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Posted on October 9, 2021 October 16, 2021 by Brittany Frederick
Goliath composer Jon Ehrlich on season 4 and his impressive career
Goliath season 4 isn't just the end of the road for Billy McBride—it's the culmination of what composers Jon Ehrlich and Jason Derlatka have been working on. The veteran TV duo are responsible for the score that's been part of Billy's incredible, tumultuous and poignant journey, and season 4 represents some of their best work on the Amazon Prime Video series. Luckily, you can own it forever; Goliath: Amazon Original Series Soundtrack, containing music from the entire program, is now available here.
Jon joined me for my latest interview to discuss the creative decisions that went into the Goliath season 4 score, his overall experience working on the series, and how much he and his co-composer have accomplished in TV. Plus, we take a few moments to celebrate the best show the Emmy nominees worked on that completely slipped under audiences' radar.
Brittany Frederick: Did you approach Goliath season 4 any differently knowing that it was also the show's final season?
Jon Ehrlich: Not because it was a last season; because each season was distinct and had its own visual and musical vocabulary. We approached each season as its own eight-episode film, I would say.
BF: How would you compare the music and character themes of season 4 to what you started with in the first season? How much has the sound evolved over the course of the show?
JE: There's really kind of two lanes. The lane that is threaded through all four seasons, which was more primary in the first season, is the sound—the more electronic, I'd say Trent Reznor-y, slightly twisted sound—of the dark, powerful, shadowy Goliath force. That's always looming out there, that's hovering over Billy and you feel it casting this ominous shadow on him that he can't possibly get out from under. Which is in a sense what the show is. The show is this guy who's damaged and barely hanging on by a thread in his personal life and career and then he's the reluctant hero who's called upon to resurrect himself and go up against this Goliath—to slay the dragon.
That voice was there throughout. In the first season, it was more dominant and more primary, because we were establishing this conceit. But then as we got into the second, third and fourth seasons, each one had its own sort of environment visually, rhythmically, dictated by locations and each season's antagonist, the Goliath.
The second scoring voice was more particular to what we were seeing and feeling—to the world Billy found himself having to navigate. The hird season, for instance, takes place in the Central Valley and it deals with water rights. Visually, it's sort of gorgeous, but the rhythm of it is much slower, and there's this sense of the earth as parched and thirsty. There was this sense of the landscape drying up, like the water's being sucked out from under the inhabitants of this area. So the sound that we sort of developed and paintbrushes we were using, as it were, were made up of sounds that were very specific to that landscape and that rhythm of storytelling.
Whereas the fourth season is in a completely different world, in a completely different environment. It takes place in San Francisco, in Chinatown, but from a visual standpoint, from a storytelling standpoint, it's kind of like this throwback to classic film noir. Larry Trilling, who was the director and showrunner, created these visuals that are just dripping with noir. He even visually quotes shot for shot certain films like Rear Window, Vertigo, High Noon, To Catch a Thief. And this is all because what we're seeing is through the prism of Billy's struggle with his inner demons.
He's working through his troubled childhood that centers around the relationship he had with his emotionally abusive father. The memories with his dad are fused together with the old noir movies they watched, because it was the one thing that they did together. So we're seeing these kind of fragmented memories through the prism of these classic noir films—Billy's hallucinations where he's the noir hero of his own classic film that tells the story of what he's struggling with in this season—his physical and emotional pain.
That connects to the larger story, which is this season's Goliath: Big Pharma. We're dealing with the opioid crisis that has killed and destroyed so many lives and ravaged communities, and it's something that Billy is experiencing himself firsthand.
BF: Did those movie callbacks mean that maybe you musically played with the scores of some of those classic movies? Will we hear any cinematic references as well?
JE: Not exactly so you will hear it as a classic noir score. That's what was so fun about this. [It] was such a rare opportunity to inhabit that orchestral, melodic, harmonic space. When you're working in a vernacular that is more or less "classic," where you're called upon to write in a period, I'm sure it's similar for people who are doing costumes for a period piece. Either you're going to approach it from the standpoint of being self-conscious about the fact that you're quoting that era, or you do it from a place of love and reverence and you embody that era, and that's what I hope we did.
That's what we tried to do. It should feel like it's transporting you back to that time, and you're experiencing this story in the way that Billy is, in essence, experiencing it. What we're seeing is a film of Billy's own making where he is the film noir hero. We don't want to comment on it from outside because we're inside his head. So the one caveat to answering that question is that one of the really interesting little threads in there, there's something that Billy Bob [Thornton] in the early going brought up and asked if we could kind of incorporate. He directed the first episode. And so I had a couple of conversations with him and he, along with Larry Trilling, informed quite a bit of how we approached the scoring. They had a lot of really interesting ideas and their input was integral to the approach we took with this season.
One of the things that Billy Bob brought up was that Billy's living in an apartment in Chinatown and his apartment looks out over this alleyway with all the other windows across the way. It sort of hauntingly feels like he's Jimmy Stewart in Rear Window, and one of the lives that he's voyeuristically made aware of from this apartment window is this woman who is perpetually practicing trombone. She's just playing, over and over again, working on this Tchaikovsky melody.
I approached it from the standpoint of, he's not all that conscious of the melody. I'm thinking he's aware that there's this woman who's practicing trombone day and night. It seeps into his unconscious, this melody. And there is a thread as we get into later episodes where that melody goes from being this sort of source piece that we're hearing in "reality," which is a bit fuzzy anyway because we're never sure exactly where we are with Billy—that line between what's real and what he's experiencing in his unconscious [is] very blurry. But there are places where a development of that Tchaikovsky theme manifests in the score.
BF: You and Jason have worked together for years on a wide variety of projects, including The Agency on CBS, which was an incredibly underrated series. 20 years later, what do you remember about that show?
JE: The most vivid memory I have is 9/11. I remember working on the main title theme over the summer leading up to 9/11, and there was a lot of back and forth on "What is the essence of this show?" And I think we were all really clear on the fact that the show was about the lone hero, who's invisible, who's standing on that wall or cloaked in secrecy. And thinking about the stars on the wall, thinking about the fact that not only do they sacrifice their lives very often, but they're sacrificing their identity, they're sacrificing credit.
We definitely had it in our heads that we were going to approach the score or at least that lone hero's voice with a solo trumpet. That voice was present in every episode at some point. The theme that I ended up coming up with for the main title is also at some point in the score of every episode—there was always a moment bringing back that sense of the tragic hero who is nameless. So I was working on that theme, and it was an orchestral theme with a solo trumpet, and everyone was all excited about the it. And then a week before 9/11, at the last second, somebody got wind of what they were doing on Alias, because that was also a new show.
Alias seemed to be getting more press, and some of the executives were like, we hear they're doing this techno score. That was a very popular score at the time and they were like, can we do an Alias-type main theme? I was very reluctant because I felt like that's just not really what our show is, but okay, I understand this is a promotional tool. So we did a couple versions, sort of techno main titles. And I seem to recall that they picked one that they liked better, and I was going into the studio literally on 9/11. That day I was scheduled to go in and record it, and mix it, and finish it.
That morning my wife woke me up at 6 AM and we had an infant who was sitting in her high chair and we were watching the towers come down and it was horrifying and devastating. And all of a sudden, I was thinking I have to go into work now. And this thing I'm about to do, this techno score that's going to depict the CIA out in the world tracking down terrorists, having fun and being cool is just not going to play in our new reality. I just remember it was so obvious that it was going to be gross to do that. I went in that day, I remember working on it and thinking There's just no way that this is going to be usable after what just happened.
They ended up postponing the premiere a couple of weeks, because they realized there were things in the show that were too close to home. And then I remember they said, well, can we do a hybrid? So I did this half-techno, half more orchestral heroic thing. I always felt like it was neither here nor there, it just felt like it didn't know what it was. But I really enjoyed working on the show.
BF: Was there a particular memorable episode of The Agency for you musically? Because it truly was a timely series.
JE: We were recognized for one of our scores for that show—that was the Afghanistan episode [season 2's "The Great Game"], probably by no coincidence—and got an Emmy nomination for that. That was a pretty cool episode. I remember bringing in a woman, her name was Azam Ali and she was a Persian, Middle Eastern vocalist. We did a bunch of authentic vocals from that part of the world.
It was fun, because episodes took place in a whole variety of locations from week to week. We got to spread our wings a little bit and experiment with different locations, different vernaculars. And so, yeah, good memories except for the 9/11 part.
BF: How much are you and Jason able to carry over from one project to another? Do you ever learn things on an early show like The Agency that then is useful on a more current series like Goliath? Or if you're doing shows in the same genre, like House and The Resident?
JE: House is a different show than The Resident, but it's a medical show, so there are similarities. But similarities more from the standpoint of you have these scenes where you're scoring a differential, where they're trying to diagnose a patient. What does this person have? The grammar is the same, but the vocabulary is different. Sounds that we're using in The Resident are affected by the change in technology. Ten, fifteen years later, the sounds you're using are different.
The Resident is looking more at the dark side of the healthcare industry, and also the lead character is more of a rebel, so the sounds we tend to use are grittier, glitchier, sounds that just weren't in the vernacular at that time. The House sound all came from the fact that the lead character was a guy who is solving puzzles, and he was a genius, and he didn't really care so much about the patient. He was a character who had no bedside manner. Even though ultimately he did have his own unique brand of humanity, we were to led believe that if we were inside his head, he was all about solving the puzzle. Which was a primary point of view for the score.
A lot of what the score revolved around was manifesting his process of figuring stuff out, so hopefully it did help the audience feel like we were inside that idiosyncratic, scientific mind. His mind was racing and darting between unconventional thoughts, as opposed to feeling a sense of loss or concern or whatever. Which is much more a part of The Resident, where we're dealing with characters who, if anything, they're extra emotional about the stories and that's what often causes the conflict. Because they're in a system that makes it hard for them to actually care for the patients.
Goliath season 4 is now streaming on Amazon Prime Video. You can purchase the Goliath season 4 soundtrack here.
This entry was posted in:Interviews, Music, Television
Tagged with:Amazon, Amazon Prime Video, Goliath, Goliath season 4, House, Interviews, Jon Ehrlich, Music, Television, The Agency
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A favorite of Santa Barbara audiences during his 17 years as the music director of the Los Angeles Philharmonic, maestro Esa-Pekka Salonen made a triumphant return to the Granada on Wednesday at the head of London's Philharmonia Orchestra. The program, which featured works by Arnold Schoenberg and Anton Bruckner, proved an ideal platform to showcase the Philharmonia's lush sound, crisp articulation, and, particularly in the Bruckner, its massive power.
Schoenberg'sVerklärte Nacht, Op. 4, is the composer's best-known work, and, along with Stravinsky's Rite of Spring, is among the most widely lauded avant-garde compositions of the 20th century. Inspired by a poem that defied bourgeois sexual mores, the work describes an eerie and unsettling arc as it drifts from D Minor to D Major. Under Salonen, the Philharmonia's strings turned the forbidding nocturnal strangeness of the piece into a mesmerizing, oceanic experience of the range and colors of their instruments.
For Bruckner's Symphony No. 7 in E Major, the focus pivoted from the strings to the brass, in particular the tubas. A section of special "Wagner" tubas plays a key role in the stunning crescendos that erupt throughout this sensational symphony. The Philharmonia musicians are without peer when it comes to deploying the full range of techniques and instruments available to them, up to and including having the principal tuba player switch seats for different passages. The sheer volume that makes Bruckner's Seventh such an unforgettable live experience was enhanced by the supreme precision and control with which these players handled every detail. The Philharmonia Orchestra received a raucous standing ovation for what was unquestionably one of the most intense performances of the season.


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Babylon's Fall will be available online only and will support cross-play between PC, PS4 and PS5 – Nerd4.life
By Daniel Jacobs 7 months ago
fall of Babylon It will be a game online only and will support via play between PC and PS4/PS5. New details of the game were provided by the same development team in an 11-minute behind-the-scenes video, unfortunately only in Japanese.
Fortunately, Twisted Voxel summed up the highlights of the interview:
The game has a client server system.
It will present a non-Western and unique non-linear view of the higher imagination;
The goal of the players will be to conquer the giant tower of Babel, and reach the top after passing all the floors. Inside the tower there are even volcanoes and snow-covered mountains.
Players will be able to equip two weapons at a place called Gideon Arms. There will be light and strong attacks.
The difficulty level is easier than that of NieR: Automata;
There will be better options for players;
Among the weapons there will be more than swords, hammers, bows, sticks and shields.
It is a hack-and-slash game, so players can continue to play after completing the story;
There is a character growth system, which is not based on skill trees, completely absent. It is basically a game in which you upgrade yourself with weapons and armor;
Babylon's Fall will be available online only and will not be playable offline;
Cross-play is supported, but cross-purchase and cross-save are not supported;
You will not pay for additional game modes;
PvP is not on schedule.
For the rest, we remind you that the Babylon Fall closed beta is coming soon. There is no official release date for the game currently, although it is expected to be in 2022.
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Daniel Jacobs
"Incurable web evangelist. Hipster-friendly gamer. Award-winning entrepreneur. Falls down a lot."
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In England, summer has gone before you've even realised it's arrived. Before long it's back to the seemingly perpetual drizzle and winter coats weather. However, today the sun is shining! Instead of moaning about it like I usually do (I'm ginger, what can I say?), I'm going to focus on making the most of the summer and our current good weather.
Such a lovely post 🙂 Total agree between 5am and 7am is one of the best parts of the day: a shame I keep missing it!
Thank you! I know what you mean – it takes some willpower, but once you get into the habit of waking early it becomes a lot easier. I'm definitely a morning person: I seem to get so much more work done if I'm up at unearthly hours.


DSW in their latest circular introduced new rule restricting the 24 Hour Entry to boys hostel upto 10 pm. Any entry after 10 pm will be recorded by the gatekeeper. Hostel authorities will charge a fine of 250 rupees for each late entry. DSW revoked the unrestricted entry keeping in view the safety of young men. The initiative came after several incidents of girls doing Gedis after guys were recorded in the campus as well as in other areas of Tricity.
A local politician commented that the boys should take care of their own safety and should not roam around late at night in shorts and revealing gym clothes. Some boys complained that the new timing regulation is an encroachment on their rights and condemned the politician's comment. They said that it should be the duty of the University authorities to ensure their safety while allowing 24 Hour Entry. Student political parties are threatening to go on an indefinite hunger strike for this cause until the new regulations are rolled back.
Disclaimer: This article has been published under our Thursday section of Bogus Bulletin and is purely a work of the writer's imagination. It has no relationship with reality. The good news is that both boys and girls are as free as they were before reading this article.
I love reading, taking long walks and listening to music. What I believe is your words do make a difference. How ever small and insignificant the difference might seem to be, trust me it still counts! So, write your heart out.Tell the world the truth they are escaping from as well as the fiction in which they can find an escape.My mantra in life- Dreams don't work unless you do.


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Bus or Train Accident Injury Lawyer: Chicago, Wheaton
A train derailment or a bus collision can cause serious injuries. If you have been hurt in a train accident or any other mass transit accident, talk to a personal injury lawyers at the Russo Law Offices in Chicago and Wheaton, Illinois.
Put Our Personal Injury Experience to Work for You
When trains collide into each other or when a bus hits a pedestrian or a car, the injuries are often catastrophic and life-changing. When a taxicab in a hurry runs a red light and T-bones an auto, taxi passengers and the car's driver and passengers can suffer serious injuries. Our law firm can handle the claims quickly and professionally:
We can deal with the insurance company and the transit company. If you have suffered serious injuries, it can be difficult to fill out claim forms and make sure you are being treated fairly. When you have a claim involving Amtrak, Burlington-Northern, the METRA transit system or a cab company, you can depend on attorney Richard Russo for professional, aggressive representation.
What is fair compensation for a mass transit accident? Compensation depends on the nature and seriousness of your injuries. Compensation can also be affected by the transit company's negligence, equipment failure, transit employee errors and other factors. Talk to a personal injury lawyer about an evaluation of your case.
We can conduct a thorough investigation of the accident. Our law firm has investigators and experts available to examine the scene of the accident, preserve evidence, reconstruct the accident and determine all liable parties.
At the Russo Law Offices in Wheaton and Chicago, you can be assured of finding the right lawyer to help you with a personal injury claim for train accident injuries or other mass transit injuries. Attorney Richard Russo, using all the resources of the Associated Legal Services Chartered, provides experienced representation for clients who require a personal injury lawyer.


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It's Opening Day!!
Ernie Harwell used to open every Opening Day broadcast with this quote from the Bible
"...For, lo, the winter is past, the rain is over and gone; The flowers appear on the earth; the time of the singing of birds is come, and the voice of the turtle is heard in our land..." Song of Solomon 2:11-12
Hall Of Famer Jim Bunning
Jim Bunning's Rookie Card: 1957 Topps # 338 Autographed
There's a new Jim Bunning page posted, featuring autographs on his Tigers era cards. Check them out here.
Miguel Cabrera Signs 10-year, $292-million deal
2010 Topps Allen & Ginter # 139 Miguel Cabrera Autographed
It looks like Cabrera will finish his career with the Tigers. Cabrera is an amazing hitter. If you watch the Tigers daily, you'll see that he's special. He just hits...he always hits. He consistently gets the runners in from 2nd and 3rd base. He's a triple crown winner, MVP, and has a chance to be one of the greatest players in the history of baseball.
The obvious question is: can he stay healthy? Cabrera's body broke down at the end of last year. Weight has always been a concern. He's 30 now. How healthy will he be a 37? Getting him back to playing first base will help.
The Tigers have two of the biggest names in baseball locked up in long term contracts - Verlander and Cabrera. The time to win it all is now.
1985 Topps # 73 Rusty Kuntz
1985 Topps # 73 Rusty Kuntz Autographed
Rusty Kuntz was with the Tigers for a short time - 84 games in 1984 and only 5 games in 1985 - but he had great timing. He won a World Championship with the Tigers, and is the answer to one of the best trivia questions from the 1984 season: Who hit the game winning RBI in Game 5 of the 1984 World Series; the final game that made the Tigers World Champs?
Most people answer Kirk Gibson because of his famous homer later in the game (see my post from March 18, 2014 for more details on that homer) but it was actually Rusty Kuntz's pop fly sacrifice to 2nd base in the 5th inning that scored the go ahead and winning run.
Mr. Kuntz signed this card for me via the Kansas City Royals spring training camp in Arizona. He is currently the Royals' first base coach.
2014 Topps # 195 Nick Castellanos PSA 10
Had to add the graded card to the Rainbow / type run. I'm now up to 16 different versions of this card. You can see them all here.
Castellanos has had a good spring. It will be fun to watch how he does during his first full year in the majors.
Below are some various pictures that I took during spring training of Castellanos.
Nick Castellanos Signing Autographs Before A Game
Dave Dombrowski Presents Nick Castellanos the detroit Tigers Minor League Player Of The Year Award
Nick Castellanos in the On Deck Circle
Nick Castellanos Hits A Double
Austin Jackson, First Base Coach Omar Vizquel, And Nick Castellanos Talk During A Pitching Change
1968 Topps # 10 Pitching Leaders Autographed: Earl Wilson
It's funny how things sometimes work in autograph collecting. My 1968 Tigers team had been stalled for over a year, and then I get two cards done in a week (see the other card on my 3/20 posting). This card came via ebay, signed by Jim Lonborg, Earl Wilson, and Dean Chance. Wilson passed away suddenly in 2005 of a heart attack. His 1968 autographed cards are always in demand.
2014 Topps # 297 Scherzer PSA 10
2014 Topps # 297 Max Scherzer PSA 10
Max had a career year in 2013, going 21-3 with a 2.90 ERA. He was the ace of the staff, with Verlander having a down year. 2014 is the final year of his contract and he has recently cut off negotiations with the Tigers until the new season ends. Can Scherzer come close to repeating what he did in 2013? Will Max be traded in 2014? Will the Tigers get a deal done? Stay tuned as this will be a big story all year long.
Here is Scherzer's newest Topps card for 2014, already graded a PSA 10. You can see my Topps Type Set run here.
The Newest Tiger: Andrew Romine
With Jose Iglesias lost for the year, the Tigers are in trouble at shortstop. There was even talk of pulling first base coach Omar Vizquel out of retirement. So Dave Dombrowski made a move. He traded pitcher Jose Alvarez to the Angels for infielder Andrew Romine. Romine made his Tigers debut in Lakeland yesterday, wearing number 27. This shot was taken as he was waiting on deck.
2014 Topps Vault # 195 Nick Castellanos Blank Back 1 Of 1
2014 Topps Vault Nick Castellanos 1 of 1 Blank Back
Topps certainly has figured out how to string player collectors along. This is the one of one blank back of Nick Castellanos that I recently picked up. Now the Opening Day cards have been released, which are identical to the regular Topps issue, except for the "Opening Day" logo and date. As I complain, I'm also planning on picking up all of the Castellanos from that set as well; it's been a fun diversion this spring as I hardly ever buy new cards, except for
2014 Topps Vault Nick Castellanos 1 of 1 Blank Back - Front
the purposes of obtaining autographs. This is my 15th different 2014 Topps # 195 Castellanos, and it's still only
Gerald Laird & Miguel Cabrera March 21, 2014
We had great seats for yesterday's spring training game against the Braves at Disney, allowing me to get some good photos. Miguel Cabrera took a moment to catch up with former Tigers catcher Gerald Laird before his first at bat. Laird was with the Tigers in 2009, 2010 and again in 2012. Less then a minute later, Miggy wasn't very happy, as he had to lean back from a pitch at chin level.
Miguel Cabrera & Gerald Laird Game 2, 2012 World Series
I stumbled across this picture of Cabrera and Laird from Game 2 of 2012 World Series. They were hoping a bunt by Gregor Blanco of the Giants would go foul. It didn't...
T206 Detroit Tigers
T206 Ty Cobb Sweet Caporal 150 Series, Factory 30
The T206 set, also known as "The Monster", is now over 100 years old. Collecting the card backs is becoming extremely popular, most likely because completing the 500+ card set is so cost prohibitive. I'm working on getting all 30 Tigers that are in the set with 30 different backs - no easy challenge in itself - especially considering there are four different Cobbs in the set. You can check out my progress here. If you have a card I need, please contact me.
1968 Topps # 201 Mike Marshall
1968 Topps # 201 Mike Marshall Autographed
So, there's this guy that drives Detroit Tiger autograph collectors crazy. He appears as a 1968 Topps Tiger, but he didn't play one inning for the Tigers in in their World Championship year. None the less, he is on many collectors want lists because he hasn't signed through the mail in years. When he does the occasional private signing, his prices far exceed what a player of his background would normally command.
Marshall pitched a total of 14 seasons in the majors. He was a rookie in Detroit in 1967, appearing in 37 games. He spent all of 1968 in AAA Toledo, with a 15-9 record and a 2.94 ERA. He was then selected by the Seattle Pilots in the expansion draft, and that was the end of Marshall's relationship with the Tigers. Mike Marshall went on to win the Cy Young Award in 1974 and set a major league record the same year with 106 relief appearances.
While still pitching, he earned a Ph.D Kinesiology; which is why he signs his autographs as "Dr. Mike Marshall". Because of his 1968 Topps card, and for being an original Seattle Pilot, his autograph is in demand with collectors. It's a classic case of supply and demand. He rarely signs, so his prices are high. People like me pay those prices because we have a sickness and need to complete our sets!
The History of Kaline's Corner
Briggs Stadium: December 27, 1954
Everything you wanted to know about how Kaline's Corner got its name can be found here.
Kirk Gibson & Gossage: Game 5 1984 World Series
1984 World Series Game 5 Ticket Stub; Autographed
Sunday, October 14, 1984: one of the greatest days in Detroit Tigers history. Kirk Gibson's homerun in the 1988 World Series when he was with the Dodgers is known as one of the greatest homeruns in MLB history, but this homer from Gibby is much more meaningful to Tiger fans.
The Tigers were already ahead in the game, and on their way to winning the World Series in five games, but this upperdeck bullet put an explanation point on an amazing season. It's a classic confrontation; the cocky kid Gibson, and the confident veteran and future HOFer, Goose Gossage. This time, Gibby won. The build up to the home is seen in the footage below. It's classic Sparky Anderson.
Kirk Gibson vs. Goose Gossage: Game Five 1984 World Series
Need to see more? Watch the Entire Game 5 Here:
1985 Topps # 269 Doug Baker
Doug Baker made his major league debut on July 2nd, 1984, with what would eventually become the World Champion Detroit Tigers. Shortstop Alan Trammell was having soreness in his throwing arm, and Baker was called up from Triple-A to fill in. Baker went on to play in 43 games in 1984, and to play in a few scattered games with Detroit from 1985-1987. He arrived too late in the season for a 1984 card, so his first major league card was this one from 1985.
Thoughts and findings of a lifetime Detroit Tigers fan and collector
1980s Autographs
1984 Ticket Stubs
Alan Trammell
Al Kaline
Andrew Romine
Art Houtteman
Bill Freehan
Birdie Tebbetts
Bob Lemon
Bruce Robbins
Carlton Fisk
Cecil Fielder
Chet Lemon
Chuck Hernandez
Dan Gonzales
Dave Bergman
Dave Stegman
Dave Tobik
Dick McAuliffe
Dick Wakefield
Don Wert
Earl Averill
Earl Wilson
Ernie Harwell
Frank Lary
Gerald Laird
Hank Greenberg
Harvey Kuenn
Jim Bunning
Johnny Damon
Justin Thompson
Ken Holloway
Kip Young
Kirk Gibson
Mark Fidrych
Max Scherzer
Mickey Cochrane
Mickey Tettleton
Mike Marshall
Milke Chris
Nick Castellanos
Pio DiSalvo
Ron LeFlore
Rusty Kuntz
Schoolboy Rowe
Sparky Anderson
Steve Kemp


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training on various aspects of educational project management.


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O Teatro Municipal Procópio Ferreira é um teatro municipal localizado no município de Presidente Prudente, estado de São Paulo. Leva o nome de um dos maiores atores brasileiros e é o espaço público de maior utilização da cidade.

Está situado no subsolo do prédio da Prefeitura Municipal, onde funcionava o almoxarifado. O Teatro Municipal tomou forma pelo desejo dos artistas do município que sensibilizou a administração da época. Com 286 lugares, preserva até hoje a estrutura arquitetônica dos teatros dos anos 60 como o forro ondulado e o lambri.

Presidente Prudente
Teatros de São Paulo (estado)

redpajama_set_name: RedPajamaWikipedia


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Clifford Edward Thornton (* 6. September 1936 in Philadelphia, Pennsylvania; † 25. November 1983 in Genf) war ein US-amerikanischer Jazz-Posaunist und -trompeter.

Leben und Wirken
Thornton studierte in den 1950er Jahren bei dem Trompeter Donald Byrd und arbeitete u. a. mit dem Tubaspieler Ray Draper. Nach seiner Armeezeit ließ er sich in New York nieder, wo er als Sideman u. a. mit Sun Ra (Art Forms of Dimensions Tomorrow), Archie Shepp, Sam Rivers und Sunny Murray aufnahm.

Er betätigte sich dann als Bandleader (u. a. das New Art Ensemble) und Komponist und gründete ein eigenes Plattenlabel (Third World Records). 1967 erschien sein erstes eigenes Album (Freedom & Unity), dem in schneller Folge weitere folgten. 1971 spielte er mit Joe McPhee (Survival Unit II with Clifford Thornton: At WBAI's Free Music Store, 1971). Seit Anfang der 1970er Jahre hielt er sich vorwiegend in Europa auf.

Diskographische Hinweise
Freedom & Unity (Atavistic, 1967) mit Karl Berger, Jimmy Garrison, John McCortney, Joe McPhee, Don Moore
Ketchaoua (BYG Actuel, 1969) mit Dave Burrell, Claude Delcloo, Earl Freeman, Beb Guérin, Arthur Jones, Grachan Moncur III, Sunny Murray, Archie Shepp
The Panther and the Lash [live] (America, 1970) mit Beb Guérin, Noel McGhie, François Tusques
Communications Network (1972) mit Jerome Cooper, Jayne Cortez, Nathan Davis, Jerry Gonzalez, Jay Hoggard, L. Shankar, Sirone
The Gardens of Harlem (1974) mit Roland Alexander, Carla Bley, Pat Patrick, Marvin Peterson, Dewey Redman, Wadada Leo Smith, Bob Stewart, Carlos Ward
 Joe Malinga's Mandala feat. Clifford Thornton: Tears for the Children of Soweto (1980)

Weblinks

Jazz-Posaunist
Jazz-Trompeter
Musiker (Vereinigte Staaten)
US-Amerikaner
Geboren 1936
Gestorben 1983
Mann


Bristol Owners Heritage Trust is an independent registered charity and supported by individuals' kind donations. Charity law means that we cannot be run by another body but have to be autonomous, and therefore the Bristol Owners Club does not support us financially.
If you like the look of what we're doing, your support will be very helpful. We are always on the lookout for supporters and new archive material; and of course money helps!
UK taxpayers can add 25% to their donations by signing the Gift Aid form; and higher rate taxpayers can claim something back on their tax returns. Legacies are also very welcome.
For information on how to contribute, please download our donation form here: "How to Help".


Productive Communication - William Perez Compiled with advise from Brian Smith, Thomas Parker, Jeffrey Taylor, Christopher Turner, Anthony Edwards, Timothy Martin, John Allen, Daniel Taylor, Ronald Moore, William Martin, Christopher Davis, Ryan Walker, Justin Garcia, Christopher Lee, Gregory Adams, Samuel Hill, Edward Collins, Kevin Lopez, Donald Moore, Kevin King.
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How to Send Money to China
By: Joshua Duvauchelle
Many individuals and students in the United States have friends, family or business associates in the People's Republic of China. Often, these individuals need to transfer funds between the United States and China. Learn how to send money to China securely and efficiently from the United States.
Contact the Bank of China's U.S. branch (based in New York City) at (212) 935-3101 or online (see Resources). Request that the bank transfer funds through the Global Payment System. Your money will be sent to your Chinese recipient within one business day. Likewise, individuals in China can send money to you in the United States. You will need to mail the Bank of China a certified check or send the money electronically. For electronic transfers, the bank's SWIFT number is BKCHUS33. You may also use the ABA system (#026003269) to send money.
Consider using a third-party money transferring service to send money to China. Financial institutions that service China include MoneyGram and iKobo Money Transfer (see Resources). These services function much like traditional money orders, albeit on an international scale. You will need to deposit money into an account with the respective service. Then, you'll be provided a reference number which you give to the recipient in China who can then use the number to collect the money you've sent.
Send the money directly to a Chinese bank from your U.S. bank account. Contact the individual in China to whom you wish to send money and ask them for the SWIFT number for the Chinese bank that they use. You will also need the Chinese bank's name, phone number and mailing address. Request that your U.S. bank wire money to the Chinese bank using the information you provide. Due to the international nature of your wire request, your bank may charge you a transaction fee.
Write a personal check and mail it to the individual in China. Most national Chinese banks are able to cash and process U.S. checks, though the transaction fee may add significant costs to the process.
How to Wire Money From China to the USA
By: Allan Hu
How to Transfer Money from India to UAE
By: Stephanie Faris
List of Banks That Handle MoneyGrams
By: Jennifer Holik
How to Send Money From Bangladesh to the USA
By: Alicia Bodine
How to Wire Money With Western Union
By: Craig Berman


Today the Center for Consumer Freedom (CCF) pointed to a recent ruling by the New Jersey state appeals court that threw out yet another frivolous lawsuit filed by the Center for Science in the Public Interest (CSPI). CSPI, a self-described "food police" group with a long history of filing media stunt lawsuits, alleged in July 2009 that the amount of sodium in Denny's items violates New Jersey's consumer protection statutes. The second New Jersey court upheld the dismissal of the case.
CSPI, it seems, fundamentally disagrees with the concept of personal responsibility in food choices. Instead, the group has advocated for a host of draconian taxes, bans, and lawsuits aimed at restricting American's food and drink choices. Despite having the word "science" in their name, CSPI's lawsuits are far more about scare tactics and PR than they are about science.


J.B. Hunt Transport Services, Inc. (JBHT) today announced the company will participate in the Capital Research Global Mid-Cap Conference: Wednesday, November 28, 2018, 9:30 a.m. PT, The Langham Hotel, Pasadena, CA.
Any conference information presented will be available on the company's website.
Interested parties may view this press release on the company's website.


Discussion of the hottest personal tech stories of the week; mobile apps, gear, social networking, and entertainment.
WIRED's Peter Rubin joins the Gadget Lab podcast to talk about his experience wearing Nike's newest self-adjusting sneakers. Plus: Nitasha Tiku weighs in on mandatory arbitration at tech companies.
WIRED's Gadget Lab team kicks off the new year with a wrap-up of the year's biggest electronics show. Plus, an interview with Reddit's Jen Wong.
Wired's Gadget Lab team sums up this year in tech. Plus: An interview with the CEO of a futuristic fitness company.
Climate change is real, and it's impacting us right now. How much of it can be fixed by personal responsibility versus policy?


What Is A Lapse Point In E-commerce?
Maintaining a successful online business is a complex juggling act. Not only do you have to do the work of setting up and maintaining your site, you also have to manage inventory, craft compelling copy, figure out the best marketing avenues, create advertising, build email campaigns, keep an eye on your social media profiles, work out shipping issues, and so much more. All of these moving parts make it difficult to sit down and focus on a specific issue, so doing an in-depth data analysis to determine your lapse point can often go by the wayside until it's far too late. Where do you even start? Let us tell you.
If your lapse point is the number of days after which a customer is likely never to purchase from you again, your first step is to calculate that point by looking over your Repeat Customer data and the average time between purchases. For Shopify e-commerce pros, this data is easy enough to access. It's the data crunching and analysis that can often hang people up. Every e-commerce business is unique, and your repeat customer data will vary based on what you sell and how often the average customer repurchases those products.
if a customer hasn't returned to your site before your lapse point, then they've likely moved on to another retailer and you probably won't get them back.
For example, a cosmetics e-tailer will most likely have a shorter lapse point than a business that sells clothing, and the clothing business will likely have a shorter lapse point than a company selling expensive electronics. Customers need to purchase regular refills of their personal hygiene items, but only need paper products occasionally. As you can plainly see, it takes a certain amount of finesse to tease out the details of that purchasing data. Once you do, you have some powerful knowledge at your disposal.
Using cookies to target customers who have visited your site but didn't make a purchase. Don't let them forget about you and entice them to come back!
We all know Facebook can be downright creepy in how much it knows about us, and other social media giants are rapidly catching up. You can target users based on everything from demographic (Fit Moms! Military Dads! Young Professionals With Dogs!) to purchasing behavior and adjust your advertising efforts accordingly. You can also create lists based on your email data to specifically target past customers and remind them that you exist.
Dividing your email list into different segments allows you to target specific groups with tailored advertising. When you reach out to your past customers, take some extra time to research what brought them to you in the first place and what's likely to bring them back. Were they there for a sale? A first purchase discount? Samples? What did they buy and what related products might interest them?
Remember, someone who has previously purchased from your business is multitudes more likely to buy from you again than someone who's finding you for the first time. It's well worth your while to invest in them so you can keep them happy and coming back for more. Don't let your lapse point go by without coming up with a plan of action.


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OnScreen Events About Contribute Shop Archive Search
The Kitchen L.A.B.
No Longer Showing.
Marina Rosenfeld, Aki Sasamoto, Tina Satter, and Ben Vida
On Friday March 29th from 2-7pm, the gallery will be open to the public as Tina Satter and her company Half Straddle hold working rehearsals.
The Kitchen L.A.B. is a new program devoted to presenting, discussing, and developing interdisciplinary works revolving around themes of common interest to artists in different fields—and, more specifically, considering the meaning and uses of specific words in contemporary art.
Throughout its 40-year history, The Kitchen has been committed to a spirit of innovation across disciplines and, in this regard, hosts an incredibly diverse audience. And yet this audience today is also surprisingly atomized. To wit, art communities see art, dance communities see dance, music communities see music, and so on. Such disjuncture pervades the contemporary cultural field even while there is an increasing interest among artists in interdisciplinarity. Thus, the same words often carry very different meanings for artists in different fields, and the same maneuvers signify in different ways.
The Kitchen L.A.B.—its acronym stands for "language," "art," bodies"—invites artists to unpack such vocabularies by responding to them both in conversation and artworks, creating hybrid events that will underline not only points of commonality among disciplines but also, as important, real differences.
The Kitchen Blog
An Institution of Domination is Anti-Love
Dear friends, Writer, feminist, activist, and author bell hooks in her essay "Love as the Practice of Freedom" (2006) reminds us, "A culture of domination is anti-love." I write to you today from The Kitchen in consideration of this "culture of domination", and the ways it keeps manifesting it...Read On
The Kitchen is Hiring!
Join Our Team The Kitchen is currently seeking two new full-time staff members to join our team! Please see the excerpts below for some preliminary information regarding these available positions, and click each link to read the full listing and job description on NYFA.org. Curatorial Assis...Read On
Announcing Our Winter/Spring 2022 Season
Announcing The Kitchen's Winter/Spring 2022 Season Sadie Barnette: The New Eagle Creek Saloon , January 18–March 6madison moore: Nightlife-in-Residence , January 18–March 6In Support, featuring work by Fia Backström, Francisca Benítez, Papo Colo, and Clynton Lowry, through March 12&#16...Read On
Read More on The Kitchen's Blog
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Vlada Roslyakova is a Russian top fashion model. She has graced over 400 magazine covers, including Vogue, Numéro, W, V, Dazed & Confused, Harper's Bazaar, Marie Claire, Elle, L'Officiel, AnOther Magazine, Pop Magazine and i-D. She has been appeared in advertising campaigns for Nina Ricci, Christian Lacroix, Dolce & Gabbana, Jill Stuart Beauty, DKNY, Moschino, Hermès, MaxMara, Daks Japan, Gap, Barney's, Anna Sui, Etro, Cartier, Sonia Rykiel, Belstaff, Hobbs, Alcacuz, Swarovski, Diamond Dazzle, Derercuny, Karl Lagerfeld and Lacoste. Born Elena Roslyakova on July 8, 1987, in Omsk, Russia, she changed her name from Elana to Vlada to avoid getting confused with fellow model Elena Rosenkova. She began modelling in Russia, then moved to Tokyo. Currently, she resides in New York City.
*She was born on July 8, 1987, in Omsk, Russia.
*She is fluent in Russian, English, and French.
*She is considered one of the most influental Russian top models of the 2000s and 2010s.
*Vogue Paris named her one of the top thirty models of the 2000s.
*Sushi and blinis are her favorite foods, and she likes drinking smoothies.
*She currently resides in New York City.


Official ORTs must be conducted through the NACSW™ in order to be recognized for trial entry and titling purposes.
What do you need to host an ORT?
Able to fit 12 boxes with a minimum of 4' spacing between boxes and also between boxes and any walls or objects. The space must also allow for a start line at least 4' from the boxes where the participant can come in the door, close the door and still remain behind the start line.
Indoor location or outdoors on concrete or astroturf - no grass, dirt or "natural" surfaces.
Exclusively for use as ORT test space during the test. No other classes or activities in the same room as the ORT. Half walls and/or barriers are not sufficient to separate the ORT from another activity.
Volunteers or staff to cover check in, gate steward, timer, judge's steward, and box setter jobs. More details are provided in the How to Host an ORT documentation.
20-25 clean, unused, identical boxes as specified by the NACSW™ for a single odor test. Additional boxes required for additional odors.
Ability to enter results in excel (template provided) and email to NACSW™.
Additional supplies, requirements and details as specified in the How to Host an ORT documentation.
All ORT handlers must be current NACSW™ members and all dogs must be registered with the NACSW™ prior to testing at the ORT.
ORTs entries must be available to all current NACSW™ members and dogs.
Costs: $5/dog/odor to the NACSW™. Judge and Certifying Official fees and any applicable travel expenses for the Judge and Certifying Official. Additional costs may include boxes, location rental, insurance, etc.
The process begins with an official ORT Request. This will allow the NACSW™ to ensure that the requester has a sufficient location. Host will need to secure their ORT Officials no later than 6 weeks prior to the ORT. If Officials are not secured, the NACSW™ reserves the right to cancel the event.
The NACSW™ will review your request and may request additional information prior to approving your request.


Have you already linked up to our current link party at Paper Issues? It's called Let's get this Party Star-ted and Par-ty Heart-y, sponsored by SugarPea Designs. Check out all details overhere on the Paper Issues blog.
For my layout I used the PAR part of the theme and created a golf layout. I think the fresh colors of the Pink Paislee Citrus Bliss collection go so well with outdoor pictures and there are tons of embellishments in this collection that work well too!
Here are some of the items that I used on the layout and you can find the entire collection overhere in the Paper Issues store. Use code DANIELLE20 for 20% off of your entire purchase!
Great colors and I love that stitching.
So pretty, love how you used the frames!


Welcome to Thule, a primordial land of fierce barbarians, elder horrors, and savage wilderness. In this ancient age, humankind is a young race, newly arisen on a monster-haunted Earth. Cities of cruel spledor lie scattered across the great lands of the north like a handful of gems strewn from a dead thief's hand.
Also check out the 5e Thule GM Companion, Player's Companion, and Adventure Anthology, all also available in full-color softcovers!
*The hardcover option does not come with a printed poster map, but you can include the PDF download for no additional charge.
does the pdf(s) available support printing well? he are any backgrounds showing up as separate layers, or printer-friendly pdfs made available?
Just got my printed copy in today, and I'm really impressed. You really can't tell that it's POD, unless you had the published version right next to it (I do). Looks great! We'll see how it holds up over time, but I'm pleased enough to be eager to purchase more POD products! Thanks!
I'm also looking for a copy of the map.
So, this is probably my favorite campaign setting I have had the pleasure to read. I am eagerly working on getting my players over to Thule for some savagery!
However, for some strange reason, there is no map of Thule as a whole, just the differing scale mini maps of certain areas. Why in the world would a full map of Thule not be available in the campaign book? Again, I love the product, but give us a map of the whole continent please!
Would it be possible to get an unlabelled map of the city of Quodeth?
Agreed! Also an unlabeled map of the whole continent of Thule!
re: The three adventures mentioned in the description. Are those the same as the three in the anthology?
No, the three adventures in the Adventure Anthology pdf/POD product are all new -- they are not the same adventures that are included in the Primeval Thule Campaign Setting book.


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Chemical & Legal Guide to Federal Drug Laws
Alexander Shulgin
1992(pb,f-)
Ronin Publishing
A revised and updated edition of the definitive source of information about illicit drugs: lists every scheduled drug, authority for its inclusion in the law, its chemical abstracts number, and known synonyms; history of the Federal Drug laws to its present form; complete listings of chemical structure of controlled substances by family; drug code numbers; all Federal Register Citations used to justify changes in the laws and regulations; drug laws, definitions, and sentencing guidelines.
"Makes accessible in a convenient form many of the chemical and legal facts...helpful for anyone concerned with drugs."
-- James Bakalar, Harvard Medical School
"Solved one of my biggest headaches, namely: what chemicals are we supposed to be controlling?; when were they controlled?; what schedule are they?; and, what is their true chemical structure? No single source for this information existed until now."
-- Robert K. Sager, Western Laboratory Chief, DEA
"A valuable reference for the criminalist who must know the legal status of substances detected in the crime laboratory and drug enforcement agents, attorneys, judges, and legislators who must make sense of the complex laws dealing with drugs. It will also save a vast amounts of time and energy of those who must research the history and current status of drug laws."
-- Journal of Forensic Sciences
Created by Erowid - Aug 12, 2001


Coconut oil isn't heart healthy, according to the American Heart Association.
Dr. Donald Hensrud, medical director of the Mayo Clinic Healthy Living Program, says, "While there is little data on the direct effects of coconut oil on cardiovascular disease, the AHA advised against using coconut oil because it raises low-density lipoprotein, or LDL cholesterol."
Dr. Hensrud says the American Heart Association reviewed evidence on different dietary fats and cardiovascular disease, and the comprehensive review concluded that, while coconut oil does not raise LDL cholesterol, often termed "bad" cholesterol, as much as long-chain saturated fats, it does raise LDL cholesterol. This increase in LDL cholesterol, increases the risk of heart disease.
"To say that saturated fat or coconut oil is healthy, and we should be eating more coconut oil and foods that contain saturated fat, such as butter and red meat for health reasons, is not correct," says Dr. Hensrud. "Nutrition is an area in which there is sometimes confusion or controversy, and the health effects of saturated fat and coconuts are two examples."
In her article, "Can coconut oil help me lose weight?", Mayo Clinic dietitian Katherine Zeratsky says, "Coconut oil has more saturated fat than lard does. Consuming too much will give you extra calories — and that can signal to your body that it's time to store more fat. Even if the stored fat doesn't come directly from the coconut oil, high doses of coconut oil could still indirectly contribute to the very [weight-loss] problem you are trying to address."
Dr. Hensrud adds, "We all eat, and we all have our own views – and biases - on what is best to eat. What's important is to determine objective information from well-done studies, and use that information to give people the best advice on what's healthiest to eat."
Learn more about dietary fats and which to choose.
Something to Think About: How to accept other's imperfections?


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HomeCourses and TeachingPhilosophy of Mathematics (Phil 567.03/667.16)
Philosophy of Mathematics (Phil 567.03/667.16)
Official, printable course outlines in PDF format can be found at the end of this page.
Prerequisites and Preparation
Required Textbooks
Assignments and Policies
Tentative Syllabus and Due Dates
The philosophy of mathematics deals with, as its name suggests, philosophical issues that are raised by mathematics. Perhaps the most important difference between mathematics and the other sciences is that mathematics deals with entirely abstract concepts (such as number, set, function). Mathematicians do not conduct experiments to confirm their hypotheses, they find proofs. One important issue then, for instance, is clarifying the role of proofs in mathematics, and with it, the nature of mathematical knowledge. Another issue is the question of the status of mathematical objects—do they inhabit some Platonic realm of mathematical objects, are they constructions of the mind, or are there perhaps, strictly speaking, no mathematical objects, are they fictitious? In the course of discussing these issues, we will first focus on three important schools of thought: logicism, intuitionism, and formalism. These schools are associated with, respectively, Gottlob Frege and Bertrand Russell, Immanuel Kant and L. E. J. Brouwer, and with David Hilbert. In the second half of the course, we will study some of the more recent developments in the philosophy of mathematics (after 1950). This includes the debate about the metaphysics of mathematical objects, in particular, whether there are any (realism) or not (nominalism), and the status of mathematical truths; structuralism in mathematics; mathematical explanation; and empiricist and naturalist approaches to mathematics.
Two previous courses in Philosophy, one of which must be PHIL 367 or 467, and one of which must be a 400 or higher level course; or consent of the Department. Due to the nature of the course, I will be very open to waiving prerequisites, especially if you have advanced training in logic (such as PHIL 379 or 479) or in mathematics. Please email rzach@ucalgary.ca if you would like to take the course but do not have the listed prerequisites.
Although Phil 279 (Logic I) and 379 (Logic II) are not formally prerequisites, you will have a hard time in this course if you have not at least taken Logic I. Obtaining a background in logic (at least Phil 279, preferably 379) is therefore highly recommended.
Required Text
Alexander George and Daniel J. Velleman, Philosophies of Mathematics (Blackwell, 2002)
Gottlob Frege, The Foundations of Arithmetic (Blackwell/Northwestern, 1980)
A package of readings.
All will be available at the University of Calgary Bookstore.
Undergraduate students: Six short writing assignments (250 words max., 5% each for a total of 30%, graded on pass/fail basis), a final paper (2500–4000 words max., 40%), and an in-class presentation on the topic of your paper (10–15 minutes, 10%). Class participation counts for 20% of your grade.
Graduate students: Six short writing assignments (250 words max., 5% each for a total of 30%, graded on pass/fail basis), a final paper (5000 words max., 40%), and preparing and leading a one-hour lecture/seminar (10%). Class participation counts for 20% of your grade. There will be a separate discussion section reserved for graduate students.
Due Dates: The final paper will be due the last week of class (i.e., April 13).
The aim of the short writing assignments is to get you engaged with the readings before they are discussed in class. A short writing assignment consists in a one-page writeup of something you think of while you do the reading. It can be a question together with an attempted answer, a worry, a short note on a connection between the reading for that week and some other topic (from this or another class). Ideally, it would be something that can form the basis of a discussion in class.
You have to turn in six such short essays. You can choose when you submit them, and on what you want to write. They are due on Tuesdays at 6pm and you may submit them by email. However, you have to complete at least two of these assignments in weeks 1–6, and at least two in weeks 7–12.
Your final paper, your presentation, and your course participation will receive a letter grade reflecting the level of mastery of the material shown by the work you submit. The meanings of letter grades are defined in the Calendar, for written work, they amount roughly to the following criteria:
Excellent—superior performance, showing comprehensive understanding of subject matter. (Your writing is clear and concise; your assignments make obvious that your understanding of the issues and arguments is correct and complete; you show superior ability in representing and assessing others' philosophical arguments; you show significant ability for original philosophical thinking).
Good—clearly above average performance with knowledge of subject matter generally com-plete. (You show a good grasp of the assigned reading; but either your writing is not perfectly clear or your assignments are largely only expository and don't show the critical ability required for an A).
Satisfactory—basic understanding of the subject matter. (Your work shows that you've worked through the reading and attended class, but your assignments misrepresent the arguments or views we're discussing, or your criticisms are off the mark.)
Minimal pass—marginal performance. (Your work is unclear or confused; or you grossly misunderstood or misrepresent the arguments or views we're discussing.)
Fail—Unsatisfactory performance. (Your work fails to show that you've made a serious attempt at coming to grips with the material; or your writing borders on the incomprehensible.)
In computing your final grade, your marks will be converted to grade points and averaged according to the weights given above. The correspondence of letter grades with grade points is defined in the Calendar (A = 4, B = 3, C = 2, D = 1, F = 0). "Slash" grades are possible with grade point values 0.5 below the higher grade (e.g., A/B = 3.5). For short writing assignments, a "pass" will receive 4 grade points, a fail, 0.
The final grade will be the letter grade corresponding to the weighted average of your assignments, paper, presentation, and participation plus a margin of 0.1. For the final grade, +'s and -'s are possible, too; as defined in the Calendar, +/- adds/subtracts 0.3 grade points. In other words, a course average of 3.9 or higher receives an A; between 3.6 and 3.9, an A–; between 3.2 and 3.6, a B+; between 2.9 and 3.2, a B; and so on. There is no D- grade; to earn a D you require a course average of at least 0.9. The A+ grade is reserved for "truly outstanding" performance.
Late work and extensions
A final paper handed in late will be penalized by the equivalent of one grade point per calendar day. A short writing assignment handed in late will be penalized by one half grade point for every two hours (or part thereof) it is late (i.e., it will receive a 3.5 if handed in after 6pm but before 8pm, a 3.0 if handed in before 10pm, etc.).
You will find the University policy on plagiarism at the end of the printed version of this outline. Plagiarism is a very serious academic offense. It is not limited to copying papers wholesale from the Internet; close paraphrase of the texts, of the lectures, or of anyone (other than you) without attribution constitutes plagiarism. Your assignments should only contain your own formulations. You should use direct quotes from the texts sparingly, and clearly mark them as such by using quotation marks and giving a source reference. When in doubt, consult with the instructor. Plagiarism will result in a failing grade in the course and a report to the Dean's office.
Checking your grades and reappraisals of work
University policies for reappraisal of term work and final grades apply (see the section "Reappraisal of Grades and Academic Appeals" of the Academic Regulations in the Calendar). In particular, term work will only be reappraised within 15 days of the date you are advised of your marks. Please keep track of your assignments (make sure to pick them up in lecture or in office hours) and your marks (check them on the website) and compare them with the graded work returned to you.
A course website on U of C's BlackBoard server has been set up. You will be automatically registered if you're registered in the class. To access the BlackBoard site, you can either go directly to blackboard.ucalgary.ca and log in with your UCIT account name and password, or you can access it through the myUofC portal (my.ucalgary.ca; log in with your eID). If you don't have an eID or UCIT account, see elearn.ucalgary.ca/help.html.
This is a tentative syllabus to give you a rough idea what topics we will cover when.
[Week 1: Kant and Frege] January 12.
Kant, Prolegomena
Frege, Foundations, Sections 1–28
[Week 2: Frege's Logicism] January 19.
Frege, Foundations, Sections 29–69
George and Velleman, Philosophies of Mathematics, Ch. 2
Benacerraf, "Frege: The last logicist"
MacFarlane, "Frege, Kant, and the logic in logicism"
[Week 3: Frege and Dedekind] January 26
Frege, Foundations, Sections 70–109
Dedekind, "The nature and meaning of numbers"
Tait, "Frege versus Cantor and Dedekind: On the concept of number"
Reck, Dedekind's Structuralism: An Interpretation and Partial Defense"
[Week 4: Russell's Paradox, The Theory of Types, Set Theory] February 2
Russell, Letter to Frege
Russell, "Mathematical logic as based on the theory of types"
Gödel, "Russell's mathematical logic"
Urquhart, "The theory of types"
[Week 5: Intuitionism] February 9
Weyl, "On the new foundational crisis of mathematics"
Brouwer, "Mathematics, science, and language"
Heyting, "The intutionist foundation of mathematics"
George and Velleman, Philosophies of Mathematics, Ch. 4 and 5.
Brouwer, "Intuitionistic reflections on formalism"
[Week 6: Hilbert's Program] February 16
Hilbert, "On the infinite"
Bernays, "The philosophy of mathematics and Hilbert's proof theory"
Hilbert, "The foundations of mathematics"
Mancosu, "Hilbert and Bernays on metamathematics"
von Neumann, "The formalist foundation of mathematics"
Zach, "Hilbert's Program"
[Week 7: Hilbert's Program, Logicism, and Gödel's Theorems] March 2
Detlefsen, "On interpreting Gödel's second theorem"
Zach, "Gödel's first incompleteness theorem and mathematical instrumentalism"
[Week 8: Mathematical Objects and Mathematical Objectivity I] March 9
Putnam, "What is mathematical truth?"
Putnam, Philosophy of Logic, Sections IV–IX.
Benacerraf, "Mathematical truth"
Tait, "Truth and proof: The platonism of mathematics"
[Week 9: Mathematical Objects and Mathematical Objectivity II] March 16
Burgess, "Why I am not a nominalist"
Maddy, "Indispensability and practice"
Putnam, "Mathematics without foundations"
Field, "Is mathematical knowledge just logical knowledge?"
[Week 10: Structuralism in Mathematics] March 23
Benacerraf, "What numbers could not be"
Parsons, "The structuralist view of mathematical objects"
Field, "Mathematical objectivity and mathematical objects"
Reck and Price, "Structures and structuralism in contemporary philosophy of mathematics"
[Week 11: Explanation in Mathematics] March 30
Steiner, "Mathematical explanation"
Resnik and Kushner, "Explanation, independence, and realism in mathematics"
Mancosu, "Mathematical explanation: problems and prospects"
Sandborg, "Mathematical explanation and the theory of why-questions"
[Week 12: Empiricism and Naturalism in Mathematics] April 6
Lakatos, "A renaissance of empiricism in the recent philosophy of mathematics?"
Kitcher, "Mathematical naturalism"
Maddy, "Naturalism"
[Week 13: Student Presentations] April 13
Assigned Readings (included in reader)
Immanuel Kant. 1783. Selections from Polegomena to Any Future Metaphysics (Sections 1–6). Reprinted from: Immanuel Kant, Prolegomena (Paul Carus, trans.), Open Court, 1902, 13–49.
Richard Dedekind. 1888. Was sind und was sollen die Zahlen? Reprinted from: William Bragg Ewald, From Kant to Hilbert: A Source Book in the Foundations of Mathematics, vol. 2. Oxford: Oxford University Press, 1996, pp. 787–833.
Bertrand Russell. 1902. Letter to Frege. Reprinted from Jean van Heijenoort, From Frege to Göodel: A Source Book in Mathematical Logic. Cambridge, MA: Harvard University Press, 1967, 124–125.
Bertrand Russell. 1908. Mathematical logic as based on the theory of types. American Journal of Mathematics 30, 222–262. Reprinted from Jean van Heijenoort, From Frege to Gödel. Cambridge, MA: Harvard University Press, 1967, 150–182.
Hermann Weyl. 1921. On the new foundational crisis of mathematics. Reprinted from: Paolo Mancosu, ed., From Brouwer to Hilbert: The Debate on the Foundations of Mathematics in the 1920s, New York and Oxford: Oxford University Press, 1998, 86–118.
L. E. J. Brouwer. 1929. Mathematics, science, and language. Reprinted from: Paolo Mancosu, ed., From Brouwer to Hilbert: The Debate on the Foundations of Mathematics in the 1920s, New York and Oxford: Oxford University Press, 1998, 45–53.
David Hilbert. 1925. On the infinite. Reprinted from: Paul Benacerraf and Hilary Putnam, eds., Philosophy of Mathematics, 2nd ed., Cambridge, MA: Harvard University Press, 1983, 183–201.
Paul Bernays. 1930. The philosophy of mathematics and Hilbert's proof theory. Reprinted from: Paolo Mancosu, ed., From Brouwer to Hilbert: The Debate on the Foundations of Mathematics in the 1920s, New York and Oxford: Oxford University Press, 1998, 234–265.
Rudolf Carnap, Arend Heyting, and John von Neumann. 1931. Symposium on the foundations of mathematics. Reprinted from: Paul Benacerraf and Hilary Putnam, eds., Philosophy of Mathematics, 2nd ed., Cambridge, MA: Harvard University Press, 1983, 41–65.
Michael Detlefsen. 1979. On interpreting G&oumldel's second theorem. Journal of Philosophical Logic 8, 279–313.
Hilary Putnam. 1975. What is mathematical truth? In: Hilary Putnam, Mathematics, Matter, and Method, 2nd, ed., Cambridge University Press, 1979, 60–78.
Hilary Putnam. 1971. Selections from Philosophical Logic (sections 4–9), Harper and Row. Reprinted from: Hilary Putnam, Mathematics, Matter, and Method, 2nd, ed., Cambridge University Press, 1979, 337–357.
Paul Benacerraf. 1973. Mathematical truth. The Journal of Philosophy 70, 661–679.
William W. Tait, 1986. Truth and proof: The platonism of mathematics. Synthèse 69, 341–370.
Penelope Maddy. 1992. Indispensability and practice. The Journal of Philosophy 89, 275–289.
John P. Burgess. 1983. Why I am not a nominalist. Notre Dame Journal of Formal Logic 24, 93–105.
Hilary Putnam. 1967. Mathematics without foundations. The Journal of Philosophy 64, 5–22. Reprinted in: Hilary Putnam, Mathematics, Matter, and Method, 2nd, ed., Cambridge University Press, 1979, 43–59.
Hartry Field. 1984. Is mathematical knowledge just logical knowledge? The Philosophical Review 93, 509–552.
Paul Benacerraf. 1965. What numbers could not be. The Philosophical Review 74, 47–73.
Charles Parsons. 1990. The structuralist view of mathematical objects. Synthèse 84, 303–346.
Hartry Field. 1998. Mathematical objectivity and mathematical objects. In: Stephen Laurence and Cynthia Macdonald, eds., Contemporary Readings in the Foundations of Metaphysics, Blackwell, 387–403. Reprinted from: Hartry Field, Truth and the Absence of Fact, Oxford University Press, 2001, 315–331.
Mark Steiner. 1978. Mathematical explanation. Philosophical Studies 34, 135–151.
Michael D. Resnik and David Kushner. 1987. Explanation, independence, and realism in mathematics. British Journal for the Philosophy of Science 38, 141–158.
Paolo Mancosu. 2001. Mathematical explanation: problems and prospects. Topoi 20, 97–117.
Imre Lakatos. 1976. A renaissance of empiricism in the recent philosophy of mathematics? British Journal for the Philosophy of Science 27, 201–23.
Philip Kitcher. 1988. Mathematical naturalism. In: William Aspray and Philip Kitcher, eds., History and Philosophy of Modern Mathematics, Minnesota Studies in the Philosophy of Science 11, University of Minnesota Press, 293–325.
Penelope Maddy. 1997. Mathematical naturalism. Ch. III.4 of Penelope Maddy, Naturalism in Mathematics. New York and Oxford: Oxford University Press, pp. 181–205.
Additional Suggested Readings (Not in Reader)
Paul Benacerraf. 1981. Frege: The last logicist. In: Peter French, et al., (eds), Midwest Studies in Philosophy VI, University of Minnesota Press, pp. 17–35.
John MacFarlane. 2002. Frege, Kant, and the logic in logicism. The Philosophical Review 111, 25–65.
Erich H. Reck. 2003. Dedekind's structuralism: An interpretation and partial defense. Synthèse 137, 369–419
Kurt Gödel. 1944. Russell's mathematical logic. In: Arthur Schilpp, ed., The Philosophy of Bertrand Russell, La Salle, IL: Open Court.
Alasdair Urquhart. 2003. The theory of types. In Nicholas Griffin, ed., The Cambridge Companion to Bertrand Russell, Cambridge: Cambridge University Press, 286–309.
L. E. J. Brouwer. 1928. Intuitionistic reflections on formalism. Reprinted from: Paolo Mancosu, ed., From Brouwer to Hilbert: The Debate on the Foundations of Mathematics in the 1920s, New York and Oxford: Oxford University Press, 1998, 40–44.
David Hilbert. 1928. The foundations of mathematics. Reprinted from: Jean van Heijenoort, From Frege to Gödel. Harvard University Press, 1967, 464–479.
Paolo Mancosu. 1998. Hilbert and Bernays on metamathematics. In: Paolo Mancosu, ed., From Brouwer to Hilbert: The Debate on the Foundations of Mathematics in the 1920s, New York and Oxford: Oxford University Press, 149-188.
Richard Zach. 2003. Hilbert's Program. Stanford Encyclopedia of Philosophy, http://plato.stanford.edu/entries/hilbert-program/
Richard Zach. 2004. G&oumldel's first incompleteness theorem and mathematical instrumentalism. Mancuscript.
Erich H. Reck, Michael P. Price. 2000. Structures and structuralism in contemporary philosophy of mathematics. Synthèse 125, 341–383.
David Sandborg. 1998. Mathematical explanation and the theory of why-questions. British Journal for the Philosophy of Science 49, 603–624.
Official Outlines


Attempt missed. Connor Goldson (Rangers) header from the centre of the box misses to the left following a corner.
Corner, Rangers. Conceded by Scott Tanser.
Attempt blocked. Connor Goldson (Rangers) header from the centre of the box is blocked.
Corner, Rangers. Conceded by Jason Kerr.
Attempt missed. Ross McCrorie (Rangers) left footed shot from outside the box is high and wide to the left.
Attempt missed. Liam Craig (St. Johnstone) left footed shot from outside the box is close, but misses to the right.
Second Half begins Rangers 0, St. Johnstone 0.
First Half ends, Rangers 0, St. Johnstone 0.
Attempt missed. Matthew Kennedy (St. Johnstone) right footed shot from outside the box is high and wide to the right following a set piece situation.
Attempt blocked. Daniel Candeias (Rangers) right footed shot from the centre of the box is blocked.
Corner, St. Johnstone. Conceded by Wes Foderingham.
Attempt saved. Christopher Kane (St. Johnstone) left footed shot from the centre of the box is saved in the centre of the goal.
Attempt blocked. Ross McCrorie (Rangers) right footed shot from outside the box is blocked.
Jason Kerr (St. Johnstone) wins a free kick on the left wing.
Attempt missed. James Tavernier (Rangers) left footed shot from outside the box is just a bit too high.
Delay in match Murray Davidson (St. Johnstone) because of an injury.
Attempt blocked. Glen Kamara (Rangers) left footed shot from outside the box is blocked.
Attempt saved. Connor Goldson (Rangers) header from the centre of the box is saved in the top centre of the goal.
Attempt missed. Ryan Kent (Rangers) left footed shot from outside the box is just a bit too high.
Corner, St. Johnstone. Conceded by Joe Worrall.
Attempt missed. Daniel Candeias (Rangers) right footed shot from outside the box is too high following a corner.
Attempt blocked. Ryan Kent (Rangers) left footed shot from a difficult angle and long range on the left is blocked.
Attempt blocked. Christopher Kane (St. Johnstone) header from the centre of the box is blocked.


Art makes such a statement and for me it is perhaps the single most important piece in a room. It sets the tone for everything else in a space. Most of the time the price tags reflect this and it takes me out of the running entirely. I suppose the truth of the matter is that I feel quite sure that furniture and lighting and basic appliances are a necessity in a home, but art is optional. It's not a requirement for survival or comfort, and plays no role in a person's day to day function. Buying from a gallery is not even a remote possibility for me and while etsy makes the world go round, it is difficult if not nearly impossible to find good looking original art that is larger than a 5×7 and won't cost your weight in gold. But did you know that many artists sell their photography and now prints of their paintings and illustrations to sites like shutterstock? Yahoo for that because it means that those of us who are regular folks with regular incomes can have a few beautiful things too!
I mentioned one of my favorite styling secrets awhile back and since so many of you were excited about the idea, I thought we might expand upon it and turn it into another article and maybe even a regular feature.
These appealing works of art are pieces I think would make amazing prints and that I would absolutely adore in a space of my own. Since I frequent a few regular haunts that offer images of this nature, I thought I would share a few of my faves. If I'm honest, I think this feature is also a way for me to vent a little bit because while I absolutely adore artistic pursuits of this nature and fall in love on the regular with beautiful pieces like these… more often than not I cry myself to sleep because I can't even afford to even stand in the same room as many of the pretties out there. And if the print is large… well forget about it. It is marked up so high that I can't even breath the same air up there. It's not that I don't believe that many artists are truly talented and deserving of a nice income, in fact the opposite is true. I think so very many artists are talented that there should be enough beautiful art to go around for each of us, at each of our price points. And so I gather here and group of gorgeous images that you can purchase for between $10-$15, that are made by talented artists, and can have printed at your local SamsClub or Kinkos in a large size for a really affordable price around $8-$10.
I love the idea of supporting talent such as this and many of the photographers and artists who sell their images on stock sites are such that you wouldn't otherwise find them and it gives them an outlet to support themselves doing what they love. Meanwhile, It gives people like us an outlet for finding beautiful work that we can enjoy in a way that doesn't require the future donation of a kidney. I can tell you that what I consider affordable and what a typical designer considers affordable often seems to differ by a great many hundreds of dollars. If I could afford to buy every piece I love, well I would be a very rich gal indeed. Luckily I don't have to go without, and neither do you.
There are so many amazing images to share but I have tried to keep myself in check and limit it to these four beautiful beachy scenes. Some may seem familiar to you, and others are yet to be found… I encourage you to take a peak and if there is a gorgeous print you have had your eye on but can't afford, well maybe give the search function a try and see if you can't find something similar that is in your price range.


text:
Evonax supporting KYC-free SHIBA INU purchases with 18 Crypto
Anjali Sriniwasan
SHIBA INU, one of the world's most talked-about cryptocurrencies in recent months, can now be easily purchased with Bitcoin, Ethereum, and several other coins thanks to its recent addition by Evonax, a revolutionary new type of cryptocurrency exchange.
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SHIBA INU to see higher prices
One of the biggest factors for the increase in market value for SHIBA INU has been the increase in user access to the SHIB token, thanks to multiple cryptocurrency exchanges after listing it on its platform. The ecosystem of SHIBA INU also got a momentum boost after it was announced that a partnership with the major crypto payment provider NOWPayments made it possible to accept SHIB as form of payment in their system. All these parameters help SHIBA INU to gain more and more traction, which the surge in futures open interest on various exchanges also shows.
CEO of Evonax.com, Nikolaj Rosenthal said,
"I think we are seeing a new real competitor to DOGE and the community around it with SHIBA INU. As of now, market data shows that longs are in profit, while there seem to be very few short-sellers on the market. As of now, we see huge interest in SHIBA INU and decided to add it to our community and give our customers an easy opportunity to get in or out".
In operation since 2016, Evonax is a non-custodial cryptocurrency exchange that does not store funds on behalf of the customer. On Trustpilot, Evonax rates "excellent" with a 4.6 out of 5 stars for their service, which indicates a high level of trust and quality. For more information about Evonax, please visit their FAQ page. For updates about the future coin and feature updates, follow them on Twitter and Facebook.
SphynxSwap lists on CoinMarketCap as a decentralized exchange
FMCPAY: The world's most trusted cryptocurrency exchange platform
With Masters in Mass communication and journalism, Anjali's interests lie in blockchain technology adoption across emerging economies.


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Avertissement : ce paquet est réservé à la construction des images de l'installateur Debian. Il ne doit pas être installé sur un système Ubuntu classique.
Contains the standard libraries that are used by nearly all programs on the system. This package includes shared versions of the standard C library and the standard math library, as well as many others.
This package contains a minimal set of libraries needed for the Debian installer. Do not install it on a normal system.