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Posts Tagged 'René Pape'
Anne Schwanewilms, Barbara Frey, Christian Thielemann, Evelyn Herlitzius, Nadja Mchantaf, René Pape, Staatskapelle Dresden, Waltraud Meier
Women on the verge.
In Classical Music, Opera, Review, Richard Strauss on February 2, 2014 at 5:30 pm
Review – Elektra (Semperoper, Dresden, Friday 31January 2014)
Elektra – Evelyn Herlitzius
Chrysothemis – Anne Schwanewilms
Klytämnestra – Waltraud Meier
Orest – René Pape
Aegisth – Frank van Aken
Companion of Orest – Peter Lobert
The Maids – Constance Heller, Gala El Hadidi, Simone Schröder, Rachel Willis-Sørensen, Nadja Mchantaf
The Overseer – Nadine Secunde
Young Servant – Simeon Esper
Old Servant – Peter Lobert
Director – Barbara Frey
Bühnenbild – Muriel Gerstner
Costumes – Bettina Walter
Lighting – Gérard Cleven
Dramaturgy – Micaela v. Marcard
Sächsischer Staatsopernchor Dresden
Sächsischer Staatskapelle Dresden
Christian Thielemann (Conductor)
If the rest of Richard Strauss' 150th anniversary maintains the standard of Semperoper's Elektra, then 2014 will be more than a memorable year.
It will be a fitting homage.
The singing, the playing and – for me at least – the production came together almost perfectly.
In terms of the singing, if there was ever an opera equivalent of Fantasy Football League (please can someone invent it) then this cast was a 'dream team'.
Is there a soprano on stage today who is a more convincing Elektra than Evelyn Herlitzius?
In compete command of her vocal technique, her rigorously disciplined instrument permitted her to take vocal risks that, combined with some finely tuned acting, made her characterisation so visceral. Yet at the same time she balanced it with an innate and musically intelligent sense of shade and colour. I don't think I've heard the Recognition scene sung with such emotional and musical inteliigence, both Herlitzius and Pape completely committed to and immersed in that wonderful moment.
Therefore I find it incredible that we haven't seen Ms Herlitzius in London. But then the same can be said of Ms Pieczonka in our capital and not forgetting that Anne Schwanewilms has only recently made her debut at the Met.
Such a towering performance from so physically slight a singer could not but cast a shadow on the other members of the cast.
But only slightly.
Anne Schwanewilms' Chrysothemis contained all the trademark intelligence and eloquence that this soprano brings to Strauss. Her bright, piercing soprano for the most part sailed over the orchestra and as with her troubled sister, Schwanewilms is an instinctive actress. She portrayed both the often-missed vulnerability of this character as well as her exasperation and desperation. Her final return to the stage dressed as the never-to-bride, even at that moment conveying the forlorn hope that she might marry even after the double murder, and punctuated with the most heartrending calls for her brother will remain with me for a long time.
Who doesn't admire and love Waltraud Maier both as singer and actress? Just as her Waltraute for Barenboim, Ms Meier's Queen demonstrated that this soprano is a seasoned veteran who brings a real intellectual depth as well as formidable interpretive skills to any character she portrays.
Onto this Klytämnestra, Maier overlaid a real sense of fragility onto the more expected paranoia. Her scene with her daughter not only laid bare these feelings as well as her wariness and fear of Elektra, but also the unbreakable Mother-Daughter bond not often seen in productions. Just before the scene ended there was an unexpected moment of tenderness between the two that made Klytämnestra's final exit, clearly accepting her fate as foreseen by her own daughter, all the more chilling especially as it was as if she was entering a tomb.
However at points it seemed as if Ms Maier was too immersed in the character. Her projection dimmed to too much of a whisper as if internalising only to herself the emotional journey the queen was going through.
It was also wonderful to hear René Pape in the role of Oreste. His dark timbre was perfect, suitably grave yet burnished and I have to admit in a production of generally small gestures his acting was powerful.
Where other productions of Elektra are often let down, the principals here were brilliantly supported by the rest of the ensemble. If I had to single out one other member of the cast then it would be the Fifth Maid of Nadja Mchantaf. Velvet-toned and even throughout her range she brought a real sense of dimension to this short-lived role and is definitely one to watch.
And in the pit, Christian Thielemann was magnificent, marshalling singers and orchestra with incredible authority and knowledge of the score. I personally think his affinities lie closer to Strauss than Wagner, and last night only confirmed that belief.
From the very first notes, he drew exemplary and confident playing from the orchestra. Where some conductors miss or submerge the detail in the mistaken belief that Elektra should simply assault the eardrums, Thielemann uncovered the lightness amidst the darkness and transparency within Strauss' sometimes 'over-orchestrated' textures. And while he never let us forget that this is the composer's most expressionist work, he celebrated the lyricism imbued both in the soaring melodies and motifs and similarly he was also not above judging when the orchestra – dominating the emotional mood with a motif or theme – rose over the singers.
More so than I've heard in previous productions of Elektra, Thielemann was not scared to allow the music to breathe, unfettering phrases and just as importantly seeking out the silences which are so essential in creating that sense of impending dread far more effectively than a hack and thrash battle through to the end.
It might not have been to everyone's taste but I enjoyed the fresh perspective of Barbara Frey's production, her first for Semperoper.
Let's not forget that Elektra – both for Hofmannsthal and originally for Euripides – is ultimately a family tragedy. This was Frey's focus but she also suggested new perspectives and interpretations.
For this director Klytämnestra may have wielded the axe, but all three women were complicit in Agamemnon's death.
Elektra for example isn't dishevelled and abandoned. Rather, in a dress more suited for an evening of revelry than the mourning weeds she more often dons in productions, she is no outcast.
Chrysothemis' appearance from the very beginning not only reinforces her role as go-between but also voyeur but her final appearance in that extravagant wedding dress again hinted at a more secure position within the household.
And this was was a production of small gestures and actions. It was like watching a slow fuse burn and in some ways reminded me of Almodovar. Small gestures and tics – like Klytämnestra's rubbing of her arm, Chryosthemis raising her arm in despair, the way the Maids hunched protectively together – replaced the histrionics.
And Frey had clearly spent time with the singers. As well as the Mother-Daughter relationship, Frey and the singers also re-examined other pivotal moments.
There was a surprising sexuality to Frey's Elektra. Her flirting with Aegisth for example hinted at something darker in her personality. And as she tried to persuade her sister to commit the murder, in that moment as she caressed Chrysothemis, she morphed into lover and future husband. The look of subsequent horror on Chrysothemis' face isn't only the result of thoughts of matricide but also – perhaps – seeing a side of her sister she wished she hadn't.
The aforementioned Recognition scene was built not only on the singing and orchestral playing under Thielemann, but also the direction on stage. This wasn't an emotional roller coaster or brutal revelation that it sometimes is. After the initial shock Elektra and Orest rediscovered their childhood love. I, for one wasn't jarred by the use of children as their younger selves and the way Herlitzius and Pape acted with one another – ending as it did with their foreheads press together as if accepting their own fates – was beautiful. Orest's seeming reluctance to commit murder was similarly well observed and even Elektra's final 'dance' was more in her own mind's eye than for the audience.
And by keeping all the violence – including the brutal murder of the Fifth Maid – off the stage, Frey force the audience to focus on the main characters as well as the music and thereby distilling the emotions created even further.
Even the set was suggestive. The decorative balcony, the clothes of the main characters were reminiscent of the era of Strauss and Hofmannsthal themselves. Yet it was clearly a home in transition. The hole in the wall where Elektra concealed herself, the spare paneling against the wall and piled on the floor indicated to me the final stages of redecoration. it was as if they were trying remove any evidence of Agamemnon himself but ultimately had failed. For above their heads was the motto Justitia fundamentem regnorum – loosely translated as 'Justice is the foundation of kingship'. An all too ominous aide memoire – none of them could neither escape the murder committed nor, with the accompanying lion's head motif of the house of Atreus above it the spectre of Agamemnon himself.
And while the lighting was for the most part simple there was a single moment of breathtaking beauty – that moment when Orest first appears. Suddenly the house is dark except for a single beam of moonlight cascading into the house from one side which – for whatever reason – reminded me of the light in the Secessionsgebäude in Vienna.
Yet for all this, at no point did the production overpower the music making. Rather it added to the whole as an equal partner.
And it was this equilibrium between all the parts – singers, players, conductor and director – which made this Elektra so magnificent and memorable.
Daniele Gatti, Evgeny Nikitin, François Girard, Jonas Kaufmann, Katarina Dalayman, Peter Mattei, René Pape
Parsing Parsifal
In Classical Music, Opera, Review, Richard Wagner on March 5, 2013 at 6:04 pm
Review – Parsifal (HD Broadcast from the Metropolitan Opera, Saturday 2 March 2013)
Gurnemanz – René Pape
Kundry – Katarina Dalayman
Amfortas – Peter Mattei
Parsifal – Jonas Kaufmann
Klingsor – Evgeny Nikitin
Production – François Girard
Set Designer – Michael Levine
Costume Designer – Thibault Vancraenenbroeck
Lighting Designer – David Finn
Video Designer – Peter Flaherty
Choreographer – Carolyn Choa
Dramaturg – Serge Lamothe
Orchestra & Chorus of the Metropolitan Opera
Conductor – Daniele Gatti
There is no denying the success of the Met's HD Live broadcasts. While it might be bringing new people to the opera, I think that simply being able to make their productions available to the existing global opera audience is significant.
While it can't replace being in the auditorium itself in terms of atmosphere – or for the simple fact that you only see what the director wants you to see through the lens of the camera and very rarely the stage in its entirety – it's a decision that has played out successfully.
This weekend the Met's new production of Parsifal was relayed across the world and Gelb and his team had assembled a starry-cast of eminent Wagnerians and chosen François Girard to direct.
Without a doubt – and despite some dodgy sound quality – the singers to a person, led by maestro Daniele Gatti, sang their roles with great authority and intelligent musicianship.
From the opening notes it was clear that Gatti had a real sense of the opera's architecture, sweep and scale. He drove the music forward inexorably without letting any release from the tension fused to every note. And the Metropolitan Opera orchestra sounded magnificent throughout, the strings have rarely sounded so warm and sonorous (even through the speakers of the Picturehouse where I was sitting) with the brass and wind majestically riding above their colleagues cleanly and clearly.
Of course this was Kaufmann's Parsifal and like his Siegmund in LePage's Ring cycle, it was his Met debut. As I remarked while listening to his recent Wagner recital CD, he is an authoritative singer and clearly one of the – if not the – leading Wagnerian tenors on stage today. And there was no disputing his performance in this production. Well paced, musically it was an incredibly accomplished performance. While I would have perhaps preferred a greater breadth of vocal colour – and perhaps this was lost in transmission – there was no disputing the quality and emotion of his singing, especially in the second and third acts. However – and this is more likely due to the production than Kaufmann himself – I also wanted for stronger characterization of Parsifal as a character. In the interval Girard spoke of Parsifal's spiritual journey, but that didn't seem a consistent theme. While he was significantly short of simply being a cipher, his transition from naïve fool to world-weary knight seemed almost piecemeal. Hopefully in future when this production will undoubtedly return – with or without Kaufmann in the title role – more attention will be focused on Parsifal the character.
The Gurnemanz of René Pape seems to have elicited contrasting opinion. For some he was magnificent both in voice and character, for others while he sounded good he was one-dimensional. There is no doubting the strength and beauty of Pape's singing and while he did sing with authority, I have to admit that his performance was somewhat colourless and at times almost bland. Again, this Gurnemanz seemed almost one-dimensional in terms of the development of the character.
For me one of the stand out performances was Katarina Dalayman's Kundry. Vocally she was superb. Her voice was rich and even throughout its register and she managed the range of emotions with great dexterity, colouring and bending her voice with ease to build possibly one of two of the strongest characterisations o the stage. Particularly moving and convincing was her performance alongside Kaufmann in the Second Act. Even her final redemption although Girard's artistic licence in terms of the Grail's reveal before her death was an emotional focal point.
I still remember Evgeny Nikitn's Telramund in Munich and while his Klingsor was not as powerful, it was still a strong performance. His dark bass was ideally suited to the role and his overall portrayal – while sometime risking stepping over the boundary into caricature – was convincing.
However it was Peter Mattei's pained Amfortas that delivered the most convincing performance – both musically and dramatically. It was an amazing debut performance in this role and was clearly a carefully thought out interpretation. And this was combined with some beautifully nuanced singing.
The single area of disappointment in the musical performance was the off stage chorus. However I put this down to a sound quality problem rather than the singing itself.
As this was part of the HD broadcast before curtain up in the intervals the Met employed a singer to interview the cast, director and conductor. In the past they have used with great success Joyce DiDonato and Deborah Voigt for example. Sadly, on this occasion they used Eric Owens who was either too inexperienced or badly prepared. As well as not always getting his lines right – which you could generously put down to nerves at speaking to a global audience – the questions that I heard him ask were nothing short of disastrous. For example, asking Gatti how he managed to conduct without a score was summarily dismissed by the maestro and his questioning of Peter Mattei did not elicit one answer that made any sense. Only a consummate spin-doctor like Gelb seemed to come off unscathed by Owen's lack of interview prowess.
Clearly, in this role Owens is clearly more Mime than Alberich. A shame.
A great deal was made about how this production of Parsifal was definitely not set in the traditional era of knights and damsels. And of all Wagner's operas Parsifal is the one that presents the greatest challenge to any director.
Parsifal represents the final – and not always happy or balanced – symbiosis of all Wagner's beliefs on religion, mysticism and Buddhism and the various philosophers in one single moment. The opera is about a journey of discovery, suffering and redemption but all too often that journey is centred simply on Parsifal himself and not those around him. Here there seemed to be an even lesser focus on characterization than would be expected.
And an opera brimming with so much inbuilt symbolism requires someone with a clear sense of navigation otherwise not only the narrative but also the meaning can become hazy or even lost.
I enjoyed the excellent Herheim production – sadly only on DVD – and in terms of live performance I have seen both the ENO revival and Covent Garden's production. The latter, directed by Grüber and made memorable for John Tomlinson's Gurnemanz was impressive for its spirit of understatement. More recently, Lehnhoff's production at the Coliseum with its 'after-God' setting managed to convey the themes of redemption, love and hope stripped of their Christian overtones and packed an emotional punch although I personally think the director undermined his own narrative with his ending. Indeed it was interesting to read at the time that it had taken over a decade for some of the original ideas in Lehnhoff's production to finally crystallise.
At times it seemed that Girard's approach to Parsifal – the result of five years work – was a concept rather than an interpretation. His often hinted at something but ultimately his ideas didn't seem to coalesce into anything truly substantial except a series of – at times – visually arresting tableaux.
This was a Parsifal set in no specific time. During the prelude, with its use of a slightly reflective screen, men slowly stripped off coats, shoes and watches as if suggesting that they inhabited a place that did not exist except in the audiences mind. Parsifal was not so subtly spot lit and this scene – as with the rest of the opera – was steeped in Carolyn Choa's distinctive choreography.
As the first act opened we found ourselves in an anonymous landscape, the ground barren with a single rivulet of running water that symbolically turned red with blood. Clearly this was a not so subtle reference to the wound of Christ and for the entire opera the two groups – the men and the women – did not stray across it to their opposing sides.
All the men were in white shirts, the women in veils. The men were the focus of all activity – some of which is slightly trance-like and again indicative of Choa's choreography, with the women more often than not in the background. It is only at the end that the women only lose their veils and mingle with the men.
The suggestion of a cult was strong and made stronger by the use of pseudo-Christian hand gestures throughout. And yet this vocabulary of gestures was never developed or indeed did not return in the final act.
Yet when we do return to this place in the final act, the post-apocalyptic landscape has become even bleaker. There is hint of frost on the ground with graves and overturned chairs and a vertical shaft of light initially marks the return of the Spear before Parsifal appears over the ridge.
Setting the first and final acts in such a barren landscape requires a clear narrative, sense of direction and management of the use of symbolism. None were much in evidence in Girard's production. Even the principals – bar Mattei – seemed to lack anything more than a rudimentary sense of characterization through stock poses and gestures and had it not been for the intensity of the music making there would have been a real risk of dramatic inertia.
Even Girard's Parsifal stood out simply because of his costume and there only seemed a basic attempt to portray any sense of either innocence or the fool. For example, peering over the shoulders of the men as Amfortas revealed the Grail seemed not only weak but also insignificant. And in the final act he returns a broken man who miraculously revives to become king. There was no sense of the fragility or even spirituality in this hero.
Klingsor's kingdom in the second act was in stark contrast to the first. Set, it seemed, in some kind of hell complete with a sea of blood and white-smocked damsels, Nikitin's Klingsor looked as if he had had a bad fall. The pincushion effect of numerous Spears seemed a contradiction to the idea of a single weapon and there was less a sense of sensuality and danger than inspiration drawn from Hammer Horror movies. The entire act was saved only by Dalayman's and Kaufmann's singing and indeed the mannered choreography of the denouement seemed like a missed opportunity and somewhat of an anti-climax.
Throughout the opera the backdrop was constantly moving with digital imagery. There were the ubiquitous clouds in various formations, images suggestive of a more 'cosmic' – clearly meant to infer 'buddhist' iconography in some way -and ultimately what I could only reason to be an orange planet. In many ways, the videography – whether intentional or not – reminded me of Lars von Trier's Melancolia with its own use of Wagner's music. The background images simply didn't marry convincingly with the narrative that Girard was attempting to create in the foreground.
Therefore for me at least none of Girard's ideas – visual or physical – created a cohesive whole or sense of direction. Even the ending, with the simplest symbolism of clouds separating to reveal sunlight on a blemished land failed to convince.
Indeed it seemed that the journey referred to by Girard and others in their interviews was at best more a physical – almost simply a cross-stage journey – than either a spiritual or temporal one.
I have to admit that perhaps the overall scale of Girard's production might have been lost in the cinema where – as I have said – you only see ever really see part of the entire production. However you have to believe that Girard used the camera to focus on those elements that would bring sense to his interpretation. I never go that feeling I am afraid.
Yet I was left with a sense that somewhere inside that production was an idea worth developing and I can only hope that successive revivals will work to refine and distil what Girard was trying to say.
Yet strangely unsatisfying as the Met's new production of Parsifal was to watch, there was no denying the overall impact musically of Gatti and his singers.
Wagner's final work – his Bühnenweihfestspiel – is meant to be a challenge. However it is made harder to contemplate and reflect on if the substance of the direction is as diffused and unclear as the sky often was above it.


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Mercedes Milligan
Method Studios combined efforts of three of its locations—Los Angeles, Vancouver and London—to complete a total of 398 shots for, and was the main visual effects vender on, Warner Bros.' Cloud Atlas. The film, directed by Lana Wachowski, Tom Tykwer and Andy Wachowski, explores how the actions of individuals impact the lives of others in the past, present and future. Dan Glass, Method's chief creative officer, and Stephane Ceretti of the London studio were overall vfx supervisors for the production, overseeing 11 vendors in addition to the Method crews.
"We made the most of Method's international network and shared shots across our three locations which were split up by key sequences," says Ceretti. "Method Studios in London contributed concept design work for the movie's art department as well as finished matte paintings for several environments including the 'destroyed city' scenes within the film. The Los Angeles and Vancouver locations created numerous environmental sequences, and their CG models and motion graphics assets were shared internally and also passed on to other vendors such as ILM and Scanline."
The Method L.A. team was responsible for creating the fully CG establishing shots of the futuristic city Neo Seoul, along with dynamic flight and escape sequences. They also created CG vehicles and digital facial makeup re-touching work on Chang (played by Jim Sturgess, who is made to look Asian in the film). LA vfx supervisor for Method adds the team added to the creative direction in designing skiffs, gunships, ray gun blasts, the water-like energy field of the transway and the architecture of the city.
Geoffrey Hancock and Olivier Dumont supervised the vfx work at the Vancouver studio, which included creation of over 100 3D buildings for Neo Seoul. These elements were shared among the Method Studios network and appear in a number of scenes. Additionally, Method Design created the animated main title typography, along with a number of motion graphics elements used throughout the film including the heads-up displays for the vehicles and weaponry plus the touch-controlled Orison displays.
"This was a hugely intricate film and our Method crews created beautiful work while collaborating seamlessly together over three countries," adds Glass. "The project was unique from the outset and while drawn to it creatively, the complexity of fitting the pieces of the story together went well beyond the narrative structure. It proved to be a worthy challenge for all involved and we couldn't have pulled it off without the great talent of our own Method team and that of all our vendors across the globe."
Related Topics:Andy Wachowski, Cloud Atlas, Dan Glass, Geoffrey Hancock, ILM, Jim Sturgess, Lana Wachowski, Method Studios, Olivier Dumont, Scanline, Stephane Ceretti, Tom Tykwer, Warner Bros.
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redpajama_set_name: RedPajamaCommonCrawl


The overall rating for Generations at Applewood is much below average. The facility received one star out of five for its overall rating. Generations at Applewood is located in Matteson, Illinois, a southern suburb to the City of Chicago lying approximately 32.7 miles from the center of the City of Chicago. Generations at Applewood has 115 certified beds that participates in both Medicare and Medicaid. The facility is not within a Continuing Care Retirement Community. That being the case, this nursing facility allows residents to move from one level of care to another based on their particular medical needs while staying in the same continuing care retirement community.
Generations at Applewood has a resident council only. Resident and family councils can facilitate communications with staff and personnel of the nursing home facility. The law requires nursing homes to allow councils to be set up by residents, families and loved ones. If a nursing home does not having a resident and/or family council, a resident, family member or loved one should ask the nursing home administrator why that is the case. In situations of omissions or commissions by nursing home personnel, a resident should ask a council president for assistance. The ownership of Generations at Applewood is a for profit partnership.
The Illinois Department of Health and Human Services regularly inspects Illinois nursing homes on average every 18 months. The most recent standard health inspection with a full report was completed on May 26, 2017 resulting in 8 health citations. The average number of health citations in Illinois is 9.1. The average number of health citations in the U.S. is 7.2. In addition to the regular and standard health inspections, nursing homes are subject to complaint inspections. Between December 1, 2016 and November 30, 2017, there were two such complaint inspections at Generations at Applewood. The number of complaints in the past three years that resulted in citations were 19 at Generations at Applewood. The number of times in the past three years the facility-reported issue resulted in a citation was three times. The health inspection rating for Generations at Applewood is below average.
The total number of licensed nurse staff hours per resident per day at Generations at Applewood is 1 hour and 9 minutes. The Illinois average is 1 hour and 33 minutes, with the national average being 1 hour and 41 minutes for the total number of licensed nurse staff hours per resident per day. The registered nurse hours per resident per day for Generations at Applewood is 33 minutes which is significantly below the Illinois and national averages which stand at 56 minutes and 50 minutes, respectively. The physical therapy staff hours per resident per day at Generations at Applewood is 8 minutes. Both the Illinois and national averages in this category are 6 minutes.
The quality of resident care at Generations at Applewood is much below average. Medicare assigns the star rating based on data from a select set of clinical measures. The more stars a nursing home facility receives, the better quality of care. For Generations at Applewood receiving one star out of five is considered much below average.
31.2% of Generations at Applewood's short-stay residents improved in their ability to move around on their own. That percentage is less than half of the Illinois and national averages in this category which stand at 63.4% and 66.7%, respectively. 15.5% of Generations at Applewood's short-stay residents had an outpatient emergency department visit. The Illinois average is 12.1%, with the national average being 11.9%. 49% of Generations at Applewood's short-stay residents were successfully discharged to the community. The Illinois average is 53.8%. The national average is 57%. 100% of Generations at Applewood's short-stay residents received a needed vaccine to prevent pneumonia. The Illinois average stands far below that at 76.3%, with the national average at 82.8%.
25% of Generations at Applewood's long-stay residents had a worsened ability to move independently compared to 17.2% for the Illinois average and 18.3% for the national average. 21.5% of the facility's long-stay residents had an increased need for help with daily activities, whereas the Illinois average stands at 14.4%, with the national average being 15.1%. 98.9% Generations at Applewood's long-stay residents received a needed flu shot for the current flu season. The Illinois average is 92.8%. The national average is 94.8%.
Generations at Applewood did not receive any nursing home fines in the last 3 years. It was noted that there was neither a federal fine nor an Illinois state fine during that 3-year period.


How local is ultra-local? The Underhill residence was sculpted from the surrounding landscape. Its round timber structural system was sourced entirely from the adjoining 40 acres of forest, and its millwork came from local mills rather than lumber yards. The interior flooring and exterior stonework came from local limestone quarries, and its straw bale walls were formed from locally grown straw as well. With an earth-sheltered basement and sloping sod roof, it melts into the hillside.


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SINGLES/EPS
Eternal Wonder
About Eternal Wonder
Eternal Wonder (Formerly known as Empty Wheelchair) is a Psychedelic Trance project from Torsås, southern Sweden and was created by Albin Appelqvist, focusing on the subgenres Full On and Progressive Psytrance. Born in 1994 to a family of musicians within the Jazz and soul scene, Albin decided to walk a different path. At age 14, he decided to produce his own music. In the beginning, he was creating sample based Tech-Trance and Electronica, a year later he switched to Psytrance and found inspiration in the israeli Trance scene and was immediately captured by the sounds. In 2011, his debut EP "The Countdown", was released. Albin has collaborated with many artists within the electronic music scene. Among them are Psy-Conversion, E&T Project and more. His more recent music is a combination of the classical melodic Psytrance sounds with influences from house music and movie soundtracks with a twist of atmospheric and uplifting trance. His debut album "Motherhood" was released in 2014 and he is currently working on his latest album under his new name.
CLICK HERE FOR BOOKINGS
© 2022 ETERNAL WONDER, ALL RIGHTS RESERVED. WEBSITE BY ALBIN APPELQVIST


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For our established patients with insurance: We offer a telemedicine option for further follow up on certain Medical conditions. This will allow greater continuity of care while saving the patient time from having to come back in for a physical visit.
Burbank Urgent Care is committed to Wellness and Preventive Health care for our community. If you cannot see your private physician, we can perform your annual physical exams, blood work, annual EKG, audio testing (hearing test). We also provide sports and camp physicals. For your immediate needs, we can provide IV vitamin drip infusions for correcting dehydration from extreme exercise or alcohol intake, boosting the immune system, and increasing energy levels. IV Vitamin therapy allows for the administration and effective absorption of a variety of vitamins, minerals and anti-oxidants at higher dosage than possible with oral consumption. This direct administration has many added benefits and effects and can benefit your overall health and well-being.


These blog posts should make it clear that Singapore is extremely vulnerable to sea-level rise and that immediate action needs to be taken. Specifically, there needs to be a swift reduction in greenhouse gas emissions in order to prevent further global-warming and sea-level rise. While action at the national level is important, collective individual action can also make a huge difference.
With that in mind, here are a few tips to help you reduce your everyday carbon footprint with an easy one to start with.
Be sure to turn off lights and other appliances when they are not in use. Switching appliances off at the wall will ensure they are not still consuming energy when they are on standby. The added benefit of using less energy is that you will also save money on your power bills.
Fact: It is possible to reduce household emissions up to 20% by switching off power at the wall.
Singapore is well connected by footpaths, bike paths, buses, and trains. Take advantage of these amenities and leave the car at home.
Fact: Private cars are the greatest contributor to emissions within the transport sector in Singapore.
Next time the handle on your bag breaks or the soles of your shoes wear out, take them to be mended rather than buying a whole new product. Also, keep this in mind for larger items around the house, such as furniture and white goods.
Fact: Repairing a broken refrigerator requires up to 50 times less energy than manufacturing a new one.
There is no need to cut meat out of your diet completely, but increasing the number of vegetarian meals you have each week will significantly lower your carbon footprint. Mushrooms, chickpeas, lentils, and tofu are all great substitutes for meat.
Fact: Meat-rich diets cause double the emissions of vegetarian diets.
Try to buy quality clothes that you will wear over and over regardless of the latest trends.
Fact: The fashion industry generates more emissions than international flights and shipping combined.
As was pointed out in our first blog, the rate and magnitude of sea-level rise will be determined by the emissions pathway that is taken. But, in order to minimise the impact of sea-level rise on Singapore, urgent action must be taken to reduce greenhouse gas emissions.
While it is easy to feel powerless in the fight to curb climate change, never underestimate the power of collective action.


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UR #17: Finding Transiting Planets With LSST
by Astrobites | Sep 11, 2015 | Undergraduate Research | 1 comment
The undergrad research series is where we feature the research that you're doing. If you've missed the previous installments, you can find them under the "Undergraduate Research" category here.
Did you do an REU this summer? Or maybe you're just getting started on an astro research project this semester? If you, too, have been working on a project that you want to share, we want to hear from you! Think you're up to the challenge of describing your research carefully and clearly to a broad audience, in only one paragraph? Then send us a summary of it!
You can share what you're doing by clicking here and using the form provided to submit a brief (fewer than 200 words) write-up of your work. The target audience is one familiar with astrophysics but not necessarily your specific subfield, so write clearly and try to avoid jargon. Feel free to also include either a visual regarding your research or else a photo of yourself.
Savannah Jacklin
Savannah worked on this project as a NSF REU student at Vanderbilt University after her junior year at Villanova. Her research has since been published in her first first-author paper in the Astronomical Journal.
Exoplanets with LSST: Period Detection of Planets Orbiting 1 Solar Mass Hosts
The Large Synoptic Survey Telescope (LSST) will photometrically monitor approximately 1 billion stars for ten years. The resulting light curves can be used to detect transiting exoplanets. In particular, as demonstrated by Lund et al. (2015), LSST will probe stellar populations currently undersampled in most exoplanet transit surveys, including out to extragalactic distances. In this paper we test the efficiency of the box-fitting least-squares (BLS) algorithm for accurately recovering the periods of transiting exoplanets using simulated LSST data. We model planets with a range of radii orbiting a solar-mass star at a distance of 7 kpc, with orbital periods ranging from 0.5 to 20 days. We find that standard-cadence LSST observations will be able to reliably recover the periods of Hot Jupiters with periods shorter than approximately 3 days, however it will remain a challenge to confidently distinguish these transiting planets from false positives. At the same time, we find that the LSST deep drilling cadence is extremely powerful: the BLS algorithm successfully recovers at least 30% of sub-Saturn-size exoplanets with orbital periods as long as 20 days, and a simple BLS power criterion robustly distinguishes approximately 98% of these from photometric (i.e. statistical) false positives.
Two-dimensional histograms representing period recoverability across period and radius space where the top two plots represent period recoverability considering only top BLS peak accuracy. The bottom two plots include an additional power threshold with all detections also having a BLS power greater than 7.69526 for regular cadence and 7.32893 for deep drilling cadence.
Finding the Brightest Exoplanet Hosts with MASCARA Blowing the wrong way round? Westward winds on CoRoT-2b UR #12: Planet-Building Disks and RESOLVE'd AGN UR #13: RR Lyrae and OSCAAR the Exoplanet-Analyzer
ashleyvillar	on September 14, 2015 at 10:55 am
This is super cool! I'm always surprised by how multifaceted LSST will be.
Submit Your Research
If you're an undergrad or you know undergrads doing interesting research related to astrophysics, we'd love to hear from you! It can be published or unpublished work — if it's something you've put time and effort into and would like to share with us, we want to see it.
protoplanetary disks binary stars simulations theory stellar evolution radio astronomy AGN stars star formation exoplanets spectroscopy galaxy evolution black holes transits astrophysics planet formation galaxies statistics dark matter cosmology planetary science accretion astronomy habitability solar system Kepler instrumentation supernovae observations astronomical methods


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Q: how to get around a websocket call blocking other websocket calls I am attempting to perform a constant message from the websocket client to server(python/flask/socketio)
I have a submit button on a simple page that starts off a long running job.
$('form#emit').submit(function(event) {
            socket.emit('submit', {...});
            return false;

In the python code i kick off the long running job like so:
@socketio.on('submit', namespace='/namespace')
def long_running_function(message):
    long_running_job_code(message)

What I would expect to happen is python to kick off the long_running_job_code and go back to executing the loop in the form of setInterval:
on client the 'loop' :
setInterval(function() { pinger() }, 1000);
    function pinger()
    {
       socket.emit('ping','test');
    }

on server:
@socketio.on('ping', namespace='/namespace')
def ping(message):
    emit('my response', {'data': '.'})

Before the submit button is hit, the 'ping' function is placing .... on the screen but it does not continue to perform that function while long_running_job_code is executing.
I believe the issue is blocking on the server side, but I am not sure.  The long running job has emits that are still getting to the client, but the ping emit stops while the long running job is going.
Anyone have an idea on how to get around this?
Thanks!

A: You do not mention this, but my guess is that you are using eventlet or gevent as the web server of your application, because that is what makes the most sense when working with WebSocket and Flask-SocketIO in particular.
Eventlet and gevent are coroutine servers. They can handle multi-tasking, but this is done cooperatively. That means that for a context switch from one task to another to occur, the first task must release the CPU. The CPU is automatically released transparently when certain I/O calls are made, like when reading or writing from a socket. You can also explicitly release the CPU by calling the sleep function. If a task goes off to do some long calculation without doing any I/O or explicitly releasing the CPU, then the whole thing is going to block.
You basically have two ways to keep the machinery going while you run your long function. One way is to regularly issue sleep calls. When a sleep call occurs, the scheduler will give the CPU to other task(s) before returning from the sleep. If your function has a loop, for example, you can add this on each iteration:
eventlet.sleep(0)

The other way to not block is to put the long function in a subprocess, which will probably require more changes that just adding sleeps here and there.
Hope this helps!

redpajama_set_name: RedPajamaStackExchange


Clearly, this is satire, people. But it's still pretty hilarious!
The following story, however, is real.
Vice President Mike Pence stood feet away from Kim Yo Jong, North Korean dictator Kim Jong Un's sister, at the Winter Olympics opening ceremony in Pyeongchang, South Korea on Friday.
While Pence looked on, watching the ceremonies unfold, Kim was seen giving Pence a serious side look.
During the opening ceremonies, Pence and his wife sat in South Korean President Moon Jae-in's VIP box along with Japanese Prime Minister Shinzo Abe and the North Korean delegation. According to CNN, Pence didn't talk to or look at Yo Jong or Kim Yong Nam, president of North Korea's Supreme People's Assembly.
But that didn't stop Yo Jong from looking at Pence very boorishly.
The visual of Pence together with Abe and Moon was very important, a U.S. official told CNN.
"We wanted to show the alliance seated together. We wanted the North Koreans to see the vice president, Abe and Moon sitting directly in front of them for the opening ceremonies, and it would show that that alliance is strong," the official said.
Pence and Kim presumably never spoke throughout the ceremony. With leaders from the U.S., South Korea, and Japan in such close proximity, it seems Kim wasn't so thrilled to see "the alliance" together.
She certainly doesn't look amused, while Pence smiles and claps for the South Korean performance before him.
The North Korean death glare was caught on camera, and certainly attracted plenty of attention on social media.
And it didn't stop there. Kim was seen giving further serious side glances towards Pence throughout the night.
Since there are no plans for Pence and Kim to speak, these glares are about all we have to go on.
According to The Blaze, Pence will respond kindly if approached by the North Koreans at the Olympics.
The State Department said this week there were no arranged plans for Pence to meet with the North Koreans while at the Olympics. Pence stated that his plan was to bolster U.S., South Korean and Japanese relations while continuing to isolate the North Koreans. According to CNN, Pence remained committed to not meeting with the North Koreans on Friday, though U.S. officials said Pence would have responded kindly if the North Koreans approached him.
Pence didn't need to worry about improving a brief meeting with the North Koreans. He was only stared at, not spoken to.


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Which is the national bird of United States of America – USA?
The national bird of United States of America – USA is Bald Eagle because of its long life, great strength, and majestic looks.
What is the National Bird of USA?
By United States of America
The national bird of USA is Bald Eagle. The bald eagle was selected on 20th June 1782, as the emblem of the United States of America. United States national bird, Bald Eagle was chosen as the because of its long life, great strength, and majestic looks, and also because it was then believed to exist...
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All God's Children Need Travelling Shoes: A Journey to Berlin and Amsterdam
Maya Angelou's story is one of upheaval and suffering, but ultimately of triumph and a persistent journey to liberation. Growing up in poverty in 1930s America where slavery had only been abolished officially a century before, she was confined within a racist segregated society, subject to atrocious discrimination. Within the community as a whole, there would definitely have been a deeper sense of coming to terms with belonging and disconnection from identity.
Times of turmoil often draw from people the deepest of treasures in terms of insight, wisdom and humanity. Angelou's life saw her work take her to Egypt and Ghana before arriving back to the country of her birth where she joined Martin Luther King in the efforts for Civil Rights for African-Americans. In her autobiographical "All God's Children Need Travelling Shoes" Angelou wrote:
"The ache for home lives in all of us. The safe place where we can go as we are and not be questioned."
This sentence speaks to me on so many levels, and is so relevant to the world unfolding around us.
We live in a dynamic civilisation where from one generation to the next; social, cultural and geographical paradigms are in constant flux. We indeed all need travelling shoes, though not necessarily of the sort with laces and ankle support. Though we are witnessing an age of migration, refuge and travel opening the world up as never before, I think we are experiencing the teething pains of a shift in consciousness, which will birth a truly more interconnected global community. The travel to prepare for is internal.
Humanity is going through an identity crisis. The rapid acceleration of technology is forcing us to question our sense of ethics, and modern phenomena such as Brexit and renewed nationalism are rising. This crisis involves the notion of nation states and identity being pulled ever more into doubt. We have created a world around us in which imaginary lines, ideology differences and religious inheritance defines nation. I believe our shifting paradigm will eventually see humanity come to comprehend that these perceived differences are less and less significant as we confront new terrains and unknown territory of our existence and purpose.
Each one of us, whether we admit it or not, have either felt or still do feel a need for belonging or acceptance. We all desire to be welcomed into a greater collective, that has our well-being at its core. Surely we all want and strive to live in a society where our needs are meet and we are supported to live, grow and thrive. When we sense that this is not the case; revolutions, uprisings, even wars ensue. The perceived realisation that our establishments are operating to the benefit of a particular, defined group brings people to a critical point. Organising into sub-populations with those that we feel we share a core value, be it ethnicity, belief system or geographical location, empowers us in numbers helping us to feel strong, protected and in control. This gives us the confidence to tackle the status quo, whether to put up boundaries or tear them down. Whilst this is obviously understandable behaviour, these movements act as a prelude to social revelation and a greater sense of collective identity being grasped. It is no coincidence that post-war Germany has been one of the country's accepting the most amount of refugees in the last few years.
On account of her Christian faith Angelou spoke of humanity as the children of God.
Indeed, if the universe originated from a single point, then all of us share the same essential origin.
If the intelligence which created all life has culminated in us being here together, sharing this planet, then surely we can assume that harmony and non-judgement are a pre-requisite for humanity to unite and meet everybody's needs.
No man is an island, and only when we can rely upon each other can we co-create a civilisation with mutual acceptance beyond labels. Only then can we become integrated to see the boundaries dissolve and the possibility of our entwined potential and destiny begin to form.
Those who have read my writings before may know of my grandmother's story. As a Jew in Austria during the 1930s, life became very dangerous for her family with the arrival of Nazism in their homeland. Though there had been problems brewing, this sudden rhetoric that the (mostly) integrated Jewish communities in European countries were no longer welcome meant rapid decisions had to be made. Many Jewish families sought refuge in the initially safe Dutch capital city Amsterdam. My grandmother had to learn Dutch in school and settle in a new country, a new culture. When the Nazis invaded Holland, my grandmother's family again had to take drastic measures and went into hiding in the attics of homes across Amsterdam. This was the case for the Frank family too, with Anne Frank; the famous teenage writer of a diary written in hiding, targetted by an ideology on the basis of the religion she had been born into. Both families, of course, were captured by the Nazis and taken to concentration camps where the extermination of 'the other' had been planned.
This month I joined my grandmother in Berlin to participate in the opening of the new exhibition at the Anne Frank Centre, as well as the reopening of the Anne Frank House in Amsterdam.
Eva Schloss and the Mayor Of Berlin opening the Alles Uber Anne exhibition at the Anne Frank Centre in Berlin in November.
She was invited to speak in the Nelson Mandela International School, where more than 50 countries are represented by students. I was also invited to take the stage with her to give my insight as the 3rd generation.
It was incredible to share the stage with her and Patrick Siegele, Director of the Centre and hear questions on the nature of the human journey through the void of genocide, belonging and also looking forward to a future beyond division. For me, as the grandson of refugees arriving in London in the 1950s, with a mixed connection to various countries including the UK, Norway, Israel, Germany and also Austria I grew up not fully aligning with any nation state.
London is my home but even so I grew up with families of mixed heritages: Indian, Nigerian, Greek, and all finding themselves in the mixing pot of arguably the world's largest metropolis. My connection to the native culture was tenuous. Although the city is on British land, the extent of it's culture is, for me, mostly mirrored in the food brands, football teams, TV shows and existence of a Royal Family. The country where curry is the national dish, has been influenced so much by other cultures and I find being around such diversity truly nourishing. My view of the human, of identity and belief systems was greatly expanded by my environment and allowed me to see that whilst there are nuances in our languages, food and music, our deep longings are the same, taking root in a place embedded within the exterior, somewhere difference cannot be found. The essence within all of us is the same. The longing for that place called home which Angelou speaks of, to be understood, accepted, a longing for expression, family and peace, we all share. The abode of acceptance and integration is far more profound than a physical location or country, or a political system.
The real destination is a place of unilateral inter-connected consciousness, where we are able to transcend the prejudice and expectation which we ascribe each other because of what we see and judge when another stands before us. When we make these judgements on others and ultimately on ourselves, we subjugate and imprison our minds and spirits. This will always lead to conflict and separation, according to J Krishnamurti:
"When you call yourself an Indian or a Muslim or a Christian or a European, or anything else, you are being violent. Do you see why it is violent? Because you are separating yourself from the rest of mankind. When you separate yourself by belief, by nationality, by tradition, it breeds violence. So a man who is seeking to understand violence does not belong to any country, to any religion, to any political party or partial system; he is concerned with the total understanding of mankind."
I appreciate that for the contemporary human it is extremely difficult to move beyond the constructs of nation and identity which we have worked so hard to build, enforce and preserve. Please don't misunderstand, I am not suggesting we create a uniform culture devoid of beauty or idiosyncratic charm. Far from it, what I suggest is connecting with that deeper essence which we all carry and which isn't British, Jewish, Muslim, African or male. It is the human spirit. What has kept us moving forward through the ages, which drives us through the pain and suffering, inspires us and moves us to make progress, to create, love and care for others. This is our true identity.
And so I feel that we are all nomads traversing the path, and whilst we walk at different speeds and with a different gait, the sooner we see that we are on the same path, the sooner we will reach the destination.
My grandmother with a student at the Nelson Mandela International School. The student had arrived in Berlin 2 years ago from Egypt.
Eric Schloss
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Q: Difference between Authorization Object and an Object Class in ABAP? I've been a Java developer having a limited knowledge about ABAP.
While trying to understand the SAP Authorization concept, I came across the terms Authorization Objects and an Object Class.
Now as per my understanding of Object Oriented concepts, an Object is a run time instance of a Class.
So I'm a bit confused with the term ABAP Objects and an Object Class.
Can someone please answer my following questions:

*

*What is the meaning of the term "Object Class" in ABAP?

*What does Authorization Object mean? Since objects are created at run time, how can we create an object at design time?
Any replies will be of great help.

A: Well, I've found this nice link which explains very well the concepts.
The main idea is: in SAP, you will hear the term "class" and "object" being used a lot. They don't mean anything like the concepts from OO. An authorization class is just a general description of "what you're allowed to do", whereas an authorization object is a more particular description of that.
Authorization objects can be used programmatically to check if a user has the right to "x"... and as a DEV, you can forget to check for them, which can cause security issues :).


There's practically no one else in the whole world that can immediately inspire a jaw dropping sense of amazement in little girls like ballerinas can (ok, maybe princesses, too). And many of us never outgrow that feeling. Especially when the ballerina in question isn't just gorgeous, graceful and talented, but caring and conscious, too.
Classically trained at the Julia Bourlina Classical Ballet in Studio City, California, Agnes Muljadi is a literally awesome ballerina and social media influencer. Known to her 140k+ followers on Instagram as @artsyagnes, the dancing sensation has lent her talents to more than 130 brands, including vegan and socially responsible ones like TOMS, KIND Snacks and Groceries Apparel, to name a few.
Highly photogenic and passionate about a cruelty free lifestyle, Agnes has attracted a huge fanbase of both dance lovers and devoted vegans. And thanks to her consequently huge social media influence, she was recently featured in Creativ Magazine's '15 Women That Wow'.
Here, in this exclusive interview for Eluxe Magazine, Agnes shares her thoughts on classical dancing, conscious consumption, and cultural relevance.
Ballet dancing is extremely demanding. As a vegan, what do you eat to maintain your energy?
I snack on a lot of veggies and fruits like kale, broccoli, grapefruit, banana and bell peppers. I also make my own "energy" drink from unsweetened almond milk, spirulina, nutritional yeast and flax seeds to give me a protein boost. Essentially I try to follow a whole food diet that's high in fiber while avoiding soy, gluten and sugar as much as I can.
Do you eat vegan, or are you fully vegan in your life? If so, how do you manage to find vegan friendly shoes and dance costumes?
I am fully vegan. It's surprisingly very easy to find ballet shoes and costumes that are vegan. I've never liked leather ballet shoes even before I became vegan I've always preferred canvas shoes.
Do you use vegan cosmetics when performing and in everyday life? If so, have you got any favourite brands?
Yes I wear vegan makeup on and off stage. My fave brands are 100% Pure and Zuzu Luxe.
What inspired you to go vegan in the first place?
I actually became vegan mainly for health reasons in the beginning. I was already a vegetarian for a long time and my naturopath recommended me to become vegan in order to heal my fibroids naturally. However my vegan journey has evolved since then, and now I have come to fully embrace the ethics and sustainability of veganism as a lifestyle vs. a diet.
Tell us a bit about your training regime.
I typically begin my day with a stretch for about 30-40 minutes and another 20 minutes before and after class. I take ballet classes and rehearse 5-6 days a week. I also try to do cross training with yoga, pilates and gyrotonics at least once a week.
How do you think we can ensure ballet remains culturally relevant over time?
This is a very important question. I think while it's important to preserve the tradition of classical ballet, it is equally important to encourage new modern ballet choreography and music. The conversation about ballet needs to revolve more around how the audience can see the relevance of the art form in comparison to their modern life.
What are some of your favourite ballets to dance and why?
Don Quixote is my fave ballet of all time. It's technically very challenging yet it's so much fun. I find a lot of freedom and spirit in dancing different variations from this ballet. My second favorite ballet is Giselle. It's such a heartbreaking yet beautiful story.
What advice would you give to an up and coming dancer?
Know why you want to become a dancer. It's a very hard profession so there's no reason to do it other than for the love of the art form. Then be extremely diligent to perfect your technique everyday and use the mirror to transform your physical limitations. Then forget about everything your learn in class and dance your heart out on stage.
Which other art forms inspire you?
I love modern visual art. I try to visit different museums pretty often to recharge myself and get inspired.
Which person or people making a difference on the planet do you regard highly?
This is going to sound a bit odd but I find that the astronauts from the Apollo missions to be extremely inspiring, particularly Neil Armstrong. I watch their documentaries again and again to remind myself that there is no limit to what we can do as humans.
You seem to be very active on social media. What benefits do you think it brings to you?
Social media has changed my life in so many unexpected ways. It has provided me with valuable opportunities to collaborate with amazing artists and brands from all over the world. It also has given me a platform to start a dialogue about two things I am passionate about: ballet and the vegan lifestyle.


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© Incap Corporation Electronics Production | March 24, 2020
Indian state under lockdown – so is Incap
Following the Karnataka government instructions on lockdown, Incap will keep its production unit in the region closed until the end of March 2020.
Governments across the world are taking steps to contain the COVID-19 outbreak by restricting the movement of people. To contain the pandemic the government of India has today instructed all state governments to initiate legal action against the violators of lockdown. The Karnataka government has locked down the entire state from now on until midnight of 31st March. And due to the lockdown – along with restrictions on movement within the district and state – Incap's unit in Tumkur, like many others, is also affected temporarily, a press release reads. The freight forwarders are also under lockdown and inbound or outbound goods are not transported until the end of the month. All international flights are cancelled in the country. As a result, Incap is closing down its Tumkur factory from midnight today (23.03.2020) until end of March 2020. "The health and safety of our employees, customers, and partners are our highest priority. Our focus, dedication, and support are unwavering as we navigate through these extraordinary times", says Incap President and CEO, Otto Pukk, in the press release. The company says it continues to closely monitor the situation in all its markets and follows the instructions provided by the local governments and health protection agencies.


IBI Group provided architectural and interior design services for Jacob Reingold Pavilion, a skilled nursing facility in Riverdale, NY dedicated to enhancing quality of life, promoting independence, and removing traces of institutional life while still providing excellent care.
Founded in 1917, the Hebrew Home for the Aged offers a wide range of long-term care and residential settings, supported by shared services, recreation and innovative treatment programs. IBI Group has been the Home's architect since 1963, providing design services most recently for the Jacob Reingold Pavilion.
The Pavilion replaces an aged and obsolete 86-bed building located off-campus with a modern, 168-bed facility connected to the campus via a concourse. The Pavilion's design is dedicated to enhancing quality of life for its residents, promoting independence, and removing traces of institutional life while still providing excellent care.
The primary goal of the project was to create a new focal point for the 20-acre campus with a strong architectural presence, providing a substantial number of amenities, including a new spa/pool, museum, lounges, and physical therapy spaces.
The new Pavilion is both a successful model for senior housing for the next generation of users – the baby boomers – and a welcoming home for today's seniors. Having retired from a more active world, both generations desire (or will desire) an exciting environment that provides opportunities for a vital life experience, while preserving privacy and enhancing social interaction and quality of life.


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COMMENT In the week leading up to the Selangor Islamic Religious Department (Jais) raid on the Bible Society of Malaysia (BSM) on Jan 2, Malaysiakini had 11 news items, and The Star Online only four, on the 'Allah' ban.
Conversely, Malaysiakini had 77 pieces, and The Star 42, on rising prices, government overspending, and the Dec 31 Turun protest against price hikes.
In the week following the seizure of copies of the Bible and arrest of two BSM office-bearers, however, the ratios had been reversed. Religious news items had exploded: 79 in Malaysiakini and 54 inThe Star. The coverage of economic mismanagement had dwindled to 30 articles in Malaysiakini and 35 in The Star.
Suaram wondered on Jan 4 whether the 'Allah' copyright issue had been a "politically calculated move to divert public attention" from the rising cost of living and the defiant Turun movement.
The Home Ministry answered, on Jan 8, by declaring Comango - a human rights coalition encompassing Suaram - "illegal" and "un-Islamic".
The spotlight on Premier Najib Abdul Razak's clampdown on news weekly The Heat, his wife Rosmah Mansor's use of an Airbus luxury private jet, and his stepson Riza Shahriz's Hollywood lifestyle, has now shifted briefly to the Malayan Inquisition against Father Lawrence Andrew, editor of the Catholic The Heraldnewspaper.
Even so, Najib has failed to conceal the growing divisions and infighting in Umno. Former premier Mahathir Mohamad has diligently used social media and press conferences to undermine Najib. He is escalating his attempts to dislodge the Umno president, and to clear space at the top for Mahathir loyalist Muhyiddin Yassin, and Mahathir's unpopular son Mukhriz, the Kedah Menteri Besar.
Mahathir has also joined in the mob attack on Father Lawrence, while Mukhriz has parroted his father's claim to a monopoly over a string of Arabic words. Mahathir is now instigating his simple-minded worshippers, by claiming that what Father Lawrence had said "hurts Muslims".
Umno needs a melodrama to divert attention from our rakyat's stagnant incomes and soaring food prices - conditions that toppled free-spending leaders such as Tunisia's Zine El Abidine Ben Ali and Egypt's Hosni Mubarak.
As Najib's stepson Riza Aziz, the Hollywood producer, would know, any drama needs some conflict. And so, when Father Lawrence said on Dec 27 that Malay-speaking Christians would continue to use the word 'Allah' in their worship, as they had done for centuries, Selangor Umno's pantomime actors read their lines on cue.
They threatened to amass at the church of Our Lady of Lourdes in Klang on Jan 5. I went along to the handsome old church, consecrated in 1928, for the 12.15 noon service, in Malay. There was a scrum of television crews at the entrance, filming the action. But the service passed without the advertised angry mob scene.
Afterwards, I talked to church-goers. Vernon Adrian Emuang (left), a corporate trainer and a highly regarded (real) actor, usually goes to St Ignatius in Kuala Lumpur.
He had come to Klang because he had heard that progressive Muslim activists had gathered to show solidarity with the Catholics. He had joined them, to show appreciation for their gesture.
He viewed the threats of intimidation by Selangor Umno and affiliated NGOs as outrageous. It was BN (Barisan Nasional) Muslims - and not Muslims per se - who were against the use of 'Allah', he explained, and the entire issue had become a political football.
The ban would clearly influence voting in Sabah and Sarawak, he pointed out. Malay Muslims - and Muslims of all kinds - in Borneo have spoken out and voiced their disagreement with Umno's ban.
Sabahans Joevellysia, a homemaker, and Daniel, an engineer working in Klang, had sat through the Mass in Malay with their two cherubic children. They had attended the same service as usual, despite the reports of Umno protests.
"To find some peace of mind," Daniel added, with some irony.
The melodrama may have dominated the headlines for a few days, but when all the Umno protesters have gone home, Premier Najib will still face a crippled economy and a split party.