Drinkers living in deprived areas were found to be more likely to drink spirits and beer than wine and to be more likely to binge drink than those in non-deprived areas.
After the embargo lifts, the article wil be available at the journal website.
2. A guest blog by Dr James Nicholls, Director of Research and Policy Development at Alcohol Research UK, is available here.


This is a light, cheesy soufflé topping with a tasty base of baby spinach leaves. Serve for a summer lunch with crusty bread and a green salad.
Preheat the oven to 400°F (200°C) and put a baking tray in the oven to heat. Lightly oil the inside of a medium soufflé dish (about 1.25 litres). Sprinkle with the breadcrumbs, then tilt the dish and tap around the edge to distribute evenly.
Melt the butter in a pot over a medium heat. Sprinkle in the flour, then cook for 1 minute, stirring all the time. Slowly add the milk, whisking constantly, until the sauce comes to a boil and thickens. Simmer for 2 minutes, stirring occasionally, then season with nutmeg and salt and pepper to taste. Meanwhile, gently steam the spinach leaves with just the water clinging to their leaves until dark green. Squeeze out all excess water and season to taste.
Remove the sauce from the heat and cool slightly, then beat in the egg yolks, one at a time. Stir in the spinach leaves. Add the goat's cheese, half the Parmesan and the mustard and beat well to mix. Return the pan to the heat and reheat gently, just until the cheese has melted to make a thick, smooth sauce. Set aside to cool.
Whisk the egg whites in a large, clean bowl until stiff peaks form. Whisk one-third of the egg whites into the soufflé mixture to lighten, then use a large metal spoon to fold in the remaining whites.
Spoon the cheese mixture into the soufflé dish and sprinkle with the remaining Parmesan. Place on the preheated baking tray and bake for 30-40 minutes until well risen and golden. Serve at once.
Cook's tip: You will know the egg whites are stiff enough when you can turn the bowl upside down without them falling out.


text:
package com.microsoft.azure.cognitiveservices.vision.computervision.models;

import com.fasterxml.jackson.annotation.JsonCreator;
import com.fasterxml.jackson.annotation.JsonValue;

/**
 * Defines values for Details.
 */
public enum Details {
    /** Enum value Celebrities. */
    CELEBRITIES("Celebrities"),

    /** Enum value Landmarks. */
    LANDMARKS("Landmarks");

    /** The actual serialized value for a Details instance. */
    private String value;

    Details(String value) {
        this.value = value;
    }

    /**
     * Parses a serialized value to a Details instance.
     *
     * @param value the serialized value to parse.
     * @return the parsed Details object, or null if unable to parse.
     */
    @JsonCreator
    public static Details fromString(String value) {
        Details[] items = Details.values();
        for (Details item : items) {
            if (item.toString().equalsIgnoreCase(value)) {
                return item;
            }
        }
        return null;
    }

    @JsonValue
    @Override
    public String toString() {
        return this.value;
    }
}

redpajama_set_name: RedPajamaGithub


text:
Download Issue 47 (US Letter, 2 mb)
by Sine Tofte Hannibal
What's in the Repertoire? Statistics for Danish Symphony Orchestras, Operas, Ensembles and Music Festivals 2015–2018
Sine Tofte Hannibal
Which music is on the programme of Danish orchestras, choirs, operas, ensembles, and festivals? How diverse is the repertoire which is presented to the Danish audience, regarding the proportion of male or female composers, Danish or foreign composers, or new music versus earlier classical music? These questions were the starting point for a report on Danish repertoire statistics, released in 2018, which aims to give an overall and concrete understanding of the profile of the composers who were being played by Danish ensembles and at festivals at that time. At the time of writing, we have just started to collect data again on the repertoire from the concert seasons 2018/2019 and 2020/2021 in order to bring the statistics up to date, and to continuously nudge the classical music environments in Denmark towards taking diversity and gender balance seriously in their concert programming and taking on the responsibility of nurturing musical environments with equal opportunities for all.
The institutions included in the statistics are all supported by public funding on a governmental and municipal level and are therefore expected to present a varied repertoire which is relevant to as many as possible. Diversity and especially gender balance have been a strategic focus in the political work of the Danish Composers' Society since 2016 and nudging is precisely the tool that gives inspiration to our work and is the underlying basis of our different activities, initiatives, and projects.[i] In brief, we believe that if we shall succeed in creating a change in the classical music environments, it is crucial to shed light on patterns, routines, and unconscious bias as a starting point for discussing and suggesting ways to change these and do things differently. Initiating dialogue, debates, and seminars is one approach, releasing statistics on repertoire is another one. From now on, we plan to update the statistics every year and release them online in order to ongoingly be able to show the state of diversity in the repertoire. Every fifth year, we intend to publish a printed version showing repertoire statistics five seasons in a row in order to show whether diversity has actually improved or not.
The Origin of the Statistics
On 18 May 2017, the Danish Composers' Society hosted the seminar "Repertoires in Balance—A Summit About Music." The meeting was between decision makers in the Danish classical music scene. The cause behind the initiative was the desire to create a qualified debate on how to get Danish festivals, orchestras and ensembles to program more music by female composers. The current reality was and still is that Danish orchestras and ensembles are performing much more music by male composers than by female composers, Danish festivals for classical and new music are programming many more compositions written by men than by women, and the music of German and Austrian composers takes up a significantly larger amount of space in the statistics than music by Danish or other, e.g. Nordic, composers.
This is not only the case in Denmark. This tendency is reflected in most other countries, e.g. in Sweden, as documented in repertoire statistics completed in 2014/2015 and again in 2019 by the two Swedish composers' societies: FST (Society of Swedish Composers) and KVAST (The Association of Swedish Women Composers), and in Norway in 2019 by the Norwegian Society of Composers. The Danish repertoire statistics emanate from the summit held in Copenhagen, where the first Swedish repertoire statistics were taken as a direct role model. The statistics report was initiated by the the Danish Composers' Society along with the publishers Edition Wilhelm Hansen and Edition S as well as SNYK (the Secretariat for Contemporary Music) and is supported by Musikforlæggerne (Society of Professional Music Editions in Denmark).
Content and Procedure
The statistics include Danish music institutions and are divided into the categories of symphony orchestras, operas, ensembles, and festivals. The statistics contain information about the music that has been performed during the last three seasons: 2015/16, 2016/17, 2017/18. They outline the proportion of new music versus earlier classical music, Danish music versus music from abroad, as well as music by men versus women composers—all categories are calculated by the number of minutes each music receives.
The three-year timeframe was a necessity, not only to give a snapshot of the current situation at that time, but also to look into if this was a tendency in the music scene and to also see if the numbers change over the years. The title, composer, gender, nationality, length, year of composition, and date of the performance of each piece was notated as a reference. Furthermore, it was also noted if the piece was performed as a premiere. If a work was performed in multiple concerts, it appears more times in the statistics. However, a composition was only noted as a premiere one time.
Dansk Komponistforenig, Total national overview of repertoire statistics, 2018: excerpt from Repertoire statistik for danske symfoniorkestre, operaer, ensembler og musikgestivaler (Copenhagen: Dansk Komponistforenning, Edition Wilhelm Hansen, SNYK and Edition-S) translated into English by GRiNM in collaboration with Sine Tofte Hannibal.
What Did the Statistics Indicate?
Three years ago, we had the feeling that only a relatively limited part of the history of music was taken care of in Danish concert halls, and that not least the music of professional women composers rarely found their way to the repertoire. But sensations are not proof enough in themselves.
After the summit, we were convinced that we needed data and a clear picture of the classic music repertoire, if we wanted to engage with the executives and gatekeepers who set programmes and decide what repertoire the audience should experience, about whether or not it is an image we reconcile with, or if there is a need to change this image.
And still today the statistics speak their clear language—there is a need to change the picture:
Only 3.6% of music in the repertoire of Danish orchestras, ensembles, opera houses, and new music festivals from 2015 to 2018 was written by women. 18% of the repertoire was Danish, 20% was German, 14.7% was Italian, and 4.4% of the repertoire was Nordic.
Only 1% of the symphony orchestras' repertoire were first performances, in other words newly written works, over three seasons.
Over 50% of the works were written in the period between 1800 and 1950, and only 11% of the total repertoire from 2015 to 2018 was written within the last thirty years.
If we take the relationship between music written by women and men, then it is not good enough that just under 4% of all classical music performed by the established orchestras, ensembles, opera houses, and at festivals is written by women. That equates to a total of 10,486 minutes of music, while 283,706 minutes of music during the period were written by men.
The picture in Norway and Sweden is very similar to the Danish one, as the statistics from Norway show that 3% of the music is written by women, and in Sweden the most recent statistics show that 6.4% of the music in Swedish concert halls is written by women. When it comes to Nordic repertoire, 6% of the repertoire in Norway was written by composers from other Nordic countries, and in Sweden it was only 3.4%.
Arguments for Status Quo and Tools for Change
I see several actions going on internationally trying to change the image, and in Denmark we see an increasing awareness and recognition that, as a manager, artistic director, ensemble leader, or promoter in 2020, you must work with diversity—both for the sake of those who create the music and whose stories and works also deserve to be brought forward, and for the sake of all those who need to hear and experience the music and the stories. One thing is to recognise it and talk about it, another thing is to do it in a way that makes a real change now and in the future. It takes courage and will to think outside of the box, spend extra time on familiarising oneself with what works are out there and to dare program a different and to the loyal audience a possibly unknown repertoire.
Several arguments defend the lack of action taken on changing the picture and imbalance that the Danish statistics mirror. Below is a partial list followed by suggestions for tools to turn these arguments into action.
Argument One: "There are not so many professional women composers."
Within a national context, there might be a grain of truth in this—14% of the members of the Danish Composers' Society are women. But that is just in Denmark. And as today's classical music field and the labour market of composers is international—just over 80% of the repertoire in Denmark of the last three seasons was written by foreign composers—it does not make sense to explain the lack of women composers in the programmes with the lack of women composers in Denmark.
There are several recognised and talented women around the world who write both orchestral and chamber music, operas and electronic music and make sound art and performance.
1. Finding the music from the past and the present: Two databases prove this and offer a great deal of inspiration to artistic directors, conductors, and ensemble leaders looking for music by women:
The Swedish association KVAST, which deals with women and new music, has a database of close to 2,000 works written by women from a wide range of countries, extending from Hildegard von Bingen to the present day;
Donne – Women in Music is a website and database presenting more than 6,000 female composers and offering articles, daily portraits, and lists of works by the composers in the database.[ii]
A variant of Argument One is that there are not so many works written by women—the databases of KVAST and Donne in Music are proof of the opposite. And regardless of the fact that there are more men than women composers in Denmark, i.e. for historical reasons, there are enough works to choose from.
2. Commission new works by women: One concrete tool for increasing the number of works by women for the future is to commission new works by women composers.
The statistics show quite clearly that the percentage of music by women is a lot higher when it comes to music written within the last thirty years. Also, the ensembles and festivals that play a high amount of new music and regularly commission new works have a bigger proportion of works written by women in their repertoire than those that do not. And that number is fortunately increasing, and I see more and more ensembles using this tool and prioritising to commission works by women.
For instance, on a national level over three seasons, 14.1% of the repertoire from within the last thirty years was written by women composers. On the contrary, music written over thirty years ago is 0% when it comes to music by women—it is simply not in the repertoire in Denmark today.
Argument Two: An argument about artistic quality almost always pops up as a defence when you ask an orchestra, ensemble leader, or artistic director why a programme does not include works by women: "For us, it is primarily a question of artistic quality," many answer. But how can one speak about what artistic quality is, if one has almost never put works by women in the repertoire? Or, put another way: how can you claim that what you program is quality and what you exclude is not, if the repertoire from season to season is more or less identical?
Furthermore, audience research show that diverse programming creates better and relevant concerts and attracts a larger audience, as you offer more opportunities of relating to the music being performed.
1. Music by women in the programme: A simple tool for creating more diverse and gender-balanced programmes is to commit oneself to always include works by both men and women in a programme, unless there is a curatorial reason for not doing this that one can defend.
A highly estimated orchestra manager from Sweden has used this tool for years with success. If a conductor suggests a programme exclusively with music by men, he asks if they can suggest a work by a woman as well. And as he said, "The vast majority can, they just hadn't thought of it."[iii]
2. A 50/50 target: Another tool could be to set a 50/50 target in the repertoire in terms of composers. I have met festival directors in both Iceland and Norway who work with this target when planning their festivals, and they did not find it hard to reach their target as long as they spend time searching for composers in other circles than where they would normally look.
A reflection, though, is whether a 50/50 target will really change the structures that make it so that music by women rarely finds its way to the repertoire. Obviously, overall representation is growing, and it is a statement and a message that creates awareness and is easy to sell. But does 50/50 programming alone really create better opportunities for women composers in terms of gaining more recognition, better career conditions, more visibility, and more commissioning tasks? And does a 50/50 goal seriously affect the perception of what artistic quality is and what sells tickets and lends prestige?
It is important that we pay attention to and address the underlying and more subtle, but nonetheless very strong, structures and barriers to real diversity and equal representation in the repertoire, and that women composers really get the same access and recognition as their male counterparts. When organising a concert, the composition of works is one thing to take into consideration. Something else is the timing of the concert and the place of the concert in the programme, the location, the audience you want to reach, and the issue of broadcasting on radio or television. There is a big difference between an opening concert and a lunch concert, a concert on a Saturday night and on a Monday night, and a concert at a large venue and a school concert.
Opening night at a festival is a prestigious event, to which you often invite press, important partners, and other gatekeepers, and work hard to sell as many tickets as possible. A school concert does not have the same prestige and does not necessarily receive the same attention, even though it is at least as important and meaningful.
Argument Three: "We do play music by women and more unknown composers, but we also have to sell tickets."
After we released the report in 2018, a couple of the ensembles whose seasonal repertoire appear in the statistics complained to us that they perform much more contemporary music as well as music by women than the statistics reflect. These detailed concert programmes just did not appear on their website or in their seasonal brochure, as they were performed as school concerts, lunch concerts, or the like.
But what signal do you send to the outside world, if in your festival programme—regardless of a goal of 50/50—you do a big opening concert exclusively with music by men, while works of women figure in the festival's smaller concerts. Or if, as an ensemble, you launch a seasonal programme where you only present programmes for concerts with ticket sales, while family concerts and school concerts are not mentioned in the programme? And that the programmes for which you sell tickets are traditional classical concerts with works by well-known deceased composers, while more recent music and works by women and lesser-known composers are played at family concerts and school concerts without printed programmes as documentation and dissemination to the outside world and thus stored away for the public?
It signals that you do not count music by women and lesser-known composers as equal, and that artistic quality and what you expect will sell tickets and generate attention is the well-known music you usually put on to the programme. Therefore, I suggest that when working with a 50/50 target, a couple of other tools could justly be used in addition to this.
3. Question the notions of 'a prestigious concert,' 'good' and 'quality': All music in a programme should ideally be treated equally. Try to question the common narrative about which composers and works lend prestige and sell tickets, and dare put the other and unknown stories and worldviews on the programme. Only then do you really start a movement towards change, where you give even more artists access to the repertoire and to the concert halls, while at the same time making yourself relevant to a larger and wider audience.
4. Set up diverse programming committees: A diverse group of people when it comes to age, professional backgrounds, artistic and programming skills, gender, ethnicity, musical taste, etc., will automatically bring more different views and tastes to the table than a more homogeneous group when planning a festival programme or a concert season. There is a good chance that you will end up with a different programme to what you normally put together and with more options for a diverse and new audience to become curious and interested in attending the concerts.
This audience might have a different view of what is good and interesting, and first of all feel represented and experience being able to reflect themselves in the worldviews that make up the repertoire.
Representing the Present…
Representation is about visibility—about showing and being seen—and thus also about the right, the power, and the privilege of deciding who should be made visible, and what stories we as audiences should reflect ourselves in. It is about role models, and also within the classical music fields in Denmark we need to make the palette of role models bigger, more colourful and diverse than it is today. In general, the classical concert halls could and should present many more different stories about our modern lives in which the broader population can see themselves reflected.
Children and young people who are interested in creating music, and who might have a composer inside their stomach, should meet living professional composers who can help them redeem and develop their talent and support them in realising a dream of living from writing music. Preferably, they should be exposed to as many different composers and role models as possible, in order to be able to meet someone with whom they can bond with artistically, and who can make them believe that a career as a professional composer is possible for them, too.
Composers are also women. They are not just white but have roots all over the world. Composers also make electronic music and build their own instruments. They write nodes and make video. They work with sound, but also with images, materials, with the body, movements, and words. When programming concerts, directors and managers should continuously think about how they can help enlarge the palette of composer role models with their work and, not least, make it broader and more diverse, so that children and young people in the future do not think that a composer is a dead white man, but that it is one who works with sound and creates music in myriad ways.
… and Shaping the Future
In relation to supporting the development of classical music in Denmark towards more diversity, educational environments—music schools, MGK (musical foundation courses), and conservatories—play an important role. The programmes at music academies to become a composer must also be able to embrace a diverse approach to what classical music can be when young people choose to apply. As it is today, access to the academies is very narrow, and the entrance exams are organised based on a specific and very classical view of what music is and what one needs to know to be admitted to the composition studio.
The number of Danish students in composition around the country is declining, and there are only a few women studying composition. The question is whether one way to change this could be to broaden access to the studies—not by lowering the bar, but by opening up the definition of what a composer can be and creating several different types of entrance examinations and auditions. Experience from the UK, for example, shows that giving more opportunities and entries to programmes attracts a greater talent base.[iv]
Women and men must have equal opportunities and access and must be recognised for what they do. Both women and men must be visible in the repertoire. Audiences should not only see and hear the works of men, but also see and hear the works of women. And we should all see that women as well as men can make a career as composers and artists and put their presence in the world into music and art. It takes time to seriously think in new ways and do things differently, and it takes courage to be curious, to give up control and the right to define, and to be open to what is to come. And first of all, you have to open your eyes to the fact that the world can look different, that life can be lived in other ways, can be experienced differently and reflected in stories other than one's own.
Hopefully, there will come a day when repertoire statistics are no longer needed, where diversity is a matter of course in any festival and where the proportion of music written by women is closer to 50% than to 4%. But in 2020, it is still crucial to find and actively use tools to curate this part of our age—women's take on their age—so that also the women's presence, contribution, gaze, approaches, tastes, and experiences help to write the story of the present time that posterity must spring from.
Sine Tofte Hannibal is the general manager of the Danish Composers' Society. Gender equality, diversity, and the meeting between audiences and live music are topics that she continuously focuses on and work with in the Danish Composers' Society and within the field of new music. She has a background as a project manager for festivals and ensembles for experimental music, projects that engage children and young people in music, and as facilitator of Nordic and European networks on audience development. Recently, she took the initiative in the Danish Composers' Society of making comprehensive repertoire statistics on live classical music in Denmark. The statistic showed that less than 4% of the live classical repertoire in Denmark is written by women. She is also actively involved in developing strategies for diversity and gender equality within ECSA, the European Composers and Songwriters Alliance, as well as coordinating an initiative within the Nordic Region focusing on career possibilities for professional women composers. Sine Tofte Hannibal holds a MA in Modern Culture from the University of Copenhagen.
[i] We are inspired by the "Inclusion Nudges" change methodology developed in 2013, see Tinna C. Nielsen and Lisa Kepinski, "Inclusion Nudges," https://inclusion-nudges.org.
[ii] See "About DONNE," Donne in Music, accessed 11 June 2020, http://www.drama-musica.com/AboutDonne.html. See also a list of all works composed by the women in the database, "The Big List," Donne in Music, Accessed 11 June 2020, http://www.drama-musica.com/TheBigList.html.
[iii] Stefan Forsberg, "Repertoires in Balance – A Summit About Music" (Seminar, Copenhagen, DK, May 18, 2017).
[iv] Sound and Music (www.soundandmusic.org) has worked seriously with changing the wording and structure in their different artist programmes and applications in England, and have seen a major shift towards a much more diverse group of applicants.
GRiNM x OnCurating
by Brandon Farnsworth, Rosanna Lovell
by Anke Charton
Diversity and New Music: Interdependencies and Intersections
by Dr Christina Scharff
Explaining Inequalities in the Classical Music Profession
by Valentina Bertolani and Luisa Santacesaria
Curating Diversity in Italy: Gender and Ethnic Distribution in Contemporary and Experimental Music Programming
by Gina Emerson
What Do Audiences Want? Data-Informed Curation for Diverse Audiences in New Music
by Sandeep Bhagwati
New Music: Towards a Diversity of Practices
by Serge Vuille
Structural Rigidity as a Barrier to Diversity
by Julia Eckhardt
An Ariadne Thread
by Sharon Chan
Unfamiliar Sound in Familiar Places: Creating Site-specific Performances in Hong Kong
by Kajsa Antonsson, Anna Jakobsson
The Quick Fix: Thoughts on Chance and Community in New Music
by Stellan Veloce, Rosanna Lovell, Lucien Danzeisen
FEM*_ MUSIC*_ : Collective Feminist Activism Within and Beyond the University
by Camilla Overgaard, Susanne van Els
Diversity in Higher Music Education: An E-mail Interview with Camilla Overgaard and Susanne van Els
by Brandon Farnsworth and Rosanna Lovell
A Discussion with Dahlia Borsche

redpajama_set_name: RedPajamaCommonCrawl


text:
La terpyridine, ou 2,2';6',2''-terpyridine, souvent abrégée Terpy ou Tpy, est un composé hétérocyclique dérivé de la pyridine. Il s'agit d'un solide blanc, soluble dans la plupart des solvants organiques. Elle est utilisée essentiellement comme ligand tridentate en chimie de coordination. Elle se lie aux métaux M en formant deux cycles de chélation  adjacents. Comme les autres polypyridines telles que la  et la , elle forme des complexes avec la plupart des métaux de transition. Il est courant de rencontrer des complexes ayant deux terpyridines, par exemple , qui diffèrent cependant des complexes  qui leur sont apparentés en ce qu'ils sont achiraux.

Synthèse

La terpyridine a été synthétisée pour la première fois en 1932 par couplage oxydant de pyridines, ce qui ne donnait que de faibles rendements. D'autres synthèses plus efficaces ont depuis été décrites, essentiellement à partir de . L'une de ces méthodes produit une énaminone par réaction de  avec le diméthylacétal de . La réaction à catalyse basique de la  avec le disulfure de carbone  suivie de l'alkylation par l'iodométhane  donne , qui se condense avec la  pour former la  correspondante, qui se condense à son tour avec l'acétate d'ammonium  pour former une terpyridine. Le traitement de ce dérivé par le nickel de Raney permet d'éliminer le groupe thioéther.

D'autres méthodes ont été développées pour la synthèse de la terpyridine et de ses dérivés substitués. Les terpyridines substituées sont également synthétisées à partir de réactions de couplage croisé catalysées par du palladium. On peut les obtenir à partir de .

Propriétés

Les complexes de terpyridine, comme les autres complexes de polypyridine, présentent des propriétés optiques et électrochimiques caractéristiques :  métal-ligand (MLCT) dans le domaine visible, réduction et oxydation réversibles et luminescence assez intense.

Comme ce sont des , la terpyridine et la bipyridine ont tendance à stabiliser les métaux dans des états d'oxydation plus faibles. Par exemple, dans une solution d'acétonitrile, il est possible de produire le  ().

Notes et références

Chélateur

redpajama_set_name: RedPajamaWikipedia


text:
Q: PHP refreshing a temporary form while a process is running I have a simple E-mail done.  I want this email form to run during a process.   The user will submit a query.  He will have to wait a short time to get the results.  During this short time I want the screen to show my E mail form and constantly refresh every 5 seconds, when the process is finished and the results are ready I want the form to leave, and the script to continue to the results page created.
I was thinking javascript?

     function timeRefresh(timeoutperiod){
     setTimeout("location.reload(true);",timeoutPeriod);

Any suggestions Please?

A: You can perform the query using AJAX request
and when the request sent show a light box you can use this one I like it
http://www.jacklmoore.com/colorbox
after the response comes back from the server you check if the textfield is empty or not if its empty close the light box else let the user finish the form and close it
if you need code just leave a comment

// show light box
$.ajax({

                  url: 'QueryFile.php',
                  type:'post',
                  data:{variable:value,},
                  dataType:'html',
                  success: function(data) {
                     //close modal box
                  },
                 error:function(error)
                 {
                     console.log(error);
                    alert("Sorry there was an error while performing your query ");
                 }
                });

redpajama_set_name: RedPajamaStackExchange


text:
La Flecha Valona 1949 se disputó el 13 de abril de 1949, y supuso la edición número 13 de la carrera. El ganador fue el belga Rik Van Steenbergen. El también belga Edward Peeters y el italiano Fausto Coppi fueron segundo y tercero respectivamente.

Clasificación final

Enlaces externos
 Sitio web oficial
 Flecha Valona (los-deportes.info)
 Ficha de museociclismo.it

1949
Ciclismo en 1949
Bélgica en 1949


Holy Jumpin'—what a game! Brian Elliott stopped 46 shots, Rattie scored his second goal of the season, and Fabbri showed-off his toe-dragging skills.
Vladimir Tarasenko scooped the puck out of the corner and found Robby Fabbri drifting in. Fabbri took a shot, dodged a defenseman, and then knocked in his own rebound to give the Blues a 1-0 lead 0:36 seconds into the first period.
The Canadiens tallied 17 shots in the first period compared to the Blues' 9. Somehow, the Blues went into the second with the lead.
But Montreal didn't let up then.
P.K. Subban scored his first road goal in 28 games as he lost his balance. Andrei Markov was credited with the assist to Subban's 3rd goal of the season.
Then, Max Pacioretty netted his 18th goal of the season courtesy of Nathan Beaulieu. Pacioretty's goal gave the Canadiens a 2-1 lead midway through the second period.
However, they wouldn't keep that lead for long. Patrick Berglund slid the puck to Colton Parayko at the point, who ripped it towards the net. On its way, the puck got a piece of Paul Stastny before it ended up behind the goaltender.
Tomas Plekanec made it 3-2 for the Habs, but the Blues were quick to respond yet again.
Patrick Berglund swung the puck behind the Canadiens net before seeing Ty Rattie open in front of the net. His pass hit the stick of David Backes, but it found its way to Rattie. Ty 's shot trickled in for his second goal of the season (scoring in two consecutive games).
Overtime: a thing Blues fans know very well season.
Fabbri pressured the Habs in the neutral zone as they took a line change. He stripped the puck at the blue line, toe-dragged a defender, and was off to the races. However, he was held during his acceleration and Jori Lehtera regained possession. Lehtera got the tender moving with some body fakes before sliding it under his pads and into the net.
Lehtera's game-winner was his 6th of the season, and it couldn't have come at a better time. The Blues have won 3 of their last four games after breaking a five game losing streak.
Their next match is Monday against the Penguins at 7:00 p.m.


To allow fences to be shifted to follow the contour of a slight slope, medium slope, steep slope (up to 30 degrees) we over-punch the holes where the vertical pickets go through the horizontal rails. The additional room allows the fence panel to flex or "rack". Mounts are sold separately.... Building a fence on a slope can be challenging, since the posts and pickets remain . The horizontal rails are then attached between the posts parallel to the. The horizontal rails are then attached between the posts parallel to the.
Building A Horizontal Fence Attaching redwood boards horizontally to fence posts set in concrete. Using a spacer to keep a consistant gap between the boards to allow some light and air to pass.... How To Build A Storage Shed On A Slope How Build Electric Fence How To Make A Stop Rabbet Cost To Build A 14x22 Shed Roof Over My Deck Man Sheds Long Island Before you begin building exactly what you must confirm that that you check with the appropriate local agencies for that proper permits.
How to Build a Fence on a Slope, Today's Homeowner , Building a fence on a slope can be challenging, since the posts and pickets remain , The horizontal rails are then attached between the posts parallel to the,... DIY Fence Tips & Tricks How to Build a Fence - Wood, Naturally. Learn how to build your own wood fence with these tips. Next, start securing the horizontal boards, working from the bottom up, following the slope.
Building A Horizontal Fence Attaching redwood boards horizontally to fence posts set in concrete. Using a spacer to keep a consistant gap between the boards to allow some light and air to pass.... Fence sections can also be specially made to accommodate a more severe slope if needed by specially punching the horizontal rails of the fence. Note: This degree of rackability is only applicable for fence styles that have standard picket spacing (just under 4 inches).
How To Build A Horizontal Fence. Hardscaping Tip: Ultimate Guide to Horizonal Fences Over the past couple years we have been seeing more and more horizontal fencing in the landscape.
A 36-foot slope and a fence with 6-foot panels needs six panels on that slope. Divide the drop of the hill by the number of fence panels to establish the distance each panel must step down on that slope.
In case you missed it, read DIY Backyard Fence: Part 1 for the first part of this project. It takes a lot of wood to build a fence, and we wanted to do as few seams as possible on our slats. That meant we needed our horizontal boards to be at least 12' long for most sections.
Building A Horizontal Fence Attaching redwood boards horizontally to fence posts set in concrete. Using a spacer to keep a consistant gap between the boards to allow some light and air to pass.
building a wood fence perpendicular to a slope. How to install a wood gate on a slope - Hoover Fence. How to install wood gates on slopes I am hand-building a picket fence and have a question.


text:
class FixOtherColumnsFromUsers < ActiveRecord::Migration
  def change
    rename_column :users, :latitude, :lat
    rename_column :users, :longitude, :lon
  end
end


text:
Is Adele Dating Rich Paul, LeBron James' Agent? They Were Spotted at the NBA Finals
by Produced by Digital Editors twitter | More Articles: Celebrity
Adele made a rare public appearance in July 2021 as she attended Game 5 of the NBA Finals in Phoenix, sitting courtside to watch the Phoenix Suns and the Milwaukee Bucks. But she wasn't alone. Seated next to her was LeBron James' agent Rich Paul, whom the Grammy award-winning singer has been reported to be dating. This was their first outing together, so it's pretty safe to say they have officially come out at this point.
Adele has had a troubled dating past
Adele onstage during The 59th Grammy Awards on Feb. 12, 2017. | Photo by Kevin Winter/Getty Images
Adele has famously had love troubles, and she has even used the experiences to further her own success; her first love was the man who inspired her debut album 19. Adele dumped the anonymous boyfriend after he had an affair with another woman. In an interview in 2008, she revealed she broke things off via a text message stating that she doesn't like confrontation and that the best way she could dump him was to write it down.
Her next album 21 was similarly inspired, but this time there are rumors that the lover was not so anonymous. The most commonly accepted theory is that Alex Sturrock, who was Adele's photographer throughout the majority of the An Evening with Adele tour, was the inspiration for the album and gained the nickname "Mr. 21."
However, Adele takes it all in stride and even pokes fun of herself. When she hosted Saturday Night Live she did a skit where she was a participant on The Bachelor. In the skit, she sings many of her tunes to the chagrin of the other contestants and the bachelor.
Who is Rich Paul?
Paul was born and raised in Cleveland, Ohio, in the neighborhood of Glenville. Paul became a sports agent after meeting a then-teenager LeBron James at the Akron-Canton Airport in 2002. The two stayed in touch and eventually became so close that Paul started working at Creative Artists Agency under James' then-agent, Leon Rose. Developing his own business sense, he was eventually able to strike out on his own.
Today, Paul has his own agency, Klutch Sports Group, which he started in 2012. He is now one of the most well-known agents in the sports industry and his clients include James, Philadelphia 76ers player Ben Simmons, Los Angeles Lakers star Anthony Davis, and Golden State Warriors player Draymond Green, among others.
Will Adele and Rich Paul's relationship survive long-term dating?
can't get over the fact Adele's new album will be love songs about Rich Paul
— Tyler Conway (@jtylerconway) July 18, 2021
'SNL': This Is Why Adele Couldn't Be Both the Host and the Musical Guest
Although Adele is famously tight-lipped about her personal relationships, fans can glean from her music that she has struggled with relationships in the past. Her music paints a portrait of sadness and heartache that can only be written by those who have experienced it.
However, it seems that, for the moment, Adele has found someone with whom she seems happy. As for Paul, the agent seems smitten with Adele. With Adele's charm and witty sense of humor, it's easy to see why. The two seem to come from similarly modest backgrounds, so they would certainly have a lot to talk about. Paul was raised in a small apartment above his father's grocery store where he helped his father run the store. Adele was raised in an apartment above a furniture store by her single mother, Penny.
Adele and Paul may have officially come out as a couple or maybe it is just a fling. Either way, it's nice to see them smiling and enjoying each other's company all the same. And if things end badly if there is a relationship, perhaps she will use the experience to give the world another incredible album.
Tags:Adele Celebrity Relationships


We're proud of Phytoceramides Premium™ and believe it is the most effective prostate support supplement available. And we are so happy that so many of our customers agree with us! So, if you have experienced good results using Phytoceramides Premium™, tell us about it! We would love to hear from you!
Our direct email address is info@phytoceramidespremium.com.
-- Please Select a Subject -- I have a question about how to order Phytoceramides. I have a question about Phytoceramides. What is the status of my order for Phytoceramides. I would like more information on Phytoceramides. I would like to tell you about my results with Phytoceramides. I need to update my shipping information for Phytoceramides. I wish to return or cancel my order of Phytoceramides. I want wholesale/reseller information regarding Phytoceramides.


Sunday I stuffed the slow cooker with kangaroo stew, made a cake and stewed some rhubarb. Late in the afternoon She-Who-Will-Not-Be-Blogged, She-Who-Will-Not-Be-Blogged's partner and Small Brother came over. We drank tea, ate cake and blueberry muffins and then went for a long meandering walk to both show them around and tire out Small Z.
The wind was chilly and Small Z was generally ebullient. We walked along past the marina, the pool, stopped for swinging at the park and then hit the main drag to pick up milk and soda water. Small Z played tigers-in-the-grass and Small Brother stumbled gracefully over an errant shot glass on the pavement. We must have been gone for almost two hours.
A lovely night. The rain was occasionally tumultuous and we had to educate She-Who-Will-Not-Be-Blogged about a possible caravan window leak. Small Brother and I failed at trying to network our computers (Mac/PC). She-Who-Will-Not-Be-Blogged made crumble to top my rhubarb and Small Brother made custard to finish it off. It was a cookery metaphor for our gathering.
Nattered until around 10pm when everyone began to fade, and in the morning we took turns having showers before heading off to reprise our breakfast of a few weeks ago at Merricks General Store. The rain hammered on and off. Small Brother paid for breakfast before anyone could stop him, for which we were all thankful but mildly frustrated.
I took Small Z home after lunch as she was fading due to nap-lack; M took Small Brother and mum to see the Very Large Catamaran. They were gone a long time, and I assumed they were just whiffling around and waiting for Small Z to wake up. I had put my phone on silent while I had tried unsuccessfully to get her down…and looked at it an hour later to find six missed calls from an unknown number.
Meanwhile, the RACV came and diagnosed the Datsun, and then towed it away last night. Small Brother is in town for another day or so, but not near here. New York has never felt more far away.


Nijmegen is a beautiful old city in the province Gelria. It is situated on the Waal river, not far from the German border. The city and its surroundings have much to offer: old churches and castles, modern architecture and a wide variety of landscapes.
This is Mariken, a famous figure from a medieval novel. She will be your guide in this Nijmegen site. By clicking on the pictures below you can make a picture tour.
The pictures in this page were all made by me during a walk in October 2002. You may use them for non-commercial activities, but please let me know in advance!


text:
Vision | Mission | Mandate
Author Awards – a Summary
Events + Buy Tickets
An Evening with Tima Kurdi
Buy Now: 2020 Festival Passes
Buy Now: 2020 Writers Retreat
Authors@School
Festival Field Trip & TeensWrite!
Get In Touch/ Involved
Join a Writing Group
Author Programming Policy
Kingston WritersFest and Queen's University Library present:
On Wednesday, December 2, Kingston WritersFest (kingstonwritersfest.ca) and Queen's University Library (library.queensu.ca) celebrate the release of the first collection of the great Canadian novelist, playwright, critic, journalist, and professor Robertson Davies' personal diaries with a special theatrical reading as well as an onstage conversation with its two editors, Jennifer Surridge, daughter of Davies, and Ramsay Derry. A Celtic Temperament: Robertson Davies as Diarist presents an illuminating selection of the 1959-1963 diaries of Robertson Davies, one of Canada's greatest novelists.
Born and raised in Ontario and educated at Upper Canada College, Queen's University, and Balliol College, Oxford. During his time in Kingston, he cultivated his interests in journalism as an active contributor to The Journal, the Queen's University student newspaper. Davies was also an actor with the Old Vic Company in England; publisher of the Peterborough Examiner; and a university professor and first Master of Massey College. Davies authored more than thirty books, as well as essays, speeches, and belles lettres. He gained international fame for his Deptford trilogy, Fifth Business, The Manticore, and World of Wonders, and for his last five novels, The Rebel Angels, What's Bred in the Bone, The Lyre of Orpheus, Murther & Walking Spirit, and The Cunning Man.
Davies requested that his diaries not be published until 20 years after his death. The task of editing his journals fell to Jennifer Surridge, his daughter and the executor of Davies' literary estate, and Ramsay Derry, editor of the novels Fifth Business and The Manticore, who acted as editorial advisor to the Davies literary estate. Surridge notes that, in his public life, Robertson "hid well the mixture of ambition, anxieties, and insecurities, and often conflicting conceptions and emotions that all bubbled furiously within." This collection provides an enticing glimpse of these ambitions, disappointments, and insecurities, and reveals the humanity and humour of Davies' private musings and observations.
John Fraser, master emeritus, Massey College states that "Robertson Davies was an original and his diary may well prove to be the best and most riveting ever produced by a Canadian. It bears a welcome affinity to the diaries of Samuel Pepys and Sir Henry 'Chips' Channon, but because of Davies' broad, complicated humanity, it also stands alone in its celebration of a life lived to the full in this remarkable man's very own world of wonders." Not just for the academic, actor and director Martha Henry describes the diaries as "irrepressible, erudite, gossipy, and extremely naughty. I literally could not put them down. Anyone interested in Davies' thoughts on the theatre of Stratford and Toronto in the early 60s—and more importantly, in his description of the creation of Massey College —will find these diaries irresistible."
Now in its seventh year, Kingston WritersFest has confirmed itself as a prime Kingston cultural event and one of the top Canadian literary festivals.
Queen's University Library proudly houses Davies' personal library, comprised of more than 5000 volumes, theatre prints, and ephemera. Many of the volumes are annotated with handwritten notes inserted.
Jennifer Surridge and Ramsay Derry appear on Wednesday, December 2, 7:30 – 8:30 pm, in Speaker's Corner at Stauffer Library, Queen's University. Free street parking available onsite. Tickets are $17 in advance (incl. HST and handling) – $19 at the door – and are available online at kingstonwritersfest.ca and at Novel Idea Books on Princess Street. FREE rush seats available to Queen's, RMC, and SLC students with valid ID.
Support KWF
Kingston WritersFest | 209 Wellington Street, Suite 202A | Kingston, Ontario, Canada K7K 2Y6
E | info@kingstonwritersfest.ca
©2006-2020 Kingston WritersFest | all rights reserved | website CarricDesign.com