text:
Making Shakespeare Sing
Matthew Aucoin
On Verdi's last two operas, Otello and Falstaff
Verdi: Creating "Otello" and "Falstaff"—Highlights from the Ricordi Archive
an exhibition at the Morgan Library and Museum, New York City, September 6, 2019–January 5, 2020
Osbert Lancaster/De Agostini/Bridgeman Images/© Clare Hastings
Scenography by Osbert Lancaster for a production of Giuseppe Verdi's Falstaff at the Edinburgh Festival, 1955
The process of adapting a play into an opera is a little like forcing the original text to drink a concoction out of Alice in Wonderland: some aspects of it will shrink or evaporate, others are magnified to unrecognizable dimensions, and the whole thing falls through music's rabbit hole into a parallel world where very different laws apply. This fraught alchemy has bewildered many a composer. Sources that seem unimpeachably strong (classic plays, beloved movies, Great American Novels) can wilt or fail to catch fire when set to music, while material that might seem slight, simplistic, or impractical can, in the hands of an inventive composer, reveal unsuspected power and hidden depths. Sometimes, if seldom, one has the sense that a play, a novel, or even a real-life incident came into being mainly so that it could be reincarnated as an opera.
Giuseppe Verdi's last two operas, the Shakespearean diptych of Otello and Falstaff, together constitute my favorite case study in what happens when a play is made to stand up and sing. Both the source material and the musical adaptations are works of singular beauty and power. To study these operas alongside their sources is to see what is gained and what is lost, what remains intact and what is transformed, when a complex human drama is adapted from speech into song. Otello is an exceedingly rare breed, practically a unicorn: a masterpiece based on a masterpiece. And Falstaff, a long-pent-up belly laugh of a piece that Verdi unleashed on the world after a lifetime of composing tragedies, achieves something rarer still: it is a love letter to Shakespeare that expands on Shakespeare's work, putting Sir John Falstaff center stage in a work that's big and bold enough for his irrepressible, irresponsible spirit.
These two operas are the subject of "Verdi: Creating Otello and Falstaff," a gem of an exhibition at the Morgan Library and Museum. Curated by Gabriele Dotto, the former director of publishing at Ricordi, Verdi's publishing house, it affords an engrossing glimpse of the vast collaborative effort required to bring an opera into the world. By the time he wrote Otello and Falstaff, Verdi was a national icon, as famous and familiar as the Leaning Tower of Pisa, and it is touching to see evidence of the care that a huge team—engravers, printers, costume designers, painters—put into the creation of this old man's uncannily youthful last works.
Verdi loved Shakespeare throughout his life, but it took decades for his music to become Shakespearean. He came of age during what has become known as the bel canto period of Italian opera, during which the glorification of the human voice was composers' fundamental priority; bel canto literally means "beautiful song" or "beautiful singing." Works from this era—by composers such as Vincenzo Bellini and Gaetano Donizetti—are distinguished by long, sensuously unspooling melodies and passages of fast, florid vocal gymnastics; the harmonic palette is simple and the harmonic progressions few and familiar. An aesthetic whose central focus is the wonder of the beautifully produced voice inevitably lets some other aspects of the art form fall by the wayside: one generally doesn't turn to a bel canto opera for an evening of taut, seamless drama.
Verdi's early operas adhere, to varying degrees, to the idiom's structural conventions, and he had all the skills required to develop into a great bel canto composer: crucially, the unteachable gift of inventing a melody that sounds inevitable, as though it had existed since the beginning of time. It is apparent even in Verdi's earliest works, however, that he was not entirely at home within bel canto's stylistic strictures. From the beginning, his music speaks with a blunt dynamism that demands different forms, different rules, a more flexible musical and dramatic language. Within the walls of the bel canto forms he inherited, the music of the young Verdi snarls and paces like a caged lion.
Verdi's first Shakespeare adaptation, Macbeth, precedes his next, Otello, by forty years, and his artistic growth across those decades makes all the difference. The Verdi Macbeth is deliciously campy, a bloody prime cut of Italian opera, but it is hardly Shakespearean. The play is Shakespeare's shortest, tautest tragedy, a headlong descent that moves with the swiftness and the logic of nightmare. Verdi and his librettist, Francesco Maria Piave, were still beholden to certain inflexible bel canto conventions—long, static arias, grand choruses—and they do not quite find a musical equivalent for the play's ferocious momentum. Some of the play's strangest and most effective features become, in the opera, unintentionally funny: the witches' music is perky and tuneful; the final assault on Dunsinane Castle takes the form of clunky, four-square brass counterpoint; and a few beloved lines from Shakespeare are awkwardly torn—or "untimely ripp'd"—from their context. Macbeth, upon being informed of his wife's death, skips the entirety of the brooding "Tomorrow and tomorrow and tomorrow" speech and jarringly jumps straight to its climax: "What does life matter? It is a tale told by a poor idiot—wind and sound, signifying nothing!"
The opera's most glaring shortcoming is its depiction of the title character, who sounds pale and unmemorable next to the juggernaut of a soprano role that is Lady Macbeth. It's not surprising that Verdi found her riveting—who doesn't?—but the difference between her music and Macbeth's is striking; the two roles could have been written decades apart. For Lady Macbeth's first entrance, Verdi had the inspired idea of having her speak, not sing, the letter from her husband telling her he has been named Thane of Cawdor, before erupting into a blazing, incantatory a cappella line, a musical summons from the depths of hell. Later in the opera, her sleepwalking scene seethes with a languorous, hallucinatory intensity; a great singer can give it both an erotic charge and an eerie, childlike purity. Macbeth, by contrast, makes his first entrance with a stolid, musically unremarkable recitative, and his aria in the final act is one of Verdi's rare theatrical missteps: as his world falls apart around him, Macbeth pauses the action to sing "Pietà, rispetto, amore," a slow and mournful cantabile aria whose emotional content is so generic it might as well be the aria of a proud father, or an old man nostalgically recalling a lost love, or really anyone at all other than the play's unforgettably bloodthirsty protagonist.
An essential feature of Shakespeare's art is his characters' psychological dynamism: in his plays, a soliloquy is not the static articulation of something the character already knows; rather, it is the locus of change, of self-interrogation and epiphany. This volatility is fundamentally at odds with the nature of the bel canto aria, which typically embodies a single state of being. For an opera to feel Shakespearean, it needs to enact, in the music, the radical instability of the characters' inner worlds. By this measure, Verdi's music took on a Shakespearean vitality not in Macbeth but in the string of operas that followed it, none of which has Shakespeare as its source.
In Rigoletto, for example, the title character's searing aria "Cortigiani, vil razza dannata!" follows a complex yet organic trajectory. It begins with Rigoletto's outburst of blind rage against the men who have abducted his daughter, the strings repeating a ferocious sextuplet figure as though straining against an invisible leash. When this fails, Rigoletto changes his tack and abjectly begs his tormentors, the music limping woundedly along; when this, too, fails to achieve anything, he collapses and sings a heartrending lament. The first two sections are in minor keys; in a harmonic turn worthy of Schubert, the third section, the only one in a major key, is the saddest of all. This aria is an X-ray of Rigoletto's soul, and it's more Shakespearean than anything in Verdi's Macbeth; in his volatility, vulnerability, and pathos, Rigoletto resembles no one so much as King Lear.
Verdi's oeuvre is full of subtly ingenious formal innovations like the "Cortigiani" aria, but he was modest to the point of self-effacement about his ever-deepening musical sophistication. He was hardly the type to publicly advertise an artistic quantum leap, as his contemporary Richard Wagner did by establishing a cult-like festival of himself at Bayreuth; his music evolved so gradually that it was possible not to notice that he was steadily and surely chipping away at convention after convention. There is a tortoise-and-the-hare dynamic to the Verdi-Wagner rivalry, and by the time Wagner died in 1883, Verdi the septuagenarian tortoise was, improbably, about to enter his prime. Having spent four decades slowly, irreversibly changing Italian opera—with the plays of Shakespeare as a constant companion and inspiration—he was finally ready to return to Shakespeare, and to repay his artistic debt to the Bard.
He could not have done this alone. Verdi was coaxed out of his self-imposed retirement by the polymath Arrigo Boito, a composer-poet-librettist whose compositional career is a cautionary tale for the overambitious. The Verdi-Boito collaboration of the 1880s would have been unthinkable two decades earlier, when the twenty-something Boito infuriated Verdi by claiming, in a satirical poem, that contemporary Italian music was "soiled like the wall of a brothel"; Verdi was not named in the poem, but he was the country's most prominent composer, and he took personal offense. Verdi also had no time for Boito's rapturous writings on art. It's easy to see why, as his prose tends toward the deep purple:
Indeed, the Sublime is simpler than the Beautiful…. Only the great form is suited to the Sublime, the eternal, universal, divine form: the spherical form. The horizon is sublime, the sea is sublime, the sun is sublime. Shakespeare is spherical, Dante is spherical, Beethoven is spherical…
When a friend showed Verdi this article, his reaction was curt and irrefutable: "Fine things!! Too bad I don't understand them…. [To] write music one very simple thing is needed: Music."
Indeed, for all his sermonizing, there isn't much music in Boito's music, which is somehow both inflated and flabby, seemingly guided by hazy poetic ideals rather than inner musical logic. His opera Mefistofele had a disastrous premiere in 1868; surely it didn't help that Boito had published pompous, self-aggrandizing artistic manifestos in the preceding years. How karmically satisfying, then, that roughly a decade later, a chastened and markedly more self-aware Boito recognized that his gifts as a poet, coupled with his musical experience, would make him an exceptional librettist for other composers. He ultimately found the considerable humility required to approach Verdi, a composer he had once underestimated, with the enticing idea of adapting Shakespeare's Othello.
It's revealing that Verdi and Boito originally intended to call their opera Iago, and it's more revealing still that they ultimately called it Otello. Boito had already revealed his sympathy for the devil by naming his opera Mefistofele rather than Faust, and Iago is even more essential to Othello than Mephistopheles is to the Faust story. Iago is a psychological black hole, a scene-stealer who ends up stealing the whole play: he speaks more lines than Othello; he orchestrates the drama's entire tragic trajectory. Why not acknowledge, in the title, that he's the star?
Verdi finally decided that Otello had to remain the title character; his stated reason was that Otello is the one who acts, who kills Desdemona and himself. But the reasons go deeper than this. Verdi's personality, in music if not in life, is palpably similar to Otello's. The salient qualities of his music include a disarming emotional directness and vulnerability, an earnestness and single-mindedness that preclude all irony, and a capacity for overwhelming passion, majesty, and power. These are also the fundamental qualities of Otello's personality, and if there were ever a role Verdi was born to set to music, it's this one. The result is that Otello is even more fully realized and more heartbreaking in Verdi's opera than he is in Shakespeare.
As one example among many, take Otello's first entrance. To cut the play down to libretto size, Verdi and Boito shrewdly eliminated its entire first act, beginning the opera with Otello's arrival in Cyprus during a storm. In Shakespeare, once he has come ashore, Othello first greets Desdemona and then, in passing, offhandedly addresses the assembled crowd: "News, friends; our wars are done, the Turks are drown'd." A single line of pentameter is all this rather important bulletin gets. Verdi puts this aside center stage and explodes it into a thrilling musical moment. The opera opens with the chorus anxiously watching Otello's ship navigating the storm; to Iago's disappointment, the ship makes it safely to port, and Otello enters with a triumphant greeting: "Esultate!" ("Rejoice!"). After the storm music's blustery, chilly chromatic instability, Otello's burnished D-flat major shines like a beacon; with a great tenor singing Otello, you'll feel a warmth spread through your body at his entrance. In Shakespeare, we are always hearing about Othello's heroism, but in Verdi, we feel it.
The famously fraught racial dynamic of the play is somewhat less pronounced in the opera, largely because of the omission of Shakespeare's first act. In that act, Desdemona's father, Brabantio, publicly denounces Othello and Desdemona's love affair; in the opera, his role is omitted entirely, and we have little sense of the obstacles Otello and Desdemona had to surmount to have a relationship at all. In Boito's libretto, it is Iago who voices nearly all the racially charged statements—for example, referring to Otello as a "savage" with "swollen lips"—and as a result, there's a persistent association of such slurs with his general despicableness.
In spite of this, it is the opera rather than the play that has been in the spotlight in recent years, because some opera houses—to the art form's general disgrace—have been maddeningly slow to abolish the practice of darkening the skin of white singers who perform the role. And though African-American singers have long made up an exceptionally large proportion of opera's leading artists, curiously few African-American tenors have performed Otello in prominent theaters. (The gifted, golden-voiced tenor Russell Thomas, a skilled Verdian, has happily begun singing the role in recent seasons.) When it comes to Verdi's musical characterization of Otello, however, I hear sympathy and subtlety rather than stereotyping: of all Verdi's tragic protagonists, Otello might be the richest and most fully realized.
Otello's presence is magnified in the opera, but Iago's is diminished, and this reveals something essential about the difference between speech and music. Iago operates by implication and insinuation. He is among Shakespeare's most virtuosic talkers, accomplishing diabolical feats of persuasion within an exquisitely subtle affective palette that ranges from poisoned-honey sweetness to chummy good humor to apparent indifference (this last tone being his deadliest weapon). Iago's slippery prolixity makes him an awkward fit for Verdi, a composer who demanded, of an earlier librettist, "Poche parole" ("Few words") to achieve maximum dramatic impact, and whose greatest musical strength is his emotional honesty. Has there ever been a more earnest composer than Verdi, or one whose musical language is so free of irony? Shakespeare's Iago is terrifying because he is a chameleon—"I am not what I am"—but Verdi's music can never be anything other than what it is. He does not find a musical equivalent either for Iago's limitless capacity for verbal improvisation or his genius for blending in.
Giuseppe Verdi; drawing by David Levine
This is hardly a fatal flaw. Iago's big solo moment, the "Credo," has an irresistible heavy-metal bravado, and the sequence during which Iago convinces Otello of Desdemona's infidelity is a white-hot tour de force. Listen to the toxic lullaby Iago croons into Otello's ear just when he knows Otello has passed a psychological point of no return; listen to the way Iago, again and again, leads the harmonies through thickets of chromatic development, only to let Otello step into his trap and complete the progression. One of Iago's finest moments is a cruel musical joke: instructing Otello how he should murder his wife, he says Otello should strangle her in bed, "dove ha peccato" ("where she sinned"). Verdi sets those words to a descending line that is nearly identical to Otello's crucial line "ancora un bacio" ("one more kiss"), from his love duet with Desdemona. The role is full of moments like this, but the total impression of Verdi's Iago is of an unctuous, sneering Italian-opera villain rather than the transcendent nihilist who stalks the stage in Shakespeare.
Of the three principal roles, Desdemona is least altered through the precarious journey from speech into song; she possesses a quiet strength in Shakespeare and Verdi alike. And her role contains a moment that is among my two or three favorites in all of opera. In the final act, after singing the haunting "Willow Song," she turns to her maid, Emilia, to wish her good night. As Emilia turns to leave, the orchestra softly repeats the same warm major chord, which throbs strangely, like something unsayable rising to the throat and falling back again and again. Finally, the dam bursts and Desdemona unleashes a tidal wave of sound, this time singing not "buona notte" but "addio"—"farewell." It is an overwhelming release of energy—terror, love, and grief pouring out with devastating force. When Desdemona sings this line, we realize that the entire "Willow Song" scene had been an act of repression, an ultimately hopeless attempt to distract herself; and we feel with painful clarity that she knows exactly what is in store for her.
Verdi's final opera, Falstaff, is often praised in lofty terms, as the crowning achievement of a great career. I prefer to see it as something both more human and more special: to me it sounds less like the apex of Verdi's work up to that point and more like an experimental first step in a new direction. The nearly eighty-year-old Verdi wrote this opera in secret, without a commission; after Otello, his public and even his publishers assumed he had retired for good. Evidently, he was liberated by this lack of expectations. The seemingly world-weary master tragedian delighted in revealing to the world that he had somehow preserved an impish, joyously childlike energy throughout his six-decade career.
Falstaff is the anti-Iago, and therefore profoundly similar to him; the two roles make similar vocal demands, and were written with the same singer, Victor Maurel, in mind. Falstaff's contrapuntal finale is the counterweight to Iago's "Credo": in this scene, Falstaff leads the assembled cast and chorus in his credo, that life is one big joke, and "he laughs well who laughs last." For all its exuberance, this philosophy bears an unnerving resemblance to Iago's nihilism. Near the end of the finale, the chorus and orchestra cut off abruptly, and Falstaff sings the words "Tutti gabbati" ("We're all fools") with a kind of menacing glee. This moment has an exact analogy near the end of Iago's "Credo," when he sings his own a cappella proclamation: "La morte è il nulla" ("Death is nothingness"). The crucial difference is that in Falstaff, a chorus of Falstaff's fellow human beings hears his words and cheerfully echoes them. Iago remains alone, echoed only by the hysterical laughter of the orchestra.
Falstaff is full of wonderfully weird musical ideas: the brassy, slapstick orchestral writing sounds like an illustrious ancestor of mid-twentieth-century cartoon soundtracks, and the opera's third act features some beguilingly gossamer "fairy" music, a scene of people pretending to be spirits but who sound truly magical. As in Mozart's comic operas, the most breathtaking moments in Falstaff are those in which a scene of low comedy becomes, in an instant, inexplicably sublime. When the "merry wives" read Falstaff's love letter aloud in order to make fun of it, one of them, Alice Ford, transforms one particularly pompous phrase into a long, stunningly beautiful cantabile line. And then, as suddenly as it appeared, Verdi pops the bubble with a burst of sharp, staccato laughter. What more can any composer hope for than the ability to write music of overwhelming beauty, and then, in an instant, to turn on a dime and laugh at oneself?
The Morgan's exhibition is a treasure trove for Verdi lovers. There is a skeletal draft, in Verdi's hand, of a scene from the third act of Otello that is notably different from its final version; there's the first page of the autograph manuscript of Falstaff's final fugue; there are first-edition scores of both operas and gorgeous early editions of their libretti. There is also a fascinating "production book," which contains diagrams and written instructions by Verdi for how to replicate La Scala's original staging of Otello in other theaters. (The numerous characters and choristers are represented by tiny circles with arrows attached, like virile little Mars symbols.) The exhibition's stated intention is to display the "tremendous collaborative efforts behind an operatic production," and indeed the lavish undertaking that supported these pieces' premieres is enough to make a twenty-first-century composer sick with envy. There is even a video, produced by the Italian government in the 1920s as part of a series focusing on Italy's major industries, that shows the engraving process at Ricordi, Verdi's publisher; the score that we see being printed is Otello. Imagine any US administration—never mind the current one—treating a classical music publisher as one of the country's industrial powerhouses!
In spite of the exhibition's delights, I couldn't shake the feeling that it is also a missed opportunity. Visitors who do not already know and love these pieces might get the sense that they are frozen in time, stuck in the elaborate, painterly theatrical aesthetic of the late nineteenth century. There is no reference to the troubled history of Otello and racial issues, and the only contemporary items on display are, tellingly, two recent costumes from La Scala that seem to merely copy the style of the first productions of Otello and Falstaff and a video screen that plays excerpts from recent stagings of the two operas, with no information provided other than where and when the performances took place. The gallery space hardly feels crowded; there would have been room to consider, from a broader angle, the history of these operas' reception and interpretation. Illuminating as it is to see artifacts from the moment of their conception, I wish this exhibition had allowed us to also witness their ongoing life. These are living, breathing musical organisms, and their relevance, founded on an unflinching, sympathetic understanding of the human psyche, is also ongoing. But it takes work—and even a little Verdian shrewdness—to sustain and renew that relevance.
Joseph O'Neill
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Verlyn Klinkenborg
What Were Dinosaurs For?
The Master's Master
More by Matthew Aucoin
Save the ENO!
The More Fraught the Better
Throughout The Rake's Progress, the steady friction between Stravinsky's music and Auden's poetry creates a musico-poetic compound that brims with energy and life.
A Dance to the Music of Death
Thomas Adès turns fleetingly recognizable musical elements into unstable, volatile substances tending toward evanescence and escape.
Matthew Aucoin is a composer and conductor, and a 2018 MacArthur Fellow. His book The Impossible Art: Adventures in Opera was published last year. (December 2022)
Richard Holmes
The Romantic Pugilist
The Collages of Mark Strand
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text:
books, Miscellany
Photographer Marina Shacola's Olympic odyssey
Date: May 26, 2011Author: odevened 1 Comment
This column appeared in the Arizona Daily Sun on Aug. 12, 2004.
An Olympic journey for the ages
You will be bombarded with human-interest story after human-interest story for the next 16 days. It happens every Olympiad. This is the downside of having countless hours of TV coverage.
How many of these stories will you actually remember? Five, maybe 10. It's mind-numbing overexposure.
Well, my friends, this story isn't one of those dime-a-dozen, force-it-down-your-throat stories. Nope. Not by any stretch of the imagination. This, I believe, just might be the most fascinating — or certainly in the top one percentile — of all stories associated with the 2004 Athens Games.
This is one woman's remarkable journey of Olympic discovery. It began in India in April 2003 and ended in Ghana in May 2004. In between, Greek Cypriot photographer Marina Shacola visited 25 countries on five continents — well, for this project the Americas are considered one continent. (The Olympic flame, by the way, traveled to 26 countries in its 2004 globetrotting adventures.)
Eight-hundred and twenty-five rolls of film later, Shacola had the basis for a fascinating, bilingual (Greek and English) book. "Athlos" features 135 photographs of the 25 Olympic-caliber athletes Shacola shot, using black and white and color film. Interestingly enough, "Athlos" has two meanings in ancient Greek — "great achievement" and "training."
"I called it this way because these athletes, and every athlete who trains at this high level in order to achieve their dream, have already accomplished a great achievement — regardless of whether they make it to the Olympic Games or not," Shacola said Monday in a telephone interview from her hometown of Nicosia, Cyprus.
Twenty-two of the 25 athletes she visited made their respective Olympic teams. The 25 subjects represent a blend of up-and-coming athletes and reigning world champions, from well-known nations (U.S., Brazil, South Africa) and obscure countries (Samoa, Micronesia, Nauru).
A former member of the Cypriot women's national basketball team, Shacola said she wanted to do something special for the 2004 Olympics to honor her Greek heritage.
That's what prompted the idea for this book, which was published recently.
"It was quite difficult for me at the beginning," Shacola said. "I had to also find someone to help me contact the athletes."
Assistance from the Cyprus Olympic Committee was priceless. The association's president contacted the International Olympic Committee in Switzerland, and the IOC hired Shacola to create this book. The IOC helped Shacola with her research for the book and in contacting various Olympic committees around the world.
Even so, there was plenty of stress for Shacola and Andreas Antoniou, Shacola's artistic supervisor, during this time-consuming project.
"I had to worry a lot (about finances)," Shacola said. "It was quite difficult to get money. But I was very lucky again, because British Airways and Cyprus Airways were my sponsors."
Eastman Kodak provided her with all those rolls of 35 mm film for the book.
"Right until the very end, I didn't know if I would manage to complete this project, because … from the beginning it was too difficult," Shacola said.
First stop: Asia. Why? "Because it was most difficult for me in terms of problems with language and so on," she said. "Right until May 2004, the last country I had been to was Ghana, and the concept was not complete."
Shacola spent, on average, around a week in each of the 25 nations. After India, she went to Malaysia, South Korea and Japan in succession.
Little by little, Shacola saw the project taking shape and she began to revel in the emotion of making progress.
"It was like a big celebration," she said with a delightful giggle. Then she described her mind-set along the way. "OK, 20 (countries left), 15 left, three left!"
China presented the biggest challenge to Shacola. Due to the SARS outbreak of 2003, she rescheduled her trip to China three times. Talk about persistence.
"It was too much. I couldn't risk it. If I got stuck in China, then the whole project was toast," she said.
She finally managed to make it to China in March and met Liqin Wang, a reigning Olympic gold medalist in men's table tennis (doubles) in Beijing.
On the cover of the book is Athens resident Pericles Iacovakis, a bronze medalist in the 400-meter hurdles at the 2003 World Track and Field Championships.
"Actually, I didn't want to put him on the cover of the book," Shacola revealed, "because I didn't want the Greek guy to be there just because it's the Olympics in Athens."
But, in the end, Shacola decided a photo of Iacovakis was the perfect choice for the cover.
"The reason I like it is because he represents exactly what the athlete is all about and for me also the true Olympic spirit, which is: The moment when he's resting, when he looks tired — some people will say he's fainting with eyes shut, with mouth half open — and for me that's representative of the life of each athlete," Shacola said as the inflection of her voice grows more excited with each syllable.
"We are used to looking at athletes the moment before they either run, if they are an athlete in track, or if they play in the game, when it's the most beautiful moment, with the beautiful clothes. But the athlete is not that. The athlete is all the time before he reaches that moment, which is all that very, very hard work until he manages to get on the track, or, for example, before the starting point.
"For me, this is what the whole Olympic spirit is about: How everybody is fighting to surpass their own limits."
Australian swimmer Grant Hackett, the reigning gold medalist in the men's 1,500-meter freestyle who trained at Northern Arizona's High Altitude Sports Training Complex in May and June, is featured in the book.
Others who grace the pages of the book include: Romanian gymnast Monica Rosu (the 2004 European Championships gold medalist); Moroccan boxer Tahar Tamsamani (a bronze medalist in the 57-kilogram weight class in 2000); Brazilian beach volleyball star Sandra Pires; Seychellois sailor Alain Julie; Ghanan soccer captain Yussif Chibsah; Russian water polo goalkeeper Valentina Vorontsova; Cuban volleyball captain Yumilka Ruiz; and Samoan judo performer Travolta Waterhouse.
Also included in the book are photos of perennial NBA All-Star point guard Jason Kidd, who turned down a spot on the American basketball squad for personal reasons. (He was very cooperative during the photo shoots, she said.)
This was an exhausting undertaking, but one that Shacola will never forget. Was it the most rewarding project of her life?
"Definitely, but I hope it won't be the last," said Shacola, whose work is featured in an Athens exhibition until the end of the Summer Games.
Patience, an open mind and a kindred spirit carried Shacola as she worked around the globe. Interpreters played a big role, too.
As she looks back on her travels, she offered this insight into the project:
"I don't think I have recovered from the experience yet, and I hope I will never recover. I think the experience has changed me. I think people have more differences and more similarities than we think. And I was very glad to find out that yes, people are different, and that makes them all so much more interesting."
On Thursday, Shacola traveled to Athens, where she's attending the Olympics as a spectator. And it's obvious she can hardly wait.
How excited is she?
"Too much. I think I'm going to take part. I think I'm actually one of the athletes," she said, laughing.
She's not an Olympian, but she produced a magical book about Greece's wonderful gift to civilization.
Now she deserves a break from work.
" Cyprus Olympic Committee"AthlosbooksCyprusMarina ShacolaMiscellanyNicosiaphotographytravel
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The Scottsdale Auction / 1930 Chrysler Imperial Series 80L Roadster Engine no. 6870
1930 Chrysler Imperial Series 80L Roadster
The Scottsdale Auction
27 January 2023, 10:00 MST
Scottsdale, The Westin Kierland Resort & Spa
Gordan Mandich
Aleksandra Krypciak
Title Clerk & Senior Sale Coordinator
Coachwork by Locke & Co
Engine no. 6870
309ci L-Head Inline 6-Cylinder Engine
Single Carter Carburetor
110bhp at 3,200rpm
3-Speed Manual Transmission
Leaf Spring Suspension
4-Wheel Hydraulic Drum Brakes
*Rare and desirable, custom-bodied Chrysler
*CCCA and AACA National First Prize Winner in 1971
*Professional restoration carried out by Walter Seaburg
*Sporting Roadster coachwork by Locke & Co
THE CHRYSLER IMPERIAL
"Here is a fresh and virile beauty that is unapproached among fine motorcars. Its fleetness, its smart handling, its flashing acceleration and its superb dependability are qualities so pronounced that they will cause you to marvel as long as you drive it" – Period Advertising for the Locke bodied Chrysler Imperial.
The original Chrysler Series 70 six remained 3.3 liters in capacity until 1926 when it was enlarged to 3.6 liters. A smaller, 3.0-litre Series 60 six was introduced for 1927 while the 70 grew to 4.1 liters for 1928, becoming the Series 72. By this time the range had expanded to encompass not just the smaller Series 60 six but also a four-cylinder model and the fabulous Imperial, the latter larger and more expensive than the original and intended to compete with the likes of Cadillac, Lincoln and Packard.
For 1929 and 1930, Chrysler's Imperial was visibly improved with a narrower profile radiator and slimmed front body pillars, additional features included dual cowl ventilators and arched hood louvers. The factory were to produce semi-custom bodies such as this penned by Locke. Founded by Justus Vinton Locke, the Rochester, NY based Locke coachbuilding company had its heyday in the twenties and were known predominantly for specifically tailored coachwork on luxury chassis, Duesenberg, Packard, Pierce-Arrow and Mercedes included. As the decade progressed, they began to produce sets of standard coachwork for Chrysler, Graham, Franklin and Lincoln among others.
THE MOTORCAR OFFERED
"As for beauty, Chrysler now brings to the automobile an entirely new art"- so claimed the firm's advertisements of the era. The new Chryslers did indeed have a fresh and attractive look that was highlighted by the slim profile radiator and fluted hood borrowed directly from Lawrence Pomeroy's famous Vauxhall design. The Locke custom bodied cars, such as the one featured here, are one of the most desirable of the big Imperial line. This lovely example benefits from a comprehensive restoration carried out by Walter Seaburg and completed 1971, which has since mellowed nicely, displaying a warm and consistent patina throughout. Testimony to Mr. Seaburg's restoration, the Chrysler Roadster was awarded the coveted National First Prize awards in both the Antique Automobiles and Classic Car Clubs of America soon after the restoration was completed. The bodywork is finished in a lovely silver-grey color, with a neatly contrasting deep Burgundy belt line and rear deck. Color-coded wire wheels are fitted with stainless spokes and shod in white-wall tires. The chrome and brightwork displays beautifully throughout, and is complimented with dual trip lights out front, a rear luggage rack, engraved side wind deflectors and dual side-mounted spare wheels. An interesting feature of this car is the unusual built-in rear windshield for the rumble seat passengers. The rear compartment was designed with comfort in mind and has a third side door and an attachable top of its own. The engine compartment features a nicely detailed engine, with polished brass and chrome. The Chrysler is accompanied by a plaque from a showing at the 2001 Castle Hill Concours d'Elegance, as well as three lovely old photos of what is believed to be this car taken very early on, presumably when the car was nearly new, with a female driver behind the wheel.
This 1930 Chrysler Imperial Series 80L Roadster by the capable coachbuilders at Locke & Co has been stored in a temperature-controlled environment, and benefits from a high-quality restoration, which has now aged and mellowed gracefully, and grown a lovely patina.
For MOTOR CAR lots the premium is 12% on the first $250,000 of the bid price and 10% on any amount of the bid price exceeding $250,000.
For AUTOMOBILIA and other non-motor vehicle property, the premium is 27.5% on the first $25,000 of the bid price, 26% on the bid price above $25,000 up to and including $1,000,000, 20% on bid price above $1,000,000 up to and including $6,000,000, and 14.5% of any amount exceeding $6,000,000.
For buyers who plan to collect their purchases immediately, Bonhams strongly recommends paying by wire transfer or certified check (bank draft) or submitting a Bank Letter of Guarantee. The Bank Letter of Guarantee must be addressed to Bonhams and be in the name of the registered bidder. Credit cards are not accepted for Motorcar lots. Cash payments are accepted under $10,000. We strongly encourage contactless payment of invoices prior to collection. Lots will not be released to buyers until full and final payment is received by Bonhams. Payment made by personal or business check may result in property not being released until purchase funds clear our bank. Bidders may also pre-arrange suitable check or credit approval with Client Services.
For information and estimates on domestic and international Automobilia shipping and Motorcar transport as well as export licenses please contact the Motorcar Department at [email protected].
Special Car Dealer Notices
For all registerable Vehicles, Bonhams is acting as an Arizona dealer, number L00012102
25 January 2023, 09:00 - 18:00 MST


text:
Bristol, Rhode Island
Montaup Country Club
Montaup Country Club is open year round for the diehard golf enthusiast and is located in Portsmouth, RI. Close to historic Newport, Montaup Country Club is an 18 hole semi-private course. Our signature hole, the Par 5 16th overlooks scenic Mt. Hope Bay. (Curated content from www.montaupcc.com)
Touisset Country Club
Swansea, MA
Touisset Country Club is a 9-hole course designed and built by hand in 1961 by Raymond H. Brigham. Our landscape includes many of the natural hazards original to the property. We boast a challenging back 9 from a different set of tees. Touisset has been family owned and operated since 1961 and we pride ourselves on customer satisfaction. (Curated content from www.touissetcc.com)
Swansea Country Club
It is a course that is just as challenging as it is beautiful. With tree lines that hug the course and the majestic Palmer River that flows along its side the Swansea Country Club provides a breathtaking backdrop to a great test of golf. (Curated content from www.swanseacountryclub.com)
Wampanoag Golf Course
Wampanoag Golf course was built in the the late 1920's by Algernon Barney. We are located along the scenic Palmer River in the historic Barneyville section of Swansea, Massachusetts. 200 ships in 79 years were built, along with many gun boats, whalers, and merchant ships. The 9 hole Golf course is a Links style design with open fairways and small beautiful greens. Our course will make for an enjoyable round of golf! (Curated content from www.wampanoaggolfswansea.com)
Green Valley Country Club
The Green Valley Country Club is an 18 hole championship course, located in picturesque Portsmouth, RI. (Curated content from www.facebook.com)
Goddard Memorial State Golf Course
Opened in 1939, the 9-hole golf course at the Goddard Memorial State Park features 3,021 yards of golf from the longest tees for a par of 36. The course rating is 40.0 and it has a slope rating of 90. (Curated content from riparks.com)
North Kingstown Municipal Golf Course
North Kingstown, RI
Newport National
Middletown, RI
Newport National which started out as a 200-acre landscape nursery is now deemed the "Number One Public Access Course in New England," by New England Golf Monthly. Legendary golf architect Arthur Hills designed the challenging 7,244 yard Orchard Course. The 18-hole links-style course sports sloping fairways, marshes, and strategically placed bunkers. The dramatic setting boasts views of the Atlantic Ocean and Sakonnet Passage, while challenging golfers with steady winds coming off the Narragansett Bay (Curated content from newportnational.com)
Mulligan's Island
(Range: 11 miles)
The Mulligan's Island 64 acre complex was designed, planned and built to provide fun and enjoyment for people of all ages. Whether you are a serious golfer, a baseball/softball player, or just out to have fun, Mulligan's Island provides something for everyone. It's a spectacular place to host all of your group events, from birthday parties to corporate outing. (Curated content from www.mulligansisland.com)
Hillside Country Club
Rehoboth, MA
Hillside Country Club is a fun yet challenging nine hole golf course with first class amenities, but OPEN TO EVERYONE! Located near the Massachusetts/Rhode Island border, golfers of all skill levels can enjoy 9 or 18 FUN holes before heading to the beautiful Tiki bar that overlooks the 9th hole. (Curated content from www.hillsidecountryclub.com)


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It's the 30 minutes right before you send your kids out the door and off to elementary school that just might do you in — and the day has only just begun.
Groggy little faces greet you at the breakfast table with scowls, reminding you something is never quite right. The shirt they wanted to wear cannot be found and you cut the toast into triangles rather than squares. From then on, it's the clock versus the kids; and the kids never seem to see the value in moving quickly — or rather correctly.
They eat breakfast too slow and brush their teeth too fast. They spend too much time petting the dog and staring at the cobwebs in the corner, and not enough time placing their homework in their backpack or looking for their missing coat.
Mornings like this don't usually end well. For the third time you holler, "We're late!" And someone breaks into tears — sometimes even you.
I know this scene all too well. One morning last month was particularly bad. I was spitting out commands, tasks and deadlines and my first- and fourth-grader were completely ignoring me. My role of "Morning Warden" had me snappy and mad and I sent them out the door upset and in tears.
Desperate and overwhelmed, I begged my Facebook friends for advice. I couldn't survive another morning that mimicked this one. My friends threw me a lifeline — several actually. I've gleaned the best of their advice, and hopeful it can help you too.
Other families struggle every morning just like you. It became so clear so quickly that I'm not the only parent wishing our mornings were handled differently. And I know (all too well) just how much you want to stop the nagging, even the yelling, in your own home too.
This seems so easy, yet it wasn't getting done in my home. I was reminded of the value in making lunches, packing backpacks and setting out clothes — all the night before. But even that is not the end-all answer.
While Shea said it's not perfect, she believes the system has made a serious improvement in her home.
You could also make a magnet routine board like we've tried before in our house.
Adhis Boucha of New Money Mama calls these rewards "a carrot at the end of their routine." Boucha uses "carrots" with her own children each day. "When I get my 6-year-old ready, her carrot is one-on-one praise and affirmations. When Daddy helps, she gets to watch movies on his phone while he drives her to school, and then gives her praise and affirmations at the school," Boucha said.
One mom suggested adding five minutes to the child's bedtime for wasting five minutes in the morning. Another friend said she has her kids pay her gas money to drive them to school if they miss the bus.
I realized this was an area for growth in our home. I've told the kids I will add an after-school chore if they are not ready for carpool, though it hasn't come to that yet.
An acquaintance with grown kids made it very clear that ultimately it's not my responsibility to get them out the door, it's theirs.
This is one area in which I've made the most improvement since our fiasco morning last month and already I'm seeing good, lasting improvements. I explained to the kids that I'm no longer the one in charge of their routine, they are. I mentioned I'll be available to help, even help them keep track of the clock, but ultimately it's up to them to make choices that keep them on track. And if they don't stay on track, they now know what the natural consequences will be.
As a loving parent, this is one of the most important things we can do. Sometimes we just need to take a deep breath and leave the room to avoid saying something we might regret.
I realized just how much of our morning chaos came from my own lack of preparedness. I vowed to recommit to my own successful mornings while working to create positive mornings with my children. Let's just say it's a work in progress.


text:
Alex Rodriguez to play last game Friday, to become adviser for Yanks
ByAndrew Marchand
The New York Yankees have announced thatAlex Rodriguezwill play his final game Friday then assume a position asa special adviser and instructor with the team.
Following Friday's game, Rodriguez will be unconditionally released by the Yankees from his player contract in order to sign a contract to serve as a special adviser and instructor with the Yankees through December 31, 2017.
The Yankees, who are pushing to playing younger players, are contractually obligated to pay Rodriguez the remainder of his $21 million salary for this season and the $21 million he is owed for 2017.
Statistically speaking, Rodriguez is a first-ballot Hall of Famer, but he may never get in because he was suspended a then-record full season in 2014 for performance-enhancing drug use. It was the second time he had admitted to using PEDs.
The Yankees had basically made Rodriguez a full-time bench player this season a year after he was a vital member of the lineup during his 33-home run comeback in 2015. But he never could get going in 2016, hitting just .204 with 9 home runs and 29 RBIs in 62 games. His OPS is .609.
Rodriguez, 41, has won three MVPs and has made 14 All-Star teams during his 19 full seasons in the big leagues. He is fourth on the all-time home run list with 696, trailing leader Barry Bonds (762) by 66.
The announcement comes just two days after Yankees first basemanMark Teixeiraannounced he would retire at the end of the season.
SPORTS ESPN MLB A ROD NEW YORK-YANKEES ALEX RODRIGUEZ


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My wife encouraged me. Friends encouraged me. A good friend gave me a wonderful Martin HD-35 guitar …and that encouraged me.
I was blessed, through acquaintance with that friend and his profound kindness, to have the opporthughnity to record a private musical project with a man who was once voted by Billboard magazine to be "the Top Record Producer in the World". …that encouraged me. I could not understand why he would ask me do do such a thing……but I am grateful for the "push" that gave me to get out of my shell.
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Eddie's Mind, Inc. is a Virginia State Corporation which has been in operation since 2001. Our mission is to create amazing products that captivate the imagination, inspire creativity, and foster an interest in science, technology, engineering, math, and art (STEM and STEAM).
Eddie's Mind, Inc. is located in the City of Radford, Virginia, nestled right in the heart of the New River Valley. Radford is the home of Radford University, home of the Highlanders, and just 10 miles away from Virginia Tech, the home of the Hokies and where everything started. Between 2008 and 2012, Eddie's Mind was located in Lafayette, Indiana, and prior to that, in Christiansburg, VA.
Thank you for your interest in Eddie's Mind and for visiting this website. Please like Eddie's Mind on Facebook and follow on Twitter and Instagram for even more fun and informative content.
Be sure to check back periodically; Eddie's Mind is always up to something creative.
Eddie Boes seeks to inspire others to think differently about the world around them, and to use their creativity to solve the problems of everyday life. As a part of a small world-wide community of Rolling Ball Sculpture Kinetic Artists, he balances his love for inspiring young engineers to think creatively with the desire to set the world in motion with his art.
Boes began refining his skills as a Mechanical Engineering student at Virginia Tech in Blacksburg, Virginia. During this time, he honed his problems solving skills by participating in ASME design competitions, and developed his creative and project management skills during internships with Walt Disney Imagineering. After graduation, he started Eddie's Mind, Inc. and spent three years as a Mechanical Engineering Instructor at Virginia Tech.
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This winter has been fairly aimless as far as modelling is concerned. I thought though it might be good to try and finish one old project, the conversion of a K's Siphon F to a Siphon C. (By cutting and shutting.) This has been attempted before and I referred to an old Model Railway Constructor for information. This advocated putting the body on a Ratio 4 wheel coach underframe but as I already had the Mainly Trains running gear kit as well as the Dean Churhward brake fret I thought constructing the chassis might make a better model. It also helped that the Russell book, Great Western Coaches, has several good photos.
It's not been an easy task as to enable the body to sit at the correct height (and the top of the springs to sit on the solebar) meant having to cut out part of the Plasticard floor as the W irons protrude into the body. Using the Mainly Trains fret though meant I could use the correct springs, the ones on the Ratio underframe, being designed for a coach, are too long and it does show.
The brake detail was taken from the fret. I'm not too concerned whether the layout of the gear is strictly accurate, I believe just having the rodding there and visible from normal viewing angles (no model is designed to be looked at from underneath) is sufficient. The truss rods were brass as was the stepboard, at least that won't break as inevitably happens with the Ratio plastic version. The body didn't require too much work. I added brass handrails, door handles and lamp irons. I also drilled the holes to enable access to the outside door handles if someone was locked inside. Why though did every door have to have a hole, surely one each side would suffice. The roof was an appalling fit, with the Araldite already applied I realised that it wasn't going to fit so frantically looked in my box of spares and found a plastic roof that fitted almost perfectly. No idea where it came from but even the rainstrips were curved for exactly the length of the body. In the photo below I haven't painted the roof as I want to find out how the gas pipes were laid out. It seems clear that there were two gas lamps and there must have been the associated piping. For bedside reading I'm going through my old British Railway Journals, interesting and somewhere there may be a helpful photo.
What is painfully obvious is the problems I had with the lettering. As usual I resorted to my years old Pressfix sheets but fear I might end up scraping most of it off. Any film will disappear under a coat of varnish, it's actually not as prominent as in the photo, but I see no answer to the size of the "GW" branding. It's known that the standard size was originally 25 inch and then 16 inch but what isn't so well known is that the size would be further reduced if there wasn't the space. On photographs the lettering fits neatly in the appropriate space so it must have been hand painted to fit. I reckon it's 12 inches high, and is that available? Of course not. I may even advance it earlier in time so I can safely use the 25 inch letters which were on the louvres along with a ridiculously large number, which is on the Pressfix sheet. That may however compromise the either side brake handles which I've fitted.
Incidentally the wagon is sitting on the trackwork I made last year. The wooden sleepers need further painting but actually look quite good. What is not so good is the gap between the bottom of the rail and the sleeper, inevitable as the rail is soldered to a protruding rivet.
Finally, I understand there is an article in Model Railway Journal detailing a similar conversion. I gave up on that magazine at issue 60 as I felt, no I know, it was way beyond my capabilities and I was quite uncomfortable with the sniping and backbiting in the letters page which has to be seen to be believed.
Not sure what I'll do next. I have a Stephen Poole 64xx 0-6-0PT body painted by Larry Goddard along with a modified Cotswold chassis. That requires a decent gearbox to get going although the body is not as detailed as the Bachman offering. There's also the M&L 2021 0-6-0ST which has sat partially completed for years. However as we're looking to downsize in a few years time I'm not sure whether it's worth doing too much as there won't be space for Blagdon Mark II. The points for which are shown in the photo. Decisions, decisions.
Next entry Siphon C - an update and thoughts on the future.
Hi John, that's a really good conversion. When I looked at the photo before reading the text I thought it was the Shirescenes brass kit. I started the same conversion long ago (never finished it), and I remember how it was not as straightforward as it sounded. The roof was a bit of good luck for you (maybe from a Ratio 4-brake third?). I know all too well those frantic moments when the glue is on and you realize something is wrong and must be fixed very quickly!
You mention downsizing. It would be a shame to see Blagdon disappear altogether. Is it possible to apply a modular approach maybe? I have recently decided to do something similar for my layouts, i.e. quite small boards that can be worked on one at a time and joined together on special occasions. They don't require much storage space if kept flat and low (e.g. stacked in bedrollers).
Anyway, the loco projects sound interesting, not least the 2021ST.
presuming your Siphon is 4mm, are the 3mm scale suppliers able to help regarding transfers?
I have a very faint recollection of seeing an announcement some years ago from someone who had the same problem and had made a smaller set of GW transfers available - but it may just be wishful thinking.
I have just checked to see if the Fox transfers happened to be smaller (they show height on their website and you never know). But they are 5.3 mms like the HMRS ones - as they should be of course.
The only option I can think of other than Simon's 3mm suggestion is to modify the letters at the edges before fitting them, i.e. pruning them slightly.
That's what happens when you don't eat your porridge.
Many thanks for your comments, interesting to know what you have for breakfast. I'm a muesli man myself but like porridge when it's colder.
I have made some progress and will be doing a Siphon C update shortly.
Might be worth dropping Railtec a line re transfers, they do them for a Siphon F and G, so its possible the artwork could be reduced to provide the smaller size.


text:
Q: TCHAR символы не отображаются корректно Помогите пожалуйста разобраться. У меня есть простой код, в качестве аргумента командной строки подаю "Привет".
#include <stdio.h>
#include <tchar.h>
#include <Windows.h>
#include <locale.h>

int _tmain(int argc, TCHAR* argv[])
{
    TCHAR buf[100];

    _fgetts(buf, 100, stdin);

    _tprintf(TEXT("\nargv[1] %s\n"), argv[1]);
    _tprintf(TEXT("%s\n"), buf);
}

В консоль я пишу "Мир" и вижу следующий результат:

Если добавить setlocale(LC_ALL, ""), то результат уже вот такой:

Как мне корректно вывести обе строки? _setmode(_fileno(stdout), _O_U16TEXT) тоже пробовал. Использую VS 2015, в насторйкай стоит Use unicode characters.

A: TCHAR - это универсальный char. Который, определён как:
#ifdef _UNICODE
typedef wchar_t TCHAR;
#else
typedef char TCHAR;
#endif

Что это значит? Это значит, что всё зависит от настроек проекта.
Посмотрите, что вы выставили, вот тут.

Макрос _UNICODE будет включен если вы укажите «Use Unicode Character set» и тогда тип TCHAR будет определен как wchar_t. Когда же вы укажите «Use Multi-byte character set» TCHAR будет определен как char.

redpajama_set_name: RedPajamaStackExchange


text:
All That is Not a Crime
There is no law against sympathising with an ideology, even Maoist
Dilip D'Souza
A few months after the 9/11 attacks, I attended a press conference of some kind in Mumbai, I can't remember what. Towards the end, an intrepid journalist put up his hand and yelled: "They are displaying posters of Osama bin Laden! When are you going to arrest them?"
I wasn't sure who he meant by 'they', nor even who he meant by 'you' — the conference had been called by two retired judges — but I was intrigued by this demand. So, when I got a chance, I made my way through the room to his side and asked: "What do you want them arrested for, again?"
"For displaying posters of Osama!"
"Got it," I said. I had heard him correctly the first time. "But tell me, what's the crime here?"
"Displaying Osama's posters!" he spluttered.
"But what's the crime in that?"
Unable to splutter any more, he looked at me, bewildered and incredulous that someone might actually challenge his demand.
"There's a law!" he said finally. "Give me your number. I'll call you tomorrow with what it is, exactly."
I gave him my number and made sure to take his as well. A few days later, there was nothing from him, so I called. He repeated his promise to tell me 'tomorrow'. As you can guess, most of 17 years later, he hasn't called.
Why? Because there is no such law. There is no law against displaying a poster of anyone, Osama included. I mean, I'm sure the man finds Osama and/or his images repellent — so do I — but not even such distaste makes merely putting up a poster of Osama a criminal act. Nobody who knows the law would, in their right mind, seek to arrest someone for doing so.
In fact, I believe it's not even about knowing the law. It's about knowing the spirit and meaning of democracy — the form of government that, for better or worse, for every imperfection in theory and practice, we Indians have chosen. In a democracy, you cannot have a law that makes displaying an image of a crime. It's that simple.
In much the same way as that journalist did over Osama images, plenty of people loudly demand punishment for those who have 'Maoist sympathies'. This call found renewed vigour, of course, at the end of August, when the Pune police raided the homes of activists and lawyers across the country and sought to take five into custody. This is not the place to dissect the reasons the cops proffered for this action, to the extent they were able to proffer any. Instead, I want to first focus on the substantial approval their actions found among citizenry of a certain persuasion. You know whom I mean: folks who like to wave about epithets like 'sickularist', 'libtard' and 'urban Naxal'. For these people, the epithet is enough. Using it absolves them of any fidelity to logic, reason, or indeed the law itself. So, it's no wonder they graduate from what they think is abuse to what they think is a crime to be punished, and in the process offer me plenty of moments similar to the one with the journalist who never called.
"Maoist sympathisers", they say, lip curling. "Must be arrested."
Not during a press conference, but a couple of days in late August, I had arguments on Twitter with a few people — just like with the journalist who never called. "Dream up whatever names you like, I said in a tweet — 'urban Naxal', 'half-Maoist' and 'sickularist'". Those are just words, after all, and if people want to fling them about that's their prerogative. But "even if you have 'Maoist sympathies', what is your crime?"
Here's a sample of the hand-waving that resulted, via tweets, direct messages and even email:
* "Having Maoist sympathies [is] not a great idea."
* "Supporting Maoists may not be a direct crime but enabling them to unleash violence against the state certainly is."
* "Sedition."
* "Being a Naxal is a crime and… Maoists need to be terminated asap."
* "Being a Maoist sympathiser is ughh."


Toyota Motor North America (TMNA) recently announced plans to build a new fuel-cell power generation plant with a hydrogen fueling station to support its operations at the Port of Long Beach in Long Beach, California. The Tri-Gen facility will use bio-waste sourced from California agricultural waste to generate water, electricity and hydrogen.
The facility will be 100-percent renewable and supply all Toyota fuel-cell vehicles moving through the port, including new deliveries of the Mirai sedan and Toyota's Heavy-Duty hydrogen fuel-cell class 8 truck. To support these refueling operations, Toyota has also built one of the world's largest hydrogen fueling stations onsite.
When the facility comes online in 2020, it is expected to generate approximately 2.35 megawatts of electricity and 1.2 tons of hydrogen per day, which is enough to power 2,350 average-sized homes and meet the daily driving needs of nearly 1,500 vehicles.
"For more than 20 years, Toyota has been leading the development of fuel-cell technology because we understand the tremendous potential to reduce emissions and improve society," said Doug Murtha, Toyota's group vice president of strategic planning. "Tri-Gen is a major step forward for sustainable mobility and a key accomplishment of our 2050 environmental challenge to achieve net-zero CO2 emissions from our operations."
Going forward, Toyota is committed to supporting the development of a consumer-facing hydrogen infrastructure to realize the potential of fuel-cell vehicles, including partnering with companies like Shell to establish new hydrogen stations.
For more information, visit www.toyotanewsroom.com.


text:
/*Code file details.*/
#include "ccroot/samples/factorial.h"
#include "ccroot/common/some_lib.h"
#include <stdio.h>

namespace ccroot_samples {

void print_math_number() {
  printf("%.5f\n", ccroot_common::get_math_number());
}

int factorial(int n) {
  if (n < 0) {
    return ccroot_common::get_special_number();
  }
  int product = 1;
  for (;n > 0; --n) {
    product *= n;
  }
  return product;
}

}  // ccroot_samples

redpajama_set_name: RedPajamaGithub


text:
https://sputniknews.com/20140327/UN-Vote-on-Crimea-Proves-Russia-is-Not-Isolated---Envoy-Churkin-188817012.html
UN Vote on Crimea Proves Russia is Not Isolated - Envoy Churkin
The vote by the United Nations on a resolution declaring Crimea's referendum invalid clearly showed that Russia is not alone on the world arena, the country's... 27.03.2014, Sputnik International
https://cdnn1.img.sputniknews.com/img/18857/08/188570863_0:0:0:0_1920x0_80_0_0_dd9a162fce9d8680466b4dedf2efde86.jpg
crimea's fate, the united nations (un), newsfeed
© RIA Novosti . Andrey Stenin / Go to the mediabankCrimean Parliament
© RIA Novosti . Andrey Stenin
The vote by the United Nations on a resolution declaring Crimea's referendum invalid clearly showed that Russia is not alone on the world arena, the country's UN envoy said Thursday.
UNITED NATIONS, March 27 (RIA Novosti) - The vote by the United Nations on a resolution declaring Crimea's referendum invalid clearly showed that Russia is not alone on the world arena, the country's UN envoy said Thursday.
The 193-nation UN General Assembly passed the non-binding resolution with 100 votes in favor, 11 against, and 58 abstentions.
Armenia, Belarus, Bolivia, Cuba, North Korea, Nicaragua, Sudan, Syria, Venezuela and Zimbabwe joined Russia in rejecting the document.
"The result is rather satisfying for us as we have won a moral and a political victory," Vitaly Churkin said.
"It clearly shows that Russia is not isolated [by the international community]," the diplomat said.
In the wake of the Ukrainian crisis, Crimea sought reunification with Russia, a move backed by over 96 percent of voters in the March 16 referendum.
The region, previously an autonomous republic within Ukraine, became part of Russia last week.
Crimea's Fate
The United Nations (UN)


text:
What Is Digital Camera Essay?
July 6, 2022 by Billie Lopez
What is digital camera in short answer?
What is digital camera used for?
What is digital camera Class 8?
What is digital camera and its features?
Why is the camera important?
Why are cameras used today?
What is the features of a camera?
What is the name of first digital camera?
What was the first digital photo?
Why is the camera a good invention?
How do cameras affect our lives?
How digital camera changed our world?
What is pro camera?
A digital camera is a device that takes pictures and stores them in a card. Digital cameras use digital optical components to register the intensity and color of light in order to convert it into data.
A digital camera is a tool that can be used to take photos and store them on a computer. A digital camera can be used to transfer pictures from the camera to the computer.
Digital cameras store pictures in electronic memory instead of film. Digital cameras can hold more pictures than film cameras.
There are cameras that use digital technology. There is a still camera that records pictures. Digital cameras record numbers for storage on a flash memory card or optical disk, which is different from analogue cameras that record variable intensities of light.
Everything can be seen by cameras. They are able to see into the depths of the ocean and into space. They freeze moments of time so they can be enjoyed later. People were able to see the world in a different way.
See also What Type Of Digital Camera Has A Detachable Lens?
It's important that we have cameras in our lives. They are used to document the world around us.
Enhance your images, reduce noise for photos shot in low-light environments, sharpen blurry elements, capture true colors and much more with the help of an artificial intelligence camera. It does not need hardware components to serve many purposes.
The Dy cam Model 1 was the first digital camera to be sold in the US. Similar to the cameras we later became familiar with, this camera used a CCD image sensor, stored pictures digitally and connected directly to a PC for download, just like the cameras we later learned about.
Michael Francis Tompsett produced the first color digital photograph in 1972 and it was featured on the cover of Electronics Magazine. His wife was depicted in the picture.
The digital camera is an invention that allows us to reminisce instantly. The invention of the camera is being used by people all over the world. The camera can hold a lot of photos.
We start to look at photos as confirmation of things we have done and events we have attended because of the way cameras have changed the way we remember. The increased use of camera phones has resulted in people taking photos of everything they do in a day.
Digital cameras and mobile phones were able to produce better pictures. Digital photography makes it possible for the individual to assess the quality of the image immediately after it's been taken and for easier photo editing as well, ensuring that a perfect picture is produced every time.
See also 8 Best Digital Camera For Close Up Work
There are four main types of cameras. interchangeablelenses are found in DSLRs and the mirrorless models.
Pro mode gives you control of the camera so you can take the picture and video you want. Manually adjust settings such as ISO, shutter speed and exposure levels, express your own style with filters, or adjust the white balance settings to accommodate different lighting conditions are some of the things that can be done.
Categories Digital Camera Post navigation
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حیدری مقدم, علی, یوزباشی زاده, حسین, دشتی زاد, ولی اله, کفلو, علی. (1394). سنتز ترکیب بین فلزی نانوساختار Zr3Co با خاصیت جذب بالا به روش آلیاژسازی مکانیکی. فرآیندهای نوین در مهندسی مواد, 9(3), 25-40.
علی حیدری مقدم; حسین یوزباشی زاده; ولی اله دشتی زاد; علی کفلو. "سنتز ترکیب بین فلزی نانوساختار Zr3Co با خاصیت جذب بالا به روش آلیاژسازی مکانیکی". فرآیندهای نوین در مهندسی مواد, 9, 3, 1394, 25-40.
حیدری مقدم, علی, یوزباشی زاده, حسین, دشتی زاد, ولی اله, کفلو, علی. (1394). 'سنتز ترکیب بین فلزی نانوساختار Zr3Co با خاصیت جذب بالا به روش آلیاژسازی مکانیکی', فرآیندهای نوین در مهندسی مواد, 9(3), pp. 25-40.
حیدری مقدم, علی, یوزباشی زاده, حسین, دشتی زاد, ولی اله, کفلو, علی. سنتز ترکیب بین فلزی نانوساختار Zr3Co با خاصیت جذب بالا به روش آلیاژسازی مکانیکی. فرآیندهای نوین در مهندسی مواد, 1394; 9(3): 25-40.
ترکیب جاذب بین فلزی نانو ساختار Zr3Co به صورت پودر، به دلیل داشتن سطح ویژه بالا، نسبت به جاذب های پوششی و بالک دارای ظرفیت بالای جذب گازهای فعال بخصوص گاز هیدروژن می باشد. در این تحقیق ترکیب بین فلزی نانوساختار Zr3Co به روش آلیاژسازی مکانیکی از پودر عناصر اولیه تولید گردید. در فرآیند تولید، نسبت گلوله به پودر 1:15 و سرعت چرخش کاپ آسیاب سیارهای rpm300 در نظر گرفته شد. پس از 16 ساعت آسیاکاری، پودر با دانه بندی آمورف، با ترکیب مورد نظر بدست آمد. تغییرات فازی، مشخصات ریز ساختاری و مکانیزم تشکیل ترکیب Zr3Co در اثر فرایند آلیاژسازی مکانیکی با استفاده از پراش اشعه ایکس (XRD)، میکروسکوپ الکترونی روبشی (SEM)، آنالیز EDS و میکروسکوپ الکترونی عبوری (TEM) مورد بررسی قرار گرفت. نتایج نشان داد که پس از گذشت زمان بهینه آلیاژسازی مکانیکی و نیز اعمال فرایند فعالسازی مناسب، پودر ترکیب بین فلزی Zr3Co با کریستالیت هایی با اندازه ی 10 تا 20 نانومتر بدست آمد. بررسی ها نشان داد که در مرحله اول، ترکیب بین فلزی Zr3Co به واسطه نفوذ اتم های کبالت در ساختار زیرکونیوم در اثر آلیاژسازی مکانیکی تشکیل می گردد. سپس در مرحله دوم با اعمال فرایند فعالسازی بهینه، شکل گیری و رشد ترکیب بین فلزی Zr3Co در اثر نفوذ اتمهای زیرکونیوم و کبالت، ادامه می یابد.
 C. Benvenuti, "Non-evaporable getters: from pumping strips to thin film coatings", In: Proc. Of EPAC–1998, Stockholm, Sweden, pp. 200, 1998.
 B. Ferrario, "Chemical pumping in vacuum technology" Vacuum, Vol. 47, pp. 363-370, 1998.
 C. Benvenuti, P. Chiggiato, F. Cicoira & V. Ruzinov, "Nitriding decreasing surface outgassing by thin film getter coatings", Vacuum, Vol. 50, pp. 57–63, 1998.
 Y. Zhang, XY. Wei, CH. Mao, TF. Li & P. Yuan, "Preparation and pumping characteristics of Ti–7.5 wt. % Mo getter", J Alloys Compd, Vol. 485, pp. 200–203, 2009.
 B. Chabot & E. Parthe, "Sc3Co, a new structure type related to Fe3C and Re3B by periodic unit-cell twinning", Acta Cryst, Vol. B34, pp. 3173–3177, 1978.
 AE. Dwight & TE. Klippert, "Variants of Zr3Co and their superconducting critical temperature", Mat Res Bull, Vol. 13, pp. 595–598, 1978.
 IY. Zavaliy, RV. Denys, R. Cˇerný, IV. Koval'chuck, G. Wiesinger & G. Hilscher, "Hydrogen-induced changes in crystal structure and magnetic properties of the Zr3MOx (M = Fe, Co) phases", J Alloys Compd, Vol. 386, pp. 26–34, 2005.
 R. Pottgen, M. Lukachuk & R. Hoffmann, "Re3B type intermetallics–crystal chemistry, bonding and properties", Z Kristallogr, Vol. 221, pp. 435–44, 2006.
 SF. Matar, "Drastic changes of electronic, magnetic, mechanical and bonding properties in Zr2Co by hydrogenation", Intermetallics, Vol. 36, pp. 25–30, 2013.
 SF. Matar, "Drastic changes in electronic, magnetic, mechanical and bonding properties from Zr2CoH5 to Mg2CoH5", J Solid State Chem, Vol. 200, pp. 209–214, 2013.
 SAES Getter, "Technical report. St 171 and St 172 sintered porous Getters".
 SAES Getter, "Technical report. St 101 none-evaporable Getters".
 SAES Getter, "Technical report. St 707 none-evaporable Getters activatable at low temperatures".
 M. Coleman, D. Chandra, J. Wermer, TJ. Udovic, "Zirconium iron disproportion during hydriding reactions in nuclear gettering operation", Adv Mater Energy Convers II. TMS (The Minerals, Metals & Materials Society), 2004.
 EJ. Larson, KJ. Cook, JR. Wermer & DG. Tuggle, "Nitriding reactions with a Zr–Mn–Fe metal getter", J Alloys Compd, Vol. 330–332, pp. 897–901, 2002.
 SAES Getter, "Technical report. CapaciTorr Pumps-MK5 Series".
 L. Detian & C. Yongjun, "Applications of non evaporable getter pump in vacuum metrology", Vacuum, Vol. 85, pp. 739–743, 2011.
 H. Londer, GR. Myneni, P. Adderley, G. Bartlok & W. Knapp, "New high capacity getter for vacuum insulated mobile LH2 storage tank systems", Vacuum, Vol. 82, pp. 431–434, 2008.
 G. Valdre, D. Zacchini, R. Berti, A. Costa & A. Alessandrini, "Nitrogen sorption tests, SEM-windowless EDS and XRD analysis of mechanically alloyed nanocrystalline getter materials", Nanostruc Mater, Vol. 11, pp. 821–829, 1999.
 D. Petti, M. Cantoni, M. Leone, R. Bertacco & E. Rizzi, "Activation of Zr–Co–rare earth getter films: An XPS study" Appl Surf Sci, Vol. 256, pp. 6291–6296, 2010.
 JG. Bu, CH. Mao, Y. Zhang, XY. Wei & J. Du, "Preparation and sorption characteristics of Zr–Co–RE getter films", J Alloys Compd, Vol. 529, pp. 69–72, 2012.
 Y. Hongyan, W. Jinku & G. Chuxi, "The improvement of the volume ratio measurement method in static expansion vacuum system", Physics Procedia, Vol. 32, 492–497, 2012.
 P. Jeshin, W. Kim & M. Won, "Hydrogen sorption in zirconium and relevant surface phenomena", Mater Trans, Vol. 48, pp. 1012–1016, 2007.
 H. Okamoto, "Co-Zr (Cobalt-Zirconium)", JPEDAV, Vol. 32, pp. 169–170, 2011.
 NC. Abhik, R. Vivek, V. Udhayabanu & BS. Murty, "Influence of heat of formation of B2/L12 intermetallic compounds on the milling energy for their formation during mechanical alloying", J Alloys Compd, Vol. 465, pp. 106–112, 2008.
 EIC. Suryanarayana & VV. Boldyrev, "The science and technology of mechanical alloying", Mater Sci Eng A, Vol. 304–306, pp. 151–158, 2001.
 M. Alizadeh, G. Mohammadi, GHA. Fakhrabadi & MM. Aliabadi, "Investigation of chromium effect on synthesis behavior of nickel aluminide during mechanical alloying process", J Alloys Compd, Vol. 505, pp. 64–69, 2010.
 AH. Molladavoudi, S. Amirkhanlou, M. Shamanian & F. Ashrafizadeh, "The production of nanocrystalline cobalt titanide intermetallic compound via mechanical alloying", Intermetallics, Vol. 29, pp. 104–109, 2012.
 AH. Taghvaei, M. Stoica, G. Vaughan, M. Ghaffari, S. Maleksaeedi & K. Janghorban, "Microstructural characterization and amorphous formation in Co40Fe22Ta8B30 powders produced by mechanical alloying", J Alloys and Compd, Vol. 512, pp. 85–93, 2012.
 R. Ashiri, "A Mechanistic study of nanoscale structure development, phase transition, morphology evolution, and growth of ultrathin barium titanate nanostructured films", Metall Mat Trans A, Vol. 45, pp. 4138–4154, 2014.
 R. Ashiri, "From inorganic/organic nanocomposite based on chemically hybridized CdS–TGA to pure CdS nanoparticles", J Ind Eng Chem, DOI: 0.1016/j.jiec.2014.05.002.
 R. Ashiri, A. Moghtada & R. Ajami, "Sonochemical synthesis of SrTiO3 nanocrystals at low temperature", Int J Appl Ceram Technol, DOI:10.1111/ijac.12315, in press.


Pigs do fly - A1GP in Mexico cancelled and Spanish F1 GP on flu watch.
The A1 GP series cancelled its final race of the 2008-09 season scheduled for Mexico on May 23-24, blaming the serious concentration of swine flu in that country and highlighting the advisory from the UK Foreign Office to cancel non-essential travel to the country.
The tough decision came as the World Health Organisation raised its swine flu alert to a worrying phase five, with the WHO chief Margaret Chan foreshadowing an imminent pandemic following the outbreak.
One step short of a full pandemic, phase five is a strong indicator that the time frame to put into place all the necessary mitigation measures is very short, according to the WHO.
"To say we are disappointed to have to make this call is an understatement," said A1GP Chairman, Tony Teixeira. "When the news of the health problems broke last week we made sure we kept ourselves up to date with the latest information. It soon became obvious this was not an isolated health risk, and when the UK Foreign Office put out its advisory and the World Health Organization raised the level of influenza pandemic alert, that was when we had to make our decision.
"We must have the safety of all members of the A1GP community as well as the thousands of loyal fans in Mexico City as our prime concern," he added.
The A1GP cargo was due to be flown out to Mexico directly after the Brands Hatch race and so this was another factor in the decision. "If we had flown our cars out and not been able to send the teams to run them it would have been a waste of time and money.
"This cancellation does not impact on the future of the series and once Brands Hatch is over we shall be concentrating on Season Five, for which plans are already well advanced," said Teixeira.
The cancellation of the Mexican round means that this weekend's A1GP meeting at Brands Hatch becomes the final round of the championship. And the decider.
Three teams - Switzerland, Ireland and Portugal - can take the crown.
A1GP is the first major motor sporting fixture to be affected by the swine flu outbreak, but it may not be the last.
It has been suggested that attendances at this weekend's Spanish Motorcycle Grand Prix at Jerez, which may normally attract a three-day total of 240,000, could be significantly reduced due to spectators' health fears.
Formula One may also fall victim. Catalunya is the most infected swine flu region in Europe, and some are predicting that the Spanish Grand Prix in Barcelona on May 10 could be F1's first-ever spectator-free event. That possibility will sorely test Bernie Ecclestone's resolve. He's already concerned about the global economic situation.
The circuit's website suggests that 60,000 tickets have been pre-sold.
Gee, perhaps the health of the planet's inhabitants may even come before the health of Ecclestone's wallet.


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