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Health & Wellness, Men's Health, Woman's Health	00:31:00
Dr. Cindy Adelstein has been a practicing dentist for 12 years she is currently located at West Morris Dental Associates. Dr. Adelstien has trained with the world's most prominent Family Dental Specialists.
Geriatrics, Health & Wellness, Men's Health, Woman's Health	00:29:05
Elliot Rosenstein is the Director of the Institute for Rheumatic & Autoimmune Disease at Overlook Medical Center, Summit, NJ. Associate Clinical Professor Clinical Immunology Mount Sinai School of Medicine, Adjunct Associate Professor Rheumatology NYU School of Medicine, Adjunct Professor Periodontics New Jersey Dental School. He received his Medical Doctorate from Mount Sinai School of Medicine 1978 with postgraduate training in internal medicine and rheumatology at New York University 1978-1984. He is the former President of the New Jersey Rheumatology Association and is on the Board of Directors of the Arthritis FoundationNJ Chapter. He received the Catherine and Gilbert Miller Fellowship of the New York Arthritis Foundation and the Thomas P Infusino Lectureship of the Lautenberg Center for General Tumor Immunology. He is former contributing editor of postgraduate advances in Rheumatology and Year Book of Rheumatology. He has published over 65 articles reviews and chapters on a variety of rheumatologic and immunologic topics.
Dr. Janet Bartov is a rheumatologist in Morristown, New Jersey and is affiliated with Morristown Medical Center. She received her medical degree from Tufts University School of Medicine and has been in practice between 6-10 years.
Kim Rymer certified personal trainer at Retro Fitness. An expert on body movement and exercise.
Geriatrics, Health & Wellness, Men's Health, Woman's Health	0:29:07
Dr. Bruce Theall has been practicing podiatry in East Orange for 32 years. In addition to being Board Certified in foot and ankle surgery, he also specializes in biomechanics to restore proper function and alignment of the lower extremities. To evaluate and treat foot pathology in a painless and effective manner, Dr. Theall strives to listen to his patients' concerns, and respect their time and needs.
CAROLINE R. MOSHEL, MD is a board-certified, fellowship-trained ophthalmologist who specializes in comprehensive ophthalmology and neuro-ophthalmology.
Originally from North Carolina, Dr. Moshel completed her undergraduate degree at Duke University where she graduated with cum laude honors. She then received her medical degree at New York University School of Medicine. After she completed her internship at St. Vincent's Medical Center in Manhattan, she returned to New York University and Manhattan Eye, Ear, and Throat Hospital for her ophthalmology residency where she served as Chief Resident during her final year. She then completed further specialized fellowship training at Wills Eye Hospital in neuro-ophthalmology. She has published numerous research articles and given presentations at many national ophthalmology conferences.
In addition to neuro-ophthalmology, Dr. Moshel's interests include the management of cataract, glaucoma, dry eyes, as well as cosmetic and medical use of Botox.
Dr. Ajay Goyal is founder and director of New Jersey Bariatric Center® and is also Director of Bariatric Surgery and Associate Director of Minimally Invasive Surgery at Atlantic Health System's Overlook Medical Center in Summit, New Jersey. With thousands of successful laparoscopic gastric bypass, sleeve gastrectomy, gastric band and revision surgeries and laparoscopic general surgery procedures completed, Dr. Goyal is a leader in the field of laparoscopic bariatric and general surgery. Dr. Goyal was among the first bariatric surgeons in the country to employ a multidisciplinary team approach to weight loss, including nutritional, psychological and exercise counseling.
Cary M. Silverman, M.D., our LASIK Eye Surgeon in East Hanover, serving Northern New Jersey. As Medical Director of EyeCare 20/20, Cary M. Silverman, M.D. oversees one of the most premier vision care facilities in the tri-state area. EyeCare 20/20 is the first practice in New Jersey to offer treatment using custom wavefront LASIK with the ALLEGRETTO WAVE® laser. As a LASIK specialist, Dr. Silverman has treated patients from East Hanover, Parsippany, and all throughout North and South Jersey. He has performed thousands of LASIK surgeries over the last decade.
Health & Wellness, Men's Health	00:28:25
Dr. Michael D. LaSalle is a Clinical Assistant Professor of Urology/Surgery at the University of Medicine and Dentistry of New Jersey (UMDNJ) in Newark, New Jersey as well as a practicing urologic surgeon in Florham Park, New Jersey. He graduated as a George H Cook Honor's Scholar from Cook College, Rutgers University in 1987. He obtained his medical degree at UMDNJ in 1991 and also completed his Surgery/Urology residency at UMDNJ in 1997. He received fellowship training at the Boston University School of Medicine in Male Reproductive Medicine, Erectile Dysfunction and Reconstructive Microsurgery in 1998. He is a Diplomat of the American Board of Urology and a Fellow of the American College of Surgeons.
Dr. LaSalle assisted with the successful clinical and educational launches of Pfizer's blockbuster drug Viagra™ as well as GlaxoSmithKline / Bayer Corporation's Levitra™ and Eli Lilly / Icos Corporation's Cialis™ in collaboration with the internationally renowned Dr. Irwin Goldstein at the Boston University School of Medicine, Boston, Massachusetts. Utilizing pre and post operative penile rehabilitation protocols with these medications, various injectable erectogenic agents and the unique non-cautery athermal nerve sparing robotic surgical technique developed by Dr. Michael Esposito, the patients undergoing laparoscopic robotic assisted surgery for prostate cancer have a very high recovery rate of preoperative sexual function.
E.D. and Low Testosterone
Dr. LaSalle has co-authored over 30 research abstracts, publications and book chapters in peer reviewed journals and texts. He has received awards of distinction such as the SmithKline/Boston Biomedica Award, the American Academy of Pediatrics – Pediatric Urology Best Clinical Research Finalist and the Charles L. Brown Award for his basic science and clinical research contributions. He has been honored as one of New Jersey Monthly's Top Doctors for 2006, 2007, 2008 and 2009. Dr. LaSalle has lectured nationally on various aspects of urological surgery including erectile dysfunction, male factor infertility and microsurgery.
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Wind, solar or wave: we can help you quickly and efficiently inspect your turbines, panels, substations, transmission and distribution towers. We can also carry out land surveys and confined space inspections.
As well as standard building and structure inspections; rail (OLE), roads, bridges and large scale engineering inspection tasks can be made significantly more efficient and safer using UAS technology.
Internal hold and tanker inspections, external hull surveys, emissions monitoring, replenishment-at-sea, thermal visualisation of flare stacks and cooling towers – all provide enormous cost savings.
We pilot professional commercial-grade, highly-customised multi rotor aerial photography and videography platforms. Their unique modular design and innovative features make it possible to capture incredible photographs, video footage or data for a huge (and growing) range of applications.
You don't have to, but plotting your site on the map helps us to provide a more accurate and timely quote.
Dronely was founded with the core mission to push the boundaries of how drone and unmanned aerial vehicles can help our clients in a huge number of potential applications.
We are a technology company at heart, and like any technology: how it is implemented and delivered is crucial to its end value. We have backgrounds in media, software, hardware and development; We are serious about good communication, safety, outstanding quality and fully understanding a clients needs so we can truly meet and exceed them.
We are still discovering unique, inventive and effective new ways of using these incredible new technologies. Drones can be intimidating if you have never incorporated them in your work. For an approachable, friendly discussion about how you can get the best out of drones… get in touch, or just say come say hi.
From large complex site inspections (maritime, oil/gas, wind/solar and aviation) with LiDAR or 3D photogrammetry outputs – to simple, beautifully produced video pieces with custom composed audio all using the latest aerial drone technologies. Our team has over 10 years piloting experience and the technical know how to provide bespoke solutions for your needs as well as exceptional video/audio production and post-processing.
Come find out how we can help with any task where previously movement in 3D space required heavy machinery, excessive amounts of time and usually came at great expense. Now there is a new way.
It has been very fortuitous that Dronely appeared on the scene offering efficient and highly professional aerial photography surveys using a drone and producing extremely high quality HD 4K footage just when we had the need to survey some difficult to access buildings.
It has sped up the condition reporting we have been able to deliver to our clients and with Dronely operating UK wide, we had the confidence to use them on a recent high profile project in London.
We have used Dronely on some sensitive structures requiring a high level of forethought and planning, in some challenging locations.
The results and the presentation of the results have exceeded our expectations providing a high level of detail that is useful in the assessment and design of repairs and is also a useful presentation tool when demonstrating the need, or not, for structural intervention and repair.
It was a pleasure working with Dronely. They were very easy to work with and the outputs produced were very professional and exactly fitted our needs.
We engaged Dronely for a complex engineering site monitoring task. Not only did they help make the ongoing work safer for our team on site, Perth & Kinross Council were delighted with the marketing footage produced. We look forward to working with the Dronely team in our work again very soon.


Getting to Randall's Island for the Frieze New York festival will be a little easier and so fun thanks to Joe Fresh.
hours, is part of Joe Fresh's commitment to the arts and the Frame section of the festival.
To secure a ride you must make a seat reservation online. For ridding you will will receive an exclusive Joe Fresh tote, designed by fashion illustrator Tanya Ling.
Save Your Money… Instead Enjoy All That NYC Has to Offer Gratis!


On 21st March 1918 in a bid to win the war before the recently arrived American Army could make its full impact felt, the German Army launched a massive assault against the British Fifth Army in the area of St Quentin in the Somme.
Initially the British lost all cohesion and collapsed against the battering blow, but little by little the German advance was slowed and ultimately halted; but the Germans had retaken in days what the British had struggled over months to take.
This first offensive was halted on 6th April, but three days later on the 9th a second blow fell on the British in the Ypres salient.
Exhausted British units were brought down to the quiet area of the Chemin des Dames for rest only to be hit by a third offensive launched on 27th May. This third onslaught smashed its way through the French and British held lines along the Chemin des Dames (The scene of terrible fighting by the French in 1917).
Following a whirlwind bombardment, lasting three hours, seventeen German Divisions penetrated the French lines held by just six Divisions. Within four days the Germans had advanced about fifty kilometres and reached Château-Thierry and the river Marne.
Not since the opening of the war in 1914 had Paris seemed so vulnerable. The second battle of the Marne was in progress.
In his General Order 107 on 30th May 1918 General Pétain told his soldiers how although the superior weight of the enemy had broken their forward lines, the reserves were rushing forward and that they would not only break the German thrust but counter it.
Debout, les héros de la Marne ! Pour vos foyers, pour la France, en avant !
Rise, heroes of the Marne! For your homes, for France, forward!
French reserves had indeed rushed forward but their uncoordinated interventions had not been sufficient to stem the tide of the German advance.
Having realised that most of the French reserves were gathering around Château-Thierry the Germans decided to press westwards down the Ourcq Valley between the forest of Villers-Cotterets and the Marne. In the area of Belleau the defence was in the hands of what was left of the French 152nd and 158th Regiments. The battle for the village and wood opened on 2nd June with a fierce bombardment by artillery and heavy mortars—the much detested (by the British at any rate) Minenwerfer.
Despite acts of collective heroism the weight of numbers bearing down on them was simply too great for the Frenchmen.
They were aware, however, that the US 2nd Division was coming up to relieve them. It was a matter of holding on to as much ground as possible to give the Americans time to deploy and take over the line.
the 4th Brigade (5th and 6th Regiments of the US Marines).
Each regiment consisted of three battalions and a machine gun company giving a total strength of almost 4,000 men. Including its engineers and artillery a US Division weighed in at about 28,000 soldiers—twice the size of a British or French Division and by this stage of the war sometimes four times the size in reality.
On 3rd June the tired French attempted a counter attack. In itself it achieved little in the way of territorial gains, but the German reserves were now exhausted as well. As the US 2nd Division took over the line that evening, the front had begun to stabilise.
The tide was about to turn, and with a greater rapidity than any of the participants could ever have envisaged. When it was suggested to Captain Lloyd Williams of the 2nd Battalion 5th Marines Regiment that the best thing to do for the moment was retreat he famously replied: Retreat, hell. We just got here.
Williams would not survive the coming battle. He was wounded on 11th June during an attack on Belleau Wood and died the following day. His remains were returned after the war to Berryville, Virginia.
In front of Torcy and Belleau Wood lay the 4th US Marine Brigade composed of the 5th and 6th Regiments US Marines.
On their right the 3rd Brigade stationed the 23rd US Infantry Regiment in the area of Le Thiolet and the 9th Regiment on the far the right flank in front of Vaux.
The time of quite sectors and hand-holding for the Americans had finished, they were in the midst of a furious and desperate battle, the moment had come to stand up and be counted.
The pressure on Major General Omar Bundy commanding the Indian Head Division to deliver, was enormous.
Over the next few days the Americans prepared their positions, the Marines of General James Harbord refusing to prepare a second line of defence as it was deemed not necessary. The Marines, the General declared, will hold their ground.
General Harbord had a habit of wearing a French Adrian helmet.
On 4th June this was put to the test when the Germans launched an attack against the 5th Marines holding an area called the Ferme des Mares. It was an important psychological moment for this was as close to Paris as the Germans ever reached. The Marines had stood true to their word.


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Anglophone and Francophone Roman Catholic bishops divided over Ambazonia crisis
English-speaking and French-speaking bishops in Cameroon are being divided by the year-long 'Anglophone crisis' which has been threatening the country. On October 1, secessionist leaders in the English-speaking part of the country made a nominal declaration of independence. Government forces clashed with independence-minded demonstrators, leaving at least 17 people dead (although opposition leaders claimed at least 100 died).
Anglophone bishops have described the killings as "a growing genocide." In a long and detailed statement published on Oct. 4, the bishops decried a "warlike atmosphere" of killings, looting and arson carried out by "young people" and acts of "brutality, torture, inhuman and unjustified treatment meted out" by the "forces of law and order."
But the characterization of the crisis as a genocide wasn't shared by the bishops from the other regions of the country. Archbishop Samuel Kleda of Douala, Cameroon's largest city, is the president of the nation's episcopal conference.
The Francophone archbishop issued a statement condemning the violence, but refused to use the inflammatory language used by his Anglophone colleagues. "In the name of our common citizenship, brotherhood and humanity, the defense of legitimate interests must go hand in hand with social harmony, which is what is being sought…Violence, regardless of its source does not build, it destroys," Kleda said.
The archbishop pointed out that all regions of Cameroon face problems, which he said can be resolved through dialogue. Kleda said that decentralization would resolve many regional problems in Cameroon, including the Anglophone problem. However, his statement drew criticism from clergy in the English-speaking zones, who objected to the Anglophone crisis being conflated with other problems in the country.
But that drew sharp criticism from Anglophone Cameroonians who have always seen the Anglophone Problem as one that is unique and must never be lumped together with all other problems in Cameroon.
In a letter to the archbishop, Father Gerald Jumbam says Anglophone Cameroonians, by virtue of their history, "cannot be loyal subjects to the despicable and tyrannous Yaoundé government. Archbishop, you speak of Decentralization and you offer us it as the best gift you think fitting for the resolution of this crisis? We are determined to decline a gift so laden with spurious promises and deceitful propensities."
Cameroon's bilingual and bi-cultural status derived from its colonial heritage. Initially administered as a German Protectorate in 1884, Cameroon would later be shared with France and Britain as League of Nations Mandates after Germany was defeated in the First World War.
The end of the Second World War and the establishment of the United Nations saw the two parts of Cameroon transition from mandated territories to UN Trust Territories. In 1960, the northern part of Cameroon administered by France gained its independence. The southern part administered by Britain as part of Nigeria was in 1961 subject to a plebiscite in which they were offered independence by reuniting with their francophone Cameroonian "brothers" or by remaining part of Nigeria. The results showed an overwhelming desire by English-speaking Cameroonians to reunite with the French-speaking part of Cameroon.
The "marriage" was guaranteed by a Federal Constitution that was meant to preserve and protect the minority Anglophones and their colonial heritage. But in 1972 then-President Ahmadou Ahidjo organized a referendum that dissolved the federation in favor of a united republic, thereby removing the protections Anglophones enjoyed.
Currently, Anglophones make up around 20 percent of the population. Jumbam said Kleda was ignoring the fact the terms of the union between English and French-speaking Cameroons had been jettisoned to the disadvantage of Anglophones.
Church leaders in Anglophone Cameroon have also criticized Kleda for not condemning the arrests and detention of Anglophone leaders and the government's violent methods in confronting demonstrators.
Cardinal Christian Wiyghan Tumi – the retired Archbishop of Douala and the man who ordained Kleda to the priesthood, has accused the Francophone bishops of Cameroon of not standing in solidarity with their Anglophone counterparts. Tumi noted no French-speaking bishop spoke up when three English-speaking bishops were brought to court for their actions in support of a school boycott last year.
At the time, disgruntled lawyers and teachers were protesting the use of French in courts using the Anglo-Saxon common law tradition (practiced in the English parts of the country) and in Anglophone schools. Bishop Cornelius Fontem Esua, Bishop Michael Ndi, and Bishop George Nkou were brought to court for failing to teach children in their schools during the boycott.
"No French speaking Bishop was there. Not even the Secretary General of the National Episcopal Conference was sent to go and see," Tumi said.
"In fact, I would say that the others should keep quiet when the bishops of the [Anglophone bishops' conference] write because they know better what is happening," the cardinal said.
On Saturday, Cameroon's Defense Minister Joseph Beti Assomof said the military "will eradicate this inconvenient situation." State radio announced Cameroon's President Paul Biya "has declared war on these terrorists who seek secession," and would restore "peace and security" to the region.
Source: Crux
Cameroon /
Africa Cup of Nations: CAF boss Motsepe donates $200,000 to a church in Mvog-Ada, Yaounde
‹ Bundes: SPD mulls 'grand coalition' with Merkel to offset crisis	› Race for the Victoria Chieftaincy stool takes a different twist

redpajama_set_name: RedPajamaCommonCrawl


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What is Service Oriented Architecture? Patterns, Applications & Comparison
by Rohan Vats
Home > Software Development > What is Service Oriented Architecture? Patterns, Applications & Comparison
A service is well-defined, self-contained, and independent of the context or state of other services. Service oriented architecture (SOA) is a service requested by the consumer and the provider returning a response in terms of the service.
A Service Oriented Architecture is a collection of services that allows services to communicate with each other across different platforms and languages. The structure is implemented using a 'loose-coupling' system which is referred to as the client of a service, and its ability to remain independent of the required service. These service interfaces can be implemented with little or no knowledge of how the integration is implemented in-depth.
Common communication standards are used to rapidly incorporate into new applications without the need for performing deep integration every time, by making software components reusable via service interfaces. The code and data integrations are required to execute a complete and discrete business function, for this Service Oriented Architecture uses standard network protocols like SOAP/ HTTP or JSON/ HTTP. These protocols are used to send requests, to read, or to change data.
SOAP: Simple Object Access Protocol
HTTP: Hypertext Transfer Protocol
JSON: JavaScript Object Notation
The software architecture is becoming complex with a huge amount of development, and Service Oriented Architecture helps to cope with such challenges in a better way while documenting, creating, and maintaining the software systems.
Read: 20 Exciting Software Development Projects
What Are Service Oriented Architecture Patterns?
Why Is Service Oriented Architecture Important?
Loosely Coupling System
Transparency In Location
Reusability
Parallel Development
Higher Availability with Better Scalability
Promotes interaction
The Application of Service Oriented Architecture in Cloud Computing
What are the Differences between Service Oriented Architecture and SaaS?
Alexander defines the pattern as a three-part rule that expresses a relation between a certain context, problem, and solution. Name, context, problem, solution, forces, consequences, examples/ known uses, pattern relationships are the elements of the pattern.
Service Oriented Architecture based on pattern approach provides a broad, platform-independent view on systems containing all relevant details about the technical realization alternatives.
Different patterns for Service Oriented Architecture:
Design patterns (GoF)
Software architecture patterns
Analysis patterns
Organizational patterns
Pedagogical patterns (PPP)
Pattern-based reference architecture for SOAs:
Principles are used in a specific way.
Specific quality attributes are in focus.
SOAs are described in a technology-neutral fashion.
The Service Oriented Architecture aligns business users with Information Technology (IT). It increases business agility, improved business workflow, extensible architecture, enhanced reuse, and a longer life span of applications.
Service Oriented Architecture is implemented with loose coupling to implement services without impacting other services or applications in the system. The advantage of a loosely coupled system is that it supports dynamic binding to other components of the structure while running the software. It can mediate the difference in the component's structure, security model, protocols, semantics, and abstracting volatility.
The service implementation location does not affect the consumer of the service.
Service Oriented Architecture provides reuse facilities due to its compliance with multiple web services simultaneously. Thus, independent of the language used while implementing the system, it provides the possibility of a heterogeneous environment.
As Service Oriented Architecture is a layer-based structure and consists of an inventory of contract-based independent service, it supports a parallel development environment.
A multi-layered Service Oriented Architecture can be clustered individually with balanced loading to scale up the overall system. It uses redundant routers, switches, dual communication links to clustered servers and databases by providing high availability of services.
Service Oriented Architecture is compatible with varying languages while communicating through a central interface that removes the restriction on a developer to be limited to a particular type of environment while running the system.
The code developed in Service Oriented Architecture can be used for different applications and reusing existing codes within a service reduces the development time significantly, ultimately reducing the development cost. Once standard communication protocol is set, then the platform can transmit data between clients and services by negotiating firewalls.
Cloud computing is a usage-based network access model to a common pool of configurable computing resources that can be provided and used quickly. These resources include networks, servers, storage systems, applications, and services.
Cloud computing uses different models for horizontal scalings, such as Infrastructure-as-a-Service (IaaS), Platform-as-a-Service (PaaS), Software-as-a-Service (SaaS). The distinction of deployment models is made based on availability and installation location.
Security and quality aspects are the major challenges in cloud computing: performance, latency, and availability. Integration, adaptation, agility, and possible relocation play critical roles in the implementation of cloud-based services. Service Oriented Architecture can be used to address these issues by defining central cloud standards and protocols.
Also Read: Career in Software Development
Software as a Service (SaaS) is a cloud computing style in which resources are available on the cloud for users which reduces their software maintenance, update, and installation cost.
Service Oriented Architecture and SaaS are both advantages depending on the organization's requirements and criteria. Both have some basic differences which are stated in the table below:
Sr. No. Service Oriented Architecture (SOA) Software as a Service (SaaS)
01. An architectural model solution is presented as a service. It is a type of cloud computing that is available online.
02. It makes technology solutions more efficient, productive, and agile. It provides highly visualized and extensible resources.
03. It supports computing advantages and service oriented principles. The basic advantage of SaaS is no need for licensing for customers.
04. Various products, technologies, programming interfaces, and extensions are used while implementing SOA. It removes the necessity of installing and maintaining the software, and thus reduced complexity.
05. Services can be combined to enable creating other services parallelly. A single multi tenant application of SaaS can be used by millions of users independently.
06. Service contract, loose coupling, autonomy, reusability, composability, discoverability, and statelessness are the principles of SOA. It uses the public or private cloud to help SaaS providers.
What are the Differences between Service Oriented Architecture and Microservices?
Both Service Oriented Architecture and Microservices are loosely coupled, reusable with specialized components to enhance agility, scalability, and redundancy in business; there are certain differences between them.
Sr. No. Service Oriented Architecture Microservices
01. It focuses on service reusability. It focuses on decoupling services.
02. It has enterprise scope. It has an application scope.
03. These services share data storage. Each service may have separate data storage.
04. It supports multiple message protocols. It uses protocols like HTTP, and REST.
05. It has common standards and governance. It gives freedom of choice to teams with relaxed governance.
06. It provides synchronous data duplication by reducing complex data synchronization maintenance. It has local access and not central so the data duplication may add complexity.
07. It uses Enterprise Service Bus (ESB) for common communication mechanisms. It uses an independent communication protocol for each service.
08. It simplifies development and troubleshooting. It operates faster than Service Oriented Architecture.
The evolution of web application technologies with Service Oriented Architecture will scale up businesses by providing independent platforms for engineers to work on. The reduced cost of development can be utilized in other developing areas of the business.
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United Way invests nearly $2.1 million to boost Martin County
United Way of Martin County recently announced the investment of nearly $2.1 million in Martin County, supporting programs and initiatives that are strengthening neighborhoods, boosting economic mobility and providing a safety net for people in need.
Made possible by generous corporate and individual donors, the investment includes $959,642 in Community Impact Grants – with funding for 53 local programs and initiatives. The investment also includes $689,783 for community agencies as...
Golfers tee up support for United Way's CHARACTER COUNTS! program
Ninety-six golfers supporting United Way's CHARACTER COUNTS! program in Martin County enjoyed a day full of excitement at the 17th annual Tee It Up for Character Charity Golf Tournament on April 26 at Monarch Country Club. In addition to playing 18 holes of golf on a beautiful Friday afternoon, players took their best swing at the Hole-In-One contests to win a Maserati Levanti sponsored by Phyllis Kordick, a full day charter with DayMaker Charters, a Macy's shopping spree, and a customized...
United Way honors RSVP volunteers
On April 12, 2019, over 125 United Way of Martin County volunteers in the Retired and Senior Volunteer Program (RSVP) from 15 Martin County nonprofit agencies gathered to celebrate their volunteer efforts at Mariner Sands Country Club.
Inspiration and praise was provided by Denise Ehrich, United Way Board President and Jane Cebelak, United Way of Martin County Martin Volunteers Advisory Council President. Celebrating the 30th anniversary of the United Way RSVP Program in Martin...
Unsung heroes of the workplace honored for good character
There's one in every workplace – the colleague who you can count on to be honest and fair, compassionate and trustworthy. United Way of Martin County's CHARACTER COUNTS! program and the project's sponsor, Cleveland Clinic Martin Health, believe that these unsung heroes of the workplace should be recognized and recently honored seven exceptional people with an Employee Pillar of Character Award.
During the past 16 years, CHARACTER COUNTS! has recognized dozens of high character people...
Students recognized for good character during annual Kordick Awards
Family and friends of 23 outstanding students packed into the Wolf-High Technology Center at Indian River State College's Chastain Campus in Stuart on Feb. 27 for the annual Joe Kordick Youth Character Awards.
Presented by United Way of Martin County's CHARACTER COUNTS! program and sponsored by Phyllis Kordick; Carr, Riggs & Ingram, PLLC; Kramer, Sopko & Copeland, PA; and Tykes & Teens, Inc., the awards are presented annually to middle school students and high school...


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AT&T Accuses CBS Of Trying To "Up-Sell" Pay-TV Customers To CBS All Access
UTA Goes EDM, Acquires Circle Talent Agency
By Patrick Hipes
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UTA has acquired Circle Talent Agency, an industry-leading electronic dance music agency. The deal, the terms of which were not announced, will boost UTA Music's reach into the emerging space with artists like Marshmello, Kaskade, Excision, Illenium and others.
UTA Music now has 90 agents in six offices. Circle's EDM roster joins up with UTA's which already features acts like Guns N' Roses, Muse, Post Malone, Lenny Kravitz, G-Eazy, Mariah Carey, DJ Khaled, Paramore, Die Antwoord, 21 Savage, Trace Adkins, Ms. Lauryn Hill, X Ambassadors, Toby Keith, Bush and Bring Me The Horizon.
Circle co-founders Steve Gordon and Kevin Gimble will become co-heads of electronic music, working with UTAs global head of music David Zedeck.
"The acquisition of Circle Talent Agency is a tremendous addition for UTA as we continue to build momentum in our music business," said UTA CEO Jeremy Zimmer in announcing the deal today. "Electronic music is now a multibillion-dollar business and one of the fastest-growing genres. Having Circle, its talented agents and incredible roster under our umbrella, immediately establishes a major connection for us with the next generation of music fans, and UTA as a leader in the dance space. We are thrilled to have this agency and its great artists joining our company."
The Circle roster of clients will now have access to UTA's practice areas across digital content platforms, film, TV, broadcast news, video games, books, fine art, branding, licensing, and speaking engagements.
"We have watched UTA evolve into a major entertainment company with global reach and we felt now was the perfect time to combine our resources to provide even greater opportunities for our clients," Gordon and Gimble said. "We're excited to join a growing music team that shares our client-first values."
Circle Talent Agency
Donald Trump Calls Ilhan Omar's Airport Welcome "Staged" And "Tiny"; Mocks New York Times Writer's Chin
AT&T Accuses CBS Of Trying To "Up-Sell" Pay-TV Customers To CBS All Access
Alamo Drafthouse Finally Opens In Downtown L.A., Launches Alamo Season Pass


Photo: Danie' Lopes. License: All Rights Reserved.
This publication was developed after a briefing by Maria Fernanda Antunes for the discipline of Editorial Design at ESE Coimbra. The output should be a magazine in Portuguese; it should include a barcode, a price, a title and existing (magazine) articles of different dimensions; and publicity. It was also demanded for us to choose between areas of study such as cinema, music, illustration, photography, etc. We settled on a magazine about photography, and restricted its scope to erudit photography.
Back in 1826, Joseph Nicéphore Niépce exposed a plate of tin to the sunlight during eight hours, obtaining what may be considered the first photograph of the world. Homaging the creator of the photographic era, Niépce is now the name of this publication.
The magazine aims to to offer a pleasant reading experience, and to perpetuate formats of photo-albums that may fall into disuse – in this case we reused old "catalog bags" photo-albums. On opening the album (10x15cm), the bags show the photographs, that in turn hide the articles.
For the typography we chose Courier for photographers' names and biographies, the familiar Adobe Garamond for body copy, and Arial for main titles and some highlights. A careful typographic hierarchy was made for obtaining the best balance between economic use of space and readability, and to create a sufficiently distinct-but-not distracting layout.
As it was demanded to use a barcode, we fully embraced it and assumed it as a main element in the cover. It was also demanded that the magazine included price information so, despite this being not a commercial project, we included a price on the back cover.
All the photographs are followed by a sticker with a respective label. That is not only important because it gives information about the images (title, author, date), but because it slightly covers them.
An observer that is really interested in seeing the whole photograph must remove it from the bag. By doing that, articles about the photographer as well as them biography will show up behind the photos, turning the observers into potential readers.
An article about photographer Nan Goldin, hidden by one of her photographs.
We chose to include publicity (also demanded) in camouflaged way, by making it to appear in the form of an article, only marked with a discrete "sponsored" side by its author. In this case, it is an article referring to an exhibition.


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Waymart is een plaats (borough) in de Amerikaanse staat Pennsylvania en valt bestuurlijk gezien onder Wayne County.

Demografie
Bij de volkstelling in 2000 werd het aantal inwoners vastgesteld op 1429.
In 2006 is het aantal inwoners door het United States Census Bureau geschat op 2093, een stijging van 664 (46.5%).

Geografie
Volgens het United States Census Bureau beslaat de plaats een oppervlakte van
7,4 km², waarvan 7,2 km² land en 0,2 km² water. Waymart ligt op ongeveer 434 m boven zeeniveau.

Plaatsen in de nabije omgeving
De onderstaande figuur toont nabijgelegen plaatsen in een straal van 12 km rond Waymart.

Externe link

Plaats in Pennsylvania

redpajama_set_name: RedPajamaWikipedia


Keeping your marketing organized is key to your business success: This way you can put things into perspective, keep many dots connected and set longer-term goals.
But how to do that? Let's discuss!
Connect to Christi on Linkedin!
I'm a xennial so I grew up with my foot in the digital space (but wat back in the ICQ and Geocities days) and I always spent time learning about websites and HTML. But when I went to school there really weren't careers in Digital Marketing yet.
So I got into digital marketing by accident. I went to the University of Idaho and graduated with a Bachelor in Business and Marketing – then went into sales.
A few years later I met someone who was running their own SEO agency who needed help selling their services. I joined the company to help them with sales, but also took on responsibilities for managing Paid Search. … and I LOVED IT.
And the rest is history! I've been doing digital marketing (SEM, SEO, Analytics, Comparison Shopping Engines, and hint of social) for the last 15+ years. I love it and can't image doing anything else (other than being a Mom).
I think it's been helpful to my career to have gone deep into several fields within digital marketing – most people choose one and stick with it. It gives me a better understanding of how everything fits together –which is important for building out a roadmap.
Exactly. It's really easy to only think about the channel we manage or work in and focus on it and only it's details. The roadmap makes us step back and think holistically and everything works together towards a specific goal.
Q2 What do you usually recommend including into a marketing roadmap? What are its goals and components? How far ahead should it plan things out? 6 months? A year? More?
Every successful marketing initiative needs a roadmap to defines the vision and set the goals so that all of the marketing channels are aligned to the messaging. It's the 30,000 foot view of what you are trying to accomplish and how you'll measure it for success.
I like having a roadmap that looks either 6 or 12 months into the future.
I've worked on a couple of different types of roadmaps. I think it's worth talking through them and how they can fit together and when you might use them: Marketing Plan, Marketing Mix (digital channel roadmap), the product roadmap, and a promotional roadmap.
You can add them all together into a single view, but I've found it difficult to view the details when they were all combined, so I like to break them apart to make sure the details don't get lost.
The marketing plan includes the core initiative pillars, the key themes and messages that all of marketing will be aligning to and the metrics to measure success. It also includes key "moments in time" which could be events, product launches etc.
Marketing Plans are the 30,000 foot view that has buy in by the leadership team. It's the heartbeat of what marketing is doing to support the business objectives and the channel owners take it to create their plans. It includes everything plus Digital.
Next is the marketing mix roadmap. It's the plan for each of the marketing channels to provide a quick snapshot of how each channel will execute against the current plan and marketing initiatives.
The product roadmap is the view of what products and features are releasing, when, and how marketing will align to support.
Finally I've used a promotional roadmap in eCommerce scenarios when we have specific seasonality and promotions running so that digital marketing is aligned for the promotions and the discounts used across channels. Really important for Affiliates!
Q3 How to avoid over-planning and maintain balance? How to encourage your team to go beyond the plan by getting creative and innovative?
It can be tough to balance. In digital we need to plan in advanced so we know what's coming and how to support but be agile enough that we can adjust the plan based on what's happening at any point in time.
You want the framework to be a guide — not the tactical execution plan. Allow some flexibility but always go back to check that what you are doing aligns to the pillars and initiatives.
We host regular brainstorming session across the digital marketing team to try to think about what we've done in the past and how we can do things differently. We discuss what we think will have impact vs busy work.
So true! Our leadership team at @Bing created the Golden Plunger award — it's given out monthly for someone who tried something that didn't work but was able to learn from their mistakes.
For instance @djgeoffe is my sounding board at @BingAds for ways we can be innovative with what we as a Brand Marketing team can do. Geoff is always trying new things. Every org needs something like him.
Love it. So true that it's the foundational framework not the tactical guide.
Q4 As a working leading mom, you know everything about being organized. Please share your tricks!
First MAXMIZE nap time! Seriously. It's nap time right now – that's how I'm participating in this chat while on vacation.
Second, it's been key to set boundaries and to stick to them. I strive (somewhat successfully) to be device free from when I leave work until after 8pm everyday. This gives me 3-4 hours to be present and distraction free. PRESENCE over PERFECTION. I don't want my son to feel like he is playing second fiddle to a cell phone… OR that my devices are more important than him.
Third, learn to say NO. Often. Frequently. Strategically.
I'm prioritizing work that has impact instead of busy work. I have finite time and I've worked myself sick by not saying NO and trying to be helpful. I've been learning to politely decline while suggesting where they can go for help/assistance.
Fourth, find your system that works for you to keep track of what you need to do and when. I live by my calendar and Cortana reminding me what I committed to with their associated deadlines. I'm a list person. I use Cortana and Siri to keep me honest and on track. I love that I can push a button and add a task or reminder for later.
Too many tools to list! 🙂 I actually haven't used tools specific for roadmaps and planing. We tends to create the channel plans in either XLS or MSProject. Then we visualize them in PPT.
Other favorite digital marketing tools? All of them! I run a gammit of programs, so I used tons of tools. For PPC, Excel is my life. I've used Optymzer, Adalysis, Wordstream.
For SEO Search Console and Bing Webmaster Tools are a must. Then I use supplemental tools like Screaming Frog, Deep Crawl, Moz, SEMRush, SpyFu., Magestic's backlink tracker.
Seriously I could go on and on and on. 🙂 We have so many amazing tools at our fingertips.


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Home Life Travelers to share experiences at SB Museum of Art
Travelers to share experiences at SB Museum of Art
by Katherine Zehnder January 3, 2023 0 comment
COURTESY PHOTOS
Nigel McGilchrist will discuss traveling during Santa Barbara Museum of Art programs in January.
The Santa Barbara Museum of Art has announced the following programs in its Travel Lecture Series:
— Author's talk and book signing: "When the Dog Speaks, the Philosopher Listens" at 4 p.m. Jan. 18.
Nigel McGilchrist's book, released in July, looks at the moment in history when a way of thinking that can truly be called "Western" was born. It was a fruitful coming together of the ancient knowledge of the East with the restless curiosity and ingenuity of the Greek mind.
It was a hinge moment in which what people understand as the scientific way of thinking first gained traction. And yet, it was a science that was also deeply imbued with spiritual awareness and a sense of the beauty and unity of creation, according to a news release.
Susie Orso and Nigel McGilchrist will discuss their experience as travelers during a program at the museum.
— Lecture by Nigel McGilchrist: "Venice & the Veneto" at 10 a.m. Jan. 19.
Venice is known as one of the world's most beautiful cities and one of its most anomalous human creations. Built in the water of a lagoon, it needed, as it grew in size and importance, a hinterland of its own that both protected its approaches from the land, and provided it with agricultural produce and timber.
This became the area known as the Veneto — the flat-lands and alpine foothills that extend to the North and West of Venice.
— "A Conversation between Cherished SBMA Travel Leaders: Susie Orso and Nigel McGilchris: at 10 a.m. Jan. 29.
Susie Orso and Nigel McGilchrist converse and reminisce about the Santa Barbara Museum of Arts Travel Program over its busy half-century of history—discussing the real significance of travel, how travel is done at its best, and what instructive lessons they've learned during their abstention during the pandemic years. They share stories and joyous moments and pictures from recent journeys, far and wide.
All programs are at SBMA's Mary Craig Auditorium, 1130 State St., Santa Barbara
Cost is $10 for museum members and $15 for nonmembers.
To purchase, go to tickets.sbma.net.
Teen anime night at the library
Free screening of 'Mochitsuki'


Over the weekend, The Museum of the Broads, a neat little museum near where my mom lives had some sort of event. There was a bus that looked practically steam powered parked nearby and various other machines. We had other plans, so I didn't get to see the actual event.
However, there was organ music drifting through the air first thing in the morning and it was still going strong when we returned from our outing. I wandered over to take a look.
It was "Lucy", a 68 key Decap Band Organ from 1946. Originally installed in a café, it now lives in the back of a big truck so it can be moved about easily.
Here's a brief description of the organ and its origins.
It originally played paper (actually, thick, accordian folded cardboard) tapes.
are long rocker switches. In the down position, they hold a stopper over a tube filled with compressed air. As the card is pulled through, pins "pop up" as the holes in the card go by; this raises the stopper, releases the air pressure, and activates the mechanism that performs some action on the corresponding instrument.
The trouble with cardboard is that it's heavy. The full collection of tapes weighs tons, far more than the instrument, and far more than you could practically carry around in the back of a small truck.
Delightfully, you can find vidoes of this very organ playing on YouTube: one from 2016 and another from 2008.


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Ex-builder shows off balancing act
John Evans hoped to wow judges on Britain's Got Talent
Britain's Got Talent contestant John Evans had his future in the balance - as he showed off a gift for stacking buckets on his head.
The retired builder tried to impress the judges by keeping 20 trugs aloft, weighing 18 stone, and reckons his skill is unique.
A Britney Spears wannabe and touring troupe Circus Of Horrors - who have emerged as early favourites - are also among the acts being shown on Saturday night's ITV1 show.
Evans, a 64-year-old diabetic from Derbyshire with one eye, also gyrates to Survivor's Eye Of The Tiger and slaps his belly while showing off his unusual talent.
He developed his skill to help him on building sites, using his head to carry more bricks than he could fit in a hod.
"I developed this technique where I could stack 20 bricks, lift them up and put them on my head and run up the ladders all day long," he said.
And judge Michael McIntyre was intrigued to see more: "I can't deny that I am desperate to see you balance more things on your head."
Popular freak show Circus Of Horrors has already been tipped as a possible winner of the competition by bookies.
"I want to go to a party with you guys," enthused judge David Hasselhoff.
Also on the show is machine operator Wachiraporn who pretends to be a flight attendant while performing to Eurovision flop Flying The Flag by Scooch. Judge Michael tells her: "I think there's room on this competition for something completely insane."
Eimear McGovern Opinion BBC isn't perfect, but what's the alternative?
Ronan Keating to replace Melanie C on The Voice Kids
Elton John says it is 'good to be back' as he returns to the stage in America
New Gwyneth Paltrow candle to mark anniversary of landmark US abortion ruling


It is December and the festive feeling is all around. People rushing to prepare themselves for the holidays, thinking of the Christmas dinner and presents for their love- ones; before the New Year Celebration with its own traditional resolutions and promises. What would we be without this time of the year that warms our hearts and remember us of the real meaning of family and friends? We believe it is also a good time for sharing flavors and customs inserted in our heritage, this kind of connection that allows us to spread the insights of our Scottish culture. In Stewart's Scottish Market we know this uniqueness. The importance of delivering quality Scottish delicacies captured in every bite of our products. We appreciate you made us an important part of your celebrations along this year.
For that reason we want to tell you "thank you very much", promising you to keep doing our best to deliver your favorites always in time with the freshness you love!


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HomeNew York Arts in Australia
Monteverdi's L'Orfeo with the Australian Brandenburg Orchestra
September 25, 2012Andrew Miller
Filed UnderNew York Arts in Australia Opera
Orfeo and Eurydice, and the Australian Brandenburg Orchestra. Photo by Steven Godbee.
L'Orfeo, Favola in musica
Title page from the 1615 edition of L'Orfeo.
Music by Claudio Monteverdi
Libretto by Alessandro Striggio
City Recital Hall, Angel Place, Sydney: 19 September 2012
Australian Brandenburg Orchestra on period instruments
Paul Dyer – Artistic Director, conductor, harpsichord and organ
Brendan Ross – staging
Justin Nardella – styling and costumes
Markus Brutscher – Orfeo
Sara Macliver – Eurydice and La Musica
Fiona Campbell – La Messaggiera and Proserpina
Wolf Matthias Friedrich – Caronte and Plutone
Ninfa – Siobhan Stagg
Apollo – Morgan Pearse
Eco – Robert Macfarlane
Choro di Pastori – Robert Macfarlane, Richard Butler, Tobias Cole, Morgan Pearse
Choro di Ninfe – Sarah Ampel, Anna Sandström, Paul Sutton, Nick Gilbert, Richard Butler
La Speranza – Tobias Cole
Choro di Spiriti Infernali – Paul Sutton, Nick Gilbert, Tobias cole, Richard Butler, Morgan Pearse
L'Orfeo is a performer's piece. Composed at a time when the composition of music meant something quite different to what it does now, or in the 19th Century, though certain aleatory pieces of the 20th Century left very much of the act of creation to the performer these do seem to be considered somewhat freakish by many — to many programmers of concerts and some in audiences in particular — and popular opinion now gives very rigidly defined roles to composer and performer, to the point that many expect a very narrow field of professional activities of each. Perhaps it is partly the force of professional specialization which seems so strong nowadays, especially in the sciences. We wouldn't want to turn into a race of Fachidioten, though.
From Act III of the 1615 edition.
Monteverdi, his contemporaries and his predecessors, didn't feel any need to write out whole scores with every note for every instrument at every moment, often writing only the bass line and the top melody, with the chords to be filled in by the performer — and this filling is not trivial or formulaic. The composer didn't so much allow for variation in performance as expect this of his musicians. The musicians had immense knowledge of what we would call composition to be expected to play with far less information than is in a Brahms or Beethoven score, for example, the ornamentation of their melodic line, or the keyboardists' finding fitting harmonies for the continuo, clarifying the harmonic structure of the piece without distracting from the main event. Choice of overall tempo for L'Orfeo, though it seems Monteverdi had a very specific idea for proportional tempo changes between the various arias and choruses and ritornello, is a very important choice, making the audience's first impression of the tone of the interpretation. Instrumentation has room for variation, though several instruments are vital for special colors, to cover the incredible pan-spectral tonal range Monteverdi clearly intended, including the beautiful Baroque harp, the renaissance instruments, which were already old in Monteverdi's day, like the lirone, sakbuts, cornetts and also the frightful (in both senses) shawm-like regal. The music seems to call for in any case almost an even balance between blown, bowed and plucked instruments. With the man himself gone — as Maestro and composer he would direct the performance of his operas himself — and a three hundred year gap between these original performances and the modern rediscovery of the opera, even more is up in the air, or rather up to debate, since the dimension of historical research is introduced. Understanding Monteverdi's and the opera's milieu and the exciting, innovative music Monteverdi created while simultaneously, at least in the same opera, finding fresh expressive purpose to the high renaissance polyphony (of which he was said to be the master) which the "Camerata" of Counts Bardi and Corsi would have us believe was old, while also using the Camerata's better ideas about recitative. Put another way, what was the original need to make music like this?1
Despite the opera's field day for creatively minded performers — or perhaps there is no spite to it at all—, L'Orfeo is such expressive music, so clear and so specific in its expression, as much as Nature is, or was — this was music born of pre-industrial fresh air —, and so full of character, can an expressive performance hope, or need hope, for more than the fulfillment of this original expressed idea whose standard is set by Nature herself? I think there is still infinite variety to expression, as there is infinite variety in Nature, as Nature creates her own niches to fill.
Performances of the opera do vary immensely, staged or unstaged. One could say the fantastic Harnoncourt production in Zurich from the late 70's, which is readily available with video, set the standard, but he more merely helped uncover the standard which Monteverdi had set himself. One could hear immediately from the opening Gonzaga fanfare before the opera, even if it isn't part of the music itself, that this performance of the Australian Brandenburg Orchestra and Paul Dyer had its own character. They slyly integrated the the fanfare into the drama, or rather "fable" as Monteverdi called it, playing it in a fresh and unapologetic way, and this blind and total commitment carried right through to the end to create a moving uninterrupted whole. The steep crescendo from the very low rumbling drums and symbol up to the bright, lively outburst of the horns seemed to have all the natural inevitability of the dawn. The pastoral poetry is so effortlessly integrated with the music and plot; sun and cloud, sun and moon, light and shadow, the bright but changeable upper world and the dark, immutable underworld. The music as played powerfully under Paul Dyer's tasteful flair for the dramatic and the orchestra's sunny quality, with a turned out, even extroverted quality, even with this very small orchestra, their tone was full, more than powerfully enough to support the wild, modern costuming of the singers. On the other hand, here in the first scene, there were one or two points where Dyer's harpsichord continuo was beautifully florid and ornate, but swallowed up some of the singers', especially Sara Macliver's as La Musica, lines. Macliver sang with very expressive modulation and a wide dynamic range, if the peaks were a touch strained, contributing even more than her costume (mirrored gold and red scales in a very close, modern cut) to her character's unworldly quality. In contrast, though not at all incongruous — in fact making perfect sense—, was the quite slow, stately tempo of the orchestral ritornello, which among other functions, serves to represent Nature, her perenniality, and the landscape, the environment as we would say now, powerful and simple music, peaceful, but very slightly melancholy as a melody, more than enough to fill in as scenery in this semi-staged production.
Pastori and Ninfa in Monteverdi's L'Orfeo. Photo by Steven Godbee.
There is no scenery, nor any sort of digital projections, but all the characters have costumes and have quite a lot of freedom to move about in the first two acts on the raised platform behind the orchestra and the empty space on the stage in front of the orchestra, and a little gap between the keyboards (two harpsichords for the first two acts, met later by the organ and regal) and the two violins. Markus Brutscher had a tonal range of many clear, subtle colors, and a strong voice, but he used these abilities to expressive, artistic purpose, so that his first "aria" "Rosa del ciel, gemme del giorno…" expressed beautifully the chiaroscuro of his past longing and present joys, reflected so nicely in the pastoral chorus "Lasciate i monti" with its jaunty dance rhythms, inviting the stars to dance, and ending "E lunge omai disgombre / De gli affanni a del duol nebbie a l'ombre." And his singing met the extraordinarily expressive playing of the orchestra, in the ritornello, but also the sinfonias between acts. The close ensemble playing showed a particularly close rapport and they orchestra sounded the best I've heard them over the past year or so. "Orchestra of soloists" is a bit of a cliché perhaps, but its undeniably true here at least: Jamie Hey, for example, plays the cello continuo, yet in past concerts has played the virtuosic solo parts in cello concerti. Here, though no concerto, he contributed much to the accompaniment of Orfeo's songs in particular. Tobias Cole sings Pastore I, a soprano role which opens Act I, with his high counter-tenor, with great technical confidence and a clear, very bright tone which compliments very nicely the period instruments and the interpretation. Siobhan Stagg sang the Ninfa, who sings the following solo, with her very full tone, while a delicacy to her tone quality made for a convincing nymph, rising above the worldly modern white satin bride's maid dress, against the white, cream, off-white waistcoated shepherds. The ensemble singing of the nymphs and shepherds, was pleasant in its contrasting tones even if Tobias Cole at the beginning dominated the others somewhat.
Though Eurydice gets only 6 lines in these first two Thrace acts, they are important to the opera and its music, though still it seems odd she has such a small role, with just one other short song after they part a second time in Hades in Act IV. The opera is called L'Orfeo, "The Orfeo," literally, rather than "Orpheus and Eurydice," as Gluck would later choose to name his version. The music is tightly focussed on Orfeo and his feelings and encounters and he often sings of Eurydice as "la mia vita," and this is a music-fable rather than a play, or Camerata-style drama. In Act II, Fiona Campbell made a memorable Messaggiera, as was her Proserpina in Act IV. She has a beautiful full voice giving terrible fraught anxiety to "Ahi cosa acerbo!" and a range of other emotions, with very simple effect just within her voice, and with simple movements and gestures on the stage. And along with the irresistible orchestral playing, they were responsible for a very moving scene, leaving Orfeo to a resigned and wrenching "tu se' morta, mia vita, ed io respiro?" Paul Dyer and his orchestra and Fiona Campbell and Brutscher in particular, didn't hold back in the slightest, giving full reign to the full range of emotions in the music, which they seemed to feel very closely with the characters of the story, and expressing this with immediacy and intensity, so that there is no question of "relevancy" of the opera. Campbell's very clear Italian helped much, so we could see how modern this monophonic singing sounded and does sound now.
Violinists Brendan Joyce (guest concertmaster, and violino piccolo after the introduction) and Aaron Brown played extremely expressively in the orchestral sinfonia. Their ornamentation sounded natural and lovely, Joyce in particular, but they also played duet-wise in a wonderful intertwining of their florid lines, very fitting and beautiful, not to mention virtuosic.
The moving playing was sustained for Act III after the interval. Orfeo, so heroic and so vulnerable and desperate with his feelings always so close to the skin is a difficult role especially in this short act. All his persuasion against the stony laws of the underworld take place within this act, seemingly all the more difficult against the solid, brutal Caronte, as sung by Wolf Matthias Friedrich. Unlike nearly all the cast in the first two acts, Friedrich is almost completely immobile, with a rigid upright posture, barely turning his head between Orfeo and the audience, almost as if singing into middle distance.
Plutone and Proserpina. Photo by Steven Godbee.
In Act IV, Proserpina, again Fiona Campbell, was very memorable with a human quality paired to the divine regal quality, as if she were resigned to her fate (to spend the sunless portion of the year in the underworld) but here making the most of her situation. Despite the clichéd gangster costumes, a certain amount of her pathos comes off on Plutone, Wolf Friedrich again, who brings to the character a touch of poignancy with his deep warmer voice in the role. The thuggishly dressed Spiriti Infernali, who permanently populate the underworld, were more heavy handed, more infernali than spiriti so it was a difficult to feel or hear their more pathetic qualities, their "più gelati menti" (as La Musica put it) which should be made at least slushy by Orfeo's singing. Especially considering Brutscher's singing of Orfeo's first song in the underworld, so desperate, but indefatigable, yet of uncertain hope, and all the more convincing that way. Marshall McGuire's harp solo during that song, quite a long one was very beautiful in itself and very sensitively responsive to Brutscher's singing. Using the full register of the baroque harp, which has a much more organic, human, sweet tone than the 19th century orchestral harp, while being much softer, the raw, naked aspect of the instrument with its bare strings plucked directly by both hands expressed in tone and melodic articulation Orfeo's hopeless plight, contrasting with the harpsichord and theorbos which tend to set much of the tonal attitude of the music otherwise. The continuo through this singing, shared by cello, lirone, gamba or sakbut, with organ (a beautiful wood-piped positive), harpsichord(s), regal or theorbo, occasionally harp mixed in, depending on character and mood, was expressive as it could be without distracting from the main event; there was a close rapport between orchestra and singers.
Here at this most emotional point of the opera, the musicians allowed themselves to be carried away by the music, lost in a whole greater than the sum of its (very many) parts. Here at the tragic pit of the work, I found the playing of the music so satisfying in a way which later versions of the story told as opera — indeed the story itself as it comes down to us — cannot manage beyond wrenching. Here Monteverdi is moving.
Orfeo is left slumped against the organ through the next scene, until the very end when he is stellifyed (as Chaucer might say) by Apollo (who descends in gold-sequined jacket and shoes). The original, more tragic, 1607 ending where the baccanti come out of the Thracian wilderness seems to be less in favor these days, though it should be possible to use it successfully with a bit of imagination, assuming something can be done for music for the scene. Of course the ending of this double tragedy is very tricky, as Haydn and Gluck, despite their dramatic and musical genius, would find. Having said that, I don't consider the 1609 version used here, where Apollo descends on a cloud, to be a "happy ending" in the pejorative sense, it is more ambiguous than that with the melancholic, even subdued, qualities to the music here. Apollo's somewhat reproachful "Troppo, troppo gioisti / Di tua lieta ventura…" feels a little hollow, even callous, as reason consoling such a tragic character as Orfeo, even given Brutscher's Orfeo's (not excessive) effervescence of the first act. Though the shredded and torn up (figuratively speaking) Orfeo, expressed with restraint so well by Brutcher, made the father and son rising off together convincing. Musically, Monteverdi also gives some emotional sense to the final chorus, even as it bubbles up from Paul Dyer's harpsichord into more "extroverted" music, which he continues in repeats over the casts' bows, not out of line with the festive flavor of the performance. It is somewhat in the ilk of "A great while ago the world began, / With, hey, ho the wind and the rain, / But that's all one, our play is done, / And we'll strive to please you every day."
The Australian Brandenburg Orchestra and cast of L'Orfeo. Photo by Steven Godbee.
See Nikolaus Harnoncourt's The Musical Dialog: Thoughts on Monteverdi, Bach and Mozart which describes the work and performance of L'Orfeo brilliantly. ↩
Tagged WithAustralian Brandenburg OrchestraFiona CampbellMarkus BrutscherMonteverdimythologyOrpheus and Eurydiceperiod instrumentsSara MacliverWolf Matthias Friedrich
Andrew Miller lives in Sydney and writes mostly about music and theatre, especially ballet and opera.
He holds a Bachelor of Science degree from the University of Sydney, and once studied the piano and trombone.
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Ultima: Worlds of Adventure 2: Martian Dreams
Ultima: Worlds of Adventure 2: Martian Dreams is a role-playing video game set in the Ultima series, published in 1991, and re-released for Windows and Mac OS via GOG.com in 2012. It uses the same engine as Ultima VI, as did the first Worlds of Ultima game, The Savage Empire.
Developer(s)
Origin Systems
Jeff George
Dana Karl Glover
Platform(s)
Role-playing video game
Mode(s)
The game has an extensive cast of Victorian Era people, including Marie Curie, Buffalo Bill, Nellie Bly, Rasputin, Sigmund Freud, Sarah Bernhardt, Thomas Edison, Theodore Roosevelt, William Randolph Hearst, Andrew Carnegie, Nikola Tesla, and C. L. Blood.
StoryEdit
After the events in the Savage Empire, the Avatar is visited by a strange red-haired woman who gives a book to him and his friend Dr. Spector. The book will eventually be written by Spector himself, and explains how to use the Orb of the Moons to travel through time. Following instructions, the duo ends up in the Victorian Era, where Percival Lowell has set up a space cannon that will launch some volunteers to Mars.
Through an act of sabotage, the cannon is fired during the 1893 World's Columbian Exposition in Chicago, with several dozen famous people and leaders of the time on board. A second cannon is prepared to find and recover the people in the first, who are now stranded on Mars.
It turns out that Mars had an extensive civilization based on plants. Most monsters the player encounters are so-called "plantimals", such as the Jumping Bean and the Planther. Mars has cities and canals, although the civilization is in ruins, so the player's first tasks are restoring the world power station, and melting enough of the polar caps (with a solar lens) to fill the canals.
Some of the people appear to have gone insane after using a device called the Dream Machine. What in fact happened was that, after massive soil poisoning, the original Martians had gone into a sort of alternate dimension called "dreamspace" to preserve themselves. Those people using the Dream Machine found themselves trapped in dreamspace, while the Martians took over their bodies. A large part of the game is spent visiting various people's nightmares and clearing them up.
Eventually, robotic bodies can be created for the Martians, since their plantamal bodies won't grow. After a showdown with the evil Raxachk, who caused the soil pollution in the first place, all Victorians can once more go home.
Computer Gaming World's Scorpia in 1991 liked Martian Dreams's Victorian setting, but criticized travel as "tedious". The magazine stated that the game was really an adventure pretending to be an RPG, with combat almost completely disassociated from the story, and concluded that it would most appeal to those who prefer other activities to fighting.[1] Peter Olafson was more positive, calling it "an epic adventure ... that has all the depth and complexity of the Ultima series" while accessible to new adventurers.[2] A review by Scorpia in 1993 was also positive, approving of the storyline. She concluded that "the game requires patience and careful attention to detail, but is otherwise enjoyable".[3]
^ Scorpia (September 1991). "Scorpion's View". Computer Gaming World. p. 28. Retrieved 18 November 2013.
^ Stewart, Roger (October 1991). "The Angry Red Planet". Computer Gaming World (87). pp. 80, 82–83. Retrieved 18 November 2013.
^ Scorpia (October 1993). "Scorpia's Magic Scroll Of Games". Computer Gaming World. pp. 34–50. Retrieved 25 March 2016.
Ultima: Worlds of Adventure 2: Martian Dreams at MobyGames
GOG.com now offers an official free download of this game
Retrieved from "https://en.wikipedia.org/w/index.php?title=Ultima:_Worlds_of_Adventure_2:_Martian_Dreams&oldid=1064126442"


Square Enix haven't done a E3 Press Conference since 2015 but they are back in a big way!
Among other things, we'll get news on Shadow of the Tomb Raider, Octopath Traveller, Final Fantasy, Kingdom Hearts and much more.
And rumours, we've certainly got them too. Check out our video for the latest scoops!
When is it being shown?


Ofsted reports into a group of schools in Birmingham are expected to confirm little evidence of religious extremism.
The inspections took place after an anonymous letter alleged a "Muslim plot" called Operation Trojan Horse to take over schools in the city.
Ofsted reports on 21 schools are due to be published this month.
Leaks show the hated schools inspector found little evidence of homophobia or discrimination based on gender.
Yet allegations of discrimination were widely reported in the media in the wake of the Trojan Horse letter.
Despite this, chief inspector of schools, Sir Michael Wilshaw, is expected to place some of the schools inspected in special measures.
This means the Department for Education can remove governors and impose new ones.
They include three schools run by the Park View Academy Trust—Park View Academy, Golden Hillock and Nansen. Ofsted rated Park View "outstanding" in 2012.


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Attorney General Bonta Reminds Employers and Workers That Noncompete Agreements Are Not Enforceable Under California Law
Attorney General Bonta Reminds Employers and Workers That No…
Noncompete agreements are widespread, affecting an estimated 20-25% of the nation's labor force
OAKLAND – California Attorney General Rob Bonta today issued an alert reminding employers and workers that noncompete agreements are not enforceable in California. Noncompete agreements generally require workers to refrain from accepting new employment opportunities in a similar line of work or establishing a competing business, usually for a specified period of time and within a geographic area. Although frequently found in high paying, highly technical jobs, these provisions are also found in lower-paying, less technical jobs and can have an adverse impact on labor market mobility and worker compensation. For example, a 2019 study estimates that 53% of noncompete workers are non-salaried, hourly wage employees, 14% of whom earn less than $40,000 a year. Attorney General Bonta reminds both employers and employees that noncompete agreements are prohibited in the state of California, and urges individuals who are wrongfully presented with a noncompete agreement to know their rights.
"Despite being prohibited in California, noncompete provisions are routinely included in employee contracts, including contracts for lower-wage workers. This can have a tremendous effect of deterring workers from pursuing new, and oftentimes better job opportunities," said Attorney General Bonta. "As our economy recovers, it is more important than ever for employers and workers in our state to have a system that protects competition in the labor market. Today's alert is a reminder that noncompete agreements have no place in California."
California law prohibits employers, including those who operate out of state but employ California residents, from enforcing noncompete agreements. Even when invalid, these agreements can discourage workers from seeking new opportunities, causing workers in a variety of professions to mistakenly believe that they cannot pursue or accept a competitor's offer of better pay or working conditions in fear of facing legal repercussions. From software engineers to baristas, those in noncompete agreements may believe that their only option is to continue to work for their current employer. These anticompetitive provisions also harm the economy by depriving businesses of the opportunity to hire workers who may otherwise be available or qualified. Noncompete agreements also prove to be harmful to wages, entrepreneurship, market concentration in the labor force, and equality amongst the workforce.
Noncompete agreements are often buried in fine print and go unmentioned in discussions between workers and employers. Even worse, they are sometimes added to the terms of employment after a worker has accepted a job, or even after they have begun work. Workers who have been wrongly presented with, or have entered into a noncompete agreement should report it immediately to the Attorney General's office at oag.ca.gov/report.
Attorney General Bonta is committed to defending workers' rights, workplace safety, and a fair and competitive labor market in California. Through both the Worker Rights and Fair Labor Section and the Antitrust Law Section, Attorney General Bonta enforces California's laws to protect the welfare of California workers and maintain a level playing field for legitimate businesses operating in the state. Last month, he filed an amicus brief urging the National Labor Relations Board to strengthen protections for workers seeking to organize in a case before the Board. In January, he submitted a comment letter calling on the federal Occupational Safety and Health Administration to quickly implement a national standard to protect workers from heat-related injury and illness. That same month, he appealed the dismissal of a lawsuit challenging Facebook's illegal, anticompetitive behavior. In September 2021, he filed a lawsuit against American Airlines and JetBlue challenging an anticompetitive joint venture between the companies known as the Northeast Alliance.