Abbotsford realty was not updated for last 2-3 months. Abbotsford real estate market is getting very active again. Real estate market slows down in winter every year, this year was no exception. Snow, rain and short days force peple to stay home. Things are starting to move as we move into spring. Check out Abbotsford Realty Blog for market information and other real estate related information.
This entry was posted in Abbotsford RealEstate on March 17, 2007 by Raj Dhaliwal.
BC assessment authority just sent out assessment notices to property owners in British Columbia. There are a lot more million dollar homes in this province than last year. Increased assessed value of your home could mean higher property tax this year or next year. There is also a good news. The home owner grant and the maximum value of the home eligible for the grant have also increased. Call contact us for more real estate related informaton.
This entry was posted in Abbotsford RealEstate on January 21, 2007 by Raj Dhaliwal.
2 qualified clients are looking to buy homes in Abbotsford.
West Abbotsford – minimum 4 bedrooms + a 2 bedroom legal suite.
This entry was posted in Abbotsford RealEstate on December 17, 2006 by Raj Dhaliwal.
There is a good news for Abbotsford home buyers. Fraser valley MLS is reporting a slighly higher number of real estate listings in Abbotsford compared to the 4th quarter of last year. Abbotsford home prices are not coming down even though there are more homes on the market. However, the increas in prices is not as rapid as last year. Demand for new homes is expected to remain strong in 2007. Visit AbbotsfordRealty.Net again for latest housing market updates and Abbotsford real estate news.
This entry was posted in Abbotsford RealEstate on December 14, 2006 by Raj Dhaliwal.
The 12th Annual Blanket Drive November 27 – December 4, 2006 was very successful. Lower Mainland REALTORS® were able to collect 3,321 bags of warm blankets and clothing for those less fortunate in our communities. Donations were collected at local real estate offices and distributed to local charities by REALTOR® volunteers. Realtors collect blankets and warm clothing every winter for the homeless. Abbotsford Realtor's made a great contibution again this year. Landmark realty corp office was one of the blanket collection centers in Abbotsford.
This entry was posted in Abbotsford RealEstate on December 12, 2006 by Raj Dhaliwal.
2 Condos available in westwood. Less than 3 minutes to city center and 1 block from clearbrook library. Close to everything. One is 2 bedroom 950 sq ft and the 2'nd one is 1 bedroom unit. High quality construction,brand new units, ready to move in. Offered below market price. Visit http://www.thecondoseller.com for more information. Get the before they go to MLS in a day or two.
This entry was posted in Abbotsford RealEstate on December 5, 2006 by Raj Dhaliwal.
Abbotsford received $30.2 million worth of applications for new buildings in September, a 116-per-cent increase from August. For the year-to-date, at the end of September, the $309 million in new construction projects were running 50 per cent ahead of the same period a year ago. Abbotsford has a healthy, diversified economy, Thats why Abbotsford is booming. And because of the squeeze on the inner Greater-Vancouver communities such as Burnaby, Richmond, we're seeing an awful lot more development pressure into the valley. A surge of 11 multi-family-housing projects, worth $20.9 million, contributed the biggest boost to September's numbers.
This entry was posted in Abbotsford RealEstate on November 15, 2006 by Raj Dhaliwal.
This blog is about Abbotsford and real estate only. Please do not try to post anything that is not relevant. All posts must be approved by the administrator. Irrelevant blog entries will not be approved. So Don't waste your time. Any comments about our city, real estate market in BC or Canada are welcome.
This entry was posted in Abbotsford RealEstate on November 2, 2006 by Raj Dhaliwal.
Are you looking to buy real estate in Abbotsford?
Post your Abbotsford real estate wanted ad here.
This entry was posted in Abbotsford RealEstate on August 18, 2006 by Raj Dhaliwal.


text:
New Electric Vehicle Charging Stations
The City of Port Phillip have installed two free electric vehicle charging stations on the rooftop carpark, providing residents and visitors with a convenient location to recharge their cars.
Council has invested in the charging stations, which will be powered in part by the 612 solar panels on the roof of the Market. The charging stations are compatible with all electric vehicles and models.
With transport accounting for 16.25 per cent of the Port Phillip community's carbon emissions, electric vehicles, when powered by renewable energy, can significantly reduce this figure. In addition to carbon emissions, traditional vehicles cause air pollution.
City of Port Phillip Mayor, Cr Louise Crawford said increasing the availability and visibility of charging stations is one of the first steps in encouraging people to embrace the new technology.
"As more and more people opt for electric vehicles, it's important to provide the infrastructure to support this fantastic environmentally-friendly choice. The installation of the charging stations at South Melbourne Market is a win for residents and visitors, and we hope people will make a day of visiting our City and exploring all we have to offer, while their car charges," Cr Crawford said.
The two charging stations are located next to the lift on the Market's rooftop carpark (entry via Coventry Street).
For more information, please visit the Council website.

redpajama_set_name: RedPajamaCommonCrawl


text:
"""A :py:class:`Worker` is intended for (asynchronously) using
a :py:class.`Tool`.
"""

# standard imports
import logging

# toolbox imports
from ..base.busy import BusyObservable, busy
from ..base.data import Data
from .tool import Tool

# logging
LOG = logging.getLogger(__name__)

class Worker(BusyObservable, Tool.Observer, method='worker_changed',
             changes={'tool_changed', 'data_changed',
                      'work_step', 'work_finished'}):
    """A worker can be used to work on data using a :py:class:`Tool`.
    The worker will hold a data object to which the tool is
    applied. The results are stored as new attributes of that data
    object.

    Working can be done asynchronously. The worker is observable
    and will notify observers on the progress. All workers post
    the following notifications:

    data_changed:
        The data for working was changed. The underlying tool
        has started working on the data, but it may not have finished
        yet. However, the :py:attr:`data` property will already
        provide the new :py:class:`Data` object.

    tool_changed:
        The :py:class:`Tool` to be used for working was changed.

    work_step:
        A work step was done. This will only happen, if the tool
        is an :py:class`IterativeTool` and that `stepwise=True`
        argument has been given. More fine grained tracking
        of the work process can be obtained by observing the
        :py:class:`Data` object itself.

    work_finished:
        The work was finished. The data object will now contain
        the results.

    """

    def __init__(self, tool: Tool = None, **kwargs) -> None:
        super().__init__(**kwargs)
        self._data = None
        self._next_data = None
        self._tool = tool
        LOG.info("New Worker created: %r (tool=%s)", self, tool)

    @property
    def data(self):
        """The :py:class:`Data` structure used by the worker.
        This data will contain results in specific attributes,
        depending on the tool used and its configuration.
        The data also includes the `duration` (in seconds).
        """
        return self._data

    @property
    def tool(self) -> Tool:
        """The :py:class:`Tool` applied by this :py:class:`Worker`."""
        return self._tool

    @tool.setter
    def tool(self, tool: Tool) -> None:
        """Change the :py:class:`Tool` to be applied by this
        :py:class:`Worker`.
        """
        LOG.info("Tool changed from %s to %s for worker %r",
                 self._tool, tool, self)
        if tool is not self._tool:
            if self._tool is not None:
                self.unobserve(self._tool)
            self._tool = tool
            if tool is not None:
                self.observe(tool, Tool.Change('tool_changed'))
            self.change('tool_changed')
            if self._data is not None:
                self.work(self._data)  # rework the current data with new tool

    @property
    def ready(self) -> bool:
        """Check if this worker is ready for use.
        """
        return self._ready()

    def _ready(self) -> bool:
        # FIXME[todo/states]: self.tool.ready
        return (self.working or
                (self._tool is not None and
                 self._tool.prepared and
                 (not isinstance(self.tool, BusyObservable) or
                  not self.tool.busy)))

    @property
    def working(self) -> bool:
        """Check if this worker is currently working on data.
        """
        return self._next_data is not None

    def work(self, data: Data, **kwargs) -> None:
        """Run a data work loop. This will set the Worker
        into a busy state ("working"), in which new input data
        are worked on until no more new data are provided.
        If new data is given, before the previously provided data
        was done, the previous data will be skipped.
        When working one data item finishes, observers will
        receive a 'work_finished' notification, and can obtain
        the data object including the results via the
        :py:meth:`data` property. The results can be accessed
        as tool specific data attributes.

        The main motivation for this method is to work on data from
        a data loop (like a webcam or a video) in real-time, always
        working on the most recent data available.
        """
        LOG.info("Worker for Tool '%s' (ready=%s, prepared=%s) "
                 "works on data: %r",
                 self.tool and self.tool.key, self.ready,
                 self.tool is not None and self.tool.prepared, data)
        if self.ready and not self.busy:
            self._next_data = data
            self._work(**kwargs)
        else:
            self._next_data = data
            # FIXME[bug/concept]: additional **kwargs arguments are ignored!

    @busy("working")
    # FIXME[hack/bug]: if queueing is enabled, we are not really busy ...
    # (that is we are busy, but nevertheless accepting more work)
    def _work(self, stepwise: bool = False, **kwargs):
        """The implementation of the work loop. This method
        is assumed to run in a background thread. It will
        check the property `_next_data` for fresh data and
        if present, it will hand (a copy) of this data to the
        detector and otherwise it will end the loop.

        The data object passed to the detector will also
        be stored as attribute (using the unique key of the detector
        as attribute name) in the original data passed to the
        detector. The results of the detector will be stored
        in detector data under the attribute `detections`.
        """
        while self._next_data is not None:

            data = self._next_data
            LOG.info("Working on next data (%r) with Tool %s.",
                     data, self._tool)
            self._data = data
            self.change(data_changed=True)
            with self.failure_manager(catch=True):
                result = self.tool.external_result + ('duration', )
                LOG.debug("Worker %r applying tool %r on data %r "
                          "with result %s.", self, self.tool, data, result)
                if stepwise:
                    for values in self.tool.steps(data, result=result,
                                                  **kwargs):
                        self.tool.add_data_attributes(data, result, values)
                        self.change(work_step=True)
                else:
                    self.tool.apply(data, result=result, **kwargs)
                self.change(work_finished=True)
            if self._next_data is data:
                self._next_data = None
            LOG.info("Working on data (%r/%r) with Tool %s finished.",
                     data, self._data, self._tool)
    # FIXME[bug]: In case of an error, we may also cause some Qt error here:
    #   QObject::connect: Cannot queue arguments of type 'QTextBlock'
    #   (Make sure 'QTextBlock' is registered using qRegisterMetaType().)
    #   QObject::connect: Cannot queue arguments of type 'QTextCursor'
    #   (Make sure 'QTextCursor' is registered using qRegisterMetaType().)
    # This happens for example when the face panel is shown and a too
    # small image (244x244x3) is causing an error in the 'haar' detector.
    # The source of this messages is not clear to me yet (I have also
    # seen it at other locations ...)

    def _apply_tool(self, data, **kwargs) -> None:
        self.tool.apply(self, data, **kwargs)

    #
    # Tool observer
    #

    def tool_changed(self, _tool: Tool, _info: Tool.Change) -> None:
        """React to a change of the :py:class:`Tool` by reworking
        the current :py:class:`Data`.
        """
        if self._data is None:
            return  # nothing to do ...

        # FIXME[todo]: what tool changes would require a recomputation
        #   - info.busy_change should not do this ...
        # if info.state_changed
        # if self._data is not None:
        #    self.work(self._data)

redpajama_set_name: RedPajamaGithub


text:
Paul Kipsiele Koech (ur. 10 listopada 1981) – kenijski lekkoatleta, długodystansowiec.

Największe sukcesy odnosi w biegu na 3000 metrów z przeszkodami :
 2. miejsce podczas Światowego Finału IAAF (Monako 2003)
 brązowy medal Igrzysk olimpijskich (Ateny 2004)
 3. miejsce w Światowym Finale IAAF (Monako 2004)
 1. miejsce na Światowym Finale IAAF (Monako 2005)
 złoty medal Mistrzostw Afryki w lekkoatletyce (Bambous 2006)
 1. miejsce podczas Światowego Finału IAAF (Stuttgart 2006)
 2. miejsce w Pucharze świata (Ateny 2006)
 1. miejsce na Światowym Finale IAAF (Stuttgart 2007)
 1. miejsce podczas Światowego Finału IAAF (Stuttgart 2008)
 2. lokata w Światowym Finale IAAF (Saloniki 2009)
 4. miejsce na mistrzostwach świata (Berlin 2009)
 zwycięzca łącznej punktacji Diamentowej Ligi 2010
 zwycięzca łącznej punktacji Diamentowej Ligi 2011
 zwycięzca łącznej punktacji Diamentowej Ligi 2012.
 4. miejsce na mistrzostwach świata (Moskwa 2013)

Koech jest również srebrnym medalistą Halowych Mistrzostw Świata w Lekkoatletyce (Bieg na 3000 m, Walencja 2008).

Rekordy życiowe
 Bieg na 3000 metrów z przeszkodami – 7:54,31 (2012) 3. wynik w historii
 Bieg na 2000 metrów z przeszkodami – 5:17,04 (2010) halowy rekord świata
 Bieg na 3000 metrów (hala) – 7:32,79 (2010)
 Bieg na 2 mile (hala) – 8:06,48  (2008) rekord Kenii
 Bieg na 5000 metrów (hala) – 13:02,69 (2012) 8. wynik w historii

Przypisy

Linki zewnętrzne
  [dostęp 8 września 2012].

Kenijscy długodystansowcy
Kenijscy medaliści olimpijscy
Medaliści Letnich Igrzysk Olimpijskich 2004
Urodzeni w 1981

redpajama_set_name: RedPajamaWikipedia


Jim Harvey, manager of Blue Square North play-off chasers Stalybridge Celtic, has been reunited with experienced former England semi-professional international defender Tim Ryan after the demise of Chester City.
He started his career at Scunthorpe United. The former England semi-professional international defender had two spells at Doncaster with Dave Penney where he won back to back promotions after a three-year spell with Southport.
He started his second spell with Doncaster after rejoining from on a Bosman free transfer from Southport in June 2000. Following the end of his second spell with Doncaster in March 2006 he joined Peterborough United.
Ryan spent the end of the 2005/06 campaign with the Posh but found himself at Boston for the start of the 2006/07 campaign. However, with the Pilgrims struggling for cash he moved to Darlington in the summer of 2007.
He transferred to Chester in July 2009 and two months later was appointed as caretaker-manager.
After taking charge of a goalless draw at Hayes & Yeading, Ryan became assistant-manager to then new boss Jim Harvey.
In what would be another major blow for the Blues, it has been reported today that Chester City Captain Tim Ryan is being linked with a move to Stalybridge Celtic. The Blue Square North club are led by former City manager Jim Harvey.
Chester City Chief Executive Ian Anderson has been promoted to the role of chairman and re-signed Cambridge striker Mark Beesley on a month-long loan deal.
Anderson, who's solicitor's firm, Anderson & Co are the club's main sponsor, has been on the board of directors for the past two years, while owner Stephen Vaughan will not be taking a position on the board of directors.
Twenty-eight-year-old Beesley played for Chester between 2000 and 2003, scoring 36 goals in 110 games.
He has scored two goals this season for the U's.
Of his appointment as chairman, Anderson told BBC Radio Merseyside: "I am relishing the chance of getting more involved on a day-to-day basis.
Former Morecambe and Forest Green Rovers manager Jim Harvey has today been appointed as the latest manager of struggling Chester City Football Club. Caretaker boss and club captain Tim Ryan will be Harvey's Assistant as Chester prepare to claw back a 25 point deficit and attempt to perform a great escape and survive in the Blue Square Premier League.
Born in Lurgan, Northern Ireland. Signed for Arsenal in 1974, sadly his 1st team opportunities were somewhat restricted with only making 3 league appearances. In 1980 Jim had a free transfer to Hereford United where he became a favourite with the fans with 278 leagues games.
In 1987 Jim left Hereford on a £25,000 transfer to Bristol City but only made 2 league appearances before he went on loan to Wrexham making 6 appearances in league games. He was once again transferred for £25,000 to Tranmere Rovers in late 1987. He quickly made Captain, making 121 league appearances, 12 League Cup and 8 F.A. Cup appearances , scoring 15 goals.
Upon leaving Tranmere Jim spent a season at Crew Alexandra, under Dario Gardi as a player and on the coaching staff. At the beginning of the 1993-94 Jim signed for Vauxhall Conference side Southport, in their 1st year in the Conference. He made 12 appearances for Southport before signing with Chester City as a non-contract player, Reserve Team Coach and Director of the School of Excellence.
In early 1994 Jim was appointed by Morecambe Football Club as Assistant Player – Manager to Leighton James. He also has F.A. qualifications in management and injury treatment. On 7th June 1994, he became Manager after the sacking of the former manager.
In his first season 1994-95, as manager, Jim gained Morecambe F.C promotion to the GM Vauxhall Conference as Runners-up in the Northern Premier League. Within the Conference League Jim has become well respected as a manager, winning Morecambe's second national trophy in 1997/98 when the team won the Bob Lord (Spalding) Trophy, beating Woking in a exciting 2 leg final. He has also taken the club to several Lancashire (ATS) Junior Cup finals, winning in 1995/96 and 1998/99 and Runner-up in 1997/98.
It can only be a short time before Jim Harvey once again brings back some silverware to Christie Park, home of Morecambe Football Club. Already at the beginning of the 2001/02 season Jim was the longest serving manager of any team in the Nationwide Conference, as well as the longest ever serving Morecambe boss and furthermore, in November 2001, Jim signed a new contract tying him to Christie Park until at least 2004. Season 2004/05 saw Jim and the team saddly missing a play-off place on the last game of the season.
Sadly before the Cambridge United game on November 12 2005, Jim suffered a heart attack before the game and was taken to the local hospital at Lancaster. On doctor' advice Jim took time off his duties recover. Whislt recoving his personal friend Sammy McIlroy will be in charge for the first team. However on 16 May 2006, the board announced they had released Jim Harvey from his contact as manager. With this announcement came the end of the longest era of a manager at the club. A manager that supporters' will alway remember as the the man who changed the fortunes of the club by taking then into the Football Conference and raising the profile of the club both on and off the pitch.
A massive attendance of 351 watched nine man Hayes and Yeading draw with managerless Chester City.
After having Rambir Marwa sent off for a professional foul, Hayes then lost Scott Fitzgerald through a second bookable offence.
Yet the two best chances of a poor game came with 22 men still on the park.
City's Anthony Barry hit the home bar from 25 yards, before Kevin Roberts scythed down Hayes forward Sean Canham, who blazed the resulting penalty over.
Marwa's red card came when he fouled on-loan Clark Keltie 10 minutes before the interval.
And, after Gregg Blundell had wasted a good chance for City by heading Adam Kay's cross over, the hosts were reduced to nine men for the last 16 minutes when Fitzgerald received his second booking for a foul on Neil Ashton.
But, even with nine men, they had a chance to win it 11 minutes from time when Tom Cadmore headed wide from Dale Binns' corner.
As it was, Chester, under the caretaker managerial responsibility of Tim Ryan following the midweek sacking of Mick Wadsworth, held on for a sixth successive away draw.
Hayes & Yeading: Overland, Mulley, Cadmore, El-Abd, Green, James (Fraser-Allen 67), M Canham, Marwa, Binns, Fitzgerald, S Canham (Daly 86), Fraser-Allen (Mehmet 90).
Subs Not Used: Baker, Gradwell.
Sent Off: Marwa (35), Fitzgerald (74).
Chester City: Danby, Rule, Kelly (Platt 54), Roberts, Ashton, Barry (Ellams 78), Keltie, Kay (Wilkinson 69), Lea, Blundell, Chadwick.
Subs Not Used: Murphy, Owen.


Grease two baking trays and put to one side. You won't need them for ages, but it's good to get this stage out of the way.
Sift the flour and salt into a large bowl. Rub in the butter. Mix in the yeast and caster sugar. Make a well in the centre of the dry ingredients and add enough milk so that by mixing you get a soft dough. The original recipe is deliberately vague as to what "enough" means. I used 180 ml, but I'd suggest starting at 150 ml, mixing it through and then adding a little more if you need to.
I did the mixing by hand and found it quite easy. You can also use the dough attachment of an electric mixer.
Turn the dough out onto a lightly floured surface and knead until smooth and elastic. I kneaded the dough for about 5 minutes. You can also let your mixer do this stage too if you have a dough hook.
Roll your dough into a ball and put it in a lightly oiled bowl, cover and then leave to rise in a warm place (or at least room temperature, tucked away from any cold breezes) until it's doubled in size. I left the dough for a bit more than 2 hours and if I made these again I think I'd leave it a little longer.
Now "knock back" the dough. Use you fist to press the dough down into the bowl, knocking the air out of it. Turn it out onto a floured surface and knead again for a few minutes. Divide it into however may portions you want for your finger buns and roll into finger shapes (try to get them a bit more regular than mine if you can!). Put the dough fingers on your baking sheets, cover them and leave them to rise again until doubled in size.
Put the finger buns on a wire rack to cool completely. When they're cold you can make the icing. It's a simple mix of icing sugar and a small amount of water. Add the water very gradually, starting with a teaspoon, because you want the icing to be thick so it won't simply run off the finger buns. If your icing is too thin, just add more icing sugar to thicken it up. Add a few drops of whatever colouring you like. Use a teaspoon to drop the icing onto the buns and the back of the spoon to spread it.
These keep well in an airtight container for a couple of days but are best eaten as quickly as possible!
And here's the evidence I made bread before!
Just what I need right now! They look yummy! I just copied the recipe so we shall see if I can turn out something edible!
I'm going to try! They just look so good!
I just had a sudden craving for them 🙂 I used to have them a lot when I was little but hadn't had any for ages!
I love that pink color. So spring-like!
These remind me of my childhood, though they were always shop bought then not homemade.
Oh, wow, this brings back memories of the primary school canteen! I've actually got dried yeast in the pantry at the moment as my partner has started baking pretzels, so I might have to try these!
I wish they'd had these in the canteen at my school! I remember them as a treat from the local baker's 🙂 I hope you have warmer weather than we do to get a nice rise during the proving stage (or a nice warm cupboard to put the dough in!).


Another project that MRH had embarked on is a research project and below is a summary of the project.
Post-partum sequelae of the hypertensive diseases of pregnancy.
1. To determine what proportion of women with hypertension in pregnancy have elevated blood pressures (> 140/90 mm Hg) and significant proteinuria, 6 weeks, 6 months and 1 year after delivery.
2. To determine what risk factors are associated with a persistently elevated blood pressure 6 months to 1 year after delivery?
3. To determine potentially predisposing factors for the development of non-pregnant cardiovascular disease (e.g. stroke, heart attack), such as plasma creatinine, urinary albumin:creatinine ratio, plasma insulin/glucose ratio, lipid profile, (i.e. LDL cholesterol, HDL cholesterol, triglycerides), total homocysteine and plasma renin activity. Anthropometric data such as body mass index (BMI), waist-hip ratio, waist circumference of the mother, and weight, height and head circumference of the baby will also be studied.
This research has been submitted for publication and is awaiting feedback.


text:
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Faircloth & Supply aids girls' education in Nepal
The charity fashion label donates a school uniform for every item sold
Faircloth & Supply wrap linen dress in egg, $250. | Image: James Branaman
Dresses from $150; www.fairclothsupply.com.
September 28 2014 / Sibéal Pounder
"In Nepal, all students are required to wear a uniform. If a young girl can't afford one, she's unable to attend school," explains Phoebe Dahl, founder of Los Angeles-based charitable fashion label Faircloth & Supply, which donates a school uniform to a girl in Nepal for every item sold.
Faircloth & Supply sprouted linen plaid dress, $235. | Image: James Branaman
The brand features elegant dresses (examples pictured, from $235) and peplum tops in fabrics inspired by antique textiles, and has donated around 500 uniforms since its launch last year. The website also enables shoppers to make an extra donation – from $12 for an additional uniform to $50 for a year's vocational training.
"Girls who receive an education are less vulnerable to HIV and human trafficking, as well as being more likely to make important contributions to family income," says Dahl, who plans to expand into accessories, casualwear and homewares by the end of the year. "The positive outcome can transcend generations."


Loughborough Fair Trade Fayre is your chance to buy fairly traded, locally made and upcycled gifts, crafts, foods and fashions. The Fayre takes place at Loughborough Baptist Church on Baxtergate, on Saturday November 17th 2018 from 10am to 3pm. Confirmed stallholders include the Fair Trading Post, Koseli Fair Trade, Waywood Fairtrade, Zaytoun, Oxfam, Elefair, Neal's Yard, Fairtrade Interiors and Alethia Foods, plus local fairly traded clothing company Adoptd Clothing. The cafe will be open too, run by Fair Trading Loughborough and selling both savoury and sweet treats. Admission is free and all are welcome.


Cheer on Blake Griffin and your Los Angeles Clippers with this 2014-15 Swingman Pride Jersey. The new NBA Swingman jerseys have changed from previous years and features adidas climacool performance mesh, one layer twill wordmark name and number applications. Athletic cut jerseys fit closer to the body through reduced body length and width. The back hem of the jerseys hang two inches longer than the front. The name and number is heat applied for a performance feel that matches the on-court jersey. NBA Logoman is now on the back neck. Officially licensed.


Three suspected members of banned militant outfit Jama'atul Mujahideen Bangladesh (JMb) have been arrested in Dhaka.
RAB 10 arrested them from north Jatrabari and Dholaikhal, said RAB's Legal and Media Wing Director Mufti Mahmud Khan.
Firearms, military training manual, and jihadi books were also seized, he said, declining to give details.


Study Group is proud to announce three new university partners in North America, all of which are now open for international student applications for the fall 2018 intake.
Getting the year off to a successful start, Study Group is pleased to be adding three more respected institutions to its offering in North America. Prospective undergraduate and graduate students are invited to apply now to be considered for the fall 2018 intake.
Both Lipscomb University and Western Washington University will have an International Study Center, where undergraduate students will begin their studies with the International Year. Western Washington will also offer a graduate Pre-Master's Program. At West Virginia, Study Group will be supporting the University's existing international student opportunities with direct entry to its programmes.
All three universities are highly regarded, with each partner offering something unique. This will help Study Group in achieving its aim to match each student to the university and opportunity that aligns with their academic, financial, and long-term career goals.
Lipscomb University is dedicated to excellence in learning, leading and serving, helping students develop spiritually, personally and professionally, as well as academically.
Visit the Lipscomb University International Study Center website .
Western Washington University is a welcoming university offering rigorous academics, unique experiences and outdoor activities. It is home to a strong community on a stunning mountain-foot campus.
Visit the Western Washington University International Study Center website.
West Virginia University is a top-ranked research university with unique programmes. It is only one of three US universities with an ABET-accredited petroleum and natural gas engineering programme. Students enjoy an active sports and recreational campus atmosphere, and excellent internship and career placement opportunities.
Visit the website for our West Virginia University partnership.
Read more about Study Group's latest North American university partnerships in The Pie News.


text:
The Italian baritone Davide Damiani is the most recent interpreter of Œdipe in Bucharest. He made his début in this role in the autumn of 2015, during Enescu Festival. He made such a good impression. This interview was made in Bucharest (and it was meant for an opera magazine, a project that has become uncertain), and I think this is the right place and moment to publish it, on the occasion of the première in London.
Œdipe @ ONB (© GIN FOTO/ ONB)
Alexandru Pătrașcu: What's the story between you and Œdipe? When did it start?
Davide Damiani: I was supposed to sing Créon in Cagliari, because I never thought that one day I would sing Œdipe. I sang Créon at the Wiener Staatsoper, you know the recording with Monte Pederson, Michael Gielen and Götz Friedrich. At that time, it was the beginning of my career and Ioan Holender asked me to sing it: "I think Créon is a good role for you". It was not so long and very impressive on stage and then I spoke with Monte Pederson, who did a great Œdipe. He said "Davide, I gave 6 months of my life to learn Œdipe". I was like "Wow, six months, amazing role." I never thought about singing it, you know how it is, very low, very high, everything. And then it was 1997 and I did many other things, also difficult, like Henze, Elegy for Young Lovers, and many others. But I never thought again of Œdipe. And two years ago I met Ioan Holender in Vienna, he had finished his job as artistic director of the Wiener Staatsoper, but he was still artistic director of Enescu Festival. And he told me: "Davide, I think it is time for you, you are mature enough to do Œdipe. Think about it and let me know." And I thought "Is this possible? I should try".
I was home, I took the score and I found it amazing. But I had the score with the cuts, because in Vienna we did 40 minutes less. So, with the cuts, it was already big. Six months of his life, unfortunately now Monte Pederson is dead, but he gave six months of his life to study this opera in the version with many cuts. And then I could not say "no" to Holender, because he has a lot of flair: I could have said "no", but in fact what he said was right. So I said "Yes, I do this." And then I started to study and I said "oh, it is so long", and I asked the Opera in Bucharest to send me the cuts they want to do. And the answer was: "No, no cuts, we do not cut any note". Oh, no, so I need eight months or more! And I started to learn, and I did not have so much time because I was singing other things, in Frankfurt and in other places, I had only three months. I learnt the music, it was long, but it went ok, and then to memorise the libretto, in three months, this was very difficult. Memorising Œdipe was very special. I had never had another experience like this. So, I came here for the first part of the rehearsal, at the Opera, in the Enescu Festival, last year, in August, for the last ten days of August. I already had the character, from my experience in Vienna, it was already in me. But to learn the role by heart…
A.P.: Why is it difficult? Because it does not have any tunes?
D.D.: No, it is difficult because Enescu thought very much about it. He needed ten years to compose the music, even more, and then the orchestration took another ten years. In total twenty-five years from the beginning till the première. This was an amazingly long time. When we think that Rossini needed three months for an opera, Verdi, too. But with Enescu, he thought every word, every note, so you can't change anything. So, for me, I started to study this opera in June, last year, the première in the Enescu Festival was on the 18th of September, and then we did the première with Valentina Carrasco, but I am still studying Œdipe. Because you never finish. It's an opera, it's a world, that of Œdipe, that you never finish to study. It's the particularity of this opera. And you have to love this role. If you don't love this role, it's better to sing something else. This is my opinion. It's not a role that you learn and you sing and you finish, like Germont, from Traviata. There, you sing, and then you do another role, and then you return to Germont, maybe even without rehearsal, it's just singing. I did Œdipe last in December, and then I did Britten's Death in Venice, another world completely, so I felt the need to start again to study Œdipe before singing it. I felt I had lost many things. There are so many little things in Œdipe you must always think about…
But if you lose one month, if you do not sing Œdipe for one month, you lose many things. Of course, you can always sing the role, but you lose the ties and the ties in Enescu's Œdipe are the most important. It's not only about singing "Hélas!", you have to sing all the ties, because he wrote everything: subito, piano, sotto voce, the accent in each word. Because you find the key for this work in the words. Like in most of the operas, but here much more than in others, because he worked a lot, two or three years, for the libretto, with Fleg. This one spent a lot of time with Enescu, who had Sophocle's text with him and underlined the parts where the actors gave their accents. And this is how he gave the instructions: singing or recitare. And this is why you don't have to change anything. And for me, to remember everything is not really easy, but I tried. And for me, it became a role for the life. Before, I had Don Giovanni, because I did it many times, more than a hundred times, till 2004. It was one of my favourite roles. And then I said, ok, enough with Mozart. And I started also with modern music, and then Verdi came, in 2008, with Rigoletto, Un ballo in maschera and so on. And then I didn't have, how to say, a role. I mean, you do a production, like Elegy for Young Lovers, you study for three-four months, you sing the performances, and then you do the next. There are no plans to do Elegy again, because it is so special. But here, in Bucharest, Œdipe is like a monument, they are very proud of it, because it is Enescu's masterpiece, you find everything in it.
A.P.: And, in fact, it's the only Romanian opera which is sung and performed also abroad.
D.D.: Oh, yes, but only in the last years.
A.P.: Before it was not performed too often, but it was.
D.D.: In Germany, Œdipe was performed for the first time in 1996, in Berlin. It was Götz Friedrich's production, and then, in 1997, it was taken to Vienna. Amazing, no? If you think it needed sixty years… Because the première was in '36, in Paris, sixty years later in Berlin, then in '97 for the first time in Austria, and in Italy I think the first performance was in Cagliari, I don't think they had sung it before. It's really strange. There are these masterpieces, also like Parsifal, like Guglielmo Tell by Rossini, where the composers put all their creativity.
A.P.: The world première was in '36 and then it was performed in concert version in '54, in Paris, just two weeks after Enescu's death. And then, in '56, another concert performance, in Brussels, in French. And it is interesting that, at that point, it had not been performed in Romania yet. The Romanian première of this opera was in 1958, at the first edition of "George Enescu" Festival, and it was conducted by one of the greatest Romanian conductors, Constantin Silvestri. I don't know if you have heard of him.
D.D.: No, I haven't.
A.P.: It's an interesting story. Constantin Silvestri was a very fine conductor and he wanted to prepare himself for the Romanian première of Œdipe. In Romania, at that time, there was a high level of control of people going abroad and coming to Romania, because of the communism. And still, there was an entire delegation from the Opera, led by Silvestri, to go to Bruxelles, to attend that concert performance, in order to get prepared for the Romanian première. And they did Œdipe in '58. Then, they planned a recording of the opera, on disc, a studio recording, but the censorship and the difficulties he encountered in doing this led Silvestri to the decision to leave the country. He had had enough, and he left Romania in 1959, never to return. He established himself in England, and he was the music director of Bournemouth Orchestra. He also made a lot of recordings for EMI: in 2013, EMI released a box set in the ICON collection. I think you know it, they have numerous sets in this collection, with Callas, and others.
D.D.: Yes, sure, I know them!
A.P.: There are 15 CDs with different composers.
D.D.: But they did the recording here? Of Œdipe?
A.P.: Yes, Silvestri fled, but they made the recording with Mihai Brediceanu. He was a conductor at the Opera House.
D.D.: With Ohanesian? And in Romanian?
A.P.: Yes, with David Ohanesian and in Romanian. And in 2011, in a small window of time, they managed to release a CD with the Romanian première of Œdipe, with Constantin Silvestri conducting, the live version.
D.D.: Really? Very interesting! And it exists, this version? I would like to listen to it.
A.P.: Unfortunately, it doesn't exist in shops anymore, but I can give you a copy. The CD was released in a moment when the law on copyright allowed it.
D.D.: But it's a historical recording! Today you can't really ask money for CDs recorded in the '50s… It's a pity. Thank you very much for this! I need to listen to old versions. To see what they thought of this opera at that time.
A.P.: It's interesting. In my opinion, the orchestra is just fabulous. It's very dark, much darker than we are used to have it today. Dark and oppressive. And frightening. And it has an urgency, a big drama in it. For the vocal side, it's mostly the Italian tradition, it's sung like Verdi, so not necessarily the best singing, but there are historical voices.
D.D.: Sure, great singers, who sang everywhere, at the Met, too. But with Œdipe, you can't sing like Verdi, Wagner, etc. Because it's completely different.
A.P.: But they did not have any experience, it was the first performance.
D.D.: They sang as they could.
A.P.: As they knew.
D.D.: Yes, exactly, one day Verdi and two days after, Œdipe.
A.P.: On the other hand, in my personal opinion, I am not a particular fan of David Ohanesian, he was a singer of his time, it was a context.
D.D.: Everybody speaks about him.
A.P.: I know they speak about him, because he sang the role many, many years. And, you know, he was Œdipe.
D.D.: And also he sang the entire opera, because, after him, they switched between two singers, one for the young Œdipe, and one for the old Œdipe.
A.P.: That was in Andrei Serban's production, which was very interesting.
D.D.: Yes, I heard about it.
A.P.: A metaphor of the recent history of Romania. The first act was about the period between the two World Wars, in the '20s-'30s. Then, the Sphinx was Stalin, dressed like a woman, but with the face of Stalin. And it was the arrival of communism here, in Romania. The plague from Thebe was represented by some events taking place here in the '90s, right after the Revolution, when we had some social convulsions, demonstrations, riots.
D.D.: When was this Œdipe presented?
A.P.: In 1995. Very, very modern. And the third act, Œdipe's exile to Athens, was in fact the Romanian diaspora, Romanians going to New York, with the Statue of Liberty on stage, but also keeping in their heart and souls some landmarks from Romania: Brancusi's sculptures that are here, in Romania, were also present on stage. Very, very interesting. Everybody hated it, because it was much ahead of its time.
Œdipe – Director: Andrei Șerban, Set design: Viorica Petrovici, ONB 1995
D.D.: How many years they had this production?
A.P.: I think just that season. And then they destroyed it. And I remember I was at the première and I hated it like everybody else. (they laugh)
D.D.: Did the people boo him?
A.P.: Not very much, because people here do not boo usually.
D.D.: So, it was not a scandal.
A.P.: I remember before the scene of the Theban plague, the curtain was an iron curtain, like the Iron Curtain, you know. Anyway, the thing is that we are twenty years later from that production and last year I realised that I never forgot it, that I have constantly thought about that production. So, I thought: I was an idiot, in fact it was a fantastic production.
D.D.: Yes, and you understand now. I can imagine. But unfortunately this production doesn't exist anymore. Is there any video, or something recorded?
A.P.: Maybe in the theatre, they should have it. And also Andrei Serban should have it. Do you know him?
D.D.: I know him from name, but I never had the chance to work with him.
A.P.: He did, for example, Lucia di Lammermoor in Paris, which is absolutely mind-blowing. And his Œdipe… I will never forget it.
D.D.: And as you see from that time till now, Anda Tabacaru-Hogea did an interesting, but very simple production.
A.P.: I kind of hate that production.
D.D.: For me it was ok, but it was a production where I was concentrated on my role more than on what was going on on stage.
A.P.: You know, when I saw you in that production, you were the only light on stage. You were the spotlight. The production was dull, and it was just illustrating the story, it did not make you think, you just watched the sets and what was going on there.
D.D.: And you knew everybody in that production. It was played for 4 or 5 years, and it was too much to see the same thing again and again.
A.P.: I was curious to see you, to hear you singing, and also to hear Hussain, because he did the production in Bruxelles. But I understood that he couldn't really transfer his vision to the orchestra, that there were some problems.
D.D.: It's always like this. There are never enough rehearsals. And here there was another issue: the orchestra used to play this opera in a certain way for 20 years. And to change this in 3-4 days, it's impossible. So, we had too little rehearsals. Maybe three rehearsals with the orchestra?
A.P.: I think there were more, and then he left.
D.D.: Yes, exactly. And he was away for two weeks. And then we did just the general rehearsal, on the 16th, and the performance was on the 18th. Also, for me, instead of going to Vienna after the first part, I was here for two weeks, memorising, every day, from 10 till 7 o'clock, with Luminita Berariu, who is my angel her for this Œdipe, because she knows very much and she worked in all Œdipe productions. And she was very helpful. For me it's a travel, Œdipe, a journey, even to study is a journey. And the opera itself is also a journey. You know where you start, you know where you finish, but you don't know how it develops. You have to see, because every evening is different.
Œdipe @ ONB, 2015 (© GIN FOTO/ ONB)
But you know, the score is very bad. The notes for the vocal score are printed, so we see very clearly what we have to sing. But the score for the conductor, that includes all the scores, in fact, is in manuscript. I don't know from whom, it is still manuscript, so you don't know which note is written. So when the conductor has to see the notes, he bends over the score and he disappears, I do not see him anymore. And all these problems…
A.P.: In short, the story of the score is this. There are some letters from Enescu to his friends, close friends, just when he started to rehearse Œdipe for the première in Paris, in 1936, and he says he is very, very happy that he found somebody to copy the manuscript by hand. So, at the first rehearsal, everybody had the score, it was a big achievement for him. He was paid by the Opera something like 8000 francs and he paid the copyist 14000 francs. But he was happy with that.
D.D.: Quite a lot of money.
A.P.: He was doing fine like a big star of his era. He made recordings, he had a big career as a violinist.
D.D.: An immensely talented artist. He supported many young composers, too.
A.P.: Composers, here in Romania, and he also was the teacher of Yehudi Menuhin, his most renown student. And not only him. I think Arthur Grumiaux was also his student. And he sold his rights to his editor and he said that Romania should have free access to the scores for a period of ten years after his death. And, of course, during his life. In Romania they started to print scores mostly of his symphonic works, but Œdipe was somehow a little bit disputed here by the censorship because of the subject, which was mythical and here the regime was of communist atheism. And the discussions were like: oh, I don't know if it's good to bring ancient myths on the stage, let's think about this, and the morality of the story, the parricide, the incest, etc. So they delayed to edit and print the orchestra score. They played it by manuscript, which was the one made by the copyist. And then, after the free of charge period ended, nobody did anything. And although we spend here a lot of money on Enescu, we have the Festival, a Museum, musicologists studying Enescu, we declare our love for Enescu on every occasion, we still have those pathetic scores for Œdipe. This is a shame.
D.D.: I understand. Holender told me there is somebody who started to do a critical edition of Œdipe scores. They should do it, because now they will play it in Covent Garden, and in other places, too.
A.P.: Yes, precisely, and I am curious to know what kind of scores they will use there. Do they have an edited and printed score?
D.D.: Maybe they will use the original?
A.P.: But the original, in Paris, is the one copied by hand, it is the same as the one we have here.
D.D.: But there is a score written by Enescu? With his orchestration?
A.P.: But it's not printed, computer-edited. It's just a photocopy.
D.D.: It's the copy of the one from Salabert.
A.P.: Salabert, which was bought by Ricordi, Ricordi was bought by Universal, etc.
D.D.: And in 2017 they will do again Œdipe in Enescu Festival, with Vladimir Jurowski, and they will use, I think, the same score. Because everybody had the same version. I don't know, they should decide to find the money for this.
A.P.: And how much could this cost? I don't think that much. It's not like the Barber of Seville (laughs), to be played everywhere and to milk a lot of money from it. It's just an opera not too often performed, but which is very important for us.
D.D.: In fact, you just need the conductor's score, because the orchestra scores are printed, too, they are not in manuscript. I hope they will find a way. Because Ira Levin, the conductor, he asked directly to the editor, to Salabert, and they said they had only the manuscript version. And they said they did not have money to do it. So, maybe with the Enescu Festival, with this connection, or somebody else will find a way to solve this.
A.P.: No, they haven't found a way for 25 years, I don't think they will find a way now. These are just pathetic excuses and crying about this tragedy.
D.D.: It could be also interesting to find 30.000 Euro, maybe, let's say 50.000 Euro, and to present this event as a special thing.
A.P.: I remember Tiberiu Soare, who conducted Œdipe, was telling this story. He was preparing to conduct and saw the score and he said "Oh, my God, what's this? I need to find a real score!" And he wrote to Salabert and it cost a lot, but he paid from his money. And he was very happy when the package arrived and it was the same!
D.D.: What a story! (laughs) I was in Enescu Museum and I saw the score of Œdipe, but it's the same as the edition we have. Because I thought that Enescu wrote this score and this is the original.
A.P.: As far as I know, the original manuscript, the one handwritten by Enescu, is basically unreadable, because he made a lot of changes. He was sleeping with the manuscript by his side and he used to wake up, "Oh, I have to change this, I have to modify that". He did that for twenty years, on the same manuscript, you can imagine how it looked like at the end…
D.D.: It's interesting that, before doing the orchestration, Enescu did an execution with the piano, in Paris. Fantastic idea! To see the reaction of the audience, very intelligent.
Scene of the Sphinx – Œdipe @ ONB, 2015 (© GIN FOTO/ ONB)
A.P.: And I like very much what he said once: that one of the most intense moments of the opera, in his opinion, as a composer, was the Sphinx scene. And he said that right after the wrote the music for that scene he had to stop for a while, because he was thinking he was going mad.
D.D.: Wow, yes, it's a very mystical moment. I listen a lot in that part of the opera, because I don't sing very much, it's not a very big moment, but it's a very intense one. I listen very much to the music then, because I follow the music, I follow what she sings and what she says. And it's another dimension of the opera. For the stage director, you can't have so many ideas. In Vienna, for example, with Friedrich, the Sphynge was not on the stage, you could not see it. At first it was a bit of the tail, and then one eye, and then slowly two eyes, then three eyes, till hundred, thousands, fifty thousand eyes. Because the Sphynge sees everything, like Big Brother, there are cameras everywhere. The Sphynge knows everything. It was something impossible to touch. At the time, the idea was that you don't know if it really exists or it's just a voice, like in The Lord of the Rings, a bit in this way.
A.P.: Like Sauron's eye! And it was played by Marjana Lipovšek. Who is the Sphynge also on the disc with Van Dam.
D.D.: Yes, and she did both, Jocasta and the Sphynge. And she also sang in Berlin. And Violeta Urmana also sang the Sphynge, in one or two performances, in Vienna.
A.P.: It's strange, I don't know if you know this, but in Romanian La Sphynge is a male character, sphinx is a masculine noun. So, I found it a little bit strange when I discovered Œdipe for the first time, and La Sphynge, a feminine character.
In Egypt, the Sphinx was a male character, like the Sphinx from the Pyramids. We know the imagery from Ancient Greece…
D.D.: Where it is both male and female. Head of a male and body of a woman, breasts and everything.
A.P.: It's twisted, like the myth. And also, in that scene, it's peculiar, it's also frightening, because of the consequences, of the riddle, if you don't solve it you die, and the character is frightening in itself, as a monster. But also, it drives an attraction for Œdipe, a sexual attraction, she's also a woman, a very, very seductive woman. She sings "Je t'attendais", "from all my prays you will be the most beautiful", and it's intense, because it's a mix of all sorts of feelings. (laughs) And when she laughs and says "you will never know if I died laughing at you or if you really defeated me". I like that part very, very much.
D.D.: Very mysterious also, because she laughs, she laughs, and then she says "…rit de sa victoire?", and I am scared, because I think that I will die, because I did not say the right answer.
A.P.: And I like very much the fact that Edmond Fleg wrote in the libretto "La Sphynge, avec une voix blanche". And Marjana Lipovšek was singing with a white voice this part and it was really, really strange. She was fabulous. I am talking about the EMI recording, with Van Dam.
D.D.: You know, I have to say, what we did in Vienna, with Monte Pederson and her, she was live, from the première, and I studied also from José Van Dam, because he's perfect, he's in studio. But ours was live, so the character was really there. The feelings are different in a live version. Of course, both versions are interesting, one is prepared, precise, everything, the other is live.
A.P.: What is, in your opinion, the most difficult part of this role? Is there anything that frightens you?
D.D.: I have to admit it is not a difficult part, but it is not an easy part either. For me, it is easy and difficult at the same time. From the beginning, because there is a development, the climax for me is "Et vous serez maudits, vous tous…", there I throw out everything, that's the climax for me. (he pronounces with a stress on certain words) It's not just "Et vous serez maudits, vous tous qui maudissez" (he pronounces like reading, with no stress on words), it's not enough just to say this, you have to give everything. The first time when I did Œdipe in September, the chorus was not prepared and, as I was scary, they said "Oh, Davide, what's going on with you?" In the rehearsals, sometimes you don't want to get tired and you don't give everything, but that's the rehearsal. Also Holender came to see me after this and said: "Davide, what you did is amazing! I never heard such a thing, bravo! It's great." It was like this and from this performance on I did the same. I came to Bucharest and I said "I have to do Œdipe and I can do it." Because when you start to learn the part, you are not sure you will be able to do it. It is complex, it has highs and lows, and if you prepare only the high, you lose the low, and if you concentrate on the low, the high notes are not too well and you get tired. So, this involves a lot of thinking.
But you start to speak the role, and the first part is with Œdipe who is very young, 20 years we said, then we said he was 40 in the third act, and more than 60 in the fourth act. That was our plan for the opera. So, one could think: I have to do a brilliant voice in the beginning, then an older voice in the last part. But I don't think so, because it was written right by Enescu himself. He thought already to give Œdipe the line for his age. The fourth act is like "misérable Créon" (he sings in a very low voice), while you don't have this in the second act, where everything is more energetic, or in the third act – "je marcherai…" (he sings in a higher, more luminous voice). You just have to sing this, just to trust the text. If you think of the voice, "now I have to sing like this, etc", it doesn't work. Or in the second act: "Je partirai! Je partirai!", like every young man who comes and says "Mother, I am leaving, I am going to India", and the mother wants to stop him "You are crazy, how can you do this?" The character of Œdipe-young is this character: "I want to go through the world, because I want to find my truth".
A.P.: So, as an artist, you don't need to stress this too much, as you have it on the score.
D.D.: I have everything on the score, absolutely everything. This is why this is a role for the life for me, to study my whole life. It's not like other roles: I sang it a month ago, then I come here and I can sing it without rehearsal, then I go back to some other place and I sing Tosca, and then I sing Rigoletto. No. So, I last sang Œdipe in December and before coming here for this performance, I started three weeks ago to prepare myself, every day, doing nothing else but Œdipe. I looked again at the text, because you never finish…
A.P.: To understand the text.
D.D.: Yes, you never finish to understand it. And everybody said: "But, Davide, you studied Œdipe for three months in 2015, to learn the role. And then four months in Bucharest, for the two productions". Yes, but I feel like I've never finished, and still now I'm not finished, and I will study again for the next time. I will finish to study when I say: ok, now there is no more Œdipe to sing in operas. But it's a role too beautiful to leave… Maybe in 40 years I will still sing it. Maybe only the fourth act, I will be ninety years old and I will sing only the fourth act. And the other acts will be sung by someone younger. But I want to sing the fourth act in forty years.
A.P.: Altogether with Falstaff, and Simon Boccanegra…
D.D.: Yes, for example, why not? But it's a role for the life. It's very different from all the other roles. Even in Wagner: for example, Wotan is Wotan. I know some arias from this role, I never sang all the role and it's difficult to learn, because it's very long and very complex. But psychologically, Œdipe is more interesting, because it's from birth to death. And the time and the space are much longer, the development is much more important. And for this, the voice too is much more developed. In my opinion, the development in Wagner is not so big, you don't have to think that much. But I will tell you when I sing my first Wagner. I already sang Donner, in Rheingold, in Vienna, many years ago, but Donner is nothing on Wagner scene. When I sing Wotan I will tell you exactly how things are. But I don't think it will be so difficult like Œdipe. Because with Œdipe you have to live this character.
A.P.: So, are you going to championship this role? To offer yourself to sing it anytime, anywhere in the world?
D.D.: Yes, sure, but you know, each theatre wants his own Œdipe. For example, Bryn Terfel, but I don't know if he has so much time, because he is a fantastic singer and for a singer like him, I don't know if he has the time to dedicate to this role. Now, for example, he sings Boris Godunov, and you have much more chances to sing this role, but Œdipe… I want to sing Œdipe because I love this opera and I love this role. I had the chance twenty years ago to sing Créon and with that I already had the love for this opera. Because otherwise, if somebody had come to tell me: "Would you like to sing Œdipe?", I could have answered "What is that?". But I already had the connection and I answered: "Wow, it's beautiful, but I don't know if I can".
A.P.: But when you sang Créon and you saw Pederson on stage, or during the rehearsals, how did you feel? "How can he memorise so many words without singing?"
D.D.: I was impressed, I had a big respect for him. And it was a confrontation, because I was at the beginning of my career. I started my career in '94, that was in '97 and it was the really first great modern opera that I did. And it was not a problem because it was a modern opera: as I studied conducting, I have no problem in learning anything in the world, even the most difficult things. It's a question of time, because maybe I need more time for some things. When we did the production in Vienna, we had a lot of rehearsals, I think eight weeks of rehearsals. And Götz Friedrich and Michael Gielen were always there. It was a fantastic experience. And they created this Créon, this strong relationship, because he was the brother of Jocaste. And I was already strong and I thought at certain moments: yes, Friedrich made Créon like this because he was a young Œdipe inside, because he wanted to have his position. So we didn't have the same level, but I was always behind him. I was very attentive at what he was doing, I looked at him very much, I learned very much. And even now, when I do this Œdipe, I still remember many moments from the one in Vienna, because that production was very strong for me. And, in fact, there are so many strong moments in the entire opera… For instance, in the third act, when Phorbas comes and he says "Come back to your family, because your family is not your real family, they adopted you", I say "Phorbas? Polibos?", I am a bit confused. And I remember when Monte Pederson said this in Vienna, but Götz Friedrich told him to accompany the words with a gesture. (he shows the gesture) It was different now. And I remember how the words and the gesture changed everything – it was much stronger now. And these ideas, from twenty years ago, I still have them in me. I don't mean that I do the same, but you know, there are some strong moments in your life that you take with you forever. And this is how I got to make this interpretation. You know, when you do a role like Œdipe, you can do it your way, or you have a story behind you. I mean, Toscanini had as story, he had Verdi. Puccini also had many other composers behind him. I think that, if you want to give a 360 degree interpretation, a complex interpretation, you must have a story behind you. Mozart would not be Mozart without all the story behind him, without Bach, for instance.
A.P.: Yes, he copied Bach scores, for study!
D.D.: Yes, it was not Mozart the genius who got up in the morning and said "Ok, now I will write a symphony!", he studied years and years in order to create what he did. And for us it's the same, we don't wake up and say "Good, I'm going to sing like the biggest singers!". For Pavarotti, for example, Beniamino Gigli was the biggest tenor, or Titta Ruffo studied with the greatest singers who were together with Verdi, and so he could be considered the most important singer of his time. Today maybe it's not possible to have this any more. Maybe one can say "I want to have a story", but which story? There are no more ties like there used to be.
A.P.: But you have a lot of communication today, you have the internet, you have the recordings…
D.D.: The recordings are not a story, unfortunately.
A.P.: They are not a personal story, but they are a shared experience.
D.D.: At least it's better than nothing. Personally, I had the chance to sing with Domingo, Carreras, I did Elisir d'Amore with Pavarotti. But I studied with Aldo Protti, with Gino Bechi, people who are from another world. When I sing and I say this to friends and colleagues, they ask me "You met Gino Bechi? But how old are you?" Well, I met him and I did some master classes with him, in his villa, in Florence. And also with Cappuccilli. And before being a singer, I was a conductor, because I studied to become a conductor. But then they heard me in Don Giovanni, as a student, in Vienna, and they took me with this role in Israel, and then from there I started to learn singing, and I got the chance to sing for Holender and he took me to the Wiener Staatsoper. And even now, I want to go back to conducting, because I did all my studies to be a conductor. But anyway, the experience from the stage cannot be compared to anything, because when you have the chance to interpret a role like Œdipe, for me this is the most incredible experience in life. Not just to speak the role in the theatre, but to sing and to speak in the same time, to interpret such a big and complex role. This is why all the time I spent to study this role, the three months and the next, all this is paid back. Sometimes I learn the role very quickly and then it's finished – like I did with Elegy for Young Lovers, by Henze, which is also very modern, very difficult. Three months, three performances, and finished. There is also a video done. And they asked me to sing again somewhere, but I was busy. But with Œdipe, fortunately, I have to say, I did a performance of September and I did not know what comes after. And I had two performances then, and still it was not so much for three months of study. I never thought forward, I thought that I wanted to learn this role, and it's the same for me if I sing one performance and then never again. And then they called me: "Davide, do you want to do a new production? It will be with Valentina Carrasco." And I said OK, I was in Hong Kong with Tosca, and I told them I come to Bucharest when I finish. And I had one performance, on the 20th November. Then 7th December. Then now. Then will be Hungary. So, it goes like this, step by step. I'm happy when they call me for Œdipe. And not because of the work, it's not like "oh, I have another production, I have another performance", it's not that. It's because I want to do Œdipe. And I don't want to lose too much time from one performance to the next. For example, now, three months since my performance in December are too much.
A.P.: So, it would be better to do it like they do it in big theatres, four-five performances one after the other? I don't know why they don't do it this way, probably because of lack of money.
D.D.: Yes, that would be good, but I don't know if this would work here. And I am a guest here, I don't know the organisation of the planning here. But I think also it would be difficult for the audience here, because Œdipe is very special.
A.P.: Yes, you are right, three performances with Œdipe in a row could be a little too much.
D.D.: And maybe in Bucharest all the people have seen Œdipe one time in their life. But they should also have performances for the students, for different ages, 15 years, 18 years, even less. Because the little children who are on stage in this opera, even though the story is scary, they are very enthusiastic to be there and to play with Œdipe in the end. I would be happy to do this for less money if they tell me they do a performance for the students, one day after the regular performance. Or maybe it's better two days after it(laughs), because of the voice. Since Monday, we did the entire opera every day, without pause. And at the general rehearsal, on Wednesday, I did not sing 100%, but 95%, because you can't mark, there is the orchestra, they want to listen to you, the conductor has to hear you singing. So, I still have the voice I have on stage, because I have the technique. But after this performance, if I stop for two days and then they do a performance in the morning, or in the afternoon for students, it would be good. You can also invite students from the University, to study this opera, to find arguments, there are many ways to see it.
A.P.: I want to ask you something I have in mind for a long time. In Romania, the musicologists pretend that Œdipe is a Romanian opera, the most important Romanian opera. But in fact it's a French opera, because the librettist is French, Enescu lived a long time in France, etc.
D.D.: And the influence also is very French.
A.P.: As you come from Italy, from the Italian tradition, I think you believe in this tradition of a national manner of playing. Do you think that here, in Romania, Œdipe is performed in a manner specific for Romania? Is it different from Vienna the perspective of the Romanian musicians of Œdipe?
D.D.: Yes, I think there are ties. Here they are connected to the tradition of the Romanian music, folklore music, there are many connections, all through the opera.
A.P.: Thank you very much!
D.D.: My pleasure!


text:
Q: Protecting an Application with Logins I am a beginner Java programmer, and have tried searching for a way to set up a login system with my Java application.  The application is a game and I do not want people to just upload it to a website so others can down load and play. I want to use something like MySQL to make the user authenticate in order to use the application. Does anyone have a suggestion?

A: In short, don't bother.
A runnable JAR can easily be decompiled back into the Java and the login page would be circumvented rather easily. If the game is in the form of a Java applet, once a person gets past the login page, the applet can be downloaded and distributed with no problem.
Developers have been trying for years to stop people from using their software. To the best of my knowledge, there is no way to stop people from stealing your software. While you can go the route of security through obscurity, this is not in fact security, only a deterrent to the less experienced.
You may be able to stop some people from playing without your permission, but the client will need the code, even if in a binary form, to play the game, and therefore can access and modify it at will.

A: One approach to this problem would be the use of a web service which would authenticate the user's credentials before allowing further use of the application or game.  This would mean that the game would have to have internet access, and that you have a server on which you could host the authentication service.
There's a lot to learn to make this work.  First, you'll need to know how to build a web service and how to call one. Presumably, the service would have to send a token back to the game if the credentials are valid--you'd need to use encryption to make sure that the token itself is valid and not a spoof.  That means you probably need to learn something about encryption with public and private keys.  You'll also need to integrate the security checks throughout your application.
In the end, you're still not guaranteed a 100% protected application, but you can limit abuse to the real die-hard hackers.

redpajama_set_name: RedPajamaStackExchange


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The baby is frozen in shock as the women pulls the trigger. What happened next broke my heart.
It wasn't that long ago that a photo went around the world that appeared to show a baby with a cheek piercing. In that case, it was a manipulated photo which the mother was using as a protest against the circumcision of infant boys. But now a video has emerged that has really moved the conversation on, because it's real — and it shows a mother getting the ears of her four-and-a-half-month-old daughter pierced.
The little girl is happy and relaxed at first, but when her head is held still and her ear lobes are placed in the piercing gun, she becomes visibly nervous.
The piercing is done in a matter of seconds and the child immediately screams in shock and pain.
A heated debate has broken out in the comments section on the video, with many people accusing the mother of child abuse, and others defending her.
You can watch the full video here:
The little girl does quickly quieten down and she will not remember this painful moment later in life. But is it really necessary to permanently alter a baby's body when they're so young?
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Предыдущий пост Предыдущий пост Four boys sneak into an old woman's yard. When she catches them, she is moved to tears.
Следующий пост Следующий пост Donnie Wahlberg Leaves Waffle House, But Not Before Slipping Waitress Enormous $2,000 Tip


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Browns could be juggernaut; 5 bowls that will shape NFL draft
Editor's note: NFL.com analysts and former NFL scouts Daniel Jeremiah and Bucky Brooks of the Move The Sticks Podcast share some of their scouting notes, including:
*» Jeremiah's look at five bowl games that will shape the NFL draft
» Why NFL teams in need of a RB will be in luck in 2018
» An under-the-radar prospect who could make a big NFL impact next season
But first, we kick off this week's notebook with Brooks' take on the state of the Browns following the club's front-office changes and what they need do to make the team a contender.
If you ask any personnel man what he would desire in a rebuilding job, he would request plenty of top draft picks and a tremendous amount of cap space. That's why I've always believed the Cleveland Browns' general manager job would provide a "football guy" with a dream scenario to lead a quick turnaround for one of the NFL's most iconic franchises. Sure, you're taking over a franchise that has only compiled a 4-46 record in its last 50 games, but you have plenty of ammunition to build a juggernaut in the AFC North.
Now, I know we normally don't associate the Browns with the word "juggernaut" but an astute evaluator like the team's new GM, John Dorsey, could make it a reality if he can execute a detailed plan that, as he said this past week, helps "reawake this sleeping giant". Although I haven't talked to Dorsey about his plans, I believe he can quickly reverse the Browns' fortunes with a few additions that help the roster move closer to the championship level that used to be the standard for a franchise with eight world championships.
The first step in that process has to be finding a franchise quarterback who can lead the team out of the doldrums. In a quarterback-driven league, it is imperative to have a QB1 capable of winning at the highest level. Dorsey alluded to that fact when he addressed what he looks for in a quarterback in his introductory press conference.
"Got to win -- No. 1," Dorsey said, per the Akron Beacon Journal. "You have to have the physical skills that we all see. Feet are important in today's football. Accuracy is very important. Do they have the mindset of the head coach? Can they comprehend and digest that playbook?
"Do guys naturally gravitate to him from a leadership component? What does he do in adverse situations? How does he react? Can he extend the play? Can he drive it and win it at the end of the game? These are the little things you look for."
Based on his criteria and the desire to orchestrate a quick turnaround, I believe the Browns should bypass one of the overhyped quarterbacks in the 2018 class and focus their efforts on landing a veteran signal-caller with a winning resume. Given Dorsey's successful track record with Alex Smith in Kansas City, the veteran could be the perfect guy to man the position until DeShone Kizer grows into a capable QB1 or the team identifies a long-term solution in the upcoming drafts. If Smith, who's signed through 2018, isn't available via trade or as a free agent, the Browns could jump in the anticipated Kirk Cousins sweepstakes or target a mid-level free agent quarterback -- Tyrod Taylor or AJ McCarron would be worth considering, should they hit the open market.
Once the QB riddle is solved, Dorsey can turn his attention to the draft and free agency to add more pieces to a roster that needs 10 blue-chip players to compete at a championship level. The Browns currently have five legitimate blue-chip players (Josh Gordon, Joe Thomas, Kevin Zeitler, Joel Bitonio and Jamie Collins) and a few ascending players with blue-chip potential (Myles Garrett and Danny Shelton). Thus, they are really not that far away from fielding a roster that could compete with the elites.
The Browns' new general manager prefers to build through the draft with free agency used as a tool to supplement areas that can't be addressed on draft day. Given the current composition of the team's roster, the Browns might be wise to invest in a couple of veteran pass-catchers (wide receiver and tight end) in free agency. The addition of dependable pass-catchers will help the quarterback grow, particularly a young QB1 (see the Philadelphia Eagles and Los Angeles Rams). On the defensive side of the ball, the Browns could use a veteran cornerback to man the No. 1 post and a playmaking safety to complement Jabrill Peppers. While those areas certainly can be solidified on draft day, the Browns' youthful roster would benefit from some veteran leadership and production.
On draft day, the Browns should focus on maximizing their Day 1 and Day 2 picks. With five picks in the first two rounds, including four selections that are likely to be within the first 40 picks, the team has an opportunity to land a handful of impact players. The Browns' surplus of early picks could lead to a fruitful harvest. The team could take advantage of deep classes at the running back, cornerback and safety positions in the draft. -- Bucky Brooks
5 BOWL GAMES THAT WILL SHAPE THE DRAFT
With bowl season set to kick off on Saturday, I thought it would be a good time to take a look at the games that could have the biggest impact on the 2018 draft. Here are my top five:
1. Rose Bowl: Oklahoma vs. Georgia, Jan. 1
This game is all about Baker Mayfield. Much has been made about the lack of defense played in the Big 12 conference, but consider this: If Mayfield lights up Georgia's defense, he will have built quite an impressive senior resume. He went on the road and carved up a very talented Ohio State defense. He played very well in two wins over TCU, a team coached by one of the preeminent defensive minds in the country, Gary Patterson. Adding a win against Georgia's loaded defense would be an incredible topper to Mayfield's career and could cement his status as a first-round pick this spring.
2. Sugar Bowl: Alabama vs. Clemson, Jan. 1
Scouts will have their eyes in the trenches for this one. Clemson's defensive line is loaded with NFL talent and Alabama is always physical on the offensive line. I can't wait to see how Clemson's Christian Wilkins and Clelin Ferrell respond to this challenge.
3. Cotton Bowl: USC vs. Ohio State, Dec. 29
Sam Darnold was the talk of bowl season last spring after his epic performance against Penn State in the Rose Bowl. He gets another shot at the champion of the Big Ten conference later this month when the Trojans take on Ohio State. According to Darnold, he hasn't made up his mind about whether or not he will enter the 2018 NFL Draft or return to school. His performance in this contest might have a big impact on his decision. It will be must-watch television.
4. Fiesta Bowl: Penn State vs. Washington, Dec. 30
This game features college football's most talented running back (Saquon Barkley) and its most talented run stopper (Vita Vea). While everyone in the country is familiar with Barkley, I'm not sure Vea gets the credit he deserves. He is a 340-pound dancing bear. He dominates on tape and shows the ability to reset the line of scrimmage on just about every down. I can't wait to see him chase Barkley around for four quarters in the Fiesta Bowl.
5. Citrus Bowl: Notre Dame vs. LSU, Jan. 1
Notre Dame has the best offensive line in college football and LSU features one of the most talented defensive lines in the country. I'm hoping Arden Key will play in this contest because it will be a dream for NFL scouts to watch him battle ND OT Mike McGlinchey. Key has been disappointing this fall, but a big game against a high-quality opponent could really help elevate his stock. -- Daniel Jeremiah
THE RUNDOWN ON RUSHERS
The 2017 draft class was loaded with depth and talent at the running back position. However, if your favorite NFL team didn't procure its "back of the future" last spring, there's probably no need to worry. The 2018 class could be stocked with starting-caliber ball carriers.
I've spent the past week grinding through game tape (that sounds more arduous than it really was ... I love watching this position!) and I've been blown away by this group of prospects.
We're still a month away from the deadline for underclassmen to declare for the draft, so we don't know if all of these backs will be available for NFL teams in 2018, but here's a quick glance at some of the top players at the position. Sony Michel, Nick Chubb and Rashaad Penny are the seniors on the list below.
Saquon Barkley, Penn State: Don't get fooled by the numbers. Barkley is a unique talent. He's a combination of Todd Gurley and Ezekiel Elliott on the field. Special player.
Derrius Guice, LSU: Guice is a fun player to study on tape. He reminds me of a young Frank Gore. He has a nice mix of quickness, elusiveness and strength.
Ronald Jones, USC: Jones is often compared to Jamaal Charles because of his home-run burst and slithery running style. He's improved in the passing game this fall.
Sony Michel, Georgia: I love the way Michel drops his shoulder and finishes runs. He's also very loose and fluid for a bigger back.
Kerryon Johnson, Auburn: Johnson has battled injuries this fall, but when healthy, he looks just like Le'Veon Bell. I love his patience, vision and balance.
Bryce Love, Stanford: Love lacks ideal size, but he has outstanding top speed and surprising power. He fought through a high ankle sprain this fall, displaying both his competitiveness and toughness.
Nick Chubb, Georgia: Chubb isn't a burner, but his contact power and balance is outstanding. Defenders bounce off of him repeatedly in the games I studied. He reminds me of Jonathan Stewart, although Chubb doesn't have quite the same top speed that Stewart possesses.
Rashaad Penny, San Diego State: You can't argue with Penny's production and he adds value in the return game, as well. He's a much better NFL prospect than former SDSU RB Donnel Pumphrey (fourth-round pick of the Eagles) was last spring.
Damien Harris, Alabama: I haven't finished my study of Harris just yet, but I've been impressed by his versatility. He does everything well.
Josh Adams, Notre Dame: Adams is a straight-line runner with an intriguing blend of size/speed. He was fortunate to run behind the top offensive line in the country, but he displayed very good vision and decisiveness. -- Daniel Jeremiah
Over the past 15 years, Ohio State has produced an incredible amount of talented center prospects: LeCharles Bentley (2002), Nick Mangold (2006), Corey Linsley (2014) and Pat Elflein (2017). Not a bad group.
Well, the tradition will continue in the 2018 draft.
I recently studied Buckeyes senior Billy Price and he's one of the best center prospects I've seen in the past decade. He has tremendous upper body torque, quick feet and outstanding awareness. Elflein has enjoyed an outstanding rookie campaign with the Vikings, and I think Price is a superior player on college tape. I gave Price the same grade I gave Mangold when he entered the league, and Mangold ended up being a first-round selection.
Notre Dame's Quenton Nelson is clearly the top interior lineman in the country this fall, but I'd put Price right behind him. Both guys are built to have immediate and lasting success at the next level. -- Daniel Jeremiah
Follow Daniel Jeremiah on Twitter *@MoveTheSticks.*
Follow Bucky Brooks on Twitter @BuckyBrooks.
FSU's Wilson says team moving forward after dispute with coach
Florida State's Marvin Wilson, one of the top prospects for the 2021 NFL Draft, says the team is moving forward after a dispute with coach Mike Norvell regarding communication between Norvell and Seminoles players about the killing of George Floyd.
Florida State's Marvin Wilson vows boycott, alleges coach Norvell lied
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2020 NFL Draft: Pro day schedule
2020 NFL Scouting Combine: Invited prospects, by school
2020 NFL Scouting Combine: Invited prospects, by position
2020 NFL Scouting Combine: Full list of invited prospects
Heisman winner Joe Burrow solidifies status as top draft pick
Joe Burrow had an incredible season, running away with the Heisman Trophy on Saturday. It appears NFL general managers and executives also think very highly of the LSU quarterback.
2020 NFL Draft: Compensatory pick projections for every team
Lance Zierlein takes a stab at projecting the compensatory picks for the 2020 NFL Draft. The Patriots and Seahawks are the teams positioned to receive the most value when the picks are awarded next year.
2019 NFL Draft, Day 2 mock: Pats nab Will Grier in third round
The first round of the 2019 NFL Draft is in the rearview, so ... where do we go from here? Lance Zierlein projects every pick in Rounds 2 and 3, with three quarterbacks coming off the board.
2019 NFL Draft, Day 2 mock: Broncos snag QB in second round
Bucky Brooks 2019 NFL mock draft 4.0: Packers, Patriots nab QB
Bucky Brooks takes his fourth and final crack at predicting how the first round will play out in the 2019 NFL Draft, with two of the league's greatest quarterbacks suddenly getting understudies.
Lance Zierlein 2019 NFL mock draft 3.0: Raiders give offense jolt
Lance Zierlein unveils his final forecast for Round 1 of the 2019 NFL Draft. There's a trade in the top 10, and the Raiders add some major firepower to their offense after addressing the defense first.


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