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text:
Q: ICE Faces and error in creation of a bean in WindowScoped After some questions about WindowScoped and after an answer of BalusC I understand that I would use MyFaces CODI I should before rewrite all my previous code because I can't use Mojarra, so I would use ICEFaces because it have also the "window scope" and some other things that help me later and it is based on mojarra!
Ok, now I have a big problem, and I wrote also in ICE forum at this link:
http://www.icefaces.org/JForum/posts/list/0/20426.page#72064
, and it is that when I launch the application I have many of this link:

            <h:form>
                <h:commandLink action="#{logicBean.action('/WEB-INF/jsfpage1.xhtml')}" value="Open page1.xhtml"/>
            </h:form>

the LogicBean.java (simplyfied because I would understand if the problem was locate into the others methods) is this:

    /*
     * To change this template, choose Tools | Templates
     * and open the template in the editor.
     */
    package it.cyborg.logic;

    import java.io.Serializable;

    import javax.faces.bean.ManagedBean;
    import javax.faces.bean.CustomScoped;

    /**
     *
     * @author FilTen
     */

    @ManagedBean(name="logicBean")
    @CustomScoped(value = "#{window}")

    public class LogicBean implements Serializable
    {
    String pageIncluded;
    String pageIncludedPrev;
    static String crypt="MD5";

    /** Creates a new instance of LogicBean */
        public LogicBean() {
        }
    public String getPageIncluded()
    {
    return this.pageIncluded;
    }
    public  void setPageIncluded(String pageIncluded)
    {
    this.pageIncluded=pageIncluded;
    }

    public String getPageIncludedPrev()
    {
    return this.pageIncludedPrev;
    }
    public  void setPageIncludedPrev(String pageIncludedPrev)
    {
    this.pageIncludedPrev=pageIncludedPrev;
    }

    public String action(String value)
    {
        setPageIncludedPrev(pageIncluded);
            setPageIncluded(value);

            return "include";
    }

    public String getCrypt()
    {
        return crypt;
    }

    }

when I click on one of the links a javascript open a frame that contains this error:
class com.sun.faces.mgbean.ManagedBeanCreationException

The previous version had two differnce and it worked well, the first was that it was not the implementation of ice faces core, the second was that the scope was SessionScoped!
whic could the problem be?
Thank you for all your help!
[EDIT:]
I have a news:
I tried to add only the Icefaces core jar into the original project and the error change:
class java.lang.NullPointerException
what could it be?
Someone can tell me how set more verbosity on this message?

A: Hoi Filippo!
The information you received is NOT correct. MyFaces CODI is compatible with JSF 1.2 and 2.x --> you can use it with Mojarra as well as MyFaces Core.
BalusC:
Which problems have you seen? I'm using MyFaces CODI with Mojarra since the first version without problems.

redpajama_set_name: RedPajamaStackExchange


TRAC was a pioneering program of vocational learning for school students in Years 11 and 12 centred around structured and assessed work placements. It was designed and developed by the Dusseldorp Skills Forum to bridge the almost complete disconnect, at the time, between the skills students acquired through school and the skills they would need to enter the labour market.
By every measure – and there were careful evaluations both by the Forum and by external researchers – TRAC more than achieved its aims. It demonstrated, on a national scale, that upper secondary schools can and should prepare students for work in ways that are rigorous and accredited.
This report by Jane Figgis purpose is to search TRAC's development, implementation, and eventual devolution for lessons that might be learned – underlying principles that might exist – which could usefully be applied to other of the Forum's ventures and ambitions.


text:
Festival Previews, Week Two
Edmar Castañeda photo courtesy of artist
Edmar Castañeda / Jovino Santos Neto
Friday, October 16, 8pm | PONCHO Concert Hall, Cornish College of the Arts
An astounding instrumentalist with a unique approach to South American composition, Edmar Castañeda is gaining respect and acclaim in the international jazz community. Born in Bogota, Columbia, Castañeda followed his father's pursuit of mastery on entrancing South American harp. Though Castañeda tours frequently with his trio, and as a member of the Andrea Tierra Quartet, we are fortunate tonight to enjoy the full force of his animated and captivating solo performance.
The Brazilian transplant and resident genius, Jovino Santos Neto, opens the evening with a rare solo piano (and melodica) performance. A native of Rio de Janeiro, Santos Neto moved to Seattle, and a fruitful association with Cornish College of the Arts, after a performance stop here with his musical mentor, the great Hermeto Pascal. Santos Neto's mastery of many subgenres of South American music, his gifts as an educator, and his palpable joy in performance have made him a valuable part of Seattle's music scene. This will be a night of compelling performance, incredible virtuosity, and absolute fun!
Kareem Kandi Trio
Friday, October 16, 7:30pm | Tula's Restaurant & Jazz Club
The Tacoma-based saxophonist's funk- and blues-drenched style is showcased to fine effect in this trio with organist favorite Delvon Lamarr and drummer Adam Kessler.
Tenor saxophonist Kareem Kandi teaches 35-40 private lessons per week and gigs three to five nights a week, from Bellingham to Olympia and beyond. He's in his 14th year as artist-in-residence at the Tacoma School of the Arts and his ninth at Pierce College, where he teaches saxophone and, until this year, directed its big band ensemble. He also plays and tours with the folk super-group The Paperboys, from Vancouver, BC. In recent months, Kandi has expanded his bandstand leadership and teaching into a south Sound venture with Boxley's proprietor Danny Kolke. Together, the two have launched the non-profit Tacoma Jazz Association. Kandi is a class act and a great, gigging bandleader who charms on the microphone and astounds audiences with long, muscly tenor runs, riffs, and hits: an excellent trio instrumentalist.
Organist Lamarr learned the instrument by watching bandleader Joe Doria, while subbing as a drummer on the gig. Today, the fluidity of his feet on the foot pedals, his left hand handling the walking bass lines, and his right hand oscillating between comping and soloing – he's like a well-rehearsed chamber ensemble unto himself. Lamarr was born in 1978 and grew up in a house where his mother listened to gospel and blues while he and his older brother spun hip-hop and Van Halen records. Today, he works in his own funky groove trio, Rippin Chicken, and works regularly with saxophonist Kandi.
Drummer Kessler is a leader in his own right, from the drum throne at club Barca's weekly Thursday jazz hang. Tight, clean chops and a mastery of the grammar of the jazz trio allow Kessler to sit deep in the pocket. The percussionist and educator was born in Seattle, 1982, and learned about swing in the Roosevelt High School Jazz Band. He received a BA in Music from Cornish College of the Arts, where he studied jazz, Brazilian, electronic, Middle Eastern, and gamelan music, as well as musicianship and composition training with multi-instrumentalist Denney Goodhew.
Mark Taylor & Dawn Clement Group
Saturday, October 17, 7:30pm | Tula's Restaurant & Jazz Club
Saxophonist Mark Taylor launches a new ensemble with the ebullient pianist and Cornish alumna and adjunct instructor Dawn Clement. The two award-winning Pacific Northwest artists bring listeners a lineup of new work they are composing together. Pieces from previous albums (Taylor's Spectre and Clement's Tempest/Cobalt) are also reworked for tonight's ensemble, including noted NYC trumpeter Russ Johnson and top-shelf Seattleites Phil Sparks (bass) and Byron Vannoy (drums).
Clement began playing piano when she was ten years old, with early lessons with ragtime pianist and church organist Keith Taylor. Eventually settling in Vancouver, Wash., Clement joined the high school jazz band and started sitting in at Portland-area jam sessions. Her career today includes playing at the Mary Lou Williams Piano Competition at Washington DC's Kennedy Center and Paris' International Martial Solal Jazz Piano Competition, teaching at Cornish and at Port Townsend's Centrum Jazz Workshop, and releasing five CDs. Clement is currently working on her Masters of Composition at the Vermont College of Fine Arts.
Seattleite Mark Taylor is a creative improviser and impeccable ensemble player. He performs and records extensively with Matt Jorgensen +451, Jim Knapp Orchestra, Tom Varner, Thomas Marriott, Wayne Horvitz, Seattle Repertory Jazz Orchestra, and the Randy Halberstadt Quintet. Taylor has two acclaimed Origin Records releases: After Hours (2002) and Spectre (2009). He teaches privately and holds a BM from the University of Washington (1994), and MM from the Manhattan School of Music (2000).
Charles Lloyd, Wild Man Dance
Saturday, October 17, 8pm | Town Hall Seattle
$26 general | $24 members & seniors | $13 students & military | $36 preferred seating
After nearly five decades of utterly uncompromising music-making, saxophonist Charles Lloyd has achieved the status of a living legend. A singular musician who has no stake in nor need for the genre divisions that frequently occupy so much energy in the jazz world, Lloyd is one of the original cross-pollinators, whose explorations are rooted and steeped in the rich jazz and blues scenes of his native Memphis, Tennessee, but whose musical interests have taken him around the world, literally and figuratively.
Born in 1938, Lloyd picked up the sax at age nine, and by the mid-'60s, had developed into not only a masterful improviser but also a superb composer and arranger. After a stint with Cannonball Adderly's band, Lloyd formed the first of his many great quartets, with future Miles Davis alums pianist Keith Jarrett and drummer Jack DeJohnette, along with bassist Cecil McBee. Lloyd's Quartet appeared at the 1966 Monterey Pop Festival, in a legendary performance that resulted in the album Forest Flower, one of the first jazz albums to sell over a million copies. Lloyd's expansive modal grooves and avant-garde sounds became an integral part of the quickly evolving stylistic integrations of jazz with rock, psychedelic, and non-Western music. Notably, Lloyd did it with an acoustic quartet – he didn't have to plug in to cross over.
Since 1989 Lloyd has recorded regularly for ECM, which has released an impressive string of superb albums from the busy master. In April, Lloyd returned to Blue Note Records after nearly 30 years for an outstanding live album entitled Wild Man Dance, which also features the pianist in Lloyd's current Quartet, Gerald Clayton.
Many of Lloyd's recent albums and finest live work have been with the same piano/bass/drums quartet format that originally brought him global fame, and his Earshot performance will include, along with Clayton, longtime associate Reuben Rogers on bass and the superb Kendrick Scott on drums.
Lloyd has always shown a fearless embrace of the unknown, and he manages to be simultaneously challenging yet warmly communicative and welcoming, deploying a sagely un-ironic affinity for great songs and melodies from any style of music.
Do not miss this chance to see one of the true titans of jazz at the top of his game.
Myra Melford's Snowy Egret
Sunday, October 18, 8pm | Seattle Art Museum, Plestcheeff Auditorium
The term "restless" is used with some frequency to describe modern creative musicians with varied sets of proclivities, collaborators, and outlets, and that description may be an apt one for the iconoclastic pianist and composer Myra Melford. But what's impressive about Melford is how centered and at home she sounds in all of the myriad projects she has been involved with since her emergence in the early '90s.
Shaped and emboldened by formative periods of study with Don Pullen and Henry Threadgill, Melford is a composer and musician of seamless range and variety. There is a spiritual tinge and particular geographic orientation to much of her music – experiences such as a trip to India on a Fulbright scholarship and an immersion in the writings of Sufi mystic poet Rumi have had a tangible effect on her aesthetic. From solo piano music to large-scale ensemble creations, her wide-ranging output has brought her into collaboration with a staggering array of the most creative musicians of recent times, including Cuong Vu, Dave Douglas, Han Bennink, and Leroy Jenkins.
Snowy Egret is Melford's latest group, and one of her finest to date. Featuring Ron Miles on cornet, Liberty Ellman on guitar, Stomu Takeishi on electric bass, and Tyshawn Sorey on drums, Snowy Egret is a band full of imposing improvisers, capable of exacting focus but with a flexible, elastic sense of rhythm and interplay.
Inspired by the writings of Uruguayan author Eduardo Galeano, the band's recent self-titled album is a feat of balance and nuance. There is a notable Latin American influence in some of the writing, but the music is of its own world, simultaneously earthy and cerebral. Henry Threadgill remains one of Melford's key mentors, and his influence is present both musically and in shared personnel (Ellman and Takeishi are both long-time members of Threadgill ensembles), but the vision is uniquely Melford's own. Gospel grooves, pointillistic free passages, and knotty ensemble writing all share space, and blend into a dreamy whole, both familiar and comfortable yet bracingly new.
Kris Davis Trio
Monday, October 19, 8pm | PONCHO Concert hall, Cornish College of the Arts
Pianist and composer Kris Davis has developed a reputation as one of the most buzzed-about jazz artists in recent years, noted for her hard-to-pin-down stylistic profile, which encompasses jazz standards, rock rhythms, Cecil Taylor-esque free explorations, contemporary avant-chamber music, and bracing minimalism. Davis has built up a sizable coterie of fans and boosters among the public and peers alike, including piano maverick Jason Moran, who called her "a freethinking, gifted pianist on the scene." With her depth of skill and considerable experience in multiple musical worlds, Davis has been in high demand, and has performed with a "who's who" of multiple creative music circles, including Paul Motian, Andrew Cyrille, Tim Berne, Bill Frisell, John Hollenbeck, Michael Formanek, Ralph Alessi, and Mary Halvorson.
Other collaborations notwithstanding, Davis is particularly impressive when fronting the nimble and long-standing trio she will bring to the Earshot Jazz Festival. Featuring bassist John Hébert and the endlessly inventive drummer Tom Rainey, the band's patient, probing, and thoughtfully deliberate yet free approach to trio improvisation is a wonder to hear. The trio shines on their 2014 album, Waiting for You to Grow, and their interplay and connection has only deepened since the recording. This is a vital and necessary show for all fans of the ever-expanding world of adventurous piano trios.
The Big Band Music of George Stone
George Stone, one of the world's premier jazz composers and arrangers, travels from California to direct a performance of his exciting big band music by 17 of Seattle's finest musicians, including Dennis Haldane and Doug Reid.
A precocious Stone began writing for and directing his first jazz combo at the age of 12, and by age 13 he wrote his first large ensemble arrangements. He followed this with his first big band arrangement at age 14, and by age 18 he was leading his own big band and writing for live shows and television. Throughout his illustrious career, Stone has worked with Maynard Ferguson, Clare Fischer, Dave Grusin, Tom Scott, the American Jazz Philharmonic (of which he was a member for 11 years) and the Tonight Show Orchestra with Doc Severinsen. He has written music for CBS, NBC, HBO, ABC, and Disney, and has written more than 60 major compositions and arrangements which are performed by many school bands and professional big bands worldwide. Under his direction, his groups have achieved international success and praise for their musicality and professionalism. In 2000, Stone directed the Cuesta Jazz Ensemble in a three-week tour of Europe, culminating in a performance at the Montreux Jazz Festival. Stone currently teaches at Cuesta College in San Luis Obispo.
Gary Stroutsos: Tribute to Paul Horn
Wednesday, October 21, 8pm | Chapel Performance Space
In the pristine acoustics of the Chapel, Gary Stroutsos pays homage to his mentor and idol, legendary flutist Paul Horn, in particular to his 1960s album Inside, inspired by the Taj Mahal.
Stroutsos is a world flute master and cultural storyteller. Best known for his work on the Native American Flute, he has spent his musical career connecting with audiences around the world through the sounds and traditions found in American Indian music, as well as through Chinese, Cuban, and American Jazz stylings.
Stroutsos, originally trained by the likes of jazz master flutist and composter James Newton and Afro-Cuban flute master Danilo Lozano, has paved a unique path throughout his life to become renowned for translating world music into music of the heart. He has over 30 recordings to his credit, plus the sound tracks for the Ken Burns PBS documentary Lewis and Clark and the award-winning Public Television film Desert Dreams. Stroutsos has performed throughout North America and in the Far East. He has also played a command performance at the White House for President Bill Clinton.
Pedrito Martinez Quartet / Picoso
Thursday, October 22, 8:30pm | Nectar Lounge
$12 advance | $16 day of show
It's generally a reliable sign that something exceptional is going on when the practitioner of a somewhat non-mainstream style of music (singing in Spanish to boot) begins to attract international attention with a weekly gig at a modest-sized New York City restaurant.
Such is the case with the extraordinary Pedrito Martinez Group, whose legendary residency at Manhattan's Guantanamera Restaurant has earned the group and its leader wide-eyed praise from titans of rock, jazz, and Latin music alike. Martinez can count among his fans Eric Clapton, Derek Trucks, Rubén Blades, Steve Winwood, Taj Mahal, John Scofield, Steve Gadd, Paquito D'Rivera, and Joe Lovano, to name but a few. Wynton Marsalis himself puts it simply: "Pedrito is a genius."
Since relocating to New York in 2000, the Cuban-born Martinez has extended and refined his consummate mastery of a wide variety of popular Latin music forms anchored with a deep mastery of Afro-Cuban folkloric rhythms. His exceptionally strong tenor voice and dizzying skills on the congas are stretched by an infectious energy and unmistakable joy in the making of music, and he has found the perfect vehicle for his talents with his amazing quartet, which includes Álvaro Benavides providing elastic counterpoint and locked-in groove on electric bass, Jhair Sala (who has played with Martinez since the age of 10) on vocals and percussion, and the band's newest member, the exceptional pianist Edgar Pantoja-Aleman. The band creates a very big sound, able to seemingly ratchet up to the intensity and drive of a full salsa orchestra, and yet still turn on a dime with the improvisatory flexibility of a small jazz group.
Martinez's performances are absolutely can't-miss events (especially on the West Coast) and are guaranteed to create a room full of minds blowing, jaws dropping, and bodies grooving.
Seattle's own Latin music heroes Picoso open the show. Expect an equally lively set from the group, who recently released their long-awaited Mi Paraiso, Picoso's third full-length album which demonstrates their maturation as a band and their unique brand of Latin music, at once grown in the Pacific Northwest and rooted in tradition.
← Festival Previews, Week Three Festival Previews, Week One →

redpajama_set_name: RedPajamaCommonCrawl


The ADC088CD from ADMOTECH is a RF & Microwave Circulator with Frequency 869 to 894 MHz, Average Power Forward 150 W, Average Power Reverse 100 W, Insertion Loss 0.25 to 0.35 dB, Isolation 21 to 23 dB. Tags: Drop-in Circulator. More details for ADC088CD can be seen below.
CD2345C from Orion Microwave Inc.


text:
MLB Steroids Issue: A Need for Perspective
By Colin Bennett
I was going to try and stay away from this, I really was. The very last thing I wanted to do was wrap myself up in an issue like this, but it's impossible now that Melky Cabrera, Bartolo Colon, and the leagues of sportswriters with much bigger audiences than I have deemed that all baseball conversation be driven with the underlying question Is he clean?
I didn't want to be a part of this because I feel that this conversation steers us as an audience away from much better stories – it allows sportswriters to stand on a soapbox, ignoring the reality of the sport they cover, and hide behind the aura of their collective glory days in a relatively safe position and easy way to eat up column-inches for the month. It's tiring.
So I'm going to come out and say it in this piece, and hopefully never speak of it again: I don't care about steroids.
It was a long road to come to this position. I dealt with all the Ryan Braun crap last year (and now that he's passed his 2011 home run total with 34, hopefully it can all be laid to rest) and I ran a bit of a roller coaster with my position on the subject of PED's in general. I read up on the issues of Testerone and HGH, and I have a basic understanding of why drug test policy has evolved the way it has.
I understand the arguments about role models, and why someone has to think of the children. I just don't care.
Because in the modern era, cheating has simply caught up with expanded technology and medical enhancements. In fact, that's now the only way to cheat at baseball, a game once described by Thomas Boswell thusly:
"Cheating is baseball's oldest profession. No other game is so rich in skulduggery, so suited to it or so proud of it."
To come out and decry baseball's modern players for using steroids, whilst harkening back to the glory days when baseball men were 'real men' is nothing short of hypocrisy.
The problem is perspective. Many of the people writing so strongly on the subject grew up with the great Golden Age players in the '50s and '60s. It's not normally mentioned, when these men decry the rise of free agency and prima donna players, that nearly all of the players in their era were forced to play their whole career with one team due to the infamous Reserve Clause. They also discreetly leave out the idea of players like Ty Cobb, Babe Ruth, Nap Lajoie, Jim Foxx, and others holding out for better contracts during Spring Training or seeking lucrative endorsement deals. In that same breath, while they pine for the glory days where work ethic was king, they leave out the rampant use of amphetamines, chewing tobacco, and even cocaine as energy supplements and 'performance enhancers'.
And let's not forget how teams would rampantly steal signs, catchers and pitchers alike would load up balls with foreign substances, and cheat using their own greens keepers. The Orioles would manipulate the ground in front of home plate so it would suit their ball-deadening bunts and allow more base runners. Teams would regularly let outfield grass grow to enormous lengths in hopes of making it tough for opponents.
Why is all this ignored while modern ballplayers are made out to be villains? Times have changed, to be
sure, but the essence of getting an edge in a game any way you can has never left. It's so deeply entrenched in the fabric of the game that it can never go away. Because baseball is hard to play at even an average level. And average doesn't cut it in the Major Leagues.
The modern clubhouse is nothing like the one that many older fans grew up with today – only because the media won't allow it to be that way. Just look at the modern sports media outlet – they have investigative teams, legal experts, and social media advisers. All of this is designed to get us closer and ever more involved in the game and with the people that play it. This never would have happened 50 years ago – and if it did, the same stories would have came up then that come up now. Cheating, performance enhancers, bad attitudes, drinking in the clubhouse – all of this was always there in professional baseball.
I'm not saying any of it is right, per se, but that I simply don't care about it. These guys on the field are professional athletes playing a very difficult game that can net them a large sum of money if they do it at an elite level. To say that it should be so easy to avoid such pitfalls as steroids is taking an easy road from a particularly high horse. Especially when there are so many tired sportswriters hanging on past their prime as well. How easy is it to let go of such a privileged position? Would you do it? Would you let yourself decline gracefully – move from an everyday player to a bench reserve to a journeyman free agent just hoping to have one more good year? Or would you try to give yourself an edge to help sustain the peak of your career, even if it won't necessarily make you any better?
You can ask Barry Bonds that – even though he's never tested positive, he is the highest order of supposed steroids users – and he had Hall of Fame numbers BEFORE anyone knew what BALCO was. You can ask Roger Clemens that, or Mark McGwire, or Sammy Sosa. None of these people are bad people, they just decided to take that extra step to keep chasing that feeling of respect, that feeling of dominance.
It's easy to say no when you're sitting at home, upset because an athlete did something wrong. We have the luxury of not being exposed to the pressure on this side of the outfield wall. But they do not – they have to live with it day in and day out. And, despite what we write in headlines and ledes and in comments, they're only human.
Humans, as a general rule, will do whatever they can to continue being successful. Stress, ego, money, and influence are all great motivators for people to do something that toes the line between right and wrong. And baseball is a constant struggle not only on the line of right and wrong, but between being great and being forgettable.
That struggle is NEVER going away – not as long as fans pack stadiums and people make millions of dollars playing the game. So be as mad as you want about today's players cutting corners and cheating to win. Call me out, call me an apologist. I don't care – at least I'm honest about where we stand and where baseball's officials have always stood. It may not be right, but it really doesn't matter.
The only thing that's going to change is how people cheat.


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PMN Sports
On Waugh's path: Spirit of Cricket pledge needs a revisit
John Pye, The Associated Press
Mar 27, 2018 • Last Updated March 27, 2018 • 4 minute read
BRISBANE, Australia — Steve Waugh helped formulate a "Spirit of Australian Cricket" pledge during his tenure as captain of the national team, which was one of the most successful in test history.
Now, a "deeply troubled" Waugh says it's time for an urgent review.
Following two days of public backlash after Australian captain Steve Smith and opening batsman Cameron Bancroft confessed to cheating, the usually reserved Waugh weighed in with a statement to "acknowledge the thousands of messages I have received, mostly from heartbroken cricket followers worldwide."
"The Australian cricket team has always believed it could win in any situation against any opposition, by playing combative, skilful and fair cricket, driven by our pride in the fabled Baggy Green," he said. "I have no doubt the current Australian team continues to believe in this mantra, however, some have now failed our culture."
Waugh was known to be a hard-nosed competitor, and the term "mental disintegration" became synonymous with his style of wearing down opposing teams.
Under his watch in 2003, Waugh said the Australians modified a universal Spirit of Cricket document "to empower our players to set their own standards and commit to play the Australian way."
That has gone haywire in recent seasons, with administrators seemingly unwilling to take firm action against poor behaviour from international players.
"We must urgently revisit this document, re-bind our players to it and ensure the spirit in which we play is safe-guarded for the future of the sport, and to continue to inspire the dreams of every young kid picking up a bat and ball and for every fan who lives and breathes the game," Waugh said.
Cricket Australia sent its head of integrity and high-performance manager to Cape Town on the weekend to investigate the cheating case and determine who was responsible for Bancroft trying to illegally use tape covered with dirt to rub the ball in a bid to give his bowlers extra assistance during the third test against South Africa.
Chief executive James Sutherland left the following day, making a written promise to millions of cricket followers around the country to deal urgently with the matter. Sutherland was to meet the investigating team and the players in Johannesburg on Tuesday and make an announcement on sanctions as quickly as possible.
Bancroft was caught by TV cameras using an amateurish method to scuff the ball, but initially denied any wrongdoing when quizzed by on-field umpires. Smith later admitted that members of the team's leadership group were aware of the plan, and Bancroft pleaded guilty to a charge of ball tampering.
Smith and vice captain David Warner agreed to stand down from their leadership roles before the fourth day of the test, which South Africa easily won to take a 2-1 lead in the four-match series.
Smith was banned for one test by the International Cricket Council for bringing the game into disrepute — a sanction in line with previous penalties for ball tampering by other teams — but the Australian public has demanded more.
And so speculation has mounted about potentially lengthy bans for Smith and for Warner — who hasn't commented publicly on the incident — and the possibility of coach Darren Lehmann either quitting or being fired. Smith said the coaching staff knew nothing of the tampering plan, but ex-internationals are among those critical of the culture of the current team.
Waugh urged the administration and the fans to proceed with caution.
"A focused and balanced perspective is needed in the condemnation on those involved in this, with a clear and critical consideration to the social impact and mental health of all players," he wrote. "I will support all positive action to ensure an outcome for the betterment of the game, regaining the trust and faith of every fan of cricket."
Waugh made his test debut at 20 and played in 168 test matches. He won 41 of his 57 tests at the helm of the Australian team from 1999-2004, a winning ratio of 72 per cent that is better than any captain with 10 or more tests.
Part of his legacy was the pledge that he worked on with Ricky Ponting, who succeeded him as test captain, and Sutherland among others.
It specified player behaviour, shared principles and respect for teammates, opposing teams, match officials and the game.
Leaving all that up to the players has led to this trouble. And Prime Minister Malcolm Turnbull on Tuesday reiterated earlier comments he made about the cheating being "a shocking affront to Australia."
"We want to get to the point where we can all say once again, not rhetorically but heartfelt and with sincerity, that cricket is a fair game, cricket is a game that is synonymous with a fair go and fair play," Turnbull said. "That is what has to happen."


A snow shovel may be an obvious winter weather tool, but to get the most from yours, make sure you pick the right kind.
For areas with lighter snow, two to three inches at a time, a pusher will suffice. Pushers are shovels designed to handle two to three inches of snow at a time by placing the shovel to the ground and pushing it off to the side of your driveway. This makes them perfect for areas with lighter snow, or those who don't mind taking their time with heavier snowfalls. These are often made of plastic, making them light and easy to wield.
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This is a classic 8-bit style shooter game based around christmas. In this game you play the role of an elf in charge of shipping the gifts from the conveyor belt to santa's sleigh ready for delivery. You face many obstacles such as snow storms and electrical faults. There are also many bonus's to collect.


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Rental car in Yerevan from a company Naniko
Yerevan is one of those cities which can boast with its antiquity. The formation of the city dates back to 782 BC. This is the period when the legendary Rome not existed yet. The City was founded by the king of Urartian – Argishti I. There was built the Fortress of Erenbuni on the hill of Arin-Berd. The name of the city – Yerevan comes from the name of the fortress.
Yerevan since ancient times takes an important place in the cultural, economic, political and spiritual life of the Armenian people.
The City bravely withstood invasion of conquerors: Arabs, Turks Seljuks, and Persians. Most of the entire city was suffered by the invasion of Shah Abbas I in 1604. The nature not regretted the city and in 1679 a strong earthquake destroyed the main part of the city. But the monuments of ancient civilization still exist and attract visitors from over the world.
Yerevan becomes the capital for Armenian people in the 20th century, in 1920. Until 1936 the city was called Erivan, and after already Yerevan.
In the creation of contemporary architecture, the enormous role played by renowned architect Alexander Tamanian. If you look on Yerevan from the plane, you will notice that the city is built in the form of the sun. From a large circle diverges streets in the form of rays. In the construction of buildings Tamanian had used pink stone of volcanic origin – tuff. The city is saturated with the pink color that it is often called "Pink City." Area of the modern capital is about 300 m. km . And completely is located on the valley of Ararat.
Nowaday the population is about 1,067 ml. people. The capital is a major transportation hub, not only in Armenia, but also throughout the Caucasus. International airports of "Zvartnots " and " Erebuni" are serving a huge number of passengers . They are operated domestic and international flights. There are constructed additional modern terminals in the recent years.
Sights and monuments of the city fascinates the visitors, they are unique, beautiful and memorable.
Main attractions of Yerevan are: Grand Cascade, the monument of David Susan, State Art Gallery, which combines 20,000 unique exhibits of Armenian culture.
Matenadaren – the so -called "stacks" that combines ancient manuscripts, not only in the Armenian language , but also in Latin, Russian, Japanese, Hebrew, Arabic, Persian , and many other languages .
Others also important and interesting place to explore: Republic Square, Victory Park, Fortress Erenburi, Armenian Genocide Museum, the Museum of Alexander Tamanian, Erenbuni Museum, Museum of Aram Khachaturian, the History Museum of Armenia, Sergey Parajanov Museum, Opera and Ballet Theatre, Church of STs. Sargis, Church of ST. Astvatsatsin, Church of ST. Katoghike Tsitsernakaberd . . .
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Broadway Hobbies, located in Everett Washington, is Snohomish and Skagit Counties premier hobby shop. We carry a large selection of products including Radio Control Cars and Trucks, Radio Control Airplanes, Model Rail Road, Plastic Models, and all the supplies you might need!
The staff at Broadway Hobby has the experience and knowledget it takes to help you take your hobby to the next level, or to find the perfect hobby for you!


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William Wade (* 19. oder 20. Jahrhundert; † 30. April 1984) war ein US-amerikanischer Film-Techniker, Erfinder und Filmschaffender, der der 1957 mit einem Oscar für technische Verdienste geehrt wurde.

Wade wurde bei den 29. Annual Academy Awards gemeinsam mit Daniel J. Bloomberg und John Pond und dem Engineering and Camera Departments of Republic Studio, wo sie seinerzeit beschäftigt waren, mit einem Technical Achievement Award ausgezeichnet. Sie erhielten die Auszeichnung "für die Anpassung der Naturama-Breitbild-Technik an eine Kamera der Mitchell Camera Corporation" ("for the Naturama adaptation to the Mitchell camera"). Bei dem Preis handelt es sich um eine sogenannte Class III-Auszeichnung, da die Preisträger keine Oscar-Statuette (Class I) oder Oscar-Plakette (Class II) erhalten, sondern ein Oscar-Zertifikat.

Wie Wades Leben und seine berufliche Laufbahn sich im Einzelnen gestalteten, konnte nicht in Erfahrung gebracht werden.

Weblinks
 And the Oscar goes to … William Wade atogt.com (englisch)

Einzelnachweise

Techniker
Erfinder
Filmschaffender
US-Amerikaner
Geboren im 19. oder 20. Jahrhundert
Gestorben 1984
Mann

redpajama_set_name: RedPajamaWikipedia


You've selected your window coverings, hung your pictures and arranged your furniture – now it's time to make your room distinctive – it's time to transform your view into the spectacular and you do this by adding textiles.
Textiles are simply yarns that are woven or knitted to make fabrics – the factor that makes a fabric distinctive is it's texture or the manner in which the interwoven or intertwined threads are combined to create the fabric. Textiles add drama to a room, soften the view, and add color to the space.
Couple texture with the endless possibilities of side panels, drapes, curtains, Roman shades, valances, top treatments, sheers, bedding, upholstery, and so on and you have a room that is completely your own. The design options are endless.
Choosing your style of window treatment along with your distinctive choice of fabric is easy once we look at the function of the space, the shape or form of the space and your individual style we can create a recipe for the spectacular.
Let's get started – call me today for your complimentary consultation.


» Is there a December Book of the Month and chat?
Is there a December Book of the Month and chat?
Just wanted to get a head start on reading it if there is... but it seems like last month the BOTM title was posted at the beginning of the month.


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text:
Shalom Chichester!
This weekend will be my final two performances of Leonard Bernstein's Chichester Psalms with the New York City Ballet, at the New York State Theater at Lincoln Center. Although the NY City Ballet and the Juilliard Choral Union will be performing the work again in April, I will not be involved with those performances. I do, however, plan on attending one of these Spring performances. It will be a fun and eye-opening experience to attend and really appreciate the work from the other side of the footlights.
Singing the world premiere of this work last summer was exhilarating, and returning to the work this year for four more performances has been very gratifying. Musically, the Choral Union is a more confident, tighter ensemble, and the difficult parts of the work have improved tremendously. The dancers, many of whom are coming back to the work a year later, have matured into their parts. The demanding choreography by Peter Martins has settled quite nicely within the talents of the dancing ensemble, and the collaboration of dancers and singers is finally beginning to feel like a well-oiled machine.
It has been a memorable experience to collaborate with the NYC Ballet. This weekend I will once again be able to experience that unique moment when the stage manager says "stand by," and the curtain rises to reveal conductor Andrea Quinn's smiling face in the pit and a sold-out crowd filling the house. That exhilarating moment, which has been accented by applause even before Andrea strikes the downbeat at all the performances except for one, will always be one of the most cherished memories of this experience.
Posted by Vincent Vargas at 11:28 AM 5 comments:
These Things Always Come in 3's
In a coincidental phenomenon, stemming from the lore of urban legend, and usually associated with show-business, the world lost three of its major literary figures within the space of a little over a week. Arthur Miller, the New York playwright who revolutionized the American theater with such works as Death of a Salesman, and The Crucible; Hunter S. Thompson, the irascible gonzo journalist who injected a definitive biased spin on countless articles for the magazine Rolling Stone, and whose Death and Loathing in Las Vegas was turned into a memorable motion picture starring Johnny Depp; and Guillermo Cabrera Infante, the Cuban-born novelist who became a British subject and claimed to be the only British author to write in Spanish.
In his own highly specialized field, each one advanced his particular art, and made a lasting impression in the minds of readers and audiences everywhere. Needless to say, they will be missed, but their literary legacy will live on for many generations.
Posted by Vincent Vargas at 5:35 PM 1 comment:
Muerte de un Escritor
One of the great writers of the 1960's "Boom" generation, Guillermo Cabrera-Infante, died in London this week. The blood of the satirist ran in his veins, and many regarded him as a Cuban Jonathan Swift, although his talents were uniquely his. The names of his characters and the titles of his novels were chosen very skillfully, and very much in tongue-in-cheek fashion. In his seminal novel Tres Tristes Tigres we meet two quintessential Infantian characters: the secretary Vivian Smith Corona, and the singer Olga Guillotina -- their names say it all, and in their names we find the essense of the writer's work.
My favorite Cabrera Infante title is what he chose to call his 1979 autobiographical novel: La Habana para un Infante difunto. Literally, the title means Havana for a dead Infante, but those that know French composer Maurice Ravel's short work "Pavane pour une infante défunte" will understand his clever word play and the inherent sense of nostalgia. Now, after his death, the title rings with a finite sense of reality.
The following is the obituary as it appeared in the London Times.
GUILLERMO CABRERA INFANTE was as Cuban as a Cohiba cigar, but London was his home for the final 39 years of his life, and he took British citizenship. That did not stop him from writing obsessively about his homeland. According to his wife, Miriam, he always carried Cuba — a Cuba that no longer existed — inside him. He left Havana for the last time in 1965, after attending the funeral of his mother, and he remained an outspoken critic of President Fidel Castro's Government until his death. Cabrera Infante originally supported Castro's revolution, but the two men fell out over freedom of expression and censorship — Fidel was against the former and in favour of the latter — leaving Cabrera Infante no option but to remain silent or go elsewhere. He opted for exile, and resolved not to return as long as Castro remained in power. He never did go back, and Castro is still there.
Cabrera Infante was one of the outstanding writers in Spanish of his time. His most celebrated work, Tres Tristes Tigres (translated into English as Three Trapped Tigers), was a fictional evocation of the louche nightlife of pre-revolutionary Havana, populated by gangsters, whores and jazz musicians. Written in playful — the title is the first line of a tongue-twister — and sometimes impenetrable, habanero slang, it caused a sensation in the Spanish-speaking literary world, winning the major Biblioteca Breve award in 1964. The author returned to the same themes, and some of the same characters, many years later, in Ella Cantaba Boleros (1996).
Fiction was by no means the only literary form cultivated by Cabrera Infante. His first book was a collection of short stories, Así en la Paz como en la Guerra (1960), and a collection of his cinema reviews was published as Un Oficio del Siglo XX (A 20th- Century Job). The Peruvian writer Mario Vargas Llosa commented that Cabrera Infante had managed to turn cinema criticism into a new literary genre. A volume of his political essays, Mea Culpa, was published in 1993, eight years after his history of tobacco, Holy Smoke, had appeared (in English). The semi-autobiographical La Habana para un Infante Difunto (another play on words) appeared in 1979. Cabrera also wrote screenplays, adapting Malcolm Lowry's Under the Volcano for John Huston, and his own Tres Tristes Tigres for The Lost City, directed by the Cuban-born actor Andy Garcia, and starring Dustin Hoffman as the gangster Meyer Lansky. The film, which was shot in the Dominican Republic, will be released this year. Cabrera Infante received the ultimate accolade for his lifetime's work, the Miguel de Cervantes literary prize, in 1997.
Guillermo Cabrera Infante was born, to communist parents, in Gibara, a village in eastern Cuba, in 1929. The family moved to Havana in 1941 and Guillermo intended to read medicine at the university. But in 1947, at the age of 18, he gave up his studies and went to work for Bohemia magazine, taking a series of odd jobs to make ends meet and give him time for writing. In 1950 he entered the school of journalism in Havana, and two years later had his first brush with the authorities: he was arrested and fined for using "English profanities" in a short story that had appeared in Bohemia. In 1951, while still at the journalism school, he founded the Cuban national film theatre (Cinemateca), and ran it until 1956. By that time he was working as cinema critic, under the pseudonym G. Caín, for Carteles, a popular magazine of which he was to become editor in 1957.
When Fidel Castro's bearded guerrillas rolled into Havana on New Year's Day 1959, and the dictator Fulgencio Batista was put to flight, Cabrera Infante was an enthusiastic supporter of the new order. He was appointed a director of the film institute, ICAIC, and also worked for Revolución, the newspaper of Castro's 26 July Movement, editing its weekly literary supplement, Lunes de Revolución, until it was closed down by the Government in 1961. By that time, the initial liberalism and open-mindedness that had so appealed to foreign admirers of the revolution was giving way to rigid central control, and there was no room for dissenting voices. Cabrera Infante said he was made to feel like a non-person in Havana, so, when he was offered the job of Cuban cultural attaché in Brussels in 1962, he took it. Three years later, thoroughly disillusioned with the way things were going back home, he resigned his post, and settled in London the following year.
Guillermo Cabrera Infante's first marriage, of which there were two daughters, ended in divorce in 1961. He married his second wife, Miriam Gómez, an actress, that year. She was at his bedside when he died, of an infection in hospital after falling and breaking a hip at their home in West London.
Guillermo Cabrera Infante, writer, was born on April 22, 1929. He died on February 21, 2005, aged 75.
Posted by Vincent Vargas at 12:41 PM 1 comment:
"The Gates" Swung Open...
Florence has Ghiberti's "The Gates of Paradise," Paris has Rodin's "The Gates of Hell" (we had them for a few months at the Metropolitan Museum of Art back in 1983), and now for a matter of days New York City has Christo and Jeanne-Claude's "The Gates."
According to Christo and Jeanne-Claude's press release: "The 7,500 gates, (are) 16 feet (4,87 meters) tall varying in width from 5 feet 6 inches to 18 feet (1,68 to 5,48 meters) according to the 25 different widths of walkways, on 23 miles (37 kilometers) of walkways in Central Park. Free hanging saffron colored fabric panels, suspended from the horizontal top part of the gates, come down to approximately 7 feet (2,13 meters) above the ground. The gates are spaced at 12 foot (3,65 meter) intervals, except where low branches extend above the walkways. The gates and the fabric panels can be seen from far away through the leafless branches of the trees. The work of art will remain for 16 days, then the gates will be removed and the materials will be recycled."
"The gates swung open and a Fig Newton entered." I don't know exactly what that means, but it is one of the funniest lines from the Marx Brothers movie Animal Crackers. These gates don't exactly swing; they just sort of stand there, and the crowds walk under them, looking up at the fabric panels billowing in the wind (if there's any), hoping that the sun breaks through the clouds so that the digital pictures will come out nicer. If "The Gates" were part of a comedy act, then collectively they would be the straight-man -- the biggest collection of straight-men in the world!
I've gone to see "The Gates" twice. On my first visit this past Sunday, the reaction of the people around me grabbed my attention. People go out of their way to say the darndest things around modern art, I'm convinced of it. The comments went from the ridiculous: "They look like shower curtains," to the not so ridiculous: "All the gates are different." While I was in the park, admiring the transformed landscape, I thought that the gates would look especially beautiful if a nice snowstorm blanketed Central Park. On Sunday night, I got my wish. Five inches of snow fell overnight, and on Monday morning I returned to the park. The snow had totally transformed the landscape, and the saffron colored gates stood like sentinels against the freezing cold and the new winter landscape.
For sixteen days, Central Park has been one huge Christo and Jeanne-Claude installation. A few days from now, "The Gates" will be history. They will be dismantled, according to the wishes of the artists, and Central Park will once again be its former self. I will personally miss them. These rigid structures, meaningless and meaningful at the same time, added a colorful dimension to the park, and their memory will linger for years in my mind, and in the minds of all who experienced them.
The Holy Grail on Broadway or Welcome to the Sure-Thing Musical
The Great White Way is not necessarily the first place where you would look if you are on the quest for the Holy Grail, (it's certainly not the place to which I would direct young Parsifal in his mythical quest for the Holy Spear) but Broadway is exactly where you will find the Holy Vessel. No, not inside Barnes & Noble within the pages of Dan Brown's The Da Vinci Code, but right on Shubert Alley, at the wacky new musical Monty Python's Spamalot currently in previews at the Shubert Theater. This is the new hot ticket on Broadway, a reworking of the film Monthy Python and the Holy Grail, now turned into a musical and starring Tim Curry, David Hyde Pierce, and Hank Azaria, with direction by Mike Nichols.
Before anything else, let me say that the show was very funny, and definitely worth attending. The preview last night was filled with thirty-and-forty-somethings, weaned on the film since adolescence, loudly itching for the curtain to rise. When the lights dimmed and a wacky amplified voice assured us that it would be OK to leave our cell phones on and let them ring, the audience burst into uncontrollable screams and cheers. Go to see this show if you love the film, and stop reading this post right now. However, if you want to know some of my current thought on the state of musical theater in America, take two Tylenols and read on.
Monty Python's Spamalot is the latest in a disturbing trend in musical theater that is occurring on both sides of the Atlantic. No doubt inspired by the mega-success of The Producers, and helped by current wintry economic conditions that impede taking any kind of risk, Broadway angels are investing millions in musicals based on established film hits and classics. For the first time in the history of the musical theater a rash of these pre-fabricated spectacles are sweeping through the West End and Broadway, and producers are counting on this "theater of the familiar" trend to keep them solvent for years to come; or in the case of Mel Brooks, financially secured for a lifetime.
The many billboards around Times Square are currently advertising Chitty Chitty Bang Bang and Dirty Rotten Scoundrels, two upcoming shows based on films ("Scoundrels" is already in previews, and "Bang Bang" begins previews in March). Other billboards advertising films turned into musicals include Wicked (based on a novel, which in turn is based on The Wizard of Oz), the revival of La Cage aux Folles (perhaps one of the first of these musicals) and Fiddler on the Roof. As far as "Fiddler" goes, one of Broadway's most beloved shows, and one of my personal favorites, I can't help but wonder if its current revival is due to the inherent popularity of the property as a show, or to the fact that producers found out that it was an Academy Award-winning Norman Jewison film back in the 1970's.
At the performance last night I experienced layers of disturbing behavior. Hank Azaria came out on stilts with a long coat and horns on his head and announced that "we are the knights who say..." before he was able to utter the fabled word "NI" already a dozen hushed voices in the crowd had said it. This kind of behavior went on the entire show. It seemed as if the audience was cueing the actor's next line, a sort of pre-echo: a behavior unheard of in a Broadway show before the advent of this type of entertainment. As these upcoming shows begin to fill the Broadway stages, this type of audience participation will become the norm. People are now paying money to be entertained by the sure-thing-musical that will not pose a financial threat. After all, at $100 a pop audiences want to know what they are paying for. No doubt the first audiences filling the theaters these days, as was last night, will be the die-hard fans. Producers are counting that, as word of mouth spreads, they won't be the last.
Possibly the most surprising event at last night's performance came during the re-enactment of the French taunter scene by the walls of the castle which ends a very short Act One. Hank Azaria decided to act. To put his own stamp on the character, as actors have done since time began, and not follow the cadences, mannerisms, and style found in John Cleese's brilliant performance forever preserved on celluloid. At the intermission, my friend Keith, who got the tickets, and I agreed that the French taunter scene was weak. Why? Not because Hank Azaria was weak, but because somehow he had not successfully given the illusion of duplicating Cleese's madcap performance.
After attending Monty Python's Spamalot I came to the conclusion that audiences at a pre-fabricated Broadway musical are the hardest to please, especially since the majority merely want to recapture the rapture found in the film. Everything must be in place, every line must be said correctly, every nuance must be there, and everything must be like the film they love. Why they would pay all the money to attend it live instead of plunking down a few dollars to rent or buy the DVD is the question. The answer lies, I believe, in the magic of live theater and audiences need to experience it. This, together with the curiosity of how their favorite movie will play live, is the lure of the new Broadway season.
Conductor Marcello Viotti Dies
Marcello Viotti, the famed musical director of Venice's La Fenice Opera House, died Wednesday night at a German hospital after falling into a coma following surgery. He was 50 years old.
The following is the obituary posted on the Washington Post website:
Conductor Marcello Viotti Dies in Germany
By GEIR MOULSONThe Associated Press
Thursday, February 17, 2005; 5:58 AM
BERLIN - Marcello Viotti, the music director of Venice's famed La Fenice Theater who also conducted at New York's Metropolitan Opera and other leading houses, died at a German hospital after falling into a coma. He was 50.
Viotti died Wednesday night after being in a coma for several days at a clinic in Munich, Germany, his agent, Paul Steinhauser, said by telephone from Vienna, Austria. Viotti, music director at La Fenice since 2002, conducted several renowned orchestras, including the Berlin Philharmonic and the English Chamber Orchestra. Viotti, music director at La Fenice since 2002, conducted several renowned orchestras, including the Berlin Philharmonic and the English Chamber Orchestra. He also conducted at opera houses around the world, including Milan's La Scala, the Met and the Vienna State Opera.
Born June 29, 1954, in the French-speaking part of Switzerland, Viotti held citizenship in several European countries, said the Hilbert artists' agency in Munich, which also represented him.
He studied the piano, cello and voice at the Lausanne Conservatory and made his conducting debut in nearby Geneva with a wind ensemble that he founded. In 1982, he won first prize at the Gino Marinuzzi conducting competition in Italy, which kicked off his career.
Viotti rose to prominence as chief conductor of the Turin Opera. He also served as artistic director of the Lucerne Stadttheater in Switzerland and conducted orchestras in the German cities of Saarbruecken and Leipzig. At La Fenice, Viotti won acclaim for his production of Massenet's "Thais." His other productions at the storied Venice opera included Giuseppe Verdi's "La Traviata" and Richard Strauss's "Ariadne auf Naxos."
Viotti made his debut at the Met in 2000 with Giacomo Puccini's "Madame Butterfly." He later returned to the New York opera house for "La Boheme," "La Traviata" and Fromental Halevy's "La Juive." He recently conducted a production of Verdi's "Aida" there. This spring, he was due to conduct a new production of Richard Wagner's "Parsifal" in Venice. He also was scheduled to conduct "La Traviata" at the Salzburg Festival in Austria.
"I am so sad to tell you that it is finished. That's it," Viotti's brother, Silvio, wrote in a message posted on the conductor's Web site. "Marcello has finished his journey on this earth. I don't know what to say."
Details on other survivors and funeral arrangements were not immediately available.
Conductor Marcello Viotti suffers a stroke
The following information was taken from the Bavarian Broadcasting Classic Website:
"Last week, Marcello Viotti, the former Chief Conductor of the Münchner Rundfunkorchester suffered a stroke. The 50-year old conductor had to undergo an operation for a blood clot in his carotid artery. Following this surgical intervention, his condition rapidly deteriorated to the point where there is serious doubt if his life can still be saved."
I will try to update Maestro Viotti's condition as information becomes available.
Wagner in Europe: The Liceu and the Bastille
While the major opera venues of New York City are currently dormant when it comes to Richard Wagner, the composer's music is thriving in Europe. This season's last performance of Parsifal, at the Gran Teatre del Liceu in Barcelona, was on St. Valentine's Day. A co-production of the Lyric Opera of Chicago, The San Francisco Opera, and the English National Opera, the cast included Plácido Domingo in the title role, Violeta Urmana as Kundry, Matti Salminen as Gurnemanz, and Sergei Leiferkus as Klingsor. Sebastian Weigle conducted. The production is visually very interesting, with furniture defying the laws of gravity and stark lighting providing a mysterious mood. Great pictures of this production can currently be found at the Liceu website by clicking here. The opera was broadcast on Internet radio on February 13. As of yet, I have not heard a recording of it, I am hoping that somebody did record the performance.
Meanwhile over in Paris, at the Bastille, the French National Opera is getting ready for Peter Sellars' new production of Tristan und Isolde. Its premiere on April 12 will be conducted by Esa Pekka Salonen, and the cast will include Ben Heppner and Waltraud Meier in the title roles. Sellars' production, with sets by Bill Viola and costumes by Martin Pakledinaz is bound to raise eyebrows and create its own healthy brand of controversy. More information about this production can be found here. The Bastille Opera House website indicates that this production will be broadcast on May 7.
Spring at the MET: Das Wagnersverbot?
The works of Richard Wagner have usually been a staple of Springtime in New York City. As the weather turns warmer, the days grow longer, and the Easter/Passover holidays approach, a weekend at the MET would always include one of the Ring operas (if not a complete cycle) and a return of Parsifal, just in time for Good Friday.
From this day to the end of this season, the only performance of Wagner at the MET will be on April 23, the radio broadcast of Die Walküre, featuring Plácido Domingo. One solitary performance of a work that the MET already presented at the beginning of the season, and is clearly bringing back only for the benefit of radio audiences (and taking advantage of the fact that Domingo is already here in the city rehearsing the new production of Franco Alfano's Cyrano de Bergerac.)
Nothing wrong with enjoying a good dose of Wagner in the Fall and Winter months. The MET presented Die Walküre during the first week of the season, and then went on to present a spectacular revival of Tannhäuser, conducted by Mark Elder, and featuring Peter Seiffert, Deborah Voigt, and the incomparable Thomas Hampson. It was the perfect antidote to the cold dark months of November and December.
Old habits are hard to break. Old expectations even more so. We want our Springtime Wagner, and we want it now!
Over in Europe, Tristan und Isolde and Parsifal are currently being presented at the Opéra Bastille in Paris and Barcelona's Gran Teatre del Liceu. This will be the subject of my next posting.
Posted by Vincent Vargas at 10:08 PM No comments:
Valentine's Day and Bayreuth is playing Hard to Get
My love affair with the Bayreuth Festival hasn't gotten off the ground yet, and already it appears that Cupid has misfired his arrows. Last week I received my rejection letter from the Bayreuth Festival Ticket Department. This is the first year that I request tickets, and true to everything that I have heard about their ticket policy, the letter came in stating that due to numerous requests, they will not be able to honor my request for the 2005 Festival. I knew this when I mailed the letter, so although my sense of disappointment is still great, I was not very surprised to receive the thin white envelope with its single English typewritten form letter.
The waiting list is about eight years, so they tell me, so I will put in my request for next year in the hope that I can beat the odds before the eight year time period.
Realistically, at this rate, I don't think that I will be able to witness Christoph Schlingensief's Parsifal production from last year, since the critical and audience reaction to its premiere last summer was so negative that Wolfgang Wagner might already be thinking of replacing it. That might not be a bad thing. The best Bayreuth productions lately have been those that are in the works.
The word on the straße is that Wolfgang Wagner has signed conductor Christian Thielemann to helm an entire new Ring tetralogy which will not open until 2006, and then will run until 2011. If that's the case, then it will be worth putting in my request for next year, and the next, and the next...
MET Opera Broadcast -- Awesome Brit Opera Quiz
For long-time fans of the Metropolitan Opera Saturday broadcasts, the names Alberta Masiello, Robert Jacobson, Boris Goldovsky, and Edward Downes could only spell one thing: the beloved Texaco Opera Quiz. Their astute, quick-witted, and entertaining banter as they successfully answered trivial and esoteric operatic questions became the stuff of lore in the annals of radio broadcasting. Alas, the Texaco-sponsored broadcasts are now a thing of the past, and the great panelists mentioned have all gone to their great operatic rewards. Lately, the Opera Quiz has been a mere shadow of its former self. Neither the quality of the questions nor the caliber of the current crop of panelists have gotten even close to rivaling the quiz's Golden-Age era.
There was a ray of light from Across the Pond during the last intermission of the Metropolitan Opera broadcast of Mozart's Le Nozze di Figaro on February 12, 2005. The venerable Opera Quiz was given a well-needed shot in the arm by having the very first broadcast from Covent Garden, London. It was a rare experiment gone right.
The British version of the quiz, featuring panelists that included singer Robert Tear and conductor Mark Elder was pure joy. The answers were correct, and they came in with quick-lightning speed. The panelists were sure of their knowledge of opera, and their answers were witty and entertaining. The speed with which conductor Mark Elder recognized musical selections, for instance, was fascinating and ultimately impressive.
Let us hope that this was not merely a flash in the pan, and that the Powers That Be at the MET decide that this kind of great entertainment needs to be encored often.
Paying your Dues in the Sandbox
The following are the findings of Scottie Claiborne regarding the problem that I stated in my previous post. Her article together with the link to Mark Daoust's article "Google's Giant Sandbox" should answer some of the questions that have been baffling those of us that are putting up new websites.
Google's Aging
Delay for New Sites
By Scottie Claiborne (c) 2005
Many site owners and SEOs are worried because their new sites that rank well in Yahoo and MSN, aren't doing well in Google, and they're blaming it on the "sandbox." The current theory is that new sites are somehow being penalized for obtaining too many links, too quickly.
Is There a Sandbox?
Is there some sort of link analysis going on; some sort of threshold that will get links to new sites discounted? It sounds like a logical possibility. However, many of us who don't buy volume links or participate in linking networks are seeing the same ranking delays. New resource sites with a few good relevant links are taking just as long to climb Google's ranks as the instant link pop sites. I think a lot of people are confusing the sandbox, with an "aging filter" that appeared earlier this year.
Editorial Note: For more information the Google Sandbox read Mark Daoust's article Google's Giant Sandbox.
Six Months For Results in Google
I haven't seen any brand new sites with new domains appear at the top of the search engine results pages (SERP) since early in 2004. There seems to be a delay of about 6-8 months. I've checked with many site owners and SEOs and I haven't found anyone who's gotten a brand new domain ranked well in Google. If there's a magic bullet, no one's spilling the beans.
What happens is new sites get indexed, they appear for some obscure queries and they may appear at the top for a week or so, but then they drop to the bottom of the SERP for several months. The page shows a PageRank in the Google toolbar, as well as backlinks. Everything else works fine but it just doesn't rank well for any terms in Google. Many times, not even the company name.
If you have a brand new site, stop driving yourself nuts wondering what you are doing wrong! Stop tweaking and changing things, trying to influence your rankings; until the site has been in the index a while, it doesn't seem to matter what you do to it.
Why an Aging Delay?
My own theory is that the age factor for new sites is Google's answer to mini-networks and other multi-site strategies intended to artificially inflate link popularity. Many people divide what should be a single site into multiple sites in order to capitalize on the links that are exchanged between them. Others build a series of small sites that are only designed to add link popularity to the main site.
By delaying the ranking of brand new sites, the mini-network strategy becomes more of a long-term strategy than a quick jump to the top. Site owners who might have started new sites are going to be more inclined to build new pages on existing sites in order to avoid that delay.
Plan Ahead for New Sites
If you are launching new sites for clients, make sure you set the expectation that it is likely to be 7-8 months before the site achieves any real results in Google.
We used to keep a site under wraps and launch it once it was "perfect." Today it makes sense to get a few pages up for your new site as soon as you complete them. The sooner Google is aware of the domain, the better.
Subdomains May Avoid the Aging Delay
Pages on subdomains are generally treated as part of the main domain, making them a possible workaround. If your client has the option of building their site on a subdomain instead of a new top-level domain name, let them know that this may avoid the time delay.
MSN, Yahoo, and AdWords
When launching a new site, if traffïc from Google is critical to your plan for success you need to plan ahead. Get the site out there and linked to as early as possible and plan to run an AdWords and/or Overture campaign for a few months until the site can be established in the editorial results. Yahoo and MSN do not have this delay built-in, so focus your early efforts on these engines.
Don't worry, Google will eventually give your new site the respect it deserves -- just give it time
I hope you enjoyed this article. I hope those of you that have read this article and have experienced these problems with your new websites post some comments here.
Wagner Operas is here -- Oh, Googleglory where art thou?
Wagner Operas is finally online. It's been up and running for a few months now, and the results on Google are extremely poor.
Allow me to provide you with some details. Head on over to Google and do a search on the name of this site "wagner operas." As of this writing, you won't see this site anywhere near the first page. However, do a quick search by writing the words "Tristan Isolde," and lo and behold: there we are -- currently ranking 8th, and very much in the hub of Googleglory, sitting comfortably on that first desired, mythical first page.
Stranger still are the results obtained when doing a search on random words related to the life and work of Richard Wagner. Type "parsifal bayreuth," for instance, and Google currently ranks us number one on the list. Number One! With those two words this site is currently beating out all information coming from all opera house websites around the world, including the official Festspielhaus website in Bayreuth. As a matter of fact, the Bayreuth website is nowhere in sight if you search on those two words. I never thought that we were going to dethrone the official website of the Festspielhaus at their own game -- much less at their own name.
There are a lot of sites on the Internet devoted to Richard Wagner. One could argue that they are reaping the rewards of longevity when it comes to the ratings game. However, let's take a look at what happens when we leave Googleland for greener pastures:
Over on MSN we typed the words "wagner operas" and we ranked third. This was exciting news! Over on Yahoo the same search yielded a result of 10th. Still thrilling results! Searches on Lycos and Altavista provided similar "feel-good" first page ratings.
A search on the lesser-known search engine Dogpile, however, put us back in the proverbial dog house.
What's going on over at Google, and why are new websites, such as mine, not getting the ratings that are obtainable with MSN and Yahoo?
Scottie Claiborne, a web marketing strategist, has a possible answer for this problem. I will describe her findings in my next post.
The Holy Grail on Broadway or Welcome to the Sure-...
Wagner Operas is here -- Oh, Googleglory where art...


Workout gear...what do you wear? Do you get super nice workout gear, do you pull items out of the dirty hamper, or are you somewhere in between? CFSC has always been a place to check out the coolest shoes. For clothing, Lulu lemon for ladies and O'neill super freaks for the boys is the current trend. Both seem to provide functionality superior to the dirty hamper wear.


Not too long ago, the LG G3 Vigor went on sale on Sprint, but it seems it coming to more carriers in the coming days. AT&T announced it will start selling the mid-range LG G3 Vigor on its network from September 26th.
The handset will come with a $49.99 price tag tied to a two-year agreement with the carrier. Customers interested in purchasing the handset off-contract have to shell out $334.99. It's also available on AT&T's Next program, costing $13.96 a month with Next 18, and $16.75 a month with Next 12.
The handset comes with a 5-inch 1280 by 720 display, and features a quad-core Snapdragon 400 SoC clocked at 1.2GHz with 1GB of RAM and 8GB of internal storage, coupled with a microSD card support of up to 32GB should you ever need more storage. There's an 8MP camera on the back with laser auto focus, and a 1.3MP front-facing camera, a 2,540 mAh battery and runs Android 4.4.2 KitKat as its operating system. LG's G3 Vigor measures 5.42 x 2.74 x 0.39-inch and weighs almost 133 grams.
It's not just the LG G3 Vigor, the metal-clad Samsung Galaxy Alpha is also set to hit the AT&T retail shelves on Friday.


text:
Q: Resultset automatically close itself and showing error Operation not allowed after ResultSet closed Getting Exception

java.sql.SQLException: Operation not allowed after ResultSet closed

<%
ResultSet rs=null,rs1=null;
Statement stmt=null,stmt1=null;
String UserID = request.getParameter("UserID");
String Password = request.getParameter("Password");
session.setAttribute("UserID",UserID);
int flag=0;
try{
    System.out.println("Validating..1");
    //stmt =  con.createStatement();
    //stmt1 =  con.createStatement();

    String Query = "select * from login where UserID = '"+UserID+"' and Password='"+Password+"'";
    System.out.println(Query);
    rs = st.executeQuery(Query);
    System.out.println(rs);
    if(rs!=null)
    {
        String Query1="Select * from basicdetails where UserID='"+UserID+"' and Password='"+Password+"'";
        System.out.println(Query1);
        rs1=st.executeQuery(Query1);
        //System.out.println(rs1);
        if(!rs1.next())
        {
            System.out.println("RS1");
            while(rs1.next())
            {
                String PhotoPath=rs1.getString(4);
                System.out.println("-------------------"+PhotoPath);
                session.setAttribute("PhotoPath",PhotoPath);
            }
        }
    }
    if(!rs.next())
    {
        String Auth=rs.getString(3);
        session.setAttribute("Auth",new Integer(Auth));
        flag=1;
        if(Auth.equals("0"))
        {
            //Show Admin Menu
        %>
        <jsp:forward page="AdminMenu.jsp"/>
    <%
    }
        else if(Auth.equals("1"))
        {
            //Show user Menu
    %>
    <jsp:forward page="UserHome.jsp"/>
    <%
    }
    }
    else
    {
        flag=0;
    %>
    <jsp:forward page="Login.jsp"/>
    <%
    }
    stmt.close();
    con.close();
}catch(Exception e){
            System.out.println(e.getCause());
                        System.out.println(e.getStackTrace());
                        System.out.println(e.getClass());
            %><%=e%><%
        }

%>

And Here is the message shown in output window of Netbeans

Validating..1 select * from login where UserID = 'admin' and
  Password='admin' com.mysql.jdbc.JDBC4ResultSet@b2c1e7 Select * from
  basicdetails where UserID='admin' and Password='admin' RS1 null
  [Ljava.lang.StackTraceElement;@1d8608c class java.sql.SQLException

What is the issue with the above code which is .jsp file trying to validate login credential of admin and other users.

A: You are executing ResultSet.next() after it has already returned false.
This code doesn't make any sense. You are checking rs == null where it cannot be null. ResultSets returned by executeQuery() cannot be null. You could do the whole thing with a single query and a join. Why you would have a password field in two tables is a mystery, or else the second query is a bug.

A: I changed the whole code which I posted in my question, after getting answers from you all experts. We as a beginner expect your right guidance and proper clarification that's all. Here is the code -
<%
ResultSet rs=null,rs1=null;

    String UserID = request.getParameter("UserID");
    String Password = request.getParameter("Password");
    session.setAttribute("UserID",UserID);
    int flag=0;
    try{
        System.out.println("Validating..1");
        int Auth=1,flag1 = 0;

        String Query = "select * from login where UserID = '"+UserID+"' and Password='"+Password+"'";
        String Que = "select * from basicdetails where userid='"+UserID+"' and password='"+Password+"';";
        System.out.println(Que);
        rs = st.executeQuery(Query);
        int i=0;
        while(rs.next())
        {
            if(UserID.equals(rs.getString(1)) && Password.equals(rs.getString(2)))
            {
               Auth=rs.getInt(3);
               session.setAttribute("Auth",new Integer(Auth));
            }
            i++;
        }
        rs.close();

        if(i>0)
        {
         System.out.println("I " + i);
            if(Auth==1)
            {
                System.out.println("USER Verification");
            rs1= st.executeQuery(Que);
            System.out.println(rs1);
            rs1.next();
            String PhotoPath=rs1.getString(4);
            System.out.println("-------------------"+PhotoPath);
            session.setAttribute("PhotoPath",PhotoPath);
            %>
                <jsp:forward page="UserHome.jsp"/>
            <%
            }
            else if(Auth==0)
            {
            %>
                <jsp:forward page="AdminMenu.jsp"/>
            <%
            }
        }
        else
        {
            %>
            <jsp:forward page="Login.jsp"/>
            <%
        }
        st.close();
        con.close();
    }
    catch(Exception e)
    {
    %>
      <%=e%>
    <% } %>

Thank you everybody, and sorry for little harsh. Thank you again.


How to resolve bugs of Generation Zero?
Avalanche Studios, the developers of the Just Cause series, have just dropped another exciting adventure game titled Generation Zero.
Set in the rural countryside of Sweden, this first-person shooter (FPS) game, with a dynamic 1980s soundtrack and highly realistic acoustics, leaves you to survive in a hostile open world with killer robots everywhere.
In the game, you fight back against the hostile machines that have invaded the serene countryside, turning it into a war zone. You can go it alone at your own pace or team up with your friends in Co-Op mode so as to combine your unique skills, revive downed friends, and share the loot after you've taken down an enemy.
There's never a dull moment as new enemies are constantly being generated. Any damage you inflict on one is permanent. So next time you stumble upon a group of walkers, you know whether you've encountered any of them before and see how much you've weakened them. Then, all you have to do is deal the finishing strike.
But the problem with this game is that as you face creepy-crawlies within the adventure, you also face them without. Users on the game's forum have been complaining about annoying bugs and errors that spoil their gaming experience.
Here, we are going to look at how to get them fixed.
These are the frequent issues users have to deal with. I'll present each issue with the specific complaints made by different players.
Some sections of Generation Zero can glitch out.
When I aim down sights from the top of Iboholmen church, looking out the north window there are areas that start flashing.
In the multiplayer section, users have reported that they were not able to see each other. In other instances, players were disconnected or couldn't join the co-op session at all.
I've been trying for 15 minutes to join a co-op game but I keep getting kicked.
Numerous players have had to start a new game because they couldn't save their progress.
After I've reached a point where auto save is run, I'm supposed to be able to continue my saved game from the main menu. But when I exit to desktop or the game crashes, all of my settings get reverted to default and I only see the option to start a new game. I can no longer continue my saved game.
There are times when the keyboard and mouse fail to respond, and you cannot make any moves.
I agree. The mouse as well… There are some lingering issues.
Some players have experienced the game crashing at various points.
I have not had much success in playing the game. The longest stretch I have had lasted for about 10 minutes before the game locked and crashed.
While launching the game, some users have reported seeing only a black screen.
If you can't join a co-op game, all you have to do is whitelist your game through Windows Firewall. This way, you won't experience connection issues. You and the persons you wish to play with should also run the game with administrator rights.
Allow Generation Zero by removing it from your antivirus software's list of blocked applications. When you've done this, the game can write the save files so that you can save your settings and progress without further trouble.
To fix Generation Zero GPU issues, right-click on your desktop and select Manage 3D settings. This should lead you to your NVidia control panel. Select the game from Program Settings and set Power Management to "Prefer Maximum Power".
It is important that you always keep the drivers for your graphics card up to date. Luckily, you can do this automatically with Auslogics Driver Updater. It will notify you of outdated drivers and let you download and install the latest manufacturer-recommended versions.
To fix the black screen problem, first run the game in windowed mode. If that doesn't work, go to your Steam client and click on Repair or Verify Generation Zero in the Library.
To stop the game crashes, when you are playing, make sure that no overclocking program is running at the same time. If there is any, disable it.
Another thing you should do to fix this is go to the 3D Settings tab in NVidia control panel and turn off the DSR (Dynamic Super Sampling).
To get your mouse functioning again, try pressing the tab key on your keyboard or Alt + Tab alternatively. If your keyboard itself is not responding, disconnect and reconnect it. This also works for controllers.
The first thing you have to do is make sure that Windows sound is not on mute. You should also disable all the sound devices except the speaker you want to use or the internal speaker. To do this, right-click on the speaker icon at the bottom of your screen, and then click on Sounds and go to the Playback tab.
You should also try changing the audio from surround sound to stereo.
There is a sound issue in cutscenes. If you face low sound, right-click on the Windows speaker icon and run Troubleshoot Sound Problems. Also make sure to update your audio driver.
End all background programs before you launch the game.
Hope you find these tips effective.
We'd like to hear your thoughts. Do leave a comment in the section below.