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text:
Available Trials
Why share data?
Data generated through participation of patients and the public should be put to maximum use by the research community and, whenever possible, is translated to deliver patient benefit.
Data sharing benefits numerous research-related activities: reproducing analyses; testing secondary hypotheses; developing and evaluating novel statistical methods; teaching; aiding design of future trials; meta-analysis; and, possibly, preventing error, fraud and selective reporting.
Data sharing is expected by many funding organisations
HTA Programme: (see http://www.hta.ac.uk/funding/troubleshooting/index.html)
The HTA programme does not prescribe when or how researchers should share data. Some data can be shared pre-publication, whilst the value of other data may only be realised after the collection period. The HTA aim to prompt researchers to consider what is appropriate and reasonable and make explicit provision for sharing and preservation in the planning and execution of their research.
Medical Research Council: (see http://www.mrc.ac.uk/Ourresearch/Ethicsresearchguidance/)
In 2001 the MRC launched an initiative to promote new and extended use of research data generated by MRC-funded researchers. The focus is on preserving data so that it can be shared and re-used by scientists other than the originating research teams. All scientists applying for MRC funding must now include a strategy for data preservation and sharing in their research proposals.
Wellcome Trust: (see http://www.wellcome.ac.uk/About-us/Policy/Spotlight-issues/Data-sharing/ )
All funded researchers should maximise access to their research data with as few restrictions as possible. It requires applicants whose proposed research will generate data that hold significant value as a resource for the wider research community to submit a data management and sharing plan as part of the application process.
Data sharing achieves many important goals for the scientific community, such as:
• reinforcing open scientific inquiry
• encouraging diversity of analysis and opinion
• promoting new research, testing of new or alternative hypotheses and methods of analysis
• supporting studies on data collection methods and measurement
• facilitating education of new researchers
Bank of Injury and
Emergency Data
CRASH2
WOMAN ETAC
ETAPLAT
(Registration required)
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redpajama_set_name: RedPajamaCommonCrawl


text:
Mugil incilis és un peix teleosti de la família dels mugílids i de l'ordre dels perciformes.

Morfologia
Pot arribar als 40 cm de llargària total.

Distribució geogràfica
Es troba a les costes de l'Atlàntic occidental (des de les Índies Occidentals fins al sud-est del Brasil).

Referències

incilis

redpajama_set_name: RedPajamaWikipedia


text:
Carl H. Pforzheimer Collection of Shelley and His Circle
Henry W. and Albert A. Berg Collection of English and American Literature
Found 20 collections related to Bentley, Richard, 1794-1871
Orsay, Alfred Guillaume Gabriel, comte d', 1801-1852
Alfred, Count D'Orsay mansucript material, 1824-1852
Carl H. Pforzheimer Collection of Shelley and His Circle | Pforz MS
Alfred D'Orsay, styled Count D'Orsay, French artist and man of fashion. The Alfred, Count D'Orsay manuscript material in the Pforzheimer Collection consists of writings, correspondence, and artwork. The writings include a holograph essay... more
Alfred D'Orsay, styled Count D'Orsay, French artist and man of fashion. The Alfred, Count D'Orsay manuscript material in the Pforzheimer Collection consists of writings, correspondence, and artwork. The writings include a holograph essay discussing a journal article on Lord Byron, and an autograph attestation for a snuff box belonging to Henry IV. The correspondence dates from between 1824 and 1852; correspondents include: Dr. Paul Curie, the physician; Abraham Hayward, the essayist and translator; James Smith, the writer and humorist; and over a dozen others. The artwork consists of a quick pencil and crayon caricature sketch of Teresa Guiccioli. less
Bentley, Richard, 1794-1871
Richard Bentley manuscript material, 1832-1833
Richard Bentley, English printer and publisher. His major contributions to nineteenth-century publishing are the Standard Novels, freshly revised texts of major contemporary authors made affordable for the middle class ; Bentley's Miscellany, the... more
Richard Bentley, English printer and publisher. His major contributions to nineteenth-century publishing are the Standard Novels, freshly revised texts of major contemporary authors made affordable for the middle class ; Bentley's Miscellany, the periodical in which Dickens's Oliver Twist was first published ; and Temple Bar, a popular literary magazine. To Jane Porter, novelist : 3 autograph letters signed : 10 Oct 1832 - 8 Nov 1833 : (MISC 2359-2361) : on publishing matters. Bentley declines an offer for republication of Anna Maria Porter's Don Sebastian, arranges payment for Jane's introductions for her 'Standard Novels' editons, and declines to reprint a work. less
Godwin, William, 1756-1836
William Godwin manuscript material, 1778-1836
William Godwin, English philosopher and novelist. The William Godwin manuscript material in the Pforzheimer Collection consists of writings, correspondence, promissory notes, and various other documents. The writings include: complete holograph... more
William Godwin, English philosopher and novelist. The William Godwin manuscript material in the Pforzheimer Collection consists of writings, correspondence, promissory notes, and various other documents. The writings include: complete holograph manuscript drafts of his works Fleetwood, Coludesley, and Lives of the Necromancers; manuscript drafts of essays from his Enquirer; and proof revisions written in volumes of his Political Justice and St. Leon. The bulk of the correspondence is dated 1795-1834 and mostly discusses Godwin's research, business matters and financial arrangements. Correspondents include: Mary Shelley, novelist (his daughter); Percy Bysshe Shelley, poet (his son-in-law); Aaron Burr, vice president of the United States; Samuel Taylor Coleridge, poet; and over one hundred others. The promissory notes date from between 1804-1818, and are mostly to neighborhood merchants. Other documents include library call slips, memos of agreement for business deals, and Godwin's last will and testament. less
Hunt, Leigh, 1784-1859
Leigh Hunt manuscript material, 1801-1859
Leigh Hunt, English poet, journalist, and literary critic. The Leigh Hunt manuscript material in the Pforzheimer Collection consists of writings and correspondence. The writings include: a holograph draft of his poem, "Jenny Kiss'd Me"; a... more
Leigh Hunt, English poet, journalist, and literary critic. The Leigh Hunt manuscript material in the Pforzheimer Collection consists of writings and correspondence. The writings include: a holograph draft of his poem, "Jenny Kiss'd Me"; a holograph fragment of his preface to Shelley's Mask of Anarchy; and his address book circa the mid-1850s. The bulk of the correspondence is dated between 1817 and 1826 and discusses his experiences in Italy, including the death of Shelley; family matters; and publishing business. Correspondents include: the Irish poet William Allingham; the philosopher and reformer Jeremy Bentham; the writer and painter William Hazlitt; the writers Percy Bysshe and Mary Shelley; and over seventy others. less
Irving, Washington, 1783-1859
Washington Irving collection of papers, 1805]-1933 [bulk 1815-1859]
Henry W. and Albert A. Berg Collection of English and American Literature | Berg Coll MSS Irving
This is a synthetic collection that includes manuscripts, portraits, pictorial works, commonplace books, journals, and notebooks, a certificate, a scrapbook and correspondence.
Trelawny, Edward John, 1792-1881
Edward John Trelawny manuscript material, 1817-1879
Edward John Trelawny, English writer and adventurer. His friendships with and writings about the Romantic poets Byron and Shelley brought him considerable fame following their deaths, and well into the Victorian era. This guide lists and describes... more
Edward John Trelawny, English writer and adventurer. His friendships with and writings about the Romantic poets Byron and Shelley brought him considerable fame following their deaths, and well into the Victorian era. This guide lists and describes the manuscript materials held by the Pforzheimer Collection that were created by Edward John Trelawny, including original holograph writings and letters. less
Mitford, Mary Russell, 1787-1855
Mary Russell Mitford collection of papers, 1828-1854
Henry W. and Albert A. Berg Collection of English and American Literature | Berg Coll MSS Mitford
This is a synthetic collection consisting of manuscripts, correspondence, and portraits of the author.
Cooper, James Fenimore, 1789-1851
James Fenimore Cooper collection of papers, 1825-1904 [bulk 1825-1849]
Henry W. and Albert A. Berg Collection of English and American Literature | Berg Coll MSS Cooper
This is a synthetic collection consisting of manuscripts, correspondence, and financial documents.
Ingoldsby, Thomas, 1788-1845
Richard Harris Barham collection of papers, 1798?]-1930 [bulk 1827?-1845]
Henry W. and Albert A. Berg Collection of English and American Literature | Berg Coll MSS Barham
This is a synthetic collection consisting of manuscripts, correspondence, an undated galley proof, notebooks and commonplace books dating from [1798?] through 1845, financial documents, portraits, and pictorial works.
Collins, Wilkie, 1824-1889
Wilkie Collins collection of papers, 1849-1890
Henry W. and Albert A. Berg Collection of English and American Literature | Berg Coll MSS Collins [Text]
This is a synthetic collection consisting of manuscripts, correspondence to, from, and about the author, a diary for 1867 and 1868, and legal documents.
Ainsworth, William Harrison, 1805-1882
William Harrison Ainsworth collection of papers, 1823]-1889
Henry W. and Albert A. Berg Collection of English and American Literature | Berg Coll MSS Ainsworth
131 linear feet (items)
This is a synthetic collection consisting of manuscripts, correspondence by and about the author, notebooks dating from 1843 to 1845, and pictorial works.
Charles Dickens collection of papers, 1833]-[1975 [bulk 1833-1909]
Henry W. and Albert A. Berg Collection of English and American Literature | Berg Coll MSS Dickens [Text]
This is a synthetic collection consisting of manuscripts, typescripts, correspondence, diaires for 1867 and 1868, notebooks for 1843 through 1870, financial and legal documents, portraits and pictorial works.
Porter, Jane, 1776-1850
Jane Porter manuscript material
Jane Porter, English novelist. The Jane Porter manuscript material in the Pforzheimer Collection consists of writings, correspondence, and memoranda. The writings include a holograph poem, "To a friend of the Battle of Waterloo"; an unidentified... more
Jane Porter, English novelist. The Jane Porter manuscript material in the Pforzheimer Collection consists of writings, correspondence, and memoranda. The writings include a holograph poem, "To a friend of the Battle of Waterloo"; an unidentified story fragment; and a draft for an epitaph for her sister, the novelist Anna Maria Porter. The bulk of the correspondence dates from between 1834 and 1846, and much of it is in draft form. Correspondents include Longman Co., the publishers; Sir Robert Peel, the Prime Minister of the United Kingdom; Mary Robinson, the author and actress; and over fifty others. Most of the memoranda list topics to be addressed with certain people when she next sees or writes them. less
Jane Porter papers
Jane Porter, English novelist; Robert Ker Porter, English painter, writer, and diplomat; Anna Maria Porter, English novelist. Chiefly made up of letters to Jane Porter, Robert Ker Porter, and Anna Maria Porter, from hundreds of correspondents,... more
Jane Porter, English novelist; Robert Ker Porter, English painter, writer, and diplomat; Anna Maria Porter, English novelist. Chiefly made up of letters to Jane Porter, Robert Ker Porter, and Anna Maria Porter, from hundreds of correspondents, including a number of prominent literary and political figures. Many items bear Jane Porter's annotations. Once part of the much larger and now dispersed collection of Porter family papers owned by Sir Thomas Phillipps. less
Campbell, Thomas, 1777-1844
Thomas Campbell manuscript material
Thomas Campbell, Scottish poet. The Thomas Campbell manuscript material in the Pforzheimer Collection consists of writings and correspondence. The writings include: an incomplete draft of his Life of Petrarch; a holograph poem, "Verses on a Fan,"... more
Thomas Campbell, Scottish poet. The Thomas Campbell manuscript material in the Pforzheimer Collection consists of writings and correspondence. The writings include: an incomplete draft of his Life of Petrarch; a holograph poem, "Verses on a Fan," written for Lord Byron's mistress, Teresa Guiccioli; and laundry and expense lists. The bulk of the correspondence is from 1840-1841, and discusses publishing matters, family issues, and his efforts toward the liberation of Poland. Correspondents include: Richard Bentley, the publisher; Rev. William Harness, the literary scholar; John Murray, the publisher; and over two dozen others. less
Trollope, Anthony, 1815-1882
Anthony Trollope collection of papers, 1842-1927
Henry W. and Albert A. Berg Collection of English and American Literature | Berg Coll MSS Trollope [Text]
This is a synthetic collection consisting of manuscripts and correspondence.
Shelley, Mary Wollstonecraft, 1797-1851
Mary Wollstonecraft Shelley manuscript material, 1815-1850
Mary Wollstonecraft Shelley, the English novelist. Best known as the author of Frankenstein, she also wrote short-stories, poetry, biographies, journal articles, reviews, and edited the works of her husband, Percy Bysshe Shelley. This guide lists... more
Mary Wollstonecraft Shelley, the English novelist. Best known as the author of Frankenstein, she also wrote short-stories, poetry, biographies, journal articles, reviews, and edited the works of her husband, Percy Bysshe Shelley. This guide lists and describes the manuscript materials held by the Pforzheimer Collection that were created by Mary Shelley, including original holograph writings and letters, amanuensis work in her hand, and her transcripts of work by others. less
Hawthorne, Nathaniel, 1804-1864
Nathaniel Hawthorne collection of papers, 1694-1931 [bulk 1817-1864]
Henry W. and Albert A. Berg Collection of English and American Literature | Berg Coll MSS Hawthorne, N
This is a synthetic collection consisting of manuscripts and typescripts, correspondence, as well as his Italian diary kept in 1859, journals for 1842 through 1855, a notebook for 1858, a commonplace book, and financial and legal documents.
Correspondence » Outgoing Correspondence » Bentley, Richard, ALS to. Feb. 16, 1857.
Medwin, Thomas, 1788-1869
Thomas Medwin manuscript material, 1821-1865
Thomas Medwin, English writer and biographer. The Thomas Medwin manuscript material in the Pforzheimer Collection consists of writings and correspondence. The writings include a holograph essay, "Gossip on Smoking in General, Smokers in... more
Thomas Medwin, English writer and biographer. The Thomas Medwin manuscript material in the Pforzheimer Collection consists of writings and correspondence. The writings include a holograph essay, "Gossip on Smoking in General, Smokers in particular"; autograph emendations for a next edition in a copy of his Life of Percy Bysshe Shelley; and several poems, including translations from Catullus. The bulk of the correspondence is dated between 1821 and 1847. Correspondents include Richard Bentley, the printer and publisher; Ferdinand Freiligrath, the German poet and translator; Charles Ollier, the publisher, writer and editor; Jane Williams of the Shelley circle; and over a dozen others. less
Series II: Correspondence » To Richard Bentley, printer and publisher:
Duyckinck family
Duyckinck family papers, 1793-1889
32.7 linear feet (82 boxes, 60 volumes, 2 oversized folders)
Evert Augustus Duyckinck (1816-1878) and his brother George Long Duyckinck (1823-1863) were biographers, editors of The Literary World between 1848 and 1853, and editors and publishers of the Cyclopedia of American... more
Evert Augustus Duyckinck (1816-1878) and his brother George Long Duyckinck (1823-1863) were biographers, editors of The Literary World between 1848 and 1853, and editors and publishers of the Cyclopedia of American Literature. Collection consists of literary and general correspondence, diaries, notebooks, manuscripts of writings, memorabilia, and legal, financial, and business papers, 1830-1878, of E. A. Duyckinck and George L. Duyckinck. Also, correspondence, daybooks, account and receipt books, and journals, 1793-1833, of their father, Evert Duyckinck; papers, 1838-1889, of Margaret Wolfe Panton Duyckinck, wife of E.A. Duyckinck; papers, 1856-1869, of Henry Duyckinck, Evert Duyckinck, Jr., and George Duyckinck (sons of E.A. Duyckinck); papers, 1810-1851, of Sophia Roorbach; and papers of the Wolfe and Panton families. Includes the manuscript of Nathaniel Hawthorne's The Old Manse (1846) and Herman Melville's "Hawthorne and His Mosses" (1850). less
Literary correspondence of Evert A. and George L. Duyckinck » Bentley, Richard (1794-1871)


A variety of TV or internet broadcast that masquerades as "news" but is actually free of meaningful content or insight. Serves individuals who are primarily interested in thoughts they've already had, and information that fits into a small predefined world view.
Before the election I tried to have a conversation with Bob, but he watches so much ignotainment that he's now living in a reality-free zone.
Get a Ignotainment mug for your papa Jerry.


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An excessive amount of debt could cause your company to become recognized as high-risk entity and therefore negatively affecting prospects of raising additional capital later on.
In situation the company fails, it's not necessary to pay back an investment.
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text:
UK: Alcohol code consultation begins
UK: The consultation on the Government's mandatory code for the sale of alcohol began today (Wednesday).
Plans include ensuring on-trade outlets offer smaller drink sizes, displaying the abv (alcohol by volume) and also a ban on all-inclusive drinks offers. Other measures include new rules about CCTV, possible glass bans and increased responsibility for door staff.
The chief executive of the Wine and Spirit Trade Association (WSTA) Jeremy Beadles has responded to the launch of the formal consultation. He said: "With businesses facing falling sales in the middle of a deep recession, a further set of rules and regulations which add to day to day costs is hardly welcome.
"The Government is keen to emphasise that it wishes to tackle the minority of irresponsible businesses and consumers.
"We support this objective but need to be clear that these proposals don't just add more bureaucracy to responsible businesses and unduly punish the majority of responsible consumers.
"We will consider the detail of the proposed mandatory code and respond fully in due course."
British Beer and Pub Association director of communications Mark Hastings said: "We have always supported measures designed to tackle and eradicate irresponsible drinks' promotions.
"However, at a time of increasing pub closures, with 39 pubs closing every week, these proposals for further red tape are disproportionate and excessive. They will place additional cost burdens on struggling pubs."
The consultation closes on 5 August.


text:
CAN WHITE PEOPLE PLAY BLACK MUSIC
Have you ever wondered how jazz, and then later rock 'n' roll, developed out of the blues? How Black music came to be America's music? Whether or not people who are not Black can really play Black music? Amiri Baraka speaks on this in his 1963 classic, Blues People.
"There was a body music that came to exist from a people who were brought to this side as slaves and throughout that music's development, it had had to survive, expand, reorganize, continue, and express itself, as the fragile property of a powerless and oppressed People. The music was explaining the history as the history was explaining the music. Both were expressions of and reflections of the people. (x)
"With no native or tribal references, except perhaps the stories of his elders and the performance of nonreligious dances and songs, the American born slave had only the all-encompassing mores of his white master. Africa had become a foreign land. Almost every material aspect of African culture took a new less obvious form or was wiped out altogether. Music, dance, religion do not have artifacts, as their end products, so they were saved. (15, 16)
"Blues is the parent of all legitimate jazz. . . It is a native American music, the product of the black man in this country. Blues could not exist if the African captives had not become American captives. The African slave had sung African chants and litanies in those American fields. His sons and daughters and their children, began to use America as a reference. So the work song, as it began to take shape in America, first had to be stripped of any purely African ritual and some cultural reference found for it in the New World. (17, 18, 19)
"The reason for the remarkable development of the rhythmic qualities of African music" is that the Africans used drums for communication for "the phonetic reproduction of the words themselves (26). . . .Blues -playing is the closest imitation of the human-voice of any music." Africans also used "drums or other percussion instruments of different timbres to produce harmonic contrasts, two and three separate rhythmic patterns to underscore the same melody. . . (26) While the whole European tradition strives for regularity –of pitch, of time, of timbre and of vibrato –the African tradition strives precisely for the negation of these elements. . . The timbre is veiled and paraphrased by constantly changing vibrato, tremolo and overtone effects. The timing and accentuation, finally, are not stated, but implied or suggested. (31)"
Enslaved Africans, working in gangs hollered and shouted as they toiled. These "shouts and hollers were strident laments, more than anything." (60) After emancipation working as individual farmers "(t)he old shouts and hollers were still their accompaniment for the arduous work of clearing land, planting, or harvesting crops. But there was a solitude to this work that had never been present in the old slave times. (61) Thus developed a form of song or shout that did not necessarily have to be concerned with, or inspired by, labor. Each man had his own voice and his own way of shouting, his own life to sing about. The tenders of these thousands of small farms became almost identified by their individual shouts. "That's George Jones down in Hartsville shoutin' like that."(61) Blues issued directly out of the shout and, of course, the spiritual(62). . .
The endlessly repeated line of the shout or holler might also have been due to the relative paucity of American words that the average field Negro possessed, the rhyme line being much more difficult to supply because of the actual limitation singing in American imposed. It was not until the ex-slaves had mastered this language that blues began to be more evident than shouts and hollers. (63). . . When Negroes began to master more and more "European" instruments and began to think musically in terms of their timbres, as opposed to, or in conjunction with, the voice, blues began to change, and the era of jazz was at hand. (70) However, jazz should not be thought of as a successor to blues, but as a very original music that developed out of, and was concomitant with, blues and moved off into its own path of development. " (71)
Classic blues emerged as "the idea of blues as a form of music that could be used to entertain people on a professional basis" developed and it gave large impulse to the concept of the "race" record. Mamie Smith was the first Black blues singer to make a commercial recording. Her release of "Crazy Blues" on Valentine's Day 1920 launched the Jazz Age. The great lady blues singers of the twenties brought blues to a social and cultural significance that it never has had before or since. The jazz people took over from there. (140)
Jazz made it possible for the first time for something of the legitimate feeling of Afro-American music to be imitated successfully. The white man would have no access to blues. (Jazz) was a music capable of reflecting not only the Negro and black America but a white America as well. (148 -49). The way in which jazz utilizes the blues "attitude" provided a musical analogy the white musician could understand and thus utilize in his music to arrive at a style of jazz music. (153)
Jazz also bridged the divide between the Black middle class and the masses. The middle class "believed that the best way to survive in America would be to disappear completely, leaving no trace at all that there had ever been an Africa, or a slavery, or even, finally, a black man (124). . . The middle class black man bases his whole existence on the hopeless hypothesis that no one is supposed to remember that for almost three centuries there was slavery in America, that the white man was the master and the black man the slave. This knowledge, however, is at the root of the legitimate black culture of this country. It is this knowledge, with its attendant muses of self-division, self-hatred, stoicism, and finally quixotic optimism, that informs the most meaningful of Afro-American music. (136)
Only Negro music, because, perhaps, it drew its strength and beauty out of the depths of the black man's soul, and because to a large extent its traditions could be carried on by the "lowest classes" of Negroes, has been able to survive the constant and willful dilutions of the black middle class and the persistent calls to oblivion made by the mainstream society. It was the only vector out of African culture impossible to eradicate.
"Jazz demonstrated how the blues impulse, and thus Afro-American musical tradition, could be retained in a broader musical expression. As a folk expression of a traditionally oppressed people" authentic blues could not be produced by whites, "(b)ut as the secretness and separation of Negroes in America was increasingly broken down, Negro music had to reflect the growing openness of communication with white America." (177) Thus, jazz was born.
Duke Ellington took jazz to another level and form. He replaced a "spontaneous collective music with a worked out orchestral language." (161). "Ellington used musical materials that were familiar to concert-trained ears, making jazz music more listenable to them. In his work all the elements of the old music may be found, but each completely changed because it had to be changed. What emerged was a music that could be traced back to the old roots and yet sounded fresh and new."(162) "The big colored dance bands of the thirties," like Ellington's, Hampton's and Basie's, were "the strongest influence on American popular music and entertainment for twenty years." (163)
Negroes in the Southwest still wanted a great part of their music to be blues oriented, even if it was played by a large dance band. (167) These Southwestern "shouters" and big blues bands had a large influence on Negro music everywhere" and eventually developed into "rhythm and blues, "huge rhythm units smashing away behind screaming blues singers." (168). Rhythm and blues, the urban contemporary expression of blues, was the source of the new popular revitalization; rock 'n' roll." (222) ( Arthur Lewin, www.Africaunlimited.com )
2018-05-13T07:05:24+00:00By Ramsees|Comments Off on CAN WHITE PEOPLE PLAY BLACK MUSIC


text:
Police working hard to find missing Taadi girls – Akufo-Addo assures
in Current affairs, Uncategorized
President Addo Dankwa Akufo-Addo has revealed there are behind-the-scene efforts to find the three missing Takoradi girls.
Speaking Wednesday as part of a tour of the Western Region, the president said he was confident that the girls will be found. "All efforts are being made to bring back the girls," he said.
EFL did not specify why they broke away – FixTheCountry Movement
I once confronted an evasive defaulter at my mother's funeral over debts – Kofi Amoabeng
Kumasi fast losing its agrarian lands, farmers forced to plant in containers
The girls, Ruth Quayson, Priscilla Blessing Bentum and Priscilla Koranchie are believed to have been kidnapped between August 2018 and January 2019.
The main suspect in the kidnapping, Samuel Udoetuk-Wills is currently before the Takoradi Magistrate Court after he escaped from jail in December 2018 following his first arrest.
"The fact that not much information has been out in the public domain does not imply that the state or security agencies are not working hard to ensure their safe return to their families," the Akufo-Addo stated.
President Akufo-Addo has also directed police in the Western Region to bring to book, all perpetrators involved in the attack and abduction of the Paramount Chief of Lower Dixcove, Nana Akwasi Agyemang.
According to President Akufo-Addo, "I have told the police that all those who carried out the attack, whether they are 10 persons or 100, must be rounded up and put before court for the law to take its rightful course. The law must also deal with those who aided in the conduct of the crime."
He continued, "Whether it is today or tomorrow, those who are behind this act will, eventually, face the full brunt of the law."
The President made this known on Wednesday, July 24, when he addressed a durbar of Chiefs at Axim, on the second day of his working visit of the Western Region.
Source: myjoyonline.com
Kenyan's finance minister arrested on corruption charges
Former Black Stars goalie, Olele, arrested for motor traffic offence
Amerado outdoors much-anticipated 'Patience EP'
"Government Workers Without Ghana Card Will Not Be Paid From December 1" – Controller


text:
Q: How to use scope identity with update query I have an id as primary key and I am setting that id=scope identity() in the insert procedure.
But I am unable to use that id with update procedure.
I want to write a procedure that will update the table with the id in the where condition, i.e.,
UPDATE TABLE [table name]
SET col = @col, col2 = @col2
WHERE id = @id

but my id is autogenerated i.e., id int identity(1,1)
How should I write update procedure?

A: You need to have @id as an in parameter to your stored procedure.
Your stored procedure should probably look something like:
CREATE PROCEDURE <Procedure name>
(
   @id INT,
   @col1 <datatype>,
   @col1 <datatype>
)
AS
   UPDATE TABLE [table name]
   SET col = @col, col2 = @col2
   WHERE id = @id

A: What I could understand is that you want to update the Table with the recent inserted row using @id = scope_identity(). Please see below the code to achieve this:
create proc abc
@col1 int,
@col2 int,
@id int
as
begin
set @id = ident_insert('TableA')
UPDATE TABLE [table name]
SET col = @col, col2 = @col2
WHERE id = @id
end

Let me know if this helps..

redpajama_set_name: RedPajamaStackExchange


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Neem is a natural ingredient which has antibacterial, anti-fungal, anti-inflammatory and antiseptic properties. It is also a natural blood purifier. Different kind of neem face packs has been used since ages by our ancestors for maintaining a healthy and glowing skin. Regular skin problems like itchy skin, rashes, allergy pimples, acne, dark spots, scars, age spots and skin infections can be cured by using simple Neem leaves. It's benefits for oily and acne prone skin are great. Due to its great curative properties it is used in so many medicines. Neem leaves are easily available and contains all powerful ingredient required for healthy skin, hence it is used in so many skin care products. It is used in so many face washes and creams that are meant for oily and acne prone skin. Face packs made by Neem makes your skin clear and flawless and absorbs the extra oil from the skin. There are several face masks and face packs that can be made using Neem to get a clear skin free from pimples and blemishes.
This is one of the most effective Neem face pack to remove dark spots, black spots, brown spots and age spots.It is best to get bright skin texture and color.
Mix 2 T spoon of Neem powder with 1 T spoon of apple cider vinegar.
Mix 1 Tbsp of honey to make a smooth paste.
Place the paste into the refrigerator for 30 minutes.
Before applying, clean your face.
apply the cold mask on your face.
This face face pack is best for Oily, Combination and Normal Skin Types.
It is an ideal face pack for acne-prone or oily skin types. Neem and sandalwood both has anti inflammatory properties which are good to reduce the swelling and redness of pimples, Due to anti bacterial property, it kills bacteria and heals pimples thus giving you a clean, fresh and pimple-free skin.
This face pack can be used for all Skin Type.
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Add few drops of rice water and then make a fine paste.
Apply the pack and leave for 20 minutes.
This face pack will remove pimple, acne scars, blemishes from your skin.This face pack contains antioxidants, makes your skin look pure, glowing and spotless.
Soak few potato slices in warm water overnight.
Take out potato juice into a bowl.
Add 1 T spoon of lemon juice.
Add 2 T spoon of neem powder.
Mix well and apply on your face.
You can make a skin smoothing mask to pull out impurities from the skin surface, This Neem face mask will improve skin radiance and smoothness.
This Neem face pack removes excess oil, dirt and impurities from the skin. It make your skin bright, clean and clear.
Leave until it dries completely.
Dark patches can make your skin look dull, aged and uneven. As curd helps hydrate your skin and Neem has antibacterial property. So this face pack is good to remove dark patches from your skin.


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Venture Capital Blog
Maveron raises new $240 million fund
By John Cook on April 1, 2008 at 12:56 PM
Maveron, the Seattle venture capital firm that has backed Pinkberry, Capella University, Internet REIT and others, has raised a $240 million fourth fund.
The fundraising was completed in recent weeks, though Maveron co-founder Dan Levitan declined to comment on the new capital.
Started by Levitan and Starbucks Chief Executive Howard Schultz in 1998, Maveron now has about $840 million under management. That's smaller than Seattle-area firms such as Frazier Healthcare Ventures and Ignition Partners, but still one of the biggest in the region.
Maveron focuses exclusively on businesses in the consumer arena, with past bets on startups such as eBay, drugstore.com and Potbelly Sandwich Works.
Past investors in the fund include Yale University, MIT, Princeton University, the Mayo Foundation and the MacArthur Foundation.
The new fund was first reported by VentureWire.
john cook


text:
ChartWatchers
10-Year Treasury Yields Fall to Seven-Month Low
John Murphy | May 18, 2014 at 01:18 AM
The first chart below shows the 10-Year Treasury Note Yield (TNX) falling below its early February low in trading on Wednesday. That puts the TNX at the lowest level since last October. Normally, a falling bond yield signals that investors are turning more pessimistic on the economy. That seems strange considering that the Dow and S&P 500 have just hit record highs. The discrepancy between falling bond yields and rising stock prices is just another sign that the recent large cap rally may not be as strong as it appears.
The next chart shows the divergence between the falling Treasury yield and a rising S&P 500. The downturn in bond yields in January coincided with a pullback in stock prices. Both then stabilized at the start of February. Since the start of April, however, falling bond yields have diverged from a rising SPX. Today's breakdown in bond yields makes their divergence even more striking.
Something seems wrong here. One of the two markets is sending the wrong message. The question is which one.
About the author: John Murphy is the Chief Technical Analyst at StockCharts.com, a renowned author in the investment field and a former technical analyst for CNBC, and is considered the father of inter-market technical analysis. With over 40 years of market experience, he is the author of numerous popular works including "Technical Analysis of the Financial Markets" and "Trading with Intermarket Analysis". Before joining StockCharts, John was the technical analyst for CNBC-TV for seven years on the popular show Tech Talk, and has authored three best-selling books on the subject: Technical Analysis of the Financial Markets, Trading with Intermarket Analysis and The Visual Investor. Learn More
Subscribe to ChartWatchers to be notified whenever a new post is added to this blog!


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Q: Redirect autoplay videos to site page My autoplay is working however I can't get the video to redirect to a page on my site? I need users to be able to see the video play for a few seconds and then it takes them to the home page of my site.
This is the code I am writing:

    <video autoplay id="video-background" muted>
      <source src="videos/brain_loop.mp4" type="video/mp4">
      <source src="videos/brain_loop.ogg" type="video/ogg">
    </video>

A: Try changing it to your actual video id. For example if your ID of your <video> is video-background the following code will work.
videojs("video-background").on("ended", function() {
  window.location = "http://www.example.com/home.html";
});

This will ensure videojs knows which video you are referring to.


REGISTERED FOR AN ONLINE COURSE?
BlendFlex is an innovative course delivery method that offers flexible attendance options for select CGTC courses - including attending class: on campus, online, from remote sites, or from home or work. Additional information on our BlendFlex courses.
Central Georgia Technical College offers a wide range of online courses. These courses use the Internet to deliver online learning that is independent of time and location.
Complete the Application process through Admissions. Once admitted, contact an advisor and register for classes.
Which website(s) will I use to take an online class?
ALL STUDENTS will be provided MyMail Email and network logins.
All online courses use the Blackboard Learn course management system. The link to go directly to Blackboard Learn is https://centralgatech.blackboard.com.
Beginning Summer 201716, Math courses will use Blackboard to access MyMathLab. Students will receive directions inside Blackboard for accessing their MyMathLab material.
Some online courses may use other online sites for classes to supplement instruction. Contact your instructor for details.
Online Orientation is available the first week of the semester. Topics include logging into Blackboard, locating class assignments, submitting assignments, taking an exam, using Student Resources and more. Orientation attendance is optional.
CGTC is a member of the Georgia Virtual Technical Connection (GVTC). The mission of the Georgia Virtual Technical Connection is to provide support, guidance, and assistance to the state's Technical Colleges in the design, development, and delivery of distance education and technology based learning initiatives, manage the state level online student application portal, and serve as a conduit for distance and technology enhanced education.
Online students that experience technical problems should first contact their course instructor for assistance. Students may contact Distance Education Technical Support through the Online Course Help Desk.
Interested in taking online classes?
New students should contact Admissions or call 478-988-6800.
Current/returning students should contact their advisor or call 478-988-6800.


It is possible to find one-of-a-kind furnishings online — if you're willing to spend a lot of time surfing. Or you can find someone who has already done the searching and brought those pieces to a store near you.
If your taste leans to vintage and industrial styles, Ryan LeClair shares your interests. LeClair constantly hunts for sources, both locally and globally. His discoveries are found in Warehouse 74, one of two shops he owns on Richmond St. North in Arva.
LeClair's love of handcrafted quality began in childhood. His father bought antiques.
"I grew up around the look. I try to carry as many functioning antiques as possible, as well as reproductions.
Scouting for such pieces appeals to LeClair's love of history and the stories of furniture pieces. He particularly likes the foundry carts and portrays one in the store signage. Customers share this enthusiasm. Repurposed as tables, the carts are the most popular item.
"It's the piece that draws people in," said Kirsten Moule, store manager.
The name comes from the warehouse origins of some of the materials, such as the foundry cart. The number represents many things: the first address next door at 21574, located at the intersection of Hwy. 4 and Medway Rd., the phone number ending in 7474 and the year of his birth.
Despite the name, the store is small, so many of the products are shown online. There is a page just listing all the categories, from large pieces such as dining tables, buffets, beds, dressers and bookshelves, to chairs, coffee tables, lighting, TV and games tables, as well as an array of accessories.
The larger pieces are made from mostly repurposed materials. Reclaimed machine parts are mixed with wood and glass: some are used as is, others are melted and recast. A few originated as parts in Japanese weaving looms, Moule said.
Much of the wood is reclaimed, some from Ontario, some from Asia. Moule sits on a chair made from old ship wood. "It's the heaviest chair I've ever felt," she said.
Natural waxes and oils finish the wood.
An incongruous backstory lies behind a large round pub table. A Mennonite supplier provides Jack Daniel's barrels from Tennessee, retired from aging the highest-selling whisky in America.
The table would look at home with the foosball table, handmade in wood and metal.
A powder-coated steel desk with mesh shelves and cubbies has an attached stool that glides in an out of place.
When he started, LeClair said there wasn't much product. "It's a growing trend," he said. "You see it more in magazines and designers' work." Viewers of the television show Two and a Half Men will recognize the style from the set.
LeClair tries to find local suppliers and said the number is also growing.
Statement pieces, combined with reasonable prices, appeal to all ages but have a strong attraction to 25-35-year-olds.
Not only are the rare finds appealing, but the whimsical accents keep decorating from being too serious.
"I realized I wouldn't be selling big-ticket items to everyone who walked in the door," LeClair said. He decided to add a variety of accessories, including wall art, sculptures, games and toys, mobiles and models, lighting and signs.
One game table offers options for chess, checkers, backgammon, dominos, poker and monopoly. The boards slide out and disappear when not being played.
Model cars, planes and trains are available in several sizes. Maps are also sold, mostly in sepia tones to match the old, worn style. You can also find propellers.
Vintage pharmacy lamps come in table-top and floor models. The spotlight floor lamp looks like an old movie light. Chandeliers and ceiling fixtures, and novelty lighting, such as metal letters and forms with mini-lights, are chosen to match the furniture. They are vintage, rustic, aviator or nautical, handcrafted styles in wood, metal and glass.
Artwork complements the vintage look. Custom canvases with textures, such as crackle, and different coatings offer a variety of images, from horses to Eiffel Towers, pinup beauties to nautical and aviation themes. Some can also be hung outdoors.
With an increasing demand for more items, LeClair is moving both the Mennonite Furniture and Warehouse 74 to Lucan in the spring. A bigger location, more parking and more locally made products will be available.
Suite 102 – 21578 Richmond St. N.


All four deuces are wild in this poker game and payout is on three of a kind, straight, flush, full house, four of a kind, straight flush, 5 of a kind, Deuces Royal Flush, 4 Deuces and Natural Royal Flush with the highest payout of 4000 coins for the Natural Royal Flush.
On the deal you get 5 cards face up and you hold or discard to make the highest winning hand.
Deuces can be substituted for any card to complete the highest winning combination. You can bet 1 to 5 coins per hand but the best payout is when you are playing max bet for the coin denomination.
You'll find the graphics for this software are half the fun. They really add to the enjoyment of the game.


text:
The Story Behind the First Pulitzer for Jazz
How Wynton Marsalis's 1997 win moved the Music Pulitzers beyond the classical canon
@howardreich
music Pulitzer Prizes
Wynton Marsalis's "Blood on the Fields" was the first non-classical work to win the Pulitzer Prize Kris Snibbe/Harvard Staff Photographer
It was a moment that many thought never would happen.
In 1997, for the first time in the history of the Pulitzer Prize in Music, the award went to a genre intimately bound up with the cultural, social and racial history of this country: jazz. Wynton Marsalis's "Blood on the Fields," an epic vocal-orchestral suite that dealt head-on with the tragedy of slavery, became not only the first jazz work to take the highest honor in American music but the first non-classical piece ever to win.
Since the inception of the prize in 1943—when composer William Schuman received the award for "Secular Cantata No. 2, A Free Song"—every Pulitzer-winning composition spoke in the language of European-derived, Western classical music. As for jazz, blues, gospel, country, spirituals, and every other genre the United States gave to the world, all had been excluded. Completely.
This caused a contretemps in 1965, when a certifiable jazz genius—Duke Ellington—was denied a special citation the jury had recommended to the Pulitzer board. The subsequent and continued exclusion of jazz, often cited as America's greatest cultural invention, disturbed some Pulitzer board members and distant observers alike. But it took years of effort, hand-wringing, argument, and public discourse to change the trajectory of the music Pulitzer in 1997. When jazz experimenter Henry Threadgill won a Pulitzer this year for "In for a Penny, In for a Pound," the double CD recorded with his band Zooid, the triumph represented just the most recent development in a campaign that had begun in earnest in the early 1990s.
"At some point, the board began to worry that the diversity of music—American music—that was being offered to us was awfully narrow," says Jack Fuller, the former president of Tribune Publishing who had joined the Pulitzer board in 1991. A jazz connoisseur, trombonist, and pianist who would go on to write the critically applauded jazz novel "The Best of Jackson Payne," Fuller came onto the board with no agenda but knew the sorry history of jazz and the Pulitzers: "It's hard not to be embarrassed by the Duke Ellington story, and nothing had been done to change the course of that history. Mistakes had been made."
The denial of the Pulitzer citation to Ellington, who since the late 1920s had penned such classics as the jazz anthem "It Don't Mean a Thing (If It Ain't Got That Swing)," the symphonic "Black, Brown and Beige," the film score for "Anatomy of a Murder," the pictorial "New Orleans Suite," the stage works "Jump for Joy" and "My People" and much more, was most notorious.
When the Pulitzer board declined to give Ellington the honor, jury members Winthrop Sargeant and Ronald Eyer resigned. Ellington masked his disappointment in irony. "Since I am not too chronically masochistic, I found no pleasure in all the suffering that was being endured," he wrote in his memoir, "Music Is My Mistress." "I realized that it could have been most distressing as I tried to qualify my first reaction: 'Fate is being very kind to me; Fate doesn't want me to be too famous too young.'" Ellington was 66.
It took years of effort, hand-wringing, argument, and public discourse to change the trajectory of the music Pulitzer
But what stung Ellington most was what the rejection said about an art form born of the African-American experience, a music to which he had dedicated his life. "I'm hardly surprised that my kind of music is still without, let us say, official honor at home," Ellington told critic Nat Hentoff in a New York Times Magazine piece titled "This Cat Needs No Pulitzer Prize." "Most Americans still take it for granted that European music —classical music, if you will—is the only really respectable kind. I remember, for example, that when Franklin Roosevelt died, practically no American music was played on the air in tribute to him … By and large, then as now, jazz was like the kind of man you wouldn't want your daughter to associate with."
That stigma prevailed at the Pulitzers, though, in a brief gesture, the board gave a posthumous special award to ragtime master Scott Joplin in 1976, the year of America's bicentennial, before returning to business as usual. The Pulitzers may as well have put out a sign: "For Classical Composers Only."
Improvisation is central to the Pulitzer-winning "Blood of the Fields" by Wynton Marsalis, above, at Sanders Theatre in 2013. Kris Snibbe/Harvard Staff Photographer
By the early 1990s, some board members chafed at the inherent paradox of failing to honor a distinctly American music with a prize conceived specifically for that purpose. Jazz, after all, had been around long before the Pulitzers began awarding the music prize, flourishing since the turn of the century (or earlier, depending on your definition of jazz). The question was how to break the classical-music stranglehold on the prize. "We didn't know quite how to change that," says Fuller. "But, ultimately, the way to change the kind of finalists you get is to think about the juries. So we began to think about the juries."
Indeed, for most of its history, the Pulitzer music juries "had been composed largely of people from the academy," adds Fuller, meaning professors and composers deeply invested in classical music. "And the academy had its own distinctive set of aesthetic values. So the idea was to find a very respectable jury full of people whose expertise was clear, and whose expertise transcended any one idiom but were open to many things."
So in the 1990s, Fuller and colleagues appointed to the Pulitzer juries jazz connoisseurs such as David Baker, head of jazz studies at Indiana University, and composer-author Gunther Schuller, a scholar in both jazz and classical realms. But still no results. Frustration was rising.
"I had made no secret for quite some time that it was shocking to me, absolutely shocking, that a prize for American music had never gone to the most influential American genre in history," says Fuller. "And it just seemed absurd. So the idea wasn't that you start making it a jazz prize. The idea was that you start changing the things that made it so unlikely that a jazz performance, or a jazz composition, would be able to be attracted to apply and then to win."
In 1997, the board went all out, appointing to the jury Modern Jazz Quartet pianist-composer John Lewis, Pulitzer-winning classical composers John Harbison and Joseph Schwantner, both of whom had played jazz in college, and myself. Robert Ward, who had won a Pulitzer in 1962 for his opera "The Crucible" (based on Arthur Miller's play), was appointed chairman.
At the same time, contemporary jazz composers were trying to storm the gates of the Pulitzers, the 87 entries in 1997 including non-traditional works by Marsalis, Ornette Coleman, and others. The jury that auditioned these scores knew full well that historic change was immanent. "I'd been on the jury quite a few times in that period. There'd been some pushing back from the [board] about the lack of consideration of jazz," remembers Harbison. "And I think the makeup of that jury that year we were there was already a response on the part of the Pulitzer board. A lot of great jazz composers had come and gone—[Charles] Mingus and Ellington—without recognition of a body like the Pulitzer. At the time of that Pulitzer jury it was, at the very least, a kind of talking point."
Or, as juror Schwantner put it, when it came to jazz, we were "absolutely open to that. No question about it. And I'd wondered, actually, why this hadn't happened before." (Juror Lewis died in 2001; chairman Ward died in 2013.)
As we listened to the recordings and followed along in the scores of the submitted works, I was struck by the distinctive experience of evaluating Marsalis' "Blood on the Fields," which I'd already reviewed in concert. For as the music played, the manuscript featured pages and pages of white space—sections where the musicians were improvising, rather than reading from pitches and rhythms Marsalis had put down on paper for them.
Those blank stretches symbolized a huge gulf between jazz and contemporary classical music, for since its inception, jazz has made improvisation a central element of composition and performance. The first published jazz composition, after all, had been copyrighted in 1915. Jelly Roll Morton's "Jelly Roll Blues" proved that this music—once improvised freely in the streets, social clubs, and brothels of New Orleans—could be put to paper.
Celebrating 100 Years of Excellence in Journalism and the Arts
Join us at Harvard's Sanders Theatre on Sept. 10-11 as we celebrate 100 years of the Pulitzer Prize and explore the theme "Power: Accountability and Abuse" with two dozen Pulitzer winners. Visit the Nieman Foundation's Pulitzer Centennial event page to learn more.
But as jazz evolved, its improvisational nature remained vital. Ellington, for instance, predicated portions of his compositions on what he expected his musicians to invent on the spot: "My aim is and always has been to mold the music around the man," Ellington wrote in 1942. "I study each man in the orchestra and find out what he can do best, and what he would like to do." Ellington routinely leaves room for musicians to riff freely, asking them not for specific notes but, instead, for the character of sound, color and rhythm he knows each uniquely can produce.
"There's almost always some open space in most of the Ellington pieces," says Harbison. "The solo spots are kind of part of the conception, but they're not specific. Jazz composition includes non-determined elements. And that's just something that people have to come to terms with, to take a certain stance on. It seems that in the great pieces of Ellington, the building in of the soloist—and even the voice of the soloist—has been a part of the composition."
Classical music, on the other hand, generally had lost touch with improvisation in the 20th century. Most modern classical performers (with the exception of church musicians and avant-gardists) had been trained to play exactly what was written in the score—nothing more, nor less. The freedom and personal expression inherent in jazz was an alien language to the classical jurists who had been judging the Pulitzer Prize for decades.
Most of the 1997 jury immediately recognized the technical acuity and musical breadth of "Blood on the Fields," even though much of it hadn't been written down. And the jurors understood this was a historic opportunity to honor a way of making music far outside contemporary classical practice. "If there had been an overwhelming consensus for a concert [classical] composer, there probably would have been another concert composer" among the finalists, says Harbison. (In addition to Marsalis' opus, the jury recommended classical composers John Musto's "Dove Sta Amore" and Stanislaw Skrowaczewski's "Passacaglia Immaginaria.") "But there certainly was in the air a lot of thinking about the tremendous importance of jazz to American culture, and the absence of any jazz recognition from that fairly highly publicized award."
Ultimately, the jury unanimously chose "Blood on the Fields," summing up the value of the piece in its report this way: "It is important because of the brilliance of its jazz orchestral writing, the fervency of its musical spirit and the power with which it expresses the pain and promise of the black experience in America." The Pulitzer board concurred.
"The board is an interesting board, and they're really thoughtful," recalls Fuller. "So the same people who were uncomfortable with the present situation were wary about the change. What is it going to usher in? Is this music serious enough? The old stuff you hear about jazz all the time. But it really wasn't some kind of a big struggle once we got down to it at the board level. My memory is that it was pretty clear, once everybody listened to the music, that ["Blood on the Fields"] was a remarkable piece of music. And it was major, and it was very serious and very sophisticated."
Yet this was just the overture. The board went on to award special posthumous Pulitzers to George Gershwin in 1998, the year of his centennial, Ellington in 1999, also his centennial, Thelonious Monk in 2006, John Coltrane in 2007, and Hank Williams in 2010. Bob Dylan was honored with a special Pulitzer in 2008.
Jurors understood this was a historic opportunity to honor a way of making music far outside contemporary classical practice
Perhaps more important, the board refined the rules for the prize, in hopes of opening the doors wider. Though the award long had been given "for distinguished musical composition by an American in any of the larger forms including chamber, orchestra, choral, opera, song, dance or other forms of musical theater," the rules for 1998 erased mention of specific genres, instead honoring "distinguished musical composition of significant dimension." And while earlier instructions required that "all entries should include … a score or manuscript and recording of the work," the 1998 instructions asked only for "a score of the non-improvisational elements of the work and a recording of the entire work." In effect, improvisation—so central to jazz—had been explicitly accepted by the Pulitzers. (These changes were made in consultation with the 1997 jury.)
In 2004, the Pulitzer board altered the rules again, deciding that submissions no longer would require a score at all, a publicly released recording sufficing as the documentation of a musical work. This opened the field to any jazz composition (and music of other genres, as well) for which no score exists. "After more than a year of studying the Prize … the Pulitzer Prize Board declares its strong desire to consider and honor the full range of distinguished American musical compositions—from the contemporary classical symphony to jazz, opera, choral, musical theater, movie scores and other forms of musical excellence," the board said in a written statement on June 1, 2004.
This did not sit well with all parties.
"I don't think it's a good idea at all. This has already happened that one piece has been awarded that is not [fully] written out," Pulitzer Prize-winning composer Donald Martino told me in 2004, referring to Marsalis's "Blood on the Fields." "Let these people win DownBeat polls," he added. "They have their own venues."
But the tide of history was going another way, with Monk—one of the greatest of American composers—awarded a posthumous Pulitzer special citation in 2006. "Monk should have gotten the prize in his lifetime," Harvard University professor and then board chairman Henry Louis Gates Jr., told me when the award was announced. "But the Pulitzer Prize was defined so narrowly and parochially—to cover just American classical and neoclassical music—that geniuses like Monk were overlooked. And this was an attempt to redress that omission." By 2007, jazz visionary Ornette Coleman would win for his recording "Sound Grammar."
Now it seems only a matter of time before blues, gospel, spirituals, and other intrinsically American musical languages are honored by the Pulitzers. "In my opinion, good music is good music," says Jim Amoss, former editor of The (New Orleans) Times-Picayune and a Pulitzer board member from 2003-2012. "And whatever tradition it springs from, or whatever genre within that tradition happens to be, if it is sublime, well-made music, it should be able to make it."
It's hard to argue with that open-eared, thoroughly democratic perspective. And it's worth remembering that the shift to that philosophy began in 1997 with a music steeped in the values of free and open expression that improvisation represents: jazz.
A Century of Pulitzer Journalism Speaking Truth to Power
By Julia Keller
The Pulitzer Centennial
From Nieman Foundation
"Why's this so good?" — the music edition
By Paige Williams
From Nieman Storyboard


text:
F&W Pro Chevron Right
If Restaurants Go Away, Everything Will Collapse
Restaurateur Bobby Stuckey warns that the closure of restaurants will deal a blow to the American economy that we haven't seen in ages—and we may not be able to recover from it.
By Bobby Stuckey
Credit: Courtesy of Frasca Hospitality Group
Editor's note: Communal Table, a forum for amplifying first-person voices in the food industry. Our goal is to work long term with leaders to create more humane and sustainable workplaces. Sign up for the F&W Pro newsletter.
Bobby Stuckey is co-founder of Frasca Food and Wine, Pizzeria Locale, and Scarpetta Wine Company.
A few weeks ago, we watched the restaurant industry crumble. Seven million jobs lost almost overnight. We find ourselves in this situation not because we did anything wrong, but because it was the right thing to do. We support our state's leadership. We closed for the safety of our team and we closed for the safety of everyone reading this. But when we closed our four restaurants, the government didn't have a back-up plan for us, and American insurance companies wouldn't pay out for business interruption insurance.
As soon as closure became an imminent reality, we reached out to our insurance company who we've paid hefty premiums to year after year after year. We were met with a hard and fast "no" for myriad reasons of attempted exclusions, one being that the virus does not cause a dangerous condition to the property. Of course we disagreed with this. To my knowledge, I do not know of one policy payer in the U.S. that got business interruption insurance because of this.
Read: The F&W Pro Guide to Coronavirus: What Restaurants Should Know
Restaurants are a keystone species— a species on which others in an ecosystem largely depend. If it were removed, the ecosystem would change drastically, or even collapse. Replace the word "ecosystem" with "economy" in this case, and you will understand the gravity of the situation.
Tens of millions of jobs will vanish right behind ours. The restaurant industry directly employs tens of millions more people including the farmers, packers, beverage distributors, and delivery people up and down the food supply and delivery chain who depend on our revenue to stay in business. If we can't open for business, this supply chain won't last.
We are too small and too many to fail.
I've now heard both sides of the aisle talk about how they wish manufacturing was back in the United States. If you grew up in the '50s like my father-in-law, you may still long for the days of the glorified manufacturing job. It was for anyone willing to work, it was the lifeblood of a community, and it was a gateway to the American Dream. The 2020 version of the manufacturing industry is the independent restaurant. Every city in America has them. In every city, they contribute immensely to the local economy. Independent restaurants are the second-largest employer (next to the federal government), employing 11 million people. We are too small and too many to fail.
America today is a service-based economy. We are no longer manufacturing-based. And it's time we treated independent restaurants with the same respect as yesterday's manufacturing jobs.
Today's restaurant job embodies the American spirit. We're the first choice, the second choice and the third choice of employment.
If you've just come to America and don't speak the language, we welcome you into our industry.
If you are someone who made a mistake and have a felony on your record, you have a place in American society with us.
If another industry you were in comes across hard times (do you remember 2008?) and you lose your job as a professor or a pharmaceutical sales rep, you can come work with us.
Independent restaurants contribute up to 4% of the GDP and are part of a $1 trillion sector of the economy. Our closure will deal a blow to the American economy that we haven't seen in ages.
To make our voices heard, we formed the Independent Restaurant Coalition consisting of over 11,000 individuals, many of whom are chefs and restaurant owners across the country. We're too small to fail, and too interwoven into the fabric of American labor to not come out on the other side of this.
Some of the greatest Fortune 500 companies in the world couldn't sustain being closed for two months.
Historically, independent restaurant owners have never needed anything from the government. We've been able to do it on our own. We've never had a unified representation in D.C. We opened our restaurants, put the linens on the table, hired our employees and provided them with a living all on our own.
In 2008, there was no bailout package for the independent restaurant community; we quietly just pulled ourselves up by the bootstraps and continued to work. In fact, we provided a backstop for people who lost jobs. We're resilient, but we're not impervious to today's crisis. It feels more painful this time around because we got closed. Some of the greatest Fortune 500 companies in the world couldn't sustain being closed for two months.
The recent passage of the CARES Act gave us a morsel of relief. We will do the best we can with it. But it's not enough. Until we receive more help from Congress, we have nowhere to go and no restaurants to return to. And without us, you will watch an economic ecosystem collapse.
He Paused His Restaurants to Stop the Spread
Communal Table Podcast: Carl Sobocinski
What Restaurant Workers Wish You Knew
Please Don't Make Cooks Work While We're Sick


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Quelch vs. squelch
Squelch is a verb meaning (1) to crush by or as if by trampling, (2) to silence, and (3) to suppress. Quelch appears in unabridged dictionaries, but it has never been a well-established or widely used word. It is just a fusion of squelch and the similar verbs quell and quash, both of which mean to put down or suppress forcibly (among their other definitions). Quench might be in the mix as well.
Quelch may someday enter the language more broadly, but it doesn't seem to be gaining ground, and it remains rare after 500 years of intermittent use. So unless you wish to be a pioneer, try squelch, quell, quash, or another fitting word instead.
In these examples, quelch could be replaced with squelch:
Order the 'Schmitter', a cheesesteak with fried salami, tomato, and secret sauce will be sure to quelch even the hungriest belly. [Yahoo! Sports]
It's too soon to know whether it will quelch the debate over the existance of climate change but an inquiry has cleared climate researchers of malpractice. [CBS News]
He made a crucial baseline jumper and steal in the final seconds to quelch a Nets rally. [Daily Times]
[A]nd the firm has tried to quelch political outcrys in the U.S. against the deal. [Travel Agent]


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Incumbent selectman to seek a second term
ORLEANS — Incumbent Selectman Sims McGrath has submitted the necessary 38 signatures to run for a three-year term on the board of selectmen in the May 17 town election, according to Assistant Town Clerk Kelly Darling.
McGrath joined the board after winning a 2009 special election. He had served previously on the planning board and board of health.
Selectman David Dunford has taken out nomination papers to seek a possible third term on the board, but he has not returned them.
Also, incumbents Elizabeth Suraci on the board of health and Susan Lederhouse on the Snow Library board of trustees have taken out papers to run for re-election.
Interested candidates have until March 29 to take out and return their nomination papers, Town Clerk Cynthia May said.
SUSAN MILTON


At close of market on Wednesday, HEXO Corp. (TSX:HEXO) stock finished trading at -10.00%, bringing the stock price to $7.02 on the Toronto Stock Exchange. The stock price saw a low of $6.75 and a high of $7.36.
The company's stock was traded 10,969 times with a total of 4,123,920 shares traded.
HEXO Corp. has a market cap of $1.45 billion, with 207.08 million shares in issue.


Man. I LOVED Maggie in the first episode. I was a pretty big fan of Jim, too. And Neil, he was my third-favorite. But, Maggie and Jim took a nosedive as the craziness in the office wore on. Mack also ended up losing some points in my eye, particularly with her inability to send a freakin' email and her interactions with Sloan. What kind of name is that, anyway? What is this, Ferris Bueller's Day Off? Anyway, this episode really turned me off of the show. I'll give it another episode or two, but let's hope that things turn around, or I'm just gonna leave this one behind me. What did you think? Was it a step down from the pilot? Are they just setting things up? What do you want to see in episode 3?
Mack asks Sloan about a word switch in the broadcast, then offers her five minutes every night to talk about economics. [borrrrrrrrrring!] She tries to deflect to someone more qualified, but Mack mentions that looks matter. [oh, good. for a second there I thought we were in 2010, but I guess it's still 1960 after all.] Mack then tries to make friends with Sloan but when Sloan says that they have in common they've been cheated on, things fall apart. Mack also learns that everyone in the office believes that she and Will aren't together because he cheated on her. Mack tells Sloan to tell everyone that isn't what happened, as Will has asked Mack to stay quiet about why they're not together.


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Home COVID 19 Three Medical Experts Join Hands For A Book On Coronavirus
Three Medical Experts Join Hands For A Book On Coronavirus
Seeking to demystify the global epidemic and debunk myths besides talking about its economic, political and social fallout, three medical experts have come together for a book on coronavirus.
"The Coronavirus: What You Need to Know about the Global Pandemic" is written by internal medicine specialist Dr Swapneil Parikh, clinical psychologist Maherra Desai, and neuropsychiatrist Dr Rajesh M Parikh and will be published by Ebury Press, an imprint of Penguin Random House.
According to the authors, writing the book in less than three weeks was a "transformative experience".
The book is out for pre-order and is expected to hit the market by the end of March.
Parikh says the book addresses the history, evolution, facts and myths around the COVID-19 threat.
"The elusive symptoms of the virus are making it harder to identify and assess the potential threat. Amid this, correct and expertly led information will be the key to mitigate the problem, and perhaps even clear the air," he said.
Stressing on the need for immediate action, co-author Desai says, "The situation we are in was inevitable. We have had multiple unheeded warnings. Are we willing to learn this time around? We are invincible only to the extent of our preparedness."
Parikh says "getting to know the phenomenal courage and dedication of healthcare workers across the world has made us look with renewed respect at our nursing and paramedical staff."
According to Milee Ashwarya, Publisher at Ebury Publishing & Vintage Publishing, the world is currently in the grip of this epidemic caused by COVID-19, and there is a lot of scattered information floating around leading to fear and panic.
The book explains the dos and don'ts, bust the myths, explain the history and evolution of the virus and share insights into what lies ahead for us, she adds.
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Iran News Roundup: July 19, 2012
Abed Rabbo Mansour HadiAhmadinejadBenjamin NetanyahuIleana Ros-LehtinenMehdi GhezaliMohammed Seddigh KaboudvandNargess MohammadiPedro DelgadoPresident ObamaRyuho Maru
Confusion Surrounds Identity of Suicide Bomber in Bulgaria
Swedish and Israeli officials are denying Bulgarian reports that the suicide bomber who carried out an attack on a bus full of Israeli tourists Thursday, killing five Israelis, was Swedish citizen connected to al Qaeda (The Atlantic 7/19).
In an interview with MSNBC, Israeli Ambassador to the United States Michael Oren insisted, "our sources confirm that Hezbollah was behind this. Hezbollah takes its marching orders directly from Tehran," (NBCNews 7/19).
President Barack Obama said the U.S. would "stand with our allies, and provide whatever assistance is necessary to identify and bring to justice the perpetrators." President Obama called Mr. Netanyahu to extend his condolences (WSJ 7/18).
State Department Official Calls Congressional Letter "Pandering" to Terrorist Group
State Department official Dan Fried called a Congressional letter supporting the MEK's refusal of the to abandon its paramilitary base in Iraq "pandering of the worst sort and completely undermines U.S. policy." House Foreign Affairs Committee Chairwoman Ileana Ros-Lehtinen (R-FL) and Rep. Brad Sherman (D-CA) are spearheading the letter to Secretary Clinton. (Foreign Policy 7/18).
State Department Calls for Release of Iranian Activists
The State Department voiced "concern" in a press release yesterday for Kurdish activist Mohammed Seddigh Kaboudvand and human rights activist Nargess Mohammadi, who are serving prison sentences in Iran. Kaboudvand has been on hunger strike since May 26, after authorities precluded him from seeing his ill son, and Mohammadi has been denied proper medical attention. The press release says both "are suffering from rapidly deteriorating health" (State Department 7/18).
Yemen Warns Iran Against Meddling
Yemeni President Abed Rabbo Mansour Hadi said on state television that Iran would "pay the price" if it continues espionage activities and meddling in Yemen. He threatened, "We will embarrass them in front of the world," (AP 7/18).
Ahmadinejad Says Sanctions Have Initiated "Heavy War"
Iranian press has quoted Iranian President Mahmoud Ahmadinejad as saying that the West has begun a "heavy battle" with Iran by tightening sanctions, but insisted Iran "will not retreat one iota" from its conviction that it should be allowed a right to a peaceful nuclear program (AP 7/19).
Ecuador to Import Iranian Oil
Ecuadorian central bank President Pedro Delgado has said it is negotiating with Iran for a purchase of $400 million in fuel, in spite of U.S. and E.U. efforts to suppress Iranian crude sales. Delgado told reporters, "Ecuador is a sovereign nation and can have relations with any country in the world," (Bloomberg 7/18).
Japanese-Insured Oil Tanker to Call En Route to Iran
A non-Iranian tanker will call at Iran's largest crude-export terminal for the first time since June 19, according to Bloomberg. A Japanese ship, the Ryuho Maru, which is insured by the Japanese state, will be the first international ship to carry Iranian oil since the July 1 EU ban on insuring vessels carrying Iranian oil was implemented (Bloomberg 7/18).
Indian Refiner's Imports of Iranian Oil Up 70 Percent from Last Year
The only private Indian refiner, Essar, which buys Iranian oil has increased Iranian imports significantly. Essar is imported 70 percent more oil this June than it did last June, and is expected to become the largest Indian importer of Iranian oil in July, overtaking Mangalore Refineries and Petrochemicals Ltd, which has been limited in its imports by insurance problems (Reuters 7/19).
Notable Opinion: "Brzezinski to Newsmax: War With Iran Could Last Years, Devastate Global Economy"
Former National Security Adviser Zbigniew Brzezinski discusses Iran:
"A war in the Middle East, in the present context, may last for years," Brzezinski, who served in the Carter White House, tells Newsmax in an exclusive interview. "And the economic consequences of it are going to be devastating for the average American.
"High inflation. Instability. Insecurity. Probably significant isolation for the United States in the world scene," Brzezinski says. "Can you name me any significant country that's going to be in that war together on our side?
"That's something no one can afford to ignore," Brzezinski adds.
Read the full article and watch the interview at Newsmax
Dear President Obama: Thank You for Breaking 34 Years of Silence with Iran
advocacyDiplomacyIranpetitionphone callPresident ObamaPresident RouhaniUN
President Obama broke 34 years of silence between U.S. and Iranian Presidents by calling President Rouhani on Friday. This was a historic moment, and the White House should know they have strong support from the American people for bold diplomacy with Iran. Tell President Obama he has your full support for diplomatic engagement with Iran […]
10 years later, is Iran replacing Iraq?
Benjamin NetanyahuInvasion of IraqIranian nuclear programIranian Nuclear Weaponiraq warIsraelIsrael war with IranLindsey GrahamRobert MenendezTen year anniversary of iraq warwar with iran
"There is no question whatsoever that [blank] is seeking and is working and is advancing towards the development of nuclear weapons — no question whatsoever. And there is no question that once he acquires it, history shifts immediately." If you automatically substituted in Iran for the blank here, you certainly cannot be blamed. The "no […]


Parents' Evenings for pupils in Reception and Years 1-6 – Monday 19th November and Wednesday 21st November 2018.
· Wednesday 21st November from 3.30pm – 6.30pm.
This is an opportunity for you and your child to see the class teacher to talk about your child's progress. It is important that you attend the meeting in order to discuss the targets set for your child and to identify how you can help your child at home. The meeting provides you with an opportunity to give the class teacher any information which you feel might help everyone to work in partnership to achieve high standards.
The consultations will take place in the school hall – please enter through the main school entrance.
Parents' Evenings for pupils in Nursery – Monday 19th , Tuesday 20th and Wednesday 21st November 2018.
– please enter through the Nursery classroom entrance.
If you have any issues or queries with the process please contact the school office as soon as possible.


Texas has endured a number of serious storm systems this year, many of which have actually produced dangerous hail. Last April, in San Antonio, a single hail storm caused an estimated $1.4 billion in damages to home and business owners—making it the costliest storm in our state's history.
In El Paso, we saw hail storms just this past week. On Friday, November 4, West and Central El Paso were pounded by a serious storm system that delivered high winds, torrential rain, and punishing hail. Communities all over the city spent the weekend cleaning up their properties and it's likely that many are already in the process of filing storm damage insurance claims with their insurance provider.
Following a major storm, even one that is widely publicized and felt throughout a community, some insurance providers will still dispute the claims of their policyholders in order to protect their own bottom lines. It doesn't matter if the damages are obvious on your property (and your neighbors' properties), these companies will still endeavor to minimize and even outright deny certain claims. When they do, it's often because they've acted in bad faith.
If you are an El Paso home or business owner who is experiencing resistance from your insurance company, then it may be time to seek proven legal counsel. A dedicated and knowledgeable El Paso hail storm damage claim attorney can help you assert your claim, negotiate with insurance providers on your behalf, or even take them to court.
At Farah Law, this is precisely the work our legal team is prepared to do for the individuals, families, and business owners of El Paso. We're ready to assess the issues with your claim and take aggressive, proactive steps towards ensuring that your hail storm damage claim receives the recognition it deserves.
Contact us today to start exploring your legal options. We're ready to hear your story.


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Subscribe to the company
Ingersoll Rand is an American worldwide provider of industrial equipment, technologies and related parts and services to a broad and diverse customer base through a family of brands. The company has over 30 manufacturing facilities located in the Americas, Europe, the Middle East, and Asia Pacific with offices in 35 different countries. Based in Milwaukee, Wisconsin, it operates in three groups: the Industrials Group, Energy Group, and Medical Group.
The Industrials Group designs, manufactures, markets and services a wide range of products including rotary screw, reciprocating and sliding vane compressors, multistage and positive displacement, centrifugal and side-channel blowers, vacuum technology as well as mobile transport products. The end market sectors served by the Industrials Group are primarily industrial manufacturing, transportation, energy, mining and construction, environmental, and food and beverage.
The Energy Group manufactures, markets and services liquid ring pumps and engineered systems for power generation, environmental, petrochemical, pulp and paper and industrial applications; pumps and fluid transfer equipment used primarily in oil and natural gas well drilling, servicing and production, and petrochemical and industrial applications; and water jetting pumps. The Energy Group includes three divisions: Petroleum Pump, Nash, and EMCO Wheaton. The Petroleum Pump Division designs, manufactures, tests and markets a diverse range of pumps for the oil & gas industry. Nash is the leader in liquid ring vacuum pumps. The Emco Wheaton Division designs, manufactures and installs a wide range of solutions for the loading and unloading of almost any liquid and compressed gas products from river barges, ships and oceangoing supertankers. In addition, Emco Wheaton and Todo swivel joints, Dry-Break couplers and adapters, off-highway fueling systems and grounding equipment are all used within bunkering applications; the transfer of oil via hoses, pipelines, or loading arms for the purpose of providing fuel or lubricants to a tank vessel or nontank.
The Medical Group manufactures single-piece piston reciprocating, diaphragm and linear compressor and vacuum pumps, which are used in medical, environmental and laboratory applications.
http://irco.com
New York Organizations
Stock market this week: reports from Home Depot, Nvidia and Walmart
NEW YORK COMPANIES
New York business portal GlobalNY.biz includes a huge directory of organizations operating in New York. Here you can easily find all the necessary information about the company. The organization card contains a full info page with a detailed description of the company's activities, logo, contact details and a link to the organization's official website. The reader can also immediately familiarize himself with the staff of the company, see the latest press releases and news block, and also see what line of the rating the company occupies. The rating of a member of the GlobalNY.biz business portal is calculated based on the number of mentions in the New York news and posted press releases containing information about the organization's activities and its achievements. You can also rise in the rating by publishing vacancies, as well as the number of registered persons. At the same time, company representatives can independently see how many times the company's card has been viewed on GlobalNY.biz, as well as promptly correct the information.
We pay special attention to the multifunctionality of the "Companies" section. For your convenience, there is a search box, as well as an industry heading.
New York Business Portal is always up-to-date database of New York enterprises!
Rating of persons
MUSK Elon Reeve
CEO of Tesla
BANKMAN-FRIED Samuel
Founder of FTX
DESANTIS Ronald
Governor of Florida