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Acupuncture And Your Heart with Robert Koagedal
More and more people are discovering acupuncture and its numerous benefits. Everyone seems to be getting into using acupuncture, whether it's physical therapists or chiropractors. Licensed Acupuncturist Robert Koagedal discusses acupuncture and its amazing benefits. He explains how this can be utilized as a preventive health measure over the concept of medical treatment with all its complexities.
I've got Robert Koagedal on this show. He is a Licensed Acupuncturist. He's got a booming practice in Arizona. I met Robert many years ago. I know his amazing family, his wife, Mary, and the kids. It's a great group of people. Usually I see everybody, Robert, at Whole Foods. We can bash Whole Foods all we want, but sometimes it's the only game in town for certain things. If there was anything that Whole Foods has created, it's a fun, healthy vibe. Maybe they're selling conventional oranges from Nicaragua, but at least it's a fun place to hang out.
In fact, it felt like for a while now we couldn't go there without running into you and your beautiful family. That was always fun to see, especially when you know that people are putting their money where their mouth is and people wanting to support things that are health-promoting. Supporting the farmers that are producing things that are healthy for us, that's a big part of what I try to promote. I certainly work with patients in my practice.
I certainly would prefer to see you guys at the farmer's market in Old Town Scottsdale. What an amazing farmer's market that is, especially for Arizona, a place where there's no water. You can't imagine how anyone's farming anything there besides cactus. It's a fantastic farmer's market.
We're regular Saturday morning people there too. Another spot that at least in the desert you can access a certain quality of food. This is not necessarily what you're going to find in another latitude that you can grow. At least, it's what we can get here so I'm going to find them where we can.
Acupuncture, a traditional Chinese medicine, how does Robert Koagedal get into that? He is a nice kid. He's got a Swedish lineage. How does he get into acupuncture and Chinese medicine?
You don't dig a well after you become thirsty. Click To Tweet
As you can probably guess it's not an infrequent question at my office when someone walks in. I tell you to this day, it still is that people walk in and they look at me a little funny and they go, "You're not Chinese." I get that look, I can see it. As you say, I'm not so young anymore but back in my younger days, the kid that was running around looking for a way to behave in this world, a way to find a way of making a living. I'm thinking about the values that I held. I was looking for a meaningful paradigm that explained some things that I wasn't getting from what I was finding. Whether it was in the basic courses in college. I came across a book that a roommate of mine introduced me to called The Web That Has No Weaver. I was a philosophy student in college. I was familiar with the principles of Taoism and Chinese philosophy and had studied quite a bit of East Asian religious traditions and Buddhism and the yoga. I was doing yoga even back 30 years ago. When I read that book, it lit a little fire in my brain that there was a method, a model, an interpretive process that allowed me to see health and wellness connected to nature, connected to ways of living that supported your natural buoyancy, your natural resilience.
When I read that book, I had it in the back of my mind that if that was possible, I wanted to go study that. Remember, this is 26 years ago. I've been doing this at least 20 to 40 years. I pondered that for a while. A friend of mine was applying to medical school and through that, he got a little burnt out on the process and the bureaucracy and what was involved in, he said, "You could study acupuncture in the US." I started looking into it. I found a few schools. There's a longer story, but the long and the short of that is I jumped my feet full into it. I dove in and went to school in Santa Fe, New Mexico where they had a good program that offered the basic outlines of what is now called traditional Chinese medicine. If maybe for your readers that might be something that's helpful for them if they want to know beyond acupuncture. People think of acupuncture, which is being utilized by about every health provider. Everyone wants to get in on using acupuncture, whether it's physical therapists or chiropractors or all of them.
Historically, Chinese medicine, acupuncture is one of the therapies within what's called the five branches of Chinese medicine. That's what you study in school. A lot of fun diving into all those areas of Chinese medicine that you can have that relate to herbal medicine, botanicals, nutritionals and dietetics of Chinese medicine, a kind of physical therapy or acupressure. The thing that I got most excited about when I first started studying is that they didn't separate the mind and the body. They saw that clearly there was no delineation between where these began and how our physical health affected our emotional health and vice versa. That was so sane to me that's my experience. I think that's every person's experience, but we live in a culture that divides that. It's built upon methods of manipulating our biology to try to correct imbalances. Not that that doesn't have its place, but a paradigm that includes mind and body was beautiful to me. It's still the most elegant, sophisticated, interpretive model of health I have come across.
You had so many amazing nuggets in there too. It's not that I'm necessarily opposed to people practicing outside of their lanes because people can say, "Jack Wolfson, you're practicing outside of your lane. You're a cardiologist. Now, you're talking about all this natural stuff." When you're talking about the five branches of traditional Chinese medicine that you go to somebody who's the best trained at it. Why should someone be concerned about, "Robert Koagedal, he's not Chinese. Therefore, I'm going to go see a Chinese doctor because they are better at it," or maybe they even went to China or they went to some of the schools in China. How is the educational process any different? Is the American trained doctor in general, not necessarily from Sweden or not or the white guy, the traditional guy as good as the guy from China?
I had this fun patient, a big guy, 6'4″, 240. He never had acupuncture before. He said when he walked in, he looked at me a little side and he's like, "My girlfriend said I shouldn't go see some white guy practicing acupuncture, but I looked at your site and so I'm here." That is not an uncommon interpretation that people have. What I think is maybe missing in the cultural understanding from American looking for someone who's an expert in Chinese medicine. I also don't have any real problems with people practicing outside of the lane. We're learning as a culture as we go along in what we call all of these divisions are artificial. Properly when you think about health and you can apply these therapies in many successful ways. It's not because one person is the expert. Having said that, it's a phenomenon in which when something has been in a culture for a long time.
Acupuncture Treatment: Nothing looks beautiful than a paradigm that includes the mind and the body. It's the most elegant, sophisticated interpretive model of health.
Let's say historically, Chinese medicine goes from guesses of 2,000 to 5,000 years of history. When the Communists took over in China, their paradigm was a strongly anti-spiritual and atheist perspective. They did everything they could to remove a lot of the mental, emotional and spiritual connections in the medicine. When a culture has become bored to some degree with its own traditions, going to another culture enlightens it. When Chinese medicine then drifted across the seas and ended up in America here, I think we're in a beautiful part of where you're re-enlivening some of the deepest aspects of Chinese medicine. That's how I see it and how I want to engage with it. Between the few, whether you go see a person who is traditionally trained in China, they've got a certain perspective. They practice it a certain way. I'd say what I do with maybe I want to say a growth off of that, but it certainly takes the foundations of that. I bring a new life to it that I think makes it uniquely American acupuncture. Time will tell but so far, it's been pretty successful.
We've got a lot of mutual patients. They speak the world of you. One of the things you talked about is about how modern medicine, certainly how I was trained, where there's the physical body which encompasses the vast majority of medical doctors that are practicing that way. You've got the psychiatrists. They're over in the mental realm. The psychiatrist over there is all about pharmaceuticals. From a philosophy standpoint, Rudolf Steiner was a philosopher in the late 1800s, the early 1900s, the founder of the Waldorf School of Methodology, a brilliant philosopher in Germany at the time and he comes up with this whole concept of anthroposophic medicine. Stressing the importance of the mind, the soul, the spirit as one with the body and talking about them simultaneously. That's such a foreign concept to the medical doctor but for you, it makes total common sense?
I'd say the way that Dr. Steiner articulated it, and I don't understand all of his principles, but the one that we both have heard from him is his famous statement that, "The world will not evolve further until they recognize that the heart is not a pump." That summary tells you that when we're stuck in the scientific determinism when we're stuck in this view that this is a bunch of random stuff. What's very interesting and this ties back to acupuncture is what organizes that? What is the intelligence that organizes this entire physiology? The Chinese called that chi and there are variations in the Chinese philosophy of how that manifests both in our organ systems, in the mind and the body.
The principle there for all of your readers is that division that has been created in our culture is artificial. It's a stamp of a mindset that says these are not related. In many ways, there was a rebellion against religious authority that I think with a helpful way of getting religion out of my health. I think that's a long history lesson. The principle there is that it led us down a road in which maybe we threw the baby out with the bath water. There's a lot of things that were missing in our current healthcare system that practices of chiropractic principles of Chinese medicine filled that void for patients when they go to see their physician. They're looked at like a bunch of chemicals. That void, otherwise I wouldn't be in business, I think at this point when you go see someone, out of network process and people return because of the benefits they get and addressing them as a whole.
When you say that term in the network, it makes you think about you're in the medical matrix. You're in that medical model. You're lost in there. Sometimes you don't know any better. You don't know any different. You don't know that anything else exists. To jump into the space that we're in, the causation space, that holistic health and wellness space is tremendous. Why should someone go to see a traditional Chinese medicine provider/who provides acupuncture? Why should we go? Is it everybody should go or should we go for a specific reason? Tell me.
We live in a culture that divides the mind and the body. Click To Tweet
I think categories of challenges that people face in their health outside of the context of the emergency situation because from our conversation, I hope no one leaves with the idea that somehow I'm anti-Western medicine. There are genius applications of Western medicine that you and I would both want, should we need those services and applied in that context. I want well-paid surgeons who know how to do things that they've practiced hard to get to that. When you get to those areas of chronic health concerns where people are struggling with subpar health, fatigue, headaches and sleep issues, mood disorders and digestive complaints. Where the only offering that allopathic medicine has is some type of patchwork Band-Aid pharmaceutical. It's almost becoming cliché now to criticize this because I think the cat is out of the bag that it's a very unsophisticated and a view of who we are as human beings and to be treated that way. When you go to your doctor and all that they say is, "We'll take this pill." Most people are waking up that's a bunch of nonsense.
You and Heather were powerful voices in my early starting of this where you got challenged that paradigm and said this is a bunch of nonsense and we need to do better. You guys have always been an inspiration to me and how vocal you are in challenging that. Believe me, I have plenty of physician friends and I know that sometimes they don't speak up when they challenge those things. That's a variety of other reasons. We're getting to a place where for someone who's looking for wellness, who's looking for why are they subpar, why is their health subpar? Why are they not optimal? Why are they not in a state of fully functioning, which is their gift of being alive as a human being? This can be a place to begin. It's not the only place, but this is a place where within Chinese medicine, we have an interpretive model that sees the relationships between those various confounding symptoms. Whether it's the gut issues that you have that you're not sleeping that great. How's your sex life? What does it mean to live deep with your highest energies? Acupuncture and Chinese medicine are tools for addressing those.
You bring up a fantastic point and that we both agree on that. In an emergency situation, you're probably not going to your chiropractor. You're probably not going to your traditional Chinese medicine doc acupuncturists. You're not going to your holistic cardiologist out in Arizona. You're going to go to an emergency room and that's where we go for emergencies. I've often said, when it comes to prevention, the medical doctors have nothing. We know that. Aspirin is not prevention. Statins aren't prevention. The testing they do isn't prevention. It's all a cover-up, manmade approach. Maybe there's early diagnosis for whatever that's worth, which is typically a no. I know the answer to this, but I want you to agree with it, is it safe to say that a traditional Chinese medicine doctor like yourself, could you be the primary care doctor to a 48-year-old guy like me?
I'd say the way that I went through training and the way that most acupuncturists currently, there would be a little more of a little more sophisticated training in the biomedicine that would be required, at least from this side of it. Other professions, whether it's naturopaths or chiropractors, I don't know what level they're willing to work at and take the responsibility of being a primary care provider for that. I'd say if we move to a better way of looking at education and including a holistic paradigm within that primary care provider, I'd say, "Absolutely, yeah."
Robert, you've seen thousands of people. What percentage do you think right now consider you their primary doc?
Acupuncture Treatment: When a culture has become bored to some degree with its own traditions, going to another culture enlightens.
I would say a good percentage of them will now come back to me before they go seek the advice of their primary care physician in which they're going to try to evaluate their health in a way that deals with it naturally. They will definitely return to my office. Maybe some of them were going to check in with their doc to see what their advice is. I advised that because there are things that I don't do and that I don't check for that either a well-trained and integrative physician or primary care doctor does do. I'm not looking personally. I know this has been a part of what you've been advocating as a cultural shift is chiropractors becoming primary care physicians and taking on that role. That's great. I'm not sure that I personally want that role yet only as to what people's expectations are in the legal ramifications of that.
What you were saying is best scenario. You work in conjunction with the holistic health provider, whether it's MD, DO or naturopathic doc. As far as I'm concerned, Doctor of Chiropractic. What it comes down to is also finding the individual person because with your knowledge, your expertise, people would have a very good comfort level with you than someone maybe that's fresh out of training. What I probably asked you that question, you're probably a little-concerned saying, "I know some people that probably are TCMs, Traditional Chinese Medicine providers and they probably should not be the primary care doctor."
I say that's where we're at in educational system now. It's been many years. I'm seeing a lot of people get pretty comfortable in seeing when something requires referral and when you're able to address something. That's more from experience. For this conversation, I would say there needs to be a little bit of a further level to that to be in that position personally. There might be other acupuncture out reading to this and go, "No, I'm ready to do it." I think that's where we're at in terms of the system.
I appreciate that honesty. That provides valuable information. Tell me, somebody calls up your practice. This is going to go to people all over the world and for anybody who wants to come out and see Robert Koagedal in Arizona, I know that he would be willing to see you. You better book well ahead of time because I know he's a busy man. I make an appointment and I show up on the first visit and say, "I feel fine." My best friend sees an acupuncturist in Chicago and he said, "Go check it out." What happens on that first visit?
That first visit is then filling out a barrage of questions that deal more with the subtleties of your health, from whether or not you have sleep issues, from whether or not you have digestive complaints. We put together what I call a collage of the various checkmarks that stand out on your inquiry, on your intake that lead me to develop what's called a symptom picture. That means we have a collection of your current symptoms in the ten questions. We called the ten questions in Chinese medicine. We put that together and through that, we develop a plan of applying acupuncture, applying the principles of healthy eating, and applying the principles of learning how to move into parasympathetic. Stress plays a pivotal role in a lot of the deterioration of our health and learning skills that the otherwise healthy person can use as prevention. This gets back to what you said in your question in Chinese medicine. The highest practice of medicine is prevention. The ancient way of saying that is that you don't dig a well after you become thirsty. That line of thinking is exactly what got me inspired into this medicine. To me, if we are going to do anything to address the fact that we're headed towards 20% of GDP spent on healthcare, which is going to economically bankrupt our country. We need to have a better model to understand prevention and work from that place and not fix it when it's about to go out and indeed explode.
Sometimes you look for a meaningful paradigm that explains some things that you aren't getting from what you're finding. Click To Tweet
If there's any overriding theme that comes up so often, Robert, is that this autonomic balance and how important that is to every organ system, the brain, and how the autonomic nervous system that's coming from the brain, sympathetics, parasympathetics, how that all comes into balance. Tell me why we're in such sympathetic overdrive? Where does traditional Chinese medicine come in to balance the autonomics?
I call that problem the hardware and the software problem. For me, if I'm evaluating someone, it's almost the question is where is that central imbalance coming from? What's the center of gravity of where their health problem is arising from? If your hardware is off, that is, if you have hormone imbalances or call your software program, meaning if your story is that everything is out to get me. That you're always in a state of interpreting your environment as though there's a threat. Either one of those is going to lead to imbalances. If they're otherwise doing well on their nutrition, they get enough sunshine. They do a lot of good things for their health, but they're still struggling, then we learn meditation. We learn the practices and techniques and tools. When you come in for acupuncture here, this isn't about sticking you full of needles. When you lie down with acupuncture here, the therapy is to help guide your entire autonomic nervous system into a state of parasympathetic.
That translates biologically into powerful healing for your immune system, the entire system. The acupuncture therapies here are offered in a way that doesn't even sidetrack the fact that if you aren't able to more often than not go into deep states of relaxation, you're going to reach burnout. That burnout state we see in our culture writ large. I work in that sense individually with people to help address those things by learning those tools and techniques as well as addressing what I call the hardware issue. How's your lifestyle? Do you sit in front of the computer all day? Do you get up? Do you get enough sunshine? Are you drinking structured water? Are you doing your grounding? All the fun lifestyle stuff that I like to teach on mitochondrial medicine.
The first appointment, they would typically include some form of acupuncture therapy as well on the first visit or what?
We'll sit down. We do the classic goal that's called reading of the pulses, looking and evaluating the tongue, the ten questions, getting that whole story, getting their history and learn what their goals are and get a sense of what their vision is for their health. Look at what they've been doing, what they've tried, who they've seen, what medication they are on, what's worked and what hasn't. Try to develop a step-by-step plan on the cumulative things they can begin to put one foot forward for us to change the dynamics of their health and to begin to get results. No one comes to see me consistently and paying you their hard-earned money unless they get some transformation unless something changes. That's the beauty of having a side paradigm practice when it's a cash business is that you have to get results. People don't come running back to me if they found that after a certain amount of time, they're still struggling with their health. I'm motivated to evaluate all the areas that are a powerful way of changing your biology and your mind instead of getting back into balance.
Acupuncture Treatment: There's a lot of things that were missing in our current healthcare system. The practice of chiropractic principles of Chinese medicine filled that void for patients.
As far as food in traditional Chinese medicine, you'll have to let me know where things are and what the interpretation or how you approach it is because we both go to the farmer's market. We both go to Whole Foods where we know that organic and pesticide-free produce. If we eat seafood, it's wild. If we eat meat, it's free-range grass fed. Where did the Chinese come in and how do you look through their eyes at the individual patient from a nutrition standpoint?
You could say that maybe my views on that have evolved even beyond the Chinese medical perspective. I'm taking account of what a lot of science of nutrition tells us about moving beyond the calories in and calories out model. Understanding that quality is paramount and that eating is seasonal. It's central. Eating local and seasonal is key to that. I take a lot of cues from a person you know too and understanding that all food is tied to the photosynthetic web. If you're eating outside of that, that can lead to circadian imbalances. I promote, you could say a seasonal, local form of Paleo or Keto that is built around what your gut system, what your biology tells me you're designed for.
If someone comes into the traditional Chinese medicine and you told me what you think and I know that about you, but what about if they go into somebody else who recommended? The Chinese spent studying this for thousands of years.
The Chinese dietetics is you've probably heard of not putting ice in your water and not drinking a lot of cold fluids because this is considered to be the conversion of food into chemical energy requires that your digestive system is able to do that efficiently. You become inefficient for whatever reason. You don't properly break down your food. It's going to become what they call phlegm or damp phlegm. That's the language that's used. I tend in my practice to move beyond some of the classical Chinese language in describing things because when I say that to people, they look at me funny. That is the language associated with inefficient digestion is they build up damp phlegm. If that goes on long enough, it will cause a lot of problems.
If you went and saw someone, for example, who was maybe still a Chinese practitioner, they're going to recommend things like congees. They're like this cooked soup. They're big into cooking stews and a lot of those foods. I think still within the Chinese dietetics, this even get back the circadian rhythm and eating locally and seasonally. It's an overall principle. If anyone went to do that, hopefully, that's what you would get. Stay away from sugar and processed food and all that stuff. What you and I are thinking about or at least where I'm headed is even beyond the Food Paradigm. We've been moving into more of an understanding of light and balances and what those are doing to us currently in the modern world.
There are a lot of people who believe that food is lower down on the rung of importance. At the very least, it would be in the third place. It's one and one A is sun and sleep. I'm not sure which one is more important. I would definitely have to say that if you take a person who's on the best diet yet doesn't get sun and doesn't sleep, they're in trouble. They're in more trouble than the person who gets the sun, gets the sleep even though they're eating junk food. Let's say that they're all three very important and we can agree on that. This laboratory testing come into your wheelhouse or things that you look at or consider with the individual patient?
This does get back to when you go to school for Chinese medicine, which historically the highest degree offered was a Master's of Science in Oriental Medicine. As of about many years ago, they started offering a Doctoral program. I don't know the level of where those people get into learning testing and stuff. Maybe like a naturopath or that I don't do labs or order labs. That's why I would say I work more with an integrative physician or a naturopath if someone wants to get that more information. That would stand back to your original question of how I think if someone wanted to practice Chinese medicine as you could say a primary care provider that would be something that would be wanted as a regular part of your initial visit and etc. It's not at my office. They will have to have that from their doctor.
When it comes to supplements, everybody is concerned about the quality of the supplements, the integrity and the history of the company. If I go to a traditional Chinese medicine provider, how do I know that their supplements are of quality? There must be the best of the best companies where I have no doubt that you carry the best of the best Chinese supplements. How do we know?
There is a bit of selection involved in which you have to discern and research their companies and where things come from. I tend to have towards American companies. I carry a lot of standard processes, which was where the chiropractors were very much overthinking and using that company. They saw the market for a lot of acupuncturists coming out of school. They've tapped into those formulas. I've been on the farm. I've done the tour. I've seen that a good portion of their products is effectively dehydrated food and concentrated. The way that they have applied the different formulas that they have are very much in sync with the Chinese principles of applying botanicals and herbs. I'm again not to hopefully one of my friends who are out there and own Chinese herbal companies, but I don't use a lot of those.
I'm going to use the standard process. I'm going to use a lot of the nutraceuticals that are probably more in the bag of say natural paths or others that use different supplements within that. I gear towards each patient, depending on what their needs are. On that note, I stick to things that are mostly American, I have witnessed what's grown in terms of Chinese botanicals. I'm confident that they do go through various testing processes that rendered them at least helpful. I don't have the ability to check those claims. I try to stay away from those personally.
One of my favorite supplements and I know you use it in your practice as well is Berberine. Berberine has been studied by the Chinese for 75 years, at least in the medical literature and probably for thousands before that.
How do you use it?
Berberine, to me, I think it's like the Swiss army knife of supplements. It does everything. If you go into the medical literature and you've got a health complaint, whether it's cancer, there are hundreds of studies on Berberine and cancer. Hundreds of studies on cardiovascular and lipid modification, blood sugar modification, tremendous antibacterial, antiviral, antifungal and anti-aging supplement on what it does as well. There's evidence that it helps to heal a leaky gut. It's not that it itself is magical, but it's what it does to the enzymes of the body. It seems to upgrade all the good enzymes like AMPK. It's a Nrf2 Activator yet it also inhibits NF-κB and other things that tend to be pro-inflammatory.
Historically, Chinese medicine is going to apply what's called the formula, which is the herbs are then used in conjunction with each other because historically some herbs were mildly toxic and follow the principle of hormesis that a little bit of poison is helped promoting. They have very sophisticated formulas. In order to get back to that, I'd love to see an indigenous American way of interpreting our local botanicals that can take the logic and thinking of Chinese medicine. Give us confidence in how they are grown and where they're grown. I think that would be a cool thing as a fun thing to do. Some people are doing that and some herbalists that I know that are master herbalists like Andrew Goddard and others have great companies that they're even adding some of those things locally here. Plant medicine shows up as having a vast array of healing opportunities and applied correctly as a beautiful healing tradition.
Robert, how do people find you? I know you've got a lot of clients that are from all over the country, if not out of the country. How do people find you?
They go to our website. That's probably the simplest way. They can access that. If you put that up, that's AcuHealthAz.com. That's a great way to have access to our information or know a little more about our practice. Hopefully, this gives them an introduction to the services we provide here. Hopefully, we can answer any questions, you are welcome to give us a call. Mary upfront has gotten pretty good over the years at addressing some introductory stuff. I'm happy to give patients a callback and see how we can be helpful and learn more about personally what they're interested in.
Robert, it's always a pleasure. We will see you next time.
Thanks, Jack.
Robert Koagedal
AcuHealthAz.com
About Robert Koagedal
AcuHealth is a full-service Holistic Health clinic treating many of today's chronic health concerns using natural therapies including Botanical Medicine, Acupuncture, Nutrition, and Mind-Body therapies for optimum health and wellness
AcuHealth honors the historical practices and treatments of Traditional Chinese Medicine while advancing the evolution of a truly comprehensive medicine for the 21st century.


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Tag Archives: Bernardo Bertolucci
A Look Back at 2018 (Part 2)
2018, Bernardo Bertolucci, Black Panther, Crazy Rich Asians, International Box Office, Movies, Mubi, Netflix, Nicolas Roeg, Venom
Well, 2019 is here (as expected), and looking back over the past year, it already seems like a hazy dream. Did we really applaud the decision to wipe out half the universe? Did Netflix ever release a comedy that actually made us laugh? Can it really have been the year when both Nicolas Roeg and Bernardo Bertolucci died within days of each other, and IMDb didn't even mention either sad event? And was it really the year in which a Transformers movie received good reviews? Strange times, indeed.
It was another year of big-budget, underperforming blockbusters (The Predator, Robin Hood, Mortal Engines), and a year where only sixteen movies made over $500 million at the international box office (down from nineteen in 2017). Avengers: Infinity War swept all before it – as we all knew it would – and was one of six superhero movies in the year's Top 10 (and one of six sequels). Black Panther and Crazy Rich Asians showed that positive ethnic representations could succeed at the box office, though it remains to be seen if these will be followed by other, similarly successful movies, while recent award-winning directors such as Damien Chazelle and Luca Guadagnino saw their movies (First Man, Suspiria respectively) succeed critically though not necessarily financially.
If anything, 2018 was a year in which the movies continued in much the same vein as 2017, highlighting the stagnant nature of most mainstream fare, and despite more platforms for viewing than ever before, reinforcing the notion that being able to watch a movie that strayed deliberately and effectively from the norm was just as difficult as it's ever been. Even niche outlets such as Mubi found that the response to their curated offerings didn't always match their expectations. Arthouse movies continued to find it hard to make much of an impact outside of festivals, and outlets for short movies seemed to have dried up altogether, with only Vimeo appearing to champion the format.
In the world of movie blogs, the emphasis remained firmly on reviewing the latest new releases (whether at cinemas or on Netflix), but without any apparent awareness or concern that what was being said on one site was often being repeated on another (and another…). What was always gratifying was when sites took the time to explore non-mainstream movies, or cinema in wider contexts. With so many movies being released each year, focusing on the few continued to feel redundant and restrictive. Here at thedullwoodexperiment, the decision not to review movies such as Jurassic World: Fallen Kingdom and Aquaman seemed more and more appropriate as the year played out – and will continue in 2019.
Finally, two words about one particular movie released in 2018: Venom. A spectacular train wreck of a superhero origin story, it somehow managed to be the fifth highest earning movie of the year, raking in an astonishing $855,156,907 across the globe. And the two words? How and why?
Seduced and Abandoned (2013)
Alec Baldwin, Bernardo Bertolucci, Cannes Film Festival, Documentary, Financing, Francis Ford Coppola, Funding, James Toback, Last Tango in Tikrit, Martin Scorsese, Review, Ryan Gosling
D: James Toback / 98m
Alec Baldwin, James Toback, Bernardo Bertolucci, Martin Scorsese, Francis Ford Coppola, Roman Polanski, Bérénice Bejo, Diane Kruger, Ryan Gosling, Jessica Chastain, Neve Campbell, James Caan, Mark Damon, Avi Lerner, Ashok Amritraj
Deciding to make a movie together, director James Toback and actor Alec Baldwin first work out the kind of movie they want to make – a Last Tango in Paris-style project set in Iraq – and who they want to co-star with Baldwin, namely, Neve Campbell. Then, they take their idea to the 2012 Cannes Film Festival in the hope of securing the financing needed to get the movie made. Along the way they speak to various people about the difficulties of getting movies made, the challenges in persuading potential investors to part with their money, and how easier/harder it was back in the Seventies to get a project off the ground.
The search for investors leads to meditations on money, fame, acting, glamour, even death, as Toback and Baldwin look at the wider aspects of movie making, and the constraints that stop some movies from being made as their makers intended. The movie also looks at the industry from both a creative and a financial standpoint, and features interviews with the likes of Martin Scorsese and Francis Ford Coppola, and their own experiences of funding and making movies.
Opening with a quote from Orson Welles – "I look back on my life and it's 95% running around trying to raise money to make movies and 5% actually making them. It's no way to live." – Seduced and Abandoned is an often hilarious, witty and insightful look at contemporary movie making, made by a director whose own career has seen him struggle to get movies made, and an actor whose career resurgence since The Aviator (2004) has propelled him to the lower reaches of the 'A' List. Together, they take the viewer on a tour of the highs and lows of movie making, and even when they're coming up against closed door after closed door, still manage to stay positive.
In fact, it's sometimes difficult to discern if this apparent by-product documentary is the real movie or not, or just some idea they had on the back of trying to make their version of what Baldwin refers to as Last Tango in Tikrit. Although the pair are seen in several meetings pitching their ideas for the movie, they never seem entirely convincing that this is a legitimate project that they're trying to get off the ground; they don't even have a script yet, nor anything approaching a synopsis. (Asked point blank if she'd appear in the movie, Diane Kruger blanches and then falls back on the tried and trusted, "If I can see a script I'll consider it" answer.) Matters aren't helped by Baldwin's continual references to the sex scenes the movie would include, making it seem like some weird, sexual fantasy of his own that he's trying to get off the ground.
However unlikely the premise, though, we all know there are movies out there that have been made out of worse ideas – Teenage Mutant Ninja Turtles (2014), anyone? – but the reactions of veteran producers/distributors Avi Lerner and Ashok Amritraj provide a short, predatory lesson in how to get a movie made: always bear in mind the profits. Toback is told in no uncertain terms that with Campbell aboard he won't get the $15-$20m he wants to make the movie; instead he'll only get $4-$5m. Only in those circumstances will producers or investors feel comfortable that they'll get their money back. It's a harsh reality, and one that shouldn't come as a surprise, but it's so casually discussed that it's like a slap in the face.
The case for Last Tango in Tikrit being entirely a fabrication is given further credence by Toback's almost slavish reactions to suggestions for changes to the plot and the story, and the casting. He agrees to almost all of them, seemingly eager – maybe too eager – to please his potential investors in order to secure the financing he needs. In moments such as these, Toback seems uncomfortably close to abandoning the whole concept of the movie, just as long as he gets the money to make a movie, if not the one he's there to try and get made. (It's a shame no one asks him to replace Baldwin with a bigger name actor; it would have been interesting to see his reaction to that.)
With Toback and Baldwin being rebuffed at every turn, and to ensure that the movie runs for more than half an hour, there are plenty of interviews with industry notables such as Martin Scorsese, who recounts some of the issues that came up when he was making Mean Streets (1973); Bernardo Bertolucci, who talks about working with Brando on Last Tango in Paris (1972); Francis Ford Coppola, who conveys his dismay at making two Godfather movies and then not being able to get backing for a movie of his own; and Ryan Gosling, whose reaction to an airplane emergency isn't quite what you'd expect.
The movie's sly wit and acerbic humour help to keep things interesting, and it's a good thing as Seduced and Abandoned is a documentary that will remain largely of interest to movie buffs and/or anyone trying to get their own project off the ground. The movie does assume a degree of awareness of what goes on at Cannes, and there's also an assumption that viewers will be up to speed on the way in which movies are financed, but the lay person may well struggle, or find it less than fascinating. And Toback doesn't always maintain a linear focus, letting the movie wander from one meeting to another but without any clear context (and reinforcing the idea that the movie is the movie, whatever Toback and Baldwin might say).
Rating: 7/10 – with its two "leads" obviously having a whale of a time, Seduced and Abandoned comes across more as a bit of a jolly boys' outing to Cannes rather than a properly realised documentary; as a result it lacks focus and doesn't entirely convince, instead making it seem like a huge in-joke that Toback and Baldwin have concocted for their own amusement.

redpajama_set_name: RedPajamaCommonCrawl


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Q: Concurrent execution in Spark Streaming I have a Spark Streaming job to do some aggregations on an incoming Kafka Stream and save the result in Hive. However, I have about 5 Spark SQL to be run on the incoming data, which can be run concurrently as there is no dependency in transformations among these 5 and if possible, I would like to run them in concurrent fashion without waiting for the first SQL to end. They all go to separate Hive tables. For example :
   // This is the Kafka inbound stream
   // Code in Consumer
   val stream = KafkaUtils.createDirectStream[..](...)

   val metric1= Future {
              computeFuture(stream, dataframe1, countIndex)
  }

 val metric2= Future {
              computeFuture(stream, dataframe2, countIndex)
  }
 val metric3= Future {
              computeFirstFuture(stream, dataframe3, countIndex)
  }

  val metric4= Future {
              computeFirstFuture(stream, dataframe4, countIndex)
  }

     metric1.onFailure {
         case e => logger.error(s"Future failed with an .... exception", e)
   }
    metric2.onFailure {
         case e => logger.error(s"Future failed with an .... exception", e)
   }

....and so on
On doing the above, the actions in Future are appearing sequential (from Spark url interface). How can I enforce concurrent execution? Using Spark 2.0, Scala 2.11.8. Do I need to create separate spark sessions using .newSession() ?

redpajama_set_name: RedPajamaStackExchange


text:
Biografia

Le notizie non verificate
Le notizie sulla sua vita sono difficilmente rintracciabili. Hanno stilato una sua biografia l'erudito francese Louis-Gabriel Michaud e il musicologo belga François-Joseph Fétis, e Cambini stesso parla del suo passato in un articolo sulla Allgemeine musikalische Zeitung del 1804, ma sono tutti documenti pieni di errori e quindi bisognosi di verifica.
Non possiamo confermare i suoi estremi biografici (solo Fétis indica la sua data di nascita), né i suoi primi studi. Forse ebbe a che fare con padre Giovanni Battista Martini, e, più probabilmente, con Filippo Manfredi, suo quasi certo insegnante di violino. Fétis parla di un suo sfortunato esordio operistico a Napoli nel 1766, dopo il quale, durante il rientro via mare a Livorno, venne rapito dai pirati, che lo trattarono terribilmente fino alla sua liberazione da parte di un patrizio veneziano. La narrazione del belga ha molte affinità con una storia contenuta nel periodico di poesia Correspondance littéraire, philosophique et critique, fatto che ne incrina l'attendibilità.
Nello scritto sulla Allgemeine musikalische Zeitung del 1804, Cambini dice di aver suonato, per sei mesi nel 1767, la viola in un quartetto d'archi formato con Luigi Boccherini, Pietro Nardini e il suo maestro Manfredi. Se quello che dice è vero, questo quartetto rappresenterebbe la prima formazione di tal genere apparsa almeno in Italia, se non in tutta Europa. Questa notizia, per molti anni, ha alimentato una gigantesca leggenda sull'importanza del ruolo di Cambini nella definizione del quartetto d'archi. In realtà egli fu solo uno dei tanti (anche se uno dei più prolifici) che, nello stesso periodo, contribuirono allo sviluppo del genere.

I primi anni a Parigi
La prima notizia certa della sua biografia è l'arrivo a Parigi all'inizio degli anni '70 del '700, dove rimase 20 anni, durante i quali compose oratori, lavori concertistici, cameristici, sinfonici e teatrali (si ha notizia di almeno 14 opere teatrali, di cui per lo meno 12 rappresentate a Parigi, e anche di alcuni balletti che destarono l'ammirazione di Christoph Willibald Gluck), ed eseguì suoi concerti al violino (durante i Concert Spirituel e i Concerts des Amateurs, gestiti da François-Joseph Gossec). Più di 600 composizioni furono pubblicate con il suo nome nella capitale francese fino al 1800 (soprattutto dagli editori Venier, Berault e Sieber, vedi anche la sezione Fonti), delle quali più di 80 sono sinfonie concertanti: ne scrisse molte di più di qualsiasi altro compositore francese coevo, divenendo il campione del genere.

La polemica con Mozart
Il suo successo nella sinfonia concertante ispirò la rivalità di Wolfgang Amadeus Mozart, che nel 1778 accusò Cambini di aver impedito l'esecuzione della sua sinfonia concertante KV 297b presso i Concert Spirituel, in quanto geloso della sua perfezione. La diffidenza di Mozart nei confronti di Cambini non si riscontra in altri compositori che ebbero a che fare con lui, anzi, Gluck, negli stessi anni, lo raccomandò spesso come uomo di integerrima onestà, perciò è probabile che il salisburghese abbia esternato sentimenti esagerati.

Le alterne fortune parigine
L'accusa di Mozart è poco consistente anche perché il potere di Cambini a Parigi non arrivò certo al livello denunciato dall'austriaco. Alla sua vasta produzione corrisponde una tutto sommato poco lusinghiera attenzione da parte della stampa musicale. Viene citato relativamente poco nelle recensioni coeve, e la sua carriera da violinista è meno apprezzata rispetto a quella degli altri solisti attivi nello stesso periodo. I suoi successi maggiori furono, come detto, le sinfonie concertanti e i suoi quartetti, verso i quali perfino Mozart ebbe parole benevole. Il suo stile facile, affascinante e brillante, aperto solo quanto basta alle novità, lo rese una sorta di paladino della Parigi galante, e molti suoi pezzi furono accolti favorevolmente anche a Londra e in America (alcuni parteciparono attivamente alla definizione della cosiddetta forma sonata), però le sue opere teatrali vennero quasi sempre stroncate e l'affermarsi anche in Francia del più complesso stile viennese (dal 1785 in poi), a cui cercò maldestramente di aderire, minò molto la sua fama, intaccata anche da sfavorevoli pareri sulla stampa di area tedesca.

La Rivoluzione
Nel 1788 divenne manager del Teatro Beaujolais, e vi lavorò durante i tumulti rivoluzionari, fino al 1791. La sua tenuta permise la continuità di un'offerta operistica di qualità anche negli anni della Repubblica. Al tempo del Terrore, dal 1791, diresse il Teatro Louvois, che la crisi economica dovuta alla guerra fece chiudere nel 1794. Crisi che colpì molto anche il patrimonio di Cambini e lo costrinse a cercare le più diverse occasioni di lavoro: dal 1794 accettò lo stipendio dell'armaiolo Armand Séguin, per il quale tenne concerti privati e compose più di 100 quartetti; compose inni rivoluzionari e patriottici per la neonata Repubblica; insegnò privatamente violino, canto e composizione; trascrisse arie d'opera di altri autori per qualsiasi committente; e accettò commissioni editoriali (nel 1795, l'editore Gavreaux gli chiese di curare la ristampa del metodo per violino di Geminiani, e nel 1799 Nademann et Lobry lo incaricarono di redigerne uno per flauto).

L'oblio
Nei primi anni dell'Ottocento firmò contratti con periodici e riviste, tra i quali la Allgemeine musikalische Zeitung e i Tablettes de Polymne, che pubblicò i suoi articoli fino al 1811. Da questa data, Cambini sparisce senza lasciar traccia dai documenti. Michaud afferma che la sua morte è avvenuta in Olanda nel 1818, notizia che gode di una certa credibilità presso gli studiosi, mentre Fétis parla di un suo doloroso e tragico ricovero nel manicomio di Bicêtre, dove trovò la morte nel 1825.

Fonti
Risultano più di 600 esemplari di opere di Cambini sparsi in tutto il mondo. Più di 300 sono costituiti da edizioni a stampa, 250 ci sono giunti in copie manoscritte, e un centinaio sono gli autografi accertati. Ci è pervenuta solo la sua musica strumentale; delle sue opere teatrali ci è rimasta la musica solo di Le Tuteur avare, scritta in collaborazione con Pasquale Anfossi nel 1787 (oggi conservata nella Bibliothèque Municipale di Lille). Per molti anni si è considerata sua una sinfonia composta in realtà da Joseph Martin Kraus per l'editore Boyer: nel 1784-1786, l'editore pubblicò il lavoro dello sconosciuto Kraus con il nome del più famoso Cambini per vendere più copie, originando l'equivoco di attribuzione, risolto solo nel 1989.

Autografi
Tutti i cento autografi conosciuti di Cambini sono in America, alla Library of Congress di Washington e alla New York Public Library for the Performing Arts.

Manoscritti
La collezione più cospicua di copie manoscritte delle opere di Cambini è a Praga, nel dipartimento storico-musicale del Museo Nazionale Ceco della Musica. Seguono, per numero di copie conservate, il Benediktinerstift del Bibliothek und Musikarchiv di Seitenstetten in Austria (la cui maggior parte del posseduto cambiniano è però non datata), il Conservatorio Benedetto Marcello di Venezia (Fondi Torrefranca e Correr) e la Biblioteca di Archeologia e Storia dell'Arte di Palazzo Venezia a Roma (Fondo Vessella). Collezioni italiane meno grandi sono nel Fondo Pasini del Conservatorio Luca Marenzio di Brescia, nel Conservatorio Cherubini di Firenze, nel Conservatorio Paganini di Genova, nella Biblioteca Estense di Mantova, nella Casa Verdi di Milano, nel Conservatorio San Pietro a Majella di Napoli, e nella Biblioteca Casanatese di Roma (Fondo Marefoschi ma non solo). Il Centro Documentazione Musicale della Toscana ha rivenuto tre manoscritti delle singole parti di altrettante opere cameristiche di Cambini nel Fondo musicale Venturi di Montecatini Terme. Città estere che conservano almeno cinque copie manoscritte sono Basilea (Universitätsbibliothek), Cheb (Státní okresní archiv), Keszthely (Helikon Kastélymúzeum Könyvtára), Leutkirch im Allgäu (Fürstlich Waldburg-Zeilsches Archiv), Lilla (Bibliothèque Municipale), Lund (Universitetsbiblioteket), New Haven (Music Library della Yale University), Praga (Biblioteca Nazionale Ceca), Steinfurt (Fondo Fürst zu Bentheimsche Musikaliensammlung Burgsteinfurt, gestito dalla Westfälische Wilhelms-Universität all'interno della Universitäts- und Landesbibliothek di Münster), Stoccolma (Musik- och teaterbiblioteket) e Västerås (Stadsbibliotek).

Edizioni a stampa
Il Conservatoire de Paris e la Bibliothèque Nationale de France sono le istituzioni che conservano la maggior parte delle edizioni stampate durante la vita di Cambini, seguono la British Library di Londra, la Rossijskaja Gosudarstvennaja Biblioteka di Mosca, il Fürst zu Bentheimsche Musikaliensammlung Burgsteinfurt di Steinfurt, la Gesellschaft der Musikfreunde di Vienna, la Biblioteca Nacional de España, la Kongelige Bibliotek di Copenaghen, la Biblioteca Estense di Modena, e la Biblioteca Nazionale Universitaria di Torino (nella collezione Foà e Giordano).

Composizioni

Opere
Les romans (ballet-héroïque, libretto di L.-C.-M. de Bonneval, 1776 all'Académie Royale de Musique di Parigi)
Rose et Carloman (comédie-héroïque, libretto di A.D. Dubreuil, 1779)
La statue (comédie, libretto di M.-R. de Montalembert, 1784)
La bergère de qualité (comédie, libretto di M.-R. de Montalembert, 1786)
Le tuteur avare (opéra bouffon, libretto di J.-L. Gabiot de Salins, 1788)
La croisée (comédie, 1788, Beaujolais)
Colas et Colette (opéra bouffon, 1788, Beaujolais)
Le bon père (opéra bouffon, libretto di J.-F. Le Pitre, 1788, Beaujolais)
La prêtresse du soleil (drama, 1789, Beaujolais)
La revanche, ou Les deux frères (comédie, libretto di P.U. Dubuisson, 1790, Beaujolais)
Adèle et Edwin (opéra, 1790, Beaujolais)
Nantilde et Dagobert (opéra, libretto di P.-A.-A. de Piis, 1791, Louvois)
Les trois Gascons (opéra, libretto di Cambini, 1793, Louvois)
Encore un tuteur dupé (comédie, libretto di P.-J.-A. Roussel, 1798, Montansier)

Di dubbia attribuzione
Alcméon (tragédie lyrique, libretto di A.D. Dubreuil, 1782, mai rappresentata)
Alcide (opéra, libretto di A.D. Dubreuil, 1782, mai rappresentata)
L'Amour et la peur, ou L'amant forcé d'être fidèle (opéra-comique, libretto di Cambini, 1795)

Musica sacra
Le sacrifice d'Isaac (oratoire françois, 1774)
Joad (oratoire françois, 1775)
Samson (oratoire, libretto di Voltaire, 1779; perduto)
Le sacrifice d'Abraham (oratoire, 1780; perduto)
5 messe
Miserere, motet à grand choeur (1775, perduto)
Diversi altri mottetti

Inni e canti rivoluzionari
Hymne à l'être suprème (1794)

Hymne à l'égalité (1794)

Hymne à la Vertu (1794)

Hymne à la Liberté (1794)

Hymne à la Victoire (1794)

Ode sur Bara et Viala (1794)

Ode sur nos victoires (1794)

Ronde Républicaine (1794)

Le pas de charge républicain - Air de combat (1794)

Musica strumentale
 concerto per viola e orchestra
3 sinfonie per archi, 2 oboi e 2 corni, op.5 (1776)
3 symphonies à grand orchestre per archi, flauto, 2 oboi, fagotto e 2 corni (1787)
3 sinfonie per archi, 2 oboi e 2 corni (1788)
82 sinfonie concertanti (delle quali 76 pubblicati e 52 attualmente esistenti)
110 quintetti per 2 violini, viola, 2 violoncelli (forse 114), di cui 84 completi (conservati alla Washington Library)
149 quartetti per archi (1773-1809)
Almeno 104 trii
Almeno 212 duo
5 Quartetti per cembalo, violino, oboe e violoncello
6 sonate per violino e basso
Petits airs variés per violino
12 sonate per flauto e basso
6 sonate per clavicembalo/fortepiano e violino, op.21 (1781)
Air de Marlborough avec variations per fortepiano/clavicembalo e violino obbligato
6 sonate per clavicembalo/fortepiano e flauto
Marche des Marseillois et la Carmagnole variées per flauto e basso (1794)
Variations sur le Hymne du siège de Lille (L'amour dans le coeur d'un Français) (1794) per due violini Variations sur le Hymne "Vos aimables fillettes" (1794) per due violini Variations sur Cadet Roussel (1794) per due violini
Petits airs connus variés per flauto e basso
Air variés per flauto, op.6
Différens solfèges d'une difficulté graduelle (1783)

Scritti
Nouvelle méthode théorique et pratique pour le violon (1795 ca.)
Méthode pour la flûte traversière suivie de vingt petits airs connus et six duo à l'usage des commençans (1799)
Ausführung der Instrumentalquartetten, Allgemeine musikalische Zeitung (1803-4)
2 articoli in Correspondance des professeurs et amateurs de musique (1804)
Über den Charakter, den die italienischen und deutschen Musik haben, und die französische haben sollte, Allgemeine musikalische Zeitung (1804-5)
6 articoli in Les tablettes de Polymnie (1810-1)

Discografia

Note

Bibliografia
Jean-Benjamin de Laborde, Essai sur la musique ancienne et moderne, 4 voll., Paris, Pierres, 1780, digitalizzato in Gallica.
Antoine-Jean-Baptiste-Abraham d'Origny, Annales du Théâtre Italien, depuis son origine jusqu'a ce jour, Paris, Duchesne, 1788, digitalizzato in Gallica.
Giuseppe Cambini [Cambiui in Paris], Ausführung der Instrumentalquartetten, in «Allgemeine musikalische Zeitung», VI/47 (22 agosto 1804), Leipzig, Breitkopf & Härtel, 1804, colonne 781-783 (digitalizzazioni disponibili su Internet Archive e su Google Books).
Giuseppe Cambini [C. de Paris], Über den Charakter, den die italienischen und deutschen Musik haben, und die französische haben sollte, in «Allgemeine musikalische Zeitung», VII/10 (5 dicembre 1804), Leipzig, Breitkopf & Härtel, 1804-1805, pp. 149-155, digitalizzato da Internet Archive.
Louis Picquot, Notice sur la vie et les ouvrages de Luigi Boccherini, suivie du catalogue raisonné de toutes ses œuvres, tant publiées qu'inédites, Paris, Philipp, 1851, digitalizzato in Internet Archive.
Louis-Gabriel Michaud, Biographie Universelle ancienne et moderne, nuova edizione, vol. 6, Paris, Desplaces, 1854, pp. 457-458, digitalizzazione disponibile su Internet Archive.
François-Joseph Fétis, Biographie universelle des musiciens et bibliographie générale de la musique, seconda edizione, vol. 2, Paris, Didot, 1861, pp. 162-164, digitalizzato in  Google Books.
Antoine Vidal, Les instruments à archet: les feseurs, les joueurs d'instrument, leur histoire dur le continent européen, suivi d'un Catalogue général de la musique de chambre, vol. 3, Paris, Claye et Quantine, 1878, p. 59, digitalizzato in Internet Archive.
Constant Pierre, Les hymnes et chansons de la Révlution. Aperçu général et catalogue, Paris, Imprimerie Nationale, 1904, digitalizzazione disponibile in Gallica.
Jacques-Gabriel Prod'homme (a cura di), Lettres de Gluck et à propos de Gluck (1776-1787), in «Zeitschrift der Internationale Musikgesellschaft», 13 (1911-12), Leipzig, Breitkopf & Härtel, 1912, p. 257.
Arnaldo Bonaventura, Musicisti livornesi, Livorno, Belforte, 1930.
Gino Roncaglia, Di Giovanni Giuseppe Cambini. Quartettista Padre, in «La rassegna musicale», VI/5 (settembre 1933), Torino, Fedetto, 1933, pp. 267-274.
Gino Roncaglia, Appunti di storia musicale. Ancora di Giovanni Giuseppe Cambini, in «La rassegna musicale», VII/2 (marzo 1934), Torino, Fedetto, 1934, pp. 131-133.
Gino Roncaglia, G. G. Cambini quartettista romantico, in «La rassegna musicale», VII/6 (novembre 1934), Torino, Fedetto, 1934, pp. 423-432.
Clarence D. Brenner, A bibliographical list of plays in the French language, 1700-1789, Berkeley, University of California Press, 1947. Ristampa: New York, AMS, 1979.
Alfredo Bonaccorsi, Di alcuni Quintetti di G.G. Cambini, in «La rassegna musicale», XX/1 (gennaio 1950), Torino, Fedetto, 1950, pp. 32-36.
Barry S. Brook, The «Symphonie Concertante»: An Interim Report, in «The Musical Quartertly», XLVII/4 (ottobre 1961), New York, Oxford University Press, 1961, pp. 493-516.
Clarence D. Brenner, The Théâtre Italien: Its Repertory, 1716–1793, Berkeley, University of California Press, 1961.
Gino Roncaglia, Giovanni Giuseppe Cambini quartettista, in Adelmo Damerini e Gino Roncaglia (a cura di), Musiche italiane rare e vive da Giovanni Gabrieli a Giuseppe Verdi. Per la XIX settimana musicale, 22-30 luglio 1962, Siena, Ticci, 1962, pp. 183-194.
Fausto Torrefranca, Avviamento allo studio del quartetto italiano, in «L'approdo musicale», 23 (1966), numero monografico su Torrefranca a cura di Alfredo Bonaccorsi, Roma, ERI, 1966, pp. 15-181.
Dieter Lutz Trimpert, Die Quatuors concertants von Giuseppe Cambini, Tutzing (Baviera), Schneider, 1967.
Guglielmo Barblan, Giovanni Maria Cambini e i suoi scritti sulla musica, in Memorie e contributi alla musica dal medioevo all'età moderna offerti a Federico Ghisi nel settantesimo compleanno (1901-1971), Bologna, Antiquae Musicae Italicae Studiosi, 1971, pp. 295-310.
Raoul Meloncelli, voce Cambini, Giuseppe Maria (Giovanni Giuseppe, Giangiuseppe), in Dizionario biografico degli italiani, vol. 17, Roma, Istituto dell'Enciclopedia Italiana, 1974, consultabile on-line su Treccani.it.
Constant Pierre, Histoire du «Concert Spirituel» 1725-1790, Paris, Heugel, 1975.
Karen Moeck, The Beginning of Woodwind Quintet, in «NACWPI Journal», XXVI/2 (novembre 1977), Washington, National Association of College Wind and Percussion Instructors (NACWPI), 1977, pp. 22-33.
Guido Salvetti, voce Cambini, Giuseppe Maria Gioacchino, in Dizionario enciclopedico della musica e dei musicisti, diretto da Alberto Basso, serie II: Le biografia, vol. 2: BUS-FOX, Torino, UTET, 1985, pp. 80-81.
Robert Levin, Mozarts Bläserkonzertante KV Ahn. 9/297B und ihre Rekonstruktionen im 19. und 20. Jahrhundert, in «Mozart-Jahrbuch des Zentralinstitutes für Mozartforschung der Internationalen Stiftung Mozarteum Salzburg», 1984/1985, Kassel (ecc.), Bärenreiter, 1986, pp. 187-207.
Gabriella Biagi-Ravenni, voce Manfredi, Filippo, in Dizionario enciclopedico universale delle musica e dei musicisti, diretto da Alberto Basso, serie II: Le biografie, vol. 5: JE-MA, Torino, UTET, 1986, p. 608.
Robert Levin, Who Wrote the Mozart Four-Wind Concertante?, Stuyvesant (NY), Pendragon, 1988.
Guido Salvetti, voce Nardini, Pietro, in Dizionario enciclopedico universale delle musica e dei musicisti, diretto da Alberto Basso, serie II: Le biografie, vol. 4: ME-PIA, Torino, UTET, 1988, p. 326.
Michel Noiray, Les créations d'opéra à Paris de 1790 à 1794, in Jean-Rémy Julien e Jean-Claude Klein (a cura di), Orphée phrygien. Les Musiques de la Révolution, Paris, Editions du May, 1989, pp. 193-203.
Cesare Fertonani, Gli ultimi quartetti di Giuseppe Maria Cambini, in Francesco Degrada e Ludwig Finscher (a cura di), Luigi Boccherini e la musica strumentale dei maestri italiani in Europa tra Sette e Ottocento. Atti del convegno internazionale di studi, Siena, 29-31 luglio 1993, numero monografico di «Chigiana», nuova serie XLIII/23 (1993), Firenze, Olschki, 1993, pp. 247-279.
Jean Gribenski, voce Cambini, Giuseppe Maria (Gioacchino), in Die Musik in Geschichte und Gegenwart. Allgemeine Enzyklopädie der Musik begründet von Friedrich Blume, a cura di Ludwig Finscher, serie I: Personenteil, vol. 4: Cam-Cou, Kassel-Basel-London-New York-Praha, Bärenreiter/Stuttgart-Weimar, Metzler, 2000, colonne 9-17. Contiene ulteriori e numerosi riferimenti bibliografici.
Chappell White, Jean Gribenski, Amzie D. Parcell, voce Cambini, Giuseppe Maria (Gioacchino), in The New Grove of Music and Musicians. Second Edition, edited by Stanley Sadie, executive editor John Tyrrell, vol. 4: Borowski to Canobbio, London, Macmillan, 2001-2002, pp. 858-861.
Gianni Lazzari, Il flauto traverso. Storia, tecnica, acustica, con Il flauto del Novecento di Emilio Galante, Torino, EDT, 2003, pp. 109, 125, 127-128, 131.
Daniel Heartz, Music in European Capitals: The Galant Style (1720-1780), New York, Norton, 2003.
Martin Staehelin, Ist die sogenannte Mozartsche Bläserkonzertante KV 297b/Anh. I,9 echt?, Berlin-Boston, De Gruyter, 2013, pp. 3-6.
Paolo Edoardo Fornaciari, Il livornese e Robespierre. Giuseppe Maria Cambini e gli inni rivoluzionari del 1794, Livorno, Vittoria Iguazu, 2018.
Federico Marri, Giuseppe Cambini da Montelupo Fiorentino, Livorno, 2023, consultabile on-line su Academia.edu.

Altri progetti

Collegamenti esterni

 Centro Documentazione Musicale della Toscana

Compositori del Classicismo
Violinisti classici

redpajama_set_name: RedPajamaWikipedia


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text:
Queens of Comedy
Chicks with Shticks
Yes, they're funny. And yes, they have two X chromosomes. Want to make something of it? Related article: "Who Says Women Aren't Funny?," by Alessandra Stanley.
By Frank DiGiacomo
Sandra Bernhard: Actress, writer, entertainer
"Comedy is sort of putting yourself out there in an unappealing, sometimes physically ugly way," Bernhard says. "Historically, there are plenty of women who were definitely willing to go there, but I just don't think it's ever been the norm." For 30 years, Bernhard has been one of the willing—a keen-eyed multi-media provocateur whose one-woman shows (Without You I'm Nothing, I'm Still Here … Damn It!) are an inimitable mix of song, dance, and acidic cultural commentary.
Can you classify humor by gender? Do women's senses of humor differ from men's?
I just think in general that the whole notion about women and humor—I think everybody has their brand of humor and the way that they relate to each other, and I think it comes from the intimacy and the pressures of everybody's different world. I think our best moments as the human race come out of humor, and I don't think you can reduce that to male/female. I think everybody comes at it with his or her own experience.
Susie EssmanTina FeyJenna FischerChelsea HandlerLeslie MannAmy PoehlerMaya RudolphAmy SedarisSarah SilvermanWanda SykesKristen Wiig
I do think there are different kinds of comedy in general. There's cerebral comedy. People like to think that they somehow become cynics. Actually, being a cynic takes a little more intelligence than what we have in the sense of reality TV and TMZ and the E! network, where everybody is just sort of—we're laughing at people. "She's ugly" or "He's a mess" or "Britney Spears is all fucked up on dope." That's supposed to be: "Ohhhh, that's funny! We're all being so witty." But, you know, let's call a spade a spade: This is not exactly the Round Table at the Algonquin. We're not talking about great bons vivants and wits. It's not Noël Coward and Lillian Hellman. It's a fucking mess. So, basically, we're missing the elements of history and reference to theater and music and great works of art that inform intelligent performing of all kinds, especially humor.
You mentioned TMZ. What else is on your radar right now?
I just think the net has [been] cast so far and wide as to what [constitutes] pop culture, but so little of it deserves even my attention or my commentary. I guess I'm a snob, but the times we're living in are so tawdry that I can't even comment on it.
By David Atlas/Retna Ltd.


text:
Q: Why is git is ignoring files that aren't in the .gitignore file? I have a git repository that is ignoring image files as well as a few other files, but my .gitignore file only has it ignoring a config.php file.  Is there some global ignore file somewhere that I can't seem to find?  I have to specify files to add them now, and it's giving me this warning:

The following paths are ignored by one of your .gitignore files.

The contents of my ~/.gitconfig file are only my e-mail address.

A: It might be good to know that your git configuration can contain a core.excludesfile which is a path to a file with additional patterns that are ignored. You can find out if you have such a configuration by running (in the problematic git repo):
git config core.excludesfile

If it prints a file path, look at the contents of that file for further information.
In my case I installed git via an old version of boxen which ignored the pattern 'Icon?' that in my case gave me the warning, mentioned in this question, for a folder icons (I'm on a case insensitive filesystem that's why Icon? matches icons).

A: Check these out:

*

*Have you looked for other .gitignore files, as there can be many of them.

*Also, look at REPO/.git/config to see if there is anything there.

*Repo exclude Local per-repo rules can be added to the .git/info/exclude file in your repo. These rules are not committed with the repo so they are not shared with others. This method can be used for locally-generated files that you don't expect other users to generate, like files created by your editor.

A: Another thing to try: I had a directory B with its own .git repository nested under my project directory A (but not as a submodule). I made some changes to B, and wanted to make it into a bonafide submodule. I believe git A was automatically ignoring B because it contained its own repository (see Nested git repositories without submodules?). I renamed the B folder, and tried to clone it again as a submodule, and that was bringing me the misleading "ignored by .gitignore" error message. The solution was to delete  .git out of B.

A: In my case it was the forward slash in my path causing the problem...
Not Work
/srv/bootstrap/

Work
srv/bootstrap/

A: It may not be .gitignore: skip-worktree and assume-unchanged
A file may be ignored for the following reasons:

*

*.gitignore (the combination of all of them)

*git update-index --skip-worktree

*git update-index --assume-unchanged
Additionally, a file may be UNignored by if it is in .gitignore AND already staged in the index/cache.
To check for the enumerated cases above:

*

*For the two cases of .gitignore excludes, compare the output of:

*

*git check-ignore --verbose --non-matching --no-index file1 file2 file3

*git check-ignore --verbose --non-matching file1 file2 file3

*git ls-files file1 file2 file3 | grep -E '^S'

*git ls-files file1 file2 file3 | grep -E '^[[:lower:]]'
That's too hard, just give me an alias!
The following aliases will cover all the cases listed above:
ignore = !"bash -c 'diff --unified=999999999 --color=always <(echo a; git check-ignore --verbose --non-matching --no-index . \"$@\") <(echo b; git check-ignore --verbose --non-matching . \"$@\")' - \"$@\" | tail -n+7; git hidden \"$@\" # Show ignore status of arguments. Files included by index are tagged with prepended '+'."
hidden = !"git ls-files -v -- \"$@\"| grep -E '^(S|[[:lower:]])' # S means update-index --skip-worktree, and lower first letter means --assume-unchanged."

The comment and final " are part of the line to be copied to your .gitconfig.
Usage:
git ignore file1 file2 file3

A: git check-ignore
Use git check-ignore command to debug your gitignore file (exclude files).
For example:
$ git check-ignore -v config.php
.gitignore:2:src    config.php

The above output details about the matching pattern (if any) for each given pathname (including line).
So maybe your file extension is not ignored, but the whole directory.
The returned format is:
<source> <COLON> <linenum> <COLON> <pattern> <HT> <pathname>

Or use the following command to print your .gitignore in user HOME and repository folder:

cat ~/.gitignore "$(git rev-parse --show-toplevel)"/.gitignore "$(git rev-parse --show-toplevel)"/.git/info/exclude

Alternatively use git add -f which allows adding otherwise ignored files.
See: man gitignore, man git-check-ignore for more details.
Syntax

git check-ignore [options] pathname…
git check-ignore [options] --stdin

A: I had the same problem - a directory was being ignored by git with this error:
➭ git add app/views/admin/tags/
The following paths are ignored by one of your .gitignore files:
app/views/admin/tags
Use -f if you really want to add them.
fatal: no files added

I finally figured out my problem was a line in my ~/.gitignore_global:
TAGS

which was matching the path app/views/admin/tags. I fixed it by adding a leading slash to the global gitignore file
/TAGS

and git started tracking my directory again.

A: I was having the exact same problem as you. The only reply you got listed a few places to check, but none of them solved the problem for me, and from your comment I don't think for you either. I had no OTHER .gitignore files hiding lower in the directory tree; nothing in .git/config; nothing in .git/ingore/exclude
If you still have the problem, check this answer. It solved the issue for me
Basically, check for a ~/.gitignore file. Mine was called ~/.gitignore_global. I don't know when it was created (I certainly didn't make it), but I tried a ton of different git setup's when I first installed, so one of them must have put it there.
Hope his answer helps you as well!

A: For me I accidentally had a wildcard in my ~/.gitignore_global file. Maybe check there?

A: Another reason for receiving this error message from git is when executing the git submodule add command while a previous git command has crashed and left the lock file (this can happen, for instance, when you use custom scripts which include git commands and you haven't noted the crash).
If you execute the command git commit instead, while none of the conditions have changed (git submodule add will keep yelling that your .gitignore files are to blame), you'll see another error report instead:
$ git commit -a
fatal: Unable to create '..../.git/index.lock': File exists.

If no other git process is currently running, this probably means a
git process crashed in this repository earlier. Make sure no other git
process is running and remove the file manually to continue.

and indeed deleting the lockfile:
rm .git/index.lock

resolves the issue. (This happens to git version 2.1.0.9736. It may be fixed in future git releases.)

A: Check you have permission to the folder. I have just run into this and it was because the folder was owned by the www-data user not the user I was logged in to the terminal as.

A: One more thing: if the directory you're in requires root access for writing or executing, make sure you're on the root user. I actually got a weird error where I was trying to add a submodule and git kept complaining that the path I was cloning into was being ignored by a git ignore file. Then I changed to root user, ran the submodule add again, and there was no problem.

A: Please also check ~/.gitignore and ~/.gitignore_global which might be created by some Git clients (e.g. Atlassian SourceTree on Mac OS X).

A: Make sure the .gitignore file is not ignoring itself.
A common mistake is adding a * rule to the .gitignore file to ignore every file in the current folder.
The solution to this is to add an exception to .gitignore:
*
!.gitignore

This way all files in the directory will be ignored, except .gitignore.

A: Check if you are on the right branch.


text:
SEARCHES AND HIRES
Webster Financial adds 2 fund options to 401(k) plan, drops 3
James Comtois
Webster Financial Corp., Waterbury, Conn., made changes to the investment options to its 401(k) plan, according to the company's 11-K filed June 29 with the Securities and Exchange Commission.
The Janus Henderson Triton Fund, managed by Janus Henderson Investors, and the Dodge & Cox Stock Fund were added as options to the plan on June 28, while three investment options were removed — Fidelity Investment's brokerage link, T. Rowe Price Equity Income Fund and Wasatch Small Cap Growth Fund, managed by Wasatch Advisors. There was $14.1 million in plan assets invested in the Wasatch option as of Dec. 31; $11.6 million in the T. Rowe Price fund; and $107,000 in Fidelity's brokerage link.
Also, Vanguard Group's target-date funds and Total Retirement Income Fund were replaced with institutional shares of the funds.
The 401(k) plan had $480 million in assets as of Dec. 31.
Citigroup taps BlackRock for $7.4 billion in 401(k) options, replacing SSGA
AES adds 3 investment options to 401(k) lineup
Occidental Petroleum adds 6 investment options, target-date fund series to 401(…
Ben E. Keith Co. goes with Empower for profit-sharing, new 401(k) plan
N.Y. State Teachers pension fund keeps investments in oil sands companies
Democratic senators urge PCAOB to ramp up oversight of crypto auditors
Weyerhaeuser buys annuity to cut $420 million in Canadian pension liabilities
Sponsored Content: Research for Institutional Money Management


Electric Light Orchestra is playing live in Berlin tonight. I have compiled the tour setlist as a playlist featuring all the songs as studio recordings (except the Travelin' Wilburys song). I added 'Last Train To London' as a bonus track. They performed the song earlier this year in the U.S. You never know!


Since his debut album in 1989, David Wright has firmly established himself as one of the forerunners of melodic new age instrumental music. His unique style crosses numerous musical boundaries and is typified by memorable emotive themes laced with romanticism and ethnic influences. His atmospheric music has been described as having "Soul and purpose with gentle rhythmic motion and a refreshing originality".
Returning Tides contains the very best of David Wright and will transport you on a musical journey from East to West, across wind swept dunes and rolling Tundra, painting musical soundscapes that will enthrall and take your breath away.
This is carefully crafted, thematic music of the highest order that manages to be both relaxing and melodic, and involving and innovative – a rarity!
CD back in stock!! Available as factory replicated CD, mp3 and flac download.


What do underwear and the youngest female billionaire have in common?
After failing the LSATs twice and feeling defeated, Sara describes it as if she was stuck in the wrong life. Then one day everything changed. Wearing hosiery on a daily basis while selling fax machines door to door, she noticed a problem that no one else had solved yet. So she decided to set out to fix it.
With her commendable confidence and drive, she changed the way women wear their clothes with one item - undergarments. It wasn't easy and she faced many challenges, but determined, she passed with flying colors and has earned the title of youngest female billionaire in the United States. Here are five things we can learn from her.
Something Sara learned from her cold calling days. She couldn't get anywhere with manufacturers over the phone. So she took off work and booked a trip to North Carolina, just showing up on manufacturers' doorsteps. After a few visits and many failed attempts, she finally got a yes. If she kept calling from home in Florida instead of walking in those doors, her voice would have never been heard.
A common phrase we all hear in the startup world is that "it's not about the idea, it's about the execution". But Sara explains why she kept quiet for a different reason. She notes, when you share your idea with people, ego is instantly brought into the mix. You spend all your time explaining it, defending it and not pursuing it. After one year of secrecy, Sara shared with close friends and family. She was met with responses like, "if it's such a good idea, why hasn't somebody else already done it?" and "you're going to spend your savings on this and in 6 months the big guys are just going to knock you out of the water". She admits, if she had heard that from the beginning, she would probably still be selling fax machines.
Sara feels the biggest mistake entrepreneurs make is when they hit their first big deal or land their first big client, and become overconfident. When Sara landed Neimen Marcus, she says that's not when she felt she made it, it's when all the work just started.
One of the biggest challenges she had after landing Neimen Marcus was that Spanx was sold in hosiery, and her customer was in the shoe department or ready to wear department. She decided she had to get it out of the department it's supposed to be sold in. So she went to Target and bought some standing racks. Next, she returned to Neimen Marcus with her new purchase and moved all the Spanx beside the cash register for women to notice when checking out. The best part? Everyone thought it was approved by someone higher up, so the employees just left it there.
Sara didn't share her idea with anyone for a year to protect her from all the criticism that might've come before she actually got to prototype it. From lawyer, to patent officer, to manufacturer, she was constantly pitching to men. Most of them didn't understand the need for the idea nor did they have much interest in it. But she got where she did because of the ones that were consistently impressed by her confidence in the product.
Hear the full story of how Sara used undergarments to build a multi-billion dollar business on NPR's "How I Built This" podcast with Guy Raz.


text:
As seen on the ABC Morning show
on Friday March 27, 2009
The Doctors' Favorite Ways to Boost Their Immune Systems
Dr. Jim Sears: Juice Plus - Contains 17 fruit and vegetable extracts in a capsule. "I've been using this stuff for years," he says. "Of all the supplements out there, this is one of the few ones that have actual clinical studies to show that it actually boosts immunity and helps fight cancer."
Diet and exercise can help reduce the risk of degenerative
diseases like heart disease andstroke, diabetes and cancer.
Click here to learn why eating fruits and vegetables is
especially important, and how you can benefit from adding
Juice Plus+®to your diet.
Want more information on Juice Plus?
Listen to Dr. Richard DuBois, Former Chief of Medicine at Atlanta Medical Center and several other medical doctors talk about how good nutrition plays such a vital role in good health and disease prevention.
click the box below and then scroll down and click on
* Juice Plus case studies were reviewed by
Dr. Isadore Rosenfeld
author of "Power to The Patient":
About Dr. Rosenfeld
Isadore Rosenfeld, M.D., a professor of medicine at New York Hospital Weil Cornell Medical Center, is widely recognized as one of this country's preeminent doctors. His regular appearances on network television have garnered a devoted nationwide following of viewers seeking the latest information on health and medical issues. With nine best-selling books to his credit (as well as a textbook for doctors), Dr. Rosenfeld is one of the leading and most effective proponents of the medical enlightenment of the American public. He is the Health Editor of Parade magazine, with 82 million readers.
* Listen to what Doctors and Health Professionals have to say about Juice Plus: click here
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text:
Birding in Wharfedale – Goosanders
One of the most attractive of the water birds we find along the River Wharfe is the goosander. This diving duck is a 'sawbill', i.e. it has a long bill with a serrated edge, which helps it catch active fish and crustaceans. It is an elegant bird where both sexes have attractive plumage, but it is also shy and will avoid crowds, so it is always a pleasure to come on a pair along a quiet stretch of the river. Unlike many of the birds in our area, the goosander was once a rarity and the first recorded case of breeding here was a red-letter day; it is now a bird everyone likes to record, so that we get a lot of sightings each year.
The goosander occurs throughout Europe and North America (where it is known as a common merganser), and in the Far East. In Eurasia, it breeds throughout northern countries, particularly in Scandinavia, and across to the Bering Sea. It migrates in winter to warmer countries, mainly to inland lakes, gravel pits and broad rivers. The original estimates for Europe of 150,000 in the 1980's are now considered much too low. The first recorded breeding record in the UK was in Scotland 1871 but, since then, there has been a major expansion south. It is now found throughout most of England. There were 2700 breeding pairs in UK in the late '80's, up from 1250 pairs in 1975. In Wharfedale, the goosander is a scarce breeder and a common winter visitor.
The other common sawbill in the UK is the red-breasted merganser. However, the two species tend to be separated by habitat. Goosanders favour rivers and inland lakes. It doesn't tend to feed on the bottom of rivers and so is tolerant of deep waters and fast flowing streams. By comparison, the merganser favours shallower salt water, i.e. tends to be found around the coast. The merganser is therefore a scarce visitor to our area with, typically, 2 or 3 sightings per year .
Communal courtship can occur anytime from December, but peaks in late winter and spring. Females are gregarious and often search for suitable nest sites together. They usually nest near water – in a hole in a tree, in a bank or in crevices amongst rocks; they also frequently use nest boxes. The earliest eggs are laid between the end March and early April; but usually from mid-April to early May. There is 1 brood/year typically with a clutch of 8 to 12 eggs. Incubation takes 30 to 32 days. Chicks leave the nest after couple of days and are taken to the water, where they are cared for by the female for 5 weeks. Meanwhile the male will desert the female during incubation, and sometimes after the eggs are laid – only rarely are male and female seen with young.
Goosander Movements and Habits
The migratory habits are complicated and unique amongst UK birds. The almost complete disappearance of males during the summer remained a mystery for many years. It is now known that males leave females in late June and migrate to fjords of Northern Norway to moult. They remain there until the advent of freezing, with early arrivals in North Sea countries in late October and early November, but with no large numbers until December, later than any other wintering ducks. Females moult but stay in this country, along with a few males. The goosander is a gregarious bird outside breeding season, and large flocks gather during the winter when birds return to the UK. In the summer groups of females can be found together.
The goosander locates food from the surface with head under water and then dives expertly, using only its legs for propulsion under water. It is particularly keen on eels and salmon, which makes it unpopular with anglers. In fact the spread of birds in recent years has led to them being regarded as an economically important pest and it is now subject to licensed culling (see table discussed below)
Birds are silent except during breeding when the male croaks and the female cackles, although their wings can make a whistling sound.
Finding goosanders in the WNS area
The following table summarises the trends in goosander population in our area: the map shows sightings in the first half of this year.
You have a good chance of seeing goosanders any time over the next six months. Your best hope is at Lindley Wood reservoir, although views from the bridge can be distant and you really need a telescope. Alternatively, try wandering along one of the quieter reaches of the Wharfe. My own favourite spot is the small, tucked away hide 400 yards north of the Cavendish Pavilion on the west bank of the river. The riverbed there falls quite rapidly and the water sparkles as it ripples over the rocks. It's a quiet spot, with areas not easily seen from the nearby, busy public paths, and I often see a pair of birds there. Alternatively, it's a good spot for dipper and grey wagtails – or common sandpipers in the breeding season.
John Flood
Goosander in the WNS area: An Historical Perspective
Pre-WNS Main sites for wintering birds in Yorkshire have traditionally been Eccup Reservoir, Stocks Reservoir and Hornsea Mere (although with little evidence of their presence before 1920), so they must have been seen occasionally in our area.[For instance, 176 birds were present on Eccup in 1979 when conditions were particularly severe in Western Europe, and 118 were recorded on the Wharfe between Poole and Arthington that same year when the reservoir froze over!]
1940's Generally 2 or 3 sightings a year in Washburn or to the East – usually of 2 or 3 birds, although with 15 near Weeton in March 1947.
1950's Little change, with 3 years when there were no sightings. Most of sightings were on the Washburn Reservoirs at Swinsty and Lindley – where birds appear to have been present for much of the first 3 months of 1953. There was 1 record on the Wharfe at Ben Rhydding in 1953, whilst birds were twice recorded at Grimwith Reservoir.
1960's Numbers were, if anything, slightly down in the first half of the decade. Significant increases from 1968, but with birds still being seen mainly on reservoirs. Birds started appearing at Knotford Nook in 1965, and were beginning to show a strong preference for Chelker Reservoir from 1968 (when 31 were recorded at the end of that year). Birds were winter visitors, starting to arrive in November and not being recorded after March.
1970's Not much change throughout the first half of the decade, although the observation period extended to the first and last quarters of each year. Regular sightings on the River Wharfe started to appear in 1975. Chelker still a favourite, although good numbers on Lower Barden Reservoir from 1977.A key event in 1976 was the first breeding record at Bolton Abbey when large numbers watched a female and 8 young in June. At the time this was the most southerly record. Breeding has occurred in the area almost every year since then, although none was reported in 1989. (Breeding had been spreading southwards since the first record in Scotland 1871. Birds bred in Northumberland in '40's, on the River Tees in 1969, and in Wensleydale at Leyburn in 1972.)
1980's – to present Since then the goosander has become a common winter visitor and a scarce breeding resident, with limited numbers of birds present throughout the year. They are seen along the length of the river and on the reservoirs, with those in Washburn and, in particular, Lindley favoured by winter migrants since the early '90's. It seems that breeding continues to be restricted to the river and there has still been no records of breeding in the Washburn (so that sightings there tend to be restricted to between October and May). There are several reports of young each year, with a peak of 22 pairs with young in 1997.The increase in numbers has not been universally welcome and there was an application to cull birds from the fishing community in 1994. In the last few years, and after a peak in the late '90's, there has been a distinct decline in numbers with peak numbers, presumably due to culling. Numbers on Lindley Reservoir have fallen from a peak of 65 in 1999 to less than 30 in subsequent years (and the peak so far in 2003 has been only 14). In 2002, there were actually more young reported in Airedale than in Wharfedale!