I've been a mentee in two different contests in my time, and I'm currently a mentor in Pitch Wars. I also have a degree in Creative Writing, and years of experience critiquing and editing manuscripts.
I love dark characters. Complicated, nuanced, fractured and flawed and not 'good' in the traditional sense. Whether in a fantasy, scifi, horror or historical setting, a strong character will compel me to read more.
I tend to love morally grey characters, with antihero or straight up villains in the starring role. Complicated morals and interpersonal relationships are always good, and I love love love three dimensional monsters, like August in this Savage Song.
I also like stories with strong world building and atmosphere. I like to feel immersed in the story, whether that's because you've built a haunting and disturbing horror atmosphere that will keep me up at night, a beautifully textured historical piece that pulls me back in time, or you've integrated futuristic technology in so seamlessly and so fascinatingly that I feel like I'm a part of that world.
For plots, I tend to like clever characters and action oriented stories. I especially like stories that revolve around the darker side of worlds. While I definitely do read books that focus on princes regaining lost thrones and such, you'll truly catch my heart with things like heists, faustian bargains, cults, and criminal underworlds.
Last year, when all hope was lost for me, I applied to Pitch Wars. I got in, and the experience changed my life. My mentors helped my novel, and the exposure led to an agent and publishing deal. I want to try and give back to the community that's helped me so much.
Fantasy — I love unique and original worldbuilding. There's so much possibility in fantasy, show me something I've never seen before.
Contemporary fantasy — I love worldbuilding that integrates our world with a fantasy one in interesting ways. Think Curseworkers, by Holly Black.
Scifi — plots that explore technology in new and interesting ways and ramifications of it on a very individual level (like how the Diabolic or Defy the Stars redefine what it means to be human with their not quite human MCs). I have an undying love of sentient AI characters and creative use of technology.
I tend to do overarching feedback first. I write out a letter focusing on structure, pacing, characterization, and any other issues I see in the plot. Then, after the mentee has had time to read over the letter, and brainstorm a little, I schedule a Skype chat and we talk about the changes and brainstorm solutions to the problem together. If they have follow-up questions over the next few days, we chat about them online, and then when the novel is ready, I line edit the first chapter to polish it and we do query work together to make the submission package shine.
Someone with a strong idea of what they want their manuscript to be, and are willing to put in the work to get it there.
non-western settings! Pllllllleeeeease, give me some really great books set or based on foreign countries! Bonus points for any of the places I've lived (Peru, Hong Kong, Taiwan, Japan, Canada). Extra double bonus points for #ownvoices.
a YA historical retelling of any of the women from Rejected Princesses or Bygone Badass Broads.
Books:This Savage Song, Victoria Schwab. The Young Elites, Marie Lu. Defy the Stars, Claudia Grey. Coldest Girl in Coldtown, Holly Black. An Ember in the Ashes, Sabaa Tahir. Dragon's Bait, Vivian Vande Velde. Cracked, Elize Crewe. Six of Crows, Leigh Bardugo. The Diabolic, SJ Kincaid. The School for Good and Evil, Soman Chainani. Artemis Fowl, Eoin Colfer. Across the Universe, Beth Revis. The Raven Boys, Maggie Stiefvator. Forest of a Thousand Lanterns, Julie C Dao.
TV/movies: Buffy, Death Note, Fullmetal alchemist Brotherhood, iZombie, Stargate, Brain Dead, Sherlock, Psychopass, Darker than Black, Tokyo Ghoul, Sword Art Online, Attack on Titan, Legend of the Galactic heroes, Death Note, Dr. Horrible's Sing Along Blog, Monsters (jdrama), The Mummy (the '90s one, not the new one), Pan's Labrynth, Jumanji.


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You are here: Home / Opera / Orchestra / Festivals / Schools / Performings Arts / Eastman Student Chosen as First Artist-in-Residence at Valley Manor
Eastman Student Chosen as First Artist-in-Residence at Valley Manor
October 4, 2017 Comment Off 41 Views
Providing a musical environment for seniors while offering an affordable living arrangement for a music student is the concept for a new program being offered at Valley Manor, an independent living community part of Episcopal SeniorLife Communities. The result is a new Artist-in-Residence Program that gives an Eastman School of Music student an arrangement to live and perform at the community. The student provides monthly performances, music for events, and sharing of meals and time with residents for a modest monthly rent. Doctoral student and violinist Yunjung Lee is the first Eastman Student to be chosen for this special new program.
Marie Rolf, PhD, Senior Associate Dean of Graduate Studies at the Eastman School, said, "We are thrilled to launch an Artist-in-Residence Program at Valley Manor this fall. We believe that the regular presence of our graduate student artists will enhance the residents' quality of life, just as the experience of living among the Valley Manor family will benefit our students. What an extraordinary opportunity this is for Eastman Students to make a difference in the lives of members of our Rochester Community."
Ms. Lee is from South Korea and began studying violin at the age of 5. She has performed with orchestras around the world, including the Greece Symphony Orchestra, the Seoul Philharmonic, Korean Symphony Orchestra, and many others. Ms. Lee participated in the Music Academy of the West in 2010 and 2011, the Brevard Music Festival in 2013, Orford Music Center in 2015, and International Chamber Orchestra of Puerto Rico in 2017. In 2011, she came to the Eastman School of Music, where she earned her bachelor's and master's degree, studying under the tutelage of Zvi Zeitlin and Federico Agostini. Additionally, she has studied with Daniel Mason, Hynsu Kwon, and Jung il Lee.
"It will be an unforgettable experience for me to have this opportunity in my life," said Ms. Lee. "It is priceless pleasure for me to share my music and passion with the experienced seniors in this wonderful senior community and to make them happy. Also, I have already learned precious life lessons from them through our daily conversations." Yunjung moved into Valley Manor on September 1, and will reside there until late spring. She was one of three finalists interviewed by ESLC Residents and Administrators for this opportunity.
Valley Manor is located at 1570 East Avenue, in the heart of the cultural district of Rochester. It features 128 custom apartment homes with amenities such as a restaurant, fitness center and pool, art gallery, library, deli and full concierge services. Valley Manor has been known for its cosmopolitan milieu and exceptional services since 1970, and their intention is to continue to build upon that reputation.
"We are thrilled to have Yunjung Lee join our community and have welcomed her with open arms," said Michelle Scipioni, Executive Director of Valley Manor. "Her musical ability and experience is incredible and I know the residents are looking forward to a memorable year as we embark on this partnership with the Eastman School of Music."
A special reception for residents and invited guests will take place to welcome Ms. Lee on Monday, October 16 at 2:00 p.m. at Valley Manor, 1570 East Avenue. Her performance for Valley Manor Residents is scheduled for Sunday, October 22 at 4:00 p.m.
Note to Media: Media welcome to attend the event on Monday, October 16 and/or the first performance. We request interviews be scheduled prior to or after the reception/performance. Please contact Alison Miller for scheduling – 585.330.2923 (cell), 585.546.8439 x3716 (office), [email protected]
About Eastman School of Music:
The Eastman School of Music was founded in 1921 by industrialist and philanthropist George Eastman (1854-1932), founder of Eastman Kodak Company. It was the first professional school of the University of Rochester. Mr. Eastman's dream was that his school would provide a broad education in the liberal arts as well as superb musical training. The current dean is Jamal Rossi, appointed in 2014.
About 900 students are enrolled in Eastman's Collegiate Division– about 500 undergraduate and 400 graduate students. Students come from almost every state, and approximately 20 per cent are from other countries. They are guided by more than 95 full-time faculty members. Seven Pulitzer Prize winners have taught at Eastman, as have several Grammy Award winners. Each year, Eastman's students, faculty members, and guest artists present more than 700 concerts to the Rochester community.
About Episcopal SeniorLife Communities:
Founded in 1868 through the generosity of the local Episcopal community, the original Episcopal Church Home has grown to provide a full range of highly regarded, not-for-profit, residential service for seniors known as Episcopal SeniorLife Communities. Our communities include: The Episcopal Church Home, The Center for Rehabilitation, River Edge Manor, Brentland Woods, Rockwood Center, Seabury Woods, Beatrice Place, Valley Manor and Pinehurst.
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redpajama_set_name: RedPajamaCommonCrawl


Over 80 per cent of the world's production of phosphorus (P) is devoted to plant fertilization. Within the next 50 to 100 years, global phosphate resources are predicted to be depleted. Paradoxically, although phosphorus fertilizer is expensive, and although there is only a finite limit to available phosphate rock worldwide, much of the P arriving at wastewater treatment plants comes from arable land. Furthermore, phosphorus entering open water sources has become a source of environmental concern.
Phosphorus plays several roles in a plant's life. It is prominent in the structure of nucleic acids—the components of DNA, the carriers of genetic information; and is important in the process that harnesses energy derived from photosynthesis and released by respiration. Phosphorus is especially needed to grow cells and seeds.
Phosphorus also enhances the symbiotic nitrogen (N) fixation process in legume crops. P-deficient plants show a reduction in leaf expansion and number of leaves because cell production and division rates are reduced. Leaves and stems may sometimes turn dark green or purple.
P-deficient plants often have smaller fruit and limited harvestable biomass. Shoot growth is more suppressed than root growth, which decreases the shoot/root ratio, and leaves can accumulate starch and sugars due to the lack of ATP which helps transport phloem.
Soils contain both organic and inorganic phosphorus compounds. Plants typically absorb the inorganic forms but under certain conditions, plants may also absorb soluble organic phosphates. Warm temperatures and a near-neutral pH are favourable for organisms which release inorganic phosphorus from organic phosphates.
On average only 1 – 2% of organic P is mineralized to inorganic P; but during periods of rapid growth, phosphorus in the soil solution may be replaced ten times or more per day from solid-phase phosphorus forms. Unlike nitrates, phosphates are only slightly mobile in the soil, which reduces plant root exposure to the phosphorus. Also, cool soil temperatures frequently induce P-deficiency because of limited root growth and development. A fungus called Mycorrhizae can form a symbiotic relationship with a plant, greatly increasing the surface area of the roots and assist with phosphorus uptake.
Generally, annual crops require a pre-plant application of phosphorus fertilizer; or, in the case of perennial crops, before the fruiting cycle begins. Because of the low mobility of phosphorus in the soil, it is generally recommended that the fertilizer be placed near the plant roots. Band application or plant whole application rather than broadcasting are typically preferred methods of P-fertilizer application.
There are various P-containing fertilizers on the market. Research has demonstrated an increased uptake of phosphorus by plants when the ammonium form of nitrogen is applied with phosphate fertilizer. Very little practical difference exists in agronomic effectiveness among fertilizer sources in most cases. However, there are a few considerations: (1) the more acidic fertilizers, like TSP and MAP, may have slightly more effectiveness under conditions where soil pH levels are basic, soil test phosphorus levels are low, and fertilizer rates are high; and (2) the ammonium in DAP can convert to free ammonia. DAP should therefore be avoided on soils with high pH or with free lime.
Phosphorus not taken up by plants may be transferred to the soil inorganic pool and immobilized. Inorganic phosphorus entering soil solution is rapidly converted to less available forms related to the presence of iron and aluminum (hydrous) oxides at low pH values, and calcium carbonate at high pH values. Hence, there is an optimal availability of phosphorus in the pH range of 6.5 to 7.
The complex relationship with other soil and biological components and the many transformations of phosphorus make an analysis of plant-available phosphorus quite difficult. Crop response is weakly correlated to the total amount of phosphorus in the soil. A meaningful soil test requires an extractant that relates test results with the amount of fertilizer required for optimal production—ideally in a wide variety of soil types and conditions.
Numerous extraction methods have been developed, all with advantages and limitations depending upon the soil type for which they have been targeted. Generally, water-based extraction correlates well with shallow-rooted, fast-growing vegetable crops; while methods with complexing solutions, acids, or alkaline buffer solutions are better suited for field and orchard crops.
In British Columbia Bray-I, Mehlich-III, Olsen, Kelowna-I and Kelowna-III are frequently used methods. The suitability of the different methods relies on long-term correlation studies that have established relationships between the extraction method, the soil, and crop response. Bray-I has proved reliable in predicting crop response on neutral to acidic soils but it is less effective on basic soils. The Olsen test generally correlates well with crop response on calcareous soils. Mehlich-III has been shown to be reliable across a wide range of soil-crop production circumstances. The Kelowna extraction methods are the last provincial standards publicly developed for soil phosphorus (and potassium) testing for agronomic purposes. Fortunately, the amount of P extracted by each method is often strongly correlated.
Phosphorus has no substitute in sustaining life and food production on our planet. Unfortunately, in some parts of the world, the wasteful application and wrongful management of phosphorus have resulted in an environmental epidemic of eutrophication. It is clear that modern agriculture is required to resolve this dilemma and ensure humanity can continue to feed itself while protecting environmental and human health.
Copyright © 2014 Modern Media Ltd. All Rights Reserved. Responsive Web Design by Raize Digital.


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Home Forums USA Major League Soccer MLS: Clubs New York City FC
New Cosmos logo
Discussion in 'New York City FC' started by Luis_Rancagua, May 10, 2011.
Luis_Rancagua Member
#1 Luis_Rancagua, May 10, 2011
Guys, I was wondering if we could all start a competition as to who here could come up with a brand new logo of the New York Cosmos. Let's all put together our imaginations and design a new logo. Let's all post them here. Please remember to keep the traditional Green and White colours of the New York Cosmos. Hey! I hope I'm NOT insulting traditionalist. But if you want me to stop with this idea, I will certainly do so.
The reason why I'm doing this is because there's is that remote possibility that the Cosmos will eventually change the logo if they do become the 20th franchise in MLS. Vancounver, Seattle, Portland, San Jose, they all have done so, including Montreal coming into the league.
Just to get the ball rolling. Here are certain versions to consider:
QueensNick Member
#2 QueensNick, May 10, 2011
I dont think they will change the logo from what you see on their wall in the office. or whats on their shirts already. However, its just a message board - i am not creative so have fun
SYoshonis Member+
Manistee, Michigan
Michigan Bucks
#3 SYoshonis, May 10, 2011
1 person likes this.
4door Member+
#4 4door, May 10, 2011
QueensNick said: ↑
logos are registered trademarks, so Cosmos would need to change the logo and register under MLS (who holds the copyrights) or just hand over rights to MLS. I see an update coming when they come to the league.
NYC_COSMOS BigSoccer Supporter
CA Vélez Sársfield
#5 NYC_COSMOS, May 10, 2011
Why? There's no need!
OleGunnar20 Member+
#6 OleGunnar20, May 10, 2011
NYC_COSMOS said: ↑
the only thing they should do is tweak the logo. i know the did recently but the font for New York Cosmos needs to be changed because currently it is terrible and almost illegible. they should try changing it to NY COSMOS and using a font where the letters aren't as wide but are taller and narrower so that it isn't crammed into the space.
i also think the ball could be updated. the NASL ball with the stars is just to busy and doesn't make the logo look clean and neat.
but the coloured swooshes and the general circular shape with dark background is iconic, no need to change it. just fix the font/text so that it looks much cleaner and modern and professional and update the soccer ball and the logo will be golden.
KingsCountyFC Member
BK - NY / Louisiana
#7 KingsCountyFC, May 10, 2011
OleGunnar20 said: ↑
I actually love that typeface. It's a good addition and it's overall an impressive logo IMO.
Jeterfan1015 Member
#8 Jeterfan1015, May 10, 2011
I agree with KingsCountyFC. I love the logo as it is. There's no need to change it.
kiro2317 said: ↑
would be a very ,bad, bad idea, like changing coke-cola's logo, Mcdonald's, Budweiser etc... nothing personal, ok...
those companies have updated their logos over time. And they haven't been abandoned for almost 3 decades and spend billions on advertising each year. I think it isn't fair to compare. Cosmos (like almost all major soccer clubs) can and will update their logo. almost EVERYONE has done it in their history, INCLUDING them. The logo they started with is not the same logo they ended with. They changed colors (from black to blue) changed fonts and changed the text (New York Cosmos to just Cosmos). So in their short history they themselves already changed. I think another update when they come to MLS is reasonable.
#10 KingsCountyFC, May 11, 2011
4door said: ↑
but the point is, they JUST upgraded the logo. Like 2 years ago. Why change again? It's perfect now.
#11 OleGunnar20, May 11, 2011
KingsCountyFC said: ↑
no. it isn't perfect. the font they are using, and trying to spell out "new york comsos" has caused a very cramped looking text placement. it is crammed into the logo and the font is so small that the text portion cannot be read clearly at any distance other than in front of ones nose. it also isn't balanced in so far as how much of the empty blue space it is taking up.
ideally they would use NY COSMOS instead of NEW YORK COSMOS and then find a font that fit comfortably with room at each side and was tall enough to fill an arc that was half as wide as the empty blue space (ie half the radius).
the font should also be a very clean and professional and timelessly modern looking font. a team like that should actually have a uniquely designed font.
what they have is an "off the shelf" font that is not at all very stylish or professional looking, and the text portion is too long and crammed into the space for it left to right wise and too short and leaving an imbalance between empty blue space and the text height.
now these are not the sort of thing that would stand out to your average joe much less a "fanboy" who thinks the Cosmos can do no wrong but anybody with any aesthetic or design sense would automatically point out the same short comings in the current logo.
all of the other elements are quite strong and interesting and well balanced making a very iconic logo. the ball could be updated, those stars inside the panels are very dated and also add extra clutter. but that isn't as glaring or objective design problem as the font issue.
wow...pretentious much?
I'm not saying that i love their logo from a "fanboy" point of view..
i'm saying it from the point of a view of a graphic designer.
It's pretty objective, and from my point of view, i think they did and excellent job.
if you are a graphic designer and A. like that rubbish font and B. don't see that the text portion is crammed uncomfortably and illegibly into the logo then you aren't much of a graphic designer.
#14 SYoshonis, May 11, 2011
if you don't like what I like, then you suck, no matter how much more experience and expertise you have than I do.
A. F*ck you.
B. It's not a "Font" dipsh*t, it's a Typeface...learn the difference.
C. The people the Cosmos hired to re-invent the logo know alot more about
graphic design than you.
D. The Text is not crammed and it creates a unique negative space. If your idea of good graphic design involves cramming a bunch of sh*t in one area, then you don't understand graphic design.
E. Even if you are RIGHT..which you are not... this logo wasn't designed for graphic designers or people ( like you ) who sit behind their computer and offer no substitute. It was made FOR fan boys, and people who love the Cosmos.
Get over yourself.
Real_Madrid_Fan Member
#16 Real_Madrid_Fan, May 11, 2011
I think that current logo is brilliant.
Woodside Mets Member
Woodside Queens NYC
#17 Woodside Mets, May 11, 2011
love it..the raging Cajun is back
#18 4door, May 11, 2011
But the statement was that NY Cosmos could never change the logo, and yet they have already changed it in the past including during their time in NASL. So I think any stance in which you think that logo is sacred and can never be touched is silly since it has already been changed. Personally I think it needs an upgrade, it is still too '70s' to me, and I'd like to see a logo that marks the next step in the club. Something that makes reference to the club's NASL days and its future MLS days.
Woodside Mets said: ↑
don't call it a comeback, i've been angry for years!
#20 NYC_COSMOS, May 12, 2011
That it's 70's, the logo that is, is the draw here. This team was born in the 70's and if you feel something 70's about the logo then the designer did his job.
They haven't disrespected the legacy of the club yet and from what they have presented so far it doesn't seem like they will.
The logo needs to stay the way it is. It's modern enough.
DestroyerDaMarc Member
#21 DestroyerDaMarc, May 12, 2011
To the OP...that middle logo looks a lot like the original LA Galaxy logo if you ask me, does anyone agree?
Dante Moderator
#22 Dante, May 12, 2011
Actually calling it a font is correct, since a typeface is a set of one or more fonts. A font is defined as a given alphabet and its associated characters in a single size.
The new Cosmos logo is using a single size, so there's no reason why you can't call it a font.
Not much more because it doesn't look any better than their old logo. Changing the font and adding New York really didn't add much. The soccer ball doesn't look any better than it used to and not much else really changed.
It looks a little crammed. I see what they're trying to do, making the dark blue like another swoosh, but the New York Cosmos doesn't fit well.
Dante said: ↑
You're splitting hairs...
he's refering to the typeface. He's saying he doesn't like the way it looks, which refers to the visual style...which is the typeface.
If he said, I don't like Helvetica bold... or Alte Haas Grotesk at 15pts....then he is refering to a font...which he is not.
And it's not using a single size, the size is relative to the size of the logo.
Font size is releative to how the viewer sees it, so it may be 18pts on the uniform, and 86pts on advertisement. The points are always fixed by how we precieve them.
Except it's all one style and size, hence it's a font.
LOL, now you're reaching. If I have a site that uses a 12pt font, it will look different on my iPhone compared to viewing it on a 55"tv. It's still a 12pt font, but your perception is different.
Your confusing the issue of digital imagery and real life print.
It may look different on a TV vs an Iphone... but that's because it's been automatically re-sized. 100% scaled viewed images on ANY digital screen would make the font appear the exact same size. That's because at actual size, the "font" is a unit of measurement in inches, even on a computer screen. If you zoom in, it would appear bigger, but the font is the same.
In REAL life printing... it's always the same size no matter how you view it. It's a small but important distinction.
Furthermore...the Cosmos logo is not a painting, or a single piece of one-off design. The logo it to be used to re-size to fit things accordingly, so ever logo you see is in fact a different size font, because it's a unit of measurement...see?
So to say that the logo is a single size is misleading. If you showed me a picture of the logo, then THAT SPECIFIC typeface has a SPECIFIC size..
but we're talking about the logo in general.. not 1 single picture of it.
Furthermore..... he wasn't talking about the specific size, nor the size in relation to the logo, but the STYLE of the logo. Which means he was refering to the visual aesthic of the "Typeface", not the font.
Only if he said, "I don't like this font, it should be at 12 pts instead of 14" would it make sense to use the term "font."
So..it's not all one size.
The type changes size depending on the finished product of how the logo is used.


implement an auto kick feature after x amount of time i guess?
Why not just put a cap on afk mining and fishing like maybe you can only obtain 500 then gotta do something else to earn them again. ::Example afk mine till u get 500 loyalty then go pvm for like an hour or so then come back and u can get 500 more from afk mining and fishing. I think if this cap was added it would help the eco because it is currently flooded with rainbow fish because they were worth 1b each now there maybe 100-300m now.
Amazing guide I am looking forward to seeing more guides from you keep up the fantastic work.
Always helping players welcoming new players and is very active great knowledge about the server 100% support from me.
I totally support this application Baron has always been then when i needed help and has been a really great friend. I always see him helping other players around the server and welcoming new players. Baron knows a great deal about the server and is always willing to lend a hand to a player in need and has been a player for a long time he definitely deserves a chance to show what he can do as a helper and member of the staff team.
I support this application 100% he is always active and helping other players. I have seen him not only in game helping other players but also on discord he definitely deserves a chance.
well we could make the current item in the shop or we could add some heaven stones the so lamps are nice maybe a spinn ticket an find a base brice example pet tax the price in skill points and add a zero to it items u replace with other ones will still be same value just with a 0 added to the total costing more but thats cuz loyality is semi afk.
So I have been playing for a few days now an noticed we have a trivia point shop but no trivia/ I think this shop would be used a lot more if it was made into a loyalty shop where u could spend loyalty points on the items as we currently don't have any use for them that i can find at the moment.


text:
Q: text from popen() is cut of prematurely when console in UTF-8 mode #include <sstream>
#include <iostream>
#include <stdio.h>
#include <string.h>
#include <windows.h>

using namespace std;
int main() {
  SetConsoleOutputCP(CP_UTF8);
  wstringstream wss;
  wchar_t buff[256];
  FILE *in;
  if(!(in = _wpopen(L"dir %windir%", L"r"))) { return 1; }
  while(!feof(in)) {
    if (fgetws(buff, sizeof(buff), in)!=NULL){
      wss << buff;
    }
  }
  pclose(in);
  wstring wstr;
  wstr = wss.str();
  wcout << wstr.c_str();
}

and the effect looks likethis:
[...]

2011-04-10  14:11    <DIR>          .
2011-04-10  14:11    <DIR>          ..
2011-04-10  14:11    <DIR>          system32
2011-04-10  14:11    <DIR>          system
2011-04-10  14:11    <DIR>          repair
2011-04-10  14:11    <DIR>          Help
2011-04-10  14:11    <DIR>          Config
2011-04-10  14:11    <DIR>          Cursors
2011-04-10  14:11    <DIR>          Media
2011-04-10  14:11    <DIR>          java
2011-04-10  14:11    <DIR>          Web
2011-04-10  14:11    <DIR>          addins
2012-06-09  11:29             2

Seems that end of file character is passed somehow in the string or what... I have no idea.
But if I change encoding back to one-byte all works ok..
Maybe I forgot to change some function here to its multi-byte alternative ?

redpajama_set_name: RedPajamaStackExchange


Welcome my hungry readers!!! I'm glad you are here! I swear to you, I don't know where times goes. The other night my husband commented to me that the Super Bowl is in two weeks. Traditionally, my husband and I have hosted a pretty big food planning event, ERRRR…. I mean, Super Bowl Party. This always signals to me 1) the days are about to start getting a LOT longer – Thank You Jesus! 2) Spring is almost here! See how my mind works, Super Bowl = almost Spring!
Making this Weeknight Easy Beef Stroganoff is reminding me how quickly time flies. The first time that I fixed this recipe was for a date – he turned into my husband. It doesn't seem like that long ago, but had to be at least 11 years ago. He has been asking for this dish regularly ever since. Probably one of the reasons he "got serious" or "proposed!". Lol. Well…. Maybe, who knows. (By the way, he commented that I could call this recipe "Proposal Stroganoff". LOL!).
Thank you so much for visiting. I hope you and your family will gobble up this Easy Weeknight Beef Stroganoff for the next 10 years like we have been gobbling it up for the past 10 years. (We are going to keep gobbling it up too!).
I have absolutely no idea where I found this recipe initially. I know I did not create it on my own. I am thinking I found it on the internet – but who knows – did we have internet back in those days? I'm kidding. Of course we did….. maybe.
I'm not really sure. I'm trying to decide between Rosemary Crusted Potato Gratin, Blackberry cobbler pie, Tandori carrots or a roasted chicken, mushroom and pepper soup. You might just see all of them here over the coming week or so – we will see. But anyway, it will be something delicious and comforting! If you have a preference, leave a comment and I'll see what I can do.
This Easy Weeknight Beef Stroganoff is great with a fresh green salad. That's it! serve and eat – so easy!
This easy one dish easy weeknight beef stroganoff will feed a hungry family in a hurry. Simply serve with a green salad.
In a large skillet – brown the steak and onions on medium high x 4 minutes. Add mushrooms and cook for another 2-3 minutes.
Stir in water and bring to a boil. Add the noodles and bring to a boil again. Reduce to simmer and cook x 7 minutes until the noodles are done.
Add the other ingredients, simmer until velveeta is melted. Adjust salt and pepper to taste.


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"DOING THE MOST" MARKS KIRBY MAURIER'S FIRST ENTRY ON NIELSEN SOUNDSCAN'S R&B CHART
08-15-2015 Newsself hosted, video	Leave a comment
Kirby Maurier's new album "Doing The Most" debuted on Soundscan's Current R&B charts at #162 (8/6/15). "Doing The Most" is also the first R&B album from an independent female singer based in South Florida to chart on Soundscan's R&B Chart since December 2011.
"Doing The Most" was released on Valholla Entertainment on July 31st featuring production from Miami-based producer Vegas Fontaine. The 9 track effort has been well received and was also featured by iTunes and Apple Music during the first week of release. "This release has been years in the making and thanks to Kirby's supporters, the release was a success," says Valholla Chairman/Chief Executive, Vince "Valholla" Eyma. "We took a risk releasing the album with no visuals or new singles, but it paid off."
"Doing The Most" features a 16 page Digital Booklet with photography by Woo Supreme, liner notes, lyrics, and is presented by Adobe Slate. "Doing The Most" is available digitally with physical albums provided through Amazon On Demand via Valholla Entertainment
Download Doing The Most on iTunes HERE
Stream Doing The Most on Spotify HERE
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(c) 2015 Valholla Entertainment


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Q: Warning: mysql_real_escape_string() expects parameter 2 to be resource, null given Here is my My Coding
when I try to run the coding I get 2 errors

Warning: mysql_real_escape_string() expects parameter 2 to be resource, null given in /home/a5008269/public_html/Login.php on line 9

PHP Error Message

Warning: mysql_real_escape_string() expects parameter 2 to be resource, null given in /home/a5008269/public_html/Login.php on line 10

For some reason I get 2 warnings in line number 9 and 10
Please help me
<?php
require_once('connector.php');
$error_msg = "";
if (!isset($_COOKIE['user_id'])) {
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        $pass = hash('whirlpool', $_POST['password']);
        $user_username = mysql_real_escape_string(CONNECT, $_POST['username']);
        $user_pass = mysql_real_escape_string(CONNECT, $_POST['password']);

        if (!empty($user_username) && !empty($user_pass)) {
            $pass = hash('whirlpool', $user_pass);
            $query = "SELECT * FROM playerinfo WHERE user =  '$user_username' AND password = '$pass'";

            $result = mysqli_query(CONNECT, $query);

            if (mysqli_num_row == 1) {
                $row = mysqli_fetch_array($result);
                setcookie('user_id', 1);
                setcookie('username', $row['name']);
                setcookie('level', $row['adminlvl']);
                $url = 'http://' . $_SERVER['HTTP_HOST'] . dirname($_SERVER['PHP_SELF']) . '/index.php';
                header('Location: ' . $url);
            } else {
                $error_msg = 'Invalid Creditals';
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        } else {
            $error_msg = 'Username Or Password field is left Empty';
        }
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        <title> Limitless Gaming ACP Login </title>

 Log In

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                     username
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A: if (!isset($_POST['submit']))
{
$pass = hash('whirlpool', $_POST['password']);
$user_username = mysql_real_escape_string(CONNECT, $_POST['username']);
$user_pass = mysql_real_escape_string(CONNECT, $_POST['password']);

If $_POST is not set (As you put here) you will have no existing values in the password and username, hence the warnings

A: You juste inverted the two parameters.
Try this :
$user_username = mysql_real_escape_string($_POST['username'], CONNECT);
$user_pass = mysql_real_escape_string($_POST['password'], CONNECT);

Also consider using PDO instead of string escaping. PDO has a different logic, and he handle escaping by itself

A: Depends on what CONNECT is, but when CONNECT is the MySQL connection, then you have the wrong order in mysql_real_escape_string.
string mysql_real_escape_string ( string $unescaped_string [,
                                  resource $link_identifier = NULL ] )

And please write new code with mysqli or PDO, because mysql is deprecated.
You can look at the manuel page of mysql_real_escape_string() and the deprecated warning.


text:
Buba Box care packages for local hospice patients
by: Lindsey Kennett
Posted: Nov 7, 2018 / 06:43 PM EST / Updated: Nov 7, 2018 / 06:43 PM EST
Wednesday, volunteers in Johnstown filled care packages to the brim with hygiene products, toys and trinkets to donate to local hospice patients.
These care packages are called "Buba Boxes." They're filled with hygiene products, supplies and fun things that hospice patients might need or want: combs, mouthwash, decks of cards, teddy bears, etc.
The idea all started with Teri Adams. She's the volunteer coordinator for Conemaugh Regional Hospice. She understands first-hand what it's like to have a loved one in need. Her grandmother or "Buba" –Minnie Uzelac — had Alzheimer's disease.
"She was still so loving and so caring," said Teri.
Buba passed away nearly 30 years ago, but Teri wanted to carry on her legacy and cheer up others who are homebound.
She enlisted her daughter Tasha's help to launch the Buba Box Project. They got a grant from the Community Foundation for the Alleghenies for about $2,000 to make the care packages.
"A lot of our patients don't have the means or the ability to go or purchase special items they need or want," Teri said.
Thanks to the grant and other donations, they'll be able to hand out 275 Buba Boxes.
"Seeing it come to light and seeing her dream come true is amazing," Tasha said.
Tasha works for Alleghenies Unlimited Care Providers. Participants in their "Ability Works" program helped pack the boxes. It's a free program that gives people living with disabilities the chance to socialize, have fun and give back.
"A lot of times, the individuals in our program have caregivers that come to their homes, so many times they are the ones being cared for.So, something like this to give back to other people is huge," said Tasha, the Development & Media coordinator for AUCP.
One volunteer who made care packages, Mary T Boxler, has Cerebral palsy.
"[The patients] are going to be excited," said Boxler. "It was very inspiring and it's a good cause."
"I could probably use some of the stuff in the boxes. They're useful," said Chad Lushko, another volunteer. Lushko was in a car accident and suffered a spinal cord injury and a traumatic brain injury.
He said he likes helping out the community and he thinks the patients will feel "thankful."
Hospice will pick up the care packages on November 27, also known as Giving Tuesday, to deliver to patients.
Hospice volunteer Walt Wojnaroski said the Buba Boxes are a simple way to help and let patients know that someone cares.
"I'm sure that they'll enjoy it, but it's more that they're being thought of that's important," said Wojnaroski.
Teri added that she's glad to help the patients while paying tribute to her grandmother
"Receiving any type of gift, especially when your homebound is so important," Teri said. "And to know that it was made with love and care."


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Will The Pigs Come Back To Haunt Us?
Want to know what would happen if swine flu returns in the fall a la 1918? One of the world's foremost global health writers tells us.
Council on Foreign Relations fellow Laurie Garrett commended nations on the coordinated effort taken so far to retard the spread of swine flu since it broke out in March. But the cooperation we have seen, she said in a conversation with Big Think yesterday, has much to do with the fact that H1N1 is a relatively mild form of the fly virus.
virulence a lot of this goodwill could break down."
The full interview with Ms. Garrett will be released shortly.


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Provenance Research and Circulation: Examples from the Maximilian von Goldschmidt-Rothschild Collection
December 18, 2019 December 16, 2021 ~ Katharina Weiler
This is the final of three pieces on provenance research that we are publishing in conjunction with the 6th German/American Provenance Exchange Program (PREP) in Washington, DC.
As art objects circulate over time, they connect various people, places, times, stories, and even historiographies. Although they cannot speak to us directly about their biographies, we can still interrogate them and related evidence in order to learn more about who once possessed them and where and how they were kept. As we do this, we can draw on the concept of circulation to direct scholarly attention toward how not only objects but also knowledge about them moves. Objects, knowledge, and their significance for those involved is continuously circulated and negotiated, yielding new knowledge and meaning in the process. Thus, we might endeavor to elaborate both the spatial and temporal dimensions of provenance research as integral parts of contemporary art history.
The first step in working round to the provenance of any object is to inspect the item itself, as I will illustrate here with three works held in public collections in Germany and the United States. Crafted at different times in different places, all three pieces were once assembled in the famous art collection of Maximilian von Goldschmidt-Rothschild (1843–1940), a German banker from Frankfurt am Main (Fig. 1). His collection comprised some 1,500 objects, including paintings, sculptures, Renaissance art, and Louis XV furniture, not to mention miniatures, tapestries, silverware, stoneware, enameled glass, and East Asian art.
Fig. 1 Maximilian von Goldschmidt-Rothschild (1843–1940). Source: Institut für Stadtgeschichte, Frankfurt am Main, S7P1998 05368. Used by permission.
A major objective of my provenance research at the Museum Angewandte Kunst in Frankfurt am Main has been to identify objects from Maximilian von Goldschmidt-Rothschild's collection currently held by the museum; to study their history of ownership between 1933 and 1945 as well as in the postwar years; and to research the biography of their collector, who was persecuted in Nazi Germany because of his Jewish background.1 These layers of history are manifest in the objects, albeit intangibly, thus making provenance research that much more intriguing.
Through PREP, a transatlantic program to facilitate knowledge exchange between museum professionals in Germany and the United States, awareness developed that the Museum Angewandte Kunst, The Met Cloisters in New York City, and the Los Angeles County Museum of Art (LACMA) all hold objects that had once been in the Goldschmidt-Rothschild collection. This insight led to a research collaboration between these institutions after my colleagues and I resolved to trace the histories of these objects from their initial forced sale in the Nazi era to the acquisitions that brought them to their present-day homes. In this way, we could help fulfill the moral and ethical obligation "to assist in resolving issues relating to Nazi-confiscated art" elaborated in the Washington Principles of 1998. Our transnational collaboration made it possible to identify and evaluate a wide variety of archival resources for the systematic provenance research of these objects on both sides of the Atlantic.
Let us turn to the examples. The first (Fig. 2), held by the Museum Angewandte Kunst (12411), is an open-topped vessel made of two peach-like integral jade bowls intrinsically tied to three-dimensional foliated branches. Jade carvings with a peach motif (conferring longevity and symbolizing immortality) were popular during the Qianlong period of the Qing dynasty (1644–1911). They also appeared in the Qing imperial collection. Yet a four-character mark on the piece, 乾隆年製 (Kien Lung Nien Tschi) makes clear that it is not imperial. Besides the issue of periodization, this initial Chinese provenance raises questions about how, when, and by whom the jade carving was brought to Europe, not to mention why, and whether it had been removed in a colonial context.
Fig. 2 Jade vessel, 18th century, China, 13.7 x 9.6 x 6 cm, Museum Angewandte Kunst, 1938, acc. no. 12411. Provenance undergoing clarification. Photograph used by permission.
The second example (Fig. 3) is a lavish silver and gilded silver beaker from the late fifteenth century. Held at The Met Cloisters (50.7.2a, b), its origin can be traced to the city of Ingolstadt in Bavaria. At the base, serving as legs, knights on one knee hold the painted coat of arms of the then mayor of Ingolstadt, Hans Glätzle, in whose honor the beaker was given to the town treasury. The underside of the beaker bears the city's mark, a rampant panther. There is no maker's mark, but the piece has been attributed to the Ingolstadt goldsmith Hans Greiff (who succeeded Glätzle as mayor in 1498), based on its stylistic similarity to surviving marked examples, one of them also at The Met's Cloisters Collection (50.7.1a, b). In contrast to the example of the jade carving above, we have some idea of this piece's provenance history prior to Goldschmidt-Rothschild's acquisition of the item. At the same time, we do not know overall what meanings and knowledge the object has embodied over time.
Fig. 3 Covered beaker, ca. 1470, by Hans Greiff (active ca. 1470 until death in 1516), Ingolstadt, Bavaria. Silver, gilded silver, enamel, and cold enamel. H: 39.4 cm. The Met Cloisters, 1950, acc. no. 50.7.2a, b.
A mythical seahorse at LACMA (AC1992.152.108a-b) is the third example (Fig. 4). A polished nautilus shell forms the seahorse's tail, which is attached to the upper body of a horse made of gilded silver. A nude horseman holding the reins and riding the shell on one knee is attached to the gilded silver strap securing the shell in place. The seahorse's head is detachable, which means this fantastic table ornament could also function as an elaborate drinking cup. It bears no signs that hint at its original maker or previous owners; however, examples in the National Museum in Budapest and the Green Vault in Dresden have the mark of the Leipzig goldsmith Elias Geyer (1560–1634). Given that the nautilus shell would have originally been found in the Indian Ocean or western Pacific, we can also think back further to the transcultural human relationships that facilitated this material's arrival in Europe and translation into a piece of art in early modern Germany, where it may have been part of a late sixteenth-century cabinet of curiosities.
Fig. 4 Seahorse, ca. 1590–1600, Germany. Silver gilt, nautilus shell (Turbo marmoratus). H: 17.78 cm. LACMA, 1992, acc. no. 1992.152.108a-b. Gift of Varya and Hans Cohn.
All three examples passed from one owner to another until Maximilian von Goldschmidt-Rothschild acquired them in the late nineteenth or early twentieth century. With the partial exception of the beaker from Ingolstadt, little is known about the previous owners or under what circumstances the objects changed hands, but they continue to fascinate with the possibility of fresh insights into notions of provenance, space, and cultural geographies. For now, at least, the Nazi and postwar histories of the items have been untangled.
On September 5, 1938, Maximilian von Goldschmidt-Rothschild was forced to sell his abode, the Rothschild Palais, to the city of Frankfurt. He was then "allowed" to rent a small apartment in his former residence, which he occupied until his death in 1940 for the tidy sum of 25,000 Reichmarks per year. The Night of Broken Glass, that Nazi-orchestrated anti-Jewish violence of November 9, 1938, was followed two days later by the forced sale of Goldschmidt-Rothschild's art collection, still housed inside his former residence, to the city of Frankfurt. The mayor, for his part, claimed to have "saved" the collection (Fig. 5) from destruction.2
Fig. 5 Objets d'art assembled by Maximilian von Goldschmidt-Rothschild in his palatial Frankfurt residence. The picture was taken shortly after the forced sale of his collection to the city of Frankfurt in November 1938. The seahorse in Fig. 4 is located in the glass cabinet in the back of the picture (left). Source: Museum Angewandte Kunst. Used by permission.
Earlier in 1938, Goldschmidt-Rothschild had commissioned an inventory of his collection with assessed taxation values (Taxationsliste).3 For tax reasons, the prices assigned to the objects were deliberately low. According to the inventory, the price paid by the city for the entire collection was just over 2.5 million Reichsmarks.4 He did not actually receive any money from the forced sale because those funds were transferred to a frozen account.5 After their seizure, the art objects were relocated. Some stayed in the Rothschild Palais, which was converted into a public museum as Branch II of the Museum für Kunsthandwerk (Fig. 6), now the Museum Angewandte Kunst. Other pieces in the museum's possession were removed from the palace. With few exceptions, the museum compiled file cards for all the objects assigned to its care. Their new accession numbers appeared as they had in the 1938 inventory, albeit prefixed with the initials "G.R." to indicate works of art formerly in the Goldschmidt–Rothschild collection. Among the hundreds of objects assigned to the museum were the jade (G.R. 1477), the beaker (G.R. 94), and the figural table ornament and drinking cup (G.R. 678). Other pieces, such as paintings, were transferred to the Städtische Galerie, and the sculptures went to the Liebieghaus.6
Fig. 6 Room inside the Rothschild Palais, ca. 1939/40. The building was transformed from Maximilian von Goldschmidt-Rothschild's private residence into a public exhibition space of the Museum für Kunsthandwerk (now the Museum Angewandte Kunst), in which the appropriated collection was rearranged and displayed. Source: Museum Angewandte Kunst. Used by permission.
During World War II, the Goldschmidt-Rothschild collection was packed and stored in different localities throughout Germany. As a result, most of the collection survived the devastation, despite the bombing of the Rothschild Palais in 1944. Following the war, Goldschmidt-Rothschild's heirs requested the return of the collection. Indeed, most of the objects in it were restituted by February 1949.7 Given the history of this collection, however, any objects in our museums attributed to it would still require further provenance research on a case-by-case basis, especially since the Nazi-era and postwar histories of how these came to be in their present homes are incomplete.
Our effort was transatlantic, involving traces of multiple layers of history in diverse German and American archives. I found out that the Frankfurt jade vessel was on a list of pieces that had not been included in the 1938 list of assessed values but had been added to the inventory in 1939 by museum staff. It was also included in a restitution claim made in 1948 explicitly for the list of objects that had been added to the inventory retroactively.8 Several years later, according to museum inventory records the jade turned up without any accession number and so was registered in January 1955. As per a settlement of March 1, 1960, between the administrators of the Goldschmidt-Rothschild estate and the city of Frankfurt, however, the plaintiffs officially acknowledged their satisfaction regarding the collection's restitution.9 Clearly, from the present point of view, there are postwar gaps in provenance. Moreover, it cannot be ruled out that the jade has been kept in the museum unlawfully. This possibility suggests there could still be questions in the future about how to achieve a "just and fair solution" consistent with the Washington Principles.
In contrast to the jade piece, the silver beaker and the ornamental seahorse have an evidential paper trail. They were restituted and shipped to the United States in 1949, along with other treasures from the collector's estate. Many pieces were sold at auction at the Parke-Bernet Galleries in New York on March 10–11, 1950.10 Provenance research at The Cloisters nonetheless illuminated that, although The Met had acquired the beaker and other works from the Goldschmidt-Rothschild collection in the same year, it had not purchased them at the 1950 Parke-Bernet sale. Instead, it had acquired them from a dealer, Rosenberg & Stiebel, at their New York location. The table ornament was among works from the Goldschmidt-Rothschild collection given to the LACMA in 1992 by the private collectors and donors Varya and Hans Cohn. For their part, the Cohns had purchased these items in 1950 from Rosenberg & Stiebel, too. Obviously, the return of most items from the collection to Maximilian von Goldschmidt-Rothschild's heirs did not therefore culminate in its spatial reconstruction. Instead, it was dispersed among public museums, private collections, art dealers' shops, and auction houses.
The story of these and other Goldschmidt-Rothschild art holdings exemplifies the outcome of recent provenance research into items that changed hands in connection with Nazi policies and practices. This work draws on a wide variety of historical sources that are distributed among public and private archives on both sides of the Atlantic. It took a network like PREP to facilitate discovery of the Nazi-era and postwar stories of the objects held in the three museums. The results of our joint research also demonstrate the complex histories of these works of art, which decode a jade vessel, a silver beaker, and a table ornament as both objects on the move and objects of cultural remembrance. From that perspective, we recognize objects from the collection of Maximilian von Goldschmidt-Rothschild as carriers of cultural memory that requires dialog with the past and a lively examination of the present.11 In the end, we are called on to understand the identities of such cultural assets as the outcomes of constantly changing (trans)cultural entanglements and political events.
Katharina Weiler is an art historian engaged in provenance research at the Museum Angewandte Kunst, Frankfurt am Main.
I wish to thank Christine Brennan (The Met Cloisters) and Rosie Mills (LACMA) for their collegial teamwork and knowledge sharing. This essay was developed from a joint presentation we delivered with Yao-Fen You (Cooper Hewitt Smithsonian Design Museum) at the German Historical Institute Washington on October 24, 2019, as part of the 6th German/American PREP Exchange Colloquium on Nazi-Era Art Provenance Research in Museums.
Katharina Weiler, "Die Kunstobjekte Maximilian von Goldschmidt-Rothschilds—Biographie einer Sammlung im Spiegel der Geschichte des Museum Angewandte Kunst, Frankfurt am Main," in Gesammelt, gehandelt, geraubt: Kunst in Frankfurt und der Region zwischen 1933 und 1945, ed. Evelyn Brockhoff and Franziska Kiermeier (Frankfurt am Main: Societäts-Verlag, 2019), 139–53. ↩
Account of A. Berg, March 8, 1946, Institut für Stadtgeschichte, Kulturamt 777, fol. 27r–30v.) ↩
As required by the Verordnung über die Anmeldung des Vermögens von Juden (Decree on Reporting the Property of Jews), April 26, 1938; account of A. Berg, March 8, 1946, Institut für Stadtgeschichte, Kulturamt 777, fol. 27r–30v. ↩
H. Bräutigam to H. Sauermann, June 25, 1938, Bayerisches Wirtschaftsarchiv (BWA), F 043, no. 7. ↩
Rechneiamt to Kulturamt, December 27, 1948, Institut für Stadtgeschichte, Museum für Kunsthandwerk, 52, fol. 29r; A. Dick to Entschädigungsbehörde, January 4, 1960, Hessisches Hauptstaatsarchiv Wiesbaden, Abt. 519, Wi-Ffm-11526N. ↩
Anna Heckötter: "'Das Hauptsammelgebiet ist natürlich die deutsche Kunst'—Die Liebieghaus Skulpturensammlung zwischen 1933 und 1945," in Gesammelt, gehandelt, geraubt, ed. Brockhoff and Kiermeier, 133. ↩
Photocopy of "Liste der von der Stadt Frankfurt/Main zurückgegebenen Gegenstände aus der Sammlung des Freiherrn Max von Goldschmidt-Rothschild," signed by H. Bräutigam, February 26, 1949, Museum Angewandte Kunst. ↩
"Liste der von der Stadt Frankfurt a. Main im November 1938 übernommenen 90 Gegenstände, welche . . . nicht von der Stadt bezahlt worden sind," October 21, 1948, and corresponding letter by H. Bräutigam to the Rechneiamt, Museum Angewandte Kunst. ↩
Copy of the settlement (1 WiK 7405 und 7406), Institut für Stadtgeschichte, Frankfurt am Main, Rechneiamt IV.2, fols. 39–41. ↩
Important French Furniture & Objets d'Arts . . . From the Estate of the Late Baron Max von Goldschmidt-Rothschild, Part 1 (New York: Parke-Bernet Galleries Inc., 1950); Works of Art & Objets de Vertu . . . From the Estate of the Late Baron Max von Goldschmidt-Rothschild, Part 2, (New York: Parke-Bernet Galleries Inc., 1950). ↩
On cultural memory in the Federal Republic, see Aleida Assmann, Memory and Western Civilization: Functions, Media, Archives (New York: Cambridge University Press, 2011) or, in the original German, Erinnerungsräume: Formen und Wandlungen des kulturellen Gedächtnisses (Munich: C. H. Beck, 2009). ↩
Suggested Citation: Katharina Weiler, "Provenance Research and Circulation: Examples from the Maximilian von Goldschmidt-Rothschild Collection," History of Knowledge, December 18, 2019, https://historyofknowledge.net/2019/12/18/provenance-research-and-circulation/.
Posted in Circulation of Knowledge, Museums	art historycultural assetscultural memoryLACMALos Angeles County Museum of ArtMaximilian von Goldschmidt-RothschildMuseum Angewandte KunstmuseumsNazi GermanyNazi-confiscated artNight of Broken Glasspost–World War IIPREPprovenance researchrestitutionRothschild PalaisThe Met CloistersWashington PrinciplesWorld War II
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(From left) J.E.B. Stuart High School seniors Anna Rowan, Cassie Marcotty, Marley Finley, Abby Conde and Lidia Amanuel accept the Fairfax County NAACP president's award recognizing their Students for Change petition to change the name of their school to Thurgood Marshall. Photo by Tim Peterson.
J.E.B. Stuart High School seniors Anna Rowan, Cassie Marcotty, Marley Finley, Abby Conde and Lidia Amanuel were bothered by the Confederate legacy of their school. Inspired by a history class with teacher Keith Bropst on the Massive Resistance anti-segregation policy, the girls set out to change Stuart's name, mascot and colors. They suggested a name change to Thurgood Marshall, in honor of U.S. Supreme Court's first African American justice.
The Students for Change, as their group is known, were among several recipients of awards at the 70th Fairfax County NAACP Freedom Fund banquet, held Sept. 19 at the Waterford reception hall in Springfield. There were two president's award winners, including the students, and two community service award winners.
The students have gained support through a petition and are working to connect more with community members in the Falls Church neighborhoods that feed Stuart prior to a Fairfax County School Board vote scheduled for early 2016.
Now, the girls are trying to raise awareness in their school, including sharing a new video they shot the same day as the awards. Over the summer, they also met with members of the Fairfax County NAACP who offered support and guidance.
The students have reached out to School Board members, including Mason District representative Sandy Evans. They met with Evans, "but everyone is staying neutral until after the election," Marcotty said.
Del. Scott Surovell (D-44) received the second president's award in recognition of his work on the revitalization of the Route 1 corridor and keeping the Hybla Valley and Gum Springs communities involved in the process.
Keynote speaker Eric Broyles, a Washington, D.C.-based attorney and co-author of the book "Encounters with Police: A Black Man's Guide to Survival," speaks at the 70th Fairfax County NAACP Freedom Fund Awards Banquet.
Community Service awards went to Debbie Kilpatrick, president of the Fairfax County Council of PTAs, and Celeste Peterson, who, together with her husband Grafton created the Erin Peterson scholarship Fund in honor of their daughter who died in 2007 at Virginia Tech.
Keynote speaker for the afternoon was Eric Broyles, a Washington, D.C.-based attorney and co-author of the book "Encounters with Police: A Black Man's Guide to Survival." Broyles spoke briefly about the book, explaining how it was co-written with his best friend, who is himself a cop.
But the majority of Broyles' speech focused on the mantra "Your vote, your power; It's your vote or your blood" as a pathway for change. He talked about the importance of African Americans registering to vote and being more engaged with the democratic process.
At the conclusion of the awards, president Ginwright announced the organization's plan to promote Virginia General Assembly bills for raising the felony robbery charge amount from $200 to $850 and having records expunged in certain circumstances.


text:
Posted on July 8, 2019	by thetorzorean
My Summer Garden © Emanuel Melo
In summer, I like to fill my sketchbook with pastel pencil drawings of my garden.
I have kept a child-like quality to my drawings. It's as if, when I move the pencil on the page, I am still that little boy back in the Azores who loved to draw on a quiet Sunday afternoon.
Welcome to MY ART
Posted on June 18, 2019	by thetorzorean
The house where I lived in Ponta Delgada, showing an azulejo of Senhor Santo Cristo
I meander up and down the streets of Toronto's west-end neighbourhoods, where many Portuguese came to settle decades ago, and I look for signs that show me a Portuguese family might still live there. It's not guaranteed that every house will have the religious azulejo glued to the front facade, but many houses still do, although fewer and fewer, as Portuguese families leave the city for the suburbs. Newcomers to the area are gentrifying the houses by removing these ceramic tiles; the azulejo has no resonance or meaning except for the Portuguese Catholics who put them up as a way to remember a tradition from back home.
When I come upon a house that still has the azulejo, I stop; and like a reverential pilgrim, I take a photograph as a souvenir of these religious signs. Most azulejos depict the image of Senhor Santo Cristo (identifying the house as Azorean-Portuguese), but there's also many Our Lady of Fátimas, Holy Families, Guardian Angels, and a variety of saints, the most popular being St. Anthony of Lisbon (better known to the rest of the world as St. Anthony of Padua).
There's something comforting to still see this colourful sign that assures me of the Portuguese presence in Toronto; but I can't help feel sadness, too, knowing that one day they will all disappear.
In 2015, Phillip Mendonça-Vieira did an important study of the azulejo in his photo-essay, "The Saints of Little Portugal," and I urge you to read his remarkably thorough documentation of the history of this Portuguese tradition, for now, still present in Toronto's Little Portugal.
These are just a few of the houses in Toronto that still display the azulejo:
Lansdowne Avenue:
Dufferin Street (the triple azulejo):
Markham Street:
this house on Markham does not need an azulejo to be Portuguese:
Euclid Avenue:
Palmerston Blvd:
Robert Street:
Bathurst Street: after a recent house fire, the azulejo remains:
And I could not resist to include this photograph, taken in Montreal:
Gone:
Posted on June 7, 2019	by thetorzorean
Joaquina Pires has brought her 2017 exhibit, Fil de Tendresse/Fio de Ternura/Thread of Tenderness, from Montreal to Toronto, where it opened on Thursday, June 6, at the Peach Gallery to a room full of people, young and old, who came to celebrate and share their stories of grandparents.
The current exhibit, in a series of photographs, videos and written texts, explores the role and place of grandparents in the lives of their families and especially of their relationships with grandchildren. Manuela Marujo, who collaborated with Joaquina on making the Toronto exhibit an interactive experience between the young and the old, organized two competitions. The first, a Concurso Literário for children between the ages of 10-15, asking them to write about why their grandparents are special. The best three texts won prizes that included tickets to a concert by Xutos e Pontapés, as well as a tickets for a Blue Jays game. The second, a Concurso Fotografía, for those between the ages of 15 to 25. The best three photographs were chosen to be displayed as part of the exhibit. In addition to the same prizes given to the children, they received a copy of MEMÓRIA: An Anthology of Portuguese Canadian Writers, a gift from the editor, Fernanda Viveiros.
Originally inspired by hearing me reading my short story, "Avó lives alone," at Café com letras, readings with Luso Vox Writers, in Montreal, Joaquina embarked on a journey of documenting her Montreal community's experience of grandparents, and now that of Toronto. The theme, of course, as seen through a Portuguese lens, is not restricted to the experience of Portuguese families but rather embraces the universal themes of ageism, the place of the elderly in society, and the relationship between intergenerational members of families.
I like Joaquina's exhibit title, A Thread of Tenderness, because often the relationship between the old and the young are linked by nothing more than a flimsy thread, one that can be broken so easily, especially through neglect and the passage of time. The importance of including grandparents in the life of their grandchildren is paramount for the survival of the memory of the past. There have been many times when I have been told stories by young adults of how it was their grandparents who helped them keep the Portuguese language alive, how it was their presence in their lives that have sustained them through changes and the instability of modern family life. Again, this experience is not exclusive to the Portuguese: it's a universal family experience, and one which parents ought to pay attention to as an important legacy for their children by ensuring that they are given a chance to have a relationship with their grandparents.
It is a fragile relationship, hanging on a fio, a thread, partly because it is so time sensitive. The grandparent will surely die, the grandchildren will surely grow up and be less interested in their elders, this is normal, but if they have had a strong bond with their grandparents when young, they will remember it for ever. The time spent with grandparents is a gift for the future of their grandchildren and one that will ensure that their memory will live on beyond a fio de ternura.
Photo credit: Michael Baptista
I am grateful to Joaquina Pires for hearing "Avó Lives Alone," and for having the generosity of heart to create an exhibit about grandparents inspired by the story.
View the photographs of the opening reception
Foto da Agustina Bessa-Luís que tirei quando estive em sua casa no Porto em 1984.
Hoje, dia 3 de junho, morreu a grande escritora portuguesa, Agustina Bessa-Luís. Desde o dia em que ela acolheu-me em sua casa, com um sorriso nos olhos que ficou gravado na minha memória para sempre, nunca deixei de ler os seus livros. Ouço a sua voz em cada palavra que leio, e, agora, apesar dela já ter partido para a eternidade, a sua voz continuará viva na minha memória. Para mim, Agustina não é só uma figura importante na literatura portuguesa, mas será sempre a minha Agustina Bessa-Luís, que recebeu-me na sua casa em 1984.
Posted on May 27, 2019	by thetorzorean
Procession of Senhor Santo Cristo at St. Mary's Church in Toronto, May 26, 2019
I had planned on going to the Azores this year to once again attend the Festas do Senhor Santo Cristo dos Milagres, but circumstances changed and, here I am, in Toronto, where I was still able to attend the festival in the diaspora, at St. Mary's, one of the oldest Roman Catholic churches in the city.
The tradition of the Christ of the Miracles procession started in 1700 in the city of Ponta Delgada in São Miguel, Azores, and was brought to Canada in 1966 by Azorean emigrants, whose devotion to the Ecce Homo, the suffering Christ crowned with thorns, has never wavered with the passage of time away from the homeland.
My father, who had come to Canada in 1965, saw that first procession at St. Mary's in 1966, along with my paternal grandparents, my aunt and uncle, and my two little cousins, who had all been the first of our family to come to Canada. My grandmother once told the story of how everyone cried with emotion that day, remembering their family members still in the Azores, and how there was no filarmónica band to play the Hino do Senhor Santo Cristo. As a substitute, a gramophone record of the hymn was played from the back of a truck accompanying the procession through the streets of Toronto.
My father was a great devotee of Senhor Santo Cristo and belonged to the Irmandade do Senhor Santo Cristo dos Milagres. As a member of the brotherhood, every year, my father would take his two-week vacation to volunteer with the setting up of the electrical decorations outside the church as well as taking his turn as one of the men who had the honour of carrying the statue in procession. As my father got older and no longer able to carry the heavy andor, he still processed along with his fellow brothers of the Irmandade. I remember watching him the last time he was able to join in the procession. He probably had already been diagnosed with cancer that year, 2003, but I had blocked this certainty from my mind until now as I write about it. I remember taking his photograph as he went by, fingering his rosary beads, absorbed in his prayer and with perhaps the knowledge that this might be his last time processing with his beloved Santo Cristo. He stopped to look at my camera and for a second he was out of step with the others walking with him. When my father died, in 2005, the president of the Irmandade, Senhor Raposo, came to the funeral home and offered my mother the red sash members wore in procession. My father was buried with it, the last symbolic honour given to him in recognition for his many years of faithful service to the Irmandade. And before his coffin was brought inside St. Helen's church, several of the brothers, wearing their sashes, stood in silence on either side of his coffin to offer their solidarity and condolences. Many of these men, who were my father's friends, are also now gone, too.
Over the years, the number of those who come to participate in the festa has been decreasing, from the highest attendance back in 1974 (90,000) to the few thousands I saw in this year's procession. Partly because of an aging population, but especially because so many Portuguese started to leave the city core, known as Little Portugal, for places like Mississauga, Vaughn, Woodbridge, and Brampton (where they have their own festa do Senhor Santo Cristo, as does the community in Kitchener). The festival of Senhor Santo Cristo is also celebrated in Montreal, and in the US, at Fall River, Massachusetts.
Everywhere that Azoreans went, they brought with them their most treasured spiritual possession, one that continues to tie them to their deep Azorean roots. But as a significant symbol, the replica statues in the diaspora are only a reminder of the original statue back in the Santuário do Senhor Santo Cristo dos Milagres. "É uma emoção diferente," says my mother, whose mobility keeps her at home, and who now watches the procession in the Azores on RTP television. One can also watch it on-line and, if my mother had Internet, I know she would do so. It's a very different world from 1966 when the Azorean immigrants in Toronto had to rely on a gramophone record to remind them of the sounds of home.
Inside St. Mary's before the procession, May 26, 2019
The last time I saw the procession of Senhor Santo Cristo dos Milagres in Toronto with my parents was in 2003:
The very first time I saw the procession in Toronto was in 1969. These photographs of me were taken in the early 1970's when I was an altar boy at St. Mary's Church. I am the one in the middle, carrying the processional cross
That's me in the foreground
my drawing of S.S. Cristo
The future of Senhor Santo Cristo in the diaspora is in his drum beat
Also posted on Comunidades
Rosetta's Spring Awakening
After a very slow spring awakening, with daily temperatures mostly below-average for the season, there are now signs of plant life surfacing in Rosetta Gardens. The daffodils and tulips are the first to make their appearance, followed by other plants and flowers; suddenly filling the garden beds with bright yellows, reds, blues, and purples, while trees continue to put on their summer dress in imperceptible spurts. And soon the gardens will be filled with a sheltering green canopy; perfect for sitting under its shade with a good book in-hand to read. But not just yet. There's still an early morning chill in the air today at 11 Celsius and I'm sure the plants and flowers wished they hadn't been so bold as to make their appearance and had waited just a little longer for the warm days that I am sure will soon be here!
All photos were taken on May 2, 2019
Paraquedas/Parachute
Paulo Renato Souza Cunha is a young Brazilian writer, poet, photographer, and musician: a truly modern Renaissance man. He was the winner of the VII Prémio Aldónio Gomes for his book, Paraquedas- um ensaio filosófico, published in December, 2018, by UA Editora- Universidade de Aveiro. He made the trip from Brazil to Portugal where he joyfully received his literary prize and shared his travelling adventures with the dedicated followers of his blog.
I waited eagerly for a copy of the book, a generous gift from the writer who I have befriended over the last year. When it arrived, on one of the coldest spring days in Toronto, all the way from the warm climate of Brazil, I decided to wait until our own weather improved so that I could sit in my garden to read the book while the warmth of the sun covered my skin. I waited as long as I could but, alas, at the end of April we were still wearing winter coats to keep the chill away. It was impossible to sit in my garden for more than a few minutes before hypothermia set in! I finally gave up on the weather as a prop to my enjoyment of reading and, holding Paraquedas in my hands, my fingers turned the pages with a caress of admiration for its aesthetically bound softcover, eye-catching typesetting and layout, and simple clear lines, so full of understated elegance. Sitting cozily on my sofa by the warmth of the radiator heat, I entered the world of P.R. Cunha's writing.
I wish this book was available in English so that those who don't read in Portuguese could discover and appreciate Parachute: a Philosophical Essay (my translation). "There are no correct tones for an essay beyond those of enthusiasm and sincerity," wrote John Moss in his Introduction Essay in The Canadian Novel: Here and Now- A critical Anthology, 1978 (p. 12/13). And he could have been writing about P.R. Cunha, whose writing is, indeed, full of enthusiasm and, more importantly, sincerity. His essay is divided into four parts and may be read as part memoir, part philosophical musings, but the reader is never really sure how much of what we are told is about the protagonist writer in the essay, who after ten years of grappling with writing a novel, decides to run away (for a very short time) to England before Brazilian literature drove him to madness (p. 9), or the author himself. Is it pure biography or a reinvented biography-cum-fiction? It's up to the reader to decide.
But I do know that the author of Parachute, like his first-person narrator, shares the same love and fascination for the writers J.G. Ballard, W.G. Sebald, Montaigne, Thomas Bernhard, Sterne, among others. The love for these authors was instilled in the narrator-protagonist by his tia Laura, and we wonder if this is P.R. Cunha's aunt, too, or simply that of his alter-ego, the writer-protagonist who discusses literature and life, while revealing unflattering facts about his mother, his father, his brother and his sister. The description of his father's death and his siblings' greed at spending their 24% each inheritance, while our protagonist-writer is left with only a mere 2%, reveals a family dysfunction that made me cringe. It is tia Laura who has mentored and financed the writer's adventures and travels, thereby exposing him to the arts, including music; an assistance which allowed him to pursue his intellectual interests.
The book can be read as a tribute to the aunt who dies towards the end of the narrative; and the protagonist wishes that someday, someone in the future may take his dusty book off a shelf to read it and, by doing so, afford his tia Laura a fleeting reward in eternity (p. 168); but the book can also be seen as the inner journey of someone trying to make sense of his life through literature and his own literary pursuits; questioning in every page what is real and what is fiction.
P.R. Cunha is a master weaver of the long, meandering sentence, common in Portuguese writing but not unknown in the English world of literature. It's a style that appeals to the lyrical writer, regardless of nationality. But not everyone who writes can carry a long sentence without losing their breath along the way. With the long sentence, we can only rely on the helpful use of the comma in order to pause before reading on. Cunha's narrative starts in one place but by the end he has taken the reader to another world; and yet, managing to brilliantly unite each idea and meandering thought, making it all fit and make sense like a carefully thought-out chess move, a game that both P.R. Cunha and the protagonist of Paraquedas share with passion. I enjoyed this book precisely for this reason; savouring the elegant writing on ideas, philosophically connected to the personal.
The essay questions, in a broader sense, the meaning of the self, and the relationship between literature and everyday life, by referencing philosophy as a guide to the art of living. A parachute is used to allow someone to come down from the sky in a slow, safe way to reach the ground unscathed, and I wonder if P.R. Cunha chose this word for the title of his book as a metaphor for the self's movement from the internal "sky" world within us, as it floats down from the abstract air, towards the concreteness of the world landed upon.
What Paulo Renato Souza Cunha's imaginative and complex mind is trying to offer through his meditations, observations, reflections, is perhaps an invitation to his readers to be in touch with their deeper thinking selves.
It is now mid-May and the weather teases the promise of real spring days ahead, when I will finally be able to sit out in my garden again to satisfy my pleasure in reading surrounded by trees, plants and flowers. And I will then take delight in rereading Paraquedas.
Paraquedas canadiano


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Yachting & Maritime
Monte Carlo Woman
Monaco poker player arrested in insider trading case
Posted by Ian Brodie, Editor-in-Chief | Oct 23, 2019 | Banking, News | 0 |
U.S. prosecutors have announced criminal charges against six people in what they described as a global insider-trading ring that generated tens of millions of dollars in profits.
The charges announced Tuesday include Joseph El-Khouri, 52, a poker-playing securities trader who lives in London and Monaco. He was arrested in London on Monday, several sources reported.
Bloomberg News has previously reported on the cases against the other five people charged. The defendants face multiple counts of conspiracy, wire fraud and securities fraud.
The Securities and Exchange Commission today charged two former investment bankers and a London-based trader in connection with a long running international insider trading scheme. The trader allegedly generated profits of more than $2 million trading in the securities of U.S. public companies in advance of news that these companies had been targeted for acquisition.
According to the SEC's complaint filed in federal court in Manhattan, Benjamin Taylor and Darina Windsor obtained nonpublic information about at least fifteen potential acquisitions and tender offers through their respective positions as investment bankers in the London offices of two investment banks. During the early phases of the scheme, Taylor obtained confidential deal information from his own employer and provided tips in exchange for cash payments. Taylor also regularly obtained information from his then-girlfriend Windsor who actively sought out confidential information including by accessing documents about transactions on which she was not staffed.
As alleged in the complaint, Taylor tipped the information directly or indirectly to Joseph Abdul Noor El-Khouri and/or another trader who collectively traded in advance of at least fifteen different acquisition announcements. El Khouri, who resides in Monaco and London, allegedly used the information to net over $2 million in illicit profits trading Contracts for Difference and spread bets based on securities of at least six U.S. companies that were about to be acquired.
In a parallel action, the U.S. Attorney's Office for the Southern District of New York today announced criminal charges against Taylor, Windsor and El Khouri.
The SEC's complaint charges Taylor, Windsor and El Khouri with violations of the antifraud provisions of Sections 10(b) and 14(e) of the Securities Exchange Act of 1934 and Rules 10b-5 and 14e-3 thereunder. The SEC seeks "disgorgement of ill-gotten gains plus interest, penalties, and injunctive relief." the Commission said.
The UK's Independent said: "It's a dramatic assault on a network of bankers and traders operating on both sides of the Atlantic who allegedly reaped tens of millions of dollars in illicit profits."
"At the same time, members of the ring tipped off financial news organisations, including Bloomberg News, hoping to benefit from a pop in the stock price when reporters independently corroborated the information and published the news," the UK daily said.
As a poker player, El-Khouri has almost $600,000 in live cashes according to Poker Club Management and the Hendon Mob (where he's listed as Joseph Khoury), www.cardschat,com reports.
"In addition to multiple cashes in WPT events, El-Khouri finished sixth in 2013's EPT Deauville main event for $170,490. It's been almost a year since his last live cash, and that lean spell is likely to continue thanks to the charges against him," the poker website said.
ORIGINAL SOURCES: US Securities and Exchange Commission, Independent, Bloomberg, cardchat, others PHOTO: Joseph El-Khouri (WPT)
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text:
<?php

namespace Bolt\Storage\Migration\Output;

use Bolt\Storage\Migration\Export;

/**
 * Interface for migration export files
 *
 * @author Gawain Lynch <gawain.lynch@gmail.com>
 */
interface OutputFileInterface
{
    /**
     * Constructor.
     *
     * @param Export       $export
     * @param \SplFileInfo $file
     */
    public function __construct(Export $export, \SplFileInfo $file);

    public function __destruct();

    /**
     * Add a record
     *
     * @param array   $data An array of values to write out
     * @param boolean $last Flag that indicates last record
     */
    public function addRecord(array $data, $last);
}

redpajama_set_name: RedPajamaGithub


text:
Irish News, April 20, 2018
Basingstoke Gazette
Bexhill-on-Sea Observer
Blackpool Gazette
Bournemouth Daily Echo
Bradford Telegraph & Argus
Brighton Argus
Bristol Post
Cork Examiner
Cork Southern Star
Dublin Evening Herald
Dublin Evening Press
Dublin Sunday Tribune
Durham Univ. Palatinate
Edinburgh Scotsman
Edinburgh University Student
Galway Advertiser
Glasgow Herald
Glasgow University Guardian
Imperial College Felix
Ipswich Star
Irish Western Journal
Leeds Student
Liverpool Daily Post
London Daily Express
London Daily Mail
London Daily Mirror
London Evening News
London Evening Standard
London Guardian
London Independent
London Observer
London School Econ. Beaver
London Sun
London Telegraph
Meath Chronicle
Metro UK
Mourne Observer
Newcastle Evening Chronicle
Newcastle Journal
Newcastle University Courier
Norwich Evening News
Nottingham Evening Post
Oxford University Cherwell
Richmond Twickenhm Times
Scottish Daily Record
Shields Gazette
Sligo Weekender
South Kent Gazette
South Wales Argus
South Wales Echo
Sussex Express
Thanet Times
Tuam Herald
Univ. of East Anglia Concrete
Warwick Boar
Wells Journal
Western Daily Press
Western Mail
Yorkshire Evening Press
Elvis Costello says he's not looking to
put his feet up any time soon
Joe Nerssessian
Elvis Costello may have been around since 1977 but he is only looking forward. Ahead of an Irish gig in June, he tells Joe Nerssessian about rejecting nostalgia, his plans for a musical, and why you won't catch him writing protest songs
Elvis Costello doesn't have a relationship with nostalgia. The rock and roll star – who turns 64 this year – has now been performing for more than four decades and boasts an impressive back catalogue that he regularly explores in live performance.
But just because he still sings those tracks, it doesn't give him any sentimental affection for the past. Or so he argues down the phone from New York.
"I'm aware of other people's nostalgia about particular songs but that doesn't influence the way I perform even those same songs," he continues, adamantly. "If I performed a song my view would be different to theirs – that's OK, isn't it?"
Providing examples, he references last year's anniversary tour of his 1982, Imperial Bedroom, in which he opted to mix up the order and change the arrangement.
"People are inclined to make a big deal about decades aren't they?" he says with a sigh. "We haven't so much. Last year we made a gag, 35th year since we released Imperial Bedroom. It was a satirical spin to it because obviously if we'd been doing it in a very straight-faced way we would have done it on an a decade anniversary and we didn't."
There's a similar response to a question about his 40-year career. "I guess it is if you tell me it is. I don't count things like that," he says.
"I'm not saying I'm not playing the songs from the past, we do play them. The puzzle of all of this, the puzzle of time is for it to be something which propels you forwards rather than something that holds you back."
Born Declan Patrick MacManus in London, on August 25 1954, he became Elvis Costello in 1977 – the same year the slightly more famous Elvis died. As a teenager he moved to Liverpool with his mother (she is from there originally – his dad was from Birkenhead, across the Mersey) before returning to the capital a few years later where he eventually exploded into the scene as a brash singer-songwriter.
His last solo album came in 2010 and he considered writing a new one a "fool's errand" before deciding he wanted to see what a record would sound like from Elvis Costello and The Imposters in 2018.
"I wanted a picture of this group, and songs that I came up with, once you've got a simple idea like that it's not hard to do."
As someone whose early music targeted British fascist leader Oswald Mosley, Margaret Thatcher and the British army's role in Northern Ireland, it may be that Costello was inspired to write a new album by the global political upheaval of the last two years. Not so, he says.
"The truth of it is I wouldn't want to waste my breath," he says at an agonising pace, to hit the point home. "It's satirist sort of territory where we are right now."
"What would be the song we could sing about that really? It's so transparent, there's no poetry in it. And the whole process is mediocrity... why would I want to be that close to mediocrity? There are other songs to sing which are about the way people are which outlast the immediacies of that nature, that's what I want to do."
An example of the legacy of such a story, he says, is A Face In The Crowd, a planned stage musical based on Budd Schulberg's story originally published as Your Arkansas Traveler and adapted into the 1957 film A Face In The Crowd written by Schulberg, directed by Elia Kazan, and starring Andy Griffith.
The tale follows an a American singer, Larry 'Lonesome' Rhodes, who rises through local radio to become a national television celebrity thanks to his wise-cracking salesman-like aura. Eventually, however, he becomes more of a megalomaniac and tries not just to influence government policy but dictate it.
Costello has already written 18 tracks for the musical, on which work had begun the spring before Donald Trump declared his candidacy. Ever since, he says, people have mentioned it as some sort of parallel.
"The truth of it is that Schulberg was an extremely smart writer about human nature," he says. "If he were to be alive today he would probably include social media along with television and radio in this story – the ability to shape opinion but similarly create monsters."
Referring back to his apprehension of protest songs, Costello agrees they may lend power to people but says movements such as Time's Up require vigilance and continued effort to really leave their mark.
"It's not assuming once you've got your badge on that it's taken care of because it's not. It's vigilance, it's always the way.
"The cynical forces that arrange against vested interest will wait out the gesture [of] a march or a slogan – when that becomes old news, cynicism can outlast it," he adds.
"A song won't fix that unfortunately. You can sing it and feel good about yourself but you have to do it every day."
Costello remains a busy man. He has 11-year-old twin sons, Dexter and Frank, with third wife Diana Krall who he married at the home of Elton John in 2003.
Would he ever follow in the footsteps of Sir Elton's, who recently announced his retirement from touring to spend more time with his own children?
"I reconsidered my priorities about 10 years ago when I stopped neurotically looking for the next record contract to follow the last one," he says. "I knew I had to devote so much time to the road work because I could see the way the business was going.
"Beyond the new album there's A Face In The Crowd, after I finish in the studio I go back into workshop on that. None of that sounds like anybody that's looking to put their feet up."
Elvis Costello And The Imposters play the Bord Gais Energy Theatre, Dublin, Saturday June 23; tickets from ticketmaster.ie
The Irish News, April 20, 2018
Joe Nerssessian talks to EC ahead of his concert with The Imposters, Saturday, June 23, 2018, Bord Gáis Energy Theatre, Dublin, Ireland.
IrishNews.com
Wikipedia: The Irish News
Retrieved from "http://www.elviscostello.info/wiki/index.php?title=Irish_News,_April_20,_2018&oldid=17378888"


Originally there were two breeds of cows called 'Gasconne'.
1. Gasconne Auréolée – from the Gers, tall, pale with pearly colorpoints, used for working the land and vines and for meat.
2. Gasconne Muqueuses Noires – From the Ariège, with grey colorpoints, used for the land and for meat.
The Gers cow was taller, the Ariège cow was rounder.
Back in the fifties the two breeds merged into one herdbook. They consolidated the name and called them just 'Gasconne'. Then in the eighties they separated again, but with the Muqueuses Noires keeping the name Gasconne and the Auréolée becoming called the Mirandaise.
The names are a little odd since the cow from Gascony is called the Mirandaise, and the cow from the Ariège is called the Gasconne, but they are similar enough as you can see from the photos above.
There are about 20,000 Gasconne mother cows in existence, nowhere near enough to be a major breed, but way more than the 350 Mirandaise mother cows. The breeds share a bunch of useful qualities – very hardy, do well on pasture, fine meat fibres and the ability to put on marbling.
I asked one of the local butchers, Cugini in Éauze, which breed had the best beef. He chose the two Gasconnes – he had just had a Mirandaise through the shop. He thinks they taste the best and have good marbling but he doesn't pay as much for them. His customers want super lean beef so he prefers the Blonde d'Aquitaine. Plus the larger size of the Blonde makes his butchering work more profitable. He pays 28F/kg for a good Blonde against 22F/kg for a good Gasconne. Yes, cow sales are still in Francs.
Now we are about producing the best tasting beef for selling to the folk here in the Southwest, not the highest rendering beef for the wholesale market or to ship off to feedlots in Spain and Italy so we're going for the Mirandaise and maybe some Gasconne, too.
I visited one farm that had both types of Gasconne and there were a couple of old photos showing old-school Mirandaise working the land. Life here was like that not too long ago. Many of the farmers I have met used to work with Mirandaise oxen before tractors took over some time in the fifties and sixties.
With the rise in machinery has come a drop in the fortunes of the Mirandaise, but we're going to help keep it going since it earns its keep with fine quality meat. They're the cow of the Gers and we live in the Gers so we're keeping it local, too. Our herd won't all be Mirandaise, but we wanted to start with them.
Also of great interest to me is that Slow Food have chosen to collaborate with the farmers of the Mirandaise breed to promote its flavour. We've been fans of the Slow Food movement since the nineties and it was a pleasant surprise to find our first cow had this partnership.


text:
Q: Better to put simple route code in controllers to keep continuity? This is a fairly simple question about PHP and the Laravel framework (although this could be applied to similar frameworks like flask). Is it generally considered to be better programming practice to put even a few lines of code into controllers in order to maintain the practice of as little code as possible in routes with the code being in controllers.
For example--should this auth code be moved into a controller, or is it fine here?
Route::get('/show-login-status', function() {
    # You may access the authenticated user via the Auth facade
    $user = Auth::user();
    if($user) {
        echo 'You are logged in.';
        dump($user->toArray());
    } else {
        echo 'You are not logged in.';
    }
    return;
});