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Krishna (कृष्ण) is a deity, worshipped across many traditions of Hinduism in a variety of different perspectives. While many Vaishnava groups recognize him as an avatar of Lord Vishnu; some traditions within Krishnaism, consider Krishna to be Svayam Bhagavan, or the Supreme Being.
Krishna is often described and portrayed as an infant or young boy playing a flute as in the Bhagavata Purana, or as a youthful prince giving direction and guidance as in the Bhagavad Gita. The stories of Krishna appear across a broad spectrum of Hindu philosophical and theological traditions. They portray him in various perspectives: a god-child, a prankster, a model lover, a divine hero, and the Supreme Being. The principal scriptures discussing Krishna's story are the Mahabharata, the Harivamsa, the Bhagavata Purana, and the Vishnu Purana. He is also known as Govinda and Gopala.
Krishna's disappearance marks the end of Dvapara Yuga and the start of Kali Yuga (present age), which is dated to February 17/18, 3102 BCE. Worship of the deity Krishna, either in the form of deity Krishna or in the form of Vasudeva, Bala Krishna or Gopala can be traced to as early as 4th century BC
The name originates from the Sanskrit word Krsna, which is primarily an adjective meaning "black", "dark" or "dark blue". The waning moon is called Krishna Paksha in the Vedic tradition, relating to the adjective meaning "darkening". Sometimes it is also translated as "all-attractive", according to members of the Hare Krishna movement.
As a name of Vishnu,Krishna listed as the 57th Name in the Vishnu Sahasranama. Based on His Name, Krishna is often depicted in murtis as black or blue-skinned. Krishna is also known by various other names, epithets and titles, which reflect His many associations and attributes. Among the most common Names are Mohan "enchanter", Govinda, "Finder of the cows" or Gopala, "Protector of the cows", which refer to Krishna's Childhood in Braj (in present day Uttar Pradesh).
Shri Krishna with Flute
Krishna is easily recognized by his representations.Though his skin colour may be depicted as black or dark in some representations, particularly in murtis, in other images such as modern pictorial representations, Krishna is usually shown with blue skin. He is often shown wearing a yellow silk dhoti and a peacock feather crown. Common depictions show him as a little boy, or as a young man in a characteristically relaxed pose, playing the flute. In this form, he usually stands with one leg bent in front of the other with a flute raised to his lips, in the Tribhanga posture, accompanied by cows, emphasizing his position as the divine herdsman, Govinda, or with the gopis (milkmaids) i.e. Gopikrishna, stealing butter from neighbouring houses i.e. Navneet Chora or Gokulakrishna, defeating the vicious serpent i.e. Kaliya Damana Krishna, lifting the hill i.e. Giridhara Krishna ..so on and so forth from his childhood / youth events.
Krishna was born to Devaki and her husband, Vasudeva, When Mother Earth became upset by the sin being committed on Earth, she thought of seeking help from Lord Vishnu. She went in the form of a cow to visit Lord Vishnu and ask for help. Lord Vishnu agreed to help her and promised her that he would be born on Earth.
Childhood:
Nanda was the head of a community of cow-herders, and he settled in Vrindavana. The stories of Krishna's childhood and youth tell how he became a cow herder, his mischievous pranks as Makhan Chor (butter thief) his foiling of attempts to take his life, and his role as a protector of the people of Vrindavana.
Krishna killed the demoness Putana, disguised as a wet nurse, and the tornado demon Trinavarta both sent by Kansa for Krishna's life. He tamed the serpent Kaliya, who previously poisoned the waters of Yamuna river, thus leading to the death of the cowherds. In Hindu art, Krishna is often depicted dancing on the multi-hooded Kaliya.
Krishna lifted the Govardhana hill and taught Indra, the king of the devas, a lesson to protect native people of Brindavana from persecution by Indra and prevent the devastation of the pasture land of Govardhan. Indra had too much pride and was angry when Krishna advised the people of Brindavana to take care of their animals and their environment that provide them with all their necessities, instead of worshipping Indra annually by spending their resources. In the view of some, the spiritual movement started by Krishna had something in it which went against the orthodox forms of worship of the Vedic gods such as Indra. In Bhagavat Purana, Krishna says that the rain came from the nearby hill Govardhana, and advised that the people worshiped the hill instead of Indra. This made Indra furious, so he punished them by sending out a great storm. Krishna then lifted Govardhan and held it over the people like an umbrella.
Krishna lifts Govardhan Parvat
Kurukshetra War (The Mahabharata) :
Once battle seemed inevitable, Krishna offered both sides the opportunity to choose between having either his army called narayani sena or himself alone, but on the condition that he personally would not raise any weapon. Arjuna, on behalf of the Pandavas, chose to have Krishna on their side, and Duryodhana, Kaurava prince, chose Krishna's army. At the time of the great battle, Krishna acted as Arjuna's charioteer, since this position did not require the wielding of weapons.
Krishna as saarthi in mahabharata
Upon arrival at the battlefield, and seeing that the enemies are his family, his grandfather, his cousins and loved ones, Arjuna is moved and says his heart does not allow him to fight and he would rather prefer to renounce the kingdom and put down his Gandiv (Arjuna's bow). Krishna then advises him about the battle, with the conversation soon extending into a discourse which was later compiled as the Bhagavad Gita.
Shri Krishna Vishwaroop
Krishna asked Arjuna, "Have you within no time, forgotten the Kauravas' evil deeds such as not accepting the eldest brother Yudhishtira as King, usurping the entire Kingdom without yielding any portion to the Pandavas, meting out insults and difficulties to Pandavas, attempt to murder the Pandavas in the Barnava lac guest house, publicly attempting to disrobe and disgracing Draupadi. Krishna further exhorted in his famous Bhagavad Gita, "Arjuna, do not engage in philosophical analyses at this point of time like a Pundit. You are aware that Duryodhana and Karna particularly have long harboured jealousy and hatred for you Pandavas and badly want to prove their hegemony. You are aware that Bhishmacharya and your Teachers are tied down to their dharma of protecting the unitarian power of the Kuru throne. Moreover, you Arjuna, are only a mortal appointee to carry out my divine will, since the Kauravas are destined to die either way, due to their heap of sins. Open your eyes O Bhaarata and know that I encompass the Karta, Karma and Kriya, all in myself. There is no scope for contemplation now or remorse later, it is indeed time for war and the world will remember your might and immense powers for time to come. So rise O Arjuna!, tighten up your Gandiva and let all directions shiver till their farthest horizons, by the reverberation of its string."
Krishna had a profound effect on the Mahabharata war and its consequences. He had considered the Kurukshetra war to be a last resort after voluntarily acting as a messenger in order to establish peace between the Pandavas and Kauravas. But, once these peace negotiations failed and was embarked into the war, then he became a clever strategist. During the war, upon becoming angry with Arjuna for not fighting in true spirit against his ancestors, Krishna once picked up a carriage wheel in order to use it as a weapon to challenge Bhishma. Upon seeing this, Bhishma dropped his weapons and asked Krishna to kill him. However, Arjuna apologized to Krishna, promising that he would fight with full dedication here/after, and the battle continued. Krishna had directed Yudhisthira and Arjuna to return to Bhishma the boon of "victory" which he had given to Yudhisthira before the war commenced, since he himself was standing in their way to victory. Bhishma understood the message and told them the means through which he would drop his weapons which was if a woman entered the battlefield. Next day, upon Krishna's directions, Shikhandi (Amba reborn) accompanied Arjuna to the battlefield and thus, Bhishma laid down his arms. This was a decisive moment in the war because Bhishma was the chief commander of the Kaurava army and the most formidable warrior on the battlefield. Krishna aided Arjuna in killing Jayadratha, who had held the other four Pandava brothers at bay while Arjuna's son Abhimanyu entered Drona's Chakravyuha formation—an effort in which he was killed by the simultaneous attack of eight Kaurava warriors. Krishna also caused the downfall of Drona, when he signalled Bhima to kill an elephant called Ashwatthama, the namesake of Drona's son. Pandavas started shouting that Ashwatthama was dead but Drona refused to believe them saying he would believe it only if he heard it from Yudhisthira. Krishna knew that Yudhisthira would never tell a lie, so he devised a clever ploy so that Yudhisthira wouldn't lie and at the same time Drona would be convinced of his son's death. On asked by Drona, Yudhisthira proclaimed
"Ashwathama Hatahath, naro va Kunjaro va"
i.e. Ashwathama had died but he was nor sure whether it was a Drona's son or an elephant. But as soon as Yudhisthira had uttered the first line, Pandava army on Krishna's direction broke into celebration with drums and conchs, in the din of which Drona could not hear the second part of the Yudhisthira's declaration and assumed that his son indeed was dead. Overcome with grief he laid down his arms, and on Krishna's instruction Dhrishtadyumna beheaded Drona.
When Arjuna was fighting Karna, the latter's chariot's wheels sank into the ground. While Karna was trying to take out the chariot from the grip of the Earth, Krishna reminded Arjuna how Karna and the other Kauravas had broken all rules of battle while simultaneously attacking and killing Abhimanyu, and he convinced Arjuna to do the same in revenge in order to kill Karna. During the final stage of the war, when Duryodhana was going to meet his mother Gandhari for taking her blessings which would convert all parts of his body on which her sight falls to diamond, Krishna tricks him to wearing banana leaves to hide his groin. When Duryodhana meets Gandhari, her vision and blessings fall on his entire body except his groin and thighs, and she becomes unhappy about it because she was not able to convert his entire body to diamond. When Duryodhana was in a mace-fight with Bhima, Bhima's blows had no effect on Duryodhana. Upon this, Krishna reminded Bhima of his vow to kill Duryodhana by hitting him on the thigh, and Bhima did the same to win the war despite it being against the rules of mace-fight (since Duryodhana had himself broken Dharma in all his past acts). Thus, Krishna's unparalleled strategy helped the Pandavas win the Mahabharata war by bringing the downfall of all the chief Kaurava warriors, without lifting any weapon. He also brought back to life Arjuna's grandson Parikshit, who had been attacked by a Brahmastra weapon from Ashwatthama while he was in his mother's womb. Parikshit became the Pandavas' successor.
Krishna had eight princely wives, also known as Ashtabharya: Rukmini, Satyabhama, Jambavati, Nagnajiti, Kalindi, Mitravinda, Bhadra, Lakshmana) and the other 16,100 or 16,000 (number varies in scriptures) were rescued from Narakasura. They had been forcibly kept in his palace and after Krishna had killed Narakasura he rescued these women and freed them. Krishna married them all to save them from destruction and infamity. He gave them shelter in his new palace and a respectful place in society. The chief amongst them is sometimes called Rohini.
The Bhagavata Purana, Vishnu Purana, Harivamsa list the children of Krishna from the Ashtabharya with some variation; while Rohini's sons are interpreted to represent the unnumbered children of his junior wives. Most well-known among his sons are Pradyumna, the eldest son of Krishna (and Rukmini) and Samba, the son of Jambavati, whose actions led to the destruction of Krishna's clan.
Long after the Mahabharat war was over, Krishna was sitting in a jungle, when a hunter took the mani in his feet as eye of an animal and shot an arrow. when he came and saw krishna he was shocked and asked for forgiveness.
Krishna smiled and said – you need not repent, because you were Bali in your last birth and I as Rama had killed you from behind a tree. I had to leave this body and waiting for an opportunity to end the life and was waiting for you so that the karmic debt between you and me and finished.
After Krishna's leaving body, Dwarka sank in the sea . Most of Yadus had already died in the war of Prabhas. Gandhari had cursed Krishna that his clan would also finish like Kauravas.
After Dwarka sank, the left of Yadus came back to Mathura.
Krishna as per Darwin's Theory of Evolution:
A close friend prompts Krishna as the complete modern man. The theory of survival of fittest comes into play and now humans have become much smarter and has started enjoying music, dance and festivals. There have been war around and feuds within the family. Society has become shrewd and a devious attribute is the need of the time. He was smart, devious and a skillfull manager. More like a modern day man.
Temples:
Some beautiful and famous temples:
Prem Mandir:
Prem Mandir, built in the holy town of Vrindavan is one of the newest temples dedicated to Shri Krishna. The temple structure was established by spiritual guru Kripalu Maharaj.
Prem mandir
The main structure built in marble looks incredibly beautiful and is an educational monument that reflects the true history of Sanatana Dharma. Figures of Shri Krishna and his followers depicting important events surrounding the Lord's existence cover the main temple.
Credits: To the original photographers and artists
2 thoughts on "Dashavatara the 10 incarnations of Vishnu – Part VIII : Shri Krishna Avatar"
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Burns night is this Friday 25th January. It is a celebration of the birth of Scotland's national poet, Robert Burns, and his work. The annual Scottish event is always a great excuse for a party and festivities are expected to continue throughout the weekend.
The traditional Burns supper is the centre of the festivities and was first held in July 1801. These can be formal affairs, or very laid back, and tend to involve a traditional Scottish feast rounded off with drams of Scotch whisky. Expect tributes and recitals of some of Burns' poems and songs.
Here are our top three things to do this weekend to celebrate Burns Night in London.
Celebrate on board the Cutty Sark, the historic tea clipper named after one of Burns' most-loved poems Tam O' Shanter. Explore the ship, dance to a live ceilidh band under the gleaming copper hull before downing a dram of whisky. Enjoy a hot meal of traditional fare with a choice of haggis, neaps and tatties, stovies, or even vegan haggis.
Don a kilt and join the first Scottish-themed 10k run around Central London. Inspired by the New York Tartan Week Festival at which there was a kilt run in Central Park, the London Kilt Run will start and finish at the Robert Burns Statue in Victoria Embankment Gardens. The route will take in a number of London sights with a Scottish connection including Scotland House, Westminster Abbey where Mary Queen of Scots is buried, Scotland Yard, and many more. Organisers will stop and describe the connections and mention as much about Robert Burns as possible along the way. Runners will be encouraged to head to a Scottish themed bar afterwards and raise a glass!
West London restaurant Flora Indica loves to celebrate its historic link to Scotland. The concept of the restaurant, along with its flavours, herbs, and spices, was inspired by the book, Flora Indica written by the Scottish botanist William Roxburgh. The interior reflects this relationship, with the upholstery exclusively from Scotland – the famous Harris Tweed from the Isle of Harris and wonderful wooden fabric from the Isle of Bute. Flora Indica is putting an Indian twist on the traditional Burns Night Supper on Friday 25 January.
The three-course feast is to feature Kerala Syle Cullen Skink, Haggis with Masala Clapshot and Whisky Sauce, and to finish, Scottish Raspberry Chaat and Frozen Yogurt with Pistachio Crumb.


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Jason "Jake" Logue (born November 15, 1972) is a former American football quarterback who played one season with the Memphis Pharaohs of the Arena Football League. He played college football at Mesa State College.

References

External links
Just Sports Stats

Living people
1972 births
Players of American football from Colorado
American football quarterbacks
Colorado Mesa Mavericks football players
Memphis Pharaohs players
People from Adams County, Colorado

redpajama_set_name: RedPajamaWikipedia


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Церква Святого Духа — парафія і храм Борщівського благочиння Тернопільської єпархії Православної церкви України в селі Глибочок Чортківського району Тернопільської області.

Історія церкви
У 1939 році громада хутора Пеньки розпочала будівництво каплички. Було закладено фундамент та вимуровано стіни. З початком Другої світової війни будівельні роботи припинилися. У 1947—1949 роках споруду зруйнували.

У 1988 році за ініціативи громади села Пеньки та настоятеля священника Івана Дзюби вдруге освятили місце і встановили хрест. Того ж року заклали фундамент. У 1991 році під керівництвом М. Барського та з допомогою громад православних храмів району розпочали будівництво святині. Архітектором виступив Кулик, житель села Ридодуби. Усі жителі Глибочка брали активну участь у розбудові храму. 27 листопада 1994 року храм відкрили та освятили. На запрошення священника Івана Дзюби благочинний Борщівського району священник Юрій Стеблина та священики із сусідніх сіл звершили перше Богослужіння.

Парохи
 о. Іван Дзюба (1994—2001),
 о. Руслан Матвіїшин (з 2002).

Джерела

Церкви Чортківського району
Глибочок (Чортківський район)
Церкви Святого Духа


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Een splinter is een "afgesprongen deeltje". Een scherp stukje hout, been (bot), metaal of glas kan een splinter zijn. Het kenmerk van een splinter is dat het klein is en scherpe kanten of een punt heeft. Een splinter kan daardoor gemakkelijk de huid of een oog binnendringen. Vaak kan zo'n splinter weer verwijderd worden zonder problemen, maar soms leidt het tot permanente schade.

Splinters laten vaak los of breken vaak af in de vezelrichting van bewerkt (bijvoorbeeld gezaagd) hout. Wanneer glas breekt worden de heel kleine stukjes scherp glas splinters genoemd. Wanneer hardmetalen (bijvoorbeeld stalen) voorwerpen elkaar hard raken (zoals een hamer op een aambeeld) kunnen er splinters en/of vonken afspringen. Een vonk is in feite een gloeiende splinter.

Bij grote houtsplinters spreekt men vaak van spaanders. Stukjes metaal ontstaan bij metaalbewerking noemt met spanen.

Andere betekenissen
Een kleine afsplitsing van een politieke partij heet een splinterpartij.
Het uiteenvallen van een groot geheel in kleinere onderdelen heet versplintering.

Hout
Metaal
Glas


There are fathers you admire, fathers who embarrass, fathers you could learn from, and fathers that require decades of therapy. But the kind of father we hope you've had, and know you want to be – is a man who is a real softy. He may appear stiff and rugged from the outside, but inside he is actually a warm, gooey marshmallow if you consider the motive behind his occasional madness. We're talking about the dad who threatens your worst bully – and will follow through with it. The dad who throws a grenade in your direction because if you're going to die – he's going to do it his way. A father who approaches life with the same tact, verve, and finesse as these 20 cool film father figures.
Hat tip to Angelica for the idea!


Semaphore Enterprise Semantic Platform - Open Text Web Solutions Usergroup e.V.
The Semaphore plug-in to the OpenText Web Site Management Server (formerly RedDot CMS) ensures that the most accurate concepts from one or more taxonomies are applied to pages during page creation and editing. The Semaphore Enterprise Semantic Platform provides prompted classification and intuitive search over any taxonomy; improving the quality of the tags added and reducing user burden.
Read an OpenText page and automatically classify it against one or more taxonomies.
Provide a set of libraries that can be executed from any RQL script.
Use OpenText best practices and all native forms, elements, and look and feel.
This short video introduces you to the features of the Semaphore plug-in for OpenText's CMS (formerly RedDot CMS), which will make it easy for editors to add complex, taxonomy-driven metadata to their pages.
Smartlogic Semaphore is a content intelligence platform-as-a-service that combines taxonomy management, automatic content classification and ontology-driven search and navigation enhancement. This can now be connected to the OpenText CMS using a native plug-in.
The video introduces Semaphore's integration with the OpenText content management server and demonstrates three simple mechanisms for exposing a company's defined taxonomy and enabling content authors and editors to tag a page of content with correct, standardised terms.
The simple, user-friendly method of content classification - without the need to browse an extensive tree structure of terms in a taxonomy - in turn makes the search and retrieval of accurate information faster and easier for the end user.
View this recording to learn how to integrate your OpenText CMS with Semaphore to improve user search and retrieval.


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Mrs. James Ward Thorne and the Thorne Rooms
The word "amateur" has taken on a very negative connotation in our culture, which is a shame. It used to mean someone who had passion for a certain field, and studied it to such a degree that they were exceedingly adept, almost approaching (and sometimes surpassing) a professional proficiency. Amateurs were often women of means who, because of societal strictures, were not allowed to work.
Mrs. James Ward Thorne was both a lady of means and passion. She studied with great interest historic interiors and adored miniatures. Her way of bringing historic interiors to life was to create tiny and exceedingly precise models of them. In this rather odd, yet fascinating, endeavor she worked for decades with miniature makers in her own workrooms, overseeing every detail of these Lilliputian rooms.
The early 20th century was a time when there were very few historic interiors in American museums. The Decorative Arts was something that the wealthy collected, but was largely cut off to those who had the interest but not the funds to buy. It was also a time when Americans had a growing interest in these beautiful objects and the sumptuous, historic rooms that held them. Mrs. James Ward Thorne decided she would create them from whole cloth, and in a sense, she created a unique way to time travel and look at historic spaces.
From the moment she opened the doors to the public to see her first set of rooms in 1933, there was an enthusiastic response. She continued making these miniature miracles into the early 1960's. Today, many of these rooms survive, sixty-eight now beautifully exhibited at the Art Institute of Chicago. To see these tiny settings in person is to transport oneself to eighteenth century England, 1930's Paris or colonial America while simultaneously being let into the tiny world of Mrs. James Ward Thorne's very large imagination.

redpajama_set_name: RedPajamaCommonCrawl


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Google Glass insights: bone conduction audio, laser-projected keyboard and more
in Science, Technology
For a few years now, Google has been developing what it claims to be the next generation in user interface, set to revolutionize the way to interact with the world. The project is called Google Glass and apart from a few incredible demos, these is still very little known about the product, apart from the fact that it looks like a ordinary pair of glasses, but with some extraordinary features like augmented reality and live high resolution camera feed.
Bone conduction for covert audio. This would allow more privacy so that no one can overhear a conversation; a vibration transducer allows the technology to work without a direct connection.
Recently, the search giant, which let's face it has long made the jump from search into virtually every field of high-end technology, applied for patents for its heads-up, offering a set of new insights into what this device will be capable of doing.
One of its most impressive features is something called bone conduction audio. What this means is that the head-mounted display can be configured to provide indirect bone-conduction audio through a vibration transducer that is configured to vibrate at least a portion of the head-mounted display based on the audio signal. This essentially means that wearing Google Glass you could have conversations that no one can overhear.
Babik Parviz is the head of the Google Glass project and he revealed a few facts about the invention earlier this month to Elise Ackerman of IEEE Spectrum.
"We wanted to have a device that would do two things that we think would be useful for a lot of people," Parviz said. "One is to have a device that would allow for pictorial communications, to allow people to connect to others with images and video…we wanted to have a device that would see the world through your eyes and allow you to share that view with other people."
"The second big goal was to have a technology that would allow people to access information very, very quickly," he continued, "So when you have a question, you can very rapidly get to the answer."
A laser projector can be used to project an interface on any nearby surface, including the user's own hand.
Another awesome feature is its projection capabilities. Fitted with both a projector and a camera in the headset, Google glass can project an interface on any kind of surface, including the wearer's hands. Want to type a phone number? Just beam a keyboard on your hand and type away. The camera captures the activity on the interfaced surface and translates the actions.
Eye scan ID and augmented imagery.
Also, like I said earlier, Google Glass is supposedly fully augmentative. So, in theory at least according to the scarce info we got from this recent file for patent, you could look at a car, as the illustration above suggests, and have things like specs or certain mechanical parts preseented directly through a display in your headset. Yeah, they're really pushing it this time. Besides the fact that Google is really secretive about the project, they're constantly tweaking its features, so until it's nearly really for release, things are on need to know basis only.
"We haven't actually talked about specific features," Parviz claims. "We have mentioned some basic capabilities, like taking a picture and sharing it. We are experimenting with a lot of things. The feature set for the device is not set yet. It is still in flux."
Check out the Google Glass patent here. Below is a video presentation of Google Glass by Sergey Brin himself, which however doesn't highlight any of the fantastic features mentioned in this article, but which still makes for a great show. Hint: it includes skydiving and mountain biking.
Tags: GoogleGoogle Glass


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Breastfeeding experts quit jobs, slam Nestlé
Two breastfeeding experts have resigned from Burnaby General Hospital over a dispute involving infant formula giant Nestlé.
Renee Hefti-Graham and Linda Good both quit last week.
The issue began with an invitation circulated through the hospital's e-mail system to a Nestlé-sponsored "wine-and-dine" event to be held June 12.
Both women were adamantly opposed to the event.
And it was criticized by Health Minister George Abbott and the hospital's executive director, Arden Krystal, as a violation of a World Health Organization code that deals with the marketing of breastmilk substitutes.
The code states "no financial or material inducements" may be provided by formula companies to promote their products to health workers.
Nestlé cancelled the event following news of the controversy. Company spokeswoman Catherine O'Brien said yesterday that the formula maker is not in violation of the WHO code because the event was created solely to provide "science-based information."
Hefti-Graham and Good resigned because they felt their boss wasn't supportive of their stance against Nestle.
"She doesn't understand the issues," said Hefti-Graham. "She called [the materials I brought her] propaganda . . . and I've been working in this field for 20 years. I cannot work with a manager who tells me that the information I give her is propaganda."
The nurses' position on Nestlé is backed by the Toronto-based Infant Feeding Action Coalition, which advocates a consumer boycott of Nestlé products for violations of the code, which is not law in Canada.
There is now no lactation consultant at Burnaby General, but other hospital staff are being trained to teach women how to breastfeed.
A spokeswoman for the Fraser Health Authority said the maternity ward's patient-care co-ordinator circulated the invitation, but would not say whether any disciplinary measures had been imposed on the employee, citing privacy rights.
http://www.canada.com/theprovince/news/story.html?id=c00a1b3b-a995-46f6-8c93-306c60e96406
http://www.straight.com/article-151232/breastmilk-brouhaha-at-burnaby-hospital
Posted by JQ at 9:36 PM 1 comment:
Open Letter to Mark Zuckerberg
Dear Mr Zuckerberg,
I am writing you to suggest that you hold an immediate briefing session with your official spokespeople to better advise them on a more accurate and truthful response to the many media inquiries you have recently received regarding Facebook's policy of removing breastfeeding images from user profiles and group albums on your site.
The current statements from your company regarding this policy are unclear and false. A much better approach might be something along the lines of:
"Facebook is a global and dynamic social networking tool with 140 000 000 users world wide. Though we are aware of our rapidly changing demographic which now includes many parents, we are uncomfortable with the idea of breastfeeding images on our site, so we will continue to remove them arbitrarily.
Though we do allow many applications and paid advertisements that contain sexually explicit material, and have no policy regarding male nipples or areola, we believe that female nipples and areola are dangerous to our users, regardless of whether this is logical, rational, legal or fair. Although technically, according to our written terms of service and Facebook's code of conduct it nowhere states this, we feel strongly that images of female breasts in the context of breastfeeding with any amount of areola or nipple showing (and in fact several that show none at all) are inappropriate on our site. We have, therefore, chosen to remain firm in our stance that breastfeeding images are objectionable, offensive, akin to pornography and thus harmful to other users of the site. We have to "draw the line" somewhere afterall, and we have chosen to draw it along gender lines.
Regardless of the ample proof which exists that social stigmatizing and suppression of breastfeeding has a negative impact on breastfeeding initiation and duration rates, and being aware that the United States has some of the lowest breastfeeding rates in the world, we remain comfortable taking any responsibility for contributing to this stigma, and have no plans to change our practice of removing breastfeeding images from our site.
Despite also, the fact there are several local, state and national laws which prevent breastfeeding women from falling victim to this exact form of discrimination, we are more comfortable operating our site above the law, and will continue to behave in this discriminatory way.
"Just a suggestion Mark...
Stephanie Muir
Posted by JQ at 11:36 AM 1 comment:
My name is Emma Kwasnica. I am a 30-year-old Canadian tandem-nursing mother living in Montréal, whose Facebook account has now been entirely disabled over the breastfeeding photos controversy.
The official petition group on Facebook is called Hey Facebook, breastfeeding is NOT obscene! . I am reaching out because I think you might be interested in the Facebook fiasco over breastfeeding images, and them being classed as "obscene, sexually explicit and pornographic". Yes, I said breastfeeding. The most loving, selfless act on Earth.For the record, my entire Facebook account has now been deleted, with no explanation from the administrators of Facebook. While they have not confirmed the reason for disabling my account, I can only suspect it stems from the fact that, in the days leading up to the disabling of my account, I had photos of me breastfeeding my daughters deleted, and was given a "warning" for having had uploaded "obscene" content that renders Facebook "unsafe for children" (please see attached screen shots).
Given the amount of obscene, pornographic, and truly disturbing photos, applications and groups that proliferate across Facebook, I am stunned that this has happened to me. I am an aspiring midwife/Childbirth Educator/ Breastfeeding Counselor; I run a lively discussion group on Facebook called Informed Choice : Birth and Beyond, and have been sharing all of my summarised research, studies, links regarding pregnancy, birth and motherhood with a group of nearly three hundred people, since July 2008. And now, everything that I ever wrote, all my photos, all of my midwifery-related research, has been deleted --right off the face of Facebook. Furthermore, this does not concern me alone, as many (over a hundred ?) other Facebook users had their posts deleted, too, since whole discussion threads were deleted into oblivion, if it was indeed me who began the thread (which, 80% of the time, I had started the threads, since this was my group/me sharing the most recent research relevant to the childbearing/-rearing woman).
Facebook has not responded to my e-mails politely enquiring why my account has been disabled. They remain faceless. Hence the reason why I am now reaching out and going public with my situation. I am desperate to get my words back, and most importantly, the general North American public needs to be made aware of Facebook's disgusting double-standards regarding "decency". I am revolted to report that Facebook allows the likes of a group called "Dead Babies Make Me Laugh", and yet, someone such as myself, who wants nothing but to inspire and help women on their journey to birthing healthy, vibrant babies, has her whole account deleted.I have now done radio station interviews (a Sakatoon one, as well as Montréal's 98.5 FM), and was interviewed for 'La Presse' newspaper here in Montréal, the article for which appeared in yesterday's edition of 'La Presse' (the English translation for which you will find below). I may be doing another one-hour long segment on the same Saskatoon radio station at some point this week.
There is a Canadian slant to this whole Facebook fiasco, in that the tireless organisor of the original online protest is from Ottawa (Stephanie Muir), the site that is currently the "safe haven" for breastfeeding photos which have been deleted by Facebook is a Canadian one (TERA), is coordinated by Paul Rapoport of Hamilton, Ontario, and now, the only (known) person so far to have had their Facebook acount fully disabled over this issue --me, a Montreal mother.
Please help me by spreading the word of Facebook's appalling actions (such as by posting this to your blog), and consider this an official plea to get the word out ! For the sake of the next generation of babies, people everywhere need to understand that the larger issue of normalising breastfeeding is deeply important here. In 2009, it is unacceptable that women feel shamed, or are sexualised, while providing the most normal, the most physiologically appropriate food for their babies : breastmilk.
-Emma Kwasnica, Montréal
(514) 656-1560PS
You will aslo find attached the scanned, full-page image from Le Journal de Montréal, in which I am breastfeeding my daughters. This is particularly relevant as Facebook has said that no major newspaper in North America would publish the type of breastfeeding photos that they have deleted. This simply isn't true - this newspaper image (from October 2008) is living proof ! If Montreal, a city of over 3.5 million, can handle seeing this image in a daily newspaper, they why can't Facebook ?
*********************************************MOTHERS CRUSADING AGAINST FACEBOOK
Daphné Cameron,
"Cover up this breast that I do not want to see." Even though it was written in the 17th century, Molière's famous refrain is still à la mode for those who run Facebook's networking site.
For several months now, photographs of mothers breastfeeding their children have been being deleted. The restriction has provoked anger in women all over the globe. In protest, 11,000 women replaced their profile picture with the image of a breastfeeding mother.
This online protest was organized for December 27th by Stephanie Muir, an Ottawa mother outraged by the website policy, that says that no "pornographic or sexually explicit" material may be uploaded to the site.
"It is unthinkable that in 2008, such a loving image, one of a mother breastfeeding her baby, can be perceived as sexual or offensive," she said. "It's because we stigmatise women in this way, that mothers make the choice not to breastfeed, or breastfeed for a shorter length of time."
In additon to the web protest, a few dozen women assembled in front of the Facebook headquarters in California, and nursed their babies there.
The response by Facebook administrators was immediate.
According to Stephanie Muir, accounts of several protestors were disabled.
This is the case of Montrealer Emma Kwasnica, who no longer has access to her personal account, since January 1st.
"Facebook began deleting photos of me breastfeeding my daughters on December 28th", stated the 30-year-old who is studying to become a midwife. "A few days later, the administrators disabled my account with the only explanation being that I had uploaded obscene content. Breastfeeding is the most beautiful thing in the world. How does one automatically associate that with sex ?"
The protest organised by Stephanie Muir has provoked a media frenzy in the United States. Facebook reacted by publishing a press release that specified that only photos showing nipple or areola are banned.
Facebook reiterated that it is a private company which has the right to decide which content it hosts on its site.
The War on Facebook
http://www.telegraph.co.uk/scienceandtechnology/technology/facebook/4029868/Breastfeeding-photo-ban-by-Facebook-sparks-global-protest-by-mothers.html
Breastfeeding photo ban by Facebook sparks global protest by mothers
A global campaign has been launched by thousands of mothers against social networking site Facebook for banning photos of women breastfeeding.
By Urmee Khan, Digital and Media Correspondent Last Updated: 7:53AM GMT 31 Dec 2008
Mothers around the world have rallied agaist the policy which they say stigmatises breastfeeding and demeans women Photo: GETTY
Thousands of women have had their pictures of removed from profiles and online albums after they were classified as "obscene content" by the site. Many have also received warnings that they may be barred from using the site.
Mothers around the world have rallied agaist the policy and some have even picketed the Facebook headquarters in Palo Alto, California - under the banner of the Mothers International Lactation Campaign, to complain about the policy which they say stigmatises breastfeeding and demeans women.
Over 82,000 people have joined a Facebook petition group "Hey Facebook, Breast-feeding is not Obscene" with hundreds joining every hour.
More than 11,000 people around the world took part in the 'Mothers International Lactation Campaign' through an online "nurse-in" protest on Saturday by posting more breastfeeding pictures. Many of these photos have been subsequently removed.
Facebook says the website takes no action over most breastfeeding photos because they follow the site's terms of use, but photos that showed nipples were indecent and had to be removed.
Barry Schnitt, a Facebook spokesman, said: "We agree that breastfeeding is natural and beautiful and we're very glad to know that it is so important to some mothers to share this experience with others on Facebook."
But, he added, some photos were removed to ensure the site remains safe and secure for all users, including children.
"Photos containing a fully exposed breast - as defined by showing the nipple or areola - do violate those terms on obscene, pornographic or sexually explicit material and may be removed," he said in a statement. "The photos we act upon are almost exclusively brought to our attention by other users who complain."
But mothers say that breastfeeding is natural and healthy and should be not bracketed with pornography.
Katherine Brierly, from Brighton, said: "BF is natural, and allows the mum to have food on tap 24/7, wherever she is, that is safe and in the right quantities and temperature at all times.
"Prudes like you would wish every mother to complicate their lives and potentially endanger their children's health so that you don't have to see a bit of nipple."
Nicky Cartwright Pashley, from Sheffield, said: "When I go to the beach I see people's asses and breasts exposed in bits of string pretending to be swimwear. I would much rather see the beauty and love of a mother feeding her baby than be subjected to complete strangers' gratuitous flesh flashing."
Earlier this month, Nicola Wood, 27, was reprimanded for breastfeeding her baby during a carol service at St Peter's Cathedral, Exeter.
"My little boy Theo, who is six months old, was getting hungry, so I started to breastfeed him, but all I could hear was a woman a few pews back moaning and saying, 'oh my God, how disgusting'," she said.
"Then she came up to me at the end of the service and said, 'as long as this cathedral has been open I have never seen anyone as disgusting as you in church. You might as well have been naked and peeing in the church'. It ruined the whole service for me."
Posted by JQ at 3:53 PM 2 comments:
Facebook Controversy Resurfaces
15 months later........
Facebook is still deleting breastfeeding pictures. My fellow lactivist, Emma Kwasnica had her account closed and removed this morning for having breastfeeding photos posted.
http://tera.ca/photos6.html
Here is a link to the TIME online article
http://www.time.com/time/nation/article/0,8599,1869128,00.html
And a link to the BBC radio interview I participated in
http://www.bbc.co.uk/iplayer/episode/b00g4dh5/Stephen_Nolan_30_12_2008/
The number of facebook group "Hey Facebook, Breastfeeding is not obscene!(Official Petition to Facebook)" members has skyrocketed to over 107,000 in less than a week, and is still climbing every day. Here is the group, if you have not joined yet:
http://www.facebook.com/groups.php?ref=sb#/group.php?gid=2517126532
Posted by JQ at 3:28 PM 20 comments:
Hello, My name is Emma Kwasnica. I am a 30-year...
http://www.telegraph.co.uk/scienceandtechnology/te...


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Songs for the Cross Centered Life is a worship CD inspired by a book. What C.J. Mahaney's book does in print, this CD does in 14 cross-centered songs. Five of them are new and nine are updated favorites from earlier recordings. The CD includes a booklet that contains the entire first chapter from The Cross Centered Life, making the project an inspiring reminder of how to preach the gospel to ourselves and equipping us with songs that help us do just that.


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How to establish a cyber security strategy
Post on: Nov 14, 2017
Hannah Gresty
Given that the Petya ransomware attack in June paralysed thousands of companies worldwide – and that a firm breaching the EU's General Data Protection Regulation (GDPR) next year could be fined up to €20m (£18m) – cyber security is clearly a crucial issue for all businesses. But a recent IoD survey has found that, while 91 per cent of members regard it as important, only 57 per cent have established a formal cyber security strategy. The IoD's Information and Advisory Service has the following guidance for the many that have yet to act.
The board is ultimately accountable for the protection of corporate systems. So says Richard Benham, Oxford professor of cyber security management and the author of a 2016 IoD policy report entitled Cyber Security.
"This issue must stop being treated as the domain of the IT department and be the subject of boardroom policy," he stresses. "Businesses need to develop a cyber security policy, educate their staff, review supplier contracts and think about cyber insurance."
Analyse the risks
Directors need to ask themselves: how confident are we that our key information assets are protected? Who might compromise their security? What forms might the threat take? What effects couldan attack have? Doing this will help you to implement suitable controls and determine what good practice looks like. Repeat the procedure regularly, continually reassessing the effectiveness of your measures. If a third party manages your IT services, review your agreements with it and ensure that those handling your data also apply these controls.
For a detailed breakdown of this approach to risk management, see the National Cyber Security Centre's 10 Steps to Cyber Security report, which is used by most of the FTSE 350.
Ensuring that your business follows the strict data protection principles outlined by the Information Commissioner's Office (ico.org.uk) and enforced by the Data Protection Act 1998 will help to shield it from attacks, prosecutions, fines and reputational harm. These stipulate that the data held and processed by your firm must be kept securely; be used fairly and lawfully for specific, limited purposes; and not be moved outside the EEA without adequate protection. Also, planning and implementing the changes that your firm needs to make to comply with the GDPR now will ensure its readiness for the legislation when this comes into force in 2018.
Get the fundamentals right
Applying basic, effective measures to protect your company's systems will mitigate many of its cyber risks. You should download and install software updates as soon as these become available, as they usually contain security patches. This may seem obvious, yet a large number of firms still fail to do this. Similarly, use strong passwords; delete all suspicious emails, which could contain malware or be phishing attempts; and always use up-to-date anti-virus software.
The most crucial measure is to train all staff in these basics and keep them abreast of the latest threats. Human error is often at the root of a breach – the mere opening of an email attachment by an unwitting employee could cause one. You therefore need to develop a security-aware culture. The government's Cyber Essentials scheme (cyberaware.gov.uk/cyberessentials) is a good starting point for this. Setting out five controls to reduce your company's vulnerability, it's suitable for organisations of all types and sizes.
Get insured
Insurance is not yet widely viewed as a cyber security measure. Indeed, only 20 per cent of IoD members have taken out such cover for their firms. But products in this area can insure against a range of risks, including network security liability, data and software damage, business interruptions and reputational harm. Although some events, including the theft of intellectual property, remain uninsurable because the associated losses are hard to prove and/or quantify, insurance is likely to feature heavily in any effective cyber strategy in the near future.
Visit iod.com/information for further details about the Information and Advisory Service. This encompasses the Business Information Service (iod.com/research); the Directors' Advisory Service (iod.com/advisory); and helplines offering tax advice (iod.com/taxline) and legal guidance (iod.com/lawexpress)
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Charismatic quartet brings binge-worthy 'Mr. Sunshine' to life | Inquirer Entertainment
entertainment / Television
Charismatic quartet brings binge-worthy 'Mr. Sunshine' to life
By: Rito P. Asilo - Entertainment Editor
Clockwise, from top left: Byun Yo-han, Kim Tae-ri, Kim Min-jung, Yoo Yeon-seok and Lee Byung-hun
There's more to the popular South Korean historical drama series "Mr. Sunshine" than its controversial depiction of period romance, arranged marriages, political opportunism and activism in the face of colonial rule.
The show, which is telecast on the Korean network tvN and streamed on Netflix, is so polarizing that it reportedly generated its highest and lowest ratings this month.
Set during the American diplomatic expedition in the late 19th century that quickly turned into a deadly armed conflict called the Shinmiyangyo, the series tells the fictional tale of a young servant, Eugene Choi, who becomes an officer (Lee Byung-hun) of the US Marine Corps.
On his trip back to Seoul (which was called Hanseong then), Eugene unexpectedly falls in love with an aristocrat's headstrong daughter, Ko Ae-shin (Kim Tae-ri), who's betrothed to a man of her parents' choosing, Kim Hee-sung (Byun Yo-han).
Another controversial character in the series is Goo Dong-mae (the charismatic Yoo Yeon-seok), a sword-wielding peasant who's forced to live a fate dictated by the abuses he and his family had endured at the hands of power-hungry soldiers. Recently, "Mr. Sunshine" had to "modify" his character after it was accused of romanticizing Dong-mae's pro-Japanese stance.
Just as compelling are the attractive actors portraying those fascinating characters: Korean superstar Lee Byung-hun, whose filmography includes "Bungee Jumping of Their Own," "G.I. Joe: The Rise of Cobra," "Red 2," "Terminator Genisys" and "The Magnificent Seven," was the first South Korean actor to present an award at the Oscars.
Kim Tae-ri has won a lot of awards for her debut performance in Park Chan-wook's "The Handmaiden," with "Along with the God's" Ha Jung-woo.
Yo-han and Yeon-seok's bodies of work are also nothing to scoff at. Consider: Yo-han is as famous for his award-winning portrayals ("Socialphobia," "Six Flying Dragons") as he is for his forays into musical theater ("Hedwig and the Angry Inch").
Like Yo-han, Yeon-seok also played Hedwig in a later iteration of the gender-bending rock musical, acted in "The Good Person of Szechwan," and starred in award-winning rom-coms ("Warm and Cozy," "Mood of the Day," "Dr. Romantic").
Inquirer Entertainment is treating "Mr. Sunshine's" avid followers to this Q&A featuring Byung-hun, Tae-ri, Yo-han and Yeon-seok:
Lee Byung-hun
Lee Byung-hun as Eugene Choi in "Mr. Sunshine"
What were the challenges of portraying a character like Eugene Choi? Most of the time, I have to play a character who finds himself in a situation that I've never experienced, so I immerse myself in the role and focus on his situation when reading the script. My performance is the result of constant practice and hard work.
What was it like working with Kim Tae-ri? She possesses such a wide spectrum of emotions that I hardly even notice that she's very early into her acting career. I feel that the confidence and vulnerability of Ae-shin can also be seen in Tae-ri as an individual.
Kim Tae-ri
Kim Tae-ri as Ko Ae-shin —Photos courtesy of Netflix
Are you as headstrong and independent as Ko Ae-shin? Yes, very much so. But if there's a difference between us … I honestly wouldn't have the courage to pick the path that Ae-shin chose if I was born to such a prestigious family in her time. I'm much more afraid of suffering.
What do you think of arranged marriages, which becomes a crucial game-changer for Ae-shin's character? The concept just doesn't make sense to me, especially in this day and age. So, I just relied on my imagination to portray her feelings about that.
What were your first impressions of Lee Byung-hun, Yoo Yeon-seok and Byun Yo-han? Great. My first impression of Byung-hun was that he was quiet, but as I got to know him better, it turned out I was wrong. He's actually quite playful.
My first impression of Yeon-suk turned out to be true, which is that he is very sociable and positive.
I couldn't really read what Yo-han was like, and he still is a bit of a mystery to me. I think it's part of his charm that he's not easily figured out.
What adjustments did you make from appearing in films to acting in a TV series? Is it harder or easier? I couldn't really make the connection between the particular scene I was shooting and the overall story. It was difficult to act without understanding the full story.
So, it took quite a while for me to get into the rhythm of the bigger story. Both areas have their own challenges.
Byun Yo-han
Byun Yo-han as Kim Hee-sung
How similar are you to your character Kim Hee-sung? If you met him, would you get along with him? Hee-sung makes a lot of sacrifices under the circumstances he's in.
I feel like he has a bigger heart and is more generous in a lot of aspects than I am. He is kindhearted, so I would definitely get along with him.
What sets "Mr. Sunshine" apart from your other TV/film projects? I don't worry too much about the differences in the projects that I'm involved in. I believe that each work has its own unique quality, so I try to respect that when I act.
If you weren't an actor, what would you be doing now? Being an actor is the only thing I've ever wanted since I was very young, so I can't think of anything else.
You played the title role in the stage musical "Hedwig and the Angry Inch" in 2016. What kind of fulfillment do you get out of theater that you don't get from acting on TV or in films? The biggest difference would be that you're not allowed retakes onstage. Also, theater lets you interact directly with the audience, which I find very exciting.
For your fans, what kind of girls do you like? Someone who is devoted to me.
Yoo Yeon-seok as Goo Dong-mae
You turn in an intense performance as Goo Dong-mae. Are you as intense in real life? I do have some serious and intense aspects that are quite similar to Dong-mae. But, overall, it's not easy for me to compare myself to Dong-mae.
How different is Yeon-seok now in 2018 compared to the Yeon-seok in "Oldboy" in 2003? It's already been 15 years since "Old Boy." I'm sure there are many things about me that have changed. But one thing I constantly remind myself is my commitment to acting.
Which do you enjoy doing more of—drama or romantic comedies? I don't have a preference for a particular genre. I tend to choose a role based on the overall scenario and the character itself.
How different is performing onstage from acting on TV or in films? There are a lot of differences between acting in front of the camera and onstage. When you're shooting something that is recorded on camera, once the shoot is over, you can never redo it.
On the other hand, when you're doing a play or musical, you can actually monitor the audience's response and constantly improve and diversify your acting. It's a great opportunity for training for an actor.
If you met Dong-mae in person, do you think you'll get along with him? I don't think I would be able to, because Dong-mae would get along only with people who are associated with Lady Ae-shin!
What type of women do you find attractive? I like a woman with a great smile.
Darren Criss says win was 'pretty wild' at Emmy party
TAGS: 'Mr. Sunshine', Byung-hun, Exclusive, Tae-ri, Yeon-seok, Yo-han


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In Conversation With The All-Knowing Ryuichi Sakamoto
The Japanese composer talks scoring revenge film The Revenant, recovering from cancer, what makes him stay hungry, and more.
By Ruth Saxelby
Manhattan's West Village is not like anywhere else in New York—the air has a stillness to it, and there is no sense of urgency, no pressure. That calm feels like a luxury, and, of course, it is. On a pretty street across from an arty cafe lies Ryuichi Sakamoto's basement studio office. I was supposed to meet the eminent Japanese composer in said cafe but thanks to a particularly noisy interview there the day before, I lucked out. Down a couple of steps and through a gated door is an L-shaped room. The first half is an office space in which his assistant and colleague quietly work at their desks, and around the corner, there is a jam-packed but methodically organized studio lined with CD-stacked shelves, many keyboards, and a computer. It feels cozy and peaceful, and it's where he's been working out of following his recovery from a throat cancer diagnosed in summer 2014. Sakamoto will turn 64 in January but he wears it well—his sharply cut white hair and tortoiseshell glasses lend elegance to his black zip-up hoodie. He speaks softly but purposefully, and his eyes dance when he laughs.
It was in August of this year that Sakamoto announced his return to work but in actual fact he'd already secretly started earlier. Mexican director Alejandro González Iñárritu had reached out about him scoring The Revenant, an Oscar-friendly blockbuster due out Christmas Day, starring Leonardo DiCaprio and Tom Hardy. While the trailer will tell you it's a wilderness survival flick, it's a lot simpler and a lot more complex than that. Adapted from a true story about a 19th century white frontiersman, it is both a tale of revenge—the son of DiCaprio's character, a child he raised with his since-murdered Native American wife, is brutally killed in front of his eyes while he himself is badly wounded—and a tale against revenge. For all the bear-mauling, horse carcass-gutting, and needless piling up of bodies, it is rare moments of kindness amidst the cruel fallout of colonialism that sting the hardest. At his bleakest hour, DiCaprio's character is shown friendship by a Native American man whose family had suffered a similar fate as his own.
"What happens after revenge?" is the question the film whispers, and it's one we all know the answer to: more revenge. That truth—that violence breeds violence—is one that feels especially raw in a week that's seen the U.K. government vote to bomb Syria. I have no doubt Sakamoto is feeling that too, as during our almost-hour long conversation he made his feelings on the industrial military complex, amongst other things, very clear.
Read Next: Hear Ryuichi Sakamoto's harrowing Black Mirror composition "this is my last day 2"
What attracted you to working on The Revenant?
Ryuichi Sakamoto: Well, more than the theme or subject or superstars in the film, I have been a big fan of Alejandro [González Iñárritu] since his debut film, Amores Perros, maybe 15 years ago or something. Since then I've been following him, checking all of his films, and I still like everything he has done. Some years ago in his film called Babel, he used two pieces of my music. I felt a huge respect in the way he used my music in his own film. At that time we had a phone conversation about how to use the music, how to make music, et cetera. Then soon after, when I had a concert in L.A., I invited him and finally we met. For this film, The Revenant, we had a phone call from his office in May of this year and it was kind of a very demanding call: "Come to L.A. tomorrow."
Okay, that's definitely not a request.
Because I had cancer last year, I was still in recovering mode in May and my energy was not full yet. I couldn't decide right away whether I should do this or not. I should care for my health first. But then I decided to go to L.A. and we had a long conversation about music. The early stages of the film edits were missing some important scenes that they hadn't shot yet—very important ending scenes were missing. But I love Alejandro and his talent. Especially Birdman—amazing film.
You must like him a lot to go when you were still recovering. What made you decide to do it?
We musicians often get inspiration from films and books or photographs, not only by music. I don't get so much inspiration from other musicians. Especially alive musicians. Late musicians are good—Bach, Beethoven, yes, good. Maybe I naturally avoid heavily listening to music made by other musicians. But films, I'm always ready and hungry to observe these inspirations. So I'm sure that what I saw in May was not fully edited, but after Birdman, I immediately thought this was the next level. There was also temp music in the film, and again, he used a lot of my music as a temp. So that made me say, "Okay, maybe I'll give him a shot." But, you know, the strength of his visuals—I like his personality, of course, but more than that, the film itself convinced me to do this.
You've scored nearly the same amount of films as you have made albums. How does having a rigid framework like a film change your musical creative approach, compared to the blank page of a personal project?
Each time I work on a film, I say to myself, "This is it. This is the end." Because it is so stressful, it's like torture. I see my finger is cut, my nose is cut, my eyes are taken, because my music is my child. But they, naturally, cut the child's arms, legs, take an eye, nose, because they scratch everything. It's heart-breaking. Literally every time, I repeat, "This is it. This is it." But, you know, I still do it [laughs]. Because I cannot get the same excitement or challenge or inspiration by doing my solo albums, my own music. It's a very intimate, closed universe, doing my own music. It's just me, basically. I have to inspire myself; I have to do everything by myself. I'm not a player; I'm a composer, I'm a writer. Maybe players get a lot of inspiration this way, doing some work with orchestras or whatever—[it's] probably a similar thing to me doing the film, dealing with lots of people, lots of opinions, and ideas. Inspiration as well, but also stress. But I cannot get that by doing my own thing.
A love-hate relationship?
Yeah, but it's exciting. Working on the film is like a journey to an unknown place. [The Revenant] is a 19th century, 1820s, wild west story—but I have experienced that. Little Buddha, The Sheltering Sky shooting in the Sahara desert, The Last Emperor about the end of the Qing Dynasty in China—each film is a big journey. And I cannot experience that or get that doing my own thing.
Your career has been long and varied—what keeps you hungry? Besides film, there has got to be something inside of you that makes you keep exploring and searching.
I also have the same question for myself. I've been thinking about that for many, many decades. I'm not a singer, so sometimes I use words and lyrics but just occasionally. I mainly deal with sounds and notes and timbre, all that. If you base [your work] on your own words and language, your foundation is very rigid. I don't have that. Related to that, in Japanese history, almost 150 years ago, Japan politically opened its window to the world—before that it was closed for 250 years; 2.5 centuries! When it opened in 1868, it almost destroyed the traditional music because, at that time, the Japanese government thought only Western culture and music was good. They destroyed all of the traditional cultures, not only music, but many. Religion—Shintoism. So it's a huge damage. We lost a stream of our traditional music—since then musically we are flowers without root. Rootless. That's probably a big reason for me endlessly seeking what I have to do.
Do you feel the duty to try and repair that in some way?
That's not my role, I cannot do that. The ironic thing is that most Japanese people don't know that they lost their tradition. And since then, we are speaking the European language, musically. You know the do-re-mi-fa-so-la-ti-do, and harmony-wise, structure-wise. Even our pop music has become very Westernized—or totally Westernized. But they don't know they're speaking the European language and that they lost their own language. They do not know that, they are not aware. So I am trying to wake them up and warn them: "No, the language you are speaking is not Japanese, it's from Germany, England, or America." It's not wrong, because that's the only language that they can speak at this time. It's like, what's it called, Creole English—a colonial form of English. Japanenglish [laughs].
"In 1868, the Japanese government thought only Western culture and music was good. They destroyed all of the traditional cultures. Since then musically we are flowers without root. That's probably a big reason for me endlessly seeking what I have to do."—Ryuichi Sakamoto
How does the traditional Japanese language of music of the past differ from the Western dialect?
The difference between European and Japanese music is that there is almost no common element, there is nothing shared between them. It's a very different system. Like languages: the Japanese language is so far away from the European languages. When we see European languages—even English and French—they share 50,000 vocabulary words between them, but compared to the distance of all the European languages and Japanese language, it's so far away. It's the same with music. Very different.
Is it the structure?
Structural, and also the fundamental musical system is very different. Let's say, in European music one beat is this [picks up a tiny control from a synth], and in Japanese music one beat is like this [picks up his computer's mouse]. That's a big difference. Interestingly, the first Europeans who went to Japan five centuries ago were Portuguese missionaries.
I never knew that.
Interesting, right? They brought Christianity and guns.
Don't the two always go together? It makes me so angry.
Of course, of course, it's a mission. At that time—it was before Japanese closed the window and the country—they kind of welcomed Christianity and Christianity's music. You know, Renaissance music. And the guns. So there was a tiny influence of Western music of that era on Japanese music, that's very interesting.
Music, art, and culture have traveled around the world because of power struggles that are often linked to an idea of morality or religion. And yet people still treat music as this entertainment bubble, rather than seeing it as a part of something bigger.
Often, music is brought by soldiers or slaves, along with sugar or tea or something like that; politics, war, money, everything. And religion, of course, because it is a tool for propaganda. But also, when people travel they bring music with them.
Going back to wordless, instrumental music—there's this popular idea that you need the voice to humanize something but I firmly disagree, and your legacy speaks to that. Maybe we need wordless music now more than ever because modern life is so overwhelming—we need that space in which to shake everything off.
I like that aspect and I share it with you. Yes, pop entertainment has dominated so vastly. I just saw the premiere of the new James Bond movie in China. First world premiere in China, probably the biggest market share of the world. And they are crazy about that. Chinese people love James Bond, and they love pop icons and superstars. It's dominating the world and it's so loud, to me. I don't like sugar-coating music.
Do you think we're gonna get past it? Obviously over the past 2000 years, humans have been through a multitude of different periods. Do you see a moment where we're gonna get out of the monolithic, overwhelming system that we have now where pop = words = good?
I don't know. On the other hand, it's much more on the small market, but the popularity of people like Max Richter, a German post-classical electronic piano artist, is growing. So I guess some people want quietness. To me, pop music now is like Times Square—42nd Street, a huge Nike ad, it's like that to me.
With Yellow Magic Orchestra, you became a pioneer in electronic music and embraced technology. Do you still have that same techno-optimism?
Well, I'm done with the vision of techno-utopia. The world is getting worse and worse to me. Drones and super-weapons and super-ultra-weapons. Satellite laser weapons. Along with that, the same people [are] getting more greedy with money and selling heavy weapons everywhere—they are seeking battles and conflicts everywhere. All that they are making is conflicts. Like in between Japan and China right now, there are islands and they are both saying they belong to them. Same old story. But those people need those kinds of conflicts to sell and produce more weapons, so I am over that.
"If I see the news on TV too much, maybe I would get another cancer."—Ryuichi Sakamoto
It's very upsetting—how do you keep refocusing to make something beautiful?
If I think about that too much, or if I see the news on TV too much, maybe I would get another cancer. I try to minimize how much I think about those political things, or the future of humankind, because it makes me really blue.
Was music something that helped you in your recovery from cancer?
I started my career in my early 20s, like 23, and since then I've worked non-stop. This was the very first time in 40 years that I had a long period of doing nothing, so I thought this was the time to read a pile of books or watch a pile of DVDs. But then, there's not so much you can do. Vital energy is low, so you can't concentrate doing one thing so much. But I listened to some music that I normally don't. I had never liked the music of Gabriel Fauré since I was a kid, but this time I listened to Fauré's music a lot every day. I don't know why, just by chance. Maybe, again, being hungry—I know lots of people enjoy this type of music, and I'm trying to find out what's there.
Over the last five years, America has remembered about electronic music—but it's the Times Square version, like you said. It's very frustrating that there's a lot of young American kids who don't know that house music came out of the black gay Chicago scene, and that techno was invented by working-class young black musicians in Detroit. There's this missing history. Do you think people are going to find their way to these roots of electronic music?
I don't know. The majority of people don't know about the history and the roots, but some people do know. And some good people who have a good sense will remember. DJs and producers have respect for the history, the '80s and '90s music. And artists like Flying Lotus—I haven't met him, but I'm sure he has a lot of respect about that.
Yes, he's wonderful. What your next step on your exploring list?
From the middle of my recovery, I started doing The Revenant and also, simultaneously, I've been doing a Japanese film called Nagasaki: Memories Of My Son and it's going to be out in December too. I'm asked to do another Japanese movie, which maybe I'll be working on that next February, and then after that I should make my solo project. I was going to do that last year, but I didn't. Since my latest solo was out in 2009, it's already been six years, so it's gonna be seven or eight years, which is too long. Obviously, this illness is a huge event in my entire life, so I should do something after.
The Revenant is in cinemas on December 25 2015.
Electronic, Film, Modern Classical, RUTH SAXELBY, Ryuichi Sakamoto, The Revenant
music / Experimental
music / Features


text:
Românii au talent este o emisiune de televiziune care a debutat la postul de televiziune Pro TV în februarie 2011. Proiectul este o franciză Got Talent, program de televiziune de tip concurs reality television, dezvoltat de compania britanică Simco Limited, și îi are ca gazde pe Smiley și Pavel Bartoș. Juriul emisiunii este compus din Andi Moisescu, Andra, Dragoș Bucur și Mihai Bobonete. Marele premiu este în sumă de 120.000 de euro. Prima emisiune a stabilit un record absolut în domeniul emisiunilor de divertisment din România, peste 4 milioane de telespectatori din întreaga țară urmărind emisiunea.

Sezonul 1 (2011)

Sezonul 2 (2012)

Pro TV a păstrat în Sezonul 2 aceleași elemente pe care le-a avut în Sezonul 1, și anume componența juriului și a prezentatorilor. La prima ediție din sezon, show-ul a avut o audiență mai mare decât în sezonul precedent, înregistrând 21,8 puncte de rating în comparație cu 18 puncte în aceiași perioadă a sezonului trecut.

Audițiile
Audițiile au fost extinse la încă 2 orașe: Iași și Craiova, pe lângă orașele din sezonul precedent: Constanța, Timișoara, București și Cluj-Napoca. Audițiile au avut loc în lunile august și septembrie 2011.

Primul episod a fost difuzat pe data de 17 februarie 2012 și a fost, din nou, un mare hit pentru Pro TV. A fost decis să se difuzeze 7 episoade destinate audițiilor în loc de 6, așa cum a fost până acum. De asemenea, numărul participanților a fost mărit, de la 48 la 60. Sunt 5 semifinale, 3 participanți se califică pentru finală, 2 votați de către spectatori, prin SMS, și 1 de către juriu.
Prezentatori : Smiley si Pavel Bartos

Rezultate

Vezi și

 Pro TV

Note

Legături externe
 romaniiautalent.ro

Concursuri
România
Serii de televiziune ale companiei FremantleMedia
Serii de reality television din România


Women's Leadership Camp Asheville | November 11–13 | Why Attend?
Women's Leadership Camp is the chance to engage in honest dialogue about obstacles, triumphs and how to achieve your every ambition while staying true to yourself in the process. Connect with new friends and allies while taking in terrace views of downtown Asheville, indulging in local cuisine or trading stories and laughter under rose-colored skies. Forge connections that last long after you head home, and continue conversations into the future.


The First-tier Tribunal has held that the executors of a deceased individual who had incurred capital losses during his lifetime were able to claim relief for those losses against income and capital gains that had arisen before his death.
The full case report can be found here.
The First-tier Tax Tribunal has denied inheritance tax business property relief on a block of office lettings owned and managed by a trust. The main reason given was that a commercial letting is mainly an investment rather than a business even though many of the services provided were over and above what would normally be expected under a tenancy.
The decision shows how difficult it is to persuade a tribunal that let property is not mainly the holding of an investment.
The report from the First-tier Tax Tribunal can be found here.
The executors of the late Nicolette Pawson are launching a fighting fund to take their case to the England and Wales Court of Appeal, following their defeat by HMRC at the Upper tax Tribunal last month.
The case turns on whether furnished holiday lets are eligible for business property relief from inheritance tax.
The Upper tax Tribunal decision can be found here, my earlier blog on this can be found here and an excellent piece from the STEP journal on this can be found here.
The First-tier tax tribunal has confirmed that a taxpayer's election as to his main residence is conclusive as long that the property in question was in fact one of his residence.
The Tribunal decision can be found here.
HMRC has won what might turn out to be a very significant victory in a case involving Stamp Duty Land Tax planning and in particular sub-sale relief.
A report on this from STEP on-line Journal can be found here.
This case concerned whether £800 worth of fitted units in a garage were "land" and therefore subject to SDLT. If included as land the SDLT bill increased from £2,500 to £7,524.
The full report from the First-tier Tribunal can be found here.
Hopefully this will be one of the issues dealt with by the introduction of a Scottish Land and Buildings Tax in 2015.
A taxpayer is entitled to rely upon a statement made in a formal HMRC publication unless and until the statement was revoked, withdrawn or altered with reasonable notice to all relevant taxpayers. This applies even if a tax inspector had expressed a contrary view. This matter concerned the application of concessionary treatment for seafarer's earning deduction relief.
This decision appears to contradict the Supreme Court's finding in the Gaines-Cooper residence case. The full report from the England & Wales High Court administrative division can be found here.
HMRC cannot introduce an additional argument in its statement of case to a tribunal that it had not included in its closure notice. A "closure notice" is usually a letter issued by HMRC to the customer that its enquiry has ended. The purpose of the "statement of case" is also to tell the customer what HMRC's case is and is submitted to the tax tribunal.
This matter concerned a Stamp Duty Land Tax return.
The full decision of the First-tier Tax Tribunal can be found here.
This case concerend an actor working away from home and whether his accommodation, subsistence and travel expenses were "wholly and exclusively" incurred for the purpose of his profession.
Healy who is based in Cheshire was contracted to appear in the West End of London in the musical, Billy Elliot. Healy claimed tax relief on the costs of his accommodation, subsistence and travel to and from the theatre.
The First-tier Tribunal held that the cost of his accoomodation was allowable but that his subsistence expenses and taxi fares were not. The accommodation was allowable primarily because the actor had not moved to London. He was only there during the week for the purposes of performing on stage. That therefore met the "wholly and exclusively" test.
Healy's subsistence expenses and taxi fares were disallowed on the basis that there was insufficient evidence to show the nature of the expense.
The full decision of the Tribunal can be found here.
In the case HMRC v Parissis, the First-tier Tax Tribunal held that a tax inspector can require an individual to hand over a document that he does not possess. The taxpayer's only defence is to prove that the third party who holds the document has refused a request to supply it.
The Upper Tax Tribunal has struck out late filing penalties imposed by HMRC upon a woman who became mentally incapable and homeless after being seriously injured by armed robbers. Although the robbers used her bank cards to steal all her savings, leaving her penniless for two years, an earlier tribunal decision nevertheless ordered her to pay the penalties.


text:
Becki Allen for Wake School Board
About Becki
Stand with Becki
Becki Allen is the daughter of two public school teachers and understands both the importance and challenge of being a school teacher. Her dad taught 5th grade and her mom was a middle school Math teacher. Becki essentially grew up in the schools where her parents taught. They would bring her to school early and she would stay late waiting for her parents to finish up their day. Her love for education, teachers, and parents were formed in those early years.
Becki attended public school and then college on the northside of Chicago at North Park University. She graduated from NPU in 2003 with a degree in Biblical and Theological Studies which led her to work for two non-profits for over 15 years. She worked for a pregnancy clinic and then for a multi-faceted ministry that included a pre-school and an alternative school for at-risk teens.
Becki has been married to her husband, Nick, for almost 20 years. They have three wonderful children, twin girls and a son. All three attend Wake County Public Schools and are currently enrolled in middle school.
Becki's passion extends beyond schools and the classroom and she has been active in her church's children's ministries as well as volunteering in her children's classrooms pre-covid. She and her husband along with a group from their church helped build a kindergarten in Haiti and later funded a playground at that same school as well as started a University. She and her husband have also funded a curriculum at their local high school in Cary which teaches students how to navigate real-world situations with financial responsibility. The students learn how to pay off debt, save for the future, budget and how to be generous with their money.
Her heart is to serve her community and she views stepping up to run for school board as an act of service. She wants to focus on listening to and engaging parents in their children's education, bringing students up to grade level, putting the classroom focus on academics, making sure all curriculum is available and transparent to parents, as well as supporting teachers and other school staff.
We'd love to have your support in making Wake County Public schools one of the best school systems in the country. Join us in Standing up for students, Parents and Teachers.
© 2023 Becki Allen for Wake School Board


Rogan Josh is Kashmiri in origin although it seems to be considered one of the "classic" Indian dishes - basically, it is a type of lamb curry with flavors of cinnamon, paprika, cloves and cardamom, among other things. "Rogan" means "oil," and "josh" means heat or boiling, so the name means something like "cooked in oil at intense heat." That being said, the dish does not require a lot of oil, at least the version I made, and if you use lean lamb it does not contain a lot of fat. Another benefit is that it will make your kitchen smell delicious. Finally, and most importantly, it tastes great and it is nearly foolproof if you have the right ingredients.
This version will serve around 6-8 people, depending on the size of their appetites. The ingredients list may look a little daunting but if you have stocked up on the spices ahead of time, like I suggest, the rest of the ingredients are pretty standard.
*Note #1: when you buy the lamb, getting it boneless will make your life much easier. You want to cut it into roughly 1 inch chunks, not too small because they shrink when they cook. Also, be sure to clean the fat and silverskin off them if there is any, this will make the pieces chewy.
Anyway, on to the recipe. After cutting the meat into cubes, put it in a bowl and rub the chili powder and salt all over it and set aside.
Heat the oil in a large pan and add the onions. Cook until slightly browned, then add the cardomom and bay leaves and stir. Add the meat, turn up the heat a bit and cook for two minutes, then lower it and simmer for 3-4 minutes, covered.
To make the paste, toast all the spices and grind them with a mortar and pestle or in a coffee grinder. Add the other ingredients to a food processor along with the spice mixture and blend until smooth. I would, however, keep out the cinnamon and just add it whole to the onion mixture when you put in the paste.
Unover the pan and stir in the paste, so it is coating the meat. Cover and cook for 5 minutes, then stir in the yogurt and add the hot water. Cover the pan and simmer for around 1 hour.
Uncover the pan and turn up the heat so the sauce is reduced and thick and creamy, with not much additional liquid. This may take a little while, and when you are near done you should try a piece of lamb to make sure it is tender enough - at this point it should be, but if not, then add a little more water. Stir and add the garam masala and also salt and pepper to taste. Serve with basmati rice.
As with many stews, this becomes even better the next day, so don't hesitate to cook it the night before and put it in the fridge overnight.


text:
University of Veterinary Medicine Vienna - Research portal
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Drillich Marc
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Selected Publication:
Document type: Full Paper
Author(s): Iwersen, M; Klein-Jöbstl, D; Pichler, M; Roland, L; Fidlschuster, B; Schwendenwein, I; Drillich, M
Title: Comparison of 2 electronic cowside tests to detect subclinical ketosis in dairy cows and the influence of the temperature and type of blood sample on the test results.
Source: J Dairy Sci. 2013; 96(12):7719-7730
Authors Vetmeduni Vienna:
Schwendenwein Ilse
Vetmed Research Units
Clinical Pathology Platform
University Clinic for Ruminants, Clinical Unit of Herd Management in ruminants
The objective of this study was to determine the suitability of 2 electronic hand-held devices [FreeStyle Precision (FSP), Abbott GmbH & Co. KG, Wiesbaden, Germany and GlucoMen LX Plus (GLX), A. Menarini GmbH, Vienna, Austria] for measuring β-hydroxybutyrate (BHBA) in dairy cows. Three experiments were conducted to evaluate (1) the diagnostic performance of the devices, (2) the effect of the type of blood sample, and (3) the influence of the ambient temperature on the determined results. A total of 415 blood samples from lactating Holstein and Simmental cows were collected and analyzed with both devices (whole blood) and in a laboratory (serum). Correlation coefficients between whole-blood and serum BHBA concentrations were highly significant, with 94% for the FSP and 80% for the GLX device. Based on thresholds for subclinical ketosis of 1.2 and 1.4 mmol of BHBA/L, results obtained with the hand-held devices were evaluated by receiver operating characteristics analyses. This resulted in adjusted thresholds of 1.2 and 1.4 mmol/L for the FSP and 1.1 and 1.3 mmol/L for the GLX device. Applying these thresholds, sensitivities were 98 and 100% for the FSP and 80 and 86% for the GLX device, respectively. Corresponding specificities were 90 and 97% for the FSP and 87 and 96% for the GLX device, respectively. Additionally, concentrations of BHBA were tested with both devices in whole blood, EDTA-added whole blood, and in their resulting serum and plasma, collected from 65 animals. Determined BHBA concentrations were similar within each device for whole and EDTA-added blood, and in serum and plasma, but differed between whole blood and serum and between EDTA-added blood and plasma. Blood samples with low (0.4 mmol/L), medium (1.1 mmol/L), and high (1.6 mmol/L) BHBA concentrations were stored between +5 to +32°C and analyzed repeatedly at temperature levels differing by 4°C. Additionally, devices and test strips were stored at equal conditions and used for measurement procedures. Storage temperature of the devices and test strips did not influence the differences between the results of the laboratory and the devices, whereas the temperature of the blood samples caused significant differences. Although the level of agreement between the laboratory and the GLX device was lower than for the laboratory and the FSP device, both devices are useful tools for monitoring subclinical ketosis in dairy cows. Due to their effects on the determined results, the type and temperature of the tested sample should be considered.
Keywords Pubmed: 3-Hydroxybutyric Acid/blood*
Blood Specimen Collection/methods
Blood Specimen Collection/veterinary
Cattle Diseases/blood*
Diagnostic Tests, Routine/instrumentation
Diagnostic Tests, Routine/veterinary*
Edetic Acid
Ketosis/blood
Ketosis/veterinary*
Temperature*
© University of Veterinary Medicine Vienna • Help and Downloads


text:
Q: Trouble querying from realm: Initialiser error I am trying to query the name field from my Realm database but I keep getting thrown this error

Initialiser for conditional binding must have Optional type, not 'Results<(Particulars)>' (aka 'Results')

This is my code
import Foundation
import Foundation
import RealmSwift

class Users {
private var _name: String!
private var _email: String!
private var _userId: Int!
private var _profilePicture: String!
private var _username: String!

let realm = try! Realm()

var name: String {
    _name = getName()
    return _name
}

var email: String {
    _email = getEmail()
    return _email
}

func getName () {

    guard let userName = Data.sharedInstance.userName  else { print("Empty username"); return }

    if let name = realm.objects(Particulars).filter("username == '\(userName)'"){
        return name
    }

}

func getEmail () {

    guard let userName = Data.sharedInstance.userName  else { print("Empty username"); return }

    if let email = realm.objects(Particulars).filter("username == '\(userName)'"){
        return email
    }

}

This is my realm database:

A: Two things:
1) Realm.objects() returns a Results object (the same as an array) that contains zero or more objects of the type you searched for. If you want to get just the first object returned from that query, add .first at the end, after .filter.
2) After getting the first object, it'll still be of type Particulars. After that, you'll need to actually access the property you're after (i.e. name or email)
So for example:
func getEmail() {

   if let particular = realm.objects(Particulars).filter("username == '\(userName)'").first {
      return particular.email
   }
}

Let me know if you need any more clarification. :)

redpajama_set_name: RedPajamaStackExchange


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text:
MATCH REPORT – MAIDENHEAD UNITED (H)
WOOD END THE SEASON IN DEFEAT
Boreham Wood 1-4 Maidenhead United
Saturday 29th May 2021, 12.30pm
Meadow Park, Vanarama National League
If there are two things we've been waiting for this year, its supporters in ground and the weather to be nice, this was the day we had both. What we didn't want to see is Maidenhead's performance as they dominated Boreham Wood over ninety minutes and even managed to round off the proceeding with a goal from their substitute goalkeeper Rhys Lovett, when he came on as substitute late in the game.
Luke Garrard made one change from last Saturday's last-minute defeat at Eastleigh with Krystian Pearce coming in for Jamal Fyfield who had to make do with a spot on the bench.
In a quiet opening to the game, Boreham Wood enjoyed the lion share of possession and for the most part, they were kept quiet by Manny Parry and Alan Massey at the heart of the Magpies defense. Tyrone Marsh had a good chance after five minutes but skied his effort over the bar. Maidenhead showed their intent after ten minutes when Danilo Orsi's long range effort was well saved by Nathan Ashmore in the Boreham Wood goal. A minute later the visitors took the lead when Reece Smith scored his first goal for the club when he finished well following a long ball out from the back.
The Magpies then started to get into the ascendancy and proceeded to dominate possession for the next period of the match. Boreham Wood however produced an excellent move involving Kane Smith and Kabongo Tshimanga but Alan Massey denied Tyrone Marsh brilliantly as he was about to put the trigger. Three minutes later Orsi could have doubled Maidenhead's lead but shot wide when well placed. On twenty-five minutes Boreham Wood's Corey Whitely was denied when his effort was cleared off the line. For the next period of the game, it was very bitty, not helped by the fact the Maidenhead were forced into two changes as both Ryheem Sheckleford and Jerry Wiltshire went off injured. On forty-four minutes, there was an excellent moved involving Whitey and Marsh for Boreham Wood but Whitely's subsequent shot went well wide. A minute later a lovely weaving run by Tshimanga was followed by a shot that also went wide. On the stroke of half time, the Magpies doubled their lead when Josh Kelly finished well when unmarked in the Boreham Wood penalty area.
The second half started well for Boreham Wood as Marsh scored on forty-six minutes and halved Maidenhead's lead. A minute later an intricate move involving Marsh and Tshimanga nearly lead to a goal for Whitely but his effort went just wide. When it looked like Boreham Wood were on the ascendancy, the Magpies scored again to make it 3-1. Josh Kelly's shot was well saved by Ashmore in the Wood goal, but the ever-alert Danilo Orso was there to finish. This goal knocked stuffing out of Boreham Wood and they never really recovered. The dangerous Orsi was denied by Nathan Ashmore in the Wood goal and Boreham Wood's Kane Smith shot into the side netting, In injury time the Magpies substitute goalkeeper Rhys Lovett who had just come on to play upfront scored to seal the visitors emphatic 4-1 victory.
Boreham Wood: Ashmore (Green 88), Smith, Pearce (Woodards 58), Champion, Stephens, Whitely, Ricketts, Murtagh, Mafuta, Tshimanga, Whitely (Jallow 88).
Subs not used: Ilesamni, Fyfield.
Maidenhead United: Holden, Wiltshire (Sparkes 36), Massey, Wells, Parry, Sheckleford (Twumasi 27) Smith, Upward, Kelly (Lovett 87), Coley, Orsi.
Subs not used: Keetch.
Star man: Nathan Ashmore.
Match report written by Brett Lewis (Non-League Paper & Wood Army member).