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Spotlight: An Interview with the creators of Year of Glad
by Melissa D. Johnston
It's not often you're able to get the story behind a groundbreaking collaborative artistic project, so when I got the chance to interview the artists behind "Year of Glad," I immediately took it. "Year of Glad," which premieres this Saturday, April 16, at Roosevelt University in Chicago, is a song cycle composed by Patrick Greene for the coloratura soprano Joelle Kross, inspired by poet Jenni B. Baker's Erasing Infinite poems. Baker's poems, which also provide the lyrics for "Year of Glad," are poems formed by erasing words from each page of David Foster Wallace's Infinite Jest. (Jenni shared her project to Creative Thresholds readers in 2014 with "Erasing Infinite Jest: Five Poetic Approaches.") The spirit of Wallace suffuses "Year of Glad" and the process of its creation.
Patrick, Joelle, and Jenni give a rich account of what it means to be an artist working with other artists in today's world. They speak of the value and freedom that constraint can bring to the act of creation, the role of love and grief in art, the joy and excitement of collaboration, the challenge and fecundity of working in many genres/media, and what inspires them in the work of David Foster Wallace. They have inspiring and wise words for all of us who hunger to create and especially for those of us who long to create with others.
Update May 13, 2016: Here is the live recording from the premiere:
Tell us about your journey as an artist. Who or what influenced you the most? What provides your primary source of inspiration? What aspirations do you have for the future?
PATRICK: I didn't start "seriously" composing until I was in college; prior to that, I was primarily a singer: boy soprano, musical-theater tenor, rock-band frontman, etc. In the spring of my first undergraduate year, I heard a visiting string quartet perform Maurice Ravel's Quartet in F Major, and the thing seriously changed my life. I've been writing music ever since.
I've always drawn inspiration from a variety of sources; poetry's one of my favorites. I've set texts by Eliot, Ammons, Crane, Poe, Cummings, Sappho, you name it. Until last year, however, I (somehow) hadn't worked with a living poet. That changed when I collaborated with W. S. Di Piero on Come Soon, You Feral Cats, a setting of poems from his recent Tombo (McSweeney's). It was a tremendously edifying, enjoyable process, and led me to seek out a living poet for my next text-setting project – Jenni Baker.
David Foster Wallace has influenced me just as deeply as any composer. My first reading of Infinite Jest was a transformative experience, and it's stayed with me in a very deep place ever since. I think eclecticism is a fundamental part of my aesthetic; we're lucky to exist in a time characterized by the dissolving of barriers, and I try to incorporate that into my music wherever I can. One of the reasons I enjoy reading his work is that I feel like we share stylistic priorities: to be complex yet sincere; to be elevated yet vernacular; to be formally playful yet structurally rigorous. He's definitely emboldened me to compose in a way that feels honest.
My chief aspiration is to continue to collaborate with interesting people on worthwhile projects, and to find new ways of challenging myself to stay artistically relevant while creating a diverse, non-duplicative body of work.
JOELLE: I started in musical theatre and choirs in elementary school and went to college for acting with minors in voice and French. But as I had more classical voice instruction and sang in opera ensembles, I began to realize that was where I wanted to be. It's so much more comfortable in my voice, and my vocal and character types match a lot better in opera than musical theatre. The big moment was when I was studying abroad in London and joined the London Philharmonic Choir for a performance of Mahler's Resurrection symphony and just knew classical music was it.
My inspiration comes first from the gorgeous music I get to sing and hear all the time. I've been especially lucky over the last year and a half to be back in grad school and surrounded by inspiration from the music, my amazing colleagues, and the incredible teachers I'm studying with.
Aspirations for the future is a timely question, since I graduate in a month! I hope to someday make my entire living from only singing. I'm not terribly picky about what form that takes – opera, concerts, choral, weddings, whatever. I may try the sort of "standard" track of getting into a young artist program apprenticeship with an opera company, then get into a better one, then get into an even better one, then "have a career," but maybe not. A European audition tour may also be on the horizon; they have smaller opera houses there and tend to favor lighter voices like mine.
JENNI: Over time, I've come to discover that, for me, writing under constraint leads to greater creativity. The constraint can take various shapes – you can limit yourself to text written by others, to a specific source text, to specific letters of the alphabet, to specific concepts, to specific forms, and so on. In Erasing Infinite, I constrain myself to a single page at a time from a single source text using a single procedure (erasure). In other work, I've experimented with constraints made popular by the Oulipo group and played around with more conceptual approaches – for example, pulling out phrases from a podcast transcript that start with the same words – to craft a piece. I'm always looking for new source texts and new approaches to try.
There are a lot of people dipping their toes into the experimental writing field right now. It's easy to write under an easy constraint, and this is alluring to both writers and publishers. I'm inspired by the obsessives, the writer who construct difficult mazes they must compose their way out of. Christian Bök spent seven years writing Eunoia, a book composed of chapters written entirely of words with single vowels. Doug Nufer wrote a 200 page novel, Never Again, where he never repeats a single word. I admire that kind of focus, that singular pursuit.
I'm also very interested in how writers are leveraging the Internet to do new things with their work. I love the poetry bots, the hypertexts. Look at the companion website to Collier Nogues' The Ground I Stand On Is Not My Ground. Cool, right? I want to do more in this space.
What's the story behind "Year of Glad?" How did it originate and what did the creative process look like for each of you?
JENNI: I began work on Erasing Infinite in late 2013 as an act of homage to Wallace, posting the poems as I completed them on the project's website. All along, I hoped the project would have additional incarnations – I could see, for example, a book length manuscript, a gallery exhibit of selected prints, and erasure poetry workshops. I can truthfully say that the idea of a musical interpretation of the work never crossed my mind! In early 2015, I received an email from Patrick, proposing the idea, and I loved it from the beginning. My job at that point was to just say "yes," and step back to allow Patrick the space for his own creative work and interpretation.
PATRICK: Joelle mentioned that she'd like me to compose something for her recital, and I immediately said "yes" – she's a dear friend and a terrific artist, and this project would give me a great excuse to visit Chicago. We agreed to keep our eyes open for texts to set.
Then, a few months later (March 2015, I believe), one of the DFW websites I frequent (The Howling Fantods) posted one of Jenni's poems ("No More," from p. 222) to Facebook. It was perfect. It "worked" as a poem on its own merits, and yet it refracted the text of this book that'd meant so much to me for so many years and afforded me the rare opportunity to look at it from a different angle. I contacted Jenni, who was extremely nice about the whole thing; ran it by Joelle, who was game enough to literally read the whole novel before her recital; and set about developing a form that I thought would work.
I think I'm inherently a narrative-driven artist, for better or worse. Even if the story isn't immediately graspable to the audience – even if it's just something implicit, something only I know about it – it helps me to channel my ideas and energies in the direction of communicating something. Since there's this grand tradition of soprano-and-piano song cycles (epitomized by the German lieder of the nineteenth century), I thought it'd be fun to take this thoroughly modern material (new poetry from a relatively new work of literature set to music written in 2015-16) and stretch it over a traditional framework. So then the challenge was culling down the, like, 150 poems that I wanted to set to a manageable assemblage that'd fit into the fifteen minutes allotted to the project in Joelle's recital.
Then it became a matter of following the flows of the poems and seeing what they wanted to sound like as music. I looked for moments of thematic crossovers and elisions, and tied them together with motivic tools that served to make the whole thing feel like a single, unified piece.
Joelle was instrumental in all of this, of course; she was workshopping much of it as I was writing it, so I was able to guide the piece based on her (very helpful) feedback.
JOELLE: I met Patrick through his wife Micah several years ago when we were auditioning and performing together in Boston – I was actually one of their bridesmaids and now I am proud to call myself the crazy spinster aunt of their son Jude, who is the coolest 2-year-old in the world. I've always loved Patrick's compositions, especially his vocal writing. As I was starting my grad program I asked him if he'd be interested in composing something for my masters recital. A few months later, I got an excited 6 a.m. text from him – he had found Jenni's poems and wanted to set them! I immediately started reading Infinite Jest with the hope of actually finishing it before the recital, and I'm proud to say I finished it just two weeks ago!
Since I sing a lot of music that was written about 150 to 300 years ago, having the chance to be involved in the actual creation of a work, as opposed to more the interpretation of it, was really exciting. Patrick knows me the person and me the voice (as a singer, it is often extremely difficult to separate the two!) really well. Then we were also in pretty constant communication about how the work was shaping up – from basic things like how long it needed to be to satisfy the recital requirement, or how tired I was going to be by the time I sing it, to more exciting discussions about finding the musical and dramatic arcs. He also asked me to pick one of Jenni's poems for one of the central movements. And then as I worked on it, primarily with my coach, then voice teacher, then recital accompanist, I would circle back with Patrick about things like an easier way to set the text or a better place to breathe.
I find it funny to think about how music scholarship and research will change as the technology of primary sources changes. Like someday on the music library shelf next to "Collected Letters of Strauss and Hofmannsthal 1900-1916" or whatever, you'll see "Selected Emails, Texts, and Blog Posts of Patrick Greene". But that's how this piece was created!
In an interview with Larry McCaffery in the "Review of Contemporary Fiction" (and as Jenni points out in an interview), David Foster Wallace says, "Fiction's about what it is to be fucking human." Is there an aspect of being human that you especially connect with in Infinite Jest? Do you believe that what Wallace says about fiction here applies to your own practice of art?
JOELLE: Absolutely. I was on a train on Christmas Day when I read the passage about American society treating anhedonia as "hip and cool," in opposition and in fear of and in secret longing for the messiness of actually being human. I gasped and flailed at my boyfriend next to me and made him take out his earbuds and read it too. I think Wallace got it absolutely right, and I love that Patrick has updated the emotional arc of Schumann's Frauenliebe und -Leben to include some more of that messiness. It's one of the things I love about being a musician and a singer specifically – the human voice moves people in such a unique way among the instruments. I always try to honor the very human impulse to connect and tell stories when I sing, and not just stand onstage and make pretty sounds.
PATRICK: Going off of what Joelle said: DFW's greatest influence on me, personally, is his taking a very strong stand against the very dark, anhedonic forces that are constantly beckoning to us. It's so much easier to just not give a shit, you know? It's so much simpler to live stuck in your "default settings" (as DFW beautifully articulated in This Is Water); it's a lot easier – and sometimes a lot sexier – to just sort of assume you're right, and that the world's actually a pretty simple place. And the path to that sort of mindset is paved in denying yourself human, deep experiences. In Infinite Jest specifically, every one of the main (and semi-main) characters is a fully fleshed-out person. They are complex and mercurial, and they aren't what they appear to be on their surfaces. And that's the way we all are, right? And if we're aware of each other's complexities, we're suddenly treating each other like human beings. We're a little bit less alone.
JENNI: At the root of Wallace's comment about "what it is to be a fucking human being" is this understanding that we are all multidimensional and complex human beings. Infinite Jest is a book about the search for happiness, and all of the sadness and self-questioning that goes along with that quest. It follows characters who alternately embrace and reject the entertainments and addictions (and addictions to entertainment) that promise relief from that sadness and self-questioning.
I think the people who really connect to Wallace (myself included) do so because they recognize these struggles in themselves. Which is not to say we're all sad, depressed people – there's a difference between realizing your struggles and being consumed by them. When I'm sad or anxious, I can spend an entire day sitting in the movie theater or lying on the couch binge watching entire series of shows on Netflix. Now, I'm self-aware enough to know these activities are distractions, attempts to deactivate the think, but I can still connect with the characters in the book who lack that awareness and take their entertainments too far.
Some of my poetry certainly addresses human emotions and experiences, though I wouldn't necessarily call that my purpose or aim. If something I write makes someone think, "Yes! I feel that way too!," that's certainly great. But I also embrace the practice playing with language and form for its own sake. Maybe Wallace would say I'm not creating real "art," but I'm okay with that.
Especially for our readers who don't know the work of David Foster Wallace or Infinite Jest, could you share the reason you chose the title "Year of Glad?"
JENNI: In Infinite Jest, Wallace conceives of a future with "subsidized time," where corporations sponsor the year. Gone is our numerical way of numbering the years, and instead we get years like "Year of the Depend Adult Undergarment" and "Year of the Perdue Wonderchicken." Each year, the Statue of Liberty gets new accoutrements to reflect that year's sponsor (including a giant diaper in YDAU). In the book, "Year of Glad" literally refers to the year subsidized by Glad, maker of sandwich and trash bags. It's the first chapter of Infinite Jest and the last, sequentially, in the novel's timeline. But it has a nice figurative ring to it, doesn't it? A "year of glad" — who doesn't want one of those?
PATRICK: Exactly! I've always found the idea of "subsidized time" sort of hilarious, and Year of Glad in Infinite Jest is something of an annus mirabilis. Also, I'm just immensely grateful this whole shebang materialized in the first place.
JOELLE: I was just sort of along for the ride on this one! I didn't address it in my program notes either. I kind of like that the title will mean different things to my audience whether or not they are familiar with the novel.
In "Year of Glad," each of you has worked within a set of constraints as an artist—not just because it's a collaboration but also because the nature of the work is cumulative. Each artist works within the framework(s) provided by the artist(s) before. How did you negotiate artistic freedom and creativity in relationship to the project?
JENNI: Every piece of creative work has its influences, its inspirations. With "Year of Glad," our lineages and connections are just more exposed. I go back to what I said earlier about finding creativity in constraint – that's so clear here with this collaboration. We were each handed something to work with, and used our own talents (writing, composing and performing) to interpret it and make it new.
Turning Infinite Jest into poetry is both an easy and challenging task. It's easy in that the book contains a plethora of characters and voices to work with. It contains great varieties of of dialogue and description. The palette is large, so to speak. At the same time, David Foster Wallace is "Saint Dave" for many, and Infinite Jest a holy text. If I'm going to create poetry from it — an act in and of itself that some see as sacrilege — it can't just be a poetic retelling of the book. Nobody wants to read that. So there's a challenge to do something that's more authentic to my experience and my voice as a poet.
As far as our "Year of Glad" work goes, I trusted Patrick to incorporate the poems into his composition as he saw fit and didn't try to exact any influence that front. To put it another way: I wouldn't have wanted Wallace (if he were alive) to be directing or setting parameters on what I create from Infinite Jest. So I wanted to extend Patrick that same freedom and courtesy.
PATRICK: I'm definitely in the Jenni camp on this front: I really love working within very specific constraints. Knowing there's a "before" – Jenni's poetry – and an "after" – Joelle's premiere – took a ton of pressure off. I knew exactly where I fit in, and I felt relatively free to take my portion of things in whatever direction it wanted to go. I just knew that I had to completely respect two things: the words and the performance needs.
JOELLE: Being a singer and an actor for me can sometimes feel a little divorced from the creative process – I'm not actually writing the words or the music, or even with some directors, really creating my own physical or vocal interpretation of a character (I do not like those directors). As I've prepared this piece, and all the other music on my recital, I've tried to keep in mind that the singer's interpretation is the extra dimension that gets the words and music off the page. Patrick's score is beautifully designed, but this piece wants to be heard! It also feels empowering to know that Patrick trusts me as an artist and supports the interpretive choices I've made. And though he wrote it with my voice in mind, the next person who sings it will create an entirely different performance, because she will connect with it in her own unique way.
"Year of Glad" originated with Jenni's erasure poetry, which was meant to be a celebration and tribute to the life of David Foster Wallace in the wake of his death. The structure of "Year of Glad" mirrors Robert Schumann's Frauenliebe und –leben, a song cycle about love that ends with death and mourning. Do you believe "Year of Glad" as a whole is one of both love and mourning? Can creativity function as a practice of both?
PATRICK: Year of Glad is an ode to living life boldly and bravely. The final movement – which took literally, like, four times as long to compose as any of the others – is an exhortation of sorts: she is telling the audience, as an old woman (the piece progresses chronologically, a la Frauenliebe), what she's learned. And what she's learned is that a loss can be a beautiful thing, because it means you've found something in the first place. She's saying we should get off our asses and trust that we'll figure it out.
JOELLE: I think both love and mourning, which really is another form of love, are so central to the human experience that it's tough to create something that is not related in some way to one or the other. When I think about my whole recital program, which is 60 minutes of music by six composers in four languages spanning four centuries, it's all there – love of God, a lament for a departed loved one, maternal love, love of nature, nostalgia for a lost homeland, and above all, love of love itself. And while Schumann's cycle ends in mourning, Patrick's final movement pretty joyfully transcends it and celebrates a love that was worth it.
JENNI: I think Joelle has it right when she says that mourning is another form of love. After Wallace's passing, McSweeney's put together a collection of reflections from those who knew him and who were impacted by his work, called "Memories of David Foster Wallace." Read through that page: it's all love. Also, isn't the majority of art — in all its iterations — about either loving a person, place or thing, or missing that person, place or thing? You love somebody, you miss somebody. You love that mountain outside your window, you reminisce about the time when you had a mountain outside your window. (You get the point.) Indifference and ambivalence aren't very good instigators for art.
Do you have any words of wisdom for artists who want to collaborate?
JOELLE: I don't think you can be an artist and not collaborate. The 19th century Romantic solitary genius Artist, if it ever really was a thing, is over. Contemporary lives are so connected. I think it's really important to know yourself first – how you like to work, what you bring to the table and what your weaknesses are. Then try to find other artists who complement that, figure out what you want to say, and do it! I also have to echo Jenni's sentiment of saying yes. Since moving to Chicago I've really tried to embrace the pervasive "yes and" spirit that comes from the huge improv scene here. I've found it a really fulfilling way to make art and to live in general.
JENNI: You've got to find your creative kindred. Find the people who want to make cool stuff more than they want to make money. If someone wants to charge you to use their work, or you're charging someone to use theirs, it's not a collaboration – it's a business transaction.
Good collaborations should raise all boats, with everyone involved standing to benefit equally from the exchange. Patrick, Joelle and I are at relatively similar points in our respective careers, which helps. Nobody is in a position of power over another. Everybody's intentions are good. We share in any publicity and, most of all, get to put something new out into the world. It works from all angles.
Ultimately, if you want to collaborate with people, ask. How many awesome projects go undone because one party was afraid to ask the other? Oh, and if people ask you to collaborate, say yes.
PATRICK: My best piece of advice is just do it. There is nothing to be lost in trying. If you stumble across something on the internet that hits you the right way, send that email. The worst thing that can happen – and I really mean this – is that the person who's inspired you can't take on the project, but is left knowing that his or her work touched somebody. The best thing that can happen is Year of Glad.
The creative world is simultaneously larger and smaller than it's ever been. There are more artists alive and working today than have ever existed at any point in time in the history of our species, and yet we're all just a few keystrokes away from each other. It's amazing! And we can all complain endlessly about how the system isn't set up to support us, but in some very tangible ways we're actually more empowered than we've ever been to create awesome, lasting, relevant, multivariate art that can come together to change the world.
But these things don't happen unless we harness the fact that we're all out there to begin with. So just ask. Reach across that electronic threshold and make a human connection.
Thank you so much, Jenni, Patrick, and Joelle!
Jenni B. Baker is a poet and editor based in Bethesda, MD. She is the founder and editor-in-chief ofThe Found Poetry Review, a literary journal that publishes experimental forms of poetry including found, erasure, constraint-based and conceptual pieces. In her multi-year project, Erasing Infinite, she creates poems via erasure from David Foster Wallace's 1,076-page text, Infinite Jest, one page at a time. Her chapbook, Comings / Goings, a collection of poems generated by applying Oulipian constrained writing techniques to Washington Post articles, was released in 2015. Her poetry has been featured in journals such as DIAGRAM, BOAAT, Quarterly West, Washington Square andLunch Ticket. For more information, stop by her website or follow her on Twitter.
A composer, singer, and sound designer, Patrick Greene (b. 1985) is a rising artist in the world of contemporary art music.
Hailed by The New York Times as a composer of "enticing" works, Mr. Greene's music has been described as "shimmering" (New Music Box), "unearthly" (The New York Times), and constructed with "true musicality" (Boston Musical Intelligencer). Recent engagements include performances by Boston Musica Viva, the Atlanta Chamber Players, the New Haven Symphony Orchestra, loadbang ensemble, Christopher Houlihan, Transient Canvas, Balletik Duo, and many others.
His theatrical sound design has been called "disturbingly real" and "memorable" (ArtsImpulse). Recent design projects include the Boston premiere of Cassie Seinuk's Eyes Shut. Door Open. (Wax Wings Productions) and D.W. Gregory's Radium Girls (Flat Earth Theatre).
Patrick's abstractEXTRACTION won the 2010 Rapido! New England Competition (and took the Audience Prize at National Finals in 2011). In 2014, he was Guest Composer at the inaugural Birmingham New Music Festival, and, in 2015, his My Dearest Friend earned a C7Prize as a "Recommended Work." Most recently, the St. Botolph Club Foundation selected Patrick for the 2015 Emerging Artist Award.
Mr. Greene earned his MM degree in Composition from The Boston Conservatory in May 2010, where he studied with Andy Vores and Dalit Warshaw. He graduated with a BA in Music from Trinity College in 2007, as a student of Gerald Moshell, Douglas Bruce Johnson, and John Rose.
Patrick is a member of the Society for Music Theory, the American Composers' Forum, CompositionToday.com, and the Society of Composers, Inc. He is also a founding member of the Fifth Floor Collective and the Equilibrium Concert Series.
He lives with his wife (the actress Micah Greene) and son in Lincoln, Massachusetts, where he serves on the town's Cultural Council.
Joelle Kross, coloratura soprano, is currently pursuing an MM in Voice Performance at the Chicago College of Performing Arts at Roosevelt University, where she studies with Judith Haddon. Praised as "a vocal knockout" (Hub Review) and "petite, spritely, and utterly delightful in every scene" (Theater Mirror), Joelle has performed extensively in the opera and musical theatre communities in her hometown of Boston. She has appeared with Boston Midsummer Opera, MetroWest Opera, Lyric Stage, Gloucester Stage, Wheelock Family Theatre, Hanover Theatre, and Reagle Music Theatre. Recent opera roles include Le Feu/Le Rossignol inL'enfant et les sortilèges, Amore in L'incoronazione di Poppea, and the Fairy Maiden in the world premiere of Heidi Joosten's chamber opera Connla and the Fairy Maiden. She is thrilled to present the premiere of Patrick Greene's song cycle Year of Glad, with settings of erasure poetry by Jenni B. Baker from David Foster Wallace's Infinite Jest.
I don't wanna be a cheerleader no more.
by Rebekah Goode-Peoples
St. Vincent, Coachella 2012. Image by Jason Persse.
Earlier this year, I made my high school students listen to "Cheerleader" by St. Vincent during a free writing exercise. They were supposed to write anything at all while trying to match the tone of the song. As I listened with them, I realized that almost without exception, I'd been exclusively listening to this song for months—different female vocalists, different lyrics, different instrumentation, but the same tone, same song.
I've recognized many images and pieces of my own writing from the past year in these songs: wells, water, boats, waves, divers, lighthouses, ghosts. In more romantic moments when I mix metaphors with abandon, I feel like we're all mirroring something to each other, a form of musical smoke signals or Morse code. Square by square, I'm watching a quilt of our collective unconscious come together to keep us warm in the night.
But those are my more romantic moments.
Seven of the Billboard top ten albums last year featured solo female artists, and this year is shaping up similarly. While airplay on commercial radio stations has been dominated by the likes of Katy Perry, Adele, Rihanna, Pink, Lady Gaga, Taylor Swift and, god forbid, Ke$ha, fans of more independent artists were often exposed to more status quo fare—four guys with unkempt hair and tight sweaters.
Don't get me wrong. I have a fine appreciation for musical boys (see: the guy I'm married to), but I believe musical variety makes everything sound better, more itself.
While female artists have always been on my radar, the last time my musical landscape radically changed from listening to albums by women was in 1992-1994, the roaring years of Tori Amos's "Little Earthquakes," Bjork's "Post," PJ Harvey's "Dry" and Hole's "Live Through This." Though a newly minted teenager full of stereotypical angst, it is no coincidence that I started writing in those years. Notebook after notebook, I found I had something to say.
Now, twenty years later, I feel a similar awakening.
Fiona Apple. Image by Chickey.
From Fiona Apple and Emily Wells to St. Vincent and Bat for Lashes, I hear strong, non-babygirl vocals, sonic experimentation, poetic phrasing and playful imagery. Listened to as a group, I get a strong sense of women coming into their own. Emerging from the shadows of big boys, big loves and big troubles. Trying to piece out just who they are and just where they belong. Knowing brokenness but forging ahead.
On St. Vincent's "Cheerleader," she simply states, and then radiates, "I don't know what I deserve…I don't wanna be a cheerleader no more" while Emily Wells lilts in the hypnotic lullaby "Passenger," "I'm a passenger, I'm a passenger/ Give me the keys I wanna drive." But it's not all floaty wisps of empowerment.
These ladies do not shy away from the barbaric yawp on their latest releases. Their stark, guttural growls and piercing wails take us right into the ugly bits. On "Deep Sea Diver," Bat for Lashes expresses their comfort with going vulnerable and raw.
You came running out of the dark
With the tears in your eyes
This time I'm not afraid
Cause my heart's in place
Baby let your scream come.
Bat For Lashes. Image by Rockzoom.de.
Most of these stepping-out and see-me-now sentiments are closely balanced with lines of fear and self-doubt. These aren't perfect people. They are sometimes needy, crazy, antisocial and sappy (read: normal) and completely up-front about it. Unlike many of the commercial stars, there is no perfect package or the expectation of one. There is consciousness and reality in all of its sparkling starlight and dangerous dinge.
The combination of wild and wooly woman-talk, tribal rhythms and fierce, reaching vocal arrangements fill me with a real sense of anticipation. Of being on the brink of a brilliant dive. Of being a little afraid of it too.
It's scary to branch out, to be something new or create something new and your own, but lately I've had the urge to create more deliberately for myself. There are many factors contributing to that urge: a need to cleanse a palate overwhelmed by social-media but lacking in real human connection, a need to redefine my identity post-marrying and breeding, and the realization that while I've always been a pretty terrific nurturer, cheerleader and advocate for others, I've never really been those things for myself.
I can't help but think that the music I listened to this year opened the door.
And maybe similar doors are opening up for others. Maybe something is in the water.
I read the posts of dreamwarrior women on Facebook who want to start making music together, to just gather and play like the boys who find it a matter of routine to gather in basements, garages and barns to jam. Or Anna Chandler, co-founder of the now-defunct Savannah band General Oglethorpe & the Panhandlers, who wrote recently in a blog post (personal album of the year: Live through This, Hole), "I pushed myself to write more openly, to break out of my standard of cryptic, hiding lyrics and be blunt. I didn't want to sing quietly, I wanted to wail, to howl and seethe, and suddenly I could. And I did." And my bold-as-hell daughter who sits in her car seat belting out every single word of Fiona Apple's "Every Single Night," her tiny throat straining to match Apple's rolls and calls, a giant smile on her face.
Sharon Van Etten. Image by Weekly Dig.
All of that feels like a promise. Like the one I've made to myself.
And though a year of self-discovery and voice-finding wasn't easy, I had Sharon Van Etten whisper in my ear that "I'm All Right/ It's ok to feel/ Everything is real."
In no particular order, except for Apple who was certainly number one for me, here are eight albums that opened the door for me this year.
Fiona Apple "The Idler Wheel…"
St. Vincent "Strange Mercy"
Emily Wells "Mama"
Bat for Lashes "The Haunted Man"
Sharon Van Etten "Tramp"
First Aid Kit "The Lion's Roar"
Julia Holter "Ekstasis"
Tune-Yards "W H O K I L L"
Check out Rebekah's Spotify playlist containing songs by these artists: no cheerleader
Rebekah Goode-Peoples is a mother, teacher and writer in Atlanta, GA where she lives in Grant Park with a bunch of superfreaks: Ryan, Sebastian, Izzy and Johnny Cash, the family chihuahua. You can find her at @goodepeoples and her band, Oryx and Crake, at @oryxncrake.


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Thursday, 09 August, 2018, 13 : 00 PM [IST]
Amadeus India to focus on grooming hotel segment
By Anurag Tiwari | New Delhi
Amadeus India, a GDS (Global Distribution System) and travel software and technology solutions provider, with more than 50% market share in the country, is working towards improving its business from the hotel segment by providing improvised end-to-end services in terms of hotel bookings and distribution. The company plans to add more products from the aggregators and offer convenient options for bookings on its own platform.
Rakesh Bansal, CEO, Amadeus India, stated that company which earns more than 90% of its business from airline ticket bookings is now focusing on improving its other business models such as hotel bookings and distribution and has undertaken large investments in ancillary travel services like booking seat, meal and baggage in last two years.
Talking about latest initiatives in terms of business expansion, Bansal said that the company has come up with ACUS (Airport Common Use Service), a solution provider product for airports, and for the same Amadeus is in talks with few airports listed under UDAN (Ude Desh ka Aam Nagrik) scheme. The company also plans to increase the number of airlines onboard Amadeus India platform from 79 to 100 by the year-end.
Throwing light on Amadeus India's newly launched products in the market, Bansal elaborated, "Among the latest products launched in last two years, Amadeus Auto Ticket Changer has seen a very high adaption rate among our partners as it allows automated ticketing for IATA agents providing convenient options to book, cancel and rebook airline tickets with lesser time taken as compared to any other GDS platform. Big players like Thomas Cook who do a lot of corporate travel booking find this tool quite effective as they do 70 to 80% ticket reissues. Another product which is gaining good market share is Amadeus Quality Monitor which favours consumers allowing them to demand a particular service and forcing the travel counselor to deliver it without altering the quality. This product of ours has been beneficial to those who concentrate on delivering services and customer satisfaction."
The company has also developed software for front office solution named as Amadeus selling platform connect (SECO) which is a professional booking and fulfilment platform that trains the travel agents with a set of core features which are needed to perform key booking tasks. Bansal said that SECO is tailored to specific needs for air, hotels, cars, insurance and rail and anyone can access the software any time and from any machine with latest internet browsers. "SECO is one of our innovative products lined to provide office solutions and has already seen more 50% adaption."
In terms of marketing and promotions, Bansal said that the company enjoys the network of 10,000 travel agencies and has close relationships with airlines which help in word of mouth publicity. Alongside, in every six months' Amadeus organises product roadshows and refresh courses for updating its partners on updates in the features and products. For the second half of 2018, the company has planned a series of roadshows across the country starting from Kolkata in late August followed by Delhi, Mumbai and Pune in September and October.

redpajama_set_name: RedPajamaCommonCrawl


text:
import os as _os
import shutil as _shutil
import subprocess as _subprocess
from abc import ABCMeta, abstractmethod
from .function import FunctionEvaluator, FunctionObjectiveFunction
from .cluster import cluster_worker, cluster_evaluator, cluster_launcher
from .cluster_fireball import cluster_fb_evaluator, cluster_fb_launcher, cluster_fb_worker
from .direct_evaluator import DirectEvaluator
from .Fireball2PyChemiaDB import FireballCollector

def execute(basedir, command, script):
    """
    Utility that copy a given script and execute the given
    command inside the directory

    :param basedir: (str) Basedir of the directory with script
    :param command: (str) Command to execute
    :param script: (str) Script to call inside basedir
    """
    cwd = _os.getcwd()
    if not _os.path.isfile(basedir + '/' + _os.path.basename(script)):
        _shutil.copy(script, basedir)
    _os.chdir(basedir)
    print('Executing... ' + command + ' ' + script)
    _subprocess.call([command, script])
    _os.chdir(cwd)

class Evaluator:
    __metaclass__ = ABCMeta

    def __init__(self):
        self.population = None

    @abstractmethod
    def initialize(self, population):
        self.population = population

    @abstractmethod
    def run(self):
        pass

    @abstractmethod
    def stop(self):
        pass

    @property
    @abstractmethod
    def is_running(self):
        pass

redpajama_set_name: RedPajamaGithub


text:
Ancient prayers for modern times: Ariana Vafadari
Further meets Persian-French opera singer Ariana Vafadari, who takes enigmatic Zoroastrian prayers from 3700 BC and transforms them into haunting operatic pieces that speak to 21st-century festival goers.
As a young girl, growing up in Iran, Ariana Vafadari would listen to her father singing the ancient philosophical poems, or "Gathas," that lie at the center of one of the world's oldest religions, Zoroastrianism. Years later, as a mezzo soprano opera singer in Paris, she sang these same Gathas to herself as she went through a personal crisis. Their transformative, healing effect convinced her to try singing these ancient mantras during the encores after her classical performances. Buoyed by the enthusiastic reception of her audience, Vafadari collaborated with traditional Occidental musicians to record and release her 2016 album, "Gathas, Songs My Father Taught Me." Since then she has toured the world, performing her haunting renditions of the Gathas for audiences at the Sacred Music Festival in Fez, Burning Man, and the Bombay Beach Biennale—helping bridge the divide between classical concert halls, the new nomadic festival culture, and traditional Eastern musical traditions. Here, Vafadari speaks with Further about the potential of festival culture to fuse musical lineages and spark fruitful collaborations, and about the experience of singing alongside her ancestors.
How would you classify the music that you compose and perform?
I studied opera, I went to the conservatoire, and I have the skills for opera and occidental classical music. But I'm a half Iranian and half French, so after a few years I needed to express my Iranian side and I composed a program between Oriental music and Occidental music. It's quite a selfish project, because I just had the musicians I love around me and the instruments—I love the oud, double bass, sometimes we have the piano and percussion. So it's really something that helped me connect these two parts of myself, to express myself fully.
Would you describe what you do as musical fusion?
Yes, exactly. Classical music inspired me when I wrote the music for the Gathas of course. I love it and I can't deny it. And my voice is an opera voice. It's something I have tried to change sometimes, but it doesn't work. It's always there. And then I wrote the music using the Macam, the Oriental scale. And so we have these two worlds gathering and being able to express and speak with one another.
Can you tell me about the Gathas, and how they became important to your work?
The Gathas mean the chants, the singing. They were the songs of Zarathusthra, which is the community I belong to in Iran. We are Zoroastrian, and Zarathusthra is a Mantran, the man who says the mantra. These Gathas are the eldest poems of the Zoroastrians that we believe come from the mouth of Zarathusthra. At first when I sang them, I realized that I would feel so good, it cured me totally. So I would sing them a little bit in my programs and people would say, "Oh, this is strange, but we like it." And then they became more and more important and I realized these are mantras—that's why they cure me and make people feel good. So I started this program, performing with musicians from different backgrounds. I try to bring Iranian music and opera together and improvise. And I'm also writing my second program, which is called, "Anahita," after the deity of femininity and water. We will have a big tour in 2020, throughout the States, India, and France. And we had a previous avant-première, where we sang it in Oslo and at the Bombay Beach Biennale, the festival in California. It was on this lake that is dying. And so it's about finding your routes and going back to this strong spirituality, femininity, and finding water again.
"As a musician, the world that you don't see is more powerful than what we see."
Are you trying to preserve classical music traditions?
Yes, I hope so. I'm working with a very good musician, Issa Murad, an oud player. He learned classical oriental music at a very high level. He's a master in oud. So he can feel free to do other things within the music. But then he has this knowledge and he comes back to the classical music all the time, the same as me. It's not easy. I don't know if I'm doing it right, but we're trying to preserve the tradition of classical music and open it and make it new. And I imagine the boundary is not easy to find, and one needs to be careful not to go too far, but that's what we are trying.
Why is it important to bring different musical traditions together?
I think the danger is that it's the same public going to these very nice halls and dressing up very nicely, and you have to be quiet and concentrate. And that scares many people and that's normal. So bringing this music out of these places, letting people talk, dance, get out, get in, is very important because it brings a new audience to this music. And that's very important to me.
How receptive is the current audience?
Well, as an opera singer, I was always sure that everybody loves opera—they just don't realize it. I don't know if I'm right, but the way to make people like it is to take it to a new audience and not to have a three-hour opera. Sometimes people in places like this will listen a little bit and then get used to it, and then the next time they like it more and ask for more. It's just like I'm sure that everybody loves electronic music. When music is good and emotional, it touches you. So it can be Oriental, Occidental, it depends on your own story. But I think that inside, everybody loves traditional music and they love dancing. So by putting them together, we bring a new audience to these different categories of music.
"We're trying to preserve the tradition of classical music and open it and make it new."
How has playing the festival circuit effected your work as an artist?
I meet new people, encounter new music that I've had never had the chance to work with, I work with DJs. It's not the conditions and work that we know—with that same concentration—but once you just let yourself go and trust the situation, then it's really fantastic living in this new world of music. For example, in Occidental classical music we work on "Partition"—sheet music you say. And we're skilled at being very precise. And while we learn a lot—being able to then work with someone that has totally different skill and improvising is new for me. It's been totally new. And I think it's another way of being an artist and we should do this more this. Each genre of musicians learns music in their own way and then working together opens a new world for everyone.
Do you see music as a catalyst?
For me it's a question of living music. I used to study math and I wanted to be mathematician. And then at that point I thought that half of my body and emotion are dying, that I need music. As a musician, the world that you don't see is more powerful than what we see. When I sing, I'm with my ancestors. It's my story, I'm speaking with something that I don't even understand myself, but I feel the vibrations. When I have all these emotions onstage, it's totally true—and I can see in the eyes of the public, that this emotion is there too. So for me, it's something really powerful to share. We all have the same stories. We have fear, we have anger, we have joy—and music can be a fantastic way to share this.
← Parsi Musician Releases First Single With All Proceeds Donated To Charity
Is this India's best Mercedes owners club? : An interview with Rayomand J. Patell →


text:
AOL Time Warner and the False God of Shareholder Primacy
Journal of Corporation Law, Vol. 31, pp. 975-1002, 2006
Hofstra Univ. Legal Studies Research Paper No. 05-21
See all articles by Matthew T. Bodie
Matthew T. Bodie
The blockbuster merger between AOL and Time Warner, in the twilight of the dot-com boom, is now characterized as perhaps the worst business combination ever. Shareholders lost over $200 billion in value; the deal's architects were forced out in disgrace; and the surviving executives jettisoned the AOL name as if to wipe clean our collective memory. Despite the merger's seismic effects, relatively little has been written about its potential legal ramifications. In this article, I suggest that the collapse of AOL Time Warner is a cautionary tale for those who would advocate greater adherence to the norm of shareholder primacy. Before the merger, AOL and Time Warner represented opposite poles on the shareholder primacy scale. AOL's leadership took shareholder primacy to heart; in fact, the goal of maximizing share price took on an almost religious fervor. At Time Warner, by contrast, there was a long history of sublimating shareholder concerns to protect the company, its culture, and its executive cadre. The failure of the merger between these two opposites, ending in the ultimate ascendancy of Time Warner executives, is instructive. Those who advocate for a norm of shareholder wealth maximization must contend with the sins of such a normative structure, as AOL (circa 2000) amply manifested: overly generous stock option grants, a zealous focus on meeting Wall Street targets, a willingness to bend or even break accounting rules, and a resulting cavalcade of phony numbers and empty promises. These sins are what doomed the new company to failure. Although the Time Warner approach also has its pathologies, the AOL Time Warner debacle should force shareholder primacists to at least recognize the dangers that the primacy norm may engender, and may counsel for a more nuanced approach to corporate governance principles.
Keywords: AOL, Time Warner, shareholder primacy, mergers and acquisitions
Bodie, Matthew T., AOL Time Warner and the False God of Shareholder Primacy. Journal of Corporation Law, Vol. 31, pp. 975-1002, 2006; Hofstra Univ. Legal Studies Research Paper No. 05-21. Available at SSRN: https://ssrn.com/abstract=776228
Matthew T. Bodie (Contact Author)
Saint Louis University School of Law ( email )
100 N. Tucker Blvd.


text:
package org.buddycloud.channelserver.packetprocessor.iq.namespace.pubsub.get;

import java.util.concurrent.BlockingQueue;

import org.buddycloud.channelserver.Configuration;
import org.buddycloud.channelserver.channel.ChannelManager;
import org.buddycloud.channelserver.db.exception.NodeStoreException;
import org.buddycloud.channelserver.packetprocessor.iq.namespace.pubsub.JabberPubsub;
import org.buddycloud.channelserver.packetprocessor.iq.namespace.pubsub.PubSubElementProcessorAbstract;
import org.buddycloud.channelserver.pubsub.model.NodeMembership;
import org.buddycloud.channelserver.pubsub.subscription.Subscriptions;
import org.buddycloud.channelserver.utils.XMLConstants;
import org.buddycloud.channelserver.utils.node.item.payload.Buddycloud;
import org.dom4j.Element;
import org.dom4j.Namespace;
import org.dom4j.QName;
import org.xmpp.packet.IQ;
import org.xmpp.packet.JID;
import org.xmpp.packet.Packet;
import org.xmpp.resultsetmanagement.ResultSet;

public class SubscriptionsGet extends PubSubElementProcessorAbstract {

    private final BlockingQueue<Packet> outQueue;
    private ChannelManager channelManager;

    private IQ result;
    private String node;
    private JID actorJid;
    private IQ requestIq;
    private boolean ephemeral = false;

    public SubscriptionsGet(BlockingQueue<Packet> outQueue, ChannelManager channelManager) {
        this.outQueue = outQueue;
        this.channelManager = channelManager;
    }

    public void setChannelManager(ChannelManager dataStore) {
        channelManager = dataStore;
    }

    @Override
    public void process(Element elm, JID actorJID, IQ reqIQ, Element rsm) throws Exception {
        result = IQ.createResultIQ(reqIQ);
        actorJid = actorJID;
        requestIq = reqIQ;

        Element pubsub = result.setChildElement(XMLConstants.PUBSUB_ELEM, JabberPubsub.NAMESPACE_URI);
        Element subscriptions = pubsub.addElement(XMLConstants.SUBSCRIPTIONS_ELEM);

        node = reqIQ.getChildElement().element(XMLConstants.SUBSCRIPTIONS_ELEM).attributeValue(XMLConstants.NODE_ATTR);

        if (null == actorJid) {
            actorJid = reqIQ.getFrom();
        }

        boolean isProcessedLocally = true;

        if (node == null) {
            isProcessedLocally = getUserMemberships(subscriptions);
        } else {
            if (!Configuration.getInstance().isLocalNode(node)) {
                result.getElement().addAttribute(XMLConstants.REMOTE_SERVER_DISCOVER_ATTR, Boolean.FALSE.toString());

            }
            isProcessedLocally = getNodeMemberships(subscriptions);
        }
        if (!isProcessedLocally) {
            return;
        }

        outQueue.put(result);
    }

    /**
     * Don't include any subscriptions other than Subscriptions.subscriptions, unless the user is
     * one of owner, moderator or the user.
     *
     * @param subscriptions
     * @return
     * @throws NodeStoreException
     * @throws InterruptedException
     */
    private boolean getNodeMemberships(Element subscriptions) throws NodeStoreException, InterruptedException {

        ResultSet<NodeMembership> cur = channelManager.getNodeMemberships(node);

        if (Configuration.getInstance().isLocalNode(node)) {
            subscriptions.addAttribute(XMLConstants.NODE_ATTR, node);

            for (NodeMembership ns : cur) {
                if (!isUserPriviledged(ns.getUser()) && !ns.getSubscription().equals(Subscriptions.subscribed)) {
                    continue;
                }

                Element subscription = subscriptions.addElement(XMLConstants.SUBSCRIPTION_ELEM);
                subscription.addAttribute(XMLConstants.NODE_ATTR, ns.getNodeId())
                        .addAttribute(XMLConstants.SUBSCRIPTION_ELEM, ns.getSubscription().toString())
                        .addAttribute(XMLConstants.JID_ATTR, ns.getUser().toBareJID());

                // Only add the invited by attribute if the user has the necessary priviledges
                if (null != ns.getInvitedBy() && isUserPriviledged(ns.getUser())) {
                    subscription.addAttribute(XMLConstants.INVITED_BY_ATTR, ns.getInvitedBy().toBareJID());
                }

            }
        } else {
            // TODO(garethf) this looks like makeRemoteRequest
            if (!channelManager.isCachedNode(node) || (null != requestIq.getElement().element(XMLConstants.PUBSUB_ELEM).element(XMLConstants.SET_ELEM))
                    && !cur.isEmpty()) {
                makeRemoteRequest(new JID(node.split("/")[2]).getDomain());

            }
            return false;
        }

        return true;
    }

    /**
     * Don't include any subscriptions other than Subscriptions.subscriptions, unless the user is
     * one of owner, moderator or the user.
     *
     * @param ns
     *
     * @return
     * @throws NodeStoreException
     */
    private boolean isUserPriviledged(JID jid) throws NodeStoreException {
        boolean isUser = actorJid.toBareJID().equals(jid.toBareJID());

        return (isUser || isOwnerModerator()) ? true : false;
    }

    private boolean getUserMemberships(Element subscriptions) throws NodeStoreException, InterruptedException {
        // let's get all subscriptions.
        ResultSet<NodeMembership> cur;

        String ephemeralValue =
            requestIq.getChildElement().element(XMLConstants.SUBSCRIPTIONS_ELEM)
                .attributeValue(new QName(XMLConstants.EPHEMERAL, Namespace.get(Buddycloud.NS)));
        if ((null != ephemeralValue) && ephemeralValue.equals("true")) {
          ephemeral = true;
        }

        cur = channelManager.getUserMemberships(actorJid, ephemeral);

        if ((null != requestIq.getElement().element(XMLConstants.PUBSUB_ELEM).element("set")) && (!cur.isEmpty())
                && (!Configuration.getInstance().isLocalJID(actorJid))) {

            makeRemoteRequest(actorJid.getDomain());
            return false;
        }
        for (NodeMembership ns : cur) {
            Element subscription = subscriptions.addElement(XMLConstants.SUBSCRIPTION_ELEM);
            subscription.addAttribute(XMLConstants.NODE_ATTR, ns.getNodeId())
                    .addAttribute(XMLConstants.SUBSCRIPTION_ELEM, ns.getSubscription().toString())
                    .addAttribute(XMLConstants.JID_ATTR, ns.getUser().toBareJID());
            if (null != ns.getInvitedBy() && isOwnerModerator()) {
                subscription.addAttribute(XMLConstants.INVITED_BY_ATTR, ns.getInvitedBy().toBareJID());

            }
        }
        return true;
    }

    private boolean isOwnerModerator() throws NodeStoreException {
        return channelManager.getNodeMembership(node, actorJid).getAffiliation().canAuthorize();
    }

    private void makeRemoteRequest(String to) throws InterruptedException {
        IQ forwarder = requestIq.createCopy();
        forwarder.setTo(to);
        if (null == forwarder.getElement().element(XMLConstants.PUBSUB_ELEM).element(XMLConstants.ACTOR_ELEM)) {
            Element actor = forwarder.getElement().element(XMLConstants.PUBSUB_ELEM).addElement(XMLConstants.ACTOR_ELEM, Buddycloud.NS);

            actor.addText(requestIq.getFrom().toBareJID());
        }
        outQueue.put(forwarder);
    }

    @Override
    public boolean accept(Element elm) {
        return XMLConstants.SUBSCRIPTIONS_ELEM.equals(elm.getName());
    }
}


Investigating the dry bag (looks and aroma), then the wet bag in-cup, I expected the ginger to have a lot more kick. Not that I thought it would treat the epiglottis as a punching bag, like Vernors soda, or the strong "Ginger Beer" I often drank in college...but this presentation did set expectations that reality couldn't meet.
The ginger is not as strong as I thought it would be, except in the aftertaste. That at least permits one to taste the green tea, which I did not expect to be able to do, given ginger's tendency to overwhelm other ingredients. Is that a good thing? Yes if you prefer balance in ginger/tea flavor (ratchet the rating up), no if you like brute force (ratchet the rating down). Since the exercise of rating tastes is intrinsically subjective, I did the latter. The lemongrass seems like a superfluous ingredient; I had no sense of it at all except visually. This isn't a bad tea, but it could use a rebalancing if Tazo expects to impress the ginger crowd with this offering.
This tea is pretty middle of the road. It is pretty weak unless you really give it a long steep. Even then the green tea is pretty modest in flavor but the punchy ginger comes out with a spicy ginger bite finish that I really enjoy after a meal. I do however try to go with other ginger teas as I try to stick to organic teas without "natural flavors."
I was really hoping for better. I think the fact that it's a green tea blend rather than a specifically chosen variety of green tea may have been part of the problem. It's a bit of a mess without any clear standout flavors, imo. I didn't notice any specific pear flavor, and even the ginger was fairly muted rather than bright.
It's OK but not a holy grail. Zippy with Ginger but the green underneath is Tazo's ubiquitous grassy/mild green-generic. OK. Not great.
I loved the way it smelled; very promising with a nice ginger, citrusy aroma. The taste, however, reminded me of grass, but at least it wasn't too strong.
Strong gingery aroma: dried ginger, not particularly fresh. The aroma is also suggestive of licorice. Lemongrass is noticeable in the aroma. Not much green tea presence. Spicy overall. Flavor is muddled. Color is a rich golden orange. Peppery aftertaste.
While I've had a lot worse, this one just didn't do it for me.
The aroma is light and sweet offering slight notes of the ginger. The falvor is nicely sweet and a touch spicey. The pear really doesn't come through all that strong. The tea itself is of decent quality coming from a bag. This is one of my favorite bagged teas.


*Save30 customers will be placed on a will call list. Present your Save30 certificate and a valid photo ID at the event entrance.
Come enjoy unlimited samples of pulled pork and beef brisket BBQ from 8 of the area's top BBQ purveyors and vote for your favorite! Adult tickets include two beer coupons as well. We are also welcoming amateur competitors so sign up today!
Limited VIP Tickets are available for $60, Amateur Team Registration for $100, and $10 for kids available on the website.
WILLIAMSBURG *RESTRICTION* good for $25 towards your meal at Opus 9 Steakhouse in New Town.


Boulder County provides a wide range of services to its residents, including public safety, highways and streets, parks and open space, health and human services, historic preservation, wildfire mitigation, natural resources management, public improvements, planning, zoning, and general administration. The wise-use and stewardship of the public's hard-earned tax dollars is our primary responsibility.
Through a judicious annual budgeting process that takes place each fall, and the diligent daily efforts of our highly-trained accounting staff, Boulder County maintains an open, accurate, and accountable record of all of its financial practices.


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Email Address, enter Password, confirm Password, show password.So on her 40th birthday gift her this beautiful message in a bottle gift which would hold a lovely message in a 12-inch ling crystal clear bottle sealed with the love message in red, and comes with a parchment paper roll..
Sale Expires December 3, 2018, buy clothes, shoes, bags or accessories and get 55 discounted.
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text:
Home » MXL Introduces World's First USB Ribbon Microphone
more... New Gear • Daily News
MXL Introduces World's First USB Ribbon Microphone
El Segundo, CA(May 3, 2011) – MXL Microphones, part of the Pro Audio Division of Marshall Electronics, announces the addition of the UR-1 USB Ribbon Microphone to their existing line of USB microphones. The UR-1 microphone (patent pending) takes the classic, mellow sound of a ribbon microphone and integrates it with today's USB technology. This new mic uses modern electrical circuitry to match the input requirements of analog–to-digital converters and USB output with low noise and high dynamic range.
MXL continues to take XLR microphone manufacturing into the new digital space. As digital audio recording grows, there is a demand for a variety of sounds. Performers are looking for a retro sound, and the UR-1 meets this demand. "MXL is a well-known and respected microphone manufacturer and we are the first in the industry to combine today's recording technology with classic microphone design," states Perry Goldstein, sales & marketing manager at MXL. "The classic sound of a ribbon microphone is ageless and it will certainly give today's artists a new dimension to their recordings."
The UR-1 is housed in an stunning all-metal body with a double-shielded grill. The body was elegantly designed with the same vintage look and feel found in microphones used during the golden age of terrestrial radio and broadcast television. This same design can be associated with legendary crooners and talk show hosts of yesteryear. The big ribbon sound found in the UR-1 makes it a perfect solution for recording singing, voice-over, and podcasting. A volume control and headphone jack on the unit allow for real-time monitoring without any latency.
The MXL UR-1 will be priced at $499.95 and will be available in June 2011. It will be on display at this year's Summer NAMM convention in Nashville, TN, July 21-23.
Royer Labs Debuts R-101 Ribbon Microphone
MXL Introduces New Studio Collection Microphones
CAD Adds To USB Microphone Line With New U9 MiniMic
Blue Microphones Announces the Nessie Adaptive USB Microphone
Blue Snowflake, Snowball and Icicle USB Microphone Review


text:
University College Dublin - UCD
Advanced Practice Prescribing Pathway (Taught)
About this institute
Contact school for start dates
Awarded by: National University of Ireland
This programme aims to provide nurses with a strong theoretical and clinical foundation in advanced practice, leadership and research methods, culminating in a Dissertation focused on your area of clinical practice. The development and implementation of the education programme for Nurse and Midwifery prescribing has occurred through collaboration between the HSE, School of Nursing, Midwifery and Health Systems, School of Biology and Biological Sciences and with the staff of the UCD School of Medicine and Medical Science.
UCD traces its origins to the Catholic University of Ireland founded in 1854 by Cardinal John Henry Newman, author of the celebrated 'The Idea of a University'. Since its start, the University College Dublin has played a central role in...
Read more about this school
Career test - find your perfect career
Take our free career test that will match you with programs and careers based on your interests and personality.


Western New England College (WNEC) was established as an off-site evening division of Northeastern College in 1919. The school became an independent body in 1951 and has, since then, been offering undergraduate, graduate and post-graduate degree programs through the Schools of Arts and Sciences, Business, Engineering, Law and Pharmacy. To date, WNEC has over 40 programs and there are plans of adding more programs to the curriculum in the near future. Most of WNEC's degree programs are available on campus however, a few programs can be completed online.
Western New England College's offers four online degree programs. These are the Online Bachelor of Business Administration, Online Master of Business Administration, Online Master of Business Administration (Sport Program), and the Online Master of Education (Curriculum and Instruction). The Graduate Studies and Adult Learning branch also offers online and online blended courses. For information on the online programs available and each program's admission requirements, visit the Western New England College website.
The tuition fees charged by the Western New England College for its online programs vary depending on the level of the academic program. Generally, the cost per credit unit of online undergraduate courses cost less than courses at the graduate and post-graduate levels. To help make the cost more affordable, financial aid in the form of grants, scholarships, loans and payment plans are in place and can be availed of by qualified students. Details on financial aid packages can be requested from the Office of Financial Aid.
Western New England College is accredited by the New England Association of Schools and Colleges and is a member of the Association of American Colleges, the National Association of Independent Colleges and Universities, and the Association of Independent Colleges and Universities of Massachusetts.


text:
using System;
using System.Collections.Generic;
using System.Text;

namespace OctoTorrent.Common
{
    interface ICacheable
    {
        void Initialise();
    }
}


Back again everyone, this time I am feeling pretty down because this guy has helped me for 6 months and now disappeared. I need to stay strong focusing on my life. Way to many in the past got me off track with my life before.
Tomorrow I will be talking to someone official about my other study. So need to keep a clear head.
Taking one day at a time, certain things are a task with my motivation mainly but do it.
I find writing a list out at night time, of what I have to do the next day. Helps cut out most of the added stress.
Sounds like your plate is over full. And it is full of not so tastey stuff. From what you are saying though, it is meaningful to you, like broccoli-- healthy but not always fun.
Kudos to your academic pursuits.
Some people really enjoy the GTD task management method. I do something simpler: a list with two headings "Action" and "Worry".
Everything I care about is on there. I only have 3-5 items on the "Action" list. If I think of more during the day, I add it to "Worry". I look at it in the beginning of the day. But not the end: my brain and mind need a break. They all live in a text file or notebook for the topic. So one for Personal. One for Family. You might have one for Geology 300, for eample.
It takes that gobblygook out of my head and onto paper so it isn't lost.
Your practice sounds really nice.
I too write daily lists these past 3 weeks. It helps me remain focused as my mind can get overwhelmed.


text:
INEC Calls for Financial Independence
In News 2019-10-25 17:03:54
By Dipo Omoware
Chairman of the Independent National Electoral Commission INEC, Prof. Mamood Yakubu, has stressed the need for financial independence of electoral commissions in the country.
The Chairman said this while receiving a delegation from the States Independent Electoral Commission SIEC on Thursday in Abuja.
The INEC boss is quoted as saying "the independence of both electoral commissions cannot be guaranteed when there is no financial independence."
Professor Yakubu also emphasized the need for states to borrow from the electoral acts to fashion out laws governing the conduct of local government elections in the country.
"We need leading laws for the conduct of local government elections in the country that draw to a considerable extent from the national electoral legal framework.
Speaking earlier, Chairman of the SIEC forum, Hon. Igbozurike Akomas, called for the review of the Memorandum of Understanding between SIEC and INEC. He commended INEC for the successful conduct of the 2019 general Elections.
Additional Report by Goodness Anenih
BREAKING: Court Upholds Election of Adamawa Governor
BREAKING: Court Affirms Ortom as Benue Governor
3 Dead in Suspected Lassa Fever Outbreak in Kano


Everyday reading brush off the dust everyday reading best audiobooks.
Everyday reading everyday reading granola.
Levitating magnets a closer look at quantum magnetic levitation levitating magnets science project.
Levitating magnets levitating cake magnets.


NB! -- why there is no Spice models to download here is because i'm not the Spice model factory -- i would rather download these from internet - if there were any - 8 billion people - a lot of Spice users . . . no any g.d. models !!!


Our work at French Broad Adventures is seasonal. Although there are a few brave souls who will love ziplining with us in the colder months, most of our business occurs within a 6–9 month timeframe. Most of our staff have to find other work to round out their year.
For our staff members who are teachers and students, our schedule is perfect. They earn extra money with us during the summer, and have a great time while they do it! They return to the school year refreshed and ready to learn or teach.
Some of our staff members are ski and snowboard instructors both out west and locally. This is the perfect job to pair with whitewater rafting, ziplining, and canyoneering because when our season is winding down, the snow season is just beginning.
Christmas trees! North Carolina grows a lot of trees for the whole nation, including the White House Christmas trees! Some of our staff members travel to the Boone area each year and work on cutting down, wrapping, and prepping Christmas trees. They then load them up and hit the road to set up a tent and sell the trees in Florida, Ohio, etc.
Migrant farming – from blueberries to rice – also plays a big role in the lives or our staff.
Many of our staff love whitewater rafting so much, they choose to raft on their downtime as well. They take months-long boating trips, and eat Ramen for the rest of the year!
Interested in learning more about our staff? Find out what they do for fun!


text:
Cameronians War Memorial
Nurse and baby
In the Cowcaddens
Burrell Collection Photo Library, 1955 Survey
View Larger Image*
*Open in New Window
A lane in Cowcaddens, 1955.
Cowcaddens Street is at the end of this narrow lane. Part of Dallas's department store is visible on the opposite side of the street next to the Grand Bar, which took its name from the nearby Grand Theatre. This area of Cowcaddens was demolished during redevelopment in 1973.
In 1955 Partick Camera Club set out to create a photographic survey of Glasgow. As the project progressed, other camera clubs joined and each was allocated a district of the city to photograph. Glasgow Museums exhibited the photographs at Kelvingrove Art Gallery and Museum and at the People's Place, and in 1956 the exhibition was shown at the Palace of Art in Bellahouston Park. The photographs are now part of Glasgow Museums' collections.
Reference: 1005.97.38 / OG.1955.121.[37]
Reproduced with the permission of Partick Camera Club
advertisements, bars, CDAs, Comprehensive Development Areas, Dallas's, department stores, Glasgow Photographic Survey 1955, Grand Bar, Grand Theatre, lanes, public houses, pubs, slum clearance, streetscenes, tenements, theatres, urban regeneration, Wgigley's chewing gum


text:
arabic phonetic translation
Introduction English is a West Germanic language related to Dutch, Frisian and German with a significant amount of vocabulary from French, Latin, Greek and many other languages Approximately 341 million people speak English as a native … Look up the English to Arabic translation of phonetic in the PONS online dictionary. Learn. Exemplos: la mesa, una tabla. However! Translation for 'phonetic transcription' in the free English-Arabic dictionary and many other Arabic translations. Search. Includes free vocabulary trainer, verb tables and pronunciation function. Look up words and phrases in comprehensive, reliable bilingual dictionaries and search through billions of online translations. صوتي, لفظي, ممثل الأصوات الكلامية - Find meaning and translation in Arabic to English to Arabic dictionary having thousands of Words - العربية إلى الإنجليزية إلى العربية القاموس وجود آلاف الكلمات Spell. traduction phonétique. Arabic Alphabet Sounds in English Phonetics/Phonics www.myarabicwebsite.com Teaching Arabic to Speakers of Other Languages The language has always been considered "due to its morphological, syntactic, phonetic and phonological properties [to be] one of the most difficult languages for written and spoken language processing." Hi! Basic Arabic Greetings (Phonetic) STUDY. Online keyboard to type an Arabic text with the Latin script Clavier arabe co the virtual arabic keyboard to write arabic langage, search on the internet and translate from arabic to english, french, spanish, russian etc. Please and Thank You. Ten basic Arabic greetings (in Arabic and phonetically translated) and their English translations. Also, a phonetic transcription of the Arabic text is done at the same time, allowing you to pronounce the Arabic text, even if you don't know how to read Arabic. Translate Phonetic alphabet in English online and download now our free translator to use any time at no charge. The meanings of individual words come complete with examples of usage, transcription, and the possibility to hear pronunciation. These examples may contain colloquial words based on your search. D. Newman – Arabic Phonetics : Sound Descriptions Page 2 of 6 mean (8.7%), with only 5.4% of languages in UPSID having three vowel qualities. Write. Look up the French to English translation of phonetic transcription in the PONS online dictionary. Our free translation tool allows you to translate an English text to an Arabic text, and vice-versa. It's free to sign up and bid on jobs. Arabic is one of the major languages that have been given attention by machine translation (MT) researchers since the very early days of MT and specifically in the U.S. Adornement of the bride Lyrics and Music: Folk song Translation, phonetic script: Singing Palestine ( I from a French translation of Arab Women's Solidarity Association-Belgium asbl ( www.awsa.be ) Marriage song . The phonetics of Spanish and Japanese are similar. Translator. In site translation mode, Yandex.Translate will translate the entire text content of the site at the URL you provide. These examples may contain rude words based on your search. Yandex.Translate is a mobile and web service that translates words, phrases, whole texts, and entire websites from Turkish into Arabic. Before you suggest it, yes I've tried the google translator and the dictionary.com translator; both don't translate phonetically. Convert English spelling into broad phonetic transcription. Learn about Fathah/ Zabar , Kasrah/ Zair, Dhammah/ Paish - Quran Focus is an excellent program for you and your kids to Learn Quran with Tajweed in one to one Quran classes with live Male and Female Quran teachers. Students of all ages ranging from 4 to 7 Log in Sign up. There are several easily searchable Arabic-English dictionaries online, but I know of none that also incorporate phonetic transliteration. Search for jobs related to Phonetic translation arabic or hire on the world's largest freelancing marketplace with 18m+ jobs. Noun. phonetic - صوتي - adj. The chart below explains how Wikipedia represents Modern Standard Arabic pronunciations with the International Phonetic Alphabet (IPA). Contex t: The bride's friends dress her and decorate her to a shine . Phonetic Translations, also known as "Misheard Lyrics," are song lyrics that have been transcribed in mondegreen, or misinterpreted translations from other languages. Poems in Arabic. Linguee. Flashcards. Translation of Phonetic alphabet in English. Chercher les emplois correspondant à Arabic phonetic translation ou embaucher sur le plus grand marché de freelance au monde avec plus de 18 millions d'emplois. Additional Translations: Inglés: Español: phonetics npl plural noun: Noun always used in plural form--for example, "jeans," "scissors." A windows application that simulates a physical arabic keyboard that helps writing arabic. Panzerwurfer. Create. phonetic translation in English - German Reverso dictionary, see also 'phonetics',International Phonetic Alphabet',phonetics',phonemic', examples, definition, conjugation Once you run the installer and reboot, you will notice a new keyboard is added to the language list. Various music videos featuring animations and slideshows of the transcribed songs have … Translation of "phonetic transcription" in French. + page with the basic Arabic pronunciation . Events; Workshops; Discover contemporary poets from Africa, Asia and Latin America, and meet the translators and English-language poets who make our translations possible. Created by. Arabic to Latin Converter. Knows not just Log in Sign up. Other translations. I'm looking for a reliable free phonetic English to Arabic translator; one that doesn't need to be downloaded. THE Most Used Verb in Arabic: كان "kaan" (Jordanian / Palestinian Dialect) - Duration: 11:14. PLAY. Translations in context of "international phonetic alphabet" in English-French from Reverso Context: This alphabet allows you to cut a word, a sentence, into sounds.The international phonetic alphabet covers ALL languages. CGE Jordan Institute for Arabic Studies 57,957 views Translations of phonetic from English to Arabic and index of phonetic in the bilingual analogic dictionary Arabic and English Phonetics: A Comparative Study Farheen Javed Department of English, Roorkee Engineering & Management Technology Institute, India 1. Translate texts with the world's best machine translation technology, developed by the creators of Linguee. Below you will find a romanization or transliteration tool that will help you do just that. Gravity. Either a translator or a dictionary. Test. phonetic translate: sesle ilgili, fonetik. Learn with flashcards, games, and more — for free. It is therefore hardly surprising that the vowel-consonant ratio (the number of vowels divided by the number of consonants) is also quite uncommon in Arabic, with 0.1 being more than three times lower than the UPSID average of 0.36. Wikipedia also has specific charts for Egyptian Arabic, Hejazi Arabic, Lebanese Arabic, and Tunisian Arabic.For a guide to adding IPA characters to Wikipedia articles, see {{}}, {{}} and Wikipedia:Manual of Style/Pronunciation § Entering IPA characters. transcription phonétique. Includes free vocabulary trainer, verb tables and pronunciation function. That way, you will be able to read words the way they sound phonetically.. Arabic to Latin (phonetics… L'inscription et … Google's free service instantly translates words, phrases, and web pages between English and over 100 other languages. You want to convert a text from Arabic to Latin characters so that you can read it with ease? The phonetic transcription below is based on the scheme found in Arabic Through the Quran by Alan Jones (Islamic Texts Society, 2008). … (phonetic system of a language) fonética nf nombre femenino: Sustantivo de género exclusivamente femenino, que lleva los artículos la o una en singular, y las o unas en plural. Phonetics (pronounced , from the , phone, 'sound, voice') is a branch of linguistics that comprises the study of the sounds of human speech, or—in the case of sign languages—the equivalent aspects of sign.It is concerned with the physical properties of speech sounds or signs (phones): their physiological production, acoustic properties, auditory perception, and neurophysiological status. Learn more in the Cambridge English-Turkish Dictionary. The keyboard Layout is created using Microsoft Keyboard Layout Creator. Match. Synonyms Arabic German English Spanish French Hebrew Italian Japanese Dutch Polish Portuguese Romanian Russian Turkish Chinese. The correct form of pronunciation will depend on context, especially for the letters hamza and alif maksūra.The basic form of transcription is shown in figures 1 and 2 below. Arabic Phonetic Keyboard Layout uses the Windows built-in Language and Keyboard feature to introduce a new Keyboard for the Arabic (Saudi Arabia) Language.
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2020©Gregor Agency – G.A. Records s.r.o.


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Have you got experience teaching Key Stage 2 children?
This is an exciting opportunity for a Key Stage 2 Class Teacher to be part of something incredibly special and help with the growth of a newly established academy. This is a permanent position.
The school are looking for an inspirational class teacher to join the KS2 team. They are looking for an experienced practitioner who can hit the ground running to provide the best education for all the children by ensuring they are supported, engaged and inspired in their learning. If you are successful, you will play an integral role in shaping the future and growth of this developing school. TLR will be maid available for experienced candidates. If this sounds like the opportunity and school for you, then please apply today.
If you are an excellent KS2 Practitioner, then we would like to hear from you. The closing date for this position is 3rd May 2019.
I am an ex-Primary School Teacher and have an excellent understanding of the different roles, and levels of experience/skills schools are looking for. If this role is not for you but you would like support with your career opportunities and development, please get in touch for a consultation- I would be happy to help! I work with schools across the South East and am always interested in supporting teachers to find new challenges and exciting opportunities. Why not email me on paul.hirchfield@randstadeducation.co.uk?


text:
Today in Soap Opera History (February 9)
1968: Dark Shadows' Josette jumped off Widows' Hill.
1984: Days of our Lives' Roman convinced Abe he was innocent.
1989: Another World featured the single women of Bay City.
1996: All My Children's Laurel was shot and killed.
"History speaks to artists. It changes the artist's thinking and is constantly reshaping it into d ifferent and unexpected images."
― Anselm Kiefer
1968: On Dark Shadows, Angelique (Lara Parker) tried to fool Barnabas (Jonathan Frid) using Josette's voice to go to Widows' Hill. Barnabas guessed what her plan was and left to save Josette. Josette climbed to Widows' Hill where Angelique showed her a vision of what she would become if she stayed with Barnabas. Barnabas arrived but Josette was frightened by him. He grabbed her to save her from the cliff but Josette pulled away and jumped to her death.
1971: Philip Carey and Anthony Geary guest starred on CBS primetime comedy All in the Family. In an episode titled "Judging Books by Covers," Archie mistakenly assumed Mike and Gloria's friend, Roger (Geary), was gay but it turned out his buddy, Steve (Carey), was actually gay instead. Read President Richard Nixon's reaction to the episode here.
1973: On The Doctors, Dr. John Morrison (Patrick Horgan) tried to talk Cathy Ryker (Holly Peters) off a ledge, but the baby kidnapping nurse was so distraught she ended up falling to her death despite his best effort to save her.
1981: On Another World, Mac (Douglass Watson) and Rachel (Victoria Wyndham) told Mitch about Janice, St. Croix, and Matthew's paternity.
1984: On Days of our Lives, Abe (James Reynolds) found Roman (Wayne Northrop) and they faced off until Roman convinced Abe of his innocence.
1989: Another World kicked off a two-day "A Valentine to Singles" special. In Part 1, which featured the women of Bay City, Amanda Cory Fowler (Sandra Dee Robinsonn) tried to figure out what a single woman wants for her video dating project.
1989: On Dynasty, Jeff saved Sammy Jo (Heather Locklear) from the burning barn.
1990: The Bradys, a primetime soap featuring the sitcom and variety show family, premiered on CBS. In the first episode, Bobby (Mike Lookinland) became paralyzed after a racing accident.
1993: On Another World, Grant Harrison (Mark Pinter) married Vicky Hudson (Jensen Buchanan).
1994: FOX aired the 100th episode of Beverly Hills, 90210, titled "Scared Very Straight." David's (Brian Austin Green) amphetamines addiction was out of the control so he called Dylan for help.
1996: On All My Children, Laurel Banning Dillion (Felicity LaFortune) was shot and killed on the set of The Cutting Edge.
2005: Lyndsy Fonseca aired for the final time as Colleen Carlton on The Young and the Restless.
2005: On One Life to Live, Todd Manning (Roger Howarth) and Blair Cramer (Kassie DePaiva) talked over the walkie-talkies Margaret Cochran (Tari Signor) gave them. Margaret had Todd tied to a bed, while Blair was locked in the trunk of a car.
2007: On The Young and the Restless, Lauren (Tracey Bregman) shot and killed Sheila Carter (Michelle Stafford). Sheila, played by Kimberlin Brown for years on Y&R and The Bold and the Beautiful, had plastic surgery to look like Phyllis Summers Newman.
Thanks to Enrique for sending in the item above.
Barbara Young (ex-Doreen, Coronation Street; ex-Mags, Hollyoaks) - 83
Mia Farrow (ex-Allison, Peyton Place) - 74
Judith Light (ex-Judith, Dallas; ex-Claire, Ugly Betty; ex-Karen, One Life to Live) - 70
Charles Shaughnessy (ex-Shane, Days of our Lives; ex-Elliot, The Bay; ex-Alistair, General Hospital) - 64
Jim J. Bullock (ex-Serge, The Bold and the Beautiful) - 64
Jason George (Ben, Grey's Anatomy; ex-Michael, Sunset Beach) - 49
Sharon Case (Sharon, The Young and the Restless; ex-Debbie, As the World Turns; ex-Dawn, General Hospital) - 48
Colin Egglesfield (ex-Auggie, Melrose Place; ex-Josh, All My Children) - 46
Corey Parker Robinson (ex-Remy, Guiding Light) - 44
Margarita Levieva (ex-Amanda, Revenge) - 39
Rachel Melvin (ex-Chelsea, Days of our Lives) - 34
Michael B. Jordan (ex-Alex, Parenthood; ex-Vince, Friday Night Lights; ex-Reggie, All My Children) - 32
Rose Leslie (ex-Gwen, Downton Abbey; ex-Ygritte, Game of Thrones) - 32
Categories: All My Children, Birthdays, Dark Shadows, Days of our Lives, History, Judith Light, The Bradys, The Doctors, The Young and the Restless


text:
Q: Java naming convention for static mutator methods For static methods in Java, the parameter cannot have the same name as a global static variable. Is there a convention for naming the parameter? ...just a curiosity.

private static volatile int metBetYetPetLetJet = 8675309;
public static void setMetBetYetPetLetJet (int metBetYetPetLetJet0) {
    metBetYetPetLetJet = metBetYetPetLetJet0;
}

A: The parameter absolutely can have the same name:
public class Foo {

    private static volatile int metBetYetPetLetJet = 8675309

    public static void setMetBetYetPetLetJet (int metBetYetPetLetJet) {
        Foo.metBetYetPetLetJet = metBetYetPetLetJet;
    }
}

Alternatively, I often just use value as the parameter name for a setter. That may be the influence of C# though :) Another option is newValue.

A: You can give the same name and the rule applies the same as for the member variable's name.
Here: instead of this you have to refer the variable with the class name.

redpajama_set_name: RedPajamaStackExchange


text:
Radical Markets: Uprooting Capitalism and Democracy for a Just Society
Eric A. Posner (Author) Eric Glen Weyl (Author) Jaron Lanier (Foreword by) Vitalik Buterin (Foreword by)
FORMAT
Paperback$18.95$17.62(English)

Hardcover$35.94(English)

MP3 CD$14.99(English)

Revolutionary ideas on how to use markets to achieve fairness and prosperity for all
Many blame today's economic inequality, stagnation, and political instability on the free market. The solution is to rein in the market, right? Radical Markets turns this thinking on its head. With a new foreword by Ethereum creator Vitalik Buterin and virtual reality pioneer Jaron Lanier as well as a new afterword by Eric Posner and Glen Weyl, this provocative book reveals bold new ways to organize markets for the good of everyone. It shows how the emancipatory force of genuinely open, free, and competitive markets can reawaken the dormant nineteenth-century spirit of liberal reform and lead to greater equality, prosperity, and cooperation.
Only by radically expanding the scope of markets can we reduce inequality, restore robust economic growth, and resolve political conflicts. But to do that, we must replace our most sacred institutions with truly free and open competition--Radical Markets shows how.
Free Enterprise & Capitalism
Eric A. Posner is the Kirkland and Ellis Distinguished Service Professor at the University of Chicago Law School. E. Glen Weyl is principal researcher at Microsoft, founder and chairman of RadicalxChange, and visiting research scholar at Princeton University's Woodrow Wilson School of Public and International Affairs. Twitter @glenweyl
"Refreshing and welcome in its willingness to question received wisdom."--The Economist
"This is free market thinking but not as we know it."--Diane Coyle, Prospect
"A brilliant, provocative work."--Jason Furman, former chairman of President Obama's Council of Economic Advisers
"A must-read."--Carol Massar, Bloomberg Radio
Financial Literacy Books to Help your Teen Start Off Right
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