text:
package com.example.becomebeacon.beaconlocker;

import android.app.Activity;
import android.app.ActivityManager;
import android.app.Notification;
import android.app.NotificationManager;
import android.app.PendingIntent;
import android.app.Service;
import android.content.Context;
import android.content.Intent;
import android.graphics.BitmapFactory;
import android.location.Location;
import android.location.LocationManager;
import android.os.Handler;
import android.os.IBinder;
import android.os.Message;
import android.util.Log;
import android.widget.Toast;

import com.google.firebase.database.DataSnapshot;
import com.google.firebase.database.DatabaseError;
import com.google.firebase.database.DatabaseReference;
import com.google.firebase.database.FirebaseDatabase;
import com.google.firebase.database.ValueEventListener;

import java.util.ArrayList;

/**
 * Created by 함상혁입니다 on 2017-05-09.
 */

public class BleService extends Service {

    public boolean checkZeroPoint;
    public static BleService mContext;
    private String TAG="BLESERVICE";
    private BluetoothScan mBleScan;
    private Location loc;
    public static int myPoint ;
    private String myPointKey=null;

    private String FIND_OTHERS_NOTI;
    private final String FIND_NOTI_SUB="분실물을 습득하셨나요?";

    private ArrayList<BleDeviceInfo> mAssignedItem;
    private LocationManager mLocationManager = null;
    private static final int LOCATION_INTERVAL = 1000;
    private static final float LOCATION_DISTANCE = 10f;
    boolean mScan;
    private GpsInfo gps;
    private DatabaseReference lostBeaconInfoRef;
    private DatabaseReference messageInfoRef;

    private FirebaseDatabase mDatabase;

    @Override
    public void onCreate()
    {
        super.onCreate();
        mDatabase = FirebaseDatabase.getInstance();

        checkZeroPoint=true;

        lostBeaconInfoRef = mDatabase.getReference("lost_items/");
        messageInfoRef = mDatabase.getReference("users/"+LoginActivity.getUser().getUid()+"/messages");

        mContext=this;
        Notifications.clear();

        try {
            if(isServiceRunningCheck()) {

                stopSelf();
            }
            mBleScan =new BluetoothScan(this);

        } catch (Exception e) {
            e.printStackTrace();
            Toast.makeText(getApplicationContext(), "오류가 발생했습니다. 관리자에게 문의하세요\n오류코드 : 20104", Toast.LENGTH_LONG).show();
            stopSelf();
        }

        //Notifi_M = (NotificationManager)getSystemService(Context.NOTIFICATION_SERVICE);

        Notifications.cntNoti=0;

        mAssignedItem = BeaconList.mAssignedItem;
        mScan=false;
        mHandler.sendEmptyMessage(0);
        mTimeOut.sendEmptyMessage(0);
        myPoint=0;

        mDatabase = FirebaseDatabase.getInstance();

        /* DB 비활성화
        dbOpenHelper = new DbOpenHelper(getApplicationContext());
        dbOpenHelper.open();

        pullLostDevices();
        */
    }

    @Override
    public int onStartCommand(Intent intent, int flags, int startId) {
        return super.onStartCommand(intent, flags, startId);
    }

    public void addDBListener() throws Exception
    {
        lostBeaconInfoRef.addValueEventListener(new ValueEventListener() {
            @Override
            public void onDataChange(DataSnapshot dataSnapshot) {
                for(DataSnapshot addressSnapshot : dataSnapshot.getChildren()) {
                    LostDevInfo lostItem = addressSnapshot.getValue(LostDevInfo.class);
                    if(BeaconList.lostMap.containsKey(lostItem.getDevAddr())) //갱신됨
                    {
                        BeaconList.lostMap.remove(lostItem.getDevAddr());
                        BeaconList.lostMap.put(lostItem.getDevAddr(),new BleDeviceInfo(lostItem));
                    }
                    else //신규 추가
                    {
                        BeaconList.lostMap.put(lostItem.getDevAddr(),new BleDeviceInfo(lostItem));
                    }

                }

            }

            @Override
            public void onCancelled(DatabaseError databaseError) {

            }
        });

        messageInfoRef.addValueEventListener(new ValueEventListener() {

            @Override
            public void onDataChange(DataSnapshot dataSnapshot) {

                try {
                    int addTotal=0;

                    for(DataSnapshot addressSnapshot : dataSnapshot.getChildren()) {
                        FindMessage msg=addressSnapshot.getValue(FindMessage.class);
                        msg.keyValue=addressSnapshot.getKey();

                        if(msg.isPoint)
                        {
                            if(msg.point<0) {//point 주는 msg는 음수로 온다
                                addTotal -= msg.point;

                                messageInfoRef.child(msg.keyValue).removeValue();

                            }
                            else {
                                checkZeroPoint = false;
                                if(myPoint<msg.point)
                                    myPoint = msg.point;
                                myPointKey=addressSnapshot.getKey();
                            }
                            msg.isChecked=true;

                            //Point msg는 받고 삭제해야한다

                        }
                        else
                        {
                            if(msg.isChecked==false) {
                                if (BeaconList.mItemMap.containsKey(msg.devAddress)) {
                                    if (!BeaconList.msgMap.containsKey(addressSnapshot.getKey())) {
                                        BeaconList.msgMap.put(addressSnapshot.getKey(), msg);
                                        pushMsgNotification(BeaconList.mItemMap.get(msg.devAddress), msg);
                                    }
                                }

                                msg.isChecked = true;

                                messageInfoRef.child(addressSnapshot.getKey()).setValue(msg);

                                if(BeaconList.rewardMap.containsKey(msg.devAddress))
                                {
                                    BeaconList.rewardMap.remove(msg.devAddress);
                                }
                                BeaconList.rewardMap.put(msg.devAddress,msg.sendUid);
                            }
                            else
                            {
                                if (!BeaconList.msgMap.containsKey(addressSnapshot.getKey())) {
                                    BeaconList.msgMap.put(addressSnapshot.getKey(), msg);
                                }
                            }

                        }

                        //DB에 ischeck를 체크해줘야함
                    }

                    if(checkZeroPoint)
                    {
                        FindMessage fm=new FindMessage();
                        fm.isPoint=true;
                        fm.point=addTotal;

                        messageInfoRef.push().setValue(fm);
                        checkZeroPoint=false;
                        myPoint=addTotal;

                    }
                    else
                    {

                        myPoint+=addTotal;
                        GetMainActivity.getMainActity().setPoint(myPoint);

                        //내 점수 setText 해줘야함 ㄹㅇ루
                    }
                } catch (Exception e) {
                    e.printStackTrace();
                    Toast.makeText(getApplicationContext(), "오류가 발생했습니다. 관리자에게 문의하세요\n오류코드 : 20103", Toast.LENGTH_LONG).show();
                }

            }

            @Override
            public void onCancelled(DatabaseError databaseError) {

            }
        });
    }

    @Override
    public IBinder onBind(Intent intent) {
        return null;
    }

    @Override
    public void onDestroy() {

        mHandler.removeMessages(0);
        mTimeOut.removeMessages(0);

        try {
            mBleScan.end();
        }catch(Exception e)
        {

        }

        super.onDestroy();

        if(myPointKey!=null)
            messageInfoRef.child(myPointKey).child("point").setValue(myPoint);

    }

    private Handler mHandler= new Handler()
    {
        public void handleMessage(Message msg)
        {

            try {
                if(mBleScan.getMod()== Values.USE_TRACK) {

                    if(mScan) {

                        mBleScan.getBtAdapter().stopLeScan(mBleScan.mLeScanCallback);

                        mScan = false;

                        mHandler.sendEmptyMessageDelayed(0, Values.scanBreakTime);

                    }
                    else
                    {
                        if(Values.useGPS)
                        {

                            //여기서 Values.latitude, Values.longitude에 현재 좌표 저장
                            gps = new GpsInfo(GetMainActivity.getMainActity(),GetMainActivity.getMainActity());
                            gps.getLocation();

                            Values.latitude = gps.lat;
                            Values.longitude = gps.lon;

                        }
                        if(Values.useBLE) {

                            mBleScan.getBtAdapter().startLeScan(mBleScan.mLeScanCallback);
                        }
                        mScan = true;

                        mHandler.sendEmptyMessageDelayed(0, Values.scanTime);

                    }
                }
            } catch (Exception e) {
                e.printStackTrace();
                Toast.makeText(getApplicationContext(), "오류가 발생했습니다. 관리자에게 문의하세요\n오류코드 : 20101", Toast.LENGTH_LONG).show();
                mHandler.removeMessages(0);
            }

        }
    };

    private Handler mTimeOut= new Handler()
    {
        public void handleMessage(Message msg)
        {

            try {
                if(Values.useBLE) {

                    for(int i=0;i<BeaconList.mAssignedItem.size();i++)
                    {
                        BleDeviceInfo dbi=BeaconList.mAssignedItem.get(i);
                        dbi.timeout--;
                        if(dbi.isLost!=true&&dbi.timeout==0)
                        {
                            dbi.isFar=true;
                            pushNotification(dbi);
                        }
                    }
                }
                mTimeOut.sendEmptyMessageDelayed(0, 1000);
            } catch (Exception e) {
                e.printStackTrace();
                Toast.makeText(getApplicationContext(), "오류가 발생했습니다. 관리자에게 문의하세요\n오류코드 : 20102", Toast.LENGTH_LONG).show();
                mHandler.removeMessages(0);
            }

        }
    };

    public void pushNotification(BleDeviceInfo bdi) throws Exception
    {

        if(Notifications.notifications.containsKey(bdi.devAddress+Values.NOTI_FAR))
        {
            return;
        }

        NotificationManager notificationManager = (NotificationManager) getSystemService(Context.NOTIFICATION_SERVICE);
        Intent intent = new Intent(this, RegLostDataActivity.class);
        Intent intent2 = new Intent();

        intent.putExtra("NOTI",Notifications.cntNoti);
        intent2.putExtra("NOTI",Notifications.cntNoti);

        intent.putExtra("MAC",bdi.devAddress);

        PendingIntent pendingIntent = PendingIntent.getActivity(this, 0, intent, PendingIntent.FLAG_UPDATE_CURRENT);
        PendingIntent nothingIntent = PendingIntent.getActivity(this, 0, intent2, PendingIntent.FLAG_UPDATE_CURRENT);

        Notification.Builder builder = new Notification.Builder(this);
        builder.setLargeIcon(BitmapFactory.decodeResource(getResources(), R.drawable.small_main_logo));
        builder.setSmallIcon(R.drawable.small_main_logo);
        builder.setTicker("멀어짐");
        builder.setContentTitle(bdi.nickname + "이 멀어졌습니다");
        builder.setContentText("분실물로 등록할까요?");
        builder.setWhen(System.currentTimeMillis());
        //builder.setDefaults(Notification.DEFAULT_SOUND | Notification.DEFAULT_VIBRATE);
        builder.setVibrate(null);
        builder.setContentIntent(pendingIntent);
        builder.setAutoCancel(true);

        builder.addAction(R.drawable.yes, "네", pendingIntent);
        builder.addAction(R.drawable.no, "아니오",nothingIntent);
        Notification noti = builder.build();

        Notifications.notifications.put(bdi.devAddress+Values.NOTI_FAR,Notifications.cntNoti);

        notificationManager.notify(Notifications.cntNoti++, noti);

//        ////        //소리추가
//        noti.defaults = Notification.DEFAULT_SOUND;
//
//        //알림 소리를 한번만 내도록
//        noti.flags = Notification.FLAG_ONLY_ALERT_ONCE;
//
//        //확인하면 자동으로 알림이 제거 되도록
//        noti.flags = Notification.FLAG_AUTO_CANCEL;
//
//        //토스트 띄우기
//       Toast.makeText(BleService.this, "비컨 멀어짐", Toast.LENGTH_LONG).show();

    }

    public void pushMsgNotification(BleDeviceInfo bdi, FindMessage msg) throws  Exception
    {
        NotificationManager notificationManager = (NotificationManager) getSystemService(Context.NOTIFICATION_SERVICE);
        Intent intent = new Intent(this, ReadMessageActivity.class);

        BeaconList.msgMap.put(msg.keyValue,msg);
        String messageKey = msg.keyValue;

        intent.putExtra("NOTI",Notifications.cntNoti);
        intent.putExtra("MyMessageKey",messageKey);

        PendingIntent pendingIntent = PendingIntent.getActivity(this, 0, intent, PendingIntent.FLAG_UPDATE_CURRENT);

        Notification.Builder builder = new Notification.Builder(this);
        builder.setLargeIcon(BitmapFactory.decodeResource(getResources(), R.drawable.small_main_logo));
        builder.setSmallIcon(R.drawable.small_main_logo);
        builder.setTicker("누군가가" + bdi.getNickname() + "를 찾았습니다.");
        builder.setContentTitle("누군가가" + bdi.getNickname() + "를 찾았습니다.");
        builder.setContentText("메세지 : " + msg.message);
        builder.setWhen(System.currentTimeMillis());
        //builder.setDefaults(Notification.DEFAULT_SOUND | Notification.DEFAULT_VIBRATE);
        builder.setVibrate(null);
        builder.setContentIntent(pendingIntent);
        builder.setAutoCancel(true);

        Notification noti = builder.build();

        notificationManager.notify(Notifications.cntNoti++, noti);

//        ////        //소리추가
//        noti.defaults = Notification.DEFAULT_SOUND;
//
//        //알림 소리를 한번만 내도록
//        noti.flags = Notification.FLAG_ONLY_ALERT_ONCE;
//
//        //확인하면 자동으로 알림이 제거 되도록
//        noti.flags = Notification.FLAG_AUTO_CANCEL;
//
//        //토스트 띄우기
//       Toast.makeText(BleService.this, "비컨 멀어짐", Toast.LENGTH_LONG).show();

    }

    public void pushFindNotification(LostDevInfo ldi,int op) throws Exception
    {
        if(Notifications.notifications.containsKey(ldi.getDevAddr()+Values.NOTI_I_FIND))
        {
            return;
        }else
        {

        }

        NotificationManager notificationManager = (NotificationManager) getSystemService(Context.NOTIFICATION_SERVICE);

        Intent intent ,intent2;

        if(op == 1) {
            FIND_OTHERS_NOTI="당신의 "+ldi.getNickNameOfThing() + "이 감지되었습니다";
            intent = new Intent(this, BeaconDetailsActivity.class);
        }
        else if(op==0)
        {
            FIND_OTHERS_NOTI=ldi.getUserName()+"님의 "+ldi.getNickNameOfThing()+"이 감지되었습니다";
            intent = new Intent(this, BeaconBackHostActivity.class);
        }
        else
        {
            FIND_OTHERS_NOTI="ERROR";
            intent = new Intent();
        }
        intent2 = new Intent();

        intent.putExtra("NOTI", Notifications.cntNoti);
        intent2.putExtra("NOTI", Notifications.cntNoti);

        intent.putExtra("MAC", ldi.getDevAddr());

        PendingIntent pendingIntent = PendingIntent.getActivity(this, 0, intent, PendingIntent.FLAG_UPDATE_CURRENT);
        PendingIntent nothingIntent = PendingIntent.getActivity(this, 0, intent2, PendingIntent.FLAG_UPDATE_CURRENT);

        Notification.Builder builder = new Notification.Builder(this);
        builder.setLargeIcon(BitmapFactory.decodeResource(getResources(), R.drawable.small_main_logo));
        builder.setSmallIcon(R.drawable.small_main_logo);
        builder.setTicker("감지됨");
        builder.setContentTitle(FIND_OTHERS_NOTI);
        builder.setContentText(FIND_NOTI_SUB);
        builder.setWhen(System.currentTimeMillis());
        //builder.setDefaults(Notification.DEFAULT_SOUND | Notification.DEFAULT_VIBRATE);
        builder.setVibrate(null);
        builder.setContentIntent(pendingIntent);
        builder.setAutoCancel(true);

        builder.addAction(R.drawable.yes, "네", pendingIntent);
        builder.addAction(R.drawable.no, "아니오", nothingIntent);
        Notification noti = builder.build();

        Notifications.notifications.put(ldi.getDevAddr()+Values.NOTI_I_FIND, Notifications.cntNoti);

        notificationManager.notify(Notifications.cntNoti++, noti);

    }

    public boolean isServiceRunningCheck() throws Exception{
        ActivityManager manager = (ActivityManager) this.getSystemService(Activity.ACTIVITY_SERVICE);
        for (ActivityManager.RunningServiceInfo service : manager.getRunningServices(Integer.MAX_VALUE)) {
            if ("BleService".equals(service.service.getClassName())) {
                return true;
            }
        }
        return false;
    }

    public void findStuff(BleDeviceInfo item)
    {

        mDatabase.getReference("lost_items/").child(item.devAddress).removeValue();

        mDatabase.getReference("beacon/"+ item.devAddress + "/")
                .child("isLost")
                .setValue(false);
        if(BeaconList.lostMap.containsKey(item.devAddress))
        {
            BeaconList.lostMap.remove(item.devAddress);
        }

        item.isLost = false;
    }

}


text:
De Roose claims the Harradine Crown
The 6th of November saw the annual Harradine Cup take centre stage at Al Hamra Golf Club in the finest golfing weather of the new season so far. An early morning fog caused a 30 minute delay to the 7:30am scheduled start but once cleared left a slightly overcast sky that cleared to leave glorious sun shine and still conditions. The tournament once again was sponsored and supported by Dubai based golf course architect Peter Harradine and his Harradine Golf and Orient Irrigation companies.
The last two Harradine Cup's have been won by one of Peter Harradine's own associate course architects, however, that was all to change. This year's format was changed to individual stableford from the previous years' bogey format. The strong field of 74 competed for 5 overall prizes and two nearest the pin special events. Overall the scores returned were excellent as over half the field arrived back at the clubhouse with in excess of 30 stableford points. Fifth place on the day was resolved on a count back between Keith Martine, Michael Harradine Peter's son and Madhav Nair on 37 points. Despite Harradine shooting a fine 75, the lowest gross of the day both himself and Martine were pipped by Nair who's 14 points over the last 6 holes secured him 5th place.
Second, third and fourth place were also decided on a count back over the last 9 holes after Al Hamra member Cindy Rials, Yuki Matsuura and Sunny Ramadas all returned the excellent score of 38 points. Claiming 4th place was Matsuura as he finished with 16 points on the inward back nine after a very impressive start to his round on the front nine. Third place was awarded to Cindy Rials who has become a regular visitor to the winner's podium in recent competitions following a back nine point's tally of 20 stableford points, which left Sunny Ramadas to walk away with second place. Despite a shaky front nine where for a period of 6 holes Ramadas only scored 4 points he had a ripping back nine which amassed him 25 points and started with two gross birdies at Al Hamra's very own version of Amen Corner, and finished with a glorious birdie at the final and signature par 5 18th hole.
The overall winner and Harradine Cup champion, Sarah De Roose, claimed her award and the accolades in style as she beat the rest of the field by a clear 7 points. De Roose followed on from her victory in the previous evening's floodlit challenge in glittering style as she reeled off nines of 20 points on the front and 25 on back. The highlights of her round were 6 gross pars and 7 bogeys, and despite finishing on 45 points she still managed a no score at the par 3 7th hole. De Roose who started the day on off a 28 handicap found herself cut to 22 by the end off it but in this sort of scintillating form golfers in the next couple of events better watch out.
Upon claiming the Harradine Cup De Roose said: "The course was in great condition out there today and fortunately I managed to play some good golf as everything I hit seemed to come off. My thanks must go to my playing partners who kept me going towards the end and to the sponsors for today's event whose contributions have made it a thoroughly enjoyable and exciting day."
"Al Hamra Golf Club is exceptionally proud of its relationship with Harradine Golf and Orient Irrigation who have once again sponsored and supported this flagship tournament and we extend our special thanks to Peter Harradine for his continued involvement," said Alasdair Danson-Webster. "We were extremely pleased with the turn-out of 74 for today's tournament and also to welcome four Harradine Golf Representatives' to take part as this is a very exciting event and definitely one to pin point each year in the calendar. Congratulations must go to Sarah De Roose for such a splendid round of golf."
Special Event Winners:
The golf course was full of special shots during the day but two could not have finished any closer to the holes bar not going in than the two that claimed the nearest the pin awards.
Nearest to the Pin (7th Hole) – It was Sam Brooks who walked away with a new Callaway Strike bag after he floated in a delightful 7 iron shot to the par 3 7th green that hugged the flagstick all the way on and upon contact with the turf spun back to 2 feet. Brooks coolly rolled in for his birdie 2 and after the game described his tee shot as "the best shot he had hit all day."
Nearest to the Pin (15th Hole) – saw well travelled competitor Mike Harris who had made his way up from the Sultan of Oman to take part in the tournament carry away a new Callaway stand bag. His exquisite tee shot came to rest merely inches behind the cup at the treacherous 15th hole just missing going in by a cat's whisker.
Download Overall Standing's

redpajama_set_name: RedPajamaCommonCrawl


text:
package com.github.jrrdev.mantisbtsync.core.junit;

import javax.sql.DataSource;

import org.springframework.context.annotation.Bean;
import org.springframework.context.annotation.Configuration;

import com.ninja_squad.dbsetup.destination.DataSourceDestination;
import com.ninja_squad.dbsetup.destination.Destination;

/**
 * Configuration Spring pour les tests JUnit.
 *
 * @author jrrdev
 *
 */
@Configuration
public class JunitTestConfiguration {

	@Bean
	public Destination dbSetupDest(final DataSource dataSource) {
		return new DataSourceDestination(dataSource);
	}
}

redpajama_set_name: RedPajamaGithub


text:
Showing results by narrator "Johnathan Rufus Welsh" in All Categories
God Doesn't Whisper
By: Jim Osman
Narrated by: Johnathan Rufus Welsh
It is woven into the fabric of modern evangelicalism. The subject of numerous books, conferences, and sermons every year, it's promoted as essential for a vibrant relationship with Christ, and a measure of the maturity of your faith. What is it? Hearing God speak personally, outside of Scripture.
BIBLICAL.
By A on 12-06-22
Beasts of Britain
By: Andy McGrath
From a wildlife point of view, the accepted fauna of the British Isles were discovered and catalogued in their finite and immovable state in the 19th century. Nothing has really been added to this list or considered worthy since, and the continual reports of water monsters, bigfoot, mystery big cats and UFCs (unidentified flying cryptids) are largely ignored or used as newspaper fillers to entertain us. Andy's focus is on current research and sightings, pictures, videos, and eyewitness accounts of the many cryptids of the British Isles.
Series: Beasts of the World Series
The Journey of an Abused Child
A Story of Abuse, Triumph, and Forgiveness
By: William T. Bullock
This author tells the true story of his younger life of physical abuse and extreme mental abuse that was imposed upon him by an unstable stepdad on a daily basis. In this book, the author shares raw events from his abuse that occurred when he was 10 years old to about 15 years old, and the only safe place he could sometimes escape to was his grandma's house and the local church whenever he was allowed to attend.
MRF Shadow Troop
The Untold True Story of Top Secret British Military Intelligence Undercover Operations in Belfast, Northern Ireland, 1972-1974
By: Simon Cursey
For decades there has been argument in the media and amongst politicians about the possible existence and extent of a shoot-to-kill policy in Northern Ireland. MRF Shadow Troop confirms there was such an agenda in the early, chaotic days of British military intervention across the Irish Sea. But amongst the mountain of speculation there is little of any accuracy or authority relating to this period.
Kicking the Stars
Rediscovering Our Trust in God in the Midst of Crisis
By: Wendell E. Hutchins II
Kicking the Stars inspires the listener to see God differently after a national crisis and worldwide pandemic. From a new perspective, we gain a new vision, where we behold the works of God from a new vantage. In Kicking the Stars, you'll gain new strength from God's word and the courage to trust God again, for greater things. As a result, you will be encouraged and equipped to overcome fear and the misgivings of a godless culture to dream again about fulfilling God's purpose in your life.
A Tragic Memoir of Unwavering Faith
By: Gunmolly Kodiad
A journey full of pain, romance, self-sacrifice, humor, and finally catharsis. A book that touches every emotion. A story that makes you want more and more!
According to Scripture
By: C Pallaghy PhD
After Charles was filled with the Holy Spirit, he had his first vision about the horrors facing unbelievers. In response, and fearing for his family, he began to soak up the Word of God "like a sponge" under the instruction of amazingly dedicated Bible teachers over more than 40 years. He is very concerned about complacent Christians presumptuously resting on God's mercy and benefits, unaware that God's promises are always conditional on repentance. God has given him the gift of interpreting the symbolism, used in the prophetic scriptures, which he hopes listeners will appreciate.
Leon the Warrior Dog: Book 1
By: C. Y. Sansum
The audiobook is set in the time of the Emperor Constantine, AD 313. The emperor had made Christianity the religion of the Roman Empire, but can you order someone to be a Christian? One of heroes is a young man named Beat—he is a shepherd in the Swiss Alps. And the other joint hero is his dog, an Anatolian Shepherd dog. Rome is under attack by the Goths. Can Beat and his dog, Leon, save Rome?
Series: Leon the Warrior Dog, Book 1
A Very Short Introduction
By: Christian Reus-Smit
International relations affects everyone's lives: their security, economic well-being, rights and freedoms, and the environment they share. Recently we have seen the transformation from a world of empires to today's world of sovereign states, which are enmeshed in a complex array of international institutions, all exercising degrees of political authority. The new global organization of political authority has far-reaching consequences. This audiobook untangles this complex world, providing an accessible framework for understanding the contours of global political change.
Mech. Chronicles, Book 1
By: Adam Moon
The year is 2229 and Jack Peterson has terminal cancer. He's a dead man walking until his doctor gives him a way out. If he's willing to give up his entire life, he can travel for 800 years in stasis to planet Epigog 31 to receive treatment. With no other options available, he agrees. Once there, he discovers that aliens exist and they are allies with humanity. But there's a catch to receiving treatment: While his body heals, he must act as muscle for the aliens. His conscious mind is uploaded into a mechanical battle unit and he is sent to train for warfare.
Finally came out in audible version. I really enjoyed the book version which I read several years ago.
By Gary on 07-15-21
Series: Mech. Chronicles, Book 1
Zero 2.0
Zero and his fellow mechs have just won the first battle of a war they didn't know or care about. The Beetars are their new enemy. They are an oppressive alien race who've subjected all other races to their rule and tricked humanity into doing their bidding for a century. The mechs don't know that the first battle was to be the easiest.
The Joseph Generation
By: Afolarin Ogunyinka
Over the eons, and the dispensations, God has proved to be consistent. The same yesterday, today, and forever (Heb.13:8).The book is a précis of particularly, the lives of four characters named Joseph in the holy writ - Joseph the Patriarch, Joseph the husband of Mary, Joseph of Arimathea, and Joseph (Joses) Barnabas. These characters emerged at significant times in the scriptures.
The Two-Faced Christian: A Fictional Truth
By: Dr Pensacola H Jefferson
Gemini: The Two-Faced Christian is a fictional depiction of how people may claim to be a Christian and profess to be a Christian, but based on the "deeds" of their flesh they are not. Gemini was a local and renown Christian leader who claimed to be saved and filled with the Holy Spirit. In all appearances, she looked like the real thing, but privately she lived a life of sin and carnality. When she met client, Susan Taylor, she realized she'd departed from God, needed to repent, and it turned her life upside down.


Lay the sheets of filo on a work surface and cut in half. Spoon the noodle mixture along the short side of each piece of pastry and brush the edges with oil. Fold in and roll up. Spoon the noodle mixture along the short side of each piece of pastry and brush the edges with oil.
Filo pastry is also good for making Chinese style spring rolls. Filo Pastry Samosas It�s the only pastry that I buy ready-made, either already frozen or fresh as it is so difficult to make.


An extra-special baby blanket is a great investment as it often lasts well beyond babyhood, turning into a nighttime comfort toy or bedding for dolls and teddies later on. As well as making the perfect present for a new baby, buying one of these beautiful Fair Trade blankets will help support community projects in Bangladesh. Available in two striped, gender-neutral designs, these baby blankets are hand-knitted and suitable from birth. They're fully machine- washable, making them ideal for taking out and about as a pram blanket or for the car seat.


text:
Home » 32Red Online Slots
32Red Online Slots
Up To £300 Sign Up Bonus
32Red Online Slots Features
Slots Software
EcoCard, EntroPay, Maestro, Mastercard, NETeller, PaySafeCard, Skrill, UKash, Visa, Wire
Maestro, Mastercard, PayPay, Visa, Wire
Chat, Email, Telephone
Linux, mac, Windows
Do you love gambling but rarely find the time to head out to a casino and dedicate a few hours? If this is the dilemma you face, then you have to worry no more. With a few clicks, you can access 32Red, an online casino dedicated to providing the real experience without you having to leave your seat. Their vast array of games also includes slots amongst others such as poker and blackjack.
There are a large variety of slots available on 32 Red's online casino. In fact, 32 Red can boast over 320 of some of the most popular slot games available online. To start playing a slot game, all you need to do is to either download the website's casino logo or simply start immediately with 32 Red's Flash Casino. Furthermore, you will even get a bonus for registering with 32 Red, and whether you decide to download slots or play online, you will always have access to the best online service possible.
As mentioned earlier, there are over 320 slot games available at 32 Red, which means that you are liable to find at least one game that you thoroughly enjoy. In fact, these machines include 3 reel, 5 reel and progressive slot machines as well, so you can select according to your choosing. Some boast themes which are unique to the game while others offer exciting bonus material or free spin offers. Hence, it is safe to say that nearly all the machines have an optimum mixture of fun and rewards.
While some of the slot machines may have themes which contain hidden artwork and a subdued layer, other machines can be dramatic, hence giving you the chance to get lost in the game and submerge in the experience.
So what are you waiting for? All you need to do is to register on 32RedCasino, wait for the casino to load and then select the slots option, which will display the vast array of slot games available for you to play, such as Tomb Raider, Game of Thrones and Golden Dragon. Once the game loads, you can select amongst a range of betting options (by selecting the size of the coin). You will have the option to select 'max bet' which will reveal the maximum betting options for the game. The winnings depend on the payout of the game, which you can discover from the paytable of each game.
32Red is licensed in both Gibraltar and also in the UK
32Red slots review and bonus information.
32Red Slots
Written by: Slots Nut
Do you love gambling but rarely find the time to head out to a casino and dedicate a few hours? If this is the dilemma you face, then you have to worry no more.
Play Now at 32Red Online Slots
Tweets by @SlotsNutUK
Copyright © 2022 Slots Nut, All Rights Reserved


text:
Ssn 1
Ep. 1: Mister Rogers
Ep. 2: Identity and Belonging
Ep. 3: James Mader & World Music Drummin
Ep. 4: Plumbing Depths of Connectedness
Ep. 5: Yoga, Mindfulness, and Music Ed
Ep. 6: Music in Prison Contexts
Ep. 7: Belonging and the Music of 1917
Ep. 8: Decolonizing the Music Room
Ep. 9: Sonia de los Santos
Ep. 10: Josh Ryan & World Music Drumming
Ep. 11: Musicking Ecosystems
Ep. 12: Bridget Moix
Ep. 13: Tuku Music & Hunhu
Ep. 14: Creative Peacebuilding
Ep. 15: Yogic Values of Peace
Ep. 16: Restorying Hidimba
Ep. 17: Anabaptist Perspectives
Ep. 18: Systemic Racism and Hope
Ep. 19: Drumming Community
Ep. 20: Rituals of Peace
Review our podcast
Ep. 1: Son Jarocho
Ep. 2: Compassionate Music Teaching1
Ep. 3: CMT Pt. 2 Joy
Ep. 4: CMT Pt. 3 Dignity
Ep. 5: Trauma and Resilience
Ep. 6: Stress & Mindfulness
Podcast Ssn 3
Ep. 1: Sandeep Das
Ep. 2: Intimate Love and Being
Ep. 3: Sounding Hospitalities of Place
Ep. 4: Pamir Healing
Ep. 5: Activist Music Education
Ep. 6: Japanese Koto
Ep. 7: Filipino Peacebuilding
Ep. 8-9: Gamelan
Ep. 10: Samul Nori
Ep. 11: 10,000 Downloads
Ep. 12-13 Shakuhachi
Ep. 14-15 Ikeda Dialogue
Getting to Elizabethtown
Intensive Week
Elective Advising
Join Our PDN
Songs about peace
Sowah Mensah Interview
Music & Peacebuilding
Ep. 13: Oliver Mtukudzi: Zimbabwean musical ethics of relationship and dialogue with Dr. Jennifer Kyker
Dr. Jennifer Kyker
Oliver Mtukudzi is one of great Zimbabwean/Shona musicians within the post-colonial history of Zimbabwe. He is a musician who lived out ethics of community, relationship, and dialogue in challenging listeners with songs of advice and dialogues of questions. With Dr. Jennifer Kyker, we explore how his music is an expression of Hunhu (related to the South African concept of Ubuntu).
At its simplest level, Hunhu is a description of interdependent nature of our relationships, being a person through others. At a more complex level, we explore how Mtukudzi's songs of Neria, Tozeze Baba, Wasakara, and Izere Mjepo transform and deepen notions of dialogue, empathy, multiple interpretations, and take a strong stand in advocacy of justpeace and humane care.
Keywords: Hunhu, Ubuntu, Shona, Zimbabwe, Mtukudzi, Tuku Music, Ngoma, Dialogue, sawhira
Dr. Jennifer Kyker is Associate Professor of Music at the University of Rochester. She received her PhD from the University of Pennsylvania in 2011, after attending Mount Holyoke College for her BA. Her book is Oliver Mtukudzi: Living Tuku Music in Zimbabwe, published through Indiana University Press. She has published articles on topics including listening and reception, music and gender, HIV/AIDS, and Zimbabwean musical bows in journals ranging from Ethnomusicology to the American Journal of Public Health.
Her born-digital humanities project, Sekuru's Stories explores the musical life of the renowned Zimbabwean mbira dzavadzimu player, oral historian, and ritual specialist Sekuru Tute Chigamba. Kyker has also founded Tariro, a non-profit organization, working with orphaned and vulnerable teenage girls in Zimbabwean communities affected by HIV/AIDS.
Selected Albums - Recordings
Nhava - contains Tozeza Baba and Izere Mhepo
The Oliver Mtukudzi Collection: The Tuku Years - Contains Wasakara
Tuku Music
Vhunze Moto
Agawu, K. (2003). Representing African music: Postcolonial notes, queries, positions. London, UK: Routledge.
Floyd, S. A. (2002). Ring shout! Literary studies, historical studies, and black music inquiry. Black Music Research Journal, 22, 49-70. doi:10.2307/1519943
Kyker, J. (2016). Oliver Mtukudzi: Living Tuku music in Zimbabwe. Bloomington, IN: Indiana University Press.
Trent, T. (2018). The awakened woman: A guide for remembering & igniting your sacred dreams. New York, NY: Simon & Schuster.
A fantastic tribute to Oliver Mtukudzi on an episode produced by Afro-pop worldwide that includes Dr. Jennifer Kyker: https://afropop.org/audio-programs/remembering-oliver-mtukudzi
Website Videos:
Mhande Clips:
https://www.youtube.com/watch?v=NHbzhSNczeE
Thomas Mapfumo Playing Guitar:
https://www.youtube.com/watch?v=iN1jgUadJYk
Mtukudzi Tiny Desk Concert: https://www.youtube.com/watch?v=11po9xKBsbw
Oliver Mtukudzi playing Neria: https://www.youtube.com/watch?v=GhXGyer-cIg
Tozeza Baba Music Video: https://www.youtube.com/watch?v=9bByuF4e4v0
Sekuru's Stories by Dr. Jennifer Kyker
1) What is the ethic of hunhu and how it might speak to the crises of peacebuilding we face today?
2) How is hunhu rooted within Shona language and tradition? What is lost when we extract hunhu from cultural context?
3) How did Oliver Mtukudzi musick for dialogue and change? What is his unique approach to social activism?
4) What is the role of a sawhira in navigating grief, ethical/moral dilemmas, and conflict? What might be the gift of a structure of a sawhira in today's challenges? Where are the sawhiras in present times?
5) What does the language of signifyin(g) and call-response mean when discussing Afro-centric musical traditions? How is the practice of resignifying a helpful interpretive device when studying Afro-centric music traditions?
6) How might the wisdom of Mtukudzi and Tuku music inform deeper, relational approaches to artistic peacebuilding?
Kyker (00:00):
And I think that's one of the things that Mtukudzi did very well, was maintain a very firm moral position on a lot of issues and yet not state the position in such a way that alienated people on the other side. How do we do that? How do we maintain our firm moral position and state it clearly repeatedly without yielding, but also in a way that doesn't alienate people on the other side,
Shorner-Johnson (00:30):
you are listening to the music and peacebuilding podcast, a professional development network at music peace-building dot com exploring intersections of peacebuilding, sacredness, community, creativity and imagination through research and story. This podcast is produced in the digital humanities hub at Elizabethtown college. Dr Jennifer Kiker is associate professor of music at the University of Rochester. She received her PhD from the university of Pennsylvania in 2011 after attending Mount Holyoke college for her BA. Her book is Oliver Mtukudzi living to Tuku music in Zimbabwe published through Indiana university press. She has published articles on topics including listening and reception, music and gender, HIV/AIDS, and Zimbabwean musical bows in journals from ethnomusicology to the American journal of public health. Her born digital humanities project. Sekuru's stories explores the musical life of the renowned Zimbabwean mbiras dza Vadzimu player, oral historian and ritual specialist Sekuro Tute Chigamba. Kyker has also founded Tariro, a nonprofit organization working with orphaned and vulnerable teenage girls in Zimbabwean communities affected by HIV AIDS.
This is the first of a two part series exploring Zimbabwe. In this conversation we explore Doctor Kyker's scholarship and the life music and philosophy of Oliver Mtukudzi. Mtukudzi's musical embodiment of the ethic of hunhu is a beautiful model of musical advocacy that might deepen our understanding of musical ethics of care, dialogue and community. I first asked Jennifer about how she became captivated by Zimbabwean culture and later by Oliver Mtukudzi.
New Speaker (02:29):
So let's start with your background. I overheard in one of the interviews that you spent part of your childhood in Zimbabwe and I'm curious about how you moved into kind of a lifetime of work now towards the music of Zimbabwe.
Yeah. I actually spent part of my adolescence in Zimbabwe, and this is because I grew up playing Zimbabwean traditional and Neo traditional music in Eugene, Oregon. In the 1970s there was a Zimbabwean ethnomusicologist who did his PhD at the university of Washington in Seattle. His name was Doomie Marire and he started teaching a type of Neo traditional music. It was based in Zimbabwe in precolonial traditions, but didn't look exactly like them. And this is the tradition of Zimbabwean marimba playing, which kind of emerged in the 1950s and sixties as part of a moment of temporary like political and cultural loosening of apartheid in Zimbabwe that then closed back down in the 1960s. So he was teaching marimba in Seattle and it kind of spread like wildfire throughout the entire Pacific Northwest. So anywhere you go on the I-5 corridor now from like Victoria, BC all the way down to Monterey, California, you're likely to find some Zimbabwean music.
So I started playing Zimbabwean music as a fifth grader after a group came and performed at a school assembly. And as it turns out, I didn't know this but my elementary school music teacher was also playing Zimbabwean marimba in a community group at the same time that she was working in the public schools, although she didn't really bring it into the classroom. So I started with the marimba and then I started playing mbira when I was 12 and at the time there were really no in theater teachers in the United States. There was one woman, Erica Azeem, who still has a nonprofit organization that brings mbira players to the U S and sells instruments in the Bay. But it was too far away from me to study with her. So really my only option to keep studying mbira was to go to Zimbabwe. So I told my parents, I have to go to Zimbabwe, I need to study this music.
And they kind of, you know, laughed it off, but they realized I was serious and they tried to put up all these barriers like, well, if you can figure out how you're going to graduate from high school on time, find a host family, figure out your visa, raise $500 toward the trip, then we'll let you go. And I was 14 at the time and I came back six months later and said, I'm done. I've done all the things, I'm ready to go to Zimbabwe. Wow. So to their credit, they let me take six months off from high school and go to Zimbabwe by myself as a 15 year old. I didn't have to go to school there. I lived with a host family of professional musicians and professional dancers. My host brother was a professional modern dancer in Zimbabwe's only modern dance company.
His best friend who lived with us taught mbira at the best government boys high school in Harare. So every day I would just follow these incredible musicians and dancers to their various day jobs and shadow them and see what they did and, and learn. And study with them in a kind of apprenticeship or even like unschooling model. And that's really where I learned to speak Shona, the predominant language in Zimbabwe. And, um, really got to see up close how the mbira is played in various contexts in Zimbabwe including ritual or ceremonial indigenous contexts where there are, um, people are actively consulting with their ancestral spirits. And the name mbira dza vadzimu means the mbira of the ancestors spirits. So that instrument in particular is seen as a way to like call the ancestors to come and consult with their living descendants.
Yeah. You know, my host brother who was the modern dancer, was actively collaborating with all of our motive cozy in the late 1990s. So I went back and took a gap year after high school and stayed with the same family. And during that gap year, my host brother was traveling to the ivory coast, um, with Oliver Mtukudzi and his band and they would be performing at the same festival. Um, his dance company was involved in several music videos for Oliver. So you know, Oliver was a common subject of discussion at my host family's house even before I ever met him. And I remember my host mom repeatedly talking about how moral he was and what a sort of upright person who was deeply invested in communicating Shona moral values through his music. And she kind of directly contrasted this with some of the other very big popular musicians of the times whose music was fabulous, but who as people were known for being corrupt or not following through on contracts, not paying their musicians well, being abusive in their speech or so for her, Oliver Mtukudzi was this kind of like example of what Shona morality could be at it's sort of best.
And at the time I didn't even really love his music because I was an mbira player. I liked the more mbira based popular music of artists like Thomas Mapfumo. So there is this, there was this sort of multiyear period in which my first appreciation of Oliver was actually of his position, his philosophy, his kind of ethics. And then I sort of grew into loving the actual sound of his music.
So as we set the stage to move in to talking about some music, um, I want to talk about the morality, but maybe first talk about the music. So from your tradition of being an mbira player, you write that his guitar playing is a representation of that style.
Yeah. Zimbabwean guitar is very distinct in some ways. And here's where Oliver starts to look like a very ambivalent figure. People can't quite make sense of him because his music doesn't use this language of Zimbabwean guitar throughout every song. It's not the most prominent thing that you hear in the music of Thomas Mapfumo, who's sort of Oliver's main rival throughout the decades. They both got their start in the 1970s in fact, in the same band, the Wagon Wheels, um, Thomas Mapfumo uses this very distinctive style of guitar playing in which the notes are dampened. So the performer actually holds a part of their Palm, like the heel of their Palm, kind of on the strings as they play. And what that does is create a quicker rate of decay for each note that kind of mimics that timbre of a mbira. Right. So it sounds like, more like mbira keys and this is part of the innovation of, of Thomas Mapfumo's band and musicians.
[Mapfumo music]
And along with that Thomas Mapfumo's musicians often just wholesale adapt and mbira songs. They're just creating arrangements of traditional mbira songs. I could just take my mbira and sit in with the band and play in more than half of Thomas Mapfumo's songs. Like I know those songs as an mbira player, Oliver's music is really different. So how do we make sense of that difference is one of the questions that I'm asking in this book. And a lot of people have suggested that he is more of a, his, his style is more South African, that it fits more into this genre called ?baconga?, Which I I believe emerged also in the kind of in the 70s and then other people say, well maybe he's kind of more of an Afro jazz musician. And at one point in the 70s, he was even trying to build himself as an average jazz musician.
But people rejected that. They said, this isn't really a jazz. It isn't, it doesn't conform to what we expect of, of a jazz song, but it's so distinctive that they just started to call it Tuku music. Well, sort of all of his efforts to brand, his music failed and it ended up just being known by his own nickname. Right. But as it turns out, his music does draw on a lot of traditional elements. He does have the dampened guitar sound in his songs, but as his guitarist, Mono Mukunda explained to me that dampened guitar sound is only happening in the portions of his songs where there are vocals being sung. In instrumental portions of the song they open it up and the guitar player plays with a more open sound. So they're combining different timbres on the guitar. Um, and the portions of the song that people are more attuned to are the instrumental portions where you can really hear the guitar and then you don't hear that dampened sound and you think, Oh he is, he's really different than Mapfumo
is. But in fact that sound is also there in, in the vocal sections of the song. Even more so, as I started listening to his songs, I started identifying particular songs that came from Zimbabwe's drumming, dance and song traditions. And the word for drum in Shona is Ngoma. Ngoma also refers to genres of music that combine the three elements of drumming, dance and song. So when I talk about Ngoma, I'm not only talking about the physical instrument of the drum, I'm talking about this combination of drumming, dance and song. It's very prevalent. This is the kind of music that you are most likely to hear if you go to Zimbabwe's rural areas or really anywhere where people are making their own music and not just turning on the radio, right? Drumming, dance and song. Even if you go to churches, you're likely to hear that combination. People are likely to have a drum, they're likely to be singing and they're likely to dance to go with it. Right. So almost everyone in Zimbabwe is familiar with Ngoma music, but it's rarely discussed in the scholarly literature on Zimbabwean music. And it rarely comes up in recordings.
[Ngoma music]
So really in Oliver's music. I started to realize how much he draws on these Ngoma traditions and it ranges from arrangements of particular songs that people know and recognize, particularly from the Northeast of Zimbabwe where he's from. To original compositions that have really strong and clear elements of Ngoma music in it. Whether it's something as simple as the tempo and meter of the song, that alone can signal Ngoma in some cases or in other cases we get him using particular rhythmic motifs that are associated with very specific Ngoma genres and reinterpreting them and putting them together with like original melodies and original lyrics. So I came to really conceptualize him of more of an Ngoma musician. So we have Thomas Mapfumo on the one hand, the mbira pop star. And my argument in this book is, and we have Oliver Mtukudzi the kind of Ngoma pop star, really, he's not an outlier, it's just that he's playing, he's drawing on a different set of Zimbabwean traditions [Ngoma music].
I asked Dr. Kyker about the core feeling within Ngoma that of a 12/8 triple feel set against the syncopation of duple body percussion.
There are Ngoma genres that are in four, four that are not in 12, eight. Um, some of those Ngoma genres in four, four are more associated with different languages, not shown as speaking communities, but DiBelle communities for example, or NDow communities. There's really only one Ngoma genre that is a Shona and Ngoma genre in four, four and that is a genre known as Jerusarema. Um, so really to say it's about a 12 eight meter with a lot of syncopation or a polyrhythm or interlocking, um, rhythmic patterns is quite appropriate. Yes.
And what I remember seeing on that video is it's the dancers who are playing against that 12, eight, like that, they're creating that syncopation that's driving it forward.
Yes. And this is something distinctive about Zimbabwean music. It's one of the things I think we can take away from it as an exciting concept that bodies in motion are also creating sounds and those sounds can be amplified and enhanced. So one of the Zimbabwean innovations in this realm is the use of leg shakers. So find something that will make a percussive sound and tie it to your legs when you dance and all of a sudden your body has become an instrument as well as a kind of visual display of, of kinetic prowess, right? You're also executing sometimes very complicated rhythms through your footwork. And those rhythms are being heard very distinctly by the audience [Ngoma music].
People used to use all kinds of materials for these leg shakers from hollowed out shells of fruits that were filled with seeds to actually Caterpillar chrysalises that could be filled with seeds. And now people usually use plastic toilet floats. They're very durable, they won't break. They're louder than the precolonial materials. So you see a mix of the more traditional style. And then the plastic toilet floats.
Doctor Kyker writes that Oliver Mtukudzi is a window into understanding the lived ethic of hunhu related to the more well known South African concept of Ubuntu. Hunhu who is a Shona concept of nhu, which means to be human. Hunhu is a concept of personhood that only exists in relationship.
Oliver, like so many other Zimbabweans conceptualizes this very clearly as being a person among others. ?Couva Muno Pave Mano? To be a person with other people, right? And relationality, dialogue, mutuality are all fundamentally at the root of what Shona people feel is our human nature. You can't be human in isolation. You can only be human through your relationships with other people. So moral relationships with other people make us into sort of fully realized fully actualized human beings. And this often plays out through language. People put a high emphasis on acknowledging the other through something as simple as greetings. But those greetings often are phrased in such a way that your wellbeing is rhetorically positioned as dependent on the other person's wellbeing. So when Shona people greet each other, they say, how are you? And that person who's responding says I am well, if you are also. How did you sleep? I slept well. If you did also, how was your day? My day was fine if yours was also. So there's this constant recognition that if one person in the group, whether it's a family, a community, an organization is not well, then the health of the entire unit is going to kind of suffer as a result of that. That one person's suffering, right? So emphasis is on a sort of holistic wellness.
We spoke about South African Ubuntu and Shona, what happens when an ethical concept becomes universalized and disconnected from language, culture, music, and relationships
in the post-apartheid period. Ubuntu has come to be kind of canonized as a kind of official philosophy. So in South Africa people talk about, um, Ubuntu as an economic principle, Ubuntu in the realm of business, Ubuntu in all of these different spheres. It's kind of being placed in the service of other things. And I think things start to change when you bring Ubuntu into dialogue with, for example, capitalism. Um, in Zimbabwe that has not happened. We don't have people trying to make an Ubuntu centered business model. People are still really feeling Hunhu as a very indigenous philosophy that has not yet been co-opted by the official state or by um, development economics. Right. Or by conservation it, it hasn't quite gone there yet. And so I think it maintains in some way its original character in Zimbabwe, perhaps a bit better than in South Africa. Of course, South Africans, you may disagree with this conception. Please feel free to disagree. Let's have a conversation. Email me your feelings about Ubuntu versus Hunhu,
but I think that that point is really important because I feel like this moral structure is grounded in language or like you say, the idea of deep Shona and that if I was to rip this concept away from the language within its, which is grounded than I, it really has become more of a Universalist concept now. It doesn't have its architecture.
Absolutely. Even if you and I try to live out Hunhu here, when we greet each other, I'm just going to say, Hey, how are you? You're going to be able to go, I'm good. There is no Hunhu in that greeting. So without the structure of not only the language, but all of the kind of, um, cultural morays that go with it, we can't live out Hunhu, we can't just take it and, and, and try it out. Right. It is very deeply contextual. There would be a lot of learning that we would have to do before we would be able to really enact what Shona people consider Hunhu. One of the most telling things for me when I was living with my host family, I had this, um, a good friend from the United States who I considered my uncle and he was bringing me back from a weekend trip to go visit musicians in the rural areas.
I came home and my host family said, we saved you some dinner. Please go and eat. So I went and started eating at the kitchen table and they said, what is wrong with you? Are you not going to invite your, Sekuru, your uncle to share your food with you? That thought had never crossed my mind. I was a 15 year old kid from America. If somebody gives you food, your first thought is not, how can I share this food with the people around me? How might I divide this resource equally between the people who might be in need in my environs, but for Shona people, that's like a sine qua non of being human. You had never consider eating without offering to first share your food with the others who are around you. No matter how small it is, no matter how hungry you are, the first thing you say before you eat is ?Sere Kudjka?.
We're eating. It's an invitation to anyone else to share your meal and that person has to say ?Idja Kay Enyo? Go ahead and eat. I don't want any. No thank you. Right? It's every time before people eat, they they invite people around them to eat with them. We don't have that philosophy, I would say, you know, this is where Oliver comes in. Because for him, he considers this philosophy of Hunhu to be the umbrella that covers everything he thinks about in every single song he's ever written. He is trying to sing Hunhu. He is trying to get this message of a sort of mutually beneficial way of being with other people in the world across to listeners in every one of this songs.
[Mtukudzi plays Tozeze Baba ]
your book, the first musical example that you move into is Tozeze Baba. And as I watched the video of this song, I saw husband coming home drunk. I saw him beating his wife. I saw that his son was watching and huddling under a table during this whole thing. And so this song is very much about domestic violence and patriarchal power relations at the first level of meaning, maybe. Um, so could you tell us about why you chose this as the first example in your book to explore the musical expression of Hunhu?
Yeah, absolutely. One simple answer is that it's one of his most popular and most beloved songs. So almost anyone who has listened to Tuku music is familiar with this song. And in Zimbabwe people just absolutely love it. It's very danceable. It's very catchy, it has a great riff in the chorus. It has a kind of call and response structure that asks people to be actively engaged in singing along with Mtukudzi at a concert or singing along with a cassette that might be playing in their car as they take a trip. Um, and this is very typical of his style that he broaches really difficult topics, domestic violence, HIV AIDS in an uptempo, danceable, catchy, wonderful song that you want to listen to again and again. So this is almost the opposite of how Americans expect music to function. We expect a song about a sad thing to sound sad.
It should be in a minor key or it should be slow or it should sound like a lament. And we expect songs about happy things to be uptempo and in a major key. And Oliver is doing the opposite of this. And he, he's doing it very deliberately because he says, if someone is suffering, the last thing you want to do is increase their suffering and make them feel even worse about the situation they're in. There are likely to be people at the concert who have experienced domestic violence or who are HIV positive. You don't want a song that's going to make them feel - one called singled out or two just very despondent. So how can we engage with our suffering and our social problems in a way that allows us to work through them and really, um, not shy away from them. So Tozeze Baba is doing that work of asking people to engage with really difficult social problems in a way that is culturally relevant and almost even fun for them. Um, it also is one of the songs that draws very specifically on the Ngoma language of the rhythm known as Mhande. Tozeze Baba is essentially a modern Mhande song, right? And original composition in a Mhande style.
Mhande style is characterized by a pattern that is like one, two, one, two, three, four, one, two, three, one, two, one, two, three, four, one, two, three. And then people will often put a timeline on it where you're dividing it into groups of three in groups of two. So this song has all of those kinds of rhythmic ideas in it. So it was a good place to start in terms of introducing his musical language as well as what is motivating his songs and what he wants to communicate with his audiences.
Oliver Mtukudzi identifies himself as a sawhira, someone who is intimate and relationship distant enough to offer advice and critique.
This concept of the sawhira. It's a friend. It's a kind of best friend. That's how we had a, if I were to translate it in English, I would translate as best friend, but it's really much more than that because in the precolonial era, the sawhira was someone who had the responsibility for washing the body of a deceased person. Your sawhira can't be a member of your family. A family member cannot wash the body of their deceased child or mother or it's too close. You need someone who's very, very close to you, very trusted, very intimate, but also not kin. And that's who the sawhira is. It's someone who can intervene in any situation in your family freely because they're an intimate, a close intimate, but they're also outside of your kin group. And um, if people are interested in reading more about this concept of the sawhira, there is a Zimbabwean author named Tererai Trent who has a new book out and there's an entire chapter in her book about the sawhira, how important it is in Zimbabwean culture. And she really encourages people here in the United States to try to think more about the sawhira and cultivate some sawhiras. She's like, this is a person you want in your life, the sawhira, how do you find one? How do you get a sawhira? Um, so Oliver really considers himself a, he his, his conception of himself was that he was a sawhira to the nation in his songs. And his songs, of course, permeated almost every space in Zimbabwe through the radio, right? So this voice of the sawhira was in almost every house
in her book, the awakened woman, dr Tererai Trent writes about the gift of the sawhira. She shares her memory of the passing of her mother and the role of the sawhira to empathize, grieve with, and lighten the load of those who mourn. She States "the sawhira is the one who becomes your sacred sister because she believes in what drives your soul without judging. Dr Trent notes that we might all benefit from pushing back against Western individualism. Becoming sawhiras to our deepest relationships of mutual support. She writes, my sawhiras our wholeness comes from knowing that we belong, that we are, but pieces of a larger community. And Therefore the joy of others is our own. And so is their suffering. As a sawhira to the country we turn to Wasakra and the multiple critiques and advice that are found in sawhira song, Oliver musicks a call to admit when we need to make space for others to lead.
Wasakara means "you're worn out." So this is a song that Mtukudzi described as a song about aging and in interviews he said that it was a song about his own process of aging, realizing his children had grown up, realizing it was time for them to take over some of the responsibilities he had previously held. But this song came out right at a very charged political moment when there was increasing momentum for a shift in governance in Zimbabwe. People really wanted Mugabe to step down. They really wanted a new president. They wanted a new political party at the helm. And in that context, people immediately interpreted these lyrics, which say, you've grown up, you're, you're old, you're worn out. It's time to step down and let the new generation take over has a political, a direct political critique. They started waving red cards at Mtukudzi's performances in a kind of soccer metaphor that Mugabe should, should be ejected from the pitch and all kinds of demonstrations of sort of political allegiances started happening at his shows, which made for some very rough shows. Some canceled shows, some shows that had to be terminated, right in the right in the middle of the performance.
[Wasakara music]
But consistently he said that's not what the song is about and I don't think that he was lying or intentionally covering up his intentions. I think if we look at the, the deeper intention, his intention was always to write songs that would be applicable in multiple contexts. So if this song is fundamentally about people who refuse to let a new generation take over, people who cling to power after I think what he referred to as the sell by date, then this is not only a critique of ZANU PF, it's not only about this political moment, it's about all of the situations in which people are experiencing this happening in their own lives, whether it is in their families, in their churches, in their workplaces, or in the nation as a whole. And reducing a song like that to being about only this one political moment kind of eviscerates its larger power to speak to multiple levels of human relationships. And he wanted to maintain that multi-filament power for his songs. He did not want them to be reduced as being about only one kind of historical incident and then, um, be a flash in the pan and disappear the next day. He really wanted to write songs that were, that were durable and that spoke to kind of enduring, um, human situations [Wasakara Music].
And as a peacebuilder. I wonder about the wisdom of this kind of dialogue. Like even in the hypercharged political situation we're in in our country right now, that his approach to dialogue is one that seems to bring in people of any point of view together into a concert and then he just gently probes them with questions over time and it allows, to me, this is my opinion, but to me it allows people to stay together while disagreeing and while moving into the same sorts of question.
Absolutely. It really is. And I think one of the things a song like that can do is, well first of all, it definitely holds a position. The position is clear. People who have stayed in power too long should step down. So there isn't much negotiation about the position of the song. Similar with Tozeze Baba, men who are abusing their wives or children should stop. That's the message of the song. Um, it isn't just kind of acceptance of all viewpoints, but it is sung in a way that invites people in even if they are on the wrong side of the song and ask them to think about that message, um, in a way that is not necessarily directly confrontational. So I would say similarly in our political moment, there are lots of things that are happening that should not be happening under any circumstances.
And simply saying all viewpoints are welcome can sometimes dilute that very firm line that we should be maintaining. Some things should not happen. Babies should not be separated from their mothers and jailed in detention centers at our borders. That should not be happening. It's a firm line. So this idea that we just kind of need to accommodate all viewpoints, you know, can sometimes blur those lines. And I think that's one of the things that Mtukudzi did very well was maintain a very firm moral position on a lot of issues and yet not state the position in such a way that alienated people on the other side. How do we do that? How do we maintain our firm moral position? And state it clearly, repeatedly, without yielding, but also in a way that doesn't alienate people on the other side.
And it's a position that prompts me to reflect on myself and my actions while I'm also reflecting on the actions of others, like, like if we went back to Tozeze Baba. You had mentioned in one interview that yes, it can be about domestic abuse, but it can also, in listener's imagination move up to thinking about the entire country. You know the father coming home as the leadership coming home in some ways, right? Absolutely. Yes.
Jennifer pointed the Floyds article, ring shout, the term signifying notes that Afrocentric art symbols live in an ecosystem of meaning making where multiple meanings have multiple interpretations that critique, play, question, and transform. The essence of Floyd's call response within Afro-centric culture is a symbolic conversational work of interaction. Tuku engages audiences with call response questions like, what is growing old? Is it alcohol that says to beat mother? With whom shall I be happy? Is it left to you to do the rest? Dialogic art. Call response. Mtukudzi's song Neria is a dialogic movie soundtrack that looks at the grief of a widow and social practices that accompany this grief. Jennifer writes of the power of the song to bring tears to listeners.
One thing is just how many ordinary Zimbabweans had experienced this in their own lives or in their own families. Instances where someone dies and that person's family tries to take advantage of supposedly traditional customs to go in and claim property as their own. This song, Neria, is about this happening, um, to a woman who is widowed. But it also happens to men. And when women die in Zimbabwe, their family can claim the right to all of their household utensils that they used. But often sometimes people take advantage of this custom and go in and really wipe out everything that was, that was in the house and leave the widower with like nothing. No pots, no pans, no dishes, no sheets on the bed, right? So imagine that this moment in which you're grieving and you've, you've lost your partner, and then suddenly on top of that you're dealing with, with the theft of your mutual property that you held with that partner. So a lot of people in Zimbabwe know of someone who to whom this has happened. And that's why the song really touched people so much. People could really identify with the message of what is happening.
[Neria music]
And in this song Mtukudzi was taking the role of a kind of supportive brother saying, don't lose heart, don't lose hope. It's a, it's a terrible time, but you're going to get through it. Right. And I think again, that message of, of support and encouragement, um, is something that Zimbabweans need to hear in all kinds of contexts right now and in the past, right as they move through periods of very intense suffering. So I think this song speaks to people who are experiencing suffering, even if that suffering isn't exactly the kind of suffering described in the song itself of, of losing a partner.
[inaudible]
so he has some songs that deliberately, I sat through the quote wife inheritance ceremony. I found someone who loves me. I found someone who will care for me. My suffering has gone. Right. Um, that song is called. But then he has other songs that are, that say this practice known as naca, Inheritance is not about sex. That's not what it should be. So deliberately critiquing those people who might try to take advantage of this inheritance practice to gain a sexual partner rather than to be taking care of a widow and her children. Right. So he's, he's very attuned to the sensitivities of what is going on in a way that Western lawyers and development officers are not. They just come in and see this thing. Wife inheritance. What kind of crazy thing is that and want to shut it down right away.
The song Izere Mhepo is a carrying bag. One that speaks to the experience of having left home and the dissonance between home and living in a displaced diaspora. What is home to those who are displaced?
For diasporic residents home denotes not simply a physical location, but rather the place remembered in time, a constellation of geography and temporality. So what, what were your experiences about members in the diaspora and how this carrying bag idea meant so much to them?
I mean, to put it very simply, when you go back home, you realize things have changed a lot. And the home that is active in your imagination, it doesn't look like the home that now exists in reality. The longer you're out of the country, the more true this is. If you come here to go to college and you don't get to go back for all four years because your scholarship doesn't include that kind of travel money at the end of four years, you're going to go back and be shocked. What is this place? Where is my home that I remember and that I've been longing to come back to? Does that home even exist anymore? People die. Your physical home might be sold or rented out or occupied by somebody else or just collapse if it's in the rural areas and no one's living there anymore.
Um, the things that you took for granted, being able to go to the bank and take out money might no longer be possible. Um, the friends you had might have moved elsewhere. So what is home anymore? The longer time goes on, the more complicated the question becomes, right. And um, that idea of the carrying bag is very pre-colonial. It's about a bag woven from bark or from string or made from animal skin that you were carrying in the forest as you, um, hunt or collect medicine or herbal medicines or forage for food or whatever you come across in the forest in your journeys that might be useful. You have a carrying bag to put it in, right? So this idea of the carrying bag is fundamentally a creative idea about how people can interface with their environments. And as it turns out, Ursula Le Guin wrote an essay called, I think it's called the carrier bag theory of fiction or something.
So she also is kind of theorizing the carrier bag as a kind of fundamentally feminized, like technology that helps us to create stories about ourselves as we move about the world. And I think this is the same place that that Mtukudzi is coming from in this song, right? It's so odd. People are coming from very different cultural kinds of of conceptions, but they, they really share this idea of the carrying bag as being kind of a fundamental human technology for moving through an environment and in the process, creating a coherent and yard of about yourself that you can then use to re present yourself to others around you.
One of my favorite authors, Ursula Gwyn writes of wanting to replace masculine, heroic stories of war, destruction and triumph with stories of carrying bags. She writes that science fiction and writing in general is about quote, "how people relate to everything else in this fast sack, this belly of the universe, this womb of things to be and tomb of things that were. This never ending story. There are seeds to be gathered and room in the bag of stars."
From my own peacebuilding theory. You know, I'm, I think that this type of genre is so important because, you know, we're about to face probably one of the largest scenes of human migration that we've encountered as climate change moves on. And I'm, and I think that these musical explorations of what home is and what identity is in a very mobile context are incredibly important today.
Absolutely. And on that note, I'll say that I, I, I have been working with climate groups here in Rochester. I think it's a critically important issue. Um, and a lot of Zimbabwean musicians are singing about place in ways that suggest that people are very concerned with human relationships, not only with each other, but also with the places that they live and are moving through, um, on. Izere Mhepo in particular, you know, Mtukudzi's re-interpretation of this carrying bag is so brilliant because on the cover of the album, he is pictured with a very kind of, you know, humorous look on his face reaching into a Jansport backpack. So he really gets it. What is the carrying bag of the diaspora? It's this like American brand backpack. You know, he's speaking to those college students who are carrying their books around in their Jansport and he's speaking to those people who are raising children and the diaspora who are carrying their backpacks to school. Like he gets it. This isn't about, although we're using a word for something that has a pre-colonial like real deep meaning. It's also about the present day. He's not lost in history. You know, he's bringing things from the past into the present for people to really, really use in their daily lives.
So one of the most important theorists in the field of peacebuilding is Elise Boulding. And she's written eloquently about the family as being at the heart of peacebuilding and, and, and that they, they write the kind of that the first moment when we start to explore our sense of ethics. That leads us to understand the empathy and the very idea of pursuing a good for the benefit of others happens within the family. And then you write that, that approaching the household as a microcosm of society Tuku music brings to life a vibrantly imagined universe of moral social relations. And I wonder if you could talk about, um, how does a family-centered notion of Hunhu and dialogue seem to be relevant to our conflicts today?
Well, I'm very happy to hear about Boulding's work because I was not familiar with that work. Um, and in fact I kept thinking, you know, Zimbabweans are so insistent on the family as the microcosm of society or as the place where larger social and political issues should start being worked through. And I thought, you know, is there something here that that isn't quite enough. It is this focus on the family in a way. Reductionist or this is really coming from my interviews with Zimbabweans, this focus on the family, not my personal, you know, I had some reservations about, about this actually, this, this intense focus on the family as you know, a microcosm of, of, of society or the place where we should start working on these issues. What about organizing? What about community level solutions? What about right. So it's very interesting to me, to me to hear that, um, people who work on peace-building outside of Zimbabwe have also come to a similar conclusion.
Zimbabweans are very insistent about the family being a microcosm of the larger society. Um, so I don't have a good answer to this question because I don't really know. I still am not entirely convinced that the family is the starting point or I have some reservations about the family, especially the nuclear family here. What is a family for us? How many people are in the family? If you're working out these issues in a group, three or four, is that helpful? Who breaks up the power dynamics when you don't have a sawhira to come in and say, you know, sit down and listen to me? So in some ways it's possible that the Zimbabwean extended family with sawhiras involved and you know, local traditional leaders involved and you know, is more functional for working out social and political issues than our kind of isolated nuclear families that people tend to fall into in the United States where, we're much more mobile, we move away from our families. Often, we don't live with our extended families. We put older people in nursing homes, in younger people in preschool. You know, we don't have this kind of family structure that people in Zimbabwe have as a resource to think about these very complicated social and political issues in the context of your daily life.
[inaudible] and I think it's something too that my listeners really seem to understand too, in the struggles of working in a public school environment, that the strength of family structures is often a reflection of the, of your place within the socioeconomic context and what that context allows you to do as a family structure too. So yeah, I agree with you. I think it's a very complex answer and situation.
So my last question. Uh, so you have started a nonprofit and you've worked, moved into this digital humanities area. So I sense in you kind of a moral movement toward turning your scholarship toward toward a sense of good if you have, and I'm curious about how your work on this subject and other subjects has impacted your own sense of moral work as a teacher, a scholar, a person.
I think this is very interesting because for me, my relationships with people predate my scholarship. I was living in Zimbabwe playing music with people for 10 years before I got into grad school. And now I've known some of my, you know, quote unquote informants or collaborators for 25 years, more than half of my life, they've known me since I was 15 I'm still working with the same musicians. I'm bringing people to Rochester who I lived with in 1995. Right. So really for me, the moral and ethical considerations outweigh and predate my interest in scholarship. I really saw becoming an ethnomusicologist as a way to channel resources and money to the people I work with in Zimbabwe to try to create opportunities for Zimbabwean musicians who might not otherwise have them to come to the United States and teach and be recognized as the experts that they really are and who I know them to be.
So the nonprofit that I started, I actually started it in thousand three before I went to grad school, um, after living in Zimbabwe for another year after I finished my undergrad at Mount Holyoke college. I went back to Zimbabwe on a Fulbright fellowship for a year. And after coming back, I just thought I have to do something that the neighborhood I had lived in originally was really experiencing the effects of structural adjustment, HIV and AIDS. There were so many kids who could no longer afford to attend a government public school. So that nonprofit was formed specifically to pay school fees for teenage girls who are at the highest demographic risk of contracting HIV to just attend school, which is the best proven intervention in lowering someone's risk of contracting HIV. So it's really an HIV prevention program that is also about um, education and women's development. And I started that without any conception of it relating to scholarship in any way.
But um, as it turns out, my relationship with that organization has influenced my scholarship. For example, the Mhande clip that you would like to play is those students, the students in the nonprofit, because we have a music and dance group for those students that meets every Saturday. So I've really used a lot of material that has come out of my relationship with them whenever I'm in Zimbabwe, I go and study with them and participate in the rehearsals on Saturday mornings and learn traditional Zimbabwean music with them. And it has really, greatly enhanced my knowledge of a lot of the Zimbabwean Ngoma styles that I write about.
As we close, we return to the recording of the Mhande clip that Jennifer Kiker spoke about. I encourage you to watch this clip on our website.
In our next episode, we will feature a conversation with a Zimbabwean peacebuilder with the Mennonite central committee as he reflects on what Tuku music has meant to him personally and in his work on peacebuilding. Our special thanks to dr Jennifer Kyker for her time, welcoming me into her home to record this podcast and the deep relational work of her scholarship. Her book, Oliver Mtukudzi living Tuku music in Zimbabwe, is published by Indiana university press and is a brilliant exposition of the themes explored in this podcast.
I wish to thank a community of people for providing permission to use the recordings in this podcast. Thank you to teams at Putumayo records, Gallo records, and Sheer publishing Africa for communications and permissions. I have left links to the purchase of albums on our website. One of the best ways to support musicians and artists is through the purchase of their albums. I encourage you to check out the many beautiful recordings of Oliver Mtukudzi and as we publish this podcast, we grieve the many who are sick with the Corona virus. Those who are in fear of viral spread, those who are missing loved ones. We grieve Syrian families and Yemeni families who are freezing and cold refugee camps. The wisdom of Mtukudzi is that our lives, our struggles and our grief are eternally bound up in relationship. I am because we are. As we act out our sawhira to lighten the burdens of our brothers and sisters. We ask the question from Mtukudzi's song on AIDS toady because the question is never what should I do, but rather what should we do?
A blessing: Where the call of injustice appears and the crust of division hardens. May we embrace the question, the dialogue, the language, opening drawstrings of our carrying bags of our solitary wilderness into an ecosystem of us that asks, what shall we do?
This is the music and peacebuilding podcast hosted by Kevin Shorner-Johnson at Elizabethtown college we host a master of music education with an emphasis in peacebuilding. Thinking deeply, we reclaim space for connection and care. Join us at music peacebuilding dot com.
SUBSCRIBE TO OUR MUSIC PEACEBUILDING NEWSLETTER
Dr. Kevin Shorner-Johnson
1 Alpha Dr.
© 2019 Music & Peacbuilding.


text:
Repertoire Days
About TROMP
History of winners
Club TROMP
Ruwen Yang
Ruwen Yang is a professor at the Shanghai Conservatory of Music, Master Supervisor and Deputy Director of the Department of Modern Instruments and Percussion. In his leadership role he has made major contributions in subject and teaching materials development, as well as discovery and education of talent. He is renowned for being at the forefront of percussion education with his scientific and precise teaching method. Prof. Yang's students have won more than 30 international and over 40 national awards, putting mainland Chinese percussionists on the map both in China and overseas.
As a performer, Ruwen Yang plays both Chinese traditional, Western classical and modern percussion works. In addition, he has commissioned numerous contemporary compositions. He has collaborated with artists and ensembles including Wenzhong Chou, Quincy Jones, Luc Besson, L'Orchestre National de France, and Berlin Modern Opera. He was the judge of The Fourth and Fifth World Marimba Competitions, International Great Chinese Marimba Competition (Taiwan, 2011), The Third and Fourth Greek International Youth Solo Percussion Competitions, and Singapore Chinese International Percussion Competition.
In addition, Prof Yang appears on films and CD recordings including The Banquet, Shaolin Temple, Sister Drum, First Emperor of Qin, Lei Feng Tower, Paramita, Something the Lord Made, Home, Xing Cao, and was interviewed by television, radio, newspapers and magazines around the world. Prof. Ruwen Yang, whose shows always cause great sensation all over the world, is said to be an "exceptional world-class percussionist".
Percussionists around the world support Muziekgebouw Eindhoven
Within 24 hours percussionists from all over the world sent their videos to Dominique Vleeshouwers to show their support for Muziekgebouw Eindhoven and TROMP.
TROMP in tv-show KlickKlack
Festival artist and competition jury member Martin Grubinger brought his German tv-show KlickKlack to TROMP. Watch the broadcast from BR-Klassik. (German spoken)
Kai Strobel wins TROMP competition 2018
Nikolay Ivanov wins 2nd Prize and Audience Award, Elliott Gaston-Ross wins 3rd Prize and Press Prize
TROMP Percussion Eindhoven
5600 AP Eindhoven
info@tromppercussion.com


We now bring you more information regarding another best online casino USA venue to join and that's Cherry Gold casino. What makes this a TOP 10 casino will be revealed in this Cherry Gold casino review that presents everything about the site.
The selection of games found in this casino provide a rich mix of slots, table games and card features. Playing can be access from either the Cherry Gold casino mobile option or you can play from other devices which include tablet, laptop and desktop. You get all the popular games here in all their variants. The 200 plus slots are supplied by Real Time Gaming which have powered hundreds of casinos in their time, making them the number one American game supplier for online gambling sites. As a player you will have all you need right here.
If playing with a Cherry Gold casino no deposit bonus, you might win, so here are how to do a withdrawal at the casino and also deposit money in should you not be able to experience free gameplay with a bonus offer.
You have Visa, Bitcoin, MasterCard and Bank Transfer as your banking methods with this top 10 casino.
When you sign up, be sure to opt in for their welcome bonus offer. You have a 3-tier welcome bonus which offers you to play with a maximum of US$ 7,500. This is not the last of the Cherry Gold casino bonus codes. Once inside the website you can find many more promotions that offers such things as Game of the Month bonuses and Monthly Event rewards.
Cherry Gold casino can be contacted via email, phone and live chat support. As this casino is open to the world, the customer support team have acquired a wealth of knowledge that will help assist you if you have any queries. They will be free to help you through your account, discuss game rules, technical issues and banking.
You definitely have to witness this casino yourself and what it offers. It has one of the largest memberships in the list and with it the biggest winnings to reward all its lucky members. With Cherry Gold casino instant play that's available through their app download you can play great table games like roulette or the option of card like poker. Head straight there to experience the fun with your welcome bonus, it's completely risk-free so give it a spin.


If you would like to schedule a meeting with us, please call or send an email. Initial consultations are conducted in person or by telephone. We are located in Marin County, California.
Please feel free to contact us regarding your questions about our services. We look forward to hearing from you.


Gta 5 Apk for Android GTA V is a game developed by Rockstar Games. The first version of the game GTA 5 ANDROID DOWNLOAD was released on Xbox 360 and PlayStation 3 by the end of 2013 in Download Gta 5 Mobile Apk Dwgamez. Later the game was released for PlayStation 4 and Xbox One in November 2014 in Gta 5 Apk Download For Android. Now, finally has been released version for mobile (cellular) and tablet officially. So now you can enjoy GTA 5 Apk in the Palm of your hand. GTA 5 for Android has the same high quality graphics. GTA 5 is a game that takes place in an open world where you can freely wander anywhere you want, even during the course of a mission in GTA 5 v1.08 Apk download. The mobile version of GTA 5 for Android is situated in the city of Los Santos, and can switch between three different characters. This was one of the most anticipated titles in GTA 5 v1.08 Apk download, then we leave an image of it that looks well GTA 5 in an Android device, specifically the S5 Galaxy. GTA 5 for Android game mode has been much improved with respect to the previous Grand Theft Auto games. In this game you can enjoy the gaming experience of the titles of racing and also in first and third person action titles. Now you can select a multitude of weapons in download gta 5 full game for android, new features added are, the possibility of carrying out activities such as yoga, diving, hunting, tennis, etc. The world is now larger than in GTA San Andreas and GTA IV. GTA V for Android is the best game to enjoy a free moment.
You can walk in Grand Theft Auto 5 Android APK, or you can get cars and navigate the cities in GTA 5 FOR ANDROID. You can also start a fight with people on streets and shoot with guns; however, the game is supported by a police system in Gta 5 Apk for Android; when a player commits crimes in Download GTA 5 for Android:, he will be followed by the police. Player of this game also can choose a single player among the three others and switch between them in Dwgamez Gta 5 Android Apk Download, and there are many other properties which make this game gta 5 apk download for android very special in gta5android.com.
Related Post "Gta 5 Apk for Android"


The success of your business is essential in these times - tell me your goals so I can bring your vision online. My job is to help you captivate new and existing clients to generate more business. Personalized and dedicated design will create the web site you've always wanted, and needed.
Full width videos, and customized hover-activated elements on scroll!
Full width videos with parallax sections!
Customized hover-activated buttons and elements on scroll!
Fresh and simple, letting the products speak for themselves!
Full width video header and parallax features!
Clean and simple, with modern features!
Clean design with modern copy animation!
Unique animated elements on scroll!
Full-Page Fading WITH Interactive Scrolling!


Global shoe industry's revenue is $52,175,000,000 on an average every year. Maybe now you don't feel as guilty about buying those bags full of shoes, right? Shoe enthusiasts know that you can never have enough shoes. But the experts have finally declared the five pairs of shoes which you will ever need to rock 'every' outfit ever.
Even if you have all the shoes in the world, it doesn't directly imply that you are capable of pairing it well with your outfits. That is what you need to learn.
So in this article, we would not only talk about the absolute basics but also how to dress them up. And a bonus tip at the end of each.
Buy a good pair of brown long wingtips and you are set for every kind of office and most of the unprepared situations. Few men are afraid of buying wing-tip or brogue shoes designed with perforated detailing at the sides and toe.
But trust us you will be surprised by the number of compliments you will get and more importantly how confident it will make you.
Fit With Outfit: The more holes your shoes has, the less formal it will be.
These shoes are perfect for blazers and also works well with Jeans. Please avoid them for evening wear.
They need to be perforated which makes them Brogues.
The wing needs to extend upto the heels.
They must have a perforated design at the tip (called the medallion), fashion bonus.
These laceless shoes are a gift to mankind. Are you a fan of Cherries on top? Then look at these brown casual Loafers.
If these aren't your style, go for casual black or tan loafers.
It is definitely an ageless shoe which can be worn by anyone from 20 to 80 years old.
Fit With Outfit: Chino and a Blazer with Loafers will win you the title of 'Best dressed'. You can wear it with suits if you opting for dark browns or blacks.
Quick Tip: Always wear socks with loafers. You can wear invisible socks if you like that but don't skip it.
It goes without saying that you absolutely need to own them. You probably already do, but what kind? The most universal sneaker in our opinion is without doubt white sneakers (Hinting towards Adidas Superstars).
Sneakers are extremely versatile. Quick quiz, which sneakers do you think works with semi-formals?
Chic slip-ons. If this was your answer too, then you are doing great.
Fit With Outfit: Jeans, Bomber jackets. Most casual outfits will work.
Quick Tip: Sneakers are the must have shoes for any men in this world for casual and non formal events.
We definitely saved the best for the last. These shoes are the most versatile shoe you can find on the face of planet Earth. The suede shoe originated in India, it is a must have for every man. Even if you aren't the biggest fan of boots, this is a good and safe option to start with.
Fit With Outfit: Suits, Casual, Jeans, Jackets, Corduroy.
Quick Tip: Buy dark brown Chukka boots with thin sole. They are more versatile and suits well on suits. Don't buy fancy Chukka boots. Buy colorful lace instead if you feel funky.
Don't confuse Oxfords with Derby. The difference between Oxford and Derby is that Oxfords have close laced system. While Derby has the lace panel placed from the top. Oxfords are the most perfect formal shoes for work and meetings. Black leather formal close-laced oxfords are the best option when choosing shoes to go with your formal pinstripe suit or a double breasted suit or a three piece.
A quick tip to buy correct Oxfords is to always make sure that they expose your entire ankles. One trendy option is to buy wholecut Oxfords.
Fit With Outfit: Perfect for evening wear black Oxfords look the classiest but limit your options. They go well with navy, black and gray clothes while brown shoes go with earth tones.
Quick Tip: Since we are at the end of the list. Here are few absolutely essential tips for shoes in general. Always buy shoes at the end of the day since you feet tend to swell as the day progresses. Invest in shoe trees to maintain the shape of your leather formal shoes or else make sure you stuff them with tissue paper.
There are thousand other options to choose from but reading mentioned quick tips are definitely super helping if you are buying shoes for men. Let us know if you want us to make a similar list for shoe collectors with not necessarily expensive items but definitely rare ones.


We compared the population growth of B. calyciflorus and B. patulus using the green alga Chlorella vulgaris, baker's yeast Saccharomyces cerevisiae or their mixture in equal proportions as food. Food was offered once every 24 h in two concentrations (low: 1x106 and high: 3x106 cells ml-1) separately for each species. The experiments were terminated after 15 days. In general, at any food type or concentration, B. patulus reached a higher population density. A diet of Chlorella alone supported a higher population growth of both rotifer species than yeast alone. B. calyciflorus and B. patulus achieved highest population densities (103±8 ind. ml-1 and 296±20 ind. ml-1, respectively) on a diet of Chlorella at 3x106 cells ml-1. When cultured using the mixture of Chlorella and yeast, the maximal population densities of B. calyciflorus were lower than those grown on Chlorella. Under similar conditions, the maximal abundance values of B. patulus were comparable in both food types. Regardless of food type and density the rate of population increase per day (r) for B. calyciflorus varied from 0.13±0.03 to 0.63±0.04. These values for B. patulus ranged from 0.19±0.01 to 0.37±0.01. The results indicated that even though Chlorella was a superior food for the tested rotifers, yeast can be effectively used at low concentrations to supplement algal requirements in rotifer culture systems.