This fall I have been working on the second styling of a very large tree. In fact, it's the tallest and widest tree I own. It is definitely the hardest to move and is too tall to fit in the back of Lee Cheatle's van. So, it's been quite a daunting project to undertake. Way back in 2004, I had the privilege of spending a day in the wild with a few BSOP members, including the world's foremost yamadori collector, our own Randy Knight. I now know the year, after miraculously finding a photo of the tree. Matt Reel (before he left for Japan) was with us, along with Lee.
After a while of scrambling, we spotted this tree and Randy helped me pry it from its rocky perch. It had probably been there a couple of hundred years, growing ever so slowly. Somehow, we got enough roots for the tree to survive and I planted it in a box for several years and then into a bonsai pot. An impossibly large bonsai pot. It's all I can do to move it from a bench to a cart, let alone carry it.
In 2014, ten long years after it's collection, I finally styled the tree with help from Ryan Neil in his Elongating Species course. The tree was fifty inches tall, and had branches and trunks going everywhere. A few branches in the extremities had died over the years, but everything was pretty much intact with lots of branches to work with.
I obviously had been looking at the tree's possibilities for a long time and knew that Ryan had something in mind for it. I kept trying to figure out where I could shorten it to make a new top, plus dealing with the branches popping out from the sides that were starting to make their own trunks. How was I going to lower those branches and orient them correctly?
Then Ryan started in on me, encouraging me to look at it a different way. I started cleaning the tree but wasn't totally convinced. I heard a voice inside me say, that's not really how we do it in bonsai. I try to be open to new things, but this is kind of crazy. But as our conversation turned from minutes to hours, I finally had a moment where the light turned on I blurted out to Ryan, Got it! I have been to that place. I grew up there. My job now is to use this bonsai to take you there. I had let my well-developed ideas of bonsai norms occlude my own personal experiences.
I grew up a rather privileged life. That is to say that I grew up here in the Northwest, on the east side of Portland, the gateway to Mount Hood. I was a Boy Scout with plenty of backpacking in the cascades on the weekends. I climbed Hood twice, and Mount Adams once, spending the night on the mountain itself. My cousin and I bushwhacked the wilds of the Wallowas one summer. My dad and I bowhunted for deer in the high hills opposite of Mount Hood. There is virtually no area that I have not been to at some time or another from Hood River to the Santiam Pass. The mountains were my playground, and usually somewhere near timberline.
As Ryan continued describing this form of alpine tree, I recognized it as what we call Krummholz. It's a German term meaning "twisted wood", which describes the trees surviving at the timberline level – where just a few eke out an existence and are constrained to bow, literally, to the forces of natures. The wind and snow drive them to a spreading structure with multiple trunks and ground hugging forms. In leeward pockets, the trunks can extend a bit higher until sheared by hostile winds. This is the place that I want to take you. That is what the best bonsai do. They take you to a place, a memory, a feeling. And finally, I had that vision in my mind, the tree that I wanted to create.
Fast forward to 2017. The wire had been on the tree too long, at least in some places. I had already removed some portions as they cut in, but this last year, the tree really took off and almost doubled it's foliage. Time to rework. I removed the wire in September so that it could recover and start to heal any damage during the fall. It started to bleed some sap from the deeper scars, but not too bad.
I began to re-evaluate the design, making some tweaks here and there as I wired. This beast has seven apices. Yes. Seven. Just like the like the seven-headed beast in the book of Revelation. The main branch starts to cascade and then turns towards the sky to create one of those apices, so it's pretty crazy stuff. And now, it's even budding back on the hundred-plus year old trunk to create new branches.
It was about then that I had the really big "Aha" moment. After more than 25 years of working with bonsai, I realized that this single tree represented my home waters. That's the term fishermen use to refer to their local, favorite fishing hole, whether it be a river, stream or lake. The place they go to again and again for a good time and great adventure. It was then that I realized that this tree had been with me during nearly all of the great outdoor adventures of my youth. The Subalpine Fir, Abies lasiocarpa. It's definitely one of the least used native trees for bonsai, but it was everywhere that I went as a youth.
The memories started to flood into my mind, taking me to places that had long since grown cobwebs. This tree was there at the timberline when I climbed mountains. It was there while hunting as we crawled through the thickets of the trees that were almost impenetrable. They were there beside the dusty paths as I tramped along the Pacific Crest Trail. Unlike the lofty and much more common Douglas Fir, this was the tree that I could reach out, touch, and brush my pack against.
In high school, I learned to paint watercolor landscapes. Mountains were my favorite subjects, along with a few extra brush strokes, the trees at timberline. I have been drawing those trees ever since, and now make a living drawing at times, you guessed it, Subalpine Firs. So here is this bonsai, which I have had on my bench for so long and didn't recognize the significance that it held for my life. It is the one bonsai that can truly meld my love of the outdoors with my passion for creating. It now has the highest of honor in the garden and may be my best contribution to the bonsai world. It certainly has a ways to develop, and I have to find/make/ design a new container for it. The jury is still out on that one, because it also has to be a part of that place that I am sculpting.
I have included a few photos. I somehow managed to take a photo of the tree before it was removed from the mountains. The large tree, just behind it, makes it more difficult to see. There is a photo after this year's styling. I really need to go back and reset the branches, especially with info from the photos. After next years Spring growth, I will be able to reduce the length and compact some branches. I didn't want to push it too much this year. And finally a photo of myself, about 15 or 16, in the Jefferson Wilderness with Subalpines in the background.
I wanted to share this tree's story and the connection that I have with it to encourage you to find the same. That's why I do bonsai – to connect with my environment, my past, and my future through art. You may not have the kind of life experiences that I have to draw upon, but of course, you have your own, and I can't wait to hear them.


On Saturday, May 28, 2011, born on Feb. 24, 1922, she was the daughter of the late Frances and John Rozanski. She is preceded in death by her loving husband, Robert Kreiss of 59 years in 2004, also a sister, Genevive Biega and three brothers, Carl, Chester and John Rozanski.
Surviving are a daughter, Carol (Larry) Henderson, with whom she lived with the last six years; a granddaughter, Kristy (Donald) Ziggas, Brighton Twp.; a grandson, Captain Seth (Karen) Henderson, Panama City, Fla. Her pride and joy were not only her grandchildren, but her great-grandchildren. She was "Bubba" to Paige and Tyler Ziggas and Garrett and Hayden Henderson. They will miss her very much. She is also survived by her beloved sister, Eleanor Szilvasi of Sturgis, SD and numerous nieces and nephews.
During World War II, Rose was a "Rosie the Riveter" in an Ellwood City tube mill. She retired from Sewickley Valley Hospital in 1981 after 22 years of service.
Friends will be received today from 2 to 4 and 6 to 8 p.m. in the KASPER-HAHN FUNERAL & CREMATION SERVICES INC., 547 Eighth Street, Ambridge (724-266-2549). A Mass of Christian burial will be celebrated Wednesday at 9:30 a.m. in the Good Samaritan Church.
Burial will be in the Good Samaritan Cemetery, Fair Oaks.
The family requests memorial contributions to the Good Samaritan Church, 725 Glenwood Avenue, Ambridge, PA 15003. Mrs. Kreiss enjoyed Good Samaritan's festival, food and activities.
A special thanks to Dr. Meditch for the compassion and care he gave mom over the years and also her church family; they made her feel special, never underestimate a special gesture.


Oz Clarke has reinvented wine writing. This is a book to read for pleasure, rather than merely refer to. Combining fast-paced witty memoir with passionately opinionated guide, Oz pops the cork on his life-long love affair with wine.


Here is list of questions and their answers that will solve all your queries about base makeup. Read on to know more!
Bronzer gives a healthy warm glow to the skin. You can start by sweeping a blush brush across the bronzer, and tap off the excess. Apply it to the apples of your cheeks, making circular motions toward the temples and also dust a bit over the bridge of your nose. Just keep in mind to use a lighter hand while applying bronzer.
When I use concealer, is it OK to skip foundation?
If you don't want to use foundation and want to go for concealer for spot-treatment then it is completely fine. Just make sure to use a concealer shade that is closest to your skin tone so it won't look patchy on your face.
Can I wear foundation every day? How do I stop it from slipping off?
You can always wear foundation; just make sure to wear a really good primer. A primer will act as a base for your makeup to glide on smoothly and will also keep it on for longer intervals.
What is the most foolproof way to cover up a blemish with makeup?
Use a small tapered brush to spot touch over the red area then tap on and feather out the edges until they disappear into your skin. Try not to actually touch the red area as to not lift the foundation.
How do you avoid cakey flaking patches of foundation throughout the day?
Our skin's pH changes throughout the day; so use a balancing moisturizer, good primer and a makeup setting spray to avoid cakey flaking patches of foundation.
How do I keep my foundation from separating on my face as I have dry skin but oily T-zone?
Start by moisturizing your face especially cheeks with hydrating moisturizer and use a mattifying primer through the centre of your face.
Do I always need to wear powder with foundation?
Powders are needed to seal in the foundation and control the shine on the face. If you are aiming for a luminous and dewy look then you can definitely skip the powder.
Can I wear bronzer all year round?
Yes you can go for a sheer buildable coverage to wear your bronzer all year round. For the winter months you can mix your bronzer and a little loose powder to sheer the color out for a soft, natural finish.
Do I apply my concealer or foundation first?
This is completely your choice. You can try both techniques and find out which one looks the most natural and gives a flawless finish.
What should I use to keep my makeup on longer?
Primer up ladies! You will be amazed at how much your makeup will last without any streaky finishes or those patches with the use of a primer.
In what order do you do make up?
Do your eyes first as there will be fallout from your eye shadow. Then use your base makeup and finish off by doing your lips.
Is foundation too heavy to wear at night time on holidays in the summer heat?
Your foundation will most likely slip off after a day in the sun. So you can definitely opt for a BB or a CC cream that will last longer and will not be as heavy.
What are a few makeup tips for women with oily skin?
Keep blotting tissues handy, use an Oil-free primer, a long-wear and oil-free liquid foundation, high coverage concealer and a translucent powder to set everything well.
What's the difference between a tinted moisturizer and a light foundation?
A tinted moisturizer, like an un-tinted one, delivers humectants along with iron oxides and possibly titanium dioxide at about 3 percent to deposit color while a foundation contains iron oxides and titanium dioxide in the range of 14 to 15 percent, which delivers more color to the skin. So a light foundation gives a more polished look to the skin.
What's the best way to apply foundation?
There's no best way to apply foundation. Try them all from sponges to makeup brushes and even your fingers. You might have used brushes to apply foundation but you won't know how your foundation will look with a makeup sponge. So try and test different ways and stick to the one that works for you.
6 Things that'll Happen if You Stop Wearing Makeup!
14 Most Searched Beauty Questions Answered!
All Questions about Fairness Answered!


CR6 news, reviews and local events in CR6 areas including Biggin Hill, Chelsham, Darwin, and communities in CR6. Are these places the most relevant to this postcode? Let us know!
Find a Local Business Get the CR6 Newsletter!


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redpajama_set_name: RedPajamaGithub


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Jupiter to put 'God' back in town council meeting invocations
Hannah Morse @mannahhorse
Mar 21, 2019 at 12:23 PM Mar 21, 2019 at 3:48 PM
Starting April 2, 'God' will return to the invocations read at the start of each town council meeting.
JUPITER — It's a minuscule part of sometimes hours-long meetings, followed by the Pledge of Allegiance and roll call. But "God" will return to the invocation read before each town council meeting starting April 2.
The word "God" hasn't been part of the invocation since at least 2016, as both Councilor Wayne Posner and Vice-Mayor Ron Delaney couldn't recall it ever being included in the invocation since being elected.
Councilor Jim Kuretski said former Town Manager Andy Lukasik had asked each councilor individually if they wanted to switch the meeting prayer to an invocation. Kuretski, who is Catholic, didn't realize it meant removing the reference to God.
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"I've been ashamed of the town ever since," Kuretski said Tuesday.
At the start of each regular meeting in Jupiter, the mayor invites the public to stand for the invocation, which is read by the town clerk, who uses invocations from the state House of Representatives Journal, leaving out references to God. The invocation typically ends with "Amen," and then the Pledge of Allegiance (which includes the word "God") is recited.
The routine for the start of meetings vary from municipality to municipality. The village of Wellington and city of Boynton Beach invite religious leaders from different faiths to give invocations. The cities of West Palm Beach and Palm Beach Gardens do not have invocations, but say the Pledge of Allegiance, with West Palm Beach adding a moment of silence.
The call to put God back in the invocation was met with support by all councilors after Posner initiated the discussion at the end of Tuesday's meeting. There wasn't an official vote, but rather direction was given to the town clerk.
"I'm not the most religious person. However, I have deep-rooted respect for people that are," Posner told The Palm Beach Post on Thursday. "They keep the traditions alive because without those kinds of roots and moral standards, we wouldn't be in a cohesive society."
Posner, who is Jewish, said he thought about this initiative while taking a course at a Palm Beach Gardens chabad.
"In my opinion, putting God back into the invocation — whichever God you believe in is irrelevant — but putting God back in the invocation centers us spiritually as a community," Posner said, noting that the invocations would be non-denominational.
In order to not exclude people who don't subscribe to a faith, Posner said the town should follow the invocation by a moment of silence "so they can reflect on what's important to them and center themselves on society."
Town Manager Matt Benoit said the issue "has been discussed in different settings on a few different occasions," but he recalled Kuretski sending him an email in early March.
Councilor Ilan Kaufer, who is Jewish, said Tuesday that while he was supportive of the measure, he was wary of "singling out any religion" in light of increasing incidents of anti-Semitism and the recent attack on two mosques in New Zealand.
"I believe in God and I don't have a problem putting it in [the invocation], but I also want to be sensitive to every faith that is in our community and make sure we're taking that into account," he said.
hmorse@pbpost.com
@mannahhorse

redpajama_set_name: RedPajamaCommonCrawl


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On May 25, 2018, Regulation (EU) 2016/679 of the European Parliament and of the Council of April 27, 2016 (General Data Protection Regulation) came into force. We encourage you to familiarise yourself with information about the processing of personal data on the PolskieRadio.pl website.
1.The Data Administrator is Polish Radio S.A., based at 77/85 Niepodległości Ave., 00-977, Warsaw.
2.On issues regarding your data, please contact the Data Protection Officer, e-mail: iod@polskieradio.pl, tel. 22 645 34 03.
3.Personal data may be processed for marketing purposes based on consent.
4.Personal data may be shared solely for the purpose of proper implementation of services defined in the privacy policy.
5.Personal data will not be transferred outside the European Economic Area or to an international organisation.
6.Personal data will be stored for 5 years after an account is deactivated, in accordance with the law.
7.You have the right to access your personal data, correct it, to have it moved or deleted, or to limit its processing.
8.You have the right to object to further processing, and in the case of voicing consent to the processing of personal data, you have the right to withdraw your consent. The exercise of the right to withdraw consent does not affect any processing that has already taken place.
9.You have the right to lodge a complaint with the supervisory authority.
10.Polish Radio S.A. declares that no automated decisions are made when personal data is processed, and that profiling is not used.
For more information on this subject, please read our personal data and privacy policy.
Language Sections:
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Australian ambassador thanks Poles for support after bush fires
The Australian ambassador to Warsaw has expressed his gratitude towards "everyone in Poland who has sent their words of support and sympathy" after the recent bush fires in Australia.
NFP 20 01 13 AUSTRALIAN AMBASSADOR
Photo: Radio Poland Julian Horodyski
Lloyd Brodrick said in an interview with Polish Radio that he had received dozens of emails in the last couple of weeks. Some people were asking about the possibility of becoming a volunteer firefighter in Australia.
The struggle against the bush fires, which have already devastated tens of thousands of square miles of land, is, according to Lloyd Brodrick, far from over.
Polish Radio's Karol Surowka asked the ambassador about the scale of the problem and how people can help.
Most Popular News /
Cases: 1,482,722 Deaths: 35,665
UPDATE: Polish politicians discuss tweaks to COVID-19 vaccinations
COVID-19: The toll on Polish medics
HIGH NOTE :: Cantores Minores


Laura Wright (Carly) loves Instagram, especially for posting selfies with her GENERAL HOSPITAL castmates!
Whether it's on set at the soap, backstage, or on the road at the many fan events she attends, Wright and co-stars like Finola Hughes (Anna), Billy Miller (Jason), and Maurice Benard (Sonny) look like they're having the time of their lives!
Check out her personal photo album for all the fun pics, and for more on the stars of GH, keep reading the ABC edition of Soaps In Depth magazine!


Seattle Public Library card holders have yet another perk in terms of downloading free songs. Patrons are able to now download five songs a week from SPL's partner vendor Freegal, which maintains over 7 million songs from over 28,000 labels.
Music available from Freegal includes hits like Meghan Trainor's "All About That Bass" and Pharrell Williams' "Happy," as well as classics such as Bruce Springsteen's "Born to Run," jazz standards like Dave Brubeck's "Take Five" and more.
The music files from Freegal are DRM-free, they do not expire, and are compatible with PCs, Macs, iPods, iPads and other MP3-compatible devices. New music is added daily.
Locals must have a library card to access and download songs. Library card applications can be completed online.
To view, browse and download music from Freegal click here. Access to Freegal Music on the Library's website has been made possible by The Seattle Public Library Foundation.
To find out more about Freegal or how to get a Library card call (206) 386-4636 or Ask a Librarian.


The Office of Economic Development and Industry Relations (EDIR) is now accepting applications for FY20 Regents Innovation Fund proposals. The funds are to support the development of Iowa State University innovations with commercial potential and to help more Iowa State technology reach the marketplace as the foundation for new Iowa companies and/or the growth of existing Iowa companies. The funding is intended to support a wide-range of stages in technology development, from the initial research concept (prior to intellectual property disclosure), to proof of concept, to licensing and commercialization. All proposals should have a clear commercial benefit or potential for the state of Iowa and must show a clear participation by Iowa industry(s). Interdisciplinary proposals are encouraged.
Download the application here and the evaluation criteria here.
Deadline for receipt of applications is April 30, 2019; the review panel date is June 3, 2019. Prior to initiating the application process, applicants should contact Kris Johansen, kajohans@iastate.edu, 294-3208 to discuss their idea.


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Home News Protests Iranians Continue Protests; at Least Eight Rallies and Strikes on March 10
Iranians Continue Protests; at Least Eight Rallies and Strikes on March 10
Mahmoud Hamidi
On Wednesday, March 10, the people of Iran staged at least eight rallies and protests in different cities over officials' failure to meet their inherent demands. Most of the protests took place in southern provinces like Khuzestan, Hormozgan, and Sistan and Bluchestan.
Water and sewage staff, college students, contract forces of Power Company, green-space workers, lost shareholders, and oil workers held these rallies in various cities of the country. They expressed their anger over the regime's failure to meet their demands.
Rally of Water Staff
Kohgiluyeh and Boyer Ahmad province—workers and staff of the Water and Sewage Organization once again held a rally in front of the Provincial Governorate. They demanded officials pay their overdue salaries.
"We have yet to receive our salaries for eight months. We are ashamed in front of our families in such dire economic conditions and amidst the coronavirus outbreak," said protesters.
#IranProtests
Kohgiluyeh and Boyer Ahmad—workers and staff of the Water and Sewage Organization once again rallied in front of the Provincial Governorate, protesting officials' failure to pay their salaries for eight months.
"We are ashamed in front of our families"—Protesters pic.twitter.com/w0hq3OqcIM
— Iran News Update (@IranNewsUpdate1) March 12, 2021
"We have gathered only to obtain our rights. For many times, officials vowed to resolve our dilemmas. However, they did nothing," said a worker.
"What sin did our families commit? In Kohgiluyeh and Boyer Ahmad province, Water and Sewage Officials' mismanagement has created enormous dilemmas for us," protesters added.
Rally of Locals
Khuzestan province—residents of the villages of Rasfand and Notorkey in Izah town staged a gathering in front of the local Governorate. They protested the regime's failure to provide essential public services.
Khuzestan—residents of Rasfand and Notorkey villages gathered in front of the Izah local Governorate, protesting the regime's failure to provide essential services. pic.twitter.com/va5uZMpTFb
They demanded officials prevent from spreading of trash and waste in this area. "Imprudent official, resign, resign," "Healthy environment is our right," and "No to waste," protesters had written on their placards.
Khuzestan province—workers and staff of Ahvaz's Water and Sewage Organization held a gathering beside the organizations' bureau and the Provincial Governorate.
Khuzestan—staff of Ahvaz's Water and Sewage Organization gathered beside the organizations' bureau and the Provincial Governorate, protesting officials' failure to pay their salaries for three months. pic.twitter.com/JLa9zh2jxM
They protested officials' failure to pay their salaries and experience bonus for three months. Notably, residents of Ahvaz suffer from a lack of water and sewage services. In this context, many children have drowned in open sewage canals. However, officials did nothing to resolve the city's dilemmas and either steel or use the city's budget for other reasons.
College Students' Solidarity with Saravan Protest
Tehran province—college students of Allameh Tabatabaei University, staged a gathering, protesting Iranian Baluch fuel porters' killings and the suppression of nationwide protests in December 2017-January 2018, November 2019, January 2020, etc.
Tehran—college students of Allameh Tabatabaei University rallied and condemned the regime's crimes against Iranian Baluch fuel carriers in Saravan, SE Iran.
They also vented their anger over the regime's bloody crackdown on previous protests in 2018, 2019, and 2020. pic.twitter.com/y1CmsBMWbU
"While the internet access was a blackout and leading roads to Saravan and Baluchi areas were restricted, we heard the killing of fuel porters in Saravan, who were making ends through transferring fuel due to long-standing suppression, discrimination, and injustice, as well as the murder of 23 protesters," college students wrote in their statement.
"Such behaviors reminded systematic suppression and violence in recent years, which see the gun as the sole instrument for responding to impoverished people's protests and grievances. Like many border cities in Iran, residents of Saravan were deprived of fundamental rights. To fill their food baskets, oppressed citizens have to transfer goods or fuel due to the government's imprudence," the statement read.
"Currently, the ruling system violates their rights to life. Footage and images obtained from Saravan show the people's dire livelihood conditions. Furthermore, local reports about the killing of protesters indicate that the government still employs its previous method for suppression. Same discriminations and injustices, which ignited scattered protests in the past decades, have contained public ire and nature of demonstrations in January 2018 and November 2019," stated college students.
"Making a decision for participating in the university due to the coronavirus outbreak was a very difficult decision. However, the massacre of citizens while the autocrats have been involved in their circus of [2021 Presidential] elections led us to attend the university once again, raising our voices against this great density of suppression and crime," protesters added.
Rally of Contract Forces
Tehran province—contract and service forces affiliated with the Power Distribution of Iran's Electric held a rally in front of the Parliament [Majlis].
Tehran—contract and service forces of the Power Distribution of Iran's Electric rallied in front of the Parliament. They demanded the government recruits them officially, which ensures minimum rights for workers. pic.twitter.com/XBnoAkUxHj
They protested officials' failure to meet their rights and change their job conditions. Notably, in recent months, contract workers staged numerous protests and rallies in various cities. They demanded relevant companies and institutions recruit them officially, which ensure minimum rights.
However, most government-backed companies have rejected this urge, showing their intention to violates workers' inherent rights. In Iran, contract workers have even been deprived of basic rights mentioned in labor law and have a far horrible situation.
Rally of Green-Space Workers
Hormozgan province—on March 10, green space workers in Bandar Abbas, the province's capital, held a rally in front of the Organization of View, Appearance, and Urban Green Space.
Hormozgan—green-space workers in Bandar Abbas rallied in front of the Urban Green Space Organization, venting their anger over the organization's recent decision to decrease their salaries. pic.twitter.com/KrVQ47CKBE
The organization has decreased workers' salaries during recent weeks, putting them in far stricter living conditions. In response, workers rallied and vented their anger over the managing board's unjust decision.
Rally of Dey Bank Lost Shareholders
Tehran province—lost shareholders of Dey Bank affiliated with the Bonyad-e Shahid [Foundation of Martyrs and Veterans Affairs] held a gathering at the bank's main branch.
Tehran—lost shareholders of Dey Bank affiliated with the Foundation of Martyrs and Veterans Affairs gathered at the bank's main branch, protesting officials for imprudence and corruption. "The government does not show mercy even to the Iran-Iraq war victims"—People pic.twitter.com/X6wBBupOjd
They protested officials for a sharp decrease in the bank's stock value. Protesters also blamed bank managers for imprudence and corruption. "The Islamic Republic does not show mercy even to families those sacrificed their loved ones to survive the regime," ordinary citizens said.
Rally of Oil Workers
Sistan and Baluchestan province—for the second consecutive day, workers of Keysoun company continued their strike, protesting officials' failure to pay their salaries for three months, as well as their Nowruz bonus [for the new year in the Persian Calendar].
Sistan & Baluchestan province—workers of Keysoun company continued their strike for the second day in a row.
They demanded employers pay their overdue salaries and the Nowruz bonus.
However, the employer threatened them with dismissal, fueling protesters' anger. pic.twitter.com/zdkf6VD7sz
In demanding weather conditions, these workers are manufacturing oil tanks in the Kouhmobarak Bangal area. However, employers reject pay workers' inherent rights. In response, they resorted to security forces and threatened workers with dismissal, which severely prompted protesters' fury.
Previous articleIran's Cries for Negotiations
Next articleIran: Marine Police Kills Two Fuel Porters, Ignites Another Protest
Iran's People Challenge Regime's Cruelty – Day 116 of Revolution
Iranians Commemorated the Victims of the PS752 – Day 115 of Revolution
Despite Iran Regime's Efforts People Continue Protesting – Day 113 of Revolution


There comes a point in most of our lives where we're ready to be with The One and settle down. Although it sounds good to hear, most of us struggle with finding who we want to be with. We end up feeling alone, getting stuck in a cycle, getting hurt or confused, or changing completely as people. Why is that?
I think everyone is so focused on finding love that that focus is what's keeping them from succeeding. The problem is that everyone wants to find the right person, but not many want to put in the time to be the right person, which leads them into messed up relationships or leads them to complete cynicism towards the idea of love. Let's focus on what too many of us good people tend to overlook in that department, and that's being happy while single.
That's right, I said it! I know it's scary, and it takes some time and effort, but I believe that there are many people out there that could use some of these words. Maybe you already know these tips and just need to be reminded. Maybe you don't give a crap, or you think you have it figured out. Whatever the case, hear me out and let's dive into the four reasons why staying single may be the best thing for you to do right now.
Let's say you've gotten out of a relationship and you're feeling a bit lonely. Your first instinct most likely, is to find someone else to be with (normally as a distraction). The only problem with this is more often than not you end up not giving yourself time to recover and heal, which inadvertently leads you to carry on unsolved negative feelings or bad habits to your next relationship. Well, DON'T DO THAT! I don't care who you are, everyone needs at least a little time to recover and reflect.
At the very least, you need time to fully accept what's happened before you move on. It's hard I know. But think about it, was the relationship ending mostly your doing? Highly unlikely I know...just kidding. If so, then focus on what you did wrong and learn from it so as to not repeat those mistakes in the next relationship. Was it mostly the other person's fault?
Then give yourself time to think about what it is you really want from a partner, so that way you won't end up with the same kind of person again and again. Staying single allows you to better analyze your perspective, whilst giving yourself time to gather much needed energy.
We've all heard it before on Facebook, "I'm livin' that single life to focus on me..", only to read a post later from the same person, "No one's ever gonna date me, I miss being taken to the movies!" *Insert sad-face *. You need to be true to yourself. If you wanna focus on you, then go all in! Wanna go back to school? Trying to hit the gym more often? Put more energy into a passion or hobby? Want to travel? Or do you just want more relaxation?
Then go for it! You don't need anyone else's approval. Though it is possible to juggle these things and still be in a relationship, staying single allows us, most of us, to increase focus and productivity. Less financial and emotional hurdles to jump over. Also, you'd be surprised at how much time flies for you when improving yourself, and by the next time you're ready for a relationship you'll both be grateful for the effort you put into yourself.
Along with focusing on yourself you'll most likely encounter new skills, interests, ideas, and truths about who you are. The more you learn about you, the easier it gets to find another partner because you know more about what you want and don't want in a relationship. Often, others feel that they have no need to change or learn more about themselves because let's face it, they know everything (sarcasm), and refuse to grow. Hey, maybe they don't need to, but for the rest of the 99%, myself included, we have have miles to go on the road to discovering our own potential.
I mean, I believe each of us can spend the rest of our lives learning about ourselves if we cared enough. Now, it's true that you can continue to learn and grow while being in a relationship, but as I mentioned in the previous tip, you're more likely to be more productive as a single act. Maybe you'll have a little more fun too on your solo journey. At the end of the day I just recommend going out and meeting new people or stepping out your comfort zone. Never stop learning about you. Develop your self-awareness as best as you can. Before you know it, your next partner will fall right into your hands, or lap depending on how lucky you are. Just kidding...maybe.
Now I'm a firm believer in no one person being truly independent. We all depend on something or someone at one point or another, which is totally okay and normal. At the same time, learning how to be happier whilst single is liberating, though somewhat challenging for a lot of us. Just imagine, not needing to gauge your own happiness or self-worth by someone else's standards or expectations.
Being able to rely on yourself first for the love and encouragement you need is probably the most valuable and difficult tip on here. It's so easy for us to doubt ourselves, to down ourselves, compare ourselves to others, to not fully see the impact we have on others. Other people's love still matters of course, we all love and need that support to a degree. But us heavily depending on other people's feelings and love leaves us helpless in the event we're on our own. Our need to please others keeps us from taking care of ourselves like we need to.
When you learn to love yourself more, you end up knowing better what you want/need and can continue the process of self-care. With that perspective, you gain the ability to tell if other people want to be with you because they genuinely love you, or because they're too scared to be alone; which is one of the biggest reasons relationships fail these days, in my opinion. You can discern the difference between love and infatuation.
Let the distractions go for a bit and focus on the steps you need to take to better yourself. As quickly as a lot of people end up in relationships is often as quick as it ends unfortunately. Don't be afraid of being alone, it's not the same as being lonely, which brings me to my Bonus Tip!
So even though I vaguely mentioned this earlier, I feel like it deserves more attention. A big challenge that pretty much all humans face is loneliness, or avoiding it I should say. Humans thrive on interactions and affection. The problem comes in when a person feels like they constantly need outside attention to sustain their self-esteem.
What really stands out, and probably hurts the most, is when said person is around a few or many people/friends and they still feel alone. Remember, loneliness is a state of mind, and it can be triggered when we're convinced that no one around us actually understands us. The first thing you need to do is get a grasp of who are, understand yourself. Then, over time, take care of your wants and needs. Before you know it, you'll start to attract like-minded people. You can't force everyone to "get you". The best thing is to let them come to you. Sometimes having at least one person who gets you is enough, but you have have to see that.
Don't blind yourself, and don't blame others for not getting you. There's no shame in riding solo in fact, I believe the strongest people are the ones who don't rely on others to stand on their own two feet. Try your best to enjoy some alone time. You'll be surprised at how accomplished you'll feel when you're on your own for a while.
Maybe once a day or a few times a week, find an activity that you'd do with someone and do it alone. Set some goals to tackle and handle alone. It can be anything from hiking or shopping, to binge-watching your favorite Netflix show. The point is to enjoy it. The time you'll end up spending with others, especially significant others, will take on a better form of energy because you can focus on enjoying your time instead of thinking about whether or someone understands you. Those people are out there, try letting them find you while doing your thing.
At the end of the day, no one is perfect, but we should strive to be better than we were yesterday. I have my ups, but I still have my downs. There's nothing wrong with being a little selfish with your time, especially when you know it can do good for you and others. Remember, a house can't really stand without a strong foundation so before you try building a relationship with someone else, make sure the foundation is strong, both of your foundations. Otherwise, no matter how big and pretty the house you've built may be, it'll crumble to the ground with a simple shake.
I'd rather be castrated then ever date again. It's like paying for a job interview .
That's awesome that you made the decision best for you. It can be very hard but worth it in the end, for you and your family. I'm glad you found the information useful! God bless!
I ended the relationship with my ex-boyfriend a few months ago and haven't regretted my decision. It was disappointing to know that it wasn't mean to be, but it was for the best. My needs weren't reciprocated, no matter how often I addressed the situation. Nothing was going to change for the better and I refused to be with someone who doesn't care about me and my feelings.
I decided to take a break from the dating scene for a while so I can use the time to mourn the loss of my mom and reevaluate past issues from previous relationships. I realized that I was too nice, which led to more problems. Why should I settle being an option when I deserve to be a priority in someone's life? Unless if there's children involved, I understand they come first. I don't have to stay and allow disrespectful behavior.
I'm not going to lower my standards anymore and I could careless what others have to say. I refuse to be treated like a door mat.


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Sara Morgulis
Phone: 212-573-8791 x4
Sara Morgulis leads the NYCCT Education department with her personal mission of engaging New York City students through accessible and inclusive theatre practices. She holds a BFA in Acting with a Minor in Education Studies from Syracuse University and an MA in Applied Theatre from the City University of New York. where she now serves as an Adjunct faculty member. Her Master's thesis research about training young people to be peer facilitators was published in a 2015 edition of RIDE: The Journal of Applied Theatre and Performance. In 2015, Sara received the TYA/USA Ann Shaw Fellowship Award, which funded a trip to London to visit Oily Cart Theatre and learn about their play development process. Sara used that research to co-create FIVE, a multi-sensory touring musical designed for students with disabilities. Sara also serves as Director of Programs at Actionplay, where she curates theatre, film and music programming for people with autism and related conditions. Sara has served on panels and presented workshops at many conferences, including the American Alliance for Theatre and Education Conference, the Leadership Exchange in Arts and Disability Conference, NYU Forum on Educational Theater, ARTWORKS Arts in Education Conference, and the NYC Roundtable Face to Face Arts in Education Conference. She is a Steering Committee Member of the Museum Access Consortium and serves as an Accessibility and Disability Inclusion consultant for organizations nationwide, most recently at the Creative Arts Team, CO/LAB Theatre Group, and Philadelphia Young Playwrights.
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A Community Kitchen is a group of people coming together to connect with others, gain cooking skills, and grow personally. This initiative builds stronger individuals, families, and the community as a whole. This is a volunteer led program open to anyone interested in meeting other residents while learning to make healthy and affordable meals. Participants will take home all meals prepared that day at no cost and are simply asked to assist in cleanup afterward.
Please note that Community Kitchen is CANCELLED until further notice.


We have thousands of couples using our honeymoon gift list service, with honeymoon destinations all over the world. We've even had couples spend their honeymoons in places as far-flung as the Himalayas and Antarctica. So, although we may not have everywhere covered, there's a fair chance that wherever you're headed, you're in good company.
It's sometimes quite a challenge to start putting together your registry, so we've now launched our new Helping Hand service. With this, we'll find the very best list that covers your honeymoon destination, and copy over the items from that list to yours. We'll make sure that the items are depersonalised and relevant, giving you a ready-made registry that you can then edit and customise to your heart's content!
We hope that this will be an easy and affordable way of helping to kick-start your wedding gift list. If you have any questions, as always, please don't hesitate to get in touch.


Visit Wels World for your Spanish fishing holiday. We provide fully catered angling holidays on the River Ebro where you can catch carp or huge catfish. Our competitive prices include top of the range tackle and a dedicated guide.
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# initialize an object implementing this interface, e.g.
to one of the Bioperl mailing lists.  Your participation is much appreciated.
Function: Creates and returns a parser object for the given input and method.
the requested method. In this case it shall return undef.
implementation of this interface should make this argument optional.
Returns : A Bio::SeqAnalysisParserI implementing object.


Don't you just love life and being here on Planet Earth at this powerful time. We have entered a new phase of evolution and we as Human Beings are awakening to our true potential. The wonderful Stephen Covey said that we are all Spirit having a human experience. Before I had heard his quote I had my own belief that we were here playing the game of life … it wasn't about winning, it was how we approached a situation that WE created. As humans we tend to immerse ourselves in events that do not enhance our experience. We like to involve ourselves in 'drama', by either repeating it over and over to everyone that will listen, watching it on Television or at the cinema, reading about in newspapers. This very act of observation and talking of drama will just keep more flowing to us.
However with awareness and a new understanding it doesn't have to be this way. We have the power to create a life that is so worthy of the best outcomes. Something that is not taught at school or by our greatest teachers, our Parents, (this could be a generalization here, I was not taught this by my parents) are what steps to incorporate when we are wanting to create our true desires.
I am a firm, true believe in Universal laws and the fundamentals of Law of Attraction. Since being presented with this information, 'That which is likened to itself is drawn' I've had a keen focus to be a deliberate creator of my life. I am still working on the magic formula and from what I have discovered is that the KEY ingredient is HAPPINESS. This is another blog topic which I will expand on later however for this article I will keep it brief. Happiness breeds more happiness. Sounds simple right? Yes, it simple and it certainly does. Happiness is the Holy Grail that we all aspire to in this life. When we are happy, there is nothing else wanted. And the great irony is Happiness is not something that we need to work hard for, it is a choice.
When we offer the happy vibe, everything unfolds as we expect. How many times have you heard some one say, 'I just knew that was going to happen'. And why is that so …. It was because a pure thought was offered and there was no restrictions placed upon it. A desire with no strings attached. This is how easy creating our dream life really is.
What follows are the 7 steps to manifest, what we truly want / dream / desire.
Listed below are the instructions on how to create a dream. Start with a dream that is small and simple. Test the process so to speak. If you start with a dream that really big or a desire where you could offer some doubt, you will get the validation to support your doubt. However don't let me stop you from pursing your BIG dream, just don't doubt it.
What I recommend is that you take some time to write out your manifestation, put it on paper and embellish it with rich words. Conjure the feeling, see it with your internal eyes. Word of caution, if you doubt in any capacity, it will negate the opportunity of giving life to your dreams. Doubt is the extinguisher …. Absolutely no room for doubt or disbelief in this process.
4. Absolute Acceptance: Accept that the vision, desire, belief to be true, IT IS possible to manifest this idea.
5. Positive Intention: You must intend to manifest it, with your will, with your focus. It must be a conscious choice!
6. Visualize Action: Act (feel) like it, act like you are already in the state of the reality that you want. Behave like it already exists.
7. ALLOWANCE: let it go, unconditionally. Yes, that's right, you read correctly. After the 6 previous steps, you are now being told to let the desire go. If you notice what you want hasn't come then this very act will prevent it from taking shape. This is where your absolute belief comes into its own.
Summing up, you need intense vision and strong desire, a crystal clear belief, total and nothing else but acceptance, focused Intention, Allowed action …. THE ALLOWANCE AND THE ABILITY TO LET IT GO UNCONDITIONALLY. Have fun with this creation, after all this is what we signed up for. We put our spiritual hands up and eagerly volunteered to come to Planet Earth knowing that we were here at the right time to activate our memories and discover what powerful and magnificent creators we really are.
Really liked the statement "deliberate creator of my life". Good article, thanks.
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We're back with our predictions of 8 exciting British players to look out for as we embark on another rollercoaster season of tennis!
Can tennis fans have a role in preventing abuse of tennis players on social media?
British tennis player, Olivia Nicholls, has been one of the standout British performers this year, following her success in the doubles. We catch up with the 23 year-old to see what has inspired her form and what her future plans are in the sport.
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Tennis coach, Thomas Leach, explains how he has transformed his coaching to ensure his pupils learn the art of competing.
Teenager Maia Lumsden gives The Big Racket the lowdown on her first full professional season and tells us about her plans for 2018.
Can Juan Martin del Potro qualify for the ATP World Finals?
After Caroline Garcia completed an incredibly unexpected surge to reach the WTA Finals, it looks like Juan Martin del Potro could be about to replicate the French number one after … Continue reading Can Juan Martin del Potro qualify for the ATP World Finals?
As we approach the end of the season, all eyes are on the ATP tour and it's Next Gen finals. But why aren't the WTA getting involved with a similar set up? The talent is there and interest in women's tennis is starting to eclipse the men's so there'd definitely be appetite for it. Here's why the WTA should have a presence at the Next Gen finals.
What happens when you combine the top 102 faces from the US Open men's draw?
A user on Reddit has mashed together the faces and the results are amazing.
After a disappointing US Open, Alexander Zverev would benefit by participating at the inaugural Next Gen Finals in Milan. Here's why.


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Jun 29, 2017 12:53:34 PM / by Richard Dyer
by Richard Dyer
Buenos Aires, Argentina - The last two big concerts of the South American tour by Benjamin Zander and the Boston Philharmonic Youth Orchestra may have featured the same program, but a substantial river flowed between the performances, which were quite different. The estuary of the La Plata divides Buenos Aires in Argentina from Montevideo in Uruguay, but there is no bridge between these two capital cities for the very good reason that the distance across the river is more than 100 miles – it takes a ferry more than three hours to throb and rumble through the crossing.
Two cities, two countries, and, in a sense two worlds. Buenos Aires is a very cosmopolitan place and the BPYO played in its newest and most innovative performance venue CCK, which houses multiple auditoriums, meeting rooms and art galleries. All events are free to the public and seem to be charged with youthful and family energies. Montevideo is less glamorous and less intense in its urban energies; it looks older and feels calmer. The Teatro Solis in Montevideo is the oldest surviving theater in South America. It opened in 1856, built by and for a cultured audience whose descendants still assemble there. CCK was teeming with young people, but they were a small minority in Montevideo, as they are in most concert and opera audiences in North America. It was nevertheless encouraging to see the three young conductors who had participated with Zander and the BYPO in a master class earlier in the day. On the evidence of just a short time in each city, I think I'd prefer to live in Montevideo, and take the ferry to Buenos Aires for weekend excitement and maybe a great performance at the opera.
My guest for the concert in Buenos Aires was a woman of vast musical knowledge and sophistication. The daughter of an Admiral and an Argentine ambassador to Europe, she was educated in England; over the decades she has assembled a collection of historic recordings by orchestras, conductors, pianists and chamber-music ensembles that must be unrivaled. She now serves as an official "queen mother" to other collectors who gather at various Internet sites primarily devoted to performances from the past. I encountered her online a few years ago and I have benefitted from her extraordinary generosity, so it was a treat to meet her in person, although it almost didn't happen.
We had agreed to meet outside CCK before the BPYO rehearsal on the front steps where the busses had unloaded us before. But there were serious traffic issues, so the busses went to another entrance on the side of the building, and when I finally arrived the front, it looked as if I would never find her – the steps and lobby were crowed and the line of people waiting to enter the building stretched as far as the eye could see. I circled around, gave up and returned to the front steps three more times before I decided I should get back upstairs to the main auditorium for the BPYO rehearsal. There I discovered her calmly chatting with Zander and Mark Churchill – she had talked her way in. Clearly she is not a person who takes "no" for an answer.
The "blue whale" auditorium boasts bright and pleasing acoustics and might prove a wonderful environment for recording - but outside of normal business hours. The space proved a little less ideal for performance because there is sound leakage into the hall from other events in the building – the salsa festival going on downstairs could be heard between works on the program and even in in quiet passages, and doors opening and closing, and noisy seats, kept punctuating and peppering the sound of music.
However the visual impression it leaves is tremendous, and it always exciting to be in the company of a large audience that wants to be present and that responds to everything with vocal enthusiasm. More than once Zander had reminded the players to greet the ovations with smiling and grateful faces. On this occasion this advice was hardly necessary – every face in the blue whale was smiling, or smiling back.
This time I won't "review" the interesting rehearsal and the excellent concert that began shortly thereafter and instead will repeat a couple of things my internet friend said. "This youth orchestra is better than our national orchestra," she exclaimed – and Zander repeated the remark to the players who responded with a round of applause. She was enthralled by the conductor, whose activities and recordings she has followed online with pleasure. What she said to me was that BPYO plays in the manner of the great orchestras of the past, both those she has heard in her matchless sound library and those she had experienced in as a child and a schoolgirl in Europe.
In Mo Yang once again excelled in the Sibelius Violin Concerto, although there were a couple of tenderly embracing phrases in the rehearsal of the slow movement that were even more eloquent than they were in the performance - I think I will remember them even when I cannot recall my own name.
For the orchestra there were three encores after a stirring performance of Prokofiev's Symphony No. 5, "The Stars and Stripes Forever" and Elgar's "Nimrod" variation, as well as something unexpected. Principal flute Carlos Aguilar had made such an impression playing Piazzolla's "Oblivion" at the concert for school children the day before that Zander was determined to let this larger audience hear it as well. And Aguilar and the BPYO strings once again wove an evocative incantatory spell.
Aguilar's heritage is Mexican, but he grew up in San Diego. He has a trendy look from the Doc Martins on his feet all the way up to is striking haircut – a design juxtaposing long locks of hair and close-to-the-skull shaving. Over the years he has hung out with experienced and idiomatic tango players so he has learned and mastered the art of improvisation in this style – Piazzolla's notated score is point of departure for what Aguilar does with dynamics, added pitches over a wider range, timbres and tone colors, bent tones, flutter tonguing and other extended flute techniques. The public went crazy for this – just as the children had the day before.
Zander knows how to rouse and audience, but on this occasion he spoke seriously for a moment about an event that took place that morning. The BPYO had made its way to a school in one of the upscale neighborhoods of Buenos Aires – a neighborhood immediately adjacent to a tenement barrio where thousands of people have built their own makeshift homes in an abandoned railroad yard – some of the ramshackle buildings sprung up overnight. Part of this area we were told still lacks water and electricity. People grow their families here in conditions of extreme poverty but some children have been rescued by their schools and by the Argentine El Sistema which with the help of the government which now runs more 60 facilities for teaching music across the city. The BPYO dispersed among several rooms and engaged in multiple musical activities with the children, mostly master classes, lessons, and playing side-by-side.
I was not able to go to the school, but Zander was deeply moved by what he saw, heard and experienced. He has repeatedly spoken about it to the orchestra, and after the big concert in the blue whale, he spoke to the audience as well. The BPYO musicians, he said, have been lucky and privileged throughout their lives and the sessions in the morning had helped them to realize exactly how lucky and privileged they have been and with that comes the responsibility to advance social justice.
At an opposite extreme from this barrio area and even from the vast and welcoming people's palace of the CCK, stands the most famous building in Buenos Aires, the Teatro Colon, one of the world's most renowned opera houses. The ancestor of BPYO, the Youth Philharmonic from New England Conservatory, which Zander led for decades, played in the Teatro Colon during two tours, but the theatre was not available for this time period. The tour leaders had hoped to take the entire group through the Colon, but this proved impossible to arrange. Nevertheless the Colon runs multiple tours a day and several players and tour staff managed to join one of the small groups escorted around the building.
The Colon was built to make a statement about the importance of the arts, and it still does; everything from the vaulted ceilings and soaring columns to the mosaic floors says this. There is a grand foyer with busts of composers - Verdi and Wagner, of course, but also Mozart, Beethoven, and Bellini. A century ago Gounod's music was considered more "immortal" than it is now, so he is there too. By today's standards Handel is conspicuously missing, and so are the composers who were just beginning to make their way when the Colon was constructed, figures like Puccini and Janacek.
There is still one entrance that can be used only by the holders of the most expensive tickets; there is also a room opulent with gold where the wealthy could "retire" during intermissions – in the old days entrance was denied to anyone who could not speak French, as all the old Argentine aristocrats did. But even in that period tickets for upper ring of the theater and the standing room were much cheaper – indeed they still are – and the gallery was home to excitable debates among opera lovers and dance aficionados, many of them Italian immigrants who had helped to construct the building.
The public spaces are vast and imposing, although higher up the materials of construction grow less costly; marble gives way to plaster. In the auditorium this turned out to be a factor in the creation of the Colon's world-famous acoustics. The interior of the theater is glorious, even in semi-darkness; we were there during a lighting rehearsal for a new production of Swan Lake that was scheduled to open in a couple of days. So the stage, at least was bright. The set for the third act looked modest – a couple of chairs for the King and Queen under a canopy and some painted flats, with a large empty space for the dancers to leap and spin in the air (and for Odile, the Black Swan to execute her 32 dizzying and dazzling fouettés).
One exhibit case that displayed costumes once worn at the Colon by legendary singers and dancers of the past filled me with emotion. Leonard Warren sang in the first Metropolitan Opera performance I ever saw, and there was his Rigoletto costume. As I child, I adored Lily Pons, and there was the costume she wore in the wedding scene of Lucia di Lammermoor – I saw her in her in her next-to-last Met performance of Lucia in 1957 with the Met on tour in Cleveland. I was 16 and she was almost 60. I demanded that my parents drive me into town to see it and they were unwilling to face the consequences if they didn't. The second-act dress was gold damask and festooned with pearls – and smaller than some of the dance costumes. Lily was a tiny chic Frenchwoman; she was surrounded and enlarged by the aura of a living legend, which had long, been she was by the time I saw her; she had been singing Lucia at the Met for more than 25 years. I was 16. Now, almost 60 years later, I haven't yet forgotten the impression she made. Jan Peerce was Edgardo, Lucia's lover. He was his 50s also, and when he rushed onstage in his built-up boots he looked like a harried bank clerk. Then he opened his mouth to sing with that magnificent voice of his, and he instantly transformed himself into a passionate romantic hero. This is a lesson opera has forgotten in our era of television relays. All too often Edgardo is a young man who looks good wearing tights and swirling his cape with flourish, but when he starts to sing he sounds old and rather like a harried bank clerk!
The next morning a small group from BPYO was invited to visit the Villa Ocampo, the summer retreat of the Argentine writer and salon hostess Victoria Ocampo. She bequeathed her estate to UNESCO, which today operates it as a site for conferences and also rents for weddings, bar mitzvahs and other events. The barrio where the El Sistema kids lived lay on our route and Zander was appalled by what he saw and decided that the busses conveying the BPYO to the ferry must take the same highway
Ocampo who died in 1978 at the age of 88 was a writer herself and the friend and supporter of some of the major figures in music, the visual arts, and world literature in her time. She published the magazine SUR ("South") for most of the 50 years it existed; it presented several generations of distinguished South American writers. Numbered among her friends were Picasso, Aldous Huxley, Indira Gandhi, Stravinsky, Manuel de Falla, Virginia Woolf, Albert Camus, Ernst Ansermet and a host of other luminaries many of who sought refuge in her villa during World War II and its aftermath.
Her life was energetic and colorful. She was married for only seven years and divorced her husband from within a rigid society where that was almost impossible. Women couldn't drive, but she dashed around Buenos Aires at the wheel of her shiny Packard. The books on her bedside table include a volume by Henry Miller, whose books were banned in North America for decades.
Her villa is a handsome structure that looks like one of the summer mansions in Newport, Rhode Island, but unlike them it reflects personal tastes and interests. Her personal library of thousands of books is now designated as a World Heritage collection and contains first editions in many languages, many of them autographed by the authors. I was pleased to see a copy of Rebecca West's The Fountain Overflows, my favorite novel about young musicians and their friend Rose, who wasn't a musician, but represented all the things music is about.
For a time Ocampo was involved with the Teatro Colon, which disapproved of her interest in contemporary work. She had even appeared onstage there, according to a framed playbill that stands on her handsome and ornately carved Steinway piano - she performed the role of the speaker in Stravinsky's ballet Perséphone.
Zander sat on the lawn for a videotaped interview about education in the arts conducted by our elegant and gracious hostess, the Japanese photographer Masako Kano de Worsnop. She is on he board of the Villa Ocampo and has also been a friend to the El Sistema programs here. Meanwhile the rest of us were guided through the house - we even saw the basement kitchen, now supplanted by modern facilities upstairs; the original looked like the kitchen in Downtown Abbey. In a smaller room adjacent to the music room stood framed manuscripts, autographed photos and drawings, including a sketch of Ansermet by Picasso and some music paper on which Falla had penciled an arrangement for piano of the traditional Russian "Song of the Volga Boatmen." This seemed curiously a propos, because it opens with the same intervals that begin Elgar's "Nimrod" Variation, the BPYO's inevitable encore.
Before luncheon there was a brief recital by violinist In Mo Yang accompanied at the piano by BPYO's forceful yet sensitive 19-year-old pianist Richard Rivale who was almost sight-reading music he had only recently been handed, and doing a polished job in a "Cantabile" by Paganini and Fritz Kreisler's delightful "Caprice Viennois." After these and a couple of other bon-bons for solo violin, In Mo Yang offered a surprising encore, the Ballade for solo violin by Eugene Ysaye, one of the most challenging pieces ever written for the instrument, a serious, substantial, profound work dense with ideas and crowded with technical hurdles. In Mo Yang's performance was in every respect a triumph, a display of uttermost technical mastery and musical insight. He managed to make a personal statement out of this sometimes-forbidding monument of music.
Before In Mo Yang disappears from this chronicle, I should mention his encore in Rosario, Argentina which was probably the most show-off piece this non show-off artist plays, Paganini's caprice on the aria "Nel cor non piu mi sento" from Paisiello's La Molinara. In the opera this was the tune of a slightly naughty duet with a titillating text.
The cause of my torment
Love is the guilty one.
You tease me, you bite me.
You prick me, you pinch me.
What is this thing, alas!
Pity!
Love is a certain something
Which makes me despair.
The tune is captivating, although young piano students who toil through Beethoven's variations on it seldom get it; other composers have used it too - Villa-Lobos has a guitar piece based on this duet. Paganini's response involves a lot of left-hand pizzicato work to characterize the teasing; it requires an insane degree of virtuosity that doesn't faze Yang in the least.
After the staggering performance of the Ysaye Ballade, luncheon was announced. As he ate, Yang said some interesting and amusing things. One of his rewards for winning the Paganini competition was the chance to play Paganini's own violin in a recital. He was allowed only a short rehearsal period, which was attended by the violin's two vigilant guards. The violin itself was full of sonic resources, he said, and very heavy and rich in sound, but it was also difficult to control because it is played so rarely. The concert opened with the entrance of the violin, borne aloft by its guards; only when the violin had reached center stage was Yang permitted to enter.
He also spoke of his studies, and of his decision to work with Miriam Fried, who was a member of the jury at a competition, which he failed to win the fist prize. "She heard what I needed to work on and told me directly what my weaknesses were. I liked that," Yang said with quiet modesty. "I knew immediately I wanted to study with her."
Too soon it was time to leave this precious glimpse into old Buenos Aires in order to return to the hotel, where we climbed into the busses that would take us to the ferry. At Zander's request we did take the route went next to the tenement barrio - an experience that left many of us with solemn and disturbing thoughts and new or renewed resolves.
The ferry ride was fun, sort of. The boat full to capacity and there were trip-long waits in the "gift shop" and at the food windows. The food was expensive and nearly inedible, people said, and I fled the gift shop after a woman carrying a spritzer attacked me with a malodorous perfume that will linger in my clothes until I return to Boston and throw them into the washing machine.
Montevideo, Uruguay - Busses met us at the ferry terminal and conveyed us to the Radisson Hotel, a stately structure built in stages over time - there were marble staircases at the entrance and even inside the lobby and the cellos, cello cases and cellists did not enjoy the absence of ramps. The hotel elevators are being renovated, so it took a long time to get everyone upstairs and into the spacious rooms. The dining room is on the 25th floor, and it can be hard to get to - at one point I waited half an hour for an elevator that was not crammed with musicians and cello cases. But the views of the river and shipping docks from the dining room are quite spectacular - "the Top of the Hub," the musicians said. And the buffet was of a different and higher class than anything we had experienced before, and that made everyone happy.
The rehearsal and concert took place in the Teatro Solis on the other side of the Plaza Indepencia in front of the hotel. The horseshoe-shaped 1500-seat auditorium with five balconies stacked above the box-seat level must look very much as it did 181 years ago; the original stage house has since been torn down and replaced by a more spacious and modern performance area. By way of comparison, New York's Carnegie Hall opened in 1891 and the old Metropolitan Opera House on 39th Street opened in 1883; Boston's Symphony Hall dates from 1900. Even Vienna's beloved Musikverein was built later, in 1870. For some context: in 1856, the Republican Party in the United States held its first convention as the country hurtled towards Civil War; near Bonn, Germany, the great composer Robert Schumann, 46, died in a madhouse.
I really do believe that the walls of a great historic theater contain memories of all the most important artists who performed there and in the first golden age of touring, the Teatro Solis ("Theater of the Sun") hosted many of them. The singers included the most celebrated soprano of the 19th century, Adelina Patti, who sang the most velvety and even trill ever recorded, and the coloratura Luisa Tetrazzini, who inspired a turkey dish. Among tenors there were Enrico Caruso and Francesco Tamagno, for whom Verdi composed the role of Otello. Both of the two most revered actresses of the period appeared here, Sarah Bernhardt and Eleanora Duse. Pavlova and Nijinsky headed the list of dancers, and the soloists included two figures that changed the history of their instruments, the harpsichordist Wanda Landowska and the guitarist Andres Segovia.
Zander and the BPYO did not seem intimidated by any of this and played their hearts out in the final formal concert of the tour on Tuesday night, which took place before a house that was completely sold out even before the orchestra left Boston. The acoustics were clear and Zander hopes that the recording will prove worthy to issue on CD. Experienced people in Montevideo remarked on how the audience did not head for the doors the moment the concert was over and remained to listen to and applaud the encores and ultimately to reward them with standing ovations, which are also rare here. I can attest to the truth of this - a woman seated in a box with me got up and put on her coat the moment Prokofiev's Fifth Symphony ended and started to leave; when the encores began she returned remained there, standing, until the encores had concluded. Many in the orchestra were in tears during and after "Nimrod" - for them this was a farewell not just to the audience but to each other as they move on to other cities, other schools, and careers in music, or in classics or business or law or architecture.
The Sibelius was again soul-stirring to salute principal violist Dominick Douglas who can hold his own in a duet with In Mo Yang. Previously the four horns had encountered minor problems in their quartet in the concerto, so they had their own private rehearsal supervised by conductor Ben Vickers backstage; Isabel Carton, Joseph, and Cradler, Hannah Culbreth and Maria D'Ambrosio balanced beautifully in the performance. Carton is one of the players I was lucky enough to get to know a little. She has a big job with General Electric, and in addition she's pondering a dual career in music, playing the horn, or singing jazz. She has an unusually deep, warm-toned and resonant speaking voice, so I asked her if she sang; she sent me an MP3 of one of her arrangements, and she's terrific. Aguilar was superb in his control of tonal quality and exact intonation even in the highest register, and Olivia Iverson knows how to tame a piccolo. Roee Kawai is an elegant oboist, and the trumpets - Mark Macha, Ben Jones and Arthur Abbate are fearless. Many players come to resemble their instruments - tubist Frank John does not; he's tall and lean, and he is a first rate musician who lays down a resonant and solid bass line to support everyone else, and when the composer gives him the opportunity he can transform the tuba into a poetic and sensitive and evocative instrument. Really. Both of the Yonezaki sisters are wonderful, assured musicians and delightful to talk to. Matthew Ethier's trombone produces a nobly resonant sound; August Ramos leads a very solid bass section and Mark Churchill has forged the cello section into a superbly unified and balanced ensemble. When Zander instructed the cellos to let themselves loose like Rostropovich, they knew exactly what he meant and delivered it to hair-raising effect. Diego Bacigalupe really wailed with the E-flat clarinet, and Jenson Bocco's bassoon is a real character that can project many dynamics, colors and moods. Jason Russo's clarinet is less aggressive than some, but it is supple, warm-toned and full of nuance. The entire percussion section is great fun to watch because the rhythms they are playing engage their whole bodies. The youngest of the percussionists is probably Aidan Carey who can make a bass drum sound mysterious. He's a delightful person who is always hearing music whether or not he is playing. He says he started out as a kid with a drum set ("you know what that means") and now he is hearing his own music and thinking about writing film scores one day, like John Williams. He knows many of the Williams scores by heart and is comprehensively curious about the composer - and just about everyone else in the world of music.
Zander also had the orchestra rise, section by section, and the audience played no favorites, cheering them all. Audiences sometimes overlook the second violins. Years of watching Marylou Speaker Churchill at the Boston Symphony and listening for her taught me how unwise and unmusical it is to overlook the second violins. I have never heard BPYO's principal second Greta Myatieva play by herself, except when she is warming up with a phrase or two, but during the tour rehearsals in Boston she became my favorite person to watch - she is 100 per cent invested in every note she plays, and the second the music begins, in rehearsal and in performance, she is completely present within it, and a guide to what to listen to, even when the second violins are resting.
I am grateful to all the musicians who went out of their way to talk to me, obeying Zander's request to speak every day with someone they don't know; most of these people, and many others, have been generous in sharing something with me - I should also specifically point out two bass players, Abram Collette and Andre [last name not in the program book] both of whom are off to college In Zander's hands, all of these strong individuals know how to merge into an ensemble, working together with others to create things beyond the powers of any individual.
My favorite concert moment came in one city after the close of "Nimrod." Before the applause began someone in the balcony fervently called out "Gracias," "Thank You" and that's how I have felt in this company every day of this tour.
Still to come: Zander's master class for three young conductors; a final side-by-side with the Orquestra Juvenil SODRE, a conversation with an 82-year old Russian concertgoer an amateur violinist, the farewell dinner and acknowledgements in La Casa Violeta restaurant in Montevideo, some odds-and-ends and corrections, and an attempt to sum up a rich and complex experience that defies conclusions because it all about opening up new possibilities.
Topics: Tour, Argentina, Possibility, Buenos Aires, Concerts, south america, Montevideo, Uruguay


text:
Topics›
Recreational cannabis in the United States›
Marijuana's Growth into the U.S. Mainstream
Martin Armstrong,
Recreational cannabis in the United States
Recreational cannabis use has by now been legalized in 18 U.S. states (plus D.C.), further cultivating the drug into the mainstream. As new figures from Gallup show, the share of adults who say they have tried marijuana at some point is now at 49 percent, the highest rate measured by the company to date. Back in 1969, only 4% said they had tried the drug, but, as noted by Gallup: "That surpassed 20 percent in 1977, 30 percent in 1985 and 40 percent in 2015."
When it comes to regular use there is a way to go however. Just 12 percent of U.S. adults say they "smoke marijuana", as opposed to having simply tried it at some point. Gallup adds: "This share has been steady in recent years, varying between 11% and 13% after increasing from the 7% initially measured in 2013."
Martin Armstrong
Data Journalist
martin.armstrong@statista.com
This chart shows the share of U.S. adults that say they have tried marijuana from 1969 to 2021.
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