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The Peers (INFEMOUS) Toronto Fringe Review
July 6, 2019 Catherine Gloria	Leave a comment
If you want an inside look at the zany rehearsal process in the life of a Shakespearean actor, then Shakespeare-mash-up-parody The Peers is a show for you. Toronto Fringe Festival presents The Peers at the Annex Theatre.
The Peers is a show within a show that begins with five actors — Lisa Drupsteen, Rahul Gandhi, Kate Hammer, Adrian Macdonald, and Conor Tomalty — who are seemingly backstage. Their intention is to recreate a multitude of Shakespeare shows.
For an amateur like myself who admittedly understands a few pieces, the premise of digesting multiple Shakespeare plays in an hour's time seems quite intimidating. Fortunately, the cast does a wonderful job of introducing Shakespeare in common language in a fun, comedic manner.
Each company member portrays an actor in the show, and each actor embodies a theatre stereotype. One actor plays an earnest theatre newbie, one an emotionless actor, two are involved in relationship quarrels, and one is a musical theatre enthusiast. I was nervous at what a ruckus could occur with so many extroverts in one room.
The actors perform in high energy for the entire piece, creating bold, daring choices that keeps audience members on their toes. The usage of extreme physicality, over expression, puppetry, props, and audience interaction are both stimulating and captivating.
The set up of the performance closely resembles a sketch piece. The company utilizes different types of theatre styles as they retell each Shakespearean play. Variant theatre styles include improvisation, musical theatre, and story theatre. For me, a musical theatre enthusiast, I found it particularly entertaining to have musical references like Hamilton integrated into the script.
I am a huge advocate for adults to maintain an element of exploration and play, and play is alive and well with this cast. I especially enjoyed the use of minimal props as a story theatre technique. In one sequence, actors used a blue blanket transformed from water in one tableau, to air in the next, and to a cape in another. The company's ability to transform each scene within a manner of seconds is impressive.
Perhaps due to the loose style of the piece, however, I found it challenging to follow the sequence of events. I thought it was unclear when one scene ended, and when another one began. Actors purposefully ran in and out of the scene, but I was unsure whether it was for comedic effect or whether a new scene or character was being introduced. I wish that the transition periods in between scenes were more clear and consistent.
The company will keep you entertained and laughing throughout. The Peers is a hilarious piece that is sure to attract all Shakespeare enthusiasts.
The Peers plays at the Annex Theatre. (736 Bathurst St.)
Content Warnings: mature language; sexual content; audience participation; not recommended for children.
This venue is wheelchair-accessible through a secondary route which requires a staff escort. Check in at the box office at least 15 minutes prior to showtime.
Thursday July 11th, 10:30 pm
Photo of Lisa Drupsteen, Rahul Gandhi, Kate Hammer, Adrian Macdonald, and Conor Tomalty provided by the company
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text:
Hey all,

this is my code-sink for mainly java files.

###Have fun to browse through many things for:

- Datastructures & Algorithms
- Apache Hadoop
- Apache Hama
- Machine learning (clustering, classification, optimization algorithms)
- [Graph algorithms (they are now in the other repository called "tjungblut-graph")](https://github.com/thomasjungblut/tjungblut-graph "Thomas' nifty graph lib")
- [Matrix and Vector stuff (they are now in the other repository called "tjungblut-math")](https://github.com/thomasjungblut/tjungblut-math "Thomas' nifty math lib")
- JCuda experiments

Please notice that this is in fact no framework, much rather a common library for my everyday usage.
I won't bother about backward compatibility, extensive documentation and full test coverage- although I try my best to at least fulfill the last two.

License
-------

Since I am Apache committer, I consider everything inside of this repository
licensed by Apache 2.0 license, although I haven't put the usual header into the source files.

If something is not licensed via Apache 2.0, there is a reference or an additional licence header included in the specific source file.

Package Layout
--------------

- /src -> raw source code.
- /test -> testcases for the code in /src.
- /files -> reserved directory for files in examples or ignored paths for output of applications.
- /jcuda -> the cuda 3rd party libs for the de.jungblut.math.cuda package

Build
-----

To build this library, you will need to install [my math lib on your local computer](https://github.com/thomasjungblut/tjungblut-math "Thomas' nifty math lib"), build instructions can be found there as well.
Everything else shall be found on the central maven repository, or in the case of JCUDA in the jcuda path which is automagically added.

You can simply build with:

> mvn clean package install

The created jar contains debuggable code + sources. On the unfortunate event of failing testcases you can skip them:

> mvn clean package install -DskipTests

redpajama_set_name: RedPajamaGithub


Synopsis: When six girls are born on the sixth day of the sixth month to different mothers in the small, devout village of New Bethlehem an ancient prophecy is set in motion. On their 18th birthday one of the girls will become the Devil's Hand. As the day approaches and one by one the young women begin to disappear, terror overtakes the quiet community and those remaining girls band together to uncover who or what is behind these treacherous acts.


Look at all that detail! Yes, the pirates themselves are cartoony caricatures of buccaneers, but the set pieces are rife with texture. Some of that texture, I might add, is an illusion and lots of wood-grain and stone work is painted on and is actually flat. But considering the illusion and artistry at hand is exactly why Pirates of the Caribbean remains the classic we all love.


text:
Campionatul European de Scrimă pentru juniori (în ) este o competiție internaționale de scrimă organizată de Confederația Europeană de Scrimă pentru trăgători sub 20 de ani.

Lista edițiilor
Lista incompletă.

1993:  Estoril
1994:  Cracovia
1997:  Gdańsk
1998:  Bratislava
1999:  Porto
2000:  Antalya
2001:  Keszthely
2002:  Conegliano
2003:  Poreč
2004:  Espinho
2005:  Tapolca
2006:  Poznań
2007:  Praga
2008:  Amsterdam
2009:  Odense
2010:  Lobnia
2012:  Poreč
2013:  Budapesta
2014:  Ierusalim
2015:  Maribor
2016:  Novi Sad

Note

Legături externe
 Confederația Europeană de Scrimă

redpajama_set_name: RedPajamaWikipedia


How much should a brake job cost for my 2001 Dodge Durango?
Karen, I suggest calling for local quotes parts and labor cost varies with demographics. There are many large chain repair shops that will do $99 brake job.
Brakes with pads and labor should be around $200.00 per axle. Rotors are about $75.00 to $130.00 each.
Hey Karen, labor pricing & parts mark ups are different at all shops. Usually brakes take about an hour for the fronts and an hour & 1/2 for the rear, unless it's all wheel/4WD.
That depends greatly on what the vehicle actually needs and the quality of parts being used. Most reputable repair shops will give you an estimate for repair (they may charge a fee to look at it) and show you what the vehicle needs.


In response to many requests from Kiesel Guitars players, the Custom Shop is excited to add 4, 5 and 6 string Aries Series bevel-top bolt-neck basses to our lineup of made-in-the-USA instruments. Aries Series basses are modeled after our popular Aries Series guitars, with similar aesthetics and sleek and stylish design, making for an aggressive-looking instrument that also plays and sounds amazing.
Passive electronics with Kiesel Radium humbuckers are standard, and optional active/passive electronics are available, as are other pickup options, such as our SCP split-coil neck humbucker and HB2 bridge humbucker/JVA single coil neck pickup combination. The sculpted neck heel with 5 recessed bolts makes for easy access high on the fingerboard, and contributes to the instrument's punch and tonal definition.
Like all Kiesel Guitars Custom Shop instruments, you can choose from a complete selection of options, include body, neck, top and fingerboard woods; inlays in a variety of shapes and materials; fretwire, including standard nickel-silver and optional stainless steel and gold EVO; and much more. As on the Aries Series guitars, you can order your new Aries bass with the standard beveled body, or without the bevels, for a more traditionally-styled instrument.


text:
Music of Hawaii
Title: Music of Hawaii
Subject: Hawaii, Music of Tuvalu, Music of the Cook Islands, Fakanau, Music of Tokelau
Collection: Hawaiian Music, Music of United States Subdivisions
Music of the United States
Honolulu Symphony Orchestra
Royal Hawaiian Band
Maui Academy of Performing Arts
Honolulu Chamber Music Society
Hawaii Academy of Recording Arts
Hawaii Music Awards
Hawaiian Music Foundation
Ukulele Guild of Hawaii
(Hawaiian Music Institute, H.M.I.)
Honokaa People's Theatre
Neal S. Blaisdell Center
Big Island Slack Key Guitar Festival
Gabby Pahinui/Atta Isaacs Slack Key Festival
Hamakua Music Festival
Hawaii Performing Arts Festival
Merrie Monarch Festival
(Maui: Henry Kaleialoha Allen Hawaiian Steel Guitar Festival)
State song
"Hawaii ponoi"
Hawaiian folk music
Music of Honolulu
Polynesian music
The music of Hawaii includes an array of traditional and popular styles, ranging from native Hawaiian folk music to modern rock and hip hop. Hawaii's musical contributions to the music of the United States are out of proportion to the state's small size. Styles like slack-key guitar are well-known worldwide, while Hawaiian-tinged music is a frequent part of Hollywood soundtracks. Hawaii also made a major contribution to country music with the introduction of the steel guitar.[1]
Traditional Hawaiian folk music is a major part of the state's musical heritage. The Hawaiian people have inhabited the islands for centuries and have retained much of their traditional musical knowledge. Their music is largely religious in nature, and includes chanting and dance music. Hawaiian music has had an enormous impact on the music of other Polynesian islands; indeed, music author Peter Manuel called the influence of Hawaiian music a "unifying factor in the development of modern Pacific musics".[2]
Music festivals and venues 1
Music institutions and industry 2
Music history 4
Liliuokalani and Henry Berger 4.1
Guitar innovations 4.2
Late 19th and early 20th century 4.3
Slack key guitar 4.3.1
Popularization 4.3.2
Modern music 5
Hawaiian Renaissance 5.1
Jawaiian 5.2
Jazz 5.3
Musicians 5.3.1
Locales 5.3.2
Links 5.3.3
Ukulele 5.4
'Ūkēkē 5.5
'Ohe hano ihu 5.6
Other 5.7
Music festivals and venues
Major music festivals in Hawaii include the Merrie Monarch Hula Festival, which brings together hula groups from across the world, as well as a number of slack-key and steel guitar festivals: Big Island Slack Key Guitar Festival, Steel Guitar Association Festival and the Gabby Pahinui/Atta Isaacs Slack Key Festival. April's Aloha Week is a popular tourist attraction, as is the Moloka'i Music Festival held around Labor Day.[1] There was also a Hawaii International Jazz Festival, which ran from 1993 until 2007.[3][4] The annual Pacific Rim Jazz Festival occurs in mid-autumn at the Hawaii Convention Center.[5] The annual Manoa Jazz & Heritage Festival takes place in early autumn at the Andrews Amphitheatre on the University of Hawaiʻi at Mānoa campus.[6]
Hawaii is home to numerous hotels, many of which feature music in the afternoon or evening; some of the more prominent ones include the Kahala Hilton, the Sheraton Moana Hotel, the Sheraton Waikiki, the Halekulani, Casanova's and the King Kamehameha Hotel.[1] Large music venues in Hawaii include the University of Hawaii at Hilo Performing Arts Center, which has 600 seats[7] and is the largest venue on the Big Island.[8] A 560-seat venue and cultural exhibition center on Kauai is the Kauai Community College Performing Arts Center.[9] In Honolulu, the Neal S. Blaisdell Center Arena, Concert Hall, and Exhibition Hall are three of the largest venues in the state.[10] Other venues for Hawaiian music on Oahu include the Waikiki Shell an establishment used primarily for concerts and entertainment purposes. Over the years many local, as well as international artists have graced the stage there. It is unique outdoor theater located in Kapiolani Park. This venue seats 2,400 persons, with the capacity to hold up to 6,000 more on the lawn area. Concerts, graduation ceremonies and hula shows are very popular at this site.[11] As well as Kennedy Theatre and Andrews Amphitheatre on the campus of the University of Hawaii at Manoa, the Blaisdell Center Concert Hall, the Hawaii Theatre in downtown Honolulu, the Red Elephant (a performance space and recording studio in downtown Honolulu), Paliku Theatre on the campus of Windward Community College and the Leeward Community College Theatre. The historic Lanai Theatre is a cultural landmark on Lanai, dating back to the 1930s.[12][13]
Music institutions and industry
Hawaii is home to a number of renowned music institutions in several fields. The Honolulu Symphony Orchestra is an important part of the state's musical history, and is the oldest orchestra in the United States west of the Rocky Mountains, founded in 1900.[14] The Orchestra has collaborated with other local institutions, like the Hawaii Opera Theatre and the Oʻahu Choral Society, which sponsors the Honolulu Symphony Chorus and the Honolulu Chamber Choir.[15]
Numerous businesses have been created supporting the special musical styles and instruments suited to the Hawaiian musical tradition. The Guitar and Lute Workshop was an early manufacturer and proponent of specialty slack-key guitars in the early 1970s, and the Kamaka Ukulele company was established as key manufacturer of ukuleles for Hawaiian musical acts.
Dancer with ʻuliʻuli, hula kahiko competition, Merrie Monarch Festival 2003
Hawaiian folk music includes several varieties of chanting (mele) and music meant for highly ritualized dance (hula). Traditional Hawaiian music and dance was functional, used to express praise, communicate genealogy and mythology, and accompany games, festivals and other secular events. The Hawaiian language has no word that translates precisely as music, but a diverse vocabulary exists to describe rhythms, instruments, styles and elements of voice production. Hawaiian folk music is simple in melody and rhythm, but is "complex and rich" in the "poetry, accompanying mimetic dance (hula), and subtleties of vocal styles... even in the attenuated forms in which they survive today".[2]
Hula performance at a ceremony turning over U.S. Navy control over the island of Kahoolawe to the state performed by Uncle Frank Kawaikapuokalani Hewett
The chant (mele) is typically accompanied by an ipu heke (a double gourd) and/or pahu (sharkskin covered drum). Some dances require dancers to utilize hula implements such as an ipu (single gourd), ʻiliʻili (waterworn lava stone castanets),ʻuliʻuli (feathered gourd rattles), pu`ʻli (split bamboo sticks) or kalaʻau (rhythm sticks). The older, formal kind of hula is called kahiko, while the modern version is ʻauana. There are also religious chants called ʻoli; when accompanied by dancing and drums, it is called mele hula pahu.
In the pre-contact Hawaiian language, the word mele referred to any kind of poetic expression, though it now translates as song. The two kinds of Hawaiian chanting were mele oli and mele hula. The first were a cappella individual songs, while the latter were accompanied dance music performed by a group. The chanters were known as haku mele and were highly trained composers and performers. Some kinds of chants express emotions like angst and affection, or request a favor from another person. Other chants are for specific purposes like naming, (mele inoa), prayer (mele pule), surfing (mele he'e nalu) and genealogical recitations (mele koihonua). Mele chants were governed by strict rules, and were performed in a number of styles include the rapid kepakepa and the enunciate koihonua.
Historical documentation of Hawaiian music does not extend prior to the late 18th century, when non-Hawaiians (haoles) arrived on the island. From 1778 onward, Hawaii began a period of acculturation with the introduction of numerous styles of European music, including the hymns (himeni) introduced by Protestant missionary choirs. Spanish-speaking Mexican cowboys (paniolos), were particularly influential immigrants in the field of music, introducing string instruments such as the guitar and possibly also the technique of falsetto singing, while Portuguese immigrants brought the ukulele-like braguinha.[1] also immigrants from all over the world had brought their own instruments along with them to the islands.
Elizabeth Tatar divided Hawaiian music history into seven periods, beginning with the initial arrival of Europeans and their musical cultures, spanning approximately from 1820 to 1872. The subsequent period lasted to the beginning of the 20th century, and was marked by the creation of an acculturated yet characteristically Hawaiian modern style, while European instruments spread across the islands. Tatar's third period, from 1900 to about 1915, saw the integration of Hawaiian music into the broader field of American popular music, with the invention of hapa haole songs, which use the English language and only superficial elements of Hawaiian music; the beginning of the Hawaiian recording industry was in 1906, when the Victor Talking Machine Company made the first 53 recordings in the state. By 1912, recorded Hawaiian music had found an audience on the American mainland.[16]
From 1915 to 1930, mainstream audiences outside of Hawaii became increasingly enamored of Hawaiian music, though by this time the songs marketed as Hawaiian had only peripheral aspects of actual Hawaiian music. Tahitian and Samoan music had an influence on Hawaiian music during this period, especially in their swifter and more intricate rhythms. The following era, from about 1930 to 1960, has been called the "Golden Age of Hawaiian music", when popular styles were adapted for orchestras and big bands, and Hawaiian performers like Lani McIntire, John Kameaaloha Almeida and Sol Hoopii became mainstream stars. In the 1960s, Hawaiian-style music declined in popularity amid an influx of rock, soul and pop acts from the American mainland. This trend reversed itself in the final period of Hawaiian music history, the modern period beginning with the Hawaiian Renaissance in the 1970s and continuing with the foundation of a variety of modern music scenes in fields like indie rock, Hawaiian hip hop and Jawaiian.[16]
Liliuokalani and Henry Berger
Lili'uokalani
Queen Liliʻuokalani was the last Queen of Hawaii before the Hawaiian monarchy was overthrown. She was also a musician and prolific composer who wrote many musical works. She was best known for Aloha 'Oe. A compilation of her works, titled "The Queen's Songbook", was published in 1999 by The Queen Lili'uokalani Trust.
Lili'uokalani was one of many members of the Hawaiian royal family with musical inclinations. They studied under a Prussian military bandleader, Henri Berger, who was sent by the Kaiser at the request of Kamehameha V. Berger became fascinated by Hawaiian folk music, and wrote much documentation on it. However, he also brought his own musical background in German music, and heavily guided the Hawaiian musicians and composers he worked with.
King Kamehameha V also, in 1847, sent to Germany for a "band Leader" for "The Kings Own Band", now the Royal Hawaiian Band, William Mersberg, from Weimar, Germany. He is Henry Kaleialoha Allen's great grandfather. Henry Kaleialoha Allen is "one of Hawaii's Living Treasures of Hawaiian Music" and a master music educator. Honored many times on the Senate Floor and by the Legislature for such.
Guitars could have come to Hawaii from several sources: sailors, missionaries, or travelers to and from California. The most frequently told story is that it accompanied the Mexican cowboys (vaqueros) brought by King Kamehameha III in 1832 in order to teach the natives how to control an overpopulation of cattle. The Hawaiian cowboys (paniolo) used guitars in their traditional folk music. The Portuguese introduced an instrument called the braguinha, a small, four-stringed Madeira variant of the cavaquinho; this instrument was a precursor to the `ukulele.[1]
Steel-string guitars also arrived with the Portuguese in the 1860s and slack-key had spread across the chain by the late 1880s. A ship called the Ravenscrag arrived in Honolulu on August 23, 1879, bringing Portuguese field workers from Madeira. Legend has it that one of the men, João Fernandes, later a popular musician, tried to impress the Hawaiians by playing folk music with a friend's braguinha; it is also said that the Hawaiians called the instrument `ukulele (jumping flea) in reference to the man's swift fingers. Others have claimed the word means gift that came here or a corruption of ukeke lele (dancing ukeke, a three-string bow).[1]
The popularity throughout the 1920s of Hawaiian music, with its unique slide-style of guitar playing, prompted the invention of the electric guitar in 1931, as a lap steel guitar, the "frying pan", by George Beauchamp. Electric amplification allowed the Hawaiian-style guitar to be heard in performances of larger popular bands.
Late 19th and early 20th century
1913 sheet music cover
In the 1880s and 90s, King Lili'uokalani, was also a prolific composer and wrote several songs, like "Aloha 'Oe", which remain popular. During this period, Hawaiian music evolved into a "new distinctive" style, using the derivatives of European instruments; aside from the widespread string instruments, brass bands like the Royal Hawaiian Band performed Hawaiian songs as well as popular marches and ragtimes.[1]
In about 1889, Joseph Kekuku began sliding a piece of steel across the strings of a guitar, thus inventing steel guitar (kika kila); at about the same time, traditional Hawaiian music with English lyrics became popular. Vocals predominated in Hawaiian music until the 20th century, when instrumentation took a lead role. Much of modern slack-key guitar has become entirely instrumental.[1]
From about 1895 to 1915, Hawaiian music dance bands became in demand more and more. These were typically string quintets. Ragtime music influenced the music, and English words were commonly used in the lyrics. This type of Hawaiian music, influenced by popular music and with lyrics being a combination of English and Hawaiian (or wholly English), is called hapa haole (literally: half white) music. In 1903, Albert "Sonny" Cunha composed My Waikiki Mermaid, arguably the first popular hapa haole song (The earliest known hapa haole song, "Eating of the Poi", was published in Ka Buke o na Leo Mele Hawaii...o na Home Hawaii in Honolulu in 1888 [See Kanahele, George S., Hawaiian Music and Musicians pp 71–72]).
In 1927, Rose Moe (1908–1999), a Hawaiian singer, with her husband Tau Moe (1908–2004), a Samoan guitarist, began touring with Madame Riviere's Hawaiians. In 1929 they recorded eight songs in Tokyo. Rose and Tau continued touring for over fifty years, living in countries such as Germany, Lebanon and India. They even performed in Germany as late as 1938 when the Nazi raciscm was on the rise and people of a darker color were regarded as inferior people; it is said that they even performed for Adolf Hitler himself. With their children, the Tau Moe family did much to spread the sound of Hawaiian folk music and hapa haole music throughout the world. In 1988, the Tau Moe family re-recorded the 1929 sessions with the help of musician and ethnomusicologist Bob Brozman.
The 1920s also saw the development of a uniquely Hawaiian style of jazz, innovated by performers at the Moana and Royal Hawaiian Hotels.[17]
Slack key guitar
Slack-key guitar (kī ho`alu in Hawaiian) is a fingerpicked playing style, named for the fact that the strings are most often "slacked" or loosened to create an open (unfingered) chord, either a major chord (the most common is G, which is called "taro patch" tuning) or a major 7th (called a "wahine" tuning). A tuning might be invented to play a particular song or facilitate a particular effect, and as late as the 1960s they were often treated as family secrets and passed from generation to generation. By the time of the Hawaiian Renaissance, though, the example of players such as Auntie Alice Namakelua, Leonard Kwan, Raymond Kane, and Keola Beamer had encouraged the sharing of the tunings and techniques and probably saved the style from extinction. Playing techniques include "hammering-on", "pulling-off", "chimes" (harmonics), and "slides," and these effects frequently mimic the falsettos and vocal breaks common in Hawaiian singing.
The guitar entered Hawaiian culture from a number of directions—sailors, settlers, contract workers. One important source of the style was Mexican cowboys hired to work on the Big Island of Hawaiʻi in the first half of the 19th century. These paniolo brought their guitars and their music, and when they left, the Hawaiians developed their own style of playing the instrument.
Slack key guitar evolved to accompany the rhythms of Hawaiian dancing and the melodies of Hawaiian chant. Hawaiian music in general, which was promoted under the reign of King David Kalakaua as a matter of national pride and cultural revival, drew rhythms from traditional Hawaiian beats and European military marches, and drew its melodies from Christian hymns and the cosmopolitan peoples of the islands (although principally American).
Popularization
An advertisement for the Broadway show "The Bird of Paradise"
In the early 20th century Hawaiians began touring the United States, often in small bands. A Broadway show called Bird of Paradise introduced Hawaiian music to many Americans in 1912 and the Panama Pacific Exhibition in San Francisco followed in 1915; one year later, Hawaiian music sold more recordings than any other style in the country. The increasing popularization of Hawaiian music influenced blues and country musicians; this connection can still be heard in modern country. In reverse, musicians like Bennie Nawahi began incorporating jazz into his steel guitar, ukulele and mandolin music, while the Kalama Quartet introduced a style of group falsetto singing. The musician Sol Ho'opii arose during this time, playing both Hawaiian music and jazz, Western swing and country, and developing the pedal steel guitar; his recordings helped establish the Nashville sound of popular country music.[1] Lani McIntyre was another musician who infused a Hawaiian guitar sound into mainstream American popular music through his recordings with Jimmie Rodgers and Bing Crosby.
A 1916 advertisement for Hawaiian music records from Victor Record.
In the 1920s and 30s, Hawaiian music became an integral part of local tourism, with most hotels and attractions incorporating music in one form or another. Among the earliest and most popular musical attractions was the Kodak Hula Show, sponsored by Kodak, in which a tourist purchased Kodak film and took photographs of dancers and musicians.[1] The show ran from 1937 through 2002. In the first half of the 20th century, the mostly young men who hung around the Honolulu beaches, swimming and surfing, came to be known as the Waikiki Beachboys and their parties became famous across Hawaii and abroad; most of them played the ukulele all day long, sitting on the beach and eventually began working for hotels to entertain tourists.
Popular Hawaiian music with English verse (hapa haole) can be described in a narrow sense. Generally, songs are sung to the ukulele or steel guitar. A steel string guitar sometimes accompanies. Melodies often feature an intervallic leap, such as a perfect fourth or octave. Falsetto vocals are suited for such leaps and are common in Hawaiian singing, as is the use of microtones. Rhythm is mostly in duple meter. A musical scale that is unique to Hawaiian music imbues it with its distinct feel, and so is aptly named the Hawaiian scale.
The Pan-Pacific Exposition in San Francisco in 1915 introduced Hawaiian steel guitar to mainland country music artists, and by the 1930s country stars Hoot Gibson and Jimmy Davis were making records with Hawaiian musicians.[18]
The influx of thousands of American servicemen into Hawaii during World War 2 created a demand for both popular swing rhythm and country sounds. The western swing style, popular on the mainland since the 1930s, employed the steel guitar as a key element and was therefore a natural evolution. Beginning in 1945, the Bell Record Company of Honolulu responded to the demand with a series of releases by the western swing band Fiddling Sam and his Hawaiian Buckaroos (led by fiddler Homer H. Spivey, and including Lloyd C. Moore, Tiny Barton, Al Hittle, Calvert Duke, Tolbert E. Stinnett and Raymond "Blackie" Barnes). Between 1945 - 1950 Bell released some 40 sides by the Hawaiian Buckaroos, including a set of square dance numbers.
In recent decades, traditional Hawaiian music has undergone a renaissance, with renewed interest from both ethnic Hawaiians and others. The islands have also produced a number of well-regarded rock, pop, hip hop, Dubstep, soul and reggae performers, and many local musicians in the clubs of Waikiki and Honolulu play outside the various "Hawaiian" genres. Hawaii has its own regional music industry, with several distinctive styles of recorded popular music. Hawaiian popular music is largely based on American popular music, but does have distinctive retentions from traditional Hawaiian music.[2]
Hawaiian Renaissance
The Hawaiian Renaissance was a resurgence in interest in Hawaiian music, especially slack-key, among ethnic Hawaiians. Long-standing performers like Hawaiian Music Foundation did much to spread slack-key and other forms of Hawaiian music, especially after a major 1972 concert.[1]
Don Ho (1930–2007), originally from the small Honolulu neighborhood of Kaka'ako, was the most widely known Hawaiian entertainer of the last decades of the 20th century. Although he did not play "traditional" Hawaiian music, Ho became an unofficial ambassador of Hawaiian culture throughout the world as well as on the American mainland. Ho's style often combined traditional Hawaiian elements and older 1950s and 1960s-style crooner music with an easy listening touch.
Loyal Garner also embraced Hawaiian elements in her Vegas-style lounge act and in the songs she recorded. A third notable performer, Myra English, became known as the "Champagne Lady" after recording the song "Drinking Champagne" by Bill Mack in 1963 became her signature song in Hawaii, and she achieved considerable commercial success both locally and abroad.
Jawaiian
Jawaiian is a Hawaiian style of reggae music. Reggae music is a genre that evolved in the late 1960s and earlier in Jamaica. It has become popular across the world, especially among ethnic groups and races that have been historically oppressed, such as Native Americans, Pacific Islanders, and Australian Aborigines. In Hawaii, ethnic Hawaiians and others in the state began playing a mixture of reggae and local music in the early 1980s, although it was not until the late 1980s that it became recognized as a new genre in local music. The band Simplisity has been credited by Quiet Storm Records as originators of the Jawaiian style. By the end of the 1980s, Jawaiian came to dominate the local music scene, as well as spawning a backlash that the Honolulu Star-Bulletin compared to the "disco sucks" movement of the late 1970s.[19]
Reggae culture as a whole began to dominate Hawaii, as many locals can be seen sporting Bob Marley memorabilia, and lots of local merchandise and souvenirs have been emblazoned with the red, yellow, and green colors of the Hawaiian sovereignty as well as the Ethiopian flag, a known symbol of the Rastafari movement. The Rasta colors have also become a symbol of local pride.
Some notable current and retired jazz musicians in Hawaii include Gabe Baltazar (saxophone), Henry Allen (guitar), Adam Baron (drums), Vic Castellini (Drums), David Choy (saxophone), Rich Crandall (piano), Dan Del Negro (keyboards), Pierre Grill (piano/keyboards/trombone), Bruce Hamada (bass), DeShannon Higa (trumpet), Jim Howard (piano), Steve Jones (bass), John Kolivas (bass), Ryan Kunimura (saxophone), Noel Okimoto (drums/percussion/vibes), Michael Paulo (reeds), Rene Paulo (acoustic grand piano)was a forerunner of recording Hawaiian music in the jazz venue in the early 1960s and is one of Hawaii's legendary music greats, Robert Shinoda (guitar), Arex Ikehara (bass), Phil Bennett (drums), Aron Nelson (piano), Tennyson Stephens (piano), Dean Taba (bass), Betty Loo Taylor (piano), Kyle Matsuda (piano), Tim Tsukiyama (saxophone) and Abe Lagrimas Jr. (drums/ukulele/vibes). Henry Allen (virtuoso on all three instruments) had left Hawaii in the early 1950s to go L.A. and work with Richard Kauhi and Alec Keack, who left the islands to pursue a career on the mainland as they were far ahead of their time back here in Honolulu. Henry moved to Maui in 1971 thus establishing himself in all the show rooms in the hotels and produced many jazz concerts over the years with the likes of Shorty Rodgers, Bud Shank, Lonne Smith, Gary Grant, Jay Leno Horns,(Chuck Findley, Ralph Moore, Slyde Richard Hyde) Gabe Baltazar and a series for Lana'i, called Jazz Under the Stars, of which Howard Rumsey of the Hermosa Beach Light House fame was a part.
Among the greats on the local jazz scene who have since passed on are Richard Kauhi, Ernie Washington, Paul Madison and Trummy Young. Kauhi was born in Hawaii, the others settled in Hawaii after successful careers on the US mainland.
Notable jazz vocalists in Hawaii, both current and retired include Jimmy Borges, Rachel Gonzales, Azure McCall, Joy Woode and I. Mihana Souza. Although Hawaiian vocalist Melveen Leed is known primarily for singing Hawaiian and "Hawaiian country" music, she has also earned good reviews as a jazz singer.
There are frequent performances by the two University of Hawaii jazz bands.
Regular venues to hear jazz in Honolulu include:
Ward Rafters, a residential home in Kaimuki (3810 Maunaloa Ave.) converted into an indoor stage with performances every Sunday afternoon[20]
The Honolulu Club: Robert Shinoda's rotating group is featured here. In the 1990s this group played regularly at the Music Union building.
Jazz Minds: DeShannon Higa's gr00ve.imProV.arTiSts plays here, as well as other groups. Higa also formerly appeared regularly at the Music Union building in the late 1990s.
39 Hotel: Regular location of the Newjass Quartet.
University of Hawaii Jazz Ensembles
The ukulele was introduced to Hawaii by Madeiran immigrants near the close of the 19th century. The Portuguese brought a small guitar-like instrument, known as the machete. The instrument became a very popular one in Hawaiian culture, and a majority of Hawaiian songs involve the ukulele. In Hawaiian, ukulele literally means "flea (uku) jumping (lele)." It was named as such because when plucked, the high pitch of the strings brings to mind the image of a jumping flea. There are currently four sizes of ukulele; soprano, concert, tenor and baritone.[21]
Queen Liliuokalani, the last Hawaiian Queen, believed that the name for the ukulele means "The gift that came here". She believed this because of the Hawaiian words "uku" which means "gift or reward" and "lele" which means "to come."[22]
The ukulele can be played with simple or elaborate strums, as well as fingerpicking.
The ukulele is mostly recognized as being Hawaiian, even though it is originally based on the Madeiran machete.
'Ūkēkē
The Ukeke is a Hawaiian musical bow played with the mouth. It is the only stringed instrument indigenous to Hawaii.
'Ohe hano ihu
The 'ohe hano ihu, (Hawaiian: `ohe = bamboo +hano = breath + ihu = nose) or Traditional Hawaiian Nose Flute in English, is another type of Hawaiian instrument that has cultural and musical importance. It is made from a single bamboo section. According to Arts and Crafts of Hawai`i by Te Rangi Hiroa, old flutes in the Bishop Museum collection have a hole at the node area for the breath, and two or three fingering holes. In the three-finger-hole specimen, one fingering hole is placed near the breath hole. Lengths range from 10–21 inches (250–530 mm).Oral tradition in various families states that numbers of fingering holes ranged from one to four, and location of the holes varied depending on the musical taste of the player.
Though primarily a courting instrument played privately and for personal enjoyment, it also could be used in conjunction with chants, song, and hula. Kumu hula (dance masters), were said to be able to either make the flute sound as though it were chanting, or to chant as they played. Kumu hula Leilehua Yuen is one of the few contemporary Hawaiian musicians to perform with the nose flute in this manner.
Into the 19th and early 20th centuries, young men still used the 'ohe hano ihu as a way to win the affection and love of a woman.[23] Today, the `ohe hano ihu is enjoying a resurgence of popularity.
Two different oral traditions explain the use of the nose for playing the `ohe hano ihu. According to one, the `ohe hano ihu is played with air from the nose rather than from the mouth because the a person's hā, breath, is expressive of the person's inner being. As the hā travels from the na`ao, or gut, through the mouth, the hā can be used to lie. When the hā travels through the nose, it cannot lie. Therefore, if a young man loves a woman, that love will be expressed in the music he plays with his `ohe hano ihu. According to the other tradition, the instrument is played with the nose to enable the player to softly sing or chant while playing.
Modern folklore says that the Hawaiian flute expresses "aloha" because to hear the flute one must come close to the alo, "face" or "presence" of the player to hear the hā, "divine breath" and so the listener experiences "being in one another's presence sharing the divine breath." While useful as a way to remember the contemplative and personal nature of the traditional Hawaiian flute, there is no actual etymological evidence, nor is there evidence in traditional chants or stories, to support this etymology. In the Hawaiian language, hā, breath, is unrelated to the word ha, a causative prefix. a search of cognate words in related languages also reveals no such etymologies for the word "aloha".[24]
According to the book `Ohe, by Leilehua Yuen, the instrument was popularized in the 1970s by members of the Beamer family who played it during performances on tour in North America, as well as in the Hawaiian Islands. Segments of the children's educational TV show, Sesame Street, showing Keola Beamer and Mr. Snuffalupagus, one of the large puppet characters, playing `ohe hano ihu brought the instrument to national attention. Winona Beamer, Keola Beamer's mother, a noted kumu hula, also taught the use of the `ohe hano ihu in hula. Her hānai daughter, Maile Beamer Loo, continues to preserve and teach that legacy, and document such important aspects of Hawaiian musical and performing heritage through the Hula Preservation Society.
Notable late 20th Century and early 21st Century musicians of the`ohe hano ihu include Mahi Beamer, Nona Beamer, Keola Beamer, Kapono Beamer, Calvin Hoe, Nelson Kaai, Anthony Natividad, and Manu Josiah.
The music that is considered popular or "underground" in Hawaii does not necessarily correspond to similar genres in mainland areas of the U.S.A. This is partly a result of Hawaiian music, which appeals to many generations over. Whereas music like heavy metal or punk rock appeals primarily to a more youthful generation, and is not considered as commercially attractive to tourism. Na mele paleoleo is an emerging form of Hawaiian rap.
It is difficult to promote popular acts from the mainland due to its geographical isolation, and the smaller group of people interested in the music.
Hawaiian Music Hall of Fame
Na Hoku Hanohano Awards
Hawaii Calls
^ a b c d e f g h i j k Unterberger, pgs. 465 - 473
^ a b c Manuel, pgs. 236 - 241
^ "HAWAII INTERNATIONAL JAZZ FESTIVAL". March 3, 2007. Archived from the original on March 23, 2008. Retrieved September 13, 2012.
^ Harada, Wayne (April 20, 2007). "Jazz fest on hold with death of founder". The Honolulu Advertiser. Honolulu, HI, USA:
^ "The 3rd Annual Pacific Rim Jazz Festival". Retrieved September 23, 2012.
^ "2012 Mānoa Jazz & Heritage Festival". UHM Outreach College | Community Services Program — providing statewide access to cultural & educational events. Retrieved September 23, 2012.
^ "UH Hilo Performing Arts Center". Retrieved September 13, 2012.
^ "Hawaii - Big Island - Entertainment". alternative-hawaii.com. December 28, 2011. Retrieved September 13, 2012.
^ "Hawaii - Kauai - Entertainment". alternative-hawaii.com. February 25, 2009. Retrieved September 13, 2012.
^ "Neal Blaisdell Center". Retrieved September 13, 2012.
^ Honolulu Theatres & Auditoriums, retrieved on November 13, 2010.
^ "Hawaii - Lanai - Entertainment". alternative-hawaii.com. March 11, 2010. Retrieved September 13, 2012.
^ "Lanai Theatre and Playhouse in Lanai City, HI". Cinema Treasures. Retrieved September 13, 2012.
^ "History of the Honolulu Symphony". 2008. Archived from the original on February 19, 2008. Retrieved September 10, 2012.
^ "O'ahu Choral Society". Retrieved September 10, 2012.
^ a b Tatar, Elizabeth, in George Kanahele's Hawaiian Music and Musicians
^ Wong, Randy (January 19, 2006). "History of the Hawaii International Jazz Festival" (PDF). Archived from the original on September 27, 2007. Retrieved September 10, 2012.
^ Johnny Cash in a Grass Skirt: The Hawaiian Roots of Country
^ "'02 not the year Jawaiian dies, but look out". Honolulu Star-Bulletin. Retrieved January 12, 2006.
^ Jones, Bob (February 8, 2012). "Is It A House Party Or Night Club?".
^ "Fun Facts - The Ukulele".
^ Pryor, Alton. Little Known Tales in Hawaii History. Stagecoach Publishing: 2004
^ "Ohe hano ihu". Ranga Pae. May 24, 2008. Retrieved September 13, 2012.
^ Aloha
"Big Island: Entertainment". Alternative Hawaii. Retrieved February 2, 2006.
"Kuaui: Entertainment". Alternative Hawaii. Retrieved February 2, 2006.
Cooper, Mike (2000). "Steel Slide Hula Baloos". In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.). World Music, Vol. 2: Africa, Europe and the Middle East. London: Rough Guides. pp. 56–57.
"Lanai: Entertainment". Alternative Hawaii. Retrieved February 2, 2006.
Manuel, Peter (1988). Popular Musics of the Non-Western World. New York: Oxford University Press. pp. 236–241.
Unterberger, Richie (1999). Music USA: The Rough Guide. London: Rough Guides. pp. 465–473.
"Waikiki hula show ends run". Honolulu Star-Bulletin. Retrieved March 29, 2006.
Tatar, Elizabeth (1979). "Slack Key Guitar,". In Kanahele, George S., ed. Hawaiian Music and Musicians. University Press of Hawaii. pp. 350–360.
Indie blog, 2008: "Country music musicians were drawn to Hawaiian music when they first heard the Hawaiian steel guitar at the San Francisco Pan Pacific Exposition in 1915. Soon, artists such as Hoot Gibson and Jimmie Davis were recording with Hawaiians. Hawaii's love affair with country music dates back to World War II, the result of the influx of great numbers of military personnel from the mainland USA. Local record labels scrambled to release "hillbilly music" to satisfy the new interest. Bell Records released recordings in 1945 by Fiddling Sam & his Hawaiian Buckaroos.
Rockwell, T. Malcolm, Hawaiian & Hawaiian Guitar Records 1891 - 1960 (Mahina Piha Press © 2007) ISBN 978-0-615-14982-0 - ref. 78data.com
Hawaii Academy of Recording Arts (HARA) home of the Na Hoku Awards.
Live Ukulele: A collection of contemporary and traditional hawaiian songs and tabs.
Hapa Haole Songs, Island songs written in English
North Shore Radio Hawaii Stream Hawaiian Music Station
Territorial Airwaves - Your Source For The History of Hawaiian Music
Hawaii Music Awards The "People's Choice" awards.
Huapala, Hawaiian Music and Hula Archives
Taro Patch, An internet and international Slack Key community
Jones, Larry W. "Island Song Lyrics Volume 1 by Larry W Jones". Internet Archive. Retrieved September 11, 2012.
University of Hawaii Ethnomusicology Ensembles
http://www.midweek.com/for-the-love-of-nose-flutes/
Marquesas and Tahiti
Tuamotus
Kalākaua
Leleiohoku II
Alfred Apaka
Helen Desha Beamer
Henri Berger
Sol K. Bright Sr.
Keaulumoku
Joseph Kekuku
Charles E. King
Lena Machado
Mary Pukui
Victoria K. I`i Rodrigues
Albert "Sonny" Cunha
Sol Hoʻopiʻi
Alvin Kaleolani Isaacs
Haunani Kahalewai
Mekia Kealaka`i
John Kameaaloha Almeida
Irmgard Farden Aluli
Robert Alexander Anderson
Bina Mossman
David Nape
Songs honored: Hawaii Aloha, Ua Like No A Like, Kaulana Na Pua, Makalapua and Na Ali`i
The Royal Hawaiian Band
Maddy Lam
Hawaiian Chanters: Keaulumoku, Ka`opulupulu, Kapoukahi, Kapihe and Hewahewa
Haili Church Choir
Genoa Keawe
Ray Kinney
Songs honored: Alika, Kalama'ula, Wehiwehi 'Oe
Kamehameha Schools
Kahauanu Lake
Kawaiahaʻo Church
Alfred Alohikea
Kahauanu Lake Trio
Bill Ali'iloa Lincoln
Henry W. Waia`u
Mahi Beamer
The Brothers Cazimero
Charles K. L. Davis
Linda Dela Cruz
Nina Keali`iwahamana
Emma Veary
Bill Ka'iwa
Jesse Kalima
Eddie Kamae
Donald McDiarmid Sr.
Peter Moon
Marlene Sai
John Pi'ilani Watkins
Joseph Ae'a
Elizabeth Leilu'uhipolani Alohikea
Anuhea Audrey Brown
Thomas Kihei Desha Brown
Alice Angeline Johnson
John Keola Lake
Albert Po'ai Nahale-a Sr.
Leo Nahenahe Singers
Palani Vaughan Jr.
James Ka'upena Wong Jr.
Hui Ohana
Thomas Sylvester Kalama
Dennis Kamakahi
Ma'iki Aiu Lake
Kui Lee
Pat Namaka Bacon
Andy Cummings
Ernest Kaʻai
Richard Kauhi Quartet
Joseph Ilalaole
Benny Kalama
Sam Li'a Kalainaina Jr.
Akoni Mika
Alice Namakelua
Olomana
James Pihanui Kuluwaimaka Palea
Ka Leo Hawai'i
George Kainapau
Makaha Sons of Ni'ihau
Harry Owens
Song honored: Hawaii Ponoi
State of Hawaiʻi
Honolulu (capital)
Seal of Hawaii
Main Islands
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Kauaʻi
Lānaʻi
Molokaʻi
Niʻihau
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French Frigate Shoals
Laysan
Lisianski
Maro Reef
Nihoa
Pearl and Hermes
Kāneʻohe
Līhuʻe
Kalawao
Culture of indigenous Oceania
List of resources about traditional arts and culture of Oceania
Austronesia
kapa (Hawaiʻi)
magimagi
nguzu nguzu
reimiro
tā moko
tabua
ta'ovala
tapa ["masi" (Fiji), "ngatu" (Tonga), "siapo" (Sāmoa), " ʻuha" (Rotuma)]
tēfui
tivaevae
Broad culture
areca nut
kava, " ʻawa" (Hawaii), "yaqona" (Fiji), or "sakau" (Pohnpei)
Kava culture
Polynesian navigation
Sāmoa 'ava ceremony
Geo-specific,
Australian Aboriginal astronomy
Caroline Islands, -Pwo
Lau Islands
traditions and ceremonies
Lomilomi massage
French Polynesia's Marquesas Islands
Stick charts of
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Walap
'Aparima
hivinau
kailao
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meke
'ote'a
pa'o'a
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Pasifika Festival
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Languages of Oceania
Associated states of New Zealand
Dependencies and other territories
Literature of Oceania
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Slit drum
Australian Aboriginal
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Asian American and Pacific Islander Policy Research Consortium
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Chatham Islander (Moriori or Rekohu)
Hawaiian (kānaka maoli)
Norfolk Islander
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Not included: Oceanian: cinema, (indigenous) currency, dress, folkore, cuisine. Also see Category:Oceanian culture.
Music of Oceania
WorldHeritage articles in need of updating from January 2013
Hawaiian music
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Fakanau
Realm of New Zealand, Kava, Tuvalu, Niutao, Sovereign state
Copyright © World Library Foundation. All rights reserved. eBooks from Hawaii eBook Library are sponsored by the World Library Foundation,

redpajama_set_name: RedPajamaCommonCrawl


text:
12-19-11: An Ode to the Boys of Summer
December 19, 2011 at 7:55 am Leave a comment
http://stream.publicbroadcasting.net/production/mp3/wypr/local-wypr-997636.mp3 The poet Ogden Nash moved to Baltimore as a young man, bringing with him a love of baseball that lasted whole life. He adopted Baltimore, and the Orioles, with a passion … a passion reflected in an ode to baseball greats he published in 1949.
That poem, Lineup for Yesterday, has just been published as a picture book, illustrated by CF Payne, with background on the players by Ogden Nash's daughter, Linell Nash Smith (who, speaking of family ties, is the mom-in-law of our Tom Hall).
Sheilah talks with Ms. Smith about the book. She also had a conversation with the book's illustrator, C. F. Payne, which you can listen to here in its entirety:
http://stream.publicbroadcasting.net/production/mp3/wypr/local-wypr-997298.mp3
Near the end of the interview, Linell Nash Smith read the verse her father, Ogden Nash, wrote in 1954, when the American League relocated the St. Louis Browns to become the new Baltimore Orioles. The poem recalls Orioles greats who had died decades earlier.
"You Can't Kill an Oriole"
Wee Willie Keeler
Runs through the town,
All along Charles Street
In his night gown,
Belling like a hound dog,
Gathering the pack:
"Hey, Wilbert Robinson!
"The Orioles are back!
"Hey, Hughie Jennings!
"Hey, John McGraw!
"I got fire in my eye,
"And tobacco in my jaw!
"Hughie, hold my halo,
"I'm sick of being a saint;
"Got to teach the youngers
"To hit 'em where they ain't!"
In Baltimore, Lineup for Yesterday is carried by The Ivy Bookshop and the Baltimore Museum of Art.
Entry filed under: Books, On Air, sports.
12-19-11: Taking Time to Think 12-19-11: Can You Feel the Love…for the Lion King?


text:
Arrest warrant for Bachie contestant-turned-actor
Jess Glasgow says he is not guilty of possessing drugs. Photo: Lachie Millard
Felicity Ripper
1st Sep 2020 3:00 PM | Updated: 3:16 PM
Jess Glasgow, who has revealed he has started a new career in acting, has been charged with possessing dangerous drugs, a court has heard.
The former Bachelorette contestant and Noosa councillor told the Daily he is playing the character of a drug dealer in a movie about the Gold Coast's underbelly.
Mr Glasgow, 38, was scheduled to face Noosa Magistrates Court on Tuesday after police allegedly found him possessing dangerous drugs.
But he told the Daily the charges were based on "miscommunication" and hoped they would soon be dismissed.
He said a drug test would reveal he was clean
"I'm not guilty," he said.
"There were some hiccups with my friend.
"He was in my car."
Violent dad jailed for raping ex while their kids slept
Neighbours square up as one flogs dog with belt
Mr Glasgow said he was pulled over while driving on July 18 before being taken to Noosa Police Station for a breath test.
He said he returned a result below the general alcohol limit.
But police allegedly found him in possession of drugs, the court heard.
Mr Glasgow was not present on Tuesday to face one charge of possessing dangerous drugs.
Defence lawyer Chantelle Allen supplied the court with a medical certificate.
"My understanding is he has been tested for COVID-19 and is awaiting his test results," she said.
She asked the matter be adjourned for a week when it was hoped Mr Glasgow could appear in person.
Magistrate Haydn Stjernqvist adjourned the matter and said a warrant for Mr Glasgow's arrest was lying on file.
Jess Glasgow will be required to face a drug charge in person next week.
After court, Mr Glasgow told the Daily he was pleasantly surprised to land an acting role in a movie about the Gold Coast's underbelly which is being filmed.
"Funnily enough I'm playing a real estate agent drug dealer," he said.
"I'm playing the main guy who shoots everyone and falls in love with the undercover cop but I don't know she's the undercover cop and she doesn't know I'm a drug dealer."
Mr Glasgow rose to fame after he was unceremoniously dumped on Angie Kent's season of The Bachelorette.
He will be required to face his real-life drug charge in person on September 8.
Noosa councillor Jess Glasgow on The Bachelorette.
Premium Content Bachelorette contestant 'out of line', Mayor says
dangerous drugs charge
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contestants court crime dangerous drugs charge jess glasgow noosa council the bachelor the bachelorette australia
News The court heard the nurse had been "triggered" after the woman laughed at her at a local shopping centre.
Sport Motorsports fans will be cheering on future stars and established champions at the...


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To manually add an endpoint to the Malwarebytes Cloud platform, download the Malwarebytes Endpoint Agent installation file and run the installation file on the endpoint.
Malwarebytes provides endpoint installers to allow you to use your preferred installation method. Any endpoint added via an endpoint installer are assigned to the Default Group and associated with the Default Policy.
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Locate the Manage Endpoint Installers section.
Based on the endpoint's operating system, click on the appropriate Download button or skip to step 6 to download a Windows .MSI install file.
If you need a Windows .MSI install file, click on Additional Installers.
After you have downloaded the installation package, run the installer on the endpoint.
When the installation process completes, the endpoint shows up in the Cloud console in the Default Group with the Default Policy.


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In the summer of 1972, at the back yard of the Chinese Benevolent Association at the back of Toronto City Hall, Mr. Moy was teaching tai chi to 2 Chinese young men under a shady tree. Moy's good posture and graceful movements caught Tek's attention. Tek then spoke to them friendly and did some push hand and had fun with them. Later on Tek and a few of Mr. Moy's students helped to organize and found the Toronto Tai Chi Association, the predecessor of Taoist Tai Chi Society.
Master Moy was a legend: he did not speak a word of English yet managed to build a "Tai Chi Empire" with thousands of disciples and students throughout Northern America, Europe and Australia. He was also very generous and kind. Under his directions, Taoist Tai Chi Society donated thousands of dollars to various charitable organizations over the years without claiming any merits and credits from them at all.
Master Tek maintained the connection with Master Moy on and off throughout all those years until Master Moy passed away in 1998.
Sifu John Li was 6ft 2in tall and weighed 220 lbs. He was a disciple of Mr. Cheng Wing Kwong, a famous teacher in Wu Style Tai Chi in Hong Kong. John Li was an open minded and practical teacher who did not follow the Tai Chi tradition. He taught push hand but no forms at all to his students although his tai chi form practice was excellent and exquisite.
Tek first met John Li in 1987 during a meeting he called upon on various tai chi teachers in the Toronto area to discuss the founding of Canadian Taijiquan Federation.
Tek and John had developed close friendship since then and had many in-depth discussions on martial arts and self-defense.
John was so surprised that Master Tek had so "limited skills" (only one way) to deal with a punch!?
John Li, Loong Wong and Tek Siaw were the 3 Founding Fathers of the Canadian Taijiquan Federation registered in 1991.
In 1988, among the many martial art teachers called upon by Sifu John Li before the founding of the Canadian Taijiquan Federation, there was Master Lee Chi Wai: a slim, middle built but solid man with a unique voice sounded like a "honking male goose". He claimed that he was a certified "official" 31st Generation Shaolin Temple Warrior Monk Disciple, but not a monk himself.
Sensei David Mott was over 6ft tall, bald-headed, slimmed built, with broad chest and tough muscles. He was kind, generous and open-minded. He offered his Cold Mountain Dojo to Tek in 1987 while Tek was looking for a place to teach. There was also another Eskrima Kali teacher named Nonoy Galiano using David's dojo at that time. Together with David, they were known as "The Cold Mountain Trio" in the Toronto's martial art arena.
Besides karate, David was also a prominent baritone saxophone artist. He was the Dean of Faculty of Music in York University for a long time. Once he witnessed Tek's practice of the Lok Hup (Liu He Ba Fa) Form. He told Tek afterward that he could hear the sound of music throughout the soundless movements of Tek's form. He suggested that one day he and Tek would have a show together by Tek performing the Lok Hup form and he improvising the description of Tek's inner mind (Qi) during the form with the "rhythm" of his saxophone playing. But this "dream" of David had not come true yet so far: Tek left Cold Mountain Dojo and Toronto in 1995 but he left behind his precious stone-rubbed portrait of the "Two Saints of Cold Mountain" on the wall of David's Cold Mountain Dojo.


Let me start off by saying that seitan is a genius creation! You can make it taste like anything you wish. Truly genius! And making homemade seitan doesn't get any easier than this. All you need are a few basic ingredients like water, vital wheat gluten, chickpea flour, nutritional yeast and seasoning. That's it! But the best part is it doesn't have all the processed ingredients that store bought seitan has.
Plus, the process is super easy too. Just mix all the ingredients together, pop them into the oven and you're ready to cook it however you wish. It can be made in bulk and stored in the freezer for months, or stored in the fridge for a few days.
I tried making homemade seitan a few times, but was never pleased with the final texture. Plus, I always had to cook it with so many ingredients and it still had an after taste of flour. So, just before giving up I decided to do some research and quickly learned that there are other ways to cook it. I could bake it!
I liked the idea of baking it, so I headed straight to my kitchen to give it one final try. Plus, I was curious to see how it would turn out. So glad I did! The texture was spot on, didn't have any after taste of flour, and tasted out of this world!
Homemade Seitan Peanut Butter Curry – From Scratch!
For the homemade seitan, place the vital wheat gluten, chickpea flour, mustard seeds, dried chili flakes, nutritional yeast, cumin, garlic powder, and sea salt in a bowl and mix until combined.
Next, add the water and apple cider vinegar, and mix with a spoon until your seitan starts to come together, then knead it for roughly 3 minutes. Let it rest for 10 minutes, then briefly knead it again.
Place 1 cup of the veggie broth into a pryex tray, then cut your seitan into thin slices and place in the pyrex tray.
Pop the tray into the oven and bake for 10 minutes, flip each seitan slice over and bake for an extra 10 minutes. Finally, remove your seitan from the oven, let it cool down, then slice into thin strips.
Grate the tomatoes and place into a bowl along with the coconut milk, curry paste, and peanut butter, blend until smooth and set aside.
Next, heat a saucepan on medium heat, finely dice the onion, then add it to the pan along with the peanut oil. Cook until it starts to sweat, then add the seitan strips and crushed garlic, add sea salt and black pepper to taste, and cook for a couple of minutes.
Finally, add the sauce, let it simmer for a couple of minutes, occasionally stirring, then take it off the heat. Serve your homemade seitan with some chopped peanuts, chives, over a bed of cooked rice, millet, or pasta and enjoy.
If you're in the mood for some baked goodness then this moist, fluffy, Vegan Maple Cake is perfect for you.
But if you don't feel like baking then you should try these No Bake Chocolate Slices. They're packed with goodness and one of many treats I stash in my freezer.


text:
The 1955 Northern Illinois State Huskies football team represented Northern Illinois State College—now known as Northern Illinois University—as a member of the Interstate Intercollegiate Athletic Conference (IIAC) during the 1955 college football season. Led by Bob Kahler in his first and only season as head coach, the Huskies compiled an overall record of 0–8–1 with a mark of 0–5–1 in conference play, placing last out of seven teams in the IIAC. The team played home games at the 5,500-seat Glidden Field, located on the east end of campus, in DeKalb, Illinois.

Schedule

References

Northern Illinois State
Northern Illinois Huskies football seasons
College football winless seasons
Northern Illinois State Huskies football


MusclePharm Creatine supports increased creatine status by enhancing uptake and bio-availability. Clinically-supported Cinnulin is suggested to promote heightened absorption, consequently five pure and diverse Creatine complexes launch into muscles.
MusclePharm Creatine promotes explosive energy, ATP energy and overall power. For added stamina, strength and lean muscle growth, feed your body the total Creatine package - MusclePharm Creatine!
As a dietary supplement, mix three scoops (5g) in 300 ml of juice,water, or your protein drink of choice daily. Drink immediately. To maximize results, drink 8 to 10 glasses (300ml) of water once daily. A loading phase is not required or recommended with this product.


text:
package org.eclipse.rdf4j.repository.config;

import static org.eclipse.rdf4j.repository.config.RepositoryConfigSchema.REPOSITORYID;
import static org.eclipse.rdf4j.repository.config.RepositoryConfigSchema.REPOSITORY_CONTEXT;

import java.util.LinkedHashSet;
import java.util.List;
import java.util.Set;

import org.eclipse.rdf4j.common.iteration.Iterations;
import org.eclipse.rdf4j.model.Literal;
import org.eclipse.rdf4j.model.Model;
import org.eclipse.rdf4j.model.Resource;
import org.eclipse.rdf4j.model.Statement;
import org.eclipse.rdf4j.model.ValueFactory;
import org.eclipse.rdf4j.model.impl.LinkedHashModel;
import org.eclipse.rdf4j.model.impl.SimpleValueFactory;
import org.eclipse.rdf4j.model.vocabulary.RDF;
import org.eclipse.rdf4j.query.QueryResults;
import org.eclipse.rdf4j.repository.Repository;
import org.eclipse.rdf4j.repository.RepositoryConnection;
import org.eclipse.rdf4j.repository.RepositoryException;
import org.eclipse.rdf4j.repository.RepositoryResult;

public class RepositoryConfigUtil {

	public static RepositoryConfig getRepositoryConfig(Model model, String repositoryID) {
		Statement idStatement = getIDStatement(model, repositoryID);
		if (idStatement == null) {
			// No such config
			return null;
		}
		Resource repositoryNode = idStatement.getSubject();
		Resource context = idStatement.getContext();
		Model contextGraph = model.filter(null, null, null, context);
		return RepositoryConfig.create(contextGraph, repositoryNode);
	}

	public static Model getRepositoryConfigModel(Model model, String repositoryID) {
		Statement idStatement = getIDStatement(model, repositoryID);
		if (idStatement == null) {
			// No such config
			return null;
		}
		return model.filter(null, null, null, idStatement.getContext());
	}

	public static Set<String> getRepositoryIDs(Model model) throws RepositoryException {
		Set<String> idSet = new LinkedHashSet<>();
		model.filter(null, REPOSITORYID, null).forEach(idStatement -> {
			if (idStatement.getObject() instanceof Literal) {
				Literal idLiteral = (Literal) idStatement.getObject();
				idSet.add(idLiteral.getLabel());
			}
		});
		return idSet;
	}

	private static Statement getIDStatement(Model model, String repositoryID) {
		Literal idLiteral = SimpleValueFactory.getInstance().createLiteral(repositoryID);
		Model idStatementList = model.filter(null, REPOSITORYID, idLiteral);

		if (idStatementList.size() == 1) {
			return idStatementList.iterator().next();
		} else if (idStatementList.isEmpty()) {
			return null;
		} else {
			throw new RepositoryConfigException("Multiple ID-statements for repository ID " + repositoryID);
		}
	}

	@Deprecated
	public static Set<String> getRepositoryIDs(Repository repository) throws RepositoryException {
		try (RepositoryConnection con = repository.getConnection()) {
			Set<String> idSet = new LinkedHashSet<>();

			try (RepositoryResult<Statement> idStatementIter = con.getStatements(null, REPOSITORYID, null, true)) {
				while (idStatementIter.hasNext()) {
					Statement idStatement = idStatementIter.next();

					if (idStatement.getObject() instanceof Literal) {
						Literal idLiteral = (Literal) idStatement.getObject();
						idSet.add(idLiteral.getLabel());
					}
				}
			}

			return idSet;
		}
	}

	/**
	 * Is configuration information for the specified repository ID present in the (system) repository?
	 *
	 * @param repository   the repository to look in
	 * @param repositoryID the repositoryID to look for
	 * @return true if configurion information for the specified repository ID was found, false otherwise
	 * @throws RepositoryException       if an error occurred while trying to retrieve information from the (system)
	 *                                   repository
	 * @throws RepositoryConfigException
	 */
	@Deprecated
	public static boolean hasRepositoryConfig(Repository repository, String repositoryID)
			throws RepositoryException, RepositoryConfigException {
		try (RepositoryConnection con = repository.getConnection()) {
			return getIDStatement(con, repositoryID) != null;
		}
	}

	@Deprecated
	public static RepositoryConfig getRepositoryConfig(Repository repository, String repositoryID)
			throws RepositoryConfigException, RepositoryException {
		try (RepositoryConnection con = repository.getConnection()) {
			Statement idStatement = getIDStatement(con, repositoryID);
			if (idStatement == null) {
				// No such config
				return null;
			}

			Resource repositoryNode = idStatement.getSubject();
			Resource context = idStatement.getContext();

			if (context == null) {
				throw new RepositoryException("No configuration context for repository " + repositoryID);
			}

			Model contextGraph = QueryResults.asModel(con.getStatements(null, null, null, true, context));

			return RepositoryConfig.create(contextGraph, repositoryNode);
		}
	}

	/**
	 * Update the specified Repository with the specified set of RepositoryConfigs. This will overwrite all existing
	 * configurations in the Repository that have a Repository ID occurring in these RepositoryConfigs.
	 *
	 * @param repository The Repository whose contents will be modified.
	 * @param configs    The RepositoryConfigs that should be added to or updated in the Repository. The
	 *                   RepositoryConfig's ID may already occur in the Repository, in which case all previous
	 *                   configuration data for that Repository will be cleared before the RepositoryConfig is added.
	 * @throws RepositoryException       When access to the Repository's RepositoryConnection causes a
	 *                                   RepositoryException.
	 * @throws RepositoryConfigException
	 */
	@Deprecated
	public static void updateRepositoryConfigs(Repository repository, RepositoryConfig... configs)
			throws RepositoryException, RepositoryConfigException {
		try (RepositoryConnection con = repository.getConnection()) {
			updateRepositoryConfigs(con, configs);
		}
	}

	/**
	 * Update the specified RepositoryConnection with the specified set of RepositoryConfigs. This will overwrite all
	 * existing configurations in the Repository that have a Repository ID occurring in these RepositoryConfigs. Note:
	 * this method does NOT commit the updates on the connection.
	 *
	 * @param con     the repository connection to perform the update on
	 * @param configs The RepositoryConfigs that should be added to or updated in the Repository. The RepositoryConfig's
	 *                ID may already occur in the Repository, in which case all previous configuration data for that
	 *                Repository will be cleared before the RepositoryConfig is added.
	 * @throws RepositoryException
	 * @throws RepositoryConfigException
	 */
	@Deprecated
	public static void updateRepositoryConfigs(RepositoryConnection con, RepositoryConfig... configs)
			throws RepositoryException, RepositoryConfigException {
		ValueFactory vf = con.getRepository().getValueFactory();

		con.begin();

		for (RepositoryConfig config : configs) {
			Resource context = getContext(con, config.getID());

			if (context != null) {
				con.clear(context);
			} else {
				context = vf.createBNode();
			}

			con.add(context, RDF.TYPE, REPOSITORY_CONTEXT);

			Model graph = new LinkedHashModel();
			config.export(graph);
			con.add(graph, context);
		}

		con.commit();
	}

	/**
	 * Removes one or more Repository configurations from a Repository. Nothing happens when this Repository does not
	 * contain configurations for these Repository IDs.
	 *
	 * @param repository    The Repository to remove the configurations from.
	 * @param repositoryIDs The IDs of the Repositories whose configurations need to be removed.
	 * @throws RepositoryException       Whenever access to the Repository's RepositoryConnection causes a
	 *                                   RepositoryException.
	 * @throws RepositoryConfigException
	 */
	@Deprecated
	public static boolean removeRepositoryConfigs(Repository repository, String... repositoryIDs)
			throws RepositoryException, RepositoryConfigException {
		boolean changed = false;

		try (RepositoryConnection con = repository.getConnection()) {
			con.begin();

			for (String id : repositoryIDs) {
				Resource context = getContext(con, id);
				if (context != null) {
					con.clear(context);
					con.remove(context, RDF.TYPE, REPOSITORY_CONTEXT);
					changed = true;
				}
			}

			con.commit();
		}

		return changed;
	}

	@Deprecated
	public static Resource getContext(RepositoryConnection con, String repositoryID)
			throws RepositoryException, RepositoryConfigException {
		Resource context = null;

		Statement idStatement = getIDStatement(con, repositoryID);
		if (idStatement != null) {
			context = idStatement.getContext();
		}

		return context;
	}

	private static Statement getIDStatement(RepositoryConnection con, String repositoryID)
			throws RepositoryException, RepositoryConfigException {
		Literal idLiteral = con.getRepository().getValueFactory().createLiteral(repositoryID);
		List<Statement> idStatementList = Iterations.asList(con.getStatements(null, REPOSITORYID, idLiteral, true));

		if (idStatementList.size() == 1) {
			return idStatementList.get(0);
		} else if (idStatementList.isEmpty()) {
			return null;
		} else {
			throw new RepositoryConfigException("Multiple ID-statements for repository ID " + repositoryID);
		}
	}
}


Perspectives: What would it take to stir our sense of injustice?
VIDEO: FBI & BLM Top Agents Linked to Corruption, Cover Ups & Much More!
VIDEO: UN Agenda 21 Sustainable Development - "The Hidden Dangers!"
Who is the reclusive Hansjorg Wyss?
Opposition to the ban on so-called "ballot-harvesting"
Save the Cowboy, Stop the APR! What does this mean?
Is American Prairie Reserve Taking The West Back To The Future?
UN Summit Seeks "New World Order" to "Transform the Way We Live"
USA PERSECUTION HAS BEGUN! Extreme Torture & THINGS SO VILE I Can't Add To the Headline!
Has your town or county signed on to ICLEI?
DID THE USDA JUST DECEIVE AMERICA?
Why Are Billionaires Eager to Back Socialist Candidates Who Want to Seize Their Assets?
Will SCOTUS decision subject your septic tank to federal regulations?
Should Forest Service managers with direct oversight for Forest Plan Revision attend (and chair) meetings of an organization that could influence plan revision?
What is Falconry and Why Should We care?
A Republic If You Can Keep It!
I survived communism – are you ready for your turn?
My Country 'Tis of Tyranny...?
Yesterday's major Supreme Court victory protects property rights for all Americans!
USMCA Promoting UN Agenda 21 for "Sustainable Development"
Lawmaker Exposes Islamist and Marxist "Counter-States" in U.S.
USMCA Far Worse Than NAFTA!
Jeanette Finicum and "LaVoy: Dead Man Talking"
America First Energy Conference – "an amazing day"
Private Property Rights Protection Act of 2017 Passed the House!
Is there a coverup in Washington wolf incident?
The Idaho Public Utilities Commission has decided to cancel the July 23rd hearing in Boise!
WHAT IF...We were no longer "Hyphenated-Americans"... just American citizens, period.
Talking Waters: "Save the Dams Save the Salmon"
Is property a fundamental right?
First it was Confederate monuments. Now statues offensive to Native Americans are poised to topple across the U.S.
Making Sense of the Census!
Is Zinke 'Migration Corridors' order the Endangered Species Act on Steroids?
Bundys Walk Free! Judge Smacks Down Fed's Case Against Ranching Family "With Prejudice"
Tillerson to be Fired? What's Taken so Long?
Prosecution Calls Inspector General Report an "Urban Legend"
Did Bundy Owe Millions? See For Yourself!
US Attorney's Office Implicated in Bunkerville Standoff?
PLF's next Supreme Court case: fighting EPA's sweeping power grab over all U.S. waters.
ALERT: Who Benefits from the Voting Rights Advancement Act of 2017?
WATCH: Catastrophic Wildfires, Who's Really to Blame?
Do we just wait, or do we get involved?
Is global left working to divide U.S.?
Federal Indian Policy: "Mom Always Liked YOU best!"
Y2Y – Another UN Land Grab – Are You Ready?
Why Azure Farm is under imminent threat!
Bill introduced in Congress to "Terminate the EPA"
Report: What's Next for America's Public Land?
He Will Soon Run a Fifth of the Nation. Meet Ryan Zinke.
Please contact your congressmen and share widely.
Is 'Indian reservation' same as 'Indian country'?
"Why Trump Won't Stop the Land War in the West"
Have you read the amendments?
A UN and tribal takeover?
Are Your Elected Officials Forsaking You?
Where Did the States Go?
Native American Reservations: "Socialist Archipelago"
Tribal court ordered a newborn removed from a Miami hospital. Was that legal?
COMMENT: Is Zinke 'Migration Corridors' order the Endangered Species Act on steroids?
"... and the MILLE LACS who have no reservation ..."
How Much Toxic Roundup Are You Eating?
Man says 5G is a kill grid that will lead to forced vaccinations, thoughts?
Physicist warns: Newly approved 5G tech could "irradiate everyone"
UK Woman Detained At Mental Health Facility For Claiming 5G & WiFi Radiation Is Harmful To Health!
California: Three City Councils in Marin County Vote to Stop Installing Harmful 5G Towers!
Is Technology Rewiring Our Children?
Why Are So Many Concerned About The Potential Health Dangers Of The 5G Cell Phone Network That Is Going Up Nationwide?
Deep State Subversion: "A Murderer is Less to Be Feared"
Fitbit recalls due to rashes. Reports of dizziness, erratic pulse, nausea, pain, headaches. Fitbits operate using WiFi.
What are Chemtrails and How Are They Harming Our Food and Water?
Net Neutrality is Dead – And Not a Moment Too Soon!
ALARMING! Feds Find Bizarre Results In Pacific Ocean--Where Have The Fish Gone?!
Critics Slam Congress for Creating an Orwellian "Ministry of Truth"
SALT LAKE CITY (CN) — The 10th Circuit affirmed Tuesday that the widow of a small-town doctor who blamed abusive federal agents for her husband's suicide after a Native American artifacts sting cannot sue the FBI and Bureau of Land Management for excessive force.
Jeanne Redd in 2011 sued nine named BLM agents, seven named FBI agents, and 21 other federal agents whose names are unknown on behalf of the estate of her late husband, Dr. James Redd.
Redd claimed that the FBI and BLM, using a shady informant, targeted dozens of people in a Native American artifacts sting, including her husband, who merely found an artifact on a hike and brought it home.
About 80 BLM and FBI officials raided Blanding, Utah — population 3,000 — and the surrounding Four Corners area and arrested 24 people on June 10, 2009. Among those snared in "Operation Cerberus" were the Redds and their daughter.
Redd claimed agents "manhandled and handcuffed" her 60-year-old husband in the roundup, "followed by four hours of interrogation in the garage," because he had found an effigy bird pendant. She said the artifact, a 1/16th-inch thick shell, may be worth about $125.
For bringing the shell home, federal agents armed with assault rifles and wearing flak jackets "rebuked, terrified, and humiliated Dr. Redd," she said.
Agents accused him of "unlawful activity of which he was not guilty," and "repetitively called Dr. Redd a liar while taunting him that a felony offense meant revocation of his medical license. The defendants wrongfully harassed Dr. Redd and taunted him that he would never practice medicine again," according to the complaint.
"Meanwhile, Gardiner was down and out on his luck, having burned most of his bridges in the native artifacts marketplace by overcharging, disrespecting, and simply ripping clients off. But Gardiner realized he had something of value in his 'little black book,' which had been his customer list. He spun a story to the defendants of an illicit black market that the defendants were all too willing to accept, without any precautionary assessment of veracity," Redd said in the lawsuit.
One week after her husband's suicide, Steven Shrader, also accused of looting artifacts, died of self-inflicted gunshot wounds in New Mexico. Shrader shot himself in the chest the day he was due to appear in Federal Court.
Gardiner, who was not a party to the initial lawsuit, shot himself to death on March 1, 2010.
The U.S. District Court for the District of Utah granted the defendants' motions to dismiss all of Redd's claims but one, a Fourth Amendment excessive-force claim against lead BLM Agent Daniel Love. But the court later granted Love summary judgment on the final claim, for qualified immunity.
Redd appealed, but the 10th Circuit affirmed Monday.
Love was entitled to qualified immunity because his deployment of 22 agents with body and guns was reasonable, given citizens' hostility to federal officials and the number of artifacts that needed to be recovered, 10th Circuit Judge Gregory Phillips wrote for the three-judge panel.
Also, BLM and FBI policies require agents to wear soft body armor and carry guns.
"If the FBI and BLM agents' outer wear appeared intimidating, it was due to these policies and not to Agent Love's actions," the ruling states.
Redd's attorney Edward Moriarity, with Moriarity, Badaruddin & Booke of Missoula, Mont., could not be reached for comment Tuesday.
Tenth Circuit Judge Mary Beck Murphy and Senior Judge Michael Murphy joined Phillips on the panel.


The institute recognises the problems cause by personal harassment, bullying, cyber bullying, sexual harassment in the learning environment. The institute is committed to a working and learning environment that is free from harassment of any kind. Incidents of harassment are regarded by the institute as being very serious and may lead to disciplinary action being taken against the perpetrator.
Any behaviour or conduct, which is unwelcome to the recipient and which creates a hostile, frightening or intimidating environment. Behaviour which shows lack of respect (e.g. name calling, offensive remarks, unwarranted criticism), and with which people feel uncomfortable can constitute harassment.
Unwanted actions or treatment which can humiliate or threaten an individual.
Cyber bullying refers to the process of using the Internet, cell phones or other devices to send or post text or images intended to hurt or embarrass another person.
Unwanted conduct which could be reasonably regarded as sexually, or otherwise on gender grounds, offensive to the recipient. It can take many forms such as leering, ridicule, embarrassing remarks or jokes, unwelcome comments about dress or appearance, deliberate abuse, offensive use of pornographic materials, threats of or actual unwanted physical contact.
Unwanted conduct on the grounds of race/ethnic origin which could be reasonably regarded as offensive to the recipient and which might threaten a person's security or create a stressful, hostile or intimidating work/study environment.
If you feel you re being subjected to any form of harassment/bullying do not feel that it is your fault or that you have to tolerate it. It is the institute's concern that you should receive support and assistance, and an appropriate resolution.
Tell the harasser that their behaviour is not welcome and ask them to stop; if you feel uncomfortable doing this alone, seek the help of a friend or harassment advisor who will assist you in this regard.
Keep a record of individual incidents as they occur.
Report the matter as soon as possible to one of the harassment advisors on the contact list below who may advise you on a course of action or take the matter up on your behalf. All discussions will be confidential and further action involving you will not be taken without your consent.
Most complaints are successfully dealt with through an informal/mediation process. This involves a Head of Department/member of academic staff and a counsellor sitting with all parties to resolve the issue.
If the informal or mediation process is not successful make a formal complaint, which will lead to initiation of the appropriate disciplinary procedures as outlined in the Students Complaint Procedures document.


I am here to help you develop. But I will not tell you what you need to "fix" in yourself.
Our work will be driven by you. What do you dream of? What change in your life would make the biggest difference? Which of your strengths could be further unleashed?
Everything you see and do is influenced by your history, so you have "blind spots" that are a result of those previous experiences. You could think of those "blind spots" as the areas of your forest hidden behind too many trees. Once you start to pay attention to your "blind spots", the world will change around you, because you will have a new way of relating to what you see and hear, even in relationships or situations where you thought there was no change possible.
I believe in your power to change and develop in that way, because I've experienced it firsthand.
I spent years developing myself, including therapy and getting coached and self-reflection, to find new ways of being that I once thought were impossible. That path required learning to see how I was getting in my own way. I've been at a startup that went bankrupt. I've been fired from a job. I've worked so hard that my body broke down. I was hopelessly single for most of my life. And I had to confront how I contributed to each of those outcomes.
Addressing my own blind spots unlocked vast new possibilities and helped me take ownership of my life. So now I help others learn to tap into that power. They find their way through their personal forests and onto new paths for themselves.
You can read more of my thoughts on coaching on my blog. Contact me if you're interested in learning more.


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text:
The BMW 4 Series is a coupé manufactured by the German automaker BMW. First official details of the 4 Concept 4 Series were released to the public by an official press release on 5 December 2012, detailing the intention to replace the current 3 Series coupé with a new 4 Series line to further differentiate the more sporty coupé. The car will be available in convertible form (F33) and also in Gran Coupe (F36) as well.
Visit Forum
The 4 Series Coupe shares all technical features with F30 3 Series. The interior is almost the same as in the 3 Series except the 2+2 seating configuration, and the exterior also shares the overall styling of the 3 Series. Its wheelbase is 110.6 inches, two inches longer than 3 Series coupé and identical to the 3 Series saloon. The BMW 4 Series has made its debut in Detroit, United States at the North American International Auto Show in January 2013.
4 Series Events
4 Series News
The all-new BMW 4 Series Coupé.
by BMW Car Club GB | Jun 3, 2020 | 4 Series
Revised coup delivers class-leading performance, handling and sporty styling. Model-specific...
M4 Model Rep:
Tim Fathers
Specifications List
Models in Series:
Oldest Models:
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Type material. Holotype male, CHINA: Hunan Province (lacking detailed collection data), 2 March 1975, Qiliang Huang leg. ( IZCASAbout IZCAS).
, -a, -um of the Latin verb expandere, means "expanded" and refers to the expanded conductor, median apophysis and the distal end of embolus; adjective.
by the extraordinarily expanded median apophysis.
Description. Holotype male. Prosoma 3.0 long, 2.1 wide; opisthosoma absent. Eye measurements: AME 0.08; ALE 0.15; PME 0.15; PLE 0.15; AME–AME 0.04; AME–ALE 0.05; PME–PME 0.10; PME–PLE 0.10; clypeus 0.10. Chelicerae with 3 promarginal and 2 retromarginal teeth ( Fig. 9View FIGURES 9 – 12). Leg formula unknown; measurements of legs: I: 8.4 (2.4, 2.8, 2.0, 1.2); II: absent; III: absent; IV: 9.8 (2.6, 3.0, 2.9, 1.3).
Patellar apophysis short and stour; RTA broad, with distal end extending beyond tibia; lateral tibial apophysis absent; cymbial furrow extremely short; conductor broad, slightly modified into a shallow groove holding the embolus; dorsal apophysis of conductor sharp, and hidden by median apophysis from prolateral view; median apophysis extraordinarily expanded, and with distal margin thickened; embolus short, arising at approximately 4.30 –o'clock–position, and with the distal end slightly modified into a shallow groove ( Figs 10–12View FIGURES 9 – 12).
FIGURES 9 – 12. Draconarius expansus spec. nov. male, 9. Cheliceral teeth, ventral view; 10. Pedipalpus, retrolateral view; 11. Ditto, ventral view; 12. Ditto, prolateral view. Scale bar: 0.2 mm.


The "Gatsby Petite" is the scaled-down version of the original and mid Gatsby, also available as a pendant and earrings. Pure sparkle and Art Deco elegance at it's best! These earrings are made-to-order and is completely customizable and is available in various finishes, sizes, and carat weights. The center stone is framed by a diamond halo. Outside the halo, alternating custom-cut baguette and round stones cascade at different levels, catching the eye from every angle. The delicate wiring slightly lifts the stones, allowing the light to illuminate from below. These earrings are a hand-crafted labor of love, perfect for weddings, anniversaries, and special occasions.
The Gatsby Petite can hold center stones between .35 - .5 carat.
Trying to visualize these earrings on your ears? Download a super helpful document that shows the actual scale of the designs in my collection here. Print and cut out designs to try on for a scale reference.


text:
LET'S DANCE — The Reykjavik Grapevine
RX Beckett
At the end of the month, our fair city will be inundated by performance. Since 2002, the Reykjavík Dance Festival has been the single most important time of year for Iceland's independent professional dancers and has contributed to the vast growth and expansion of their work.
Operating on a purely local level for its first few years, the festival had a couple of re-toolings until they landed on a model that truly fit. Since last year, the event is curated by different artistic directors, and this year it is spearheaded by multi-platform performers Erna Ómarsdóttir and Valdimar Jóhannsson. It is also partnered with the Lókal International Theatre Festival for the second time and shares the same social space.
This year's edition stands out for having the highest number of international performers involved in the festival. Although the festival is primarily made by and for the local freelance dance community, the growing number of foreign guests allows them to make better outside connections, build collaborations and fit into the context of the European dance community.
Among the international performers are Deufert & Plischke from Germany, bringing a piece entitled 'ANARCHIV#2: second hand' which Thomas Plischke says allows the audience to play along with them, but never forces them into participation. The Brussels-based Dane Mette Ingvartsen will perform 'Evaporated Landscapes', a piece comprised of ephemeral elements subject to factors like temperature, lights, body bass and mechanics. Heine Avdal and Yukiko Shinozaki, the Swedish-Japanese couple who go by the name Fieldworks, will deal with uncertainty, immediacy and humour in their piece 'Borrowed Landscapes', performed in the Bónus grocery store.
Kattrin Deufert & Thomas Plischke let the audience get playful in ANARCHIV#2: second hand.
Back with our locals, there will be several much anticipated premieres, including 'Scape Of Grace' by Saga Sigurðarsdóttir, 'Soft Target Installed' by Margrét Sara Guðjónsdóttir and 'To The Bone' by Erna and Valdimar's company Shalala. The latter will also act as an introductory performance for the 'Black Yoga Screaming Chamber', an ongoing installation by Erna and Valdi found at various locations until September 1, which will bear some loud and intense fruit.
This festival is the local dance community's answer to Iceland Airwaves: it's just as cool and jam-packed full of amazing talent, and you don't have to wait in long queues! So take the week off work, drop the kids off with the grandparents, devote one week of your life to performance art and enjoy!
Dance Festival Social Club
While the festival's artistic director's hands are spilling over with curatorial work, next year's pre-selected directors, Alexander Roberts and Ásgerður G. Gunnarsdóttir, a.k.a. Choreography Reykjavík, are in charge of setting up the SUPER SOCIAL SPACE, a type of pop-up outreach space where the dance community and the non-dance related public can converge.
Taking place in Dansverkstæðið, a dance and choreography space attached to KEX Hostel, the space will be open for the festival's ten days with a slew of free events – workshops, lectures, performances, dancing, and nightly parties. "It's kind of like a magic trick or a con where we're using DJs, free publications and free food to get people into the space," Alexander says, "then we try to confront them with contemporary dance and choreography."
He says this approach is a targeted response to the feeling that the Reykjavík dance community is an opaque, exclusive world where non-dancers see no room for themselves. His and Ásgerður's company have been making a push over the past year to include different types of people into their works and he says this is an attempt to bring people in on another level.
So head over for breakfast and the Morning Clashes series, an evening meal and a Choreography For Dinner, or a late night drink and some rowdy dancing. They welcome everyone with open arms and jazz hands.
The Surprised Body Project by Franscesco Scavetta & Wee creates complex metaphors using human bodies.
Check out more about the Reykjavík Dance Festival 2013 from here.
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