text:
Biography: Sensei Nakamura, Tetsuji
Sensei Nakamura, Tetsuji Kevin Kennedy 2014-05-17T13:14:40+10:00
Sensei Tetsuji Nakamura, the man entrusted by Master Higaonna to fulfil a life time's duty of protecting traditional Goju-ryu and passing it on the next generation. In July 2012, Sensei Higaonna announced to his senior students around the world that he would be passing the flame of Goju-ryu onto Sensei Nakamura – a man who has been one of his closest and loyal students.
At the age of only 47 years old, Sensei Nakamura claims that as he is young and that he still has a lot to learn as a Karate-ka; demonstrating the kind of humility we have come to expect from his own instructor. He has committed himself to spend the rest of his life to further protect and develop Okinawan Goju-ryu Karate-do.
Sensei Tetsuji Nakamura had no idea that when he began martial arts training at the age of 12, that his journey would become as serious of a life's pursuit as it has. He was born in Osaka, Japan on April 3rd, 1965 and took up Judo at the age of 12, beginning the practice of Karate in Senior high school at the age of 15. He continued his Judo practice for six years, achieving the level of 2nd Degree Black belt in the art. His commitment to his martial arts training began at an early age, with him training in Judo a minimum of five times per week.
As he entered senior high school he experienced his first introduction of Karate, practicing in a Goju Kai club for three years. Although he admits that his focus was more on Judo at this time, there was obviously a passion and appreciation for Karate that lead to him joining another Karate school upon attending university.
Sensei Nakamura attended Kagawa university and while there began training with another Goju style club. The training was physical, but focused on a lot of free fighting as the club was full of eager young men out to prove themselves on the dojo floor. Sensei Nakamura was one to hold his own and when he told the club instructor that he was heading with some friends to vacation on Okinawa during his university break, his instructor insisted he should get in contact with one his own Sensei's.
Always the loyal student, upon arriving in Okinawa Sensei Nakamura telephoned a man name Shuichi Aragaki. Unto his knowledge, Sensei Nakamura was calling a Karate Master who was one of only two private students of the Goju-ryu style founder, Bushi Chojun Miyagi, following the devastation of World War II. Aragaki Sensei was very kind to this young stranger and invited him to his home for dinner. During the meal, Aragaki Sensei told him about his training with Chojun Miyagi Sensei and what is true karate was all about. After Nakamura Sensei returned to the main land, he started thinking about Aragaki Sensei's stories often. He decided to return to Okinawa and visit Aragaki Sensei one more time to find out more out his Karate from him before he graduated University.
Upon returning to Okinawa, Sensei Nakamura contacted Aragaki Sensei and visited with him again. The Karate master then took the young man and led him to the Uehara dojo in Okinawa. Following introductions, training began. The aging Master asked the young Nakamura Sensei to punch him. Realising the age different, a Sensei Nakamura punched slowly for Master Aragaki who was taken aback. He asked again for the young man to punch him with full power. Sensei Nakamura charged in and quickly found himself on the ground numerous times. He later explained that each of Master Aragaki's punches landed precisely on vital areas each time and that he felt as if he could have been killed by the Sensei had the choice been made. Training eventually moved on to Kata training. After the Master saw the performance of his Kata he asked him 'what is this? This is not traditional Karate.'
The meeting ended, but those words continued to echo within Sensei Nakamura's mind, especially when returning to the university dojo. Later the same year, Sensei Nakamura graduated from university with a law degree and a degree in politics. He had hoped to become a high school teacher, or business man, which had changed from his original choice of wanting to be a policeman in High School. Regardless, Sensei Nakamura had the education and degree's to enter any occupation that he chose. But with the words of Master Aragaki rolling through his head again and again, he decided he must return to Okinawa.
As you can imagine after achieving such high profile degrees at a university level, his mother was not impressed with his decision to move to Okinawa to practice Karate. With all this sitting upon his young shoulders, Sensei Nakamura still decided to pursue Master Aragaki and called to tell him he was returning to Okinawa.
Arriving at the Masters house, Sensei Aragaki explained to the young man that he did not have time to instruct him. Instead he took the young Sensei Nakamura to the legendary Higaonna Dojo, the Okinawan home of the famous World IOGKF Chief Instructor, Sensei Morio Higaonna. The World Master was living in America at the time, but Master Aragaki had a plan for the young man. He showed Sensei Nakamura how to use traditional supplementary training tools (Hojo Undo), such as Chishi, Nigiri Game and Kongoken. He told Sensei Nakamura, 'you must do this every day, train hard'.
In the time of Goju-ryu founder, Bushi Chojun Miyagi, a student who applied to the dojo was subjected to several years of Hojo Undo and Sanchin training. If the student had the patience and the focus to survive this ordeal, then he would be taught Kata and more about Goju-ryu. Although this Hojo Undo still holds a large part in the training of a Goju-ryu Karate-ka, it is an old custom that today is no longer set in stone, in an attempt to ensure Karate remained popular. Karate was already popular with Sensei Nakamura and Master Aragaki recognized this to the point where he subjected him to the same ordeal as that of a new student some fifty years before.
Determined to find true Karate, Sensei Nakamura listened to Sensei Aragaki and practiced hard every day. However, after a few weeks Master Aragaki had not visited the Dojo. Sensei Nakamura would often have dinner at the Masters house on the weekend, Aragaki Sensei gave him lectures about Karate and life, but he visiting to the Dojo was never mentioned. Training continued and the weeks continued to pass, still no Master Aragaki.
It was not until six months had passed, that Master Aragaki had confirmed that Sensei Nakamura had the drive and discipline of a student from the olden days. He went to the Dojo and began to train Sensei Nakamura once or twice per week. First he taught him Sesan Kata, followed by other Goju-ryu Kata; Sesan Kata is Nakamura Sensei's favourite Kata to date.
Sensei Nakamura continued to train and when Master Higaonna returned to Okinawa in 1991 to visit and train at his Okinawan Dojo, he immediately identified the young man's ability and training style. When he managed to win the IOGKF World Championships Hard style free sparring (Irikumi Go) and 2nd place in the Kata competition in the same year, Master Higaonna saw the value in Sensei Nakamura and asked him to come to America with him so he could continue his training. Very nervous, Sensei Nakamura told Master Aragaki of Higaonna Sensei's invitation and he urged him to go. 'Higaonna Sensei is the best Master in the world. You should go learn from him.'
MOVE TO THE UNITED STATES OF AMERICA
So once again, Sensei Nakamura packed up his life for Karate and set off to America to pursue training under his new Master. When first arriving in California, Sensei Nakamura was living with Master Higaonna and his family, becoming an Uchi Deshi (literally a house student). He would train every morning with the Goju-ryu Master in his garage and then again with him in the afternoon and evening at his Dojo in San Marcos – the Institute of Traditional Karate. Class training with Master Higaonna is physical as it is, let alone being one on one with him and having no place to hide or leave room for error. The training was gruelling and helped forge Sensei Nakamura into the Karate warrior he would become.
He was soon promoted to assistant instructor at the San Marcos dojo and spent time assisting Higaonna Sensei's wife, Alanna, in the IOGKF office, who was administrative director of the International Federation at the time; a role he would one day inherit from her. Sensei Nakamura was also responsible for teaching junior classes and when Higaonna Sensei was away teaching overseas Gasshuku's he would instruct the senior classes.
As anyone who has had the fortune to train with Master Higaonna knows any session under him drastically improves your Karate in all aspects, Sensei Nakamura has spent years continuously training under the Master and benefiting from his knowledge and traditional methods. This was proven when he again claimed gold at the 1994 IOGKF world championships in the free fighting competition (Irikumi Ju) and Kata. In 1995 his name became well known among the IOGKF and Goju-ryu world as he was direct assistant to Master Higaonna in his legendary video documentary 'Power Training'.
BACK TO JAPAN
In the same year, Master Higaonna realised the need for mainland Japan to have a strong headquarters and decided he would return to Tokyo to establish the Ryubukan, a Dojo
that would become the centrepiece of Goju-ryu in Japan. He asked Sensei Nakamura to accompany him and the two moved to Tokyo together.
ONLY THE TRADITIONAL PATH
In 1994 Tetsuji Nakamura Sensei was 29 years old and had just accomplished his goal of winning the IOGKF World Championships free fighting category – a task he felt pressured to accomplish having been an instructor at the IOGKF Honbu Dojo. But as he lay in bed the next morning, he thought to himself 'am I really the best in the world?' His answer to himself was no. Even though he had achieved an impressive win of the entire tournament, he still felt that compared to many of the IOGKF International senior instructors, he was only starting out as a good traditional martial artist.
It was at this point that he decided to end his competitive career to focus solely on Traditional Okinawan Goju-ryu Karate-do. He changed his personal training schedule to reflect a greater emphasis on Hojo Undo (supplementary training specific to Goju-ryu) and Sanchin practice. He felt his Karate, strength, power and speed improved drastically as he moved into his thirties.
His commitment to traditional Karate made returning to Japan to assist Master Higaonna in establishing the Ryubukan Dojo a little easier. Master Higaonna decided a strong centrepiece for Goju-ryu in Japan was needed and in turn he established the Dojo in the capital of the land of the rising sun. Sensei Nakamura was training daily and teaching at the Ryubukan as an assistant instructor. He stayed in Tokyo for three years to help Master Higaonna to establish the Japanese Headquarters.
In 1997, Sensei Nakamura moved to Canada to help his friend, Jim Marinow (former IOGKF Canada Chief Instructor). The two had practiced together in California under Master Higaonna in the early 1990s. In 2000, he married Rania and they had their first baby, Emilie, in 2002. In same year, Mrs. Alanna Higaonna retired from her position as an administrative director and Master Higaonna appointed Sensei Nakamura as the new person to oversee the running of the International Federation. Nakamura Sensei moved back to Okinawa with his wife Rania and three month old daughter for one year, so he could take over the task of administrative director for the IOGKF. He then moved back to Canada in 2003, as Jim Marinow left the IOGKF in 2002. It was here that Master Higaonna appointed Sensei Tetsuji Nakamura as Chief Instructor for IOGKF Canada.
When Sensei Nakamura declared to his parents that his intentions were to follow his Karate calling after he had finished his university degree, they were not overly impressed. His mother did not speak to him for a great length of time. But when his parents travelled to Canada in 2000 for a vacation, they quickly realised the happiness and the life that Karate had given their son. From this point on, they accepted and supported Sensei Nakamura's quest to become the best person he could be and to spread Goju-ryu across the world.
IOGKF Canada really began to grow at Sensei Nakamura's hand and at the end of 2003 he decided that it was time for him to establish his own Dojo. This was the beginning of Shudokan, now one of the world's most popular Goju-ryu Dojo's. For a number of years he taught out of a purpose built Dojo, but as his popularity grew he was soon dealing with over 180 students training regularly, it was decided that a bigger venue was needed. In 2011, a labour of love was created. A very large two story mechanics garage was transformed into the new Shudokan Dojo. Students from all over Canada and World assisted in building the new home of IOGKF Canada and soon the IOGKF World.
Sensei Nakamura's excellent repour with instructors and students all across the globe, coupled with his rapidly growing International following and his understanding and respect for preserving traditional Goju-ryu; saw Higaonna Sensei appoint him as IOGKF World Vice-Chief Instructor in 2008 and also as an executive committee member for the World Federation.
Sensei Nakamura's role in how Goju-ryu was protected and spread to the World was now becoming larger and he began to travel more and more, having visited over 30 countries in recent years. His humble nature, approachability and sincere desire to want to help every person improve themself through Karate brought exciting prospects to an International organisation which was well past its 30th anniversary.
As the 2012 IOGKF World Budosai approached, Master Morio Higaonna took the time to reflect on his role in traditional Goju-ryu. Now in his mid seventies, Master Higaonna had fulfilled the wishes of style founder, Bushi Chojun Miyagi and spread Goju-ryu to the four corners of the globe. From South Africa to Canada, Britain to Australia & New Zealand, America to the middle east – the IOGKF has an extremely strong foundation in over 55 countries. Master Higaonna then decided he had to look to the future.
A meeting was called for all country chief instructors during the Budosai event. Master Higaonna announced to his most senior students, many of them now respected International instructors in their own right, that he would be stepping back from his role as World Chief Instructor to take up an advisory position within the Federation he had founded. He then moved to announce that Sensei Tetsuji Nakamura would succeed him as the new IOGKF World Chief Instructor and charged him the responsibility to pass Goju-ryu onto the next generation. This announcement was well received by all attendees at the World Budosai and news quickly spread across the globe.
During the same week, Sensei Nakamura achieved the rank of 7th degree Black Belt from Master Higaonna. When this was announced to the world it was met with thunderous applause. When Chojun Miyagi Sensei first entrusted Goju-ryu to a young man named Anichi, he told him he had given him a precious treasure, one which he must protect and never lose. Master Higaonna had now given the same to Sensei Tetsuji Nakamura and the new IOGKF Chief instructor understood the importance of what he has given. "I feel a great responsibility to be chosen as the leader of my generation."
Today, Sensei Tetsuji Nakamura still resides in Canada with his wife Rania and two daughters, Emilie & Sophia. He is a caring family man and dedicates his time between his home life and Karate practice and instruction. He will still tell you today that he is not the best in the world. However it is this humility, coupled with the thousands of hours of sincere & dedicated practice and research that really do make Sensei Tetsuji Nakamura one of the best in World. He once remarked that he doesn't think he can ever reach Master Higaonna's level, but that he will never stop striving to do so. With this passion and spirit towards training and with the backing of the World, the future of Goju-ryu is safe and will continue to prosper under his leadership.
29jul - 4augAll Day2019 World Gishiki & IOGKF 40th Anniversary celebrationsNahaEvent Type :Higoanna SenseiIOGKF Senior InstructorJapan & OkinawaNakamura SenseiSensei LarsenSensei LaubscherSensei MarchantSensei MolyneuxTerauchi Sensei
2019 World Gishiki & IOGKF 40th Anniversary celebrations Naha, Okinawa, Japan July 29 - August 4, 2019 Event headed by: MASTER [...]
2019 World Gishiki & IOGKF 40th Anniversary celebrations
Naha, Okinawa, Japan July 29 – August 4, 2019
Event headed by:
MASTER MORIO HIGAONNA – IOGKF SUPREME MASTER
SENSEI TETSUJI NAKAMURA – IOGKF WORLD CHIEF INSTRUCTOR
July 29, 2019 – Registration
July 30 – August 3, 2019 – Gasshuku
August 4, 2019 – World Masters Demonstration
July 29 (Monday) - August 4 (Sunday)
IOGKF Okinawa
admin.office@iogkf.com
27sep - 29All DaySlovakia Gasshuku with Sensei's Nakamura, Molyneux & LarsenSlovakiaEvent Type :Nakamura SenseiSensei LarsenSensei MolyneuxSlovakia
Slovakia Gasshuku Sensei Tetsuji Nakamura - IOGKF World Chief Instructor Sensei Ernie Molyneux - IOGKF World Vice Chief Instructor Sensei Henrik Larsen - IOGKF World [...]
Slovakia Gasshuku
Sensei Ernie Molyneux – IOGKF World Vice Chief Instructor
Sensei Henrik Larsen – IOGKF World Vice Chief Instructor
27 (Friday) - 29 (Sunday)
IOGKF Slovakia
www.iogkf.sk
End of year message from Nakamura Sensei
Women of Karate & the story of Sensei Linda Marchant
Concerning the Path – By: Higaonna Sensei
Hojo Undo Suspension training videos
Seasons Greetings from around the world
IOGKF members receive bravery award
2017 IOGKF European Gasshuku Report
TRX – A new way of working out
2017 Miyagi Chojun Festival Event Report
IOGKF 'Under Siege' – Steven Seagal visits Higaonna Dojo
Sensei Carlos Martinez
Chief Instructors Gasshuku Date Change
Faces of IOGKF – Ciara McGrath
2016 Christmas Greetings
Message from Mrs. Kerri Larken
A Piece of History
Sensei Chris Larken 1953 – 2016
Messages of condolence for Sensei Chris Larken
2016 IOGKF WORLD BUDOSAI EVENT REPORT
Remastering Mastery


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Q: Google Map not showing properly in bootstrap tab I am working on laravel framework with bootstrap 3 . I want to render my google map in bootstrap tab. but the map is not showing properly. small map show in tab with inline style with gray background. I am adding style on map div but it will not show according to height and width.
kindly advise me any solution.
My issue is resolved by this code:-
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A: if this is styling problem check your  and classes

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text:
require 'gitlab'

module Mooset
  module Endpoints
    class Gitlab < Endpoint

      attribute :endpoint, String
      attribute :private_token, String
      attribute :connection, Object, default: Proc.new { |gitlab, attribute|
        ::Gitlab.client({
          endpoint: "#{gitlab.endpoint}/api/v3/",
          private_token: gitlab.private_token,
        })
      }
      attribute :provider, String, default: 'ldapmain'

      resource :users do
        UserSearch.new(self)
      end

      resource :groups do
        GroupSearch.new(self)
      end
    end
  end
end

redpajama_set_name: RedPajamaGithub


text:
How To Play Checkers King
John Podhoretz on Twitter "If Steve King knows how to
� A checker does not become a king if, while making multiple jumps, it lands momentarily on the opponent's end of the board, but ends the turn in the middle of the board. To become a King, a checker must be on the opponent's end of the board when the turn is over.... 10/05/2013�� Is it the American checkers game played on an 8x8 board with 12 pieces on each side to start the game ot the Canadian checkers game with 144 squares and 30 men on each side. Not an easy game to play. The promoted king has more power than a bishop in chess as it can move not only on a diagonal nut forward and backward and must take the maximum number of pieces in any move played.
Get Checkers King Microsoft Store en-AU
Most leaders are utilizing their resources like they play checkers. They are playing with single game pieces that do not have a ton of mobility or capacity, moving one square at a time. They are playing with single game pieces that do not have a ton of mobility or capacity, moving one square at a time.... THE CHECKERS FAMILY. Traditional. According to R.C.Bell, the original game was invented around A.D. 1100 somewhere in the south of France. The game was inspired on an older Arabic game, Alquerque, and the first name of Fierges.
17/12/2015�� Tweet with a location. You can add location information to your Tweets, such as your city or precise location, from the web and via third-party applications. how to put a gif in firealpaca In checkers, what is supposed to happen when a piece gets to the other side of the board and becomes a king? Does the move end? Can the piece continue to skip in the same turn it becomes a king? Ca...
Gamezer Checkers Play Pool Games Chess Checkers
� A checker does not become a king if, while making multiple jumps, it lands momentarily on the opponent's end of the board, but ends the turn in the middle of the board. To become a King, a checker must be on the opponent's end of the board when the turn is over. 3ds how to get play coins 17/12/2015�� Tweet with a location. You can add location information to your Tweets, such as your city or precise location, from the web and via third-party applications.
Get Checkers King Microsoft Store
Checkers HD Apps on Google Play
Checkers = Baby Chess? Chess Forums - Chess.com
27/09/2008�� Best Answer: In American Checkers: The king can move one square at a time forward or backward. The king may jump in either direction.
Becoming a "King" As soon as one of your checkers reaches the first row on your opponent's side of the gameboard, it becomes a King. Place another checker of the same color on top of it. Now this double-decker checker can move forward or backward on the gameboard. HOW TO WIN The first player to capture all opposing checkers from the gameboard wins the game! We will be happy to hear your
Handling a King Piece in Checkers. A checkers king is a powerful piece in the game. It adds to our ability to capture the pieces of the enemy. However, the power of a king depends largely on its handler.
Most leaders are utilizing their resources like they play checkers. They are playing with single game pieces that do not have a ton of mobility or capacity, moving one square at a time. They are playing with single game pieces that do not have a ton of mobility or capacity, moving one square at a time.
My first "real" video demonstrating how to win with two kings against one king in checkers. Feedback is appreciated
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redpajama_set_name: RedPajamaCommonCrawl


Due to the increased worldwide interest and popularity of high end quality tequilas, Café Coyote in Old Town has appointed Tequila Ambassadors to educate and entertain guests. The concept of a Tequila Ambassador is similar to that of a sommelier. Our Tequila Ambassador will help guide our guests through our list of over 100 tequilas and give recommendations according to guests' taste preference, food pairing and price range.
Please be our guest and come to Café Coyote, Old Town. Meet our Tequila Ambassadors and share their knowledge, experience, passion and love of tequila and the Mexican culture. Choose from over one hundred tequilas and find out who made them, what different tastes they have, and their rich and long history.
More tequila is sold in Old Town San Diego than ANYWHERE ELSE IN THE WORLD.
Tequila is the fastest growing spirit in the USA.
Agave plants take more than 10 years to mature before they can be used to make tequila, and once harvested, the same plant can not be used again.
There is no worm in tequila. Worms are found only in mezcal, tequila's grandparent alcohol.


text:
Košarkaški klub Dubrovnik () is a professional basketball club based in Dubrovnik, Croatia. It competes in the second Croatian division.

History
The club was founded in 1946 and played all most of its history in lower Yugoslavian and then Croatian leagues. In 2004 KK Dubrovnik finally managed to qualify for the first league and they have been playing there ever since.

Notable players
 Lukša Andrić
 Adnan Bečić
 Denis Bajramović
 Andro Knego
 Nikola Prkačin
 Hrvoje Perić
 Ante Tomić
 Mario Hezonja

External links
Official Website

KK Dubrovnik
Basketball teams in Croatia
Basketball teams established in 1946
Basketball teams in Yugoslavia

redpajama_set_name: RedPajamaWikipedia


We deals in bahria town lahore since 10 years.
We deals in DHA lahore since 10 years.
We deals in construction since 10 years.
We deals consultancy since 10 years.
LAHORE PAK PROPERTIES Discussion Forum is actually a gateway for real solutions. Delivering the factual information for guidance of our clients, this forum is not less than a real time consultation on virtual space. Believing in 'your property our priority', LAHORE PAK PROPERTIES highly professional team of realtors always answer your queries on time with the best of their knowledge and by every prospect. Joined by thousands of our valued clients, it is the most authentic information bank on the large and diversified property sector.
Get in touch with LPP for buying a property and we will provide you a number of options in accordance of your budget and preferred locality. Guiding you with the most suitable choice for your needs is our top priority as we are committed to serve you with the very best.
Contact us to evaluate your property's value and we will also connect you with serious buyers upon your request. Sell your property with our assistance as we advertise it to the masses on various digital channels to make it a lot easier for you.
Either buying, selling a property or looking for an investment, proper consultation is required to take the right decision at the right time. Contact any of our highly experienced realtors for free and reliable real estate consultancy to step forward in the right direction.


Touchstone Second edition is an innovative four-level American English course for adults and young adults, taking students from beginning (A1) to intermediate (B2) level. Touchstone uses a corpus-informed syllabus ensuring students are learning the language that people really use. Activities include a strong focus on inductive learning, personalized practice, and encouraging learner autonomy. Each Student´s Book contains approximately 90 hours of material across 12 topic-based units - with additional grammar and pronunciation practice added for the Second Edition. Student´s Book, Level 4 is at the intermediate CEFR level (B1-B2).


text:
Q: How do I maintain two different sessions using shared preferences for two users (driver and rider) in the same application? How do I maintain two different sessions using shared preferences for two users (driver and rider) in the same Android application? I have two activities one for rider and the other one is for driver but when i login as a driver and then close the app and reopen it then it will navigate me on rider's module.
Share preference class:
public class PrefManager {

    // Shared Preferences
    SharedPreferences pref;

    // Editor for Shared preferences
    SharedPreferences.Editor editor;

    // Context
    Context _context;

    // Shared pref mode
    int PRIVATE_MODE = 0;

    // Shared preferences file name
    private static final String PREF_NAME = "logginSession";

    // All Shared Preferences Keys
    private static final String KEY_IS_WAITING_FOR_SMS = "IsWaitingForSms";
    private static final String KEY_MOBILE_NUMBER = "mobile_number";
    private static final String KEY_IS_LOGGED_IN = "isLoggedIn";
    private static final String KEY_MOBILE = "mobile";
    private static final String USER_TYPE = "mobile";

    public PrefManager(Context context) {
        this._context = context;
        pref = _context.getSharedPreferences(PREF_NAME, PRIVATE_MODE);
        editor = pref.edit();
    }

    static SharedPreferences getPreferences(Context context) {
        return PreferenceManager.getDefaultSharedPreferences(context);
    }

    /**
     * Set the Login Status
     * @param context
     * @param loggedIn
     */
    public static void setLoggedIn(Context context, boolean loggedIn){
        SharedPreferences.Editor editor = getPreferences(context).edit();
        editor.putBoolean(LOGGED_IN_PREF, loggedIn);
        editor.apply();
    }

    /**
     * Get the Login Status
     * @param context
     * @return boolean: login status
     */
    public static boolean getLoggedStatus(Context context) {
        return getPreferences(context).getBoolean(LOGGED_IN_PREF, false);
    }

    public void setIsWaitingForSms(boolean isWaiting) {
        editor.putBoolean(KEY_IS_WAITING_FOR_SMS, isWaiting);
        editor.commit();
    }

    public boolean isWaitingForSms() {
        return pref.getBoolean(KEY_IS_WAITING_FOR_SMS, false);
    }

    public void setMobileNumber(String mobileNumber) {
        editor.putString(KEY_MOBILE_NUMBER, mobileNumber);
        editor.commit();
    }

    public String getMobileNumber() {
        return pref.getString(KEY_MOBILE_NUMBER, null);
    }

    public void createLogin(String mobile) {
        editor.putString(KEY_MOBILE, mobile);
        editor.putBoolean(KEY_IS_LOGGED_IN, true);
        editor.commit();
    }

    public boolean isLoggedIn() {
        return pref.getBoolean(KEY_IS_LOGGED_IN, false);
    }

    public  void clearSession() {
        editor.clear();
        editor.commit();
    }

    public HashMap<String, String> getUserDetails() {
        HashMap<String, String> profile = new HashMap<>();

        profile.put("userID", pref.getString(KEY_MOBILE, null));
        profile.put("sessionID", pref.getString(KEY_MOBILE, null));
        profile.put("mobile", pref.getString(KEY_MOBILE, null));
        return profile;
    }

    // ...

In rider's verification Activity: when I retrieve otp from Api I use .set loggedin method from shared preference class:
    // Parsing json object response
    // response will be a json object
    boolean error = responseObj.getBoolean("error");
    String message = responseObj.getString("message");
    if (!error) {
        PrefManager.setLoggedIn(getApplicationContext(), true);
    }

}, new Response.ErrorListener() {

    @Override
    public void onErrorResponse(VolleyError error) {
        Log.e(TAG, "Error: " + error.getMessage());
    }
}) { ... }

And in driver,s Verification I do the same as rider's verification (above scenario).

A: In you current implementation, You have to check in RiderLoginActivity's onCreate whether user isLoggedIn or not and what is the type of the user to move next.
Based on that you have bellow options:
if(isLoggedIn) {
    if(type == "driver")
        //navigate to driver module
    else
        //navigate to rider module
}

But this is not the best practice. You should have one welcome screen/ Splash Screen and make this decision there. In that case you have to implement else like this.
else
    //navigate to RiderLoginActivity

Hope this will help you. Thanks

A: Make the different preference for both app.then you can access both data for this

A: Because I don't know what you are doing exactly I will guess.
Probably you check in the beginning if you have saved data for a rider and if this is true, you open rider. I can think of two solutions.
 1. delete Sharedpreferences for rider when you login as driver and vice versa.
 2. If you want to maintain both data you need to add some kind of key which one you want to open on app start. prefs.editor.put("activeUser", "driver").apply(). Than on App start you need to check if activeUser is "driver" or "rider" and open the corresponding Activity.


text:
Q: Issue understanding non-recursive list comprehension concat in haskell Hello I'am currently studying for exams and was having issues with an answering topic, as the title state, the goal is to create a non-recursive concat function using comprehension lists, looking at the solution it is:
concat3 :: [[a]] -> [a]
concat3 xss = [x | xs <- xss, x <-xs]

Yet I can not understand why that works, any help would be appreciated.

A: You can picture a list comprehension as a nested loop.  So,
[ z | x <- list1, y <- list2 ]

means  "for each x in list1, for each y in list2, yield z", and the resulting list is the collection of all yielded values in order.  Notice that the value to be yielded, z here, comes first in the notation.  So if we had:
[ (x,y) | x <- [1,2], y <- [3,4,5] ]

This says, "for each x in [1,2], for each y in [3,4,5], yield (x,y)", and thus we get:
[ (1,3), (1,4), (1,5),   -- when x = 1
  (2,3), (2,4), (2,5) ]  -- when x = 2

Equipped with a mnemonic for list comprehensions, we can read your concat3 definition.
concat3 xss = [ x | xs <- xss, x <- xs ]

I am going to rename the variables to make it easier to read:
concat3 listOfLists = [ x | list <- listOfLists, x <- list ]

We can now read this as, "for each list in listOfLists, for each x in list, yield x".  That is, yield all the elements from the first list, then all the elements from the second list, and so on, which corresponds to concatenating all the lists.
The naming I used is unlikely to be seen in the wild. It is conventional to use "plural" names, ending with s, for variables that are meant to denote lists.  Pronounce xs as "exes".  Taking the linguistic analogy perhaps too far (but it is still common convention), we "double-pluralize" lists of lists, xss.  I usually don't pronounce that, because "exeses" sounds too silly.  So you can see by the name that xss is a list of lists, and xs is a list, which will you help read dense expressions like these.

A: List comprehension arrows (<-) can be read as "in", like [x | xs <- xss, x <- xs] reads "x for xs in xss and x in xs" which indicates that we're unpacking each list in our list-of-lists to its constituent elements—which is kind of like concat.
There are many ways to view this, though.

Mechanically, list comprehensions translate to do notation
do xs <- xss
   x  <- xs
   return x

and do notation translates to (>>=) and (>>)
xss >>= \xs -> xs >>= \x -> return x

and then (>>=) itself turns into concatMap and return to (\x -> [x]) when we instantiate them on lists.
concatMap (\xs -> concatMap (\x -> [x]) xs) xxs

and if you think about concatMap (\x -> [x]) you might see it as passing over a list, taking each element to a singleton list, then concatenating them... which is just a complex way of doing nothing whatsoever.
concatMap id xss

and from the definition of concatMap we have
concat (map id xss)

and finally just (from the Functor laws! Or common sense)
concat xss

so it shouldn't be surprising that the function works like concat does.

What about interpreting the do notation as we tend to think semantically when in the "list monad"?
do xs <- xss
   x  <- xs
   return x

In essence, this can be read as "choose non-deterministically one of the constituent lists from our list-of-lists, then choose non-deterministically one of the elements from that list--collect all possibilities from this procedure" which, again, leads to the idea that we're just concatenating.

We could also take a lucky correspondance from the Control.Monad function join
join              :: (Monad m) => m (m a) -> m a  -- this looks `concat`-like!
join x            =  x >>= id

If we consider the inner xs >>= \x -> return x and then use eta-conversion we have xs >>= return which is just the "right identity" monad law, helping us to see that
xss >>= \xs -> xs >>= \x -> return x
===
xss >>= \xs -> xs >>= return
===
xss >>= \xs -> xs
===
xss >>= id
===
join xss

and then we can lookup how to instantiate join in the list monad and see join = concat.

So there are many ways see concat as implemented via a list comprehension, depending on how you want to think of list comprehensions. The great part is that these are all equivalent and can build upon one another to form a basis for what the lists and their monad instances really mean.


For all Six Kinds of Difficult Listening, the methods are Stop, Look, and Listen. These methods do save lives. Next: Applying these methods for managing diversity, persistent ignorance, conflict, generalized anxiety, verbal abuse, and malicious intent.


text:
package search

import (
	"fmt"
	"net/http"
	"net/url"
	"strings"
	"time"

	"github.com/algolia/algoliasearch-client-go/v3/algolia/call"
	"github.com/algolia/algoliasearch-client-go/v3/algolia/errs"
	iopt "github.com/algolia/algoliasearch-client-go/v3/algolia/internal/opt"
	"github.com/algolia/algoliasearch-client-go/v3/algolia/iterator"
	"github.com/algolia/algoliasearch-client-go/v3/algolia/opt"
	"github.com/algolia/algoliasearch-client-go/v3/algolia/transport"
	"github.com/algolia/algoliasearch-client-go/v3/algolia/wait"
)

// GetObject retrieves the record identified by the given objectID and
// deserializes it into the object parameter.
func (i *Index) GetObject(objectID string, object interface{}, opts ...interface{}) error {
	if objectID == "" {
		return errs.ErrMissingObjectID
	}

	opts = opt.InsertExtraURLParam(
		opts,
		"attributesToRetrieve",
		strings.Join(iopt.ExtractAttributesToRetrieve(opts...).Get(), ","),
	)

	path := i.path("/" + url.QueryEscape(objectID))
	return i.transport.Request(&object, http.MethodGet, path, nil, call.Read, opts...)
}

// SaveObject saves the given object to the index.
func (i *Index) SaveObject(object interface{}, opts ...interface{}) (res SaveObjectRes, err error) {
	path := i.path("")
	err = i.transport.Request(&res, http.MethodPost, path, object, call.Write, opts...)
	res.wait = i.WaitTask
	return
}

// PartialUpdateObject replaces the object content of the given object according
// to its respective objectID field.
func (i *Index) PartialUpdateObject(object interface{}, opts ...interface{}) (res UpdateTaskRes, err error) {
	objectID, ok := getObjectID(object)
	if !ok {
		err = errs.ErrMissingObjectID
		res.wait = noWait
		return
	}

	opts = opt.InsertExtraURLParam(
		opts,
		"createIfNotExists",
		iopt.ExtractCreateIfNotExists(opts...).Get(),
	)

	path := i.path("/" + url.QueryEscape(objectID) + "/partial")
	err = i.transport.Request(&res, http.MethodPost, path, object, call.Write, opts...)
	res.wait = i.WaitTask
	return
}

// DeleteObject removes the record identified by the given objectID.
func (i *Index) DeleteObject(objectID string, opts ...interface{}) (res DeleteTaskRes, err error) {
	if objectID == "" {
		err = errs.ErrMissingObjectID
		res.wait = noWait
		return
	}

	path := i.path("/" + url.QueryEscape(objectID))
	err = i.transport.Request(&res, http.MethodDelete, path, nil, call.Write, opts...)
	res.wait = i.WaitTask
	return
}

// GetObjects retrieves the records identified by the given objectIDs and
// deserializes them into the objects parameter.
func (i *Index) GetObjects(objectIDs []string, objects interface{}, opts ...interface{}) error {
	var (
		attributesToRetrieve = iopt.ExtractAttributesToRetrieve(opts...)
		requests             = make([]getObjectsReq, len(objectIDs))
		body                 = map[string]interface{}{"requests": requests}
		res                  = getObjectsRes{objects}
	)

	for j, objectID := range objectIDs {
		requests[j] = getObjectsReq{
			IndexName:            i.name,
			ObjectID:             objectID,
			AttributesToRetrieve: attributesToRetrieve,
		}
	}

	path := "/1/indexes/*/objects"
	return i.transport.Request(&res, http.MethodPost, path, body, call.Read, opts...)
}

// SaveObjects saves the given objects to the index.
//
// Objects can either be a slice, an array or an object implementing the
// iterator.Iterator interface. In the last case, SaveObjects will call the Next
// method of the iterator to retrieve the objects sent one by one.
//
// This method does not send all the provided objects in a single call. Objects
// are sent by batches whose size is controlled by Configuration.MaxBatchSize
// (defaults to search.DefaultMaxBatchSize).
func (i *Index) SaveObjects(objects interface{}, opts ...interface{}) (res GroupBatchRes, err error) {
	return i.batch(objects, AddObject, opts...)
}

// PartialUpdateObjects replaces object content of all the given objects
// according to their respective objectID field.
//
// If opt.CreateIfNotExists(true) is passed, non-existing objects will be
// created, otherwise, the call will fail.
//
// This method does not send all the provided objects in a single call. Objects
// are sent by batches whose size is controlled by Configuration.MaxBatchSize
// (defaults to search.DefaultMaxBatchSize).
func (i *Index) PartialUpdateObjects(objects interface{}, opts ...interface{}) (res GroupBatchRes, err error) {
	var action BatchAction

	if iopt.ExtractCreateIfNotExists(opts...).Get() {
		action = PartialUpdateObject
	} else {
		action = PartialUpdateObjectNoCreate
	}

	return i.batch(objects, action, opts...)
}

// DeleteObjects removes the records identified by the given objectIDs.
func (i *Index) DeleteObjects(objectIDs []string, opts ...interface{}) (res BatchRes, err error) {
	objects := make([]interface{}, len(objectIDs))

	for j, id := range objectIDs {
		objects[j] = map[string]string{"objectID": id}
	}

	var operations []BatchOperation
	if operations, err = newOperationBatch(objects, DeleteObject); err == nil {
		res, err = i.Batch(operations, opts...)
	} else {
		res.wait = noWait
	}
	return
}

func (i *Index) batch(objects interface{}, action BatchAction, opts ...interface{}) (GroupBatchRes, error) {
	var (
		batch       []interface{}
		operations  []BatchOperation
		singleRes   BatchRes
		multipleRes GroupBatchRes
	)

	autoGenerateObjectIDIfNotExist := iopt.ExtractAutoGenerateObjectIDIfNotExist(opts...).Get()
	it := iterator.New(objects)

	for {
		object, err := it.Next()
		if err != nil {
			return multipleRes, fmt.Errorf("iteration failed unexpectedly: %v", err)
		}

		if !autoGenerateObjectIDIfNotExist && object != nil && !hasObjectID(object) {
			return multipleRes, fmt.Errorf("missing objectID in object %#v", object)
		}

		if len(batch) >= i.maxBatchSize || object == nil {
			operations, err = newOperationBatch(batch, action)
			if err != nil {
				return multipleRes, fmt.Errorf("could not generate intermediate batch: %v", err)
			}
			singleRes, err = i.Batch(operations, opts...)
			if err != nil {
				return multipleRes, fmt.Errorf("could not send intermediate batch: %v", err)
			}
			multipleRes.Responses = append(multipleRes.Responses, singleRes)
			batch = []interface{}{object}
		} else {
			batch = append(batch, object)
		}

		if object == nil {
			break
		}
	}

	return multipleRes, nil
}

// Batch sends all the given indexing operations with a single call.
func (i *Index) Batch(operations []BatchOperation, opts ...interface{}) (res BatchRes, err error) {
	body := batchReq{Requests: operations}
	path := i.path("/batch")
	err = i.transport.Request(&res, http.MethodPost, path, body, call.Write, opts...)
	res.wait = i.WaitTask
	return
}

// DeleteBy removes all the records that match the given query parameters.
//
// Not all query parameters are supported, please refer to the official
// documentation for an exhaustive list:
// https://www.algolia.com/doc/api-reference/api-methods/delete-by/#method-param-filterparameters
func (i *Index) DeleteBy(opts ...interface{}) (res UpdateTaskRes, err error) {
	body := newDeleteByReq(opts...)
	path := i.path("/deleteByQuery")
	err = i.transport.Request(&res, http.MethodPost, path, body, call.Write, opts...)
	res.wait = i.WaitTask
	return
}

// Search performs a search query according to the given query string and any
// given query parameter among all the index records.
func (i *Index) Search(query string, opts ...interface{}) (res QueryRes, err error) {
	body := searchReq{Params: transport.URLEncode(newSearchParams(query, opts...))}
	path := i.path("/query")
	err = i.transport.Request(&res, http.MethodPost, path, body, call.Read, opts...)
	return
}

// FindObject searches iteratively through the search response `Hits`
// field to find the first response hit that would match against the given
// `filterFunc` function.
//
// If no object has been found within the first result set, the function
// will perform a new search operation on the next page of results, if any,
// until a matching object is found or the end of results, whichever
// happens first.
//
// To prevent the iteration through pages of results, `doNotPaginate`
// parameter can be set to true. This will stop the function at the end of
// the first page of search results even if no object does match.
func (i *Index) FindObject(
	filterFunc func(object map[string]interface{}) bool,
	query string,
	paginate bool,
	opts ...interface{},
) (*ObjectWithPosition, error) {
	res, err := i.Search(query, opts...)
	if err != nil {
		return nil, err
	}

	var hits []map[string]interface{}
	err = res.UnmarshalHits(&hits)
	if err != nil {
		return nil, err
	}

	for pos, hit := range hits {
		if filterFunc(hit) {
			return &ObjectWithPosition{
				Object:   hit,
				Position: pos,
				Page:     res.Page,
			}, nil
		}
	}

	hasNextPage := res.Page+1 < res.NbPages
	if !paginate || !hasNextPage {
		return nil, errs.ErrObjectNotFound
	}

	return i.FindObject(
		filterFunc,
		query,
		paginate,
		opt.InsertOrReplaceOption(opts, opt.Page(res.Page+1))...,
	)
}

// FindFirstObject does the same as FindObject except that it reverse the
// doNotPaginate boolean parameter.
//
// Deprecated: Use FindObject instead.
func (i *Index) FindFirstObject(
	filterFunc func(object map[string]interface{}) bool,
	query string,
	doNotPaginate bool,
	opts ...interface{},
) (*ObjectWithPosition, error) {
	return i.FindObject(filterFunc, query, !doNotPaginate, opts...)
}

// SearchForFacetValues performs a search query according to the given query
// string and any given parameter among the values of the given facet.
func (i *Index) SearchForFacetValues(facet, query string, opts ...interface{}) (res SearchForFacetValuesRes, err error) {
	params := newSearchForFacetValuesParams(query, opts...)
	body := map[string]string{
		"params": transport.URLEncode(params),
	}
	path := i.path("/facets/%s/query", facet)
	err = i.transport.Request(&res, http.MethodPost, path, body, call.Read, opts...)
	return
}

// BrowseObjects returns an iterator which will retrieve records one by one from
// the index according to the given query parameters.
//
// The return ObjectIterator can decode objects by passing the address of the
// object to decode to as a first argument of its Next() method.
func (i *Index) BrowseObjects(opts ...interface{}) (*ObjectIterator, error) {
	query := iopt.ExtractQuery(opts...).Get()
	searchParams := newSearchParams(query, opts...)
	browser := i.browserForObjects(searchParams, opts...)
	return newObjectIterator(browser)
}

func (i *Index) browserForObjects(params searchParams, opts ...interface{}) func(string) (browseRes, error) {
	return func(cursor string) (res browseRes, err error) {
		body := browseReq{
			Cursor: cursor,
			Params: transport.URLEncode(params),
		}
		path := i.path("/browse")
		err = i.transport.Request(&res, http.MethodPost, path, body, call.Read, opts...)
		return
	}
}

// ReplaceAllObjects saves all the given objects into the index by replacing all
// the original objects. Settings, rules and synonyms are preserved.
//
// Because this method is performing all operations in a non-blocking way, it
// may be fast but Wait() needs to be called on the returned wait.Group to
// ensure completion.
//
// In rare cases, this operation may fail in case of network disconnections. To
// prevent issues, one may want to pass the opt.Safe(true) option. Note that
// passing this option will make the method blocking.
func (i *Index) ReplaceAllObjects(objects interface{}, opts ...interface{}) (g *wait.Group, err error) {
	tmpIndex := i.client.InitIndex(fmt.Sprintf(
		"%s_tmp_%d",
		i.name,
		time.Now().UnixNano()),
	)

	defer func() {
		if err != nil {
			if _, e := tmpIndex.Delete(); e != nil {
				err = fmt.Errorf("temporary index cannot be deleted: %v", e)
			}
		}
	}()

	g = wait.NewGroup()
	safe := iopt.ExtractSafe(opts...).Get()
	optsWithScopes := opt.InsertOrReplaceOption(opts, opt.Scopes("rules", "settings", "synonyms"))

	resCopyIndex, err := i.client.CopyIndex(i.name, tmpIndex.name, optsWithScopes...)
	if err != nil {
		err = fmt.Errorf("cannot copy rules, settings and synonyms to the temporary index: %v", err)
		return
	}
	g.Collect(resCopyIndex)

	resSaveObjects, err := tmpIndex.SaveObjects(objects, opts...)
	if err != nil {
		err = fmt.Errorf("cannot save objects to the temporary index: %v", err)
		return
	}
	g.Collect(resSaveObjects)

	if safe {
		if e := g.Wait(); e != nil {
			err = fmt.Errorf("error while waiting for indexing operations to the temporary index: %v", e)
			return
		}
	}

	res, e := i.client.MoveIndex(tmpIndex.name, i.name, opts...)
	if e != nil {
		err = fmt.Errorf("cannot move temporary index to original index: %v", e)
		return
	}

	if safe {
		if e := res.Wait(); e != nil {
			err = fmt.Errorf("error while waiting for move operation of the temporary index: %v", e)
			return
		}
	}

	return
}


Colombia, a prospect that worries even friendly nations in the region.
and with President Luiz Inacio Lula da Silva's foreign affairs adviser.
President Michelle Bachelet said Colombia's decision to host more U.S.
1,400 currently permitted by U.S. law, the Colombians say.
been seeking to overthrow Bogota governments for 45 years.
Neither country is on Uribe's itinerary.
Jaime Bermudez, plan to be absent.


text:
Andrés Segovia
In this Spanish name, the first or paternal surname is Segovia and the second or maternal family name is Torres.
Andrés Segovia Torres, 1st Marquis of Salobreña[a] (21 February 1893 – 2 June 1987) was a virtuoso Spanish classical guitarist from Linares, Spain. Many professional classical guitarists today were students of Segovia, or students of his students.[1] Segovia's contribution to the modern-romantic repertoire not only included commissions but also his own transcriptions of classical or baroque works. He is remembered for his expressive performances: his wide palette of tone, and his distinctive musical personality, phrasing and style.
The Most Illustrious
Segovia in 1963
Andrés Segovia Torres
(1893-02-21)21 February 1893
Linares, Jaén, Spain
2 June 1987(1987-06-02) (aged 94)
Occupation(s)
3 Technique
4 Repertoire
4.1 Teaching
4.2 Legacy
4.2.1 Namings
7 Partial discography
Segovia was born on 21 February 1893[2] in Linares, Jaén, Spain. He was sent at a very young age to live with his uncle Eduardo and aunt María. Eduardo arranged for Segovia's first music lessons with a violin teacher after recognizing that Segovia had an aptitude for music. This proved to be an unhappy introduction to music for the young Segovia because of the teacher's strict methods, and Eduardo stopped the lessons. His uncle decided to move to Granada to allow Segovia to obtain a better education; after arriving in Granada, Segovia recommenced his musical studies. Segovia was aware of flamenco during his formative years as a musician but stated that he "did not have a taste" for the form and chose instead the works of Fernando Sor, Francisco Tárrega, and other classical composers.[3] Tárrega agreed to give the self-taught Segovia some lessons but died before they could meet, and Segovia states that his early musical education involved the "double function of professor and pupil in the same body".[4]
Segovia's first public performance was in Granada[5] at the age of 16 in 1909.[6] A few years later he played his first professional concert in Madrid, which included works by Francisco Tárrega and his own guitar transcriptions of Johann Sebastian Bach. Despite the discouragement of his family, who wanted him to become a lawyer, and criticism by some of Tárrega's pupils for his idiosyncratic technique,[7] he continued to pursue his studies of the guitar diligently.
He played again in Madrid in 1912, at the Paris Conservatory in 1915, in Barcelona in 1916, and made a successful tour of South America in 1919.[2] Segovia's arrival on the international stage coincided with a time when the guitar's fortunes as a concert instrument were being revived, largely through the efforts of Miguel Llobet.[8] It was in this changing milieu that Segovia, thanks to his strength of personality and artistry, coupled with developments in recording and broadcasting, succeeded in making the guitar more popular again.
In 1921 in Paris, Segovia met Alexandre Tansman, who later wrote a number of guitar works for Segovia, among them Cavatina, which won a prize at the Siena International Composition contest in 1952.[9] In 1921, he also met Agustín Barrios in Buenos Aires, Argentina. Segovia was impressed by Barrios' Bach-inspired and arguably magnum opus La Catedral.[10]
At Granada in 1922 he became associated with the Concurso de Cante Jondo promoted by the Spanish composer Manuel de Falla. The aim of the "classicizing" Concurso was to preserve flamenco in its purity from being distorted by modern popular music.[11] Segovia had already developed as a fine tocador of flamenco guitar, yet his direction was now classical.[12] Invited to open the Concurso held at the Alhambra, he played Homenaje a Debussy by Falla.[13]
Guitar by Hermann Hauser, 1937, Munich, Germany. Concert guitar of Andrés Segovia's from 1937 until 1962. Gift of Emilita Segovia, Marquesa of Salobreña, 1986 (1986.353.1). Housed in the Metropolitan Museum of Art.
In 1923 Segovia visited Mexico for the first time. There Manuel Ponce was so impressed with the concert that he wrote a review in El Universal.[14] Later Ponce went on to write many works for Segovia, including numerous sonatas.
In 1924, Segovia visited the German luthier Hermann Hauser Sr. after hearing some of his instruments played in a concert in Munich. In 1928 Hauser provided Segovia with one of the guitars which he used during his tour of the United States and in other concerts up to 1933. Segovia ordered a further guitar from Hauser and after receiving it passed on the 1928 model to his US representative and close friend Sophocles Papas, who in his turn gave it to his student, the famous jazz and classical guitarist Charlie Byrd, who used it on several records.
Segovia's first American tour was arranged in 1928 when Fritz Kreisler, the Viennese violinist who privately played the guitar,[15] persuaded Francis Charles Coppicus from the Metropolitan Musical Bureau to present the guitarist in New York.[16][17]
After Segovia's debut tour in the US in 1928 the Brazilian composer Heitor Villa-Lobos composed his now well-known Twelve Études (Portuguese: Doze estudos; French: Douze études; German: Zwölf Studien) and later dedicated them to Segovia. Their relationship proved to be lasting and Villa-Lobos continued to write for Segovia. He also transcribed numerous classical pieces himself and revived the pieces transcribed by predecessors like Tárrega.
Segovia at a recital in the "Concerts Ysaye" in Brussels, 15 December 1932 (Hilda Wiener, 1877–1940)
In 1932, Segovia met and befriended composer Mario Castelnuovo-Tedesco in Venice.[9] Since Castelnuovo-Tedesco did not play the guitar, Segovia provided him with guitar compositions (Ponce's Folias variations and Sor's Mozart Variations) which he could study. Castelnuovo-Tedesco composed a large number of works for the guitar, many of them dedicated to Segovia. The Concerto Op. 99 of 1939 was the first guitar concerto of the 20th century and Castelnuovo-Tedesco's last work in Italy, before he emigrated to the United States. It was premiered by Segovia in Uruguay in 1939.[18]
In 1935, he gave his first public performance of Bach's Chaconne, a difficult piece for any instrument. He moved to Montevideo, performing many concerts in South America in the thirties and early forties.
After World War II, Segovia began to record more frequently and performed regular tours of Europe and the US, a schedule he would maintain for the next thirty years. In 1954, Joaquín Rodrigo dedicated Fantasía para un gentilhombre (Fantasy for a Gentleman) to Segovia.[19] Segovia won the 1958 Grammy Award for Best Classical Performance, Instrumentalist for his recording Segovia Golden Jubilee.[20]
John W. Duarte dedicated his English Suite Op. 31 to Segovia and his wife (Emilia Magdalena del Corral Sancho) on the occasion of their marriage in 1962.[21] Segovia told the composer "You will be astonished at the success it will have".[22][23]
In recognition of his contributions to music and the arts, Segovia was ennobled on 24 June 1981 by King Juan Carlos I, who gave Segovia the hereditary title of Marqués de Salobreña[24][25] (English: Marquis of Salobreña) in the nobility of Spain.
Segovia continued performing into his old age, living in semi-retirement during his 70s and 80s on the Costa del Sol. Two films were made of his life and work—one when he was 75 and the other 84. They are available on DVD under the titles Andrés Segovia—in Portrait. His final RCA LP (ARL1-1602), Reveries, was recorded in Madrid in June 1977.
In 1984, Segovia was the subject of a 13-part series broadcast on National Public Radio, entitled Segovia! The series was recorded on location in Spain, France and the United States. Hosted by Oscar Brand the series was produced by Jim Anderson, Robert Malesky, and Larry Snitzler.
Segovia died on 2 June 1987[2] in Madrid of a heart attack at the age of 94. He is buried at Casa Museo Andrés Segovia, in Linares.
TechniqueEdit
The right hand is responsible for the guitar's musical sound, so when examining technique, the way the right hand is placed in relation to the strings is most important. For several years, it was thought among the guitar community that Segovia plucked the strings with a combination of fingertip and nail (as stated by Christopher Parkening[citation needed]), but Segovia plucked the strings only with the nails. When asked which technique he used, he replied: "the only one there is: nails. Because they bring timbre differences and colour variation and give sonorous volume to the guitar."[26] His right hand was placed so that the nails were perpendicular to the strings. In this way the nail alone would press the string. At the same time, it was thought that this was the only way to avoid unpleasant noise coming from the low strings (E, A and D) of the guitar when plucked. Segovia created a strong bass sound with his right thumb in spite of his technique. This was largely due to the flexibility he had in his thumb which helped to create a very strong and voluminous sound in the bass notes. Another innovation that separated Segovia from the Tarrega school was the search for the tension in the strings by placing his right hand further to the right side. In this way, he could not only obtain colour variation but an especially strong, round and voluminous sound, something very helpful for giving concerts in big halls (this technique was later used by Narciso Yepes). Before Segovia, guitarists from the Tarrega school played the guitar with the hand right over the soundhole, thus creating a mellow sound, but not capable of filling the whole space of a large concert hall.
After World War II, Segovia became among the first to endorse nylon strings instead of catgut strings.[27] This advance allowed for greater tonal stability and was the final ingredient in the standardization of the instrument.
RepertoireEdit
Segovia's repertoire consisted of three principal pillars: first, contemporary works, including concertos and sonatas, usually specifically written for Segovia himself by composers with whom he forged working relationships, notably Federico Moreno Torroba, Federico Mompou, and Joaquín Rodrigo, the Mexican composer Manuel Ponce, the Italian composer Mario Castelnuovo-Tedesco, and the great Brazilian composer Heitor Villa-Lobos; second, transcriptions, usually made by Segovia himself,[28] of classical works originally written for other instruments (e.g., lute, harpsichord, piano, violin, cello) by Johann Sebastian Bach, Isaac Albéniz, Enrique Granados, and many other prominent composers; third, traditional classical guitar works by composers such as Fernando Sor and Francisco Tárrega. Segovia's influence enlarged the repertoire, mainly as a commissioner or dedicatee of new works, as a transcriber, and to a far lesser extent as a composer[29] with such works as his Estudio sin luz.
Segovia's main musical aesthetic preferences were music of the early 20th century (and turn of the century) especially in the Spanish romantic-modern and nationalist style. This is perhaps best typified by Segovia's own work Estudio sin Luz. Many works of this and similar style were written especially for him and formed part of his core repertoire: particularly the guitar works of Federico Moreno Torroba (1891–1982), such as the Sonatina, which was first performed by Segovia in Paris in 1925.[30]
Segovia was selective and only performed works with which he identified personally. He was known to reject atonal works, or works which he considered too radical, even if they were dedicated to him; e.g. he rejected Frank Martin's Quatre pièces brèves, Darius Milhaud's Segoviana, etc.[31][32] Even though rejected by Segovia, the works are today all published and available.[33][34][35][36][37][38]
TeachingEdit
Segovia viewed teaching as vital to his mission of propagating the guitar and gave master classes throughout his career. His most famous master classes took place at Música en Compostela in the northern Spanish city of Santiago de Compostela.[39]
Segovia also taught at the Accademia Musicale Chigiana in Siena for numerous years, where he was aided by Alirio Díaz.[40] Later it was Oscar Ghiglia who continued the Siena class.[41]
His teaching style is a source of controversy among some of his former students, who considered it to be dogmatically authoritarian.[42] One of Segovia's most celebrated former students of the classical guitar, John Williams, has said that Segovia bullied students into playing only his style, stifling the development of their own styles.[43][44] Williams has also said that Segovia was dismissive of music that did not have what Segovia considered the right classical origins, such as South American music with popular roots.[43] He was also critical of Williams' work with the group Sky for the same reasons.
LegacyEdit
Segovia can be considered a catalytic figure in granting respectability to the guitar as a serious concert instrument capable of evocativeness and depth of interpretation. It was Federico Moreno Torroba who said: "The musical interpreter who fascinates me the most is Andrés Segovia".[45] He can be credited to have dignified the classical guitar as a legitimate concert instrument before the discerning music public, which had hitherto viewed the guitar merely as a limited, if sonorous, parlor instrument.
In Linares the Segovia Museum "Fundación Andrés Segovia" was established in May 1995,[46] and Linares (Segovia's birthplace) also has a bronze statue in his honour, created by Julio López Hernández and unveiled on 25 May 1984.[47][48][49]
Segovia influenced a generation of classical guitarists who built on his technique and musical sensibility, including Christopher Parkening, Julian Bream, John Williams and Oscar Ghiglia, all of whom have acknowledged their debt to him. Further, Segovia left behind a large body of edited works and transcriptions for classical guitar, including several transcriptions of Bach—in particular, an extraordinarily demanding classical guitar transcription of the Chaconne from the 2nd Partita for Violin (BWV 1004). During his lifetime, guitarists were eager to claim association with Segovia, and Segovia himself suggested that he had not actually taught as many students as has been claimed; he once said, "All over the world I have 'pupils' I have never met."[50]
His editions of works originally written for guitar include newly fingered and occasionally revised versions of works from the standard repertoire (most famously, his edition of a selection of twenty estudios by Fernando Sor,[51] the "cornerstone" of every serious student's technique since its publication in 1945, although somewhat ironically Segovia in the preface to that work disparaged Sor as "not among the vigorous talents") as well as compositions written for him, including by Heitor Villa-Lobos, Federico Mompou, and Mario Castelnuovo-Tedesco.[52] Many of the latter were edited by Segovia, working in collaboration with the composer, before they were first published. Because of Segovia's predilection for altering the musical content of his editions to reflect his interpretive preferences, many of today's guitarists prefer to examine the original manuscripts, or newer publications based on the original manuscripts to compare them with Segovia's published versions, so as to accept or reject Segovia's editorial decisions.[citation needed]
Segovia was one of those to whom homage was paid in the 1978 song by Ian Dury and The Blockheads "There Ain't Half Been Some Clever Bastards".
Influential rock entertainer Johnny Thunders included a guitar instrumental titled "Illegitimate Son of Segovia" in his album Hurt me.
NamingsEdit
The main-belt asteroid 3822 Segovia was named in his memory in 1989.[53]
A competition co-sponsored by the European Guitar Teachers Association is named after Segovia.[54]
AwardsEdit
Segovia was awarded many prizes and honours, including doctorates honoris causa, from ten universities.[55][56] On 24 June 1981, he was ennobled by King Juan Carlos I, who gave Segovia the hereditary title of Marqués de Salobreña[24][25] (English: Marquis of Salobreña) in the nobility of Spain in recognition of his contributions to music and the arts. He received the Danish Sonning Award in 1974, the Ernst von Siemens Music Prize in 1985, and a Grammy Lifetime Achievement Award in 1986.
Segovia's first wife was Adelaida Portillo (marriage in 1918).[57] Segovia's second wife (marriage in 1935) was the pianist Paquita Madriguera, who also made some piano roll recordings.[58][59] From 1944, he maintained a romantic relationship with Brazilian singer and guitarist Olga Praguer Coelho [pt], which was to last for over a decade.[60][unreliable source?] In 1962 Segovia married Emilia Magdalena Corral Sancho.[61] They had one son, Carlos Andrés Segovia,[62] the current Marquis of Salobreña.[63]
Partial discographyEdit
Guitar Solos – Decca, 1949.
An Evening With Andres Segovia – Decca, 1954 (Grammy Hall of Fame Award 1999).
Golden Jubilee, 2 volumi – Brunswick, 1958–60 (Grammy Award for Best Instrumental Soloist Performance (without orchestra) 1958).
Ingterpreta: Granados, Albéniz, Scarlatti, Paganini – Deutsche Grammophon, 1961.
Segovia plays Bach – Saga, 1969.
Castles of Spain – Decca, 1970.
El arte de Andrés Segovia – MCA, 1970.
Fantasia para un Gentilhombre – MCA, 1972.
Recital intimo – Intercord, 1975.
The Segovia Collection, 8 volumi – MCA, 1989–91
Vol. 1: The Legendary Andrés Segovia in an All-Bach Program
Vol. 2: The Legendary Andrés Segovia plays "Fantasia para un Gentilhombre", "Concierto del Sur", "Castles of Spain"
Vol. 3: The Legendary Andrés Segovia: my Favorite Works
Vol. 4: The Legendary Andrés Segovia: The Baroque Guitar
Vol. 5: The Legendary Andrés Segovia: five centuries of the Spanish Guitar
Vol. 6: The Legendary Andrés Segovia: Ponce sonatas
Vol. 7: The Legendary Andrés Segovia: Guitar etudes
Vol. 8: The Legendary Andrés Segovia: Mario Castelnuovo-Tedesco
The complete 1949 London Recordings – Testament, 1994.
The complete Early Recordings (1927–1939) – Fono Enterprise, 1997.
The Art of Segovia – Deutsche Grammophon, 2002.
The Segovia Collection, 4 volumi – Deutsche Grammophon, 2003.
Vol. 1: Rodrigo, Boccherini, Ponce
Vol. 2: Rodrigo, Ponce, Castelnuovo-Tedesco, Torroba, Mompou
Vol. 3: Albeniz, Granados, Sanz, Sor
Vol. 4: Johann Sebastian Bach
Andres Segovia: 1950s American Recordings – Naxos, 2007.
Ponce: "Concierto del Sur". Rodrigo: "Fantasia para un Gentilhombre" – Naxos, 2012.
Segovia – Guitar Music, compositions by Segovia performed by Alberto La Rocca – CD Brilliant Classics, 2016. Contains: 11 Preludios, Estudio en mi mayor, Estudio para Deli, Recordando a Deli, Estudios, Estudio-Vals, Estudio sin luz, Improntu, Two Pieces, Veintitrés canciones populares de distintos paìses.
StudentsEdit
Segovia had several notable students throughout his career:
Lily Afshar
Liona Boyd
Julian Bream
Abel Carlevaro
Michael Chapdelaine
Alirio Díaz
Eliot Fisk
Oscar Ghiglia
Adam Holzman (guitarist)
Michael Laucke
Antonio Membrado
Christopher Parkening
Michele Pittaluga International Classical Guitar Competition, founded with his support
^ Spanish pronunciation: [anˈdɾes seˈɣoβja ˈtores].
^ Tosone, Jim (October 2000). Classical guitarists: conversations. McFarland. p. 7. ISBN 978-0-7864-0813-9.
^ a b c Stevenson, Joseph. "Andrés Segovia Biography". AllMusic.
^ Secrets From The Masters (Edited by Don Menn) – (Published by GPI Books) (ISBN 0-87930-260-7) – p. 237 Segovia quote: "I did not have a taste for the flamenco. My friends began to look in private houses and in music shops for something written for the guitar. And they found something by Sor, Giuliani, Aguado, and little things published by Tarrega."
^ Secrets From The Masters (Edited by Don Menn) – (Published by GPI Books) (ISBN 0-87930-260-7)
^ Secrets From The Masters (Edited by Don Menn) – (Published by GPI Books) (ISBN 0-87930-260-7) – p. 238 Segovia quote: "The first concert I gave was in Granada. Then I had to give it in Seville about two months later."
^ Castro, Iván A. (December 2006). 100 Hispanics you should know. Libraries Unlimited. p. 260. ISBN 978-1-59158-327-1. Retrieved 23 July 2011.
^ In Memory of Andres Segovia Archived 5 March 2009 at the Wayback Machine; by Vasilios Avraam
^ Phillips, Robert Michael, "The influence of Miguel Llobet on the pedagogy, repertoire, and stature of the guitar in the twentieth century" (2002).
^ a b Annala, Hannu; Mätlik, Heiki (2008). Handbook of Guitar and Lute Composers. Mel Bay Publications. p. 64. ISBN 978-0-7866-5844-2.
^ Sila Godoy and Luis Szaran. Mangoré: vida y obra de Agustín Barrios. Editorial Don Bosco y Editorial Ñanduti, Asunción, Paraguay. 1994, pp. 40–48
^ Carol A. Hess, Manuel de Falla and modernism in Spain, 1898–1936 (University of Chicago 2001) at 175.
^ D. E. Pohlen, Lives and Legends of Flamenco (Madrid 1964, revised 1988) at 73.
^ Eduardo Molina Fajardo, Manuel de Falla y El "Cante Jondo" (Universidad de Granada 1962; 2d ed. 1998) at 116.
^ Manuel M. Ponce and the guitar By Corazón Otero, J. D. Roberts; Bold Strummer, 1994; ISBN 0-933224-85-0
^ "Music: Frets in Minneapolis". Time. 29 June 1936. Archived from the original on 15 December 2008.
^ Henahan, Donal (4 June 1987). "Andres Segovia Is Dead At 94; His Crusade Elevated Guitar". The New York Times.
^ Andres Segovia, Spanish Guitarist Archived 28 June 2011 at the Wayback Machine; Biography; hosted at Cumpiano.com
^ Annala, Hannu; Mätlik, Heiki (2008). Handbook of Guitar and Lute Composers. Mel Bay Publications. p. 64. ISBN 978-0-7866-5844-2.
^ Zinger, Pablo (August 1999). "Music; A Composer Who Found Strength in an Inner Vision". The New York Times.
^ Segovia at Grammy.com
^ Jim Tosone (October 2000). Classical guitarists: conversations. McFarland. p. 31. ISBN 978-0-7864-0813-9.
^ John W. Duarte (1998). Andrés Segovia, as I knew him. Mel Bay. ISBN 978-0-7866-3319-7.
^ Few words from the composer, John Duarte; Goni website
^ a b "Marqueses de Salobreña". Geneall.es.
^ a b "An Armory of Famous Musicians". Heraldica. Retrieved 12 April 2016.
^ "Las seis cuerdas de una guitarra. Andrés Segovia (1972)". 14 May 2012.
^ Augustine Strings; see history
^ Julian Bream (A Life on the Road) by Tony Palmer (First Published in the UK by Macdonald & Co 1982) (ISBN 0-356-07880-9) p125 "the composer Peter Warlock ... persuaded the Oxford University Press to publish his edition of Dowland's Lachrimae or Seven Tears, and this was the edition Segovia used for his guitar transcriptions."
^ Andrés Segovia's compositions Archived 9 October 2011 at the Wayback Machine; Pocci Catalog (see also)
^ John W. Duarte. "Guitar Recital". Naxos. Retrieved 12 April 2016.
^ Hannu Annala; Heiki Mätlik (2008). Handbook of Guitar and Lute Composers. Mel Bay Publications. p. 104. ISBN 978-0-7866-5844-2.
^ Britishness and the classical guitar after 1950: composers, performers and identity in the contemporary British guitar repertoire Archived 23 October 2011 at the Wayback Machine by Mark Marrington
^ Frank Martin: Quatre pièces brèves; Universal Edition
^ Graham Wade (1 August 2001). A Concise History of the Classic Guitar. Mel Bay Publications. pp. 118–. ISBN 978-0-7866-4978-5. Retrieved 23 July 2011.
^ Darius Milhaud: Segoviana; Éditions Alphonse Leduc
^ Book Review: The Andres Segovia Archive, edited by Angelo Gilardino, Liugi Biscaldi by Silvio Jose dos Santos
^ "Gilardino on the Andrés Segovia Archive". google.com.
^ Andrés Segovia Archive at Bèrben
^ "John Mills: The Teaching of Andres Segovia". Archived from the original on 18 October 2007.
^ The Guitar from the Renaissance to the Present Day by Harvey Turnbull; Bold Strummer, 1992; ISBN 0-933224-57-5
^ Simon. "Oscar Ghiglia". classicalguitarreview.com.
^ Krieger, Diane (Summer 2002). "The Astonishing LAGQ". University of Southern California Trojan Family Magazine. Archived from the original on 2 October 2013. Retrieved 29 September 2013.
^ a b Alberge, Dalia (14 October 2012). "John Williams says guitar maestro Andrés Segovia bullied students and stifled their creativity". The Guardian.
^ "John Williams Interview with Austin Prichard-Levy". The Twang Box Dynasty. Archived from the original on 25 August 2007.
^ ABC Madrid; 1975/10/12; translated from the Spanish: "El intérprete musical que más me fascina es Andrés Segovia"
^ "Pagina nueva 2". segoviamuseo.com. Archived from the original on 4 March 2016. Retrieved 12 April 2016.
^ statue A Concise History of the Classic Guitar by Graham Wade; Mel Bay Publications, 2001; ISBN 0-7866-4978-X
^ "Panoramio – Photo of Monumento a Andrés Segovia (Linares)". panoramio.com. Archived from the original on 22 April 2016. Retrieved 12 April 2016.
^ Visita a la Fundación Andrés Segovia; Artepulsado
^ Duarte, John W. Andres Segovia As I Knew Him. Pacific, MO: Mel Bay, 1998. p. 5
^ "Fernando Sor: Twenty Studies". Guitar Studies International. Retrieved 16 September 2018.
^ Jackson, Blair (7 September 2017). "Bringing the Andrés Segovia Archive to Life with Spanish Guitarist Roberto Moronn Pérez". Classical Guitar. Retrieved 12 September 2021.
^ Schmadel, Lutz D. (2007). "(3822) Segovia". Dictionary of Minor Planet Names – (3822) Segovia. Springer Berlin Heidelberg. p. 324. doi:10.1007/978-3-540-29925-7_3815. ISBN 978-3-540-00238-3.
^ "International Youth Competition for Guitar Velbert Internationaler Jugend-Wettbewerb für Gitarre in Velbert". gitarrevelbert.de. Retrieved 12 April 2016.
^ "Honores y Distinciones". Andrés Segovia. Síntesis biográfica. Honores y distinciones. by Alberto López Poveda. (Real Academia de Bellas Artes de San Fernando, Boletín de la Real Academia de Bellas Artes de San Fernando. Segundo semestre de 1986. Número 63.). Retrieved 12 April 2016.
^ Family image: Segovia with wife Adelaida Portillo and baby Archived 4 October 2011 at the Wayback Machine; Nuevo Mundo (Madrid), 5 May 1922
^ "The Great Female Pianists, Vol. 5 Paquita Madriguera". Dal Segno. Retrieved 12 April 2016.
^ "Rollography". The Reproducing Piano Roll Foundation. Archived from the original on 6 March 2005.
^ "Golden Era 74 Olga Coelho South American Folksongs 1944–1957". Archived from the original on 28 November 2010.
^ "Cronología de la Vida y Obra de Andrés Segovia (1893–1987)".
^ Carlos A. Segovia; at Academia.edu
^ Genealogía de los marqueses de Salobreña; at Website GeneAll.net
Alberto López Poveda: Andrés Segovia – Vida y Obra (2010; Tome1: 864 pages; Tome2: 408 pages) (1, 2 Archived 14 August 2011 at the Wayback Machine), 2009
Alfredo Escande: Don Andrés y Paquita – La vida de Segovia en Montevideo
The Segovia-Ponce Letters
Andrés Segovia. Un secolo di storia nella musica del grande chitarrista spagnolo (2005)
Graham Wade: Traditions of the Classical Guitar(John Calder, London, 1980)
Graham Wade: Segovia – A Celebration of the Man and his Music (Allison & Busby, London, 1983)
Graham Wade: Maestro Segovia (Robson, London, 1986)
Graham Wade and Gerard Garno: A New Look at Segovia, His Life, His Music, Volumes 1 & 2 (Mel Bay Publications Inc., Pacific, Missouri, 1997)
Graham Wade: A Concise History of the Classic Guitar (Mel Bay Publications Inc., Pacific, Missouri, 2001)
Machilis, Joseph. The Enjoyment of Music: An Introduction to Perceptive Listening. New York: W.W Norton and Company, 1977, Pages 107–109.
Wikimedia Commons has media related to Andrés Segovia.
Andrés Segovia Foundation
Andrés Segovia by Mark Small (Acoustic Guitar, November 2010)
(in Spanish) Cronología de la Vida y Obra de Andrés Segovia (1893–1987)
(in Spanish) Andrés Segovia. Síntesis biográfica. Honores y distinciones. by Alberto López Poveda (Real Academia de Bellas Artes de San Fernando, Boletín de la Real Academia de Bellas Artes de San Fernando. Segundo semestre de 1986. Número 63.) ref.
(in Spanish) Andrés Segovia y Federico Mompou ante el centenario de su nacimiento. by Antonio Iglesias (Boletín de la Real Academia de Bellas Artes de San Fernando. Segundo semestre de 1992. Número 75.) ref.
In Memory of Andres Segovia by Vasilios Avraam (Guitarramagazine.com)
Biography by Joseph Stevenson (AllMusic)
Spanish nobility
New title Marquess of Salobreña
Carlos Andrés Segovia
Portals:
Retrieved from "https://en.wikipedia.org/w/index.php?title=Andrés_Segovia&oldid=1062236969"


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Hard to say what is up with you without a bit more detail - has it been a week, a month? Is it a brief stall and will come right? How's your eating and exercise? Are you nearly at your goal? etc etc.
Keep us posted? This is a great community for advice and support!
Four months out and I haven't lost weight in three weeks. I'm not panicking as my goal was to get healthier and get off my daily regime of 10 medications. To date I'm down to only two medications and my blood sugar, BP,gout,snoring while sleeping and Gerd all got better. I'm eating better but much less and though I exercise I'm sure I could do more. Overall I'm happy with my progress.


To support colleagues in implementing the school policy on Support for Learning.
To involve parents in the planning of their son's/daughter's progression throughout secondary school.
All children and young people have an entitlement to an educational experience of the highest quality. All staff at Beeslack Community High School are committed to the effective inclusion of all pupils in the life of the school. However, some pupils with Additional Support Needs (ASN) may require extra support to help remove barriers to learning to enable them to access the curriculum and get the most from their time at school. The role of the Support for Learning team is to offer assistance to these pupils, their teachers and parents.


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TikTok announced that it is testing support for paid subscriptions, reported by The Information. The company didn't share details about when it might roll out to creators, how many creators are currently testing it, or what the pay structure might look like.
We're always thinking about new ways to bring value to our community and enrich the TikTok experience.
Zachary Kizer – TikTok Spokesman
Details of the feature are under cover yet
It's unclear how the paid subscription model will be implemented in the app. For context, TikTok's popular algorithmic "For You" page surfaces videos from creators that users don't follow. If a creator chooses to charge a subscription for their content, it's likely that their videos won't appear on users' For You pages. However, it's also possible that the subscription will apply to additional content that's exclusive to paid users, as opposed to being applied to the entirety of a creator's account.
Israel's Soldier Jailed For Firing Into Gaza For TikTok Video


he principal item in Mr. Bellow's new book is the long title story, virtually a novel in miniature, to which have been added three short stories and a one-act play. Although the different things in the book are by no means on the same level, the title story seems to me the most moving single piece of fiction that this young author has as yet written. It is all the more interesting because there is a plainness of feeling in it that contrasts sharply with the keyed-up virtuosity and the defiant humor of his long novel, "The Adventures of Augie March."
In all of Mr. Bellow's fiction to date one has been aware of an unusual mind that has wryly put itself to situations for irony, burlesque, the macabre. In "Seize the Day" Mr. Bellow's very subject is the transparency of human weakness. It is the kind of weakness that is hard to conceal or to acknowledge. But if it is looked at as closely and compassionately as Mr. Bellow has done, it becomes a profoundly true image of human existence as it is lived through that single day, the human locus of time, which we try to make the most of as it dies on our hands.
Mr. Bellow describes Tommy Wilhelm (born Adler), a 42-odd-year-old salesman who, despite a wife and two children, has not learned to think of himself as a grown and independent being. Separated from his wife, jobless because of his own impulsiveness, bedeviled by money worries, resentful of his father for withholding both cash and emotional protection, he has tied himself to a quack psychologist whom he profoundly distrusts -- all the more because he cannot shake himself loose of the man's preposterous but haunting counsels.
Tommy finds himself prowling through a New York day searching for a place of support or rest. By the end of it, he has tossed away the last of his money on the market and is desperately frightened. Yet he gains an unexpected release when he is swept by the passing crowd into the funeral of a man he has never known -- and, looking down at the dead man's face, at last finds himself able to feel, to accept his own suffering. Thus, at last, he is able to confront that larger suffering which (as we can see only at the end of the story) has been the dead weight of existence pressing on him without any release or passion in him of understanding.
It is the intense world of the ordinary, the mean daily detail, the outrage of being alive, the existential sense of one's self as human creature, which is bravely at the center of Mr. Bellow's fiction. Each detail is cruel, plain, irremediable, yet one feels that it is about to burst forth into the radiance of consciousness.
In the next-best story in the book, "A Father To Be," the hero, burdened by money worries, saddened by the careworn faces in the subway, reflects that "to think of money was to think as the world wanted you to think; then you'd never be your own master," and opposes to this world of necessity, which Mr. Bellow renders with so much honesty, the world of consciousness. "He went on to reflect how little people know about his, how they slept through life, how small a light the light of consciousness was."
It is the special distinction of Mr. Bellow as a novelist that he is able to give us, step by step, the world we really live each day -- and in the same movement to show us that the real suffering of not understanding, the deprivation of light. It is this double gift that explains the unusual contribution he is making to our fiction.
Mr. Kazin is the author of "On Native Grounds" and other works of literary criticism.


According to material vision, our beloved spiritual master, guide, and friend, His Divine Grace A. C. Bhaktivedanta Swami Prabhupāda, passed away from this world on November 14, 1977, but actually he is still present. As Śrīla Prabhupāda often pointed out, there are two ways of associating with the spiritual master: through his physical presence (vapur) and through his instructions (vāṇī). Sometimes we can associate with the spiritual master through his physical presence and sometimes not, but we can always associate with him through his instructions.


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Tisza-kastély (Csegőd)
Tisza-kastély (Erdőgyarak)
Tisza-kastély (Geszt)
Tisza-kastély (Kocsord)
Teleki–Tisza-kastély (Nagykovácsi)


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President Obama Just Announced a Deal to Open an American Embassy in Cuba
By Gregory Krieg
President Barack Obama announced Wednesday that the U.S. has agreed to restore full diplomatic relations with Cuba after a schism lasting more than 54 years.
As part of the agreement, the countries will reopen embassies in Washington, D.C., and Havana, with Secretary of State John Kerry scheduled to travel to the Cuban capital later this month.
"This is not merely symbolic," Obama said in a live statement from the Rose Garden of the White House. "With this change, we will be able to substantially increase our contacts with the Cuban people, we'll have more personnel at our embassy and our diplomats will have the ability to engage more broadly across the island."
Mic/White House
The new agreement is the product of more than six months of negotiations following the administration's surprise decision in December to begin the process of loosening decades-old restrictions on travel and commerce. With a nudge from Pope Francis, back-channel discussions were first authorized by Obama in spring 2013. Canada and the Vatican both played to host to secret, high-level talks.
Despite the progress, broad and longstanding economic sanctions will remain in place. Congressional Republicans, many with strong ties to the conservative anti-Castro Cuban-American community, are unlikely to follow the White House's lead. Many have been vocal critics of Obama's decision to initiate the thaw.
Sen. Marco Rubio (R-Fla.), a candidate for president, has promised to block any attempt by the administration to send an ambassador to Cuba. In December, he said Obama was "not just naive, but willfully ignorant of the way the world truly works."
Another 2016 contender, former Florida Gov. Jeb Bush, released a statement late Tuesday morning condemning the new agreement, saying it "further [legitimizes] the brutal Castro regime" and fails to "advance the cause of human rights and freedom for the Cuban people."
Anticipating that line of attack, Obama argued during his Rose Garden speech that "engagement," rather than further estrangement, would be "the best way to advance our interests and support human rights."
What it means right now
Momentum. With a Republican-controlled Congress unwilling to engage on the issue, Cuba is Obama and Kerry's game. In May, the U.S. removed the government in Havana from its list of state sponsors of terrorism for the first time since 1982, a move that opened up financial channels between the two countries.
On Tuesday, Cubans applying for visas flocked to the location of the U.S. diplomatic mission in the capital.
Desmond Boylan/AP
What it means for you
Tourist travel remains illegal, but the State Department now has greater latitude to grant permits to musicians and artists to visit the country for cultural events, like concerts or exhibitions and sporting clinics. Businesses, including telecommunication providers, have the ability schedule meetings with Cuban companies to begin negotiations on potentially lucrative partnerships. Americans on the island are also able to use their credit and debit cards, with the U.S. rolling back its consumer banking ban.
In December, senior administration officials confirmed that the tight cap on "remittances," or the money U.S. nationals are legally permitted to send to family in Cuba, would get a 400% bump, from $500 to $2,000 every three months. You can also expect to begin seeing those celebrated Cuban cigars make a glorious return to the states, as returning visitors will be allowed to carry $100 of tobacco and alcohol back into the country.
These are the letters exchanged by President Obama and Cuban President Raul Castro, via the White House:
Obama to Castro:
Castro to Obama:
You can watch Obama's full statement below: