text:
Q: Refactor firebase function index.ts code so that triggers can be imported I am writing firebase functions with https, auth, and datastore triggers, so I would like to factor them out to different files. I have factored out the https functions but I am not sure how to factor out the auth function. My index.ts is currently:
import * as express     from 'express';
import * as functions   from 'firebase-functions';
import  { spiceAdmin  } from './base';
import  { spiceServer } from './spiceServer'

import  { server }      from './api-routes/api'

exports.app = functions.https.onRequest(server);

/**
    @Use: send verification email on new user creation
*/
exports.onCreate = functions.auth.user().onCreate( user => {

    spiceAdmin.auth().createUser({
          email         : 'user-auth-ts@gmail.com'
        , emailVerified : false
        , password      : 'Sup3rSafe'
    })
    .then((userRecord : any) => console.log('created new user'))
    .catch((err : string) => console.log(`failed to create new user with ${err}`))

});

Specifically, if I had a file user_auth.ts with triggers onCreate and onChange, how would I syntactically write those functions, export then, and exports.... them in index.ts?

A: index.ts
import { myFunction } from './myfunction'
export const myFunction_export = myFunction

myfunction.ts
import * as functions from 'firebase-functions'
export const myFunction = functions.firestore.document(...).onCreate(...)


text:
Records Reveal Boston Police Spy on Political and Peace Groups
Officers Monitor Peaceful Activists, Labeling Legal Activities as "Extremist" and "Homeland Security" Threats
CONTACT: (212) 549-2666; media@aclu.org
BOSTON -- Boston Police routinely spy on ordinary citizens engaged in peaceful, First Amendment-protected activity, creating criminal "intelligence reports" on lawful political activity of peace groups and local leaders, according to public records and surveillance video released today by the National Lawyers Guild Massachusetts Chapter and the American Civil Liberties Union of Massachusetts.
Boston Police officers make video recordings of peaceful demonstrations and track activists as well as the internal workings of political groups--even when there is no indication of criminal activity or a threat to public safety. The documents reveal that officers assigned to the BPD's regional domestic spying center, the Boston Regional Intelligence Center (BRIC), file so-called "intelligence reports" mischaracterizing peaceful groups such as Veterans for Peace, United for Justice with Peace and CodePink as "extremists," and peaceful protests as domestic "homeland security" threats and civil disturbances. These searchable records are retained for years, in violation of federal regulations, and were turned over to the ACLU and NLG only after they sued for access on behalf of local peace groups and activists.
One police report, dated March 23, 2007, for example, details a church panel in Jamaica Plain organized by a former Boston City Councilor and an anti-war rally on the Boston Common featuring the late Boston University Professor Howard Zinn, under the label: "Criminal Act: Groups-Extremist."
"Spying on church groups and peaceful, non-violent, political gatherings violates civil liberties, wastes scarce police resources and doesn't keep us safe," said Carol Rose, Executive Director of the ACLU of Massachusetts. "Such tracking and retention of documents about people and groups engaged in peaceful assembly and constitutionally protected speech violates the Boston Police Department's privacy rules, federal privacy regulations and our democratic system of government."
"We are becoming a country with characteristics typically seen in the most undemocratic states--where police and other law enforcement forces assume unlimited powers over the people," said Urszula Masny-Latos, Executive Director of the National Lawyers Guild. "At a time when schools are inadequately funded, roads and bridges are falling apart and all social services are experiencing severe cuts, we are showering law enforcement agencies with unprecedented resources, which are used to harass, intimidate and monitor the public."
In late 2010, several organizations and activists filed public requests seeking to understand BPD's surveillance practices and privacy protections. When the BPD refused to turn over the public records, the ACLU and NLG filed suit. Plaintiffs included Political Research Associates, Veterans for Peace-Chapter 9 Smedley Butler Brigade, CodePink of Greater Boston, the Boston Coalition for Palestinian Rights, the Greater Boston Stop the Wars Coalition and United for Justice with Peace, as well as individual activists.
Release of the ACLU-NLG report and documents comes on the heels of a bipartisan Senate investigation report released October 3, which found that the federal government's work with state and local fusion centers--among them, the BRIC--"has not produced useful intelligence to support Federal counterterrorism efforts."
"The fact that police are keeping tabs on members of the public just because of our political activities shows that self-regulation is not enough," said Patrick Keaney, a plaintiff in the lawsuit. "We have to demand that the BPD stops immediately the practice of spying and monitoring activists and creates mechanisms for transparency and accountability."
To view the documents released today, as well as a short video, and our report analyzing the documents, go to:
http://aclum.org/policing_dissent
http://www.nlgmass.org
For more information about the National Lawyers Guild Massachusetts Chapter, go to:
For background on the public records lawsuit, ACLU v. Davis, go to:
http://aclum.org/aclu_v_davis
For more information about the ACLU of Massachusetts, go to:
http://www.aclum.org
Privacy and Surveillance

redpajama_set_name: RedPajamaCommonCrawl


Elevation of the Obelisk in the Middle Court, Burghley, English School, early 18th Century.
Pen and brown ink and grey wash, 37cm by 28.5cm. Inscribed beneath in the distinctive hand of Brownlow, 9th Earl of Exeter: Obelisk in the Middle Court at Burghley. The treatment of this drawing of the obelisk, which sits above the beautiful Renaissance entrance to the House from the central courtyard, suggests that it may be by either Lancelot 'Capability' Brown or, more probably, the Stamford architect William Daniel Legg, both of whom worked extensively for the 9th Earl.


Kung Fu Panda co-director John Stevenson will direct a big screen adaptation of Grant Morrison's comic book miniseries We3. Producer Don Murphy confirmed to ShockTillYouDrop that the film will be R-rated, live-action with the likely change of computer generated killer rabbits.
Stevenson has also been rumored to be attached to Joel Silver's He-Man film, so it looks like he's trying to find a project in the live-action realm that might benefit from his computer animation background. I wouldn't expect We3 to go into production any time soon as the project was set up at New Line, but is currently looking for a new home.
Rumors of He-Man's death have been greatly exaggerated. LatinoReview has word that Kung Fu Panda co-director John Stevenson might now be attached to the project after knocking one home in a pitch to Joel Silver's production company.
Stevenson has an extensive background in art direction and animation, starting out as a character designer on The Muppet Show in the late 1970's. He worked in visual development on The Dark Crystal and Labyrinth and was a storyboard artist of Shrek and Shrek 2. I loved the action sequences in Kung Fu Panda, but wasn't a fan of the character design. It will be interesting to see what Stevenson will do with the adaptation. Is Justin Marks screenplay Grayskull still in play?


On Saturday 13 May we had our annual minibus excursion to visit the Pubs of the Year (PoTY) of the other four Sussex Branches as our contribution to deciding the overall PoTY for Sussex, for which a standard and detailed CAMRA scoring system is provided, capturing the whole pub experience, not just the beer.
The minibus started at 9.30am from our PoTY, The Tower in St. Leonards, but not before an initial drink there, having persuaded the pub to open very early in honour of this special occasion. Others joined the minibus at Bexhill, Eastbourne and Lewes but had to remain thirsty until nearly 12.00 before we arrived at our first destination, The Inglenook Hotel in Pagham. Various beers were sampled, from the five on offer, all in very good condition. We also enjoyed a very pleasant lunch there, sitting outside in the sunshine. Quite unusual to find a hotel offering such a good range of real ale.
Next up was The Anchor Tap in Horsham, a Dark Star pub. The owner, Horsham Council, wanted very much for the building to be preserved as a pub, rather than being converted to another use as often happens. Consequently after many years as a shoe shop and coffee shop it was reverted back to its original use as a pub in Spring 2016 and now offers 6 hand pumps plus 10 keg taps. Our stay there was shorter but again several of their beers were tried, from the extensive offerings, detailed on the prominent board on the bar wall. However, we stuck to the cask offerings, again finding them all in fine condition.
Traveling back South, we next visited Anchored in Worthing, a micro pub just off the sea front. By now it was middle to late afternoon and we made our selections from the three or four ever changing local Sussex beers. Not surprisingly, for a Saturday afternoon, it was standing room only but we weren't bothered as conversation flowed freely between everyone there. There is no bar as such but the owner, Nigel, provided a very efficient waiter service from the casks in the back room. Again the beers were in very good form.
Our final pub was the Brighton Beer Dispensary. There are 9 hand pumps, 6 for beer and the others for cider. In addition there are 9 keg taps. Another very good beer choice but this time national as well as local and for the location, very reasonably priced. All beers tried were pronounced in very good condition and it was with some regret that we finally left the last pub on our trip. Thanks to our guest Barry for taking the photo as we waited for the minibus.
Particular thanks goes to Bill for organising the day and the transport and also to our driver Brian. He not only managed to negotiate narrow side streets and drop us off outside most of the pubs (only exception being Horsham where we had to walk all of 100 yards through a pedestrian precinct) but also drove nearly 200 miles in the process. We now await the results from the other four Sussex Branches before learning the overall Sussex PoTY.


text:
Battle of Long Island
(Part of the American Revolutionary War)
The earliest known portrait of George Washington, (1st President of the United States In office April 30, 1789 – March 4, 1797) painted in 1772 by Charles Willson Peale, showing Washington in uniform as colonel of the Virginia Regiment.
In the wake of the revolutionary war, the Americans on August 27th, 1776, engaged with the British in the Battle of Long Island. The British had been holding strong in Boston for a good year before George Washington and his troops seized the area for the Americans. Washington had begun to fear that a strike upon New York was imminent, and therefore moved his troops into the city before any attack could begin.
Washington met up with his troops after they had already entered the city on August 13th, 1776. He waited until he knew that the British were going to try to take over New York. Perhaps one of the boldest figures remembered in the Battle of Long Island, was Nathan Hale. Thought to be the first American spy, Hale had lived a very educated life, and had begun to teach others at the tender age of eighteen. Once he learned of the war at hand, Hale went and enlisted to serve his country in 1775, as part of the Revolutionary War. On August 22, Colonel Edward Hand sent word to Washington, that the British Army was crossing the narrows outside of Brooklyn and into Staten Island. The Battle of Long Island had begun as Lieutenant General Sir William Howe led over 30,000 troops into the island under the commands of Major General Charles Cornwallis and Major General Sir Henry Clinton.
After spending several weeks on Staten Island, the British forces grew to 34,000 and ended their journey in Gravesend Bay. Meanwhile, Washington's Army, led in part by Major General Israel Putnam, took the area of Flatbush and protected it.
The Battle Pass area, also known as Flatbush Pass, in the area of modern-day Prospect Park and Green-Wood Cemetery. Etching, c.1792
General William Alexander, also under the command of Washington, led his troops to New York. After only seven days of battle, Washington knew that he had lost by the 3,000 or more lives captured, wounded and killed. In the night of August 29th, Washington withdrew his troops and led them safely to Manhattan. He was lucky to have a heavy fog in the morning to finish his movement, because it was not completed by dawn as planned. On September 21st, 1776, a fire had begun in the city and was carried on by the wind leading to the burning of nearly 500 buildings. This is known as the great Fire of New York, and was believed to have been started by the opposing army according to both sides. During the fire and confusion, Hale agreed to cross enemy lines to gather information for his country. Hale was captured after being identified as an American soldier, and the next day he was hung by the British outside the Dove Tavern. This is where his famous words, "My only regret is I have but one life to give my country," were uttered before his death.
The British maintained a stand in America during the Battle of Harlem Heights, the Battle of Fort Washington and the battle of White Plains. Finally in 1783, the British left New York and Long Island after signing the Treaty of Paris, and thus leaving Americans to live in freedom.
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Just a few weeks ago my daughter was introduced to the Beatles... she walked in when I was watching something on TV about them. She watched for a bit and then said "I thought Beetles were cars??"
I listen to this day and night along with all th eother beatles albums they are one od the greatest and no one is going to be able to beat them long live THE BEALTS!!!!!!!!!!!!!


But will it actually make a difference?
Google's new Project Treble is set to speed up the time it takes for your phone to get access to Android O, the upcoming release that's now confirmed for Summer.
Traditionally, if you buy a phone that's not made by Google, you run the risk of waiting weeks, months, or even years for it to be updated to the latest and greatest operating system available.
This changes that, or so Google says, with Treble being its "biggest change yet to low-level system architecture." In a nutshell, Google's work here is to make it easier for manufacturers to push the new software that you so desire to your phone, cutting down on the time and money requirements that were previously necessary.
Posted in the Android developers blog, the big difference that will help speed things along for your preferred device maker is that Google is pushing for phones released moving forward to feature vendor implementation, part of the greater Android architecture, that won't need to be updated with each new OS release.
According to the post, it's the interface that gives developers access to "hardware-specific features of Android." With these changes in place, manufacturers will have far fewer things to rework with the next major update.
Fragmentation is one of the bullet points that iPhone users frequently use to jab at Android users. And it's a fair point.
Four months following the release of Android Marshmallow, well over 90% of Android users still didn't have access to the software update. While that number has surely dropped, it goes to show that there's something not quite right with Google's rollout process.
Just ahead of Google IO 2017, it's really encouraging to see the company rolling out big changes to its overall release cycle. Fingers crossed, but Android O could be the operating system that changes everything for Google moving forward.


text:
Q: SoapUI Maven plugin has weird dependencies I'm trying to use the SoapUI Maven plugin as shown here: http://www.soapui.org/Test-Automation/maven-2x.html
I can't add the eviware repository, since I'm behind a corporate firewall (only the browser can connect to the outside world) and have to use the local artifactory repo (which mirrors maven central).
So I tried downloading the appropriate jars and poms from the eviware repo and adding them to the local artifactory. Now it seems I've gone down the rabbit hole, the SoapUI plugin has more and more dependencies that I need to add. At first I didn't mind, but we're looking at tens of jars now, and most of them seem to be things that should be in maven central. But then I saw that most of these have altered group-IDs - for example there is a jetty dependency that uses "jetty" as group-ID instead of the canonical "org.mortbay.jetty". And this seems to be the case for many of these dependencies.
So my question has two sides: What are the SoapUI folks doing here? This seems fishy to me, or am I overlooking something?
And second, can I somehow make the plugin use the canonical jars instead of having to chase all the stuff that's in eviware's repository?

A: Have a look on this soapui forum, I explain why soapui uses weird maven coordinates and what could be done to use regular ones.
I have already complained about the problem on this post and I am sure that SoapUI dev are aware of the problem. Sadly, there is no current work to fix it.

A: I have tried relentlessly to use the maven-soapui-plugin, but It didn't work for me. However the maven-soapui-extension-plugin mentioned by pppeater and developed by redfish above has worked fine when I tried it. I have used artifactory as my repo manager.

*

*First configure the plugin on your pom
<plugin>
    <groupId>com.github.redfish4ktc.soapui</groupId>
    <artifactId>maven-soapui-extension-plugin</artifactId>
    <version>4.6.3.0</version>
    <executions>
          <execution>
              <id>soapui-tests</id>
              <phase>verify</phase>
              <goals>
               <goal>test</goal>
              </goals>
      </execution>
    </executions>
    <configuration>
        <projectFile>${basedir}/src/test/soapui/airline-sample-soapui- project.xml</projectFile>
        <outputFolder>${basedir}/target/soapui</outputFolder>
        <junitReport>true</junitReport>
        <exportwAll>false</exportwAll>
        <printReport>false</printReport>
    </configuration>
  </plugin>

*You still need to add the soapui plugin to your repo manager remote repositories and virtual repositories list using the url http://www.soapui.org/repository/maven2/

A: Just came across this plugin: https://github.com/redfish4ktc/maven-soapui-extension-plugin which notes: "starting from soapui 3.6.1, almost all SmartBear plugin versions have missing dependencies. This is fixed in maven-soapui-extension-plugin"
It also appears to address some Groovy dependencies which others have noted as an issue with the plugin.

redpajama_set_name: RedPajamaStackExchange


text:
http://uu.diva-portal.org/smash/resultList.jsf?query=&language=en&searchType=SIMPLE&noOfRows=50&sortOrder=author_sort_asc&sortOrder2=title_sort_asc&onlyFullText=false&sf=all&aq=%5B%5B%7B%22personId%22%3A%22authority-person%3A19896%22%7D%5D%5D&aqe=%5B%5D&aq2=%5B%5B%5D%5D&af=%5B%5D
De Rosa, Maria
Uppsala University, Disciplinary Domain of Medicine and Pharmacy, Faculty of Pharmacy, Department of Medicinal Chemistry, Organic Pharmaceutical Chemistry.
Gising, Johan
Odell, Luke R
Larhed, Mats
Syntheses of new tuberculosis inhibitors promoted by microwave irradiation2014In: Upsala Journal of Medical Sciences, ISSN 0300-9734, E-ISSN 2000-1967, Vol. 119, no 2, p. 181-191Article, review/survey (Refereed)
Tuberculosis (TB) represents a major public health problem. The growing number of (extensively) multi-drug resistance cases indicates that there is an urgent need for discovery of new anti-TB entities, addressed towards new and specific targets, and continuous development of fast and efficient synthetic strategies to access them easily. Microwave-assisted chemistry is well suited for small-scale laboratory synthetic work, allowing full control of reaction conditions, such as temperature, pressure, and time. Microwave-assisted high-speed organic synthesis is especially useful in the lead optimization phase of drug discovery. To illustrate the advantages of modern microwave heating technology, we herein describe applications and approaches that have been useful for the synthesis of new drug-like anti-TB compounds.
Uppsala University, Disciplinary Domain of Medicine and Pharmacy, Faculty of Pharmacy, Department of Medicinal Chemistry, Organic Pharmaceutical Chemistry. Uppsala University, Science for Life Laboratory, SciLifeLab.
Lu, Lu
Uppsala University, Disciplinary Domain of Science and Technology, Biology, Department of Cell and Molecular Biology, Structure and Molecular Biology.
Zamaratski, Edouard
Uppsala University, Disciplinary Domain of Medicine and Pharmacy, Faculty of Pharmacy, Department of Medicinal Chemistry.
Szałaj, Natalia
Cao, Sha
Uppsala University, Disciplinary Domain of Medicine and Pharmacy, Faculty of Medicine, Department of Medical Biochemistry and Microbiology.
Wadensten, Henrik
Uppsala University, Disciplinary Domain of Medicine and Pharmacy, Faculty of Pharmacy, Department of Pharmaceutical Biosciences.
Lenhammar, Lena
Uppsala University, Disciplinary Domain of Medicine and Pharmacy, Faculty of Medicine, Department of Medical Sciences, Cancer Pharmacology and Computational Medicine.
Roos, Annette K.
Uppsala University, Disciplinary Domain of Science and Technology, Biology, Department of Cell and Molecular Biology, Structure and Molecular Biology. Uppsala University, Science for Life Laboratory, SciLifeLab.
Huseby, Douglas L
Larsson, Rolf
Uppsala University, Disciplinary Domain of Medicine and Pharmacy, Faculty of Medicine, Department of Medical Sciences.
Andrén, Per E.
Hughes, Diarmaid
Brandt, Peter
Mowbray, Sherry L.
Uppsala University, Disciplinary Domain of Science and Technology, Biology, Department of Cell and Molecular Biology. Uppsala University, Science for Life Laboratory, SciLifeLab.
Karlen, Anders
Design, synthesis and in vitro biological evaluation of oligopeptides targeting E. coli type I signal peptidase (LepB)2017In: Bioorganic & Medicinal Chemistry, ISSN 0968-0896, E-ISSN 1464-3391, Vol. 25, no 3, p. 897-911Article in journal (Refereed)
Type I signal peptidases are potential targets for the development of new antibacterial agents. Here we report finding potent inhibitors of E. coli type I signal peptidase (LepB), by optimizing a previously reported hit compound, decanoyl-PTANA-CHO, through modifications at the N- and C-termini. Good improvements of inhibitory potency were obtained, with IC50s in the low nanomolar range. The best inhibitors also showed good antimicrobial activity, with MICs in the low μg/mL range for several bacterial species. The selection of resistant mutants provided strong support for LepB as the target of these compounds. The cytotoxicity and hemolytic profiles of these compounds are not optimal but the finding that minor structural changes cause the large effects on these properties suggests that there is potential for optimization in future studies.
Unge, Johan
Motwani, Hitesh V.
Rosenquist, Asa
Vrang, Lotta
Wallberg, Hans
Synthesis of P1 '-Functionalized Macrocyclic Transition-State Mimicking HIV-1 Protease Inhibitors Encompassing a Tertiary Alcohol2014In: Journal of Medicinal Chemistry, ISSN 0022-2623, E-ISSN 1520-4804, Vol. 57, no 15, p. 6444-6457Article in journal (Refereed)
Seven novel tertiary alcohol containing linear HIV-1 protease inhibitors (PIs), decorated at the para position of the benzyl group in the P1' side with (hetero)aromatic moieties, were synthesized and biologically evaluated. To study the inhibition and antiviral activity effect of P1-P3 macro-cyclization, 14- and 15-membered macrocyclic Pis were prepared by ring-closing metathesis of the corresponding linear PIs. The macrocycles were more active than the linear precursors and compound 101, with a 2-thiazoly1 group in the P1' position, was the most potent PI of this new series (K-1 2.2 nM, EC50 0.2 mu M). Co-crystallized complexes of both linear and macrocyclic PIs with the HIV-1 protease enzyme were prepared and analyzed.
Odell, Luke R.
Hallberg, Anders
Aspartic protease inhibitors containing tertiary alcohol transition-state mimics2014In: European Journal of Medicinal Chemistry, ISSN 0223-5234, E-ISSN 1768-3254, Vol. 90, p. 462-490Article, review/survey (Refereed)
Aspartic proteases (APs) are a class of enzymes engaged in the proteolytic digestion of peptide substrates. APs play important roles in physiological and infectious pathways, making them plausible drug targets. For instance in the treatment of HIV infections, access to an efficient combination of protease and reverse transcriptase inhibitors have changed a terminal illness to a chronic but manageable disease. However, the benefits have been limited due to the emergence of drug resistant viral strains, poor pharmacokinetic properties of peptidomimetic inhibitors and adverse effects associated with the treatment. In the 1980s, D. Rich and co-workers proposed a novel strategy for the development of AP inhibitors by replacing the secondary hydroxyl group with a tertiary alcohol as part of the transition state (TS) mimicking moiety. This strategy has been extensively explored over the last decade with a common belief that masking of the polar group, e.g. by intramolecular hydrogen bonding, has the potential to enhance transcellular transport. This is the first review presenting the advances of AP inhibitors comprising a tertiary hydroxyl group. The inhibitors have been classified into different tert-hydroxy TS mimics and their design strategies, synthesis, biological activities, structure-activity-relationships and X-ray structures are discussed.
Roslin, Sara
Deuther-Conrad, Winnie
Institute of Radiopharmaceutical Cancer Research, Helmholtz-Zentrum Dresden-Rossendorf, Research Site Leipzig, 04318 Leipzig, Germany.
Eriksson, Jonas
Antoni, Gunnar
Uppsala University, Disciplinary Domain of Medicine and Pharmacy, Faculty of Pharmacy, Department of Medicinal Chemistry, Analytical Pharmaceutical Chemistry.
Brust, Peter
Uppsala University, Science for Life Laboratory, SciLifeLab. Uppsala University, Disciplinary Domain of Medicine and Pharmacy, Faculty of Pharmacy, Department of Medicinal Chemistry.
Synthesis and In Vitro Evaluation of 5-Substituted Benzovesamicol Analogs containing N-Substituted Amides as Potential Positron Emission Tomography Tracers for the Vesicular Acetylcholine Transporter2017In: Bioorganic & Medicinal Chemistry, ISSN 0968-0896, E-ISSN 1464-3391, Vol. 25, no 19, p. 5095-5106Article in journal (Refereed)
Herein, new ligands for the vesicular acetylcholine transporter (VAChT), based on a benzovesamicol scaffold, are presented. VAChT is acknowledged as a marker for cholinergic neurons and a positron emission tomography tracer for VAChT could serve as a tool for quantitative analysis of cholinergic neuronal density. With an easily accessible triflate precursor, aminocarbonylations were utilized to evaluate the chemical space around the C5 position on the tetrahydronaphthol ring. Synthesized ligands were evaluated for their affinity and selectivity for VAChT. Small, preferably aromatic, N-substituents proved to be more potent than larger substituents. Of the fifteen compounds synthesized, benzyl derivatives (+/-)-7i and (+/-)-7l had the highest affinities for VAChT. Compound (+/-)-7i was chosen to investigate the importance of stereochemistry for binding to VAChT and selectivity toward the sigma(1) and sigma(2) receptors. Enantiomeric resolution gave (+/-)-7i and (-)-7i, and the eutomer showed seven times better affinity. Although racemate (+/-)-7i was initially promising, the affinity of (-)-7i for VAChT was not better than 56.7 nM which precludes further preclinical evaluation. However, the nanomolar binding together with the ready synthesis of [C-11]-(+/-)-7i shows that (-)-7i can serve as a scaffold for future optimizations to provide improved C-11-labelled VAChT PET tracers.


As a result of the demonstrated need for preschool facilities in the community, the Matjana Preschool Committee has begun to plan a relocation of the school to a bigger, better classroom. The aim is to have a new classroom constructed and ready for use by the beginning of the school year in 2009. Although gathering adequate resources and support for this move will be challenging, the school organiser's are excited about the potential for community involvement. Parents, student and teachers are all eagerly anticipating a more spacious school for our youngest scholars!
The preschool is currently located in a small building in Myxo's tourism compound, constructed by Myxo for community use. As there were no preschool facilities in kaPhunga, the community decided to use the building to get a preschool up and running. Without this traditional style classroom it would have been impossible to get the ball rolling for early childhood education here. However demand for preschool in the community has now exceeded the building's capacity.
Improving the school facilities has always been a goal of the preschool project. Temporarily using the stick and mud hut has demonstrated that Matjana Preschool is in demand in Kaphunga and benefiting many children.
"It's now time to move on and build a bigger, better facility that will hold more kids," said Ncobile Mbonane, the preschool's teacher. "It's an ambitious project but the school's starting to get a lot of financial support internationally, the community want to help and we know we can do it.
"Several meetings have now been held with the children's parents to discuss the logistics of moving the preschool and it has been decided that the primary school grounds (a 5 minute walk from Myxo's compound) offer the most central location and the best environment for the new preschool. Matjana Preschool's committee is now liaising with the Matjana Primary School committee to plan the relocation of the school.
Successful construction of the new preschool will require a good deal of fund-raising and the preschool committee is currently consulting with local builders to determine total expected expenses, including materials and labour. Keep a lookout for details of the proposal!
The school has set a preliminary fundraising target of R80 000 for 2008, to complete the classroom construction and pay equipment and cover operating expenses for the year. Fundraising for the construction will begin immediately. The first step in the fundraising campaign will be a community organised Dance and Cultural Festival, showcasing the community's traditional dance skills.
The school committee hopes the Dance and Cultural Festival will become a bi-annual event and major fundraiser for the school. A dance party held in May this year showed there is a lot of potential to raise funds by providing tourists with cultural entertainment in the rural community of Kaphunga. The upcoming event will be advertised in Swaziland, South Africa and Mozambique and aims to raise more than R5000.


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text:
Middle East & Islamic Studies Program
Julie Peteet, Ph.D., Department of Anthropology
Our Faculty Our Faculty Dropdown Toggle
Minor in Middle East and Islamic Studies
Arabic Program
ClassesClasses Dropdown Toggle
/ Our Faculty
/ Julie Peteet, Ph.D., Department of Anthropology
Education: Wayne State University; American University of Beirut; University of California, Santa Barbara
Research Interests: Space, political violence, Palestine, resistance, refugees, human rights, the Middle East
Dr. Julie Peteet is a Professor of Anthropology and the Director of the MEIS program. Dr. Peteet received her Ph.D. from Wayne State University. She specializes in legal anthropology, the Middle East, displacement and refugees, gender, resistance and culture, transnationalism, and human rights.
Department of Anthropology, Lutz Hall 239
Email: jpeteet@louisville.edu
Prof. Peteet's newest book Space and Mobility in Palestine, (forthcoming University of Pennsylvania Press) argues that mobility is key to the elaboration and affirmation of place as spaces of particular forms of power, identity, and meaning in a contemporary settler-colonial context. Israeli policies of closure and separation, and their associated physical structures and bureaucratic requirements and procedures (the wall, checkpoints, the road system and permits), dramatically constrain Palestinian mobility, impede their ability to construct and give meaning to place and are critical to opening up space to be reconfigured along new, and exclusionary, demographic lines of identity and affiliation. This book analyzes how Palestinians comprehend, experience, narrate, and respond to late modern Israeli colonialism with its relentless acquisition of land (and water), settlement building, and practices such as separation and closure, to spatially fracture and immobilize them. Several key concepts and processes are at play: a colonial occupation with a complex set of regulatory practices, the imposition of calibrated chaos, punishment and rule through the construction of spaces of disorder, the application of bio-metric technologies of surveillance and monitoring to control mobility and velocity, all of which rest upon the elaboration and management of social categories of difference along which the partitioning of and access to space is organized.
Spring 2014, Dr. Peteet was in Jordan on an NEH grant to work on "The Cultural Politics of Baths (hammamas)." This research project explored Turkish baths in Jordan in the context of cultural refashioning and its temporal dimension: in other words: in what larger political and cultural context, is the revival of the hammamas unfolding, and why now? I posed a series of interrelated questions about the re-invigoration of a once nearly moribund cultural space and practice. Is this resurgence related to the cultural politics of Turkey's new regional prominence as exemplified by their stance as political broker, a modern neo-liberal Islamic state, and their actions after the 2009 Gaza flotilla incident? In Jordan, there is a new interest in all things Turkish, from media and aesthetics to language and culture more broadly. The revival of baths raises theoretical questions about cultural artifacts, heritage and aesthetics, memory, social practices and space, complex notions of hygiene and the body in Islam, neo-liberal consumption patterns, and regional cultural politics.
2014 IMES "Reacting to Refugee Crises in the Middle East" Conference introductory remarks by Dr. Julie Peteet
Space and Mobility in Palestine. University of Pennsylvania Press. Forthcoming 2015.
Landscape of Hope and Despair: Palestinian Refugee Camps. University of Pennsylvania Press, 2005.
Gender in Crisis: Women and the Palestinian Resistance Movement. New York: Columbia University Press, 1991.
Articles in Journals:
"Beyond Compare". Middle East Report 253(Winter), 2009.
"Unsettling the Categories of Displacement". Middle East Report 244(Fall): 2-9, 2007.
"Problematizing a Palestinians Diaspora". International Journal of Middle East Studies 39: 627-646, 2007.
"Icons and Militants: Mothering in the Danger Zones". Signs: Journal of Women and Culture 23(1):103-129, 1997.
"The Writing on the Walls: The Graffiti of the Intifada". Cultural Anthropology 11(2): 139-159, 1996.
"Male Gender and Rituals of Resistance in the Occupied Territories: A Cultural Politics of Violence". American Ethnologist 21(1):31-49, 1994.
Chapters in Books:
"The War on Terror, Dismemberment, and the Construction of Place: An Ethnographic Perspective from Palestine". in A. Robbins (ed), Iraq at a Distance. What Anthropologists Have to Say about the War in Iraq. University of Pennsylvania Press. 2010, pp. 80-105.
"Cartographic violence, displacement and refugee camps. Palestine and Iraq". in Knudsen & Sari Hanifi (eds.) Palestinian Refugees in the Levant: Identity, Space and Place. Routledge, 2010. pp. 13-28.
"Nationalism and Sexuality". in Muge Gocek (ed.) Social Constructions of Nationalism in the Middle East. New York: Syracuse University Press (2002).
"Gender and Sexuality: Belonging to the National and Moral Order". in Hermeneutics and Honor: Negotiating Female "Public" Space in Islamic/ate Societies. A. Afsaruddin (ed.) Cambridge: Harvard University Press (1999).
"Transforming Trust: Dispossession and Empowerment among Palestinian Refugees" in Trust and the Refugee Experience. E. Valentine Daniel & J. Knudsen (eds.) Berkeley: University of California Press (1995).
Middle East and Islamic Studies Program
Dr. Julie Peteet
2019 MAMEIS Conference
World Scholars study abroad 2019-2020
Washington, DC Summer 2019 Internship Program
Critical Language Scholarship Workshop 2018
Muslims and Christians in Dialogue at the Founding of Islam
M-F 8:00am to 4:30 pm
MEIS Program Director


Question: Are you allowed to daven Shacharis after Chatzos? Ive seen many people doing this, where they would put on tefilin and daven from beginning to end. Do they have on whom to rely? And if so..what criteria must be met to allow this?
Answer: If one did not daven Shacharis until chatzos he has no option other than to daven Mincha two times. He must still wear tefillin, and Mincha is an acceptable time to wear them.


text:
<!DOCTYPE html>

<meta charset="utf-8">
<title>GLSL texture offset with uniform texture coordinates test</title>
<link rel="stylesheet" href="../../resources/js-test-style.css"/>

redpajama_set_name: RedPajamaGithub


text:
import json

from bottle import run, get, request, abort, response

from db.db import session
from db.models import Metric, WeatherStation
from api.errors import error404, error400, error500

def jsonp(rq, dictionary):
    if rq.query.callback:
        return "%s(%s)" % (rq.query.callback, json.dumps(dictionary))
    return dictionary

@get('/stations')
def get_stations():
    stations = session.query(WeatherStation).all()

    stations_list = []
    for station in stations:
        station_dict = {
            'id': station.id,
            'name': station.name,
            'position': {
                'lat': station.latitude,
                'lng': station.longitude,
            },
            'metric_types': [],
        }

        for metric_type in station.metric_types:
            type_dict = {
                'id': metric_type.id,
                'name': metric_type.name,
                'unit': metric_type.unit,
                'last': []
            }

            metrics = (
                session.query(Metric).
                filter_by(weather_station=station, metric_type=metric_type).
                order_by(Metric.timestamp.desc()).
                limit(20)
            )

            for metric in metrics:
                metric_dict = {
                    'value': metric.value,
                    'timestamp': metric.timestamp.strftime('%s'),
                }

                type_dict['last'].append(metric_dict)

            station_dict['metric_types'].append(type_dict)

        stations_list.append(station_dict)

    return jsonp(request, {'stations': stations_list})

def main():
    run(host='0.0.0.0', port=8081)

if __name__ == '__main__':
    main()


text:
Stefanie Horn, née le  à Bottrop, est une kayakiste germano-italienne de slalom.

Elle évolue pour l'Allemagne de 2006 à 2012, puis pour l'Italie.

Carrière
Elle remporte la médaille d'argent en K1 aux Championnats d'Europe de slalom 2013 et aux Championnats d'Europe de slalom 2017.

Elle termine huitième de la finale de K1 slalom aux Jeux olympiques de 2016.

Elle est aussi médaillée en C2 mixte aux Championnats du monde de slalom 2017.

Elle remporte la médaille d'or en K1 aux Championnats d'Europe de slalom 2022.

Famille
Elle est la belle-sœur du kayakiste Giovanni De Gennaro.

Liens externes

Kayakiste allemande
Kayakiste italienne
Céiste allemande
Céiste italienne
Kayakiste de slalom
Céiste de slalom
Kayakiste aux Jeux olympiques d'été de 2016
Naissance en janvier 1991
Naissance à Bottrop
Étudiant de l'université de Milan
Championne d'Europe de slalom (canoë-kayak)

redpajama_set_name: RedPajamaWikipedia


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While the above does not mean a diagnosis of depression, if these symptoms exist and are persistent in your or your loved one's daily life, it is worth talking to someone and exploring what you are experiencing. You are not alone, one in fifteen adults are affected by depression in any given year and one in six people will experience depression at some point in their lifetime. When you seek counseling with us, we aim for you to set goals and increase functioning at home, work, in important relationships, and all aspects of your daily life by increasing coping skills and building your support system.
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Permalink Submitted by Chihawk on Mon, 2019-02-11 19:12.
I was fascinated to see the reference to Arrigo Foa.In 1959 / 60 I was a young National Service officer in the RE based at Tailam; I was also 2nd Oboist in the Hong Kong Philharmonic Orchestra, Arrigo was conductor and Dr Solomon Bard the Leader. The HK Phil was then amateur not the high powered professional band it has now become. The first of 'moddsey's' cross references is to Arrigo's web page on the excellent Jewish Historical Society site. At the foot of the page I have added an anecdote about Arrigo and an orchestral rehearsal at St John's Cathedral Hall in 1960. In the 1950s and into the 60s HK was not into culture. The fact that HK now has a number of orchestras both western and Chinese can be traced back to the work, enthusiasm and drive of Solomon Bard and Arrigo Foa.
Permalink Submitted by BarbyM on Sat, 2019-02-23 09:34.
Lovely to read those words about Arrigo Foa.
I believe my Dad Eric GABRIEL was 1st Violinist in the orchestra playing with Monia Bard and I do remember going to rehearsals with him occasionally. Can't remember if the City Hall was built yet or not. I met Arrigo a few times but didn't know he was buried in the Jewish cemetery. Next time there in Shang Kwong Rd (my grandad buried there) I will look for Arrigo's gravesite.
Permalink Submitted by John Bechtel on Wed, 2019-02-27 14:43.
While I was head prefect at KGV, Arrigo Foa organized a Youth Orchestra. I was the only youngster he could locate who played the trombone (at least I had one and he thought I could play it!!) We practiced and practiced in Kowloon Tong at the home of an eye surgeon who encouraged me even though I was terrible at reading the notes and [playing when I should and not when I should have!!] We had our first concert in the Lee Theatre.. It was a BIG deal but that did not help me with the trombone..One time in the concert Mr Foa gave me a look that would have killed a horse. Evidently I was playing from a previous chart than the one I should have been on!! We had a good laugh after the concert and My mother was never so proud of me as she was when we left with me carrying my trombone!! Never played it again since that night of fame..
Barbara Fei was also a soloist of the Hong Kong Oratorio Society which I sang in for two years from it's inception. The director invited me to his studio for singing lessons, heard me and told me I would be wasting my time and my parents money.. That is the extent of my MUSIC history.
Permalink Submitted by BarbyM on Wed, 2019-02-27 14:55.
Thanks John for that very amusing story... had to smile I must admit. Actually it reminded me of a story when we lived in Braga Circuit and Dad was practicing scales or what not on his violin in the bedroom with the door closed. Our Tibetan Terrier at the time (inherited him and his name, Johnnie) was sitting outside the door and suddenly started to howl.. I mean a real "ah-woooo" - must have lasted for 10 minutes until Dad stopped playing.We laughed so much!!


text:
Wedlocks in Kashmir's landscape
Marriage is a sacred institution in the human societies. Down the passing phases of time, the human beings have tied knots of man and woman in pairs to continue the order of the universe. God created human being in pairs and created humans out of those predecessors. This is even today the order of the nature and will remain so forever.
Marriage is a social and legal contract where man and woman are tied in a holy knot under the auspices of religious principles of Nikkah,as in Islam to carry forward the legacy of humans and human beings. Marriage is a pious knot that brings a man and a woman together forever to created an edifice of support for one another in times of need pain happiness, good and bad, nothing and something etc and is equated with one half of the Muslims faith. Marriage holds a vibrant symbolic significance in that people still want to marry and revere the institution. Overall it is said that the institution of marriage gives peace and order to the life of the man and Islam is in fact testimony to that bizarre fact.
Marriages form a major component of our Kashmiri culture which have come a long way since times immemorial. Marriages in Kashmir have undergone a fundamental transformation. In simpler terms, the age of marriage has risen. During the past times, the marriages in Kashmir were performed in an atmosphere of extravaganza where a lot of food and dishes were wasted and those nostalgic memories are perhaps etched to one and all if one recalls the memoirs of the past life. However today a civic and moral sense has prevailed among the masses where lavishness is slowly and steadily losing grip in our society and austerity is taking the substitution there of. Even the persons who accompany the groom towards the bride's house have been reduced to few.The guests are also nowadays restricted in our society.It is a good gesture and a positive step towards development of society in Kashmir.
In an interview to India today T.V. few years back, i reteriated and favoured the stance of the government regarding ban on lavish marriages in Kashmir and guest control.
However the major problem that besets our marriages in Kashmir is the night long overuse of loudspeakers and subsequent firecrackers at the time of bharat reception. Suppose a person is suffering from disease and is ill, a student has examinations next day, a pregnant woman is expecting a child and the neighbours marriage causes the trouble. It becomes a major sin and music is prohibited in islam as wrong(haram).This ultimately causes trouble to one and sundry. Above the social plane lies the plank of moral conduit. We need to totally stop the use of loudspeakers during mehandirats. Although women can sing in pairs through get together.
Today, when our valley is under the grip of political violence and chaos and uncertainity has become order of the day, people need to show a religious and responsible civic sense and say goodbye to lavish marriages, particularly the menace of dowry in Kashmir.When parents of affluent give huge gifts and dowry to their daughters on their marriages,it causes roadblocks for the poor and disadvantaged sections of the societies and hinders their marriage prospectus..After all, it is the questions of our sisters. A parent who raises a girl child and marries him to a different person knows the pains of departure. Girls need to be respected and cared. They are not the property of their in-laws. There must be regard for the sacrifice of the women's parents and the bride itself.
According to a famous Hadith, Prophet Muhammad SAW says that a marriage is performed on the basis of four factors. Some marry for the prestige of the caste some marry for the financial prospectus, some marry for the beauty of the girl and others marry for the character of the girl.Our beloved Prophet Muhammad SAW says that we need to focus and keep the last factor that is character of the girl in consideration for the to be married man.
In contravention, in our valley the parents are wary of the future of their daughters and want and wish to marry their daughters to the government employees. How many parents ask about the past, character, morality of the man.Be he a morally bankrupt but he should be a government employee. How sad and pathetic? Besides, the daughters are pushed towards late marriages on account of getting education and other factors.It is good to have education,but age factor matters. Parents should rather focus on the humbleness, compassion, character of the to-be grooms. Delaying marriage until personal and professional goals are achieved is a illogical response of our society.
Today,our society has degraded enormously. Our youth are under the grip of a moral disaster and soaked in immoral acts. The problem of late marriages has already aggravated and compounded the problem. The late marriages have given rise to various social problems and ills. Parents should marry off their wards once they become adults and attain maturity. God is responsible for their future. This will prevent our society from moral ills and our society will metamorphosize into a moral hub of social order. Unfortunately, we lack marriage planning and counseling centers in Kashmir. Besides, there is no problem if parents ask about the choice of their wards. Compatibility is a vital factor and golden rule in marriage.
The money which we spent on the lavish marriages can be exploited for the overall good and development of our society.The poor can be helped via this mode. This will make our society a just and humane and also please our creator Allah SWT.
Post-marriage step is a crucial phase in the life of a man. According to John D Gray, men are like rubber bands and women have a wavy nature. The married men and women ought to understand each other and have a regard for each other and their families. Patience is the essence of life. Differences can arise, but it is the role of the married persons to annihilate the crisis that makes inroads almost in everybody's life day-in and day-out and display a calm attitude thereof.
Kashmir history is witness to the fact that in some cases ,the demand of dowry ruins the marital bond during post-marriage time.In some cases, the daughters have committed suicide or have been dragged towards the same under the circumstances. There should be a total ban on the use of dowry in Kashmir. Government should rope in a permanent ordinance to ban lavish marriages and dowry in Kashmir. I was stunned when recently in a facebook post,it came to light that thousands of girls are unmarried in Kashmir. What causes that and who is to be blamed? Let's ponder over it….One day we have to answerable before Allah SWT about our worldly deeds as this life is too short.
The parents which raise a child in the hope of pillar of support tomorrow need to be respected and regarded by the daughter-in-laws. The in-laws become the parents of the women after marriage and they need to treat them equally in that perspective and kind regard. This creates a healthy atmosphere in the lives of couples during post-married life and turns as boost in arm to solidify their strength of oneness forever. Marriage is more than being together. It is a responsibility in vogue, vis-a-vis the creator and created. We can't turn a blind eye to this raw fact. This is all about the conjugal commitments.
Related Topics:CultureIslamKashmirReligionSociety
In Northern Nigeria, Online Skills Help Youth, Women Tap New Opportunities
Globally, youth are the largest poverty-stricken group
The Social Innovators of the Year 2022
The global role of CPC and Xi Jinping in promoting a dialogue among civilizations
Climate Failure and Social Crisis Top Global Risks 2022
Mikaela Jade. (Image: Veuve Clicquot New Generation Awards)
The Schwab Foundation for Social Entrepreneurship announced today 15 awardees for social innovation in 2022.
From a Brazilian entrepreneur using hip-hop to turn Favela youth away from crime, a Dutch nurse revolutionizing home healthcare and a park ranger turned tech founder using Minecraft to revive Australia's Indigenous culture, the 2022 Social Innovators of the Year includes a list of outstanding founders and chief executive officers, multinational and regional business leaders, government leaders and recognized experts.
The awardees were selected by Schwab Foundation Board members, including Helle Thorning-Schmidt, Prime Minister of Denmark (2011-2015), and social innovation expert Johanna Mair, Professor of Organization, Strategy and Leadership at the Hertie School of Governance in Germany, and H.M. Queen Mathilde of Belgium, Honorary Board Member, in recognition of their innovative approach and potential for global impact.
"The Social Innovators of the Year 2022 represent a new ecosystem of leaders who are driving change and shifting organizations and systems towards a more just, inclusive, sustainable future," said Hilde Schwab, Co-Founder and Chairperson of the Schwab Foundation for Social Entrepreneurship.
The Schwab Foundation's unique community of social innovators dates back more than two decades to 1998 when Hilde Schwab, together with her husband Klaus Schwab, Founder and Executive Chairman of the World Economic Forum, created the foundation to support a new model for social change, combining often-overlooked values of mission, compassion and dedication with the best business principles on the planet to serve the most disadvantaged people on earth and build a better society.
Today, the foundation has a thriving community of 400 global social entrepreneurs that have impacted the lives of 722 million people in 190 countries. They offer access to healthcare, education, housing, finance, digital skills and advocacy networks resulting in job creation economic opportunity, improved health and stability.
To help the social enterprise sector increase its reach in response to the COVID-19 pandemic, the Schwab Foundation established the COVID Response Alliance for Social Entrepreneurs early 2020, representing 90+ members and an estimated 100,000 entrepreneurs as the largest collaborative in the sector.
"This year's Schwab Foundation Awardees demonstrate that through values-based approaches centring on inclusivity, collaboration, relationships of trust and long-term sustainability, we have proven ways of changing institutions and mindsets, and disrupting traditional ways of working that hold systemic barriers in place," said François Bonnici, Director of the Schwab Foundation for Social Entrepreneurship.
The 2022 Schwab Foundation Awards are hosted in a long-term partnership with the Motsepe Foundation, founded on the philosophy of "Ubuntu", the African concept of giving and caring for your neighbour and other members of your community.
"I strongly believe social entrepreneurship, combined with local innovation and technology, can create meaningful change and recovery in Africa and many developing nations. At its core it is about bringing together the best of business discipline and efficiency with the best of human and social values. We need this synergy, now more than ever," said Precious Moloi-Motsepe, Co-Chair, Motsepe Foundation and Chancellor of the University of Cape Town.
The 2022 awardees are:
Founders or chief executive officers who solve a social or environmental problem, with a focus on low-income, marginalized or vulnerable populations.
Ashraf Patel, Co-Founder of Pravah and ComMutiny Youth Collective (CYC), India: For almost three decades, Patel has nurtured inside-out youth leadership with collective organisations. This ecosystem has co-created the right space, context and narrative that has reached over 15 million young people.
Celso Athayde, Founder, Central Unica das Favelas (CUFA) and Chief Executive Officer, Favela Holding, Brazil: One of Brazil's best-known social entrepreneurs, Athayde founded the nation's largest social enterprise focused on favela communities, using music and sport to transform their lives.
Jos de Blok, Founder, Buurtzorg, Netherlands: de Blok is revolutionizing nursing around the world with buurtzorg, meaning neighbourhood care, which puts nurses and patients at the heart of its social enterprise model.
Kennedy Odede, Founder and Chief Executive Officer, SHOFCO (Shining Hope for Communities), Kenya: Passion, 20 cents and a soccer ball were the building blocks for Odede's social enterprise SHOFCO, which is transforming urban slums and providing economic hope.
Marlon Parker, Co-Founder, Reconstructed Living Labs (RLabs) and Rene Parker, Chief Executive Officer and Managing Director, RLabs, South Africa: Marlon and Renee Parker grew a Cape Town community project helping ex-convicts into a global social enterprise that has helped around 20 million disadvantaged people by offering tech skills, training, funding and workspaces.
Mikaela Jade, Founder and Chief Executive Officer, Indigital, Australia: From park ranger to tech founder, Jade founded Australia's first Indigenous edu-tech company using augmented and mixed realities to preserve and teach Indigenous culture and history.
Rana Dajani, Founder and Director, Taghyeer/We Love Reading, Jordan: Dajani sparked a global reading revolution, training female volunteers to read to kids. We Love Reading now operates in 56 countries, benefiting nearly half a million children.
Wenfeng Wei (Jim), Founder and Chief Executive Officer, DaddyLab, People's Republic of China: "Daddy Wei" is a social media champion for safer consumer goods. His enterprise DaddyLab is a one-stop shop for trusted product testing, consumer rights advice for families.
Corporate social intrapreneurs
Leaders within multinational or regional companies who drive the development of new products, initiatives, services or business models that address societal and environmental challenges.
Gisela Sanchez, Corporate Affairs, Marketing, Strategy and Sustainability Director, Bac International Bank and Board Member, Nutrivida, Costa Rica: Nutritional food firm Nutrivida, the brainchild of Gisela Sanchez, combats a lack of vitamins and minerals in the diet, known as hidden hunger, that affects 2 billion people.
Sam McCracken, Founder and General Manager, Nike N7, USA: A member of the Assiniboine and Sioux Tribes from the Ft Peck Indian Reservation in Montana, McCracken founded Nike N7 20 years ago with a vision of using the power of sport to promote cultural awareness. It demonstrates Nike's commitment to diversity, equity and inclusion with the Indigenous populations of North America. Today, N7 has benefited more than 500,000 Indigenous youth.
Public social intrapreneurs
Government leaders who harness the power of social innovation social entrepreneurship to create public good through policy, regulation or public initiatives.
Pradeep Kakkattil, Director of Innovation, UNAIDS, Switzerland: Kakkattil founded global platform HIEx to link innovators, governments and investors and find solutions to global healthcare problems, from COVID diagnosis to the cost of medicines.
Sanjay Pradhan, Chief Executive Officer, Open Government Partnership (OGP), Global: Pradhan has been a tireless champion of good governance and fighting corruption, leading a partnership of 78 countries, 76 local governments and thousands of civil society organizations that are working together to make governments more open and less corrupt.
Social innovation thought leaders
Recognized experts and champions shaping the evolution of social innovation.
Alberto Alemanno, Professor of Law, HEC Paris and Founder, The Good Lobby, European Union, France: Alemanno is passionate about overcoming social, economic and political inequalities. His civic start-up, The Good Lobby, kickstarted a movement for ethical and sustainable lobbying.
Adam Kahane, Director, Reos Partners, Canada: Kahane is a global leader in helping diverse teams of leaders work together, across their differences, to address their most important and intractable issues. He has facilitated breakthrough projects in more than 50 countries on climate action, racial equity, democratic governance, Indigenous rights, health, food, energy, water, education, justice and security.
Hahrie Han, Stavros Niarchos Foundation Professor of Political Science, Inaugural Director of the SNF Agora Institute, Johns Hopkins University, USA: Han is a leading academic and author on collective action and the way citizens can collaborate to solve public problems and influence policy, from immigration to voting rights.
Grace and a Tennis Celebrity
Dr. Arshad M. Khan
image source: Wikipedia
Among the character traits we cherish in fellow humans, grace is often more noticeable in its absence. The recent saga of a Serbian tennis player and his manner of entry into Australia and subsequent events come to mind. A champion athlete cannot help but serve as an ambassador for his country, and in Serbia's case, after the horrors of the Yugoslavia civil war and its prominent role, it is a country that needs all the help it can get.
Novak Djokovic is ranked number one in the world and is in Australia to defend his title. He appears to have lied on his Australian entry form: False declarations are grounds for revoking a visa, and immigration officials acted. But as world number one, he is a draw for the tournament … and money talks — he is already scheduled to play his first match as this is written.
Mr. Djokovic's lawyers went to court which overturned the immigration officials' order against him on the grounds they had not followed proper procedure. Then the immigration minister, Alex Hawke, who had been thinking about canceling his visa actually did. So it's back to court.
But it gets worse: Djokovic has not been vaccinated. He claims that having had the illness, he is immune. Scientists have found that to be of short duration.
He also broke isolation rules after he had tested positive, particularly by not isolating himself, thereby endangering his contacts. Cavalier his behavior maybe, perhaps careless but possibly a sense that rules are not for celebrities, only for lesser mortals.
That it caused a sense of outrage is apparent. A leaked video has a couple of news anchors discussing Djokovic in not very flattering terms: "Novak Djokovic is a lying, sneaky asshole", says one. Yet the comment also is evidence of a coarseness that has gradually pervaded language.
In the meantime, Mr. Djokovic's father has his own take on the affair. He calls it a conspiracy to prevent his son from breaking the previous record of 20 Grand Slam title wins held by Rafael Nadal and Roger Federer because they are all against Serbia. But Serbia, which still believes in little Jesus and is thus protected, will prevail.
Would aphorisms like 'a storm-in-a-teacup' or 'mountains out of a molehill' be descriptive? Not if it's news across the world. Yet, if he continues to rant on the tennis court and win, it could be his way of getting rid of nerves, an eternal bugaboo.
He must have another crucial concern: the biological clock. At 34 going on to 35 in five months, and with much younger rivals snapping at his heels, it has to be a race against time to win that 21st major title.
Just like grace notes relieve tedium in music, perhaps Djokovic's rants relieve the boring baseline game that modern tennis has become. No more a Frank Sedgman or a Pancho Gonzales charging up to the net to put away a dramatic volley, tennis now needs a grace note, or two, or three …
Archita Tipnis
Image source: indiatoday.in
India is a country known to have diverse culture, languages, social norms, ethical values, traditional customs, belief system, religions and their personal laws. With personal laws governing succession, adoption, divorce etc, one of the most important aspects governed by the personal laws is Marriage. Indian society has a deep-rooted belief of marriages being the most sacred bond between two people. Every religion of the country gives utmost importance to this sacred bond. Since this bond is of such great importance to the Indian society and to the people of the country, the legal system and the personal laws have made efforts to legalise the sacred bond. There are conditions and requirements laid down for the marriage to be solemnized and get a legal sanction. One such important condition is "age". According to most of the personal laws and The Prohibition of Child Marriage Act, 2006 the legal age for a man should not be less than 21 years of age and a woman 18 years of age. Recently the government introduced The Prohibition of Child Marriage (Amendment) Bill, 2021 to raise the age of marriage for women from 18 years to 21 years
Introduction of this bill shall prove to be a ray of hope for people struggling to curb the evil of child marriage in our country. One cannot claim progress unless women progress on all fronts including their physical, mental and reproductive health. The Constitution guarantees gender equality as part of the fundamental rights and also guarantees prohibition of discrimination on the grounds of sex. This bill would bring women equal to the men as far as the legal age of marriage in concerned. Under the National Family Health Survery-5, it is stated 7% of the girls aged between 15 and 18 years were found to be pregnant and nearly 23% of the girls in the age group of 20 to 24 were married below the age of 18 years. There are researches to point that from 2015 to 2020, 20 lakhs child marriages have been stopped.
In my opinion, increasing the age of women from 18 years to 21 should not be seen solely as an equal opportunity for them to choose their life partners at the same age as that of men, but this is a step taken by the government to eradicate child marriages that still find way in to our society. It should be seen as an effort to bring down maternal mortality rate and infant mortality rate. It shall also try and curb the teenage pregnancies, which are extremely harmful for women's overall health as well as the infants born out of it. We also have to take into consideration that a large part of our society still lack basic education and awareness about these laws and the advantages attached to it. We as educated citizens of the country should take extra efforts in making people aware and to make them understand about the disadvantages associated with child marriage and the overall consequences their children would face in the future. We should appreciate the efforts taken by the government to tackle gender inequality and gender discrimination adequate measures taken to secure health, welfare and empowerment of our women and girls and to ensure status and opportunity for them at par with men.
*The Views Expressed are Strictly Personal


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PublicationsAgata2018-12-19T22:19:41+02:00
Publications of the Vilenica festival
Ruimte: An Anthology of Modern Poetry from Flanders
Vilenica Anthology series, Slovene Writers' Association
The fourth book of the Vilenica Anthology series, which offers a look at lesser known European literatures, is entitled Ruimte, which could be translated as "space," but also as "spaces," "universe" and even "freedom," as the editor of the book Mateja Seliškar Kenda notes in the accompanying text. There she adds: "The Vilenica Anthology series, dedicated to lesser known literatures, this time presents literature from Flanders. As with previous Vilenica guests, also this year it holds true that in many ways it is somewhat specific, beginning with its naming. The literature of Belgian Flanders is written in Dutch and for this reason it is often categorized as Dutch literature, or, at best, the blanket term 'literature in the Dutch language' is used for the Dutch and Flemish literary system. Consequently, often in anthologies authors from one or the other side of the border appear together; this collection presents only Flemish creators."
The anthology encompasses a period of literary creation spanning almost a century in Flanders, the northern, Dutch-speaking part of Belgium. The representative selection arose in close consultation with Tom Van de Voorde from the Vlaams Fonds voor de Letteren (The Flemish Literature Fund) and Professor Herbert van Uffelen from Vienna, who added an extensive accompanying text to the anthology. Twenty-three authors are represented in the text, from Paul Van Ostaijen, the pioneer of modern Flemish literature, to the promising young poet Els Moors: the texts were translated by Mateja Seliškar Kenda, Boris A. Novak, Katjuša Ručigaj andTanja Mlaker.
The anthology follows the visual image of the collection, which on the cover depicts representative works of visual artists for the selected literature. The fourth book of the Vilenica series is decorated by the renowned Flemish painter Roger Raveel. Publication of the book was made possible for the Public Agency of the Republic of Slovenia for the Book, the Flemish Literature Fund and Literature Across Frontiers.
The Vilenica Almanac
The central publication of the festival remains the comprehensive Vilenica Almanac, which features 22 authors from Central European and other countries. The texts are published in the original languages, in Slovene, and in English translations. A separate section is dedicated to the Vilenica Prize Winner. Editors of the almanac are Miljana Cunta and Tanja Petrič.
The Vilenica Almanac 2009
In 2006 the publications were enriched with a programme booklet, which has proved most useful both during the festival and later – especially as a collection of data and contacts. A booklet offering information about the authors and the festival programme was printed this year as well..
Programme Booklet 2009
WEDNESDAY, 6 Sept
Vilenica Prize
Vilenica on Radio Slovenia
Vilenica Cave
Venues&accommodation
CEI Fellowship 2009
Venues 2018
TUESDAY, 5 Sept
THURSDAY, 7 Sept
The 15th International Comparative Literature Colloquium
Slovene guests at Vilenica 2017
SATURDAY, 9 Sept
Publications 2019
Prize winner 2019
Partners of Vilenica 2016
Partners of the Vilenica 2019
Literary mediators at Vilenica 2017
FRIDAY, 8 Sept
Foreign guests at Vilenica 2017
Critics at Vilenica 2017
Central European Initiative Round Table at Vilenica
Central European Initiative Fellowship for the year 2017
Author in focus 2019
17th International Coparative Literature Colloquium


text:
Ed Helms (1,063 views)
themriron2
Two Octave Member
Favourite voice: Michael Bolton
Ed Helms Dec 19, 2018 21:07:29 GMT | To Top Setzer and therangeplaice like this
Post by themriron2 on Dec 19, 2018 21:07:29 GMT
Voice Type: The Nard Baritone
Vocal Range: D2-E5
SPOILER: Click to show
E♭5 "Staying Alive" [3]
B♭4 "This Little Light of Mine"[3]
G#2 "Drift Away" [1]
G2 "Andy's Goodbye"[1]
F#2 "Oompa Loompa, Dwight is Gone"[1]
[1] marks yelps and short trills in high range or anacrusis and short dips in low range.
[2] marks notes of questionable identity that cannot be confirmed to be the singer in question.
[3] marks non-melodic notes that don't have a significant enough pitch to warrant inclusion.
[4] marks notes that possess uncertain pitch or have been pitch-shifted.
[5] marks notes that do not fit the previous criteria but are not of a substantial enough quality to warrant counting towards the singer's range.
Significant High Notes:
E5 ("Take Me Home, Country Roads")
D5 ("Staying Alive")
C♯5 ("Lion Sleeps Tonight", "Rainbow Connection", "This Little Light of Mine")
C5 ("Take Me Home, Country Roads", "Kiss from a Rose")
B4 ("Please Mrs. President", "Rainbow Connection", "The Politics Song" ft. Jack Black)
B♭4 ("Kiss from a Rose", "Lion Sleeps Tonight", "Staying Alive")
A4 ("Please Mrs. President", "Rainbow Connection", "You Can Call Me Al")
G♯4 ("Andy's Ringtone", "Drift Away", "I Try", "Boulevard of Broken Dreams", "Signed, Sealed, Delivered", "Staying Alive", "The Politics Song" ft. Jack Black)
G4 ("Boulevard of Broken Dreams" scat singing, The Office, "Conan's Flat Ass", "Do You Hear the People Sing", "Hamilton", "I Try", "Kiss from a Rose", "Mountain Girls", "My Shadow's The Only One Who Walks Beside Me", "Stu's Song", "Take a Chance on Me", "Take Me Home, Country Roads", "Take Me Out to the Ballgame")
F♯4 ("Allentown", "Drift Away", "Michael Giacchino", "Mountain Girls", "This Little Light of Mine", "Waterfalls")
F4 ("Asheville City Skyline", "Brown Star Insurance (O Holy Night)", "I Try", "Lion Sleeps Tonight", "Ode to Fifty Shades of Grey", "Take a Chance on Me")
E4 ("Bluegrass", "Conan's Flat Ass", "Dunder Mifflin and Sabre Song", "Drift Away", "Michael Giacchino", "Mountain Girls", "Signed, Sealed, Delivered", "Take a Chance on Me")
E♭4 ("I Will Remember You", "Waterfalls", "What I Hate About You", "Your Body is a Wonderland")
D4 ("Brown Star Insurance (O Holy Night)", "Deck The Halls", "Do You Hear the People Sing", "Take Me Out to the Ballgame", "Your Body is a Wonderland")
Significant Low Notes:
E3 ("Conan's Flat Ass", "Michael Giacchino", "I Try", "This Little Light of Mine")
E♭3 ("9,986,000 Minutes", "Deck the Halls", "Waterfalls")
D3 ("Asheville City Skyline", "Brown Star Insurance (O Holy Night)", "Hamilton", "Talking on the Radio")
C♯3 ("Allentown", "Consider Yourself")
C3 ("Asheville City Skyline", "Brown Star Insurance (O Holy Night)", "Closer To Fine", "Conan's Flat Ass", "Consider Yourself", "Do You Hear the People Sing", "Ode to Fifty Shades of Grey", "Stu's Song", "Take Me Out to the Ballgame")
B2 ("Andy's Ringtone")
B♭2 ("I Will Remember You")
G♯2 ("Oompa Loompa, Dwight is Gone")
G2 ("Dunder Mifflin and Sabre Song", "Take a Chance on Me", "Talking on the Radio", "The Politics Song" ft. Jack Black)
F2 ("Andy's Ringtone")
E2 ("You Can Call Me Al" bass solo)
D2 ("Knockity Knock")
Blue marks clear falsetto or whistle notes.
Underlines mark notes that are obscured in the song mix.
Italics mark non-melodic notes.
Boldface marks notes that are considered to be particularly notable examples of this person's vocal capabilities.[/font]
jaredletoisbackagain
Five Octave Member
Ed Helms Dec 19, 2018 21:21:21 GMT | To Top
Post by jaredletoisbackagain on Dec 19, 2018 21:21:21 GMT
"Andy's Goodbye" is I a cover of "Will Remember You". You know you can google lyrics if you're unsure about a title, right?
Ed Helms Dec 19, 2018 21:23:09 GMT | To Top via mobile
Dec 19, 2018 21:21:21 GMT jaredletoisbackagain said:
Yep; but it seems Andy's Goodbye was what came up instead of the original. I'll fix that!
Ed Helms Jan 16, 2019 2:06:56 GMT | To Top
Post by Wizard Imp on Jan 16, 2019 2:06:56 GMT
Is "Andy's Ringtone" the "Rockin' Robin" one from when Jim puts Andy's phone in the ceiling?
therangeplaice
Ed Helms Jan 30, 2019 13:24:33 GMT | To Top
Post by therangeplaice on Jan 30, 2019 13:24:33 GMT
Non melodic but he had a solid C#6 here:
www.youtube.com/watch?v=462w5DGSDIM#t=1m31s


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The main challenge I find with singing with ear plugs is knowing how to regulate the loudness of my own voice. Since I don't have the normal feedback sound level, it's difficult for me to know if I'm singing too loudly or too softly.
How do you overcome this problem?
I'll respond with a couple tips, but a lot of the answer has to do with patience and changing your priorities.
First, we aren't great at determining how loud we are even without earplugs. Ever get asked why you're being so loud or why you're speaking so quietly and been surprised? I think we've all also experienced other people who were inappropriately loud or quiet and who seemed unaware of it. That can happen with or without earplugs because the mouth's position relative to our ears prevents us from getting a totally clear idea of the relative volume of our voice to others'.
We're hearing some combination of a voice coming from the throat and mouth and arriving at our ears from inside our own head and the sound from our mouths on the outside of our ears and the reflections of our own voice from acoustically reflective structures. We don't hear our own voice the same way others hear it, and we never will, and we have to trust that we've picked up enough cues and good habits to be using our voice at an appropriate volume.
On top of that are personal vocal biases that encourage certain vocal behavior. Maybe there's some intention to show off, so you tend to be louder to get attention. Maybe you're shy and uncertain of yourself, so you tend to hide vocally. Maybe you vacillate between the two. Either one, however, is an extra-musical bias that needs to be internally combatted to find the ideal dynamic level.
So what's different when we wear earplugs that adds to the above challenges?
Our own timbre and perceived loudness are different. Our perception of our own voice is tilted much more towards the voice coming from inside our own head rather than reflections of our voice from the outside world. It feels more cut off from the other voices and has a very different timbre than the other voices. We also feel relatively loud compared to the voices around us.
The experience is unusual. The normal cues we have to determine appropriate volume are distorted because we're just not used to experiencing the world like this.
The overall volume of the outside world is reduced. Low volume cues can be totally missed while wearing earplugs. If you're wearing earplugs that aren't meant for musicians, then the timbral character can also be changed significantly.
All of these are disorienting if you're not used to them. So what to do?
The simplest solution is to use your earplugs more often. There's no replacement for simply practicing more often with them. And I mean that seriously: don't just use the earplugs in noisy group rehearsals, but use them when you're practicing alone even if you're not at risk of hurting your own ears.
You have to let yourself get used to them, and that may mean you might sing a bit too loudly or softly sometimes. But that's what rehearsals are for. You're practicing. Let yourself make mistakes and adjust from there. Eventually, your ears and brain will figure the new paradigm out.
I like changing modes quickly to trick myself into learning new things. For example, the open mouth hum from Richard Miller is one of my favorite exercises. That's where you cover your mouth with your hand, sing up to a high note, and then after you've begun singing the note you remove the hand.
Do the same with earplugs. Begin singing with them, then remove them in the middle of a phrase, then add them back, and then repeat. You'll begin getting a good sense of what your voice sounds like both with and without. You can do this alone or in rehearsal. Just try to do it subtly, so you don't disrupt anyone else's work process.
You don't necessarily have to use earplugs for this. Just cover your ears with your hands, and alternate on and off as you sing.
Your pre-earplugs level of attention won't cut it. You have to up your game or you'll miss too much. Even through the earplugs, you'll be able to get a lot of information, but only if you actively work at it.
Since you're hearing less, you have to give more attention to what you're hearing. Can you hear your neighbor's voice? What does their timbre tell you about their vocal intensity? If the conductor speaks, can you hear what they're saying? Can you hear the piano/orchestra?
Likewise, pay more attention to yourself. Do you feel like you're really working hard to sing? Do you feel like you're pushing? Do you feel like you're singing without energy? Does your energy match the singers around you?
You have to learn to sing in a way where your primary reference is how it feels rather than how it sounds. Low-effort low volume singing feels a certain way, and you don't need your ears to know it. Excessively loud pushed singing also feels a certain way, and you don't need to hear it to feel it.
Even if you're not singing with earplugs, if you sing long enough, you'll be faced with weird acoustic situations. If you're dependent on the sound of your own voice, you will constantly be frustrated and blame your troubles on the "bad acoustic" or "dead space" or the "weird costume" (hats and hoods are notorious for messing with how you hear yourself). But singing primarily by feeling applies to every acoustic situation.
At some point, you get an idea of how softly you can sing and how loudly, and your singing will be and should be far away from either extreme.
Find that middle ground and move to and away from that point in line with the musical demands. Think of giving around 60% of your max volume as the default mezzo forte dynamic. Then 55% for piano and 40% for pianissimo. 70% for forte and 80% for fortissimo.
You basically never want to approach 100% in terms of volume unless you're going for an effect, and if you're singing in an ensemble, you probably shouldn't be going for that effect.
Is our diction clear and unified?
Are our phrases moving together?
Are we attacking the pitch cleanly without sliding or other undesirable vocal effects?
Are we responding to the conductor dynamically?
Tuning? Rhythm? I'd argue that getting the rhythm wrong is a much bigger danger of singing with earplugs than being too loud just because you can drop your attention for a few seconds and not realize you've gone off into your own rhythm-world.
There are a lot of ways to draw unwanted attention to yourself well before you sing too loudly or softly. If you're really paying attention to the ensemble and getting all those other things right, it's really unlikely that your personal loudness is by itself going to be a problem.
If you combine everything above, you'll be paying a lot of attention in rehearsal. You'll be listening to your colleagues carefully through the reduced loudness of the earplugs. You'll be following the conductor's movements and her or his words very closely. You'll be paying attention to how your singing feels. You'll be paying attention to all the things that make an ensemble sound unified. You'll have found a healthy standard loudness that's neither too soft nor too loud, and you'll reference your other dynamic levels to that point. You'll never sing with 100% volume or near-0% energy.
The earplugs will make you feel a bit isolated, and it's a scary place to be at first, but with patience, you'll adapt to them and enjoy the benefits that I believe regular singing with earplugs can bestow.


text:
First night in the new house
Revised a bit from last night on account of sobriety.
Good times at the Lyric Opera last night, for its new staging of Iphigenie en Tauride. The main attraction? One Ms. Susan Graham, of course. Her harrowing, damaged, exquisitie Iphiginie is trademark Graham through and through: the unerring instincts, the consummate musicianship, etc. One just can't get over what a unique talent it is (nor can the Lyric, apparently, who saw fit to give her her own curtain call, replete with special spotlight...I mean, it's not like she's Elvis, people).
But last night really demonstrated a new side of SG for me--I've only seen her live three times, and one of those in concert, but she has always struck me as a very 'still' presence onstage. That's not to say stilted by any means, but simply that her physical presence plays second fiddle to the vocal drama. Or maybe it's just that she's like, 6'5'', and that conjurs up less mobile adjectives like towering and statuesque. In any event, this was not the case last night. Barefoot, clad in a black shroud, and sporting long unkempt hair (instead of that kicky highlighted business we usually associate with her), her Ipheginie stumbles about, curls up in the corner, lunges impetuously, and beats the walls with all the bravado of an inmate in an asylum. It's a dynamite performance and a persuasive reading.
But if I were to make one small quibble, and I were, it would be that she seemed guarded in her upper register. It didn't come up that often, but there was notable cautiousness in several big flourishes up top. Question for people that know more about Iphigenie than I: is that because the role has some sections decidedly at the fringes of modern mezzo range? It's nominally sung by full fledged sopranos, no?
As to the rest of the cast: very high marks to Paul Groves' Pylade--a thrilling clarion tone and deep commitment, although the admittedly very hard big aria in Act III seemed to get the better of him in a few places. Lucas Meachem, in the role of his, um, "special friend" Oreste brings a very agreeable light baritone to the part, but had some notable intermittent shortfalls in the power and pitch departments. Mark Delavan turned in a solid Thoas, but I didn't enjoy him as much here as I have on other occasions.
The staging, which plays out on a simple box of slate walls, is on its face a standard minimalist angle, but definitely effective, and in parts very inventive. The lighting design is spare and on target--harsh spots down stage are used to throw the singers' shadows against the slate walls and a devious orange wash crops up to denote points of madness, a haunting blue for Iphigenie's sorrow. Shadows are used cleverly throughout to create a murky, foreboding atmosphere and imbue the simple set with a remarkable range of textures. In a nod to the source material, the chorus is deployed here in the Greek sense, as an abiding presence shaping the action, though with a good deal more writhing around, to be sure.
I took some issue with the major gimmick of the first and second acts, which has everyone writing "Iphigenie" and other character names "REDRUM" style on the walls, then washing it off in various ways. Now, I like it when actors draw on the stage as much as the next guy, but this may have gone a bit over the top--by the fourth cycle of drawing/erasing I kind of wanted someone to take their chalk away. All in all though, file this under thoughtful minimalist productions of the sort you think City Opera should be able to do in its sleep, but for some reason just can't.
In the pit, Louis Langree led the Lyric Orchestra in a swinging, carefree reading and drew a really lovely delicate texture from the players. I wondered, though, how responsible he was for a not insignificant handful of moments where singer and orchestra got out of sync. (Private to Met Orchestra: don't worry, you're still my best girl.)
Some pics of the new house forthcoming...
Posted by Alex at 9/30/2006 03:07:00 AM
Maury D'annato said...
Gluck is so much more full of, um, soul if you'll pardon the expression than Handel, and yet it's a big deal when anyone puts on anything other than Orfeo.
Not to slag on Graham, though I often do, I think her top is simply showing signs of wear after many years of honorable service. It was in Ariadne last year. She has spent a long time singing zwischenfach roles.
ffoperabitch said...
The role of Iphigenie has a lot of work around the soprano passagio: Graham's recording of some of the arias on her recital disc shows some curious "turning" in (for want of a better word) on these notes, a bit like Heather Harper in her Messiah recording.
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