US launcher Atlas V (© United Launch Alliance).
On 5 May 2018, the InSight probe will be blasted towards Mars by the extremely powerful US launcher Atlas V, one of Ariane 5's direct rivals. Atlas V is a two-stage vehicle: the first stage burns a mixture of kerosene and liquid oxygen, while the second—the Centaur upper stage—is powered by liquid oxygen and liquid hydrogen.
Given InSight's relatively light weight, no strap-on boosters will be necessary. The Atlas V launch vehicle is so powerful that, unusually for a mission to Mars, it is planned to lift off not from Cape Canaveral in Florida, but from the Vandenberg Air Force Base in California.
Interplanetary spacecraft are generally launched from the Cape Canaveral Air Force Station to benefit from the sling effect due to Earth's rotation, which is maximal at the equator. InSight will not need this helping hand, which is why the launch is scheduled from Vandenberg, a first in the history of Mars exploration.
The Atlas V 401 launcher version chosen has a 4-metre-diameter fairing under which InSight will be stowed.
An unusual feature of the launch, due to the room available under the fairing, is that the solar arrays for the cruise stage are to be installed in their final configuration, i.e. fully deployed. As they are not designed to be stowed in a folded position during the launch then deployed following separation of the probe from the launcher in space, they do not include any hinged mechanisms.
The launcher also carry two additional MarCO telecom nanosatellites. They will accompany InSight on its journey to Mars and relay telemetry data to Earth during the critical landing phase.
The Atlas V 401 rocket will lift off from the Launch Complex n°3 from Vandenberg Air Force base. The InSight launch windows opens on May 5, 2018 at 4:00 am, before dawn (© NASA).


A quarter of businesses and organisations across the UK are unaware of forthcoming legislation that has been billed the "biggest shake-up of data protection law in 20 years".
With just a year to go till the General Data Protection Regulation (GDPR) comes into effect – imposing strict new rules on the collection, storage and use of personal data – a survey commissioned by legal firm Brodies has found that 25 per cent are unaware of the new legislation.
Furthermore, almost half have yet to start preparing for it.
GDPR replaces the current Data Protection Act 1998, bringing with it strict new rules and higher fines for breaching those rules.
For example, the use of pre-ticked "opt in" boxes used on websites for marketing purposes will no longer be allowed. Instead, those handling personal data will be required to seek consent through "affirmative action" from individuals, and will have to explain to them how their data will be used, how long it will be kept and how it will be safeguarded.
Grant Campbell, head of Brodies commercial services division, said the results show that much remains to be done to get UK firms ready for GDPR compliance by May 2018.
"Personal data is the lifeblood of many organisations and, increasingly, how they handle that data is a matter of concern not just to regulators but to us all," he said.


text:
<h1 md-dialog-title>
  Delete Data
</h1>
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  Are you sure you want to delete this data?
</md-dialog-content>
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    Delete
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redpajama_set_name: RedPajamaGithub


text:
Q: Memory usage: Program allocates too much memory I have coded a program in C++ for Ubuntu Server (64-Bit) which should run 24/7. The Server has 2GB RAM, but apparently my program is allocating too much memory.
This is the output of top after about 2 hours
top - 13:35:57 up  1:39,  1 user,  load average: 0.15, 0.13, 0.08
Tasks:  68 total,   2 running,  66 sleeping,   0 stopped,   0 zombie
%Cpu(s):  1.9 us,  5.7 sy,  0.0 ni, 92.3 id,  0.1 wa,  0.0 hi,  0.0 si,  0.0 st
KiB Mem:   2050048 total,   540852 used,  1509196 free,    34872 buffers
KiB Swap:  1509372 total,        0 used,  1509372 free.    93060 cached Mem

  PID USER      PR  NI    VIRT    RES    SHR S %CPU %MEM     TIME+ COMMAND
  902 root      20   0 1019896 364920   4492 S 13.1 17.8  13:07.03 Bether

How you can see my code already consumes 17.8% memory. At some point, the server will crash because it has no memory left.
My problem is that the program should not do that, but I can't find out where the memory gets allocated and not free'd anymore. Is there a tool, maybe even inside gdb, to find out where the program allocates the most memory?
Thanks in advance!

A: Check out Valgrind, it should be in the Ubuntu repository. it can give you detailed information about memory usage in C++ programs. Kind of like a debugger for memory usage.
valgrind --tool=memcheck <your_app> <your_apps_params>
Also check out ccmalloc, NJAMD, LeakTracer

redpajama_set_name: RedPajamaStackExchange


The Birmingham Times last week reported online that Devon Frazier-Holston, a fifth-grade teacher at Robinson Elementary, came up with an idea, I See Me, a book drive where books written by African American authors or have a main character of color are donated to school. As a result of the article, boxes of books have arrived at the school in Fairfield.
The goal is for each of Robinson's 301 students to have at least one book to take home with them to read during summer break. They currently have over 1,100 books. In fact, while speaking with The Times on Tuesday, the school received two boxes of books. Each student will be able to go home with two-three books for the summer, Holston said.
The book drive is for the entire school, kindergarten through fifth grade, but the teacher said more books are needed for kindergarten through second graders.
The book drive ended on May 15, though Holston said she won't turn down donations beyond that date. Donations rolled in from the community as well as bookstores. 2nd and Charles bookstore donated 500 books to students and Usborne Publishing donated $100 worth of books to the school. The Fairfield Industrial High School Alumni Association also donated money to I See Me.
Looking at the books collected, which were scattered in various boxes throughout the classroom, Holston became teary-eyed.
To donate books, dropped them off at Robinson Elementary School – 301 61st Street Fairfield – or purchase books at Barnes & Noble at the Summit and leaving at the store to be picked up.
The school has collected books from bestselling authors to local authors like Nia Mya Reese, the 9-year-old bestselling author from Birmingham.
Holston said she was shocked to discover that many of her students did not have books at home.
"You do have students who have books at home, but a large majority of my children didn't," she said.
Holston, who taught third grade before becoming a fifth-grade teacher a couple of years ago, said she read a statistic that said students who do not read on a third grade level by third grade are more likely to end up in the criminal justice system.
She made sure her students had materials to read. She built a classroom library, collected books for her class but wanted to do more. To build comprehension, she began Reading Response, where students were required to read to an adult for at least 20 minutes a week.
Holston, a product of Fairfield school system, also knew that reading helps to steer young people away from crime.


Collection of interesting websites about spiritual life, Indian culture, ancient knowledge, Indian art, music, Vaishnava books and articles, you can explore word controversies and compare with Vedic knowledge.
This site serves the devotee community by sharing inspiration, resources and support for spiritual live. The links you find here lead to sites that offer a wide variety of opportunities for spiritual growth. They are offered in no particular order and without pretense of being comprehensive. We have divided these links into categories, but many of them fit several different categories, so we urge you to visit all of the links pages.
If some links don't work, I'm sorry. Please let me know and I will try to fix them. If you have same interesting link or info please send me and I will post.


A kinda sorta update post.
Pardon me for my lack of updates lately, I've been a bit bogged down with preparing to start my Ph.D. program next week. I'll be going full time, so there last minute class preps, contacts to make, professors to track down, and materials to buy. I even have to buy a parking permit. I'll be lucky if I have two nickels to rub together by next Monday.
Realistically I am not sure how much time I will have to update this site when school starts. I know that my pleasure reading time will ultimately dwindle down to a trickle, as most of the time I'll be highlighting and pouring over required course readings and such. It is a good thing I write a lot when I do read, as I have several dozen folders of reviews for books I've previously read already written in my cloud drive. So if you look to the left and the "Currently Reading" widget from Goodreads doesn't match the last, say, five reviews I've given, you know why.


For the chicken, put the olive oil, chilli flakes, lemon zest and chicken into a small bowl, mix well and leave to marinate for 10 minutes.
Heat a griddle pan, add the chicken breast and griddle for 4-5 minutes each side, or until cooked through, (pierce the chicken with a knife or scewer in the thickest part and check that the meat is not pink and the juices run clear). Remove from the heat and keep warm.
To make the potato salad, heat the olive oil in a frying pan, add the sliced par-boiled potatoes and pan fry for eight minutes, or until golden. Add the balsamic vinegar and season well. Cook for one minute.
To make the pesto, put all the pesto ingredients into a small blender or food processor and blend until smooth.
To serve, pile the potato salad up on a serving plate, top with the chicken and pour over the pesto.


text:
(function() {
    'use strict';

    angular.module('nb.common').directive('nbIvhTreeviewNodeActionDirective', [
        function() {
            'use strict';

            return {
                restrict: 'A',
                require: '^ivhTreeview',
                link: function(scope, element) { // , attrs, trvw
                    var node = scope.$parent.node;

                    element.bind('click', function() {
                        if (node.nodeType === 1 && node.treeLeafActions) {
                            node.selectLeafAction(node, node.treeLeafActions[0]);
                        }
                        if (node.nodeActions) { // this is used when folder node has only delete action and it shows as a x button
                            node.selectNodeAction(node, node.nodeActions[0]);
                        }
                    });
                }
            };
        }
    ]);
})(NetBrain);


text:
The evolution of open banking
June 1, 2020 | By Storylab
The trend towards open banking — and open data — shows no signs of slowing down. We invited Tony Craddock, Director General of the Emerging Payments Association, and Jim Wadsworth, Senior Vice President for Open Banking at Mastercard, to share their thoughts on how open banking has and will continue to evolve.
Let's start by evaluating the current landscape: How is open banking progressing in the UK and Europe, and what's happening around the world?
Jim Wadsworth, Mastercard: Open banking is a worldwide phenomenon, often catalysed by regulation. Most recently, we've seen announcements of significant and wide-reaching legislation from Australia and Brazil; At Mastercard we have been inputting and responding to consultations from various different national regulators around the world.
In Europe and the UK, it's growing rapidly. We're seeing around 400 million transactions a month through UK banks' APIs, most of which so far is for account information use cases.[1] But we're also starting to see the first few payments use cases emerging as well. It's certainly true to say that not all banks have fully-functioning APIs in place at the moment. However, in light of the coronavirus pandemic, I suspect the national regulators will allow a certain amount of grace.
But we also see market-driven initiatives, the best example being the US where there have been variants on the theme of open banking for well over a decade now. Close to if not more than half of US adults participate in some form of open banking service, such as to get an aggregated view of their finances or prove their worthiness for credit, whether they're aware of it or not.
Tony Craddock, EPA: Open banking has the potential to be transformational. Adoption is happening at different paces in different parts of the world, from the heavily-regulated environments to the much less regulated, where the market is being allowed to determine the priorities. We're yet to see which is the best approach.
"When you start looking at open banking around the world, the underlying drivers are slightly different in each country."
Tony Craddock, Director General of the Emerging Payments Association
Mexico for example, it's designed to enable the high percentage of people who are under-banked to gain access to financial services; in the UK and Europe it's to encourage competition between providers, and in places such as Hong Kong and Bahrain it's to help establish them as financial centres of excellence to attract capital, entrepreneurs and other service providers to benefit the economy.
In light of the different drivers, how do the definitions of open banking differ around the world? For example, in the UK, regulation was initially focused on payments, but is now looking to grow beyond that into financial services. Is that the same around the world?
Jim: The European regulatory model, which is often used as a baseline for other countries, is centred around payments accounts, having been introduced as an enhancement to the second payment services directive (PSD 2). One of the objectives of the PSD 2 regulation was to try to move the industry away from less secure means of accessing peoples' account data, like screen scraping, towards something more secure, such as APIs.
EU regulation provides for API access to current accounts, but for a provider to offer a customer an aggregated view of their account balances across multiple providers, residual screen scraping methods are still required to access, for example, their savings accounts, pensions, and investment products. That, for me, does not meet expectations for overall security from a regulatory point of view.
The Australian regulatory model, by contrast, is more along the lines of what we might term 'open finance': savings accounts, investment accounts, pension accounts and so on are all in scope. In May, Australian regulators announced they were moving beyond financial services to open up access to data that is held in utility accounts, mobile phone accounts and more. Moving to a true open data model is a logical direction of travel, and one we're very supportive of. Regulators in the UK and in Europe are currently consulting on whether or not to expand their scope; our response offers a very positive view.
Tony: If we can get to a point at which there is an open exchange of data between banking and insurance, pensions, property, utilities or telecoms, then this opens up extraordinary opportunities.
"Moving to a true open data model is a logical direction of travel, and one we're very supportive of."
Jim Wadsworth, Senior Vice President for Open Banking at Mastercard
It makes the world a more level playing field, and allows innovation to take place more rapidly and at lower costs; it allows new products to come to market faster; and it ensures that big and small companies can exist very healthily alongside one another, tied together via the API model. That's something from which both the industry and society will benefit.
What are some of the most exciting or beneficial use cases that are enabled by open banking – or open data?
Jim: At Mastercard, we're very passionate about the inclusive agenda, one aspect of which involves widening access to affordable credit for people and small businesses. The challenge with the traditional model in lots of markets, including places like the UK and the US, is that lenders rely on credit reference databases to make their lending decisions, which are essentially limited to those who already have credit. It excludes many people and businesses who are entirely credit worthy but don't have the necessary history.
One of the great things that open finance makes possible is for lenders to readily access the data they need to make an informed credit decision, such as to verify someone's income or existing assets. It makes it easier for them to provide finance to more customers on an appropriately risk-managed basis.
Tony: It means the propensity for recovering loan repayments will be increased, and it means that better customers will get better-priced financial products — that's the upside. The flipside is that those who perhaps don't have the technical proficiency to leverage open banking may find themselves at a disadvantage.
Something we need to consider as an industry is whether we're prepared to differentiate according to those who are enabled and empowered by open banking — because those that remain excluded are likely to be the ones that are most at risk.
Jim: That's a great point. I'm hopeful that with broader availability of more comprehensive data sets, then net better decisions will end up being made. There isn't a panacea for everything, but we know today that people get into credit difficulties because they've been given access to finance they probably shouldn't have taken or probably shouldn't have had. It cuts both ways.
As the ecosystem matures confidence is quietly building in its profitability for financial institutions.[2] What's the opportunity for them to increase or diversify the revenues?
Jim: What we've seen in the UK is a good precursor for what we're now seeing across the rest of Europe: financial institutions are coming around to viewing open banking as a commercial opportunity.
It's not just third-party providers; banks are among the biggest consumers of APIs. Being able to see their customers' accounts with different providers means they can, for example, offer a better rate in return for the customer transferring those accounts over.
Meanwhile, they're investing more in their customer experience to make sure that it's their app that customers visit for their personal financial management services rather than a competitor's. That's absolutely the intent of regulators in the regulated markets, which is to stimulate competition and innovation.
Tony: Absolutely. Beyond worrying about which API calls should be charged for and which ones shouldn't, the secret to banks' success will be in making sure that they're addressing genuine user problems that they also offer some value to them: speeding things up, making payments less manually intensive, improving reconciliation processes and reducing backend costs. It has to be safe for them to introduce new participants to the value chain, and generate sufficient return and profit.
Let's pivot very slightly. How can we secure users' trust in open banking so they feel comfortable using and adopting the solutions that are becoming available to them?
Jim: Our financial data is some of the most sensitive data we own; trusting that its kept secure is absolutely essential for open banking to succeed. There are various mechanisms in place to help keep that data secure, not least Mastercard's Open Banking Protect solution.
"[One] thing that's important to secure customer trust and loyalty are the fundamentals of customer service."
But another thing that's important to secure customer trust and loyalty are the fundamentals of customer service. In general, people expect things to work; I think one of the big ways providers can secure trust is by responding quickly and effectively in the event something goes wrong.
At the moment, liability falls on the shoulders of banks. But if it's the third-party provider that causes the problem, I don't think it's right that the bank should be expected to put that right. The third-party ultimately needs to be responsible for its own mistakes.
Tony: What Jim is alluding to is customer protection and redress models and mechanisms. If things go wrong, we need to get to the point at which consumers are completely confident that when, for example, there's a push payment fraud, they get their money back.
How do we secure trust in open banking among participants and end users?
Tony: Firstly, banks are intrinsically trusted to manage people's money. Banks can grow confidence through how they deal with customers in an open banking-enabled world.
Second, the user experience has to become increasingly high quality. We can't get to the point at which the API system works one time out of five. Consumers will walk away having lost interest in the whole concept.
Third, it has to be consistent. When we pay online, the consistency of the experience gives people confidence, but that's not quite the case in open banking at the moment: making an open banking-enabled transaction can take anywhere from five to 11 steps depending on the bank you're transacting through. Consumers won't learn more than one way of doing things.
"The user experience has to become increasingly high quality... [and] it has to be consistent."
Jim: These are hygiene factors that need to be addressed sooner rather than later. Some of the biggest beneficiaries of open banking are the banks themselves; they have an incentive to come together. Of course, it's something the industry and Mastercard have done very successfully over the past 50 years in card payments, and there are some great lessons learned from that. I hope that another 12 months down the road, those conversations will largely be done and dusted.
So, where are we going next?
Jim: Open banking is a platform for innovation and as it evolves, it will be driven by the age-old disciplines of understanding where there are unmet customer needs and fulfilling them brilliantly. I expect open banking will become the normal way we all interact with our money moving forward.
Tony: It'll be fascinating to see what the consequences of the pandemic will be over a three to five-year timeframe. Is now the time for the UK Government to take another look at investing in a digital identity scheme that's enabled by open data principles, perhaps?
Jim: I think the pandemic is going to accelerate the rate of innovation significantly. In the homeworking environment, we've all suddenly moved huge quantities of what we were used to doing in the physical world to a virtual one. The normalisation of digital technologies will ultimately help drive adoption of new services through open banking.
It's very hard to be definitive about the future, but that's what makes it exciting. We'll see which services thrive and which ones need to be rethought, but — you know — that's the joy of innovation.
[1] 'Open Banking APIs Performance'. Accessed 1 June 2020.
[2] According to a recent research report, 79 percent of the industry believe open banking will have a mainly positive effect on the profitability of the sector over the next five years. 91 percent expect to achieve a positive return on investment from charging for APIs, with an average payback timeframe of two years.
Storylab, Mastercard, London
By delivering the latest news and ideas through different, popular outlets and mediums, Mastercard is making a point of infusing its stories with creativity, colour and authenticity. In other words, storylab is helping Mastercard bring its stories to life.
Combatting fraud in open banking
By Hayden Harrison
Q1 2020 Open Banking tracker
Evolution of open banking

redpajama_set_name: RedPajamaCommonCrawl


Are you supposed to receive an automated reply back due to the email?
A very kind reply saying he's not taking on any new projects at this time.
Sent EQ January 2, women's fiction/humor. Received a lovely reply back that he's not currently taking on new clients.
Chose him because he represents Heidi Julavits.
No response, so assuming no match.


Well, this is the hardest part I suppose. Starting something. Kind of like how people start each year with all of these crazy pointless New Year's resolutions that they know they'll never follow through on. So I guess this is where I give an intro, a synopsis of sorts… to let you know what you're reading and what I'm going to be putting up here for you to read. Truth be told I haven't thought quite that far ahead. I know I want to talk about my life with all of its intangible messy string of events and circumstances that don't stop until they've well, you know… stopped.
Now a little about me. I'm not going to spoil all of the fun just yet because then what would be left to write about? The future? Overrated. I like to live in the present, maybe a bit in the past when things start to get out of my control. All of my friends can make me laugh otherwise there's no point in getting along. I have both of my parents and am blessed with two demonic younger siblings (both boys, God help me). I'm a junior in college but technically a senior- but not really- it's a little complicated. I'm studying psychology because I can have one conversation with a person (or most people) and read their behavior like Aaron frickin' Hotchner, and if you don't know who that is go get on Netflix and start watching Criminal Minds so you don't look like an idiot the next time someone busts out a reference. I went abroad this summer, and it changed me. Completely. Sort of. At least that's what I like to say when I dramatically emphasize to my fellow students why they should study abroad. It definitely accentuated my personality in the sense that I was already a well versed individual who enjoyed new and exciting experiences. But now I crave those experiences and the feeling of complete peace they bring.
I've seen some crazy things in my few years on this Earth. I've been through a lot more than most people my age or even twice my age have, and it has shaped the way I see the world. Colors are brighter, my sense of awareness is heightened so that I can really really see and appreciate everything around me. Everything in this wonderfully complex and roller coaster of a life. And that's what I'm going to write about. Of course I didn't figure that out until about 20 seconds ago- as long as it took me to write the last few sentences. I want to share my stories- my adventures. The good, the bad, and the ugly.
So stick around, maybe I'll get the hang of this blogging thing.
I took this photo in Venice, Italy through the window of a closed shop on a side street.
Next Post Dealing with the toxic people.


Well it doesn't seem like they can.
If my interpretation of today's news is correct HM Inspectors have absolutely slated G4S' running of HMP Oakwood. It's a nice, modern building, not a Pentonville or a Brixton, but is still a shambles.
On this evenings Regional News I even heard G4S' running of the prison branded a disgrace!!
So the company that failed so spectacularly and publicly at the Olympic Games last year, and then found itself facing a criminal investigation for alleged fraud in a government contract has now seemingly failed again.
And apparently it's still OK for them to bid for more, new government contracts cos Chris Grayling said it was OK.
It wasn't so very long ago that this company was a firm favourite to benefit from some Police Service outsourcing. James P warned us all about that and look what happened to him, but what if he was right?
Does this company really have the appearance of a fit and proper company to be involved in any aspect of the Police/Judicial/Penal function? I don't know the answer to that but I have my own opinion. It's just a shame that nobody who matters wants to hear it.
Last Updated on October 8, 2013 at 23.55.
James will be proved right. Of that I have no doubt. If it wasn't for his courage we would probably never have known the extent of the canker that has infected our Sovereign State. A canker that has been slowly but surely introduced by successive government employees, in whom we put our trust, who put private profit before the good of the nation.
Soon there will be nothing left to sell and we will find ourselves bereft of any form of state social services or support for the individual, and will be at the tender mercies of profit driven private companies. Guess who major share holders in them will be.
Next story Dad's Army or Only Fools and Horses?


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In the wake of Google's shattering announcement that it might pull out of China, its music partner there, Orca Digital Inc, has been wondering just what the future holds.
Orca Digital operates the site Top100.cn, which distributes free music, obtaining its money from advertising, and has been seen as the answer to the music piracy that affects the country. It has a partnership with Google, which drives traffic to the site and has also brokered the its biggest ad deals.
Top100 has licensed some five million tracks in all, not only from Chinese stars, but also from the big four Western record companies. Around six million tracks a day are downloaded or streamed from the site.
Gary Chen, Orca Digital's Chief Executive, stated that Google has not been in touch with him since it made its announcement, although advertisers have been calling him daily. Google is said to have the collaboration under review.
Chen has been taking a neutral stance on the fight between Google and the Chinese government.
"I love Google, and I love China," he said.
Top100 hasn't moved into the black yet, although it took in $732,000 in ad revenue in the last four months of 2009. It had hoped to go into profit this year, but at the moment, of course, everything is in limbo.


text:
71 voters
Most famous Composers from Armenia
More about Most famous Composers from Armenia:
Most famous Composers from Armenia is a public top list created by Listnerd on rankly.com on February 19th 2014. Items on the Most famous Composers from Armenia top list are added by the rankly.com community and ranked using our secret ranking sauce. Most famous Composers from Armenia has gotten 1.069 views and has gathered 82 votes from 71 voters. O O
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Emin Khachaturian is a film score composer.
Cathy Berberian
Catherine Anahid Berberian (July 4, 1925 – March 6, 1983) was an American soprano and composer. She interpreted contemporary avant-garde music composed, among others, by Luciano Berio, Bruno Maderna, John Cage, Henri Pousseur, Sylvano Bussotti, Darius Milhaud, Roman Haubenstock-Ramati, and Igor Stravinsky. She also interpreted works by Claudio Monteverdi, Heitor Villa-Lobos, Kurt Weill, Philipp Zu Eulenburg, The Beatles, folk songs from Armenia, also by the musical analyst Komitas Vartabed, and her own compositions. Her best known work is Stripsody (1966), in which she exploits her vocal technique using comic book sounds (onomatopoeia). Cathy Berberian was born in Attleboro, Massachusetts to Armenian parents, Yervant and Louise Berberian. The elder of two children, she spent the first 12 years of her life in Attleboro, Massachusetts. The family moved to New York City in 1937 where she graduated from Manhattan's Julia Richman High School for Girls. From an early age, she showed an interest in Armenian folk music and dance as well as traditional opera. While still in high school, she was the director and soloist of the Armenian Folk Group in New York City. For a time, she was an
Samvel Yervinyan
Samvel Yervinyan (Armenian: Սամվել Երվինյան, born January 25, 1966) is an Armenian violinist and composer. Yervinyan was born in Yerevan, Armenian background. He began studying at the age of 7 in Spenderian Music School under the tutoring of Armen Minasian. In the competitions he participated, he won all the first place prizes in his age group. He played Henry Vieuxtemps' 2nd concert on his graduation day and received a standing ovation from all the faculty members. He continued his studies at Tchaikovsky's Music Conservatory, under the guidance and tutoring of Maestro Edward Dayan. In the following years he became the professor's pride and strongest prospect for future concert violinist. At his graduation, he played several classical compositions including, Bach's Adagio and Fugue in G Minor, Mozart's violin concert No. 5 in A Major, Paganini's Caprice No. 21 in A Major, and Sarasate's Gypsy Melodies. In 1993 Mr. Yervinyan earned his PhD from Yerevan State Musical Conservatory in Republic of Armenia. He has performed during the 2003 and 2004 Ethnicity world tours with Yanni, as well as the 2005 Yanni Live! The Concert Event and Yanni Voices tours.
Yevgeniy Gevorgyan
Edward Manukyan
Edward Manukyan (Armenian: Էդվարդ Մանուկյան, Russian: Эдвард Манукян) (born July 27, 1981) is an Armenian-born composer residing in Southern California, United States. His main works are orchestral and chamber compositions, which lean heavily upon elements of Armenian national folklore. It was not until his last years in high school that Manukyan showed interest in composing music. He taught himself English and in 1997 he won state scholarship to study languages and psychology at the Yerevan State Linguistic University. During his student years, Manukyan committed himself to studying music and immediately began concentrating on composition. He became a member of local chamber orchestras, writing material for their repertoires. Among his works were songs, the lyrics of which the composer had penned himself, and instrumental pieces. Manukyan also formed his own jazz quartet and gave concerts at various venues in Yerevan. Upon moving to the United States in 2002, Manukyan shifted his interests towards contemporary classical music after studying the works of his compatriot Aram Khachaturian. A cover-story article in the Glendale News-Press, published on October 23, 2007, shed some
Arno Babajanian
Arno Babajanian (Armenian: Առնո Բաբաջանյան; Russian: Арно Арутюнович Бабаджанян; January 22, 1921 – November 11, 1983) was a Soviet Armenian composer and pianist, People's Artist of the Armenian SSR (1956) and Soviet Union (1971). He was a laureate of two Stalin State Prizes of the USSR (1951, 1953) and two Armenian SSR State Prizes (1967, 1983). Babajanian (Babadjanian) was born in Yerevan, Armenia. His father was Harutyun Babajanian from Igdir. By age 5, his extraordinary musical talent was clearly apparent, and the composer Aram Khachaturian suggested that the boy be given proper music training. Two years later, in 1928 at the age of 7, Babajanian entered the Yerevan State Musical Conservatory. In 1938, he continued his studies in Moscow with Vissarion Shebalin. He later returned to Yerevan, where from 1950–1956 he taught at the conservatory. It was during this period (1952) that he wrote the Piano Trio in f# sharp minor. It received immediate acclaim and was regarded as a masterpiece from the time of its premiere. Subsequently, he undertook concert tours throughout the Soviet Union and Europe. In 1971, he was named a People's Artist of the Soviet Union. As a composer,
Andy Madadian
Andranik Madadian (Persian: آندرانیک مددیان, Armenian: Անդրանիկ Մադադյան, born April 21, 1959), better known by his stage name, Andy (Persian: اندی, Armenian: Էնդի), is a famous Iranian-Armenian singer-songwriter. He is a naturalized American and currently lives in Los Angeles, California. Madadian was born on April 21, 1959 in Iran to ethnic Iranian Armenian parents. When the 1979 Iranian Revolution came, he left Iran for the United States. Andy made it big when he joined Kouros and together formed a successful duo Andy & Kouros. Andy & Kouros released 4 albums together: Khastegary (1985), Parvaz (1988), the hugely successful album Balla!, and finally Goodbye (1991). The two split in 1992, with both Andy and Kouros going on to have successful individual solo careers. The two reunited several times after that point. In 2002 and 2004 they performed together for a sold-out audience in San Jose, California. In 2009, Andy & Kouros they went on an international tour together in the Iranian diaspora, and performed together again in May, 2010. They also appeared together on a music video by Farez remaking their hit "Niloufar". Andy, known as one of the "Kings of Pop" in Iran, has released 15 albums since the start of his solo career including the multicultural album "And My Heart..." in 2000 where he sings in Persian, English, Spanish, Armenian, Arabic, and Hindi. Later that year, an American edition of the album was released by Mondo Melodia Records. On July 21, 2009, Madadian performed at halftime during the Chelsea FC vs. Inter Milan game at the Rose Bowl. On June 24, 2009, Andy, Richie Sambora and Jon Bon Jovi recorded a version of the Lieber and Stoller standard Stand by Me, described by producer Don Was as a "worldwide solidarity with the people of Iran". The Persian introduction is done by both Andy and Jon Bon Jovi, as well as the rest of the song which continues in English. The record was produced by Don Was and John Shanks and was registered at Henson Studio C, Hollywood, Los Angeles, California.
Alexander Spendiaryan
Alexander Spendiaryan (Armenian: Ալեքսանդր Սպենդիարյան, Russian: Александр Афанасьевич Спендиаров, November 1, 1871 –May 7, 1928 ) was an Armenian music composer, conductor, founder of Armenian national symphonic music and one of the patriarchs of Armenian classical music. His compositions include the opera Almast and the Yerevan Etudes among others. He studied with the Russian composer Nikolai Rimsky-Korsakov, who greatly admired his music and encouraged him to turn deeper into his people's folklore. On December 10, 1924, Spendiarian, newly arrived in Yerevan from Russia, conducted an 18-member orchestra consisting of conservatory professors and students. This inaugural concert proved that Armenia had the potential to sustain a symphony orchestra. The following year, on March 20, 1925, Professor Arshak Adamian, Rector of the Yerevan Conservatory, led the first concert of the then newly founded symphony orchestra. At the time, Spendiarian accurately predicted, Spendiaryan died in Yerevan in 1928. In 1967, the Alexander Spendiarian House Museum was established in the house where the composer lived during the last years of his life. The museum has recreated the genuine atmosphere of
David Yengibarjan
Georges Garvarentz
Georges Garvarentz (1 April 1932 - 19 March 1993) was an Armenian-French composer, noted for his music for Charles Aznavour's songs. Georges Garvarents was born in Athens, Greece, to a family of Armenian immigrants. His father, literature professor and poet Kevork Garvarentz, was the author of the Armenian military anthem. In 1942 Garvarentz's family moved to Paris, France, where Georges attended Conservatoire de Paris. In 1956 Georges met Charles Aznavour and started writing music for his songs. Together they wrote over 100 songs, including Rends garde à toi (1956), Et pourtant (1962), Il faut saisir sa chance (1962), Retiens la nuit (1962), Hier Encore (1964), Paris au mois d'août (Paris in August, 1966), Une vie d'amour (1980). In 1965 Georges married Charles Aznavour's sister, Aida Aznavourian. Georges Garvarentz also composed over 150 film scores, including scores for Un taxi pour Tobrouk (Taxi for Tobruk, 1960), Les Parisiennes (Tales of Paris, 1962), Le Diable et les dix commandements (The Devil and the Ten Commandments, 1962), Le Rat d'Amérique (Rat Trap, 1963), Estambul 65 (That Man in Istanbul, 1965), Caroline chérie (Dear Caroline, 1968), Sapho ou La fureur d'aimer
Anastas Mikoyan Jr.
Armen Tigranian
Armen Tigranian (26 December 1879, Alexandropol – 10 February 1950, Tbilisi) was an Armenian music composer and conductor. His best-known works were two national operas, Anoush (premiere: Alexandropol, 4 (17) August 1912, the first opera performance in Armenia) and Davit Bek (1950); the latter of which premiered only months before his death and was his final composition. He was the younger brother of composer Nikoghayos Tigranian. Armen Tigranian was born in Alexandropol, Armenia. He started becoming interested in music at a very early age. In 1902 Tigranian finished the Tbilisi Music College, studying composition with Makar Ekmalyan. Tigranyan devoted himself to teaching and continued composing music, mainly songs and romances in Armenian folk traditions. Tigranian's Anush opera, written in 1908 and remodelled in 1932, is called the "national opera of the Armenian people". Anoush, based on Hovhannes Tumanian's story of country romance and tragedy captured the attention of audiences and became a perennial of the concert repertoire. The American premiere of Anoush took place in 1981 at Michigan Opera Theatre. The history of Karabakh Melikdoms inspired the opera David Bek
Alan Hovhaness
Alan Hovhaness (Armenian: Ալան Յովհաննէս) (March 8, 1911 – June 21, 2000) was an Armenian-American composer. The Boston Globe music critic Richard Buell wrote: "Although he has been stereotyped as a self-consciously Armenian composer (rather as Ernest Bloch is seen as a Jewish composer), his output assimilates the music of many cultures. What may be most American about all of it is the way it turns its materials into a kind of exoticism. The atmosphere is hushed, reverential, mystical, nostalgic." He was among the most prolific of 20th century composers, his official catalog comprising 67 numbered symphonies (surviving manuscripts indicate over 70) and 434 opus numbers. However, the true tally is well over 500 surviving works since many opus numbers comprise two or more distinct works. He was born as Alan Vaness Chakmakjian in Somerville, Massachusetts, to Haroutioun Hovanes Chakmakjian (an Armenian chemistry professor at Tufts College who had been born in Adana, Turkey) and Madeleine Scott (an American woman of Scottish descent who had graduated from Wellesley College). When he was five, his family moved from Somerville to Arlington, Massachusetts. A Hovhaness family neighbour
Vartapet Komitas
Soghomon Gevorgi Soghomonyan (Սողոմոն Գևորգի Սողոմոնյան), commonly known as Komitas Vardapet (Կոմիտաս Վարդապետ, by Western Armenian transliteration also Gomidas Vartabed) or simply Komitas (Gomidas) (born on September 26 or October 8, 1869, in Kütahya, Ottoman Empire; died on October 22, 1935, in Paris, France) was an Armenian priest, composer, choir leader, singer, music ethnologist, music pedagogue and musicologist. Many regard him as the founder of modern Armenian classical music. Komitas lost his mind after witnessing the 1915 Armenian Genocide and is considered a martyr of the genocide. Soghomon (Gevorgi) Soghomonyan was born into a family whose members were deeply involved in music and were monolingual in Turkish. His mother died when he was one, and his father died ten years later. His grandmother looked after him until 1881, when a prelate of the local Armenian diocese went to Echmiadzin to be consecrated a bishop. The catholicos Gevork IV ordered him to bring one orphaned child to be educated at the Echmiadzin Seminary. Soghomon was chosen among 20 candidates and admitted into the seminary (where he impressed the catholicos with his singing talent) and graduated in 1893,
Daja Yavasharian
Daja Yavasharian (Armenian: Դաղա Յավասհարիան b. Aug 14, 1981) is an American violinist and composer. He is of Armenian heritage. Yavasharian was born in Yerevan, Armenia to Aram and Lilit Yavasharian, both professional musicians in the St. Petersburg Symphony Orchestra. At the age of 5, Yavasharian and his family moved to Los Angeles, California. It was in the United States that his love for music developed. Aram would give his son, Daja, daily violin lessons with the hope of having the legacy of music continue throughout their family. The younger Yavasharian quickly progressed and won his first concerto competition at the age of 14 years old, after a particularly riveting performance of Tchaikovsky's Violin concerto. He eventually become concertmaster of his high school's orchestra and was admitted to the Juilliard School. At Juilliard, Yavasharian would continue in the footsteps of his father. Aram Yavasharian was a Juilliard alumni who had previously studied under the direction of the late Armenian violinist Ivan Galamian. Determined to be as successful as his father was, Daja practiced 7–8 hours everyday with the hopes of becoming one of the best violinists at the music
Alexander Grigorevich Arutiunian (Arm. Ալեքսանդր Գրիգորի Հարությունյան), also known as Arutunian, Arutyunyan, Arutjunjan or Harutiunian (23 September 1920 – 28 March 2012) was a Soviet and Armenian composer and pianist, Professor of Yerevan State Conservatory (1977), widely-known particularly for his Trumpet concerto described as flashy by the New York Times. He was awarded by the Stalin Prize (1949) and State Prize of Armenia (1970), People's Artist of the USSR (1970) and Armenian SSR (1964) honorary titles, Aram Khachaturian Prize (1986), "St Mesrop Mashtots" and "Khorenatsi" Armenian medals, "Alexandrov" Gold medal (1976), the Orpheus Award (Kentucky, USA) and "St Sahak and St Mesrop" Order by Holy Etchmiadzin (2004). Arutiunian was born in Yerevan, Armenia, in the family of Grigor and Eleonora Arutiunian. His father was a military serviceman. At an early age Arutiunian met famous composer Alexander Spendiarian. In 1927 Arutiunian became a member of the Yerevan State Conservatory's children group, then, at the age of fourteen, he was admitted to the Conservatory to the studios of O.Babasyan (piano), and S.Barkhudaryan and V. Talyan (composition). He graduated from the Music
Ghazaros (Lazar) Saryan
Ghazaros (Lazar) Saryan (Armenian: Ղազարոս Սարյան, Russian: Лазарь Мартиросович Сарьян, Rostov-on-Don, Sept. 30, 1920 – Yerevan, May 27, 1998) was an Armenian composer and educator. Ghazaros Saryan was born into a family of distinguished Armenian artists. He is the son of renowned painter Martiros Saryan and the grandson of the prominent writer Ghazaros Aghayan. Musically gifted, Ghazaros attended the Yerevan State Conservatory from 1934 to 1938, where he studied composition with Sargis Barkhudaryan and Vardges Talyan. Afterwards, he travelled to Moscow and enrolled in the composition class of Vissarion Shebalin at the Gnessin State Musical College. With the outbreak of World War II in 1941, Ghazaros was drafted into the Soviet army and served actively until 1945. Subsequently, he entered the Moscow Conservatory. Among his composition teachers were Dmitri Kabalevsky, Dmitri Shostakovich and Anatoly Nikolayevich Alexandrov. Saryan graduated in 1950. Upon his return to Armenia, Saryan joined the faculty of the Yerevan Komitas State Conservatory where he taught orchestration. During 1955-56, he was chairman of the Armenian Composers' Union. In 1960, he was appointed rector of the
Armen Martirosyan
Armen Martirosyan (Armenian Արմեն Մարտիրոսյան, born on 25 February 1963 in Yerevan) is an Armenian-Russian musician and composer. His first music lessons were given in his early childhood by his grandmother, who taught him the rudiments of the notes. At the same time, his parents introduced him to different genres of musical art (ballet, opera and concerts of symphonic music). In 1970, aged seven, he entered the well-known music school being already familiar with the notes, having perfect pitch and a sense of rhythm. Teachers noticed the absolute composing abilities and rare intuition for performing musical composition. In 1978, aged fourteen, he met Edvard Mirzoyan, the Chairman of the Composers' Union of Armenia. It was a historical event for the teenager. In 1980, he entered the Yerevan Komitas State Conservatory and the composition class of Edvard Mirzoyan. In 1982, Martirosyan married his school-friend, Tatyana Dagbashyan, who became his muse and close friend for life. A strong innovative character distinguished Martirosyan. He was the first composer in Armenia to apply computer technologies in music. 1991 to 1995 were Martirosyan's "traveling years". During these four years
Armen Movsessian
Armen Movsessian (Armenian: Արմեն Մովսեսյան, born in Yerevan, Armenia) is a violin player. His formal training as a musician began as a child. He received his high school diploma from the Tchaikovsky's School of Music for the musically gifted, and earned his B.A. and Master's from the Yerevan Conservatory named after Komitas. He was one of only fifty-four violinists worldwide to be invited to compete in the International Competition of Violinists in Indianapolis in 1990. This is when he decided to move to the United States and has since been named Concertmaster for the Panama National Symphony in Panama City, Panama, and for the New Hampshire Symphony Orchestra. Movsessian was an instructor of violin, viola, and chamber music at Clark University and an instructor of violin at the Longy School of Music, both in Massachusetts. He has performed during the 2003 and 2004 Ethnicity world tours with Yanni, as well as the 2005 Yanni Live! The Concert Event, and Yanni Voices tours.
Onno Tunç
Onno Tunç (full name Ohannes Tunçboyacıyan, Armenian: Օհաննես Թունչբոյաջյան) was a leading Turkish-Armenian musician, working mainly as a composer and an arranger. Tunç also played bass guitar and occasionally double bass, contributing to the albums of several musicians. He was the elder brother of musician Arto Tunçboyacıyan. Onno Tunç was born in 1948 in Istanbul. His music experience started with the church choir of Hayrur Mangaz (Hundred students). In his first year of middle school, he had to drop out to go to work to support his family. Born in a financially limited family, he could not afford a musical instrument although they fascinated him, until Anush ("Sweet" in Armenian), the mother of his friend Arman bought her son a guitar, and one for Onno too. Onno, a fast-learning autodidact, started a music band and soon repaid Anush. He composed 175 songs and represented Turkey in many European music contests. A very close friend of Turkish singer Sezen Aksu, he co-wrote and composed many of the songs she performed throughout her career, as well as arranging all of her albums. It was widely known that his death tipped Sezen Aksu into depression. She dedicated her album Düş
Siranush Harutyunyan (born on January 7, 1987 in Yerevan, Armenia), known simply as Sirusho (Armenian: Սիրուշո), is an Armenian pop singer. She began her music career singing live in Canada, in the Armenian diaspora music scene, when she was seven years old and, at the age of nine, she received an Armenian Music Award for her song "Lusabats". Her first studio album, Sirusho, was released in 2000, and its follow-up, Sheram, in 2005. In the same year, she was awarded The Future of Armenian Music, Best Album and Best Female Performer awards in the first Armenian National Music Awards. The BBC describes her success as making her a "national treasure" in Armenia, and its news service has gone on to report that she is popular in both Armenia and "throughout the Armenian diaspora throughout the world". She currently studies diplomacy in Yerevan State University, having majored in international relations. Sirusho also sings in the Greek language and, in April 2009, released her first Greek single "Erotas" in Armenia, Greece and Cyprus. The song is an up-tempo dance record with heavy Greek laiko musical influences which is apparent from the dancing and dress in the music video. Sirusho
Loris Tjeknavorian
Loris Tjeknavorian (also spelled Cheknavarian, Armenian: Լորիս Ճգնավորյան; Persian: لوریس چکناواریان, born October 13, 1937) is a contemporary Iranian-Armenian composer and conductor. He was born in Borujerd in the province of Lorestan, southwestern Iran, and was educated in Tehran. In the course of his career, Tjeknavarian has made about 100 recordings (with RCA, Philips, EMI, ASV, etc.) and written more than 75 compositions (symphonies, operas, a requiem, chamber music, concerto for piano, violin, guitar, cello and pipa (Chinese lute), ballet music, choral works and an oratorio. And over 45 Film mosaics. Tjeknavarian also has conducted international orchestras throughout the world: in Austria, UK, US, Canada, Hungary, Iran, Finland, former USSR, Armenia, Thailand, Hong Kong, South Africa, Denmark, Israel, etc. In October 2010 he became the Music Director and Principal Conductor of the Glendale Symphony Orchestra in Southern California. Glenn Treibitz, president of the Glendale Symphony said; "with Loris Tjeknavorian at the helm, our orchestra will automatically become one of the most prominent in the Western USA." His own compositions have been performed by major orchestras,
Ara Gevorgyan
Ara Gevorgyan (Armenian: Արա Գևորգյան, born April 19, 1960, Yerevan) is an Armenian musician, composer and musical producer. In 2004 he was awarded the Honorary Artist of the Republic of Armenia title by the President Robert Kocharyan. Gevorgian is the son of Armenian folk-singer Valya Samvelyan. He studied at School #31 of Yerevan and at the A. Tigranyan Musical School at the same time. During the two years he studied at Yerevan #8 college of Fine Arts. From 1983 to 1987 he studied at Armenian State Pedagogical University at the faculty of woodwind instruments and pop music department. In 1987-1989 Gevorgian taught conducting at the same Institute, then he worked at Armenian Television ("3 Alik" TV program). In 1983 he founded the "Rally" Armenian pop-rock band, the participant of "Song-85" festival. He participated in the Opening Ceremony of the Cultural Year of Armenia in Russia hosted at the Moscow Kremlin Music Hall and honored by the presence of the presidents of Armenia and Russia Robert Kocharyan and Vladimir Putin respectively and the famous singer Charles Aznavour. Ara Gevorgian co-operates with Jivan Gasparyan, Ian Gillan, Demis Roussos, Pedro Eustache, Daniel Decker and
Raffi Armenian
Raffi Armenian, CM (born June 4, 1942) is an Armenian-Canadian conductor, pianist, composer, and teacher. Since 2008 he has been the director of the Conservatoire de musique du Québec à Montréal. Armenian was born in Cairo and had his first music lessons there, moving in 1959 to Vienna to study piano with Bruno Seidlhofer. After graduating, he put his musical studies aside and attended the University of London from 1962 to 1965, where he majored in metallurgy. He returned to the Vienna Academy of Music and studied from 1965 to 1969. In 1968, Armenian was one of two finalists at the International Competition for Young Conductors in Besançon, France. Armenian emigrated to Canada in 1969 to become the assistant conductor of the Atlantic Symphony Orchestra, located in Halifax, Nova Scotia .From 1971 to 1993, he was the Artistic Director and conductor of the Kitchener-Waterloo Symphony. Under Armenian's guidance, the K-W Symphony emerged by the mid-1970s as one of the most vital in Canada. Armenian acted as the musical director of the Stratford Festival from 1973 to 1976, and founded the Stratford Festival Ensemble (later renamed the Canadian Chamber Ensemble) in 1974. Armenian made
Serouj Kradjian
Serouj Kradjian is an Armenian-Canadian pianist and composer. At fourteen earned a scholarship to study in Vienna, and was gaining allocades by the age of seven. He moved to Vienna at fourteen to pursue his training on a scholarship. He later studied with Marietta Orlov at the University of Toronto's Faculty of Music, where he earned his Bachelor of Arts degree in Piano Performance in 1994. He studied with Einar Steen-Nökleberg at the Hochschule für Musik und Theater in Hanover, Germany, receiving a Solo Performance degree in 2001. Kradjian has appeared with the Vancouver and Edmonton Symphonies, Göttingen Symphony, Russian National Orchestra, the Armenian Philharmonic and the Thailand Philharmonic under the baton of conductors such as Bramwell Tovey, Stéphane Denève, Gudni Emilsson and Raffi Armenian. Kradjian has performed solo and chamber music recitals in many world venues and he has been invited to perform at festivals such as the Bergen Festival, Savannah Music Festival, Colmar Festival and the Festival Del Sole- Tuscan Sun Festival in Cortona, Italy. Works composed or arranged by Kradjian have been performed by I Musici Montreal, the Vancouver Symphony and the Elmer Iseler
Alexey Ekimyan
Alexey Ekimyan (Armenian: Ալեքսեյ Հեքիմյան, Russian: Алексей Гургенович Экимян) also Alexey Gurgenovich Hekimyan (April 10, 1927 – April 24, 1982) was a famous Armenian-Russian composer, and author of popular songs. Ekimyan was also a General of Soviet militsia (police) and was the head of Criminal Investigation Department of Moscow region. He was considered the only popular composer in the world who ruled a law-enforcement department at the same time. Ekimyan awarded by the "Renowned Master of the Arts" Armenian SSR official title. Born in Baku, Ekimyan's first song for the Moscow International Festival (1957) was approved by Vano Muradeli ("I don't know if you would become a general, but you would become a composer!"). His songs were performed and recorded by prominent Soviet singers that include Lyudmila Zykina ("I don't need another love"), Iosif Kobzon, Lusine Zakaryan, Muslim Magomayev ("Save the friends"), Sofia Rotaru, Vakhtang Kikabidze, Ruben Matevosian ("Gharabaghtsin"). Among his most famous songs are- "Listopad", "Vsya jizn' vperedi", "Sonjachnyj doshh", "Odinochestvo" (written by poets Robert Rozhdestvensky, Rasul Gamzatov, and others). Aram Khachaturian wrote: "The
H.A. Der-Hovagimian
H.A. Der-Hovagimian (sometimes spelled Ter-Hovakimyan) born in Toronto, Canada, is a Canadian-Armenian music composer, songwriter and producer. He signed his first recording contract with the newly found Hi-Bias Records imprint at the age of 17. For the following 15 years, he was mainly credited under the adopted pseudonym Mark Ryan. For years, his main focus was his Temperance project. Starting out as a solo Tech house project, his debut commercial release was the 5-track Phantasy EP, released early 1992 on Hi-Bias Records. Temperance eventually crossed over into a more Dance-pop/Eurodance sound with the inclusion of Mark's schoolmate Lorraine Reid on vocals. Over the next couple of years Temperance won numerous top ten hits, awards, and licenses worldwide. By 19, Mark's on the side successful remix works also led to Billboard magazine titling him one of the top remixers from Canada. In 1996, Temperance peaked with its hi-nrg cover version of the 1980s hit "Forever Young". In 1997, after the releases of S.P.O.T. (Side Project of Temperance) and the Temperance single "Universal Dream", Mark parted ways to launch 22 Green Productions, primarily focusing on producing and remixing
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you cant have a game called "dragonforce" without "dragonforce" music. god.
This game was good. Another awsome space game. I liked how you could have so many weapons at one time and you could upgrade those weapons until every time yoou shoot like the whole screen was filled with bullets and missels and stuff. Some cool enemies to. The only thing bad was that there was no sliding which I think there should have been.


In the Louche Delise dress you'll stand out for all the right reasons. Lightweight, this sleeveless sun dress boasts stylish cut outs to the back. Elasticated to the waist, it's perfect for day-to-day wear and is complete with a button through front. Pair with a trusty cardigan for a casual weekend look. Features: Lightweight, button through front, elasticated waist, above knee length, cut outs to back neck, side seam pockets. Lengths: Size 8: 89cm, Size 10: 90cm, Size 12: 91cm, Size 14: 92cm, Size 16: 93cm.


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Mental Health Therapist in Private Practice in Covington, Va.
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Image of James Watts (left) and Jack Winer with the winner's cheque, picture by courtesy of Adrian Milledge.
But having led the chase for the £5,500 winner's cheque since posting an opening 12-under-par round of 60, they were given an almighty scare confirming it while negotiating the tournament's closing holes.
Then Keogh, chipping from the fringe behind the hole, came within an inch of one before Winer, on the green in two, held his nerve to hole from 14 foot to secure victory.
"He was my best man in April and I'm best man at his wedding in June," said Watts."We've been friends for a long time so it's nice to come out and do the business together,' added his partner.
27 under par Jack Winer (Abridge Golf and Country Club) and James Watts (Kingsway Golf Centre)*, Adam Keogh (Spalding Golf Club) and Michael Reed (Glen Gorse Golf Club). Winer and Watts won play-off.


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///
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/// @param offset The number of bytes to offset the given storage object,
///               must be smaller than the storage object's size.
/// @return A new, offset storage object.
template<class Storage>
Storage offset(const Storage& storage, uint64_t offset)
{
    assert(storage.size() > offset);
    return Storage(storage.data() + offset, storage.size() - offset);
}
}


text:
Two more years for ice cool Kev
MACCLESFIELD Town fans will have been delighted by the news that last season's star player, and top goalscorer, Kevin McIntyre, has committed himself to another two years at the Moss Rose.
Macclesfield Express
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Macca was a unanimous and highly popular choice as the campaign's star man, and the Express caught up with the Silkmens' spot-kick king to find out his thoughts on the future of Macc.
He said: "It's a new start, a new season and we're very optimistic about it. When the gaffer took over, I think we only had about five points, so we did really well after that.
"We're starting over now and I'm sure the gaffer will get the right players in, so there's no reason why we can't do better this year."
The 29-year-old signed for Macc from Chester City on Christmas Eve 2004 and has since turned out 124 times for the Silkmen, becoming a crucial player on the left-hand side and one of the first names on Paul Ince's team sheets.
Despite spending most of the season filling in for Jimmy McNulty at left-back, McIntyre ended the season with ten goals, one more than striker John Murphy, a player whose game benefits greatly from McIntyre's crossing ability, be it from free-kicks, corners or open play.
Nine of his ten strikes came from the penalty spot, including a crucial 94th minute leveller at Bury in March and both goals in a 2-1 win over Lincoln City on New Year's Day.
"I was lucky enough to be taking penalties. I'm disappointed not to have scored more from open play, to be honest," said McIntyre.
McNulty's return from a broken leg may now see the former Tranmere trainee push into midfield to provide the ammunition for Macc's front-line.
"I don't know what the boss is thinking, but I'll play anywhere now that Jimmy's back. He's a player that we missed last season," he added.
"Last season, and the one before, we never really built on our wins, it was win one, lose two or three. Playing in fits and starts, there were games where we should have got the results and didn't.
"All we need to do is start right and the results will take care of themselves. We showed what we can do, we beat Swindon and Walsall last year, so now we're looking forward to the pre-season and the start of a new season. We're keeping ourselves fit and, while I wouldn't say pre-season will be easy, it helps a lot that we're keeping to the programmes we've been given.
"You know, maybe if we'd had Murph from the start last time, who knows where we could have gone. With a full pre-season behind him, he's capable of scoring 15 or more goals."
McIntyre's new deal is a sure sign that Ince is instilling confidence in the players and the signs are positive for the coming season.
Macclesfield Town FC
BollingtonWork to begin on £150,000 Macclesfield football pitchesHundreds of junior players from Bolllington United Football Club will soon be playing on state-of-the-art pitches
John Askey hailed Silkmen's 'greatest ever' as he takes up new challenge
Arighi BianchiThe Macclesfield Town boss has quit the job after 34 years to become Shrewsbury Town manager
Macclesfield manager John Askey leaves for Shrewsbury Town
Macclesfield Town FCAskey leaves the Silkmen weeks after guiding them back to the Football League
Macclesfield fans get chance to have 'selfie' with National League trophy
Macclesfield Town FCThe trophy will be on display at the Leek United Building Society on Chestergate
Former Macclesfield Town footballer dies aged 44
NewsKieron Durkan spent three years with the Silkmen, playing almost a century of games for the club
Ian CurtisNew sculptures of Joy Division members set to be unveiled Tony Costello grew up near Ian Curtis on a Macclesfield housing estate
Can you identify this team of footballers from 100 years ago?
MacclesfieldGet in touch with staff at the Cheshire Image Bank if so
Study finds that video games are linked to problem gambling
Special FeaturesExperts from the University of York and York St John University carried out research with their finding concluding that spending cash on in-game loot boxes can be as closely linked to gambling
LIVE: Wait is over as Macclesfield students receive A-level results
A Level resultsHundreds of nervous students will be collecting their results today
Iconic Macclesfield cinema to become trendy food hall
MacclesfieldThe team behind Manchester's Mackie Mayor and Altrincham food market have unveiled plans for the Picturedrome
Child trapped after escalator fall in Macclesfield's new TK Maxx store
Local NewsFirefighters were called to free the youngster, who was taken to hospital
Local NewsThe 10km link road is aimed at boosting connectivity, jobs and business links and easing congestion.
Bid to stop Royal Bank of Scotland closing branches in Prestbury and Disley
Local NewsFalling footfall blamed for decision that would leave both places without any banks
Trump that! Macclesfield's Mr Methane in bid to claim record for breaking wind
Local NewsPaul Oldfield let rip 86 times in a minute
Brave five-year-old defies serious illness to play with pals on first day of school
Local NewsAmelia Carroll proudly puts on her uniform to enter year one at St Paul's Primary, Poynton
Local NewsOfficer is now in a 'stable' condition following incident outside force's HQ building in Winsford
Historic Macclesfield manor stars in hit TV drama Age Before Beauty
Local NewsAdlington Hall was chosen as a location for the BBC drama
Trusted school administrator stole more than £6,500 from a Macclesfield primary
Local NewsWendy Johnston's thefts from Hurdsfield Primary School took place over an 18 month period
Toyota is urgently recalling more than one million cars
Motoring NewsHow to check if your vehicle is affected
Live updates as M6 in Cheshire closed near Crewe following collision
Local NewsFull closure in force on the M6 between Crewe and Sandbach
Woman jailed after wreath damage at Macclesfield war memorial
Local NewsSuzanne Margaret Caldwell, 54, admitted causing criminal damage


And it's off. I'm currently listening to Billy Joel's New York State of Mind on repeat, dreaming of what's to come in the next few weeks. Guys, I did it. I officially sent my query letters off to New York City agents. I've been thinking of this moment for months (years, even!) & it's FINALLY here. Like I said in my last post, I would not be here without the love, support and expertise of my amazing book coach Sandra O'Donnell…as well as my amazing husband, family and friends.
Since I was little, I've had a fascination with New York City. I used my music for young children piano bag as a briefcase & remember pretending like I was on my way to a big meeting in the city. I had no idea how I'd get there, or what that would look like…but here we are.
Congratulations and good luck! Maybe a New York meet up for readers?
So proud of you , following your dreams. Rene would be beaming.
Woohoo! Sending all the good juju your way and to New York. I believe in you.
Loved meeting you today! I hope you and Sarah can meet soon! That would be cool.


Located in Mt Martha, VIC, Australia, Split House won the 2016 AIA Victorian Architecture Awards, Commendation for Residential New. The house was designed by Melbourne-based BKK Architects.
Project description: Set within a relatively recent subdivision upon the side of Mt Martha, the Split House negotiates a complex range of conditions typical of emerging coastal developments. New houses for 'downsizers' in a suburban mode, paved driveways and letterboxes prevail, vying for the expansive views to Port Philip Bay, and backed by the relatively wild, coastal woodland of Mt Martha Public Park. Construction works are ongoing in the area; completed houses with gardens at varying stages of maturity are punctuated by empty lots cleared of all vegetation.
Within this context the Split House provides a range of spatial relationships to its site and the broader territory that carefully balances the owners' desire for privacy and engagement with their surrounds. The house comprises 2 relatively simple volumes linked by a splayed stair that also acts as a seating area for people to gather, listen to music, sit in the sun.
Occupying separate levels that follow the natural contours of the site, the 2 pavilions provide a separation between the upper, main living/master bedroom zone and rumpus room/guest bedrooms below. Through the curation of windows and doors a range of direct and indirect connections to the landscape provide multiple opportunities for occupation throughout the year. Smaller elements, such as integrated seating, stairs and study nooks provide spaces for quiet contemplation, juxtaposed with larger communal areas for family and friends to come together.
At its inception the landscape and spaces in-between the house were conceived as of equal importance as the building itself; screens and finely detailed pergola elements provide sheltered zones around the house that reveal themselves as a sequence of distinct spaces with varying qualities of light and shadow.


Facebook CEO Mark Zuckerberg just announced a sea change for Facebook, one that "will mean taking positions on important issues concerning the future of the internet," he wrote. I think he's right, and not just because Facebook is the Internet in some countries or because its products have affected elections and the public order (or lack thereof) in many countries, including ours. I agree, too, … [Read more...] about The Internet's changing. Internet safety needs to too.


Being born and raised in the San Fernando Valley has made me appreciate everything that the valley has to offer. I currently attend California State University Northridge, majoring in Nursing. After graduation High School, I really wanted to experience the ropes of the medical field. Fortunately, I was given the chance to through Eyecon Optometry. Becoming an optician was something I never expected to fall in love with. My number one goal and priority as an optician is to make patients feel welcomed and satisfied with the eye care they receive from the time they walk in the door, to the time they walk out. Outside of school and work, I love to play volleyball. It is something I try to find time to do throughout my busy week. I also enjoy singing and playing the piano because it helps me unwind at the end of the day.


text:
Q: Lookup helper not firing after records inserted via trigger, but does fire after update Issue: lookup helper is not firing on insert, but is firing on update. How can I ensure that the lookups are fired on inserted records, and not just updated records?
Steps taken:
Using a webhook to capture data from a third party. I have verified that I am receiving the data I expect, and transposing this data into a custom object is successful. The lookup is only firing on update, but not on insert.
I'm setting the following on insert within the trigger:
issue.Assignee_Jira_AccountId__c = obj.fields.assignee != null ? obj.fields.assignee.accountId : null;
issue.Creator_Jira_AccountId__c = obj.fields.creator != null ? obj.fields.creator.accountId : null;
issue.Architect_Jira_AccountId__c = obj.fields.architect != null ? obj.fields.architect.accountId : null;
issue.Reporter_Jira_AccountId__c = obj.fields.reporter != null ? obj.fields.reporter.accountId : null;

and using the lookup helper to populate a different field on the same custom object.
-field level security is set to visible: true for all the custom fields
-the lookup succeeds when I edit/update the object
How can I get lookup helper to fire after the insert succeeds?


The HFPN actively promotes the use of the Epic electronic medical records (EMR) system, and offers a 58% discount for each license purchased. It is a crucial step toward offering a connected care environment to patients … and to maintain your status as being an HFPN member in good standing.
An additional benefit to implementing a system such as Epic is that ICD-10 changes are already incorporated into it. This is the case for most EMRs but not all.
Ali Shakir, MD, a private practice physician who is also the Medical Director of the Cardiac Electrophysiology Services department at Henry Ford Macomb Hospital, has been using Epic for an extended period and has strong opinions about the EMR. He also has experience working with the Henry Ford Community Connect team that handles its installation, training and maintenance of the software.
Q. How long have you been using Epic?
Q. What was the primary reason for purchasing Epic?
Q. How has Epic benefited your practice?
Q. What are the challenges of Epic?
A. "The transition to any EMR is challenging and requires changes to the routine of outpatient practice. It can take as long as six months. However, once we were fully integrated, the Epic EMR became a very useful tool to our practice. The Henry Ford Community Connect team was very responsive to our practice's needs. I would recommend making the transition to EPIC as the field of medicine is requiring transition to EMR. Epic provides those needs in close connection with our hospital.
Additional information: ICD-10 is incorporated into Epic and most other EMRs. This is another reason to take steps to install a quality EMR system into your practice. To learn more about the benefits of Epic and obtaining it at the HFPN discounted rate, you can contact the HFPN Community Connect team — which is responsible for installing Epic for our members — by sending an email to CommunityConnect@hfhs.org.


Though Belconnen is shrouded in dense smoke, it appears that the wind is only about 20-25 kph, and not the 65 kph that was feared and predicted.
At this wind speed, the containment lines around the MacIntyre's Hut Fire and Burrinjuck Fires should hold.
I've been watering my garden continuously (suburbs on high alert as we have been are exempt from the current water restrictions) and the local birds are flocking to the sprinklers.


Last year marked the 25th anniversary of UGK's debut album Too Hard To Swallow. To celebrate, Get On Down Records released a special reissue for Record Store Day, limited to 1,000 copies. Previously only released on CD and cassette, this was the first time the seminal Dirty South album was pressed on vinyl (aside from a 1992 promotional only pressing which wasn't for public sale).
This was one of the first records I bought after getting into vinyl at the top of this year. On my first trip to the record store I saw it while flipping through hip hop records, but for some reason I didn't think to pick it up. No more than a few days later I was idly reflecting on that visit, and decided to look this album up on Discogs. Upon doing so, I read details about it that made me realize the mistake I had made in passing it up. About a week later I went back trusting that if it had stayed on the shelf for 8 months, it would still be there. Sure enough, it was, and I went home with what remains to be the coolest vinyl I own as of now.
The first thing that you'll notice about the record is the way the cover art has been altered. Pimp C, Bun B, and the lettering are all gold, and essentially everything else is dark blue. I'm not entirely sure why the cover has been altered the way it has, and I don't really know how I feel about it. While I don't remember if it was the only reason I didn't pick it up at first, the changes were definitely part of why I was apprehensive. I imagine I thought I would find an earlier pressing with the original cover, only to find out that this is the first vinyl pressing. I will say, it gives the cover a sleeker look than the original. It looks more like an actual album cover, and less like a picture with word art on it; however, it does eliminate the charming simplicity and overall "Dirty South" vibe that the original album art had.
The record sleeve is a little thinner than I personally prefer for a 2xLP. There are no inserts or anything to speak of; the credits are all listed on the back cover, which follows the same color scheme as the front cover. There really isn't anything else to the packaging. The actual vinyl is where the release gets more impressive to me. It was pressed on clear vinyl, which makes it one of the more aesthetically pleasing records that I own. I really like how you have a view of the grooves that you don't get on other colors. Not only does it look extremely cool, it makes it much easier to see whether the record is dirty or not. The colors used on the sleeve are also used on the vinyl labels, which actually serves as a gorgeous contrast to the clear vinyl.
The pressing itself is a pretty good one. I'm no audiophile, so perhaps others who have listened to it would dispute me on this, but I love how full the funky, syrupy bass on this record sounds. Tracks with slower and more detailed production like "Feel Like I'm The One Doing Dope" become infinitely more immersive than the digital version is. The vocals also sound great, and honestly better mixed than they were on the original release. Bun B's booming voice in particular sounds great on this pressing.
Ultimately, the best thing about this is that a classic album has finally gotten the vinyl pressing it always deserved. Too Hard To Swallow was already an album that anyone who considers themselves a fan of hip hop should own, but this pressing is special. If anyone sees it hanging out at your record store, pick it up. Don't even think about it.
Around the time of "Pop the Trunk", Yelawolf was capturing the imagination of myself and many other hip-hop fans with his unique spin on southern hip-hop. He took the familiar and stretched it out into an ultra-hype angry sound distinctly of his own. Prior to his arrival on Shady Records/Interscope Records, it felt as if he had the potential to be the next star out of the south. Unfortunately for his career, this never ended up being the case. Between poor decisions politically (specifically defending the Confederate Flag with a clear misunderstanding of what it represents), and things going sideways with his sound, Yelawolf eventually petered out and was nothing more than a quick blip on the radar in hip-hop. Thinking about this began to raise some questions for me. Most prominently: is Yelawolf one of the biggest modern cases of wasted potential in rap?
Flash back with me for a moment to the moment Yelawolf first signed with Shady Records in 2011. At this point he had The Arena Rap EP and Trunk Muszik (plus 0-60) under his belt. Very unique sounding projects that were distinctly southern, yet had a spark of untamed craziness which to me felt quite refreshing. His Shady Records debut, Radioactive, was admittedly disappointing but still had moments which showed flashes of the potential he had as an artist. He found his footing again with a series of collaborative extended plays, and really pushed himself to the next level on Trunk Muzik Returns. Trunk Muzik Returns was, to me, an incredible project. It was spacey, southern, energetic, introspective, and wild in all the right ways. After this project dropped, if felt like Yelawolf was on his way to becoming something truly special. He had nailed down a unique sound and most fans were extremely excited, including myself.
Unfortunately, this would prove to be somewhat of a peak rather than his first step to creating something bigger.
Marking the fall from grace was Love Story. Don't get me wrong, Love Story was actually a really solid album. It had plenty of cool ideas and unique sounding songs, but it also felt like the point that the magic started to fade. Yelawolf began to lose his energy on the rap tracks and focus more on trying to combine country and rap together. Though it was, at times, executed extremely well on Love Story, to me it lead him down a path that would ultimately kill his appeal. While the wild-boy renegade rapper motif felt super fresh and natural, his new sound quickly became forced and uninteresting. Yelawolf no longer had a factor that made him stand out. This becomes painfully obvious on Trial by Fire, which does include a lot more rap-focused tracks; however, the country fusion just sounds so played out, and the excitement isn't there anymore. He sounds tired, and the songs are tiring to sit through in every aspect from vocals to production. It's dull, which is unfortunate for an emcee that had been lauded for his abundance of energy just a handful of years prior.


text:
Is fascism returning to Romania?
Roland Clark
Woman casts her vote during the local elections in Bucharest, Romania | Gabriel Petrescu/Xinhua News Agency/PA Images. All rights reserved
One of the big surprises of the Romanian elections in December 2020, was the stunning success of the Alliance for the Unification of Romanians (AUR), a new party on the radical right whose acronym means 'gold' in Romanian. The party, led by George Simion and Claudiu Târziu, was founded in September 2019. The party won 8.69% of the votes for the Chamber of Deputies and 8.77% of the Senate, making it the fourth largest party in the country now.
Despite a strong shift against the ruling National Liberal Party (PNL), the government should be able to remain in power by entering into a coalition with the Save Romania Union (USR) after an election in which just under 33% of eligible voters participated. Romania has not had a strong right-wing party since the death of Corneliu Vadim Tudor in 2015, making it an unusual exception in a region where more and more voters are moving steadily towards the radical right.
'Family, Fatherland, Faith, and Freedom'
The party lists 'Family, Fatherland, Faith, and Freedom' as the four 'pillars' of its program, but it is mostly known within Romania for demanding the unification of Romania and Moldova, the abolition of same-sex marriage, anti-Hungarian rhetoric, and hostility towards masks and COVID-19 restrictions.
George Simion, AUR's most recognisable figure, has spent the past fifteen years provoking conflicts with the neighbouring country of Moldova by leading protests in Romanian-speaking schools and organising rallies demanding that Moldova unite with Romania as a single country. He is currently under a five-year ban preventing him from entering Moldova.
Simion's co-president, Claudiu Târziu, played a leading role in the Coalition for the Family movement, whose activism led to a referendum in 2018 on changing the constitution to prohibit same-sex marriage. The proposed change failed to pass because voter turnout was too low. Another of the party's leading figures, Dan Tănasă, was involved in provoking ethnic violence between Romanian and Hungarian communities over a World War I cemetery in June 2019.
Diana Ivanovici-Șoșoacă, who is one of the new AUR senators, also rose to celebrity in October 2020 as a prominent opponent of mandatory mask-wearing following COVID-19 restrictions. In addition to leading rallies demanding that pilgrims be allowed to kiss relics, she served as the lawyer for the Archbishop of Tomis when he sued the Constanţa city council for preventing a pilgrimage during lockdown.
Conspiracy theories are rife in Romania, ranging from disbelief that any pandemic exists to fictitious concerns (based on misconstrued comments by Microsoft founder, Bill Gates) that vaccines will enable tech companies to implant microchips or change people's DNA.
Compounding fears about vaccines, before the elections AUR propagandists also warned that the government might prevent people from voting, complained that it was preventing the celebration of national holidays because of lockdown, claimed that it was planning to give unprecedented powers to the police that will run roughshod over civil rights, protested against illegal logging, blamed the political party of the Hungarian minority for the poor state of the country's health system, and accused the authorities of criminal negligence in the case of a tragic hospital fire.
From street protest to supporter organisations
Hostility to lockdown restrictions, homophobia, anti-Hungarian sentiment and claims that 'Bessarabia is Romania' are all well-known positions on the Romanian radical right, and would have been enough to attract voters who are disillusioned with the current political parties and are seeking radical change. Curiously though, AUR has also adopted the slogans and repertoires of interwar fascism, a move facilitated by the involvement of the historian Sorin Lavric, a well known apologist for Romanian fascism.
AUR rallies usually involve flying hundreds of Romanian flags with the party's logo printed in the middle of them, and the party prefers marches and conflict with the authorities to legal protests. Party leaders frequently appear in public wearing traditional folk costumes, just as Corneliu Zelea Codreanu and other Romanian fascist leaders did during the 1930s.
Also like interwar fascists, they create moral panics through fake news and portray themselves as victims of corrupt and oppressive authorities after engaging in activities that force legal reprisals. They celebrate their ties to the Romanian Orthodox Church just as the interwar Legion of the Archangel Michael did, and have imitated fascist activities such as building their own 'house' that clearly resembles the fascist Green House and creating supporters organisations, such as 'Friends of the Union' made up of 100 senators in imitation of the interwar 'Friends of the Legion'.
AUR rhetoric about corruption, censorship, domination by foreigners, justice and 'slavery' reproduce the same tone and occasionally even the same phrases that were popularised by fascists in the interwar period.
Why is AUR imitating Romanian fascism?
Given that fascism sustained a serious image problem following the World War II and is now generally seen as a dirty word, why would AUR explicitly imitate fascists when it has so many other effective platforms to rally supporters around?
This is particularly curious, given the 2015 law prohibiting the use of fascist symbols and propaganda in public spaces, including anything associated with the interwar legionary movement, also known as the Iron Guard. Most voters are ignorant about the details of interwar Romanian history, and only a small number would notice the not-so-subtle references to the past. Why risk being chastised for evoking fascism when there is apparently so little to gain by doing so?
Several reasons come to mind. First, any party which evokes the memory of interwar fascism will immediately gain the support of those segments in society which look back to fascism with nostalgia. These groups are numerically small in electoral terms, but they are often committed campaigners and invaluable for helping to mobilise a new party. They turn up to rallies and are already connected with other AUR recruiting grounds, such as Orthodoxist circles, unification campaigns, and environmentalists.
Second, were AUR to be punished for 'resurrecting' the Legion this would help its public image. AUR leaders like to present themselves as victims of elite persecution fighting for popular justice, and thus any repression is good publicity from their perspective. Moreover, while Nazism might have a bad name in Romania, the legionary movement is often remembered fondly as a 'religious movement' that had good motives even if it was unfortunately associated with fascism, and legionaries as 'martyrs' who died in communist prisons.
Finally, as the Legion demonstrated in the 1930s, these tactics work. Widespread mistrust of the government and genuine problems with corruption and a failing healthcare system make it easy to portray Romanians and anti-corruption campaigners (again) as victims. AUR's skillful manipulation of conspiracy theories and its claims to represent Christian morality often resemble the campaigns of populists like Donald Trump and Viktor Orbán as much as interwar fascism, and in an era of fake news, these tactics are a surefire way to generate support quickly and easily.
Dr Roland Clark is a Senior Fellow at CARR and a Senior Lecturer in History at the University of Liverpool. See full profile here.
©Roland Clark. Views expressed on this website are individual contributors and do not necessarily reflect that of the Centre for Analysis of the Radical Right (CARR). We are pleased to share previously unpublished materials with the community under creative commons license 4.0 (Attribution-NoDerivatives).
This post is also hosted by our partner organisation, Open Democracy. See the original post here.
Views expressed on this website are individual contributors and do not necessarily reflect that of the Centre for Analysis of the Radical Right (CARR). We are pleased to share previously unpublished materials with the community under creative commons license 4.0 (Attribution-NoDerivatives).
Alliance for the Unification of Romanians
Claudiu Târziu


text:
Q: How to write to file synchronously using java? I just started learning Java and I was interested in the File libraries. So I kept a notepad file open called filename.txt. Now I want to write to file using Java, but I want to get the result in real time.
I.e when the java code executes the changes should be visible in the text file without closing and reopening the file.
Here my code:
import java.io.*;
class Locker
{
    File check = new File("filename.txt");
    File rename = new File("filename.txt");
    public void checker()
    {
        try{
            FileWriter chk = new FileWriter("filename.txt");
            if(check.exists())
            {
                System.out.println("File Exists");
                chk.write("I have written Something in the file, hooray");
                chk.close();
            }
        }
            catch(Exception e)
            {
            }
        }

};
class start
{
    public static void main(String[] args)
    {
        Locker l = new Locker();
        l.checker();
    }
}

Is it possible and if so can someone tell me how?

A: Simple answer: this doesn't depend on the Java side.
When your FileWriter is done writing, and gets closed, the content of that file in your file system has been updated. If that didn't happen for some reason, you some form of IOException should be thrown while running that code.
The question whether your editor that you use to look at the file realizes that the file has changed ... completely depends on your editor.
Some editors will ignore the changes, other editors will tell you "the file changed, do you want to reload it, or ignore the changes".
Meaning: the code you are showing does "synchronously" write that file, there is nothing to do on the "java side of things".
In other words: try using different editors, probably one intended for source code editing, like atom, slickedit, visual studio, ...


text:
FINDING MR. WONG
THE LAUGHING ONE
OPPOSITE CONTRARIES
WHO'S AFRAID OF CANADIAN CULTURE?
TWO NATIONS
NEWSWORTHY: THE LIVES OF MEDIA WOMEN
GRACE HARTMAN: A WOMAN FOR HER TIME
IN THE NAME OF THE FATHERS
ON FEMINISM
ON CANADIAN ARTS & CULTURE
ON DIVERSITY
CHUCK WONG'S BIBLIOGRAPHY OF THESES ON CHINESE CANADIANS
CHIN MUIN HAHOW, BENEFACTOR OF A HUNDRED AND SOME PEOPLE by Howe Chan 陳厚基
陳文厚, 施恩無數 撰文:陳厚基
INTERVIEW WITH JOHN RALSTON SAUL
Susan Crean
WRITER – CULTURAL CRITIC – ACTIVIST
February 10, 2014	Anthology, Essay, Writing
"INTRODUCTION" TO M.E. A PORTRAYAL OF EMILY CARR
To M.E. A Portrayal of Emily Carr written by Edythe Hembroff-Schleicher, Mother Tongue (Feb. 15 2014).
M.E. A Portrayal of Emily Carr is a rare and moving study of an artist's struggle against despair and loneliness and an intimate portrayal of the close friendship between Edythe and Emily. The two artists were good friends and met not long after Edythe had returned from Paris where she had studied art. Written as a friendly appreciation of the character of Emily Carr, rather than her life, Edythe Hembroff-Schleicher's rendering was described in reviews of the time as "a fond memoir, well-written, a modest and excellent little book, throws new light on her methods of painting and describes the humourous adventures of camping with Emily Carr." It also contains edited versions of 20 letters written by Carr to her friend, and the cover features a rare painting of Carr recently discovered. M.E. was first published in 1969 and has been out of print for years.
Susan Crean wrote the introduction to the book.
ArtCanadian ArtCanadian ArtistsCanadian Visual ArtistsEmily Carr
MR. WONG'S STORY: A TALE OF SACRIFICE AND GENEROSITY
WHAT REALLY HAPPENED TO 12(1)(B)?
ccyz
"THE DINNER PARTY: INDIGESTION FOR THE ESTABLISHMENT," IN INSIDE BROADSIDE
"LE TORONTO IMAGINAIRE" IN TORONTO NO MEAN CITY
"THE PUBLIC INTELLECTUAL" IN TRACING THE LINES
About Susan Crean
Susan Crean is a cultural critic, author, and activist. A writer for over 30 years, Crean's expertise is in Canadian history, art and culture, topics on which she has written extensively. She has been a pioneer of creative non-fiction in Canada, and is the author of seven books, the first, Who's Afraid of Canadian Culture, appearing in 1976. Her next major work, The Laughing One – A Journey to Emily Carr, was nominated for a Governor General's award and won a BC Book Prize in 2001. Crean published her memoir, Finding Mr Wong, in 2018, a work that recreates the life of her family's cook, Wong Dong Wong, beginning with his journey from China to Vancouver, following his work as a domestic servant in Toronto to his eventual citizenship and retirement. Crean spent a number of years researching Wong's story, visiting China in search of Mr. Wong's home village, to better understanding of where Wong came from, what his prospects were as an orphan, and what his journey to Canada was like. Finding Mr Wong recently reached the top 10 list of Best Canadian History books by Canada`s History magazine. READ MORE
READ FINDING MR. WONG
MORE BOOKS BY SUSAN CREAN
"FOREBODINGS: NOTES ON CLIMATE CATASTROPHE," IN LITERARY REVIEW OF CANADA
At the Wongs' Association Annual Christmas Banquet
"SOURCE CODE: THE MEN AND WOMEN WHO HAVE CHANGED OUR WORLD," IN LITERARY REVIEW OF CANADA
AT THE WONGS' ASSOCIATION BANQUET
Categories Select CategoryBooks Finding Mr. WongEvents Speaking EngagementsWriting Anthology Art Exhibition Catalogue Article Blog Posts Book Review Essay
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Contact Nicola at Woodcombe Lodges on 01643 702789 or complete the enquiry form.
Woodcombe Lodges are open all year round and short breaks are available from October to May. A number of our properties are dog friendly. WiFi internet access is available.
Do click on the web site link below for details of the interior of the lodges and cottages and to gain a better idea of this superb location.
1.5 miles to the beach with superb views over the slopes of Exmoor and yet only a 20 minute walk into the town with it's pubs, shops and restaurants.
Enjoy watching this guided tour of Woodcombe Lodges.
LOW OCCUPANCY DISCOUNT 5% off all two, three and four bedroom Lodges and Cottages when only 2,4 or 6 occupants respectively using one less bedroom for full weeks except peak periods.