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Christmas Eve Children's service from St. John Lutheran Maribel on Vimeo.
18-12-23 Advent 4 Revelation 12 1-6 from St. John Lutheran Maribel on Vimeo.
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Saints Triumphant - Hebrews 10:11-18 from St. John Lutheran Maribel on Vimeo.
Reformation - Revelation 14 6-7 from St. John Lutheran Maribel on Vimeo.
Pentecost 23 - Mark 10:46-52 from St. John Lutheran Maribel on Vimeo.
Pentecost 22 - Mission & ministry Sunday - Acts 13:38-48 from St. John Lutheran Maribel on Vimeo.
Pentecost 21 - Philippians 4:14-20 from St. John Lutheran Maribel on Vimeo.
Pentecost 19 - 1 Chronicles 29:10-20 from St. John Lutheran Maribel on Vimeo.
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18-08-26 Pentecost 14 Hebrews 11 24-28 from St. John Lutheran Maribel on Vimeo.
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Pentecost 12 - John 6 41-51 from St. John Lutheran Maribel on Vimeo.
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Examination Sunday - April 29, 2018 from St. John Lutheran Maribel on Vimeo.
Isaiah 25:6-9 Easter Day from St. John Lutheran Maribel on Vimeo.
Hebrews 9:11–14 Good Friday from St. John Lutheran Maribel on Vimeo.
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Mark 11:1-10 - Palm Sunday from St. John Lutheran Maribel on Vimeo.
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John 14:1-4 - Easter 5 - MLHS Sunday from St. John Lutheran Maribel on Vimeo.
John 10:1-10 - Easter 4 (Confirmation) from St. John Lutheran Maribel on Vimeo.
Examination Sunday - Easter 3 from St. John Lutheran Maribel on Vimeo.
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Colossians 3:1-4 - Easter Day from St. John Lutheran Maribel on Vimeo.
John 20:1-8 - Easter Sunday Dawn from St. John Lutheran Maribel on Vimeo.


text:
Q: Listing inside tabularx? I have a tabularx environment where I want to put an lstlisting into. But Latex fails to compile it. Testcase:
\documentclass[a4paper,12pt]{scrreprt}
\usepackage[utf8x]{inputenc}

\usepackage{tabularx}
\usepackage{listings}

\begin{document}
\begin{tabularx}{\textwidth}{lX}
 First column &
 \begin{lstlisting}
  Sample text
 \end{lstlisting} \\
\end{tabularx}

\end{document}

I always get a ! Argument of \lst@next has an extra }. Two questions:

*

*What's causing it?

*How can I fix it?

A: You can use:
\begin{tabularx}{\textwidth}{lX}
 First column &
\begin{lstlisting}^^J
  Sample text^^J
\end{lstlisting} \\
\end{tabularx}

Generally speaking, all verbatim-like commands and environments cannot be directly used in parameters of other commands. In tabularx environments, X columntype works actually as macro arguments(it reads the cell contents into boxes first). listings package partially fixes it, but still has some limits. See "5.1 Listings inside arguments" of manual of listings for more information.

A: *

*tabularx has to read its content before the macros are executed, so it doesn't support verbatim code.

*Do the listing outside tabularx
a) Use an external file with \lstinputlisting. This can be done in combination with filecontents to generate this file automatically:
\documentclass[a4paper,12pt]{scrreprt}
\usepackage[utf8x]{inputenc}

\usepackage{tabularx}
\usepackage{listings}
\usepackage{filecontents}

\newsavebox\mybox
\begin{document}
% Writes content to temp file
\begin{filecontents*}{\jobname.abc}
 Sample text
\end{filecontents*}
% Or just add the 'listings' environment here
% and use `\input` instead.

\begin{tabularx}{\textwidth}{lX}
 First column &
 \lstinputlisting{\jobname.abc} \\
\end{tabularx}

\end{document}

b) Store the listing in a box and use the box inside tabularx:
\documentclass[a4paper,12pt]{scrreprt}
\usepackage[utf8x]{inputenc}

\usepackage{tabularx}
\usepackage{listings}

\newsavebox\mybox
\begin{document}
\begin{lrbox}{\mybox}
 \begin{lstlisting}
   Sample text
 \end{lstlisting}
\end{lrbox}

\begin{tabularx}{\textwidth}{lX}
 First column &
  \usebox\mybox \\
\end{tabularx}

\end{document}

redpajama_set_name: RedPajamaStackExchange


text:
Page address: https://www.mnsu.edu/news/read/?id=old-1391196322&paper=topstories
NSIC Nullifies 2012 Minnesota State Mankato Football Titles
University appeal denied by conference.
Minnesota State University, Mankato Media Relations Office News Release, 1-31-2014
Mankato, Minn. – The Northern Sun Intercollegiate Conference Board of Directors announced today that it has denied Minnesota State University, Mankato's appeal of an earlier NSIC decision to nullify the university's 2012 football overall and South Division championships for a secondary NCAA rules violation.
The NCAA violation, which involved two student-athletes who repeated a course in the spring 2012 semester, was self-reported to the NCAA and NSIC by Minnesota State Mankato.
After reviewing the case, the NCAA imposed a $2,500 fine on Minnesota State Mankato for the infraction but determined it would not impose any additional penalties to the university, its teams or student-athletes.
Subsequent to the NCAA decision on the fine that Minnesota State Mankato received, the NSIC determined that conference bylaws required the league to also apply nullification penalties to the university's 2012-13 league finishes in which the two student-athletes were involved. Minnesota State Mankato appealed the NSIC decision, but the conference board of directors denied the appeal.
The end result is that instead of winning the 2012 overall NSIC and South Division football titles, Minnesota State Mankato will finish fourth overall and second in the South Division based on a winning percentage adjustment the NSIC will make using a league formula.
The Mavericks' 2012 conference won-loss records will remain 11-0 overall and 7-0 in the South Division. Minnesota State Mankato's 13-1 overall season record will be unaffected, as will its standing as an NCAA Division II national football semifinalist in 2012.
The NSIC nullifications will also apply to 2012-13 season team and individual NSIC men's track and field championship point totals as well as conference all-sports standings for the 2012-13 year. However, because of the overall margin of victory, Minnesota State Mankato's championships will still stand in each of these, although individual results and records impacted by these penalties will no longer be recognized.
The secondary rules violation that led to the NCAA fine and NSIC nullification was self-reported to the NCAA by Minnesota State Mankato immediately after the university learned of the administrative error, which occurred because of a course title change that was not identified through the University's normal screening process to detect course duplication.
The automated screening process has now been corrected and no other issues were identified after a manual review of the academic transcripts of all currently enrolled student-athletes.

redpajama_set_name: RedPajamaCommonCrawl


text:
Glorious Noise Interview with Matt Sharp
July 28, 2003 Jake Brown 12 Comments
Let's get up and leave this town
I just want to go right now…
We'll find some new place nice
Some other city or the countryside…
—"Move On" by the Rentals, 1995
It's been almost a decade since the world first got to know Matt Sharp. He was the goofy bass player in Weezer, jumping around like a maniac and singing those falsetto harmonies. Within the Cult of the Weez, it's understood that Sharp gave that band its soul, and things were just never the same after he left to focus his attention on his own band, the Rentals. Although his "side-project" was initially laughed off as a one-joke novelty act, their 1995 debut album Return of the Rentals has held up great since its release; it sounds better today than it did back then.
Things got a little crazier with 1999's all-over-the-place follow-up, Seven More Minutes, with its sweeping production and British guest-stars (the guy from Blur, the chick from Elastica). Since then, Sharp has taken a step back from the craziness, from the busy-ness, from the business. Back to the country. He's got a new, 4-song solo ep out now on an indie label. Glorious Noise caught up with him before his show at Gunther Murphy's in Chicago on June 22, 2003, and asked him how he hooked up with In Music We Trust…
Sharp: It just started because of an interview I did with Alex, who runs the label, and we just started talking about artwork quite a bit, and the whole interview was really about that. And it had something to do with the situation with the internet and Kazaa and that kind of stuff, and my feeling that as music is being made more freely available, the record companies are combating that by making the packaging cheaper and cheaper and cheaper and making their product less tangible, and all that kind of stuff.
GLONO: Disposable.
Sharp: Yeah, exactly. The paper's thinner, whatever, it's less elaborate, as opposed to getting a piece of vinyl where the image of the person you're listening to is almost your size. And you almost felt like you had something you could look at and deal with while you were listening to the music. So that was what I was on a rant about that day, so he basically said if you ever want to do an album I'll let you do whatever you want with it.
GLONO: How'd you decide on an ep rather than a full-length?
Sharp: Well, the record is quite a big departure for me, for I guess what I'm more well know for, with the Weezer thing and the Rentals. The new record is very patient, sparse and slow moving, so I figured it would easier to ease people into it.
GLONO: Is the full album going to come out?
Sharp: Absolutely. It should be out by the end of September we're hoping for at this point. The hope was for the beginning of this year but I changed my ideas of how I wanted to deal with it.
GLONO: Do you have any plans to do any new recording?
Sharp: I'm planning this summer to do some recording with my friend Maya [Rudolph] who used to work with me a lot in the Rentals stuff. I don't know what the result is going to be of it but we're going to do some recording. And I'm always recording—we recorded a little song on the last tour up at a friend of mine's place, and that kind of thing.
GLONO: The new stuff instrumentally is a departure, but they still sound like Matt Sharp songs.
Sharp: But sonically is the thing. There's definitely some music on the new record that doesn't follow the same sort of guidelines as the music I've done before. There's some longer instrumental pieces, and there are some songs that are I guess devoid of choruses, and that kind of thing. But essentially, I think we all have a few themes that run through our lives and that's usually what comes up over and over.
GLONO: What led to the departure? Dropping the stuff and stripping it down?
Sharp: I think the main thing is that when you first start a band, as when we first started Weezer in '92, I think at the beginning of any band when you're starting out you're in a much more analytical place where you were just asking a lot of questions of why the music that you enjoy listening to, why you're attracted to certain things and why are you not attracted to others, and it's kind of a very introspective time where you're just asking and asking these questions over and over again and trying to figure out how you can get to the place where you can make the kind of music you also want to hear from others. And for us we got to that place and then you kind of go into more of an automatic mode where you're just cruising along and doing that thing that you came up with. And as time goes on, you're still cruising along and doing the same kind of music although maybe the music that you're into is different, the paths starts to go off from each other, and you never re-ask yourself those questions. For me I found that I was doing just that and playing a kind of music that was very different from the kind of music that was in my record collection. And I found that in most of my peers.
GLONO: Is that aimed specifically at the Weezer guys?
Sharp: No, no. It has nothing to do with them. It's just literally everyone I know.
GLONO: Who listens to the same stuff they listened to ten years ago?
Sharp: No, no, it's not that. It's just that what I mean to say is that I get into a car with a friend of mine who's in let's say a pop-punk band and you look at their record collection and it has nothing to do with the kind of music they're playing. And for me that was really the case. And that just didn't feel too honest for me so I just decided that it was time for me to start re-asking those questions. So I went to this small town called Leiper's Fork and it was a good place to cut all the ties and disconnect a bit.
GLONO: And get out of L.A.?
Sharp: Just get out of the world a little bit. And we didn't bring any televisions with us or any radios or anything of that sort. And we were left to our own devices to see what we could come up with, and basically just spend a lot of time asking questions.
GLONO: So to kind of go back to that place where like when you're first starting to figure out what kind of music you want to make?
Sharp: Yeah, I guess that's a way to put it. It's just also not knowing how to get to that place anymore.
GLONO: So when you went, did you bring all your gear or was it just acoustic guitars?
Sharp: Yeah, well I knew it was going to be in that headspace, and I knew that if anything it was going to be a much sparser record than it is, and it's a pretty sparse record.
GLONO: So what kind of stuff is in your record collection that's not so different from what your new record is?
Sharp: I think the big hero for me in my life was a guy named Mark Hollis. He came from a new wave band in the eighties [Talk Talk] and then took some time off and went away and recorded to me three of the most beautiful records I've ever heard. And he made a record called Spirit of Eden which was under the Talk Talk name and another record called Laughing Stock, and then he made a solo record a couple years back, and they all belong in the same emotional place. Those records for me are, like, they just crush you. He's always been a person I've looked to for inspiration in that way.
GLONO: What led to having the audience sit down and bring pillows, and inviting people on stage with you when you play?
Sharp: Some of that is practical and some of that is… The music is so slow sometimes that for me, if I went to see it I wouldn't want to stand because I'd just get tired. So there's a practical element to the whole thing. And if you're sitting on the floor of a club, or on the stage—if anybody's seen most of the stages of the world they realize they don't want to put their ass on it, so you might as well bring something to keep yourself clean. And the other part of it is that I just don't enjoy having that much distance from everybody with doing this kind of music. It doesn't seem to fit in with what we're trying to do. It definitely wouldn't if there's a big barricade, the literal barricade and [the figurative one]. And the whole point for me was to make sure that these shows were as honest and direct as possible and to not build so many barriers between the performer and the audience.
GLONO: Do you think that's going well? Do you feel like you're connecting to the audience?
Sharp: It's been one of the beautiful things about these. This is the fifth tour before the record's come out. The first tour I didn't know how the reception was going to be to the whole thing, and I was quite worried about it that it was going to be a group of jocks with backwards baseball hats on shouting out "Buddy Holly" or something, you know? So I didn't really know what we were up for. Or that somehow the message didn't get across of what we were trying to do, and people maybe thought there was going to be a more energetic, more pogoing, Rentals kind of event. And it's been really pleasant the fact that people have been really able to drop their ideas of what it's about and just come along with us and go where we go with it. Depending on the night the shows are different—sometimes they're more serious and sometimes they're more campfirey. And I really enjoy that part of it because I think with rock music it's like you have one mission every night: you have to come out there and knock the head off people. I'm not always in that mood these days. So I like the fact that some nights are joyous and some nights are a little more somber.
GLONO: Do you ever miss the rockin'?
Sharp: Not too much. I feel like what we did when we did it, we did it as good as we possibly could do it, and that time to me is very special. And I feel like we did it about as good as we could, and I don't really see the point of continuing on trying to reclaim that.
GLONO: What do you think of Pinkerton being considered one of the best albums of the 90s?
Sharp: There's an odd thing with all the people that we've met in the audiences that we've played for. And I think we always considered that they were probably more connected with what we were doing than most audiences are connected to other bands. That might sound kind of conceited or something strange, but it always just felt that like we'd always play on these big bills with all these other bands who themselves had huge followings and had great careers, but there was something by what we were doing that always seemed to me that they were connected in a really emotional way, like it really meant a lot to them. From that, I understand it. It makes a lot of sense with the way that the internet works, and the way that's it all about these niches that it could really find a place there. So I figure whenever these things happen like these polls and things, that because of their dedication to it, those people all vote 35 times at least. That it means something to them. I think our fans always felt that we were a bit of the underdog anyways even when we were getting all the exposure on MTV and all that. There was always a little bit of a fight for the little guy.
GLONO: And do you feel even more so with the Rentals? I'm always baffled that "Friends of P" was a hit, that it was played on commercial radio.
Sharp: I kind of almost think now it would have a better chance now than it did back then in some weird way with some of the groups like Hot Hot Heat, and it seems to have some kind of place for that kind of thing.
GLONO: But even that stuff doesn't get played on the radio! I remember listening to commercial radio in my little hometown and hearing "Friends of P" on the radio.
Sharp: Yeah, it's an odd thing. That was probably the most surreal time I'm ever gonna go through in my life. It made life seem awfully silly, all that stuff, because that song was recorded for, like, nothing, and the whole record was made for five grand. And the frenzy behind the scenes with that record was just as chaotic or more so than what was happening. Like nobody had any interest in it whatsoever and then all of a sudden one person has interest in it, and this is how Los Angeles works, and—
GLONO: A bidding war?
Sharp: Yeah, sort of. But the way that the dialog will change overnight if they feel like… I always thought that was just hysterical.
GLONO: With the Rentals even though there are synths all over the place, there's the recurring theme of resistance to technology getting in the way ("The systems failed, all the circuits blown, and the message lost in this machine" – "The Love I'm Searching For;" "Empty, everything's technical, sterile, and endless" – "Please Let That Be You")…
Sharp: And here we are talking about a record that's pretty far removed from all that, I guess.
GLONO: Yeah, that's pretty cool. That was lyrically in your music even way back then, and now you're acting on it and dropping the "artificial" stuff and just being out there with a guitar.
Sharp: There's definitely a few songs—not songs that I necessarily play every night—from that record [Return of the Rentals] that resonate as if they could have been written for this record. The first couple shows I did back from coming out of Tennessee were really small. They were in the back room of this cafe right by where I live, and one of the first songs I did was "Move On" from the first Rentals record, and as I was singing it was pretty hysterical because I was talking about going to the countryside and living and writing new songs. Some of those songs fit even better to the situation of telling people where I was at.
GLONO: It's like watching you become what you were singing about.
Sharp: I think the more you write, the more you realize that there's a few kind of issues that come up over and over again. It's the same way with filmmakers, the same way with anything. If you go and watch some filmmaker who has made 50 films or something, you usually notice that this guy has definite issues with religion, in every film there's a relative on fire, or whatever it is. And there's these kinds of things that are always recurring and I think it's the same for anybody that's writing or doing anything in the arts at all be it photography what you're attracted to or not.
GLONO: On your website you've got mp3s of outtakes.
Sharp: There's a lot of stuff from the record now too that are up so that's nice.
GLONO: How do you feel about giving that stuff to fans?
Sharp: Well it's nothing I would ever charge anybody for. I think there are a couple of thoughts about that. One is that I knew there was going to be quite a long wait with this record and I didn't want to come out and start performing and meeting with people, and I didn't want the appetite for this stuff to be to the point where people were going to be really tired of the record when it came out. So I figured it was a good way to keep people's attention on the music that we'd done before and also it's kind of closing those doors a little bit. Saying here's everything, and time to go someplace else.
GLONO: What you feel about people taping live shows and trading them?
Sharp: I like it. I like it a lot, I mean if they're good. I've heard some that are really bad. The only show that I didn't want to do was the first show that I did back because that show was pretty heavily emotional and I didn't want anybody to record it. And we tried to do everything we could, and we put up signs outside the club, and talked to every single person. You could only fit probably 50 people in the place but we fit like 75 people in the place and we talked to everyone individually and asked them not to bootleg it, and had it announced before the show not to bootleg it, and by the time I got home that night it was already on the net. You know? So I told those guys, "You should run the website." So that's kind of how the whole thing with the Overlee people and the mattsharp.net thing came about was that they were so stealthy and so completely inconsiderate, and I was like, "All right, you run the show then." And I was really terrified and it was kind of one of those things that I just wanted to keep those emotions in the room and not have it, you know, whatever. I just wanted it to be for that moment, and that moment only.
GLONO: That kind of thing has almost disappeared in this world.
Sharp: It's very difficult to do that. And I wasn't too happy about that thing at the time because it was just a heavy evening and I know that the music wasn't very good that night. And also it's just strange because it had to do with dealing with all these emotions about where you've been, where you're starting from, that whole thing, and all this stuff sort of descending upon you at once as you're sitting in the back of the AA room essentially or whatever it's used for. It's a weird room. It's got all these heavy emotions because it's a narcotics room, an AA room, and all this weird stuff—it's a great room. But it's a strange feeling and it was pouring rain and it was very emotional. So the first song for it, I wrote just for that night, it's called "In the Light" but I haven't played it since then. And the reason I wanted to write it is because I wanted to write something that was so simple that there was no way I could screw it up. So I could just get past all the jitters and the butterflies. And I wrote it in an open tuning and with two chords so I basically had to go like that with one finger.
GLONO: How'd you do?
Sharp: I tanked it the whole way through. There's only two chords and every time I had a 50% chance of getting it right, and every time I got it wrong. It was just that difficult to be away from it all. I've never been a person who's had a tough time dealing with performing.
GLONO: How long had it been since you'd been on stage?
Sharp: Three years, I guess.
GLONO: Was it just you, acoustic solo?
Sharp: Yeah.
GLONO: How did you hook up with Josh Hager and Greg Brown?
Sharp: Josh, who's playing with me tonight, who played the last time we were here, he recorded the beginning of the record in Nashville and he was one of the people that was sort of… the thought was almost to go real quickly and make a third Rentals record. Or go to Nashville and make the acoustic record, and he was very supportive of just going to do the Nashville thing because he had heard a few of the ideas that we were working on. We didn't have very much fleshed out for it but I had a couple thoughts about what I wanted to do and I started to realize that it would be this long now and we'd just be talking about the new Rentals record now. It would probably be another three years before we'd see it.
The thought was to make a Rentals records which I'd written two or three songs for, or go to make the Nashville record and Josh's enthusiasm about the mellower songs was inspiring. I was going anyways, but he kind of pushed me out the door. And he came to the house with me and we built a home studio there and started writing and recording as we went along.
And with Greg I've known Greg for a while now. He's that person who when I first got to hear him play, ever since then I've been clubbing him over the head with a two-by-four trying to get him to—I tried to get him to be in the Rentals for a while—he's somebody I look up to quite a bit. I think people know the stuff he's done [i.e., Cake] but don't realize what a true talent he is, and I think he could be on that level of Johnny Marr, and that kind of person, a Mick Ronson kind of guy. He has such an incredible way of listening to music and understanding how to put another layer into it.
GLONO: You mention Johnny Marr. I've heard you cover some Smiths songs.
Sharp: Not in a while. And not with any real success either.
GLONO: Are you a big Smiths fan?
Sharp: Yeah, definitely. I mean at least I really was when I was 18, 19. And it holds up which is really weird because everything tells me that it shouldn't hold up. Because it's so dramatic and all those kinds of things and it seems like it should date and it doesn't, you know, when I hear it now. And I go through phases where I can't really hear it still and then I listen to it and then I can hear it again. But I think it's interesting we just played at UCLA not too long ago and I used to live right close to UCLA and I used to live basically on campus in this apartment building that was wedged between two frat houses and I was going through a darker period of my life I guess and the music that I really connected with were really sad songs and most of them were "euro" kind of things, but all this music with darker themes and lonelier themes and a lot of songs that asked a lot of questions rather than knowing all these answers, and when we played there recently all the people who were at the show were at my age when I lived there and they were listening to what we were doing and it was a particularly good show for us, I thought, and we didn't play any of the lighter material and we didn't talk to anybody during the show. We just kind of went through it, and I really felt like people were with us and connected to it, and it was really interesting to feel that, and to be in that exact same place where I would mope around with headphones on, and to see a couple hundred other people moping around and listening to what we were doing. I really enjoyed it.
GLONO: Do you go in with a set list written, or do you let the mood determine the set list?
Sharp: With this tour we're doing, it's kind of set. The very first tour we did, I did with these two guys and we didn't practice at all, we didn't have one rehearsal for the tour, and basically the first night I went up and I started playing and then after a while I said, "Greg, you wanna come up and play anything you know with me?" and we kind of just rehearsed on stage every night. And then Josh came along a couple of days later on the tour and he came in and he improvised. He's the person who gives the record its mood, so his thing is a little bit more ambient and he can be a little more liberal with what it is, he can just improvise with what we're doing. So it just became that, where we were just going from town to town and making up what we were doing. And that was alright, except for the fact that most of the time we had no idea where we were going and that's exciting when it's good, and it's terrible when it's terrible.
GLONO: So it's a crapshoot for the audience.
Sharp: Yeah, it was. I felt kind of bad about it at times because I felt like, alright, they're going to judge us for what this is and the next time we come through they're going to go, "Well, the last time I was hear it was pretty damn terrible," and they'd be right to say so. So I said, well, alright, we'll start rehearsing. For this tour we haven't had very much rehearsal and so we were able to just get a few songs that I really wanted to play down, and we've been sticking to it. And traveling as much as we do, we don't really have that much time. Every time I go on a tour you always picture that you're going to have all this time where you're sitting in the Winnebago and everybody's singing along and working and hey, let's learn that song, let's do this song. And you're wanting to play constantly and do all this and…
GLONO: Catching as much sleep as you can?
Sharp: Yeah and like today, I haven't caught any. So some nights we can get in one other song here or there in there, but I like it. I've been enjoying it too, doing it that way.
GLONO: Are you excited that eventually people will be able to buy the ep, and…
Sharp: They can buy it tonight, which will be nice.
GLONO: …as people get more familiar with the material, are you going to play new stuff? I like to hear new stuff when I go to see a band.
Sharp: Some people are into it and some people aren't into it. I guess it depends. I can understand why people would be not into it also. Like I went to see Frank Black when he first started doing his solo gigs after the Pixies, and I was like…
GLONO: Throw us a bone! One Pixies song!
Sharp: Yeah, and he wouldn't do it back then. I don't know if he does it now. And I remember feeling, yeah I'm on it, I saw Bowie that period when he wouldn't do any of his old stuff, when he was in his Nine Inch Nails phase or whatever, and it was just like, come on, man. But I'm not sure how that will go over time, and it depends on how people react to these records and hopefully that will be more important to them than hearing the older stuff. But I sympathize with it.
GLONO: Are you hoping to not wait as long until the next record?
Sharp: Yeah, from now on. The process of making this record was the exact same process as making the last Rentals record, which was torturous. I have never gone into a record where I'm not really setting up some really big problems to resolve and to solve.
GLONO: Is that a creative challenge to you? Do you do that on purpose so you have to work your way out of it?
Sharp: I don't know but it always happens. Whatever it is, you know the first Weezer record I had really not played that much bass and that was a difficult thing. And by the time I actually got to a place where I was playing how I wanted to which is kind of on Pinkerton and on Seven More Minutes, I gave up playing bass. And by the time I got to that place I decided to go make a record where there would be no bass. But there's always big challenges. Seven More Minutes was a lot about learning how to produce a record of that kind of ambitious scope, and it was the first thing I really tried to do out there on my own, and it was an overwhelming challenge for me.
GLONO: How do you feel Seven More Minutes holds up?
Sharp: It's exhausting. I like some of it, but I also find it's like I can handle a couple of songs at a time but I can't really take the whole thing and I think that's how a lot of people felt about it. But I don't know, it depends, you know. But it was definitely a lot of "Look what I can do with this and that." And I think everybody does that when they're starting to produce records. And this record was trying to learn how to do the other thing. I was trying to go in the completely opposite direction: "Look how little we can do," hopefully. How little we can do with chord changes, how little we can do with actual arrangements, and keep things as direct as possible without putting up all these walls of bullshit. But for me those other things, I wanted to do that on the second Rentals record. The feeling was to create this enormous, grandiose tower and to celebrate a friend of mine and I always thought about it as we were working on it in epic terms for her, like this sort of fantasy of people all through Europe singing the songs in pubs and that kind of thing. And all in all, I probably could have grabbed an acoustic guitar and sat her down and said, "This is what I've been trying to tell you," and it would have been a lot easier and it would've taken a lot less time.
GLONO: My favorite moments on Seven More Minutes are the mellower, slower, more stripped down songs like "Jumping Around," "Overlee," and "My Head Is in the Sun," and I don't feel like there's layers of bullshit like you said.
Sharp: I don't mean it like that. I don't necessarily mean that it's bullshit. Sometimes I think it's a little bit putting your guard up. I understand where I was at and why I wanted to do it that way. I think it also clouds the message sometimes. And I think maybe that cloud is a necessity also. I hadn't done that much singing back then, so it was like, alright let's not keep all the attention on the voice.
GLONO: How do you feel about it now just being out there with a guitar?
Sharp: I would have hated it back then, because like I said, all of the attention would have been on…
GLONO: "This guy can't sing!"
Sharp: I would have been a little worried about that back then.
GLONO: It just feels okay now though?
Sharp: Yeah. I've always been a bit of a ham with things, so performing has never been an issue for me.
GLONO: But really putting yourself out there emotionally. There's a big difference between being a ham and really being vulnerable.
Sharp: I think it fits into the same thing though because you can enjoy that thing too.
GLONO: But don't think that most hamminess is just covering up? A defense mechanism?
Sharp: Okay, see I'm very tired so I'm not using the right words. But I've never really had a problem just throwing myself into a situation where I can really fall on my face and it's never really bothered me that much.
GLONO: Spill your guts?
Sharp: Or just not be very good, or whatever. Or like I said it's kind of like the idea of those shows where we would do it without rehearsing for them and just figure it out. If it goes well it goes well, and if it doesn't it doesn't. And now I don't feel like that's quite fair. It's a little selfish on my point to do that because if we're only going to come through Chicago once every year or twice a year and we go out there—the show we did with Josh here was probably the best show on that tour, because we hadn't done that many shows like that where it's just me and him and we only did that for like two weeks. And that happened to be a good night, but if it had been a bad night it would have been a real drag because that's the only time we're coming through. And so I kind of feel that it's more my responsibility now to make sure we perform a little bit more consistently.
GLONO: I was at that show and I was impressed and thinking, here's this guy who's not selling anything, just up here playing music and really connecting with the audience on a pure musical level. I can't think of many shows I've been to that have that kind of real, communicative experience. If that's what you were trying to do, I think it's succeeding.
Sharp: Well that's the thing. It succeeded that night. It didn't succeed on the rest of… On that tour it was like 50-50. Because we did the same thing, Greg couldn't come for that round. I'm doing half this tour with these guys and half this tour solo, because at this point I don't really want to stay off the road. I had enough of the isolation and I've contemplated for long enough. So I think I'll probably stay doing what I'm doing until the record collection ends up in a totally different space again, and I have to re-figure out how to get to that place.
GLONO: Any ideas where that next place might be?
Sharp: I don't know. I think I'm going to stay here for a while.
You can buy Matt Sharp's solo ep from cdbaby or Amazon. Download "Goodbye West Coast" from In Music We Trust. Glorious Noise was there the last time Sharp played Chicago: Ain't Got No Moogs, Ain't Got No Girls. And of course there's that old interview with former-Rental Cherie Westrich that we did back in the day. Photos by Jake Brown.
FeaturesGlorious Noise InterviewinterviewMatt SharpRentalsWeezer
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12 thoughts on "Glorious Noise Interview with Matt Sharp"
shamus says:
While I'm not a Weezer fan, I'm always trying to figure out why they're liked (and liked by some people I like) BUT it was tantalizing that Matt's a Talk Talk/ Mark Hollis fan- now that's what I call music.
SNL's Maya Rudolph was in the Rentals?
does anyone care about this guy?
sab says:
I do. Having seen him perform solo twice now in support of this new EP, I urge anyone who truly appreciates good music and honest, heartfelt performances to check out Matt Sharp.
Gotta respect that the guy is shooting for meaningfulness and feeling. I'll be checking out his songs.
d phillips says:
I care too. Matt Sharp is showing some real balls here. Imagine…he left Weezer AND shelved the Rentals to do what he really believes in. How can we not support that?
God Bless Matt Sharp.
Great to see that one of the greatest songwriters of the middle and late 90's is back.
Welcome back, Sharp.
Luke Crowe says:
I of course was a huge Weezer fan back in the day, and I loved the Rentals too, but I wasn't paying enough attention to what was going on to realize how important Sharp was to the bad — from the mainstream press and Rolling Stone reports, you wouldn't have thought that Sharp leaving Weezer was all that important. I mean, the "genius" of the group, the front man, was still there, so it wasn't a huge deal. Even now, whether a mainstream Weezer review is good or bad, Sharp's absence is rarely mentioned as a cause. And yet after Pinkerton, I increasingly lost interest in Weezer, and couldn't understand why the music had gotten so forgettable, because it still seemed, on the surface, to be rocking. And yet I just didn't love it anymore. And so I was reading up a bit a few years ago, and listening to some bootlegs and demos of Rentals and Weezer songs, and I realized that stripped down, without all the synths (which I liked) the good Rentals stuff was in fact VERY similiar to the best (early) stripped-down Weezer stuff. Now hey, wait a minute, I thought, maybe this Rentals guy wasn't just a frustrated base player who went off and started a great side-project — maybe he was the core genius of Weezer in the first place. Download some early Weezer and Rentals demos and you'll see how clear it becomes, although in retrospect it's all very clear anyway, I suppose. So as each Weezer album comes out and still stands head-and-shoulders above most rock that makes it onto the mainstream radio, I still find myself disapointed and going off to buy "alternative" material from other artists instead. It'd be amazing if Sharp re-teamed with Weezer for an album, sure (combined with the Weezer boys, they could rock like no other), or if Sharp even did another Rentals album (always fun, smart stuff), or if Sharp did ANYTHING, really, I thought, as the years slipped by . . . and now, at last, the man is back. I've got big hopes. It's time this guy got all the appreciation he deserves. And hopefully the great music keeps flowing.
just like granma's cooking,you hate the long wait but when it's done, IT'S ALL GOOD!!!!! THOMAS
THIS guy seems like a F$%^&*ing trip man. Holy Sh*t. Man, I could drop and dose and listen to this all night long with my headphone groove and jellies on.
Lemon says:
Matt Sharp was the best part of Weezer. As others have stated, once he left, the albums lost that special something. However, if that means that Sharp has moved on to better things, that's awesome. Rentals were awesome, though still similar to Weezer in ways. Here's to success with this new project and congrats on being able to do what YOU want to do.
Ben"jam in" says:
Matt Sharp is so cool. I love him so much. He nice like ice. When I sleep at night I imagine Matt as a large sleeping piloow that I can nuzzle up against. If you agree clap three times and jump like a rabbit, but don't eat carrots (we all see very well). Rock on. And remember Weezer makes the world go round.
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text:
Bad Bunny Will Headline 2019 Pornhub Awards
Bad Bunny Set to Headline 2019 Pornhub Awards
Getty Images / Kevin Winter
Pornhub has been making bold music industry moves. So it's no surprise that 2019's awards show will feature several musical performances, and the adult streaming service has announced burgeoning superstar Bad Bunny will be headlining the show.
"Don't miss my performance. It's going to be wild," Bad Bunny said in a statement. He follows in the footsteps of Kanye West who curated the first-ever Pornhub awards last year. Pornhub's VP, Corey Price, spoke about the company's choice to have Bad Bunny as the headlining act, saying "Last year, we made history and we're building on that momentum."
The adult entertainment awards ceremony takes place at the Orpheum Theater in Los Angeles on October 11 and will be hosted by actress Asia Akira.
Bad Bunny recently dropped OASIS, the collaborative album with J Balvin.
Pornhub Awards


CONGRATULATIONS to Emmanuel Sowicz who has just won First Prize at the IGF London International Guitar Competition 2018, which was held on Saturday 27 October 2018, at Kings Place, London.
The Chair of the Jury, the composer George Odam, said the jury's decision was unanimous. Simone Rinaldo won Second Prize and Carlo Curatolo won Third prize.
The Jury members were: Professor George Odam, Jury Chairman, composer and Chair of IGF; Robert Brightmore, Head of Guitar, Guildhall School of Music and Drama; Joe Cutler, composer; Professor Stephen Goss, composer and Director of the International Guitar Research Centre, University of Surrey; Michael Lewin, Head of Classical Guitar at Royal Academy of Music; and Chris Stell, guitarists and professor of guitar at Royal College of Music.
Tom Kerstens is Artistic Director of the International Guitar Foundation & Festivals (IGF).
London Guitar Festival continues onSunday 28 October 2018, with masterclasses with Ana Vidovic and flamenco guitarist Paco Seco, and concerts by EuroStrings Young Stars, Margarita Escarpa and Paco Seco (Sunday 28 October 2018, Kings Place).
See the IGF's London Guitar Festival 2018 at Kings Place, for more details.


text:
De Vuurslag was een kunsthistorische prijs van de Stichting Nederlandse Kunst- en Antiekbeurs, voor verdiensten op het gebied van de kunstnijverheid, die werd toegekend sinds 1995. De prijs bestond uit een geldsom die besteed moet worden aan kunsthistorisch onderzoek. Nadat de prijs drie jaar achtereen niet is uitgereikt, is deze in 2012 opgeheven.

Prijswinnaars
 1995 Prof.dr. C.J.A. Jörg: Japans lakwerk 1600-1850
 1996 Stichting Schone Kunsten rond 1900, Assen
 1997 Drs. J.W. Klinckaert: middeleeuwse Utrechtse beeldhouwkunst
 1998 Dr. J. Pijzel-Dommisse: Nederlands interieur 1600-1900
 1999 Prof.dr. J. Van der Stock: Antwerpse grafiek 1400-1600
 2000 Dr. J.D. van Dam: Verzamelen van Nederlands aardewerk 1800-1920
 2001 Stichting Historische Behangsels en Wanddecoraties in Nederland
 2002 Stichting Nederland bouwt VOC-retourschip, Lelystad
 2003 A. van der Kley-Blekxtoon: Nederlands industrieel glas
 2004 Drs. J.P.W.H.A. van Rijen: Nederlands kerkzilver 1800-1920
 2005 Prof. Anne van Grevenstein / Stichting Restauratie Atelier Limburg, Maastricht
 2006 Drs. Robert Parthesius: opgraving van het VOC-schip Avondster (Galle, Sri Lanka)
 2007 Zilvermuseum Sterckshof, Deurne (Antwerpen)
 2008 Sint-Jansmuseum 'De Bouwloods', 's-Hertogenbosch
 2009 Het Filmmuseum, Amsterdam
 2010 geen uitreiking
 2011 geen uitreiking
 2012 geen uitreiking

Kunstprijs in Nederland
Kunstgeschiedenis

redpajama_set_name: RedPajamaWikipedia


text:
Restoring a Home, a Family and a Future: Thérèse's Story
This excerpt is one in a series of profiles commissioned by the SOS Children's Village – Kigali in 2015 to highlight the Family Strengthening Program (FSP).
The Family Strengthening Program, a project of SOS Children's Villages Rwanda, was launched in 2005 to prevent children from losing the care of their family. The program empowers families to strengthen their ability to protect and care for their children through direct support and capacity building training. In 2015, FSP Kigali included 200 families, serving more than 900 children in the Gasabo District. More than 160 families had completed and exited the program. Using a structured family development planning process, it takes a family between three and five years to complete the program with the help of FSP field workers who typically visit once or twice per month. The Kigali project implements interventions in three sectors – Kacyiru, Kinyinya and Gatsata – and similar FSP programs are at work in all four of Rwanda's SOS Children's Villages. These programs help build security for vulnerable children and their families, supporting them to become self-reliant and prosperous into the future.
When Thérèse Mukahigiro was admitted to the SOS Chlidren's Villages Family Strengthening Program in 2006, she was in a dire situation.
"Before the intervention, we had a very bad life," she said. "When it rained, we could not sleep because the rain fell through the roof into our house."
Living in the Kacyiru Sector of Kigali, Thérèse struggled to find income to support herself and her five children.
Thérèse stands with her oldest son outside a building she rents to earn income. Photo by Meagan Doll.
"We were not able to find even food," she said. "Most jobs were only one-time."
Through the Family Strengthening Program, Thérèse received immediate survival care including housing restoration and nutritional support.
But Thérèse needed a more sustainable solution, which is why the emergency care was followed by support for school fees and health insurance, but also training in income generating activities and psychosocial health. Thérèse also received a microloan to start a small business.
Before long, Thérèse was cultivating and selling mushrooms, as well as renting out restored housing as means of income.
Today, all of her children have either completed or are in the process of completing their studies, and the family enjoys electricity and running water inside their home.
"As you see, the program helped us to improve our life – electricity in the house, water in the house," she said. "Everything you see is from the project."
Thérèse and her eldest son are proud of their restored home and future. Photo by Meagan Doll.
Though Thérèse has now exited the project, her quality of life remains good.
"After exiting, I am able to buy a sack of rice for the house and pay school fees for the children," she said. "I am able to buy everything, and I thank the project for everything that I have."
Now that she is able to support herself and her family independently, Thérèse has new goals.
"My dream now is to buy a car," she said. "I will come show you when I do."
"Supporting Mothers Beyond Birth," 06/24/2015.
Posted bymeagandoll October 25, 2018 Posted inUncategorized
Supporting Mothers Beyond Birth: Alphonsine's Story


Have you looked at my sidebar lately?
If you follow me on my blog site you may have noticed the Facebook "widget" on the right hand side.
is a very BIG milestone for me.
2 yrs I have gathered a Facebook following of over 500 people.
I think that warrants celebration!!


text:
Why the New Movie 'David and Goliath' will Outshine 'Noah' and 'Exodus'
Contact: Carol Edwards or Kris Lightener, Ripple Effect Communications, 310-860-7592, Contact@RippleEffectManagement.com
LOS ANGELES, Jan. 28, 2015 /Christian Newswire/ -- At a recent press junket, director Tim Chey discussed the differences between his upcoming 'David and Goliath' movie and the other two, 'Noah' and 'Exodus.'
"Well first off, I'm not only a director, but also an evangelist," says Chey who has spoken at some of the largest churches in the U.S. and abroad. "So obviously I'm not going to make a film that's Biblically not correct or does not give honor to the Lord."
'David and Goliath' is considered one of the big three Bible movies hitting theaters after "Noah" and "Exodus: Gods and Kings." The film wrapped principal photography in North Africa and in studios in London and opens as a platform release nationwide on April 3.
Chey refers to the backlash of the film 'Noah' which many Christian pastors and leaders shunned. The film still was a box office hit at $120 million, but Christians stayed away in droves.
"There are no rock monsters helping David unfortunately," Chey jokes to the laughter of the reporters. "But kidding aside, I wanted to make a film that will reinvigorate the kind of faith the future King of Israel had, namely fighting a giant with a zero percent chance of defeating him outside of God."
'David and Goliath' looks at one of the most powerful and beloved Bible stories of all time. The film will focus on the early life of David who fought against the Philistine giant, Goliath against all odds.
Do people in the church lack that kind of faith today?
Chey thinks so. "I have a pastor friend who says he doesn't know anyone in his large church who would fight Goliath today. Sad testament to the state of our faith today."
'David and Goliath' opens in theaters on April 3, 2015.
Chey also produced another epic film, 'Freedom' starring Cuba Gooding, Jr., Sharon Leal, William Sadler on the early life of John Newton. He also directed 'Epic Journey' that took him to 29 countries and was submitted to the Guinness Book of World Records for most countries traveled for a feature film.
For Media contacts:
Carol Edwards / Kris Lightener
Ripple Effect Communications
Contact@RippleEffectManagement.com


text:
title: Research
date: 2014-10-01
categories:
- university
---

My thesis goal is to extract patterns and knowledge from sensor data in order to drive improvements in the way customers use a given product. In this context, the fields of interest are:
* Time Series Analysis, [code](https://github.com/octavian-h/time-series-math)
* Recommendation Systems
* Sentiment Analysis

I am part of the [Knowledge Engineering Research Group](http://keg.utcluj.ro/). My current focus is on overcoming source signal dependence in time series analysis.

redpajama_set_name: RedPajamaGithub


text:
Q: Find the number of positive integers not containing digit $0$ whose digits add up to $10$. Find the number of positive integers not containing digit $0$ whose digits add up to $10$.

A: Suppose that you have $10$ unities written down in a row:
$$1 \quad 1 \quad 1\quad  1 \quad 1 \quad 1 \quad 1 \quad 1 \quad 1 \quad 1$$
You can see that there are 9 empty spaces between them, where you can put a separator. Any arrangement of separators (except for the case when there are no separators) can be mapped to a number with the sum equal to 10: we should merely count the number of unities in each obtained block. For example:
$$1 \quad 1~~~|~~~1\quad  1 \quad 1~~~|~~~1 \quad 1 \quad 1~~~|~~~1 \quad 1$$
This arrangement corresponds to the number $2332$. On the other hand, you can see that for any number there is a unique arrangement of separators representing this number. Thus, it is a bijection.
Since we can select any subset of spaces (except for the empty one) to fill them with separators, the number of ways to make such an arrangement is $2^9 - 1 = 512 - 1 = 511$.


Mini size Artworks bij 63 artist is a new miniature exhibition , initiated bij MIKC, based in Delden (NL).
Under the title CRIMP over 60, professional well known artist, young artist and some semi professional artist, present their work – max. 14 x 14 x 14 cm. – in this 2016/17 project. Each 'Mini Size Artwork' is autonomic and to be seen as an individual scale object. The presentation will combine all the works into one big installation. The joy of making a small temporarily artwork that shows 'a great artwork' will reflects on the exhibition an a positive way.


text:
\section{Introduction}

The dual superconductivity is a promising mechanism for quark
confinement.\cite{DualMeisser75}. In order to establish this picture, we have
to show evidences of the dual version of the superconductivity. For this
purpose, we have presented a new formulation of the $SU(3)$ Yang-Mills (YM)
theory using new field variables.(For a review see \cite{PhysRep}) The
reformulation enables us to change the original non-Abelian gauge field into
the new field variables such that one of them called the restricted field
gives the dominant contribution to quark confinement in the gauge-independent
way.\cite{KSM05} The lattice version of a new formulation of $SU(N)$ YM theory
gives the decomposition of a gauge link variable\ corresponding to its
stability gauge group: $U_{x,\mu}=X_{x,\mu}V_{x,\mu}$, where $V_{x,\mu}$ could
be the dominant mode for quark confinement, and $X_{x,\mu}$ the remainder
part.\cite{LatticeYM08}

For $SU(3)$ YM theory, we have two options: the minimal option and maximal
option. In the minimal option, especially, the restricted field is non-Abelian
$U(2)$ and involves the non-Abelian magnetic monopole. In the preceding works,
we have shown numerical evidences of the non-Abelian \ dual superconductivity
using the minimal option for the $SU(3)$ YM theory on a lattice: the
non-Abelian magnetic monopole as well as the restricted non-Abelian field
dominantly reproduces the string tension in the linear potential in $SU(3)$YM
theory \cite{abeliandomSU(3)}, and the $SU(3)$ YM vacuum is the type I dual
superconductor profiled by the chromoelectric flux tube and the magnetic
monopole current induced around it, which is a novel feature obtained by our
simulations. \cite{DMeisner-TypeI2013} We further investigate the
\ confinement/deconfinement phase transition in view of this non-Abelian dual
superconductivity picture.\cite{lattice2013}\cite{lattice2014}\cite{SCGT15}
This should be compared with the maximal option which is adopted first by Cho,
Faddeev and Niemi \cite{CFNS-C}. The restricted field is Abelian $U(1)\times
U(1)$ and involves only the Abelian magnetic monopole.\cite{lattce2007
\cite{ChoKundy2014} This is nothing but the gauge invariant version of the
Abelian projection in the maximal Abelian gauge.\cite{Suganuma
\cite{suganuma-sakumichi}

In this talk, we focus on discriminating between two reformulations, i.e.,
maximal and minimal options of $SU(3)$YM theory for quark confinement from the
viewpoint of dual superconductivity. For this purpose, we measure string
tension for the restricted non-Abelian field of both minimal and maximal
option in comparison with the string tension for the original YM field. We
also investigate the dual Meissner effect by measuring the distribution of the
chromoelectric flux connecting a quark and an antiquark and the induced
magnetic-monopole current around the flux tube.

\section{Gauge link decompositions}

Let $U_{x,\mu}=X_{x,\mu}V_{x,\mu}$ be a decomposition of the YM link variable
$U_{x,\mu}$, where the YM field and the decomposed new variables are
transformed by the full $SU(3)$ gauge transformation $\Omega_{x}$ such that
$V_{x,\mu}$ is transformed as the gauge link variable and $X_{x,\mu}$ as the
site variable \cite{exactdecomp} :
\begin{subequations}
\label{eq:gaugeTransf
\begin{align}
U_{x,\mu}  &  \longrightarrow U_{x,\nu}^{\prime}=\Omega_{x}U_{x,\mu
\Omega_{x+\mu}^{\dag},\\
V_{x,\mu}  &  \longrightarrow V_{x,\nu}^{\prime}=\Omega_{x}V_{x,\mu
\Omega_{x+\mu}^{\dag},\text{ \ }X_{x,\mu}\longrightarrow X_{x,\nu}^{\prime
}=\Omega_{x}X_{x,\mu}\Omega_{x}^{\dag}.
\end{align}
For the SU(3) YM theory, we have two options discriminated by its stability
group, so called minimal option and maximal option.

\subsection{Minimal option}

The minimal option is obtained for the stability gauge group of $\tilde
{H}=U(2)=SU(2)\times U(1)\subset SU(3)$. By introducing a color field
$\mathbf{h}_{x}=\xi(\lambda^{8}/2)\xi^{\dag}$ $\in\lbrack SU(3)/U(2)]$ with
$\lambda^{8}$ being the Gell-Mann matrix and $\xi$ an $SU(3)$ group element,
the decomposition is given by solving the defining equation:
\end{subequations}
\begin{subequations}
\label{eq:def-min
\begin{align}
&  D_{\mu}^{\epsilon}[V]\mathbf{h}_{x}:=\frac{1}{\epsilon}\left[  V_{x,\mu
}\mathbf{h}_{x+\mu}-\mathbf{h}_{x}V_{x,\mu}\right]  =0,\label{eq:def1-min}\\
&  g_{x}:=e^{i2\pi q/3}\exp(-ia_{x}^{0}\mathbf{h}_{x}-i\sum\nolimits_{j=1
^{3}a_{x}^{(j)}\mathbf{u}_{x}^{(j)})=1. \label{eq:def2-min
\end{align}
Here, the variable $g_{x}$ is an undetermined parameter from
Eq.(\ref{eq:def1-min}), $\mathbf{u}_{x}^{(j)}$ 's are $su(2)$-Lie algebra
valued, and $q$ has an integer value. These defining equations can be solved
exactly \cite{exactdecomp}, and the solution is given by
\end{subequations}
\begin{subequations}
\label{eq:decomp_mini
\begin{align}
X_{x,\mu}  &  =\widehat{L}_{x,\mu}^{\dag}\det(\widehat{L}_{x,\mu})^{1/3
g_{x}^{-1},\text{ \ \ \ }V_{x,\mu}=X_{x,\mu}^{\dag}U_{x,\mu}=g_{x}\widehat
{L}_{x,\mu}U_{x,\mu},\\
\widehat{L}_{x,\mu}  &  =\left(  L_{x,\mu}L_{x,\mu}^{\dag}\right)
^{-1/2}L_{x,\mu},\\
\text{\ }L_{x,\mu}  &  =\frac{5}{3}\mathbf{1}+\frac{2}{\sqrt{3}
(\mathbf{h}_{x}+U_{x,\mu}\mathbf{h}_{x+\mu}U_{x,\mu}^{\dag})+8\mathbf{h
_{x}U_{x,\mu}\mathbf{h}_{x+\mu}U_{x,\mu}^{\dag}\text{ .
\end{align}
Note that the above defining equations correspond to the continuum version:
$D_{\mu}[\mathcal{V}]\mathbf{h}(x)=0$ and $\mathrm{tr}(\mathbf{h
(x)\mathcal{X}_{\mu}(x))$ $=0$, respectively. In the naive continuum limit, we
have reproduced the decomposition $\mathbf{A}_{\mathbf{\mu}}(x)=\mathbf{V
_{\mu}(x)+\mathbf{X}_{\mu}(x)$ in the continuum theory \cite{KSM05}
\end{subequations}
\begin{subequations}
\begin{align}
\mathbf{V}_{\mu}(x)  &  =\mathbf{A}_{\mathbf{\mu}}(x)-\frac{4}{3}\left[
\mathbf{h}(x),\left[  \mathbf{h}(x),\mathbf{A}_{\mathbf{\mu}}(x)\right]
\right]  -ig^{-1}\frac{4}{3}\left[  \partial_{\mu}\mathbf{h}(x),\mathbf{h
(x)\right]  ,\\
\mathbf{X}_{\mu}(x)  &  =\frac{4}{3}\left[  \mathbf{h}(x),\left[
\mathbf{h}(x),\mathbf{A}_{\mathbf{\mu}}(x)\right]  \right]  +ig^{-1}\frac
{4}{3}\left[  \partial_{\mu}\mathbf{h}(x),\mathbf{h}(x)\right]  .
\end{align}

The decomposition (\ref{eq:decomp_mini}) is uniquely obtained, if color
fields$\{\mathbf{h}_{x}\}$ are obtained. To determine the configuration of
color fields, we use the reduction condition to formulate the new theory
written by new variables ($X_{x,\mu}$,$V_{x,\mu}$) which is equipollent to the
original YM theory. Here, we use the reduction functional:
\end{subequations}
\begin{equation}
F_{\text{red}}[\mathbf{h}_{x}]=\sum\nolimits_{x,\mu}\mathrm{tr}\left\{
(D_{\mu}^{\epsilon}[U_{x,\mu}]\mathbf{h}_{x})^{\dag}(D_{\mu}^{\epsilon
}[U_{x,\mu}]\mathbf{h}_{x})\right\}  ,\label{eq:reduction-min
\end{equation}
and then color fields $\left\{  \mathbf{h}_{x}\right\}  $ are obtained by
minimizing the functional (\ref{eq:reduction-min}).

\subsection{Maximal option}

The maximal option is obtained for the stability group of the maximal torus
group $\tilde{H}=U(1)\times U(1)\subset SU(3)$. By introducing a set of color
fields $\mathbf{n}^{(3)}=\xi(\lambda^{3}/2)\xi^{\dag},\ \mathbf{n}^{(8)
=\xi(\lambda^{8}/2)\xi^{\dag}$ $\in\lbrack SU(3)/U(2)]$ with $\lambda
^{3},\lambda^{8}$ being the Gell-Mann matrices and $\xi$ an $SU(3)$ group
element, \ the decomposition is given by solving the defining equation:
\begin{subequations}
\label{eq:DefEq
\begin{align}
&  D_{\mu}^{\epsilon}[V]\mathbf{n}_{x}^{(j)}:=\frac{1}{\epsilon}\left[
V_{x,\mu}\mathbf{n}_{x+\mu}^{(j)}-\mathbf{n}_{x}^{(j)}V_{x,\mu}\right]
=0\text{ \ \ \ }j=3,8,\label{eq:def1_max}\\
&  g_{x}:=e^{i2\pi q/3}\exp(-ia_{x}^{3}\mathbf{n}_{x}^{(3)}-ia_{x
^{(8)}\mathbf{n}_{x}^{(8)})=1.\label{eq:def2_max
\end{align}
The variable $g_{x}$ is an undetermined parameter from Eq.(\ref{eq:def1_max})
and $q$ has an integer value. These defining equations can be solved exactly
\cite{exactdecomp}, and the solution is given by
\end{subequations}
\begin{subequations}
\label{eq:decomp_max
\begin{align}
X_{x,\mu} &  =\widehat{K}_{x,\mu}^{\dag}\det(\widehat{K}_{x,\mu})^{1/3
g_{x}^{-1},\text{ \ \ \ }V_{x,\mu}=X_{x,\mu}^{\dag}U_{x,\mu}=g_{x}\widehat
{K}_{x,\mu}U_{x,\mu},\\
\widehat{K}_{x,\mu} &  =\left(  K_{x,\mu}K_{x,\mu}^{\dag}\right)
^{-1/2}K_{x,\mu},\text{ \ \ \ \ \ \ }\\
K_{x,\mu} &  =\mathbf{1}+6(\mathbf{n}_{x}^{(3)}U_{x,\mu}\mathbf{n}_{x+\mu
}^{(3)}U_{x,\mu}^{\dag})+6(\mathbf{n}_{x}^{(8)}U_{x,\mu}\mathbf{n}_{x+\mu
}^{(8)}U_{x,\mu}^{\dag})
\end{align}
Note that the above defining equations correspond to the continuum version:
$D_{\mu}[\mathcal{V}]\mathbf{n}^{(j)}(x)=0$ and $\mathrm{tr}(\mathbf{n
^{(j)}(x)\mathcal{X}_{\mu}(x))$ $=0$, respectively. In the naive continuum
limit, we have reproduced the decomposition $\mathbf{A}_{\mathbf{\mu
}(x)=\mathbf{V}_{\mu}(x)+\mathbf{X}_{\mu}(x)$ in the continuum theory as
\cite{KSM05}\cite{CFNS-C}
\end{subequations}
\begin{subequations}
\begin{align}
\mathbf{V}_{\mu}(x) &  =\sum\nolimits_{j=3,8}\left\{  2\mathrm{tr}\left(
\mathbf{A}_{\mathbf{\mu}}(x)\mathbf{n}^{(j)}(x)\right)  \mathbf{n
^{(j)}(x)-ig^{-1}\left[  \partial_{\mu}\mathbf{n}^{(j)}(x),\mathbf{n
^{(j)}(x)\right]  \right\}  ,\\
\mathbf{X}_{\mu}(x) &  =\sum\nolimits_{j=3,8}\left[  \mathbf{n}^{(j)
(x),\left[  \mathbf{n}^{(j)}(x),\mathbf{A}_{\mathbf{\mu}}(x)\right]  \right]
.
\end{align}
To determine the configuration of color fields, we use the reduction condition
to formulate the new theory written by new variables ($X_{x,\mu}$,$V_{x,\mu}$)
which is equipollent to the original YM theory. Here, we use the reduction
functional:
\end{subequations}
\begin{equation}
F_{\text{red}}[\mathbf{n}_{x}^{(3)},\mathbf{n}_{x}^{(8)}]=\sum\nolimits_{x,\mu
}\sum\nolimits_{j=3,8}\mathrm{tr}\left\{  (D_{\mu}^{\epsilon}[U_{x,\mu
}]\mathbf{n}_{x}^{(j)})^{\dag}(D_{\mu}^{\epsilon}[U_{x,\mu}]\mathbf{n
_{x}^{(j)})\right\}  ,\label{eq:reduction-max
\end{equation}
and then color fields $\left\{  \mathbf{n}_{x}^{(3)},\mathbf{n}_{x
^{(8)}\right\}  $ are obtained by minimizing the functional
(\ref{eq:reduction-max}).

It should be noticed that the the resulting decomposition is the gauge
invariant version of the Abelian projection in the maximal Abelian (MA)
gauge.  Because by using the gauge transformation ${}^{G}U_{x,\mu}=\xi
_{x}^{\dag}U_{x,\mu}\xi_{x+\mu}$, the reduction functional
(\ref{eq:reduction-max}) is rewritten into the functional for the MA  gauge
fixing:
\begin{equation}
F_{\text{red}}=\sum\nolimits_{x,\mu}\left\{  1-\frac{1}{4}\mathrm{tr}\left(
{}^{G}U_{x,\mu}\lambda_{3}{}^{G}U_{x,\mu}^{\dag}\lambda_{3}\right)  +\frac
{1}{4}\mathrm{tr}\left(  {}^{G}U_{x,\mu}\lambda_{8}{}^{G}U_{x,\mu}^{\dag
}\lambda_{8}\right)  \right\}
\end{equation}
Then, we can show that the decomposition of the $V$-field in
Eq.(\ref{eq:decomp_max}) is rewritten into the diagonal part of the YM field
in the MA gauge, i.e., Abelian projection in the MA gauge
\begin{equation}
{}^{(MAG)}V_{x,\mu}=\mathrm{diag}\left(  \left.  \left(  ^{G}U_{x,\mu}\right)
_{11}\right/  \left\vert \left(  ^{G}U_{x,\mu}\right)  _{11}\right\vert
,\left.  \left(  ^{G}U_{x,\mu}\right)  _{22}\right/  \left\vert \left(
^{G}U_{x,\mu}\right)  _{22}\right\vert ,\left.  \left(  ^{G}U_{x,\mu}\right)
_{33}\right/  \left\vert \left(  ^{G}U_{x,\mu}\right)  _{33}\right\vert
\right)  .
\end{equation}

\section{Lattice result}

We generate the YM gauge field configurations (link variables) $\{U_{x,\mu}\}$
using the standard Wilson action. We prepare 500 data sets on the lattice with
the size of $24^{4}$ at $\beta=2N_{c}/g^{2}\ (N_{c}=3)$: $\beta=6.2$ every 800
sweeps after 10000 thermalization. We obtain two types of decomposed gauge
link variables $U_{x,\mu}=X_{x,\mu}V_{x,\mu}$ for each gauge link by using the
formula Eqs.(\ref{eq:decomp_mini}) and (\ref{eq:decomp_max}) given in the
previous section, after the color-field configuration $\{\mathbf{h}_{x}\}$ and
$\left\{  \mathbf{n}_{x}^{(3)},\mathbf{n}_{x}^{(8)}\right\}  $ are obtained by
solving the reduction condition of the functional (\ref{eq:reduction-min}) and
(\ref{eq:reduction-max}), respectively. In the measurement of the Wilson loop
average defined below, we apply the APE smearing technique to reduce noises.

\subsection{Static potential}

We\ first study the static potential from the Wilson loop $C$ of the $T\times
R$ rectangle for both restricted fields of minimal option and maximal option
in addition to the original YM\ field
\begin{equation}
W_{\min}(T,R):=\prod\nolimits_{<x,\mu>\in C}V_{x,\mu}^{\min}\text{,
\ \ }W_{\max}(T,R):=\prod\nolimits_{<x,\mu>\in C}V_{x,\mu}^{\max}\text{,
\ \ }W_{\text{YM}}(T,R):=\prod\nolimits_{<x,\mu>\in C}U_{x,\mu}\text{ ,
\end{equation}
respectively. To obtain the static potential, we apply a fitting formula:
\begin{align}
&  -\log\left\langle W(T,R)\right\rangle =V(T,R)=T\times V(R)\ +V_{2}(T,R)\\
&  V(R)=\sigma R+c+a/R\text{, \ }V_{2}(T,R)=\sigma_{2}R+c_{2}+a_{2
/R+b/T+b_{2}R/T
\end{align}
to data of Wilson loop average $\left\langle W(T,R)\right\rangle $ with
$R=1,2,\cdots,11$ and $T=7,\cdots,11.$ The conventional Cornell potential is
given by the $V(R)$ part.\ \ Figure \ref{fig:potential} shows the fitting
results. Panels from left to right show data and fitting with $N_{T}=7,8,9$
for the original YM field and the restricted fields of minimal and maximal
options, respectively. We find the restricted field dominance in the string
tension for both minimal and maximal options.

\begin{figure}[ptb]
\begin{center}
\includegraphics[height=4.6cm, angle=270]
{figs/potential-YM-b60L24.eps} \includegraphics[height=4.6cm, angle=270]
{figs/potential-Vmin-b60L24.eps} \includegraphics[height=4.6cm, angle=270]
{figs/potential-Vmax-b60L24.eps}
\end{center}
\caption{Static potential as a function of $R$: Panels show static potentials
for YM field (left), for restricted field in the minimal option (center) and
for restriced field in the maximal option (right). Each panel shows plots of
data for $N_{T}=7,9,11$ cases, and fitted functions $V(T,R)$.
\label{fig:potential
\end{figure}Figure \ref{fig:potential-comp} shows the combined plot of
potentials for $N_{T}=10.$ We obtain string tension in the fitting range
$6\leq R\leq11$ as
\begin{equation}
\sigma_{YM}=0.589\pm0.036\text{, \ \ \ }\sigma_{\min}=0.492\pm0.0018,\text{
\ }\sigma_{\max}=0.494\pm0.0014\text{ \ .
\end{equation}
We have\ the good agreement in the string tension between both options

\begin{figure}[tbp] \centering
\begin{minipage}{0.38\textwidth} \centering
\includegraphics[
height=5.5cm, angle=270]
{figs/potential-copmpare-b60L24.eps
\caption{Comparison of static potentials:.  the YM filed,  the restricted field
in the minimal and maximal options. }\label{fig:potential-comp
\end{minipage}
\ \ \
\begin{minipage}{0.58\textwidth} \centering
\includegraphics[width=40mm]
{figs/measure1.eps}
\ \includegraphics[width=40mm]
{figs/measure.eps
\caption{ (Left) Set up of mesuarement of chromo flux.
(Right) The gauge-invariant correlation operator $tr(WLU_{p}L^{\dagger
})$ between a probe plaquatte  $U_{p}$
and the source Wilson-loop $W$. .
\label{fig:measure-flux
\end{minipage}
\end{figure

\subsection{Chromoelectric Flux}

Next, we study the dual Meissner effect. For this purpose, we measure the
chromo flux created by a quark-antiquark pair which is represented by the
Wilson loop $W$ defined in the right panel of Figure \ref{fig:measure-flux}.
The chromo-field strength, i.e., the field strength of the chromo flux at the
position $P$ is measured by using a plaquette variable $U_{p}$ as the probe
operator for the field strength \cite{Giacomo}:
\begin{equation}
\rho_{_{U_{P}}}:=\frac{\left\langle \mathrm{tr}\left(  WLU_{p}L^{\dag}\right)
\right\rangle }{\left\langle \mathrm{tr}\left(  W\right)  \right\rangle
}-\frac{1}{N_{c}}\frac{\left\langle \mathrm{tr}\left(  U_{p}\right)
\mathrm{tr}\left(  W\right)  \right\rangle }{\left\langle \mathrm{tr}\left(
W\right)  \right\rangle },\label{eq:Op
\end{equation}
where $L$ is the Wilson line connecting the source $W$ and the probe $U_{p}$
needed to obtain the gauge-invariant result. Note that $\rho_{_{U_{P}}}$ is
sensitive to the field strength rather than the disconnected one. To
discriminate the chromo flux for each option, for the same source represented
by the Wilson-loop made of the YM field we investigate the chromo flux by
changing probe operators, $LU_{p}L^{\dag},$made of the restricted fields in
the minimal and maximal options in place of the original YM\ field.

Figure \ref{fig:chromo-flux} shows the result of the measurement of chromo
field strength for the original YM field, restricted field of the minimal and
maximal options from left to right panels, respectively. We find that only the
chromoelectric-flux tube is created between a quark and an anti-quark for both options.

\begin{figure}[ptb]
\begin{center}
\includegraphics[
height=5cm, angle=270]
{figs/flux-YM-b620L24-n500_A02N10-L08T08.eps}\includegraphics[
height=5cm, angle=270]
{figs/flux-Vmin-b620L24-n500_A02N10-L08T08.eps}\includegraphics[
height=5cm, angle=270]
{figs/flux-Vmax-b620L24-n500_A02N10-L08T08.eps}
\end{center}
\caption{Measurment of the componet of the chromo flux. (Left) original
YM\ field, (Center) ninimal option (Right) maximal option.
\label{fig:chromo-flux
\end{figure}

Finally, we investigate the dual Meissner effect by measuring the
magnetic--monopole current $k$ induced around the chromoelectric-flux tube
created by the quark-antiquark pair. We use the magnetic-monopole current $k$
defined by
\begin{equation}
k_{\mu}(x)=\frac{1}{2}\epsilon_{\mu\nu\alpha\beta}\left(  F[V]_{\alpha\beta
}(x+\hat{\nu})-F[V]_{\alpha\beta}(x)\right)  . \label{eq:m_current
\end{equation}
Note that the magnetic--monopole current (\ref{eq:m_current}) must vanish due
to the Bianchi identity, if there exists no singularity in the gauge
potential. Therefore, the magnetic--monopole current defined in this way can
be the order parameter for the confinement/deconfinement phase transition, as
suggested from the dual superconductivity hypothesis (see left panel of Figure
\ref{fig:magnetic-monopole}). Center panel of Fig.\ref{fig:magnetic-monopole}
shows the result of the measurements of the magnitude $\sqrt{k_{\mu}k_{\mu}}$
of the induced magnetic current $k_{\mu}$ obtained according to
Eq.(\ref{eq:m_current}). Therefore, we find the dual Meissner effect in both
options. Furthermore, in the maximal option we can decompose the
magnetic-monople current into the two channels, $k_{\mu}(x)=$ $k_{\mu
^{(3)}(x)+k_{\mu}^{(8)}(x)$ which correspond to two types of color fields
$\mathbf{n}_{x}^{(3)}$ and $\mathbf{n}_{x}^{(8),}$respectively. Right panel of
Fig.\ref{fig:magnetic-monopole} shows the result of the decomposition. This
shows that two types of magnetic monopole contribute to confinement in the
same weight.

\begin{figure}[ptbh]
\begin{center}
\includegraphics[width=4.0cm, origin=c]{figs/M-current.eps}
\includegraphics[ origin=c,
height=5cm, angle=270]
{figs/Jm-compare2-b620L24-n500_A02N10-L08T08.eps}
\includegraphics[ origin=c,
height=5cm, angle=270]
{figs/Jm-compare-n3n8-b620L24-n500_A02N10-L08T08.eps} \vspace{-10mm}
\end{center}
\caption{Measurement of the induced magnetic-monopole current. (Left) Sketch
of induced magnetic monopole current around the chromoelectric flux tube.
(Center) Measurement of the induced magetic monopole currents for YM-field
(red), minimal option (green) and maximal option (blue). (Right) Anatomy of
the induced magnetic-monopole current for the maximal option. The upper to
lower plots represent respectively the chromoelectric field ($E_{Z})$ and the
total induced magnetic-monopole current, and decomposed ones corresponding to
the color field $n^{(3)}$ and $n^{(8)}$.
\label{fig:magnetic-monopole
\end{figure}

\section{Summary and outlook}

By using a new formulation of YM theory, we have investigated two possible
types of the dual superconductivity picture in the $SU(3)$ YM theory, i.e.,
the non-Abelian dual superconductivity as the minimal option and the
conventional Abelian dual superconductivity as the maximal option. In the
measurement for both maximal and minimal options, we have found the linear
static potential between a pair of quark and antiquark as for the original
YM\ field and also the V-field dominance in the string tension for each
option. The string tension for both options has almost the same value \ We,
then, have investigated the dual Meissner effect and found the
chromoelectoric-flux tube in each option. We have also found the induced
magnetic-monopole current due to the dual Meissner effect.

\subsection*{Acknowledgement}

This work is supported by Grant-in-Aid for Scientific Research (C) 24540252
and 15K05042 from Japan Society for the Promotion Science (JSPS), and in part
by JSPS Grant-in-Aid for Scientific Research (S) 22224003. The numerical
calculations are supported by the Large Scale Simulation Program No.13/14-23
(2013-2014) and No.14/15-24 (2014-2015) of High Energy Accelerator Research
Organization (KEK).

redpajama_set_name: RedPajamaArXiv


MADISON, Wis. (AP) — A Syrian family who reunited after suing President Donald Trump over his travel bans is now settling into life in Wisconsin.
Ahmad, who according to his lawsuit was imprisoned and tortured by opposing military factions in Syria, came to Wisconsin in 2014 and received asylum status two years later. After Trump issued a January executive order banning travel from seven predominantly Muslim countries, including Syria, lawyers from two law firms — Pines Bach in Madison and Holwell Shuster and Goldberg in New York — suggested that Ahmad file a lawsuit alleging the ban stalled his petitions to bring his wife and daughter to join him.


text:
After Fast 9, Vin Diesel Is Ready To Film More Riddick, Xander Cage, And Groot
By Gina Carbone published 30 November 19
Vin Diesel and his #DadBod have a busy schedule ahead. He just wrapped Fast & Furious 9, which was the longest filming shoot of his career so far. It really did seem to go on forever! He's "immensely proud" of the results, though, which we'll see in May 2020. Now he's ready for more action in his other major franchises roles -- including Xander Cage, Richard B. Riddick, Groot in Guardians of the Galaxy Vol. 3, Bloodshot, and maybe more from Kaulder of The Last Witch Hunter.
Vin Diesel took advantage of the Thanksgiving holidays to give thanks for his family and fans and career so far. He updated everyone on what's next for him -- via a shirtless workout photo (because of course):
A photo posted by on
Let's break down what should be coming next for this action hero.
• Fast and Furious 9 - release date: May 22, 2020. Vin Diesel posted videos every step of the way through the epic shoot for this film -- from scenes with John Cena and Helen Mirren to Jordana Brewster finally getting to be badass again as Mia. Plus, maybe Brian will return?
• Bloodshot - release date: February 21, 2020. Bloodshot recently shared its first trailer, and we should be hearing a lot more about the Valiant Comics superhero pretty soon. Vin Diesel has the lead role as Ray Garrison/Bloodshot, with co-stars including Eiza González, Sam Heughan, Toby Kebbell, and Guy Pearce. If the movie ends up doing well, I'm sure they'll talk about a sequel.
• Guardians of the Galaxy Vol. 3 - release date: Unconfirmed date in 2022. He is Groot. Groot will return with the gang when James Gunn's third Guardians movie heads to the MCU. When will that be? It was supposed to be in 2020, but Disney fired Gunn and before they rehired him he signed up to make DC's The Suicide Squad. So he's busy with that now at the end of 2019 and he'll start Guardians 3 when that's done.
• Riddick 4 - release date - ??? Vin Diesel has been talking about a fourth Riddick film for a while, and earlier this year he shared a video showing off a script titled Riddick 4 Furya:
There's also been talk about a Riddick spinoff TV series called Merc City. Riddick 4 will follow Pitch Black, The Chronicles of Riddick, and Riddick, which came out in 2013.
• xXx 4 - release date - ??? XXX: Return of Xander Cage came out in 2017 as the third movie in the franchise. Vin Diesel is moving forward with a fourth film, and this time last year Deadline reported that actor Jay Chou and actress Zoe Zhang were cast for xXx 4. Earlier this year, Diesel asked fans who else should join the next xXx movie and got some wild responses.
• Avatar 2 and Avatar 3 - release dates: December 17, 2021 and December 22, 2023. Apparently Vin Diesel has a role in James Cameron's Avatar sequels? I guess? Cameron has up to Avatar 5 planned with release dates, but Avatar 4 and 5 depend on the success of Avatar 2 and 3. Those first two sequels were filmed at the same time, and they just wrapped for 2019. It may be a while before we see a trailer and hear anything about Diesel's role.
• The Last Witch Hunter 2 - release date: ??? Not sure what's going on here, but shortly before The Last Witch Hunter came out in 2015, Vin Diesel posted to Facebook that Universal wanted him to commit and block out time to film the sequel. That was four years ago, and the movie didn't make a ton of money on its release -- $147 million worldwide, with only $27.3M from the domestic box office. But if he's bringing it up now, maybe there are still discussions going on for the future of Witch Hunter. There are only about 9 million streaming services available if they decide to go that route. Just saying.
So that's a lot. I'm excited to see Fast & Furious 9. I'm all aboard that hype train, which will also lead to Fast & Furious 10. Not 100% sure I'm ready for everything else yet -- except for Guardians 3, of course -- so we wait and see. Keep up with everything heading to the big screen next year with our 2020 movie release date schedule.
Gina Carbone
Gina grew up in Massachusetts and California in her own version of The Parent Trap. She went to three different middle schools, four high schools, and three universities -- including half a year in Perth, Western Australia. She currently lives in a small town in Maine, the kind Stephen King regularly sets terrible things in, so this may be the last you hear from her.


text:
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Jharsewa
Sachin Tendulkar Net Worth 2022| Salary, Cars, Income, Assets.
October 26, 2022 by Sunil
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Sachin Tendulkar Brand Endorsements
Sachin Tendulkar Awards
Started his journey of earning money by playing cricket, he has also set up his other earnings like advertisements, brand ambassadors, endorsements, etc. In 1995, Sachin Tendulkar made a contract with WorldTel with the value of the contract being Rs. 30 crores. He also owns a football team named Kochi ISL team in Indian Super League Football and a team named Bengaluru Blasters in Premier Badminton League.
Latest News – Sachin Tendulkar announces Rs 50 Lakhs assistance to fight corona virus
Mr. Sachin Tendulkar owns 2 Restaurants, one in Mumbai and one in Bangalore. The Net worth of Sachin is more than Rs. 1240 crores which make him the richest cricketer ahead of Kohli and Dhoni too. His Net Worth includes properties, cars, remuneration, investments, and miscellaneous assets also.
Name Sachin Tendulkar
Net Worth (2022) $160 Million
Net Worth In Indian Rupees Rs. 1240 Crore INR
Profession Cricketer
Monthly Income And Salary 4 Crore +
Yearly Income 50 Crore +
Born in the year 1973 in a nursing home in Dadar, Bombay, he was born in a family where his father Ramesh Tendulkar was a well-known Novelist, whereas his mother Rajni Tendulkar worked in an insurance company. He started his cricketing journey at the age of 11 years. He was struggling at the beginning where he used to give up everything such as classes, studies, food, etc. just for cricket. Sachin Tendulkar made cricket his life and made all the efforts to achieve this goal. He was very much confident of his career as a cricketer and so gave his entire life to it.
In the year 1995, he married Anjali, who was a girl of Gujarati industrialist. They have 2 children, one daughter named Ms. Sara and one boy named Mr. Arjun. They have a very luxurious lifestyle having a house in Bandra West, Mumbai which was built in the year 2009, and has now valued at Rs. 80 crores.
Sachin Tendulkar Net Worth Rs.1240 Crore
Personal Properties Rs. 520 Crore
Luxury Cars Owned – 10 Rs.15 Crore
Remuneration From BCCI Rs.2 Crore
Brand Endorsement Fee Rs. 15 Crores
Being a very big lover of cars, he has almost 10 cars which include the following:
Ferrari 360 Modena
BMW X5M
Mr. Sachin Tendulkar is fond of cars and purchases new cars whenever new models of luxurious brands are launched. He has been also working with various car manufacturing companies as brand ambassador and earning good amount of money. The cars owned by Sachin Tendulkar can be valued at around Rs. 20 crores.
Sachin Tendulkar owns a luxury designer House in 19-A, Perry Cross Rd, Bandra West, Mumbai. He Built this House in 2009. The Cost of the House around Rs.60 Crores
The popularity of Sachin Tendulkar has been increasing day by day and is also known as "God of Cricket" and so many big brands have endorsed him as the brand endorsements so as to earn good amount of sales. Sachin Tendulkar has made such an image in the minds of Indian people who have never been in any of the controversies and so people are taking inspirations from it and following him. The following big brands have been endorsed by Sachin Tendulkar:
Sanyo BPL
G-Hanz
Sunfeast
Castrol India
His yearly income from brand endorsements stands nearly at Rs. 17 to 20 crores. This income forms part of the major source of earnings of Sachin Tendulkar.
First Name Sachin
Last Name Tendulkar
Full Name Sachin Ramesh Tendulkar
Name in Hindi सचिन तेंडुलकर
Nicknames: GOD of Cricket, Little Master, Master Blaster, Sachin, Tendlya
Age 49 years old (2022)
Official Twitter Handel Twitter
Birth Date 24 April 1973
Birth Place Mumbai
Spouse: Anjali Tendulkar (m. 1995)
Estimated Net Worth in 2022 1240 Crore INR
Being a great player and contributed a lot of pride to the nation, he has been awarded various national honors which are as follows:
1994 – Arjuna Award, by the Government of India in recognition of his outstanding achievement in sports.
1997 -Rajiv Gandhi Khel Ratna, India's highest honour given for achievement in sports.
1999 – Padma Shri, India's fourth highest civilian award.
2001 – Maharashtra Bhushan Award, Maharashtra State's highest Civilian Award.
2008 – Padma Vibhushan, India's second-highest civilian award.
2014 – Bharat Ratna, India's highest civilian award.
Various Biographies are also written on his life and lots of copies are being sold. He has been an idol for youth and a motivation factor for the young cricketers struggling with their careers.
He has also launched a movie named "Sachin – A Billion Dreams" which has got a huge support from all over the world and is highly appreciated.
What is the net worth of Sachin Tendulkar?
Sachin Tendulkar net worth is $160 Million (Rs. 1240 Crores).
What is the real age of Sachin Tendulkar?
Currently Sachin Tendulkar is 48 years old (24 April 1973).
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Categories Biography Tags ms dhoni net worth, rohit sharma net worth, sachin tendulkar net worth 2022 forbes, sachin tendulkar net worth in million, sachin tendulkar net worth in rupees, shahrukh khan net worth, sourav ganguly net worth, virat kohli net worth Post navigation
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Accenture has committed a $5 million grant to Youth Business International, to be used to equip 50,000 youth worldwide with entrepreneurial skills. The donation, which is part of Accenture's Skills to Succeed initiative, will also boost the capacity of the non-profit network and develop a global technology infrastructure.
Youth Business International (YBI) is a global network of independent non-profit initiatives, founded in 2000 by HRH the Prince of Wales to help youth to start and grow their own business and create employment in more than 40 countries. YBI members help under-served young entrepreneurs with a combination of training, access to capital, mentoring and other business development services. So far over 100,000 young people have been assisted worldwide to set up their own business, of which 70% are still trading after three years and creating significant levels of employment and further benefits for their communities.
In 2006, professional services firm Accenture partnered with YBI and has since committed more than $8.5 million to the network, empowering it to deliver the funding, mentoring, and training to help 38,000 young entrepreneurs build and sustain their businesses. The new $5 million grant builds on this success and extends the partnership with another three years.
The donation will be used to equip 50,000 young people with skills to succeed in the business world, as well as assist youth around the world to establish approximately 10,000 start-ups and create over 16,000 associated jobs. In addition, the funds will enable YBI to expand its membership from 40 to 65 countries and boost its global technology infrastructure and the tools used by its members to share knowledge and effective responses to youth unemployment.
The partnership with YBI is part of Accenture's corporate citizenship initiative 'Skills to Succeed', which the firm launched in 2009 to address the global need for skills that open doors to meaningful, lasting employment and economic opportunity and to advance employment and entrepreneurship opportunities in markets around the world. The initiative is part of the firm's CSR programme and aims at equipping more than 3 million people with skills to get a job or build a business.
Accenture has, as part of its Skills to Succeed programme, committed time and money to several other non-profit organisations. Examples include a partnership with Plan Netherlands to equip 6.000 Africans with skills to succeed, with The Prince's Trust to help expand the reach of its flagship employability programme 'Get Into', with Ashoka to establish the Talent Growth Initiative aimed at bridging the skills gap and with Girls Who Code to close the gender gap in technology.


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American Food in History
Food in the American Gilded Age
Edited by Helen Zoe Veit
Published by: Michigan State University Press
Imprint: Michigan State University Press
Sales Date: 2017-05-01
344 Pages, 8.00 x 8.00 in
Hardback PDF
Food was incredibly diverse in post–Civil War America. It was an era of gross income inequality, and differences in diet reflected the deep disparities between upper and lower classes, as well as the expansion of a flourishing middle class. In this book, excerpts from a wide range of Gilded Age sources—from period cookbooks to advice manuals to dietary studies—reveal how jarringly eating and cooking differed between classes and regions at a time when technology and industrialization were transforming what and how people ate. Most of all, they show how strongly the fabled glitz of wealthy Americans in the Gilded Age contrasted with the lives of most Americans. Featuring a variety of sources as well as accessible essays putting those sources into context, this book provides a remarkable portrait of food in a singular era in American history, giving a glimpse into the kinds of meals eaten everywhere from high society banquets to the meanest tenements and sharecropping cabins.
A Matter of Class: Food in the United States, 1870–1900, by Katherine Leonard Turner
Seeing the Gilded Age through Its Recipes
Mrs. Mary F. Henderson, Practical Cooking and Dinner Giving, 1877
Selected Advice on Table Manners, 1872–1903
Massachusetts Recipe Manuscript, 1870s and 1880s
Mrs. Peter A. White, The Kentucky Housewife: A Collection of Recipes for Cooking, 1885
Christine Terhune Herrick, What to Eat, How to Serve It, 1891
Dietary Studies from Alabama, New York, Chicago, Virginia, and New Mexico, 1895–1897
Gilded Age Banquet Menus, 1880–1899
Fannie Merritt Farmer, The Boston Cooking-School Cook Book, 1896
Glossary of Nineteenth-Century Cooking Terms
Helen Zoe Veit is Associate Professor of History at Michigan State University. She specializes in American history in the nineteenth and twentieth centuries, focusing on the history of food and nutrition. She is the author of Modern Food, Moral Food: Self-Control, Science, and the Rise of Modern American Eating in the Early Twentieth Century, and general editor of the American Food in History Series.
"Food in the American Gilded Age provides a fresh lens for examining the most dynamic time in American culinary history. From the meager victuals of former slaves to the over-the-top banquets of the superrich, through the struggles of the average housewife to make sense of the changes in her family's diet, the documents in this volume provide firsthand looks at the foods that mattered and the Americans who ate them. This book will whet your appetite and turn your stomach, all at the same time."
—Rebecca Sharpless, Professor of History, Texas Christian University, and author of Cooking in Other Women's Kitchens: Domestic Workers in the South, 1865–1960
© 2023 Michigan State University. All Rights Reserved.
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Despite the increased number of anthrax outbreaks in Georgia and the other Caucasian republics of the former Soviet Union, no data are available on the diversity of the Bacillus anthracis strains involved. There is also little data available on strains from the former Soviet Union, including the strains previously used for vaccine preparation. In this study we used eight-locus variable-number tandem repeat analyses to genotype 18 strains isolated from infected animals and humans at different sites across Georgia, where anthrax outbreaks have occurred in the last 10 years, and 5 strains widely used for preparation of human and veterinary vaccines in the former Soviet Union. Three different genotypes affiliated with the A3.a cluster were detected for the Georgian isolates. Two genotypes were previously shown to include Turkish isolates, indicating that there is a regional strain pattern in the South Caucasian-Turkish region. Four of the vaccine strains were polymorphic, exhibiting three different patterns of the cluster A1.a genotype and the cluster A3.b genotype. The genotype of vaccine strain 71/12, which is considered an attenuated strain in spite of the presence of both of the virulence pXO plasmids, appeared to be a novel genotype in the A1.a cluster.