Looking for the perfect farm to host your Reception? Melbourne has some of the best outdoor Wedding Venues to help celebrate your special day. Our guide get you connected with the perfect venue for your small, garden, unique, intimate, large or small budget wedding day.


TransGas uses proven Uhde PRENFLO® Coal Gasification technology. The PRENFLO® operation in Puertollano, Spain, is the world's largest solid-fuel-based International Green Construction Code (IGCC) power plant. Adams Fork Energy located in Mingo County, West Virginia, will use this Coal Gasification technology to convert 7,500 tons of coal to 18,000 barrels of gasoline and 3000 barrels of LPG or propane, per day.
The Adams Fork Energy located in Mingo County, West Virginia plant is TransGas' reference plant design and will produce nearly 1 billion gallons per year of gasoline and liquid fuels from approximately 7,500 tons of coal. The plant can utilize any grade of coal including coal otherwise deemed to be waste coal.


A veterinarian and his wife consider adopting the 11-year old son of a childhood friend who has been diagnosed with a terminal illness.
Based on the true story of how author Jane Stern fell into clinical depression and struggled her way through her various phobias after signing on to become an EMT.
Based on novel "Blessings" by Anna Quindlen about an ex-con, Chip who finds an abandoned baby girl that was left at the estate of Lydia Blessing, the elderly woman who employs Chip as a handyman.


When she was in high school, Susan Schall was enamored with the idea of one day becoming a patent lawyer. She visited several schools and kept learning about pre-law programs, but found they did not require much math and science, subjects she enjoyed. At a civic meeting, her father asked a local lawyer what he studied for his undergraduate degree and the lawyer said engineering. At the suggestion of her father, Dr. Schall looked into engineering and never looked back. She earned a Bachelor of Science in mathematics from the State University of New York at Fredonia in 1981 and a Bachelor of Science in industrial engineering from the Pennsylvania State University in 1982. Dr. Schall continued her education, obtaining a Master of Science and a Doctor of Philosophy in industrial engineering in 1986 and 1988, respectively. In 1989, she became an ASQ Certified Quality Engineer. Dr. Schall also became an ASQ Certified Manager of Quality and Organizational Excellence in 2016. In addition, she is a Six Sigma Master Black Belt.
In 2004, Dr. Schall founded SOS Consulting LLC, a consulting firm that transforms small- to medium-sized U.S. manufacturers into productive and profitable organizations that create shared value for their communities. She currently serves as Founder and Operations Leader. Dr. Schall has worked as a consultant for the ABET Foundation since 2014, assisting industrial engineering programs in their preparations for ABET accreditation. For over two decades, Dr. Schall was a member of the Pennsylvania State University's Industrial and Professional Advisory Council of the Harold and Inge Marcus Department of Industrial and Manufacturing Engineering. In service to her profession, Dr. Schall is chair of the ASQ Freund-Marquarat Medal Committee and the treasurer for the Northern Shenandoah Valley ASQ Section. An active contributor to her field, she maintains membership with the American Society for Engineering Education, American Society of Quality and the Institute of Industrial & Systems Engineers. Dr. Schall is a fellow of ABET. She is an authorized partner of Everything DiSC® and Five Behaviors of a Cohesive Team™.
In recognition of her professional accomplishments, Dr. Schall has received numerous accolades, including the Engineering Excellence Bronze and Silver Awards from DuPont Engineering in 1990 and 1992, respectively. She was listed in the 69th and 70th editions of Who's Who in America. She was bestowed the Distinguished Service Award from the Penn State Engineering Alumni Society in 1999 and the Outstanding Engineering Alumna Award from the Penn State College of Engineering in 2009. Looking ahead, Dr. Schall= wants her work to make a difference. She wants to be able to say that she had a transforming effect on U.S. manufacturing.


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The weather is finally starting to warm up and some homeowners are even turning on their air conditioners to stay comfortable. As long as your air conditioning system kicks on you're good to go, right?
Even if your air conditioner turns on after being off all winter long, it doesn't mean that you can forgo your seasonal maintenance. There are several reasons why you should have your air conditioner maintenance performed each year and Bryant Heating & Cooling Service Experts is here with a list of the most crucial.
Getting your system tune-up each year helps you catch small issues before they turn into major (expensive) problems. Just because your A/C system is running well right now doesn't necessarily mean it's ready to keep you cool and comfortable all summer long. Don't wait until your air conditioning system goes out on the warmest day of the year – call Bryant Heating & Cooling Service Experts today to get your tune-up completed before the temperatures increase.
Buying a PLUS maintenance agreement can help save you money over time. A seasonal A/C system tune-up can help save you up to 30% on your energy bills because it enhances the efficiency of your system.
Yearly maintenance is actually required by many manufacturers, so forgoing your air conditioning maintenance can invalidate your warranty. That means when you do require any kind of system repair, you will be paying for those new parts out of pocket. Make sure you get all you can out of your warranty by keeping it valid as long as possible with seasonal air conditioner tune-ups.
Bryant Heating & Cooling Service Experts loves to save you money and right now with our spring promotion you can receive a discount on a annual tune-up for your air conditioning equipment. Call Bryant Heating & Cooling Service Experts today to find out about our great offers going on now and to schedule your A/C system tune-up.


text:
Гретцки () — имя собственное; распространено в виде фамилий.

 Гретцки, Брент (род. 1972) — канадский профессиональный хоккеист.
 Гретцки, Кит (род. 1967) — канадский профессиональный хоккеист и тренер.
 Гретцки, Паулина (род. 1988) — американская фотомодель и певица.
 Гретцки, Уэйн (род. 1961) — канадский хоккеист, центральный нападающий.

redpajama_set_name: RedPajamaWikipedia


text:
Oude Geuze 3 Fonteinen is een Belgisch bier.
Het bier wordt gebrouwen in Geuzestekerij 3 Fonteinen te Beersel.

Oude Geuze 3 Fonteinen is een oude geuze met een alcoholpercentage van 6%. Het is een volledig natuurlijk bier, een menging van jonge en oude lambiek (samengesteld uit 1-, 2- en 3-jarige lambiek), gerijpt op eiken vaten. Nadien is de geuze nog minstens 6 maanden gerijpt en hergist op de fles. Het bier kan tot 10 jaar bewaard worden.

"Oude geuze" is door het Vlaams Centrum voor Agro- en Visserijmarketing (VLAM) erkend als streekproduct. Bovendien is het een door de Europese Unie beschermd label of Gegarandeerde traditionele specialiteit (GTS).

Zie ook
 Lijst van Belgische bieren
 Lijst van Belgische brouwerijen
 Lijst van Belgische bierfirma's
 Belgische biercultuur

Externe link
 Website van de brouwerij

Belgisch biermerk
Geuze
Gegarandeerde traditionele specialiteit


text:
Q: Read the value that a cell contains when selected in a datatable I have the 2 dataframes below:
Name<-c("John","Bob","Jack")
Number<-c(3,3,5)
NN<-data.frame(Name,Number)

d1<-c("a",NA,"b")
d2<-c("a","a","b")
d3<-c(NA,NA,"b")
d4<-c("a","c","b")
d5<-c(NA,"b","b")
NN2<-data.frame(Name,d1,d2,d3,d4,d5)

The NN contains the names and the count of non-NA inputs for every name in NN2. I created a shiny app which displays a datatable of NN. I want to be able to click on every name and get a second table with the relative row of NN2 as you will see if you click on John. The issue is that instead of recognizing which name I chose with row and column which I do with: if(input$x3_cells_selected[,1]==1&input$x3_cells_selected[,2]==1) I would like to recognize it by the name automatically. That means that when I click on John in the 1st table the algorithm will not see 1st column-1st row but will search for John data in the 2nd table.
#ui.r
library(shiny)

fluidPage(

  fluidRow(
    DT::dataTableOutput('x3')

  ),
  fluidRow(
    DT::dataTableOutput('x4')
  )

)
#server.r
library(shiny)
library(DT)

shinyServer(function(input, output, session) {

  output$x3 = DT::renderDataTable(datatable(NN,selection = list(target="cell",mode="single")))

  second<-reactive({
    req(input$x3_cells_selected)
    if(input$x3_cells_selected[,1]==1&input$x3_cells_selected[,2]==1){
      NN2[1,2:6]
    }

  })

  output$x4 = DT::renderDataTable(datatable(second(),rownames = F))

})

redpajama_set_name: RedPajamaStackExchange


text:
Lesotho: Authorities must protect key witnesses to the murder of Lipolelo Thabane
Reacting to the news that the Prime Minister of Lesotho, Thomas Thabane, is facing imminent charges of the murder of his late wife, Lipolelo Thabane, and the attempted murder of her acquaintance, Thato Sebolla, Amnesty International's Director for East and Southern Africa Deprose Muchena said:
It has been almost three years since the scandalous killing of Lipolelo Thabane and no one has been brought to justice
Deprose Muchena, Amnesty International's Director for East and Southern Africa
"It has been almost three years since the scandalous killing of Lipolelo Thabane and no one has been brought to justice. With such powerful suspects facing murder and attempted murder charges – and a long history of impunity in the country – it is imperative that Lesotho's authorities ensure that those people whose testimony is central to the case, are kept safe from harm.
"Already one of the individuals considered a key witness has died in mysterious circumstances, and others have fled the country after receiving death threats. The authorities have failed to provide adequate protection to them, despite police knowing that their lives are in danger.
It is vital that the enquiry identify everyone responsible for ordering, planning and executing these crimes. All perpetrators must be brought to justice in fair trials
Deprose Muchena
"With First Lady, Maesaiah Thabane already facing murder charges relating to this sinister case, and now the Prime Minister also on the charge sheet, it's clear that they will receive public scrutiny for their involvement. However, it is vital that the enquiry identify everyone responsible for ordering, planning and executing these crimes. All perpetrators must be brought to justice in fair trials."
Background on Lipolelo Thabane
The late wife of the Prime Minister of Lesotho Thomas Thabane, Lipolelo, was murdered in a hail of bullets on 14 June 2017 while she was driving home in Ha Masana outside Maseru. She was driving with her acquaintance Thato Sebolla at the time of the attack who was also shot, sustaining injuries.
Killings and Disappearances

redpajama_set_name: RedPajamaCommonCrawl


In Pokemon Go, you take over gyms instead of defeating them. Taking over a Pokemon Go Gym will take a fair amount of teamwork and skill.
Work with members of your team to defeat the team that currently owns the gym to take over the gym.
How do I become a Pokemon Go gym leader?
To become a Pokemon Go gym leader, you will first need to take over the gym. If another team owns it, you will need to make it neutral. Then place one of your Pokemon at the gym. If your Pokemon is the strongest (by CP), it will become the highest in the gym, making you the Pokemon Go Gym Leader.
How do I know if a Pokemon Go gym is already owned?
If a gym is a color other than gray, it is owned by a team. A red gym is owned by Team Valor; a blue gym is owned by Team Mystic; a yellow gym is owned by Team Instinct.
How do I bring down a Pokemon Go Gym's Prestige?
You will have to defeat the trainers at a Pokemon Go gym multiple times to bring down its Prestige before you can take it over. Prestige must be at 0. Each time all of the trainers in a gym are defeated, the Prestige of the gym goes down. Once it reaches 0, the gym becomes neutral.
Only once the gym has become neutral and turned grey can you take over the gym.
How to Take Over the Pokemon Go Gym Once It's Neutral?
Once the Pokemon Go Gym has become neutral, it is prime for being taken by your team! Once you have removed the other team, a button will pop up to allow you to place a Pokemon inside the Pokemon Go gym. Tap it and leave a Pokemon. Voila! Your team has claimed the gym.
Try not to be a jerk and capitalize on someone else making a gym neutral. If another team has done the work of neutralizing a gym, they should claim it. Once they're in, the gym will be weak. Fight them then!
How do I battle in a gym?
Battling is done with a series of taps, swipes and holds. To avoid your enemy's attacks, dodge by swiping to the left and right.
To attack your enemy, tap on them. You can do a special attack by holding down on the enemy Pokemon once the blue bar below your Pokemon's health fills up.
You can watch the video below for a more in-depth look at gym battles.
Can I fight a gym my team owns?
Yes, you can fight in a gym that your gym owns. In fact, this is how you raise the Prestige of your gym. It is also easier to fight in your own gym rather than risking your Pokemon only to not defeat another team. Fight your team members to earn spots for more Pokemon in the gym, raise the Prestige and gain experience points.


text:
Cris Collinsworth Won't Be Sliding into the NBC Broadcast Booth in 2020
by Joe Kozlowski twitter on November 2, 2020
While no one is tuning into an NFL game to see the broadcasters, those men and women are a key part of the viewing experience. When the 2020 season kicks off on Thursday night, Al Michaels and Cris Collinsworth will be the pair in the NBC booth. Things in Arrowhead Stadium, however, are going to be a bit different from an ordinary football game.
As longtime fans can tell you, Cris Collinsworth normally slides into the broadcast booth, slotting in alongside Michaels. That tradition, however, won't be happening in 2020.
Cris Collinsworth went from receiver to color commentator
RELATED: How Does Tony Romo's New Salary Compare to Other NFL Broadcasters?
These days, most NFL fans probably think of Cris Collinsworth as NBC's main color commentator. Before heading into the booth, though, he was a capable receiver.
Collinsworth actually headed to the University of Florida as a run-first quarterback but didn't find much success under center. An offensive shake-up saw him shift out wide and line up at wide receiver; despite that abrupt shift, he flourished. He eventually entered into the 1981 NFL draft and joined the Bengals as a second-round pick.
While Collinsworth only spent eight seasons in the NFL, he made an impact. Thanks to his blend of speed and size—he was too fast for linebackers and too strong for defensive backs—the receiver pulled in 417 catches for 6,698 yards and 36 touchdowns, writing his name in the Bengals' record book.
In retirement, however, the receiver couldn't leave football behind. He landed a gig at a Cincinnati radio station; then, in 1989, he joined Inside the NFL as a reporter. After an initial stint with NBC and some time with Fox, he returned to the peacock and slotted in alongside Al Michaels as the network's top color commentator.
Sliding into the broadcast booth
✨A tradition unlike any other✨
The @CollinsworthPFF Slide is iconic. pic.twitter.com/e4U2AqHAjd
— Sunday Night Football (@SNFonNBC) December 10, 2018
For better or worse, almost every broadcaster develops a signature move. John Madden, for example, loved his 'booms' and 'pows;' Jim Nantz begins every program with a gentle, "Hello, friends." Cris Collinsworth, however, does things a bit differently.
Rather than spouting a familiar phrase, Collinsworth "slides" into the broadcast booth, coming in from the right side of the frame to join Al Michaels. While the move serves a logistical purpose—the former receiver is a big man and, in a small broadcast booth, needs to remain out of sight, then quickly take up his position—it still became a meme among football fans.
Collinsworth, for his part, has embraced the move. "It's just fun," he told Charles Curtis of For The Win. "My dad always said, 'There's no limit to the amount of people you can entertain as long as you're willing to be the butt of the joke.' And I've made a pretty good living off of that over the years."
Cris Collinsworth can't slide due to COVID-19 safety measures
The infamous @CollinsworthPFF slide is "on hold" for now, Al Michaels jokes. There will be social distancing in the NBC booth.
— Kevin Seifert (@SeifertESPN) September 3, 2020
RELATED: John Madden Could Have Been a Sitcom Star Instead of a Football Broadcaster
When the 2020 NFL season begins, things will look pretty different. The changes won't just be in the stands and on the sidelines, though; even Cris Collinsworth will be affected in the broadcast booth.
During NBC broadcasts, viewers won't get their weekly Cris Collinsworth slide; social distancing measures have rendered the move temporarily obsolete. With Al Michaels at least six feet away, the former receiver shouldn't have any issue staring out of frame until receiving his cue.
At this point, sports fans will be thankful that we're getting any NFL action at all. Opening night, however, won't be the same without a Cris Collinsworth slide.
Tags:football Sports Media


text:
MEC is organising the 3rd MEC TESOL Conference, Learning Beyond Time and Space: The Future of ELT The conference will address issues relevant to teaching and learning English in local and global contexts.
Abstract & Paper Submission
Learning beyond Time and Space: The Future of ELT
Many countries in the Middle East and North Africa (MENA) region have adopted English as the language of instruction and assessment in higher education. Competence in the English language is an essential requirement for a successful academic and professional life. However, the language proficiency of Arab EFL learners entering tertiary education is often inadequate to meet the requirements of their undergraduate and postgraduate courses. The problem has been further compounded by the constraints imposed during the pandemic in the last two years. The EFL community had to transition to online modes of education with synchronous and asynchronous learning activities. The emerging pedagogies and learner practices need to be accommodated in the post-pandemic era where technology plays a very important and critical role. English language teachers are still being confronted with the fundamental challenge of transforming these language learners into agile, independent, self-directed and autonomous ones.
The 3rd MEC TESOL conference continues the tradition of providing a platform for English language academics and researchers to reflect, share, and publish their language teaching experiences, challenges, and success stories. The conference is organized in Hyflex (hybrid-flexible; combination of online and on-campus) mode to facilitate access to a wider audience.
Conference title: Learning beyond Time and Space: The Future of ELT
Abstract submission deadline is: 31st January 2023
Plenary and keynote speakers
Research paper presentations
For enquiries, kindly e-mail: tesol@mec.edu.om
Selected papers which meet publication standards are going to be published in the Journal of Teaching English for Specific and Academic Purposes indexed in Web of Science and Scopus.
Important Announcement: The conference will be conducted in Hyflex mode


Lately there has been a lot of activity on Facebook regarding the snow and the weather in general. This picture came across my newsfeed a while back….yes….it is a picture of snow, ice, cold…..but in this beautiful intricate snowflake is a reminder that nature is something for us to look at in wonder and awe. A gift for us to enjoy…..depending on our contentment level….ahhhh contentment a blog for another day.
Please turn your attention to the word "nature." I refer you to John 16:26-27. "In that day you will ask in My name…for the Father Himself loves you…" Oswald Chambers refers to in My name as in My nature. We talked about our simply interested or identified friendship with God in our last blog. I refer you to point number 4.
If we ask in His name, in His nature if you will, doesn't that change our perspective? The Holy Spirit resides in us, His nature in us, so when we pray we are one with Him. If we pray in His name, Chambers says we can be lifted into such a relationship - "Just as Jesus stood unblemished and pure in the presence of His Father, we too by the mighty power and effectiveness of the baptism of the Holy Spirit can be lifted into that relationship…one with Him."
We are to pray to God in Jesus' name---in His nature---one with Him. This is a gift granted to us through the Holy Spirit. I believe we would look at the answers to our prayers differently if we were so tuned into His nature in us. A lot seems baffling with sickness and brokenness all around us…..faith enters in here….contentment……knowing God is all knowing.
We don't always see the intricacies of the snowflake, or the intricacies of the life circumstance…..but we can ask Him and talk to Him and when we do that in His name…..in His nature….we can rest in His care.


text:
Q: Simple way to duplicate a record in Navicat The natural instinct would be to copy/paste the entire row as one would do in MS Excel or other spreadsheet app.
But:

*

*Unique primary key / UNIQUE INDEX fields cannot be duplicated.

*If one of the fields has line breaks in it (e.g. a chunk of HTML code) it attempts to create multiple new records instead.

The first issue can be relatively quickly worked around by temporarily turning the indexes off. However, #2 is a pain in the neck. Any ideas anyone?
Of course I could use a query. But the question is about Navicat's GUI.
Also in case it matters, I use Navicat for MySQL v9.0.8 Enterprise.

A: I'm using Navicat 11, have a feeling this might not have been so easy (or even possible) in some earlier versions. To do this in Navicat 11, access the table you want to duplicate a record in, so that you can see the rows of data. Right-click the small shaded rectangle at the head of the row you want to copy, left-click 'Copy' in the pop-up menu. Click the '+' that you see at the bottom of the window. Right-click in the left-most field of the new, empty row and left-click 'Paste'. If your new record breaks a Unique key rule, as it usually will, simply amend the newly-created record e.g. by clicking in the field for the auto-incrementing key and editing it to have the next available value.
Edit: this is apparently possible in Navicat version 7 and later

A: Frankly I prefer Heidisql over Navicat
in Heidisql you can duplicate many rows just with insert key
but in Navicate there is no simple way to do it
https://stackoverflow.com/a/18828794/3562771


text:
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redpajama_set_name: RedPajamaGithub


text:
Tag Archives: Sergei Rachmaninov
Russian troika bogged down in the quest for authenticity in Bruges
Nikolai Rimsky-Korsakov, Russian Easter Festival Overture, Op. 36
Sergei Rachmaninov: Vocalise, Op. 34 no. 14
Sergei Rachmaninov: Rhapsody on a Theme of Paganini in A Minor, Op. 43
Sergei Prokofiev: Romeo and Juliet, Suite no. 2, Op. 64ter
Anna Vinnitskaya, piano
Jos van Immerseel, Anima Eterna Brugge
Bruges, Concertgebouw, 29 November 2019
In this triptych from Jos van Immerseel and his Anima Eterna Brugge, three Russian composers underwent the authentic instrument treatment for which this Belgian ensemble is famous. Using the instruments and orchestral layout the composers knew may be admirable but has its limitations. Some fifty years were spanned in this concert and yet everything was performed with the same instruments. Are we to assume the Philadelphia Orchestra which premiered Rachmaninov's Rhapsody on a Theme of Paganini in 1934 sounded the same as Rimsky-Korsakov's orchestra in 1888, not to mention the Czech or Russian forces playing Prokofiev's Romeo in the late 1930s? I guess not, but eventually this wasn't the main concern.
Read the full review on Bachtrack.
Categories: Concert reviews | Tags: Anima Eterna Brugge, Anna Vinnitskaya, Brugge Concertgebouw, Jos van Immerseel, Nikolai Rimsky-Korsakov, Rhapsody on a Theme of Paganini, Russian music, Sergei Prokofiev, Sergei Rachmaninov | Permalink.
Magnificent Rachmaninov tribute from Lugansky and Denève in Ghent
Samy Moussa: Nocturne (2014)
Sergei Rachmaninov: Piano Concerto No. 1 in F-sharp Minor, Op. 1
Symphony No. 3 in A Minor, Op. 44
Nikolai Lugansky, piano
Brussels Philharmonic, Stéphane Denève
Ghent, Bijloke, 4 April 2019
Nikolai Lugansky (© Marco Borggreve)
The Brussels Philharmonic and their music director Stéphane Denève seem to be on a high. They just completed their first North-American tour with success and now, back in Belgium, resume with a splendid tribute to Sergei Rachmaninov. More than just an homage though, this concert was testimony to both the quality of music-making the Brussels Phil has reached and the mutual trust that developed between orchestra and conductor. To introduce the concert maestro Denève, in his delightful Gallic English, paraphrased Rachmaninov when asked how to define music: "Music comes straight from the heart and talks only to the heart: it is love!" And this concert was exactly that.
Categories: Concert reviews | Tags: Bijloke, Brussels Philharmonic, Marc Haegeman, Nikolai Lugansky, Piano Concerto, Russian music, Samy Moussa, Sergei Rachmaninov, Stéphane Denève | Permalink.
Electrifying Rach 3 from Giltburg in Rotterdam
Sergei Rachmaninov: Piano Concerto No. 3 in D Minor, Op. 30
Pyotr Ilyich Tchaikovsky: Symphony No. 6 in B Minor, Op. 74 "Pathétique"
Boris Giltburg, piano
Rotterdam Philharmonic, Stanislav Kochanovsky
Rotterdam, De Doelen, 10 February 2019
Boris Giltburg (© Sasha Gusov)
Can you ever get tired of Rachmaninov's Third Piano Concerto or Tchaikovsky's Pathétique? Not with the right performers, the Rotterdam Philharmonic Orchestra must have thought. And the Dutch always have a way to find the right people. They invited a couple of exciting young musicians and offered this high-pathos Russian double-bill on their home turf, De Doelen, no less than three times in four days. With great success too: an electrifying rendition of Rach 3 by Boris Giltburg reminded us how overwhelming this work can be, while Stanislav Kochanovsky highlighted Tchaikovsky's supreme mastery of the orchestra in his final opus. There's no way you can get tired of this music.
Categories: Concert reviews | Tags: bachtrack, Boris Giltburg, De Doelen, Marc Haegeman, Pyotr Ilyich Tchaikovsky, Rotterdam Philharmonic Orchestra, Sergei Rachmaninov, Stanislav Kochanovsky, Symphony #6 in B minor "Pathétique" | Permalink.
Rachmaninoff in Rotterdam
Sergei Rachmaninoff:
Piano concerto #1 in F-sharp minor, Op. 1 (1)
Piano concerto #2 in C minor, Op. 18 (2)
Piano concerto #3 in D minor, Op. 30 (3)
Piano concerto #4 in G minor, Op. 40 (4)
Rhapsody on a Theme of Paganini, Op. 43 (5)
Symphony #3 in A minor, Op. 44
Vladimir Tarnopolski: Tabula Russia
1 Alexei Volodin, piano
2 Dmitry Masleev, piano
3 Alexander Gavrylyuk, piano
4 Sergei Babayan, piano
5 Behzod Abduraimov, piano
Rotterdam Philharmonic Orchestra/Valery Gergiev
The Doelen, Rotterdam, 11-12 September 2015
Valery Gergiev (© Hans van der Woerd)
The 20th edition of the Rotterdam Philharmonic Orchestra Gergiev Festival was a celebration of Sergei Rachmaninoff's music. This remarkable annual music event in the Dutch city of Rotterdam may have shrunk throughout the years from the initial ten to a mere three days, the programming remains no less intense, the purpose no less noble. In three days, under the tireless artistic leadership of Valery Gergiev, a substantial chunk of Rachmaninoff's musical legacy was revived. The foyer and corridors of Rotterdam's music center The Doelen were decorated with large photographic banners of the composer and his family; there were talks and publications, all helping to bring the man back alive again. But above all there was his music: lots of it. You need to be maestro Gergiev to conduct all four Piano Concertos in a single day, accompanying four different soloists. He also found the energy to perform the three Symphonies, the Symphonic Dances and the Rhapsody on a Theme of Paganini. Other concerts offered solo piano works, songs, and choral work. In fact, too much in too short a time to take it all in. With the kind invitation of the Rotterdam Philharmonic press department I attended three concerts – including the four Concertos, the Paganini Rhapsody, Symphony #3 and a world-premiere from the Russian avant-garde composer Vladimir Tarnopolski – and even that was something of a crash experience.
This Rachmaninoff festival was quite naturally a piano event, as much as an homage to the Russian piano School, still very much a treasure trove. While some pianists like Dmitry Masleev and Behzod Abduraimov are only at the start of their career, one couldn't help feeling dazzled by the wealth of talent that Gergiev assembled. The appeal of Rachmaninoff's music, especially his concertos, remains particularly strong judging by the sold out signs – this edition allegedly attracted 42% more visitors than last year – but also by the vivid, refreshing readings from often young artists heard here. To have five first-rate pianists in a row moreover offered a fantastic opportunity to compare. Hearing them individually would arguably have led to different appreciations, but this is how it goes with such an embarrassment of riches.
The four Piano Concertos were performed in two concerts on September 12, all accompanied by the Rotterdam Philharmonic under Gergiev. The afternoon concert featured Concerto #1 and #2. The First was the least appealing. Alexei Volodin (38) recreated the image of the traditional Soviet powerhouse virtuoso – bold, grand and powerful, yet not always that subtle. While the youthful bravura was hammered home with predictable effortlessness, the cantilena quality of the concerto remained underexposed and slower passages were drawn out rather than sung.
By contrast, one of the revelations of this Festival was Dmitry Masleev, this year's first prize winner and gold medalist at the International Tchaikovsky Competition. Looking by his boyish appearance a lot younger than his 27 years, his playing demonstrated plenty of maturity and understanding. In effect, his rendition of the Second Piano Concerto, a work full of pitfalls, was wholly convincing and brimming with personal insights. Masleev shares the easy virtuosity of Volodin, but his pianism sounded a lot more nuanced and his natural expressivity and warmth suited the prominent lyricism of the piece. Nothing sounded overblown or forced; his flexibility of dynamics and phrasing seemed to serve the music only and never became a goal in itself. The first movement gained tremendous drive, going for a passionate climax, and leaving once subsided that feeling of melancholy Rachmaninoff had the secret of. The Adagio sostenuto further highlighted Masleev's sensitivity to color and phrasing, his piano in an ideal balance with the orchestra. Both conductor and soloist kept the tempo flowing and the ending left one with a profound sense of loss again.
The encore, Rachmaninoff's arrangement of Felix Mendelssohn's Scherzo from A Midsummer Night's Dream was ideal. The rhythmical incisiveness and flow, the light textures without a hint of heaviness all pointed at a genuinely gifted artist. Dmitry Masleev is a pianist to look out for.
The evening concert began with Sergey Babayan's performance of the Fourth Concerto. With his 50 years the oldest of the pianists, Armenian-American Babayan is a noted pedagogue who has his own academy at the Cleveland Institute of Music. He is also a fantastic pianist. The rarely heard Fourth is allegedly his favorite and there wasn't any doubt he owns every bar of it. The outer movements had tremendous drive in his hands, at times in the finale pushing the orchestra out of the comfort zone; the Largo was particularly dark, fully supported by Gergiev. A fascinating work, no less, that doesn't deserve its obscurity within Rachmaninoff's legacy.
Alexander Gavrylyuk (© Anna Sanfeliu)
All were however eclipsed by Alexander Gavrylyuk's electrifying performance of the magnificent Third Piano Concerto. Performances in this Festival were enthusiastically received by the audience, but the packed auditorium spontaneously exploded at the end of the D minor, and rightly so. From start to finish the playing of the Ukranian pianist held the public spellbound, gradually building up the tension and eventually generating enough energy to light up the whole of Rotterdam, harbor included. His astonishing grip on the work's structure was magnified by constant tonal beauty, judicious tempi, enviable stamina, and immaculate timing – the buildups in the first and second movements were just as exciting and dramatic as the climaxes itself. The superbly shaped and effortless first-movement cadenza (the original long one) would in itself have been worth the price of admission. Like Masleev, Gavrylyuk owns the secret to find tremendous depth underneath the lightest of surfaces. The bravura passages were stunning, exhilarating feats but it was just as much in the slower, less spectacular passages that Gavrylyuk showed his true artistry. None of the aggravating mannerisms of Daniil Trifonov or the hard-fisted bashing of Denis Matsuev here – this was phenomenal, totally compelling playing, lucid and subtle, ready to take a place among the legendary accounts of Rachmaninoff's Third. As an encore we were treated to a knockout performance of the Rhapsody on the Wedding March from Mendelssohn's A Midsummer Night's Dream by Liszt and Horowitz.
The concert of September 11, called "Memories of Russia", paired two major Rachmaninoff works from the last period of his life – Rhapsody on a Theme of Paganini with the Tashkent-born Behzod Abduraimov (25) as soloist, and the Third Symphony. Composed for the occasion at the request of Gergiev, a new piece by Vladimir Tarnopolski Tabula Russia was added as an opener.
Behzod Abduraimov stood out as a supreme colorist in the Paganini Rhapsody, a refined magician of the keyboard, shading the Rhapsody with an extraordinary array of dynamics and tones. Each section became a microcosm, cut razor-sharp, living and boasting plenty of wit. The famous 18th variation was breathtaking, begun simply by the piano but taken into full bloom by the orchestra. As Masleev he dug right into the music without ever falling into flashiness or brutality. There is quite obviously nothing Abduraimov cannot do, but in the end it was his musicality rather than his technical prowess which made the most impact. Tchaikovsky's Nocturne in C-sharp minor, Op. 19 #4 followed as delightful encore. Here's another young talent to follow.
The success of these concertos wouldn't have been possible without Gergiev and the Rotterdam Philharmonic of course. In spite of the dense programming the conductor appeared utterly engaged and able to transmit his belief in the scores to the players. He also created with all soloists a successful rapport – most were familiar faces, but Gavrylyuk had never performed with him before. Gergiev has been working with the Rotterdam Philharmonic Orchestra since 1988 and his tenure as the orchestra's principal conductor from 1995 until 2008 has been hailed as a golden era. The Rotterdam musicians evidently know how to decipher Gergiev's noisy, hand-fluttering conducting style and nobody is any longer surprised his toothpick batons guarantee that even the slightest inflections are registered. Occasional rough edges or slips in balance in the heat of the action weren't entirely avoided, but in general this was magnificent and often thoroughly exciting playing. The orchestra boasts fine woodwinds and horns sections, yet it were the strings that left the strongest mark.
This was a very colorful if mostly darkish, sometimes impulsive and brazing Rachmaninoff: an approach that highlighted the beauty, inventiveness and modernity of much of the writing, especially in the later works. The performance of his final Symphony had all these characteristics in spades. Gergiev evidently knows how to dose the contrasting moods of Rachmaninoff's inspiration in exile; movingly tender in the exposition of the themes, then blooming with passionate strokes and often verging on the edge of a maelstrom of much darker emotions. The first-movement exposition was repeated to superb effect. The final movement, brilliantly performed by the Rotterdam Philharmonic, gained tremendous momentum but also left a bittersweet taste.
Tarnopolski's Tabula Russia was a powerful piece scored for a huge orchestra, including triple woodwinds and an extensive percussion section. Tapping into the specific sonority of the traditional Russian bells and liturgical chant, which also feature prominently in Rachmaninoff's music, the music developed in several long crescendos, leading towards cacophonic interruptions and exploring some remarkable percussive effects before dying out. The overall mood was pretty morose, but then again the composer defined his work as metaphoric for the Russian conscience always in search of a new identity. An interesting work, and strongly performed, if arguably too opaque for immediate public appeal.
After the last concert Valery Gergiev expressed his gratitude and also a bit of relief that this Festival of his is still running after 20 years. May there be many more years to come!
Copyright © 2015, Marc Haegeman
First published on Classical Net (http://www.classical.net/music/recs/reviews/haegeman/2015091112-rachmaninoff-rotterdam-gergiev.php)
Categories: Concert reviews | Tags: Alexander Gavrylyuk, Alexei Volodin, Behzod Abduraimov, Daniil Trifonov, De Doelen, Dmitry Masleev, International Tchaikovsky Competition, piano concertos, Rhapsody on a Theme of Paganini Op. 43, Rotterdam, Rotterdam Philharmonic Orchestra, Rotterdam Philharmonic Orchestra Gergiev Festival, Sergei Babayan, Sergei Rachmaninoff, Sergei Rachmaninov, Tabula Russia, Valery Gergiev, Vladimir Tarnopolski | Permalink.
An Italian in Paris
Piotr Ilyitch Tchaikovsky: Fantasy Overture "Romeo and Juliet"
Sergei Rachmaninoff: Rhapsody on a Theme of Paganini, Op. 43
Ottorino Respighi: Fountains of Rome, Pines of Rome
Khatia Buniatishvili, piano
Orchestre National de France/Daniele Gatti
Théâtre des Champs Elysées, Paris, 26 September 2013
The Italian connection was undeniable in this concert of the Orchestre National de France at the Paris Théâtre des Champs Elysées, even if the "Italianness" was offered in various degrees -Tchaikovsky's Romeo and Juliet by way of Shakespeare, Rachmaninoff's homage to the great Italian violinist Paganini, and finally Respighi's aural and visual impressions of Roman scenes.
Categories: Concert reviews | Tags: Daniele Gatti, Khatia Buniatishvili, Marc Haegeman, Orchestre National de France, Ottorino Respighi, Paris, Piotr Ilyitch Tchaikovsky, Romeo and Juiet, Sergei, Sergei Rachmaninov, Théâtre des Champs-Elysées | Permalink.
Kondrashin plays Tchaikovsky and Rachmaninoff
Piotr Tchaikovsky: Suite Nr. 3 in G major, Op. 55
Sergei Rachmaninoff: Symphonic Dances, Op. 45
Royal Concertgebouw Orchestra Amsterdam, Kirill Kondrashin.
Recorded live at the Concertgebouw in Amsterdam, 24 November 1974 and 21 November 1976.
Emergo Classics EC 3962-2
Electrifying performances of Tchaikovsky's Third Suite and Rachmaninoff's final opus, miraculously captured by the Dutch Radio (NOS) and preserved for posterity by Emergo Classics in this hard to find 1994 release. Russian maestro Kirill Kondrashin (1914-1981) proves these often belittled scores are mind-blowing trips from start to end. Tchaikovsky's rarely programmed Third Suite was only recently introduced for a concert at the Paris Salle Pleyel as "not very good Tchaikovsky". Granted, it wasn't particularly convincing what the Orchestre de Paris had to offer on that occasion, but Kondrashin shows one shouldn't always blame the lack of inspiration on the composer. Both performances recorded in 1974 and 1976 are carried by a Royal Concertgebouw Orchestra on fire.
Copyright © 2013 Marc Haegeman. All Rights Reserved.
Categories: Desert island discs | Tags: Amsterdam, Concertgebouw Amsterdam, Emergo Classics, Kirill Kondrashin, Piotr Ilyitch Tchaikovsky, Royal Concertgebouw Orchestra, Russian music, Sergei Rachmaninoff, Sergei Rachmaninov, Symphonic Dances | Permalink.
Rachmaninoff by Vasily Petrenko and the Royal Liverpool Philharmonic (part 2)
Sergei Rachmaninoff: Dances from "Aleko", Symphony #2, Op. 27
Royal Liverpool Philharmonic Orchestra/Vasily Petrenko
EMI 915473-2 73:05 DDD
Rachmaninoff Symphony #2 by Vasily Petrenko
For the second installment of their Rachmaninoff symphonies cycle for EMI, Vasily Petrenko and his Royal Liverpool Philharmonic Orchestra cover the most popular and significant of the corpus, the Second Symphony in E minor. If anything, this release is a ready reminder of how difficult this work is by its length, complex thematic material and emotional content. Yet today's major labels confidently invest in less than foremost ensembles to fulfill the task. And why wouldn't they? The hype is doing the rest. Reviewers already promoted the Liverpool forces to convincing interpreters of the Russian Romantic repertory. Sure they are. Bizarre then that by comparison the Rachmaninoff from old-school Russian maestros sounds like coming from a different solar system. With Petrenko/Liverpool there is very little of the dramatic grip and even less of the soulful lyricism and sometimes savage epic imagery that a Evgeny Svetlanov or a Kirill Kondrashin conjured with Rachmaninoff's symphonic work.
Categories: CD reviews | Tags: >Royal Liverpool Philharmonic Orchestra, Aleko, EMI Classics, Sergei Rachmaninoff, Sergei Rachmaninov, Vasily Petrenko | Permalink.
Richter's Rachmaninoff
Piano Concerto #1
Piano Concerto #2 *
Prelude, Op. 23 #1
Prelude, Op. 32 #10
Sviatoslav Richter, piano
USSR Radio and TV State Symphony Orchestra/Kurt Sanderling
* Leningrad Symphonic Orchestra/Kurt Sanderling
Praga Digitals SACD PRD350056 Hybrid Stereo
Historic Rachmaninoff
In spite of his gigantic recorded legacy Sviatoslav Richter left us relatively little Rachmaninoff. Of the famous concertos he only recorded the First and Second, and not even that many times. Hearing these Russian live documents from the 1950's again, reissued by the Czech label Praga Digitals (the first in yet another "Richter Edition"), can but increase our regrets he didn't return to them more often.
Categories: CD reviews | Tags: Kurt Sanderling, Leningrad Symphonic Orchestra, Marc Haegeman, Melodiya, Piano Concerto, Praga, SACD, Sergei Rachmaninoff, Sergei Rachmaninov, Sviatoslav Richter, USSR Radio and TV State Symphony Orchestra | Permalink.
Sergei Rachmaninoff: Caprice Bohémien, Op. 12
Vocalise, Op. 34 #14
Symphony #3, Op. 44
EMI 679019-2 DDD
Vasily Petrenko and his Royal Liverpool Philharmonic Orchestra continue their cycle of Sergei Rachmaninoff's orchestral works and concertos. Started on the Avie label (with the Isle of the Dead, the Symphonic Dances and the piano concertos featuring Simon Trpceski as soloist Avie AV2191 & AV2192), this new CD focuses on the 3rd Symphony and marks Petrenko's debut on EMI Classics. Interestingly, the EMI disc was (partly) recorded at the same time – September 2009 – in the Liverpool Philharmonic Hall and produced by the same team as the older Avie CD already released in 2010. The transfer from an obscure to a more prestigious label reflects the success story of the award-winning young Russian conductor in another way. While one may still have to look for Vasily Petrenko's name on the Avie CD cover, EMI generously gives him equal billing with Rachmaninoff.
Categories: CD reviews | Tags: >Royal Liverpool Philharmonic Orchestra, EMI Classics, Marc Haegeman, Sergei Rachmaninoff, Sergei Rachmaninov, Vasily Petrenko, Vocalise | Permalink.
Dazzling Rollercoaster
Sergei Rachmaninoff: Etudes-Tableaux, Op. 39/4-6; Elegy, Op. 3/1
Gabriel Fauré: Ballade, Op. 19
Alexander Scriabin: Sonata #5
Johannes Brahms: 7 Fantasies, Op. 116
Isaac Albéniz: Triana (from Iberia)
Claude Debussy: La soirée dans Grenade (from Estampes)
Vladimir Horowitz: Variations on a Theme from G. Bizet's "Carmen"
Yuja Wang, piano
Brussels Conservatory, 20 March 2012
The acclaimed Chinese pianist Yuja Wang made her debut in Belgium with the kind of disparate program that would have made giants like Sviatoslav Richter think twice, yet which seems designed primarily to demonstrate how dazzling a virtuoso she is. (Richter played what he felt like playing at a particular moment, but that's another story.) Wang's Brussels recital was largely culled from her coinciding new CD-release, imponderably titled "Fantasia" and sounded in spite of the hyped promise of "a poetic evening" for the most part like a no-brainer, rollercoaster collection of miniatures and bravura transcriptions by Rachmaninoff, Scriabin, Debussy, Albeniz and Horowitz, wherein the difference between the official program and the encores eventually went completely adrift. The bits of late Brahms and Fauré thrown in for weight couldn't dispel the frustrating feeling that this evening we only heard part of her talent. Or didn't we?
Categories: Concert reviews | Tags: Brussels, Claude Debussy, Gabriel Fauré, Isaac Albéniz, Johannes Brahms, piano, Sergei Rachmaninov, Vladimir Horowitz, Yuja Wang | Permalink.


text:
01-18-2021 10:22 pm • PDX and SEA Weather
State School Workers Unionize
By The Skanner News
OLYMPIA—Thousands of secretaries, bus drivers and other school workers have joined the Service Employees International Union, creating the state's largest labor union, officials say.
The Public School Employees of Washington, which represents about 26,000 school workers, said delegates voted overwhelmingly in favor of joining the SEIU during a special conference last weekend.
Officials from the newly merged unions said their top issues during the 2006 Legislature will include school worker pay raises and education funding, along with efforts to win collective bargaining rights for child care providers.
"Our members are really excited about the strength and about the numbers they gain through this affiliation," school employees union spokesperson Rick Chisa said.
Adding the school workers brings to about 100,000 the number of workers represented by SEIU in Washington state, union officials said.
That tops the estimated 78,000 teachers and other education workers represented by the Washington Education Association, an affiliate of the National Education Association.
The SEIU has actively recruited new members in recent years in Washington, including a successful drive to unionize some 26,000 in-home health care workers in 2001.
"In terms of the whole question of who's growing and who isn't growing, it adds numbers to their claim that they're a growing union and are becoming a more powerful union," said Peter Kardas, director of the Labor Education and Research Center at The Evergreen State College.
Such recruitment efforts are part of SEIU's participation in the "Change to Win Coalition," a group of leading unions that severed ties with the powerhouse AFL-CIO this summer.
The national rift has cut state-level affiliations between SEIU members and the AFL-CIO's Washington State Labor Council. But leaders from the two factions recently designed ways for local and state organizations to rebuild their ties, and the council hopes SEIU members will return to the fold.
"In terms of volunteers for events or political action, they have always been one of the top unions, so it was a big loss," council spokesperson David Groves said.
Kim Cook, president of the SEIU's Local 925, said the state organization hasn't decided whether to re-establish links with the AFL-CIO.
"Even if we're not in the organization, we share the same goals and values and we're going to be working alongside them," Cook said.
The new affiliation throws into question a long-standing but unofficial "no-raid" agreement between the Public School Employees and the Education Association, which represents about 12,500 of the state's so-called "classified staff."
Charles Hasse, the WEA president, said officials from his union plan to meet with SEIU and Public School Employees officials in Washington, D.C., to discuss such territory issues.
"We do have a solid record of working well with SEIU in Washington state and recognize the value of that," Hasse said.
about-education
about-unions


Fact: the actor Daniel Radcliffe is currently starring in the Broadway show "The Lifespan of a Fact," as a magazine fact checker with an aviation inspector's zeal for accuracy. The play is drawn from a real-life skirmish: in 2005, Jim Fingal, an intern at The Believer, was tasked with fact-checking an essay by John D'Agata (played by Bobby Cannavale), about a teen suicide in Las Vegas. D'Agata had more of a watercolorist's approach to the truth. When Fingal tried to correct his claim that Las Vegas had thirty-four licensed strip clubs—a source indicated that it was thirty-one—D'Agata said that he liked the "rhythm" of thirty-four. Their epistolary tussle was expanded into a book in 2012.
"I'm more nervous about this than I am about going onstage tonight," Radcliffe said.
Canby had to go; he deputized a checker named Parker Henry to supervise Radcliffe. On her computer, they checked a few easy facts from the restaurant's Web site, which indicated that, yes, the brunch menu includes a "bowls" section. Then they ducked into a windowless fact-checking library and dialled Bazdarich.
The actor, who plays Allen Ginsberg in the movie "Kill Your Darlings," sets off on a tour of the late poet's haunts.


text:
Shiftall launches a high end SteamVR headset and an affordable body tracker for VTubers
This includes full-body tracking and controllers that you can flip away from your hands.
Daniel Cooper
·Senior Editor
January 3, 2023, 10:30 p.m. ·2 min read
Andrew Tarantola
Shiftall is a Panasonic company dedicated to building equipment to plunge people deeper into their virtual worlds. That includes the Mutalk (pictured), a mouth-worn Bluetooth microphone designed to prevent your speech from being heard by people in the same room. Here at CES, however, the company has unveiled two new versions of its VR headset as well as some gadgets designed to improve your immersion in the virtual world.
First up, a new version of the MeganeX VR headset, a SteamVR-compatible unit with a 2,560 x 2,560 micro-OLED display. The company says that the screens, combined with Panasonic-branded pancake lenses, offer the "highest level of viewing experience." In addition, the frame is lightweight, and offers six degrees of freedom, as well as enough comfort to ensure it can be worn without fatigue for hours at a time. But you'll also need to cough up if you want to use one, since it'll cost you $1,699 when it launches at some point between March and April.
In addition, the company is showing off two new accessories that'll offer great benefits for the VTubers amongst you. The first is Haritora X Wireless, a full body tracking solution for SteamVR that enables you to have fully controllable torso and legs in a virtual space. The setup uses four bands, one around your chest, hips, knees and ankles, which give your digital avatar the ability to dance and high kick their way around. This is similar to Sony's Mocopi motion-tracking setup which add bands to your wrists, ankles and back and head.
Shiftall
The other new innovation is Flip VR, a hand controller for SteamVR which uses lighthouse tracking to monitor the position of your hands. But, unlike most normal hand controllers, these are held to the hand by a strap across the palm, rather than being gripped. The top plate, where you'll find the joystick and action buttons, can be flipped out of the way to free your hand up for other things. In the demo, a user can stop playing, flip the joystick over to the other side of their hand and drink from a can without having to remove their VR gear, or put it down on the floor.
As for pricing, Haritoria X Wireless will set you back $350, although there's no word yet on when it'll be available either in Japan or Stateside. As for FlipVR, we're waiting to hear back on how much it'll cost, and when we can expect to be able to drink, while in character as a VTuber, without having to drop our controller and ruin the illusion.
KANSAS CITY, Mo. (AP) — The Kansas City Chiefs lost cornerback L'Jarius Sneed to the concussion protocol and versatile linebacker Willie Gay Jr. to a shoulder injury, depriving their defense of two key playmakers in their AFC title game against the Cincinnati Bengals on Sunday night. The Chiefs also lost wide receivers Kadarius Toney to a twisted ankle and Mecole Hardman while getting tackled early in the second half. Fellow while Bengals counterpart Tyler Boyd went down early in the second half
Assist of the Night: Victor Oladipo
Assist of the Night: Victor Oladipo - January 29, 2023
SYDNEY (AP) — Graham Arnold is set to become the first man to lead Australia at successive FIFA World Cups after signing a four-year contract extension as national men's coach which will take him through the 2026 world tournament. Arnold's position was in doubt last year as Australia struggled to qualify for Qatar. He guided Australia to a penalty shoot-out win over Peru which clinched its place at the World Cup, then oversaw Australia's most successful campaign, in which it won two group matche
Ziaire Williams with an alley oop vs the Indiana Pacers
Ziaire Williams (Memphis Grizzlies) with an alley oop vs the Indiana Pacers, 01/29/2023


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text:
#include <linux/init.h>
#include <linux/module.h>
#include <linux/platform_device.h>
#include <linux/w1-gpio.h>

#include "../w1.h"
#include "../w1_int.h"

#include <asm/gpio.h>

static void w1_gpio_write_bit_dir(void *data, u8 bit)
{
	struct w1_gpio_platform_data *pdata = data;

	if (bit)
		gpio_direction_input(pdata->pin);
	else
		gpio_direction_output(pdata->pin, 0);
}

static void w1_gpio_write_bit_val(void *data, u8 bit)
{
	struct w1_gpio_platform_data *pdata = data;

	gpio_set_value(pdata->pin, bit);
}

static u8 w1_gpio_read_bit(void *data)
{
	struct w1_gpio_platform_data *pdata = data;

	return gpio_get_value(pdata->pin) ? 1 : 0;
}

static int __init w1_gpio_probe(struct platform_device *pdev)
{
	struct w1_bus_master *master;
	struct w1_gpio_platform_data *pdata = pdev->dev.platform_data;
	int err;

	if (!pdata)
		return -ENXIO;

	master = kzalloc(sizeof(struct w1_bus_master), GFP_KERNEL);
	if (!master)
		return -ENOMEM;

	err = gpio_request(pdata->pin, "w1");
	if (err)
		goto free_master;

	master->data = pdata;
	master->read_bit = w1_gpio_read_bit;

	if (pdata->is_open_drain) {
		gpio_direction_output(pdata->pin, 1);
		master->write_bit = w1_gpio_write_bit_val;
	} else {
		gpio_direction_input(pdata->pin);
		master->write_bit = w1_gpio_write_bit_dir;
	}

	err = w1_add_master_device(master);
	if (err)
		goto free_gpio;

	if (pdata->enable_external_pullup)
		pdata->enable_external_pullup(1);

	platform_set_drvdata(pdev, master);

	return 0;

 free_gpio:
	gpio_free(pdata->pin);
 free_master:
	kfree(master);

	return err;
}

static int __exit w1_gpio_remove(struct platform_device *pdev)
{
	struct w1_bus_master *master = platform_get_drvdata(pdev);
	struct w1_gpio_platform_data *pdata = pdev->dev.platform_data;

	if (pdata->enable_external_pullup)
		pdata->enable_external_pullup(0);

	w1_remove_master_device(master);
	gpio_free(pdata->pin);
	kfree(master);

	return 0;
}

#ifdef CONFIG_PM

static int w1_gpio_suspend(struct platform_device *pdev, pm_message_t state)
{
	struct w1_gpio_platform_data *pdata = pdev->dev.platform_data;

	if (pdata->enable_external_pullup)
		pdata->enable_external_pullup(0);

	return 0;
}

static int w1_gpio_resume(struct platform_device *pdev)
{
	struct w1_gpio_platform_data *pdata = pdev->dev.platform_data;

	if (pdata->enable_external_pullup)
		pdata->enable_external_pullup(1);

	return 0;
}

#else
#define w1_gpio_suspend	NULL
#define w1_gpio_resume	NULL
#endif

static struct platform_driver w1_gpio_driver = {
	.driver = {
		.name	= "w1-gpio",
		.owner	= THIS_MODULE,
	},
	.remove	= __exit_p(w1_gpio_remove),
	.suspend = w1_gpio_suspend,
	.resume = w1_gpio_resume,
};

static int __init w1_gpio_init(void)
{
	return platform_driver_probe(&w1_gpio_driver, w1_gpio_probe);
}

static void __exit w1_gpio_exit(void)
{
	platform_driver_unregister(&w1_gpio_driver);
}

module_init(w1_gpio_init);
module_exit(w1_gpio_exit);

MODULE_DESCRIPTION("GPIO w1 bus master driver");
MODULE_AUTHOR("Ville Syrjala <syrjala@sci.fi>");
MODULE_LICENSE("GPL");