text:
Creating and Maintaining a Killer OTT App
From sports leagues to broadcasters, cable operators to news outlets, OTT streaming through DTC apps is redefining how brands engage with their audiences and, ultimately, monetize their services. Yet the current landscape for OTT app creation is not only incredibly diverse but is also becoming much harder to navigate.
As the demands of the OTT app market become increasingly complex, what are the best practices brands and services can take when designing and delivering a killer OTT app?
I recently took part in a fantastic panel session as part of the OTT Executive Summit. The lively discussion on the OTT app market included other speakers including HBO veteran Doris Casap, Andrea Clarke (Tubi), Chris Hall (Xumo), and Laura Frankel (Qurate Retail Group). Here are my top takeaways from the event:
Bells and whistles such as interactive graphics and e-commerce widgets have been in apps for years. Yet the essential aspect of any OTT app is still to get people to their content as quickly as possible. Given the huge number of content choices available today, the ability to have an easy, effortless experience is critical. Simplicity can often be the biggest challenge, with the risk that the 'wouldn't it be cool if…' feature can get in the way of the fundamentals of a streaming service.
The sheer number of devices in the market and the difficulty of getting a proper User Interface (UI) and User Experience (UX) on each adds to app complexity. The reality is that creating a frictionless experience on every platform should always come first and foremost. Our engineering teams are dedicated to delivering constant improvements and updates throughout the app's lifecycle, as well as building bells and whistles where they really deliver for the consumer.
Content delivery comes first
By curating and presenting content in a targeted way, apps can significantly boost consumer engagement. 24i's Backstage CMS does just this, allowing 24i customers to create apps that respond to end-users' preferences and profile. Artificial Intelligence (AI) and Machine Learning (ML) can hugely help with personalization and having a point-and-click configuration and UI flexibility is just as important if you want to keep your app's content experience fresh and easy to maintain.
Any modern OTT app must also offer immediate access to personalized and tailored content. In a weather app, for example, consumers expect to see the weather forecast for their current location as soon as they open the app. News services need to show local and relevant stories. Sports apps need to take the consumer directly to content relating to their favorite team or player. This functionality is critical to engagement, and at 24i, we're already coming up with new ways to customize apps based on region, language, and content preference.
Maintaining an OTT app
Building an app is just the start – maintaining it involves an entirely different toolset and skill. Preparing for periods of growth is an important aspect of app maintenance, and OTT services can do this by forecasting and investing in robust backend infrastructure. First-class backend support is crucial to ensuring minimal latency and buffering. Having a 24/7 support team and active app monitoring that is hyper-focused on traffic load and issues within the live environment helps our apps deliver the best possible experience to end users.
A second challenge in maintaining app quality and performance over time is ensuring it continues to run well on a myriad of legacy and new operating systems and devices. At 24i, we have extensive testing labs in our Amsterdam and Brno offices with hundreds of devices to ensure that all of the apps we create are working and functioning efficiently on every screen. To resolve issues before they occur, 24i's next-generation development framework allows services to actively circumvent this fragmentation, relying on our flexible and framework-oriented system to guarantee smooth operation.
What lies ahead for OTT apps?
Creating a frictionless and robust user experience is an ongoing pursuit, and it's something 24i continually invests and innovates around. From advanced search and discovery to enhanced analytics, we're continually advising our customers on how to optimize performance across all platforms.
To stay up-to-date with our latest hints and tips, you can subscribe to our regular email newsletter.
By Linda Abrams, Head of Business Development, North America, 24i


MADISON, Wis. (1/27/16)--Nearly four-dozen credit union professionals (46) earned their Credit Union Development Educator (CUDE) designations last week after completing the National Credit Union Foundation's weeklong training program.
The Credit Union Development Education (DE) Training program, this time around held in Dallas, imbues in participants critical lessons in cooperative principles, the credit union philosophy, and international development issues.
The program features group exercises, field trips, discussions with speakers from throughout the credit union system and a team project that requires participants to propose solutions to problems credit unions grapple with every day.
Credit union growth and awareness.
The foundation also has scheduled an additional 2016 DE Training program for this year in November. The session will take place Nov. 2-9 in Madison, Wis. Registrations will open in the spring.


The official poster for Jigsaw, the eighth film in the Saw franchise from Lionsgate, has been released; and it simply, yet hauntingly states, "Become Jigsaw." The poster, which was premiered by Joblo, can be seen below.
Tobin Bell, Mandela Van Peebles, Laura Vandervoort, Brittany Allen, Callum Keith Rennie, Matt Passmore, Hannah Emily Anderson, Josiah Black, Shaquan Lewis, Michael Boisvert, and James Gomez star. Brothers Peter and Michael Spierig (Daybreakers, Predestination) direct from a script by Josh Stolberg and Pete Goldfiner (Piranha 3D, Piranha 3DD, Sorority Row).


text:
import React from 'react'
import {connect} from 'react-redux'
import { toInitialLoad } from '../../../store/action/ProductAction'

import Header from './Header'
import AddButton from '../product/AddButton'
class DeteilHolder extends React.Component{

	componentDidMount(){
			this.props.onInitialLoad(this.props.match.params.id);
	}
	render(){
		const product = this.props.product;
		return(

{ product.name }

${ product.price.toString() }

									{ product.character }

							<AddButton product = { product }/>

			);
	}
}

export default connect(
		state=>({
			product: state.DeteilReducer
		}),
		dispatch=>({
			onInitialLoad: (id)=>{
				dispatch(toInitialLoad(id));
			}
		})
	)(DeteilHolder);

const style = {
	deteilHolder:{
		border: '1px solid #FE136B',
		width: "100%",
		borderRadius:'10px',
		height: '600px',
	},
	imgPart:{
		height: '350px',
		width: '300px',
		overflow: 'hidden',
		background: 'red',
		marginTop: '20px',
	},
	productImg:{
		height: '350px',
		width: '500px',
		marginLeft: '-100px',
	},
	productInfo:{
		margin: '20px 20px',
		fontSize:'22px',
	}
}

redpajama_set_name: RedPajamaGithub


We need food to live but we need wine to live well. We're not joking, we really do. At The Grey Market, we've built our wine selection around that premise. Our mission was to find those bottles (and cans) made up of equal parts deliciousness and value. It might be a four-pack of rosé for a picnic in the park, a California fruit bomb for a barbecue with close friends, or a more elegant Rhone blend for date night. We've selected only wines that we buy and drink ourselves so that you can have confidence when you walk out our front door, bottle in hand, that you've got something you're really going to like. Stop in and take a look at our little collection of bottles. We think you'll be really happy with the results.


J.D. Power announced the results of its 2018 Initial Quality Study (IQS), stating that new-vehicle quality has improved for the fourth consecutive year—by 4% from 2017—and has reached its best level ever. Initial quality is measured by the number of problems experienced per 100 vehicles (PP100) during the first 90 days of ownership, with a lower score reflecting higher quality.
The Porsche 911 was named the best-performing model in the industry, with the lowest overall problem level (48 PP100) of any model this year. With an impressive 48 PPH, a 23-point improvement relative to 2017, this is the lowest level recorded in this generation of the study (2013-2018).
"There's no question that most automakers are doing a great job of listening to consumers and are producing vehicle quality of the highest caliber," said Dave Sargent, Vice President of Global Automotive at J.D. Power.


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My poem "Three Miracles" in The Penn Review! + no fee call & editor interview, DEADLINE: Feb. 24, 2019
By trishhopkinsonpoet on February 6, 2019 • ( 8 Comments )
I'm honored and so pleased to have my poem "Three Miracles" published in the winter issue of The Penn Review. This poem is the third to be published from a series of personal poems about healing and recovery. In 2015, my son (21 at the time) was in a horrible accident in which he was hit on his bicycle by someone driving a pickup truck in downtown Salt Lake City. He nearly lost his life. Recovery was difficult, but he made it through and I'm grateful every day that he's still here with us. It took me a long time to begin writing about the incident, and I'm hoping to soon have a home for the complete chapbook length collection. You can read the other two published poems from this collection here: Bone Music – Contrary Magazine, Resurrection Party – Tinderbox Poetry Journal.
The Penn Review is among my favorite literary magazines and are known for their fast response time and professional and supportive staff. This issue is packed with a wide variety of poems and prose. Take a look to see what the editors are selecting and send in your best work before the deadline.
For more editor insight, check out this excellent interview with editor Daniel Finkel recently published in The Review Review:
"We Want to Read Stories and Poems that Leave Us Feeling Electric." A Chat with Daniel Finkel, Editor of The Penn Review
The Penn Review was founded in 1966, making it the oldest continuously published literary magazine at the University of Pennsylvania. "Devoted to the literary and visual arts, we publish original poetry, fiction, creative nonfiction, and visual artwork, and feature an innovative blend of emerging and established voices in our biannual publication. Our list of contributors include authors and artists from across the United States and around the globe."
They aim to respond within a couple of days and are listed as one of the fastest poetry markets on Duotrope. If you're a regular submitter, it's always nice to get a response back so quickly, even if it is a rejection.
I wondered how and why this lit mag came to be, so I also asked Editor-in-Chief Daniel Finkel a few questions. See my interview with Finkel and a link to their submission guidelines below.
HOPKINSON: Tell me a little bit about The Penn Review.
FINKEL: We're the University of Pennsylvania's premier literary magazine, specializing in the publication of poetry, fiction, creative nonfiction, and visual art.
HOPKINSON: How/why was The Penn Review originally started?
FINKEL: The Penn Review was founded in 1966 in order to provide a space for the best literary and artistic works of the Penn community. Over the years, we've expanded our original guidelines to include authors and artists from across the United States and around the globe, and up to the present day we have continued to publish a range of emerging and established voices in our biannual issues.
HOPKINSON: What type of work are you looking for?
FINKEL: We're looking for works with sharp edges and evocative language. Send us fiction with strong narrative voices and even stronger characters, creative nonfiction that honestly and eloquently strips all pretenses away, and poetry that uses language with power and precision.
HOPKINSON: What are some of your favorite lit mags/journals?
FINKEL: Right now some of our favorites include The White Review, n+1, McSweeney's Internet Tendency, and Cleaver.
HOPKINSON: Where can folks send submissions?
FINKEL: Our online submission form is accessible at https://www.pennreview.org/submit/
HOPKINSON: If someone has a question, how can they contact you?
FINKEL: By using our contact form (https://www.pennreview.org/contact-us/) or emailing us at pennreview@gmail.com.
Click here for submission guidelines.
SUBMISSION FEE: None
PAYMENT: None
FORMS: poetry, fiction, creative nonfiction, and visual artwork
DUOTROPE: https://duotrope.com/listing/22551
Categories: Call for Submissions, My Poems
Tagged as: "Three Miracles" poem, Daniel Finkel, editor interview, No fee submission call, The Penn Review, The Review Review
PAYING/NO FEE Submission call + editor interview – Into the Void, DEADLINE: March 7, 2019
NO FEE Submission call for visual found poetry – Human/Kind Journal, DEADLINE: Feb 17, 2019
Tammy Green says:
Pingback: Poem Trish Hopkinson In The Penn Review – cherishthelady
Kirby Michael Wright says:
Is this the Pennsylvania Review, out of Un. of Pennsylvania?
trishhopkinsonpoet says:
Yes but the magazine name is The Penn Review.
playpaintpoet says:
Congratulations! Celebrate! Thank you for all you do to show us the doors!

redpajama_set_name: RedPajamaCommonCrawl


Learn all about life in Amsterdam from the point of view of a self-described sarcastic expat. Go beyond the usual cliches about the joys of cycling and consumption of raw herring and bitterballen. Obviously, no blog about this city can possibly not feature articles about cycling, however, here you'll learn about the seven almost deadly sins of Amsterdam cyclists, and all about the kind of people one tends to come across on Amsterdam's bike lanes.
In addition to features about cycling, learn about the common scams often pulled by taxi drivers, many of whom regard tourists and foreigners in general as being a kind of biological ATM, from which they can withdraw vast amounts of money by charging criminally high prices to the unaware.


text:
Q: How do I set up a dynamic character counter for different inputs and textareas on the same page with different max lengths on each one? I have a product page that has multiple text inputs and one textarea input. 3 text inputs have a maxlength of 18, 1 text input has a maxlength of 5, and 1 textarea has a maxlength of 255. How do I set up character counters for each element without writing multiple functions?
I've set up a basic function that changes the character counter html from the value of the .form-input, but obviously that applies it to all the counters. I'm having trouble with specifying it to each individual input and textarea.

    Text Line 1:

Type exactly as you want the text to appear, including upper/lower case.

    <input class="form-input form-input--small" type="text" id="attribute_text_347" name="attribute[347]" maxlength="18">
    Characters Left: 18

$(document).ready(function() {
    let text_max = 18;
    $('.counter').html(text_max);

    $('.text-lines .form-input').keyup(function() {
        let text_length = $('.text-lines .form-input').val().length;
        let text_remaining = text_max - text_length;

        $('.counter').html(text_remaining);
    });
});

I expect each input/textarea's character counter to update while typing in that specific input/texarea.

A: Where you have this:
let text_length = $('.text-lines .form-input').val().length;
let text_remaining = text_max - text_length;

I think what you really want is
let text_length = this.value.length;
let max_length = this.getAttribute("maxlength");
let text_remaining = max_length - text_length;

Don't do another jquery to get the text length, and get the max length attribute for the input element

A: I used Your code to be more functional. Here is an example:
$(document).ready(function() {
  const inputs = $('.form-input');
  inputs.each(function(index, element){
    inputLengthCounter($(element).attr('id'));
  });
});

function inputLengthCounter(input_id) {
  const input = document.getElementById(input_id);
  const text_max = input.maxLength;
  const counter = $(input).next('.characters-left').find('.counter');
  $(counter).html(text_max);

  $(input).keyup(function() {
    let text_length = $(this).val().length;
    let text_remaining = text_max - text_length;

    $(counter).html(text_remaining);
  });
}

https://jsfiddle.net/o20q79n8/
It run function inputLengthCounter for each input that have an id and maxlength attribute.

redpajama_set_name: RedPajamaStackExchange


It can be processed into a wide range of heat insulation materion materials with quite high tensile strengh and toughness.
Graphite crucibles are used in the industrial furnace as the heat insulation. The standard dimensions we could supply are 18",20",22".
Precision Seamless Pipe is a pipe material produced by cold drawn or hot rolled process with high precision and high-quality finish.
Send me the latest Product Alerts on Carbon.


text:
Piovano is an Italian surname. Notable people with the surname include:

 Federica Piovano, Italian golfer
 Luigi Piovano, Italian cellist and conductor
 Mafalda Piovano de Castro, Argentine politician

See also
 Piovani

Italian-language surnames

redpajama_set_name: RedPajamaWikipedia


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text:
Smart. Sharp. Funny. Fearless.
Ignoring Law, Mnuchin Won't Release Trump Taxes To Congress
Congress Corruption Headlines Taxes Wealth
Dan Desai Martin May 6, 2019
On Monday afternoon, Treasury Secretary Steve Mnuchin officially informed Congress that he would not turn over six years of Trump's tax returns — opting to protect Trump's shady finances rather than uphold the rule of law.
"In reliance on the advice of the Department of Justice, I have determined that the Committee's request lacks a legitimate legislative purpose," Mnuchin wrote. After making this determination, Mnuchin then said that the Treasury Department is "not authorized to disclose the requested returns and return information."
Rep. Richard Neal (D-MA), chair of the Ways and Means Committee, sent a letter to the IRS last month demanding six years of Trump's personal and business tax returns. Neal cited a 1920s-era law allowing Congress obtain any person's tax returns from the IRS, so long as the request comes from the chair of either the House Ways and Means Committee or the Senate Finance Committee.
The law is clear, stating, "the Secretary shall furnish such committee with any return or return information specified."
According to legal experts, Mnuchin is breaking the law.
"A reading of the plain language of the tax code indicates that Congress does in fact have the legal authority to request and obtain tax information from any filer, including the president," Jessica Levinson, law professor at Loyola Law School, told Vox in April. "Therefore, if Steven Mnuchin, the secretary of the Treasury, refuses Congress's request, he would be violating the law."
In early April, Mnuchin hinted that he was willing to ignore the law to cover up Trump's possible misdeeds. In an April 10 letter to Neal, Mnuchin said that the request "raises serious issues concerning the constitutional investigative authority, the legitimacy of the asserted legislative purpose and the constitutional rights of American citizens."
Legal scholars disagree with Mnuchin's excuse.
"This is not an issue on which there is any possibility of reasonable disagreement," Daniel Shaviro, a law professor at New York University, told Vox in mid-April. "Any well-informed person who disagrees either that the Ways and Means Committee has an obligation to demand Trump's tax returns as part of fulfilling its oversight duties or that Trump is legally obliged to turn them over is either a partisan hack or contemptuous of the rule of law."
Neal said Monday that he would consult with counsel to determine an appropriate response. It's possible he could issue a subpoena for Trump's taxes, or take Treasury to court in order to force Mnuchin to hand them over.
Trump is the first presidential candidate in decades to refuse to make his tax returns publicly available. When he entered the campaign, Trump promised on multiple occasions to release his taxes. But he lied.
What is Mnuchin helping Trump hide from the public? Possibly a lot.
In congressional testimony, Michael Cohen, Trump's longtime lawyer and "fixer," said Trump regularly lied about his wealth in order to obtain loans. Cohen also said Trump lied about his wealth to avoid paying taxes.
In response to questions from Alexandria Ocasio-Cortez (D-NY), Cohen suggested Congress would need Trump's tax returns to see whether and how often Trump broke the law.
Americans deserve to know this information about Trump — and Congress has the legal authority to find out.
Published with permission of The American Independent.
House Ways and Means Committee
Trump Tax Returns
#EndorseThis: SNL's Elizabeth Warren Runs On 'A Crackpot Idea'
More Than 450 Former Federal Prosecutors See Trump Obstruction Case
Alex Henderson May 6, 2019
About The National Memo
The National Memo is a political newsletter and website that combines the spirit of investigative journalism with new technology and ideas. We cover campaigns, elections, the White House, Congress, and the world with a fresh outlook. Our own journalism — as well as our selections of the smartest stories available every day — reflects a clear and strong perspective, without the kind of propaganda, ultra-partisanship and overwrought ideology that burden so much of our political discourse.
Florida Bar Censures Rep. Gaetz For Witness Intimidation
Dan Desai Martin August 20, 2019
A Fair And Balanced Impeachment Trial
Congress, Editor's Blog, History, Impeachment, Newsletter
GAO Finds Trump Violated Law In Ukraine Scandal
Government, Headlines, Impeachment, Newsletter, Ukraine
GOP Senators Swear To Do 'Impartial Justice'
Congress, Headlines, Impeachment, Newsletter, Republicans
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text:
About The Ob9ja Management
About Ob9ja Management
Click To Read More Info About Ob9ja
www.ob9ja.com
Ob9ja.com. Powered by Blogger.
Kanye West Set To Manage Kim Kardashian's Career
Sunday, February 23, 2014 No comments
A source told RadarOnline.com: "Kanye is now totally in charge of Kim's career and his non-stop wheeling and dealing is leaving Kris out of control.
"Kanye has managed to get Kim to cut her magazine and media appearances by a shocking level and that's going directly against Kris' plan to seize every publicity opportunity offered to her daughters."
The 'New Slaves' hitmaker, who is living with Kris while the couple's new home in Bel Air, California undergoes extensive renovations, is allegedly eager for Kim, 33, to end some of her current contracts so she take on more high-level projects.
The insider said: "His goal is to get people to respect Kim and take her seriously — it's basically the same kind of thing he did when he was launching his rap career after being known primarily as a producer."
The situation is beginning to hurt his relationship with Kris, who refuses to step aside to let him control Kim's career.
The insider said: "He's alienating Kris and that's going to be a long-term problem for him that won't go away.
"Kris loves money, but she can't be bought out of Kim's life no
matter how much Kanye is helping her 'get to the next level,' which are his words exactly."
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text:
Books by David Boyne
I Could Be Wrong, But…
Inside My Three Pound Universe
Lessons From Jack
The Confession Booth (short stories)
What's Love Got To Do With It?
You Must Be Present To Win
by D B | Jan 5, 2022 | Story
In the last hours of a late July day in 1976, Alexander Selkirk walked two miles down the descriptively named Long Hill Road until he came to the town green, a two-acre triangle of land with a scattering of old shade trees. Passing the small black canon, anchored to a...
The Slingshot Effect
by D B | Aug 16, 2021 | Story
The two questions went off in his mind like flash-bang grenades. Even as the questions reverberated, urgent for an answer, he held them in suspension and zig-zagged across four lanes of Los Angeles traffic, down a curving exit ramp, under a yellow traffic light and...
© 2011-2021 David Boyne


Are you taking account of the latest technological developments for strengthening activities in 2015? Agoria ICT is holding a 3D Trend event on 30 March in the Kinepolis cinema in Brussels: it is in the form of a standing buffet complete with demonstrations, followed by two keynote speeches and the showing of the 3D film titled Wolf Totem.
One of the greatest challenges looking at the future will be identifying and benefiting from the disruptive potential of software that is going to affect various industries. The 3D trend is highly appropriate in this respect. But what is 3D, and what are the products, and to what extent is the software a disruptive factor, or even a disruptive technology?
In order to help you find out the answers to these questions, Agoria ICT, in cooperation with Sirris, is holding a Trend & Networking Event focussing on 3D, on 31 March in the Kinepolis cinema in Brussels.
It promises to be an inspirational evening where you will be able to sense and experience 3D, as well as providing you with an opportunity for networking with like-minded people. The standing buffet with 3D interactive demonstrations will be followed by two keynote speeches given by Sirris expert Stijn Lambrechts and Professor Jaques Verly from the University of Liège. The event closes with the showing of 'Wolf Totem', a 3D film by Jean-Jacques Annaud.
Click here for further programme information and registration. Sirris members can count on a substantial discount. Don't delay, because the number of places are limited!


text:
Q: Linq: multiple relationships to same table I have the same problem as this guy:
I have a table that has references my tblstaff table twice for two different people.  Now that I have added this second reference neither of them work.
What is up w/ that?

A: I had to create a function to getStaffbyID and manually call it when I wanted the name instead of the id.
    Dim id As String = 1
    Session("BusinessPlanID") = id

    Dim oLinq As New Linq
    Dim bp As BusinessPlan = oLinq.getBusinessPlanById(id)

    Dim assignedStaff As Staff = oLinq.getStaffById(bp.AssignedStaffID)
    Dim mp As Staff = oLinq.getStaffById(bp.MPStaffID)

    Public Function getBusinessPlanById(ByVal inId As String) As BusinessPlan

        Dim db As New BusinessPlanDataDataContext

        Dim bpItem = (From b In db.BusinessPlans _
                      Select b _
                      Where b.BusinessPlanID = inId).SingleOrDefault

        Return bpItem

    End Function

    'Linq Class --------------------------------------------------------'

    Public Function getStaffById(ByVal inId As String) As Staff

       Dim db As New BusinessPlanDataDataContext

       Dim staffItem = (From s In db.Staffs _
                       Select s _
                       Where s.StaffID = inId).SingleOrDefault

       Return staffItem

    End Function

A: By adding two references you are saying select all rows where the PK = this and the PK = that. Since the Pk is unique that condition will always be false.
I don't know linq really well but in SQL you would reference the table twice and alias it as in
....
FROM
    tblstaff staff1, tblstaff staff2


text:
Koos Formsma (born 1957 in Leeuwarden, Friesland) is a Dutch businessman and former chairman of Dutch football club SC Heerenveen. A former field hockey player from HC Bloemendaal, Formsma became the club's chairman on 1 October 2006 after Riemer van der Velde resigned his 23-year spell at the team. Formsma was also director of the company Regma Nederland, located in Lelystad, which he sold to Canon in 2012.

References

External links

1957 births
Living people
Dutch football chairmen and investors
SC Heerenveen
Dutch businesspeople
Sportspeople from Leeuwarden
HC Bloemendaal players
Dutch male field hockey players


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Round Two: Trying
Trying: Season 1, Episode 2 "The Ex-Girlfriend" (B+)
I wasn't entirely sure whether I needed to continue to watch this show in the middle of the episode when it felt like it might not really be headed anywhere, but by the end, I was more than satisfied with its entertaining dialogue and the relationships it portrays. It really is so much like "Breeders" if its main characters weren't able to have kids, more than happy to share all of their sentiments about the world, harsh as they may be. Not wanting to put their family members down as references wasn't a great start, and debating the best way to gauge how to give charity the right and presentable way was an entertaining concept. Nikki summed it up in a clever way: that this was an aspirational form, not a record of who they are but a picture of who they're going to be. You'd think Nikki would have been furious at Jason for spending the night with his ex-girlfriend, but it was all to get her on his side so that she could provide a reference for them down the line. I knew I recognized Jane from somewhere, and that's because she was played brilliantly by Cush Jumbo from "The Good Wife" and "The Good Fight." Karen's boyfriend Scott really is insufferable, and I love how proud Nikki was of herself when she returned from lecturing him outside the bathroom about how he needs to treat her better and you can't juggle only two things, unaware that he stopped at another table first and didn't hear anything she said. Discovering that they wrote the list of their character faults on the back of the application form was unfortunate, and I imagine we'll be treated to many similar hijinks going forward.
Labels: The Ex-Girlfriend, Trying
What I'm Watching: Upload
What I'm Watching: Hunters
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Pilot Review: Central Park
Pilot Review: Space Force
What I'm Watching: Ramy (Season Premiere)
What I'm Watching: Defending Jacob (Series Finale)
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Take Three: Love Life
Round Two: Love Life
Pilot Review: Love Life
What I'm Watching: Mrs. America (Series Finale)
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What I'm Watching: The Baker and the Beauty
Pilot Review: Barkskins
Round Two: Stargirl
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What I'm Watching: Insecure
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Take Three: I Know This Much Is True
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Round Two: Snowpiercer
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Round Two: The Great
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What I'm Watching: Hollywood
What I'm Watching: Trying
What I'm Watching: Defending Jacob (Penultimate Ep...
What I'm Watching: Homecoming (Season Premiere)
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Pilot Review: Sweet Magnolias
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Pilot Review: Snowpiercer
What I'm Watching: Supergirl (Season Finale)
Round Two: I Know This Much Is True
Pilot Review: Hightown
Take Three: Hollywood
Take Three: Trying
Take Three: Upload
What I'm Watching: Shrill (Season Finale)
What I'm Watching: Dollface (Season Finale)
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Pilot Review: The Great
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Round Two: Hollywood
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Take Three: #blackAF
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There's only one hidden item in the catalog and that's the megaphone and the directors cap as usual. Click on the ghosts flashlight to find it.
I really like this stage play! It's really cool and the music playing in the background makes it better. Do you like the stage play? Tell us what you think about it by leaving a comment below.


ALL THIS WEIGHT LOSS STUFF IS FASCINATING, BUT WHAT'S HAPPENING WITH THE WRITING, HUH? HUH?
The first draft of Ghost Tracks cracked the 45,000 word mark today. To celebrate, here's a short excerpt.
First Karratha writing session achieved. 1000 words on Ghost Tracks. Not a marathon effort by any stretch, but the first new words I've typed in months, so it's a positive start to my new working arrangement. I'm aiming to hit 2000 words a day for the remainder of my time here, so I'm giving myself one week just to get back into the swing of things, and then it'll be head down, bum up and working hard to make this new writing life pay off.
If you're a Patreon patron, this is the work you are supporting. If you're not a Patreon supporter, consider hopping over to my Patreon page and pledging. Apart from helping a fat, middle-aged author attain independence from Der Man, you'll receive a rogue's gallery of writing-related goodies every month.


We present results of two large scale comparative studies of the genomic basis of resistance of Interior spruce to the white pine weevil. Both volume growth, the main objective of the spruce breeding program in British Columbia, and white pine weevil resistance, are examined. "Interior spruce" is a species complex involving mainly Picea glauca (White spruce) but introgressed with P. engelmannii (Englemann spruce), depending upon locality. In the first study, we compared constitutive expression of 17825 genes between 20 resistant and 20 susceptible trees to the weevil; 54 upregulated and 137 downregulated genes were found in resistant phenotypes, with implications discussed in regard to volume growth. In particular, we will be surveying these genes for SNPs that differ between these two classes of trees in the next year. In the second study, we developed a 1536 Illumina SNP chip based upon candidate genes for weevil resistance. In a novel experimental design, we assayed 945 open-pollinated progeny of the Prince George breeding population (176 parents), and 654 open-pollinated progeny of the Prince Rupert breeding population (134 parents); parents were also genotyped. Within each family of 100 progeny, we identified the highest ranked 3 progeny and the lowest ranked 3 progeny, based upon BC Ministry of Forests scores for volume growth and resistance. These were genotyped and used in a novel test analogous to the transmission disequilibrium test to detect both SNP associations and QTLs linked to SNP markers. Discoveries about associations and QTL are discussed, with the added caution about genotyping error. Both studies illustrate how operational tree breeding populations can provide valuable inferences about tree genomics.


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Print made by Georges François Blondel, 1730–ca. 1791, French, after Georges François Blondel, 1730–ca. 1791, French, A View of the Vestibule of St. Peter at Rome, 1765 to 1767, Mezzotint, Yale Center for British Art, Paul Mellon Collection, B1978.43.184
Print made by Georges François Blondel, 1730–ca. 1791, French, A View of the Vestibule of St. Peter at Rome, 1765 to 1767
Print made by Georges François Blondel, 1730–ca. 1791, French
after Georges François Blondel, 1730–ca. 1791, French
A View of the Vestibule of St. Peter at Rome
Sheet: 22 3/8 x 16in. (56.8 x 40.6cm)


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Share this Story: Lawrence Heights shooting victim was at Danzig party, source says
Toronto and GTA
Lawrence Heights shooting victim was at Danzig party, source says
Chris Doucette
Friends of Daniel Davis at the murder scene on Flemington Rd. in Toronto. (Stan Behal/Toronto Sun)
Police cover the body of 27-year-old Daniel Davis Thursday, July 19, 2012, after he was gunned down in the Flemington Road area of Toronto. (Stan Behal/Toronto Sun)
Local MPP Michael Colle talks to neighbours at the scene of the fatal shooting early Thursday, July 19, 2012, in a schoolyard on Flemington Rd. (Stan Behal/Toronto Sun)
Daniel Davis, 27, was shot dead Thursday, July 19, 2012, in a schoolyard on Flemington. (Photo courtesy Toronto Police)
The man slain early Thursday was at the party on Danzig when gunfire erupted killing two people and wounding 23 others, a reliable source says.
And that same source claims the mass shooting — the worst incident of gun violence in the city's history — was definitely gang-related.
"The retaliation has started," crime victim advocate Kemi Omololu-Olunloyo said with conviction just hours after the city's 30th homicide of the year.
Omololu-Olunloyo, who is well connected to Toronto's black community, was told of the stunning turn of events by a family member of someone who was at the party with the 27-year-old found dead in Lawrence Heights Thursday.
Although the victim, known as "Snoop," was gunned down on the opposite side of the city, she is convinced his slaying is connected to the deadly shootout in the city's east end just over 48 hours earlier.
Toronto Police could not immediately confirm or deny that Snoop was at the public housing complex on Danzig Monday.
"We're still trying to identify the victim," Const. Wendy Drummond said.
However, Sun reporter Maryam Shah has confirmed from people at the Flemington Public School murder scene who knew the victim that his name is Daniel Davis and he was also known as Snoop.
But they maintain Snoop was not at the Danzig party.
Omololu-Olunloyo arrived in Toronto in 2007 and quickly became entrenched in the black community and actively involved in trying to rid the city of gun violence.
Despite her good work in the community, she is currently facing deportation "because Canada says Nigeria is no longer dangerous for journalists."
Through social media, where she has a huge following, she has spent years advocating for murder victims and their families, while urging people to break the silence so prevalent after shootings by using Crime Stoppers.
Omololu-Olunloyo has forwarded tips to the police in the past that have directly led to the solving of murders.
On Wednesday, after Clayton Wright, 42, was gunned down in her Jane-Eglinton neighbourhood, she e-mailed Toronto Police Chief Bill Blair and a handful of other officers warning of "imminent threats" to numerous people in Scarborough.
"I've been contacted by four separate people telling me they have been threatened," Omololu-Olunloyo said.
" 'You will be sprayed and rinsed this weekend if you talk to police,' " she said, quoting an e-mail sent to one of those people.
"I will kill your family if you snitch," another person was warned.
Omololu-Olunloyo said one message claimed "we are the new Galloway Boys," which she believes to be an indication the Danzig shooting was gang-related.
The Galloway Boys were virtually dismantled by police with Project Pathfinder in 2007.
But some media reports suggest Monday's mass shooting may have been the result of a power struggle between the few older gang members who remained on the street and new members.
While Omololu-Olunloyo doubts the shooting was an intra-gang battle, she has yet to hear any other street gangs mentioned in the wake of Danzig.
"But it appears the Danzig shooting was social media fuelled," she said.
Omololu-Olunloyo said young black men often post rap videos online these days spouting off against rivals and she believes that is what may have sparked Monday's violence.
"Too often police know exactly who the killers are but they can't make an arrest because witnesses won't talk," she said.
Omololu-Olunloyo urged the many witnesses to the Danzig shooting to use Crime Stoppers and "at least give police a starting point."
Lawrence Heights shooting victim was at Danzig party, source says Back to video


In 1784 Haydn wrote three keyboard sonatas for Princess Marie, the new bride of Prince Nicholas Esterházy, grandson of Haydn's employer Prince Nicholas I. Each is a two- movement work, without a lyrical slow movement, perhaps reflecting the taste of the young Princess for lighter fare.
an emphasis on sprightly dotted rhythms and frequent coy changes in dynamics, indicating clearly that the work was intended for performance on the fortepiano, which had largely replaced the harpsichord by the 1780s.
The female breast is given ample room to heave beneath its stiff lace bodice with the arrival of a restlessly modulating second subject dark with minor-mode colouring and rippling triplet accompaniment. A rich variety of ornamentation in the form of trills and turns maintains a high level of elegance in the melodic flow throughout.
The second movement Allegro di molto strikes a quasi-learned tone with its freely contrapuntal texture of answering phrases and its lively chatter of small leaps in dialogue with smooth runs and churning broken chords, all within the grasp of the delicate hand of a princess. In this movement as well, a minor-mode shadow falls melodramatically over the proceedings, only to be banished by a cheerful reprise of the opening material, tastefully varied at its return.
of E. T. A. Hoffmann was a cross between Nicolò Paganini and Dr. Who, an enigmatic, emotionally volatile figure committed to plumbing the depths of his creative soul.
Schumann's tribute to this symbol of creativity in art, his Kreisleriana of 1838, is as wildly inventive and emotionally unstable as the artistic personality it describes. Each of the eight pieces that make up the work comprises contrasting sections that reflect the split in Schumann's own creative personality, a bipolar duo of mood identities to which he self-consciously gave the names Florestan and Eusebius.
Florestan, Schumann's passionate, action-oriented side, opens the work Äußerst bewegt (extremely agitated) with a torrential outpouring of emotion that only halts when the introspective daydreamer Eusebius takes over with more tranquil lyrical musings. The pairing is reversed in the following movement, Sehr innig und nicht zu rasch (very intimate and not too fast), which begins thoughtfully but is twice interrupted by sections of a much more rambunctious character.
astonishing. Each is a psychologically compelling portrait of a distinct temperamental state, enriched and made whole by embracing its opposite.
Projecting these portraits is no easy task for the pianist as Schumann's writing, especially in slower sections, often features a choir of four fully active voices with melodies as likely to rise up from the bass, or to emerge out of the middle of the keyboard, as to sing out from on top. Indeed, the smooth part-writing and polyphonic texture of many sections points to another prominent feature of Schumann's writing: his great admiration for the music of Johann Sebastian Bach.
Schumann's desire to give a Bachian solidity of structure to his writing is most evident not only in his four-voice harmonization textures, but also in his use of close three-voice stretto in the 5th movement and fugato in the 7th, not to mention the many extended passages based on a single rhythmic pattern in the manner of a Bach prelude.
But most remarkable in this work is the sense of mystery and unease that it radiates as a result of the pervasive use of rhythmic displacement in the bass, where strong notes often fail to coincide with the strong beats of the bar, in imitation of the unregulated movement of tectonic plates of thought and feeling in the mind of the creative artist.
The 12-tone system of composition propagated in the early 20th century by Arnold Schoenberg, and employed by his students Alban Berg and Anton von Webern, presents a daunting challenge for audiences accustomed to listening for tunes to hum in the shower and rhythms to inspire a tapping motion in their footwear. The density of intellectual content of this music is far out of proportion with the ability of even seasoned musicians to perceive its organizing principles on a first listening.
And yet, like modernist works of abstract art that pull in the viewer's attention at a visceral level, 12-tone works such as Webern's Variations Op. 27 can exercise an unexpected fascination that requires no explanation.
is music for listening with an "aural magnifying glass," music of pointillist patterns of sound unconnected to scales or keys, the elegance of which lies in the symmetry of its gestures and balance of its tonal patterning.
The works of Beethoven's late period see him writing with a more relaxed approach to form and a wider sound palette, one that in the case of his piano music reaches out to the extreme ends of the keyboard. This is music of an increasingly personal stamp, wilfully pushing towards new expressive horizons with a confidence that virtually defines this composer's 'brand'.
movements. Movements 1 and 3 are lyrical and reflective, with little by way of strong profiling in either tonality or rhythm. They seem to flow onward at the pace of personal thought and feeling. Movements 2 and 4 are punchier, driven by the momentum of a large-scale formal plan, with a decisive rhythmic edge and clear tonal outlines at the heart of which lies a yearning for the rigour of serious imitative counterpoint.
The work opens with a movement of great gentleness of expression, almost a meditation, full of rippling pulses rather than strong beats. Its exposition goes by in a single page, more a succession of dream states than a delineation of contrasting ideas, and its development merely seems to intensify rather than challenge the prevailing mood.
The second movement is a bold and forthright march with sharply chiselled dotted rhythms peppered with points of imitation (of a kind that may have inspired the fifth movement of Schumann's Kreisleriana) and an even more formally contrapuntal trio.
The slow movement is surprisingly short, more an intermezzo than a formally poised exposition of lyrical thoughts. With an air of improvisation it follows a little melodic turn figure through a series of harmonic adventures culminating in a daydreaming cadenza and a reminiscence of the sonata's opening bars.
an Austrian mountain yodel and a rollicking contradance. Each is presented from the outset with its own imitative echo, preparing us for the full-on fugue that breaks out in the development section. By his use of the extreme low register Beethoven turns the lowest voice in the fugue into a kind of basso buffo from comic opera, humorously out of place in such a learned context.
of music in the 19th century during a period of rising nationalist sentiment in his native Czech homeland. His best-known works are his comic opera The Bartered Bride and the set of six symphonic poems based on themes from Bohemian country life entitled Má Vlast (my homeland).
Smetana was a gifted pianist and composed more for the piano than for any other instrument, with dance music playing an important role in his projection of the Czech national style. His second set of Czech Dances dates from 1879 and are intended to be artful examples of the actual music that might accompany Czech folk dancing.
Medved (The Bear) is a heavily textured stomping piece combining duple and triple metres to paint the lumbering gait of the bear, with a much sweeter middle section that imitates the sounds of the Czech bagpipes.
Hulán (The Lancer) is a slow, tender dance evoking the love of a young girl for her soldier boyfriend. Despite the subdued mood, an underlying current of intense yearning provides the performer with the occasion for flamboyant pianistic display.
Slepička (The Hen) is a vivid portrait of the race of barnyard fowl immortalized by Rameau's La Poule and the animated film Chicken Run. Smetana's hen is a busy creature indeed, with a daily agenda full of strutting, clucking and feathery flapping, all to a polka rhythm occasionally put humorously off-stride by unpredictable changes in metre.
Skočná (Hop Dance) is an exhilarating stomping dance for couples that sees its participants whirling each other ever more frenetically around in circles with a joyous, almost madcap abandon.
Long before Martha Stewart made middle-class home furnishings a "thing," the Biedermeier period (1815-1848) ushered in a bourgeois age of cozy home interiors that celebrated domestic family life and gave music a prominent place within it. Biedermeier Europe enjoyed the blessings of peace after the defeat of Napoleon in 1815 much as the Eisenhower era did in North America after WWII. But instead of washers, dryers, and TV sets, the European 'mod con' most in demand was the piano, an instrument that afforded middle-class families the luxury of home music-making once reserved for the wealthier classes.
As a consequence, the market for Hausmusik (music for amateur performance by small ensembles in the home) expanded considerably. This market had its peaks of refinement in the works of Schubert and Mendelssohn, and its valleys of vulgarity in the variations and potpourris of lesser composers, as annoyingly popular in Biedermeier drawing rooms as YouTube cat videos on computer screens today.
Robert Schumann, after spending the 1830s composing solo piano music exclusively, made up for lost time at the end of the 1840s with a bumper crop of Hausmusik including his Five Pieces in Popular Style (1849), his only work for cello and piano. The simple "popular style" (Volkston) of these pieces is evident in their simple three-part (A-B-A) form, their strongly profiled melodies with little emphasis on development, and in their prominent use of drone tones in the bass.
Schumann was not engaged in a form of musical "slumming" by evoking the musical idiom of the rural countryside. This was not Dolly Parton arranged for chamber ensemble. For him, the folk music of a nation was emblematic of its very soul, providing a bulwark against the cheapening of musical taste that "fashionable" music threatened to enact on an unschooled public. Hence, the codas of these pieces reveal flashes of sophistication that see them end more artfully than they began.
The first is entitled Vanitas vanitatum (from Ecclesiastes: "Vanity of vanities, all is vanity") and is likely a humorous depiction of the drunken one-legged soldier in Goethe's well-known poem of the same name. It has a heavy peasant swing to it but, like many an engaging tippler, is not without occasional touches of sly whimsy.
The drowsy second piece may make you yawn. Its long-held bass drone foreshadows Brahms' famous lullaby. The third begins with an aura of mystery, its 'sombre waltz' opening yielding to more lyrical effusions remarkable for the high register of the cello in which they are set, and for the use of double stops in 6ths.
The fourth piece alternates between a nostril-expanding march and an equally breast-swelling lyricism while the fifth, the least 'amateur' and most developed of the set, pairs a piano part full of scampering double thirds with a wide-ranging and restless cello line of steely determination and wilful exuberance.
The furrowed brow of care is nowhere to be found in this remarkably sunny and serenely confident sonata from Beethoven's middle period. Composed between 1806 and 1808, it overlaps the composer's work on the Fifth and Sixth Symphonies yet evinces none of the disruptive tumult of the celebrated C minor Symphony nor the wondrous, walk-in-the-woods pictorialism of the Pastorale. It seems perfectly content to live in its own world, a world characterized by an almost Mozartean sense of balance and equilibrium: between formal sections, between instrumental entries, and between the motivic units used to construct each phrase.
Consider the opening. A rhythmically tranquil theme, beginning with a rising 5th, is presented by the solo cello in the manner of a fugue subject, its balanced mix of open and stepwise intervals symmetrically arranged on either side of the home-key note of A. This gesture then finds the perfect continuation of its thoughts in the luxuriantly relaxed and songful reply of the piano that drifts as high in its register as the cello ended low.
The second theme of the movement is similarly tongue-in-groove with the aforementioned, being a mirror image of the opening theme, inverting its rising interval to a pair of falling intervals with the same rhythmic imprint. And throughout it all, cello and piano bask in a honeymoon of mutual admiration and support, even when touring through quite a bit of minor-mode drama and Italian-style pathos in the development section.
The second movement scherzo makes up for the first movement's overall stability of pulse with a serving of jumpy syncopations and offbeat accents, enlivened by a large helping of contrapuntal side-chatter and imitative cross-talk. The two appearances of the movement's much-less-skittish trio provide a measure of relief from the twitching, but in the end, even they get caught up in the general mêlée.
The third movement Adagio cantabile holds more surprises in store, however. Like a marathon runner who smiles at the press at the starting gun and then, after rounding the first turn, takes a cab to the finish line, this movement calls it quits after a mere 18 bars of lyrical reflection, proceeding directly to the last movement.
It's almost as if he wanted to write on one plane and one plane only, that of an allegro mood from beginning to end… to make things all of a piece.
Whatever the reason, the Allegro vivace last movement, in sonata form, is as toe- tapping a finale as could be imagined, its chuckling good humour kept bubbling by an almost constant 8th-note patter in the piano. And because this sonata lives in a thematic hall of mirrors, its main theme is an inversion of the piano's delicious opening phrase in the first movement.
Janáček comes from nowhere and leads to no one. There is simply no music before or after Janáček that sounds like his. His music is infinitely easy to recognize and completely impossible to replicate.
Janáček was fascinated by the study of speech rhythms and his music, while often misty and atmospheric, is strongly imprinted with the rhythm of the human voice. Utterly indifferent to the compositional conventions of his time, he creates his textures out of short bursts of melody that shimmer with sudden changes of modal colouring. These build to powerful emotional climaxes by the repetition of ostinato fragments that rarely seem to start on the strong beats of the bar.
Janáček's Fairy Tale (Pohádka) for cello and piano dates from 1910, and after numerous revisions, reached its final form in 1923. Like much of his instrumental music, this three-movement work is programmatic, loosely based on scenes from The Tale of Tsar Berendyey by the Russian poet Vasily Zhukovsky (1783-1852).
While the story is long and convoluted, the gist is that the handsome young Tsarevitch, Prince Ivan, has had his soul promised to the King of the Underworld, Kashchei, but on mature consideration decides that he would much rather run away with the grumpy King's fetching young daughter, Maria, a decision which leads to an adventure-filled chase over hill and dale until the two lovers finally reach safety and live happily ever after.
Just how Janáček's score relates to the events of the tale is not really clear, but many interpreters see the cello in the role of the young prince, with his signature dotted- rhythm motif announced at the outset, and the piano as Maria. Steven Isserlis offers a very suggestive version of how the music illustrates the story, as follows.
The first movement, he says, opens with the dreamy setting of a magical lake where Ivan and Maria first meet. Enraptured by each other's company, they fall into a love duet, but then big bad Kashchei arrives and they have to escape to the pounding of horses' hooves.
The second movement is full of magic. In a nearby palace Ivan gets a spell put on him so he will fall in love with someone else and in a fit of pique Maria turns into a blue flower, prompting an achingly lyrical outpouring in the middle section. But a magician who does house calls finally releases them both and they rejoice in their good fortune in each other's arms throughout the final movement.
While some people's children are perfectly content to play in the mud for as long as the sun shines each day, taking only small breaks to tip over a vase or torture the household cat, others—the young Richard Strauss comes instantly to mind—prefer to while away their infant hours composing German lieder or small character pieces for piano, commensurate with their limited handspan on the keyboard.
To say that the composer of Til Eulenspiegel and Der Rosenkavalier was a prodigy is to state the obvious. Reportedly able to read musical scores before he could decipher the alphabet, Richard Strauss began his 'mature' period as a composer at an age when most of us were preparing for the high school prom. His Sonata for Cello and Piano Op. 6 was begun when he was only 17 and completed two years later in 1883.
It is a radiantly confident work marked by boundless exuberance, passionate lyrical intensity, and no mean degree of compositional skill, its phrases driven forward with an irresistible harmonic momentum, parcelled out with consummate formal mastery. The cellist encounters a score extending over the entire range of his instrument while any pianist with a hand smaller than a catcher's mitt will need to arpeggiate many of the work's Brahmsian left-hand chords.
The first movement Allegro con brio opens the work with a heroic introduction leading to a first theme of rhapsodic sweep beginning high on the fingerboard over an undulating piano accompaniment, and this is followed by a sombre second theme, just as passionate, rising up from the lowest string. The development section percolates along, bubbling with imitative motivic play, until unable to hold off the urge to burst into a full-on fugato. Call this boy a show-off if you will, but he sure can write imitative counterpoint.
The second movement Andante ma non troppo is a richly hued but dark collection of ruminative melodies over which the lyrical spirit of Mendelssohn hovers benevolently, as it does over the Allegro vivo finale, with its mixture of coy drawing-room coquettishness and scherzo scamper.
Bach composed suites for keyboard, for various solo chamber instruments, and for full orchestra, each comprising a varied and aesthetically balanced collection of dance movements written in the fashionable style of his day. The harmonic task given to each two-section dance is a simple one: to move, in the first part, from the home key to the key of the dominant, five notes up, and then in the second part, to return back to the home key, with each section played twice.
The moderately paced Allemande that opens this suite exudes an air of quiet assurance and harmonious calm. It is the most "conversational" of the movements in the suite, its walking bass supporting two upper voices that circle and twine round each other like two old friends who complete each other's sentences. Beginning unusually low, the first half moves towards the middle register, while the second half begins correspondingly high and descends to the mid- zone of the keyboard.
In the Courante we move to triple metre, and a livelier pace. The single upper line moves in a continuous stream of running triplets while its jogging partner in the bass skips in time to it below. The stately Sarabande that follows restores a mood of ceremonial propriety as the hands take turns echoing the opening motive, with its characteristic emphasis on the second beat of the bar.
The galanteries, or optional dances that precede the finale, are usually performed in the following order. First is the Gavotte, which in contrast with the smooth running figures of the preceding dance, moves by a succession of little leaps, imitated between the hands. A much longer second Gavotte follows, with an unusually wide variety in phrase lengths, for a dance movement.
The Air features a continuous texture of running notes, with a lively imitative dialogue between the voices in the second half. The Minuet moves in bite-sized two-note groups echoed between the hands, which gives it a sense of courtly daintiness not shared by its rougher country cousin, the Gavotte.
The real toe-tapper comes at the end of the suite in the Gigue, the most emphatic and rousing of all the dance movements. Displaying more leaps than a skateboarder's trick set, this rollicking finale follows traditional Baroque practice of inverting the opening motive at the start of its second half.
compositions, a work that – in its outer movements especially – pushed piano music to new extremes in dynamics, in technical difficulty, and in sheer expressive power.
Beethoven's choice of key, F minor, allowed him to write for the full range of the piano of his day, from its lowest note (F1 in the bass) to its highest (C7 in the treble), both of which appear prominently in the score. Extreme as well is the economy of musical material used. As he was to do in the great C minor Symphony to follow, Beethoven constructs the entire compositional edifice of his first movement out of a small number of primal musical materials, all presented on the first page.
The sonata opens in a conspiratorial whisper, the furtive dotted rhythm of a rising F minor arpeggio finishing in a trill in the upper register, more eerie than decorative. The entire phrase is then repeated a semitone higher, in G-flat, introducing the Neapolitan harmony (on the flattened 2nd degree of the scale) that will haunt the entire movement. Completing the motivic line-up is a short knock-on-the-door motive in the bass, ominously tut-tutting this Neapolitan ascent with a corresponding semitone descent, and suspensefully setting up the explosion of echoing cannon- fire chords that begin the movement's emotional journey in earnest. After a transition section buzzing with repeated notes, a calmer second theme appears in the major mode, but its dotted rhythm and restless triadic roaming show it to be merely the flipside of the first theme, as if Beethoven were playing bad-cop/good-cop with the same thematic material.
There are no formal repeats in this sonata-form drama: the emotional intensity is kept at fever pitch throughout the exploratory modulations of the development and the triumphant recapitulation in the major mode. But this is not the end. As in the C minor Symphony, this first movement is massively end-weighted in an extended coda that reaches its emotional climax in a virtuoso cadenza spluttering with rage and apocalyptic fury. Its pianississimo ending, fluttering with menace into the distance, merely recedes from, rather than resolves, the musical torment burning at its core.
No greater contrast could be imagined than that presented by the second movement, an emotionally stable, harmonically rock-solid set of variations, each with its own repeat. Far from ranging over the full expanse of the keyboard, its solemn melody spans barely a handful of notes in the mid- range. Melodic interest is thus concentrated in the bass line, but as the variations progress, it gradually filters upward into increasingly elaborate patterns of decorative detail in the upper register. Then just as the movement reaches its cadential close, a harmonically destabilizing diminished 7th chord mysteriously steps in to replace the final tonic harmony. Strident repetitions of this chord in a higher register trumpet the breaking news that the last movement is at the gates, set to begin – without a pause.
In this last movement the feverish restlessness of the first movement returns in a moto perpetuo of continuous sixteenth notes, so hell-bent on its mission that its "second theme" is barely distinguishable from the first, merely moved up into the key of the dominant minor, five scale degrees higher. As in the first movement, frequent flecks of Neapolitan harmony add a dark glint to the harmonic mix in both key areas.
Where new motives and punchy countermelodies do emerge is in the development section, which is perhaps why it, along with the recapitulation, is given a repeat. The work ends with a presto coda described as a "demonic czárdás," stomping, skipping and finally racing to its finish in a whirlwind of F-minor broken chords cascading from the top to the bottom of the keyboard.
Two artistic influences flutter over Robert Schumann's second published work, an interconnected cycle of twelve dance pieces appearing in 1831 under the title Papillons (i.e., "Butterflies"). The first is the piano music of Schubert, especially his dance pieces and variations, which intrigued the young composer with their "psychologically unusual connection of ideas." The second is the work of German Romantic novelist Jean Paul Richter, with whose fanciful writings Schumann became utterly besotted in his student years in Leipzig while studying law.
It is, in fact, the scene of the masked ball at the end of Richter's novel Flegeljahre (1804) that provides the dramatic "setting" for the cycle, a scene in which two brothers, in love with the same woman, vie to win her heart amid the gaiety and varied musical offerings of a social evening with dance orchestra.
These brief pieces, most of which are waltzes, manage to fit a maximum of drama within their diminutive formal frames. Eyebrow-raising is the occasional use of the minor mode in this collection of generally festive dances, as well as the frequent presence of two wildly contrasting moods within the same piece – features which hint at the testosterone- soaked rivalry between the two brothers. Noteworthy as well is how the personalities of the rival brothers in Richter's novel – one dreamy-eyed and introspective, the other passionate and action-oriented – parallel the two alter-egos that Schumann was to develop for his own split musical personality: Eusebius and Florestan.
Most clearly narrative is the final dance in the set, which opens with a quotation of the Grossvatertanz (Grandfather's Dance), a centuries-old tune traditionally played at the end of wedding celebrations. Against the backdrop of this tune, Schumann recalls the opening waltz as the clock tolls repeatedly to signal the end of the ball. The final cadence features a dominant 7th chord that is peeled up from the bottom to leave only its top note sounding, before the final chord brings a quiet close to this kaleidoscopic evening of musical nostalgia.
The nocturne, popularized in the early 19th century by the Irish pianist John Field, became in the hands of Chopin one of the most characteristic genres of the Romantic era. Typically featuring an Italianate cantabile melody over an arpeggiated accompaniment of widely spaced chords in the left hand, it sought to evoke a dreamy nighttime mood through its slow harmonic rhythm and the atmospheric use of pedaling effects over recurring drone tones.
This nocturne, one of the last published by Chopin during his lifetime, seeks the same goal, but by different means. More contrapuntal in texture, it features a harmonically active bass supporting a vocal line that unfolds in an even flow of eighth notes, with overlapping phrases that avoid clear and unambiguous cadences in pursuit of the Romantic ideal of the "endless melody".
Its middle section grandly widens the range between melody and bass while venturing further afield in its modulations before returning to the opening material, thrillingly ornamented with chains of trills and melodic filigree. A longish coda features orientally-tinged scalar elaborations ranging widely over the keyboard which lend end-weighting to the work as a whole.
It is easy to imagine why the Étude in A flat, Op. 25, No. 1 is known as the "Aeolian Harp". Beneath a steady pulse of melody notes, many of them repeated on the same pitch, strums a swirling, rippling accompaniment that challenges the pianist to split his hands conceptually in two between a melody or bass-note finger (the pinkie) and the fingers playing the accompaniment (all the rest). Particularly perilous are the exhilarating leaps – in opposite directions! – at the emotional climax of the piece.
attached, like a barnacle, a chromatic inflection a semitone away that makes it walk like it has a stone in its shoe. Its contrasting middle section in the major mode – as poised and elegant as the opening section is grotesquely limping and ungainly – is richly carpeted with a harmonically full, rolling texture that allows the left hand to sing out a simple but engaging baritone melody of small range and modest harmonic goals.
The Étude in C# minor, Op. 10, No. 4, a fiery and aggressive moto perpetuo of small running figures that change hands every few bars, is one of the longest of the Études. Bristling with chromatic inflections and peppered with sforzando accents, it makes the arrival of a stable key centre a major event on the last page of the score.
The scherzi of Chopin have little of the tripping, skipping, good-humoured jesting of the genre created by Beethoven, and only the last of them, the Scherzo in E major, Op. 54, displays any of the mischievous scamper and effervescent buoyancy of the models offered by Chopin's contemporary, Mendelssohn. Rather, these are big-boned works, projecting pianistic power and lyrical intensity with a directness and confidence very much at odds with the popular image of Chopin as the delicate performer of perfumed salon pieces.
What links them, perhaps, to their forebears is not only a broadly conceived ternary (A-B-A) form, but also a certain mercurial volatility of mood and a desire to entertain wildly contrasting emotions not just between sections, but within them.
The Scherzo in B flat minor, composed in 1837, is a perfect example. It opens with a dramatic exchange between a whimpering triplet figure and an explosive salvo of raw piano resonance, only to be followed by an ecstatic exclamation arriving from the extreme ends of the keyboard, which then in turn morphs into a yearning, long-lined lyrical melody singing out over a sonorously rippling accompaniment in the left hand.
The middle section begins in a mood of quiet elegy, but gradually is persuaded to emerge from its introspection into a lilting three-step waltz, accompanied at every turn by an attentive little duplet-triplet figure in the alto. It is this coy little waltz tune that will build up in urgency and sonority sufficient to motivate the return of the dramatic musical gestures that opened the work. A coda pulls and tears at this material to lead it to a triumphant conclusion in D flat major, the key to which it had always been drawn throughout its course.
Hugo Wolf may well be the only major composer who is remembered today for his songs alone. If it was Schubert who put the Lied on the musical map, it was Wolf who epitomized this genre to the exclusion of almost everything else. In his musical depictions of poets' words, Wolf has few equals and no superiors. Accents, pauses, harmonic twists, modulations, textures and figurations all play a role in illuminating the text, in both the vocal and the piano writing. The Michelangelo Lieder were Wolf's last songs, written in March of 1897 as he was approaching the onset of dementia from the syphilitic infection that later killed him. In their bare harmony, declamatory style and absence of melodic lines, these songs show the composer's single-minded intent to concentrate on the essence of the words to the exclusion of all else. The texts are three sonnets (in Walter Robert-Tornow's German translation) of the famous painter, sculptor and architect Michelangelo Buonarroti (1475-1564), written when he was an old man reflecting pessimistically on life. In the first, the poet thinks back to the days when he was young and unknown. The second is an observation on the ephemeral nature of all earthly things, and the third a memory of lost love.
Although Robert Schumann wrote less than half as many songs as Schubert, his achievement is hardly less impressive, for most of them were composed in a single year, 1840, the year of his marriage to Clara Wieck. Schumann's wedding present to Clara was the collection of 26 songs entitled Myrthen (myrtles, the flowers traditionally associated with weddings). No. 15 of this collection is the strangely despondent "Aus den hebräischen Gesängen" (From Hebrew Melodies), set to words by Lord Byron in German translation. Muttertraum" (Mother's Dream), set to words of Hans Christian Andersen, paints a consoling picture of a mother gazing fondly at her infant son while outside ravens lurk. They look forward to feasting on his corpse hanging from the gallows, as they know the child will grow up to be a criminal. Gruesome imagery is found also in Der "Schatzgräber" (The Treasure-seeker), a magnificent and graphically realistic setting of Joseph von Eichendorff's morality tale of a man obsessively seeking buried treasure and finally being buried himself. A different kind of desperation pervades "Melancholie," a song of unrequited love.
The three songs of Franz Schubert on Eric Owens' recital all deal with epic subjects of classical mythology, carry dark messages, and were composed by a young man still in his early twenties. "Prometheus," with its frequent changes of texture, tempo and mood, and with its essential instrumental component, is more an operatic scene than a mere song. "We may all be made of Promethean clay, but only genius can be fired to produce a work as extraordinary and highly-colored as this," writes pianist Graham Johnson. "Fahrt zum Hades" (Journey to Hades) is another impressive setting, this one to a description of a despairing man's crossing of the River Styx and his last glimpse of earthly beauties. The poem by Schubert's friend Johann Mayrhofer inspired the composer to create what John Reed calls "a dramatic aria of solemn grandeur, tragic in tone and classical in its combination of deep feeling and formal restraint." In "Gruppe aus dem Tartarus" (Scene from Tartarus) we find a viscerally powerful song that none other than Dietrich Fischer-Dieskau claimed can leave a listener "stunned and terrified." Set to a passage from Schiller, its text alone is frightening enough, but underscored by Schubert's chromatic, discordant music, this through-composed song in several linked sections takes on colossal proportions.
The majority of Claude Debussy's 85 known, authenticated songs are early works, composed between 1880 and 1892. So too are the three we hear tonight. "Beau soir" was his second song to be published, yet, as Barbara Meister notes, "it is already the work of a master. From the very first measure one is intrigued by the rhythmic pattern …" There are numerous harmonic felicities as well. Despite the song's title (Beautiful evening), the message of Paul Bourget's poem is that happiness turns to sorrow, life leads to death. "Fleur des blés (Wheat flower) immediately followed "Beau soir," but whereas in the earlier song the piano had essentially an accompanying role, now it is nearly an equal partner with the voice. André Girod's poem invites images of pastoral loveliness, which are compared to features of the poet's beloved. "L'Âme evaporée (The evanescent soul), another Bourget setting, is the first of two Romances published in 1891. Meister calls it "really a perfect duet for the two performers." For the most part each has his or her own part, but at the song's climax their lines join.
Cervantes' picaresque novel Don Quixote, which recounts the adventures of the legendary "knight of the sorrowful countenance," has inspired no end of musical compositions. Maurice Ravel's contribution to this literature took the form of three short songs that Don Quixote addresses in homage to his ladylove Dulcinea. Composed in 1932, it was his last work. Ravel had already proven himself a master at composing music to Spanish subjects (L'heure espagnole, Rapsodie espagnole, Boléro, Alborada del gracioso). The first song is a highly fanciful Chanson romanesque, in which Don Quixote offers to fulfill whatever whimsical requests Dulcinea may present. It is set to the meter of the Spanish guajira, which alternates between 6/8 and 3/4. The second is a prayer at the shrine of the Madonna, set to the 5/4 meter of the Basque zortzico. Finally comes a drinking song in the manner of an Aragonese jota. The first performance was given by baritone Martial Singher in Paris on December 1, 1934.
During his Paris sojourn of 1839-1841, Richard Wagner composed half a dozen songs to French texts as part of his effort to become better known there. He hoped the popular singers of the day would add them to their repertories, but, as musicologist Werner Breig informs us, "the songs did not meet with much success at the time, perhaps because they were too complicated for the function they were supposed to serve." For "Les deux Grenadiers," Wagner used a translation by François Adolphe Loeve-Veimar of Heinrich Heine's original ballad in German. Two of Napoleon's troops are en route home from the disastrous Russian campaign. They mourn the capture of their beloved Emperor. One wants only to get back to his family, the other wishes for the comfort of the grave on French soil. To the sounds of the Marseillaise, the latter imagines his heroic deeds in defense of Napoleon.
The German Lied was born into quite special circumstances. The composer found himself creating something with no pre-existing format, which in practical performance terms was restricted to a quite intimate situation, which will later become the famous Schubertiade. That means it had a more social than an artistic significance.
I mostly perform German language songs, and in doing so have developed an idea of combining the expression of pronounced text and sung music into a personal, meaningful sound.
Schubert, Schumann and Mahler – all three in general for their faithful way of combining music and text in an authentic synthesis – all of them in a personal way.
Schubert was not only the great founder of the Lied as a musical category. He displayed in his large oeuvre an immense variety of micro-styles, all deriving from a true and honest attempt to execute the intuition that Schubert seems to have derived from reading a poem. A very special miracle that I notice constantly throughout his multi-faceted oeuvre is that Schubert treats very good poems with the greatest distinction and delicacy. He does not seem to add too much new or of his own to a perfect poem. On the other hand, he really seems to be able to ennoble weak poems, of which he set not a few.
Schumann is my personal favourite (not only as a song composer). Performing his works I like especially his trend-setting innovation of giving at least equal weight to the piano part. I also admire, as I do with Hugo Wolf, his highly delicate and quality-conscious selection of texts. I admire and feel touched by his radical artistic genius.
Fischer-Dieskau's method was, first of all, to take the composer's intentions seriously. He dispensed, for example, with the tendency to select particular pieces from an entire song-cycle. Secondly, he sang this literature with a well-known, superb technique that combined perfect pronunciation with a helpful, bright voice-colour.
[Of course,] Dietrich Fischer-Dieskau. There was another Lieder singer. His work and not only for me, is a true, dear treasure. Fritz Wunderlich was a wonderful singer. He was and is an inspiration for singers many and varied. His timbre is a perfect example of how much imagination and will are sable to influence the quality and aesthetic value of singing.


You might not think doing laundry is such a big deal, but to some of the boys on these trips...it's a first. Our trips are usually 12-14 days long and that means a trip to a laundromat. So taking care of their clean clothes when they come out of the washer and dryer is something more than just mundane...it's a life lesson. And over the years I suppose I've helped kids wash clothes for their first time in a dozen states and three or four foreign countries.
These scene is from a laundromat in Estes Park, Colorado.


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Home › Store › The Thought Of The Evangelical Leaders
The Thought Of The Evangelical Leaders
Notes of the Discussions of The Electic Society London During the Years 1798 - 1814
J. H. Pratt
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The Eclectic Society was formed in 1783 by John Newton, Richard Cecil, Henry Foster and Eli Bates, and held its first meeting at the Castle and Falcon Inn, Aldersgate Street (where both the London Missionary Society and the Church Missionary Society were later formed). Its aim was to provide fellowship for ministers of the gospel in particular, and to encourage biblical and experimental Christianity. The Society increased in size, and meetings were held fortnightly in the vestry of Cecil's church, St. John's, Bedford Row, and included several laymen and nonconformist ministers. Besides the illustrious founders, such influential evangelicals as Thomas Scott, author of the famous Bible commentary, and Charles Simeon of Cambridge were also members.
The questions proposed and discussed by the Society covered a wide range of themes, including biblical exegesis and application, ministerial duties, events of national significance, and general matters of theological and ecclesiastical importance linked with the cause of the gospel. Nore were the meetings simply 'talk-shops'. From them came the Church Missionary Society, The Christian Observer magazine, and the untold intangible benefits to the congregations whose pastors enjoyed the sharpening of their minds and the quickening of their spirits at the Society.
The republication of these Notes is not due to their antiquarian interest, but their rare spiritual value. They suggest questions to which every thinking Christian should give attention; they indicate the lines along which biblical answers will proceed. Ministers will find themselves drawn into the fellowship of the minds of these spiritual masters and receive stimulus for preaching and pastoral counselling. There is help here to strengthen grace in every believer.
Notes of Discussions at The Meetings of The Eclectic Society
Notes of Discussions in 1798 3
Notes of Discussions in 1799 90
Notes of Discussions in 1800 152
Resigning Letter (1815) 528
List of Society Speakers 529
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The Invitation System
Notes of the Discussions of the Eclectic Society (John Newton and Anglican Evangelicals), London, during the years 1798–1814. 552pp.
Knowing the Times
Addresses Delivered on Various Occasions 1942 - 1977
by D. Martyn Lloyd-Jones
Concerning the True Care of Souls
by Martin Bucer


text:
Approaches: An Interdisciplinary Journal of Music Therapy | Approaches: Ένα Διεπιστημονικό Περιοδικό Μουσικοθεραπείας | ISSN: 2459-3338
Volume 12 (2) 2020
Scope and vision
10th Anniversary (2009-2019)
Archive of Special Issues
Referencing style
Music therapy in the Occupied Palestinian Territories: An overview and some perspectives on dementia and end-of-life care — Buran Saada & Elizabeth Coombes
Approaches > Music therapy in the Occupied Palestinian Territories: An overview and some perspectives on dementia and end-of-life care — Buran Saada & Elizabeth Coombes
Special feature | Music therapy in dementia and end-of-life care: Mediterranean perspectives
Volume 12 (2) 2020 – Report (first published on 2 June 2020)
Full text [PDF]
Music therapy in the Occupied Palestinian Territories: An overview and some perspectives on dementia and end-of-life care
Buran Saada
Independent scholar, Occupied Palestinian Territories
Elizabeth Coombes
University of South Wales, UK
This report discusses the practice of music therapy in the Occupied Palestinian Territories (OPT), with a focus on the field of dementia and end-of-life care. It reviews music therapy in general in this part of the world, and also explores the extent to which music therapy is implemented and made available to the general public. Matters relating to access to music therapy trainings are also examined. The impact of culture and lack of trained music therapists in the OPT mean that at present, music therapy work in general is limited. The report concludes by offering glimpses into current initiatives and potential developments for the profession.
music therapy, Occupied Palestinian Territories (OTP), dementia end-of-life care
Buran Saada, MA, is a Palestinian music therapist who received her training at the David Yellin College. She is also a professional singer. She works primarily with children with special needs but has also worked on projects with women with breast cancer and young people who have spent time in prison. Buran has also carried out therapeutic music skill-sharing projects for teachers and healthcare professionals in the Occupied Palestinian Territories. [burans.saada@gmail.com] Elizabeth Coombes, MA, FHEA, FAMI, BMus (Lond), is a registered music therapist (HCPC), course leader of the MA Music Therapy course at the University of South Wales, Newport and musician. Since qualifying in 2000, Elizabeth has specialised in working with children and young people with emotional and behavioural difficulties. She has worked on therapeutic music skill-sharing projects in the Occupied Palestinian Territories since 2009, and has also undertaken such work in the UK. She has a particular interest in how sharing these skills with non-musicians such as teachers, social workers and carers can enrich their professional practice. She has recently completed a research project in the field of music therapy and neonatal care as part of her PhD at the University of South Wales. [elizabeth.coombes@southwales.ac.uk]
Approaches: An Interdisciplinary Journal of Music Therapy | Approaches: Ένα Διεπιστημονικό Περιοδικό Μουσικοθεραπείας © 2020 | ISSN: 2459-3338 | All Rights Reserved