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City of Trento, Family History, Genealogy Tips, Trentino Culture, Trentino History, Trentino Surnames and Soprannomi, Trentino Valleys, Val D'Adige
28th April 2020 Lynn Serafinn	Leave a comment
The people and surnames of the city of Trento before the year 1600. Part 2 of 'Trentino Valleys, Parishes and People: A Guide for Genealogists' by Lynn Serafinn.
Last time, in Part 1 in this special series on Trentino valleys, I gave you an overview of the CIVIL and CHURCH structures in Italy, as well as the VALLEYS in the Province of Trentino (sometimes called the Province of Trento). We also explored the political history of the province, looked at the former office of the PRINCE BISHOP of Trento, and discussed how the Catholic Church has been the most stable institution in Trentino throughout the centuries.
If you haven't read that article, or if you are unfamiliar with these topics, I invite you to check it out at https://trentinogenealogy.com/2020/01/trentino-valley-parishes-guide/
MORE READING: Trentino Valleys, Parishes and People. A Guide for Genealogists.
What We'll Look at Today
Today, I want to start a detailed discussion on the CITY of Trento. As there is a lot of material to cover, I have split the subject into 3 different articles:
In TODAY'S ARTICLE, we'll look at Trento before the year 1600, including a bit of history and an interesting examination of the SURNAMES present in the city up to that year.
In the next article, we'll look at Trento in the 19th century, including its population, surnames, occupations and other demographics. We'll also look at how the city is divided into various municipalities (comuni).
Then, in the article to follow, we'll look at the PARISHES that come under the DECANATO (deanery) of Trento, and the records that are available for research in each.
Getting Oriented – Trentino vs Trento
Last time, I shared a map with you from the book Toponomastica Trentina: I Nomi delle Località Abitate by Giulia Maistrelli Anzilotti, in which she organised the province of Trentino into 23 areas, largely defined by their valleys:
Click on map to see it larger
If you look closely at the map, you'll see there's a big ZERO in the centre, which refers to the greater metropolitan area of the CITY OF TRENTO:
I've chosen the city of Trento as our starting point as we explore the province for these important reasons:
Many beginning researchers CONFUSE the city itself with the PROVINCE; I would like to highlight how it is different.
Many descendants of Trentino emigrants are LESS FAMILIAR with the city of Trento than with their specific ancestral parishes. This is surely because the vast majority of those who immigrated from the province in the late 19th and early 20th centuries came from RURAL valleys.
The city of Trento was a HUGELY important religious, political and cultural influence in our ancestors' lives – even those who lived in the most rural parts of the province.
A Snapshot of Trento Before 1600
Situated on the River Adige in Val D'Adige, the area we know as Trento has been settled for thousands of years. Originally home of the Rhaetian people and other tribes, the ROMANS also loved Trento, calling it 'Tridentum', meaning 'three teeth', referring to the three mountain peaks within which the city is situated. In fact, beneath the present-day city can visit the ruins of the ancient streets and homes dating back to the Roman era.
During the medieval era, Trento blossomed into a cathedral city – the seat of the Bishopric of Trento. There was once a quarry on the north side of the city, which was the source of the distinctive pink and white stone that was used for pavement and flooring in every part of that medieval city. From the floors in the Duomo of San Vigilio, to those in the magnificent Castello del Buonconsiglio, to the city streets themselves, to the 'Tre Portoni' archways leading to Palazzo delle Albere, you will see these pink and white stones everywhere. If you look closely at this stone, you will notice the fossils of ammonites, indicating this entire area had been under the sea many millions of year ago.
When I first started looking at old maps of Trento (such as the one in the image at the top of this page), I was baffled because the River Adige seemed to curve around and 'embrace' the city in such a way that it does not do today. I also knew from historical source that the 12th century Badia di San Lorenzo (Abbey of Saint Anthony) – which is now just a short walk from Trento railway station – was originally built on the opposite bank of the River Adige, away from the rest of the city. But according to an article published in Journal of Maps in 2018, 'the Adige River was subjected to massive channelisation works during the nineteenth century, to ensure flood protection, to reclaim agricultural land, and to facilitate navigation and terrestrial transportation.' Thus, the layout of the city today is not exactly how most of our ancestors would have seen in it the past.
Historically, Trento is perhaps most famous as the site of the Concilio di Trento (Council of Trento), which took place in the mid-1500s. The Council of Trento was an especially significant event to us as genealogists, as it was here that the keeping of parish registers was mandated by the Catholic Church.
If you want to find out more about the Concilio di Trento, I refer you to this video of one my past 'Filò Friday' podcasts, where I talk about the council in some detail – including how the managed to fit thousands of delegates and their servants into a relatively small urban centre:
CIVIL RECORDS – Libro della Cittadinanza di Trento (1577)
One of the first things many family historians do when starting their family tree is look for census records. From these, we can get a snapshot of family groups and their neighbourhoods, often learning names, ages, places of birth, occupation, date of immigration (especially in US docs), etc.
Early forms of census records (although they weren't called this) existed in Trentino, but rarely did they look like the kind of census records with which we are familiar today. With specific reference to the city of Trento, one good example is the Libro della Cittadinanza (Citizenship Book of Trento), written in 1577 – only a few years after the Concilio di Trento (Council of Trento).
Below is an image of the original cover, with its metal cornices:
NOTE: Before I continue, I should mention that all the images and information I have gleaned about the 1577 Libro della Cittadinanza has been taken Aldo Bertoluzza's work Libro della Cittadinanza di Trento: Storia e tradizione del cognome Trentino (Citizenship Book of Trento: History and tradition of the surnames of Trentino), published in 1975.
Compiled by a specially selected panel consuls, the purpose of the 1577 Libro della Cittadinanza was to create an official register of the 'citizens' of the city of Trento.
Page 1 of the book, printed on parchment, and decorated in gold, is a fascinating piece of art showing the stemmi (crests / coats-of-arms) of these 10 consuls. In the centre is the famous L'Aquila di S. Venceslao (Eagle of San Wenceslaus), which has been the stemma, and indeed the symbol, of the province of Trento since 1339:
For the sake of the artwork, the names of the 10 consuls are abbreviated, but they are spelled out on page 2 of the book. Here they are from top to bottom and left to right:
NIC : BAL = His Excellency Dr Nicolo' Balduino
ODO : PAU = His Excellency Dr Odorico Paurenfaint
GUI : SAR = Guglielmo Saracino
THO : CA = Thomio Cazuffo
EVA : FIG = Evangelista Figino
GIO : REN = His Excellency Dr Giovanni Rener
HIL : PI = Hiliprando Piber
VIC : CON = Vincenzo Consola, Attorney
HIE : BALD = Hieronimo Baldirone, Collector
IOB : IOB = Iob de Iob, Councillor
The Idea of 'Citizenship'
The consuls expressed the desire to bring back the original concept of 'citizenship' as it had been perceived by the ancient Romans, i.e. that it was not a title given to anyone who decided to live in the city, but to those who actively contributed to the welfare of the city in some way. Thus, criminals or vagrants (they mention murders, etc.) could not be 'citizens'; nor could people who had only recently moved to the city or who were just passing through.
They also said 'stranieri' (foreigners) could not qualify as citizens, a word that makes me raise my eyebrows. 'Stranieri' could be a long-term label, linked to ethnicity. In other words, a family of a race/ethnic group who were socially deemed as 'outsiders' could have been living in the city for centuries, but never given the privilege of citizenship. I haven't looked into what this definition meant specifically in Trento (so I don't want to make any suggestions), but it certainly makes me curious.
With those guidelines in mind, the Council decided to collate and organise data from earlier documents (one from 1528 and others from the 1400s), that listed the families who had owned property in the city of Trento, and then combine this information with the names of those who had purchased property in the city since those dates. The idea was that any time someone bought property (including 'tavernas' or other places where guests could stay) they would be added organically to the list, thus keeping an ongoing picture of the so-called 'citizens' of the city.
Once the initial book was completed, they declared this 'Citizenship Book' would forever be faithfully guarded by the City Council, and that anyone who was not listed in the book would not be entitled to any benefit or privilege of the city.
Thus, while historically fascinating, from a genealogical perspective, the Libro della Cittadinanza cannot be seen as a 'census' in the true sense of the word, as it doesn't give us the full picture of the population of the city.
Some Trento Surnames Before 1577
On pages 16-23 of Bertoluzza's book from 1975, he lists ALL the names from the 1577 Libro della Cittadinanza di Trento. As there are hundreds of names, I cannot possibly list them here; moreover, it is difficult to 'scan' through them, as they were entered as and when new landowners were recorded.
Here's a random sampling of some of the surnames that were obviously entered from pre-1577 entries:
Alberti, Alessandrina, Approvina, Balduino, Banali, Berlina, Betta of Arco, Bomporta, Bona, Brunora, Caleppina, Calvetto, Cazuffa, Chiusola, Colomba, Del Libera, Galla, Gaudenta, Gelpha, Gentilotta, Gratiadea, Guarienta of Rallo, Hibinger, Hilipranda, Hilti, Ianona, Lodron, (the family of Casa) Marazzona, Marchetti of Cadene, Mathioli, Mazzola, Micheletta, Mirana, Morella, Mozzatti, Nigra called 'Usbalda', The Family of Paho, Paurinfaint, Ponchina, Pratta, Pronsteter, Raino, Rochabruna, Romagnana, Rovereta, Saracina, Serena, Sizza, Sratimpergera, Tabarella, Ticina, Tiler, Tonello of Vezzano, Toner, Trilacha, Worema, Zello.
It is important to bear in mind that standardised spelling was simply NOT a consideration until the 20th century. And, when you also consider the fact that formal surnames really had only come into common practice around the 1400s, we might begin to understand why these surnames might look so unfamiliar to us. Names were usually written phonetically, according to how the person recording the record heard it, which surely explains why so many Germanic names are spelled weirdly by Italian-speaking priests.
But even when working solely within Italianate surnames, there are a number of permutations you are likely to see from one record to another:
Final vowels might differ.
Internal vowels might differ.
Double/single consonants might differ.
These permutations in older records do NOT signify a different surname as they might today. Some of the names in the above list might look more familiar if we apply these permutations 'rules' to find its more modern form. For example:
Balduino = Balduini
Calvetto = Calvetti
Cazuffa = Cazzuffi
Chiusola = Chiusole
Colomba = Colombini (maybe)
Guarienta = Guarienti
Micheletta = Micheletti or Micheletto
Mirana = Marana
Morella = Morelli
Nigra = Negra
Tabarella = Tabarelli
Ticina = Tecini
Pratta = Prati
Moreover, certain consonants were more or less interchangeable in the past. A 'z', for example could be replaced by a 'ci', 'gi' or 'ti' (and vice versa) depending on the preference of the writer. For example, these names on the list might be more commonly seen thusly (although I must stress that I am only hypothesising here):
Gaudenta = Gaudenzi
Gratiadea = Graziadei
Zello = Celli
Lastly, some people appear not to have be recorded by a surname at all; rather, they are identified by their place of origin. For example:
'(The family of the Casa) Marazzona' surely refers to the frazione of Marazzone in Bleggio (Val Giudicarie). There really is only a handful of families living in this village during that era. I haven't yet tried to figure out who this might be referring to, but I am sure this is what it means.
'Rovereta' is most likely referring to someone who came from Rovereto.
'Raino' is most likely referring to someone from that frazione of Raina in the parish of Castelfondo (Val di Non). It is the ancestral home for families like the Genetti.
'Chiusola' (Chiusole) is both a surname and a place name in Villa Lagarina. The place is the indigenous home of that family. It's impossible to know from this document alone if it was already used as a formal surname in the early 1500s.
'Paho' is an early form of the name of a comune now called 'Povo', which is in the south-eastern part of the present-day city. A curate parish in existence at last as far back as the year 1131, it was well beyond the city walls when this record was made. The entry refers to them as 'the family or house(hold) of Paho'. Thus, this label appears to be referring to a property owner in that village.
Some Trento Surnames Between 1577-1600
As we progress through the list chronologically, names become slightly more familiar to those of us who had worked with Trentino records. Here's a random sampling of some of the surnames that were entered later, between 1577-1600. I've omitted names that were also in the earlier batch, even if they were spelled a bit differently:
Baldessar, Baldino, Baldiron, Basso, Belotto, Bennasu', Bertello, Bevilacqua, Bonmartino, Brissiani, Busetto, Capri of Vigol Vatta, Cestar of Cognola, Chalianer, Crosino, Cusano, Dori of Oltracastel de Poho, Figino, Galliciolo, Gerardi, Giordani, Gottardo, Guidottino, Iob, Luchio, Malacarne, Martini of Terlago, Migazzi, Montagna, Nassimbeni of the Zudigaria, Novello, Particella, Piber, Ropelle, Sarafin of Villaza de Poho, Tessadri, Torre, Trentini, Vida of Zuzà di Tion, Voltolino.
These names start to 'feel' more familiar to me, as they resemble more closely (and in some cases are the same as) the forms of these surnames as I have seen them in the parish records, which started not long before this in the 1560s.
Surnames in the above list that are identical to how I've typically seen them written include:
Iob
Malacarne
Tessadri
Many others need only a slight tweak to see their more well-known forms. If we apply the same 'permutation rules' we used for the previous batch to some of these names, we see can see:
Baldessar = Baldessari
Belotto = Belotti / Bellotti
Bennasu' = Benassuti (see more below)
Bertello = Bertolli
Busetto = Busetti
Cestar = Cestari
Crosino = Crosina (see more below)
Gottardo = Gottardi
Guidottino = Guidottini
Luchio = Luchi (perhaps)
Ropelle = Ropele
Voltolino = Voltolini
One linguistic permutation we did not see on the earlier list is the interchangeability between 'ss' and 'sc', if followed by the letter 'i'. If we apply this along with other needed shifts, we see:
Brissiani = Bresciani / Bressiani
Nassimbeni = Nascimbeni
In modern Italian, the combination 'sci' is pronounced like 'shi'; a double 's' makes the consonant soft, like the last letters in the word 'hiss'. It seems likely, these two consonant combinations were pronounced much the same when they appeared before the letter 'i' the middle of a word.
Notable Citizens from the Rural Valleys
What I find exciting about this later batch of 'citizens' is that I actually recognise a few of the individuals, as they cross into my own family history (although not as direct ancestors). Specifically:
Messer Thomio Bennasu' (the accent is part of the name), entered into the book in 1576, refers to Tommaso Benassuti, who came from the noble Benassuti family of Tignerone in Bleggio (Val Giudicarie). Although the record does not give his village of origin, I know it from several other sources, where Tommaso has been cited as a notary who worked in Trento throughout his adult life.
His Excellency Messer Thomio Crosino, 'phisico', who was entered into the in 1585 refers to Dr Tommaso Crosina, a medical doctor from the noble Crosina family of Balbido (also in Bleggio). Again, his village of origin is not mentioned in the book, but his life and ancestry are well documented by many historians and descendants, going back to the 1200s when the Crosinas fled Padova to take refuge in Val Giudicarie.
I am distantly related to both of these men, via lines of their families that stayed behind in Bleggio in rural Val Giudicarie, which is the primary focus of my personal research. As such, I've done a fair bit of research on both of these families, albeit not so much after these migrations to the city of Trento.
As they started to enter the names of more recent citizens in the Liber, the Consuls became more precise about recording places of residence and/or origin.
Three on the above list are specifically said to come from villages that lie on the outskirts of the city of Trento, and which are today included as part of the greater municipality of the city. I think it's worth looking at them, as we'll be talking more about these places in the next article. These are:
Dori of Oltracastel de Poho. 'Poho' is another antiquated spelling for the comune (town) of 'Povo'. 'Oltracastel' is a variant spelling for 'Oltrecastello', which is a frazione (hamlet) of Povo.
Sarafin of Villaza de Poho. Here we see the comune of Povo again, but this time the person is from a different frazione: Villaza, which is an antiquated spelling for Villazzano. Villazzano was originally considered to be part of Povo, but it has now been its own comune for some time.
Cestar of Cognola. Cognola is another comune of the city of Trento. It is a bit north of Povo, on the eastern side of the city.
Other people on this list who are said to have come from places outside the city include:
Capri of Vigol Vatta, i.e. Vigolo Vattaro, a comune east of Trento, about midway between Mattarello and Lago Caldonazzo.
Martini of Terlago, a comune in Valle dei Laghi.
Gerardo Nassimbeni (Nascimbeni) of the 'Zudigaria', which is an antiquated spelling for (Val) Giudicarie. This surname does appear in Val Giudicarie during this era, but it's a pretty big valley, and I wouldn't be able to guess at where he was from. He is described as a 'host' which means he owned a taverna or some other kind of accommodation for travellers and pilgrims. As this list of citizens refers to property owners, it is possible he owned the property in the city but kept his home in the rural valley.
Vida of Zuzà di Tion. 'Zuzà' is an antiquated spelling for the comune of 'Giugia' in Tione (Val Giudicarie). Although 'Vida' is a surname, it's not one I've seen in Tione. My hunch is this man's surname may actually have been Bonavida, which was present in the villages around Preore and Tione during this era.
A word about Francesco Brissiani (i.e. 'Bresciani') who appears in the book in 1577: Although no place of origin is mentioned for him, we can infer from the name itself that his family originally came from the province of Brescia in Lombardia. This surname appears in many parts of the province, especially those areas in the southwest, which are adjacent to the border with the Brescia. It's a very old name in Trentino, so how long Francesco's family had been in Trentino at this time is not something I could possibly guess.
The Fate of the 'Liber'
In Bertoluzza's rendition, there is a cross in the left margin next to the names of families that have since gone extinct, which appears to include just about everyone. But, while Bertoluzza doesn't specify, it seems clear he means the descendants of these families are no longer property owners in the city of Trento, and not necessarily that these families have gone 'extinct' altogether.
Sadly, the original intention of the book itself appears to have had a limited impact, as it was not used as fastidiously as the Consuls had mandated. By the 1800s, we see only a handful of names listed, which certainly do not represent all the property owners of the city in that century. Bertoluzza says the Liber appears to have devolved into a register of 'honorary' citizens than a true, comprehensive list, even if only of property owners.
Thus, as a source for genealogists, the Liber might be useful to those whose families lived or owned property in the city in the 1500s and early 1600s, but for those whose families were farmers and/or stayed in other parts of the province, it may only hold some historical interest.
Coming Up Next Time
In the next article, we'll move forward in time, and examine the 1890 Survey of the City of Trento, which is a goldmine of information about the city during the era when many of our ancestors will have migrated from the province.
In that article, we'll look at the population, surnames, occupations, languages and other demographics of the people living in the city at in the late 19th century. We'll also explore the civil comuni and neighbourhoods within the municipality of Trento.
Click HERE to read that article now:
After that, we'll conclude our discussion on the city of Trento with a discussion on the parishes that come under the DECANATO (deanery) of Trento, with details about the records that are available for research in each.
Once we've finished our genealogical tour of the city of Trento, we'll start to move on to our tour of the rest of the province – moving first to an exploration of Val di Non.
I hope you'll join me in the upcoming stops on the tour of the province in this series 'Trentino Valleys, Parishes and People: A Guide for Genealogists'. To be sure to receive these and all future articles from Trentino Genealogy, simply subscribe to the blog using the form below.
P.S. As you probably know, my spring trip to Trento was cancelled due to COVID-19 lockdowns. However, I do have the resources to do a fair bit of research for many clients from home, and will have some openings for new clients from 1 June 2020. If you would like to book a time to discuss having me do research for you, I invite you to read my 'Genealogy Services' page, and then drop me a line using the Contact form on this site. Then, we can set up a free 30-minute chat to discuss your project.
ANZILOTTI, Giulia Maistrelli. 2003. Toponomastica Trentina: I Nomi delle Località Abitate. Trento: Provincia Autonoma di Trento, Servizio Beni librari e archivistici.
BERTOLUZZA, Aldo. 1975. Libro della Cittadinanza di Trento: Storia e tradizione del cognome Trentino. Trento: Dossi Editore.
SCORPIO, Vittoria; SURIAN, Nicola; CUCATO, Maurizio; DAI PRÁ, Elena; ZOLEZZI, Guido; COMITI, Francesco. 'Channel changes of the Adige River (Eastern Italian Alps) over the last 1000 years and identification of the historical fluvial corridor'. Journal of Maps. Volume 14, 2018, Issue 2. Published 19 Nov 2018. Accessed 27 April 2020 from https://www.tandfonline.com/doi/full/10.1080/17445647.2018.1531074
15771600Aldo BertoluzzaBenassutiCatholic ChurchcitizenshipcomuniCrosinageographyhistoryIobLibro della Cittadinanzaresearch tipssurnamesTrentinoTrentino historyTrentoVal Giudicarie


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March 2018 — Vol. 82, No. 10
The Sound of Being
This month, Opera Philadelphia presents Lawrence Brownlee in the world premiere of composer Tyshawn Sorey's new song cycle, Cycles of my Being, which seeks to explore the realities of life as a black man in America.
By Adam Wasserman
Tyshawn Sorey
© Tyshawn-sorey.bandcamp.com
THE MUSIC OF multi-instrumentalist/composer Tyshawn Sorey might seem designed to subvert expectations at every turn were it not so clearly the most personal of sustained expressions. Born in 1980 in Newark, New Jersey, Sorey's compositions can veer from the quaint ripplings of a Satie miniature to the poise of a Stravinsky scherzo to the contemplative rigor of a Toru Takemitsu soundtrack seemingly performed by the Mingus Big Band. A percussionist, pianist and trombonist, Sorey creates an improvisatory admixture of avant garde, jazz, minimalism, neo-Classical and musical performance-art. And yet every reference point seems incapable of describing the uncanny ability of Sorey's music to thrust both its performers and audiences into the present moment, into the very act of listening as an artistic endeavor.
On Tuesday, Opera Philadelphia will present tenor and Lawrence Brownlee in the world premiere of Sorey's Cycles of my Being, a new song cycle with texts by the prestigious poet Terrance Hayes. After its premiere in Philadelphia, the work—which explores the realities of life as a black man in America—will travel to Chicago for a performance at the DuSable Museum of African American History as part of Lyric Opera of Chicago's Lyric Unlimited initiative; in April, Brownlee will perform Cycles at Zankel Hall at Carnegie Hall as part of that venue's 125 Commissions Project.
Sorey spoke with OPERA NEWS in early February, just a few months after being named as the recipient of a 2017 MacArthur Genius Grant.
OPERA NEWS: Tell us about the artistic inception of Cycles of My Being. The combination of your music, Terrance Hayes's poetry and Lawrence Brownlee's voice seems almost too good of a combination to be true.
TYSHAWN SOREY: We all first met sometime last June or July. Larry, Terrance, and myself all came together and had a nice meeting in New York and talked about music. Larry sang a little bit, and then I showed him some examples of my work. Terrance shared some examples of his poetry. We were all showing each other what we could do, and then finally talking about some ideas we had about the piece we could create together—what we were trying to express, the three of us collectively. When I started working on it, I would say it was probably mid-November, finally, after I had received all of the lyrics from Terrance. Before then there were a lot of ideas floating around for maybe four or five months.
ON: Your music walks a very fine line between the compositional and improvisational. How did you reconcile your process with the need to compose for performers who rely on a score as a starting point?
TS: Well, what's great about Larry is his openness. He's kind of legendary for his receptivity to dealing with new information. This song cycle has no improvisation in it, per se. But I like to have all of the players perform the material in such a way that everybody's not going to just sit there, and look at their own part, and not understand how what they're playing relates to everything else that's going on in the music. If everyone's just up there reading parts, then it's very easy to lose one's place during the performance and never find their way back again. I had requested that all the performers read from the same score—including Larry—so that, during the course of a performance, or even a rehearsal, if Larry chooses to take any kind of liberty with the music, everybody else can follow along and see what's going on.
I actually make it a point to not have have any two performances sound the same, even though every aspect of the music may be composed. There are elements of the piece that are indeterminate—that don't necessarily touch the structure of the composition. I really want the artists to make the music theirs, and not necessarily have it be a thing where there are only the notes on the page. The moment is such a central aspect of what we do as performers. Even if we try to interpret a piece of the music the same way, it's never going to come out the same way, ever. I want that quality to be present in every single performance of the work. Larry is totally open to that idea—where no two performances would ever sound the same, and we'll have the freedom to take as many liberties as we want with the music.
ON: How did you tailor your composition to Lawrence Brownlee's voice?
TY: After we met, I started to do some research into his work. Shortly after winning the MacArthur Genius Grant, I was performing with [jazz pianist and composer] Jason Moran in October. He told me that he had collaborated with Larry on a performance of "There's a Man Going 'Round Taking Names." I went to check out their performance—I wanted to see what that was like. Just watching those two interact together—it was just amazing. I was able to see that Larry was able to collaborate with just about anyone. Knowing his brilliance as an opera singer, knowing he has sung on many of the great stages of the world—I knew that this would be a perfect collaboration. I did some more research, and kept listening to him singing. At the same time, I didn't want to give him any music that was, quote-unquote, "easy to perform." I wanted to do something that could inspire him, and all of the rest of the players. I like challenge. And challenge is something that is central to this work—even in terms of the thematic aspects of the material that we're focusing on. I wanted that to be reflected in the music in a variety of ways. I didn't want to necessarily put myself in the position where I would only give Larry some super-easy music that he could sing in his sleep. I really wanted there to be some kind of … not a struggle, but a challenge for the musicians and for Larry, and for myself, for that matter, in writing.
ON: Terrance Hayes's poetry is as allusive and complex as anything being written today. It's also as virtuosic as any musical composition by Rossini. How did you find yourself responding to his words?
TS: What was great about Terrance was that he was also very open to any type of interpretation that Lawrence or I would make of text that he would send us. There were several times, even, when Lawrence would write a text, and send it to me and Terrance to look at, and then Terrance would offer suggestions on how to express an idea a little bit differently, which would fit more in line with what Terrance's poetry was.
So when Terrance would send me the texts, he would basically tell me to just do whatever I wanted to do with them. He didn't instruct me to put X, Y, and Z lyrics in this movement, or in that movement. So I chose how I used the text myself, and I even mixed the text from thirteen or fourteen poems. There were points where I took poetry from one piece and mixed it with poetry from another piece, and put them within the same piece of music or within the same movement. That again sort of contributes to the improvisatory way that I've sort of conceived of Cycles of my Being. I would have conversations with Lawrence where we would talk about the arc of the piece and the arc that we wanted to achieve in the composition. It was mostly through these discussions, and through Terrance's poetry, that I was inspired to compose the song cycle in the way that I did.
ON: Tell us about the musical language of the piece.
TS: I like having various types of music exist within the same work. I don't like to compose using one musical language in particular. I had a formal scheme for the piece, just in terms of how I wanted to explore the music. Not only did I want to delve into tonal areas, but also a lot more advanced tonal areas, a lot of pan-tonal areas. There's some modal music, dodecaphonicism—there's all of these different elements that are present. It's kind of an extension of my own listening experience as a kid. Every piece of music that I compose is essentially an extension of that experience. I'll listen to all kinds of different music, and will never settle on one piece. Some people tend to link that with dissociation, but I don't think it's dissociative at all. I just think that the selections are individualized—my own experiences are coming through.
ON: What sounds or timbres did you find yourself employing
TY: Often the names of the poems were what would inspire the music to follow. For example, the third movement is entitled "Whirlwind. It's only for piano and voice. It's also part of the ensemble breakdown that happens during the full-ensemble edition of Cycles of My Being. But this is a dodecaphonic work. There are time signatures all over the place. There are very complicated rhythms happening all over the place. This stuff is very depictive of what the music talks about.
The same for "Number Four: Hate." We have these very tense sorts of chords happening. It's a meditative movement, but at the same time there's this unrest that's happening in the music. We have a similar situation where there's almost a time signature in every measure, and there's a lot of these sort of similar textures that are in "Whirlwind." There's a ton of that going on—a very confused, unsettled energy that exists in both of those movements.
Whereas, in the two middle movements, "Number Two: Hope, Part One," and "Number Five: Hope, Part Two"—these are centered on a couple of pieces that Terrance called "Hope." But they are both within the same key. "Hope: Part One" is a very fast type of movement, and it features only two string instruments along with Larry. Then "Hope: Part Two" features only clarinet and piano with Larry. So it's split up in terms of the ensemble breakdown. The music can go all kinds of places. The first movement brings us to the song cycle—it's a welcoming sort of moment in the cycle, but also there's an energy behind it, in terms of what's happening tonally and harmonically within the music, that complicates things a little bit.
Number Six begins with more of a responsorial theme, like in a church service. That's how that movement begins. There are all kinds of things that reference elements in African-American culture, but also my own experiences—what I've listened to, and what I'm inspired by. There's a lot of experimentation with harmony. There may be one part that evokes a church choir, there's something that evokes this very fast, 12/8 modal-type music. There's another thing that sounds a little bit Brahms-ian, in terms of its design, but also borrows a bit from jazz-inflected harmonic progressions.
ON: You previously wrote a song cycle on Josephine Baker. What made you want to work with the form again? There's a certain emotional and semi-dramatic arc inherent to the form.
TS: Essentially, I like composing long pieces. So that was the first reason why I wanted to really take a cycle on. But the overall thing that I wanted to convey was the struggles that we continue to face as African-Americans—a lot of the prejudices and perils that are out here today and exist for us. Not only did I want to look at these harsh themes—of course, there's some of this present in the music—but I also wanted to include that there is hope for us in terms of arriving at a better place, where we're able to be accepted, where our voice will be able to be heard.
The way that the piece begins is based on that, and the way the piece ends is also based on this idea of hope, and rising to a place where, maybe it won't be a utopia, but it will be much better than where things are right now. These are sort of the bookends. Inside of that, within the cycle would be elements addressing how we're dealing with concepts of hate, how we're dealing with concepts of prejudice.
Larry and I had discussed that arc. We realized that we can't just talk about hate and all of the struggle and everything else without leaving any kind of tinge of hope in there. I agreed with that. My Josephine Baker song cycle for instance—the piece just ends on on very, very dark note, a very harsh place. I wanted to do something that would counter that in Cycles of My Being.
ON: Can you talk about what it was like to find out that you had been the recipient of the MacArthur Genius Award? I would imagine that, in some ways, it's life-changing, and in other ways, it probably doesn't change your your creative or artistic process much at all.
TS: It's a little bit of both. I'm still processing it—even four months after receiving the news. When I found out about it, I had this really blank stare on my face, and just sat in my office speechless for a while.
I don't really worry too much about identity or anything like that. There are people out there who will recognize what you do for what it is, and they'll see that there's something of value there. So to get recognized, for me, is enough. Hopefully my work will continue to touch people, and continue to move people and inspire me to do better. I think what that what the award signified for me is the need to do more work—to keep moving forward, taking bigger steps, and taking on larger responsibilities for the things that I put out in my work.

redpajama_set_name: RedPajamaCommonCrawl


Key Housing offers corporate rentals including serviced apartments throughout San Francisco. Whether you are looking for a short term apartment, condo, or single family house, our friendly housing managers and huge database of rentals will help you quickly find the temporary housing solution that best fits your specific location and budget needs.
The types of short-term corporate rentals offered by Key Housing go by many names, among them "serviced apartment." While our listings vary, a "serviced apartment" is generally a term used outside the USA and is synonymous with the terms corporate rental or short-term rental, but in a private house, condo, or apartment vs. an extended stay hotel. Browse our serviced apartment listings in San Francisco, but feel free to reach out to a rental consultant to find the serviced apartment that meets your rental needs.


Stellaris is a beautiful game in its own right, but with a budget and a finite amount of time to juggle in development, resources naturally need to be diverted and prioritised. There is always more that can be done to improve game aesthetics, and the mod list here proves that.
These mods mostly affect only game appearance, although in some cases affect gameplay too (in which case that will be pointed out in the mod description here).
This list specifically excludes addition of new portraits, ship types, city sets and such because I've already covered that in plenty of detail. Instead, I aim to address improvements to the appearance of the galaxy, celestial objects, and some battle effects.
Some of these mods affect the same graphics assets and as such aren't directly compatible, although often will just overwrite one another (and therefore the behaviour isn't necessarily deterministic). If there are known or anticipated compatibility issues between these mods, I'll list them in the relevant descriptions. Conversely, some of these mods are explicitly compatible or compatible with patches, in which case this will also be pointed out in the relevant descriptions.
You can get every item featured here in my "Stellaris Beautification" Steam Workshop collection.
A simple override for the vanilla Alpine tiles, from the creator of AlphaMod.
Also take a look at Savannah Tiles and More Tilesets, which can be installed alongside this mod.
This adds more skyboxes to Stellaris, with graphics from NASA, Eve Online, and other digital art assets.
You can choose individual skyboxes from the Skybox Collection.
This mod changes the textures of the night-time city lights on inhabited planets, adding a more "futuristic" feel to these cities.
See also the Nights on Planets mod. Note that this isn't compatible with Better Night Lights; you must choose one or the other.
This mod doesn't make any graphical changes itself, but does allow you to swing the camera into the right position for that perfect screenshot.
Downscaled Ships scales ships and habitats so they're more realistically scaled relative to each other (so that capital ships feel really big) and generally smaller (to avoid clipping in large fleets or allied engagements).
There are a number of compatibility patches if you use this mod with any other mods that affect ships, such as new ship sets, New Ship Classes, or Improved Space Battles (but only the [Balance] version of this mod – not required for the ISBS [Graphics] mod on this page). Some more patches are linked on the Downscaled Ships Workshop description, others still are linked on the other mods' pages.
This mod pairs very well with Real Space, which alters the scale of the stellar systems themselves.
Big ship makes big boom. What's not to love?
Make sure to pick up the patch for Downscaled Ships if you use that mod.
These three mods apply new galaxy textures to the galactic view. You should choose between 1, 2, and 3 (but 2 is my favourite).
You can choose between these three and Milky Way Texture.
Simply makes the galactic core less bright, which is particularly useful if you use any mod that generates stars in the galactic core (e.g. Galaxy Centers).
This makes the Extra Dimensional Weapon effects resemble a more retro-futuristic plasma discharge.
I featured Immersive Galaxy in July '17's Roundup.
If you don't have a particularly beefy rig, you can tone down the variety a little and get the Lite version. If you want to pick and choose, there are also individual mod packs for each planet type.
Further, this mod is compatible with Planetary Diversity, Reworked Planetary Diversity, and Real Space (with some textures being overwritten in the latter).
This is also save-game compatible with the special enabler mod.
I featured Improved Space Battles in June '17's Roundup.
Improved Space Battles (or ISB) stands as one of the most popular mods for Stellaris and likely doesn't need much of an introduction, but for the uninitiated, it comprises a collection of five mods.
This mod is the graphical component of that collection and contains mostly cosmetic changes to the weapons.
This is a really interesting mod that adds some background civilian activity to your empire, with activity increasing as your systems flourish. This means there will be autonomous vessels crossing the galaxy, going about their business.
This reminds me a bit of the civilian portion of Distant Worlds – Universe, although the civilians in this mod notably don't have any function besides looking nice.
It's highly recommended that you use this mod with Improved Space Battles [Graphics] to minimise visual clutter. There are options available in the policies menu to reduce the civilian density if you want to tune your game performance.
Another texture replacement for the galaxy map which is meant to emulate an old texture used in Stellaris.
Choose between this and any of the textures in Epic Galaxies Texture 1/2/3.
Does what it says on the tin – more projectiles during space battles! This might impact older systems, but the author attests to no noticeable decreased performance on modern systems.
This mod adds tilesets and portraits for AI and Tomb Worlds, and a ringworld tileset.
If you also use Real Space, you'll need to also install a compatibility patch.
Also take a look at Alpine Tiles and Savannah Tiles, which can be installed alongside this mod.
This mod aims to make planet lights look more natural and realistic.
Choose between this mod and Better Night Lights.
I featured Planetary Shields in June '17's Roundup.
This mod makes planetary shields look gorgeous in-game. But do note that it adds gameplay changes too: the stats of the shield generator are improved and a tier two option is available for research.
Replaces the default Sol textures with some beautiful new ones, more accurately representing the appearance of worlds in our own Solar System.
Note that this is not compatible with Real Space, so you'll have to choose between realistic Sol planets and a realistically scaled and more diverse galaxy. Tough choice.
I featured Real Space in June '17's Roundup.
Real Space adds a touch of graphical diversity to the star systems in Stellaris, with more types of star, multiple star systems (binary, ternary, and more – oh my!), plus more planet skins. It also reduces the size of some celestial objects for a greater sense of realism.
This mod pairs very well with Downscaled Ships, which modifies ship scales.
The Reduce Aura Graphics mod (linked above) reduces the strength of the aura graphics created by some ship modules. If you want to remove the graphics altogether, use the Remove Aura Graphics mod.
A simple override for the vanilla Savannah tiles, from the creator of AlphaMod.
Also take a look at Alpine Tiles and More Tilesets, which can be installed alongside this mod.
ZBeautiful Battles alters the flow and spacing of fleet battles. This should make fleets appear to utilise more depth in space, improve battle clarity, reduce ship clipping, and generally make battles more pleasant to experience. As such, this does affect gameplay slightly.
If your not averse to changing game balance, consider also installing YBeautiful Battles, which changes gameplay to a greater extent (with the goal of further improving battle visuals).


In homeschooling there are so many ways to approach education. The bottom line for me and for our family is that I want my children to love learning. I want them to actively seek out information and to know how to find rich sources of information. I do not want them to detest learning about subjects (such as I did history, math and many sciences) because they view them as "boring," "dry," or "irrelevant." I want them to know that once I have taught them the basics (reading, writing and mathematics) they can learn anything they want by simply seeking the information.
I would say with my older children I have adapted a very eclectic style over the last several years and it works for us. I do enforce certain subjects that like it or not, you have to learn (fractions) but I allow for wiggle room if there is a subject that the children passionately want to learn about I am not so rigid as to say we cannot look into it because we have other studies. A perfect example of this, just yesterday one of my children had lots of questions about clouds and which ones did what and why some days there were great big puffy ones and other days they were wispy. We opted to just take a day off her regular science curriculum and now, after research, her curiosity is satisfied and she has new names for the clouds!
I am finding that with my youngest two boys I am really favoring an "unschooling" approach to pre-school. Don't get me wrong we are still learning letters, numbers, shapes, etc. but we are following the interests of the boys to do so. I am usually not a huge fan of the idea of un-schooling as at its core it is just allowing a child to only learn what they are interested in, my fear? What if they are never interested in multiplication tables, learning to read, history? Therefore I feel this approach is working for my younger boys but when they get older we will likely move more towards the approach that has worked for my other three children.
So, what does this "un-schooling" look like for pre-school? It is piquing your child's interest so that they desire to learn and then following that up with good solid information. Case in point, we have been enjoying some unseasonably warm weather this December so it necessitated a walk outdoors for the boys who frankly needed some fresh air and a change of scenery. One of the first things that caught my eye was an incredibly long mole hill trail that not only sectioned my property but continued for almost the length of a football field (that is one industrious little guy!) It dawned on me that my boys probably didn't know much about moles so we began by walking the length of the mole trail and talking about what caused that protruding dirt, can you see it here? It looks like it ends but I assure you it goes on and on and on some more!
We followed the trail into some pine trees on our property where we began collecting pinecones, we discussed the different shapes and kinds we were finding and my 4 year old then wanted to know why there were no mulberries to eat since he remembered that they grew right by the pines, we then discussed weather and winter (he was not a fan of anything that took the berries away!) Once the excitement of finding all the pinecones waned we collected a few and then headed indoors.
There were more questions about that little mole who lived underground and my 4 year old wanted to know what he looked like so we visited youtube channels, images, and even coloring pages. That curiosity has since led to a desire to know more about groundhogs, hedgehogs and other rodents, youtube has been a huge help in these areas.
This all was such a natural progression from a curiosity of something that we saw outside to a desire to learn more. I believe that teaching the younger ones in this manner is setting the stage for a lifelong love of learning. It does sometimes require creativity on my part, but often I am learning right along with them, (I did not know moles can swim but we found a youtube video of just such a thing!). At this point I am not bothering with lesson plans or formalized learning, we are just having fun and collecting a LOT of information in the process. We use flashcards and creative games for letters, numbers and some of the other important stuff but we also let the current carry us when there is something to learn about, and oh this world is filled with learning opportunities.
Keep in mind too that you don't have to live on a farm to do this kind of learning, there are opportunities literally EVERYWHERE! Just think, you may have flowers in your yard so you learn about why they give off that yellow stuff on your fingers and watch as bees come by, you may decide to let your child play in a sink full of water and see what objects can float and what can sink, you may listen to different kinds of music and talk about instruments, the possibilities are literally endless.
Think about it like this, as an adult when you want to learn something new, what do you do? You seek out information. It may be in the form of books, how to videos, magazine articles, you get the picture. By teaching children at a young age that they have the power to learn about the world around them and all they have to do is seek the information, you are setting the stage for a lifetime of learning!


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Home News Building Resilient Mission Partner Environments: Brig. Gens. Rob Parker, Jacqueline 'Denise' Brown on the Future of Information Sharing
Building Resilient Mission Partner Environments: Brig. Gens. Rob Parker, Jacqueline 'Denise' Brown on the Future of Information Sharing
Summer Myatt
https://www.govconwire.com/wp-content/uploads/2022/03/brig-gens-rob-parker.mp3
Now, more than ever, warfighters, operators and service members need reliable, secure access to data in order to make a myriad of critical and timely decisions in today's rapidly evolving combatant environment.
The United States' withdrawal from Afghanistan in September 2021 highlighted crucial shortfalls and problems in data access capabilities for troops on the ground, prompting Department of Defense officials to prioritize and accelerate its Joint All-Domain Command and Control initiative.
JADC2 aims to build a centralized data environment that synchronizes information sharing, joint efforts and capabilities across defense agencies and all domains. Creating a robust mission partner environment – a platform that allows the U.S. military and its allies and industry partners to share information – is one of the key components, and one of seven minimal viable products required by the military in order to enable JADC2.
Brig. Gen. Rob Parker, deputy director of the Joint Chiefs of Staff's J6 and chairman of the JADC2 Cross-Functional Team, said the efforts currently underway by the U.S. Indo-Pacific Command show potential and promise for the future of mission partner environments.
The INDOPACOM team is "unprecedented in their ability to bring together a mission data platform to support both experimentation exercises and eventually real world operations with mission partners in ways that we've only dreamed about doing before," Parker said during a recent Potomac Officers Club event.
Click here to read highlights from Brig. Gen. Rob Parker's keynote speech, as part of the Potomac Officers Club's Achieve Information Dominance: Counter Gray Zone Warfare Through Unifying Data Forum.
INDOPACOM is on track to deliver a minimal viable product of its mission partner environment, Indo-PACNET, by this summer.
The command's MPE will integrate zero trust technologies developed under the Defense Information Systems Agency's Thunderdome project along with SABRE – short for secret and below releasable environment – software which enables easier and more efficient information sharing between U.S. and allied networks.
"The mission partner environment is our main effort in the J-6 to enable INDOPACOM as a warfighting command," said Brig. Gen. Jacqueline "Denise" Brown, director of J6 Command, Control, Communications and Cyber for the U.S. Indo-Pacific Command.
"We recognize the critical importance of being able to both communicate and fight alongside our allies and partners from competition through conflict in the theater," she added.
Eventually, INDOPACOM hopes to expand its mission partner environment to mobile devices, allowing for greater accessibility while retaining security.
Brig. Gen. Brown is scheduled to speak during the Potomac Officers Club's "The Future of Mission Partner Information Sharing" forum to share her insights into how INDOPACOM is working to build a robust mission partner environment that can meet the demands of today's ever-changing battlespace.
Visit the Potomac Officers Club site to register now for this upcoming forum and view POC's full calendar.


Should I Study Computer Science?
Computer science is the science behind any software, from computer programs, mobile apps and games, to major IT systems, databases and web portals.
With a wide range of study programs, competitive PhD positions and six recognized research groups, you have many opportunities at the Department of Informatics at UiB. Graduates from us are highly sought after in the labor market, and we prepare our graduates for highly diverse careers in ICT, finance, media and academia. Did you start your computer science studies outside of Norway? We have several options for you to be a student of our department or to start a research career with us.
Learn more about our bachelor, master and PhD programs or our exchange programs.
Here you can find admission information on how to apply to the University of Bergen.
How well can you manage a supply chain? Can you beat the competition? Can you make more profit?
UiB researcher Saket Saurabh embarks on a new ERC funded project, aiming to revolutionise how we handle, utilise and compress Big Data.
Be present, use the study halls, and remember: the only thing that limits you is your own imagination!
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Originally from the Baltimore area, I have been licensed and practicing as an LPC in NC since 2006. I have an undergraduate degree in Social Work (BSW) from the University of Maryland and my Masters degree was completed at both the University of Maryland School of Social Work and Ambridge University, where I was able to complete my degree online while parenting four children. I treat adults and teens for anxiety and mood disorders (including bipolar), PTSD and ADHD. I also have interest and experience in working with people who are are struggling to understand and cope with abuse in a current or past relationship (including abuse suffered in family of origin), stress/anxiety related to stage-of-life transitions, or grief/loss. Many of my patients are simply seeking healthier, more productive ways to manage the "normal" life stress that we all struggle with - I find this work to be important, challenging and rewarding as well. I utilize a blend of cognitive-behavioral, psychodynamic, and insight-oriented therapies, "sprinkled with" dialectical-behavioral (including/especially mindfulness) approaches. My approach is customized to each patient, based on what they hope to achieve in therapy. My ultimate goal is to provide patients with an environment in which they feel safe and supported as they explore themselves and the areas of their lives that they hope to improve.


I'm not overly familiar with budget makeup brand, 2True but I was sent a selection of products as an introduction which I'm currently in the process of trying. The first product which I've tried is 2True Cheek 'n' Lip Tint, available in 2 shades- a deep red or a feminine pink. I was sent the pink to try which is undeniably similar to Benefit's Posietint.
Presented in a small bottle with a brush applicator, it's similar to a nail polish in terms of packaging and is easy to use. I tend to prefer this type of product on cheeks so this is how I've reviewed it. You only need the smallest amount of tint to achieve a natural flush meaning that the bottle will last & last. Before being blended, the product is a very bright, fluro pink which is quite alarming given that I don't aim for full-on fesival style fancy dress on a daily basis. Having said this, it blends easily using either a brush or fingers and the effects are long lasting.
I don't love this quite to the extent as Posietint but it's a good enough substitute if you're on a budget.
At £1.99, it's a real bank holiday bargain.
First, congratulations on such an informative blog on skin care reviews! I like the shade of your blush on. I'm not so lucky finding the right shade of pink that will compliment my skin tone.


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First Libyan Turkish hospital becomes operational in Misrata
Libya's battle of the militias: How did it all start?
Stubborn battle for Tripoli and a divided Europe keep stalemate in Libya
'Libya's militias are a reality': Prime Minister Sarraj
The hidden human calamity in Libya
Turkish president, German chancellor discuss Libya
UN calls for talks between Rwanda, DRC after shooting Congolese fighter jet
How recycled computers offer Kenyan youth chance at a brighter future
Adrian Grenier arrives in Türkiye for TRT's climate change documentary
France to recall Burkina ambassador over tensions, foreign ministry says
The 120-bed hospital equipped with four operating rooms and nine emergency beds will initially offer services such as cardiovascular surgery, obstetrics and internal medicine.
Turkish physicians will mainly work at the Misrata hospital, which was put into service by an Istanbul-based company. (AA)
The first Libyan Turkish hospital has been inaugurated in Libya's northwestern city of Misrata.
Turkish physicians will mainly work at the Libyan Turkish Hospital, which was put into service on Monday under the leadership of Turkish conglomerate Karanfil Group operating in Libya.
Murtaza Karanfil, chairman of the Istanbul-based Karanfil Group, told Anadolu Agency that the hospital will provide medical services to thousands of Libyans.
"Today, we are happy to inaugurate the first Libyan Turkish Hospital in brotherly and friendly country Libya," Karanfil said, adding that Libya's health infrastructure will be entrusted to Turkish doctors and administrators.
Emre Aktepe, a specialist in infectious diseases and clinical microbiology, said Libyans helped them a lot in the establishment of the hospital.
"We came to Libya with a group of 14 physicians. Our nurses are also from Türkiye. We also have very valuable doctors and nurses from Libya and Tunisia," he added.
Sevim Kara, the head of the nursing services, said they will provide very good service with her nurse friends, who are specialised in every field.
"Patients will be able to do all their procedures easily from their mobile phones. We brought a system that does not exist in Libya to this country through Libyan Turkish Hospital," said Mucahit Ekinci, a specialist in hospital information management systems.
The 120-bed hospital has 13 polyclinics, four operating rooms, nine emergency beds, and a fully equipped ambulance service, as well as general, cardiovascular, neonatal and coronary intensive care units.
In the first phase, the hospital will offer services including cardiovascular surgery, cardiology, orthopaedics, trauma, neurosurgery, general surgery, obstetrics, internal medicine, paediatric health and diseases, infectious diseases, anaesthesia and reanimation, otolaryngology, radiology, nutrition and diet, and emergency and ambulance facilities.
Other departments such as urology, dermatology and cosmetology, plastic surgery, and paediatric surgery will be opened in the second phase.
READ MORE: Türkiye, Libya sign accords to boost military cooperation
In the first phase, the hospital will offer services including cardiovascular surgery, cardiology, orthopedics, trauma, among other services. (AA)
Towards free market: Africa's 'prosperity dialogue' confronts many barriers


Eugene Ndiaye, Olivier Fercoq, Alex, re Gramfort, Joseph Salmon; 18(128):1−33, 2017.
In high dimensional regression settings, sparsity enforcing penalties have proved useful to regularize the data-fitting term. A recently introduced technique called screening rules propose to ignore some variables in the optimization leveraging the expected sparsity of the solutions and consequently leading to faster solvers. When the procedure is guaranteed not to discard variables wrongly the rules are said to be safe. In this work, we propose a unifying framework for generalized linear models regularized with standard sparsity enforcing penalties such as $\ell_1$ or $\ell_1/\ell_2$ norms. Our technique allows to discard safely more variables than previously considered safe rules, particularly for low regularization parameters. Our proposed Gap Safe rules (so called because they rely on duality gap computation) can cope with any iterative solver but are particularly well suited to (block) coordinate descent methods. Applied to many standard learning tasks, Lasso, Sparse Group Lasso, multi-task Lasso, binary and multinomial logistic regression, etc., we report significant speed-ups compared to previously proposed safe rules on all tested data sets.


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South Fork III CDD
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CDD Manager
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Meritus Corp.
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CDD Board Meetings
Meetings will be held at the Offices of Meritus located at 2005 Pan Am Circle, Suite 300, Tampa, FL 33607 on the following dates:
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Saudi Star Agricultural Development Plc, a food company owned by billionaire Sheikh Mohammed al- Amoudi, said it plans to invest $2.5 billion by 2020 developing a rice-farming project in Ethiopia.
The company, based in Addis Ababa, leased 10,000 hectares (24,711 acres) in Ethiopia's western Gambella region for 60 years at a cost of 158 birr ($9.42) per hectare annually, Chief Executive Officer Haile Assegide said in an interview on March 18. It plans to rent an additional 290,000 hectares from the government, he said.
The project forms part of the Horn of Africa nation's plan to lease 3 million hectares, an area about the size of Belgium, to private investors over the next 2 ½ years. Critics including GRAIN, the Barcelona-based advocacy group, have argued that domestic farmers are being dispossessed and the country shouldn't rent land cheaply to foreign investors to grow cash crops when about 13 percent of its approximately 80 million people still rely on food aid.
Karuturi Global Ltd. (KARG), an Indian food processor, plans to produce commodities including palm oil, sugar and rice on 312,000 hectares of rented land in Ethiopia.


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Nonprofit tapped to turn around Dearborn STEM Academy
By James Vaznis Globe Staff,December 10, 2014, 4:01 p.m.
Boston's school system is tapping an education nonprofit to run the Dearborn STEM Academy in hopes of sparking a rapid turnaround.Matthew J. Lee/Globe Staff/File
The Boston school system, in a final attempt to ward off a state takeover of one of its schools, is tapping a Boston education nonprofit to run the Dearborn STEM Academy in hopes of sparking a rapid turnaround, school officials announced Wednesday.
BPE, formerly known as the Boston Plan for Excellence, will have three years to get the job done at the Dearborn, which serves about 300 students in grades 6-10.
Interim Superintendent John McDonough noted the organization has partnered with the school system on a variety of initiatives over the past three decades and runs a teacher preparation program, which embeds candidates in schools, that has received national attention.
"This is an incredible opportunity for Roxbury," McDonough said. "This is an incredible opportunity for a population of students underserved over time."
BPE was one of two finalists. The other was Massachusetts Preparatory Network , a school turnaround organization.
In a statement, Mitchell Chester, the state commissioner for elementary and secondary education, expressed optimism about the proposal, noting that he had been concerned about the Dearborn for several years. Chester publicly warned the school system in September that he was contemplating receivership if the school system failed to appoint an outside operator.
"I am pleased to see that Boston has taken an accelerated approach to the school's turnaround and chosen an operator for the Dearborn," Chester said.
The school system has bet a lot of money on a turnaround at the Dearborn. It is moving forward with plans to raze its more than century-old building in Roxbury and replace it with a $71 million facility with cutting-edge science and engineering labs.
Richard Stutman, president of the teachers union, said he supported the proposal as a better alternative to receivership.
"We look forward to building a school that can thrive," Stutman said.


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Home > Features > Frank Vignola: Given the Gift of Life
Frank Vignola: Given the Gift of Life
The guitarist turns a devastating accident into an opportunity for musical growth
Published May 20, 2018 April 25, 2019 – By Mac Randall
Guitarist Frank Vignola (photo courtesy of the artist)
One evening in May of 2017, at home in rural Warwick, N.Y., guitarist Frank Vignola, then 51, made a fateful decision: to go out for a quick pre-dinner spin in the all-terrain vehicle parked in his half-acre backyard. It was something he'd done many times in the past, usually with one or more of his four sons, but this time—luckily, as it turned out—he was on his own. Somehow the ATV went into a skid and hit a tree. The impact was so forceful that it threw Vignola into the air. He blacked out.
"When I woke up," he recalls on the phone nine months later, "there were a zillion people over me, including my family, saying, 'Don't go back to sleep.' They put me in a helicopter and brought me to St. Joseph's hospital in Paterson, New Jersey. And thank God they did. My right shoulder was broken in two places, along with my right arm and four ribs, and both of my lungs had collapsed."
Vignola—known for his work with everyone from Wynton Marsalis and Bucky Pizzarelli to Jane Monheit and Donald Fagen, as well as his many instructional books, videos and online guitar courses—stayed in the hospital for a week. That, however, was only the start of a long recovery that required four surgeries and was hampered when he developed an infection in his right arm. "I remember lying in bed in agonizing pain," he says. "I thought the arm might have to be amputated. Luckily, it was a simple infection and it did eventually respond to antibiotics, but even after that there was a lot of doubt. I'd always had an aggressive approach to playing, using my shoulder to kind of throw my arm at the guitar. I just wasn't going to be able to do that anymore."
After having to cancel 100 concert bookings in the wake of his accident, Vignola toyed with the idea of taking an indefinite break from music. But that lasted only as long as it took for him to be able to lift his right arm over a guitar. By October, he was playing again. "I started picking out melodies I liked," he remembers. "You don't have to be a speed demon to play 'All the Things You Are.' Then I was like, 'OK, maybe I can get into one thing I've always wanted to do, which is learn more Charlie Parker heads.' And I mean learn them—not just kinda play through 'em, but really internalize them. So I did. I finally can play 'Donna Lee' correctly for the first time in 40 years!"
From learning heads, Vignola quickly progressed to rearranging them. Within a few months, he'd put together about 25 challenging new three-guitar arrangements of compositions by Parker, Duke Ellington and others. "Because I wasn't touring," he says, "I had the time to refocus on what I want to do musically." In November, his string-picking friends David Grisman and Tommy Emmanuel invited him to a concert they were playing in New Jersey; he ended up staying for hours, talking and playing with his pals backstage, and even going onstage for a few numbers. It was a sign that he was ready to get back to work.
In preparation, he played a couple of low-profile gigs close to home. Then, on Feb. 12, came his first big post-accident engagement, with pianist John di Martino's trio at the Iridium in New York—standing room only. (Vignola told me afterward, with customary self-deprecating humor, that his initial reaction to the sellout was "Wow, I have to hit a tree to pack this place!") As everyone assembled onstage, the guitarist picked out his first notes and … nothing happened. The amplifier wasn't turned on. Vignola turned to the audience with a big smile and said, "How do you like it so far?"
Such wisecracks continued for much of the next two and a half hours, interspersed with crisp takes of classic tunes. "Moonlight in Vermont," for example, began with a slow, bluesy statement of the theme before launching into a solo section that ran at a finger-taxing gallop. Although Vignola moved around the stage a bit gingerly, his playing sounded as fluid as it ever had. "I'm not all the way back to where I'd like to be," he said when the show was over. "I could have a little better control. My fingers are still tingly sometimes, but that's improving. The best therapy is to practice as much as I can."
The high point of the evening was when Vignola brought out longtime creative partner Vinny Raniolo and 19-year-old wunderkind Jan Knutson to help him play some of his new three-guitar arrangements. (They've recorded a bunch for an upcoming album, one of two studio projects Vignola's been working on; the other is an album with Di Martino's trio.) A dizzying run through "Donna Lee" sounded like Django Reinhardt, Jimmy Bryant and Les Paul having a late-night jam.
Speaking of Les Paul, that Iridium show was meaningful to Vignola for reasons that went beyond his accident. "It was the second Monday in February of 2000"—exactly 18 years earlier—"when I started playing with Les Paul at the Iridium," he says. Paul, a good friend of Vignola's, had a legendary Monday-night gig at the club for many years, which continued until his death in 2009, at age 94. "And I know this sounds a little nuts, but I really felt Les' presence. He went through an accident like mine [a 1948 car crash that left his right elbow permanently bent], and it was like he was there putting his hand on my shoulder, saying, 'You got a second chance—go get 'em.'
"When I was in the hospital," Vignola adds, "the first thing I remember thinking was 'This sucks.' And then I said, 'You know what? I'm going to make this the best thing that ever happened to me.' I don't know how that's going to happen, but I do know that if I was given the gift of life again, it's got to mean something."
Read the Before & After listening session with Frank Vignola from the July/August 2010 issue of JazzTimes.
Read Frank Vignola's Farewell tribute piece to Les Paul.
Listen to the Frank Vignola & Vinny Raniolo album Beloved Earth Songs on Spotify:
Mac Randall
Mac Randall has been the editor of JazzTimes since May 2018. Prior to that, he wrote regularly for the magazine. He has written about numerous genres of music for a wide variety of publications over the past 30 years, including Rolling Stone, The New York Times, Vanity Fair, The New York Observer, Mojo, and Guitar Aficionado, and he has worked on the editorial staffs of Musician, LAUNCH (now Yahoo! Music), Guitar One, Teaching Music, Music Alive!, and In Tune Monthly. He is the author of two books, Exit Music: The Radiohead Story and 101 Great Playlists. He lives in New York City.


The favor tags I ordered came today, and they are exactly as pictured on my design. The colors are exactly as pictured, and the paper is excellent quality. Very pleased with this company sending samples for free also.
Love Love Love!!! Perfect size! I am using them as favor tags on goodie bags for Rehearsal Dinner Party. Was nervous about size when I ordered them but was delighted when they arrived!!


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Glorfindel(s) I miss you!
Under this title Shaun Gunner (a Tolkien Society trustee) makes a charming appeal in the latest issue of Amon Hen (the bulletin of the Tolkien Society).
Shaun wonders what happened to the 'great debates' — not just the question of Balrog Wings (we're all pretty much fed up with that), but also the question of one or two Glorfindels, Elven ears, the colour of Legolas' hair or the irredeemability of Orcs.
This of course raises the question of what constitutes a 'great debate'? Reasonable criteria might include such as the number of people participating in the debate, the length of time over which the debate runs, the number of contributions both over time and per day, week or month etc. However, if we look at many of the debates that are typically listed as 'great' the strength of emotions also seems to be a common factor.
Shaun Gunner acknowledges that Tolkien Studies has become more 'mature' or 'mainstream' and that as a result of this issues such as source criticism and biographical history dominate the discussions.
A few of the debates have been definitely closed (there is not much point in discussing the number of Glorfindels after the publication of The Peoples of Middle-earth, is there), while others, perhaps particularly the infamous Balrog wings, have reached a state where just about everyone is fed up with them.
As a result it would unfortunately seem that the only great debate in Tolkien fandom these years is for or against the Jackson films — or about the 'faithfulness' of them. I admit that I am more than a little tired of these discussions — in the end we're all just trying to rationalize the gut feeling we had that first day in the theatre, and too often it ends in pointless reiterations of positions and ad Hominem attacks.
However, despite all this, I still think Shaun Gunner raises a good question — not so much about the specific debates he mentions (and I might be able to add a question or two to his list), but about the eagerness to discuss the story-internal issues. This may be geeky in nature, but I also think that these debates have a very legitimate place also in the more mature world of Tolkien studies.
One of the points that Jason Fisher makes strongly in his own contribution to Tolkien and the Study of His Sources is that the desire to understand how Tolkien worked is important for motivating source studies — he goes as far as to suggest that good source studies should, at least in some measure, attempt to uncover some corner of this. Well, I will argue that identifying the probable sources also requires a good understanding of how Tolkien's world works — it's inner reality. I have seen too many poorly thought-out attempts to justify a claimed source that have been based on a dubious interpretation of the inner reality of Tolkien's work.
This is also an important part of understanding the man himself, the biographical studies: in Tolkien's works, his personal world-view is built into the structure of the world he described. Frodo receives grace simply because Tolkien believed that grace works also in the real, primary, world. In may ways we can trace the evolution of Tolkien's fascinations, ideas and philosophical/ethical views through the evolution of his sub-creation.
Tolkien studies and Tolkien scholarship has been blessed with a good relationship between the academic scholars such as Shippey, Flieger, Drout etc. and the community of Tolkien geeks, and I honestly believe that both parts have benefited from this relationship, and I am convinced that either side would suffer from the weakening of the other.
Fortunately I am not quite as pessimistic as Shaun Gunner. There are a lot of discussions about the story-internal aspects of Tolkien's world, but there are not many that would qualify as 'great debates'.
We still see occasional earnest discussion of the Master Ring. Both the question of the actual agency of the Ring (its capacity for thought and free will) and the related question of how it corrupted its bearer and others (Saruman is apparently corrupted merely by the idea of the One Ring). These questions are also important for understanding Tolkien's ponerology — his metaphysical portrayal of the nature of evil: a question that is very relevant in Tolkien studies. That question is, in and of itself, actually a story-internal debate: what is the nature of evil and how does it work in Tolkien's world?
The same could be said about the nature and workings of free will in Tolkien's world — a question that is related to discussions about the Master Ring, about the nature and redeemability of Orcs and the role of the Music as fate.
Other story-internal discussions that are being taken up in the more academic discussions are the metafictional layers of Tolkien's stories: what is the exact transmission history of the many stories from the Ainulindalë to Findegil's additions to the Red Book? Does it make sense to claim a long series of copies of copies between Findegil and the book that Tolkien-the-translator had as the basis for his translation? These are inherently story-internal questions that are no less geeky than the question of Balrog wings (a question that might, at least in theory, be relevant for suggesting possible sources for the Balrogs).
I could mention many other story-internal discussions that bear on, or are actually themselves, current issues in Tolkien scholarship, but the thing is that they exist.
This leaves the question of why these do not emerge as 'great debates' such as we saw earlier. Here I think that Steuard's comments in the thread 'What killed alt.fan.tolkien' have some bearing on this as well. The dilution, or dispersion, of the on-line discussions has created a multitude of fora where discussions arise and die out. Though many of us are active in more than one forum, only a few of these discussions manage to be ported from one forum to another — possibly because many fora have their own profile that seems to dictate what discussions will be taken up eagerly.
Another problem might be that many of these discussions are more complex — in their origin the discussions of Balrog wings and Elven ears are quite easy to relate to (though they, too, got into fairly complex levels of textual analysis), but the transmission history of the Red Book quickly becomes more complex. This should, however, not detain us: the on-line Tolkien discussions are often dominated by highly intelligent people who are more than capable of understanding even far more complex issues (as witnessed by the complexities that has always crept into all the great debates).
Instead of asking what happened to the great debates of yesterday, I'd much rather ask what will become the next great story-internal debate? What question can raise sufficient intellectual interest and emotional engagement to engage the on-line community in sufficient numbers and over a sufficient length of time to deserve that title? Any ideas?
Posted by Troels at 19:13
The Return of the Ring
Tolkien Transactions XXVII


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Review Group Reports On Breast, Prostate Cancer Pose Challenges for NCI
Oncology NEWS International, Oncology NEWS International Vol 7 No 11, Volume 7, Issue 11
BETHESDA, Md--The reports of the progress review groups on prostate and breast cancers present the National Cancer Institute (NCI) with both opportunities and challenges, director Richard D. Klausner, MD, told the National Cancer Advisory Board.
"Here are the oncology communities coming together and saying: This is what we need," Dr. Klausner said. The challenge for the Institute, he said, is how to satisfy each panel's recommendations and create a knowledge base for each cancer "in our environment of investigator initiated research filtered through peer-review."
He said the two reports are being analyzed by NCI staff to develop ways to respond, adding that he expects to see specific new programs and requests for research applications emerging as a result of the recommendations. "For the Institute, the affected fields, and, I think, all of the other agencies involved in funding research in these areas, these two reports are going to be very influential," he commented.
Dr. Klausner noted the overlap in some of the major recommendations made by the two panels, such as a greater emphasis on understanding the basic biology of breast and prostate cancer. This has raised a question, still unresolved within NCI, of whether the institute should organize additional peer review groups to address other cancers, including lung, colorectal, and ovarian. "If we do," he said, "what do we learn from the tremendous overlap in recommendations?"


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Virtual Cinema—The Artist's Wife
Fri—9-25-2020
Starting FRI—September 25
50% of proceeds will support ASF + Scandinavia House
Scandinavia House is now hosting a virtual cinema presentation of the new film The Artist's Wife, starring the internationally acclaimed Swedish actress Lena Olin, with Strand Releasing. Half of proceeds will go to support ASF and Scandinavia House.
Claire (Lena Olin) lives a domestic life in the Hamptons as the wife of celebrated artist Richard Smythson (Bruce Dern). Once a promising painter herself, Claire now lives in the shadow of her husband's illustrious career. But when Richards' moods become increasingly erratic as he prepares for his final show and he is eventually diagnosed with dementia, Claire must shield his condition from the art community as his memory and behavior deteriorate, while working to reconnect him with his estranged daughter and a grandson from a previous marriage.
Challenged by the loss of her world as she knew it, Claire must now decide whether to stand with Richard on the sidelines — or step into the spotlight herself. Directed by Tom Dolby (U.S., 2019); 95 min. In English.
Lena Olin and director Tom Dolby will present a special virtual introduction to accompany the release; check back to this page for more details.
Tom Dolby's feature film writing and directing debut, Last Weekend, starring Patricia Clarkson, was released in 2014 by IFC/Sundance Selects and called "Checkhovian" by The New York Times, with Ms. Clarkson's performance hailed as "terrifically nuanced, heartbreaking, and often very funny" by the San Francisco Chronicle. Tom is the founder of Water's End Productions, where he and his team have developed a slate of narrative features and documentaries with the goal of supporting provocative and challenging human stories. The company funded the development of the Academy Award-winning film Call Me By Your Name, on which he served as an executive producer.
Tom and Water's End have also produced the critically acclaimed films Little Men, Regarding Susan Sontag, Scotty and the Secret History of Hollywood, and Little Woods, among others.
Photo—Michael Lavine/Water's End Productions
About Lena Olin
Lena Olin is an internationally acclaimed actress, currently starring in the UK series Riviera opposite Julia Stiles for Sky Atlantic. Recently, Lena wrapped a lead role opposite Bruce Dern in Tom Dolby's upcoming independent feature, The Artist's Wife. She also portrayed the pivotal role of Dierdre in David Fincher's Netflix series Mindhunter. Previously, Lena was seen as a series regular in the half-hour NBC comedy series Welcome to Sweden created by Greg Poehler, and currently appears opposite Logan Lerman and Al Pacino in Amazon's highly anticipated series Hunters.
The former Miss Scandinavia began her career on the National Stage in Stockholm in Ingmar Bergman's production of King Lear. She then went on to play the title role in Bergman's rendition of Strindberg's Miss Julie. Ingmar Bergman next cast her in Face to Face and soon after in the award-winning Fanny and Alexander. Olin's debut in a lead role on film was in After the Rehearsal, also directed by Bergman. In 1988, Olin garnered international acclaim opposite Daniel Day-Lewis in her first English-speaking film, The Unbearable Lightness of Being and in 1989, she earned an Academy Award nomination for her work in Enemies: A Love Story. Olin and husband Lasse Hallström later collaborated on the critically acclaimed film Chocolat, which received five Academy Award nominations, and on the film Casanova. Olin also starred in Romeo Is Bleeding as the outrageous hit woman Mona Demarkov.
Her additional film credits include The Reader, starring Kate Winslet and directed by Stephen Daldry; Awake, starring Hayden Christensen and Jessica Alba; and Remember Me, starring Robert Pattinson and Pierce Brosnan. Lena starred opposite Jennifer Garner on the second season of the American TV show Alias, earning an Emmy Award Nomination, and also appeared in the fourth season and series finale.
Photo: Michael Lavine/Water's End Productions


Note: RG 31 includes accession 81-013 (extent: 5 cm).
Programs of graduate study are introduced at Trent on a selective basis. Each program has been approved by the Appraisals Committee of the Ontario Council on Graduate Studies. Trent University offers graduate programs in Watershed Ecosystems, Canadian Heritage and Development Studies, Anthropology, Applications of Modeling, and Methodologies for the Study of Western History and Culture. In addition to the degree programs, an agreement with Queen's University allows for selective enrollment at the Master's and Doctoral levels in programs at Queen's with actual study and research supervision under Trent faculty on Trent's campus (taken from Trent University Calendar, 1998-1999).
Early materials were accessioned as 81-013 (Dean of Graduate Studies and University Research Office. Search Committee fonds). Further materials were received from Joseph Muldoon, University Research Officer, in 1988 and in 1992. An additional 3 boxes were received in July 1997. The records consist of files and correspondence related to research at Trent University and cover the dates 1970-1992. Boxes 1-11 are listed, while boxes 12-18 plus one loose bundle are unlisted. Further materials were received in 2014 (listed below). See also RG 17 (Associated Dean of Arts and Science).
DEAN OF GRADUATE STUDIES AND UNIVERSITY RESEARCH OFFICER.
The position of Dean of Graduate Studies and Research Officer was created in the [1968-1969] academic year. Previous to this time, the small number of graduate students at Trent University were looked after by the Registrar's Office. The Senate search committee is responsible for hiring a Dean of Graduate Studies and University Research Officer. Since 1985, the Associate Dean of Arts and Science has been responsible for the position of Dean of Graduate Studies and University Research Officer.
This fonds consists of records, dated 1977, of the Senate search committee. The committee reported to President Nind and was chaired by Professor David Kettler. The fonds includes correspondence.
Boxes 1-3 were received in the Archives in September 1988 and contain Committee on Research files prior to 1983.
Boxes 4-11 were received in the Archives in June 1992 and contain Committee on Research files up to 1987-1988. (Note: TISPOC is included here in the `T' section, Box 6).
Note: Boxes 9-10 contain information with respect to the Sub-Committee on University Aid to Research in the Arts.


I've been quiet lately. Too quiet, perhaps. After a flurry of blogging a few weeks back I dropped off the face of the earth it seemed. All is well, I just got busy. I had to write a host of blog posts for an upcoming promotion I'm doing for my Vitalis book, plus I'm finalizing the sequel to Vitalis (Vitalis: Resurrection) for release in a couple of weeks. I'm also going out of my way to coerce people into writing reviews for Vitalis and other books of mine. Between all that and a labor day weekend long road trip kept me pretty incommunicado.
Admit it, you're a little curious now… hang in there, I promise to finish it as soon as I can! I'm still shooting for an October release on it, although it may be late October at this rate.


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Skp Shaadi > Hindu > Executive Shaadi in Mumbai
Skp Hindu Executive Shaadi in Mumbai
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Celia Jean Stephenson passed away on April 13, 2019.
I spent up to 7 nights a week closing our special little diner up with this woman. In that time, I had the privilege of getting to know her heart and getting to absorb even a small bit of the wisdom she had obtained in her years. She was a spunky, strong, gracious woman who was taken too soon. I am so glad she was able to find peace. Many thoughts to the family. Joe, Nicole, Rylan, & Tinley, you all may not know me, but I feel like I know you all just because Celia would spend hours talking about each of you and what was going on in your lives that week. She loves you with every ounce of herself.
I still can't believe that this happened! It's so sad. She was a good manager and good person. She was so proud of her kids and grandkids. She was always coming into work talking about them and how happy she was when her grandkids were back in town .


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Louis Michel Aury
French Sailor & Pirate
Louis Michel Aury, pirate, was born in Paris about 1788. He served in the French navy and on French privateers from 1802 or 1803 until 1810, when accumulation of prize money enabled him to become master of his own vessels. He sailed from a North Carolina port with a Venezuelan commission in April 1813 and reached Cartagena in May. In August 1813 he was given command over the Granadine Republic's privateer schooners, a service that ended in January 1816, when he reached Aux Cayes, Haiti, after successfully running the Spanish blockade of Cartagena.
At Aux Cayes Aury quarreled with Sim�n Bol�var and transferred his services to a group of New Orleans associates who were planning a Mexican rebel port on the Texas coast, an invasion of the Provincias Internas,qv and attacks on Mexican Royalist ports, all part of the Mexican revolt against Spain. Aury left Aux Cayes on June 4 and captured several vessels en route to the Belize, where he arrived on July 17. Then he went on to Galveston. Most of the prize vessels and cargo were lost or damaged in efforts to sail into the harbor. Haitian sailors mutinied on the night of September 7, wounded Aury, and sailed to Haiti with considerable booty. Aid from New Orleans arrived within two or three days. Jos� Manuel de Herrera, Mexican rebel envoy, proclaimed Galveston a port of the Mexican republic, made Aury resident commissioner, and raised the rebel flag on September 13, 1816.
Aury's privateers cruised the Gulf looking for prizes. Of the many that came to Galveston, one carried a cargo of specie and indigo worth about $778,000. Cargoes condemned at Galveston went through New Orleans customs in unlabeled bales or were smuggled into Louisiana.
Aury's settlement of shacks on the Galveston sand was far from peaceful. Henry Perry,qv who commanded troops sent by the New Orleans associates for the invasion of Texas, refused obedience to Aury. Another disturbing incident was the arrival, on November 22, 1816, of Francisco Xavier Minaqv with his filibustering expedition. Aury, disconcerted by Mina's appearance, at first refused to cooperate, but Perry and others forced him to change his attitude.
Then Mina quarreled with his New Orleans associates, who severed connections with him and with Aury; the latter's services were no longer needed after the plans to invade New Spain were dropped. Aury then decided to convoy the Mina expedition to the Santander River. The fleet left Galveston on April 7, 1817, providing Jean Laffiteqv with an opportunity to undermine the skeleton "government" left on the island. Aury returned from his trip and tried to establish himself at Matagorda Bay. After failing in this effort he went back to Galveston, where he remained until July 21.
In preceding weeks, the Laffite brothers, Jean and Pierre, had gained a strong hold on the nondescript inhabitants of Galveston. Aury resigned his commission to rule Galveston Island on July 31, 1817. He then sailed to the Florida coast, where he joined Gregor McGregor, authorized agent of the rebel colonies of Venezuela, New Grenada (Colombia), Mexico, and La Plata (Argentina), in attacking Spanish Florida from Amelia Island. After numerous disappointments, he captured Old Providence Island on July 4, 1818. From that headquarters he participated in several unsuccessful attempts to aid the republican cause. He probably died at Old Providence on August 30, 1821, though some sources state that he was living in Havana in 1845.
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