This week a controversy occurred among Longmont City Council members concerning Sunshine Laws.
Sunshine Laws dictate how many governing members, in this case city council members, can be in the same place at a given time before a public announcement needs to be made or an official meeting needs to be announced prior.
Sunshine laws are in place to keep government officials from discussing topics that should be made public.
If three council members meet in the same place, any member of the public is allowed to listen or participate in the conversation being held. If four or more council members meet, a public notice needs to be issued 24 hours in advance.
The controversy came when Jake Marsing with The Way Home, invited four council members to go a public tour of Fire House #2. The Way Home is in search of a facility to house a possible homeless services center in Longmont and wanted to view the firehouse as an option.
According to City Manager Harold Dominguez, only two council members were on site at the same time, to his knowledge.
The invitations came from The Way Home and not through the City of Longmont. According to Dominguez, he was not made aware of the invitees prior to the meeting.
The Way Home requested a tour of the firehouse through the city.
"We have requests for tours, from different groups, and so we need to be consistent on honoring those requests. This is not something that the city is working on. The city did not handle the invites and there is nothing impenitent about that location," states Dominguez.
Currently the fire house is occupied by a team of Longmont firefighters. A bond issue passed in Nov. 2018 will allow the city to build another fire house in a different location, that location has not yet been determined. The City of Longmont has not yet determined the purpose of this facility once it is vacated.
"It is a fire station and it will continue to be a fire station until we are actually able to have completed the construction of the replacement fire station and we haven't even identified a location yet," says Dominguez.
During the Longmont City Council work session on Friday, Feb 8, council discussed the topic of Sunshine Laws.
The conversation turned into a discussion about where council members stop being council members and are just residents.
Council agreed that no one believed that any nefarious activity or intention was conducted in the council members' participation in the tour of the firehouse.
"We need to be aware that if there is a potential decision, meaning using city resources… We need to be aware that that is a public issue and that is the intersection of where our private interests and our public responsibilities intersect," stated Bagley.


How Much Does A Graphic Designer Earn Uk how much does a graphic designer earn uk how much does a car mechanic earn in the uk youtube ideas. how much does a graphic designer earn uk how much does a clinical psychologist earn in the uk youtube. how much does a graphic designer earn uk how much money do architects make in the uk youtube templates.


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Q: Compiling and Linking Leda 6.3 I am new to LEDA and I am working on LEDA6.3 Free Edition on OpenSuse 12.1.
As a start I tried to write a simple code "Hello LEDA world" as in the manual http://www.leda-tutorial.org/en/official/ch01s02.html.
#include <LEDA/string.h>
#include <iostream>

using leda::string;
using std::cout;

int main()
{
    string msg = "Hello LEDA world!";

    cout << msg << "\n";
}

The compilation phase works fine and I generated the .o file.
But they mentioned that this file needs to be linked to the LEDA library and the only library available in the Free edition is the libleda.a and libleda.so
I am trying to link using the following command:
g++ -o welcome welcome.o -L$LEDAROOT -llibleda

What I get is:
/usr/lib64/gcc/x86_64-suse-linux/4.6/../../../../x86_64-suse-linux/bin/ld: cannot find -llibleda

I was wondering if someone could help me with how to link my file with the leda library ? so I can get it to run.
Thanks all.

A: It is unlikely that the library file is called liblibleda.a or liblibleda.so: when the linker sees a an option of the form -l<name> it will search for a library file named lib<name>.so (for shared libraries) or lib<name>.a (for static libraries). You probably just want to use the option -lleda (unless the LEDA developers did something clever and called the library something like libeda.a so you'd use -leda).
Whether this works will also depend on the compiler options being consistent between the installation and your build.

redpajama_set_name: RedPajamaStackExchange


We spent a fantastic weekend at the AMWA Salisbury Fun Weekend and Suka, Alfa, & Junior were awarded their AMWA Treking titles - AWTD'C from earlier in the year.
It was lovely to have Sabine, Sampson & Memphis from our litter together again for the weekend, where they all had their first taste of working on the rig...hopefully much more to come in the future!
We are VERY proud to announce that 'RBPIS Northspirit Born For Glory' AKA Sampson from our Alfa x Seeker litter is awarded the RCC at just 13 months old at Bournemouth Championship Show!!! Huge congratulations to his owners Natalie & Mark Lovegrove. Advert below by The Sketchboard.
Very proud start to the Working Season - we had three of the Northspirit babies competing at the AMWA Kings Forest event ~ 'Sampson' ~ 'RBPIS Northspirit Born for Glory' owned by Natalie & Mark Lovegrove, 'Memphis' ~ 'Northspirit Born to Shine' owned by Red & Tim Anderton-Tyers and our very own 'Sabine' ~ Northspirit A Star Is Born who ran with her momma 'Alfa' ~ Pol.Ch.Monikoona Eclipse at Northspirit'WTD'WPD'AWTD'C'AWPD'C.
Well done babies at your first working event - we are all very proud of you!!!!!!
After nearly 4 months out of the ring, our beautiful 'Sabine' ~ Northspirit A Star Is Born WINS **BEST ADULT IN MATCH** & **BEST IN MATCH** at 15 months old !!!!


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Die Kungsstenarna () sind zehn aufrechtstehende Steine auf einem Gräberfeld aus der Eisenzeit, an einem Waldrand nordöstlich des Weilers Heden im Hålanda distrikt im Norden der Ale kommun in Västergötland in Schweden.

Im Hålanda distrikt finden sich u. a. auch eine Steinkiste aus der Steinzeit und Rösen aus der Bronzezeit.

Literatur
 Everth Högabo: Hålanda sockenbok: en historisk skildring över en liten västgötasocken, Skepplanda 1972.

Weblinks

 Bilder

Gräberfeld in Schweden
Archäologischer Fundplatz in Västra Götalands län
Gemeinde Ale

redpajama_set_name: RedPajamaWikipedia


Overloading plug sockets could prove costly, the fire brigade has warned.
People in Hartlepool have been urged to ensure their festive celebrations don't go up in flames this Christmas.
Cleveland Fire Brigade have warned residents that charging presents like smartphones, tablets, laptops and other electrical items by overloading plug sockets could prove costly.
It is a potential fire hazard, and could see festivities go up in smoke.
Phil Lancaster, director of community protection at Cleveland Fire Brigade, said: "It is probably very tempting to get your new electrical gifts plugged in and fully charged as soon as possible.
"Just remember to keep to one plug per socket and not to leave them charging overnight.
"It is sobering to note that one-third of all accidental house fires are caused by faulty or misused electrical equipment.


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Q: How can I perform a partial matching of the command name using `ps -C`? I find the ps -C <cmd> option very useful, since it lets me limit the output of ps to only those processes started with command name <cmd>.
Compared to performing a grep, I also get the header with columns in the output.
However, it appears I can only do a full command name matching using ps -C <cmd>. In other words, if the command name is /opt/azagent/bin/Agent.Listener run --startuptype service, then only ps -C Agent.Listener will list it, and not any partial match, like ps -C Agent.
Is it possible to perform a partial match using ps -C <cmd> on Debian?

A: have a look at pgrep

NAME
pgrep, pkill - look up or signal processes based on name and other attributes
SYNOPSIS
   pgrep [options] pattern
   pkill [options] pattern


In development for PlayStation 4, PlayStation Vita, Xbox One, Wii U, and PC, Bloodstained: Ritual of the Night from Koji Igarashi and Inti Creates has been delayed to the first half of 2018, Igarashi revealed in a new Kickstarter update. Previously, Bloodstained was planned for a March 2017 release.
As Igarashi explains in the video, "Things have been progressing with development for Bloodstained, but between our current production set-up and release deadline, I've realized that at this rate the game may not end up meeting my quality standards." Additionally, Igarashi says he's made the decision to add a new development team to the main production "and improve our approach so that we can keep the game fully on track for how I envision it." Currently, they're looking to hire those developers.


text:
SAND TALES
The Sahara Desert, one of the greatest natural spectacles that exist on earth. " Sahara " of Berber origin means hard earth, unusual due to its absence of water, although the most curious thing about its drought is its proximity to groundwater since between 300 and 1200 meters deep is the Albienne Sea, the The largest underground lake in the world, which gave a green life to the whole area more than eight thousand years ago.
Ocher tones seem to spill from the sky impregnating everything around him, while the horizon is painted by the light brown color of the sand.
The desert is made up of countless stories, legends and stories that the Berber people tell us when we enter their warm sands, which help us to understand some points of Moroccan culture:
Shertat and her mother-in-law
One morning, Shertat was inside a tent (typical nomadic dwelling) accompanied by his mother-in-law; They were talking about the tasks, the weather … It was a year of drought, "shida" for the Saharawi, where food was scarce and livestock died, so there was hardly any meat, milk and butter.
Within reach of Shertat was an empty plate, in which the mother-in-law had entertained him with a rich meal. The mother-in-law got up to leave the tent and say goodbye to Shertat. But without realizing it, he dragged the empty plate, which was lying face down. At the act, Shertat got up and dealt a strong blow to the mother-in-law, who rolled her across the floor. And he shouted at him. "If my food had been on the plate, you would have spoiled it!"
This story in particular has a considerable educational weight for the Saharawis, because the figure of the mother-in-law enjoys great respect among families, especially between sons-in-law and daughters-in-law. Therefore, Shertat's behavior is intolerable.
We can also rescue from this history a problem that characterizes that town: its climatic conditions. That is, in fact, the reason why the Sahrawis are called Bedouin, or "Al-Badw". Over time, people were forced to create their own customs, traditions and rituals due to the climate of their territory.
For the same reason, their diet is based on meat, milk or butter; elements that are offered naturally by the desert and livestock. The milk, for example, is milked in a jar made with a trunk of the region, which is smoked to add a flavor especially valued among the Saharawis.
Traditional clothing is defined by climate. For women it is the "melfa", a dress that they use for any occasion; however, dresses are different between young and adult women. There are also common melfas for daily life, and more elaborate, for special occasions. The men, on the other hand, use a blouse called "darrá", which is usually blue or white, and they wear a black turban to protect themselves from the sun.
There is another element, made with products offered by nature and animals, which is also used to dress. It is the "faru" (a kind of lambskin blanket), very appreciated and used not only to cover itself, but as a saddle to mount the camels and as a prayer mat. The well-known mythological character Shertat has more stories to tell about his nomadic life, such as how he got a "faru" a cold and desert night.
These sands, have much to tell, many traces marked in the infinite dune grooves and is that as the American Paul Bowles said:
"No one who has spent time in the Sahara is the same as when he arrived. Here, in this entirely mineral landscape illuminated by the stars like flames, even memory disappears; nothing remains but the breathing itself and the sound of the heart beating. "
From Andalusia Experiences we invite you to Morocco, land of contrasts, diversity of landscapes, gastronomy, nature and a sum of cultural and human heritage out of the ordinary.
Morocco where nature leaves a free course to the imagination to lose yourself and dream among its sands.
Arenas del Sur, a five-day dream circuit.
+ INFO SOUTHERN SANDS
Los cuentos, espejo del imaginario saharaui
Alejandro Ortega

redpajama_set_name: RedPajamaCommonCrawl


text:
Dan Quayle Bought Up Carvana's Slumping Stock
Former Vice President Dan Quayle.
Drew Angerer/Getty Images
stock has slumped this year, and former Vice President Dan Quayle, who serves the used-car retailer as a director, bought up shares on the open market.
Shares of Carvana (ticker: CVNA) have crumbled 87%, compared with a 17% drop in the
S&P 500 index
We've noted that "disrupter" stocks, those that sought to shake up entire industries, are being pummeled in 2022—including Carvana.
Longtime bulls have been downgrading the stock. Losses have been piling up, and Carvana has been laying off staff.
Quayle, a Carvana director since the company's 2017 initial public offering, paid $733,875 on May 17 for 18,750 shares, an average price of $39.14 each, according to a form he filed with the Securities and Exchange Commission. He purchased the stock through trusts that now own 23,310 shares. The former vice president also owns 4,832 shares, including restricted stock units, in a personal account.
The Barron's Daily
A morning briefing on what you need to know in the day ahead, including exclusive commentary from Barron's and MarketWatch writers.
Quayle is chairman of Cerberus Global Investments, a unit of private-equity firm Cerberus Capital Management, and is a member of Cerberus Capital's senior leadership team. Cerberus Capital didn't respond to a request to make Quayle available for comment.
With Carvana stock closing at $30.24 on Monday, the shares Quayle purchased a week ago have dropped 23% in value, on average.
Inside Scoop is a regular Barron's feature covering stock transactions by corporate executives and board members—so-called insiders—as well as large shareholders, politicians, and other prominent figures. Due to their insider status, these investors are required to disclose stock trades with the Securities and Exchange Commission or other regulatory groups.
Write to Ed Lin at edward.lin@barrons.com and follow @BarronsEdLin.
Spain paints itself as the answer to Europe's Russian energy problem
Volkswagen chief says German car giant will overtake Tesla on electric vehicle sales by 2025


text:
Підвежанка (Подвежанка, ) — село в Польщі, у гміні Чижі Гайнівського повіту Підляського воєводства.

Історія
У 1975—1998 роках село належало до Білостоцького воєводства.

Раніше було присілком села Вілька.

Примітки

Села Гайнівського повіту


College-aged and older are invited to "Party on the Lawn" Sunday, June 8, at 7:00pm.
"Party on the Lawn" is an evening of games, music around the camp fire, bocce ball, corn hole, ladder golf, and croquet. This event is designed for Access adults (college and older) to hang out and get to know each other a little better.
Plan on attending and competing with your Community Group. Not in a Community Group? We'll get you plugged into a team! Prizes will be given to the highest-scoring team, the best-dressed team, and the most enthusiastic team.


Construction Management Services for total renovation of an entire hotel. Renovation included the hotel lobby, public restrooms, pool bar, a new entrance from Kuhio Avenue, lobby restrooms, ball rooms, meeting rooms, office, porte cochere, 600 plus guest rooms, all corridors, complete kitchen and restaurant renovations, and various hotel renovations including spall repair and roof replacement. Project was completed in 5 phases.


text:
Smart Wearables Solutions
Smart Healthcare Solutions
Smart Logistics Solutions
Smart Factory Solutions
Mix Panel
iPad App Design Company
It's no wonder that the iPad has been so popular since its arrival on the tech scene in 2010. This pioneering device took hand-held computing to a new level, combining the portability of a smartphone with the increased screen size and ease of use of a laptop computer. With so many people owning and using iPads every day, it's not surprising that companies want to make their tools and services as easy to access for these tablet users as possible. And with TechAhead's iPad app design and consulting, you can do just that.
Designing Apps for iPads is our Passion
When designing apps for iPad users, a chief concern is a usability. People who design apps for iPad users need to think about how and where people use their iPads. How do people hold the device in their hands? Where do they take it? What might they find themselves wanting to do with it? All of these things will factor into the decisions about the design and development of a custom app. Our technicians will work with you to customize your project, including such aspects as what you want your app to do, how we can integrate the users' needs and even their mobility into the functionality of the app, and how we can design the interface to be as simple as possible for people to use. For instance, an app might sense the user's position and use that information to display something useful about the environment around the user, like where the nearest outlet of your company is located. We'll also look at things like where to place spots to tap within the app so that the user can reach them easily while holding their iPad.
iPad App Design with standards
In addition, an important part of designing apps for iPad or iPhone users are meeting Apple's high standards for inclusion in the App Store. After all, there's no sense in making a cool app if nobody will be able to find and download it! At TechAhead, we design apps for the iPad that are bug-free, unique, and family-friendly, all things that Apple looks for when deciding whether to accept or reject an app. Apple sets the bar high, but when you trust us to create your app, you won't have to worry about reaching it. At TechAhead, we have a wealth of experience with iPhone and iPad app design, as well as with designing apps for Android and Windows mobile devices. Hundreds of companies worldwide have turned to us for apps that stand out from the rest, including prominent firms like Audi, Disney, Fiat, and American Express. We'll communicate with you every step of the way, from brainstorming to delivery, to ensure that you get a quality product on time and within your budget. We're passionate about what we do, and we work hard to make sure that all of our customers are satisfied. What sort of mobile app can we build for you? Contact us today and you'll soon see the results in iPad users' hands!
Let's co-create your success story
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California 91301, USA. Phone: +1 818-318-0727
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Ah, Easter. It's that time of the year when the supermarket aisles are glittering with chocolate. And if you're trying to be healthy, no amount of tunnel vision can save you from temptation. The good news is, you don't have to cheat yourself or your diet this Easter. Not all chocolate is created equal, and here's how to pick the best nutritional options.
When it comes to making healthier chocolate choices, a simple rule to follow: the darker the better. Dark chocolate is made from upwards of 60 per cent cocoa, which has the highest amount of antioxidants from the lot. This is important, because antioxidants are the molecules that fight to protect your body from disease.
In comparison, the cocoa in milk or white chocolate is diluted with additional milk solids and various types of sugar and cream, making it higher in fat and calories. That said, dark chocolate can contain a little added sugar and fat, which still makes it fairly calorie rich – so quality over quantity matters.
It's easy to confuse cocoa and cacao. They're both made from cocoa beans and are healthier types of chocolate. However there are some differences to note. Basically, cacao powder is made by cold-pressing un-roasted cocoa beans. This keeps the living enzymes (the good guys) in the cocoa giving it a more bitter taste. In many ways, cacao is the purest form of chocolate you can have. It's raw, less processed, and contains healthy fatty acids, as well as magnesium and flavanols, which have antioxidant and anti-inflammatory properties.
In contrast, cocoa powder is roasted at very high temperatures. This changes the molecular structure of the cocoa bean and lowers the overall nutritional value, making cacao the better pick.
When decoding chocolate labels, it's helpful to know what to look for. Ideally, you'll be seeing 70 per cent or more cocoa, and the remaining will be made up of cocoa butter or sugar. More processed varieties will contain additives such as soy lecithin, non-cocoa butter, fats (vegetable oil), artificial sweeteners or milk substitutes. These are added to improve texture and taste, and have less nutritional value and are best eaten in moderation. As always, the fewer the ingredients the better.
As with other organic foods, the best thing about choosing organic chocolate is knowing it's free from synthetic fertilizers, herbicides or pesticides. Again always check the label. Deceptively, labels can sometimes claim to be organic but on closer inspection may have an organic percentage as low as 70%. Despite being organic or not, it's still chocolate and contains the same amount of calories – so if you're watching your waistline, portions still matters a lot!
WHAT IS YOUR FAVOURITE CHOCOLATE TREAT?


If you are looking for a Finance Broker in Hervey Bay look no further. We have a large team of lending specialists that can help you with a loan for Car Loans, Home Loans, Business Loans, Motorbike Loans, Boat and Jet Ski Loans, Personal Loans, Camper Trailer Loans, Caravan Loans, Financial Planning and more.
Yes, we really do have a team of experts right here under one roof. We love dealing with Business Owners and Locals anywhere from Hervey Bay, Wide Bay, Gympie, Sunshine Coast to Moreton Bay.
As a local Sunshine Coast business, we know how important it is to our local economy to support local businesses. That's why we ensure that we are supporting local businesses with everything that we do in our business. From marketing, advertising, printing, vehicle purchases right the way through to the professional services that our business requires, they are all local! So think Fox Finance Group for your local choice of Finance Broker in Hervey Bay, on the Sunshine Coast, Wide Bay or Moreton Bay.


The Velocity Picking window will automatically be displayed when a new velocity picking is created. However, you can also open the window from the Tool menu or the Imaging tab.
From the Control Panel, open the Tool menu.
Select Velocity Picking and click on the velocity picks that you have created. The Velocity Picking window will be displayed.
From the Imaging tab, right click on the velocity picks that you have created.
Select Open Velocity Picking Window. The Velocity Picking window will be displayed.
Control the inline and crossline from the navigation bar (see Navigation Bar in Views).
The increments are shown beside the IL and CL in square brackets. Unlike other views, the increments here are fixed. You can adjust the increments by double-clicking on the velocity picking in the Insight Control Panel or right-clicking and selecting Configure Velocity Picking.
Configure the General settings, Semblance, Interpolation, Stacking and Display via the tabs on the left. You can hide the Control Panel by clicking the left arrow icon or the tab that is currently opened to allow more screen space for the velocity picking display. To show the Control Panel again, click any tab or the right arrow icon.
With the exception of the Display settings, all the settings in the other tabs will be disabled if you are not the owner of the velocity picking. To take ownership, right click on the Velocity Picking in the Imaging tab of Insight's Control Panel and select Take Ownership or Create Copy (see Multi-user Considerations).
This is where your NMO-corrected gather is displayed. The gather will update itself in real time as you pick your velocity.
This is where you pick your velocity.
Note: Semblance calculations are not affected by selecting 4th order NMO. By design, the semblance panel is computed with constant velocity, for which the Dix 4th order equation reduces to the 2nd order.
This is where you pick eta values. This view will only be available if you have selected the Pick η (eta) check box when creating/configuring the velocity picking (see Create a Velocity Picking).
The information bar at the bottom provides the location (time/depth, X/Y, inline/crossline and/or 2D line), values of the NMO-corrected gathers, and value of the velocity semblance at the location of the green crosshair. As you move your mouse pointer over the Gather View and Velocity View, the values will update to reflect the values at that location.


(i) Onsite participation in a test involving the atmospheric detonation of a nuclear device.
(ii) The occupation of Hiroshima or Nagasaki, Japan, by United States forces during the period beginning on August 6, 1945, and ending on July 1, 1946.
(iii) Internment as prisoner of war in Japan (or service on active duty in Japan immediately following such internment) during World War II which (as determined by the Secretary) resulted in an opportunity for exposure to ionizing radiation comparable to that of veterans described in clause (ii) of this subparagraph.
38 U.S.C. § 1112(c)(4)(B); Hardin v. West, 11 Vet. App. 74, 77-78 (1998). A veteran's radiation exposure that does not constitute a "radiation-risk activity" as defined by the statute is not entitled to the statutory presumption of service connection in section 1112(c). Lasovick v. Brown, 6 Vet. App. 141, 146-47 (1994).


Is it known if he was diabetic? That would explain the CKD. Does anyone know why he wasn't able to get a kidney transplant?
Oh good, sorry I posted before reading this. He can deal with a torn muscle.
IIRC, Kise had a tendon that was mostly detached, a very serious injury. Such a pity he didn't have the surgery.
The big question in my mind is if Hakuho sprained/tore a bicep or injured a tendon/ligament. If it is only a muscle injury, we have every reason to expect him back next basho. Edit: Or perhaps he will skip one. A muscle tear can heal in 2 months , but perhaps not to the point where he will want to fight with it.
Thanks for the info. I don't know how all this works out for my sister, since she is in a different country every month for the most part, but I'm sure her accountants have it covered. For her anyway, if not for everyone as you have said, the exact number of days she spends in the US is crucial.
Something is just not right with Ichinojo, it's like he is protecting something by bailing out. A knee perhaps?
http://www.expatyourself.com/2013/04/330-days-outside-the-us/ "If you are a US citizen, living outside the US, then all your income may not be taxed. Yes, if you live as an expat, then at tax filing time, you can file the "Foreign Income Exclusion" form, number 2555. But, there's a catch. (Isn't there always a catch?) The catch is, you must really be living outside the United States for 90% or more of the time (that works to be 330 days or more). It doesn't mean just calling your expat home your "Primary residence." It doesn't mean come home again for "just" the summer months. Nope, for your income to be excluded from tax, you must stay clear of the US for 330 days or more." I don't claim to be an expert, but I do know that when my sister runs up against the time limit she has to stay out of the US until the year is over.
If you are a US citizen living in another country, there is a limit on how many days per year you may return to the US( I think it's 35). As long as you do not exceed this limit, you are not liable for US income taxes.
I don't know why they bother wearing mawashi, it just looks silly with all those other clothes underneath. Some male American Sumo do the same thing and it looks just as stupid.
That was really something , watching That was really something watching tochinoshin beat hakuho. I've always had the he feeling that he was so strong, he could even best hakuho in a battle of strength if he was healthy, and now he proved it. Future yokozuna if he can stay healthy.
Seeing this makes me think that it's not merely muscles or bursa but ligaments. It that is the case he would be better off not even doing keiko for 2 or 3 months, much less entering Natsu. But maybe it's just muscles, I really like Takayasu and would like to see him continue healthy.
Eventually they will have to give up the "no girls" thing , even if it is tradition. Might as well get it over with now.
I was just going to ask if this had ever happened. Sounds like it's merely an excuse.
Even if I was a 400 lb Ozeki I would be worried about what could happen if Ichinojo fell on me, especially if it was off the side of the dohyo.
This quote is from Chankomafuji. Here in the US, being a woman is not a disadvantage in sailing, flying, computers, only in areas where physical size and strength is an advantage. Well maybe not in sailing, being a good trimmer requires a lot of upper body endurance. In sumo, of course, women should compete against other women. I understand that "no women on the dohyo" is a tradition, but traditions do change, they are not forever.


text:
"Haiti the Struggle Continues" on Cholera, UN role in Haiti
This week's episode of WBAI's Haiti the Struggle Continues reports on the cholera outbreak, and features a talk with the author of the…
IJDH's Nicole Philips on upcoming Haitian Elections
Vancouver Coop Radio's Redeye program has a feature interview with the Institute for Justice and Democracy in Haiti's Nicole Philips.…
Mario Joseph interviewed on Canadian Broadcasting Corporation
Thursday, October 29, 2010 Tomorrow, CBC Radio One's morning newsmagazine program, The Current, will broadcast a 25-minute interview…
Audio report on the exclusion of Fanmi Lavalas from the upcoming elections
Judith Scherr of Free Speech Radio News reports on the exclusion of Fanmi Lavalas in the upcoming elections in Haiti. Hear the report…
Audio report on the exclusion of Lavalas from the upcoming elections
Judith Scherr of Free Speech Radio News reports on the exclusion of Fanmi Lavalas in the upcoming elections in Haiti. Here the report…
Interviews on aid and charity accountability
Kevin Pina interviews two guests on Flashpoints, KPFA Radio, on September 15 about the state of Haiti eight months after the earthquake,…
Democracy Now! interviews Mark Schuller, Vox Sambu, Jean Saint-Vil on situation in Haiti
According to the UN-sponsored Haiti Reconstruction Fund, only two countries—Brazil and Estonia—have fully paid their pledged amount. The…
Beverly Bell interview: Agriculture and food in Haiti
July 24, 2010--On today's broadcast of Redeye, the weekly news and current affairs program on Vancouver Cooperative Radio, Beverly Bell…
Must See Report on Al Jazeera: Haiti Six Months Later
Fault Lines on Al Jazeera television has produced a startling, comprehensive 25-minute documentary on the six month anniversary of the…
Three Days of Reporting from Haiti on Democracy Now
Democracy Now! broadcasts from Haiti for three days running, six months after the earthquake. On July 12, host Amy Goodman talks with …
Live from Haiti: Flashpoints Radio broadcast June 28
Kevin Pina of Flashpoints Radio interviews independent journalist Ansel Herz about growing desperation in the survivor camps, where an…
Brian Concannon Interviewed on Situation in Haiti
Kevin Pina interviews Brian Concannon on Flashpoints Radio, KPFA, Pacifica Network. The interview begins at the 28 minute mark of the one…
How Foreign Aid Hurts Haitian Farmers
Radio report broadcast on National Public Radio on June 11, 2010 Click here to listen Photo: Sebastien Narcisse, Students in a makeshift…
Haitians protest Monsanto's 'gift' of seeds
News sources are reporting on Haitian farmers' suspicion of seeds donated by agriculture corporation Monsanto and distributed by U.S. AID…
Audio update on medical and relief situation in Haiti
For a very informative update on the medical and relief situation in Haiti, you can listen at the link below to a 50-minute conference…
CBC Dispatches: SODA and self-sufficiency
CBC Dispatches opens its broadcast with a piece on the SODA youth group in Haiti by reporter Stephen Puddicombe. Find a link to the…


With around 3,500 properties for social rent in Gloucestershire, providing homes of all sizes and styles to local people, we're continually investing in our bricks and mortar.
But we're more than just a landlord.
We also play an active part in our local community – from helping local groups to set up or apply for grant funding, to making sure our customers have a voice in shaping services to our staff getting involved with local fundraising.


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About Corwin Australia
Allison S. Michael
Ali Michael, Ph.D., is the co-founder and director of the Race Institute for K–12 Educators, and the author of Raising Race Questions: Whiteness, Inquiry, and Education, winner of the 2017 Society of Professors of Education Outstanding Book Award. She is co-editor of the bestselling Everyday White People Confront Racial and Social Injustice: 15 Stories and sits on the editorial board of the journal, Whiteness and Education. Dr. Michael teaches in the mid-career doctoral program at the University of Pennsylvania's Graduate School of Education, as well as the Graduate Counseling Program at Arcadia University. In the 2017–18 school year, she will hold the Davis Visiting Professorship at Ursinus College. Michael's article, What Do White Children Need to Know About Race?, co-authored with Dr. Eleonora Bartoli in Independent Schools Magazine, won the Association and Media Publishing Gold Award for Best Feature Article in 2014. She may be best known for her November 9, 2016, piece What Do We Tell the Children? on the Huffington Post, where she is a regular contributor. For more details see www.alimichael.org.
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Vignettes is a group show featuring artists from China, Japan, Korea, Malaysia and Singapore, now on at 2902 Gallery. It features diverse works that span across genres, where established photographers are placed next to emerging young artists.
Norihisa Hosaka's Burning Chrome greeted me as I entered the gallery. The post-apocalyptic approach to the Tokyo city-scape at night set a somber note as I moved onto the rest of the show. Guo Yao's Dual approached environmental issues; nature represented by a man in a leaf-suit kneels at the feet of evil corporation man, holding the former at gunpoint. Mu Ge's Going Home series documented how political and environmental issues affected the lives of others.
I was then assailed by Kee Ya Ting's Inquisitive Investigations, where the artist tries to understand quantum physics. Chinese artist Di Jinjun's series, Wet Sea, a collection of wet plates, forced me to look closer at the abstract beauty of the sea. The digital version made the task easier. I was pleasantly surprised by Wilfred Lim's 2020 – images of seafood manipulated marine life with a political underpinning, framed the pace of the exhibition.
Koo Bohnchang's 'White Series' was ethereal, a meditative and contemplative look at walls. I was then transported to The Moon by Shigeru Takato, which took my breath away. I could not help but ask the curator if the otherworldly landscapes were staged or really that of the moon, which was really silly of me. I rounded up the show with Yuki Onodera's Eleventh Finger. The delicate superposition of 'elaborate cut-out lace-like patterns of enigmatic shapes and symbols' on the faces of passersby allowed the show to end on a mysterious note.
Kudos to the curators for making a bold and concerted attempt to tie together diverse works from artists at various stages of their career. Exhibition will run till 31st August 2013. If my memory serves me right, I have not really seen a black-and-white only exhibition of contemporary photography in Singapore. There is a meet-the-artist session at the gallery this Sunday, 28th July 2013, at 3pm.


Manufactured, modular and mobile are terms that are often confused. Although they are all types of factory-built housing, there are some differences.
A manufactured home is defined as a structure built on a permanent chassis that can be used with or without a permanent foundation when connected to the required utilities. Additionally, it is constructed in a factory with federal standards enforced by the U.S. Department of Housing and Urban Development. These standards regulate the home's design and construction, strength and durability, transportability, fire resistance, energy efficiency and quality control. It also sets tough performance standards for heating, plumbing, air conditioning, thermal and electrical systems. The National Building Code Inspection System pre-empts local building codes as they relate to federal construction codes for manufactured homes.
Manufactured homes are single-story and delivered to the home site in one, two, or occasionally three sections. Flooring, cabinetry, fixtures, appliances and plumbing have been installed at the factory. If the home has multiple sections, the sections are joined at the site, with minimal finish work completed by the installer, such as the joining of carpet and the connection of utilities. Manufactured homes may be placed on private property or in a manufactured home community.
Manufactured homes also offer more space than before. Multi-section homes are available with floor space ranging from 1,200 square feet to over 2,400 square feet. With 5/12 pitched roofs, garages and landscaping, they are often hard to distinguish from site-built housing. A University of Michigan study noted that the manufactured home industry has been a leader in developing and implementing new technology that has eventually made its way into site-built housing.
Modular homes can be one-or two-story dwellings and are delivered to the home site in two or more sections, often as a shell of a house. Although some of the interior amenities have been accomplished at the factory, much of the interior and exterior finish work is completed by the builder at the home site. The interior amenities installed at the home site are governed by local codes. Modular homes are placed on private property.
"Mobile home" is the outdated name for manufactured housing, the term mandated by the federal government in 1976. All of the homes built after 1976 must comply with federal standards. These standards regulate things such as durability, materials, systems, wind safety, fire safety and energy safety.


The Seekers Method® Program delivers a unique combination of treatments that work together in a unique and powerful way to help the body heal itself.
This program was developed to provide targeted, intensive treatment that delivers results.
All our programs were developed under the guidance and direction of Dr Richard Nahas, a leader in the field of integrative medicine with over a decade of experience. They were created to improve results with synergy and structure, and they are part of a focus on data-driven treatment that is based on the Seekers Method®.
Different colors of light have different effects on the body. This is because their photons vibrate slightly differently. Photons affect specific structures in the body at the molecular level, so different light will affect different structures. Scientific studies suggest that there are several different ways in which lasers can promote healing.
The red light delivered by our laser acupuncture device has a wavelength of 655 nanometers. Studies have shown that laser therapy in this range changes the shape of hemoglobin and how it binds oxygen, improving micro- circulation and tissue nutrition. It also improves energy production in mitochondria, activates macrophages and other immune cells and turns on antioxidant enzymes.
The device allows us to target treatment to specific areas selected for each patient based on their injury history. This promotes healing where you need it most, and can sometimes include surgical scars, dental problems and areas that have been infected. Clinical trials of red laser therapy have shown positive results in diseases of the brain, nerves and spine, in arthritis and fatigue, and in many other disorders of the heart, lungs and digestive system.
The blue light delivered by our sublingual device has a wavelength of 405nm. This is absorbed by porphyrin molecules in bacteria. This leads them to react with oxygen to produce reactive oxygen species, harsh chemicals that destroy the bacteria from within. This antibacterial effect has led to the use of blue light in industrial and medical settings.
When this laser light is placed under the tongue, it irradiates the sublingual veins. This allows red light to be directly delivered to cells in the bloodstream. This is called 'systemic laser therapy' because it treats the entire body.
Our Seekers Method® program is special because it is unique. This is the only program that combines these specific therapies in this particular way. The treatment sessions include several different steps that work together and build on each other, allowing for deeper treatment to promote a better outcome. We developed this structured approach to layered treatment and our preliminary data suggest that it is very effective.
Another thing that is unique is our ability to target treatment to the blockages that need it most. This yields immediate results that patients can feel right away. Their shock and surprise leads to happiness and feeling good, sometimes for the first time in years. This creates hope, which builds will, which promotes change. A change to a better way of life.
The Seekers Method® Program is also special because of our people. Our incredible team enjoys working in an incredibly positive environment that is focused on helping our patients heal their bodies and brains so they can live better lives. Our focus is on our patients, and we work as hard to make their time with us a healing experience.
For more information or to book your package, please contact 613-727-7246 or use the contact form below.


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Month: October, 2014
Halloween Thrills and Chills from the American Modern Ensemble
At Merkin Concert Hall last night, American Modern Ensemble director and virtuoso percussionist Robert Paterson explained to the sold-out crowd that the show had been eight years in the making. And he made it worth everyone's while. It might or might not have been a rather brazen attempt to upstage works by George Crumb and David Del Tredici with a trio of his own compositions, but that was the ultimate result. Whatever the intention, it made for a great night of music.
The ensemble began as a sextet and by the time they hit the intermission, they'd grown to a nineteen-piece chamber orchestra, heavy on the percussion as you would expect from a composer like Paterson. He's one of the most cinematic around: it's a shock that his work hasn't appeared in more films than it has. He credited both other composers on the bill as being major influences, and while there were echoes of Crumb's flitting, ghostly motives as well as Del Tredici's edgy, carnivalesque tunefulness throughout these works, there was as much ghoulish narrative, comparable with Bernard Herrmann – or Danny Elfman on steroids. Which made sense, this being a Halloween show.
The first number, Hell's Kitchen, included everything AND a kitchen sink (ripped from its frame and hanging over the marimba). Methodically and with not a little gleeful intensity, the group made their way through a chuffing steam-train theme, a lively chase scene and horror-stricken tritones punctuated by brief moments of relatively less unease. Paterson's second work, Closet Full of Demons, was more of a longform horror theme and variations, veering between cartoonish drollery and moments of sheer terrror. The concluding work, Ghost Theater took the wry ghoul-humor to a logical conclusion, sort of a 21st century update on Raymond Scott.
Crumb's Music for a Summer Evening (from his Makrokosmos IIII suite) had a creepy aspect, and a nocturnal one, but also a big, agitated twin-piano cadenza from Blair McMillen and Stephen Gosling early on, not to mention plenty of anticipated autoharp-like figures emanating from inside the piano as the two went under their respective lids to brush the strings. The two percussionists, Paterson and Matt Ward, really got a workout, shifting in a split second between many, many objects, building vivid contrasts between murk and momentary, marionettish motives. As the piece went on, there were persistent references to dreamy Asian-tinged folk themes – and also occasionally maddeningly weird, awkward, seemingly random vocal shouts and mumbles that under different circumstances might have cleared the room. A work with so many other interesting things going on deserves to have those parts discreetly omitted.
Del Tredici's Dracula came across as the kind of piece that would have been staged at Tonic ten years ago, part Vera Beren avant garde horror tableau, part nimbly macabre theme and variations. Soprano Nancy Allen Lundy sang the daylights out of it when presented with a few opportunities to do that. Otherwise, she was relegated to narration, which was luridly fun as the story took shape but quickly became a distraction from what is in every sense of the word a fantastic piece of music. Echoes of Roaring 20s swing, disquieting circus rock and Weimar cabaret juxtaposed with the clenched-teeth intensity from the winds, brass, percussion and strings – violist Jessica Meyer and cellist Dave Eggar getting some of the juiciest parts. Looking back, you could see the twistedly funny ending coming a mile away.
This was it for 2014 for this group, other than a couple of characteristically eclectic trio performances led by Gosling coming up at 5 PM on December 5 and 6 at the Metropolitan Museum of Art balcony bar. But 2015 promises to be especially ambitious for an already ambitious ensemble: a weeklong festival of new music from American composers staged at a reputedly amazing new complex in Danbury, Connecticut, in late summer, and the creation of a fullsize American Modern Ensemble symphony orchestra.
A Distinctive Album and a Couple of Intriguing New York Shows from Irish Songsmith Lisa O'Neill
Irish songwriter Lisa O'Neill likes waltzes. Almost everything on her latest album Same Cloth or Not – streaming at Bandcamp – is in either 3/4 or 6/8 meter.You can see O'Neill listening to Marissa Nadler – or for that matter Marissa Nadler listening to her. Where Nadler goes for the noir right off the bat, O'Neill goes for the folk, but in the end the result is much the same. She's got a couple of New York shows coming up, at the Irish Arts Center, 553 W 51 St. in Hell's Kitchen on Nov 1 at 8 PM for $30 and then at the third stage at the Rockwood at 8 PM on Nov 3 for about the same price, $15 plus their strictly enforced two-drink minimum.
The album features her current band, Stina Sandstrom on harmony vocals and Mossy Nolan on bouzouki, plus some lush arrangements from string duo the Geese (Emma Smith & Vincent Sipprell). The first track, England Has My Man is a bit of a red herring, a gently dancing, pretty waltz contrasting with O'Neill's understatingly biting delivery: "England has my man/My body is cold/England's so lucky/I'm not sure they know."
The second track, Coward's Corner – a big, defiantly brooding ballad with strings and a surreal tinge – is where O'Neill bares her fangs and keeps them out for much of the rest of the material here. She brings back a warmly wistful ambience for the farewell ballad Neillie's Song, with its rich interchange of acoustic and electric guitars, then follows that with Apiania, a dreamlike piano piece that seems to be a dissociative old woman's reminiscence.
The stately, ominous Come Sit Sing has a rich blend of guitar and bouzouki and a long, dramatic crescendo that reminds of the Waterboys at their mid-80s peak. Unlike what its title would imply, Speed Boat is a slow waltz, a requiem for an affair before its end. O'Neill brings back both the surrealism and the defiance with No Train to Cavan, the tale of someone "smuggled across the border in a wheelbarrow, and I'm doing grand." The album's title track, basically a one-chord jam, comes across as sort of a folk take on the Stones' Moonlight Mile, but told from a woman's defiant point of view. The album winds up with the slow, lingering lament Darkest Winter, followed by Dreaming, a lush, swaying art-rock anthem that recalls the Strawbs at their early 70s peak. O'Neill has a very distinctive, rustic voice that she varies from quiet and reflective to towering and intense, and the band matches the mood. She sounds like she'd be a lot of fun live.
A Scorching New Rock Record and an Album Release Show at the Mercury by Lorraine Leckie & Her Demons
Lorraine Leckie is one of New York's most eclectic and prolific songwriters. Her previous album Rudely Interrupted, a collaboration with legendary/notorious social critic Anthony Haden-Guest, was an elegant blend of chamber pop. The one before that, Martini Eyes, was an acoustic album. In the meantime, Leckie has been dividing her time onstage between the chamber pop and the ferocious electric rock of Her Demons, the name she's bestowed on her group with lead guitar monster Hugh Pool, bassist Charles Dechants and drummer Paul Triff. And they've got a new album – one of the final projects to be recorded at the legendary Excello Recording, at least in the studio's original Williamsburg space – titled Rebel Devil Devil Rebel. Leckie and the band are playing the album release show on Nov 13, appropriately enough, at 8 PM at the Mercury. Leckie's longtime tourmate Kelley Swindall, who alternates between oldschool talking blues, murder ballads and pensive acoustic Americana, opens the night with her band at 7; advance tix are $10.
The creepy video for the album's first single, Watch Your Step (that's actress Celina Leroy in the role of the doomed girl) is over at No Depression. Leckie digs in with her vocals for a surprising amount of grit behind Pool's snarling, resonant lines. The title track, a joyous shout-out to New Orleans and its temptations, is even more bristling, Pool channeling Hendrix when he's not veering between Stones roar and classic Neil Young & Crazy Horse. Likewise, Always Got a Song blends Texas shuffle blues, 60s psych and vintage CBGB-era gutter rock.
Leckie wrote the uneasy Laurel Canyon ripper Paint the Towns Red while marching against the Iraq war during the peak of the past decade's protests. Come A Dancin', which shifts between Nashville gothic and psychedelic menace, has quite the backstory: Leckie had a dream about a film titled Blood and Sand, starring Tyrone Power and Rita Hayworth. The following day, she went to the video store and, on a lark, asked the clerk if such a movie existed. Not only did the film actually exist – Leckie, who'd had no idea that there was any such thing, rented it and discovered that it's about a woman who seduces men with her guitar!
The ominously lingering Beware, with its distant early Alice Cooper vibe, was inspired by friends lost to drug overdoses. Leckie switches from guitar to piano on the lithely dancing, string-infused Blink Blink, which she was inspired to write by her late dog Killjoy: "'The dog would go sit in the yard for hours and stare like she was saying goodbye to the world," Leckie explains. And the delicate Fly Away Little Sparrow is a dedication to her late brother, a suicide.
By contrast, Rainbow has a jaunty, glam-infused feel, like Warren Zevon on mushrooms. There's also a much harder-rocking, eerily psychedelic take of the serial killer tale The Everywhere Man, which originally appeared on the Rudely Interrupted album. It's another triumph for Leckie and her bleak yet resiliently individualistic vision. The new album's not out yet but will be at all the usual spots in the next couple of weeks along with the rest of her darkly intense catalog.
Good Cop and Bad Cop Revisit a Mysteriously High-Voltage LJ Murphy Show
Good Cop: You watch the game last night?
Bad Cop: Now what on earth would make you think that I'd be interested in two mediocre third-place clubs duking it out this late in the season?
Good Cop: It's in character. It's what you'd do.
Bad Cop: It's like 1997 all over again but not quite that absurd. Do you know what the pitcher who's starting for the Giants tonight had for a won-lost record this year? Nine wins, thirteen losses. The post-EY Junior Tim Hudson isn't the guy he was a dozen years ago.
Good Cop: I don't get the reference.
Bad Cop: You should. It's a Mets reference.
Good Cop: I haven't followed the Mets lately. Although I do remember when they won the World Series.
Bad Cop: You were alive that far back?
Good Cop: Yup, I think I was in kindergarten that year. My brother was so psyched. He was in little league. He made my dad get him a Gary Carter jersey. He wore that thing out. All the boys had them.
Bad Cop [wistfully] Kid. RIP.
Good Cop: You mean he's dead?
Bad Cop: Yup. And he didn't even do steroids like all the players now. At least not as far as I can tell.
Good Cop: That's too bad. You'd think my brother would have mentioned it. Although he hasn't followed the Mets much lately, either.
Bad Cop: I don't think anybody has. I don't even think LJ Murphy has.
Good Cop: Speaking of which, we're going to go see him with his band the Accomplices this Saturday, November 1 at 8 at Sidewalk, right?
Bad Cop: If you say so. In fact, I'm looking forward to it. We saw him earlier this summer. Right?
Good Cop: You were there!
Bad Cop: I think you're gonna have to take this one for me because I don't remember much about that show.
Good Cop: You were already half in the bag by the time you got there. You must have started really early!
Bad Cop: Hey, the guy has a great band and puts on a helluva show. It's a party, and I meant to take full advantage. And Sidewalk has that shot-and-a-beer special…
Good Cop: Which didn't take you long to take advantage of…
Bad Cop: So shoot me. I had a good time. Or at least I think I did.
Good Cop: This puts the burden on me to remember what happened and I was hoping you could help out with that. It was awhile ago. Mid-July when he was here last.
Bad Cop: Let's just talk about the songs. I think we can piece together something. He did Pretty for the Parlor, right?
Good Cop: Yeah, his Long Island serial killer narrative. What a great storyteller this guy is. "You found your sanctuary/In this living mortuary/But be careful what you bury/Underneath the house…" As sick as the guy in the song obviously is, you end up rooting for a serial killer because where he comes from is just as bad.
Bad Cop: What is it with you Long Island people, anyway, all these serial killers?
Good Cop: Bad water, overcrowding, all the good stuff in the gene pool got left back in Manhattan or Brooklyn.
Bad Cop: Or Queens. That's where LJ's from, right?
Good Cop: Yup. He's got it in his voice. That, and the New Orleans.
Bad Cop: Where did that come from?
Good Cop: Charles Brown, Dr. John, Lee Dorsey – a century of jazz and blues. That's what I like about this band: rock songwriting, jazz values. He's like a jazz guy, always somebody new in the band, always something different every time even if the songs and the lyrics are the same.
Bad Cop: And a sense of humor. And that's part of the music too. I seem to remember the bass player, Nils Sorensen, having a lot of fun, a lot of jokey riffs.
Good Cop: Everybody has fun in this guy's band. I mean, I would if I was in it.
Bad Cop: What would you do, play castanets?
Good Cop: Sure, why not? He had a girl in the band once. Remember?
Bad Cop: Supposedly there was more than one but I don't go back that far with his music.
Good Cop: Neither do I, which is why [elbows Bad Cop] I was hoping you could help me out with this one, but instead you got completely trashed…
Bad Cop: Why the hell not? What this guy plays, ultimately, is party music. Sure, the lyrics are very clever, all kinds of double meanings and so forth, but he's got sort of a jump blues band. You can dance to this stuff. Not that anybody's gonna be dancing at Sidewalk…
Good Cop: Well, don't be surprised if it happens. Let's see, if I can go way back in my mind and remember what else was on the set list…I think he did Blue Silence, that's that romping blues tune that had the trick ending. And Nowhere Now, which I can't make any sense of, it's sort of Chuck Berry but more stripped down. And of course Happy Hour, which is one of my favorites, that's one everybody can relate to…
Bad Cop: A classic. And a distinctively New York song…
Good Cop: You don't think that just about anybody who's stuck hanging out with losers from the office after work could relate to it?
Bad Cop: Hmmm…maybe you're right. I can't really distance myself from it: that song completely nails what it's like in the Financial District after five. Ugh.
Good Cop: And they also did Comfortable Cage, which is a really pretty, bittersweet soul song.
Bad Cop: Another one of his portraits of damaged women. Worthy of Almodovar, if I say so myself.
Good Cop: God, that sounds so pretentious. And LJ doesn't just write about women…
Bad Cop: True. Although women factor into the music, at least to the extent that you would expect from a blues singer…
Good Cop: Tangentially. LJ's songs are about trying to maintain your sanity even while you're surrounded by idiots, it seems to me…
Bad Cop: Spoken like somebody from Long Island…
Good Cop: You mean Queens.
Bad Cop: You're not from Queens.
Good Cop: I meant LJ…
Bad Cop: Uh, right. So I meet you at Sidewalk at 8? And six months later we revisit this same scenario when I can't remember a thing?
Good Cop: This time I'll get it all on my phone. See you there!
Singles for 10/29
Moving right along through the virtual stack until it's finally done. Today is two catchy ones and one funny one.
Kin Ship's Golden Dust is gorgeously jangly, clanging Byrdsy powerpop (soundcloud).
Sam Kogon's Wake Up Your Kids/Sleeping Beauty has a soaring chamber pop A-side; the B-side is a trippy, waltzing Zombies-esque psych-pop tune with teens production values (bandcamp).
And Michael and Mardie's Douchebag at the Bar is one of those songs that needed to be written: it's a good thing these two did.
Arun Ramamurthy Radically Reinvents Ragas
Although violinist Arun Ramamurthy has extensive training in Indian carnatic music, he's also a jazz guy. He's got a lively, intriguing, cross-pollinating new album, Jazz Carnatica,streaming at Bandcamp. It's an attempt to radically reinvent ragas with his trio, Perry Wortman on bass and Sameer Gupta – leader of Indian jazz band Namaskar, who reinvent old Bollywood themes – on drums. What does this music sound like? Because all but one of the tracks are based on classic ragas, it's Indian classical music first and foremost. But the rhythms are lithe and dancing and full of pulsing energy, and far more terse than the frequently expansive, slowly unwinding themes of sitar music. If you've got friends who might confide something like, "Sure, I like Indian music ok, but it's so meeeelllllllloooooowwwwww…" play this the next time you see them and they'll have a change of heart. The trio are playing the album release show on Nov 1 at 8 PM at at Greenwich House Music School, 46 Barrow St. in the West Village; cover is $15.
As much as Ramamurthy's violin moves around, and it's always in motion, even when he's at his most energetic he doesn't stray far from a central tone. That tension fuels a lot of understated mystery here. The opening track starts out surprisingly funky, with a catchy turnaround and a very cleverly implied two-chord (or two-mode, if you must) vamp. The elegant intro of the second number quickly gives way to a dancing but hypnotic theme, which the band vamps on – Wortman often doubles Ramamurthy's lines, providing a staccato contrast to Ramamurthy's lingering sustain.
Marc Cary – who also plays with Gupta in Namaskar – guests on the album's three central tracks. The first also features another cross-pollinating violinist, Trina Basu – it's the closest thing here to a psychedelically rustic, Ravi Shankar-style raga, but built around a riff that's pure blues. The second has Cary adding a little calypso jazz flair and the most traditional jazz vernacular of the tracks here.
The next two tracks build out of moody atmospherics to more lively interplay. Likewise, the seventh track – the one Ramamurthy original, and the best of them all – expands outward from a broodingly chromatic tune to a bouncy bass solo. As the album goes along, Ramamurthy goes deeper into the microtones, his rather severe, intense tone contrasting with Wortman's bubbly bass on the eight number here. The final one is the closest to the kind of modal jazz that Gupta plays in Namaskar, Ramamurthy choosing his spots. All of the tracks clock in at more than five minutes, sometimes considerably more. Onstage, they'll probably take them out even further into more psychedelic territory. This is an album that will grab a lot of people: Indian music fans in search of a shot of adrenaline, and jazz fans who thrive on the space between the notes.
Stupidity Headlines a Smart, Purist R&R Triplebill Saturday Night at the Delancey
Would you go see a band called Stupidity? It takes some nerve to call yourselves that, doesn't it? This particular band is from Stockholm, and they're headlining an excellent retro rock bill this Saturday, Nov 1 at 11 PM, with catchy, jangly Merseybeat revivalists the Above opening at 9 followed by garage guitar maven Palmyra Delran – formerly of the Friggs – at 10.
The first track and single from Stupidity's latest album – streaming at Reverbnation – is King Midas. Bassist Miss Anna holds it down with a growling groove along with drummer Tommy Boy's soul-clap beat, guitarist PA's distorted blue-flame chords and singer Emiz's throaty howl. The b-side, On Fire kicks off with a dragster exhaust sample and works a Kill City-era Iggy vamp. The third number, Go, doesn't waste anything: classic four-chord garage-punk hook, slamming tom-toms and a simple, jagged guitar solo that ends with a nasty pickslide.
By contrast, Rum & Gone has an early 70s Stones groove and a terse, smart lead break – as you would expect from the title, it's a drinking song. Run nicks the Brand New Cadillac riff and takes it further into ghoulabilly territory. The longest track here, New York, is not the Sex Pistols classic but an original, poking fun at "big shops and wannabes, valentines and divorcees," Emiz taking a typical stroll through the East Village.
Whatcha See Is Whatcha Get is also an original, bringing to mind what the Clash did with Booker T. & the MG's. They follow the vamping, Lou Reed-style Heartland with Baby It's You, which welds a big anthemic chorus to a desperate, vintage Stooges riff-rock verse. The last track here is the punkest. Oldschool American rock sounds, no wasted notes, good energy, catchy tunes, what more could you want?
An Exhilarating Celebration of Ancient Yet Avant Garde Korean Sounds at Symphony Space
Saturday night's celebration of traditional Korean music and dance staged by Sue Yeon Park of the Korean Performing Arts Center at Symphony Space featured sounds that were as cutting-edge as they were rustic. Korean pansori singing, and much of Korean singing in general, employs microtones and trills and downwardly bent notes that would baffle an awful lot of western musicians. In her gritty, expressive contralto, like something of a Korean mountain-music counterpart to Tina Turner, iconic pansori chanteuse Shin Young-Hee made it look easy throughout a rather macabre-tinged excerpt from the 19th century love epic Chunhyung-ga. Famous Korean percussionist Lee Kwang-Soo – a gregarious and engaging guy with an edgy sense of humor – led a drum troupe through a thunderously hypnotic, subtly polyrhythmic benediction of sorts. Virtuoso Gee-Sook Baek teamed up with drummer Soung-Jae Cho, who spurred her on through a rivetingly spacious, suspenseful performance on the gayageum, a twelve-string lute that throws off otherworldly tremoloing tones and seems like it could be a predecessor of the sitar. Meanwhile, the night's emcee, a musicologist from Seoul, reminded the crowd that all this music dated from an era when there was no distinction between performer and audience: participation is pretty much mandatory. All this did nothing to discourage the commonly held notion that Koreans are the 24-hour party people of Asia.
There was plenty of drumming, notably a skull-pounding interlude to open the second half of the concert by the Rutgers Korean Cultural Group, to rival the kind of explosively shamanistic Brazilian sounds produced by BatalaNYC. There was also dancing, lots of it. Park herself took a solo, a graceful number that saw her practically disappear into the stage, facedown, at the end, the folds of her silken costume edging closer and closer downward. It's one thing to do the splits, Chuck Berry style – it's another to hold that position in place. Park was doing that twenty years ago and clearly hasn't lost any athleticism in the ensuing two decades, no small achievement.
A bevy of women swayed and gently exchanged places throughout a stately fan dance, serenaded by the band offstage. Several of the drummers wore ribbons on a swivel affixed to the rear of their uniform helmets, which they spun by moving their heads quickly, side to side – how they managed to keep their footing, keep the ribbons swirling, and keep time, without losing their balance or running headfirst into the the back wall of the stage, was impressive, to say the least. One of them finally made a circle of the stage, spinning faster and faster, leaning in toward the center in a more explosive take on what Turkish dervishes will do at the peak of a musical number. The night's final performances brought a full musical ensemble together with the dance/drumming contingent (there was a lot of overlap among them, the night's organizer included); tersely intense geomungo (six-string zither) player Mi Jin Park being a standout among them.
The Korean Peforming Arts Center and their house ensemble, Sounds of Korea, stage frequent outdoor concerts during the warmer months, from Lincoln Center to Little Korea just south of 34th Street and points further south as well; bookmark their webpage if sounds as sophisticated yet ancient as these are your thing.
Paul Dresher Brings Haunting New Music and New Instruments to Roulette
Paul Dresher's Double Duo made a stop at Roulette last night that included a shattering world premiere played by Twosense, and the New York debut of a couple of brand-new instruments. Joel Davel played the marimba lumina – a digital marimba whose library of samples includes a full symphonic percussion section, and is enabled to mix and match a vast number of timbres beyond the instrument's typical acoustic range. Dresher and Davel aired out the epic sonic capabilities of the quadrachord, which is basically a giant (i.e. twenty-foot) bass lapsteel. The results spanned the emotional spectrum, from nerve-wracking angst to joyous musical acrobatics, It was one of the best New York concerts of the year, without a doubt.
Variations on an eerie theme circled uneasily and then gave pianist Lisa Moore the opportunity to deliver the gamelanesque loops of Dresher's Double Ikat, Part II with a Bach-like precision, joined in tight choreography with Davel on the marimba lumina and Karen Bentley Pollick's alternately dancing and atmospheric violin. A pervasive Philip Glass influence became clear as the trio took it down from an insistent peak to an elegaic outro, Pollick low and affectingly austere.
Dresher's Glimpsed from Afar paired the composer on the quadrachord with Davel's marimba lumina. It was sort of a demo of everything the instruments can do together – swoops and dives, sustained sheets of sound, shivery dynamic shifts, ghostly lulls, sly oscillations, joyous percussion samples bursting from the marimba lumina, pointillistic loops and finally a tightly percussive yet deliriously jaunty outro with both players on the quadrachord hammering away on mallets, a cymbal and other percussion objects placed under the strings. Hypnotic yet explosive, much of it sounded like a more concise take on what Michael Gordon did with Timber, his longscale work for amplified sawhorses, a few years back.
The highlight of the concert was Moore and cellist Ashley Bathgate playing the world premiere of Dresher's triptych Family Matters. Packed with dark chromatics and ominous passing tones, it was a study in contrasts, all of which eventually took on an aspect that ranged from funereal to downright macabre. The duo built subtly out of a dancing theme to a lively but equally agitated series of rises and falls throughout the first part. Then it fell to Moore to keep the steady, almost baroque rhythms going as the piece slowed down, Bathgate employing a viscerally aching vibrato and a chilling sense of longing and loss as its morose dance wound down. Moore took Mood Swings, a harrowing dirge, to a menacing, modal minuet at its peak, then Bathgate brought back a relentless, inconsolable angst with starkly resonant, stygian, sometimes microtonally-tinged lines that were nothing short of harrowing.
The concert wound up with Martin Bresnick's Fantasia on a Theme of Willie Dixon, which turned out to be simply the minor third interval on which his song Spoonful is based. You know it: Howlin' Wolf did the original; the Allman Brothers made it famous. Dresher's hovering electric guitar lines mingles with Moore's impressionistic piano and Pollick's jaunty cadenzas and simmering sustain while Davel served as a one-man percussion section on the marimba lumina. It was like early ELO with more challenging tonalities, Moore delivering its most unsettlingly delicious, glimmering interludes.
Here's Labba doing Nice to Meet Ya featuring Illa Ghee and B Rutland – heavy-lidded, blunted ODB-inspired deep Brooklyn hip-hop. Nice vintage Ralph McDaniels-style video too (youtube).
Speaking of cool footage, here's some from Coney Island now – for future archives, when the coastline is all deserted luxury condos turned into crackhouses – via Lorraine Leckie's bittersweet Happy City video. She's got a release show for her new album coming up at the Mercury on Nov 13 at 8; Nashville gothic singer Kelley Swindall opens the night at 7.
And another Canadian crew, the Rural Alberta Advantage bring to mind the Jayhawks circa Sound of Lies with Terrified (soundcloud).


Learn STAMMER from sentences of classic books. The app collects 10,000 middle or hard words; input your word, you not only get its meaning and example, but also have sentences and their contexts from classic literatures.
He did not hear what Amy was saying, and whenever she paused expectantly he could only stammer an awkward assent, which was as often misplaced as otherwise.
My heart was beating so fast, and there was such a singing in my ears, that I could scarcely stammer I had no objection.
In fact, he held the whip hand of the situation so completely that she was as flustered as a girl at her first proposal and she could only blush and stammer.
Then rolling her fiery eyes, she thrust him back as he would stammer out more, raised two serpents in her hair, and, sounding her whip, resumed with furious tone:.
Morcerf was so completely overwhelmed by this great and unexpected calamity that he could scarcely stammer a few words as he looked around on the assembly.
I stammered worse than before, in replying that I meant no compliment, but the plain truth; though I was not aware of any change having taken place in the weather.


text:
Rujuta Diwekar's book, a sorted guideline for pregnancy
Rujuta Diwekar's book, a sorted guideline for pregnancy
Celebrity nutritionist Rujuta Diwakar's new book, titled "Pregnancy Notes: Before, During and After", opens with a personal note by Bollywood actress Kareena Kapoor Khan, who shares her experience of motherhood -- from her pregnancy till the birth of her son Taimur.
By: IANS | New Delhi | Published: June 29, 2017 5:03:50 pm
Celebrity nutritionist Rujuta Diwekar
A mom-to-be is never too short on "Dos and Don'ts" pouring in, leaving her perplexed during the most important phase of her life. But now she has a rescuer in health expert Rujuta Diwekar's latest book that helps with tips for all those who are either planning to have a child, are pregnant or are nursing moms.
Titled "Pregnancy Notes: Before, During and After" (Publisher: Westland, pp 207, Rs 250), the book takes readers through the journey with tips starting from before pregnancy till the baby is delivered.
The book opens with a personal note by Bollywood actress Kareena Kapoor Khan, who shares her experience of motherhood — from her pregnancy till the birth of her son Taimur. Kapoor prodded Diwekar to write a book on pregnancy and how to stay healthy before, during and after.
"Pregnancy and motherhood are fun if you are ready to enjoy every change in the body, every milestone with your baby," Kapoor writes in the book. "Pregnancy is a psychological milestone, don't confuse it with a sickness…emotionally also, it's the most vulnerable stage a woman can go through," she added.
For a better understanding of pregnancy, Diwekar has sketched out a complete schedule from first to third trimester which includes eating habits to exercises required. "Pregnancy is a time when a woman is at her most vulnerable phase and this exposes her to many half-baked truths," she pens.
The book also elaborates each stage which includes notes on food, exercise and recovery. Also included are heritage recipes from across the country.
During pregnancy, a lot of questions usually float in a woman's mind, like whether to go for a bumpy auto-ride, how much protein and vitamin supplement to take, how to avoid morning sickness and many more. Diwekar's book answers all sorts of questions.
She cites tennis ace Serena Williams' example when breaking myths on physical activity during pregnancy. Williams won the Australian Open Grand Slam during her first trimester. Kapoor, too, suggested that if the body remained healthy during pregnancy, there was no question of quitting one's job, rather one could travel or even walk the ramp!
However, the book doesn't just suggest how to have a healthy nine months but also says how to shed those extra pounds post delivery.
The book is a good read for cosmopolitan women where all the basic information about pregnancy has been summed up with quick, easy-to-follow notes.
Rujuta Diwekar


text:
Q: How to trigger a new X-Editable to open from the success function of the present one? I'm using the Bootstrap X-editable to let people do inline edits of their profile. One of the things that the user can edit, has an influence on another editable though. If editable A (a year) is set to the current year, the user is obliged to make a decision in editable B (a certain tax rate) as well.
So the editable options for the editable year are as follows:
$('#year').editable({
    pk: 1,
    success: function(response, newValue){
        if (newValue == 2014){
            $('#tax_rate').trigger('click');
        } else {
            $('#tax_rate').html(2);
        }
    }
});

EXAMPLE FIDDLE  HERE
This behaves fine except for the year 2014, in which it does indeed post the correct value to the back-end, and subsequently indeed clicks/opens #tax_rate, but somehow, the click prevents the new year from being displayed correctly in #year. If I refresh the page, the year displays correctly again, but it's just when I try to trigger the other editable, that it doesn't display the year correctly after saving it. Just try opening the fiddle and changing the year to 2014 to see what I mean.
So does anybody know how I can both update the new year in the DOM and also click/open the tax_rate editable? All tips are welcome!

A: I advice you to async UI interact:
Like this:
$('#year').editable({
    pk: 1,
    success: function(response, newValue){
        if (newValue == 2014){
          setTimeout(function(){
             $('#tax_rate').trigger('click');
          }, 0);
        } else {
            $('#tax_rate').html(2);
        }
    }
});

It should work correctly, I think
Add:
Also you can trigger click event vanillaJS framework using.
I think $.trigger cause the some UI update fault.
It's simple:
document.getElementById('tax_rate')
  .dispatchEvent(new Event('click'));


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text:
/**
 * @file
 * @brief IO of 3D scan from Uni Hannover
 * @author Kai Lingemann. Institute of Computer Science, University of Osnabrueck, Germany.
 * @author Andreas Nuechter. Institute of Computer Science, University of Osnabrueck, Germany.
 */

#ifndef __SCAN_IO_RTS_MAP_H__
#define __SCAN_IO_RTS_MAP_H__

#include <string>
using std::string;
#include <vector>
using std::vector;

#include "scan_io.h"

/**
 * @brief 3D scan loader for RTS scans. The first scan
 * is a point cloud calculated from a 2D line map.
 *
 * The compiled class is available as shared object file
 */
class ScanIO_rts_map : public ScanIO {
public:
  virtual int readScans(int start, int end, string &dir, int maxDist, int mindist,
			double *euler, vector<Point> &ptss);
};

// Since this shared object file is  loaded on the fly, we
// need class factories

// the types of the class factories
typedef ScanIO* create_sio();
typedef void destroy_sio(ScanIO*);

#endif

redpajama_set_name: RedPajamaGithub