text:
MoviesReviewsShort Films
2017 Oscar nominated short film reviews: Animated and Live Action
As the film world looks to Hollywood tonight for the 2017 Academy Awards, La La Land is the movie everyone's talking about, but every year, there are a wave of contenders that can get all too easily overlooked: the Oscar nominated short films.
Luckily, these days the whole lot get released on VOD in the UK in time for the ceremony, so everyone has the chance to unearth and appreciate some fantastic gems. With an impressively diverse collection for 2017, they offer a chance to see filmmakers from around the world producing some of this year's most interesting, and unusual, Oscar nominees. (For a guide to which nominees are available on VOD in the UK, from Netflix to BBC iPlayer, click here.)
We take a look at the animated and live action contenders. (For short documentaries, our reviews of Netflix's The White Helmets and Extremis are here, while you can catch Joe's Violin on YouTube here.)
Note: Due to Disney retaining the rights to its release, Pixar's short, Piper, is not included in the digital collection of animation Oscar nominees.
A Google Spotlight film, this animation is notable for its 360-degree format, which allows you to immerse yourself in the world of a young girl and dad, who live out of their hatchback car. Fortunately, that's not the only notable thing about it, as Patrick Osbourne (director of 2014's Animated Short winner, Feast) sketches their rough lives in a suitably rough style, accompanying the ramshackle tone with a charming soundtrack that, like a song passed down through generations, carries warmth across every frame.
Watch on iTunes
Watch on Amazon Instant Video
Watch on Google Play
Pear Cider and Cigarettes
The longest of the bunch, directors Robert Valley and Cara Speller chart the attempt of one man to try and rescue a friend of his, the brilliantly named Techno Stypes, after he becomes hospitalised in China and needs an organ transplant. Narrated in first person, the account of Techno and Robert's relationship is full of hard-boiled one-liners and darkly comic anecdotes. There isn't always quite as much depth as you'd like beneath the noirish, graphic novel-tinged surface, but oh, what surface! This is stunning stuff – and begs for a feature film to tell the whole story in more detail.
Watch on Vimeo On Demand
Incide 50
Instead of Piper, the Oscar nominees collection includes a "highly commended" animated short, called Incide 50, which follows a family's attempt to defend themselves from an errant mosquito. Playing with horror and action tropes, the brightly coloured, rounded visuals are a witty, squidgy treat.
Blind Vaysha
Theodure Ushev's uniquely animated tale captures the fantastical existence of its titular young girl, who is cursed to have a left eye that sees the past and a right eye that sees the future. As she struggles to reconcile the two, the result is a curious parable that challenges us to consider the way we view life. Its gothic imagery leaves a haunting impression.
Borrowed Time
Who said the best westerns have to be big? Andrew Coats and Lou Hamou-Lhadj's tiny slice of genre action sees a sheriff return to the scene of an accident from his past. The result is a wee little epic of grand emotion – and beautiful style.
The best of this year's nominees, by quite some distance, is this fantastic short from Hungary, which follows Zsofi, the new girl at school. Keen to make friends, she signs up for the choir, only for her cruel teacher to tell her to mime instead, because she's not good enough. Zsófia Szamosi is horribly callous as Erika, the teacher, who's more concerned with winning a singing competition than connecting with the children through music. But Dorka Gáspárfalvi's irresistibly winning heroine inspires a rebellion with a friend that will leave you speechless come the pitch-perfect ending. Directed with wit, sympathy and classy composition by Kristof Deák and Anna Udvardy, this 25-minute piece is an utter joy.
Starting with the titular Christmas carol, you might think Silent Nights is an odd one to be watching in February, but Aske Bang and Kim Magnusson's story is quietly topical tale of trust and hospitality, as we follow the burgeoning relationship between a young Danish woman, Inger, who works at a homeless shelter, and Kwame, an immigrant from Ghana. The cast are superb, with Inger's facial expressions conveying a whole wave of emotions just while looking at a mobile phone screen.
Ennemis Interieurs
Another topical tale, Ennemis Interieurs benefits from a sharper approach to the subject of immigration, as we watch a French police officer interrogate a French-born Algerian man seeking citizenship. Set in the 1990s, as the Algerian civil war rages in the background, it's almost a two-hander between the men, giving the whole bureaucratic back-and-forth a bristling, nuanced tension.
If you prefer your Oscar nominees to be more La La Land than Moonlight, Spanish short Timecode is for you. Juanjo Gimenez's film follows a car park security guard, Luna, who finds herself bonding through CCTV footage with another attendant – and they discover a shared way of alleviating their boredom. Playing out with minimal dialogue, this is a slight, but delightfully whimsical comedy.
La Femme et Le TGV
Jane Birkin stars in this charming short about an elderly woman, who has been waving at the titular express train every day as it passes by her back door. A relationship forms between her and the conductor of the train, which makes up for its unlikely nature with its cheerful earnestness – a lovely little antidote to last year's misjudged adaptation of The Girl on the Train.
The Oscars will be handed out by Jimmy Kimmel on Sunday 26th February and will be broadcast live on Sky Cinema from 11.30pm (or, if you don't have Sky, you can watch it online on NOW TV).
Oscars Oscars 2017
Netflix UK TV review: Ultimate Beastmaster
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Amazon and Netflix win first Oscars as Moonlight leads dramatic night of surpris... February 27, 2017 | Staff Reporter
2017 Oscar nominees – where to watch them online in the UK... January 24, 2017 | Staff Reporter
Netflix to release Oprah and Ava DuVernay interview about 13th... January 27, 2017 | Staff Reporter


text:
ALAN FERGUSON CHOOSES DENNIS AS "KEY SUPPLIER"
0 ALAN FERGUSON CHOOSES DENNIS AS "KEY SUPPLIER"
Alan Ferguson, Head Groundsman at St George's Park - the FA's National Football Centre, has chosen Dennis as a key supplier of maintenance equipment for use on the natural elite pitches.
The award winning groundsman purchased three Dennis G860's complete with interchangeable cassettes, meaning that his groundstaff can complete a multitude of tasks including verticutting, brushing, rolling and scarifying. Three Dennis Premier models complete the line-up of pedestrian mowers that Alan and his team will use to keep the 330 acre park in pristine condition.
Located in the heart of England, near Burton-Upon-Trent, St. George's Park is the home of the National Football Centre. After going through a process of segregating the main pitches, Alan and his team were looking to build up a fleet of quality pedestrian mowers to look after the elite level pitches: "The Dennis range gives us the flexibility to work with interchangeable cassettes. To have one machine that can deliver 5 or 6 different surface functions is excellent for us." said Alan.
Built on the FT principle and with a cutting width of 34", the Dennis G860 professional mower has an interchangeable cassette system, with one minute changeover, giving options to fit 6 different types of heads including scarifiers, verticutters, brushes, spikers, and slitters as well as 6 or 8 bladed cutter cassettes and are used in high class arenas around the world.
Fitted with a powerful Kubota petrol or diesel engine, the Dennis Premier is available in 30" and 36" cutting widths. A 3 section rear roller and steering brakes make it easy to manoeuvre giving an excellent stripe pattern and rolling characteristics. Complete with a large diameter front roller with adjustable scraper, for precise height of cut control, the machine is easy to adjust on both sides with the use of a single spanner.
Seven-time Groundsman of the Year during twelve seasons at his previous job at Ipswich Town FC, Alan has worked with every mower available. "I always felt that Dennis stole a march on other pedestrians. Going back into the early 1990's when the first cassette model was launched I felt it was a fantastic machine. It just made perfect sense to have the flexibility of working with a series of cassettes when we were looking for a pedestrian mower. The weights of the machine are right. The quality of the Dennis range has always been exceptional and the results that we've had with them so far have been fantastic."
When Alan became Head Groundsman at St George's Park, it was important to work with key suppliers in the industry. It's something that Alan had successfully implemented at Ipswich and after his switch to the FA centre; he wanted to bring the market leader for each maintenance task in. Alan sees each supplier as a specialist in their field and a good source of knowledge as and when required. "I have a very good working knowledge, but the expert tag comes from within these companies. I have these people on my advisory team so that I have the right council at different times of the year. It's been hugely beneficial and it's help put the project in a very good place," explains Alan.
Why was Dennis chosen as a key supplier? Alan felt that it was an easy decision and described the Dennis pedestrian turf mowers as the market leader in terms of ease of use for the operator and the overall weights of each machine which are very low. "With the Dennis G860 range, it was the flexibility of operation. We had a desire to mow the elite pitches on a pedestrian programme, so it was a no-brainer that Dennis would be the supplier of that because the quality was there. A number of other top venues around the world were already using Dennis. I know most of the head groundsmen at these venues, so I spoke to the guys to find out how they were getting on with them. With us being the English FA, it was also a good fit that Dennis is a British Engineered product."
Based just twenty miles away from the Dennis factory is a real bonus for Alan and is testament to the excellent service he has received from both the manufacturer and also his dealer, Campey Turfcare. All groundstaff have been to the factory and undergone bespoke training with the Dennis service staff which Alan says his team are already seeing the benefits of.
For further information or a no obligation demonstration, please contact Dennis 01332 824 777 or visit www.dennisuk.com

redpajama_set_name: RedPajamaCommonCrawl


text:
Cet article dresse une liste des maires de Chicago par ordre de mandat.

Élection
Le maire de Chicago est élu par vote populaire au scrutin uninominal majoritaire à deux tours. Á l'origine le mandat était d'un an, il a été porté à deux ans en 1872, puis porté à quatre ans renouvelable sans limitation en 1907. Chicago est la plus grande ville des États-Unis à ne pas limiter la durée des mandats à son maire. Richard M. Daley a tenu la mairie pendant . L'élection se fait sur une base non partisane depuis 1999.

En 1979, Jane Byrne est la première femme à devenir maire de la ville. En 1983, Harold Washington, devient le premier maire afro-américaine de la ville.

En 2019, Lori Lightfoot, est la premier femme noire et la première personne ouvertement homosexuelle à accéder au poste de maire de Chicago.

Liste des maires

Notes et références

Voir aussi

Article connexe
Maire de Chicago

Chicago
maire

redpajama_set_name: RedPajamaWikipedia


From intimate back yards to grand celebrations and everything in between. Check out this lovely wedding that had a bit of everything! Such a sweet young couple. If I remember correctly this groom was the oldest of TWELVE!


text:
package logstream

import (
	"bufio"
	"encoding/json"
	"fmt"
	"strings"
	"sync"
	"time"

	"golang.org/x/sync/errgroup"
	corev1 "k8s.io/api/core/v1"
	metav1 "k8s.io/apimachinery/pkg/apis/meta/v1"

	"knative.dev/pkg/ptr"
	"knative.dev/pkg/test"
	"knative.dev/pkg/test/helpers"
)

type kubelogs struct {
	namespace string

	once sync.Once
	m    sync.RWMutex
	keys map[string]logger
	err  error
}

type logger func(string, ...interface{})

var _ streamer = (*kubelogs)(nil)

// timeFormat defines a simple timestamp with millisecond granularity
const timeFormat = "15:04:05.000"

func (k *kubelogs) init(t test.TLegacy) {
	k.keys = make(map[string]logger)

	kc, err := test.NewKubeClient(test.Flags.Kubeconfig, test.Flags.Cluster)
	if err != nil {
		t.Error("Error loading client config", "error", err)
	}

	// List the pods in the given namespace.
	pl, err := kc.Kube.CoreV1().Pods(k.namespace).List(metav1.ListOptions{})
	if err != nil {
		t.Error("Error listing pods", "error", err)
	}

	eg := errgroup.Group{}
	for _, pod := range pl.Items {
		// Grab data from all containers in the pods.  We need this in case
		// an envoy sidecar is injected for mesh installs.  This should be
		// equivalent to --all-containers.
		for _, container := range pod.Spec.Containers {
			// Required for capture below.
			pod, container := pod, container
			eg.Go(func() error {
				options := &corev1.PodLogOptions{
					Container: container.Name,
					// Follow directs the api server to continuously stream logs back.
					Follow: true,
					// Only return new logs (this value is being used for "epsilon").
					SinceSeconds: ptr.Int64(1),
				}

				req := kc.Kube.CoreV1().Pods(k.namespace).GetLogs(pod.Name, options)
				stream, err := req.Stream()
				if err != nil {
					return err
				}
				defer stream.Close()
				// Read this container's stream.
				for scanner := bufio.NewScanner(stream); scanner.Scan(); {
					k.handleLine(scanner.Text())
				}
				return fmt.Errorf("logstream completed prematurely for: %s/%s", pod.Name, container.Name)
			})
		}
	}

	// Monitor the error group in the background and surface an error on the kubelogs
	// in case anything had an active stream open.
	go func() {
		if err := eg.Wait(); err != nil {
			k.m.Lock()
			defer k.m.Unlock()
			k.err = err
		}
	}()
}

func (k *kubelogs) handleLine(l string) {
	// This holds the standard structure of our logs.
	var line struct {
		Level      string    `json:"level"`
		Timestamp  time.Time `json:"ts"`
		Controller string    `json:"knative.dev/controller"`
		Caller     string    `json:"caller"`
		Key        string    `json:"knative.dev/key"`
		Message    string    `json:"msg"`
		Error      string    `json:"error"`

		// TODO(mattmoor): Parse out more context.
	}
	if err := json.Unmarshal([]byte(l), &line); err != nil {
		// Ignore malformed lines.
		return
	}
	if line.Key == "" {
		return
	}

	k.m.RLock()
	defer k.m.RUnlock()

	for name, logf := range k.keys {
		// TODO(mattmoor): Do a slightly smarter match.
		if !strings.Contains(line.Key, name) {
			continue
		}

		// We also get logs not from controllers (activator, autoscaler).
		// So replace controller string in them with their callsite.
		site := line.Controller
		if site == "" {
			site = line.Caller
		}
		// E 15:04:05.000 [route-controller] [default/testroute-xyz] this is my message
		msg := fmt.Sprintf("%s %s [%s] [%s] %s",
			strings.ToUpper(string(line.Level[0])),
			line.Timestamp.Format(timeFormat),
			site,
			line.Key,
			line.Message)

		if line.Error != "" {
			msg += " err=" + line.Error
		}

		logf(msg)
	}
}

// Start implements streamer
func (k *kubelogs) Start(t test.TLegacy) Canceler {
	k.once.Do(func() { k.init(t) })

	name := helpers.ObjectPrefixForTest(t)

	// Register a key
	k.m.Lock()
	defer k.m.Unlock()
	k.keys[name] = t.Logf

	// Return a function that unregisters that key.
	return func() {
		k.m.Lock()
		defer k.m.Unlock()
		delete(k.keys, name)

		if k.err != nil {
			t.Error("error during logstream", "error", k.err)
		}
	}
}

redpajama_set_name: RedPajamaGithub


text:
// Header for CMessageWindow class

#ifndef __CMESSAGEWINDOW__MULBERRY__
#define __CMESSAGEWINDOW__MULBERRY__

#include "CFileDocument.h"

#include "CMainMenu.h"
#include "CMessageFwd.h"
#include "CFormattedTextDisplay.h"
#include "ETag.h"

#include "cdstring.h"
#include "cdustring.h"
#include "cdmutexprotect.h"

#include <memory>

enum EReplyTo
{
	replyNone = 0,
	replyReplyTo,
	replySender,
	replyFrom,
	replyTo,
	replyCC,
	replyBCC,
	replyAll
};

enum EReplyQuote
{
	eQuoteSelection = 0,
	eQuoteAll,
	eQuoteNone
};

enum EForwardOptions
{
	eForwardQuote = 		1L << 0,
	eForwardHeaders =		1L << 1,
	eForwardAttachment =	1L << 2,
	eForwardRFC822 =		1L << 3
};

enum EQuoteDepth
{
	eQuoteDepth_All = 1,
	eQuoteDepth_No,
	eQuoteDepth_1 = 3,		// Linux ignores separator
	eQuoteDepth_2,
	eQuoteDepth_3,
	eQuoteDepth_4
};

// Classes
class CAttachment;
class CAddressList;
class CBodyTable;
class CMbox;
class CMessage;
class CMessageCryptoInfo;
class CMessageList;
class CMessageHeaderView;
class CMessageSimpleView;
class CSimpleTitleTable;
class CSplitterView;
class CTextDisplay;
class CTextBase;
class CToolbarView;
class CTwister;
class CSplitter;

class JXDecorRect;
class JXFlatRect;
class JXScrollbarSet;
class JXUpRect;

class CMessageWindow : public CFileDocument
{
	typedef CFileDocument super;

	struct SHeaderState
	{
		bool	mExpanded;
		bool	mFromVisible;
		bool	mFromExpanded;
		bool	mToVisible;
		bool	mToExpanded;
		bool	mCcVisible;
		bool	mCcExpanded;
		bool	mSubjectVisible;
	};

public:
	typedef std::vector <CMessageWindow*> CMessageWindowList;
	static cdmutexprotect<CMessageWindowList> sMsgWindows;	// List of windows (protected for multi-thread access)

			CMessageWindow(JXDirector* supervisor);
	virtual ~CMessageWindow();

	static CMessageWindow* ManualCreate(bool hidden = false);

	virtual void OnCreate();

	virtual void Activate();

	void	DoSaveAs();

protected:
	virtual void Receive (JBroadcaster* sender, const Message& message);
	virtual bool HandleChar(const int key, const JXKeyModifiers& modifiers);
	virtual bool ObeyCommand(unsigned long cmd, SMenuCommandChoice* menu = NULL);
	virtual void UpdateCommand(unsigned long cmd, CCmdUI* cmdui);
	virtual CCommander* GetTarget();

	virtual void WriteTextFile(std::ostream& output, const JBoolean safetySave) const;

public:
			CTextDisplay* GetText()
						{ return mText; }

	static  void	ServerState(bool logon);					// Server logs on/off

			void	SetTwistList(CTextBase* aField,
							     CTwister* aTwister,
							     JXDecorRect* aMover,
							     CAddressList* list);
			void	SetMessage(CMessage* aMsg);				// Set the message
			void	ClearMessage();							// Clear out the message

			CMessage*	GetMessage()						// Get its message
							{ return mItsMsg; }

			void	SetMessageList(CMessageList* msgs);		// Set the message list
			CMessageList*	GetMessageList()				// Get its message
							{ return mMsgs; }
			void	PostSetMessage();						// Do post processing of message
			void	MessageChanged();						// Someone else changed this message

			const char* GetShowText()						// Get text showing
						{ return mShowText; }

			const CAttachment* GetCurrentPart() const
		{ return mCurrentPart; }
			EView GetViewAs() const							// Parse
				{ return mParsing;	}

			const unichar_t* GetSaveText();						// Get text to save
			void	ShowPart(CAttachment* attach);			// Show a particular part
			void	ShowSubMessage(CAttachment* attach);	// Display a sub-message
			void	ExtractPart(CAttachment* attach,		// Extract/view a particular part
									bool view);
			bool	ShowRawBody();							// Read in raw body

			void	AddPrintSummary();						// Temporarily add header summary for printing
			void	RemovePrintSummary();					// Remove temp header summary after printing

	static CMessageWindow* FindWindow(const CMessage* aMsg, bool owned_by = false); // Find the corresponding window
	static bool	WindowExists(const CMessageWindow* wnd);	// Check for window

			void	ResetFont(const SFontInfo& list_traits,
									const SFontInfo& display_traits);		// Reset text traits

	// Common updaters
	void	OnUpdateMessageReadPrev(CCmdUI* cmdui);
	void	OnUpdateMessageReadNext(CCmdUI* cmdui);
	void	OnUpdateMessageCopyNext(CCmdUI* cmdui);
	void	OnUpdateMessageReject(CCmdUI* pCmdUI);
	void	OnUpdateMessageSendAgain(CCmdUI* cmdui);
	void	OnUpdateMessageCopy(CCmdUI* cmdui);
	void	OnUpdateMessageDelete(CCmdUI* cmdui);
	void	OnUpdateMessageFlagsTop(CCmdUI* cmdui);
	void	OnUpdateMessageFlagsSeen(CCmdUI* cmdui);
	void	OnUpdateMessageFlagsImportant(CCmdUI* cmdui);
	void	OnUpdateMessageFlagsAnswered(CCmdUI* cmdui);
	void	OnUpdateMessageFlagsDeleted(CCmdUI* cmdui);
	void	OnUpdateMessageFlagsDraft(CCmdUI* cmdui);
	void	OnUpdateMessageFlagsLabel(CCmdUI* pCmdUI);
	void	OnUpdateMessageFlags(CCmdUI* pCmdUI, NMessage::EFlags flag);
	void	OnUpdateMessageViewCurrent(CCmdUI* pCmdUI);
	void	OnUpdateMessageVerifyDecrypt(CCmdUI* cmdui);
	void	OnUpdateMessageShowHeader(CCmdUI* cmdui);
	void	OnUpdateMenuExpandHeader(CCmdUI* cmdui);
	void	OnUpdateExpandHeader(CCmdUI* cmdui);
	void	OnUpdateWindowsShowParts(CCmdUI* cmdui);

	// Command handlers
	void	OnFileNewDraft();
	void	DoNewLetter(bool option_key);		// Display a new draft

	void	OnEditSpellCheck();
	void	OnMessageReadPrev();
	void	OnMessageReadNext();
	void	ReadNextMessage(bool delete_it, bool copy_it, bool option_key);				// Read next message
	void	OnMessageDeleteRead();
	void	OnMessageCopyRead();
	void	CopyReadNextMessage(bool option_key);

	bool	RedisplayMessage(CMessage* theMsg);					// Display message in existing window
	void	DoRollover(CMbox* current_mbox);					// Attempt to rollover to next unseen
	void	OnMessageReply();
	void	OnMessageReplySender();
	void	OnMessageReplyFrom();
	void	OnMessageReplyAll();
	void	ReplyToThisMessage(EReplyTo reply_to, bool option_key);	// Reply to this message

	void	OnMessageForward();
	void	ForwardThisMessage(bool option_key);
	void	OnMessageBounce();
	void	OnMessageReject();
	void	OnMessageSendAgain();
	void	OnMessageCopyBtn();					// Copy the message to chosen mailbox

	void	OnMessageCopy(JXTextMenu* menu, JIndex nID);			// Copy the message to another mailbox
	void	OnMessageCopyCmd();										// Explicit copy
	void	OnMessageMoveCmd();										// Explicit move
	bool	TryCopyMessage(bool option_key);						// Try to copy a message
	bool	CopyThisMessage(CMbox* mbox, bool option_key);			// Copy to specific mailbox

#ifdef NOTYET
	void	OnAddressCopy(UINT nID);			// Copy the message's addresses to an address book
#endif
	void	OnMessageFlagsSeen();
	void	OnMessageFlagsImportant();
	void	OnMessageFlagsAnswered();
	void	OnMessageFlagsDraft();
	void	OnMessageFlagsLabel(JIndex nID);
	void	OnMessageFlags(NMessage::EFlags flag);
	void	OnMessageDecodeBinHex();
	void	OnMessageDecodeUU();
	void	OnMessageViewCurrent();
	void	OnMessageVerifyDecrypt();

	void	OnMessageDelete();
	void	OnMessageShowHeader();

	void	OnMessageFromTwister();
	void	OnMessageToTwister();
	void	OnMessageCCTwister();
	void	DoTwist(CTextBase* aField,
					CTwister* aTwister,
					JXDecorRect* aMove); //Handle Twist

	void	LayoutHeader();								// Layout header component based on state

	void	ShowSecretPane(bool show);					// Show/hide verify/decrypt area
	void	SetSecretPane(const CMessageCryptoInfo& info);		// Set details for decrypt/verify

	void	OnTextFormatPopup(JIndex nID);
	void	OnViewAs(EView view);

	void	OnIncreaseFont();					// Increase displayed font size
	void	OnDecreaseFont();					// Decrease displayed font size

	void	OnQuoteDepth(EQuoteDepth quote);		// Change visible quote depth

	void	OnMessagePartsTwister();

	void	HeaderExpand(bool expand);

	void	OnMessagePartsFlat();
	void	DoPartsFlat(bool flat);

	virtual void	ResetState(bool force = false);			// Reset window state
	virtual void	SaveDefaultState(void);					// Save current state as default

	void	OnWindowsExpandHeader();

private:
	CMessage*				mItsMsg;					// The message for this window
	bool					mWasUnseen;					// Was it unseen before being displayed
	bool					mItsMsgError;				// Flag for cleared out message
	CMessageList*			mMsgs;						// Used for multi-save operation
	const char*				mShowText;					// Text to show
	std::auto_ptr<unichar_t>		mUTF16Text;					// UTF16 text
	std::auto_ptr<unichar_t>		mRawUTF16Text;				// Raw UTF16 text
	bool					mShowHeader;				// Show header
	bool					mShowSecure;				// Show verify/decrypt area
	bool					mSecureMulti;				// Multi-line verify/decrypt area

	CToolbarView*			mToolbarView;
	CMessageSimpleView*		mView;						// The view that controls the main toolbar
	CSplitterView*			mSplitterView;
	CMessageHeaderView*		mHeader;
	JXScrollbarSet*			mPartsScroller;				// Parts scroller
	CSimpleTitleTable*		mPartsTitles;				// Parts titles
	CBodyTable*				mPartsTable;				// List of parts

    JXFlatRect*         	mBottomPane;

    JXUpRect*         		mSecurePane;
    CTextDisplay*         	mSecureInfo;
	JColorList*				mColorList;

	CFormattedTextDisplay*	mText;

	bool					mRedisplayBlock;			// Prevent window from being redisplayed
	bool					mAllowDeleted;				// Allow window close on message delete
	bool					mDidExpandParts;			// Expand parts was done previously
	static cdstring			sLastCopyTo;				// Cache last selected copy to

	SHeaderState			mHeaderState;				// State of items in header

	EView					mParsing;					// Parse
	long					mFontScale;					// Font scale factor
	long					mQuoteDepth;				// Quote depth

	CAttachment*			mCurrentPart;

	static cdstring		sNumberString;					// sprintf string for message number
	static cdstring		sNumberStringBig;				// sprintf string for message number >= 10000
	static cdstring		sSubMessageString;				// sprintf string for sub-message
	static cdstring		sDigestString;					// sprintf string for digestive message

			CBodyTable*		GetPartsTable()
				{ return mPartsTable; }

			void	Text2UTF16(i18n::ECharsetCode charset);	// Convert text to utf16
			void	ResetText();						// Reset message text
			void	ResetFontScale();					// Reset font scale text
			void	UpdatePartsCaption();				// Update parts caption
			void	UpdatePartsList();					// Update list of parts, show/hide
};

#endif


text:
Hanns-Peter Boehm (* 9. Januar 1928 in Paris; † 10. Mai 2022) war ein deutscher Chemiker und Professor an der Ludwig-Maximilians-Universität München.

Leben
Hanns-Peter Boehm studierte von 1947 bis 1951 Chemie in Regensburg. Er wurde 1953 an der Technischen Hochschule Darmstadt bei Ulrich Hofmann mit der Dissertation Die rhomboedrische Modifikation des Graphits promoviert, wo er sich 1959 ebenfalls mit der Schrift Oberflächenchemie und Adsorption an Kohlenstoff und SiO2 habilitierte. 1970 wurde Boehm Professor und Vorstand des Instituts für Anorganische Chemie der Ludwig-Maximilians-Universität München. Von 1987 bis 1989 war er Dekan der Fakultät für Chemie und Pharmazie. 1994 wurde er emeritiert.

Hanns-Peter Boehm starb im Mai 2022 im Alter von 94 Jahren.

Wirken
Boehm galt als Pionier der Graphen-Forschung. Auf Hanns-Peter Boehm geht die nach im benannte Boehm-Titration zurück. Er war ehrenamtlich in der Kommission Reinhaltung der Luft tätig.

Weblinks
 Hanns-Peter Boehm in WorldCat

Einzelnachweise

Chemiker (20. Jahrhundert)
Chemiker (21. Jahrhundert)
Hochschullehrer (Ludwig-Maximilians-Universität München)
Deutscher
Geboren 1928
Gestorben 2022
Mann


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In the first
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Home > News > In the process of making the longest prestressed concrete bridge in North America, high-quality water reducer and superplasticizer were used to ensure its excellent quality
In the process of making the longest prestressed concrete bridge in North America, high-quality water reducer and superplasticizer were used to ensure its excellent quality
The longest prestressed concrete bridge in North America is made of lightweight concrete. At the same time, in the process of the bridge, high-quality water reducer and superplasticizer were used to ensure its excellent quality.
According to the Washington State Department of Transportation, the longest prestressed concrete beam ever in North America will soon be placed on the interstate bridge in Tacoma, Washington.
The beams made of lightweight concrete are produced by Concrete Technology Corporation of Tacoma. The company says it is 223 feet (4.5 inches) long. It is 8.33 feet tall and weighs approximately 240,000 pounds. It will be placed along with 29 other girders, the new girders will be between 192 feet and 223 feet in length, and the new southbound No. 5 Governor Puyallup River Bridge. In the process of making the bridge, a large number of high-quality water reducer and superplasticizer were used to ensure its excellent quality.
According to WSDOT, the new bridge is tentatively scheduled to open in autumn. This is part of a project to add high-occupancy lanes and other improvements on Interstate 5, ramps and arteries. The goal is to improve traffic flow through the area.
WSDOT said the new bridge is straighter and wider than the bridge that will be replaced. The old bridge over the river will be demolished. The total cost of the project is estimated at US$325 million.
Luoyang Tongrun Info Technology Co., Ltd., the leading technology developer and application manufacturer of water reducer and superplasticizer, proudly announces their latest discovery which is centred towards the new ways for foam concrete, a popular cement admixture developed by the company. It is suitable for Portland cement conventional foam concrete cast-in-place, block, sheet, and thermal insulation wall.
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Tag: longest high-quality North in prestressed concrete Water ensure America its
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Near-field microscope yields high precision optical images of an organic semiconductor with 17 nm resolution
(Nanowerk News) Scientists of the research group of Prof. Dr. Alfred Meixner and Dr. Dai Zhang from the Institute of Physical and Theoretical Chemistry at the University of Tübingen have developed a near-field microscope that can measure the optical properties of e. g. semiconductor thin films with a spatial resolution and sensitivity long thought unachievable due to fundamental physical laws (diffraction limit). Both the optical spectrum and the topography of a surface can be mapped simultaneously with nanometre precision – a nanometre corresponding to one millionth of a millimetre.
"Molecular steps of a semiconductor film appear as distinct bright stripes of approximately 17 nanometres width. We obtained new insights that cannot be obtained with any other method," says Alfred Meixner. The findings are published on the 5th of February 2010 in the journal Physical Review Letters. The results were obtained in collaboration with Ute Heinemeyer and Prof. Dr. Frank Schreiber (Institute of Applied Physics, University of Tübingen) and with Dr. Reinhard Scholz (Technical University of Munich).
The upper panel shows the topographical measurement of a diindenoperylene film. Lighter shades stand for higher areas, darker ones for lower areas. In the lower panel the topographical and the optical measurements are superimposed – the latter one in the red and yellow colour range; the brighter the colour, the higher the luminescence intensity. (Image: Research Group of Prof. Meixner, University of Tübingen)
Semiconductors made of organic thin films play an important role in new electronic applications, e.g. in organic solar cells, where solar power is converted to electric current, or in organic light emitting diodes (OLEDs) for flexible high resolution displays. The electronic and optical properties of these films differ greatly from the properties of the single organic molecules of which they consist. Especially the microscopic structure is not yet well understood, though molecular islands, edges and defects strongly influence the average film properties.
These microscopic structures were now optically detected by the near-field microscope in Tübingen. Thereto, an extremely fine gold tip is approached closely (one to three nanometres) to the semiconductor surface, where it is additionally illuminated by a tightly focused laser beam. "We obtained nanometre resolution and an optical luminescence enhancement of up to one million," explains Alfred Meixner. "This high enhancement factor is possible because the tip is in the focus of a parabolic mirror: This combination yields a perfect optical antenna. The gold tip concentrates the light locally into the nanometre sized gap between the tip apex and the sample surface and thereby generates an optical near field which in turn excites the sample. Vice versa, photons that are generated by the sample inside the near-field area are collected by the tip and the parabolic mirror and directed onto a sensitive detector."
The near-field measurements of the semiconductors made of diindenoperylene (DIP) molecules revealed that the edges of the DIP nano terraces radiate stronger than the bulk. These edges are one to three molecular layers high and appear as bright stripes of approximately 17 nanometres. This is due to electron hole pairs in the semiconductor DIP, so called excitons, which are induced as well as detected by the near field of the tip. "If our tip was not there, the excitons would mainly decay thermally", explains Alfred Meixner. "This breakthrough could lead to the near-field microscopy becoming a valuable method for materials research," Reinhard Scholz and Frank Schreiber agree.
Source: Universität Tübingen


It's May, and with that brings forth the official patio season in Nashville. This year, we seemed to have skipped straight from winter to summer weather, so the seasonal transition has been a little jarring and unexpected. Don't worry, we're here to ease that transition with a handy reference list of the top places to dine & drink outside at this summer. All you need to worry about is relaxing and enjoying some of the heat.
M.L. Rose has multiple locations all over town and offers a great selection of craft beer & burgers at each, but we're singling out the 8th Avenue South location in Melrose for the large back patio. One wall is natural rock, one is a colorful mural, and there's a nice firepit in the middle.
Acme has continually offered one of the best rooftop patios in Nashville, for their great location, view, and menu.
There are a ton of great honky tonks on Broadway with patios, and we wish we could feature them all. But Nudie's gets a special shout-out today for their newer rooftop deck, which is utilized as a dance floor complete with D.J. & bar, so you can dance with a view of Broadway (or perhaps an audience, depending on how you look at it).
As the name suggests, they serve Fat Bottom beer straight from the tap to your table, inside or outside. The taproom also serves upscale bar food. Their patio is available for private events, and even includes a stage for musical guests.
Pinewood Social is the "yes-man" of gathering options. Bowling? Yes. Pool? Yes. Bocce? Yes. Patio? Yes. Food? Yes. Drinks? Definitely yes.
This cozy bar/restaurant is tucked away behind the bed & breakfast in Lockeland Springs. The spacious patio has a fire pit in the middle, so you can enjoy Urban Cowboy on hot and cold nights. See our previous article for full coverage on this awesome East Nashville spot.
Visitors and locals alike flock to The Pharmacy to try one of their massive, delectable burgers. Outdoor dining is seated in a large beer garden with plenty of flora and trees shading the space (perfect for a sunny afternoon).
This Five Points bar got our attention with their Predators viewing parties, where games are projected on a big screen on the patio. Other nights, Rosemary will have DJ sets & dining tables.
Tacos & tequila are appropriate any night of the week on this sunny open patio. You'll feel like you're on a tropical vacation.
This new rooftop bar at the Noelle Nashville Hotel will serve both types of drinkers: those looking to enjoy a cocktail in a quiet, tucked away space; and those hoping to be close to the action on Broadway.


Look at 2019 as the year of YOU! What are you waiting for? Now is the time to believe in yourself and all you can accomplish. We tend to be our own worst enemy when it comes to knowing our potential and taking steps toward our goals and dreams. We second-guess ourselves, make excuses, and deflate our own motivation.
In the study of psychology, the term for feeling in control of your life, believing in your capacity to influence your own thoughts and behavior, and having faith in your ability to handle a wide range of tasks or situations is called agency.
Only when you truly believe in yourself, your motivation and your purpose is it possible to live the life you want. But when we lack agency, we lack the capacity to act. The more we act, the stronger our agency becomes. I tapped into my own personal agency when I identified one of the things I really want to accomplish in 2019: After years of coaching clients one-on-one (which I will continue to do), I've decided to lead women's mindfulness groups!
Technique of the week: Think about something you really want to do but haven't because fear (or unsupportive people) are holding you back. No more excuses! Don't allow a lack of agency derail you. Discuss your idea with friends or relatives who have your back and make a plan to get started!


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Al Kaline's Obituary Rang True To Who He Was
Jojo Girard
In his obituary, printed in yesterday's Detroit Free Press, Al Kaline's family put in something that you could picture Al himself saying.
Al Kaline didn't have much of an ego. He knew he was good at the game he played, but he never thought that being talented at baseball was something to crow about.
So when his obituary was printed on page 25A of the print edition Detroit Free Press Sunday, it included a shout out to his fans,
"... Al was always grateful for the love and support fans in the city and the state showed him over the years, as well as for all the Tigers and Major League Baseball provided for him and his family."
and then a note that should be shared by everyone -- in essence, a reminder to look out for your own:
"In lieu of flowers or donations, the Kaline family asks that you reach out to someone you love and check in on them during this unprecedented and challenging time of need, and to be sure to thank our military, police, fire/EMS and front line care givers in any way you can."
Fans Pay Tribute to Al Kaline


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BREAKING - Cristiano Ronaldo's rape accuser demands £56m
Cristiano Ronaldo's rape accuser, Kathryn Mayorga,
is demanding £56million in damages, the UK Mirror reports.
Newly released court's documents show the former model is seeking the money after accusing the Juventus forward of sexually assaulting her in a Las Vegas hotel room in 2009.
Kathryn wants £18m for "past pain and suffering", £18m for "future pain and suffering" and another £18m in punitive damages.
The 37-year-old's expenses add up to £1.4m with legal fees of £1.1m, giving a total of £56.5m, which is equal to two years of Ronaldo's salary.
Ronaldo has vigorously denied Mayorga's claims.
In 2010, she accepted around £270,000 as part of an out-of-court non-disclosure settlement.
But three years ago, Mayorga filed a civil lawsuit, claiming she had been "mentally incapacitated" when she agreed to it and signed it under duress.
Lawsuit Sport


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OUTSIDER ART FUNDRAISER: 6/22/17 6-9pm
Go to Image Checklist.
Join us for an evening of Outsider Art by our Rainbow Thursdays Artists!
Every ticket holder gets to 'Pick a Painting' to take home at the end of the evening. When you arrive we'll give you a sticker which you'll put next to the painting or drawing you want to reserve. Get there early to get the piece you want!
An Individual Ticket at $75 or Couples Ticket at $100 guarantees one artwork plus entrance to the cocktail hour with wine and appetizers by Komegashi II and Brightside Tavern, and music by DJ Alejandro. Want to take home more than one? Additional artworks are only $50 each. Get your Tickets here!
Search through Drawing Rooms to discover just the right drawing or painting for your home. These colorful, imaginative works by Rainbow Thursdays Artists are refreshingly expressive and uniquely beautiful.
What is Outsider Art?
Outsider Art is artwork by adults who create out of their own personal vision and inner drive and are not professionally trained. They work 'outside' the professional art and scholastic world. Rainbow Thursdays Artists program consists of about 40 adults with disabilities who meet with us every week at the Windmill Center in Bayonne for a two-hour art making session. We provide them with art materials and source materials, such as art books and postcards and photo books, and we guide them in developing their own artistic vision. Your support allows this work to continue.
Below is a preview of the artworks. Click here for individual images.
*This program is made possible in part by funds from the New Jersey State Council on the Arts/Department of State, a partner agency of the National Endowment for the Arts, administered by the Hudson County Office of Cultural and Heritage Affairs, Thomas A. DeGise, County Executive, and the Board of Chosen Freeholders.


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Bukit Duabelas  (meaning The Twelve Hills) is a relatively small national park covering 605 km² in Sumatra, Indonesia. It is representative of lowland tropical rain forests in the province of Jambi. Only the northern part of the park consists of primary rainforest, while the rest is secondary forest, as result of previous logging. The park is inhabited by the indigenous Orang Rimba.

Geography
The national park is named after its hilly landscape, that include the hills of Punai (164m), Panggang (328m) and Kuran (438m). The area is important water catchment area for the Batang Hari watershed.

Flora and fauna
Among the 120 plant species in the park there are Eusideroxylon zwageri rare timber trees, Koompassia excelsa trees that can grow over 80m high, Dyera costulata trees than can have up to 2m diameter and rattan palms.

Among the endangered animals protected in the park are the siamang, clouded leopard, Java mouse-deer, sun bear, Sumatran muntjac, leopard cat, hairy-nosed otter, dhole, Sumatran striped rabbit and the crested serpent eagle.

Human habitation
The park is inhabited by the nomadic Orang Rimba ('people of the forest'). Around 40% of Orang Rimba (ca.1,200) live in the Bukit Duabelas National Park, while another 15% live in the neighbouring Bukit Tigapuluh National Park and the remaining are dispersed throughout Jambi province. Their empowerment to continue their traditional cultivation, hunting and gathering is seen as key to the protection of the forest within the national park.

Conservation and threats
Before being declared a national park in 2000, a large part of the area was used as "production forest", leading to a high rate of primary forest destruction.

The national park is threatened by deforestation, with 70% of its forest cover damaged as of 2012.

References

External links
 Ministry of Forestry: Brief description
 Sager, Steven: "Orang Rimba Customs and Beliefs in the Bukit Duabelas Region of Jambi, Sumatra" PhD Thesis 2008

National parks of Indonesia
Protected areas of Sumatra
Protected areas established in 2000
Geography of Jambi
Tourist attractions in Jambi
2000 establishments in Indonesia


From 25 to 28 October, Parkroyal on Pickering's acclaimed Halloween spectacular masterfully blends seasonal horror with culinary creativity rarely witnessed in Singapore, setting you on a spine-chilling gastronomic journey of discovery.
Before you get started on the scare-feast, calm your nerves with some delicious Bat Wings (Braised Guinness Stout Chicken Wings). Once your fears are out of the way, let your hidden cannibalism fantasies shine through as you feed on the eerie-looking edible body parts such as the Einstein's Brains (Foie Gras with Raspberry Sauce), Broken Ribs (Pork Ribs in Barbecue sauce), Devil's Tongue (Sze Chuan Duck Tongue).
Our chefs are dead serious about the live stations—where a sacrificial showcase of Roasted Baby Lamb, Suckling Pig Confit and Beef Sirloin will unleash your carnivorous instincts. Cross over to the dark side and indulge in some Nightmare Mac and Cheese and Graveyard Meatballs. You also won't want to miss embarking the "Lime Ghost Ship", loaded with crustacean delights such as Boston Lobsters, White Clams and Live Prawns.
Finally, succumb to the ultimate sinful sweetness of the Blood Splatter Cheesecake (Cherry Cheesecake), Death by Berries (Berries Choux Choux) and Eyeball Panna Cotta. Lime's signature Macha fondue will also morph into a Blood-filled Waterfall during this spooky occasion, overflowing with Strawberry-flavoured chocolate!
Be sure to pluck up the courage to step into Lime's private dining room which will be transformed into a dark enclave with additional bone-shaking gourmet thrills! And lastly, wash away any remaining trace of fear with a pot of Tea of Oblivion (Strawberry Consomme), and Witches Brew (Chendol)—which will hopefully wake you up from the nightmare you're trapped in!


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Accueil de l'AFC
Films AFC dans les festivals
Le Festival de Cannes
Les entretiens au Festival de Cannes
Cinematographer Julien Poupard, AFC, discusses his work on Houda (...)
Cinematographer Julien Poupard, AFC, discusses his work on Houda Benyamina's film "Divines"
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18 mai 2016 - Modifié le 22/05
[English] [français]
Upon graduating from La fémis in 2006 Julien Poupard designed the lighting on a number of short films and was noticed for his work on Party Girl, awarded a Golden Camera at Cannes in 2014. He is a faithful collaborator on first films and for young directors – for example 40-Love by Stéphane Demoustier, or Les Ogres, by Léa Fehner – now he is back with Divines, the first feature-length film by director Houda Benyamina, in selection at the Directors' Fortnight.
In a ghetto where drug-trafficking coexists with Islam, Dounia thirsts for power and success. Backed by Maimouna, her best friend, she decides to follow in the footsteps of Rebecca, a respected drug dealer. When she meets Djigui, a young dancer whose sensuality is troubling, her life changes.
Starring Oulaya Amamra, Majdouline Idrissi, Deborah Lukumuena
Julien Poupard et Houda Benyamina sur le tournage de "Divines"
Photo Emma Benhamou
Julien Poupard and Houda Benyamina on the set of "Divine"
What is the context of this film ?
Julien Poupard : Ten years ago, Houda Benyamina founded the association Mille Visages in the hope of "creating a more open and democratic dynamic in French cinema so that it is representative of the thousand different faces and the thousand different skills of present-day France." The association offers training workshops, from which all of Divines' actors were selected. They rehearsed their roles, which were all as difficult to play from an acting and an emotional standpoint, for an entire year. Twenty-five young people supported by this association were hired to work on this film.
What are the main artistic lines of this film of dance and flames ?
JP : For me, this film is a bit like a feminist remake of Scarface...
Houda did not want to make a 'naturalist' movie. She wanted a lyrical and poetic film with very impactful staging. We slowed shots down, the lighting is pronounced, there are editing effects and a lot of music…
You had to define the film's tone beforehand.
JP : Yes, and at the same time everything was constantly changing. Much has been made of Mean Streets, which I greatly appreciated. An energetic film, cobbled together using the means at our disposal. We had limited means, but strong ideas about directing, the visuals, and we were ready to take risks... and above all, this is a film that talks about the sacred.
It was also inspired by Casino, by Scorsese, for its lyricism, Ugly, Dirty and Wicked, by Ettore Scola, Do the Right Thing, by Spike Lee, for its saturated colours and the liberties it took with its departure from realism. Houda desired effect-lighting, long focal-lengths, and zooms.
Why zooms and long focal lengths ?
JP : It's the idea of focusing a look, starting with the overview and getting to the details, going to retrieve things from afar, which symbolizes the distance between the heroine and her different worlds : dance, love, and money. This idea of distance is also here to highlight her desire for recognition and upward mobility within the hierarchy of her neighbourhood, to transmit the feeling of what seems inaccessible to her.
I chose the Zeiss T2.1 series. I wans't looking for an overly-sharp image and I like the flares on those lenses, the accidents that they can cause. The zoom lens was an old-fashioned Angénieux 25-250.
Talk to us about your desire to show the heroine's transformation on screen…
JP : We wanted to show the transformation of Dounia's face (Oulaya Amamra), and mark the transformation that gives birth to the heroine. It was like a challenge, we wanted her face to change in every scene.
There was a lot of work on the makeup, the lighting, and the hair. We wanted to give her an aura, something on the order of the icon, of the sacred image.
Explain to us your choice of equipment for this film.
JP : The director wanted to create a film in motion but not a film entirely filmed from the shoulder. I had a pretty wide range of equipment : a dolly, a Stab One, a Western Dolly, a Rickshaw, a Quad ...
We thought about the meaning of each scene in order to create its own unique language, its own movement. All of this deliberate thinking was guided by the central idea of the film : the question of faith and the relationship to the divine.
Some very complicated movements were established during cutting, whilst others were improvised. For example, for the confrontation between Dounia and Djigui on the stage of the theatre, I allowed my key grip to improvise the first take with the dolly… Then from take to take we perfected the movement.
Colour was one of the elements most central to the film, why ?
JP : The colour was supposed to espouse the film's movement. It had to be a transformation, an evolution. Early in the film, the blues are very present in the image ; gradually warmer colours appear with points of red, ending up at a more golden image supported by the importance of fire and flames at the end of movie.
We did not want this colour movement to be a crude effect of colour timing (from cold to hot) rather that the transformation should come from the image itself, from touches of colour. Work on this began early in the preparation stages with Marion Burger, the set designer, and Alice Cambournac, the costume designer.
Houda and I wanted the film to be colourful, but not too colourful. So I created a LUT to highlight the primary colours – blue and yellow - while nuancing them so that they wouldn't be electric, but still strong enough.
Every evening after the shoot, I would make variations of that LUT in order to apply them to the dailies. At first it was a bit tedious but then I had a dozen LUTs and I quickly realized which I was going to apply. It is valuable to have colour timed dailies for when the director is editing the film, they already have an idea of the film's visuals. But above all, it allows you to constantly think about the image. I don't believe in arriving in colour timing the first day with a neutral image and just building the image from there. The image of a film is something that is constantly evolving. You have to be careful. Ideas happen take after take within the dynamics of a shoot.
Tournage de l'incendie de la cave
How did you shoot the riot and fire scenes ?
JP : We couldn't find a rough neighbourhood where we were able to film a riot... We filmed them outside of the Bry studios. We had to do a lot of work to make Bry believably appear to be the entrance to a rough neighbourhood !
The cellar fire was shot in studio. The idea was to make the most fire possible appear within the frame. It was the same for the tower and car that caught fire. "Les Versaillais" were there for the special effects. I didn't want to use spots to create the effect of fire, I used fire booms, which are much more realistic, especially for the actors' sweat and their performance.
It was very complicated, the cellar was a very small space. We had a special set and a very high ceiling with special ventilation. We had to air out very often and at the same time keep the smoke from the fire inside ! This is why "Les Versaillais" had the smoke machine on their shoulders and constantly moved it back and forth to create smoke. We wanted black smoke, but black smoke is too harmful to the health. It was added in later in post-production. I think we managed to create a feeling of suffocation and panic.
There were a lot of different scenes, a lot of action, improvisation…was this a complicated movie for you to work on ?
JP : No, it was exciting ! Each scene has its own language and we didn't limit ourselves in any way. We decided to be daring, even if we had to redo something later on. When we began preparing, I remember Houda saying to me, "I'd prefer it if we made a flop than a mediocre movie." And Houda has crazy amounts of energy, so we dared…
Focus-Puller : Simon Roche
Clapper : Marine Beauguion
Gaffer : Nicolas Taupin
Key Grip : Alexandre Chapelard
Camera Equipment : Panavision Alga (Red Epic Dragon, Zeiss T 2.1 series, Angénieux 28-76mm and 25-250 mm zoom lenses, and 300-600 mm Canon)
Laboratory : M141
Colour-Timer : Richard Deusy
Festival de Cannes 2016, les partenaires
CNC, Centre national du cinéma et de l'image animée
Angénieux
Leitz Cine Wetzlar
Vantage Paris
Arri Camera Systems
Hiventy, Film Heritage & Post-Production
Mikros / Technicolor
Panavision Alga
RVZ Lumières
Lights Camera Action
Tous les portfolios
Les entretiens au Festival de Cannes et aussi
La directrice de la photographie Diane Baratier, AFC, parle du travail de restauration de "Dragées au poivre", de Jacques Baratier
AFC' Interviews at Cannes Film Festival 2016
Entretien avec le directeur de la photographie Peter Suschitzky, ASC


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Ha interpretato ruoli di primo piano in alcuni dei principali teatri d'opera del mondo, tra cui il Metropolitan Opera, la Los Angeles Opera, l'English National Opera, la Deutsche Oper Berlin e la Royal Opera House, Covent Garden, tra gli altri.

Biografia

Primi anni
Nato a Miami, in Florida, Thomas non scoprì la sua voce fino all'età di 18 anni, quando un insegnante di canto gli suggerì che avrebbe potuto fare una carriera nel canto. Continuò a studiare musica al conservatorio e ha cantato nel coro dell'Opera di Miami come studente universitario. Thomas è diventato un giovane artista con il Seattle Opera Artist Young Artist Program, la Florida Grand Opera, l'Opera Theatre of Saint Louis e l'Opera di Sarasota. Ha continuato a far parte del Lindemann Young Artist Development Program della Metropolitan Opera.

Carriera
Thomas ricopre ruoli di tenore nei principali teatri del mondo, principalmente gli eroi di Giuseppe Verdi e altri ruoli spinti e drammatici.

È apparso ne I masnadieri di Verdi con la Washington Concert Opera, alla Deutsche Oper Berlin nel ruolo di Don Carlo di Verdi, nel ruolo di Andres in Wozzeck con la Metropolitan Opera, nel ruolo del protagonista ne I racconti di Hoffmann con la Seattle Opera e il principe in Rusalka con Opera North Carolina.

Ha anche cantato il ruolo di Tito nella La clemenza di Tito di Mozart alla Metropolitan Opera, e alla Royal Opera House, Covent Garden è apparso come Gabriele Adorno nel Simon Boccanegra di Verdi.

Note

Collegamenti esterni


Hans Bouffmyhre, aka Stephen Gorrie, is back on Cari Lekebuschs H-Productions after his debut together with Alexi Delano on the Art Of Colab Part 2 of 3 (HPX79). Without a doubt, Stephen is one of the most steaming artists on the Techno scene of today. Since turning to production in 2007 he has released a consistant stream of amazing records for labels like Soma, Perc Trax, Viva Music, Electric Deluxe and Alan Fitzpatricks 8 Sided Dice. As well as keeping up with a busy tour schedule and managing his well acknowledged label Sleaze Records.
If you are a newcomer to Techno music, and havent come across Hans productions before - then these 3 trax are a great example of his work. Blurred Vision being slightly more easy to digest compared to the intense build up of Drubbing. My fave here will probably turn out to be Forgotten Saga in the long run. Its subtle approach gives you more freedom in the mix. Like all Hans creations these are BIGfun to work with as a DJ.
=D enjoy! - Cari Lekebusch @ the H-Productions HQ, Stockholm, Sweden.


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Marko Pajač, né le  à Zagreb en Croatie, est un footballeur croate qui évolue au poste d'arrière gauche ou d'ailier gauche au Genoa CFC.

Biographie

En club
Né à Zagreb en Croatie, Marko Pajač est formé par le NK Varaždin, avec qui il fait ses débuts en 2011.

Il joue ensuite avec le Lokomotiva Zagreb, le NK Sesvete, le club hongrois du MOL Fehérvár, et le club slovène du NK Celje. Le 8 novembre 2015, il se met en évidence en inscrivant un doublé dans le championnat de Slovénie, sur la pelouse du NK Domžale (2-2).

Marko Pajač s'engage pour trois ans en faveur du Cagliari Calcio le 2 juillet 2016. Il joue son premier match le 21 août suivant, lors d'une rencontre de Serie A face au Genoa CFC. Il entre en jeu à la place de Marco Capuano, et son équipe s'incline par trois buts à zéro ce jour-là. Huit jours plus tard, Pajač est prêté au Bénévent Calcio, club évoluant alors en Serie B.

Le 7 août 2017, Marko Pajač est prêté à l'AC Pérouse.

Le 20 août 2019, il est prêté au Genoa CFC, avec option d'achat. Il joue son premier match sous ses nouvelles couleurs le 1 septembre 2019, lors d'une rencontre de championnat remportée par son équipe face à l'AC Fiorentina (2-1).

Le , Marko Pajač s'engage en faveur du Brescia Calcio. Il fait sa première apparition pour Brescia le 9 février 2021, lors d'une rencontre de championnat contre l'US Lecce. Il entre en jeu à la place de Nikolas Špalek et les deux équipes se neutralisent.

En sélection
Avec les moins de 19 ans, il participe au championnat d'Europe des moins de 19 ans en 2012. Lors de cette compétition organisée en Estonie, il joue deux matchs, contre l'Angleterre et la France. Avec un bilan d'une victoire, un nul et une défaite, la Croatie ne dépasse pas le premier tour.

Par la suite, avec les moins de 20 ans, il dispute la Coupe du monde des moins de 20 ans en 2013. Lors du mondial junior organisé en Turquie, il joue deux matchs, une rencontre de poule face à la Nouvelle-Zélande, et le huitième de finale perdu face au Chili.

Palmarès
 Champion de Hongrie en 2015 avec le MOL Fehérvár
 Finaliste de la Coupe de Slovénie en 2016 avec le NK Celje

Notes et références

Liens externes

Footballeur croate
Joueur du Lokomotiva Zagreb
Joueur du NK Celje
Joueur du Cagliari Calcio
Joueur du Benevento Calcio
Joueur du Pérouse Calcio
Joueur de l'Empoli FC
Joueur du Genoa CFC
Joueur du Brescia Calcio
Naissance en mai 1993
Naissance à Zagreb


text:
Community Choice Prize Category Winner See All Winners
Carvana Car Vending Machine
The Carvana Car Vending Machine is the first fully-automated, coin-operated car vending machine in the U.S. Similar to how a can of soda is dispensed through a vending machine once it's been purchased, Carvana's Car Vending Machine dispenses cars originally purchased online to customers through a fully-automated process. The Car Vending Machine provides a first-of-its kind, unparalleled user experience created through the combination of technology, robotics, and a custom made glass environment. To pick-up a purchased vehicle, the customer enters their name and drops a coin into the Car Vending Machine's Control Panel, which then lights up and initiates the vending process. The Vending Machine then retrieves the car from the Tower and places it on a track, which then moves the car through the machine until it reaches and enters the designated Delivery Bay. The Bay then opens and the customer is invited in, to take possession of their new vehicle.
Carvana is all about creating a better consumer experience using technology and forward thinking design. Traditionally, brick-and-mortar dealerships often leave a lot to be desired from a customer experience standpoint. That considered, for Carvana customers who prefer to pick-up their car, we wanted to create a phenomenal, memorable experience that brings back the joy of car buying and is grounded in our company's brand. From concept to opening, we spent a full year designing and building the world's first fully-automated, coin-operated Car Vending Machine. Every decision we made was driven by consumer insights and our desire to create an amazing user experience.
From the earliest planning stages, we wanted to meet the actual goal of creating an actual vending machine for cars. To ensure the execution of the best possible pick-up experience for customers, Carvana scoured the globe in order to source the perfect display tower for our Car Vending Machine concept. In order to begin the process, we first had to determine where in the world these types of towers exist. Our search spanned the corners of Asia to the heart of Europe, ending in Germany. Carvana partnered with Nussbaum Technologies of Kehl, Germany for the display tower. That effort was only the beginning of our quest to build the first Car Vending Machine, as we discovered that the towers – as used throughout Asia and Europe – were primarily used as parking management structures. That meant that the structures themselves were not appropriately outfitted to deliver to the purchaser the way our vision intended. Together with the Nussbaum team, Carvana developed the "Tunnel," in which the car traverses the ground level to the "Bay" were the car is placed in its final position ready for perfect indoor viewing by the customer. To achieve that, we needed an advanced system to move the car vertically for an extended distance. For that movement, we turned to WFT of Germany. WFT developed the Automated Delivery System (ADS), which seamlessly and wirelessly drives the vehicle through the tunnel, selects a free bay and delivers the vehicle into the all glass bay.
Carvana didn't stop there, as we reached out to Blue Line Studios (BLS), one of the leading environmental design firms located in Las Vegas, Nevada. BLS has been building custom environments for decades, and with that know how, we engaged them to create our state-of-the-art futuristic customer reception area. Complete with RGBW DMX controlled lights, the customer reception area is truly something to marvel. Custom engineered and designed, this one-of-a-kind customer reception area rounds out the Carvana theme with an elegant and powerful statement. The Carvana customer reception area is an artistic approach to the everyday retail arrival experience. Lastly, to commemorate the entirety of the experience, Carvana internally developed proprietary technology that captures the customer's visit to the Car Vending Machine in a dynamic video that is sharable for the customer on any social media platform.
For the exterior design, Carvana turned to the architectural design firm WHN in Charlotte, North Carolina. WHN took the concept plan and put it to paper, complete with modern stylings in glass – lots of glass.
Transparency is a core value at Carvana, and in many ways, the Car Vending Machine is a tangible reflection of that tenant. With its sleek, state-of-the-art design and functionality, the Car Vending Machine caters to people's curiosity, as a person can witness the journey their car takes from the tower into their waiting arms. To a degree, the moment at the Car Vending Machine is a microcosm of the customer's overall purchase experience with us. The ability to easily engage the process from start to finish evokes a sense of pride and accomplishment in a person, and for those of us at Carvana, being a part of the general symbolism provided by the Car Vending Machine is a very powerful thing. It's a physical manifestation of what we work to build our name on.
Not only does the Car Vending Machine offer a truly one-of-a-kind experience that enhances the process of purchasing a vehicle for customers, but it also serves a practical purpose as well. The presence of the Car Vending Machine allows Carvana to help save people money who want to avoid additional costs associated with home delivery of their purchased vehicles. We spend 10 percent of what a dealership typically spends, and we can move three times the amount of cars. Furthermore, the cost passed along to consumers is just five percent of what a dealership costs. Meaning, if a dealership passes along a $1,000 cost to the consumer to purchase a vehicle, Carvana is passing along just $50 for the same vehicle and a better experience. With us, customers are winning.
Buying a car is one of life's biggest purchases, and it is traditionally fraught with stress, so it was great to see the Carvana team execute on their vision of making that process playful, memorable and actually functional.
By Carvana


please note that the above specials are "clearance items" and prices are valid while stocks last! only small quantities are available. t's & c's apply.
bottom of Outlook Road Umkobi Beach, Southbroom South, KwaZulu-Natal. Located in Southbroom South, take the N2/R61 South from Durban. Exit at Southbroom South, turn first right into Outlook Road, and follow for 2.7Kms to the beach.
LUMA Floors assists with the restoration and maintenance of existing granite, marble and Terrazzo floors. SOLID INVESTMENT Incorporating a polished concrete floor into a home or commercial space is an investment that will deliver returns for years to come.
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Terrazzo Engineered Stone Tiles that consist chips of marble or granite set in concrete and polished or brushed to give either matt or smooth surface. Terrazzo originates from Italy where, around 500 years ago, quarry workers used stone offcuts for flooring in their own homes.
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The following list is by city, then by county shown within ( ), then the newspaper name within " " and then a link to the newspaper.
If you have any additions or corrections to this list please let us know so we can keep the listing correct and up-to-date.
The following link is for the State Historical Society of North Dakota.


Unplug the refrigerator. This repair involves directly manipulating electrical components, so it's especially important to remove the power source.
Remove the rear access cover. Loosen the six screws around the edge and completely remove the panel.
Access the capacitor. Release the clip connecting the capacitor to the compressor so the wire isn't in the way. Take care not to bend or shift the copper tubing.
Remove the capacitor. Use a flathead screwdriver to pry the run capacitor free from the start mechanism. Then pull it out of the fridge. Again, make sure you don't jostle the copper lines bent around the compressor.
Replace the run capacitor. Plug the capacitor into place so the terminals fit snugly.
Replace the covers. First, return the wire into position around the capacitor and clip it to the edge of the compressor. Then reattach the access cover and plug the refrigerator back in.
For more refrigerator and major appliance repair procedures, go to Fred's Appliance Service here.


A graceful old world blossom and bloom design gets a gorgeous splash of glamour in spellbinding shades of teal, turquoise, rose, ruby, sapphire, peridot and amber. Expertly hand-tufted from a wonderful 100% wool with a loop pile, the Vibrant collection from Nourison is certain to add a sophisticated dash of style to any interior. Featuring especially brilliant color palettes and an alluring array of classic designs, these remarkable rugs are easy, elegant and utterly engaging.


text:
import os
import sys
from facetools import json

from django.core import management
from django.core.management.base import AppCommand, BaseCommand
from django.conf import settings
import requests

from facetools.test.testusers import _create_test_user, _friend_test_users, _create_test_user_on_facebook
from facetools.signals import sync_facebook_test_user
from facetools.models import TestUser
from facetools.common import _get_facetools_test_fixture_name

class Command(AppCommand):
    help = 'Creates the facebook test users defined in each app in the project.'

    def handle_app(self, app, **options):
        app_name = '.'.join(app.__name__.split('.')[0:-1])

        test_users = _get_facetools_test_users(app_name)
        existing_facebook_test_users = _get_existing_facebook_test_users()
        existing_facetool_test_users = [u.name for u in TestUser.objects.all()]
        existing_test_users = set(existing_facebook_test_users.keys() + existing_facetool_test_users)

        # Create any test users on facebook their corresponding User models in facetools
        # that don't exist on facebook yet.
        for test_user in test_users:
            _print('Syncing %s' % test_user['name'])

            # Add user to facebook and local database
            if test_user['name'] not in existing_test_users:
                _create_test_user(
                    app_installed = test_user.get('installed', True),
                    name          = test_user['name'],
                    permissions   = test_user.get('permissions')
                )

            # or add test user to facebook and sync with existing test user in the local database
            elif test_user['name'] not in existing_facebook_test_users:
                facebook_response_data = _create_test_user_on_facebook(
                    app_installed = test_user.get('installed', True),
                    name          = test_user['name'],
                    permissions   = test_user.get('permissions')
                )
                facetools_user = TestUser.objects.get(name=test_user['name'])
                facetools_user.facebook_id = facebook_response_data['id']
                facetools_user.access_token = facebook_response_data.get('access_token')
                facetools_user.login_url = facebook_response_data.get('login_url')
                facetools_user.save()

            # or add test user to the local database using the test user's data on facebook
            elif test_user['name'] not in existing_facetool_test_users:
                facebook_data = existing_facebook_test_users[test_user['name']]
                TestUser.objects.create(
                    name         = test_user['name'],
                    facebook_id  = facebook_data['id'],
                    access_token = facebook_data.get('access_token'),
                    login_url    = facebook_data.get('login_url')
                )

            # or sync the existing user with the latest facebook information
            else:
                facebook_data = existing_facebook_test_users[test_user['name']]
                facetools_user = TestUser.objects.get(name=test_user['name'])
                facetools_user.facebook_id = facebook_data['id']
                facetools_user.access_token = facebook_data.get('access_token')
                facetools_user.login_url = facebook_data.get('login_url')
                facetools_user.save()

            sync_facebook_test_user.send(sender=None, test_user=TestUser.objects.get(name=test_user['name']))

        _create_test_user_friendships(test_users)
        _create_test_user_fixture(app, app_name, test_users)

def _get_facetools_test_users(app_name, test_user_module_name='facebook_test_users'):
    """Get the dictionary of facebook test users for the app, throwing an error if the app
    doesn't have any defined."""
    try:
        _temp = __import__(app_name, globals(), locals(), [test_user_module_name])
        facetools_test_users = _temp.facebook_test_users.facebook_test_users
        if callable(facetools_test_users):
            facetools_test_users = facetools_test_users()
    except ImportError:
        raise Exception("Error: %s doesn't have a module called %s" % (app_name, test_user_module_name))

    # Ensure no test users share the same name
    facetools_test_names = set([u['name'] for u in facetools_test_users])
    if len(facetools_test_names) != len(facetools_test_users):
        raise Exception("Error: Duplicate names found in %s for %s" % (test_user_module_name, app_name))

    return facetools_test_users

def _get_existing_facebook_test_users(app_id=settings.FACEBOOK_APPLICATION_ID, app_secret=settings.FACEBOOK_APPLICATION_SECRET_KEY):
    """
    Get the facebook data for each test user defined for the app.
    """
    existing_facebook_test_users = {}
    app_access_token = '%s|%s' % (app_id, app_secret)
    test_users_url = "https://graph.facebook.com/%s/accounts/test-users?access_token=%s" % (app_id, app_access_token)
    for attempts in range(3, 0, -1):
        response = requests.get(test_users_url)
        try: users_response_data = json.loads(response.content)
        except: users_response_data = None
        if response.status_code != 200 or users_response_data is None or users_response_data == False or 'error' in users_response_data:
            if attempts > 0:
                continue
            try:
                raise Exception("Error retrieving facebook app's test users: %s" % users_response_data['error']['message'])
            except:
                try:
                    raise Exception("Error retrieving facebook app's test users: status_code=%s, content=\"%s\"" % (response.status_code, response.content))
                except:
                    raise Exception("Error retrieving facebook app's test users: status_code=%s" % response.status_code)
        else:
            break

    test_user_url = "https://graph.facebook.com/%s?access_token=%s"
    for test_user in users_response_data['data']:
        user_response_data = json.loads(requests.get(test_user_url % (test_user['id'], app_access_token)).content)
        if user_response_data == False:
            # skip invalid users defined on facebook
            continue
        if 'error' in user_response_data:
            raise Exception("Error retrieving data for %s: %s" % (test_user['id'], user_response_data['error']['message']))
        elif 'name' in user_response_data:
            user_response_data['access_token'] = test_user.get('access_token')
            user_response_data['login_url'] = test_user.get('login_url')
            existing_facebook_test_users[user_response_data['name']] = user_response_data

    return existing_facebook_test_users

def _get_test_user_relationships(test_users):
    """
    Takes a facebook_test_users dict and returns a list of relationships, with
    each item being a set of 2 names that should be friends.
    """
    relationships = []
    for test_user in test_users:
        if 'friends' in test_user:
            for friend in test_user['friends']:
                relationships.append(set([test_user['name'], friend]))
    no_dupes = []
    for relationship in relationships:
        if relationship not in no_dupes:
            no_dupes.append(relationship)
    return no_dupes

def _get_app_fixture_directory(app):
    """
    Gets the fixture directory for the app, creating it if it doesn't exist.
    """
    app_dir = os.path.dirname(app.__file__)
    fixture_dir = os.path.join(app_dir, "fixtures")
    if os.path.exists(fixture_dir):
        if not os.path.isdir(fixture_dir):
            raise IOError("Can't create a fixture directory for %s.  File already exists." % app.__package__)
    else:
        os.mkdir(fixture_dir)
    return fixture_dir

def _print(s):
    if sys.argv[1] != 'test':
        print s

def _create_test_user_friendships(test_users):
    """
    Create the friendships defined between all the test users
    """
    friendships = [list(r) for r in _get_test_user_relationships(test_users)]
    for friendship in friendships:
        friendship = list(friendship)
        _print('Friending %s and %s' % (friendship[0], friendship[1]))
        _friend_test_users(friendship[0], friendship[1])

def _create_test_user_fixture(app, app_name, test_users):
    """
    Create the fixture for the test users
    """
    fixture_file_path = os.path.join(_get_app_fixture_directory(app),
                                     _get_facetools_test_fixture_name(app_name))
    _print('Creating fixture for test users at %s' % fixture_file_path)

    # Create the initial fixture
    old_stdout = sys.stdout
    try:
        sys.stdout = open(fixture_file_path,'w')
        management.call_command('dumpdata', 'facetools', indent=4)
    finally:
        if sys.stdout != old_stdout:
            f=sys.stdout
            sys.stdout=old_stdout
            f.close()

    # Clean up the fixture so it only has this app's test users
    fixture_content = open(fixture_file_path).read()
    with open(fixture_file_path, 'w') as fixture_file:
        fixture_file.write(_clean_test_user_fixture(fixture_content, test_users))

def _clean_test_user_fixture(fixture_content, test_users):
    """
    Removes any test users in a fixture that aren't defined in the app's test users
    """
    fixture_names = set([u['pk'] for u in json.loads(fixture_content)])
    actual_names = set([u['name'] for u in test_users])
    names_to_remove = fixture_names - actual_names
    for name_to_remove in names_to_remove:
        name_index = fixture_content.index(name_to_remove)
        start = fixture_content.rindex('{', 0, name_index)      # starting bracket for json entry
        end_fields = fixture_content.index('}', name_index) + 1 # ending bracket for 'fields' dict in json entry
        end = fixture_content.find('{', end_fields)             # starting bracket for next json entry
        if end == -1:
            end = fixture_content.find('}', end_fields) + 1     # ending bracket for json entry
            start = fixture_content.rindex(',', 0, start)       # comma of previous json entry (i.e. { ... }, )
        fixture_content = fixture_content[:start] + fixture_content[end:]
    return fixture_content


text:
Composition is a full on meeting with his Christianity: Patrick Hawes on his new disc Revelation
Labels: interview, video
Patrick Hawes
A new album, Revelation, of music by the composer Patrick Hawes was released on 10 February 2017 on the Naxos label. The music on the disc includes two new pieces, Revelation based on texts from the Book of Revelation, and a setting of the Beatitudes, plus a new recording of Quanta Qualia, performed by a Canadian ensemble, the Elora Singers, conductor Noel Edison. I caught up with Patrick by Skype to find out more about the new project.
Patrick first came to prominence with his debut album Blue in Blue which was nominated for a Classical Brit in 2004, the first track on the album being the popular Quanta Qualia. Hawes was commissioned by HRH The Prince of Wales to write the Highgrove Suite in 2009, which was premiered in 2010. His biggest work to-date is his Lazarus Requiem. Premiered at the Cadogan Hall, London in 2008, the work intersperses the traditional Latin Requiem text with an account in English of the raising of Lazarus from St John's Gospel. The album Angel, recorded by soprano Grace Davidson, the Choir of New College, Oxford and the Royal Philharmonic Orchestra, was released on Decca in 2014 and reached Number One in the Classical Charts.
He loves all the hell and damnation, thunderstorms and dragons
The new album, Revelation, is Patrick's first since Angel and I was curious as to why he chose the Book of Revelation for the text of his new work. Patrick explained that it is such a dramatic text, which has everything in it, a wide range of emotions and plenty of pictorial images. He loves all the hell and damnation, thunderstorms and dragons, but that it was the last book in the Bible also had an appeal. Patrick's favourite sentence in the whole of scripture, 'Worthy is the Lamb' (best known in Handel's setting from Messiah) comes from the Book of Revelation, so there is something quietly gentle in the texts, about peace and reconciliation as well.
The number seven features quite heavily in the Book of Revelation, there are seven churches of Asia, seven lamps blazing, so Revelation has seven sections of text plus passages from the prologue and epilogue of the Book of Revelation. For the seven texts, 'Worthy is the Lamb' of course was included, as was a poetic text like 'I saw a new heaven' (at this point in our conversation Patrick and I have a little diversion to talk about other settings of this text, notably the one by Edgar Bainton). The selection also covers the contrasts which Patrick had talked about, with flashes of lightening, and refererences to the Second Coming. Patrick comments that you can see what Charles Jennens chose the Book of Revelation as a source for the text of Handel's Messiah, adding that he is something of a Handel fanatic. Whilst Handel's Worthy is the Lamb is a climactic point in Messiah, Patrick's setting is quieter and tender.
Whilst writing Revelation, Patrick travelled to the island of Patmos where St John wrote the Book of Revelation, and he found the experience an amazing and moving one (you can see the video from the trip on YouTube).
Revelation includes some his most abstract music
The Elora Singers
Given that his last album was a best selling one, I wondered whether Patrick felt under pressure to repeat the magic when writing new pieces. But Patrick forgets about all that when writing, and is able to just be himself. In fact, Revelation includes some his most abstract music. Whilst some of the work is for four-part choir, other sections are for double choir with some of the most complex textures that Patrick has ever written. When the Elora Singers first performed Revelation they commented that it was hard to see this was the same composer who wrote Quanta Qualia. But Patrick adds that he is still himself, the same musician who wrote Quanta qualia and he likes to think that all the music has both down to earth and lyrical qualities to it.
When writing Revelation his faith was behind it
Given that he has written so much music setting sacred texts, it is no surprise to find that he is religious himself. He admits that he finds it extraordinary that composers such as Berlioz, RVW and John Rutter, who have written such major settings of sacred texts, are not themselves Christians. Over Patrick's shoulder I can see a crucifix, on a shelf in his study, and he explains that it was carved for him by his father just two months before he died, and that the crucifix goes everywhere with him. For Patrick, the process of composition is a full on meeting with his Christianity, so that when writing Revelation his faith was behind it, and he refers to music as just one of the voices of the Holy Spirit.
Though the Elora Singers gave the first performance of Revelation and recorded it, it was not written specifically for them. But, whilst Patrick did not write with their choral voice in mind, he had heard them on-line and was aware that they are a world class ensemble so that he could stretch them in a way he could not do when writing for an amateur choir. He adds that not only is Revelation very difficult and very challenging to sing, but that Elora Singers had to sing it from scratch, pulling the performance out of a hat, whereas future choirs will have the recording to listen to.
Simple honest truths spoken by Christ
It is clearly important to Patrick that choirs of all abilities can sing his music, and to that end he also included another new piece on the disc, Beatitudes which is more amateur friendly. He chose the Beatitudes because he wanted to write a choral album with texts from the New Testament, and he finds the Beatitudes the other side of the coin to the Book of Revelation. He refers to the Beatitudes as simple honest truths spoken by Christ, representing some of his most important teachings.
Patrick was at first surprised that there had not been more settings of the Beatitudes, given the universal appeal of the texts, but suspected that their repetitive nature was the reason. Given Patrick's Beatitudes lasts over 20 minutes, his main challenge was not making the music monotonous. So, to create contrast and variety he introduced a piano into the mix. For Patrick, a piano brings great warmth and homeliness about the piano; he adds that he learned the piano as a child because his Mum and Dad owned a pub (in Skegness) and there was one in the pub.
In Beatitudes the piano plays an integral part in the musical tapestry, with Patrick using different ranges and piano figurations and thus overcoming the danger of monotony. He also used a careful key-scheme through the eight movement, exploring a range of different keys.
Musical inspirations
The Elora Singers - photo Sophie Hogan
Patrick composes at the keyboard, though as a teenager he tried to compose without any aid. But he quotes the story about Ravel, when RVW went for lessons to him, chiding RVW for not using the piano to compose as to how else would he write new sonorities. So nowadays, Patrick always composes at the piano, or using a midi-keyboard attached to a sequencer. This latter he finds helpful, as he can immediately save ideas and get a feel for orchestral and choral textures. Now that samples are becoming more sophisticated, he feels he can get a picture of a choir sound more quickly. He adds that he does not think relying on a keyboard is a weakness and that is convinced that Mozart would have used the latest technologies.
I ask about his musical inspirations, and if he had to pick one it would be Handel. As a teenager he went through a Romantic phase, listening to Rachmaninov and Tchaikovsky, and in his 20s he was Mozart mad (and he adds that his birthday is the day of Mozart's death). Finally he fell in love with Handel, and the love has stayed. He finds Handel a composer who has married spirituality with sensuality, and Patrick appreciates that you don't have to be one or the other, but can be both. He also admires the way that Handel embraced Englishness in music so effortlessly. Which leads us to another era whose music Patrick admires, the Renaissance.
He was put off composition by the avant-garde techniques taught at the time
Patrick was born in 1958, another coincidence as this was the year RVW died. And Patrick was composer in residence at RVW's old school, Charterhouse. Patrick loves the way RVW embraced folk-song which he saw as an antidote to the negative forces of modernism. Patrick finds in RVW's music the sense of English nostalgia which Peter Ackroyd talks about in his book Albion.
Patrick studied music in Durham, but he was put off composition by the avant-garde techniques taught at the time (a story familiar from my interview with the composer Rachel Portman). So instead he did an MA, studying the period 1560 to 1660, looking at how the major and minor key systems evolved. Now, looking back, Patrick feels that that year was certainly well spent, better than studying composition; not only has he embraced line in his composition, but the knowledge from his MA imbues his work.
For 16 years after leaving Durham he taught music and English. Whilst teaching at Pangbourne College he was asked to compose incidental music for the school play, King Lear. Patrick explains that he had no sense of his ability to write music, so his response was 'I don't know if I can, but I will have a go'. There happened to be a BBC producer in the audience and afterwards the producer congratulated Patrick and said that he could do this for a living. A year later the school choral society commissioned a work from him, this was the cantata The Wedding at Cana, one of the works which made his name. And he was offered the role of composer in residence at Charterhouse.
Around half of Patrick's work comes from commissions, with the remainder being works he simply wants to write. There was no commission for Revelation, but he managed to get a choir (the Elora Singers), a record company (Naxos) and a publisher (Walton GIA) interested, and in fact this will be the first time that Patrick's music has been published by an American publisher.
Patrick's album Revelation was released on Naxos on 10 February 2017.
Revelation will be showcased at the ACDA Convention in Minneapolis on 8 March 2017, when Patrick will be taking part in a 'Meet the Composer' session.
Emma Johnson will give the premiere of Patrick's Clarinet Concerto on March 12, with the St Thomas Orchestra of Norwich
Further information about forthcoming events from Patrick's website.
Elsewhere on this blog:
Taking them seriously: Gilbert and Sullivan's The Pirates of Penzance at English National Opera - opera review
Energy and commmittment: Rebecca Miller and the Salomon Orchestra in Kodaly and Bartok - concert review
O Sing Unto the Lord: Andrew Gant's engaging history of English church music - Book review
Sui Generis: Karmana from Simon Thacker - CD review
Stunning technique: Debut recital disc from Aida Garifullina - CD review
Contemporary wind music from Estonia: Rhapsody for Winds - CD review
Birthday celebrations: I chat to Nicola Lefanu about forthcoming premieres - interview
Winter magic: Rimsky-Korsakov's The Snow Maiden in a rare outing courtesy of Opera North - Opera review
Disturbing video games: Humperdinck's Hansel and Gretel from Opera North - opera review
Vivid theatricality: Suzi Digby and Ora - concert review
Strong stuff: Chamber music by Kodaly and Dohnanyi - cd review
Seminal Bulgarian composers: Wind from the East from pianist Victoria Terekiev - CD review
First fruits: Tim Mead's first song recital at Wigmore Hall with James Baillieu - concert review
Posted by Planet Hugill at Saturday, February 11, 2017
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11/20 Weekly Market Review - McElhenny Sheffield Capital Management, LLC.
With 3Q17 earnings season largely complete, tax policy continues to dominate headlines. Another focus this week has been a shift in risk sentiment towards a risk-off trade as the yield curve has seen some flattening and junk bond performance diverges from equities. While macro data continues to be positive, we view this shift in risk appetite as normal profit taking and a shift into more defensive names. While we could continue to see some volatility as the tax debate lingers and continuation of yield curve flattening, we would use the dip in areas such as Financials and Energy to be selective.
On the earnings front, 94% of S&P 500 companies have reported 3Q17 results thus far. 67% of S&P 500 companies have beaten on the top line and 77% have beaten on the bottom line for aggregate reported sales growth of 6.1% and earnings growth of 6.3%. Looking forward, S&P 500 earnings estimates have remained solid with 4Q17 and 1Q18 both reflecting earnings growth of 10.0% and 10.2%, respectively.
Economic conditions remain healthy. This week, retail sales and acceleration in core inflation are supportive of a rate hike; the implied probability of another Fed rate hike in December remains at ~92%. It is worth noting that the yield curve continued to flatten over the past week, although it remains far from concerning at this point.
Technical: We believe the Financials and Energy may be timely on a pullback. As of this writing, the Energy sector recently saw the 50 day moving average (DMA) cross its 200 DMA. With the S&P 500/Energy sector sitting near its 200 DMA, we believe this should provide a nice area of support. As mentioned last week, Financials look timely with the the S&P500/Financials having pulled back to its 50 DMA, which we see as a nice area of support. Moveover, the recent pullback has been on weak volume.
This week's economic data has been supportive of a December rate hike with retail sales coming in better than expected and core inflation accelerating for the first time since January. Weekly jobless claims continue to be near a long-term low, coming in at 1,860k vs. consensus of 1,900k. October core CPI saw its first monthly acceleration since January (up 1.8% y/y vs. 1.7% last month).