Abstract : This paper contributes to the debate on the French public finances' consolidation by investigating the long-term sustainability of France's fiscal position. We trace the historical trends of government's tax receipts and expenditures. We find that while the level of public expenditure in France is larger than in the rest of the Euro Area (mostly because of public wages and social benefits), its trend is comparable to its neighbours. Net lending is also under control, thanks to the high levels of taxation, so that we see no real risk of future unsustainability. However, the French tax system is unfair, is not sufficiently progressive, and is too complex. The paper then proceeds to assess the future of France's public finances on the basis of the current debate on the Euro Area fiscal rules. We report two analyses - theoretical and empirical - that project the inflation rate and output gap paths for the next twenty years. We finally assess fiscal rules on this ground. The 'fiscal compact' fares rather poorly compared to the alternative rules that we assess.


Nothing is prettier than Europe in winters.
While it's only the second month of the year, Sonam Kapoor has already managed to sneak off for a vacation. Yep.
Sonam is holidaying with sister Rhea Kapoor in the breathtakingly gorgeous town of Altaussee in Austria.
While it isn't clear if this is strictly a pleasure trip (she could be location scouting along with her producer sister for Veere Di Wedding which shoots in Europe later in summer), one thing that is abundantly evident is that Sonam is having a great time.
What's interesting about Sonam's posts on Instagram are the elaborate captions that accompany the pictures.
From Robert Frost to Meghan Daum, the self-confessed book nerd ensures a deep quote is attached to every picture she posts.


text:
Q: How to drag down formula and change COLUMN references instead of ROWS to make a dynamic list? I've searched around a good amount and I have not found a solid answer for this question, despite a few promising looking question titles.
This question here for example: Drag down formula and change COLUMN references instead of ROWS
Unfortunately only works for specifically referenced cells. I'm working with a data set that is likely to have columns added to it in the future, and I need to pull the first row of these columns dynamically into a vertical list. Because of this, the method accepted as an answer in that question is not a solution for my problem.
I have data coming in like this:

and I'm pulling the Course names into a vertical list like this:

The thing is, more courses are likely to be added in the future, and I'd like to be able to just drag down my formula to pull them.

A: Try this formula in cell A10 of the first sheet in your question ...
=INDEX($1:$1048576,1,1+ROW(10:10)-10)

... and then drag it down!
The formula works by using the current ROW() number to calculate the required column number, which is passed into the INDEX() function.

redpajama_set_name: RedPajamaStackExchange


text:
You are here: Home / uncategorized / Australian Star Trevor Ashley Brings Liza to Life in Midtown
Australian Star Trevor Ashley Brings Liza to Life in Midtown
Liza Minnelli was once the epitome of New York entertainment. Her unique voice and old school razzle dazzle thrilled audiences since she made her Broadway debut in 1965's Flora The Red Menace. Yet In the last few years Minnelli has been out of public view. Apparently, she now spends her time relaxing on the West Coast with her celebrity pals Michelle Lee, George Hamilton, and Darren Criss. Earlier this month, however, the sultana of sequins paid a visit to midtown's Sony Hall in an evening entitled Liza's Back! (Is Broken).
Okay. It wasn't the real Liza Minnelli. Yet Australian stage star and female impersonator Trevor Ashley pulls off an incredible feat with his uncanny impersonation of the stage legend. Ashley has performed the sold out the show at the Sydney Opera House and in London. For the fortunate New Yorkers at this one night only event, it was a show that will be remembered for ages to come.
Ashley, decked in a black sparkling outfit and fire engine red scarf opened the show with a definitive proclamation. "I'm back!," she said. "And my back is back…and my back up band… is back! " Ashley (as Minnelli) stated that she threw out her back during her King Kong audition. She went on to jokingly discuss her bouts with addiction, her failed marriage to David Gest, and the fact that she now "resides in Michael Feinstein's granny flat."
Ashley sang Minnelli's signature songs ("Cabaret", "New York, New York") with even more gusto than Liza herself. Physically and vocally, his mannerisms are flawless. While many female impersonators can ridicule their subjects, Ashley instead delivers a loving but consistently hilarious send up to this Broadway legend.
Photo by John McRae.
The two hour spectacle also reimagines Minnelli's career by placing her center stage of musicals which she never actually starred. "Every character in A Chorus Line was based on me," Ashley said before launching into "The Music and the Mirror." She also recalled a phone call from Andrew Lloyd Webber when he asked her to star as Norma Desmond in Sunset Boulevard. "As If We Never Said Goodbye" followed. Remember her turn as Elphaba in Wicked? Ashley did, prior to bringing down the house with "The Wizard and I." Ashley also sang a jazzy lounge version of "Memory" from Cats and a blaring big band version of "Do You Hear the People Sing" from Les Miserables.
Ashley, who has appeared in a number of stage shows including Hairspray, Priscilla Queen of the Desert and his other tribute show, Liza (on an E) is an unbelievably energetic entertainer whose essence can only be captured through live performance.
While Ashley remains a sensation down under and in Europe, let us hope that "Liza" remembers her "city that never sleeps," and pays us a visit again soon.
For more information on Trevor Ashley, visit his website or find him on Facebook or Twitter.
Filed Under: ARTS, ENTERTAINMENT, LGBT, THEATRE, uncategorized

redpajama_set_name: RedPajamaCommonCrawl


text:
How and when to use 'whom' instead of 'who'
James Harbeck
"Thank God I paid attention in English class." (Thinkstock)
Wired recently came out with a study of dating site profile factors that correlate with greater success, and guess what: that girl who you're trying to impress is more likely to go for you if she's that girl whom you're trying to impress. Yup, use of whom in a guy's profile correlates with 31 percent more contacts from the opposite sex.
Why would use of whom matter? Presumably because it's associated with more intelligent use of grammar, and it turns out that women tend to value intelligence in men. But if you're going to use whom, you have to use it correctly. You can't say "Whom is going with you?" because she might know that that's wrong.
The problem here is that most of us do not use whom in regular speech. It's no more natural to most modern English speakers than the proper use of –eth conjugations and thou pronouns. It's almost a foreign word. It just seems like who with a bowtie on it.
Here's the simple rule on where to use whom rather than who: Every verb that is conjugated (e.g., I kiss, She kisses) has to have a subject: I kiss her, She kisses me, I want to kiss her, She is kissed by me. The rule is that you use who when it's the subject and whom when it's not. So look around at the conjugated verbs in the sentence. Are all their subjects spoken for? If so, use whom. If not, look for which one the who is the subject of just to double check, and use who. Think: "Subject? Oo. Object? Mm."
For those who aren't always clear on what the subject of a verb is, here are a few other ways to think about it.
If it's in a question, and the answer could be him or her, use whom; if the answer could be he or she, use who. "Whom are you kissing?" "I'm kissing him." "Who is kissing you?" "She is kissing me."
If it's in a relative clause (a sentence embedded in another sentence), look for another noun or pronoun between who(m) and the verb. If there is one, that will be the subject and you should use whom: "She is the person whom you are kissing." If there isn't one, who will normally be the subject: "She is the person who is kissing you."
If it's after a preposition (to, from, for, of, by, etc.), use whom: "You are the person to whom I am speaking"; "She is the one for whom I bought the lip gloss"; "From whom did you get that idea?" But see below about whomever for an exception.
If there's a clause introduced by a verb about thinking, saying, believing, or something like that, look very carefully to see what the subject of the clause is. Take for example "Who(m) did you think kissed her?" There are two conjugated verbs: did and kissed (think is an infinitive). The subject for did is you. What's the subject for kissed? Not you – it's taken by did. Not her – it's the object of kissed. No, it's who: "Who did you think kissed her?" Don't bother saying "It has to be whom because it's the object of think." The actual object of think is the whole clause "who…kissed her."
So now try "Who(m) did she say he kissed?" What are the conjugated verbs? Did and kissed. What are the subjects? She and he. We don't need another subject. So it's "Whom did she say he kissed?"
The rules for how to use whomever are the same as for whom: Subject? Oo. Object? Mm. There is a bit of a risk of getting fooled by a preposition, though. Look at a sentence such as "I'll give a kiss to who(m)ever wants one." You see the to and may think, "OK, preposition before, so it must be whomever." But no! Look at that verb wants. What's the subject? It's whoever. But the complement of a preposition is always an object, so why is it not whomever? Because the whole clause is the complement: "I'll give a kiss to [whoever wants one]." Of course if something else is the subject of the verb, you use whomever: "I'll give a kiss to whomever I like."
Now, then. Let's look at all the whom examples above and see if any of them are confusing if we just leave the bowtie at home and use who or whoever: "Who are you kissing?" "The person who you are kissing." "Who did she say she kissed?" "I'll give a kiss to whoever I like."
Uh, yup. Every one of them perfectly clear. Generally less stuffy too. So is that extra m just a torture device like a too-tight collar and hard-to-tie bowtie?
Here's why we have it. English nouns used to have a thing called case inflection. What this means (in simplified terms) is that every noun would have different forms depending on whether it was subject, direct object, indirect object, or possessor (or source), for singular and plural. Many other languages have this — German and Russian both do. It was sort of like if we were to add –em to all objects: "Mary kissed John-em" and "John kissed Mary-em" — we could change the order and it would still be clear: "John-em kissed Mary" would mean Mary was the kisser and John the kissee.
But over the centuries we simplified all that. Now the only difference for normal nouns is that we have –s for possession and for plural (we use an apostrophe to mark the difference in writing, but of course we say them the same). Instead of marking the grammatical relations between words that way, we just use word order, which has to be more consistent as a result. But we kept some of the difference for pronouns: We have to say "He kissed her" and not "Him kissed her" or "He kissed she." We generally manage to keep this straight, and even though it rarely actually adds clarity we stick to it because it's what we do. We kept it from before. It's a family heirloom.
Well, whom is like him: it's a family heirloom (and a pronoun). It's one of those heirlooms that don't get used very often. Most of us bring it out just for special guests and fine company. So we're not very used to it. But it's still useful — for signifying that we're treating the other person like fine company. It's something you can use to dress up your language. And, as ZZ Top says, every girl crazy 'bout a sharp dressed man.
More language articles
Learning a new language is like an illicit love affair
Marianna Pogosyan
A parent's guide to teen slang
Devan McGuinness
Google wants to finish your sentences. That's a problem.
Navneet Alang
Trump just ran a two-year trade war experiment. It failed.
James Pethokoukis


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text:
Q: Check if remote process is running (linux) I have the following code that will check if a script (named my_script.sh) is running:
ps cax | grep my_script.sh > /dev/null
if [ $? -eq 0 ]
then
    echo "Process is running."
else
    echo "Process is not running."
fi

However, I'd like to modify this to check if the process is running on another machine, without ssh'ing directly, since this breaks me out of the current script if I'm running it in a loop.
In essence, I'd like to do this:
ssh otherMachine
ps cax | grep my_script.sh > /dev/null
if [ $? -eq 0 ]
then
    echo "Process is running."
else
    echo "Process is not running."
fi
ssh originalMachine

Any help would be appreciated. Thanks!

A: I am not sure this is what you are looking for but you can execute the check command in the remote machine direcly inside a ssh call. The return value should correspond to the return value of the command invoked in the remote machine.
Of course you need a passwordless authentication method enabled (e.g. ssh keys).
ssh otherMachine "ps cax | grep my_script.sh > /dev/null"
if [ $? -eq 0 ]
then
    echo "Process is running."
else
    echo "Process is not running."
fi

A: This is simple solution to check program is running or not on remote location.
ssh root@192.168.22.12 -p 22 -t "pgrep -fl while.sh"
if [ $? -eq 0 ]; then echo "Process is running."; else   echo "Process is not running."; fi


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While exotic florals and fruity accords dance on a spicy ballroom floors, The romantic scent of sweet coconut and Almond take the stage as they dance in unison with a twirling bouquet of Orange Blossom. As night approaches the scent of Jasmine fills the room ,luring a note of Licorice with a sensual touch of Vanilla.
Jasmine Sambac White Almond Lush Vanilla Red Licorice Tonka Bean Coconut Icy Musk.
Live your destiny and it will become yours.


The first step in becoming Financially Fit is to take the LEAP and contact me. If you are interested in booking me to speak at your event, please call 912-495-8593.
Get your FREE starter guide.
"The First 5 Steps You Need to Take in order to Start Your LEAP into Financial Fitness"
Don't let your finances run you any longer. Start your journey today!


The all-new Orvis Recon Fly Rod pairs fast-action performance with excellent line feel and lightness in the hand. With close-in loading ability and the power for longer reach, the rods feature a modern shadow green blank and covert black nickel hardware. Proudly made in the USA by people who love fishing as much as you do. Recon Fly Rods are a replacement for Access Rods, offering a big improvement in cosmetics, swing weight, tracking, and overall performance. We put everything we possibly could into these rods to make them the finest rod in the made-in-USA $400-range. Recon Rods use an improved unsanded ferrule design, which provides better ferrule engagement and fewer issues with the occasional twisting or disengagement of ferrules during fishing. The plastic reel seat filler and shiny gold anodized reel seats of the Access Rods have been replaced with a more subtle black nickel anodized aluminum reel seat with a dark burl wood spacer (in the freshwater models) and a plain aluminum spacer (in the saltwater models). Like the Access Rods, the blanks of the Recon Rods are made in our Vermont rod shop, and the rods are also finished and assembled entirely in our shop.The Cordura-covered PVC case of the Access Rods has been replaced by a classic aluminum rod tube, completely made in the USA. They do not use the same blanks as Helios Rods-Recon uses a blend of intermediate and high-modulus graphite raw material with standard resins, and do not utilize the thermoplastic resins used in the Helios 2. The tapers are entirely new and are based on the award-winning design protocol used to develop the Helios 2. The rod does not come in a choice of mid or tip flex; we have chosen the best taper for each Recon model based on the rod's line size and the typical use of that particular line size.


When Giant Swarm hired me about a year ago I was totally overjoyed at the opportunity to work remotely. It presented me with a world of opportunity that until now I haven't really taken full advantage of.
At first I dipped my toe into the pool by working from random coffee places, and having an irregular working pattern. I'd split my day up into 3 bouts of work, instead of the regular 9-5. I even worked from Singapore for two weeks, but that was coupled with a vacation and so wasn't purely a work related travel experience.
A week ago I took the plunge and traveled to a time zone that is 7 hours ahead of my home in the Netherlands and from my colleagues in Cologne to find myself in a city and culture I've never been to before.
I've been working from Seoul, South Korea for about a week now, and I'm absolutely loving it. The climate and timezone agree with me much more and I feel I am much more productive than I have been before traveling.
There is something special that happens to me when I am in a new environment. It forces me to think a bit harder and pay more attention. Everything is new, so it wakes me up in a way that lets me be sharper. Figuring out how to get from A to B, adjusting to the new signage, and being a little lost are all things that seem to have long lasting positive effects on my mood and concentration.
In my normal day to day in the Netherlands, traveling those same familiar routes to those same favorite work spots, I can quickly get into an autopilot mode where my brain decides it isn't important to be paying attention to what is going on around me.
Being in a new environment forces me to scan every sign and search for every clue that will help me understand how to get from where I am to where I want to be. It makes me conscious of cultural differences, and just by virtue of things being slightly different presents me with a much needed contrast to my day to day life.
Staying in the same place for a long time is like looking at a painting of a white box in a white room; without contrast I can't appreciate the things I have, and I don't realize what I might be missing out on.
Some people think it's a bit odd that I take so much effort to go to a different country, just to open my laptop and work as if I were at home. My travel mindset isn't to get a selfie at as many landmarks as possible though. I'm not much of a tourist. I just like to eat the local food and experience living in a new environment for a while. Just seeing all the different things they have in the grocery stores and finding out what a nice snack or drink is by sampling a different one each day gives me more joy than finding some crowded tourist hotspot.
When my colleagues in Cologne wake up, I've already had some serious undisturbed productive time. What remains to be seen is if my colleagues miss my presence during the bulk of their work day. Around 15.00 in Cologne I am getting ready for bed, so I am not really as involved anymore in the more social parts of our remote gatherings, like the weekly Friday lunch, and impromptu afternoon hangouts.
Seoul however, is on the extreme end of the possible time zone differences between Cologne. There are tons of other interesting places I could see myself going to where the impact of my traveling will be so low that it will barely be noticed.
One thing I will probably avoid doing is trying to work remote in a timezone where I don't have some reasonable overlap with the normal stand up time at 10:00am. Traveling 'forward' to a time zone that is ahead is more manageable than traveling 'backwards'. Traveling to North America for example very quickly puts me in places where the daily standup would happen well before 9:00am, and I am not much of a morning person.
This amazing opportunity to make use of my time with so much freedom comes with great responsibility. I'm definitely conscious that not many places afford this kind of freedom to their employees, so I try to be very available and communicative to my colleagues. It has forced me to be more structured in my time, and get better at communicating.
One topic I need to continue to get better at is expectation management. I have a tendency to misjudge when I think I'll be done with a certain feature or work task. That means I can become a blocker for colleagues, especially when in a far away time zone. While there is usually more than enough tasks to do that I don't become a blocker, it is something that I try to be extra conscious of.
So do I recommend the remote lifestyle? Definitely! As long as you don't have responsibilities or life goals that keep you tied geographically to where you are. Giant Swarm is special though, because it is built from the ground up to support remote work. One of Giant Swarm's founding decisions was to allow us to "Work, when and wherever you want." that means that the communication structure that allows us all to work effectively together is already in place. I imagine this might not be very successful at a company where a lot of communication still happens in the office and isn't captured in some tool like Slack where others can catch up on what has happened and what has been decided.
So what's next for me? I'm still in Seoul at the moment and processing this experience. When I get back to the Netherlands I'll start thinking about where I might go to next! Though I might already have an opportunity to work with a friend of mine in Skopje, Macedonia. Whatever it is, I try my best to determine before hand if connectivity is good, and if there are not too many risks in heading over there so that I can continue being productive and stay involved in the daily work loop.


Hockey Australia Women's Masters Council call for expressions of interest from suitably qualified personnel for appointment as an Australian Women's Masters Official for the Trans Tasman Masters Hockey Challenge 2019.
EOIs close Monday 30 July.
Participation is at official's full expense and anticipated cost is approximately $1,100 which includes accommodation, transport, and any official dinners that may be arranged. Uniform is an additional expense.
All contingent officials are required to meet at the accommodation on Saturday 27 April and accommodation costs will include the night of Saturday 4 May 2019.
Teams will be selected in the following age divisions - Over 35s, Over 40s, Over 45s, Over 50s, Over 55s, Over 60s, Over 65s.
Pre-tournament training will be organised for all teams on the days prior to commencement of the tournament and all players and their team officials must be in attendance for all training sessions. If appointed to an Australian team, officials must be aware of their commitment to the required times as outlined. All officials will be required to agree to abide by the FIH Code of Conduct and the HA Code of Conduct (Team Officials & Event Officials).
Air travel arrangements to and from the Trans Tasman Challenge are the responsibility of selected players and officials at their own expense. All selected players and appointed officials will be required to stay at the accommodation booked by HAWMC. Suitable transport during the tournament will be organised.


text:
Q: Why image in VirtualBox 5.2.18 doesn't work with latest VirtualBox 6.0.8? In Ubuntu, VirtualBox installation via apt install virtualbox only offers the old version v5.2.18.
user@linux:~$ apt show virtualbox
Package: virtualbox
Version: 5.2.18-dfsg-2~ubuntu18.04.5
Priority: optional
Section: multiverse/misc
Origin: Ubuntu

Initially, I was using this version for a while.
Then, I decided to download and install the latest one (v6.0.8) available here.
user@linux:~$ sha256sum virtualbox-6.0_6.0.8-130520~Ubuntu~bionic_amd64.deb
17f1a24848dcf8ec1025790d35281f7f38b2c98740ddbccac6259a0f4c1786f7  virtualbox-6.0_6.0.8-130520~Ubuntu~bionic_amd64.deb
user@linux:~$

Initially, I was not able to install the latest one.
user@linux:~$ sudo dpkg -i virtualbox-6.0_6.0.8-130520~Ubuntu~bionic_amd64.deb
[sudo] password for user:
Selecting previously unselected package virtualbox-6.0.
dpkg: considering removing virtualbox in favour of virtualbox-6.0 ...
dpkg: no, cannot proceed with removal of virtualbox (--auto-deconfigure will help):
 virtualbox-qt depends on virtualbox (= 5.2.18-dfsg-2~ubuntu18.04.5)
  virtualbox is to be removed.

dpkg: regarding virtualbox-6.0_6.0.8-130520~Ubuntu~bionic_amd64.deb containing virtualbox-6.0:
 virtualbox-6.0 conflicts with virtualbox
  virtualbox (version 5.2.18-dfsg-2~ubuntu18.04.5) is present and installed.

dpkg: error processing archive virtualbox-6.0_6.0.8-130520~Ubuntu~bionic_amd64.deb (--install):
 conflicting packages - not installing virtualbox-6.0
Errors were encountered while processing:
 virtualbox-6.0_6.0.8-130520~Ubuntu~bionic_amd64.deb
user@linux:~$

Removing VirtualBox 5.2.18 fixed the issue
user@linux:~$ sudo apt remove virtualbox
Reading package lists... Done
Building dependency tree
Reading state information... Done
The following packages were automatically installed and are no longer required:
  libgsoap-2.8.60 virtualbox-dkms
Use 'sudo apt autoremove' to remove them.
The following packages will be REMOVED:
  virtualbox virtualbox-qt
0 upgraded, 0 newly installed, 2 to remove and 0 not upgraded.
After this operation, 108 MB disk space will be freed.
Do you want to continue? [Y/n] y
(Reading database ... 229334 files and directories currently installed.)
Removing virtualbox-qt (5.2.18-dfsg-2~ubuntu18.04.5) ...
Removing virtualbox (5.2.18-dfsg-2~ubuntu18.04.5) ...
Processing triggers for mime-support (3.60ubuntu1) ...
Processing triggers for desktop-file-utils (0.23-1ubuntu3.18.04.2) ...
Processing triggers for man-db (2.8.3-2ubuntu0.1) ...
Processing triggers for shared-mime-info (1.9-2) ...
Processing triggers for gnome-menus (3.13.3-11ubuntu1.1) ...
Processing triggers for hicolor-icon-theme (0.17-2) ...
user@linux:~$

Then, I proceed with the installation again without any problem.
user@linux:~$ sudo dpkg -i virtualbox-6.0_6.0.8-130520~Ubuntu~bionic_amd64.deb
(Reading database ... 229023 files and directories currently installed.)
Preparing to unpack virtualbox-6.0_6.0.8-130520~Ubuntu~bionic_amd64.deb ...
Unpacking virtualbox-6.0 (6.0.8-130520~Ubuntu~bionic) over (6.0.8-130520~Ubuntu~bionic) ...
Setting up virtualbox-6.0 (6.0.8-130520~Ubuntu~bionic) ...
addgroup: The group `vboxusers' already exists as a system group. Exiting.
Processing triggers for systemd (237-3ubuntu10.23) ...
Processing triggers for ureadahead (0.100.0-21) ...
ureadahead will be reprofiled on next reboot
Processing triggers for gnome-menus (3.13.3-11ubuntu1.1) ...
Processing triggers for desktop-file-utils (0.23-1ubuntu3.18.04.2) ...
Processing triggers for mime-support (3.60ubuntu1) ...
Processing triggers for hicolor-icon-theme (0.17-2) ...
Processing triggers for shared-mime-info (1.9-2) ...
user@linux:~$

Unfortunately, none of my previous image work with the new VirtualBox.

Failed to open a session for the virtual machine Ubuntu-18.04-Server.

The virtual machine 'Ubuntu-18.04-Server' has terminated unexpectedly during startup with exit code 1 (0x1).

Result Code: NS_ERROR_FAILURE (0x80004005)
Component: MachineWrap
Interface: IMachine {5047460a-265d-4538-b23e-ddba5fb84976}

What happened and how to fix this issue?

A: I had the same problem installing virtualbox 6 while having virtualbox 5 already installed. Before installing virtualbox-6.0, I just tried
sudo apt remove virtualbox

and then
sudo apt install virtualbox-6.0

but when trying "apt upgrade" lead to:
The following packages have unmet dependencies:
virtualbox-6.0 : Conflicts: virtualbox
                 Conflicts: virtualbox-qt but 5.2.18-dfsg-2~ubuntu18.04.5 is to be installed

so I realized there was some package not correclty removed.
sudo apt autoremove --purge virtualbox*
sudo apt install virtualbox-6.0

finally worked for me.

A:
"The Virtualbox kernel module does not match this version of
  virtualbox"

I think that is explained quite well.
Your installed virtualbox kernel module is still the 5.x.x one. But your installed virtualbox version is 6.x.x. There is a mismatch.
Unload the modules
You can manually unload the module(s).
sudo modprobe -r vboxpci
sudo modprobe -r vboxnetadp
sduo mdoprobe -r vboxnetflt
[...]
sudo modprobe -r vboxdrv

Note: don't mind if modprobe reports module not found
Then relaunch virtualbox.
Reboot
... or (not and) you can simply reboot.


Mood disorders are mental health problems such as depression, bipolar disorder and mania.
It is normal for your mood to change, and most people go through times of feeling sad. However, when these feelings last for a very long time or interfere with your life, you may have a mood disorder.
Mood disorders can occur in anyone, including children. The cause of these disorders is not fully understood, but sometimes they may be related to a medical condition, substance abuse and/or life events.
The most common types of mood disorders include major depression, dysthymic disorder (milder depressive disorder) and bipolar disorder, in which episodes of severe depression and mania (elevated mood) occur in the same individual.
The exact cause of mood disorders is not known, however, most mood disorders are linked to chemicals in the brain, called neurotransmitters, which regulate moods, feelings and behaviour.
It is believed that changes in the levels of these neurotransmitters can lead to mood disorders. In some cases, it appears that genetics may contribute to mood disorders, though environment often plays a major role.
Mood disorders can often be triggered by a traumatic event or stress in your daily life. While it is normal to have changes in mood due to life events, usually you are able to recover from stressors. However, when you have a mood disorder, your ability to cope with stress is decreased, increasing the presence of symptoms.
Often, mood disorders will start out as mild feelings of sadness or inadequacy. Mild negative feelings are normal, but if these feelings continue for a long time or are very intense, you may have a mood disorder.
It is important to seek prompt treatment for a mood disorder to reduce the severity of symptoms and manage any complications.
At Think Psychological Services we provide individualised psychotherapy treatments for mood management. Somatic Experiencing, Dialectical Behavioural Therapy (DBT), anger management, sleep management, psycho-education, neuro-feedback and other modalities are utilized to address the root causes of the mood disorder.
In some cases we also encourage family therapy groups. These groups incorporate family members or significant others into the patient's treatment environment.
Where necessary, Think Psychological Services will work with medical professionals to determine the most appropriate treatment plan for your needs. Medication, along with cognitive therapy, behavioural therapy and lifestyle modification may be required.


text:
"How it"s really done"
By J.P. Hoornstra |
PUBLISHED: July 18, 2006 at 12:00 a.m. | UPDATED: August 30, 2018 at 12:00 a.m.
The last time an American soccer team left for a tournament in Germany, the results weren"t too pretty.
"We"re going there," Frank Silveira said, "to show them how it"s really done."
Silveira is the head coach of the Vallejo PAL-HFC United, a group of 17 local PAL and traveling team players who depart Wednesday for Schortens, Germany. It"s the eighth group that has been sent to Germany under a summer exchange program that began in 1983.
The group of 17 youth, which boasts an average age of 16, has been practicing together since February. But aside from a couple scrimmages with other local PAL teams, they haven"t played a game together as a unit.
In other words, it all comes down to this.
"The majority of our kids are pretty skilled," said Silveira. "They"ve gotten a lot better in the last six months of training together, so I think we"re going to be very competitive over there."
Avenging the Americans" World Cup performance from June shouldn"t be difficult. The national team went 0-2-1 and didn"t advance out of group play.
Four years ago, the Vallejo PAL-HFC United went 3-3-1, said Michael Schneiders, a coach this year who traveled when his son played in 2002. The group started playing better once the jet lag of a seven-hour time difference wore off.
That could be the case again this year; after an 10-hour flight into Amsterdam Wednesday and a four-hour bus ride into Schortens early Thursday, the team plays its first game Friday.
Make no mistake about it, however: This trip isn"t about soccer.
Silveira said that about 25 percent of the three weeks will be spent on the pitch. The rest of the time, the youth can sightsee, spend time with their host families and basically absorb a foreign culture.
"Their whole society is structured differently," said Schneiders" son, also named Michael, who traveled in 2002. "The kids can pretty much do whatever they want; parents give their kids a lot of responsibilities. Their soccer fields are in great shape – easily 10 times better than what we have here."
Schortens is a rural town in northwest Germany with a population just over 21,000. The tight-knit community of brick houses should offer quite a change of pace from the Bay Area.
Two summers ago, a group from another part of Germany came to Vallejo as part of the rotating exchange program. Presumably, another German team will arrive here in 2008.
Now in its 23rd year, the program began when German native and Mare Island employee Helmut Fischer was asked to invite a soccer team from his homeland to come play a local squad, coach Schneiders said. Since then, about 400 local youth have participated in the self-funded exchange program.
– The Times-Herald will report updated results from the Vallejo PAL-HFC United"s games in Germany. E-mail J.P. Hoornstra at jp@thnewsnet.com or call 553-6839.
J.P. Hoornstra


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- FIXED: Minor caching issue affecting sites running WPML.
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text:
Home > Events > Oor Wullie Here, Oor Wullie There, Oor Wullie is everywhere!
Oor Wullie Here, Oor Wullie There, Oor Wullie is everywhere!
by Jamie 4th July 2019
It's safe to say that by now you're likely to have seen the cheeky face of Oor Wullie if you're wandering around Glasgow, but why?
The sculptures have invaded Glasgow as part of Oor Wullie's BIG Bucket Trail, an 11-week regional art trail as part of a charity outreach for Scotland's children's hospital charities.
Funds raised through the trail will go to Glasgow Children's Hospital, Edinburgh Children's Hospital, and the ARCHIE Foundation, helping children in hospital across Scotland.
You can find the sculptures in popular city locations and shopping malls, such as People's Palace, Into Braehead, Buchanan Galleries, Science Centre and many more; there are over 200 unique sculptures across Scotland.
Although all the statues show the iconic Scottish comic book character sat on his upturned bucket, each sculpture has its unique style, theme and sometimes character; paying tribute to the likes Billy Connolly, the Duke of Wellington and Rod Stewart.
The trail runs until 30th August, and you can follow it with the Oor Wullie's BIG Bucket Trail app. The app shows you the location of all the sculptures and lets you tick them off as you find them.
Keen runner? Head to Glasgow Running Routes and find a 10K that bypasses 14 of the 58 unique sculptures across Glasgow. The 6.4-mile road route follows a loop that spawns between Anderson, the west end via Kelvingrove, Botanic Gardens and along the River Clyde at the rear of the SEC.
Keep your eyes peeled for Scotland's favourite son, maybe even grab a selfie before he's gone!


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Security is very important for big data applications, which process a large amount of unstructured data coming in big volumes and at high speed.
Couchbase Server provides security features that allow the administrators to implement various security controls to ensure secure deployment.
Infrastructure protection covers the network itself, storage devices, servers, virtual machines, and the operating systems installed on these machines. Database and application protection covers Couchbase Server itself and different applications used with it.
Some applications need an additional layer of security to meet business or regulatory compliance requirements. In nearly all commercial deployments of Couchbase, Couchbase is deployed on a trusted network, and unauthorized access is restricted by firewall routing rules.
Outside network, where web browsers and mobile applications are located.
Perimeter network between the internal and external firewall, which typically consists of web servers and load balancing machines. This network provides physical separation between back-end and external interfaces, such as the web and mobile applications.
Internal network within the internal firewall, where Couchbase Server is typically deployed.
Requests from the external network come through an external firewall and are directed to the load balancing unit, where security administrators can introduce packet filtering and blocking of malicious IP addresses. After that, the requests proceed to a web server.
On the second firewall level, between the perimeter and internal network, the IT or database administrators can allow only Couchbase ingress and egress ports to be accessible through the internal firewall.
While the external firewall allows only certain ports to be open, the internal firewall allows only certain Couchbase ports to be open.


Winter Weather - How to stay warm & safe, and have the most fun in the cold!
Many of us are heading into cold winter weather. Since I have a self-diagnosed allergy to treadmills and would prefer to exercise outdoors than indoors in almost any kind of weather, I often get asked for tips and ideas for how to stay safe and warm in the winter weather. Making sure you're properly prepared for the conditions will ensure that you can get the most out of the winter season!
Here are my top tips for staying warm, safe and comfortable in winter weather.
1) Layer, Layer, Layer: I like to do a base layer made of a tech material that will wick away sweat, and then layer on from there, depending on the weather. Your core will warm up as you get moving, so wear an extra layer that will be easy to remove when you heat up.
I always make sure my hands, feet and ears are well protected because if they are not, you can bet I will be miserable! I prefer tech materials and wool because they do not hold the moisture like cotton does. To me there's nothing worse than being sweaty AND cold at the same time!
2) Proper footwear: This could technically be included in the clothing category, but I feel it deserves it's own discussion. Footwear includes socks (again, I prefer wool), warm/water resistant or waterproof shoes or boots and, if necessary, some sort of traction control on your shoes so you don't slip. You can find YakTrax or Microspikes for various types of activities online or in your local running/sports store. This year, I'm considering investing in a pair of winter running shoes with traction that is built in!
3) Take a Buddy: This is a great idea to do at all times, no matter the weather. If you're going on a trail or in cold (or hot) weather conditions, having a buddy with you is always helpful. If you're heading out by yourself, make sure a family member or friend knows your route and approximately when you'll be back. I always tell my husband "the time to start worrying if I'm not back yet is X"
4) Protect your face and exposed skin: Wind, sun and cold can do a number to your skin. The sun is surprisingly strong in the wintertime, especially when reflecting off the snow, so I always put on face lotion with sunscreen, as well as lip balm with sunscreen. Nothing like chapped, raw skin to make you not want to go out in the cold again!
5) Lighting: If there is even a tiny chance you will still be out and about in the dusk or dark, bring a headlamp or flashlight with you! My husband and I recently took our daughter and our dog on a hike. We decided to take a loop that ended up taking us longer than expected. Thank goodness I had my headlamp, because my husband was carrying her in the backpack, and it was great to be able to keep up our pace and not worry about tripping hazards on the trail. I personally like the Black Diamond Sprinter, which is adjustable, and has a light on the front and on the back. It's also rechargeable!!
**Bonus tip: Take notes from one year about which clothes worked best for what weather. You'll be glad you did the following year when you can't remember at what temperature you need that extra pair of socks or the thicker tights! Everyone is different, so making your own custom cheat sheet is a great tool.
My cold weather ensemble includes: Cold weather tech material Underarmour mock turtleneck, thick running shirt over (various brands) and then a variation of my REI running vest, Canari cycling jacket/convertible vest (in neon yellow!) and heavy duty Columbia winter jacket. I use an Athleta headband for anything down to about 20 degrees, and below that I use my balaclava (also from REI), an incredibly flattering face mask (as pictured I have it pulled down but it goes all the way up over my nose!). 3 different thicknesses of running tights keep me warm the whole winter long, no matter the temps.
*None of these brands are sponsors, I list them in case you want to look for a similar item!
The layering continues with the hands and feet! A thin pair of Smartwool gloves underneath thick mittens and a pair of tech 5 toed socks under Smartwool socks allows the moisture to be wicked away. And if I get warm, I can take one layer off.
Don't forget your proper shoes/boots along with some Yaktrax or Micro/Nanospikes! They both have different versions depending on what activity you're doing.


Imagine that you were lost in a wilderness and had to find your way out. Fortunately, you have with you a number of things, or tools if you will. In the first instance you have a kitbag, which is itself useful. Within it are various articles: a bottle of water, a knife, fork and spoon, a map, lighter fuel, matches, a compass, a chocolate bar, some rope, scissors, a can opener, a wrap-up plastic mac, and a few more pieces too, like the watch on your wrist. The question I would ask you is simply this: would you, therefore, given that you are lost and are not sure where or how far the next safe port of call is, jettison any of these items or tools? Would you say, this item is irrelevant, and I don't need it – I'll never need it – get rid of it? And further, when you are safely back home and start writing of your experiences, will you be prescribing to other travelers in the wilderness: you must never take a bottle of water with you – it's stupid, it's cheating, it's pointless? Or, argue having a map with you means that you are not really lost, so you are not really making a journey?
In English poetry rhyme is a special example of one such special effect. In fact rhyme is so ubiquitous that some less informed people seem to think that poetry is just that: rhymed couplets. But because some less informed people think erroneously about this topic does not invalidate its force. The truth is that rhyme is a massively powerful adjunct of poetry and this is demonstrated in two ways in the English speaking world: first, children universally love nursery rhymes, and such rhymes are a brilliant device for aiding memory and recall. But second, advertising itself regularly uses rhyme – why? Because it works. One only has to think of one of the most memorable ads of the last 40 years: "A Mars a day/Helps you work, rest and play." We get it and the message embeds itself in our consciousness.
Of course, rhyming badly is not good. William McGonagall has become a by-word for bad poetry in which meaning has been wrenched by the necessity to find rhyme words. This, in his case, however, has become comical – people still want to read him for the pleasure of the forced rhymes. And here's the weird thing: I would predict more people read and enjoy McGonagall for all its incompetence (there is still a pleasure to be had in rhyme!) than ever read those stalwarts of serious 'free verse': the 'Howl' and the 'Paterson' and all this shapeless stuff that drones on in its own self-importance.
James Sale is a motivational speaker and poet in the United Kingdom.
Featured Image: "Homer and His Guide" by William Adolph Bouguereau (1825-1905).
Very well stated with ample liberality. A new scolding provincialism is as off putting and unsavory, actually moreso, than an old.
Thanks for this recommendation, Joseph, I appreciate them. Rhyme can seem such a simple device to deploy, and it is because it seems so simple so many fall into the simplistic trap of using it badly. There is a whole world of subtlety in rhyme, but only real poets 'get it'. The sort of thing i am talking about here is best contained in an example: the Australian poet, Clive James, in his introduction to his translation of Dante, makes the casual comment that in making the translation one rule was – avoid feminine rhyme endings. Of course, of course! One feminine rhyme ending in English and you begin the march towards a poem called Don Juan by Byron – a great poem, but not what the Divine Comedy is about.
Mary Carrying a Torch for Rhyme is very good. Dr Seuss is not one of my favorites, but I found myself writing – somewhat – similarly the other day. Why? Meter and Rhyme.
Yes, have now read your poem – very amusing and serious too: love the Seuss/obtuse rhyme! Thanks.
Your poem does just that: carries the torch for rhyme!
I agree with Mr. Sales that rhyme is not necessary to poetry but, used appropriately, can be a massively powerful adjunct of poetry. However, I am less than impressed with his demonstrations of this principle (children love nursery rhymes and rhyme can assist in getting a message across). For one thing, it is not the function of poetry to deliver a message; the art is in the writing and not in the message (meaning).
I personally believe that the idea that poetry is not the communication of a message is one of the doxologies of modernism.
This is a tricky – paradoxical – issue. I agree with Mr Mackenzie in that modernism has abolished meaning – apart from solipsism – and so has fatally undermined communication. Thus, there is a real need to re-instate it; for poems to be about something. Yes. But on the other hand, we also know that poetry being 'about' something (Archibald MacLeish: ' a poem should not mean, but be') renders it prosaic in the extreme, and has a tendency to be not sourced by the Muse. So we are faced with Scylla and Charybdis – the poet has to go straight down the middle in order to be the hero who survives this journey.
Hi Richard – thanks for this very thoughtful response; I think we may be splitting hairs on semantics here! It's the purpose of all communication – of which poetry is a type – to deliver a message, although the message may be that there is no message. What we both might agree, I think, is that we want poetry to avoid didacticism.
I think a return to first principles is in order. I bang on about it constantly — form follows function. The form chosen, even free verse, must serve the theme of the poem. For example, I once wrote a silly version of Modern Major General (which real G&S aficionados will cringe at for its liberal use of pararhymes) to help the children of an American friend of mine learn the Amendments to the US Constitution. It was a form of prosody designed to serve a function. The chief way prosody is experienced by ordinary people is through song, and we must never forget that all poetry has its roots in music, in song. Even syllabic forms such as haiku started as the 'intro' to longer-form sung prosody. Therefore to suggest we should divorce poetry from it's music roots is ignorant and denies thousands of years of literary tradition. We are creatures of song. And for this reason I think perhaps the worst way to learn to write a poem is through a poetry primer (unless of course it's the life changing Ode Less Travelled by Steven Fry) is listening to or learning to play music. Rhythm and rhyme are essential if one takes a broad view of prosody. If I can't hear the music, to my mind it isn't a poem.
Thank you for these great comments and I agree with you about the music; music as in beautiful music, not atonal, tuneless, charmless, modern dissonance, of course!
This is music to my ears, Liusaidh, as the first rites of poetry are truly song! Are you by chance a musician?
I'm a poet and I know it. Hope I don't blow it but I'm going to show it. As easy as bumming a dime I can rhyme anytime.
DP, your effort is only secondarily rhyme; primarily it is plagiarism – there is nothing original in your ditty. Let's not confuse two things.
Yes, David, the orange rhyme is much better, as the word orange is often cited in the text books as being a word that has no rhyme in the English language, so clearly one has to think about it to get there!!
This is a very good, balanced essay on rhyme. Of course too many rhymes spoil the poem, but few make it lyrical and beautiful. That's why the great Gurus of prosody prescribed rhymes at particular appropriate length to make them sound sweet at definite intervals .
Thanks sathyanarayana – you are right; and it is interesting that the awarding of the Nobel Prize for literature this year to Bob Dylan is appropriate for us in that Bob uses rhyme consistently, and has to use musical prosody in order for his songs to function as songs! His work is accessible too, with huge variety, so what a relief that some intellectual, atheistic, free verser, with a superior audience of about 57 people spread across 13 universities in the UK, USA and France, didn't win it.
Yes, I would agree … for rhyme to work, it does depend … context is everything.
A very helpful essay on rhyming poetry. Though I'm very young, I'm glad that i have not free verse unlike modern poets.
Thank you Satyananda – I am glad this is useful.
True as much in light as when dark is dense.
Until I'm turned to dust, and dust claims all.
Thanks Satyananda – I like your paradoxical quatrains – extremely well expressed and witty too.
The one, who knows well the laws, if breaks them occasionally with good intention, it will have great impact (eg: Gandhi's civil disobedience/non-cooperation movement adopted from Thoreau). I think this is the case with poetry. Poem should not be sacrificed for the sake of meter or rhyme but these are necessary for poetry to exist.
Though meter or rhyme does not make something a poem, good poems with these qualities could easily be memorized. If a poet's intention is just to see his name printed, then, these things are not necessary. I'm a person from Kerala and I have never been to U.K. or U.S.A. (English is my second language and therefore, please forgive me for any mistake that I might commit in this piece). Yet a few odes, especially "Ode to a Grecian Urn" and "Ode to a Skylark" and a few poems of some other English poets are by-heart and I often recite them when I'm wearied or getting bored. Why is it easy to remember their whole poems? The answer is simple; those are meaningful, metered and rhyming! Most of their rhyming words are not forced, but spontaneous. Emotions, good vocabulary and practice are the requisites for composing rhyming, metered poems. I still recite thousands of beautiful, metered and rhyming Malayalam (my language) verses of great poets from memory. Therefore, my humble opinion is this: if a poet/poetess wants his/her poems to last long, to be memorized and cherished by others, the poems must have perfect meter or rhyme or at least powerful rhythm as in the case of some poems by T.S. Eliot.
Nowadays, ninety-nine percent of Malayalam poems are also without meter or rhyme. The main reason for the mass production of such rubbish is not by the thirst for the freedom of expression through free verse but by the lack of patience and meditation to compose good ones. Therefore, anyone can write poem; just give a title, "Poem" before the nonsense begins, and that's all! So that, now, almost half of my forty million countrymen are poets! Great!
Bombs and fireworks: emotions, when expressed without any control act as bombs and when arranged nicely become fireworks.
Therefore, James Sale's article is relevant. Thanks!
A fabulous commentary on the inanity of so much so-called poetry; thank you John – we agree on this!
I couldn't have agreed more. This comment echoes the very need for quality poetry i.e. formal and rhythmic poetry. The so called poets are far away from the beauty of top class verse. Being in my early twenties, I don't have the urge to write free verse for which I have been often referred to as a 'worn out' poet. The real poetry raises the soul and winks at the catastrophe.
As you are young and have an instinct for poetry as bigh art, I would suggest you take a glance at my website.
Yes, Satyananda, the real poet who writes real poetry "raises the soul" – exactly; you have expressed it perfectly.
This is the advantage of being a young lyric poet. You are not tainted by modernism.
I maintain that this is a much better poem than most of what is being produced today, by both formalists & free-verse professors to poetry (and what it is saying is still also largely true, particularly in niche, specialist worlds such as poetry finds itself today), and I maintain that that is for reasons beyond the rhythm that the sentence has. Everything has rhythm, therefore, we must think beyond rhythm when considering what makes a poem poetic.
I think you always make and thoughtful points GMH. You touch on a number of quandaries! I am reminded of what my favourite critic, Dr Johnson, said: 'Poetry is like light; we all know what it is, but it is difficult to say what it is'. So we know there is poetry and we know there is prose, and we know that like yin and yang there is a point at which one switches to the other, and that some writers straddle both camps. But the essence of poetry is that it is not prose. So what is it then? Traditionally, we refer to things like the line break – the verse, or turning – to be an indicator; we also refer to its rhythmical qualities because rhythm so affects the heart, and so directly impacts us as music does – so that is, one would think, a necessary element. However, I am prepared to accept that in extreme circumstances a writer can write poetry without line or rhythm; but what must always be true of poetry is form – there is a heightening of language, an accentuation of words, a shaping which extends beyond the semantics – a process, then, that we recognise that is symbolic in some way of deeper levels of meaning which prose, at its best, can only approximate to. Given that concession, however, if we return to poetry in the English language – and accept that other languages have other properties (so that, for example, rhyme may not be relevant in ancient Greek) – then it is clear that poetry and especially major poetry requires verse – lineation – and rhythm; rhyme is optional and not always necessary, as Milton proved. So I think we are in a large part in agreement.
Mr. Sale, I kindly thank you for your words, which I mostly think are fair and well-reasoned, as they always seem to be, but the core of what I am saying seems to have been somewhat overlooked, if you will pardon me to be so bold as to say. Any statement anyone can make, any collection of words, has a rhythm to it. True, this rhythm is not always a particularly attractive one, particularly if one pays no thought at all to rhythm, but if one looks to flow, which the great novelists did and still do, one will usually come up with lines that have good flow, and this invariably means good rhythm. If one were to take the sentence from Dickens and give it line breaks, one would get a poem written in loose iambic hexameter for the first five lines, after which it gets a bit harder to count off-hand. The fact that Dickens did not give his words line breaks I maintain does not disqualify them from being considered poetic. While it is true that keeping rhythm in a tight straitjacket is usually a good guard against poor rhythm, I also think that it is true that not every poem written in perfect metered-rhythm has good flow, and that an obsession with achieving perfect, regimented meter can often (and often does from what I've seen) blind one to the finer points and sensibilities of good rhythm. And while I would say that it is not an incorrect statement to say that poetry can be defined to be that which uses words yet is not prose, I would also say that prose can be poetry while simultaneously being prose, and also that a good deal of what people think of as poetry, both of the rhyming, tightly-metered variety and of the free-verse style, is in fact not even good enough to be labeled prose, simply being a loose jumble of poorly constructed thoughts, self-absorbed references, and meaningless images inelegantly phrased using extremely mannered language that does not add anything to the work. Again, I want to stress that I am not merely bashing free-verse when I say this, for the whole free-verse/formalist debate people on both sides of the divide love to hash over is in so many ways a false dichotomy. So too is the verse/prose divide. All language has metre inherently in it. I do not think it essential that one consciously shapes the metre because there is no way to judge if an author has consciously shaped his or her metre or simply got a pen and let the muses shape what comes gushing out. The reader cannot tell what the writer was thinking or doing when he or she was writing, so intentions are in many way a moot point.
stressed unstressed stressed unstressed unstressed stressed unstressed, unstressed stressed unstressed stressed stressed unstressed unstressed stressed, stressed unstressed stressed unstressed stressed unstressed stressed stressed stressed stressed unstressed.
So if poetry cannot stop being poetry if one takes away rhyme, or line breaks (or what one can reasonably define as line breaks, and as I've tried to demonstrate, defining line breaks as other than what I have quickly becomes a fruitless endeavor, a kind of petty anti-grail quest), and one cannot take away rhythm as every statement made in any language has always had rhythm (and particularly in highly rhythmic languages such as English, German, Greek, and Latin), what can one take away from poetry to stop it from being poetry? Perhaps it was this question, or some question like it, that prompted Rimbaud to write his 'Les Illuminations', one of the earliest conscious attempts at prose poetry that I am personally aware of. What is the element, or far more likely, group of elements correctly in harmony with one another, that make a poem a poem. This is not a question that can be answered with surface level observations such as noting that there must be good rhythm (and as I've already stressed repeatedly, everything has rhythm).
What makes a song rock 'n' roll is not the use of an electric guitar, a drum set, and a bass guitar. These must be played in unison and using musical principals essential to the genre, such as the riff, the lick, and the scale. But rock 'n' roll is not exclusive to these instruments– it can be played using pianos, synthesizers, and drum machines, although it's usually better to have a human drummer in terms of sound– drum machines are far to synthetic and soulless. And the human voice that is the heart of rock music must deliver a poem with arc for rock to be truly great. Think of that most essential rock song, Berry's "Johnny B. Goode". The first verse describes the humble background of the song's hero, the second moves him to playing on the tracks, impressing everyone who heard, and the third ends the cycle with his mother's prophetic promise that someday his name may be in lights. What I find especially interesting about this poem is that the promise is yet to be fulfilled, giving it a haunting sense of uncertainty.
Hi GMH – you make a lot of points here and I cannot cover them all, especially the Johnny B Goode one! But I think one interesting point you make which does introduce a new element is the point about 'poor' rhythm and basically, the job being done badly. I talk about form, but another way of expressing this would be not to talk of form but of form's key property – something which I think is implicit in your account. What is this property inherent in form, and which lack of form – poor form – bad rhythms etc – do not possess? The answer I think is beauty; we love poetry because it renders beauty to us and we love to experience beauty. Sometimes that may be intentionally sought by the poet – an effect as it were – sometimes (as is the case with the best of Wilfred Owen – 'the poetry is in the pity') it simply emerges. But this sense of concentrated beauty always means we are in the presence of poetry; prose may be poetical, but we all grasp the essential difference, and those who try to hard to extend the definition of poetry to include everything – that is, everything prose – by definition, then, mean poetry is nothing.
Well put. And just so there was no ambiguity, though I'm fairly confident you were not implying this, I am well aware that there is prose and that there is poetry, and that the two things are different most of the time (also, I was not trying to stretch any definitions, but rather convey my honest opinions). But I maintain that the best of prose, the prose of Joyce, Pynchon, Mervyn Peake, as well as many others, is both prose and poetry, at least in a number of places in their master works, and that prose can be better, in terms of beauty or any other metrics one desired to use, than poetry. There are a lot more commonalities between the genres than people suspect. For a clever, well-written short story behaves in many instances like a poem, and there is no better way of discovering this than attempting to write one. And every chapter in a novel behaves (or should behave, if the author's good) like its own short story, so every novel ideally should read like a series of closely related poems. The best example I can think of this off-hand is Cormic McCarthy's "The Road".
This, to me, is by far the most important response.
I was trained in Paris to recite classic verse and had the pleasure of mixing with many a very fine "diseur." Indeed, I had become a component of the "poésie dite" movement popular at the time.
Hi Chris – you have not lost your touch; this is very classy – it rhymes but captures natural speech patterns and seems effortless rather than contrived. So like it lots – especially the almost cliche that you make seem real – 'Love has wrung from me'. Great stuff!!
I was fundamentalist to this position until the last deacde or so, but I still prefer the rhyming type.
The political hold against the style is as it is seen as tied with patriarchial and conservative thinking, and the refusal to adhere to this is seen as a form of rebellius action in words.
Myself, I write as a free verse that is then fashioned into a rhyming one, but somethimes it does not come off, and is better left as a free verse.
Hi Tomas – I have left a brief comment on your give to me angry sea poem, and I like it a lot; I also like however your Yeats poem. Indeed, Yeats is clearly a major influence. I myself take the view that Yeats is the greatest poet in the English speaking world of the last 150 years, so to study him is to get to the master. Clearly, you can move between the rhyme and non-rhyme camp easily. It would be a mistake to legislate for rhyme – there are moments – or epics as Milton realised – when one needs to abandon it. But you are right about the fact that using it is seen as a political statement; and alongside that is what I can only regard as one of the most fatuous misidentification of ideas in literary history: namely, that writing 'free' verse somehow equates to being democratic or striking a blow for freedom. Most free verse is simply atrocious verse and is certainly not poetry and its practitioners have failed to understand the importance of Yeats' marvellous dictum on 'the fascination of what's difficult'. Writing in meter and rhyme too difficult for you? Hey, don't bother – count syllables? – that too difficult? Just put down anything you want – but tie it into a contemporary 'issue', then you might even be considered an important poet. It has always been the way of the world to like what is superficial and to go for quick fixes that are symptomatic rather than causal. But true poets don't think like the world, which is why form is so important.
And, Satyananda, I recommend Robert King and his work to you – I have reviewed his wonderful book on Jose Garcia Villa – a masterpiece.
1. Music does not require verbal expression, as, for example, piano concertos, etc.
2. Homeoteleuton (i.e., rhyme) is only one of many schemes used in verbal expression.
3. Among many other works, Lucretius' "De Rerum Natura" shows the power and importance of didactic poetry.
4. In Greece, in the remarkable 400s BC, Herodotus used unmetered prose for his historical investigations and Plato for his philosophical dramas.
5. Though his meter, in a play, like "Macbeth," is not as intricate as that found in the dramas of, say, Aeschylus, Sophocles, or Euripides, Shakespeare masterfully handles both poetry and prose there.
6. Both poets, like Dylan Thomas in his villanelle "Do Not Go Gentle Into That Good Night" and prose fiction writers, like Charles Dickens, use repetition, (i.e., anaphora, etc.).
8. I am amazed at the dazzling concentration of classical writers, as, for example, the opening half line of Vergil's "Aeneid": "Arma virumque cano".
9. Prose fiction writers, like Modernist Joyce and Postmodernist Pynchon, frequently indulged in cacosyntheton.
10. Milton's ponderous lines show remarkable staying power.
First, let me just say: it is a joy to have Robert L King back in the discussions!! I have noticed his absence over the last year – I believe he has been preoccupied elsewhere – but now he is back. Wonderful – and for those who don't know his book, "Poetry Is", then I think it is one of the best books about poetry ever written – a marvellous book. But thanks to Lew for his various observations, which I am not inclined to dispute since they seem tangential to what I am talking about. Yes, there are many figures of speech that poets and prose writers use, and there is massive overlap, but my article was focusing on rhyme because of its central and controversial place within poetry, poetic discourse, and even the public imagination. For, for the public, many still think that 'rhyming' is poetry! But on the other side, we have the intelligentsia – the post-modernists – who disdain what the public like and also who denigrate the importance of beauty (through form) of poetry. And so to that end, I penned my modest polemic arguing that whilst not essential, rhyme was a major and intrinsic 'ornament' to poetry, and oftentimes generated simply great poetry. But thank you both for your points; including Robert's very controversial one on Shakespeare!
I don't really agree that poetry cannot have a narrative at its center. As you point out, such a contention disqualifies a good deal of what people, scholarly or lay, think of as poetry. After all, not only your cogent examples of Chaucer, Homer, the great works of Dante, Virgil, and the plays of Shakespeare, but also the works of the most successful and widely read poet of the last 200 years, Dr. Seuss, were all poems in service of telling a story (not to mention Milton's magnum opus, nor much of Spencer, nor many of the Romantics' greatest hits, such as The Rhyme of the Ancient Mariner, The Raven, or The Song of Hiawatha, among others). Such a definition disqualifies all epic poems from being considered poems, and a good deal of non-epic poetry as well, and I for one am not willing to banish most of what I regard as the greatest poetry ever written from the empire of poetry. Yet it is true that prose has largely replaced poetry (or more accurately, what people conventionally think of as "prose" has replaced what people conventionally think of as "poetry") for the purposes of telling a story over the last 300 years or so, at least in terms of what most story-crafters are willing to use, and what most story-readers (such as there are still readers) are willing to consume. Which begs several questions all at once, the first of which I think you have answered incorrectly, although it was noble to attempt to answer, and your answer is quite admirable in its fearlessness.
This is a definition that disqualifies a number of poems written in the stiff, formal style favored by a number of modern dissidents from the poetic establishment, who worship too fervently at the alter of perfect clarity. The other extreme of this is what in a number of ways has led to the post-modern malaise that dominates the poetic elite nowadays, namely the hyper complexity of the New Critics which led to stiff, incomprehensible, & downright boring poems such as those of a young Robert Lowell. Yet there is a happy medium between nursery-rhyme clarity and ponderous, self-centered complexity, and it is here that the true poet must reside if they aspire to write poetry that is truly great.
I also like this quote by Graves because it emphasizes the importance of images in poetry– while the image is not the only thing a poem must have, it is very hard to write a good poem, let alone a great one, if one has no images in one's poem. I would say that images, their proper selection, framing, and manipulation, are even more central to poetry than rhythm, although rhythm is also very important, obviously. What is metaphor if not the brilliant juxtaposition of images not normally associated? And, as T.S. Eliot observed (though not in these words mind you), what is metaphor if not the most potent weapon in the arsenal of the poet?
To get back to the point after such long wanderings, I would say that by the definition of Graves given above, many poems written in the service of telling a story are poetic because they recombine everyday events into several different levels of thought simultaneously using rhythms and images that are not prosaically present. The Iliad and the Odyssey do this through the use of mythical creatures and gods, who on one level are actual physical realities, but on a deeper, more real level, represent the abstract ideas, emotions, and hardships that underpin the more visible actors upon the stage of the world. And Shakespeare also does this, personifying Time in The Winter's Tale, various forest sensations in A Midsummer's Night's Dream, and other forces elsewhere, such as the witches in Macbeth. Dante's Inferno is a tour de force in this kind of metaphorical play of images and characters. And so is Joyce's Ulysses, which has so many images and rhythms recombined on so many different levels, it is hard not to consider it poetry, and poetry of the first order.
Thanks GMH and Lew. I agree with you GMH that narrative can indeed be poetry, and frankly I regard the existence of the Iliad or Paradise Lost as being incontrovertible proof of that proposition; to believe otherwise is to promote theory over the facts of experience. But that said, I can see why Robert has argued otherwise: there is currently an absence of long, narrative poems that 'compel' us to read; and certainly lyric is the purest impulse of poetry. But absence does not mean that it is impossible; it does mean that whoever can do it has to be able to use language in an elevated fashion or style that is most difficult to attain, since such a language will almost certainly be at variance with, or run into the problem of, the mishmash and relativistic values and 'equality' zeitgeist implicit in most of the language of our day. Indeed, heroic narrative actively works against 'equality', which is the the 50-50 principles and really works on the Pareto Principle, the 80/20 rule – a few things only count inordinately, and from them tremendous issues spring: one decision by Satan, one by Eve, and one by Adam and whole worlds of woe emerge. And to be classical (and this is for Lew – great examples, BTW!) about it: the judgement of Paris, in which Aphrodite was chosen (a beauty pageant, for crying out loud!) above her fellow goddesses meant … the destruction of Troy and Paris' own life destroyed. Thanks all for some wonderful observations and comments. I do think this is a really important issue. Later this year Evan is bringing out a series of articles on Poetry and the Muses that I have written for SCP, and I hope you will enjoy and respond to these as they appear.
1. As G. M. H. Thompson pointed out, many of the most inspiring poets did not use rhyme: Homer, Hesiod, Archilochus, Alcman, Alcaeus, Anacreon, Sappho, Bacchylides, Simonides, Pindar, Aeschylus, Sophocles, Euripides, Aristophanes, Theocritus, Callimachus, Ennius, Lucretius, Catullus, Vergil, Horace, Ovid, Statius, Martial, Juvenal.
2. In the first major prose work on the literary theory of poiesis (ποίησις), Aristotle discusses heroic epic poetry, dramatic poetry (both tragic and comic), the satyr play, and lyric poetry.
3. The lyric poet Horace honoured the epic poet Vergil in his odes.
4. Vergil, scanning the poetic horizon of his time, went most deeply to the poetry of Homer. Dante, scanning the poetic horizon of his time, went to Vergil's poetry for his guide through Hell and Purgatory. Though Dante wrote fewer sonnets than Petrarca, he was not the less poetic.
5. Chaucer's regularization of rhyme and incorporation of iambic pentameters (in the manner of the Italians), became instrumental for the lyric poets in English for the next seven centuries, Tudor writers, like Wyatt, Howard, and Spenser, giving it an English character. Henry Howard, introducing unrhymed iambic pentameter, blank verse, in his translation of Vergil's "Aeneid," and so effectively used by poetic dramatists, like Marlowe and Shakespeare, and others in other poetic genres, like Milton, Thomson, Wordsworth, and Keats.
6. Throughout his works, the poet Shakespeare frequently went to the Greeks and Romans, and in addition, devoted several poetic dramas to them, like Troilus and Cressida, Julius Caesar, Anthony and Cleopatra, and Coriolanus, as have other memorable poets, like Corneille, Racine, etc.
7. The territory of Poetry is vast. Yet, though the territory of Prose is vaster, Poetry, in so many of its manifestations, is vital for the health of a language.
8. Although it is easy to write poetry, and even easier to write prose, great prose is extremely difficult to write, and great poetry nearly impossible. Only at certain moments in history can greatness in language reveal itself.
9. Joyce doubted Eliot's ability as a poet, as have I; and yet my doubts of Eliot's poetry and prose are less than those I have for Joyce's prose. And though, for me, neither of them approaches Chaucer's or Spenser's failures, still I am thankful for their service to English.
10. Next to Vergil's failures, I can only defer to the art of Horace and the vision of Dante.
I do not deny, and did not in my earlier comment on narrative poetry, that historically there have been numerous works of prose that have been, and still are, considered great works of poetry. But "poetry" is an umbrella word — it can shelter anything you throw in it or under it. In speaking as I did in my comment, I was speaking of the art of poetry, the subject matter of the book I edited: "Poetry is." I cannot squeeze into this reply what is contained in the 154 pages (25 chapters) of my book and will not try. In his reply to my comment, G.M.H. Thompson states: "What lies at the heart of this discussion, yet again, is what is the true nature of poetry." I see it differently: What is at the heart of this discussion is what is the true nature of the art of poetry. Poetry can exist as spirit, where poetry is the spiritual coefficient of human nature. Man's heart has a natural, spontaneous internal power — of insight and imagination. Poetry as spirit is an inward light — an all-embracing sense of good and rightness. Poetry as spirit springs involuntarily from the human heart. You don't have to do anything for it.
But poetry as art is not automatic or spontaneous — it has to be worked for — into the discipline of form. In order to be art, form is mandatory. Poetry as art is always controlled, conscious and deliberate. In poetry as art, an artist is at the helm and s/he imposes pattern and architecture, i.e., form, on the work. The spirit of poetry does not have to manifest itself in artistic form. However, if it is put in artistic form, it becomes one of the arts, and only one is called poetry –this is the art of writing in verse. Paul Valery said that the art of writing in verse is poetry "reduced to the essence of its active principle." For the most part, Chapters Four through Eleven of my book are devoted to distinguishing between the prose process and the poetic process. All I can say here pertinent to the narrative process is this: The poetic process starts from the energy and self-kindling of language itself. When you begin a poem with meaning in mind, that meaning — instead of building the poem up — undermines it and pulls it down. A poem that starts with meaning has a birth defect. And while I maintain that meaning has a special meaning in poetry; it must generate itself from the verbal and musical development of the poem, a subconscious arrival by the poetic process.
This is very well expressed and highly cogent; and reminds me, I need to read your book again! Thank you.
Welcome Carmella – glad you are on the site, glad you like this post. Feel free to contribute – we have some very vibrant conversations. As you probably deduce if you have looked around, we like beauty, truth and goodness here, and so far as poetry goes, form – without being too dogmatic about it. In essence, poetry should delight and may instruct! So post your comments and submit your poems.
Thanks Bursa – look forward to seeing it.
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Thanks Lieselotte for liking the blog!!
Come join the great unblessed.
Blank verse is … your best yet – like it!!!
Fill the Blanks Verse Competition.
Must I show you all by banging on drums?
Fill the blanks in my ….
I'm in need of an ….
ill, nine, desired, me, opponents, tum, dear, ending.
The problem with modernity is that it would see more poetry in the answers and would graft to it meanings that don't exist.
Excellent little article. Congrats, Mr. Sale.
Thanks Bruce – appreciate your taking the time to read it and your response.
That moves the writing arm.
Without the help of dope.
Through the poem with rhyme!
Thanks Evan – apologies for delay in replying – but this is great: this does give force to what I have rather prosaically stated! As you say so well: "Things with order and strong borders / Leave a lasting mark," – that is exactly it. Indeed, I seem to remember that it was Robert Frost who said, 'Good fences make good neighbours', which again is all about the borders and boundaries which make meaning – and society – possible. Well done. Love it.


text:
A Mazda Halo Sports Car Could Be On the Way, Patent Images Show
Filings to the Japan Patent Office suggest Mazda has been cooking up something special.
byLewin Day| PUBLISHED Aug 5, 2021 6:59 PM
Mazda has done right by car enthusiasts over the years. While the venerable RX-7 was put to bed back in 2002, and its sequel wasn't quite at the same level, it's nonetheless given us over 30 years of Miatas to punt around to our heart's content. The thirst remains, however, for the company to bring us back the zoom-zoom with a fully-fledged sports car. As reported by Jalopnik, the company's recent patent filings might hint at just such a possibility.
The images were spotted on a Japanese blog, regarding 14 patents Mazda has applied for recently. The most notable among them is a patent regarding a two-door sports car with an aluminum space frame design.
Several details from the patent diagram bear a striking similarity to the RX-Vision concept of 2015., Japan Patent Office
Interestingly, the diagrams in the patent filings are remarkably similar to the basic outline of the brand's RX-Vision concept, first made public back in 2015. Details around the door opening, quarter window and rear window are all reminiscent of that design. There's also a sharp, angular cutout which matches the shape of the former concept's taillights almost identically.
These filings are not direct evidence that a car matching the description of the RX-Vision will enter production. It's more of a smoking gun, a hint at what Mazda has been cooking up behind closed doors. There's every chance that placeholder graphics from the existing concept design were used for the patent simply because they're already public. However, the fact that these filings exist at all tells us that the company is doing work on a two-door sports car, at least to some degree.
It bears looking back just a little earlier, too, with the same blog posting other Mazda patent filings back in 2019, which show a driver sitting in a low-slung, sportscar-like fashion. Notably, several details on the chassis shown in that filing match the new release this month.
Do you ever look upon a wireframe person with burning envy?, Japan Patent Office
A further post from July 26 features a tantalizing yet distinct rear-end design from the more recent filings. It looks like it could be rather sporty, and features a near-identical crash structure to the recent sports-car patents. The patent also seems to mention a rear glass hatch which would ape the design of previous RX-7 models. However, that filing also mentions a tow hitch, so we could be barking up the wrong tree here.
It's pure speculation at this point, but with the onward march of new technology, it seems unlikely that we'd see a return of the famous Wankel rotary engine in a sports car application. While the rotary is back in the Mazda MX-30 as a range extender, it never directly powers the wheels in that vehicle. Modern emissions regulations would surely curtail any effort to build a rotary sports car these days.
Japan Patent Office
A more likely engine could be the company's new straight-six. Expected to land in the next-generation Mazda6 sedan, in current form it's supported by a 48-volt mild hybrid system as well. A performance-tuned version could make a great powerplant for a future sportscar, and would fit nicely under the long nose of the concept car, to boot. While many would love to see a return of the rotary, few would turn up their nose at a capable straight-six.
Further details are scant, but we'll have our ear to the ground for any more tantalizing hints flowing out of Hiroshima. A new Mazda sports coupe is a treat we all surely deserve, and on the off-chance it did have a rotary, well... that would be the icing on the cake. These are the exciting times we live in.
Car TechMazda NewsNews by BrandPatents


Easy to find, we are located at the corner of Hydesville Rd and Rt 88. Just follow Rte 88N from the intersection of Rt 31 and Rt 88 in the center of the village of Newark. We are a one story gray building located about 2 miles north of the intersection in the west side of Rte 88.


"Cape Town hasn't been paying enough attention to township cuisine," says Pitso Monate, whose restaurant Afrobar & Pitso's Kitchen opened in early April on Long Street. Monate, originally from Limpopo, started selling mogodu, tripe, samp, trotters, "homely stews" and chakalaka because he was homesick. Find out more about Pitsos Kitchen.
Born in Cape Town's southern peninsula in 2015, this globally recognised brand is bringing it home and opening a new store at the V&A Waterfront – check out the environmentally-friendly smart bags, accessories and apparel in the first Cape Town store for Sealand Gear.
Love the vibrancy of the inner city? Here are 17 things to (re)discover Bree Street in Cape Town.
You might also enjoy our hand-picked selection of budget restaurants to enjoy in Cape Town. We've rounded up a few new experiences in these trendy places and areas worth exploring, as well as cool places to dance the night away in the city.


text:
Georgetown at Twilight by Land and by Sea!
Photograph Georgetown in the last rays of sunlight and take a riverboat up the Potomac River at twilight
Subject Matter: Architecture, Night Tours, Street Photography
Duration: 2.5 Hours
Instructor: E. David Luria
Ages: 16
Focus Skills: Architecture, Composition, Exposure, F-stops and shutter speeds, Live Action
Georgetown at Twilight by Land and by Sea! Here is a new adventure in twilight (Blue Hour) photography that gives you an opportunity to photograph Georgetown in the last rays of sunlight and then takes you by riverboat up the Potomac River at twilight
We meet at the busy intersection on the southwest corner of Wisconsin Ave and M Street NW in Georgetown and photograph the shops and restaurants, doing a little candid street photography, including a peek into the window of Filomena's Restaurant, to photograph one of the cooks preparing meals.
We photograph the lovely Grace Episcopal Church and then head down to the waterfront to catch our Capitol River Cruises boat, the Nightingale, that takes up the Potomac River and back to Georgetown for 50 minutes to photograph Washington Harbor, the Kennedy Center with its new REACH extension, the Key Bridge, the Lincoln Memorial, the Watergate complex, the Arlington Memorial Bridge, the Embassy of Sweden, the Washington Monument, Roosevelt Island, Arlington House, Reagan National Airport and the 14th Street Bridge all bathed in the soft blue hour of civil twilight just after the sun has set
The cruise boat offers refreshments and a restroom!
Professional architectural photographer E. David Luria will provide instruction in low light and night time photography with tips on composition and camera settings for white balance and ISO.
If you are planning to go on a cruise, this is a great opportunity to practice cruise-boat photography!
$89 fee includes boat ride.
Extra charged battery
Accessories such as filters
Meet at southwest corner of Wisconsin and M Streets NW . Closest Metro is Foggy Bottom, with free Circulator Bus service to Wisconsin and M St. Limited free street parking is available on Sundays.
E. David Luria is founder and director of the Washington Photo Safari, which has trained 36,700 amateur photographers – an average of 5 people every day, 365 days a year, since it was founded in 1999. Trained in Paris by a protégé of Henri Cartier-Bresson, Mr. Luria is a member of the American Society of Media Photographers and the Society of Photographic Educators and has had his images of DC appear in over 100 publications, calendars, and postcards and on 30 magazine covers.
Ask Us About This Safar
"Twi-Night" at National Harbor and Alexandria by Water Taxi
Take the water taxi from Alexandria to National Harbor at twilight. Photograph the Capital Ferris Wheel, National Harbor and Alexandria from the water.
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Annapolis at Night
Annapolis is one of the prettiest towns in the US. Discover the beauty of the State Capital and other historic buildings on State Circle, City Dock, Main Street, and Eastport, with its vistas of downtown Annapolis, the Naval Academy, and the Chesapeake Bay.
Overview of DC: Central Place Tower at Twilight
Come join us for the best view of DC, from the 35th-floor Observation Deck of the Central Place Tower in Arlington, at twilight.
DC At Night By Smartphone
Washington, DC is one of the most photogenic cities in the country, especially at night! We'll show you how to capture it on your smartphone.
Georgetown at Night
If you think Georgetown is pretty in the daytime, wait until you see it through your camera's viewfinder at night!
Sun Day Safari Time of Day Day Safari
Georgetown By Land and Sea
Capture the unique colonial-style architecture of the homes, restaurants, and storefronts of Georgetown's streets, the C & O Canal and Grace Episcopal Church
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Sunset and Twilight from the Kennedy Center Terrace Rooftop!
Washington DC at twilight is one of the prettiest cities in the country and one of the best places to see it is right from the middle of the city, with the 360- degree views from the rooftop Terrace of the Kennedy Center!
Click here to Ask Us About This Safari! Ask Us About This Safari!
Golden Hour from the Top of the Washington Monument
Take postcard-worthy photos as the sun sets from the top of the Washington Monument and night photos of the World War II Memorial and the Reflecting Pool.
World War II Memorial at Night
At night, the World War II Memorial is alive with illuminated dancing water in the huge fountains that dominate the memorial, creating a magical wonderland!
Twilight at National Airport
The huge picture windows, the Monticello-style arching domes, and the built-in artwork of Argentinian architect Cesar Pelli's $300 million Terminal B/C at the Ronald Reagan Washington National Airport provide many opportunities for good exterior and interior architectural photography. We will discuss how to balance indoor and outdoor lighting inside of buildings by waiting until the sun goes down!