text:
probabilities
Tutorial (en)
F. Serval and Bonus Problem
Getting closer and closer to a mathematician, Serval becomes a university student on math major in Japari University. On the Calculus class, his teacher taught him how to calculate the expected length of a random subsegment of a given segment. Then he left a bonus problem as homework, with the award of a garage kit from IOI. The bonus is to extend this problem to the general case as follows.
You are given a segment with length $$$l$$$. We randomly choose $$$n$$$ segments by choosing two points (maybe with non-integer coordinates) from the given segment equiprobably and the interval between the two points forms a segment. You are given the number of random segments $$$n$$$, and another integer $$$k$$$. The $$$2n$$$ endpoints of the chosen segments split the segment into $$$(2n+1)$$$ intervals. Your task is to calculate the expected total length of those intervals that are covered by at least $$$k$$$ segments of the $$$n$$$ random segments.
You should find the answer modulo $$$998244353$$$.
First line contains three space-separated positive integers $$$n$$$, $$$k$$$ and $$$l$$$ ($$$1\leq k \leq n \leq 2000$$$, $$$1\leq l\leq 10^9$$$).
Output one integer — the expected total length of all the intervals covered by at least $$$k$$$ segments of the $$$n$$$ random segments modulo $$$998244353$$$.
Formally, let $$$M = 998244353$$$. It can be shown that the answer can be expressed as an irreducible fraction $$$\frac{p}{q}$$$, where $$$p$$$ and $$$q$$$ are integers and $$$q \not \equiv 0 \pmod{M}$$$. Output the integer equal to $$$p \cdot q^{-1} \bmod M$$$. In other words, output such an integer $$$x$$$ that $$$0 \le x < M$$$ and $$$x \cdot q \equiv p \pmod{M}$$$.
In the first example, the expected total length is $$$\int_0^1 \int_0^1 |x-y| \,\mathrm{d}x\,\mathrm{d}y = {1\over 3}$$$, and $$$3^{-1}$$$ modulo $$$998244353$$$ is $$$332748118$$$.


text:
Przeprawa promowa – sposób przemieszczania ludzi, samochodów, pociągów i ładunków za pomocą urządzeń pływających (promów) pomiędzy stałymi punktami załadunku i wyładunku.

Zobacz też
 Promy śródlądowe w Polsce

Okrętownictwo
Infrastruktura transportu

redpajama_set_name: RedPajamaWikipedia


This discussion is about "The Nordic countries (Finland, Iceland, Norway and Sweden)" in the "Destinations" forums.
Hi istoryans kinsay nga experience travel sa Nordic countries? Wish to have some travel tips and experiences you had from that countries.
Been to Sweden and living here in Norway pero so far Norway ra akoa ma share.
Sa Sweden naa man masuroyan pero Stockholm ra man ako nasuroyan mao di kaayo ko ka share.
Total = 27,700 to 30000kr that is around 195K or 200K pesos wala pa labot plete padung Norway og pocket money...normally ang plete is mga 6000 kr or 39K pesos (to-return). I guess you can say mga 250K pesos para 2 weeks tour.
Wow! nindot ni sir mga places imo adtoan. Parihas pud kamahal tingali sa iceland no?
Heads up! Hang on tite gyud mi ani sa budget our dream places to be. Salamat sir!
I hope mka drone ko f dili sila strkto? hehe!
medyo barato gamay tingale sa Iceland....kining Norway mao juy pinaka mahal, sunod ang Sweden.
bitaw. sa iceland allowable thou of course naa sila regulations? and restrictions sa national park nila to preserved the environment in which I agree but there are also not. "https://guidetoiceland.is/travel-info/flying-drones-in-iceland".
norway and sweden are two of the best places to see in europe, kinahanglan gyud DIY ug planohon sya ug dugay2 labaw na ang budget para dili alanganin.
Who is the country's best up-and-coming boxer?


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text:
from .base import GeocodeService
import logging
from omgeo.places import Candidate
from omgeo.preprocessors import ReplaceRangeWithNumber
from posixpath import join as posixjoin

try:
    # python 3
    from urllib.parse import urljoin
except ImportError:
    # python 2
    from urlparse import urljoin

logger = logging.getLogger(__name__)

class Pelias(GeocodeService):
    """
    Class to geocode using `Pelias search service
    <https://pelias.io/>`_.

    Settings used by the Pelias GeocodeService object include:
     * api_key --  The API key used to access search service.

    """
    _wkid = 4326

    # 766-68 Any St. -> 766 Any St.
    DEFAULT_PREPROCESSORS = [ReplaceRangeWithNumber()]
    DEFAULT_POSTPROCESSORS = []

    def __init__(self, preprocessors=None, postprocessors=None, settings=None):
        if 'api_version' in settings:
            self._api_version = 'v' + str(settings['api_version'])
        else:
            self._api_version = 'v1'

        if 'instance_url' in settings:
            self._base_url = settings['instance_url']
        else:
            self._base_url = 'https://api.geocode.earth/'

        self._default_endpoint = urljoin(self._base_url,
                                         posixjoin(self._api_version, 'search'))
        self._key_endpoint = urljoin(self._base_url,
                                     posixjoin(self._api_version, 'place'))
        self._endpoint = self._default_endpoint

        preprocessors = Pelias.DEFAULT_PREPROCESSORS if preprocessors is None else preprocessors
        postprocessors = Pelias.DEFAULT_POSTPROCESSORS if postprocessors is None else postprocessors
        GeocodeService.__init__(self, preprocessors, postprocessors, settings)

    def _geocode(self, pq):
        query = {'text': pq.query}

        if pq.country:
            query = dict(query, **{'boundary.country': pq.country})

        if pq.viewbox is not None:
            box = pq.viewbox.to_pelias_dict()
            query = dict(query, **box)

        if hasattr(pq, 'key'):
            # Swap to the place endpoint and return a single result.
            self._endpoint = self._key_endpoint
            query = {'ids': pq.key}

        if 'api_key' in self._settings:
            query['api_key'] = self._settings['api_key']

        response_obj = self._get_json_obj(self._endpoint, query)
        returned_candidates = []  # this will be the list returned
        features_in_response = response_obj['features']
        for r in features_in_response:
            properties = r['properties']
            geometry = r['geometry']

            score = 100 * float(properties['confidence']) if 'confidence' in properties else 0
            locality = properties['locality'] if 'locality' in properties else ''
            region = properties['region'] if 'region' in properties else ''
            label = properties['label'] if 'label' in properties else ''
            layer = properties['layer'] if 'layer' in properties else ''

            c = Candidate()
            c.locator = layer
            c.match_addr = label
            c.match_region = region
            c.match_city = locality
            c.locator_type = layer
            c.x = float(geometry['coordinates'][0])
            c.y = float(geometry['coordinates'][1])
            c.score = score
            c.wkid = self._wkid
            c.geoservice = self.__class__.__name__
            returned_candidates.append(c)
        return returned_candidates

redpajama_set_name: RedPajamaGithub


text:
McBeth Ousts Barsby In 'Nerve-Racking' European Open Final
Comeback victory makes it four straight in Finland for the sport's highest rated player
July 23, 2017 by Steve Hill in Recap with 0 comments
Paul McBeth and Gregg Barsby brought it down to the wire yesterday at the European Open in Nokia, Finland. Photo: Eino Ansio, Disc Golf World Tour
With three players within two shots of the lead and a crowd of 3,500 bursting at the seams with every crushing drive and flawless upshot, the environment for yesterday's final round of the European Open in Nokia, Finland, was not for the faint of heart. Even three-time tournament champion Paul McBeth — he of four PDGA World Championships and "McBeast Mode" fame — wasn't immune to the setting.
"It was definitely nerve-racking, you know?" McBeth said. "There were five people that could have won…It was exciting because anyone on that lead card could have won today, so there was never anyone that I counted out and never anyone that I didn't think could win this tournament."
That included McBeth himself, as the newly minted four-time European Open Champion needed every hole on The Beast to complete his comeback, taking Gregg Barsby down to the final green on the way to a one-shot victory. McBeth saved his best performance of the event for last, with his final round 12-under par 52 bringing him to a 37-under par 219 total and netting him $5,000 in prize money. Barsby's 9-under par 55 left him in second place with a 36-under par 220 and a $3,000 payday.
The win was the 12th PDGA Major of McBeth's career, with seven of those coming outside the United States. He averaged 1052.5-rated golf during the four-day event, highlighted by a Sunday showing that clocked in at 1067.
Simon Lizotte's 6-under par 58 final round brought him to a third place finish with a 32-under par 224, while Nate Doss' 31-under par 225 was good for fourth place. Eagle McMahon, who ended the tournament's first round in a tie for 51st place, rounded out the top 5 with a 28-under par 228 total after 72 holes.
Though it was McBeth who again stood atop the podium, it was Barsby who made the first moves toward a final round flourish. The Northern California pro, nursing a one-throw lead over Lizotte and two over McBeth and Doss, landed in the three-meter bullseye off the tee on hole 2 for an easy birdie to add a stroke over McBeth, who went out-of-bounds but saved par with an outside-the-circle conversion. The pair traded birdies on holes 3 and 4, then Barsby took a stroke on the card on hole 5 with a forehand drive that skipped to within 20 feet of the basket.
"It was intense," McBeth said. "I mean, it was difficult at the beginning. Gregg started pulling away. He had me by two [to start the round] and he had me by four after five holes. It was kinda nerve-racking, but I was able to get it together after the birdie on 7 and then just started cruising, getting [into] cruise control."
Indeed, McBeth's upshot on hole 7 — a floating Nova approach from a knee that put him in tap-in range — kick-started his first three-birdie run of the day. At the same time, Barsby hit the skids. He misfired his hole 7 drive left and hit a tree, leaving him to settle for par, then clanged his attempt for deuce on 8 off the top band. While McBeth put a skipping forehand Destroyer shot on hole 9 within 20 feet, Barsby left too much air under his drive and it was batted down by some branches. Just like that, Barsby's four-shot margin was down to one.
"I didn't give in," Barsby said. "…I was a little sketchy on the greens, and I really didn't make enough putts this week. I definitely missed five inside the circle, six inside the circle — and couple of them from four-to-six meters, which is just unacceptable."
Undeterred, Barsby bounced back. After a long drive on hole 10 left him stuck behind some trees, he laid down a beautiful forehand roller approach that curled to 15 feet from the pin. McBeth missed his birdie attempt low, and Barsby had the gap back up to a pair of strokes.
That cushion quickly evaporated on hole 11, though. First to tee, Barsby's drive faded short and into a marshy patch of OB. His attempt for the par save glanced off the top of the basket, while McBeth connected on his second putt of the day from beyond 30 feet — this one was from roughly 45 — for a two-stroke swing that tied the score.
From there, Barsby found the form he entered the round with, rattling off five consecutive birdies on the back of five straight green hits in regulation. McBeth took four birdies in the same stretch — his attempt for 2 from the woods of hole 14 skimmed off the lower right side of the chains — and Barsby clung to the lead heading into hole 17.
Gregg Barsby launches a jump putt on hole 18 as a nervous gallery holds its breath. Photo: Eino Ansio, Disc Golf World Tour
And that's where midnight struck for this Cinderella story. Barsby missed a putt from 50 feet wide left, while McBeth converted from 20 feet with a fist pump to tie the score. Heading into 18 knotted up at 36-under par, Barsby's forehand drive came out of his hand early, hit a tree, and landed out of bounds.
The veteran, though, went down swinging. He put his long approach to within 55 feet of the pin, then hit a huge jump putt to save par.
"Obviously the drive was terrible — I'll probably cringe at that for the rest of my life," Barsby said. "But to finish that way, and hear the loudest roar that I've ever heard playing disc golf, is really special. I know I had the crowd behind me, I know they wanted to see me do it. Win or lose, I'm still a winner. And I think they feel the same way."
McBeth, whose approach landed 28 feet out, was forced to convert his putt on the elevated basket for the win. With his back foot placed just inside the white OB line, he gave his signature toe dig in the turf, pulled the putter down to his knee, and drilled the winner into the center of the chains.
"With Gregg making that final putt, that just made it that much more exciting, because if he didn't I'd just be laying up and we'd be talking about a little drop-in for the win," McBeth said. "But now it's back-to-back big putts."
Conversions like those were what McBeth said powered his performance. He made 93 percent of his attempts inside the 10-meter circle during the European Open's four rounds and added six from long distance. Clearly rounding into his 2015 putting form, McBeth wondered aloud about what might have been had he been on point at 2017's two previous Majors.
"The putting confidence is incredible, and if I can keep that up it'll be hard to, I think, beat me this year the rest of the way," McBeth said. "If I can throw the disc well and keep it up, keep playing at the level I am — I feel like if I could have putted like that earlier in the year, it'd probably be a whole different story right now with Worlds and Australia."
For Barsby, the finish matched his career high at a Major, which took place back in 2008 and 2006 at the Players Cup. He missed most of 2015 while nursing an elbow injury, and a showing of this magnitude after a long road to recovery had him reflecting on his good fortune.
"It's nice to, I guess — what's the word I'm looking for? — to have the resolution to be able to continue playing and push through some of those things," Barsby said. "Not everybody can do that, and I take pride in that. I've taken a road that not as many have, or haven't been able to keep going on that road…Not everybody gets the opportunity to go and do what I'm doing, [so] I'm happy that I've stuck through. There's some bumps in the road, but there's blue skies, as well."
The rest of the top 10 was mostly comprised of household names. Paul Ulibarri played all four rounds above his rating en route to a 27-under par 229 finish that put him in sixth place, while Ricky Wysocki recovered from some early-tournament struggles with an 11-under par final round to move into seventh place with a 26-under par 230. He shared that position with Nate Sexton, whose score improved in each of the event's four rounds as he returned to tour, and Finnish pro Väinö Mäkelä, who was playing in only his second career Major. Eleven-time Danish Champion K.J. Nybo took home tenth place with a 25-under par 231 showing.
Paul McBeth attributed his fourth European Open win to a strong putting performance. Photo: Eino Ansio, Disc Golf World Tour
In addition to his four European Open titles, McBeth also boasts hardware from the 2015 Scandinavian Open, the 2014 European Masters, and the 2013 Copenhagen Open. And he lavished praise on the Finnish crowds that have seen him enjoy so much success over the years.
"It's just a great tournament to come out and play. It's a great one to win, it's got so much history," McBeth said. "It's got a whole country behind it. There are people coming from all over that are coming to watch this event. We don't really have anything like that in the US. [There's the] USDGC, but you don't hear many people coming from Texas or coming from midway in the US like they are here in Finland, or even other countries are flying in to come watch this. It's incredible."
McBeth also said that the size of the crowds portend positive growth for the sport as a whole.
"You could hear the buzz, you could hear everything going on around you," McBeth said. "To me, it's exciting, it's fun. That means we're doing something exciting, worth watching. To have these people take a whole day out of their lives, or a whole week out of their lives — we're doing something big."
Steve Hill is the editor of Ultiworld Disc Golf. He provides reviews from the perspective of a low-powered player at Noodle Arm Disc Golf, and in the past served as the associate editor for Rattling Chains. Contact him at steve.hill@ultiworld.com or on Twitter.
TAGGED: DGWT, Professional Disc Golf Association (PDGA), 2017 European Open, Disc Golf World Tour, PDGA, PDGA Major
PLAYERS: Gregg Barsby, Nate Doss, Paul McBeth, Simon Lizotte
The Upshot: 2017 Year In Review, Player Awards
A Fitting Finale: Ricky Wysocki, Kristin Tattar Win the DGPT Championship
The Upshot: Ledgestone Preview, European Open Stats
Comments on "McBeth Ousts Barsby In 'Nerve-Racking' European Open Final"

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text:
orchestral conducting
YSM Alumni News | January 2019
Reena Esmail. Photo by Rachel Garcia
Conductor Jordan Brown AD led his first concert as Music Director of the New Sussex Symphony in November.
This Love Between Us: Prayers for Unity by composer Reena Esmail '11MM '14MMA '18DMA, a work originally commissioned by the Yale Institute of Sacred Music, was given its West Coast premiere by the Los Angeles Master Chorale in November at Walt Disney Concert Hall. In January, Esmail was named a 2019 United States Artists Fellow and was the Grand Prize winner of the S&R Foundation's Washington Award. Trombonist Brittany Lasch '12MM was among the Foundation's Washington Award winners.
Joseph Fala '17MM, who is in his second year as an Organ Scholar at Duke Chapel, performed a recital in December at Duke University.
Pianist Vyacheslav Gryaznov '18AD performed two cycles by Rachmaninov at Sudler Hall in November as part of a concert series titled Reflections of the Russian Exodus, presented by the European Studies Council.
Sarita Kwok. Photo by Kate Lemmon
Gordon College named violinist Sarita Kwok '05MMA '06AD '09DMA the Adams Endowed Chair in Music. A celebratory performance was given by faculty and students of the college's Department of Music in November.
Oboist Anna Mattix '98MM and composer Caroline Mallonee '00MM are featured on the Buffalo Philharmonic Orchestra's newest recording. Mattix is the soloist on Vox Humana, a work commissioned for her, and Mallonee composed Whistler Waves on a commission for the BPO's associate principal cellist.
Proving Up, an opera by composer Missy Mazzoli '06MM, was listed as one of the year's "Best Performances" in The New York Times' "The Best Classical Music of 2018."
Conductor Julian Pellicano '07MM '09MM led the Vancouver Symphony Orchestra in a performance of John Williams's score for Home Alone as part of the VSO at the Movies series in December.
Baritone David Pershall '10MM '11AD sang the role of Silvio in Pagliacci at the San Francisco Opera in September.
Violinist Igor Pikayzen '11MM '12AD was featured in "Sounds for a Starry Night," a concert held in December at the Westport Woman's Club. Proceeds from the performance contributed to scholarships for Staples High School seniors.
Dantes Rameau
Bassoonist Dantes Rameau '07MM, founder of the Atlanta Music Project, which provides free music education in neighborhoods where school music programs are limited, was named one of the Top 30 Professionals of 2018 by Musical America.
In association with the Royal Canadian College of Organists, Sarah Svendsen '15MM performed a recital and led a youth-oriented workshop on the pipe organ in November.
Tubist Antonio D. Underwood '87MM was a featured keynote speaker at Hagerstown Community College's annual Martin Luther King Jr. Diversity Celebration in Januray.
Yale Philharmonia to perform Shostakovich's Symphony No. 11
Commissioned by Soviet leaders to mark the 50th anniversary of Bloody Sunday—January 22, 1905—a day on which members of the working class approached the Winter Palace in St. Petersburg asking that working and living conditions be improved, composer Dmitri Shostakovich didn't write his Eleventh Symphony until 1957, a year after the Hungarian Uprising. Hundreds had died in St. Petersburg a half-century earlier, and thousands, over the course of a few weeks in 1956, had been killed in Budapest, all at the hands of Russian/Soviet troops.
Shostakovich was a savvy enough artist to make sure that his Symphony No. 11 was appreciated by Soviet officials when it had its premiere, in Moscow, in 1957. Still, what most listeners hear, beyond the familiar revolutionary songs and military evocations that imbue the music, is a composer railing against tyranny and its costs.
Though Shostakovich was born in St. Petersburg less than a year after the events of Bloody Sunday, he endured the oppression that gripped Russia/the Soviet Union for most of his life. Shostakovich spoke largely, and enigmatically, through his music; his Symphony No. 11 captures the struggle of the many against the power of the few.
In a recent conversation with Sergei Antonov, an assistant professor of history at Yale who specializes in Russia after 1800 and who grew up in the Soviet Union, Yale Philharmonia Principal Conductor Peter Oundjian asked what led the working class, in January 1905, to rally at the Winter Palace of Tsar Nicholas II.
"Petersburg," Antonov said, "had this mystique of this wonderful sort of legendary city, but in many crucial ways it was just like any other late 19th/early 20th century city: poor transportation, poor hygiene and sanitation, a lot of labor turnover, a lot of risk, poor health care. So, all of those issues were, of course, real. And there was a pretty powerful labor movement. In other words, workers gathering together, going on strike, asking for economic conditions. And then if you add to this a political component … we get this pretty volatile kind of climate."
On January 22 of 1905, the Russian Revolution began with an event that Shostakovich recounted, more than 50 years later, in his Eleventh Symphony.
"We have this extraordinary scene of the palace square, pre-dawn, this iciness in the air as if people are gradually approaching at the beginning of the symphony," Oundjian explained. "And then you hear a trumpet fanfare, which is extremely ominous."
"These horns were a signal to open fire for the troops," Antonov said.
"The second movement begins and suddenly the atmosphere changes," Oundjian said. "Suddenly, we are in the action of things."
Bloody Sunday, as it has come to be known, resulted in hundreds of deaths and marked the beginning of the larger revolution which got traction in 1917 and led to the establishment, in 1922, of the Soviet Union.
Oundjian has called Shostakovich's Eleventh Symphony "one of the most powerful pieces ever written," saying, "It is really about the power of the human struggle and about human defiance."
Peter Oundjian will lead the Yale Philharmonia in a performance of Shostakovich's Symphony No. 11 in G minor, Op. 103, "The Year 1905" on Friday, Jan. 18, at 7:30 p.m., in Woolsey Hall.
DETAILS & TICKETS ($5 for Yale students, faculty, and staff)
Members of YSM community earn Grammy nominations
Missy Mazzoli. Photo by Marylene Mey
Grammy Award nominations were announced on Friday, Dec. 7, and several members of the Yale School of Music community made the list. Please join us in congratulating these outstanding musicians.
Composer Missy Mazzoli '06MM was nominated in the Best Contemporary Classical Composition category for her work Vespers for Violin, performed by Olivia de Prato. In the same category, faculty composer Aaron Jay Kernis '83MM received a nomination for his Violin Concerto, performed by violinist James Ehnes, conductor Ludovic Morlot, and the Seattle Symphony.
Yale Philharmonia Principal Conductor Peter Oundjian was nominated in the Best Classical Compendium category for Vaughan Williams: Piano Concerto, Oboe Concerto, Serenade to Music, Flos Campi, on which he conducted. The recording was produced by Blanton Alspaugh.
Conductor Martin Pearlman '71MM was nominated in the Best Classical Instrumental Solo Category for Biber: The Mystery Sonatas, on which he conducted. The recording features violinist Christina Day Martinson and Boston Baroque.
Composer John Adams 'MUSHD received a nomination in the Best Opera Recording category for Adams: Dr. Atomic.
The Boston-based chamber orchestra A Far Cry, which includes alumni violinists Liesl Schoenberger Doty '11AD and Miki-Sophia Cloud '08MM, was nominated in the Best Chamber Music/Small Ensemble Performance category for Visions and Variations.
In the Best Orchestral Performance category, three nominations have ties to YSM. The Boston Symphony Orchestra's recording Shostakovich: Symphonies Nos. 4 & 11, conducted by Andris Nelsons, includes alumni violinist Sheila Fiekowsky '75MM and cellist Owen Young '87MM. The San Francisco Symphony's recording Schumann: Symphonies Nos. 1-4, conducted by Michael Tilson Thomas, includes alumni violinists Gina Cooper '87MM and John Young 'MM. And the Pittsburgh Symphony Orchestra's recording Beethoven: Symphony No. 3; Strauss: Horn Concerto No. 1, conducted by Manfred Honeck, includes alumni violinists Irene Cheng '94MM and Louis Lev '90MM and alumni trombonist Rebecca Cherian '81MM.
Oundjian explores "Also sprach Zarathustra" with Nietzsche expert
Karsten Harries, left, and Peter Oundjian
Peter Oundjian has conducted Strauss' Also sprach Zarathustra many times. Never, though, has he dived so deep into Nietzsche's text, which inspired the tone poem. "It's a very rare thing to have the opportunity to speak with someone who's lived with Nietzsche your entire life," he said to Karsten Harries on Saturday, during a discussion at Harries' Hamden home. Harries, the recently retired Howard H. Newman Professor of Philosophy at Yale (Harries is also a Yale alumnus and now Professor Emeritus), taught courses on Nietzsche, among others, and on the philosophy of art and architecture. He is also impressively well-versed in music.
In program notes for the work's 1896 premiere in Frankfurt, Strauss wrote: "I did not intend to write philosophical music or to portray in music Nietzsche's great work."
"He chose which passages would suit his tone poem," Oundjian, Principal Conductor of the Yale Philharmonia, said, paging through his score.
"There is a clear intellectual progression," Harries said, a German-language copy of Nietzsche's text in-hand. "He bends the Nietzsche text to his own ends." Strauss, Harries pointed out, studied philosophy, aesthetics, and art history in Munich.
With a performance of Also sprach Zarathustra playing, Oundjian and Harries analyzed the music alongside Nietzsche's text, discussing the notion of eternal recurrence—the idea that "time is a circle," Harries said, paraphrasing from Zarathustra—and other elements of Nietzsche's autobiographical narrative.
"It sounds completely like Wagner," Oundjian said of the second section ("Von den Hinterweltlern") of Strauss' tone poem.
"Strauss is looking back," knowing he has to distance himself from that, Harries said. "He thinks of Wagner as the Hinterweltlern (the "backworld")." Similarly, Harries said, "Nietzsche clearly struggles with his proximity to Wagner."
Just as the past is reflected in Strauss' Zarathustra, the present and the future, and the conflict inherent in living with both in mind, is of importance in both Strauss' and Nietzsche's work. "To be human is to be open to the future," Harries said. Joy, though, is only available in the present. To be human is also to engage with "the rabble," he said, referring to Zarathustra's descent from the mountaintop. Nietzsche's famous line "God is dead" marks Zarathustra's arrival at humanity.
As the recorded performance of Zarathustra arrived at "Das Tanzlied," Harries gave Oundjian something to think about. While the music seems to offer a nod to the waltzes of Johann Strauss II (no relation), Harries dismissed that analysis. "I see very much the alpine element and the beer-hall element," he said. Decades before he composed Zarathustra, Richard Strauss' Alpine Symphony had captured his fascination with the mountains. As for beer, Strauss' mother, Josephine, was part of the Pschorr (now Hacker-Pschorr) beer-making family in Munich. Oundjian hadn't made those connections. Harries' opinion, Oundjian said, was a "complete enlightenment for me."
As the recorded performance came to an end, Oundjian, conducting the music (something Harries had said seemed a difficult undertaking), remarked, noting Strauss' harmonic manipulations, "He can't resist being a genius."
Earlier in the conversation, Oundjian had asked Harries, somewhat rhetorically and pointing to the Zarathustra text, "Is it possible that he could express all this musically?"
"I would argue that he was a very astute reader of Nietzsche," Harries said.
Principal Conductor Peter Oundjian leads the Yale Philharmonia in a performance of Strauss' Nietzsche-inspired tone poem, Also sprach Zarathustra, and Brahms' Piano Concerto No. 1 in D minor, Op. 15, with Woolsey Hall Concerto Competition winner Sophiko Simsive '18MM '19MMA, on Thursday, Nov. 15, in Woolsey Hall.
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Yale Philharmonia to perform Shakespeare-inspired program
Peter Oundjian. Photo by Sian Richards
Programming a Yale Philharmonia concert is always about providing context for each piece. To open the 2018-2019 Philharmonia season, Principal Conductor Peter Oundjian has put together a program of repertoire inspired by the words and works of Shakespeare: Berlioz's Overture to Béatrice et Bénédict, based on the Bard's Much Ado About Nothing; Vaughan Williams' Serenade to Music, which uses text from Shakespeare's The Merchant of Venice to celebrate the power of music; and selections from Prokofiev's Romeo and Juliet. "There is a lot of extraordinary music that was inspired by arguably the greatest poet of all time," Oundjian pointed out, explaining that "it's the element of curiosity and adventure that make this kind of program so interesting."
The challenge members of the Philharmonia have taken up with this program is, in Oundjian's words, "to basically sound like many different orchestras in one evening. You need to be able to be many, many characters and describe many scenes." For the Berlioz, he said, the musicians "need sheer virtuosity." The Serenade to Music, for which the Yale Glee Club and the Yale Voxtet will join the orchestra, is intense in its serenity and introspection. (Reportedly, Rachmaninoff, who performed on the same program in 1938 that featured the premiere of the Serenade to Music, was reduced to tears by the piece's beauty.) "This piece is magical," Oundjian said, looking forward to collaborating with the Glee Club and Voxtet. "It's a thrill to hear wonderful vocal groups. There's nothing more immediate or direct than the singing voice."
Prokofiev's Romeo and Juliet, "one of his absolute masterpieces," Oundjian offered, carries the listener from the tender to the tragic. For this performance, the Philharmonia will use Oundjian's arrangement of the composer's ballet score, whereas most orchestras perform one of the three concert suites that Prokofiev created. "The order of events, in the suites, is not respected," Oundjian explained. "(Prokofiev) didn't try to make the suites chronologically correct." In creating his arrangement, Oundjian sought to offer a symphonic expression of the ballet. "I wanted people to be able to follow the story," he said. The Philharmonia will tell that story, and those being told by Berlioz and Vaughan Williams with inspiration (and words) from the Bard.
Members of the Philharmonia, Oundjian said, are "extremely sensitized to deep human emotions. They've had to find a way to connect with deep human emotions because they play an instrument." Together, they are able to convey and express what a composer—three composers, in the case of this program—sought to share with concertgoers. They enjoy the process of putting a program together and letting it take on a life of its own on stage in Woolsey Hall. "By the time the concert comes, there's a camaraderie that they've discovered in a very short time," Oundjian said. "There's absolutely a sense of discovery and spontaneity."
Principal Conductor Peter Oundjian leads the Yale Philharmonia in a program of music inspired by Shakespeare on Friday, September 28, at 7:30 pm, in Woolsey Hall.
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Yale Philharmonia Principal Conductor Peter Oundjian on Mahler's Ninth Symphony
On Friday, April 6, the Yale Philharmonia will perform Mahler's Ninth Symphony in Woolsey Hall. We spoke with Principal Conductor Peter Oundjian about the piece and the context in which it was composed.
Q: What is worth thinking about as an audience member listening to Mahler's Ninth Symphony?
A: One thing that is pretty clear is that it has so much finality in it. Maybe we can even think of it as the final statement in what we might call the traditional language of classical music. This idea that it's almost a prophecy of what's to come is I think essential to understanding and listening to the Ninth Symphony of Mahler. He's (also) taking you on a journey of contradiction, which is so important to Mahler's whole world, because he had so many areas in which he was conflicted. Is he a conductor? Is he a composer? Is he cosmopolitan? Is he provincial? All these things tore him apart his whole life. His religion and hiding the fact that he was Jewish — so many things created this feeling of enormous conflict inside him. And so I think that in some ways the Ninth Symphony doesn't need so much explaining, because it's so accessible at the beginning and you realize that you are in between a kind of sense of fear and terror and great tenderness, and that it is a struggle to understand the meaning of life and the meaning of love, particularly.
Q: What is the story of this piece?
A: There's a lot of death that is referred to in this music, and there's very good reason for that. In his own personal situation, the fact that he'd just lost his daughter. The fact that he had this heart arrhythmia — there's kind of a description of that uneven heartbeat at the opening. So there's all of that, but there is also this death that a lot of people talk about, which is that tonality was ending and Mahler knew it.
Q: To what degree do you work with the members of the Philharmonia to get on the same page about the history and background of the work?
A: I approach this a little bit like a director approaches a play. I think that they should come with some understanding of their role and certainly with the ability to play it. Part of what I enjoy (about) working with these wonderfully talented students is to engage them in discussion (about) the concepts and the philosophies behind it and the history and particularly that moment in Mahler's life and how special it was.
Q: What are the challenges that an ensemble faces with this piece?
A: What we have to do is apply an incredible discipline to be able to play together while also allowing ourselves to have extremely spontaneous energy. That's one of the things I value most about being on stage, that this is the moment and we're going to lay it all out there. It doesn't mean we lose discipline, but we take an enormous amount of risk. And that can be risk of great virtuosity and the risk of making yourself extremely open and vulnerable to very profound and tragic kind of feelings, which will only be projected into the concert hall and shared with our public if we all are in touch with those feelings.
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YSM now accepting applications for fall 2018 enrollment
Violinist Wynton Grant '17MM. Photo by Matt Fried
The School of Music is now accepting applications for enrollment in fall 2018. "We have openings in all areas, including the tuba and harpsichord studios and the orchestral conducting program," Donna Yoo, YSM's director of admissions and alumni affairs, said. "It is unusual for us to have available spaces across all programs, and we are looking forward to welcoming new students to all areas of study."
The Admissions Office anticipates interest in the School's revamped B.A./M.M. program, which is now open to applications from high-school seniors. The program, Yoo said, "should appeal to students who are interested in pursuing both academic and musical excellence at an Ivy League institution."
The School will announce available fellowship opportunities in December. These would include openings in the string quartet fellowship program and the recently launched collaborative piano program. Applications for the Morse Postgraduate Teaching Artist Fellowship will also be accepted starting in December.
Yale Philharmonia principal conductor Peter Oundjian on "The Rite of Spring"
On Friday, September 15, the Yale Philharmonia will perform Stravinsky's revolutionary Rite of Spring, which was written for the Ballets Russes and whose 1913 premiere in Paris sparked protests. We spoke to principal conductor Peter Oundjian about the piece, its place in history, and what the audience can expect to experience.
Q: How have stories and reports of the audience's reaction to the premiere of The Rite of Spring framed the work's place in the repertoire? And what should today's audiences understand and take away from that reaction?
A: The "riot" which occurred is one of the reasons the piece achieved such prominence. If anything, it had more to do with Vaslav Nijinsky's choreography than the music, as far as we can tell. Just imagine this first audience witnessing dancers stomping their feet for long durations, strange costumes … it was just bizarre! Stravinsky was unhappy about it; however, the events of that night stimulated him to promote the piece and make sure its excellence was appreciated.
Q: In what ways, musically, does The Rite of Spring represent a watershed moment in music history?
A: The piece is the antithesis of 300 years of development of Western art music. Everything that had come before was relatively uniform. Style and musical forms had been created. What Stravinsky did with this symphonic arch was annihilated by his new concepts. We should also remember that Czech composer Leoš Janáček's music was radical, as well, and he was Stravinsky's contemporary. The Rite of Spring was completely fresh and new. Harmonically, is it polytonal … it was all quite dissonant. Rhythmically, it was quite a departure from the musical norms of the day.
Q: What are your reasons for programming The Rite of Spring as part of the Yale Philharmonia's season? In what ways and to what degree is the piece a unique teaching tool?
A: I am sure some of our students have played it before. It is, after all, one of the most important pieces in the repertoire. It is not only for the students in the orchestra, but also for our audience, who are bound to be curious to hear and witness a live performance of such a masterpiece.
Q: How do you approach the work each time you conduct the piece?
A: I think I approach it as though the pagan ritual were occurring before my eyes, and the sacrificial virgin is about to dance herself to death. It's a new girl each time.
Q: What if anything is lost (or gained) by performing The Rite of Spring as a concert work as opposed to a fully produced ballet?
A: There is not a performance of this piece that is not ballet, in some aspects. If you come, you'll see some sense of spectacle. The omission of the visual aspect allows people to focus on the inventiveness of the music and the power and drama behind it.
Q: Besides the obvious, what can audiences experience through a live performance of the piece that they can't by listening to a recording?
A: To see all these musicians playing off the beat of the conductor, from an audience perspective, it's alarming to see this being reproduced in front of your eyes. It is an extraordinary experience!
The September 15 Yale Philharmonia program includes Stravinsky's Rite of Spring, as well as Mozart's Symphony No. 40, Vaughan Williams' Fantasia on a Theme by Thomas Tallis, and Tallis' "Why Fum'th in Fight," performed by the Yale Voxtet. Learn more and purchase tickets.
Paolo Bortolameolli named assistant conductor at LA Phil
Paolo Bortolameolli
Conductor Paolo Bortolameolli '13MM has been appointed an assistant conductor to Music and Artistic Director Gustavo Dudamel at the Los Angeles Philharmonic for the upcoming season. Bortolameolli previously served as a Dudamel Fellow, an initiative, Dudamel said in a press release, that "continues the LA Phil's commitment to supporting and training the next generation of exceptional conductors."
While at YSM, Bortolameolli was an assistant conductor of the Yale Philharmonia. He has served as a cover conductor for Marin Alsop at the Baltimore Symphony Orchestra and led the New Haven Chamber Orchestra during his final year at Yale.
A native of Chile, Bortolameolli has worked with the top ensembles in that country including Orquesta Filarmónica de Santiago, Orquesta Sinfónica de Chile, Orquesta de la Universidad de Concepción, Orquesta USACH, Orquesta de Cámara de Chile, and Orquesta Sinfónica Nacional Juvenil.
This young rising star from Philly just got the call-up of a lifetime
Kensho Watanabe
The Philadelphia Inquirer | By David Patrick Stearns
Kensho Watanabe can barely fathom the turn of events that found him on stage leading the Philadelphia Orchestra last weekend — with three hours' notice.
"I know what happened," Watanabe said in an interview this week. "But my brain is still processing it."
Surreal is one word that comes to mind, he said. Watanabe was notified at 5 p.m. Saturday that music director Yannick Nézet-Séguin had come down with a virus and could not conduct the 8 p.m. program at the Kimmel Center.


U.S. Secretary of State John Kerry has met with Israeli Prime Minister Benjamin Netanyahu, in a bid to revive Israeli-Palestinian peace negotiations.
The two men held talks over a working dinner late Thursday in Jerusalem. They made no public comments before the meeting.
Earlier Thursday, Netanyahu said Israel will not waiver on its security concerns.
"We want peace because we want to live in peace. It's true, we don't want a bi-national state, but don't let anyone be under the illusion that if we make an agreement with the Palestinians this agreement will end the violent slur against the state of the Jews," said Netanyahu.
Secretary Kerry is shuttling between Jerusalem and Jordan's capital, Amman, in hopes of jumpstarting Middle East peace talks, which have been at an impasse in recent years.
Earlier Thursday, Kerry met with Jordan's King Abdullah in Amman.
In Amman, Kerry said Netanyahu and Palestinian President Mahmoud Abbas share "a serious commitment of purpose." But the top U.S. diplomat warned that both leaders will be tested by those who do not want peace talks to succeed.
Kerry is scheduled to meet with Abbas in Amman on Friday.
On Wednesday, Israel announced plans to build dozens of new housing units in an East Jerusalem settlement, triggering anger from some Palestinian officials. Israeli settlement construction has been a stumbling block in Middle East peace talks.


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California Supreme Court Grants Review in Iskanian
In Iskanian v. CLS Transportation Los Angeles, LLC (6/4/12) --- Cal.App.4th --- (discussed here), the Court of Appeal issued a broad-ranging decision which held, among other points:
Concepcion invalidated the holding in Gentry v. Superior Court (2007) 42 Cal.4th 443, that class waivers in arbitration agreements should not be enforced if "class arbitration would be a significantly more effective way of vindicating the rights of affected employees than individual arbitration."
The NLRB incorrectly decided D.R. Horton (discussed here), and nothing in the NLRA or the Norris-La Guardia Act evidences an intent to override the FAA's policies in favor of construing arbitration agreements according to their terms.
Contrary to the holding in Brown v. Ralphs Grocery Co. (2011) 197 Cal.App.4th 489 (discussed here), Concepcion applies to a plaintiff's representative claims under the Labor Code Private Attorneys General Act (PAGA).
Contrary to the holding in Reyes v. Macy's Inc. (2011) 202 Cal.App.4th 1119, (discussed here), the plaintiff could pursue individual PAGA claims in arbitration.
The California Supreme Court today voted unanimously to grant the plaintiff's petition for review in Iskanian. The Court's docket page is here.
As of this moment, the Court has not related Iskanian to Sanchez v. Valencia Holding Co., LLC (2011) 201 Cal.App.4th 74, review granted March 21, 2012, (Case No. S199119) (discussed here) in which the Court of Appeal invalidated a class action waiver on unconscionability grounds in a consumer action. The Supreme Court has stated the issues presented in Sanchez as follows:
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INDIANAPOLIS…has been home of many secular artists, musicians, and actors/actresses as well as many gospel greats. Newcomers LCP Music Group, a new gospel record company, will release its first national imprint, "I Am A Worshipper," from Indianapolis native Demetrius West and his newly formed aggregation, Authority. West, who has been in gospel music now for over 10 years, serves as the record company's president. Debut album I am a worshipper set to release april 4th.
The GRAMMY, Stellar, and Dove award winner returns with the follow up to the smash hit The Law of Confession, Part 1. The album's title track continues with scripturally based lyrics, impeccable harmonies, and a cameo from Dorinda Clark-Cole that has hit written all over it. Look for the album in May 2011.
For two decades, this aggregation has been at the forefront of choir music. They are back with their eighth release and their first with Light Records. Led by the driving single "God Is Great", this album looks to be another classic release. Keep Living is due in stores April 26.
Bio/Notes: They dropped their hit single and music video "That's Dem" on you a few months ago, now they are set to release their debut album "On Ten" April 5th!


The O'Neill Ladies Reactor II Shorty 2mm Wetsuit has had a complete re design for summer 2018 and now benefits from 100% super stretch neoprene throughout the suit. This means you can move without restriction in the water and the better it fits the warmer you will be. A soft and flexible neoprene also means you will feel totally comfortable in the suit at an incredible price it's no wonder this is our best selling shorty suit.


Welcome to Carriage Animal Hospital! We're excited to meet you and your pets. To ease your transition into our practice, take a moment to complete our New Client Form. Fill out all of the fields marked with a red asterisk (*) and click "Submit" to send your information to our team.


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Q: How can I add an InkCanvas element to a Winform? From what I understand so far, the InkCanvas element is in the WPF Framework. To use that, I need an ElementHost control to host the InkCanvas element. I've been to the MSDN links, but the example it gives talks of creating a WPF User Control Library project and so on. It's not that bad, but it seems a bit much to just add a control to a Winform. Is there a simpler way to do this, or am I trying to oversimplify this?
Thanks.

A: This should work:
ElementHost host = new ElementHost();
InkCanvas ic = new InkCanvas();
host.Child = ic;
Controls.Add(host);

As mentioned in comments, one needs to add the WPF assemblies as reference (WindowsBase, PresentationCore, PresentationFramework).

redpajama_set_name: RedPajamaStackExchange


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15 March 2022 / SF News / Jay Barmann
Bay Area Slightly Decreased Water Usage During the Drought to Date, While Palm Springs' Usage Went Up 19%
The majority of residents and businesses in the state of California appear to have ignored calls for voluntary reductions in water usage during the current drought emergency. The Bay Area is the only exception, but even we only decreased usage by less than 2%.
New data from the state's Department of Water Resources shows that California overall has shown a near complete disregard for the drought, and since January 2020 water usage has gone up overall in many locales throughout the state.
Governor Gavin Newsom has been asking for voluntary cutbacks in water use of 15% since last spring, but only some counties have instituted mandatory water-usage restrictions and fines for violations. Faced with fast-dwindling reservoirs last April, Marin County was the first in our region to announce usage restrictions, and by July they were telling residents only to water lawns once a week or face fines.
San Francisco, which has a lot fewer lawns overall, has actually reduced its consumption of water overall in the past five years since the last drought. But still in November, before the deluges of December, the city asked everyone to voluntarily cut back water use by 5%.
Voluntary measures aren't cutting it though, clearly. As CalMatters reports, compared to January 2020, before the drought emergency began, the Bay Area has only decreased its overall water use by 1.4%. The Central Valley has decreased its water consumption also just barely. And California residents overall are using 2.6% more water than they were two years ago — perhaps because they've been spending so much more time at home?
The Palm Springs and Inland Empire area is the worst culprit, driving up the state average and using a whopping 19% more water than they were two years ago. Has anyone reminded them they live in a desert and there's a drought?
Gov. Newsom's repeated pleas for a 15% voluntary cutback in water use aren't working:
San Francisco Bay residents reduced water use by roughly 1.4%, while residents of the desert region, including Palm Springs and the Imperial Valley, used about 19% more https://t.co/O5JC5qzZCv pic.twitter.com/LSAOAV9e0D
— CalMatters (@CalMatters) March 15, 2022
There has been some conservation, CalMatters says. Since the drought messaging began in earnest last year, Californians have reduced water use by 6.5% between July 2021 and January 2022. So that's something. But it's still far short of the conservation that's needed, and well below Newsom's 15% ask.
The East Bay Municipal Utility District (EBMUD) upped its rates for customers and asked for voluntary reductions in water use of 10% last year, and they got it in the last six months of the year. But usage has ticked up during the past two, very dry months.
"Clearly, it's becoming difficult [to conserve] this time of year, when nature is normally watering our East Bay gardens," says EBMUD's water conservation manager Alice Towey, speaking to CalMatters.
A similar pattern was seen in the South Bay, where the water district instituted rate penalties for those who didn't conserve. And water use ticked up there in January as well.
Peter Thompson, who directs resources and analytics for the water district of Palmdale in the Mojave Desert, he sees that they've been able to achieve water reductions by giving higher rebates for replacing lawns and other water-heavy landscaping.
"The momentum of having the state come out with a mandate makes our jobs easier," Thompson tells CalMatters. "But California is huge. And it's diverse in terms of the different water agencies and their available water supplies. So it makes a lot more sense to make that an individual choice for each agency."
And, yes, as CalMatters reminds us, and as was often repeated during the last drought, residential and urban water usage makes up for only 20% of the water California uses. The other 80% goes to agriculture, and we'd do a lot to conserve water if everyone stopped eating beef and drinking almond milk altogether. But don't start that argument again on Twitter. It goes nowhere.
Photo: Hamed Taha
Woman Who Swiped $4K Bottle of Cognac From San Jose Restaurant ID'd as Mother of 6, Owner Not Pressing Charges
The suspect has been identified in that brazen and ill-conceived theft of an expensive bottle of Remy Martin Louis XIII Cognac from a steakhouse on Mt. Hamilton last week, and she's very, very sorry.
Hillsborough Police Release Video of So-Called 'Criminal Tourist Burglary Crews From South America'
The public is getting its first look at a burglary crew suspected of making short work of a string of wealthy Silicon Valley homes, and authorities say they are professional "burglary tourists" from South America.
Jay Barmann
Jay C. Barmann is a fiction writer and web editor who's lived in San Francisco for 20+ years.


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Smooth Away™ - Smooth Away Unwanted Hair In Moments - Barbara Myers - Wishlist.
Smooth Away - i have thicker hair and they DID NOT WORK. on my hair if you have thin hair they might work better but i had to use 3 pads already and i still have hair patches all over my legs.


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Q: Call Azure function inside the Kubernetes cluster shows error? I Created python azure function and its working fine in the local environment and I attached a storage account. I changed authLevel as below  "authLevel": "anonymous".then I created a docker image and deployed in kubernetes cluster using deployment YAML in the azurefunction namespace
apiVersion: apps/v1
kind: Deployment
metadata:
  name: configuration
  labels:
    app: configuration
spec:
  replicas: 2
  selector:
    matchLabels:
      app: configuration
  template:
    metadata:
      labels:
        app: configuration
    spec:
      containers:
      - name: configuration
        image: global.azurecr.io/config:1
        env:
        - name: AzureFunctionsJobHost__functions__0
          value: configuration
        envFrom:
        - secretRef:
            name: configuration
      imagePullSecrets:
      - name: pull

Kubectl create -f configuration.yaml -n azurefunction.
also, I created a service for this azure function
kind: Service
apiVersion: v1
metadata:
  name: configuration-service
spec:
  type: NodePort
  ports:
  - name: http
    port: 80
    protocol: TCP
  selector:
    app:  configuration

Kubectl create -f configuration-service.yaml -n azurefunction
.I tried to call the Azure function from other namespace using c# code.
var postresponse = await httpClient.GetAsync("http://configuration-service:80/api/ConfigurationInfo");

deployed in api namespace
its showing an error
StatusCode: 404, ReasonPhrase: 'Not Found', Version: 1.1, Content: System.Net.Http.HttpConnectionResponseContent, Headers:


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Albert Laveau
Albert Laveau is the Artistic and Managing Director of the Trinidad Theatre Workshop. He joined the thenyoung theatre company in 1962 where, over the years, he became one of the best-known actors in Trinidad, along-side performers such as Errol Jones, Stanley Marshall, Eunice Alleyne, Claude Reid and dozens of others who graced the Trinidad Theatre Workshop stage over the years. Among his acting credits are included leading roles in productions of "The First Born", "Dark of the Moon", "Moon for the Misbegotten" and "Tartuffe". He is perhaps best-known on stage for his role as The Devil in Walcott's "Ti-Jean and His Brothers". Mr. Laveau also played principal roles in Walcott productions including "The Joker of Seville", "Dream on Monkey Mountain", "Henri Christophe", and "The Sea at Dauphin" among others.
A top-notch director as well as actor, Mr. Laveau spent part of the 1970s acting and directing professionally in the United States, where he worked with Joe Papp at the Public Theatre, was a guest director at New York University's MFA Programme, became a resident director with the Negro Ensemble and also played in their touring production of "The River Niger" by Richard Walker for a year. Despite his success abroad, Mr. Laveau saw his work as first and foremost the development of theatre here in his home of Trinidad and Tobago. He moved back home, and in 1989 was appointed to the position of Managing and Artistic Director of his home theatre company, where he was able to put into place two programmes which he feels passionately about and are still active today: the Theatre in Education Programme which brings staged productions of plays on CXC syllabi to school children to enhance their understanding of the texts and also expose them to theatre, and the School for the Arts, which has taught hundreds of students over the past quarter century, from as young as six to the elderly, in acting, directing, design, dance and more.
In his later career Mr. Laveau made appearances in several local feature films, including the 2001 "Mystic Masseur" and 2013 "God Loves the Fighter".
To this day Mr. Laveau is active in the Trinidad Theatre Workshop, pushing forward and leading his team to continue ensuring that his vision continues to live on.
Culture Division -Ministry of Community Development Culture and the Arts > Mentoring by the Masters > Albert Laveau


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Participation Trophies: Yay or Nay?
/ Blog / Participation Trophies: Yay or Nay?
Participation trophies have been around for a short period of time, and they tend to be a controversial topic. Some argue that the point isn't to win or lose, it's a celebration of your efforts and the work you put into the game. Others point out that this isn't necessarily reflective of the "real world." We have outlined the top arguments both for and against participation trophies to help guide your decision on this topic.
One of the most well known benefits of participation trophies is the confidence it helps instill in children. We've noticed that confidence can positively affect several aspects of a person's life. For example, kids may grow up to be the kind of person who is not afraid to try a new business. Another benefit is that it helps prevent victimization. Many self-defense speakers discuss the fact that self-confidence helps deter a possible attacker because it makes a person seem strong.
There is no doubt about it, we know that sports can be tough. Sometimes it is hard to win, but everyone who played still tried. Children have to practice and sacrifice their time. In essence, a participation trophy is a token that recognizes this aspect of the game, and it also gives youngsters a reason to continue participating. It is hard to go on without any recognition while losing games. No child wants to feel like their efforts are not worth anything as this could lead to feelings of sadness or depression.
These trophies are not just for kids but for parents, too. A parent's efforts are rewarded with these trophies. Parents have to sacrifice days off or call off work at times to support their kids, which is not always easy to do. A participation trophy is a family heirloom as much as it is a trophy for participation.
Sports are a bit of a metaphor or a lesson disguised in a fun activity that kids can enjoy. The lesson that sports should instill is the concept of losing and winning. There are major differences between the two, and they will happen in everyone's lifetime. Learning to lose at an early age may help children learn that they may not always get what they want, no matter how hard they try.
Losing also teaches children to reassess their skills or plays, which may help them later on in life. For example, a child that understands how to lose will know to reassess his or her interview approach if he or she is not hired after a job interview. Participation trophies may disguise the loss, which could have a negative effect on a child's natural development. We think it is important to make the distinction between losing and winning. Be careful not to make these instances as important as life and death because they are not.
Effort is definitely important, but it does not guarantee anything. Sure, there are many people out there telling people that rewards are given to those who work hard, but this is simply not the case. Participation trophies might make children believe that all they have to do is work hard and they will be rewarded. This is not a good thing to instill, especially because hard work is not always rewarded. Children who grow up with this kind of mentality might feel depressed or quit a job the moment their efforts are not properly rewarded.
In short, children who begin to glorify effort might begin to think that they are entitled to anything that they put some effort into. It is important to help children understand that effort can be recognized, but that does not mean it has to be awarded. Hard work does not always get people what they want in life though those who notice will not be able to deny that hard work was put into a project or job.
Another possible shortcoming to participation trophies is the possibility of children feeling entitled with no effort at all. Yes, some children might start to notice that they get praise even if they do not work much. These children might start to slack off knowing that they will still get rewarded if they do not work. Some of these children may look at fellow team members who work harder and see they receive no more credit than they do. The participation trophies might give them the impression that life will just give them what they want.
It is important to nurture the idea that participation also means hard work. Parents could make an effort to teach children that they should be honest about their worth. A participation trophy is only as good as the level of participation put into the sport.
There is no doubt that the concept of a participation trophy is one that needs to be talked about amongst parents, coaches and kids. There is a lot to consider, but the key is to be open and talk about what sports are all about. All subjects like participation, losing, winning and all other aspects should be explored before a child even plays a sport.
Whether you're for participation trophies or not, everyone deserves a chance to play the game. At SquadLocker, we'll get your team outfitted with customized team gear from the best brands, all conveniently at your fingertips, so that you can focus on the more important tasks that lie ahead - like discussing participation trophies.


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Call to schedule an appointment today! 307-362-2869
Dr. Cameron Eilts
Dr. Cameron Eilts a 1967 graduate of the University of Minnesota College of Veterinary Medicine. He was inspired by his future father-in-Law Dr. Edwin G. Kocher, a 1950 Iowa State graduate, to become a veterinarian. Following graduation, he and his wife, Pam, moved to Fennimore, Wisconsin and purchased a mixed, primarily dairy practice. While in practice Dr. Eilts founded CBR Ova Transplants in 1974. This was one of the earliest commercial embryo transplants in the United States. He had his own airstrip and bush plane at CBR which he flew to farm fields and airports to collect embryos and transport them to CBR. He was published in the Journal of Theriogenology for the first procedure for non-surgical collection of bovine embryos. His work in embryo transfer took him to several countries, helping to establish the first embryo transfer center in Colombia, South America in 1976, including training in the procedures. He made seven commercial trips to Italy and two to Iraq to teach the procedures and to market the bovine embryos. He continued Embryo transfer until 1998 and also raised 12,000 pigs per year as a "side hobby". In 1998 he and Pam moved to Idaho where he worked with dairy nutrition until moving to New Mexico where he worked in several mixed practices. In 2001, after becoming a grandfather, he and Pam moved to the Chicago area to work for a classmate who had a surgical referral and general practice. After two years, he practiced at Franklin Park VCA for one year before moving to Wonder Lake, Illinois to work at the Wonder Lake Veterinary Clinic where he worked to ten years.
His interest at present are soft tissue and orthopedic surgeries. He was an inspiration for his brother who graduated from the University of Minnesota in 1977 and became a department head at Louisiana State University. He is very proud to have encouraged several young people to pursue a veterinary career, the last one who graduated in May of this year.
Dr. Eilts has two daughters, two sons-in-law and four grandchildren all living back in the mid-west area. At present, he and Pam have no pet after having to put down their pet Lola last November who Pam rescued in the desert of New Mexico, as a puppy, fifteen years ago.
200 Bordeaux Blvd.
Rock Springs, WY 82901
Email: rocksprings@petdepotvetgroup.com
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COPYRIGHT ©2004-2019 PET DEPOT. ALL RIGHTS RESERVED.


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Stats Roster Schedule Records Videos Transactions
- view another team - Central Zone Bantam T1Central Zone Bantam T2Central Zone Midget T1North Zone Bantam Tier 1North Zone Midget T1Prince George Bantam T1Prince George Midget T1South Zone Midget T1Thompson Zone Bantam T1Thompson Zone Midget T1
Central Zone Midget T2
# PLAYERS P GP G A PTS PIM PPG PPA SHG SHA GWG PPGA
2 Steinwandt, Sean	 D 0 0 0 0 0 0 0 0 0 0 0.00
5 Cannan, Will	 F 0 0 0 0 0 0 0 0 0 0 0.00
7 Trerice, Kyle	 D 0 0 0 0 0 0 0 0 0 0 0.00
8 Sauder, Jayde	 0 0 0 0 0 0 0 0 0 0 0.00
9 Lindsay, Noah	 0 0 0 0 0 0 0 0 0 0 0.00
10 Freeman, Scott	 C 0 0 0 0 0 0 0 0 0 0 0.00
11 Cronquist, Eli	 F 0 0 0 0 0 0 0 0 0 0 0.00
12 Worthing, Tyler	 RW 0 0 0 0 0 0 0 0 0 0 0.00
14 Leger, Connor	 0 0 0 0 0 0 0 0 0 0 0.00
15 Marchant, Ty	 D 0 0 0 0 0 0 0 0 0 0 0.00
16 Wong, Ethan	 D 0 0 0 0 0 0 0 0 0 0 0.00
17 Mills, Evan	 F 0 0 0 0 0 0 0 0 0 0 0.00
18 Elmer, Colby	 0 0 0 0 0 0 0 0 0 0 0.00
19 Simpson, Dylan	 F 0 0 0 0 0 0 0 0 0 0 0.00
20 Brown, Gauge	 F 0 0 0 0 0 0 0 0 0 0 0.00
21 Bishop, Samuel	 D 0 0 0 0 0 0 0 0 0 0 0.00
22 Porritt, Kyle	 F 0 0 0 0 0 0 0 0 0 0 0.00
TOTALS: - - 0 0 0 0 0 0 0 0 0 -
37 Jansen, Alexander	 0 0:00 0 0 0 0 .00 0 .000
1 Bradley, Justin	 0 0:00 0 0 0 0 .00 0 .000
TOTALS: - - 0 0 0 0 - 0 .000


Watch the 2014 remix version here for free.
Total run time: 64 minutes.
Femme & Fortune | September 20, 2013 The Backyard Philly Project with Amanda Danziger - "With the beautiful fall weather surrounding us here in Philadelphia, attending some arts and entertainment events should definitely be on your to-do list! We had the opportunity to interview Drexel Alum and local filmmaker Amanda Danziger about her rise into the industry and her upcoming documentary, 'The Backyard Philly Project.'"
Geekadelphia | August 1, 2013 Philly Geek Awards Spotlight: Amanda Danziger, Director of The Backyard Philly Project – "The Philly Geek Awards are this month, and leading up to the ceremony we're spotlighting some nominees. Last week we introduced you to viral filmmaker Shawn Caple. Today we've got another filmmaker, Amanda Danziger, director of The Backyard Philly Project. Read on to learn more about her and her documentary. See you at the ceremony on August 17th! ." Read the entire article.
RAW: Artists | May 28, 2013 RAWdio host Jess F. Faniels interviews RAW:Philadelphia filmmaker Amanda Danziger – "She discusses the process of creating this incredibly moving documentary, which follows the lives of four teens growing up in an inner-city neighborhood in Penn Town and their journey." Listen to it here.
WHYY/Newsworks | May 9, 2013 'Backyard Philly Project' film focuses on four teens' search for hope amid hardship – "A documentary about the lives of four Philadelphia teens hits the big screen this week. "The Backyard Philly Project" tells the stories of lives of four teenagers from the same public housing complex, Penn Town, at Seventh and Spring Garden streets. " Read the entire article.
Metro | May 8, 2013 A look at our own 'Backyard' – "Amanda Danziger, the founder of Ferasha Films, discovered her passion for filmmaking as a student at Drexel University doing volunteer work abroad. Her first two films documented that work: "Umuryango" was about children orphaned in the Rwandan genocide, and "Threads of Hope" was about women at a fair trade vocational school in India." Read the entire article.
Philadelphia Region's Business | April 11, 2013 Inspired by Rwanda, Ferasha Films Focuses on Philly – "When Amanda Danziger raised money to travel to Rwanda in 2008 as a Drexel student, her first instinct was to buy a camera and film her experiences as a thank-you gift to everyone who had contributed to her trip." Read the entire article.
Generocity.org | March 26, 2013 The Backyard Philly Project Profiles Teens Living in Public Housing – "A recent Inquirer report, tucked in at the bottom of the front page, stated an overwhelmingly tragic fact of our city: we have the highest number of people living in deep poverty of the 10 largest cities in the nation." Read the entire article.
Technically Philly | March 20, 2013 The Backyard Philly Project: documentary on 4 teens in public housing – "The Backyard Philly Project tells the stories of four teens living in public housing at 6th and Green Streets, using footage the teens shot themselves. It'll debut on May 11 at Drexel's URBN Center." Read the entire article.
Drexel Magazine | Winter/Spring 2013 The Drexel 40 Under 40 – "As we all know, Drexel is a university on the rise. And our amazing alumni—especially our young alumni—are a big reason why. In this, our first ever 40 Under 40 section, we'll introduce you to a few of the bright, innovative, entrepreneurial minds who are making their mark on the world—and, in so doing, helping spread the word about our great University." Read the entire article.


What If We Adopted A System Where The Banks Did Not Create Our Money?
What if there was a financial system that would eliminate the need for the federal government to go into debt, that would eliminate the need for the Federal Reserve, that would end the practice of fractional reserve banking and that would dethrone the big banks? Would you be in favor of such a system? A surprising new IMF research paper entitled "The Chicago Plan Revisited" by Jaromir Benes and Michael Kumhof is making waves in economic circles all over the globe. The paper suggests that the world would be much better off if we adopted a system where the banks did not create our money. So instead of a system where more money is only created when more debt is created, we would have a system of debt-free money that is created directly by national governments. There have been others that have suggested such a system before, but to have an IMF research paper actually recommend that such a system be adopted is a very big deal. At the moment, the world is experiencing the biggest debt crisis in human history, and this proposal is being described as a "radical solution" that could potentially remedy some of our largest financial problems. Unfortunately, apologists for the current system are already viciously attacking this new IMF paper, and of course the big banks would throw a major fit if such a system was ever to be seriously contemplated. That is why it is imperative that we educate people about how money really works. Our current system is in the process of collapsing and we desperately need to transition to a new one.
One of the fundamental problems with our current financial system is that it is based on debt. Just take a look at the United States. The way our system works today, the vast majority of all money is "created" either when we borrow money or the government borrows money. Therefore, the creation of more money creates more debt. Under such a system, it should not be surprising that the total amount of debt in the United States is more than 30 times larger than it was just 40 years ago.
At the height of the Great Depression a number of leading U.S. economists advanced a proposal for monetary reform that became known as the Chicago Plan. It envisaged the separation of the monetary and credit functions of the banking system, by requiring 100% reserve backing for deposits. Irving Fisher (1936) claimed the following advantages for this plan: (1) Much better control of a major source of business cycle fluctuations, sudden increases and contractions of bank credit and of the supply of bank-created money. (2) Complete elimination of bank runs. (3) Dramatic reduction of the (net) public debt. (4) Dramatic reduction of private debt, as money creation no longer requires simultaneous debt creation. We study these claims by embedding a comprehensive and carefully calibrated model of the banking system in a DSGE model of the U.S. economy. We find support for all four of Fisher's claims.
Why should banks be allowed to create money?
Why should sovereign governments ever have to borrow money from anyone?
That is another very good question.
Our current system is designed to enrich the bankers and get everyone else into debt.
And is that not exactly what has happened?
One could slash private debt by 100pc of GDP, boost growth, stabilize prices, and dethrone bankers all at the same time. It could be done cleanly and painlessly, by legislative command, far more quickly than anybody imagined.
The conjuring trick is to replace our system of private bank-created money — roughly 97pc of the money supply — with state-created money. We return to the historical norm, before Charles II placed control of the money supply in private hands with the English Free Coinage Act of 1666.
Specifically, it means an assault on "fractional reserve banking". If lenders are forced to put up 100pc reserve backing for deposits, they lose the exorbitant privilege of creating money out of thin air.
The nation regains sovereign control over the money supply. There are no more banks runs, and fewer boom-bust credit cycles.
So why don't we go to such a system immediately?
Well, the transition to such a system would undoubtedly be a major shock to the global financial system, and most people try to avoid significant short-term pain even if there are tremendous long-term benefits.
More importantly, however, is that the bankers have a tremendous amount of power in our society today, and they would move heaven and earth to keep a debt-free monetary system from ever being implemented.
You see, the influence of the bankers is not just limited to the big banks. Our largest financial institutions (and the people who own them) also have large ownership stakes in the vast majority of the big Fortune 500 corporations. In essence, the big banks are at the very pinnacle of "the establishment" in the United States and in almost every other major country in the western world.
And the vast majority of all political campaigns are funded by "the establishment". It takes an enormous amount of money to win campaigns these days, and most politicians are extremely hesitant to bite the hands of those that feed them.
So don't expect any changes to happen overnight.
That would seem to make a lot of sense. That would immediately wipe more than 1.6 trillion dollars from the U.S. national debt without any real harm being done.
But "the establishment" would be horrified if such a thing happened, so I wouldn't anticipate it happening any time soon.
Hopefully we can get the American people (along with people all over the globe) educated about these things so that we can start to get millions of people pushing for change.
A debt-free monetary system is superior to a debt-based monetary system in so many ways.
For example, if the U.S. government directly spent debt-free money into circulation, it could conceivably never need to borrow a single dollar ever again. If the government wanted to spend more money than it brought in, it would simply print it up and spend it.
Of course the big danger with that would be inflation. That is why it would be imperative for there to be a hard cap on what the government could spend. For example, you could set the cap on spending by the federal government at 20 percent of GDP. That way we would never end up looking like the Weimar Republic.
And the current federal debt could be paid down a little at a time using newly created debt-free dollars. This would have to be done slowly to keep inflation under control, but it could be done.
That way we would not hand a 16 trillion dollar debt to our children and our grandchildren. We created this mess so we should clean it up.
Theoretically you could also do away with the federal income tax if you wanted to. Personally, I would like to see the federal government be funded to a large degree by tariffs on foreign goods. That would also have the side benefit of bringing millions of jobs back into the United States.
1 – The U.S. tax code is now 3.8 million words long. If you took all of William Shakespeare's works and collected them together, the entire collection would only be about 900,000 words long.
2 – According to the National Taxpayers Union, U.S. taxpayers spend more than 7.6 billion hours complying with federal tax requirements. Imagine what our society would look like if all that time was spent on more economically profitable activities.
3 – 75 years ago, the instructions for Form 1040 were two pages long. Today, they are 189 pages long.
4 – There have been 4,428 changes to the tax code over the last decade. It is incredibly costly to change tax software, tax manuals and tax instruction booklets for all of those changes.
5 – According to the National Taxpayers Union, the IRS currently has 1,999 different publications, forms, and instruction sheets that you can download from the IRS website.
6 – Our tax system has become so complicated that it is almost impossible to file your taxes correctly. For example, back in 1998 Money Magazine had 46 different tax professionals complete a tax return for a hypothetical household. All 46 of them came up with a different result.
7 – In 2009, PC World had five of the most popular tax preparation software websites prepare a tax return for a hypothetical household. All five of them came up with a different result.
8 – The IRS spends $2.45 for every $100 that it collects in taxes.
For long stretches of our history the United States did not have any income tax, and during those times we thrived. It is entirely conceivable that we could return to such a system.
At this point, the wealthy have become absolute masters at hiding their wealth from taxation. According to the IMF, a total of 18 trillion dollars is currently being hidden in offshore banks. What we are doing right now produces very inequitable results and it is not working.
In many ways, inflation would be a much fairer "tax" than the income tax because inflation taxes each dollar equally. Nobody would be able to cheat the system.
But if people really love the IRS and the federal income tax, we could keep them under a debt-free money system. I just happen to think that the IRS and the federal income tax are both really bad ideas that have never served the interests of the American people.
In any event, hopefully you can see that there is a much broader range of solutions to our problems than the two major political parties have been presenting to us.
We do not have to allow the banks to create our money.
The federal government does not have to go into more debt.
We don't actually need the Federal Reserve.
There are alternatives to the federal income tax and the IRS.
Yes, it is very true that no system would be perfect. But clearly the path that we are on is only going to lead to disaster. U.S. government finances are a complete and total nightmare, and this mountain of debt that we have accumulated is going to absolutely destroy us if we allow it to.
So somebody out there should be proposing a fundamental change in direction for our financial system.
Unfortunately, our politicians are just proposing more of the same, and we all know where that is going to lead.


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UoH to be a part of Prestigious European Internationalization Project
The University of Hyderabad has been selected for a prestigious European Commission Project for its internationalization strategy. As part of a seven-country initiative led by the University of Zaragoza, Spain and the European Policy Development and Research Institute, Slovenia, "The Harmony Project" seeks to build capacities in each of the partner institutions to promote and improve access to its academic programmes for international students.
The project called, "Internationalization and Virtual Exchange: Borderless between EU and Asian Countries," involves institutions in Bulgaria, Lithuania, Bangladesh, Vietnam, and India. From India, the Vellore Institute of Technology and the Narsee Monjee Institute of Management Studies will also participate.
The University's share of the grant amounts to about Rs.67 lakhs for the three-year tenure of the project, launched officially in January 2021. While coordinated by Prof. N. Siva Kumar, Director of UoH's Office of International Affairs, other members of the team include Prof. Vinod Pavarala, Prof. J. Prabhakar Rao, Prof. Aparna Rayaprol, Prof. R. Siva Prasad, and Dr. S. Shaji.
Internationalization is one of the key goals of the University's Institution of Eminence (IoE) mandate. As Prof Appa Rao Podile, Vice Chancellor, stated on hearing the news, "being a part of such an extensive European project will help us considerably in moving towards our IoE goal of greater internationalization, and I am delighted that UoH has been selected for Harmony".
The University has several foreign nationals on rolls in its Masters and Doctoral programmes, besides running a pioneering Study in India Programme that brings North American and European students for short-term academic stints lasting from a few weeks to a full semester. It also has several MoUs with highly ranked international Universities across the globe that facilitate exchange of students and faculties and has already initiated MoUs with some Universities that are ranked in the global top 100 in the QS ranking. The University is currently working towards a blueprint for Joint Degree Programmes in the PhD, which will also enable better internationalization.
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