INDONESIA AFTER SUHARTO: HOW THE U.S.
Protests against President Suharto's decades-long authoritarian rule in Indonesia began relatively peacefully but degenerated into violence and looting last week. Massive student-led demonstrations, reports of dissension among the ruling elite, and reports of splits within the army over support for the embattled president led Suharto to resign on May 20. But Indonesia's political and economic crisis is far from over, and difficult decisions lie ahead for the new government under Suharto's hand-picked successor, B. J. Habibie.
Rebuilding close ties with Indonesia's military once the present crisis is resolved.
Indonesia's immediate problems began in July 1997 when it was caught up in the East Asian economic crisis. In Indonesia, as in Thailand and South Korea, international skepticism about the fundamental health of the economy rapidly eroded the confidence of investors and currency traders in the value of Indonesia's currency, the rupiah. Unable to maintain the value of the rupiah, Indonesia abolished its crawling peg exchange rate system, under which the rupiah was depreciated 7 percent a year against the U.S. dollar, and allowed the rupiah to float freely in international markets--a move long advocated by the IMF. This action revealed the weakness in the currency and undermined investor confidence, leading to a free-fall in the value of the rupiah.
Indonesia requested IMF assistance in October 1997, and the IMF announced a plan to provide up to $40 billion in financial assistance. In exchange for this assistance, Indonesia agreed to close its failed banks, reduce its barriers to trade, deregulate several controlled commodities, open its domestic markets, postpone several large infrastructure projects, and undertake additional economic reforms. Suharto accepted the assistance, but subsequently made little effort to implement the reforms. The rupiah continued to fall in the face of international fears that Suharto would not fulfill the IMF commitments and that the IMF would suspend funding.
The IMF agreed in January 1998 to restore assistance to Indonesia to stem the continued fall of the rupiah. But without good-faith efforts by Suharto to implement the IMF's planned reforms, the rupiah continued its slide. This resulted in the third IMF package, concluded last April. The last agreement outlined plans to restructure Indonesia's banking system, eliminate restrictions on foreign ownership, modernize and strengthen bankruptcy laws, rationalize monetary policy, develop a procedure for repaying foreign debt, and attract investment by selling ownership in state-owned companies. Suharto at last began to comply with IMF demands; in early May, he removed government subsidies on certain commodities. Angered by the skyrocketing price hikes, Indonesians took to the streets and Suharto's rule imploded.
The collapse of the rupiah--falling below 17,000 to the dollar in January compared with a pre-crisis level of around 2,300 to the dollar and about 10,500 on May 27--has had several devastating effects on the Indonesian economy. First, it imposed an enormous burden on average Indonesians; almost overnight, everyday staples and foodstuffs became so expensive that they were out of reach for many people. Second, the prices of raw materials and other inputs for business and manufacturing also skyrocketed. In an attempt to stabilize the rupiah and attract international investment, Suharto followed the IMF's advice to raise interest rates. This resulted in a steep rise in the nominal cost of capital, which tightened the straitjacket on Indonesia's commerce and industry. Economic activity plunged and the entire economy essentially ground to a halt as unemployment soared.
Indonesia's economic problems are exacerbated by the lack of democratic political legitimacy. In 1966, Suharto came to power in a coup d'etat. He was returned to office seven times by a vote of the People's Consultative Assembly--a body that he basically selected and controlled. Before the 1997 economic crisis, Suharto's claim to legitimacy was buttressed by Indonesia's rapid economic growth, averaging over 6 percent per year and bringing with it modernization and the promise of Indonesia's becoming one of Asia's "tiger economies."
But Suharto's rule also brought with it a unique brand of nepotism, characterized by the awarding of monopolistic government concessions to his friends and relatives. The Suharto family took full advantage of this system and has amassed a fortune reportedly in the tens of billions of dollars. Although Indonesians may have been willing to tolerate cronyism and corruption, a controlled press, and a closed political system when times were good, they quickly withdrew their support for the president when their economic fortunes declined. What began in the fall and winter of 1997 as localized, sporadic demonstrations against rising food prices evolved by February 1998 into a nationwide campaign of peaceful, usually student-led demonstrations calling for Suharto's ouster and a more inclusive political system. Violent demonstrations and incidents of looting grew more frequent, however, as Indonesians saw little improvement in their economic condition.
Two developments in May fused the protest movements into a political critical mass. First, Suharto removed the government subsidy on fuel prices in accordance with IMF bailout plans to phase out such subsidies. The drastic price increase that followed sparked more demonstrations. Second, Suharto's security forces shot and killed six student demonstrators on May 12, causing the demonstrations to escalate into full-scale rioting and looting that left hundreds dead in just a matter of days.
Unlike the governments in Thailand and South Korea following IMF bailouts, Suharto did little or nothing to prepare his people for the difficult, austere times that lay ahead. After accepting an IMF bailout package that reached $43 billion, Suharto appeared more intent on evading its terms than honoring them. For example, he submitted a government budget with wildly optimistic assumptions about economic growth, government revenue, and the level of inflation. He selected a vice president and a cabinet comprised of economic nationalists, cronies, and family members with questionable professional qualifications. And he used subterfuge and economic sleight of hand to try to reconstitute monopoly enterprises owned by his family and friends that were designated for closure under the IMF agreement. These actions undermined Indonesia's credibility with the international financial community.
As the economic crisis deepened and the calls for political reform intensified, Suharto steadfastly resisted political reform, insisting that any change would have to wait until the end of his term in 2003. Even after the worst rioting since the mid-1960s resulted in the death of more than 500 Indonesians, Suharto's response was limited to a nebulous promise of a cabinet reshuffle. Ultimately, not until a mass protest occurred on May 20 did Suharto understand and accept that he must step down.
The United States has a significant stake in Indonesia, and therefore has a reason to be concerned by the upheaval taking place in that country. Economically, Indonesia is among America's top 25 trading partners. Indonesians purchased about $4 billion in U.S. exports in 1996, providing jobs for at least 60,000 American workers. Additionally, the United States invested almost $7.6 billion in Indonesia in 1996 (the most recent year for which figures are available).
Before the onset of the current economic turmoil, Indonesia was a regional economic powerhouse with an economy more than twice as large as Singapore's and almost 50 percent larger than Hong Kong's. Indonesia may resume its role as an economic dynamo once it implements the reforms necessary to revive political and economic stability, but its current economic plight has the potential to wreak havoc across Southeast Asia. Indonesia's 210 million people could generate waves of refugees, threatening the political stability in neighboring Malaysia and Singapore. Its large Muslim population--larger than that of all the Arab countries of the Middle East combined--has been a moderate Islamic force in the world. But Islamic fervor in Indonesia has grown over the past decade, encouraged by the economic crisis and a repressive political system. The rise of a virulent, anti-American form of Islamic fundamentalism in Indonesia could prevent democratic reforms from taking root and harm U.S. security interests by exacerbating tensions in the region.
In strategic terms, Indonesia is an important regional player whose fate has global implications. It sits astride sea lanes connecting the Indian and Pacific Oceans through which passes 40 percent of the world's shipping, including 80 percent of Japan's oil supply and 70 percent of South Korea's. An economically weak and politically unstable Indonesia could tempt China to become more involved there, especially considering Indonesia's historic mistreatment of the four million ethnic Chinese who live there.
It is in the best interests of both Indonesia and the United States to promote the development of democracy in Indonesia. Only through free and open democratic elections can a national consensus be reached that will support the kinds of fundamental but difficult reforms necessary for reviving Indonesia's economy. Suharto's authoritarian rule consistently short-circuited such a national consensus.
United States policy toward Indonesia should focus first on the peaceful resolution of Indonesia's internal political and economic problems. There could have been no lasting solution to the current crisis under President Suharto as long as he continued resisting the necessary reforms. His decision to step down opens the door to peaceful political and economic reform. Suharto, however, remains a politically powerful and well-connected figure--he retains, for example, the support of key elements of Indonesia's army. His support, therefore, will be important if reform is to be successful.
U.S. options in helping Indonesia are limited. For one thing, the United States lacks a strong alliance-based relationship with Indonesia of the sort it enjoys with the Philippines, South Korea, and Thailand, and no solution to Indonesia's current problems will be implemented without the support of the military. Throughout Indonesia's history, the military has played a special and important role, serving as a national unifying force for this culturally diverse and geographically broad archipelago. The military also controls unelected blocs of seats in the national parliament as well as provincial and district parliaments. Current or former military officers are found in key government positions.
Urge restraint and the peaceful resolution of differences between all parties involved, including the government, the military, and the opposition. Violence will only make the evolution of democracy more difficult and inhibit the implementation of the necessary economic reforms.
Urge the new government to implement economic and political reforms. Indonesia must undergo fundamental change before it can stabilize its economy. Given the wariness of international investors, it is important that the new government give a clear indication of its commitment to political reform and the direction political change will take.
President Habibie, in addition to announcing his commitment to political reform, already has taken the welcome step of releasing two prominent political prisoners and promises to release more. Habibie also has called for new elections. Constitutional technicalities make this unlikely before next year, but the government should not use this as an excuse for not holding elections as quickly as possible. In addition, the government must allow real opposition parties to evolve; this is a prerequisite for the creation of a truly democratic legislature. A constitutional change, moreover, is needed to institutionalize an orderly presidential succession. Together, these steps can begin to lay the foundation for building a national consensus capable of supporting the challenging tasks of economic reform.
At the same time, Washington should urge the new government to demonstrate its commitment to structural reforms in the Indonesian economy. These reforms should include implementing measures for greater transparency and removing from the government all vestiges of the flagrant Suharto-style cronyism that caused Indonesia's economic collapse. Unlike Suharto, the government must be honest with the Indonesian people and prepare them for the difficult times ahead. The United States should promote the benefits of increased privatization, deregulation, and the liberalization of trade and investment, both of which would reassure the international business and financial community that Indonesia's economic prospects will improve.
Signal its intent to rebuild close ties with Indonesia's military once the present crisis is resolved. One way to rebuild ties would be to restore the U.S. International Military Education and Training Program (IMET). This program allows foreign military officers to study in the United States and witness firsthand the relationship between the U.S. military and civilian society. Suharto suspended participation in this program in June 1997 because of U.S. congressional criticisms of human rights abuses in East Timor and a State Department official's statement regarding Indonesia's tightly controlled political system. Both the Administration and Congress should make clear their interest in resuming this program.
Indonesia's fate holds serious consequences for East Asia, the United States, and international political and economic stability. In this time of uncertainty in Indonesia, the United States should encourage the new government to move quickly to implement political and economic reform. A peaceful, democratic, and economically prosperous Indonesia is in America's national interest. Washington's support for fundamental reform could produce handsome dividends for both Indonesians and Americans when Indonesia finally emerges from this crisis and resumes its place as a powerhouse in Southeast Asia.
--James J. Przystup is Director of The Asian Studies Center at The Heritage Foundation.
--John T. Dori is a Research Associate for The Asian Studies Center at The Heritage Foundation.
Brett D. Schaefer, Jay Kingham Fellow in International Regulatory Affairs at The Heritage Foundation, assisted in the preparation of this study.


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12 or 20 (second series) questions with Laurie Duggan
Laurie Duggan grew up in Melbourne and over the years has lived in Sydney, Canberra and Brisbane. Since 2006 he has been living in a market town East Kent in the UK and is a regular reader on the London poetry circuit. Works include the documentary poem The Ash Range (2nd ed), Exeter, Shearsman, 2005; and a critical volume Ghost Nation: Imagined Space and Australian Visual Culture 1901-1939, Brisbane, University of Queensland Press, 2001. His most recent books are Crab & Winkle, Exeter, Shearsman, 2009; The Epigrams of Martial (2nd ed), Boston, Pressed Wafer, 2010; Allotments [1-29], Wendell, Massachusetts, Fewer & Further, 2011; The Pursuit of Happiness, Bristol, Shearsman, 2012; and The Collected Blue Hills, Sydney, Puncher & Wattman 2012. His blog is at: www.graveneymarsh.blogspot.com
1 - How did your first book change your life? How does your most recent work compare to your previous? How does it feel different?
I was 27 when my first book (East, 1976) came out. It was a small book and I'd edited out quite a few things that I'd keep if I were doing it now. I'd been writing for a while so it didn't really change my life much. What did change things a lot was the first reading scene I was involved in, in 1968, at Monash University in Melbourne. The first book tried out a number of styles. I still tend to operate in different modes though I guess the most characteristic work I've done dates from my second book. It's a more open-ended 'continuous nerve movie' sort of thing. For a long time I wrote satires and I've also written poems 'including history'. I think I've just become more proficient, hopefully without becoming slick.
2 - How did you come to poetry first, as opposed to, say, fiction or non-fiction?
I started writing poems in 1966 but I still didn't think of myself as a poet. I'd wanted to write fiction (for which I have no talent whatsoever – and these days not much interest either), I'd wanted to be a painter (I wasn't any good at it), and I'd wanted to be a rock star (like just about every other male of my vintage. I still noodle on a guitar but I wouldn't kid myself about it). So I sort of blundered into poetry, then everything else fell away and that was what I was.
3 - How long does it take to start any particular writing project? Does your writing initially come quickly, or is it a slow process? Do first drafts appear looking close to their final shape, or does your work come out of copious notes?
It varies from work to work. Some things require a great deal of revision, others seem fully formed, but these have usually been percolating away off the page for some time.
4 - Where does a poem usually begin for you? Are you an author of short pieces that end up combining into a larger project, or are you working on a "book" from the very beginning?
I always keep a notebook. Occasionally I've worked at projects but the parameters have usually been simple ones. It's always fascinated me that fragments of ancient poems can seem more interesting and more alive than some completely available things.
5 - Are public readings part of or counter to your creative process? Are you the sort of writer who enjoys doing readings?
I don't think readings are as essential for me now as they were in the beginning but I like doing them and am a tolerably good performer. Readings are more of a social occasion for people who work in isolation.
6 - Do you have any theoretical concerns behind your writing? What kinds of questions are you trying to answer with your work? What do you even think the current questions are?
I function from doubt, if you could call that a theory. It means I can never satisfactorily justify or even explain what I do. At the same time I know what I don't like.
7 – What do you see the current role of the writer being in larger culture? Does s/he even have one? What do you think the role of the writer should be?
I always tend to avoid being grouped as a 'writer' with others involved in political actions. I do get involved in political events but as a citizen rather than as a poet. I don't think poetry gives me (or anyone)any special kind of authority. In this I'm with George Oppen.
8 - Do you find the process of working with an outside editor difficult or essential (or both)?
With poetry the only editing done on my work centres on questions of layout and general page design. With any other kind of writing I welcome editorial assistance. Good editors are a rare and wonderful species.
9 - What is the best piece of advice you've heard (not necessarily given to you directly)?
'There are a lot of bastards out there' (William Carlos Williams).
10 - How easy has it been for you to move between genres (poetry to critical prose)? What do you see as the appeal?
I do move between these two genres. The relationship is indirect but ultimately fruitful.
11 - What kind of writing routine do you tend to keep, or do you even have one? How does a typical day (for you) begin?
Sluggishly. I'm not terribly organised to start off with. But I do keep a notebook and keep it handy. So much of what I write in it is rubbish but if I didn't do it I wouldn't get the good things either.
12 - When your writing gets stalled, where do you turn or return for (for lack of a better word) inspiration?
I go for a long walk. Take photographs.
13 - What fragrance reminds you of home?
Eucalyptus after rain (Australia). Here (in Kent), malt from the local brewery.
14 - David W. McFadden once said that books come from books, but are there any other forms that influence your work, whether nature, music, science or visual art?
Just about every sort of experience enters the work. Including books.
15 - What other writers or writings are important for your work, or simply your life outside of your work?
The list would be endless. Williams is always there. Oppen, increasingly so. Then there are my long-time companions (and compatriots) Pam Brown and Ken Bolton. But there are so many others.
16 - What would you like to do that you haven't yet done?
Visit Portugal. And Chile.
17 - If you could pick any other occupation to attempt, what would it be? Or, alternately, what do you think you would have ended up doing had you not been a writer?
Everything I've done has, more or less, been by accident. I've been a number of things: a librarian, an academic, a cleaner, unemployed. It's hard to say what else I might have done.
18 - What made you write, as opposed to doing something else?
Pure chance.
19 - What was the last great book you read? What was the last great film?
There are so many great books it's hard to even begin. Most movies I tend to forget within days. I haven't forgotten My Winnipeg though.
20 - What are you currently working on?
I won't know until it's finished.
12 or 20 (second series) questions;
Labels: 12 or 20 questions, Fewer and Further Press, Laurie Duggan, Pressed Wafer, Puncher and Wattman, Shearsman Books, University of Queensland Press

redpajama_set_name: RedPajamaCommonCrawl


Running your first multi-day trail running event is daunting on its own, let alone remembering all the gear/essentials that needs to be packed for such an event. So if you are running your first multi-day trail or if you are a seasoned veteran, have a look through this checklist and make sure you are thoroughly prepared!
Pack a daily ration Ziploc for each group of items i.e. A Ziploc for the day's supplements and another for the day's clothing.
Take extra plastic bags to store wet/soiled gear in.
Tests all items thoroughly before you use them in the race.
REMEMBER – This is merely a guide. Add or subtract items as needed.
Click, download and print this checklist, you can thank us later!


text:
(Redirected from Latin music (genre))
This article is about the genre of music. For music from Latin America, see Music of Latin America. For other uses, see Latin music (disambiguation).
Latin music (Portuguese and Spanish: música latina) is a term used by the music industry as a catch-all genre for music from Latin America, Music of Spain, and Portugal, the United States, as well as music sung in Spanish or Portuguese language.[1][2][3][4][5][6][7]
Native name
Latin American music
Portuguese music
Cultural origins
Early-1900s in the United States
Derivative forms
Latin R&B
Regional Mexican
Tropical music
2021 in Latin music
1 Terminology and categorizations
2.1 1940s–1950s
2.2 1960s
3 Criticism
Terminology and categorizationsEdit
Spanish singer Julio Iglesias was recognized by the Guinness World Records in 2013 as the best-selling male Latin artist of all time.[8]
Because the majority of Latino immigrants living in New York City in the 1950s were of Puerto Rican or Cuban descent, "Latin music" had been stereotyped as music simply originating from the Spanish Caribbean. The popularization of bossa nova and Herb Alpert's Mexican-influenced sounds in the 1960s did little to change the perceived image of Latin music. Since then, the music industry classifies all music sung in Spanish or Portuguese as Latin music, including musics from Spain and Portugal.[4]
Following protests from Latinos in New York, a category for Latin music was created by National Recording Academy (NARAS) for the Grammy Awards titled Best Latin Recording in 1975.[9] Enrique Fernandez wrote on Billboard that the single category for Latin music meant that all Latin music genres had to compete with each other despite the distinct sounds of the genre. He also noted that the accolade was mostly given to performers of tropical music. Eight years later, the organization debuted three new categories for Latin music: Best Latin Pop Performance, Best Mexican/Mexican-American Performance, and Best Tropical Latin Performance.[10] Latin pop is a catch-all for any pop music sung in Spanish, while Mexican/Mexican-American (also to referred to as Regional Mexican) is based any musical style originating from Mexico or influences by its immigrants in the United States including Tejano, and tropical music focuses any music from the Spanish Caribbean.[11]
In 1997, NARAS established the Latin Recording Academy (LARAS) in an effort to expand its operations in both Latin America and Spain.[12] In September 2000, LARAS launched the Latin Grammy Awards, a separate award ceremony from the Grammy Awards, which organizers stated that the Latin music universe was too large to fit on the latter awards. Michael Greene, former head of NARAS, said that the process of creating the Latin Grammy Awards was complicated due to the diverse Latin musical styles, noting that the only thing they had in common was language. As a result, the Latin Grammy Awards are presented to records performed in Spanish or Portuguese,[13] while the organization focuses on music from Latin America, Spain, and Portugal.[14]
Since the late 1990s, the United States has had a substantially rising population of "Latinos",[15] a term popularized since the 1960s due to the wrong and confusing use of the term "Spanish" and the more proper but less popular term "Hispanic".[16] The music industry in the United States started to refer to any kind of music featuring Spanish vocals as "Latin music".[17][18][19] Under this definition, Spanish sung in any genre is categorized as "Latin".[20] In turn, this has also led to artists from Spain being labelled as "Latin" as they sing in the same language.[21]
The Recording Industry Association of America (RIAA) and Billboard magazine use this definition of Latin music to track sales of Spanish-language records in the United States.[22][23] Billboard however considers an artist to be "Latin" if they perform in Spanish or Portuguese.[24] The RIAA initiated the "Los Premios de Oro y Platino" ("The Gold and Platinum Awards" in Spanish) in 2000 to certify sales of Latin music albums and singles under a different threshold than its standard certifications.[25] Billboard divides its Latin music charts into three subcategories: Latin pop, Regional Mexican, and tropical.[26] A fourth subcategory was eventually added in the mid 2000s to address the rise of Latin urban music genres such as Latin hip hop and reggaeton.[27]
1940s–1950sEdit
The term "Latin music" originated from the US due to the growing influence of Hispanic and Latino Americans in the American music market, with notable pioneers including Xavier Cugat (1940s) and Tito Puente (1950s) and then accelerating in later decades.[2][3] As one author explained the rising popularity from the 1940s: "Latin America, the one part of the world not engulfed in World War II, became a favorite topic for songs and films for Americans who wanted momentarily to forget about the conflagration."[28] Wartime propaganda for America's "Good Neighbor Policy" further enhanced the cultural impact.[29] Pérez Prado is the composer of such famous pieces as "Mambo No. 5" and "Mambo No. 8". At the height of the mambo movement in 1955, Pérez hit the American charts at number one with a cha-cha-chá version of "Cherry Pink and Apple Blossom White".[30] El manisero, known in English as The Peanut Vendor, is a Cuban son-pregón composed by Moisés Simons. Together with "Guantanamera", it is arguably the most famous piece of music created by a Cuban musician.[31] "The Peanut Vendor" has been recorded more than 160 times,[32] sold over a million copies of the sheet music, and was the first million-selling 78 rpm single of Cuban music.
1960sEdit
The Brazilian bossa nova became widespread in Latin America and later became an international trend, led especially by Antônio Carlos Jobim.[33] Rock en español became popular with the younger generation of Latinos in Latin America,[34] notably including Argentine bands such as Almendra.[35] Mexican-American Latin rock guitarist Carlos Santana began his decades of popularity.[36]
Salsa music became the dominant genre of tropical music in the 1970s. Fania Records was credited for popularizing salsa music, with acts such as Rubén Blades, Héctor Lavoe, and Celia Cruz expanding the audience.[37] In the late 1970s, an influx of balladeers from Spain such as Julio Iglesias, Camilo Sesto, and Raphael established their presence on the music charts both in Latin America and the US Latin market.[38] In 1972, OTI Festival was established by the Organización de Telecomunicaciones de Iberoamérica as a songwriting contest to connect the Ibero-American countries (Latin America, Spain, and Portugal) together. Ramiro Burr of Billboard noted that the contest was considered to be the "largest and most prestigious songwriting festival in the Latin music world".[39]
Main article: 1980s in Latin music
In the 1980s, the Latin ballad continued to be the main form of Latin pop music, with Juan Gabriel, José José, Julio Iglesias, Roberto Carlos, and José Luis Rodríguez dominating the charts.[40] Salsa music lost some traction, and its musical style changed to a slower rhythm with more emphasis on romantic lyrics. This became known as the salsa romantica era.[41]
Enrique Iglesias, son of Julio Iglesias is known as the modern King of Latin Pop.
Bolero music saw a resurgence of popularity with the younger audience. Mexican singer Luis Miguel was credited for the renewed interest due to the success of his album, Romance (1991), a collection of classics covered by the artist.[42] By the mid-1990s, Latin pop music was dominated by younger artists such as Menudo alumnus Ricky Martin, Colombian teen Shakira, and Julio's son Enrique Iglesias.[43] Around the same time, artists from Italy such as Eros Ramazzotti, Laura Pausini, and Nek successfully crossed over to the Latin music field by recording Spanish-language versions of their songs.[44] In the Regional Mexican field, Tejano became the most prominent genre. Selena helped push Tejano music into the mainstream market with her albums Entre a Mi Mundo (1992) and Amor Prohibido (1994), although the genre's popularity declined following her death in 1995.[45] In the tropical music field, merengue, which gained attention in the 1980s, rivaled salsa in popularity.[46]
In the mid-2000s, reggaeton became popular in the mainstream market, with Hector 'El Father' Tego Calderon, Daddy Yankee, Don Omar, and Wisin & Yandel considered to be the frontiers of the genre.[47] In the tropical music scene, bachata mus esic became popular in the field, with artists such as Monchy & Alexandra and Aventura finding success in the urban areas of Latin America.[48] Banda was the dominant genre in the Regional Mexican music field.[49]
By the turn of the decade, the Latin music field became dominated by up-tempo rhythms, including electropop, reggaeton, urbano, banda and contemporary bachata music, as Latin ballads and crooners fell out of favor among U.S. Latin radio programmers.[50] Streaming has become the dominant form of revenue in the Latin music industry in the United States, Latin America and Spain.[51] Latin trap gained mainstream attention in the mid-2010s with notable artists such as Ozuna, Bad Bunny, and Anuel AA.[52] In May 2013, Christina Aguilera appeared on Mexican singer Alejandro Fernández's cover of "Hoy Tengo Ganas de Ti" from his album Confidencias.[53]
Numerous computer science and music experts have reported a common error on streaming services such as Spotify. Overlooking mainstay artists in catch-all genre terms such as Latin music, potentially causing a categorical homogenization of musical styles; incorrectly miscategorizing musicians and songs from heritage styles, such as Norteño, New Mexico music, Duranguense, and Tejano music, leading to underperformance of these styles on their platforms.[54][55][56][57]
Latin music portal
Billboard Top Latin Albums
List of best-selling Latin albums in the United States
Category:Latin music by year
^ Morales, Ed (2003). The Latin beat: The Rhythms and Roots of Latin music From Bossa Nova to Salsa and Beyond (1. Da Capo Press ed.). Cambridge, MA: Da Capo Press. p. xiii. ISBN 978-0-306-81018-3. Retrieved September 10, 2015. Including Spain, there are twenty-two predominately Spanish-speaking countries, and there are many more styles of Latin music.
^ a b Stavans, llan (2014). Latin music: musicians, genres, and themes. Santa Barbara, California: ABC-CLIO. p. xviii, 838. ISBN 978-0-313-34396-4. Retrieved October 30, 2014.
^ a b Lawrence, Larry; Wright, Tom (January 26, 1985). "¡Viva Latino!". Billboard. 97 (4): 53, 62. ISSN 0006-2510. Retrieved April 9, 2015.
^ a b Flores, Juan; Rosaldo, Renato (2007). A Companion to Latina/o Studies. Oxford: Blackwell Pub. p. 50. ISBN 978-0-470-65826-0. Retrieved September 10, 2015.
^ Llewellyn, Howell (November 25, 1995). "ShowMarket to Focus on Development of Latin Music". Billboard. 107 (47): 72. ISSN 0006-2510. Retrieved July 30, 2015.
^ Arenas, Fernando (2011). Lusophone Africa: Beyond Independence. Minneapolis: University of Minnesota Press. p. 220. ISBN 978-0-8166-6983-7. Retrieved September 10, 2015.
^ Stavans, Ilan; Augenbraum, Harold (2005). Encyclopedia Latina : history, culture, and society in the United States. Danbury, Conn.: Grolier Academic Reference. p. 201. ISBN 978-0-7172-5818-5. The term Latin music identifies a wide range of genres and styles generated in Latin America and the Iberian Peninsula
^ "Julio Iglesias receives world record certificate in Beijing". Guinness World Record. April 2, 2013. Retrieved December 24, 2013.
^ Gebesmair, Andreas (2001). Global Repertoires : Popular Music Within and Beyond the Transnational Music Industry. Taylor and Francis. p. 63. ISBN 9781138275201. Retrieved July 17, 2019.
^ Fernandez, Enrique (June 18, 1983). "NARAS Takes A Welcome Step". Billboard: 73. ISSN 0006-2510.
^ Fernandez, Enrique (November 1, 1986). "Latin Notas". Billboard. 98 (44): 40A. Retrieved March 22, 2015.
^ Lannert, John (June 21, 1997). "LARAS Formed To Expand Latin Work of NARAS". Billboard. 109 (25): 6, 92. Retrieved August 1, 2016.
^ Valdes-Rodriguez, Alisa (September 12, 2000). "One Little Word, Yet It Means So Much". Los Angeles Times. Tribune Company. Retrieved December 25, 2013.
^ Fernandez, Enrique (March 5, 2000). "After Birthing Pains, Latin Grammys Should Grow Strong". Sun-Sentinel. Retrieved March 9, 2017.
^ Suárez-Orozco, Marcelo (2008). Latinos: Remaking America. University of California Press. ISBN 978-0-520-25827-3.
^ González, Juan (2011). Harvest of Empire: A History of Latinos in America. Penguin Books. ISBN 978-0-14-311928-9.
^ Avant-Mier, Roberto (2010). Rock the Nation: Latin/o Identities and the Latin Rock Diaspora. Continuum Publishing Corporation.
^ Edwards, Bob (September 13, 2000). "Profile: Latin Grammys at the Staples Center in Los Angeles". NPR. Archived from the original on February 25, 2016. Retrieved August 7, 2015.
^ Barkley, Elizabeth F. (2007). Crossroads: the Multicultural Roots of America's Popular Music (2nd ed.). Upper Saddle River, NJ: Pearson Prentice Hall. p. 232. ISBN 978-0-13-193073-5. The U.S. record industry defines Latin music as simply any release with lyrics that are mostly in Spanish.
^ Valdes-Rodriguez, Alisa (December 26, 1999). "The Loud and Quiet Explosions". Los Angeles Times. Tribune Company. Retrieved October 28, 2015.
^ Cobo, Leila (April 18, 2019). "What 'Latin' Means Now, In Music and Beyond". Billboard. Prometheus Global Media. Retrieved July 17, 2019.
^ "RIAA 2015 Year-End Latin Sales & Shipments Data Report". RIAA. 2015. Retrieved July 20, 2019.
^ Cobo, Leila (January 5, 2012). "Latin Sales Down Slightly In 2011, Digital Latin Sales Up". Billboard. Retrieved September 30, 2015.
^ "Rosalia's Best New Artist Nomination: What It Means To Latin Music". Billboard. Prometheus Global Media. November 20, 2019. Retrieved June 11, 2020. Note: we are considering Rosalía an artist who falls into the "Latin" category because she performs in Spanish or Portuguese
^ "RIAA Updates Latin Gold & Platinum Program". RIAA. December 20, 2013. Retrieved July 20, 2019.
^ "Billboard's Latin Charts Switch To SoundScan". Billboard. Prometheus Global Media: 4, 71. July 10, 1993. Retrieved January 19, 2013.
^ Cobo, Leila (May 21, 2005). "New Latin Charts Bow". Billboard. Nielsen Business Media. 117 (21): 10. ISSN 0006-2510.
^ Furia, Philip (2004). Skylark: The Life and Times of Johnny Mercer. Macmillan. p. 263. ISBN 978-1-4668-1923-8.
^ O'Neil, Brian (2005). "Carmen Miranda: The High Price of Fame and Bananas". In Ruiz, Vicki L.; Sánchez Korrol, Virginia (eds.). Latina Legacies. Oxford University Press. p. 195. ISBN 978-0-19-515398-9. the power that Hollywood films could exert in the two-pronged campaign to win the hearts and minds of Latin Americans and to convince Americans of the benefits of Pan-American friendship
^ http://www.allmusic.com/artist/pérez-prado-mn0000310383
^ Giro, Radamés 2007. Diccionario enciclopédico de la música en Cuba. La Habana. vol 4, p147
^ Listed in Díaz Ayala, Cristóbal 1988. Si te quieres por el pico divertir: historia del pregón musical latinoamericano. Cubanacan, San Juan P.R. p317–322. [list fairly complete up to 1988]
^ Taffet, Jeffrey; Watcher, Dustin (2011). Latin America and the United States: A Documentary History (2nd ed.). New York: Oxford University Press. ISBN 978-0-19-538568-7. Retrieved June 7, 2017.
^ Candelaria, Cordelia (2004). Candelaria, Cordelia; García, Peter J.; Aldama, Arturo J. (eds.). Encyclopedia of Latino Popular Culture in the United States. 2. Westport, CT: Greenwood Press. p. 690. ISBN 978-0-313-32215-0.
^ Olsen, Dale; Sheehy, Daniel E. (2008). The Garland handbook of Latin American music (2nd ed.). New York: Routledge. p. 458. ISBN 978-0-415-96101-1. Retrieved June 7, 2017.
^ Ruhlmann, William (2003). "Carlos Santana: Biography". AllMusic. Retrieved June 7, 2017.
^ Bernstein, Arthur; Sekine, Naoki; Weismann, Dick (2013). The Global Music Industry Three Perspectives. Hoboken: Taylor and Francis. p. 78. ISBN 978-1-135-92248-1. Retrieved June 6, 2017.
^ Salaverri, Fernando (November 3, 1979). "Spain Establishing the Latin European Link". Billboard. 91 (44). ISSN 0006-2510. Retrieved March 24, 2017.
^ Burr, Ramiro (January 5, 1991). "Mexican Quartet Captures Top OTI Prize". Billboard: 61.
^ Cobo, Leila (November 29, 2003). "The Prince's 40-Year Reign: A Billboard Q&A". Billboard. 115 (48): 28.
^ Pietrobruno, Sheenagh (2006). Salsa and Its Transnational Moves. Lanham: Lexington Books. ISBN 978-0-7391-6058-9.
^ Holston, Mark (September 1, 1995). "Ageless Romance with Bolero". Américas. Retrieved March 21, 2015.
^ Powell, John (2005). Encyclopedia of North American immigration. New York: Facts On File. p. 92. ISBN 978-1-4381-1012-7.
^ Obejas, Achy (April 4, 1999). "Italian Artists Conquer Latin Music Charts". Chicago Tribune. Tribune Company. Retrieved January 4, 2015.
^ Saldana, Hector (August 16, 2015). "Tejano music enjoyed a decade-long golden age". San Antonio Express-News. Retrieved March 24, 2016.
^ Rodriguez, Nelson (September 1, 1998). "A look at contemporary Merengue. - Free Online Library". Latin Beat Magazine. thefreelibrary.com. Retrieved July 7, 2019.
^ Resto-Montero, Gabriela (January 25, 2016). "The Unstoppable Rise of Reggaeton". Fusion. Retrieved May 19, 2017.
^ Cobo, Leila (August 15, 2009). "Tropical Paradise". Billboard. 121 (32): 31. ISSN 0006-2510. Retrieved May 19, 2017.
^ Henderson, Alex. "Me Cambiaste la Vida – Rogelio Martinez". AllMusic. Retrieved May 19, 2017.
^ Cobo, Leila (September 10, 2014). "Latin Noise: We Want Our Ballads". Billboard. Prometheus Global Media. Retrieved September 8, 2015.
^ Melendez, Angel (April 25, 2017). "Why Are Spanish Songs More Popular on YouTube? Billboard's Leila Cobo Knows". Miami New Times. Retrieved June 12, 2017.
^ "Trap's Latin American Takeover". The Fader. Retrieved December 29, 2017.
^ "Hoy Tengo Ganas De Ti [feat. Christina Aguilera]: Alejandro Fernández". Amazon.es (Spain). May 14, 2013. Retrieved October 11, 2013.
^ "Spotify Pivots on Global Cultures Initiative, Alarming Music Industry". Rolling Stone. October 4, 2019. Retrieved February 18, 2020.
^ Hepworth, Shelley (January 1, 2020). "Streaming spells the end of the 'ownership' era of music, but are we ready to let go?". The Guardian. Retrieved February 18, 2020.
^ Lucero, Mario J. (January 3, 2020). "The problem with how the music streaming industry handles data". Quartz. Retrieved February 18, 2020.
^ "Spotify and streaming services are breaking cultural music on a worldwide stage". RouteNote Blog. February 6, 2020. Retrieved February 18, 2020.
Stavans, Ilan (2014). Latin music: musicians, genres, and themes. Santa Barbara, California: ABC-CLIO. ISBN 978-0-313-34396-4.
Morales, Ed (2003). The Latin Beat. Da Capo Press. ISBN 978-0-306-81018-3.
"1992 International Buyer's Guide to Latin Music". Billboard. 1992. ISSN 1074-746X.
Wikimedia Commons has media related to Latin music (genre).
What Is Latin Music? About.com
Latin Music Genre Overview AllMusic
Latin Music Billboard
Latin Grammy
Latin Music USA PBS
Latin Songwriters Hall of Fame
American Sabor
Retrieved from "https://en.wikipedia.org/w/index.php?title=Latin_music&oldid=1001109489"


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Already Retired? 401(k) Help for Retirees
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Harrods has merged the directorships of its food and home divisions and hired an experienced grocery executive to lead the expanded business unit.
HOME Retail Group chief executive John Walden is to step down from the PLC holding company and its Argos subsidiary once its sale to Sainsbury's completes.
Year-on-year furniture sales gained 21.7 per cent at John Lewis last week as overall growth across the chain approached double-digits.
Upmarket furniture vertical Wesley Barrell slipped to a trading deficit in the year that saw it sold to an investment firm, despite a rise in output.
Furniture sales grew 7.6 per cent at department store mutual John Lewis last week driven by orders taken from its online channel.
Department store mutual John Lewis is planning to open a full-line store in Cheltenham, plugging a geographical gap that stretches from Bristol to Solihull.
Upmarket furniture and interiors retailer OKA Direct plans to more than double store numbers over the next 36 months.
National retailer Furniture Village has retained its bed retailer of the year crown, with Newbridge Street Bedding Centre winning the independent category.
Weak electricals demand hit sales at Argos in the second quarter while ongoing store closures hampered sister retailer Homebase despite improving like-for-likes.
The pace of the rollout of the Habitat brand has been accelerated with the chain to reach its 2015–16 store target several months ahead of schedule.
Furniture Village opens its 41st store this August Bank Holiday weekend as part of its plan to open 20 new sites over the next five years.
National retailer Furniture Village grew 2014–15 profits by 43 per cent as orders increased and margins returned to historically high levels.
IKEA has confirmed its long-awaited store along the M4 corridor will open in a year's time in the summer of 2016.
B&Q's shift in pricing strategy began to pay dividends in the second quarter with rising sales of its kitchens, bedrooms and bathrooms.
DFS chief operating officer Jon Massey is to retire after more than 20 years in the role and nearly three decades with the company in all.
Big-ticket lines sold through as John Lewis grew Home sales by 4.5 per cent year-on-year last week. That was an uplift against the year-to-date figure (+3.9pc).
Efforts to galvanise the furniture category paid off for Dunelm in the year to end June as the chain confirmed Keith Down as its new chief financial officer.
UK trading margins improved 30 basis points in the first half of Steinhoff's financial year, with the group saying its refurbishment programme is well advanced.
General merchandise sales at Marks & Spencer were flat in the retailer's first quarter despite a big improvement from its online business.
Dreams will this week open the first of six stores in the North East of England with plans to open 30 overall across Britain over the next year.
Former Apple, Dixons and Monsoon executive John Browett is to become chief executive at furniture and homewares retailer Dunelm.
New FD at Feather & Black, while Wade Group writes off intra-group debt. Director Oliver Spark — also joint md at Multiyork — provides a steer on trading. Sign in for more.
Argos said like-for-likes declined 3.9 per cent in the three months to end May with sales adversely impacted by market declines in key electrical and seasonal product categories.


text:
Clymer, New York
ABOUT CLYMER
TOWN POSITIONS
GARBAGE / RECYCLING
TOWN CLERK'S OFFICE
TOWN COURT
TOWN FACILITIES
Town Sponsored Organizations and Events
Summer Recreation Program:
Hosted by the Community Support Group, the Summer Recreation Program provides activities, arts, crafts and sports daily for children entering 1st - 12th grade in the upcoming school year. Contact XXXX (XXX-XXX-XXXX) for more information.
Youth Baseball:
Ages 9 - 12, Contact Mike Einink (716-355-4204) for more information.
Babe Ruth Baseball:
Ages 13 - 15, Contact Corey Rhodes (715-355-6471) for more information.
Saturday Morning Basketball:
Every Saturday morning from 8:00 AM - 12:00 PM at Clymer Central School during the month of January. Contact Mike Einink (716-355-4204) for more information.
Clymer Tulip Festival:
Held every even numbered year in the Spring. Events include craft fairs, street food vendors, parade, petting zoo, kids activity zone and much more. Visit the Clymer Tulip Festival Facebook page here: https://www.facebook.com/ClymerTulipFestival/
Community Play:
Presented every odd numbered year in the Spring. A town musical featuring residents of all ages. Multiple showings are held at Clymer Central School.
Small Business Saturday:
The first Saturday following Thanksgiving, many Clymer business offer sales, prizes and special events. In the evening, the Clymer Business Association hosts a social which includes food, horse drawn hayrides and other activities. Find more information on the Clymer Area Business Association Facebook page here: https://www.facebook.com/ClymerAreaBusinesses
© 2023 by Town of Clymer, NY


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Brianna Naughton is a post-graduate student at California State University, Fullerton. In the summer of 2019, she will be traveling with a group of college-aged students on a 49-day, 4000+ mile run from San Francisco to Baltimore, raising money and awareness for the Ulman Foundation.
My connection to the cancer community is a bit of a unique one. Both of my grandpas have had cancer. My Gramps had Leukemia cancer, while my Grandpa had Prostate. Both of them were able to beat it. But over the past few years, my Grandpa's cancer has come back. In addition, he now has brain and bone cancer. My uncle is children's oncologist specializing in Leukemia. I remember him studying for medical school with the biggest books I had ever seen as a toddler. He has given so many families hope through his clinical trials and treatments. He sometimes tells us about his patients and how he was able to help them when everything else failed.
In addition to my grandpas, one of my closest mentors and my professor recently lost her battle to cancer this past August. She was always took such an interest in what I was doing and how my studies were going. She would have a line of over an hour and a half just to see her for office hours. She made an impact on so many lives, yet remained humble. She was one of my biggest supporters and always encouraged me to dream big.
I am participating with the Ulman Foundation this summer to be part of something bigger. I try to live each day to the fullest and I can't think of a better way to do that than run 4,000 miles across the United States. Each day I will be inspired by those in my life that have been affected by cancer and will draw strength from those I meet along the way.
While I will be dedicating different days to those impacted by cancer, I will be running for my professor, for the one who always believed in me, for Ellen Caldwell, for EC.
Azadeh Estrada 03/11/2019 $10.00 Best of luck Brianna!
Bob and Jen Cole 02/12/2019 $50.00 Best of luck, Brianna!! We applaud your dedication to this awesome cause!!
Erin Shea 02/07/2019 $50.00 AMAZING! GOOD LUCK!
Chyna Tran 02/06/2019 $10.00 I would not be where I am today without the genuine help and care from Professor Ellen Caldwell.
Cristine Ostrich 02/03/2019 $50.00 Adventure is out there!
Michael Burke 01/04/2019 $1,000.00 Thank you Brie for running for this great cause! We love you.
Brianna Naughton 12/15/2018 $100.00 Good Luck Bri!
Kerry Shea 12/14/2018 $50.00 Wishing you the best, Brianna!
Brianna Naughton 12/10/2018 $150.00 Donations from Mrs. Naughton's class. Keep up the good work. We are cheering you on all the way!
Barbara Callahan 12/08/2018 $50.00 Good Luck Brianna! Stay hydrated.
Kerry and Patrick Wessel 12/05/2018 $100.00 Go kick some BOOTY Brie!! I love that you are constantly challenging yourself and making your mark on the Earth!
Joe Naughton 12/01/2018 $100.00 Good luck Brianna!
Alyssa Perez 11/28/2018 $100.00 Good luck Brie! I'm so excited you are going to be doing this and I hope you have a wonderful experience!
Lindsey Ruck 11/24/2018 $25.00 A great adventure for a great cause! Way to go Brianna!


text:
Home Development Application security: Survey finds JavaScript beats Java and .NET with fewer flaws,...
A survey of millions of applications submitted for analysis showed that nearly 75 percent have security flaws, that applications become less secure as they age, and that of the top three programming languages used in business, JavaScript applications tend to have fewer issues and faster remediation than those written in Java or .NET.
The State of application security report from application security company Veracode is based on analysis scans of code submitted for testing. There are three main types of scan: dynamic analysis which looks at runtime behavior, statis analysis which inspects the code, and composition analysis which checks third-party libraries against a database of known flaws.
The three types of analysis reveal different flaws. Top issues found by static analysis are CRLF injection (when an unexpected line terminator is not removed from input), cryptographic issues, and information leakage. Top in dynamic analysis is server misconfiguration, insecure dependencies, and again information leakage. Composition analysis puts information leakage top, followed by insufficient input validation, and encapsulation, which is where applications "fail to separate or differentiate critical data or functionality within components."
SQL injection remains a common problem, with over 22 percent of statically analysed applications vulnerable and 32% of composition analyses, as does cross-site scripting, 38.5 percent in static analysis and 44.7% in composition analysis.
In most general language surveys JavaScript comes top for popularity, but that is not the case here. According to the researchers this is because it is weighted towards business applications. 44.2 percent of applications in the survey use Java, 26.4 percent .NET, 14.3 percent JavaScript, and others such as Python, C++ and PHP amount to 15.1 percent combined.
Another by-the-way nugget of information is that "over 90 percent of Java applications are third-party code." Much of modern application development is about assembling and controlling components and libraries, rather than writing fresh code.
JavaScript's lead over the other two languages focused on here is substantial. According to one chart, 82.2 percent of .NET applications suffer from flaws, compared to 77.7 percent of Java and 55.8 percent of JavaScript creations. Further, if the flaws are narrowed to just those which are high severity, only 9.5 percent of JavaScript applications are vulnerable, compared to 19.9 percent Java and 21.9 percent .NET. JavaScript flaws are also fixed more quickly, with half their flaws fixed in 116 days on average, versus 158 days for .NET and 243 days for Java.
Applications evolve over time and according to this survey, "the average application grows about 40 percent per year, regardless of its original size," though growth slows down after 5 years or so. Unfortunately this also means new flaws may be introduced. According to the survey, typically fewer flaws are introduced in the first 18 months of an application's life, but after that the rate creeps up. "The percentage of applications with flaws climbs as applications age," say the researchers, stating that fewer than half of apps less than one year old have flaws, but by the time they are four or five years old, two-thirds have flaws, and at 10 years old, 90 percent of them.
Exactly why these trends exist is open to speculation. Perhaps newer applications are more likely to have a company's top software engineers, for example. Recommendations in the report – which comes from a company selling application security tools – include greater automation and developer training, and clarity over who is responsible for each application.
Ruby 3.2.0 released with WebAssembly compiler, production-ready YJIT optimization, and much faster regular expressions


I have recently decided to go ahead with getting braces. I am 42 though, and have some doubts. Will it still work? Wil it take longer? Is it worth it to get braces at this point, or should I just wait till my teeth are gone and get dentures? What are the real reasons behind getting braces at such a late stage in life?
Adult orthodontics are always a good idea, and I would not call 42 years a late stage of life. Remember, our generation is projected to live longer than any other previous ones have, and keeping your own teeth in your mouth is a very important factor in health.
It is well worth getting braces at 42 if they can improve your appearance and your standard of living by helping you with speech impediments or with biting and chewing food, but you do touch upon a very important subject. That is none other than the fact that adult orthodontic treatment lasts longer than it would if it would have been started during the teenage years, as the bones are much more ossified and less flexible, and are thus harder to move teeth around in. But this merely means that the braces themselves will have to be worn a little bit longer, but the outcome of the treatment is just as successful, just as permanent, and just as life altering as when done during the early years.
Adult orthodontic treatment will improve your quality of life, regardless of how old you are. There are many different kinds to choose from; completely invisible lingual braces, transparent aligners, or fixed, tooth coloured aesthetic braces for those who wish to keep their orthodontic treatment aesthetic. Right now is probably the best chance you will have to live with orthodontic treatment, and the sooner you decide to do it, the better you will fare. From aesthetic corrections to less frequent cavities and toothaches, all the way to the end of jaw and back pain, getting orthodontic treatment as an adult is well worth it. Talk to your dentist and ask what can be done to correct your bite!


text:
<?php

declare(strict_types=1);

namespace phpseclib3\File\ASN1\Maps;

use phpseclib3\File\ASN1;

/**
 * AdministrationDomainName
 *
 * @author  Jim Wigginton <terrafrost@php.net>
 */
abstract class AdministrationDomainName
{
    public const MAP = [
        'type' => ASN1::TYPE_CHOICE,
        // if class isn't present it's assumed to be \phpseclib3\File\ASN1::CLASS_UNIVERSAL or
        // (if constant is present) \phpseclib3\File\ASN1::CLASS_CONTEXT_SPECIFIC
        'class' => ASN1::CLASS_APPLICATION,
        'cast' => 2,
        'children' => [
            'numeric' => ['type' => ASN1::TYPE_NUMERIC_STRING],
            'printable' => ['type' => ASN1::TYPE_PRINTABLE_STRING],
        ],
    ];
}

redpajama_set_name: RedPajamaGithub


Pelican's Tracker is the handiest pocket light ever made. Submersible to 300 feet and 3 1/2" in length this flashlight attaches to almost anything making it an ideal hands free flashlight. The Tracker easily fits into tool/tackle boxes, photographer's equipment travel bags and is perfect for any outdoor activity, scuba diving, home, office, or emergency lighting. The Tracker includes 2-AAA cell Energizer batteries and is available in yellow.
YES 8.0 1.2 6,000 2AAA 2.5 houras 3 1/2" 0.168 lbs.


Emily Vizzo is a poet, essayist and novelist who writes about being alive in the world. She believes in people and places. Hopefully you do too.
Good News & New Work!
Upcoming Reading in Los Angeles @ The Pop-Hop!


The Linguaphone German Complete course is the right choice if you really want to master the German language and use it with confidence.
The course covers Beginner, Intermediate and Advanced levels in the German language. What does that mean? It means, on completion, you will be able to speak, read and write German to a high level. You will be able to express yourself effectively in conversation, understand when German is spoken to you and make yourself understood in a wide range of situations. This course will enable you to think for yourself, construct sentences, create dialogue and use German freely. In short, when someone asks if you can speak German, you'll say yes I can! That's our promise to you.
Many language courses simply teach you how to repeat words and phrases. With the Linguaphone Method, you will learn how the German language works and how to use it effectively for real life communications. It's a real alternative to taking classes and will have you speaking, reading and writing German from the very first lesson.
This German course is genuinely comprehensive . It has been carefully designed to guide you through the German language in great detail, sharing Linguaphone's language learning expertise and unlocking your own natural ability to learn German. You'll be speaking German from the first lesson and, as Linguaphone builds your confidence, you'll make rapid progress.
This popular course covers a mixture of social, travel and business scenarios and includes a wide range of course material to help you master the German language. Not only that, but you'll develop an active vocabulary of over 2,000 German words and an authentic German accent.
Linguaphone German Complete is a suitable course for anyone who wants to learn German for the purpose of real-life communication, whatever their special interests may be. Don't worry if you haven't been studying for some time. It's very easy to follow and geared to help you progress rapidly. There's no pressure here. You'll learn at your own pace and in your own time. English instructions are provided throughout the course so it's a bit like having your own personal tutor.
8 audio language CDs containing sounds section, lessons, spoken exercises and lots of supplementary material. An online subscription is included in your purchase. By logging-in, you can access your German course audio anywhere in the world and play the audio tracks on any internet enabled device such as a computer, smartphone or tablet.
A 234 page textbook – contains the printed and illustrated transcription of the CD Recordings.
A 158 page Written Exercise book – for practising writing using the language taught in each lesson.
A 120 page Oral Exercise book – with spoken exercises to improve your accent and pronunciation.
It's an enjoyable, yet highly effective way of learning German.
Speaking German is an active skill - something you learn by doing, not just studying. This is the practical approach taken by Linguaphone to language learning. You will start to speak German during the very first lesson. The course begins simply, building your confidence session by session. Soon after, longer sentences are introduced to enable the expression of more detailed and complex thoughts. But the course always concentrates on useful, authentic everyday words and situations. The result is that, after completing a Linguaphone Complete German course, you will have a thorough understanding of the German language and be able to converse with and understand real people speaking the language.
Listening to native German speakers is the most relaxing and involved way to learn, helping you associate the sounds you hear with the words and sentences you read. The native German speakers in this course begin by speaking slowly (but without distorting the intonation of the language) and, as the course progresses, speak at normal speed.
By listening and reading the language, you begin to discover what each word means. Everyday objects have exciting new names. Gradually words, then phrases, become clear and your reading, writing and speaking of the German language will improve.
Many people find that speaking their new language is the hardest part. But Linguaphone's method makes sure that you start speaking German from the very first lesson with the correct pronunciation. Imitating the voices of the native German speakers on the course will help you get used to the intonation and accent. Later on in the course, you will have the opportunity to take part in conversations. Each lesson introduces new themes featuring useful German words and phrases thus developing your conversational skills and confidence.
This German language course is suitable for beginners as no previous knowledge of the German language is necessary. It's also a popular choice for those who may have learned some German in the past and want to refresh and improve.
The course covers Beginner, Intermediate and Advanced levels in the German language . It's important to remember that a Linguaphone German course does not simply teach you handy words and phrases. The course is designed to teach you how the language works and how to use it effectively in any real life situation. So whether it's for work or pleasure, Linguaphone will give you the confidence to speak German freely and with flair.
A word of advice in choosing any language course; don't worry too much about just learning vocabulary and phrases, if that's all you want, just buy a phrasebook. If you really want to know how to speak German, how to freely express your thoughts and feelings, how to comfortably understand native German speakers and how to call yourself a German Speaker – then choose Linguaphone. It's like having your own private tutor, at home.
We understand that buying a Linguaphone German Complete course is an investment. For your complete peace of mind, Linguaphone offers a 21 day money back guarantee. This Guarantee allows you to order the course and trial it for 21 days. It allows you to start studying your language and gives you enough time to try out the course and decide whether it is for you. In the unlikely event that you are not happy with your course or find it to be unsuitable you can return it to us. You don't even need to give a reason. All we ask is that you return it to us in good condition.


Gamigo released today a new gameplay trailer for their latest 3D browser game, Dungeon Empires. This trailer shows how the game's dungeons can be made. And it looks very interesting to say the least. Players have access to literally everything. If you've always wanted to build a dungeon, here is your chance. Check out the trailer after the jump.


text:
John Beilein says he will stay on as Michigan basketball coach
Posted: 12:24 PM, Jun 06, 2018
By: Max White, WXYZ
Michigan University Men's Basketball Coach John Beilein announced he is staying with the team less than a week after he interviewed for the Detroit Pistons head coaching job.
In a tweet, the 65-year-old said, "I love the University of Michigan and I am excited about coaching our Men's Basketball Team next season and in the years to come!
"Let's go hand some more banners at 'THE GREATEST UNIVERSITY IN THE WORLD,'" he added.
Beilein has led the Wolverines to two Final Four appearances, including just last year where the Wolverines lost to Villanova in the national title game.
He's also under contract with the university through 2020-21, but Beilein told the Free Press just a couple of weeks ago that he was working on an extension.


text:
Scott's Blog
In the book, "Gem Trails of Oregon" author Garrett Romaine calls this central Oregon locality the "Aurora Borealis Pit". It's a small hole in an otherwise undug field, that yields sheen obsidian with ribbon like flow structures that look amazingly like the Northern Lights. The site is out in the central Oregon desert and sage country, about 80 miles east of Bend, on Highway 20, and has been long known to rockhounds as Glass Butte – a collection of obsidian flows that cover a large area. There are numerous pits throughout that area, and some of the more mentionable obsidian that has come from there includes rainbow, double flow, "pumpkin" ( a kind of orange brown color) and various sheens. I dug probably a couple hundred pounds of material out and only got one stone that cut like this. But I did get a reasonable percentage of obsidian that had various sheens – pink sheens, olive green sheens with silver dust, and some of the prized rainbow (see next photo)
A very nice rainbow obsidian, dug by Scott's Rock & Gem from the Aurora Borealis Pit at Glass Butte. This piece displays a range of colors from pink, to green, to blue. I did have to chase a fracture that ran down into the center of the piece, and I never did get it to completely go away. That's typical of the obsidian from here. There are fractures running along, and you sometimes just have to live with them. Still, this piece is a keeper!
A very nice thunderegg from the famous Lucky Strike Mine, in the Ochoco Mountains of central Oregon. The mine was long owned by Leonard Kopcinski, and when I first went up there, he came down to meet me, wearing his sidearm. Despite the sound of this, he was very neighborly, and even fed me dinner. In subsequent visits, Leonard would tell me tales of his struggles to keep the mine open, under pressure from the Forest Service. But one thing that always stood out about our visits: his great love for the thundereggs, and for the mine always came shining through. He made me a believer just through his sheer enthusiasm. Sadly, Leonard passed in 2014, but what a great life he lived, up at his mine on the mountain. There aren't a lot of sole proprietor miners left these days. Leonard was the real thing!
Another gorgeous, large sized Lucky Strike thunderegg. This one is almost as big as a bowling ball! I love it when the eggs have hollows within, where the agate didn't actually infill all the way, and you see the moss running this way and that, down into the egg, as just clay tubules with chalcedony lining. You have to cut a lot of eggs to get a nice one like this.
Beautiful Black Rock Desert thunderegg. Not actually an Oregon location, but to a rockhound, those boundaries are a little nebulous sometimes (wink). This one comes from a now closed pit in the Black Rock Desert of Nevada. The eggs are distinctive with blue/black agate interiors and a good percentage of them have nice hollows with chalcedony structures within.
Lovely large limbcast from the Crooked River area, outside of Madras and Prineville. This was perhaps the most significant limbcast area in Oregon, and produced volumes of agatized limbs, with the limb structure still visible on the surface, but the interiors having been completely replaced by agate, and/or sugary rock crystal, as in this piece. The area is still open to diggers, but has been heavily dug. You have to have some determination and luck today to get a good limb.
The famous Carey Ranch out in Eastern Oregon was long the go to destination for rockhounds seeking sharp, beautifully defined red plume agate.
The ranch stopped producing years ago, but that hasn't stopped the demand for this choice Oregon plume agate of yesteryear.
A watery, windowed piece of Carey Plume seems to look out from the rock like a live thing, and shows the striking transformation from ordinary jasp-agate into something remarkable.
Nice Frieda Bed moss thunderegg, from the central Oregon area. Oregon has so many thunderegg beds, it's hard to keep them all straight. Some are more historical at this point, and as I understand it, the Frieda Bed is one of those which is not really being dug anymore, either for lack of access, or else the pit is worked out. In some instances it just takes a renewed interest by rockhounds to get a pit reopened. Oregon rockhounds like Terry Ensel, and Tim Fischer have pioneered new access to old digging areas in current times. Other beds await to be explored. Without a doubt there are beds that have never been dug, and who knows what wonderful treasures await in the ground?
Great butterscotch calcite from the Gopher Valley Quarry, Yamhill County, Oregon. This quarry is a commercial gravel pit, but they sometimes open up pockets of gorgeous butterscotch calcite cubes, with mesolite sprays. I don't have very many pieces of this material in my collection, and the ones that I do have are peanuts compared to some of the drop dead gorgeous, large combos that I have seen come out of this quarry. Last I heard, vandalism had occurred, and the quarry was closed to rockhounds.
My county of Jackson, in southern Oregon, is not known for agatized limb casts. But they do occur here. Here's a very nice one that I unearthed while digging for agates in my local Lake Creek area agate beds. I windowed the end for display. The picture doesn't show it, but I hit this limb with my pick axe, and split it right in two. Wouldn't you know it? Since these are rare, I hadn't expected it to be there. So now it is a repaired limb cast, but still testifies to the unexpected treasure that awaits the avid digger.
The premier limb cast collecting area in Oregon is the Crooked River site in Crook County. Here rockhounds have searched for generations for the elusive agatized limbs. The best from this site have beautiful manganese dendrites adorning the limb just under the rough exterior, and needing to be sanded and polished to achieve the full beauty.
Dendritic agate limbcast from the Crooked River area.
Forked limb, not all there after millions of years, but you can't blame it for missing some of its pieces!
One of the largest, and best looking agate nodules that I have recovered from the Lake Creek area agate beds. The agate is actually up in the hills about five miles above the town of Lake Creek. It's random, and you just walk around in the woods to surface hunt, or else dig a little, if you think you are in an area where there may be some concentrations in the soil. But there doesn't seem to be any rhyme or reason to it. If you can't find agate, just keep looking around until you come into an area.
Uncommon dendritic agate from Agate Flat, on the Oregon/California border. This area is now mostly the Cascade Siskiyous National Monument, and the rest is a patchwork quilt of land ownership. I was lucky to be able to collect in pre-monument days, and found some very lovely agates with black dendrites of manganese oxide, that look like trees in mist.
You have to cut about 20-30 stones to get a good one like this. Very similar material comes from Madagascar, Brazil, and also Montana, but I think these Oregon treasures rival the best of them. Of course I may be biased!
Here's a little known Oregon secret: Cinnabar in agate from the Quartz Mountain area of Lake County, Oregon. The largest mine has a couple of claims at the top of a mountain of tailings, so collecting is restricted there, but there is at least one nearby area that is unclaimed and will yield a beauty or two.
A fantastic old Bruneau Jasper classic from the remote, now defunct locality just over the eastern boundary of Oregon and into Idaho.
East of Eugene, Oregon, out towards the Cascade Mountains, a very rare sagenite agate was found and was named Trent Agate, after the nearby town.
When slabbed and backlit, this agate is fiery! The color and presentation is said to come in part through inclusions of realgar, and stibnite sprays.
As a rare and unique sagenite, Trent agate is outstanding!
High up on the sheared face of the scarp fault that is Hart Mountain, a very rare and picturesque jasper can be searched for. It's weathering out of a certain horizon about 2/3 of the way up. Rockhounds traipse the several canyons that cut the steep face of the scarp, or else scale the face itself in an all out power drive to obtain even one piece of this treasure.
On Eastern Oregon's border with Idaho is the well loved Graveyard Point plume agate area. The best of what this site produces are large chunks with long, streaming, feathery plumes, and a riot of colors.
Another great presentation from Graveyard Point is the material that shows sharp straw golden plumes, accented by whites and blacks.
Graveyard Point plume from the famous Regency Rose Claim has lovely rose colored accents.
Because Graveyard Point produces seam agate almost exclusively, and the seams are often large and long, it's possible to cut long slabs of scenic material that mix wonderful burnished antique carnelian colors with lofty cloudlike plumes, for a fantastical look.
The sheer variety and great mix of colors from this area is almost mind boggling.
I had to pull this thunderegg out and photograph it for my blog when I was going through my collection the other day. It's loaded with great features that I've come to love in the Lucky Strike Mine eggs. The separation of agate infilling, and hollow chamber adorned with pink chalcedony "worms" is one of my favorites.
Here's a handsome big double thunderegg from Richardson's Ranch near Madras Oregon. It's a great combo with its hollow geode cavity, some carnelian tints, and that nebulous, celestial ocean scene which never fails to transport me to some coastal realm.
This egg is a "slam dunk" from the old Ron Ochs Moss Bed, near Ashwood, Oregon, and collected during the heyday of field trips there that took place in the nineties, before Ron passed, and the ranch was sold, without a further collecting option. I've never quite seen a pattern like this: it kind of looks like twin waterspouts of moss whirling though a moss forest below some sort of riveting full moon sky. Gorgeous Oregon for sure!
Priday Plume slab, from Richardson's Ranch, 17 miles north of Madras, Oregon. This ranch, also known as the Priday Ranch in earlier times, is probably the best known and most visited rockhounding locality in all of Oregon.
Among the many thunderegg beds on the ranch property, Old Plume Bed has become legendary among rockhounds, but it had been closed for many years. This egg displays multiple colors of feathery plume.
The ranch is starting to open the bed again, by popular demand, on Memorial Day, but getting good plume out is tricky. Old timers used to say that only 5% of the eggs ever cut plume in the first place, and it's arguably true that the best plume was dug long ago. Here, an old time plume piece seems to suggest that it was just yesterday when great plume was being found. But it was more like 50 or 60 years ago.
Here's a nice slab that has a bit of the treasured peach and butterscotch plume, hanging out amid multicolored threads of super thin moss. A nice combo from a mostly historical digging locality.
The current pronouncement from the ranch owners is that only 1 in 1000 eggs cut plume, so that's much more rare than 5%, and a snapshot of the rarity of an egg that actually shows plume.
Budding long strands wave in a dark agate sea.
Remarkable and rare! A veritable fireworks display of Priday Plume.
Like a vision of deep beneath the Sargasso Sea! Seaweed colored plumes do everything but wave in the tide in this striking egg.
A garden of yellow and coral colored plume blossoms beneath a moss festooned archway.
Major Priday Plume twines its way up through delicate tendrils of moss. In a nutshell, (or a rhyolite shell in this case) gorgeous old Oregon!
agate, Agate Flat, Aurora Borealis pit, blue bed, butterscotch calcite, calcite, Crooked River, dendritic agate, Frieda Bed, Glass Butte, Gopher Valley, Gopher Valley Quarry, Graveyard Point, limb cast, Limb Casts, limbcast, limbcasts, Lucky Strike Mine, Madras, moss agate, Ochoco Mountains, Ochs Moss, Ochs Moss Bed, Oregon agate, Oregon agates, petrified wood, plume agate, Prineville, rainbow obsidian, Regency Rose, Regency Rose Claim, Richardsons Ranch, rock hound, rock hounding Oregon, rockhound, rockhounding, rockhounding Oregon, Ron Ochs, seam agate, sheen obsidian, Thunder Eggs, thunderegg, thundereggs, Yamhill, Yamhill County
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