du cor anglais, est répété. Pendant ce temps, c'est l'orchestre tout entier qui reprend le motif de la vague en employant la gamme par tons.
Mais soudain, à la mesure 101, alors que l'intensité semblait à nouveau s'élever et que le forte avait été atteint, le chant des sirènes, brusquement, s'interrompt.

Quatrième partie
La quatrième partie observe un retour progressif au premier tempo. Le paysage orchestral, par ailleurs, n'est plus du tout celui de la partie précédente. Ce n'est d'abord qu'un rythme, sourd et saccadé, qui se fait entendre aux cors, à la harpe et aux pizzicati des altos, avant que n'apparaisse par-dessus le cor anglais et les bassons, reprenant le premier chant des sirènes (basé sur le motif des vagues), et accompagné de broderies des flûtes et des clarinettes. Mais deux mesures plus tard, ce sont les sirènes elles-mêmes qui entonnent leur chant voluptueux et séducteur, tandis que l'ensemble de l'orchestre les accompagne avec de plus en plus d'intensité.

À la mesure 111, après une montée des violons, en triples croches, sur les degrés de la gamme par tons, le premier tempo est enfin retrouvé : sur les trémolos des violons et les arpèges des harpes, les sirènes chantent leur mélodie mezzo-forte, tandis que les trompettes, qui ont refait leur apparition, font entendre leurs appels, bientôt de plus en plus lointains.

Cinquième partie
Encore une fois, à la mesure 119, le chant des sirènes s'interrompt. On en entend plus qu'un fragment, aux cors, tandis que les cordes, simultanément, montent et descendent la gamme par tons, pianissimo quanto possibile. Les sirènes font à nouveau entendre le chant triste de la troisième partie, à savoir le motif du cor anglais doublement augmenté. Pendant ce temps, le chant tiré du motif des vagues apparaît successivement aux altos, aux violons, aux clarinettes et à nouveau aux altos. Tout semble s'éteindre et s'estomper, et au moment où le compositeur indique « Plus lent et en retenant jusqu'à la fin », le motif de la complainte du cor anglais est joué, tel quel cette-fois ci, par les violons.

Des sirènes, on entend plus qu'un soupir ; et à nouveau les violons reprennent la complainte, une tierce mineure plus bas que précédemment. Après qu'a résonné un dernier appel des trompettes à la mesure 137, les sirènes entonnent une ultime fois, pianissimo, leur doux chant tiré du motif des vagues. L'œuvre s'achève, pianissimo quanto possibile, sur l'accord parfait de si majeur.

Instrumentation
 trois flûtes, deux hautbois et un cor anglais, deux clarinettes, trois bassons, quatre cors, trois trompettes, trois trombones, un tuba, trois timbales, deux harpes, percussions, cordes.
 Durée d'exécution: Environ vingt sept minutes.

Partitions
 Nuages : site du projet "Variations" de l'université d'Indiana
 Fêtes : site du projet "Variations" de l'Université d'Indiana
 Sirènes : site du projet "Variations" de l'Université d'Indiana

Notes et références

Liens externes

Composition impressionniste
Suite orchestrale
Poème symphonique de Claude Debussy

redpajama_set_name: RedPajamaWikipedia


text:
Creating Dance with Elders, and How to See It: Company of Elders in the World Gold Theatre Festival
Katsuhiko Sakaguchi*
The Company of Elders, produced by Sadler's Wells Theatre (U.K.), was invited by Saitama Arts Theatre (Japan) in 2018 as a model for dance companies which feature elderly performers. The article discusses how the triple bill by the company strived to explore the possibilities of creating dance by tapping into the physicality of the elderly performers, as well as how that challenge can be contextualised in the modern history of dance.
Keywords: dance, elderly performers, physicality, Company of Elders, creative process
1. A Dance Company of the Elderly
The Cabinet office of Japan estimates that, in 2015, 26.6 percent of the country's population was of those over 65, the highest rate in the world. The country's long-standing position at the top of the world's life expectancy list has perhaps led to the impression that the country is hospitable to the elderly. In actuality, while it is true that its national medical insurance service covers the entire population, Japan's medical care system for senior citizens is riddled with problems at a time of decreasing birth rate and aging population. The current administration strongly advocates more elderly people working, with a clear political aim at reducing the expenditure on the national pension scheme and medical care, raising the suspicion that it is not serious about tackling the problem.
Art-sector participation by elderly people, on the other hand, is starting to take on various forms. Stage participation of older adults was the main agenda for the World Gold Theatre Festival, held by the Saitama Arts Theatre (SAT) in Autumn 2018. Theatre directors and companies engaged in theatre programmes and projects involving the elderly were invited from around the world to give performances, workshops and symposiums. Its clear emphasis was on theatre made by the elderly as well as its social significance.
SAT's resident professional company, Saitama Gold Theatre (SGT), has put on ground-breaking performances since its creation by the late Yukio Ninagawa, in 2006, soon after he was inaugurated into the office of the SAT artistic directorship. The company, with actors in their sixties and nineties, was at the centre of the Gold Theatre Festival.
In fact, Japan has several similar active theatre companies consisting of older adults, which makes it surprising that the country has had no dance companies with senior dancers. That was one of the reasons why the Company of Elders (CoE), produced by Sadler's Wells Theatre (U.K.), was invited as a model which SGT could look up to.
It is easy to imagine that aging gives rise to difficulties for performers. The stronger emphasis on physicality makes dance especially challenging for elderly performers. Because of this, elderly dancers, especially those over 70 years of age, draw our respect. Just to see them dance is moving in itself. Dance can keep them healthy and motivated. Obvious, however, is the fact that their participation alone does not automatically warrant artistic merit. Undeniably, we are likely to see dance pieces by elders within a certain, often predetermined frame of expectation. The performances given by the CoE were examples of how performances by senior dancers can debunk that frame and be compelling enough to make us reconsider our possible prejudices against aged stage performances.
2. Creating with the Aged
Sadler's Wells Company of Elders, Fragments, Not Forgotten. Photo: Maiko Miyagawa
CoE's performance was a triple bill, each session made by a different young choreographer. The first piece, Fragments, Not Forgotten, was choreographed by Seeta Patel, who has a background in Indian traditional dance and contemporary dance. The dancers make each move as if to trace the fragments of their memories, never hurried, and with pauses and repetitions. It is hard to determine where their moves come from, but it is easy to see that the moves are deeply rooted in their physicality. As the ten or so dancers follow one single move, they start to go off synch, and rather than diminishing its artistry, the divergent movements make the piece all the more interesting. Those are most likely the moves that Patel must have drawn from her interaction with the dancers in the rehearsal—the kind of moves that were not given to but extracted from the dancers' physicality. Pina Bausch and others have adopted this method, but it was even more effective in Patel's piece because of the age of the performers.
Sadler's Wells Company of Elders, A Tentative Place of Holding. Photo: Maiko Miyagawa
The second piece, Adrianne Hart's A Tentative Place of Holding, picks up pace with clearly choreographed movements, which were not too complicated, but with intermittent pauses and hiatuses. These pauses were strategically contextualized so as not to be received as being awkward. When dancers attempt an off-balanced move, instead of testing the limit as young dancers would do, they simply emphasise the imbalance by extending their arms and legs a little more than usual. They cannot risk taking a fall, of course, but in this piece these slight emphases were enough to make the moves effective. If younger performers had danced to the same choreography, the movements would have been much smoother, but then that would have been a totally different piece. This is a package with occasional naturally occurring hesitations and pauses calculated into the piece. Moreover, those "awkward" movements did not stop the flow, but rather varied the pace and even accelerated some moves. Hart must have had a full grasp of the physical possibility of her dancers and planned the choreography accordingly to create maximum artistic effect.
Sadler's Wells Company of Elders, Abyss. Photo: Maiko Miyagawa
Their last piece was Dickson Mbi's Abyss. Mbi's background is hip hop, which requires not only agility but also sudden pace changes and a good sense of rhythm. Obviously, huge difficulties are posed for the elderly as a consequence, but the virtue of this piece is that Mbi did not expect this of his dancers. The dancers' powerful stomping on the floor defines the beat and drive. Then, they create a light upward motion with their arms as they stomp the beat. Their movements are not quick, but when the ten or more dancers move in one motion, the pace seems to pick up. They do not dance like young hip hop dancers, nor are they painstakingly trying to imitate their moves; inspired by and aspiring to the spirit of hip hop, they are using their limited agility and flexibility to its fullest. While what the title, Abyss, suggests remained obscure, the performance turned out to be a wonderful fruit born out of the collaboration between them and Mbi.
The three choreographers are of quite different feathers, but it was clear that the three pieces they created were a result of a very close collaborative process with the dancers. Time must have been spent trying to understand their aged dancers' physicality and exploring possibilities through observation and dialogue, before they were able to give the pieces their final shape. It was not just the choreographer dictating the moves.
Short film for Sadler's Wells performance by the Company of Elders
As a build-up for the 2018 World Gold Theatre Festival, SAT invited some affiliates to Sadler's Wells for symposiums and workshops in the year preceding the festival. I had the opportunity to participate in the workshop conducted by Simona Scotto, rehearsal director of the CoE, and got a glimpse of their training process. We did some relaxed, large movements collectively, and then each of us was asked to come up with and hand over a simple move to another. Simple, basic collaborative exercises like this was at the core of the company's method, which is vital, especially in a company of elders.
3. Age in the Eyes of the Beholder
Kazuo Ohno in The Dead Sea
The mere sight of old people moving on stage can be touching, but their age of course is not the only reason one is moved. Take Kazuo Ohno, the late butoh dancer. Ohno was exalted as being simply inimitable because of his consummate spirituality, and his dance often praised as sublime and mature because of his age. This perception, however, seems to be changing. The change was brought about by Takao Kawaguchi, who, in his series of performances entitled "About Kazuo Ohno," has reproduced Ohno's dance as faithfully as professionally possible since 2013. Initially, his approach met scepticism from some quarters―scepticism that it was materialist without any regard for Ohno's spirituality―but many have now discovered what used to be hidden under the veil of the myth of Kazuo Ohno. They have found that there was more to see in his dance than its spiritual height achieved through his aged body; his dance, on a more materialistic level, was full of subtlety and versatility. Ohno was not an aged dancer. He just happened to be old.
"About Kazuo Ohno" by Takao Kawaguchi
Another point of reference is Pina Bausch. Her representative dance piece Kontakthof (1978) was performed by dancers over 65 (Kontakthof with Seniors, 2000) as well as young dancers over 14 year of age (Kontakthof with Teenagers, 2008). None of the dancers were professional, but the company members who had been with Bausch since the beginning had worked on meticulously choreographed pieces. Admittedly, Kontakthof does not require transcendent physical skills, but a subtle sense for pauses and moves is an absolute requisite, nonetheless. Whatever the intentions were of limiting the age of dancers, their performances were powerful enough to show that their age, whether young or old, did not mean handicaps or privileges.
The same holds true with the CoE's Triple Bill. We are made aware that age does not mean anything in itself. The dancers were not asked to challenge their aged physicality and, therefore, their moves were natural and light; the kind of quality achieved not by struggling with techniques, but by the natural extension of what they have within. It is not that they did not work hard for the show. Of course, they did. However, their hard work was not aimed at making the impossible possible, but at exploring their artistic possibilities with the choreographers. Hence, the utmost individuality. Their moves may not have the same briskness as youngsters' hip hop, but that takes nothing away from their performance. They are doing what they can do just like anyone else. It just happens that they are elderly dancers.
*Katsuhiko Sakaguchi is a dance critic as well as lecturer at Waseda University. He teaches Mathematics and Cultural History. His research topics include wartime relationship between dance and politics in Japan. His publications include Takaya Eguchi and Misako Miya's Modern Dance Group Touring the Battlefront (Sakaguchi and Nishida, 2017, Canta) and the Japanese translation of John Dee's Mathematicall Praeface in Essential Scientific Writings in Renaissance Europe (Ikegami, ed., 2017, University of Nagoya Press). He is an editorial member of IATC Japan's journal Theatre Arts.
Copyright © 2019 Katsuhiko Sakaguchi
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redpajama_set_name: RedPajamaGithub


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Australian people are routinely thought to be 'laid back again' within their outlook and will cope with several unique scenarios with no need to have of becoming considerably much too offended. This might commonly carry on an absence of comprehension when persons now of other cultures Actually Will not respond an identical way. Australians normally Make use of a eager experience of pleasurable and 'mateship' and favor informality of their on a daily basis dealings with A lot of Other folks.
American folks also have a welcoming, laid yet again outlook – Whilst They are really genuinely witnessed to normally be fairly a lot more conservative than Australians. Only all around ten% of Americans Have obtained a passport. This could make them alternatively isolated in just their outlook. In the home, They can be utilized to wonderful benchmarks of consumer support. When travelling overseas they often expect American technical specs and products and services in other elements of your world and generally is a tiny puzzled once they uncover this hardly ever to be the specific situation.
German people are noticed to usually be exceptionally specific, orderly also to have a strong get The task carried out ethic. As an example, When you've got instructed a German person who paperwork you could be getting ready for them will almost certainly be Prepared to Get at a certain time, they will believe them for getting All set at that precise time, and could not comprehend if they're not. This might result in them to act in what appears to be an abrupt and every now and then demanding way. They are also fairly Formal within their dealings with Other persons. Unless of course They're acknowledged for yourself, or have initiated a lots much less rigid method by themselves, a formal deal with is critical. German Individuals who have recognized one another for a few years keep on to get in contact with one another by their Formal titles – they're going to say 'Excellent early morning Mr Schmitt' or 'How is your mom executing Mrs Schultz?'. Due to this fact they will not, commonly, choose kindly to presently being dealt with by their to begin with names by strangers or starting to be extremely popular.
Japanese folks will also be perceived as aquiring a potent complete ethic As well as a company notion to be able and composition. They might be workforce oriented, have a powerful emotion of honour and are incredibly aware of presenting the proper graphic. In social scenarios they can certainly be ashamed by rude or discourteous conduct and can then politely but firmly close their communications channels. They're also comparatively official inside their dealings with Other individuals. The area, in Australia, we think that wonderful dialogue competencies show preserving eye Speak to – in Japan an extreme quantity of eye Get in touch with is thought to be getting staring and so impolite.
Other qualities can include how wherever some cultures contend with time. Some cultures just take an exceptionally tranquil see of your time and energy and punctuality while others are certainly not as adaptable about issues with time administration. This might Generally deliver conflicts the position one individual man or woman insists on remaining instantly when A different one is just not gonna get punctuality so considerably and occasionally comes late for do the job or meetings.
tracks, as well as far more.
Folks right now from other races and cultures have a fantastic offer to provide. By interacting with them inside a beneficial way, and producing an try to understand them, we can find out about other nations and customs, we can broaden our pretty very own outlook on lifetime and increase our customized 'databases' of information. Possessing claimed that You can't understand everything, Therefore if in doubt well mannered and courteous perform is often a universal language!
We have checked out a variety of the ways that people today vary. But why Is that this crucial?
The Operating life span of most of the people, in the present Earth, is amongst normal contact with people from all walks of daily dwelling and from all corners from your earth. We are now living in an period of significant social variety. If we don't recognise and acknowledge the cultural distinctions regarding Adult men and girls we could create disharmony and distrust in the workforce. Furthermore we prospect shedding The chance for private development plus the improvement of one's complete crew.
The value of assortment in Group is enormous. It could Enhance the standard of teamwork, operation and shopper treatment By means of a broadened base of knowledge and dealing practical experience. A culturally assorted workforce is Inventive and versatile. It exposes shoppers and colleagues to new Strategies, other ways of Running and attaining decisions. Understanding from consumers and colleagues from other backgrounds, also broadens our very individual individual horizons and expands our individual experience foundation, making us added successful and tolerant as individuals currently.
When staff users originate from many backgrounds, they create one of a kind abilities and ordeals with them. This invariably contributes to an organisation's In general progress. Embracing personnel with exceptional skills and cultural viewpoints aids in comprehending the demands and needs of The purchasers, over a globally scale. Wide range in place of function leads to a wide variety of viewpoints and smaller business enterprise Ideas. This allows a corporation to formulate the most effective Group process, with its huge pool of assorted Ideas and alternatives.
Creativeness increases when folks with various ways of repairing complicated complications get The work carried out collectively toward a typical Cure. There is no 1 specific best solution to any problem–the greater Strategies you will be able to attain from varied folks currently, the bigger possible you may be to produce a workable respond to. Other cultures can provide insightful solutions you might not have seen as. This really is an awesome advantage of assortment in the course of the office.
Efficiency boosts when Males and girls of all cultures pull along with one another to only one inspiring intention.
Comprehension how our state suits into the globe Imageis crucial. By relating to people of all backgrounds, We are going to obtain a better perspective on how unique cultures run and abilities increased achievement in equally the Local community And in planet-extensive company Subsequently.
New strategies might wind up when men and women with a variety of Concepts happen together and collaborate. In today's swift-relocating entire entire world, There's not a lengthier Place for thinking about, "We have commonly accomplished challenges On this way and can't modify." Personnel should convey many experience to the ambiance, Take into account cross culturally, and adapt rapidly to new situations.
Workplace diversity may possibly make organisations supplemental successful and worthwhile. They also supply distinctions that we must understand and embrace for all These Rewards to get realised.
translation of crucial workers / procedural manuals into other languages as well as a lot more.
provision of food stuff expert services (in which a canteen is obtainable) that take into consideration cultural or scientific dietary demands.
Workplace wellbeing and security – making certain suited induction and ongoing training can take put within a technique that addresses the dreams of a diverse workforce. This may additionally consist of such things as furnishing wheelchair ramps and entry to toilet amenities.
Interpreter solutions, as an opportunity to communicate and possess an comprehension of English might have an effect on another person's ability to maneuver inside of an organisation in regard to treatments and promoting possible shoppers.
Occasionally carry out methods may maybe should be modified to be sure that you may interact with culturally numerous purchasers or co-workers proficiently. To ascertain the requirements for culturally suitable corporation, you have got to Look at with with Other people which have certain knowledge within the cultures which can be represented within just just your Workplace and its shopper Basis.
We all belong to cultural teams of one kind or One more. The group we belong to might be determined by the region we ended up born in, the faith we belong to, our Bodily disabilities (i.e deafness), our monetary position through the Area people or a number of other elements. As soon as the cultural teams we belong to are in a considerable majority within our Team, we are additional not likely to know about the working day immediately after day problems that encompass us. Cultures shared by dominant teams typically appear to be 'purely purely natural,' 'standard' or 'the way in which objects are carried out.' We only observe the affect of 'cultures' on our Local community When they are particularly distinct from our.
When it comes to why factors go Incorrect among the folks of assorted backgrounds it is important to bear in mind the basic principles of human nature – that Many of us opt to fulfil our personal requirements and needs in techniques typical to us and when this does not manifest conflict is unavoidable. Conflict develops due to the point we are handling folks's lives, young children, pleasure, self principle, ego and so forth. While inescapable, misunderstandings is often minimised and stuck by recognising the early indicators of conflict. But to start with we want to be familiar with The explanations why conflicts can and do appear about.
Race, Tradition and Faith. Cultural influences and identities may very well be vital to people now with regards for the state of affairs. When an element of cultural id is threatened or misunderstood, it could build into a difficulty of principal conflict involving cultural groups. This could lead to harmful Operating challenges. In these situation it is helpful on your people today in conflict to talk to one another calmly, More than likely by making use of a mediator, to help them see Each and every Others viewpoint and to hunt out procedures to maneuver forward within a good way.
Age. The 'era hole' could cause conflicts among age teams; with more mature Males and ladies believing that extra youthful varieties are irresponsible, plus more youthful people today believing which the more mature era would not fully grasp them or what they are going through.
Family members framework. Migration to Australia has skilled an impact on home constructions and just how men and girls from other nations combine into our communities. The family styles change as Just about every technologies grows up. For illustration; in the beginning technological innovation migrants will certainly carry with them the traditions and customs in their homelands Even though 2nd technologies migrants may have strayed in the preceding options to a specific extent. By the point you obtain for the third engineering your home nation has started to become Australia and sometimes the previous traditions are already overlooked and could, probably, make conflict in residence teams or several generations with the office.
Bodily or mental disabilities. People that uncover by themselves deaf, blind, have chronic ailments or situation have their extremely personal difficulties to manage with and could reward very substantially from comprehending on the A Section of do the job colleagues. Individuals in these teams will hardly 'endorse' their problem so it might be hard to know why conflict is occurring.
Begin by making a rapport. You are able to try this by demonstrating a willingness to listen and by having dependable and open up about worries.
Established targets for resolving the conflict and plan for Recurrent discussion ideal up till The issue has long been settled to All people's gratification.
Stay clear of leaping to conclusions. Be patient and Allow Yet another particular person have their say, without the need of owning interrupting or imposing your very own feelings or Recommendations on them.
See one other individual's human entire body language. They might only be stating regardless of what they Picture you should pay attention to, but In place of actuality Genuinely don't believe way in the least. Seeking forward to non-verbal alerts can provide you with a superb indication of what ever they are actually imagining and sensation regardless of cultural historical past and language criteria. Similarly, try to be aware of your own personal physique language – ensuring that you'll be sending optimistic alerts. Usually keep in mind, the item here is to solve the conflict and when you feel that some items typically aren't obtaining stated you need to draw in them out. If you do not know what's Improper – How could you contend with it?
Check out dissimilarities in perception and/or tradition brazenly and calmly and consistently tension the necessity of resolving the conflict and reaching an comprehension.
Make certain you carry on to keep just for the data And do not Help feelings get in the best way. Rendering it achievable for thoughts to surface area place can typically breakdown the communications process, as tempers heat up and develop into agitated. Obtaining mentioned that, Remember the fact that all people are diverse! All inner thoughts and beliefs that any individual has or feels are valid in their eyes. They've a induce for a way they feeling. These superior reasons may perhaps not necessarily be good kinds on your means of thinking about, but to one other particular person – They are seriously valid.
Carry on remaining tranquil usually. If another guy or lady is emotional or intense then you should demonstrate maturity and calmness to find the discussion again heading in the proper path. Shouting or behaving within just an aggressive trend will only make your scenario even worse.
Steer clear of putting blame. In the course of conflict resolution, figuring out who's wrong or right or who's at fault isn't really That which you're desirous to do. A obstacle exists and what you are trying to try to do is to hunt out an answer to The difficulty that might be satisfactory to all folks anxious. Acquiring A different human being responsible is just not gonna deal with the situation.
Inquire open difficulties, including: 'I know that your Most vital concern is… but what else could you explain to me?' Inquiring this type of Predicament draws out any remaining troubles that someone may have. Adhere to by with clarifying troubles. 1 illustration is: 'So Every thing you might be declaring is that you are unhappy Working in the accounts Division and also you desire to staying transferred to administration.. is the fact suitable?' In this manner you will get a complete comprehension of the issue(s) of worry.
Look at to ascertain if absolutely anything has very long been remaining unsaid. Challenges, even slight types, that have not been dealt with, or that have not been settled satisfactorily can fester and spring up once more with out warning. A circumstance that you end up picking to considered was solved – is Therefore not! Speak to fears to be sure. One particular illustration is: 'From what I have read, I think that the principle trouble within your respective difficulty relies on what We've now just reviewed. Receiving absent above this case along with you, How does a single sense about the precise situation now?' In carrying out this, we Test to ensure that the opposite individual is pleased with the resolution, or if there are still troubles that has to be addressed.
If critical, herald an interpreter Or maybe a neutral third party to 'referee' the discussion. This should make sure that The situation is talked out inside of a peaceful and civilised vogue. This 3rd human being could also reveal areas precisely the place a compromise can be attainable.
Continually Take into account that the final result Together with the dialogue should be to ascertain (or re-make) a harmonious Running partnership.
Display screen One more personal courtesy and respect – allowing for them to condition their situation without bias.
Over again, That which you're hoping to achieve can be a Accomplishing the job relationship that's directed towards The nice of The complete – a Functioning romance that may make a delighted and harmonious spot exactly where to operate and an atmosphere anywhere potential customers will really come to feel welcome.
Non verbal language. Dealing with indicator language, gestures, demonstrating or demonstrating what you're just after.
Colleagues who may possibly extremely effectively be acquainted with The customer's language. You might have mates or kinfolk who'll talk Yet another language who will guide out for those who telephone them.


Mr. Poe was not mollified. The truth of the matter is, compliments from loved ones are too often like pennies in the hand of a beggar. We take them for granted and dismiss them as too poor for our needs. It is a selective partiality.
Mrs. Poe got up from her chair. Pale and fragile, when she sought his face she was determined and strong.
The lights were beautiful. Every year the clan gathered to see them, the mysterious glowing orbs that some said were the souls of the departed communing with them like angels.
Grayse found Peepa at the top of their favorite tree. She panted as she climbed, scolding the little bird under her breath.


The Sunday School hour, 11AM-11:45AM, at Almond Valley Church is one of the primary times and ways we educate children and adults to know the Bible and its teachings. We especially challenge children and adults to live out the lessons of faith and become faithful followers of Jesus in all we think and do. Classes are offered for all ages and meet in various locations in our building. Please feel free to ask an usher, elder, or any member to help you find your way.
DWELL Sunday school curriculum actively engages kids in God's story using interactive games, reflective wondering, dramatic storytelling, and a whole lot of fun. Colorful story symbols create visual timelines; songs with kid appeal help memory verses stick; and wonderfully illustrated take-home pieces provide support to families. Through it all, DWELL invites kids to find their place in God's story, living into and out of it for the rest of their lives.
In DWELL, kids do more than hear a story. They experience it!
Our middle school education classes blend middle school ages, 6-8th grade. The DIVE curriculum helps teens grow in faith, connect with God's people, and live out God's story for their lives. DIVE includes interactive devotions based on selected Scripture passages and on the teachings of the church. Story symbols connect the readings to DIVE curriculum sessions. Activities include Bible reading, Q&A's from the reformed tradition, memory verse and a challenge.
Go ahead! DIVE a little deeper into God's Word and God's world. See for yourself what God is doing!
It is our church's desire and prayer for our high school youth to develop a deep, growing faith that stays with them and continues into a lifelong relationship and service to Christ. Currently the high school students are studying the Heidelberg Catechism. The Heidelberg Catechism is a summary, in question and answer form, of the various teachings of scripture. Written in 1563, it is a personalized confession of faith.
Almond Valley's Adult Sunday School class is just one way we seek to provide our adults with high quality theological and Biblical discipleship. Our 4-6 week studies will include topics such as various books of the Bible, Church history, liturgy, apologetics, evangelism, and more! We meet on Sunday mornings from 11:00-11:45 AM. This is the perfect place for those wanting to learn more about their Christian faith, especially from a Reformed perspective, and there is no need to sign up—just feel free to join us whenever you are able!
Almond Valley desires to be a growing congregation. We value educating our visitors and prospective members on what we believe and how we function as a congregation. What is a Christian Reformed Church? Who is in charge at Almond Valley? How might someone become a member? Pastor Mark will occasionally teach a 3-week Discovery Class for people who are interested in learning about the basic beliefs and membership process of our church. This class is a great way to get to know Pastor Mark and other people who are considering membership at AVCRC.


Wicked Wonderful Words: Review: "Horns"
I don't know how to explain what type of book "Horns" by Joe Hill is - I can't really think of any other books quite like this one. It is really different from most other books that I have read and I had no real expectations when I started to read it. I had read a decent review of it, thought the plot sounded interesting and wanted to give it a go and so I did. Joe Hill, the author, has a bit of a parental heritage to live up to as he is the son of no other than Stephen King and I have to say that probably that is where my only real expectation came from. I somehow expected the book to remind me of Stephen King and I am happy to report that it didn't though I know that some readers disagree with me on that one. Joe Hill has his own voice, his own language and style so even though the plot sounds like something that King could have thought up, it is treated in a way that is all Hill. Love it.
The main character of "Horns" is Ignatius William Perrish, Ig, is a normal guy at least in his own eyes and at least until the day he wakes up with... horns! Out of nowhere he has grown a pair of horns that doesn't only make people stare but also makes them divulge all of their secrets. From the embarrassing to the downright evil and cruel ones. Suddenly Ig finds that the people he thought he knew are very different from the way he perceived them and that the people he thought he loved maybe don't love him. It is a rough awakening. Especially because the horns reveal what Ig really doesn't want to know - they everybody think he killed his ex-girlfriend, the only girl he has ever love and the only real good thing in his life.
I won't say much more about the plot here because I don't want to create spoilers or reveal too much. What is so great about this book is that it manages to combine the serious and the humorous in a very elegant way. Ig, who is already shut more or less out of society due to the suspicions that everyone have about him, become completely shut out yet gets a much better understanding when he grows the horns. Suddenly he is able to see the most vile sides of humans and this means that he gets completely new perspective on everything that happens around him. The love story part is touching and the ending was amazing - I feared that the ending wouldn't live up to the plot but it did, it more than did. However, the book is so funny. There are a lot of scenes that made me smile and laugh - Ig's family is horrible, really horrible. Especially his grandmother! Ig himself is great as a main character because even though he is flawed and even unkind at times, especially when it comes to girls, he is very easy to feel sympathy for and to like.
Read it if: You liked Mikhail Bulgakov's "The Master and Margarita" or loves the Rolling Stones' "Sympathy for the Devil".


Allow the creative team to dictate who they boo and cheer? Are they really that weak minded?
wrestling is all about that.they make us people boo someone or cheer someone but that does not really mean it happens all the time for eg.stone cold was supposed to heel a bad guy but cause people started getting behind him vince decided to make him a face.so basically crative team decides first if the superstar is heel or face then later it depend on the fan reaction.but i don't see changes in cena he mostly gets boos.but they did made r truth heel he is natural heel and he was getting boo as of lately even though he was a baby face.
What Are you smoking???? Look at Cena.
Yes they are. But I prefer heels over faces, so .
The only heel I boo is Alberto Del Rio. And I don't know why my head is wired that way, but it is. Some people like to cheer the heroes, but I find the heels way more interesting.
That isn't how it works at all, Paul, the Boos and Cheers you hear in the audience has nothing to do with the creative team, the Boos and Cheers are reactions wrestlers get when they are playing their role as heel or face really well, if a wrestler doesn't get any reaction, then they aren't playing their role well, I've noticed a lot of wrestlers who get pushed by the Creative Team, such as, Val Venus, WWE Divas, half of the current WWE Locker Room, who get little to no reaction from the crowd! Those who get no reaction do not connect with the audience, no matter what Creative does with them, Creative does not dictate the fans reactions, however, Creative should listen to those reactions from the fans, to see who is connecting with the fans and who is not, that way they can build the show around people who actually entertain the audience!
Hope that clears some things up, Paul!
Paul, Get This Shiittt Straight .
We Boo Who We Wanna Boo And Cheer Who We Wanna Cheer ..


CNN host Fareed Zakaria said President Donald Trump went too far complimenting Nigeria's natural beauty during a White House visit by the country's president Monday.
In a joint appearance with Nigerian President Muhammadu Buhari, Trump demurred when asked about his alleged denigration of countries in Africa and Latin America. Reports that he asked why so many immigrants to the U.S. come from "sh**hole countries" drew outrage in January, but Trump said Monday he wanted to visit Nigeria because he had heard it is as beautiful as any country in the world.
Zakaria said this must be an exaggeration since no one has ever told him Nigeria is particularly beautiful.
"I have to confess, people have said many things about Nigeria over the years that I've been following international affairs — I don't think anyone has said that," Zakaria said.
Zakaria said South Africa or Botswana, perhaps, receive that kind of praise. He said he doubts Trump actually believes Nigeria is that beautiful.
"That was one of those classic Donald Trump — shall we call it — exaggerations," Zakaria said.
Trump complimented Nigeria's natural beauty when a reporter asked him about the possibility of visiting.
"I would like very much to visit Nigeria. It is an amazing country," Trump said. "In certain ways, I hear from the standpoint of the beauty of a country — there's no country more beautiful."
Like many in the media, Zakaria had previously decried Trump's "sh**hole" comment. Zakaria himself had, earlier this year, described Nigeria specifically as a "pretty screwed-up country" in discussing Trump's comment, although he did not opine about the country's natural beauty.
Nigeria is home to vast topographical variety that includes mountains, savannas, a rainforest in the South, and the Niger Delta, one of the largest river deltas on earth.
This entry was posted in Politics and tagged Africa, Donald Trump, Fareed Zakaria. Bookmark the permalink.


Microsoft is expanding their hardware line, adding a 22 inch TFT monitor which they claim will have the best utilization for Vista graphics. Widescreen 22in display to make best use of the operating system's graphics.
Microsoft is launching a computer monitor that it claims will best show the new functions and features in its Vista operating system. The software giant is working with Samsung to build a high-resolution, 22in widescreen Vista Monitor, which is due for release around the same time as the operating system.
Vista has been designed to look best when using a widescreen display, and Microsoft wants to ensure that as far as possible users take advantage of this. By producing a Microsoft-badged monitor, it can promote widescreen Vista use to those who upgrade from Windows XP or buy a new PC running the operating system.


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Ashby & Geddes Successfully Defends Corporate Client Against Improper Books & Records Demand by a Director
On November 23, 2010, A&G in conjunction with lead counsel Ropes & Gray successfully defended 5i Sciences, Inc., a medical devices company that is developing a proprietary device for the treatment of sleep apnea, against an improper demand made by a director pursuant to Section 220 of the Delaware General Corporation Law to obtain a significant portion of 5i Sciences books and records. The director is the board designee of a noteholder that had recently made an offer to purchase the company. After a one day trial, the Delaware Court of Chancery ruled from the bench that the director was not seeking the books and records for his use as a director, but rather for the benefit of the noteholder and thus he had an improper purpose for his demand. The case, Gunther v. 5i Sciences, Inc., stands as one of the few instances in which the Court of Chancery has refused to compel a company to produce books and records to a director.
A team of Ashby & Geddes attorneys from the Corporate Litigation and Counseling practice group, including Stephen E. Jenkins and Catherine A. Gaul, represented the defendant corporation in conjunction with a team led by Thad Davis, Eva Ciko Carman and Sarah Zenewicz of the San Francisco and New York offices of Ropes & Gray. The transcript of the bench ruling by Chancellor William B. Chandler III can be accessed here.


Haneda Airport (Tokyo International Airport) opened its 4th runway, Runway D and New International Terminal on this Oct.21st.
Haneda Airport, which had functioned as the hub international airport in Japan located in Ohta ward Tokyo http://www.tokyo-airport-bldg.co.jp/en/ , has been mainly used as a domestic airport except for some comparatively short distance international flights since Narita International Airport in Chiba Pref. was opened as the primary international airport in Kanto Area (East Japan), especially the metropolitan area in 1978.
Due to the enhancement of the function with the new runway, the total average number of flights ,which iscurrently about 300 thousand times, is expected to increase up about to 447 thousand times per year by the end of the year 2013.
the New International Terminal contains convenient and interesting facilities such as "Edo Komichi" (/江戸小路, Edo alley) which is a shopping arcade featuring old traditional Japanese buildings, streets, and stores selling traditional Japanese souvenirs and others. Those facilities are expected to attract foreign passengers as well.
Some new railroads' lines gave been set up for better connections between the airport and cities in the metropolitan areas for more conveniences, and the Japan government advantageous carrying out promoting and enhancing the functions and the services of the airport including that one.
Japan has signed some open skies pacts with several countries but that one with US is the very first total open skies pact for Japan ,especially including flights in the metropolitan airports of Haneda and Narita. With that pact including ATIs, we can expect airfares to lower, which will invigorate both inbound and outbound tourism. The government also intend to conclude such pacts of total liberation for civilian airlines to sign agreements with each other freely, with at lease 9 Asian countries all of which have already concluded partial pacts of the kind.
With all those new efforts and amenities, we hope to improve our tourism dramatically.


Perhaps London is where the poker pros shine brightest? Hot on the heels of Phil Laak's 1st bracelet victory, 2009 World Series of Poker Player of the Year Jeffrey Lisandro scored his 5th career bracelet at the WSOPE in London, at the £5,250 Pot-Limit Omaha event.
Lisandro is clearly still running hot, having won an astounding 3 bracelets last year alone. His previous 4 bracelets coming in stud events, pot-limit Omaha marks new territory for the Italian-born Aussie. With obvious championship skills in more than one poker discipline basically means that Lisandro, friendly though he might be, is not someone you want to be seated next to in a tournament.
Lisandro battled through a small, but high-class field to take down the event and claim the £159,514 first prize. With the general skill level of the field so high, perhaps luck had something to do with it, as almost every player at the final table took a turn as the chip leader. Nonetheless, luck counts in poker and right now, Jeff Lisandro has it.


Can Ryan Fitzpatrick and the Bucs offense keep rolling? Will James Conner continue to fill in admirable for he who should not be named for the Steelers? David Grey will examine all the match-ups in this week's Grey Report, Because Not All Match-ups are Black and White.
Get Your Week Two Grey Report Here!


The hostel is very close to metro (3 min) and close to a train station (8 min). The wifi works perfectly. And they have a luggage room!
Location was really convenient and right next to the train station and bus terminal. Staff was friendly, and the room was awesome. They also got a guitar and a piano you can play around with if you want (just let the bartender know if you want to play the piano and he'll take the lock off of it).
The staff was very friendly and helpful. The place is located across from the metro station and 7 minutes' walk from a shopping area with restaurants and supermarkets. We usually do not spend time at the hotel room, we only use it to sleep and shower and this hotel fit our need. The room and bathroom were clean; the room size is on the small size for a family of four.
Pet Friendly! Close proximity to train station to get to city center.
Private bathroom (separate shower and toilet) and equipped with a hair dryer. The room was cleaned everyday.
Featuring free WiFi throughout the property, a&o Amsterdam Zuidoost is located in Amsterdam, 0.6 mi from Amsterdam Arena. Guests can enjoy the on-site bar. Private parking is available on site.
You can play billiards at this hostel, and bike hire is available. Amsterdam RAI is 3.7 mi from a&o Amsterdam Zuidoost, while IBC is 3.7 mi from the property. The nearest airport is Schiphol Airport, 8.1 mi from the property.
When would you like to stay at a&o Amsterdam Zuidoost?
Experience the beautiful city of Amsterdam and relax afterwards in our modern rooms or our huge lobby! Our rooms have 2-star hotel comfort in singles, doubles, or family rooms with private shower and toilet. Our hostel area scores big with multi-bed rooms suitable for 4 to 8 persons, each with private bathrooms and comfortable bunk beds. Wireless internet is free for all guests. The A&O Amsterdam Zuidoost is located in the Bullewijk district close to the metro station. In fifteen minutes you can travel with ease on the M54 to Amsterdam Centraal. Whether your journey is by car, bus, or train, we are easy to find. Numerous on-site bus and car parking spaces are available. Right near by the building, you'll find the Ajax Amsterdam Arena, the world famous Endemol TV studios, the Heineken Music Hall, and the Ballorig Children's Play Paradise. Relaxation's just around the corner in Bijlmerpark - be sure to check out the Kwaku Festival, held every summer. The reception and lobby bar is open 24 hours for your convenience. Relax with delicious snacks and refreshing drinks in the lobby, or with a game of billiards or table soccer.
House Rules a&o Amsterdam Zuidoost takes special requests – add in the next step!
a&o Amsterdam Zuidoost accepts these cards and reserves the right to temporarily hold an amount prior to arrival.
a&o Amsterdam Zuidoost accepts these cards and reserves the right to temporarily hold an amount prior to arrival.
Please note that different policies and additional supplements may apply for groups of more than 9 people.
Charges for Parking within hotel. The room was budget size for family of 4, and the pillow was rubbish. It affected my sleep. It 11km from centre of Amsterdam.
Didn't state clearly about bed sheets charges..
Check in time is 3pm and I reached at 3pm to be told that the rooms are not ready and luggage could be dropped at the Luggage room. I would have felt okay with that if the person at the Front desk behaved in a courteous manner. He was rude and arrogant and not willing to answer my questions on where the luggage room or locker room is. He told me that he does not know and that he is not from the Housekeeping. It is not about entire front desk but about one person and I do not intend to name and shame him (I remember the person's name). The room was clean. But the yellow lighting was depressing. It is more of a hostel for youngsters, but the family room is fine for family with bunk bed for kids.
Location is superb. Just opposite to Bulweirjk Metro and a few minutes walk from Biljmer Arena station. Surroundings are beautiful.
Hostel accommodation for 5 star rates but that is Amsterdam for you. Much better than the Munich A&O one which was horrible. Had two men walk in when we had a private room booked. Drunk men falling asleep in the stairwell.
Close to two train stations. Bar down stairs was handy for a cheap drink and pizza. Rooms nice and warm. Breakfast was good.
As it's a hostel, it's full of young people who don't seem to take other guests experience into consideration. We were woken up almost every night by drunk kids talking loudly. The walls are super thin so we could hear people chatting and laughing next door at all hours of the night. It's recommended for families but I think it's a good place for backpackers, students and school tours. I didn't really enjoy staying here with my kids.
The staff were very accommodating. The accommodation was right across the street from the train into the city center and it was within walking distance to the AFAS arena. The rooms are very basic but clean.
Sheets were really dirty and there was a lot of kids there like a huge amount of under 18s which made it feel a little uncomfortable. Matress felt like an old gym mat.
Very friendly staff! Location next to plenty of attractions like cinema and shopping.
I was there on time but didn't get checked in until nearly 45 mins later because my room wasn't ready. Also, when my dorm-mates checked in later that night, the receptionist gave them FREE bed linen just because they were pretty?! I still had to pay though?! When you're travelling as a young person every euro counts!
Spacious, clean rooms! Lovely separate toilet and shower -- much cleaner and larger than other hostel bathrooms I've stayed in! Decent location from the Centre.
The room was quiet and the beds were comfortable.
Appreciate that this is a hostel more than a hotel and as such encounters a younger crowd, but groups of barely dressed teens running around the corridors screaming and shouting at 2am is just not on. Where were the hotel staff to keep the place in order? Disappointing.
Good price. Located well for Metro line.