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• Dwurnik on the Pendereckis
Monday, 21 December 2015 Leave a comment
The Polish artist Edward Dwurnik (b.1943) has produced what you might call an 'interesting' portrait to mark the golden wedding anniversary of Krzysztof Penderecki and his second wife Elżbieta. The imagery will probably be better understood in Poland than abroad because of Elżbieta Penderecka's formidable activities there as an animateur of musical life. The image was published earlier today by the magazine Podsłuchaj! (Eavesdrop!).
Filed under Penderecki, Visual Arts Tagged with Dwurnik, Penderecki
• Panufnik, Penderecki, Zubel
Sunday, 14 June 2015 Leave a comment
To add to forthcoming Polish music events in the UK, there are two celebrations this month, in Glasgow and Manchester. Next Saturday and Sunday (20-21 June), 'Panufnik. A Celebration' takes place at City Halls, Glasgow, with three concerts devoted almost entirely to his music. A few days later (23-26 June), the RNCM in Manchester hosts 'Seven Gates: The Music of Poland Explored'. Penderecki will conduct the first UK performance (!) of his Seven Gates of Jerusalem, only 18 years after it was premiered; his music and that of the much younger Agata Zubel (b.1978) take the foreground. Lutosławski features at both events in a supporting role, with Górecki and Szymanowski also included in Manchester. The Manchester repertoire has some little-known Penderecki works embedded in it, and of the three films Andrzej Wajda's feature on Katyń and Wiktor Skrzynecki's documentary about the 'Warsaw Autumn' will be well worth seeing. For repertoire details, see below.
While I am delighted that these composers are being played and heard, I can't help feeling that the repertoires of both events reinforce the impression in the UK that Polish music still consists of composers (Zubel excepted) who are either dead or reaching their creative dotage. The one exception in this country, largely confined to sacred music, is Paweł Łukaszewski (b.1968), who has made a strong impact in choral circles here and was featured last year at the Presteigne Festival, which also promoted another Polish composer in his 40s but little-known in the UK, Maciej Zieliński (b.1971). Zubel's music is especially welcome this year in this context, and anyone wanting to hear her recent music, but who can't get to Manchester, is recommended to seek out her CD 'Not I' on the Kairos label.
In case you missed it, Hyperion released a CD earlier this year of string quartets by Paweł Szymański (b.1954) and Paweł Mykietyn (b.1971), both of whom are well-established and no longer up-and-coming in Poland yet are virtually unknown here, despite Szymański having had some exposure with the London Sinfonietta some 25 years ago. I am still waiting for high-profile performances of composers now in their 30s, like Szymański was when the BBC commissioned Partita IV for premiere at the Sonorities Festival in Belfast in 1987. What about – and this is to name just a few composers in addition to Zubel, some deeply involved in multi-media work, who are headline figures in Poland and have international profiles elsewhere – Wojtek Blecharz (b.1981), Andrzej Kwieciński (b.1984), Dariusz Przybylski (b.1984), Marcin Stańczyk (b.1977) or Jagoda Szmytka (b.1982)? There are dozens more (by focusing on those born in the late 1970s and early 1980s, I am not forgetting that there are older – even younger – composers equally worthy of investigation!).
Panufnik. A Celebration
City Halls, Glasgow, 20-21 June 2015
BBC Scottish SO, conducted by Łukasz Borowicz, Alexander Sitkovetsky, Ewa Kupiec
Panufnik: Divertimento, after Janiewicz (1947), Lullaby (1947), Sinfonia rustica (1948), Polonia (1959), Piano Concerto (1961/several times revised), Sinfonia sacra (1963), Violin Concerto (1971), Symphony 10 (1988), unidentified piano music
Lutosławski: unidentified piano music
Seven Gates: The Music of Poland Explored
RNCM, Manchester, 23-26 June 2015
RNCM New Ensemble, Dominic Degavino, RNCM SO, Chamber Choir and Chorus, Piero Lombardi Eglesias, Maciej Tworek, Krzysztof Penderecki (other soloists and ensembles tba)
Penderecki: Violin Sonata no.1 (1953), Three Miniatures for clarinet and piano (1956), Brigade of Death (tape, 1963), Agnus Dei (1981, arranged for eight cellos), Cadenza for solo viola (1984), Entrata (1994), Symphony no.7 'Seven Gates of Jerusalem' (1996), String Quartet no.3 (2008),
Górecki: Harpsichord Concerto (1980)
Lutosławski: Dance Preludes (1954), Chain 1 (1983), Piano Concerto (1988)
Szymanowski: Songs of a Fairytale Princess (1915), Masques (1916)
Zubel: Suite for percussion trio (2011), Streets of a Human City (2011), Shades of Ice (2011)
• Katyń (Andrzej Wajda, 2007)
• Górecki: The Symphony of Sorrowful Songs (Tony Palmer, 1993, not 2008 as given in the brochure)
• 50 years of [the] Warsaw Autumn (Wiktor Skrzynecki, 2007)
Filed under 'Warsaw Autumn', Born 1970-89, Electroacoustic, Film, Górecki, Lutosławski, Music Dissemination, Music post-1937, Other Festivals, Panufnik, Penderecki, Szymanowski Tagged with BBC Scottish SO, Panufnik, Penderecki, RNCM, Seven Gates, Zubel
• Reviews in translation (Górecki-Gibbons)
Sunday, 7 December 2014 Leave a comment
Facebook friends will know that I posted last week about an unusual event at Warsaw's Grand Theatre that was taking place on Saturday 29 November. Here are my translations of two reviews that have since reached me (apologies for any linguistic infelicities). I don't usually occupy myself with reviews, as others are better placed to do them. But the nature of the event is such that I think these opinions from Sunday 30 November may be of interest. They were written for well-regarded newspaper outlets, polityka.pl and wyborcza.pl.
I'm not going to develop the arguments here, but I may well return, in another post, to the trend of not leaving composers' works alone. Chopin is one thing, and his music has been used a creative resource for many years. But in recent years in Poland it has been the music of lately deceased or living composers that has come in for treatment that ranges from 'dressing-up' to something more materially radical. But that is for another day.
The first of the reviews comes from Dorota Szwarcman's online blog for Polityka.
Three People, Two People and Spotlights (Trzech, dwóch i reflektory)
Dorota Szwarcman
The purpose of the concert at the Grand Theatre was to record it for DVD, but the audience had to endure aggressive noise emanating from antediluvian spotlights. It was impossible to convince the organisers to do something about it. In fact, 'noise' is an understatement. It was a din. It impeded hearing the performances, was superimposed on them and distorted them, especially in the quiet moments. I understand that it will be filtered out in the recording, but why then invite an audience? They could have recorded it in rehearsal. And so we felt simply as if we'd been given a kicking.
OK, but we must consider the pieces. The 'Three People' are Penderecki, Lutosławski and Górecki. As the only surviving member of this trio, it fell to Penderecki to conduct the works of all of them. There was a continuation of the Penderecki-Greenwood project (48 Responses to Polymorphia was performed again), extended by the new Réponse Lutosławski by Bryce Dessner; plus works by the members of Radiohead and The National (the 'Two People'), conducted by Bassem Akiki. And NOSPR [National Symphony Orchestra of Polish Radio] played.
What can one say about these pieces? My reflection is that people who play music every day which is completely different, sharper, become awfully polite when they suddenly enter the classical world. Isolated timid clusters are lost in a sea of wistful tonal fragments, this tonality being slightly disturbed, so that everything is not just repeated literally, but is still all very discreet. While the relationship between Greenwood's piece and Penderecki's is very obvious – its successive fragments originate in Polymorphia's famous final C-major chord – it is hard to see what links Dessner's composition with Lutosławski's Funeral Music, perhaps two notes, not more. It is easier to hear connections with Philip Glass, who has nothing in common with Lutosławski. The responses therefore do not constitute in either case a counterbalance to the 'questions', i.e. the works by Penderecki and Lutosławski.
Another thing: the visuals were terribly distracting, supposedly attractive and interesting (made by the same people who have been in charge of the staging of concerts at Wrocław's Centenary Hall), but here too expressive and riveting. It was hard to take in the music at the same time. There may be some for whom it was easier…
The second half was another story. Starting with the visuals themselves, which were the work of John Milton, who is in charge of the packaging and staging for Portishead concerts, and ending with the introduction of Beth Gibbons in Symphony of Sorrowful Songs. In an "excuse me for living" position (I thought that, in her situation, she was being unusually shy, but it turns out that she is always like this), she sat on a chair and sang into a microphone. It has to be said that she had been really well coached by an expert – after all, she does not read music, knows no Polish and, moreover, has never sung in any language other than English, and furthermore has never sung with an orchestra [AT: although she and Portishead have performed with a backing orchestra]. Somehow she made it happen, even if in some places she had to sing down an octave; she sang in her own way, just as she does with Portishead, the voice slightly murmuring, slightly whining, but clear for all that… The greatest advantage of this singing was its sincerity and directness – she knew what she was singing about and tried to express it; one may say that her singing was 'sorrowful' in reference to the work's title, though this term is ambiguous. The visuals underlined the claustrophobic-despressive mood, showing a wall of lichens, murky corridors without end, guttering candles. All in all, I don't know the reason for this experiment, because Górecki's Third Symphony has just no need of popularisation, but apparently foreign concert halls are already interested in this concert. Well, let's see.
The second review, also dated 30 November 2014, is by Anna S. Dębowska for Wyborcza.
Anglo-Saxons from the World of Pop in a Concert with Music from the Polish Classics (Anglosasi ze świata popu na jednym koncercie z muzyką polskich klasyków)
Anna S. Dębowska
Radiohead, The National and Portishead connected with Polish music in a National Audiovisual Institute project. The result was at least debatable, but what kind of art is without controversy? A review of Saturday's concert in the Grand Theatre – National Opera in Warsaw.
Commissioned by the National Audiovisual Institute, Jonny Greenwood and Bryce Dessner composed short pieces for string orchestra inspired by Krzysztof Penderecki's Polymorphia from 1961 (Greenwood) and by Witold Lutosławski's Funeral Music from 1958 (Dessner). Beth Gibbons sang the soprano part in Henryk Mikołaj Górecki's Third Symphony 'Symphony of Sorrowful Songs' (1976). The performances of the Polish music were conducted by Krzysztof Penderecki and the new pieces by Bassem Akiki, the young Lebanese-Polish conductor who made his debut at Wrocław Opera a few years ago. The National Symphony Orchestra of Polish Radio played.
That about sums it up. The idea came from Michał Merczyński, head of the National Audiovisual Institute, the artistic selections made by Filip Berkowiczm director of the Kraków festival Sacrum Profanum. "I'm very interested in bringing together the worlds of serious music and ambitious entertainment", he told Wyborcza. "Such collaborations provide an extraordinary boost to the participants, for their work reaches a whole new audience. I am glad that Michał Merczyński has once more invited me to collaborate and again allowed me to stir it."
Water and Fire One Year Later
Indeed, Berkowicz has stirred things up. He's already done it many times. It is sufficient to recall projects like 'Penderecki Reloaded' – initiated jointly with Merczyński, processing the classics through performances by Greenwood and Aphex Twin – or 'Polish Icons' – with Skalpel remixing Penderecki, Górecki and Lutosławski at Sacrum Profanum [AT: 2014]. But this is nothing compared with Beth Gibbons, the vocalist with the trip-hop group Portishead, cast in the oratorio-cantata soprano role in Górecki's Third Symphony.
Saturday's concert was due to happen a year ago during the jubilees of the three great Polish composers. I do not think that the change of date influenced its reception. For some it was from start to finish a proposition that was hard to take, while others saw in it an interesting attempt to link different worlds, for which the blurring of boundaries is a trump card. For others it is an alarming attempt to tamper with copyrighted musical texts.
That is why Gibbons fans reacted enthusiastically, in contrast to classical music connoisseurs, who took the thing with chilly scepticism (the family of Henryk Mikołaj Górecki disassociated themselves from the project). This attempt to reconcile fire with water convinced me more, however, than the compositional proposals of Greenwood and Dessner, who entered too willingly into the role of imitators.
Simple and Authentic Beth Gibbons
Accepting Gibbons in the Górecki demanded openness and a reorientation to a different kind of vocal expression. It is difficult to measure the star of Portishead as a classical singer and compare her to Stefania Woytowicz, Dawn Upshaw or Zofia Kilanowicz, great performers of the Third Symphony. Not that vocal strength, that range or that technique. That is not what it is about. Despite obvious vocal shortcomings, she found herself surprisingly at home in the atmosphere of Górecki's music, inspired by the lament of a mother in pain at the death of her son. The trump card was the musicality, simplicity and authenticity of a non-professional. She was herself – she sang sitting at the microphone, sheltering behind her hair like an introvert. She must have put in a great deal of work on her Polish, because it sounded impeccable at times. The high notes were evidently problematic for her, but the amplification helped in producing them.
It was an interesting experiment, but one hopes even so that Gibbons does not spawn imitators (Bjork once turned down an invitation to sing the Third Symphony). Górecki is only superficially simple and wistful, not suitable for the stage. Rather he did not approve the use of his music for other purposes, as when he did not permit the Polish distribution of the film in which the director Tony Palmer illustrated the Third Symphony with images of war.
Rockers Write in a Twentieth-Century Fashion
In the case of Greenwood's and Dessner's meeting with the classics there was nothing new. The commissioning of orchestral works from them was the result of compositional try-outs by both musicians. Dessner has had a classical training and has written for the Kronos Quartet. It is great that someone suggested Lutosławski to him, although Philip Glass was a greater influence in his piece (Réponse Lutosławski) than the great Pole, except maybe for the cluster from Funeral Music. Even so, the Dessner seems a more interesting, more independent composer that Greenwood with his 48 Responses to Polymorphia, in which he drew liberally from the arsenal of avant-garde and sonoristic devices from the second half of the twentieth century.
Time will tell whether Dessner's piece will be an encouragement to fans of The National to reach for Lutosławski. If that happens, there awaits them a meeting with unusually complicated musical material of outstanding expressive qualities. Saturday's performance of Funeral Music once again showed that it is a masterpiece. Likewise, Polymorphia under the baton of its creator, Krzysztof Penderecki, has lost nothing of its freshness and acuity.
It was moving that these pillars of Polish music (Polymorphia, Funeral Music, Symphony of Sorrowful Songs) sounded out under the baton of Krzysztof Penderecki, the only performer who had been a witness and co-originator of the era in which these works were created. He naturally became the keystone of all of the concert's themes. Recruiting him for this project was Michał Merczyński's and Filip Berkowicz's unquestionable success.
The concert will be released on DVD by NiNA.
Filed under Concerts, Górecki, Lutosławski, Music Dissemination, Music post-1937, Penderecki Tagged with Anna S Dębowska, Beth Gibbons, Dessner, Dorota Szwarcman, Górecki, Greenwood, Lutosławski, NInA, NOSPR, Penderecki
• MoMA on Polish Music
Thursday, 22 May 2014 Leave a comment
Yet another initiative that I missed earlier this year is a series of essays and other items emanating from New York's Museum of Modern Art. I came across MoMA's post – notes on modern and contemporary art around the globe while writing my preceding post about the late Bohdan Mazurek. On 19 December 2013 MoMA published a theme called Polish Radio Experimental Studio: A Close Look, in which Mazurek features.
This really is a superb English-language introduction to one of the ground-breaking initiatives in Western and Eastern European music in the 1950s. PRES was the brainchild of Józef Patkowski. It was a most unlikely development in communist Poland and one that had a profound impact on the sound of Polish music. Many composers, including Penderecki, Kotoński, Schäffer and Dobrowolski, made use of its expertise (principally Bohdan Mazurek and Eugeniusz Rudnik), and soon non-Polish composers also flocked to use its facilities.
The MoMA theme includes the following:
• Daniel Muzyczuk, 'The Future Sound of Warsaw: Introduction to PRES
• David Crowley, 'Spatial Music: Design and the Polish Radio Experimental Studio
• Michał Libera: Alchemist Cabinet of the Polish Radio Experimental Studio: Music Scores of and for Experiments
• Daniel Muzyczuk, 'How much Rudnik is in Penderecki, and how much Rudnik is in Nordheim? Interview with Eugeniusz Rudnik
• PRES Music Scores 1959-1972
[browsable scores originally published by PWM]
• Kotoński Music for One Cymbal Stroke (1959)*
• Dobrowolski Music for Magnetic Tape (1963)*
• Schaeffer Symphony – Electronic Music (1964)*
• Dobrowolski Music for Magnetic Tape and Oboe Solo (1965)
• Dobrowolski Music for Strings, Two Groups of Wind Instruments and Two Loudspeakers (1966)
• Kotoński Aela. Electronic Music (1970)*
• Dobrowolski Music for Magnetic Tape and Piano Solo (1972)*
No sound files are included on the MoMA site, but there is a fascinating double CD (2013) from Bôłt Records that brings together the original realisations of the five scores marked * above, plus modern realisations of the same pieces. The two CDs are called PRES Scores and also include then-and-now versions of Penderecki's Psalmus (1961).
Filed under Audio, Born 1919-37, Electroacoustic, Experimental, Kotoński, Music Dissemination, Music post-1937, Penderecki, Radio, Warsaw Tagged with Dobrowolski, Kotoński, Mazurek, MoMA, Patkowski, Penderecki, Polish Radio Experimental Studio, PRES, Rudnik, Schaeffer, Schäffer, SEPR
• NINATEKA: WL, KP & HMG
Monday, 12 May 2014 Leave a comment
My preparations for and execution of my peregrinations in France prevented me from highlighting a major online resource that was launched in Poland at the end of 2013. I have been provoked into posting details now by the world premiere on 21 April of Henryk Mikołaj Górecki's Kyrie. Although a recording has already been posted on YouTube (https://www.youtube.com/watch?v=NNuWAb_5OPk), there is also an audio file on NINATEKA: Three Composers. It can, however, take some time for the NINATEKA files to load on the in-built player, although I can't tell if this is down to the strength or weakness of the wifi signal.
NINATEKA is hosted by Poland's Narodowy Instytut Audiowizualny (National Audiovisual Institute) and covers a wide range of creative arts. It is a Polish-language site, with the notable exception of Trzej Kompozytorzy (Three Composers). Witold Lutosławski, Krzysztof Penderecki and Górecki all had significant anniversaries in 2013, and this initiative brings together archive recordings of their music, mostly from Polish Radio. Here you will find not only the major concert works but also smaller, less familiar pieces. There are timelines, biographies and glossaries ('alphabet'). Tucked away is the roster of the editorial team, led by Dr Iwona Lindstedt.
The navigating tools are fairly straightforward once you have worked them out. Under 'music', you can pick an individual year or span of years, you can see a composer's complete repertoire ('all forms/genres') or narrow it down under this same heading or in groups (scroll down 'all categories'). You can be guided by 'recommended' or 'popular' or read the playlists suggested by musicians and family members. Or you can use 'advanced search' to filter by duration, instrumentation etc.. But if you want to look chronologically, you may initially be stumped. For this, you have to look higher up the page and click on 'creative periods'.
Happy exploration. NINATEKA: Three Composers really is a treasure trove.
Filed under Audio, Górecki, Lutosławski, Music Dissemination, Music post-1937, Penderecki, Radio Tagged with Górecki, Lutosławski, Ninateka, Penderecki, Polish Radio
• Poles in Presteigne
Wednesday, 7 May 2014 2 Comments
The 2014 Presteigne Festival in mid-Wales (21-26 August) has designed a special focus on Polish music. This includes a new commission and premieres as well as sampling the music of composers such as Bacewicz, Lutosławski, Penderecki and Górecki. There is a particular emphasis on the music of Andrzej Panufnik, on the centenary of his birth. The full schedule may be found at: https://www.presteignefestival.com/PDFs/PF2014_brochure_for_web.pdf.
Here is an alphabetical-by-composer list of the Polish repertoire plus details of relevant talks and discussions
(** World premiere, * UK premiere):
Grażyna Bacewicz
• Concerto for String Orchestra (1948)
• Two Etudes for piano (1956)
Henryk Mikołaj Górecki
• Two Sacred Songs for baritone and piano (1971)
• String Quartet no.1 'Already It Is Dusk' (1988)
Witold Lutosławski
• Dance Preludes for clarinet and piano (1954)
• Grave for cello and piano (1981)
• Partita for violin and piano (1984)
• Piano Trio (2008)
• Requiem** (2014, Festival commission)
Andrzej Panufnik
• Miniature Etudes (Circle of Fifths), Book II, for piano (1947)
• Landscape for string orchestra (1962/65)
• Song to the Virgin Mary for choir (1964/69)
• Sinfonia Concertante for flute, harp and strings (1973)
• Love Song for mezzo-soprano and piano (1976)
• String Quartet no.3 'Wycinanki' (1990)
• Prelude for solo clarinet (1987)
• Quartet for clarinet and string trio (1993)
• Serenade for string orchestra (1997)
Maciej Zieliński
• Lutosławski in memoriam for oboe and piano (1999)
• Trio for MB for clarinet, violin and piano (2004)
• Concello* (2013)
• Warsaw Variations (award-winning Fallingtree Production, first broadcast on BBC R4 in 2012, with contributions by Beata Bolesławska-Lewandowska, Camilla Panufnik and Adrian Thomas), followed by a discussion with Camilla and Roxanna Panufnik, radio producer Alan Hall, chaired by David Wordsworth
• Pre-concert event: Roxanna Panufnik, with Stephen Johnson
• Pre-concert event: Paweł Łukaszewski, with Thomas Hyde
• Pre-concert event: Paweł Łukaszewski, with Adrian Thomas
• Talk: Three Generations of Polish Composers (Adrian Thomas)
• Pre-concert event: Maciej Zieliński, with Adrian Thomas
Filed under Bacewicz, Born 1890-1918, Born 1919-37, Born 1950-69, Born 1970-89, Concerts, Górecki, Lutosławski, Music post-1937, Other Festivals, Panufnik, Penderecki
• Penderecki Festival, 17-23 November 2013
Wednesday, 20 November 2013 Leave a comment
I have been remiss in not uploading details of the major Polish celebration of Krzysztof Penderecki's 80th birthday, which falls on this coming Saturday, 23 November. A week-long festival is taking place in Warsaw and boasts a star-studded line-up of soloists and conductors. It encompasses his orchestral, choral and chamber music from over 50 years and is a well-chosen survey that demonstrates his unique contribution to the music of our times, ranging from the Three Miniatures for clarinet and piano (1956), through Strophes (1959), the (in)famous Threnody to the victims of Hiroshima (1960) and Dimensions of Time and Silence (1961) and on to the style-changing First Violin Concerto (1976). The most recent works are the Double Concerto for violin and viola (2012) and Missa brevis (2012). There are four of the symphonies: no.2 'Christmas' (1980), no. 4 'Adagio' (1989), no.7 'Seven Gates of Jerusalem' (1996) and no.8 'Songs of Transience' (2005/2007). Choral music includes Credo (1998) and Kaddish (2009). There is a good deal of chamber music, including the three string quartets (1960, 1968, 2008), plus two works by other composers, Aulis Sallinen and Paul Patterson. Here's the brochure.
Filed under Concerts, Music Dissemination, Music post-1937, Other, Other Festivals, Penderecki Tagged with Penderecki


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Remember Jonathan from 'Who's the Boss'? Check out his heartwarming new job
Kristin Finan, Austin American-Statesman
Millions knew him as Jonathan Bower in the popular 1980s and 1990s TV series "Who's the Boss," in which he starred alongside Tony Danza and Alyssa Milano.
Photographers snapped him on red carpets. Magazines like Tiger Beat featured him. He was even interviewed by Oprah.
But as glamorous as it all might sound, former child actor Danny Pintauro, now 43, said he's only now living out his true dream job — as a vet tech and cat care attendant at Austin Pets Alive.
"He's something of a wonder around the animals," said Katera Berent, communications and events manager at Austin Pets Alive, a 501(c)(3) nonprofit that provides resources, education and programs to eliminate the killing of companion animals. "You can sense the love he feels for each cat and dog he's caring for."
On a recent afternoon at Austin Pets Alive's Town Lake Animal Center, Pintauro — sporting a man-bun, a beard and scrubs that read "It's all fun and games until someone ends up in a cone" — ducked into a small room to check on a group of cats diagnosed with feline leukemia virus.
"As a very young kid, this is literally what I wanted to do when I grew up. Even though I was on TV, every summer I would work at this vet office near my house in LA and clean kennels or whatever they would let me do," he said. "I loved it."
When he attended Stanford University, he initially planned to study to be a veterinarian but ultimately majored in drama with a directing focus. But while he enjoyed acting, Pintauro said he didn't like "the business of being an actor."
"I'm sure if I had really persevered for years and years to suffer through it, maybe I would have gotten somewhere," he said, adding that he's still open to acting if a role is the right fit. "But I always used to say when you sit in a windowsill and you think about your life, and you think about everything you love to do, it wasn't acting for me. Especially for me being a gay child celebrity, it just wasn't worth it."
Pintauro was living in Las Vegas with his husband, William Pintauro-Tabares, a couple of years ago when they both realized they needed a change.
"You can only have so much Vegas before you're just done," he said.
They made a list of three cities where they'd like to relocate.
"Austin was the one that won out by far," said Pintauro, who had visited Austin only once before deciding to move here. "We had one month to move everything from Vegas. We literally made the decision on a whim."
His husband got a job working at the now-closed resort Travaasa, and Pintauro briefly owned a bonsai tree business. Then, he saw an ad for an opening at Austin Pets Alive.
"I was totally willing to just be like the kennel cleaner," he said. "Here, at 40 years old, like, 'I'll do it! I'll clean up the poop!' If it gets me in the door, let's see!"
Pintauro soon worked his way up from kennel tech to cat care specialist and then, a few weeks ago, was promoted to vet tech.
"This is the thing I always thought I was supposed to do, so it fits that this is where I should find myself. It is the one thing that really has felt the most completing, the most natural and has had the least amount of drama," he said. "I worked really hard to get to a place where they felt I could step in and do it."
He also made a point not to tell his co-workers about his star-studded past.
"I wanted them to learn who I was just as me, doing a good job. One of the front desk girls at the clinic, she just found out yesterday. I think it's good, because nobody's going around making a big deal about it," he said, adding that he gets recognized every couple of weeks around town. "Nobody cares anymore. And half the people in Austin are all too young to have even been alive for the reruns, never mind the actual series."
On any given day, Pintauro could be helping to care for dozens of animals, doing everything from administering medications to syringe-feeding to inserting microchips.
"At one point earlier this year I was taking care of over 80 cats a day. (In most places) the shelters in whatever city you live in have set protocols and rules on what they can keep alive and what they can't," he said. "We created a program and said, 'Just give them to us. We'll figure it out.'"
Berent said Austin Pets Alive, which has been instrumental in making Austin a no-kill city, is lucky to have an employee, and supporter, like Pintauro.
"We recently (took in) a few dogs who were going to be shot and killed if we hadn't intervened, and even though Danny was all focused on cats that day, he still came over to check on the dogs," she said. "That's the kind of person he is. Kindhearted, dedicated and a true animal advocate."
Pintauro said Austin has been incredibly welcoming to his family. His husband, Pintauro-Tabares, currently works at a bank but is also a flamenco dancer and was asked to be part of a company, and Pintauro hosts a popular karaoke night at the downtown club Rain on Mondays. Although they rent a duplex in Allandale that they share with their three rescue dogs — including one, Bacon, who was adopted from Austin Pets Alive — they're also looking at houses to buy in Round Rock.
″(In Austin) you've got this random collection of people who just know they're going to be in a place where people are going to be accepting of them," he said. "They can take a breath and get their crap together. You see those success stories with all of our friends. It's a very open and welcoming group, especially the gay community. We've had no trouble making friends, better than we've had at any other city that I've lived in."
Austin, Pintauro said, is a place where people, and animals, can find a second chance.
"I used to say New York City, the city itself, goes out of its way to make your life as difficult as possible. The city, not the people, the actual city," he said. "Austin as a city goes out of its way to make you feel like you can get it together and find yourself and find what you need and find what you want. It allows you to feel like you can do all the things you've always wanted to do growing up."
Ridgecrest Chamber of Commerce
City of Ridgecrest
Ridgecrest Area Convention and Visitors Bureau
High Desert MD
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redpajama_set_name: RedPajamaCommonCrawl


text:
El Yakovlev Yak-2 (en ruso: Як-2), conocido inicialmente como Ya-22, fue un bombardero ligero bimotor fabricado por la oficina de diseño soviética Yakovlev durante la Segunda Guerra Mundial, y que operó dentro de la Fuerza Aérea Soviética. Sirvió como base para el también bombardero ligero Yakovlev Yak-4.

Historia y desarrollo

Previsto originalmente como avión de reconocimiento a alta velocidad, el prototipo Yakovlev Ya-22 estaba propulsado por dos motores M-103 y realizó su primer vuelo el 22 de febrero de 1939. Monoplano biplaza de ala baja, con alas de madera y fuselaje de construcción mixta, el Ya-22 tenía tren de aterrizaje clásico y retráctil, y una unidad de cola del tipo bideriva.
Yakovlev recibió de las autoridades aeronáuticas una propuesta de conversión del diseño a fin de adaptarlo como bombardero, y el avión fue redesignado BB-22 (por blizhnii bombardirovshchik, o bombardero de corto alcance). Esta modificación resultó en la reforma del acomodo de la tripulación, del armamento y de la capacidad de combustible, además de los problemas inherentes a la creación de espacio para la bodega de bombas.

El primer BB-22 de serie se completó el 31 de diciembre de 1939 y alzó el vuelo el 20 de febrero de 1940. Por entonces, su producción en serie ocupaba ya dos factorías y se estaban preparando las pruebas en vuelo de dos variantes experimentales, la R-12 de reconocimiento fotográfico y la I-29 (o BB-22 IS), un caza de escolta de largo alcance. El BB-22 fue redesignado Yak-2 a finales de 1940 y, propulsado por dos motores lineales en V M-103 de 960 CV unitarios, alcanzaba una velocidad máxima de 530 km/h a nivel del mar, tenía un techo de vuelo operativo de 8.800 m y un alcance normal de 800 km.

En 1940, el diseño básico fue de nuevo reformado a fin de mejorar la situación de los tripulantes, tanto desde el punto de vista de sector visual como de blindajes. Se adoptó el motor Klimov M-105 y una mejor protección para el sistema de combustible, y se modificó la célula para instalarle lanzabombas externos. Redenominado Yak-4, este aparato entró en producción en el otoño de 1940 y se construyeron alrededor de 600 ejemplares de ambas versiones, la mayoría del tipo Yak-4. Su actuación operacional dejó que desear y gran número de ejemplares se perdieron durante los primeros días de la invasión alemana.

Variantes

 Ya-22
 Prototipo.
 BB-22
 Conversión a bombardero de corto alcance del diseño original (motores M-103).
 Yak-2
 Redesignacion del BB-22.
 R-12
 Avión de reconocimiento fotográfico experimental.
 I-29
 Caza de escolta experimental de largo alcance. También conocido como BB-22IS.
 Yak-4
 Aparato resultante de reformas en el diseño del Yak-2 (motores M-105).

Usuarios

Fuerza Aérea Soviética

Especificaciones (Yak-2)

Véase también

Referencias

Bibliografía

Enlaces externos
 Descripción del Yakovlev Yak-2 (en inglés)
 Descripción e imágenes del Yakovlev Yak-2 (en ruso)

Aeronaves de Yakovlev
Bombarderos soviéticos de la Segunda Guerra Mundial
Bombarderos de los años 1930 de la Unión Soviética

redpajama_set_name: RedPajamaWikipedia


text:
Q: not self explicable 1064 error trying to use MEMBER OF in a mysql query I have a query where I select some rows of a table based on their ID.
SELECT id,hotel_name FROM hotel WHERE id IN (1,2) and this works fine.
It returns two rows from hotel, id 1 and id 2 as expected. IDs in the where clause are hardcoded but data are coming from another table where they are stored in a json column as ["1","2"]. On a normal table i'd have done I'd have done (WHERE id in (SELECT ...) so I tried to replace the IN operator whith MEMBER OF that should behave like IN for JSON columns.
SELECT id,hotel_name FROM hotel
WHERE id MEMBER OF (
    SELECT details FROM auth_events
    WHERE auth_events.id_user=1 AND auth_events.id_auth_catalog=10
);

but I get

Syntax error in the query next to 'SELECT details FROM auth_events WHERE auth_events.id_user=1 AND auth_events.id_a'

but I don't understand exactly what is raising it. The inner query SELECT details FROM auth_events WHERE auth_events.id_user=1 AND auth_events.id_auth_catalog=10 is returning correctly the ["1","2"] array.
Can anyone help me understand what am I doing wrong? Also note that my mysql version is 8.0.26 and MEMBER OF is available since 8.0.13 so this shouldn't be the point

A: The operand of MEMBER OF must be scalar JSON array, not a rowset.
Use
SELECT id,hotel_name
FROM hotel
JOIN auth_events ON auth_events.id_user=1
                AND auth_events.id_auth_catalog=10
                AND hotel.id MEMBER OF (auth_events.details);

PS. The MEMBER OF() operator was added in MySQL 8.0.17, not in 8.0.13.

redpajama_set_name: RedPajamaStackExchange


text:
Workation
Accommodation with workplace and internet access, studio
Apartment // House
Gutshaus Zarchlin
One hundred heritage windows with a leafy view and good perspectives in terms of sustainability. The manor house amidst old trees and endless fields on the edge of the Mecklenburg Lake District tells an exciting story both inside and out.
Heumond
The name Heumond is a reminder of summer life in the countryside. The modern interpretation of a traditional timber house is surrounded by fragrant hay fields and rough pastures on a sunny plateau not far from Lake Wörth.
Apartment // B&B // House
Château de Sibra
The Château de Sibra in Lagarde in the south of France is a place full of aesthetics, set between the Mediterranean and the Atlantic amidst the foothills of the Pyrenees.
Loft Atelier Dietzold
The art scene and industrial heritage are closely intertwined in Leipzig – a fact that guests can experience in the loft named Atelier Dietzold. The holiday apartment is located in an old factory building, the former Dietzoldwerke in the west of the city.
Loft Atelier 16
The Loft Atelier 16, located in an old factory in the west of Leipzig, plays with contrasts and skilfully achieves a balance between cool and cosy. The raw brick walls generate a warm atmosphere in the 56-square-metre flat.
Studio Uckermark
Relaxing or working in the rural seclusion of the Uckermark – both is possible at Studio Uckermark. The former stable is surrounded by the rolling meadows of a former farmstead with buildings enclosing a central yard on three sides.
Loft Galerie ff15
When staying in the Galerie ff15 loft, you are surrounded by artworks on the walls and next door to artists. The loft is located in the administration building of the former Springer & Möller printing ink factory in the Leipzig district of Leutzsch.
Palais Wunderlich
A historical patrician house in the small town of Lahr in Baden on the edge of the Black Forest redefines itself as a stylish guesthouse with holiday apartments and event location.
Iselhof
Mountain world and city life, tradition and modernity—a holiday at Iselhof in Lienz in East Tyrol has many facets. You live in the midst of greenery, but it only takes…


text:
Atterley secures £3m investment as Q1 sales leap by 200%
Atterley, the online marketplace for fashion independents, has completed a £3m funding round with Maven Capital Partners and has revealed a Q1 sales leap of 200%.
The investment, which also includes commitments from Scottish Enterprise and existing shareholders will allow Atterley to execute its planned growth strategy with a key focus on developing its international footprint, particularly in the US.
Existing investors in the platform, which was founded by entrepreneur Mike Welch in 2016, include Sir Terry Leahy the former CEO of Tesco and Graeme Bissett the former Chairman at Blackcircles.com, a trailblazing e-commerce marketplace for the tyre industry also founded by Welch.
Atterley has grown to house 250 independent retailers from across the UK, Europe and US, and has around 3,000 brands. It ships both men's and womenswear to 94 countries.
Atterley member, Alluring, based in Elgin, Scotland
The company attributes the recent sales boom to strong repeat sales and new geographic markets with what Welch describes as a "slight tail wind" due to Covid and consumers needing to shop from home.
"This investment is a game changer for us and really sets us up for our next big phase of growth. We have always taken a test and learn approach to our investments in growth and that has not only kept us in control of our destiny as shareholders but has carried us through some of the most testing times for businesses that we have ever seen. I am excited that in partnership with Maven we will be able to accelerate our growth and capitalise on the massive market opportunity," Welch said.
Maven Partner, David Milroy, added: "The retail sector is going through unprecedented change creating huge opportunities for online fashion marketplaces and we are delighted to be supporting one of the most exciting, Atterley. We were drawn to the company's ethos which places its boutique partners front and centre and in doing so it is able to offer consumers a vast range of premium, emerging, and undiscovered labels expertly curated by some of the worlds most talented fashion buyers. We are very much looking forward to working with the Atterley team as they work to emulate their success building and exiting one of the UK's first e-commerce marketplaces, Blackcircles."
The Atterley team totals 20, with the recruitment of expertise in areas such as technology and supply chain cited as a focus for the new funds. Atterley CEO Kenny Baillie and COO James Eccleshall both worked for Welch at Blackcircles.com. In 2020 Atterley announced it had appointed shareholder and former Vogue Editor Alexandra Shulman as an advisor to its board; she will continue in her role.
Learn more about Mike Welch and the Atterley journey by tuning in to our 2020 podcast with Welch here.
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ASOS appoints McKinsey former...
eBay flooded with sellers looking...


Ok - so we mamas know, time to ourselves can be limited. We plan to wake up early in the morning to get up and ready, but that snooze button is just so tempting. We can go to bed early, brew all the coffee, and still were left with kids fingers under the door screaming "mommy I flushed something down the toilet" or you can fill in this morning's blanks.
The answer is a 5 minute morning makeup routine. MOST of us have at least 5 minutes. As a mama of two crazy busy boys, I have been able to CHOOSE to have five minutes to myself to put on some clothes, brush my hair and throw some makeup on my face so I don't scare the outside world. It IS POSSIBLE, even if that means waking up just five minutes earlier than normal. If you are one of those blessed souls who has naturally flawless skin and doesn't have to wear makeup, I'm totally jealous. But for those other mamas like myself who require just a little bit of work, here are the basics and the products I use to make myself less scary for others (lol) and to help make me feel a bit more ready for the day!
First off, splash some cold water on your face to wake yourself up! If you have angel children and have time for skin care in the morning, even better!
Now I am a girl who needs some coverage. My skin is super red so I like to cover decrease that with the glorious drugstore foundation Milani Conceal + Perfect 2 in 1 foundation in colour 03 Light Beige with a damp beauty sponge. I have also been loving the IT Cosmetics Supersize CC+ Cream and the L'Oreal True Match foundation in Creamy Natural C3.
Once all the redness is covered up, I use a light translucent powder to set it in place and use Maybelline Fit Me Matte + Poreless powder which I love because it doesn't feel too cakey. Depending on the time of year, I usually add it to my eye area, around my nose, and in my forehead creases - you know... the creases that form when your mommy mad face comes out.
I don't have a brow product to recommend sadly, I am still on the hunt for a go-to product. If you have any recommendations please leave them in the comments below. Anyway, get those brows done!
Now, I am not an eye shadow person, unless I'm going for a glam look, but lets be real, that is almost never. BUT - here is the trick that saves my puffy swollen overtired eyes every single day - bronzer! Take the bronzer you used on your face or an eyeshadow that looks the same tone and smudge that right up into the crease above your eye. This will immediately make your eyes more defined and make a huge difference! I have been using the Tarte Tartlette Amazonian Clay Matte palette with the colour Wanderer which is very much a bronze colour and it's something I do DAILY. Trust me - try it!
Next I go I in with my favourite bronzer. I go between Amazonian Clay Matte Waterproof Bronzer in Park Avenue Princess and Physicians Formula Murumuru Butter Bronzer depending on my mood - both great choices! I bronze just under my cheek bones, on the top of my forehead, and under my chin to decrease the look of a double chin - this works like magic. Now if you have an extra minute or two, add on some blush and your favourite highlighter, but for the sake of time let's keep moving.
Lastly, because this needs to be kept short, throw on some mascara! My go to drugstore mascara is the L'Oreal Paris Voluminous Original Mascara in Carbon Black and it has not failed me! The wand is the perfect size and you will love it and the price.
And that's it! If you have extra time for eyeshadow, eyeliner or what not, add some extra glam because you deserve it! But if this is all you have time for, at least you feel yourself and that's all that matters!
If you have any quick makeup go to products, comment below and help a mama out because we all need quick ideas and better ways to do things! Give these products and tips a try and let me know what you think!


BF-3110 is a professional FM two-way radio with excellent performance and stability. Its clear audio and long battery life all contribute to a friendly UE, making it a great choice for small businesses and amateur radio lovers.
When this feature is activated, a beep will go off either before or right after a transmission (or both) according to the radio's setting. This helps to reassure the user of the successful transmission of a signal.
This enables the user to monitor all the radio communications on the preset channels. The user can stop at any channel he wants. BF-3110 will only scan preset channels.
BF-3110 supports both wide (25kHz) and narrow (12.5kHz) bands. The user can set the bandwidth via the PC programming software according to his communication needs.
This helps to keep out unwanted signals and deliver more channel clarity and efficiency.
When the user turns on BF-3110, the radio will automatically run a battery check. When the voltage is lower than 3.3V, the LED will flash red and a warning tone will go off every other ten seconds. The user will find the radio unable to transmit. Please recharge your battery A.S.A.P.


text:
Man gets plea deal in Burkburnett child abuse case
by: Larry Statser
Posted: May 19, 2022 / 04:40 PM CDT
Updated: May 19, 2022 / 04:40 PM CDT
BURKBURNETT (KFDX/KJTL) — A 25-year-old father authorities said put his newborn son at risk of dying or lifelong health problems from abuse was sentenced in a plea agreement to a third degree felony: continuous violence against the family.
The charge includes the injury to the child and also another assault by Keegan Freeman on the baby's mother, his ex-girlfriend.
Had Freeman been indicted on the charge he was arrested on, injury to a child, the penalty for that first degree charge is 5-99 years prison or life.
One-month-old baby found unresponsive, Burk man charged
The maximum punishment for the third degree felony is 10 years in prison, and prosecutors got all but one year of that maximum in the plea.
The prosecutor in this case, Misty King, said the child's mother approved the plea agreement.
King said the strategy for prosecutors was to indict Freeman for the continuous violence against family and then add additional charges if the baby died.
However, she said miraculously he did survive and, in fact according to the mother, is now thriving.
The baby was flown to Cook Children's Hospital, where doctors were not optimistic on his chances. They thought if he survived, he might suffer long-term impact on health. They said he suffered bleeding in the skull and brain and also retinal hemorrhages and was having seizures.
Infant fights for life while father faces serious injury to child charges
When Burkburnett police and paramedics arrived at the home on West 4th July 5, 2019, they said Freeman's mother was outside in the street holding her 28-day-old unresponsive grandson.
As paramedics began assessing the baby's condition, police said Freeman, then age 23, pointed to bruising around the baby's jaw and told the detective on scene that the bruising did not come from abuse. The detective became suspicious, and called a Texas Ranger to the scene to assist the investigation.
The boy's grandmother later told police she had been on the couch while Freeman was in a bedroom with the baby and that she began to hear a lot of crying. She said the crying suddenly stopped, and the baby then began to whimper while Freeman took him to the kitchen sink and began pouring water on him.
She said she asked if something was wrong with the baby, but Freeman did not answer, and he called the baby's mother on the phone.
The mother, who was at the store, said Freeman told her something was wrong with the baby, and she went home and asked the child's grandmother to help, and the grandmother took the baby outside.
The mother told police the baby was fine and asleep in his bassinet when she left for the store.
Police said Freeman's account was that he was at the kitchen sink preparing a bottle and saw a friend walking by outside and went out to talk to him, but he could not tell officers the friend's last name. He said he had a baby monitor from the baby's room and did not hear anything on it for the five minutes he was out.
He said when he came back in and checked, he found his son unresponsive and breathing strangely, so he called the baby's mother.
In October 2019, the D.A.'s office obtained an indictment for the charge of family violence, which included the injury to the baby and for an earlier injury by Freeman to the baby's mother, by choking and impeding her breathing.
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The indictment states that Freeman struck the baby with a bottle or pacifier or his hand or against a hard or soft surface.
The D.A. said Freeman's parental rights to his son have also been terminated.
The plea agreement states other pending charges against Freeman were dismissed, and he will receive 1,046 days off his sentence for jail time served.
Last month, Freeman had a new charge of assault of a public servant filed, after the sheriff's office alleged he assaulted a corrections officer.
The affidavit states he was being moved from the recreation yard back to his solitary cell. He was in restraints due to policy for inmates who had been assaultive toward staff in the past. Officers said while being walked back to his cell, he head butted an officer in his head.
SB 129 could change child porn charges if passed


text:
Home From the Editors In Their Own Words Scoring One Mutual Happiness with Uncle Funsy by Rich O'Meara
Most of the time when I'm making music I'm holding mallets or sticks.
My first instrument was my older brother John's drum set. When I was about ten I started to listen and try to play to all the great Rock music of the late 60's and '70s. Then early in high school I discovered marimba when our school bought one for the band program. I was in love! What a sound!
Late in high school I found jazz and more free forms of improvisation but I majored in classical percussion (at Catholic University here in D.C.) and through that studied and played the great composers – Stravinsky, Bartok, Cage, Crumb, ….. Bach! Playing good music is thrilling to me, whether it involves months of preparation to get every note correct, or when created on the spot.
Rich O'Meara performing on Marimba; image courtesy the author
I'm currently working on a piece including both composition and improvisation that will premiere in the Capital Fringe Festival on July 9, 2016. I'll perform live in the show to support a story written and performed by my good friend, David Kessler. The one-person play, called "One Mutual Happiness," is directed by Jennifer Knight with technical assistance from Momo Nakamura and Joe Musumeci, and artwork by Adelaide Waldrop. Team Happiness!
I was drawn to this project by the opportunity to work with David. His son was a classmate of my daughter's and we met at a parent's meeting years ago and became fast friends. David is the author of several novels, and his play "Wombat Drool" was a hit at last year's Capital Fringe festival. ("Wombat Drool" is a fictionalized account of his career as a biologist at the National Zoo.) For "One Mutual Happiness" David asked that I create music to help tell the story, but that would also be an integral part of the experience.
To begin the process I studied the script, listened to him read it, and then recorded him performing it. Once I had the recording I divided the script/recording into sections and subsection (scenes) to work on individually.
We both wanted marimba to play a major role but knew we were constrained by the fact that this is Fringe we're talking about. There would be next to no time for set up at the performances and we may end up with a very cramped venue. I decided to use MainStage (an Apple performance program) and my MacBook Pro in the performance. I'll use those tools to trigger recorded passages during the show and will also play sampled instruments from a small keyboard, and some live percussion instruments.
Although I won't be playing my marimba in the show, marimba is still central to the score. The sound world I created for this includes marimba, vibraphone, glockenspiel, harp, ukulele, synth textures, cello and percussion.
The score has a recurring theme associated with David's father that makes many appearances with variations. By altering the density, color and tempo, the same basic thematic material conveys optimism, sadness, pain or light-hearted fun. There are several moments of uplifting and surprising joy and I help portray them with Ukelele. Those are some of my favorite parts of the score.
The show includes flashbacks to wedding ceremonies, funerals, hospital visits and life events indoors and out. To help transport the audience to those particular environments I've added ambient sound recordings, and most I recorded myself.
As we developed this work through the winter and on into spring I got feedback from David and our wonderful director, Jennifer Knight. One challenge for me was adapting the score as the script changed and scenes expanded or contracted. A lot of time was spent editing recorded material to fit the new scene structures.
In all I trigger about 35 playback cues during the show. That density allows me to stay flexible, so I can flow with David from scene to scene. Each performance changes somewhat depending on the energy coming from the audience or how David improvises his lines. I'm constantly finding new things to play within the structure I've built. David and Jennifer have created some places where I interact with David during the show and hopefully I'll be relaxed enough to make the audience feel our connection.
I've really enjoyed this entire experience and I'm excited as opening night approaches. Hope to see some of you in July!
Rich O'Meara is best known for his compositions for marimba that are performed throughout the world. His work has been featured on the NPR program "New Sounds", the PBS documentary "The Music Instinct, Science and Song" and can be heard on the Audite, Cybele, Animato, Codamusic, and Koch Discover International record labels. He gave a master class and concert of his works at the Eighth International Festival of Percussion in Patagonia, Argentina and has received four ASCAP Plus awards.
Since 1999 he has been a member of Silent Orchestra; a collaboration with composer/ keyboardist Carlos Garza to develop and perform new scores for classic silent films. Recent performances include the Smithsonian Museum, the National Gallery of Art, the National Museum of Women in the Arts, the Virginia Film Festival, the Savannah Film Festival and the Percussive Arts Society International Convention. Silent Orchestra scores for "Nosferatu" (1922) and "Salome" (1923) are available on DVD from Image Entertainment.
O'Meara has performed with Kwo'm Percussion, Sandbox Percussion, One Earth Percussion Theatre, the Contemporary Music Forum, the National Symphony, and as a soloist with the Kitchener-Waterloo Symphony. Along with the members of So Percussion and his son, Kevin O'Meara, he has played with the Dan Deacon Ensemble and appears on Dan's albums "Bromst" and "America". As an active member of the improv/experimental scene in the DC area, he has played with Colla Parte, Trio O, Large Glass Bead Game and the Subtle Body Transmission Orchestra.
"One Mutual Happiness" will be performed as part of the Capital Fringe Festival at at Mead Theater Lab at Flashpoint, 916 G St. NW on the following dates:
Saturday July 9th, 4:15 pm
Thursday July14th, 6:30 pm
Saturday July 16th, 8:15 pm
Sunday July 17th, 8:15 pm
Tuesday July19th, 6:30 pm
Saturday July 23rd, 3:00 pm
Visit: http://www.unclefunsy.com/ for more information on the production.
Adelaide Waldrop
David Kessler
Joe Musumeci
Mom Nakamura
One Mutual Happiness
Rich O'Meara
Uncle Funsy
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Highlights - July 8, 2016 - Artapedia July 8, 2016 at 1:50 pm
[…] Scoring One Mutual Happiness with Uncle Funsy by. Rich O'Meara "Each performance changes somewhat depending on the energy coming from the audience or how David improvises his lines. I'm constantly finding new things to play within the structure I've built." […]


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text:
Say Hello To The Stunning (And Street Legal) McLaren P1 GTR-18
by Martin Bigg Supercars / Comments
Only six of these retro-inspired beauties are being built.
Lanzante Motorsport has a long-established history with McLaren. The UK-based racing team helped the McLaren F1 GTR race to victory at the 1995 24 Hours of Le Mans. For homologation purposes, several F1 GTRs were also converted to road-legal specification, dubbed as the GTR-97 referencing the 1997 FR GTR's longer body.
Lanzante continued this tradition for the track-only McLaren P1 GTR, which was also converted for road use. After the P1 GTR came the P1 LM, which featured 40 percent more downforce and even less weight, helping it beat the Nurburgring lap record set by the Lamborghini Huracan Performante. In 2018, Lanzante debuted the McLaren P1 GT, a stunning Longtail version of the GTR. And for 2020, Lanzante has once again resurrected the hybrid hypercar.
Robert Grubbs
Say hello to the McLaren P1 GT-18, a reincarnation of the McLaren P1 GTR chassis 011. For the first two years of its life, the car was entered in McLaren's exclusive P1 GTR Driving Program, where it raced around various F1 circuits. AFter the program finished, the car was retired and put into storage. In 2018, the owner wanted to give it a new lease of life, and the result is the McLaren P1 GTR-18, named after the year the project was started.
Visually, the GTR-18 looks nearly identical to the P1. However, what sets the GTR-18 apart is its retro-inspired Gulf livery that pays homage to the legendary F1 GTR-97. For added authenticity, designers even used original paint codes and samples the original F1 GTR-97, and a special tint was developed for the exposed carbon fiber.
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Other custom features include bespoke two-way headsets for the driver and passenger to communicate with a livery that matches the exterior, a set of keys finished in the same custom tint as the exposed carbon, and bespoke dust bags and cases. After the project was completed, the was displayed at Lanzante's new showroom alongside the F1 GTR-97 chassis 028R that inspired it, before being delivered to its new owner in the US at The Thermal Club private race track.
Only six McLaren P1 GTR-18 hypercars will be produced, each featuring one of the six liveries that were used on the McLaren F1 GTR-97.
Tags: #McLaren #Design #Supercars
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Novel polycarbonate compositions comprising blends which contain thermoplastic olefin copolymers are prepared from precursor orthoester and orthocarbonate functionalized olefin polymers and functionalized polymers and the novel polycarbonate compositions display improved physical properties.
Grant & Hackh's Chemical Dictionary 5th Edition, p. 408, 1990.
Billmeyer "Textbook of Polymer Science", p. 237, 1962.
C. T. Meyer et al., Polymer Letters, 1978, vol. 19, Sep., "Preparation of Polydiene-g-Polystyrene Graft Copolymers", pp. 1106-1109.
Fowler et al., Polymer Engineering and Science, Mid-Nov., 1988, vol. 28, No. 21, "Rubber Toughening of Polystyrene Through Reactive Blending", pp. 1427-1433.
(b) blends which contain thermoplastic copolymers wherein said copolymers are prepared by reacting (i) an orthoester or orthocarbonate functionalized polybutadiene or polyacrylate or olefin polymer comprising structural units of the formula ##STR5## and each R1 is independently a hydrogen, C1 -C5 hydrocarbon, substituted or unsubstituted aromatic radical or a halogen and R2 is --CH2 -- or a substituted or unsubstituted divalent aromatic radical and m is any integer greater than or equal to 1 and X has the formulae ##STR6## and Y is selected from the group consisting of moieties of cyclic orthocarbonates and cyclic orthoesters, with (ii) a polymer having acid, acid anhydride or thiol functionality.
2. A composition in accordance with claim 1 wherein said blends also comprise polyphenylene ether, polyphenylene sulfide, polystyrene or acrylic.
3. A composition in accordance with claim 1 wherein said cyclic orthocarbonate and cyclic orthoester moieties have the formula ##STR7## R3 is a C1 -C10 primary or secondary alkyl or aralkyl or a C6 -C10 aromatic radical or an alkylene radical forming a second 4 to 8 membered ring with C* thus producing a bicyclo compound. R4 is a C1 -C10 primary or secondary alkyl or aralkyl or a C6 -C10 aromatic radical. Further, R3 and R4 together with atoms connecting them can form a 4 to 8 membered ring thus producing a spirobicyclo compound and R5 is a hydrogen, alkyl or aryl and l is 0 or 1 and n is an integer from 0 to 2 and p is 0 or 1 and t is 0 when R3 and C* form a bicyclo compound and is otherwise 1.
4. A composition in accordance with claim 1 wherein said polymer is a functionalized polyphenylene ether, polyphenylene sulfide, polystyrene or acrylic.
5. A composition in accordance with claim 1 wherein said blend is prepared in the melt or solution.
6. A composition in accordance with claim 1 wherein said thermoplastic copolymer is an EPDM-SAN copolymer.
7. A composition in accordance with claim 1 wherein said polycarbonate is a homopolycarbonate.
8. A composition in accordance with claim 1 wherein said polycarbonate is a copolycarbonate.
9. A composition in accordance with claim 1 wherein said polycarbonate comprises structural units of the formula ##STR8## and A1 is a divalent substituted or unsubstituted aliphatic, alicyclic or aromatic radical.
10. A composition in accordance with claim 9 wherein A1 is --A2 --Y--A3 -- and A2 and A3 are each independently a monocyclic divalent aromatic radical wherein Y is a bridging radical.
11. A composition in accordance with claim 10 wherein said polycarbonate is a bisphenol A polycarbonate.
12. A composition in accordance with claim 1 wherein said orthoester functionalized polymer is prepared with an unsaturated ester.
13. A composition in accordance with claim 12 wherein said unsaturated ester is an acrylate or methacrylate type ester.
14. A composition in accordance with claim 13 wherein said acrylate or methacrylate type ester is 4-acryloyloxymethyl-2-methoxy-2-methyl-1,3-dioxolane, 4-methacryloyloxymethyl-2-methoxy-2-methyl-1,3-dioxolane or 4-acryloyloxymethyl-2-methoxy-2-phenyl-1,3-dioxolane.
This invention relates to novel polycarbonate compositions comprising blends which contain thermoplastic olefin copolymers. The thermoplastic olefin copolymer blends are prepared from precursor functionalized olefin polymers and functionalized polymers under reactive conditions. The resulting polycarbonate compositions unexpectedly display improved physical properties.
Plastics are conventionally divided into two distinct and important groups: thermoplastics and thermosetting materials. Thermoplastics are those which melt to become viscous liquids when heated and solids when cooled. They are characterized by their flexibility as well as their ability to be repeatedly softened and hardened. Examples of common thermoplastics include acrylic, nylon, polyesters, polyvinyl chloride and polystyrene. Conversely, thermosetting materials are those which can only be heated and shaped once and, thus, they are not reworkable. Further, thermosetting materials are often hard, rigid, insoluble and infusable. Illustrative examples of such materials include phenolics, epoxies and unsaturated polyesters.
It is of increasing interest to prepare polycarbonate blends that comprise toughened thermoplastics since they are often employed in many commercial applications. Commercial methods for toughening thermoplastics usually involve blending into the plastic an elastomer having a low glass transition temperature. Often, however, the immiscibility and incompatibility of the elastomer with the thermoplastic produce poor physical properties in the blend. A compatibilization strategy is then required to improve physical properties. Said strategy typically involves incorporating copolymers prepared from the thermoplastic and the elastomer in the blend. The copolymer serves to improve rubber phase dispersion and adhesion, and thereby improves compatibility and physical properties of the blend.
An example of such polycarbonate blends is one which comprises acrylonitrile-butadiene-styrene (ABS) terpolymers. However, due to the presence of unsaturated polybutadiene rubber, these blends are susceptible to thermal and photochemical degradation. As a result of this, ABS has limited uses in outdoor applications.
Accordingly, the instant invention is directed to novel polycarbonate compositions comprising blends which contain thermoplastic olefin copolymers. Said thermoplastic olefin copolymers are prepared from reactions of ortho compound functionalized olefin polymers and acid, acid anhydride or thiol functionalized polymers. Additionally, in the instant invention, ortho compound is defined as orthoesters and orthocarbonates.
Graft copolymers derived from addition polymers and elastomers have traditionally been prepared by polymerizing an olefinic monomer in the presence of a rubber substrate and a free radical initiator. The graft reaction can be achieved in emulsion, suspension, solution or bulk processes. While such processes are widely used, they are not desirable since they disadvantageously require handling and disposing of monomers, solvent and reaction by-products.
Other investigators have focused on the preparation of addition polymer-rubber copolymers by melt processing amine functionalized addition polymers with functionalized elastomers since amines are known to react with a variety of electrophilic moieties including anhydrides, epoxides and alkyl halides. However, this method is not favored since amine-functionalized addition polymers are not available in bulk quantities for copolymer formation.
Finally, in commonly assigned U.S. application Ser. No. 08/160,133, thermoplastic olefin copolymers and blends comprising them are disclosed and in U.S. Pat. No. 5,153,290, polymers of ethylenically unsaturated cyclic orthoesters are disclosed, wherein said unsaturated cyclic orthoesters are prepared by reacting a hydroxy substituted cyclic orthoester with acryloyl chloride.
The instant invention is patentably distinguishable from the above-described since, among other reasons, it is directed to novel polycarbonate compositions comprising blends which contain thermoplastic olefin copolymers that are prepared by melt or solution reactions of ortho compound functionalized olefin polymers and acid, acid anhydride or thiol functionalized polymers, wherein said thermoplastic olefin copolymers comprise ester or sulfide olefin polymer to addition polymer linkages. Further, the novel polycarbonate compositions comprising blends which contain the above-described copolymers unexpectedly display desirable reduced gloss properties, improved tensile strengths, favorable heat deflection temperatures (HDT), improved melt flow indices, improved elongation values and notched Izod values of at least about 450 joules/M and preferably at least about 550 joules/M.
The instant invention pertains to novel compositions comprising a polycarbonate and blends which contain thermoplastic olefin copolymers wherein the copolymers comprise ester or sulfide olefin polymer to polymer linkages. The thermoplastic olefin copolymers are prepared by the reaction of ortho compound functionalized olefin polymers comprising structural units of the formula ##STR1## and a polymer having acid, acid anhydride or thiol functionality. Illustrative examples of the functionalized polymers include polyphenylene ether, polyphenylene sulfide and functionalized polymers of vinyl monomers such as polystyrene and acrylics.
Each R1 is independently a hydrogen, lower alkyl (C1 -C5 hydrocarbon), substituted or unsubstituted aromatic radical or a halogen and R2 is --CH2 -- or a substituted or unsubstituted divalent aromatic radical and m is greater than or equal to 1.
R3 is a C1 -C10 primary or secondary alkyl or aralkyl or a C6 -C10 aromatic radical or an alkylene radical forming a second 4 to 8 membered ring with C* thus producing a bicyclo compound. R4 is a C1 -C10 primary or secondary alkyl or aralkyl or a C6 -C10 aromatic radical. Further, R3 and R4 together with atoms connecting them can form a 4 to 8 membered ring thus producing a spirobicyclo compound. R5 is a hydrogen, alkyl or aryl. l is 0 or 1 and n is an integer from 0 to 2. p is 0 or 1 and t is 0 when R3 and C* form a bicyclo compound and is otherwise 1.
The polycarbonate compositions of the instant invention may comprise structural units of the formulae ##STR4## wherein A1 is a divalent substituted or unsubstituted aliphatic, alicyclic or aromatic radical, preferably --A2 --Y--A3 -- wherein A2 and A3 are each independently a monocyclic divalent aromatic radical. Y is a bridging radical in which 1 to 4 atoms separate A2 from A3 and VII is a preferred subgenus of VI.
The A2 and A3 values may be unsubstituted phenylene or substituted derivatives thereof, illustrative substituents (one or more) being alkyl, alkenyl, alkoxy and the like. Unsubstituted phenylene radicals are preferred. Both A2 and A3 are preferably p-phenylene, although both may be o- or m-phenylene or one o- or m-phenylene and the other p-phenylene.
The bridging radical, Y, is one in which one or two atoms, preferably one, separate A2 from A3. It is most often a hydrocarbon radical and particularly a saturated radical such as methylene, cyclohexylmethylene, 2-[2.2.1]-bicycloheptylmethylene, ethylene, isopropylidene, neopentylidene, cyclohexylidene, cyclopentadecylidene, cyclododecylidene or adamantylidene, especially a gem-alkylene (alkylidene) radical. Also included, however, are unsaturated radicals and radicals which contain atoms other than carbon and hydrogen; for example, 2,2-dichloroethylidene, carbonyl, phthalidylidene, oxy, thio, sulfoxy and sulfone. For reasons of availability and particular suitability for the purposes of this invention, the preferred units of formula VII are 2,2-bis(4-phenylene)propane carbonate units, which are derived from bisphenol A and in which Y is isopropylidene and A2 and A3 are each p-phenylene.
is the source of structural units of formula VI above; A1 is as previously defined.
Other useful dihydroxyaromatic compounds which are also suitable for use in the preparation of the above copolycarbonates are disclosed in U.S. Pat. Nos. 2,999,835; 3,028,365; 3,334,154 and 4,131,575, all of which are incorporated herein by reference. The preferred bisphenol is 2,2-bis(4-hydroxyphenyl)propane (bisphenol A).
The polycarbonates of the instant invention may be prepared by reacting bisphenols with a carbonate source such as phosgene or dimethyl carbonate using conventional techniques. These include melt polymerization, interfacial polymerization and interfacial conversion with bischloroformate followed by polymerization. Chain termination agents such as phenol may also be employed.
Preparation of functionalization monomers (ethylenically unsaturated cyclic ortho compounds) which are grafted to produce the functionalized olefin polymers employed in the invention is achieved by reactions between hydroxy-substituted orthoester and α,β-unsaturated acid chlorides to form unsaturated esters such as the methacrylate or acrylate type. The preparation is further illustrated by the following examples. Molecular structures of all products in Examples 1-3 were confirmed by proton and carbon-13 nuclear magnetic resonance spectroscopy.
A 5-liter 3-necked flask fitted with a mechanical stirrer, pressure equalizing addition funnel and nitrogen inlet was charged with 301 grams (2.03 moles) of 4-hydroxymethyl-2-methoxy-2-methyl-1,3-dioxolane, 514 grams (5.08 moles) of triethylamine and 2 liters of methylene chloride. The flask was immersed in an ice-water bath and 193.1 grams (2.13 moles) of acryloyl chloride was added over 50 minutes under nitrogen, with stirring. The mixture was stirred at room temperature overnight, filtered and the filtrate was washed twice with 2-liter portions of water, dried over magnesium sulfate, filtered and vacuum stripped. A free radical inhibitor, 3-t-butyl-4-hydroxy-5-methylphenyl sulfide, was added in the amount of 200 ppm. to the residue which was then distilled under vacuum. The desired 4-acryloyloxymethyl-2-methoxy-2-methyl-1,3-dioxolane distilled at 80°-85° C./0.5-1.0 torr.
The procedure of Example 1 was repeated, employing 281 grams (1.9 moles) of 4-hydroxymethyl-2-methoxy-2-methyl-1,3-dioxolane, 481 grams (4.76 moles) of triethylamine and 199 grams (1.9 moles) of methacryloyl chloride. The product, 4-methacryloyloxymethyl-2-methoxy-2-methyl-1,3-dioxolane, was collected at 80° C./0.4 torr.
The procedure of Example 1 was repeated, employing 21 grams (100 mmol.) of 4-hydroxymethyl-2-methoxy-2-phenyl-1,3-dioxolane, 25.3 grams (250 mmol.) of triethylamine, 9.5 grams (105 mmol.) of acryloyl chloride and 150 ml. of methylene chloride. The crude product was purified by column chromatography over basic alumina, using 15% (by volume) ethyl acetate in hexane as an eluant, to yield the desired 4-acryloyloxymethyl-2-methoxy-2-phenyl-1,3-dioxolane.
The functionalized olefin polymers employed in the instant invention may be prepared via co-extrusion of a large variety of graftable compounds and polyolefin. The extrusion techniques as well as the graftable compounds include those described in commonly assigned U.S. Pat. No. 5,153,290, the disclosure of which is incorporated herein by reference.
The polymers employed in this invention comprising acid or acid anhydride functionality are prepared by standard free radical polymerization techniques known to those skilled in the art. The functionalized vinyl monomer (such as functionalized polystyrene and acrylics), and optionally one or more conventional vinyl monomers are polymerized via bulk, suspension, emulsion or solution polymerization methods in the presence of a free radical initiator, such as azobisisobutyronitrile (AIBN) or benzoyl peroxide. Broadly, the functionalized vinyl monomer may comprise from about 0.1 to 100 mole percent of the total monomer feedstream; however, the operable concentration may depend upon the specific functionalized monomer. The polymers comprising thiol functionality are typically prepared by polymerization of vinyl mercaptan precursors as well as by the methods described in Adv. Polym. Sci., Vol. 15, 1974, pp. 61-90.
The concentration of free radical initiator generally ranges from about 0.001 to about 1.0 weight percent based on total weight of monomers. A variety of organic solvents is suitable for the solution polymerization method and halohydrocarbons, such as methylene chloride; ketones such as methyl ethyl ketone and acetone; and aromatic hydrocarbons, such as toluene and ethylbenzene, are often preferred. The temperature of the free radical polymerization generally ranges from 40° C. to about 150° C. The resulting polymers employed in this invention possess a weight average molecular weight (as determined by gel permeation chromatography) typically ranging from about 40,000 to about 250,000.
The functionalized polymers employed in this invention are capable of reacting with the above-described functionalized olefin polymers to form thermoplastic olefin copolymers. The olefin polymers that are functionalized in accordance with the instant invention and suitable for forming such copolymers include elastomers that possess a glass transition temperature, Tg, less than about 0° C. and preferably less than about -20° C. Illustrative examples of suitable polyolefins include ethylene propylene diene comonomer (EPDM) rubbers, ethylene alkene rubbers such as poly(ethylene-copropylene), polydiene rubbers such as poly(butadiene). Additionally, functionalized polyacrylates such as poly(butylacrylate) may also be employed.
In a preferred example, a functionalized polymer in accordance with the instant invention designated styrene acrylonitrile-A (SAN-A), prepared by the copolymerization of styrene, acrylonitrile and an acid, acid anhydride or masked thiol functionalized vinyl monomer, is melt extruded with an EPDM rubber functionalized with a cyclic orthoester or carbonate as depicted by formula I to afford a novel EPDM-SAN copolymer. A typical example includes reacting SAN-A with an EPDM rubber functionalized with cyclic 2-methoxy-2-methyl-1,3 dioxolane to form a EPDM-SAN copolymer.
The reactions between functionalized polymer and the functionalized olefin polymers is conventionally conducted in the melt or in solution. The process of preparing the thermoplastic olefin copolymers of this invention, for instance by the melt, comprises mixing olefin polymers functionalized with cyclic orthoesters or orthocarbonates with the acid, acid anhydride or thiol functionalized polymer employed in this invention and melt reacting the mixture at a temperature ranging from about 170° C. to about 350° C. Preferably, the temperature ranges from about 200° C. to about 260 C. Typical melt processing techniques include continuous extrusion through a single screw or twin screw extrusion device, such as a Welding Engineers 20-mm. twin screw extruder, and melt reaction in a Helicone reactor or Brabender melt mixer. One skilled in the art will recognize that if extrusion is employed, the screw design, screw speed, and feed rate may vary.
The copolymer containing blends employed in the instant invention typically range from about 20 to about 90 weight percent, preferably from about 40 to about 80 weight percent, functionalized olefin polymer, and typically from about 80 to about 10 weight percent, preferably from about 60 to about 20 weight percent, functionalized polymer. Optionally, an unfunctionalized polymer such as SAN, may be added to the functionalized polymer and functionalized olefin. The concentration of unfunctionalized addition polymer typically comprises from about 0 to about 50 weight percent, preferably from about 0 to about 25 weight percent, based on the weight of the functionalized polymer. More preferably, no unfunctionalized polymer is employed.
The following additional examples are to further illustrate and facilitate the understanding of the invention. All products obtained may be confirmed by conventional techniques such as proton and carbon 13 nuclear magnetic resonance spectroscopy as well as infrared spectroscopy.
The synthesis of a styrene acrylonitrile addition polymer comprising 1.0 mole percent acrylic acid functionality was achieved by charging a 5L, 3-neck round bottomed flask equipped with a stirrer and thermometer with 800 mL (6.98 mol) styrene, 300 mL (4.56 mol) acrylonitrile, 8.29 g (115 mmol, 1 mole percent) acrylic acid, 3.83 g (23.3 mmol) AIBN and 1.5 L methyl ethyl ketone to produce a mixture. The mixture was then purged with nitrogen for 5 minutes and then stirred at 70° C. for 24 hours. The resulting viscous solution was cooled to room temperature and precipitated into methanol using a commercial blender. Polymer was isolated by filtration, washed with methanol and dried in a vacuum oven at 60° C. for 48 hours to afford 731 (73% isolated yield) of white powder, SAN-A. FTIR spectroscopy confirmed the incorporation of the acid monomer by the presence of the carbonyl absorbtion at 1730 cm-1. Qualitative analysis of the FTIR spectra revealed an acrylonitrile concentration of 27 weight percent.
SAN comprising 1 mole percent acrylic acid as prepared in Example 4 was tumble mixed with orthoester functionalized EPDM and extruded in a twin screw extruder at 450° F. to produce an extrudate (EPDM, SAN and copolymer). The extrudate was cooled in a water bath, pelletized and dried for 4 hours at 80° C. Copolymer analysis was obtained from acetone extractions which dissolve away any unreacted SAN and leave behind unreacted EPDM and EPDM-SAN copolymer as insolubles. The analysis revealed high degrees of grafting and thus copolymer formation.
It is expected that isolated copolymers prepared by extrusion or solution polymerization may be mixed with additional unfunctionalized or functionalized SAN and EPDM and extruded under conditions similar to those described above in order to produce poly(acrylonitrile-EPDM-styrene) (AES) blends.
The instant blends may be prepared in situ in an extruder. Also, in the alternative, substantially pure copolymers may be prepared and isolated. Subsequent blends may be prepared by mixing the isolated copolymers with additional resins followed by extruding in a manner similar to the one described in Example 5.
The method for producing the polycarbonate compositions of the instant invention is not particularly limited, and the conventional methods are satisfactorily employed. Generally, however, melt blending methods are desirable. The time and temperature required for melt blending are not particularly limited, and they can properly be determined according to the composition of the material.
The temperature varies somewhat with the blending ratio of polycarbonate to blends which contain thermoplastic olefin copolymers, but it is generally within a range of 200° to 500° C.
Any of the melt blending methods may be used, if it can handle a molten viscous mass. The method may be applied in either a batchwise form or a continuous form. Specifically, extruders, Banbury mixers, rollers, kneaders and the like may be employed.
An extrudate was prepared by charging a twin screw extruder set at 400 rpm at a throughput of 12 lbs/hr and temperatures in the ranges of 90° to 260° C. with 64 parts bisphenol A polycarbonate (Mn 50,000), 20 parts SAN (Mn 35,000), 16 parts AES-2 (prepared from a two-step extrusion process employing 1 part SAN-A functionalized with 1 mole % acrylic acid and 4 parts EPDM functionalized with 1 mole % cyclic orthoester (as prepared in Example 1) to yield a 1:4 copolymer blend which was diluted with additional acid functionalized SAN to produce a 1:1 copolymer blend), 0.1 part bis(2,4-di-t-butyl)pentaerythritol diphosphite, 0.1 part 1,3,5-tris(3,5-di-t-butyl-4-hydroxybenzyl)isocyanurate and 0.5 part pentaerythritol tetrastearate. The extrudate was cooled in a water bath, pelletized and dried for 4 hours at 80° C. yielding a polycarbonate composition (A).
Polycarbonate compositions (B) and (C) were prepared in the manner described in Example 6 except that 16 parts AES-1 (prepared from a single step extrusion of 1 part SAN-A functionalized with 1 mole % acrylic acid and 1 part EPDM functionalized with 1 mole % cyclic orthoester to produce a 1:1 copolymer blend) was employed in lieu of AES-2 in the former and 16 parts acrylonitrile-butadiene-styrene (ABS) (50 parts butadiene/50 parts SAN with 60% grafted to rubber) was employed in lieu of AES-2 in the latter.
The polycarbonate compositions in the table which follows correspond to the compositions described in Examples 6-8. The data confirms polycarbonate composition formation as well as the new and unexpected results obtained in the instant invention.


Olivia Volkoff was a joint Master in Public Policy and Master in Business Administration candidate at the Harvard Kennedy School and Harvard Business School. During the summer of 2017, Olivia worked as a Summer Associate with PJT Partners in New York. She spent the summer of 2016 as a Rosenthal Fellow with the U.S. Department of State at the U.S. Mission to NATO in Brussels working on the Weapons of Mass Destruction and Ukraine policy portfolios. Before attending HKS, she served on active duty for five years as a U.S. Naval officer at Naval Reactors Headquarters. During this time, she worked as a nuclear engineer on submarine and aircraft carrier design, construction, and maintenance and later as the Director of Public Affairs for the Naval Nuclear Propulsion Program. Olivia's policy interests include nuclear energy and weapons, cybersecurity, the future role of multinational alliances, and the intersection of business and government in national security. She holds an AB in Engineering Sciences from Harvard College and an M.Eng. in Nuclear Engineering from Penn State University.


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Therapeutic massage is a gentle relaxing massage that helps relieve tension and reduce stress. massage.
Deep tissue massage is a harder version of a therapeutic massage. This is designed to help relieve chronic muscle tension and focus on the deepest layers of muscle tissue.
Sports massage can be used in two ways.
To help prevent sports injuries or to help recover from sports injuries.
At Lifestyle Therapies i use sport massage to target muscle areas that cause pain, discomfort or that reduce range of motion, so this will help the body back into its normal range of motion.
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When the myofascia (this is a cover that goes around your muscles) is stressed from overuse or trauma and can tear and adhere together.
These adhesions are called "trigger points (Knots)" and can prevent the muscles from working well.
Trigger points lead to an increase in muscle stiffness and tenderness and a decrease in range-of-motion. In addition, the discomfort from trigger points can radiate from the adhesion.
Trigger point therapy specifically targets and releases these knots throughout the whole body.
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Neuromuscular therapy is a specialised form of deep tissue massage in which digital pressure and friction are used to release areas of strain in the muscle. These areas of strain are called tender or trigger points and are the causes of muscular pain symptoms.
Neuromuscular therapy is used to treat many different soft tissue problems.
The following list is a small example of issues that may be helped by neuromuscular therapy: Lower back pain, upper back pain, piriformis syndrome which is like sciatica, hip pain, headaches, plantar fasciitis, calf cramps, tendonitis, knee pain, iliotibial band friction syndrome.
Cupping therapy is an ancient form of alternative medicine in which a therapist puts special cups on your skin for a few minutes to create suction. In Lifestyle therapies i use Cupping to help with pain, inflammation, blood flow, relaxation, releasing stagnant blood and well-being, improves range of motion in any joint.
This massage has all the benefits of cupping but the combination with the massage the cups are able to provide a deeper and release more stagnant blood.
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