text:
Q: Field Collection alternative ? Need Sub fields searchable through Search API (Drupal 7) I am hoping to find an alternative to Field Collection module. The problem is that I want to search (I am using Search API + Views) the sub fields in the Field Collection.
As an example, If I have a Field Collection "Field", as Research Paper, with following fields:-

*

*Title of the Research

*PDF Document.

I can add as many Research Papers in my Page where I added the Research Paper as the content type.
Following are, for example, the typical Research Papers I added:-

*

*"Botany", "Finding a sustainable source of blah blah.pdf"

*"Economics", "Research on correlation of customer spending and weather conditions.pdf"

*"Mathematics", "Estimating Pi series within Rational numbers.pdf"

Now, comes the problem, if I made a Search Page through Search API by a view, and search "sustainable source of blah blah", how can I get the link to the 'Research Paper` entry of "Botany", "Finding a sustainable source of blah blah.pdf"?
I am using view and searching through "Fulltext search (exposed)".
Here is the view, just in case:
$view = new view;
$view->name = 'advanced_search';
$view->description = '';
$view->tag = 'default';
$view->base_table = 'search_api_index_advanced_search_index';
$view->human_name = 'Advanced Search';
$view->core = 7;
$view->api_version = '3.0';
$view->disabled = FALSE; /* Edit this to true to make a default view disabled initially */

/* Display: Master */
$handler = $view->new_display('default', 'Master', 'default');
$handler->display->display_options['title'] = 'Advanced Search';
$handler->display->display_options['access']['type'] = 'none';
$handler->display->display_options['cache']['type'] = 'none';
$handler->display->display_options['query']['type'] = 'views_query';
$handler->display->display_options['exposed_form']['type'] = 'basic';
$handler->display->display_options['exposed_form']['options']['submit_button'] = 'Search';
$handler->display->display_options['exposed_form']['options']['autosubmit'] = 0;
$handler->display->display_options['exposed_form']['options']['autosubmit_hide'] = 1;
$handler->display->display_options['pager']['type'] = 'full';
$handler->display->display_options['pager']['options']['items_per_page'] = '10';
$handler->display->display_options['style_plugin'] = 'default';
$handler->display->display_options['row_plugin'] = 'fields';
/* Field: Indexed Node: Title */
$handler->display->display_options['fields']['title']['id'] = 'title';
$handler->display->display_options['fields']['title']['table'] = 'search_api_index_advanced_search_index';
$handler->display->display_options['fields']['title']['field'] = 'title';
$handler->display->display_options['fields']['title']['label'] = '';
$handler->display->display_options['fields']['title']['alter']['alter_text'] = 0;
$handler->display->display_options['fields']['title']['alter']['make_link'] = 0;
$handler->display->display_options['fields']['title']['alter']['absolute'] = 0;
$handler->display->display_options['fields']['title']['alter']['external'] = 0;
$handler->display->display_options['fields']['title']['alter']['replace_spaces'] = 0;
$handler->display->display_options['fields']['title']['alter']['trim_whitespace'] = 0;
$handler->display->display_options['fields']['title']['alter']['nl2br'] = 0;
$handler->display->display_options['fields']['title']['alter']['word_boundary'] = 1;
$handler->display->display_options['fields']['title']['alter']['ellipsis'] = 1;
$handler->display->display_options['fields']['title']['alter']['strip_tags'] = 0;
$handler->display->display_options['fields']['title']['alter']['trim'] = 0;
$handler->display->display_options['fields']['title']['alter']['html'] = 0;
$handler->display->display_options['fields']['title']['element_label_colon'] = FALSE;
$handler->display->display_options['fields']['title']['element_default_classes'] = 1;
$handler->display->display_options['fields']['title']['hide_empty'] = 0;
$handler->display->display_options['fields']['title']['empty_zero'] = 0;
$handler->display->display_options['fields']['title']['hide_alter_empty'] = 1;
$handler->display->display_options['fields']['title']['link_to_entity'] = 1;
/* Field: Indexed Node: The main body text » Summary */
$handler->display->display_options['fields']['body_summary']['id'] = 'body_summary';
$handler->display->display_options['fields']['body_summary']['table'] = 'search_api_index_advanced_search_index';
$handler->display->display_options['fields']['body_summary']['field'] = 'body_summary';
$handler->display->display_options['fields']['body_summary']['label'] = '';
$handler->display->display_options['fields']['body_summary']['alter']['alter_text'] = 0;
$handler->display->display_options['fields']['body_summary']['alter']['make_link'] = 0;
$handler->display->display_options['fields']['body_summary']['alter']['absolute'] = 0;
$handler->display->display_options['fields']['body_summary']['alter']['external'] = 0;
$handler->display->display_options['fields']['body_summary']['alter']['replace_spaces'] = 0;
$handler->display->display_options['fields']['body_summary']['alter']['trim_whitespace'] = 0;
$handler->display->display_options['fields']['body_summary']['alter']['nl2br'] = 0;
$handler->display->display_options['fields']['body_summary']['alter']['max_length'] = '200';
$handler->display->display_options['fields']['body_summary']['alter']['word_boundary'] = 1;
$handler->display->display_options['fields']['body_summary']['alter']['ellipsis'] = 1;
$handler->display->display_options['fields']['body_summary']['alter']['strip_tags'] = 0;
$handler->display->display_options['fields']['body_summary']['alter']['trim'] = 1;
$handler->display->display_options['fields']['body_summary']['alter']['html'] = 0;
$handler->display->display_options['fields']['body_summary']['element_label_colon'] = FALSE;
$handler->display->display_options['fields']['body_summary']['element_default_classes'] = 1;
$handler->display->display_options['fields']['body_summary']['empty'] = 'Lorem ipsum dolor sit amet, consectetur adipiscing elit. Aliquam vitae est id metus vestibulum mattis. Donec sed dictum sapien. Proin facilisis vehicula elit nec molestie. Nullam scelerisque, urna non venenatis mattis, dolor neque ultricies tellus, quis lacinia mi ligula id risus. Curabitur congue gravida quam. Maecenas et luctus dui. Aliquam erat volutpat ...';
$handler->display->display_options['fields']['body_summary']['hide_empty'] = 0;
$handler->display->display_options['fields']['body_summary']['empty_zero'] = 1;
$handler->display->display_options['fields']['body_summary']['hide_alter_empty'] = 0;
$handler->display->display_options['fields']['body_summary']['link_to_entity'] = 0;
/* Field: Document Category » Uploaded File » The file.: Title Text (indexed) */
$handler->display->display_options['fields']['field_document_cat_field_field_document_file_field_file_image_title_text']['id'] = 'field_document_cat_field_field_document_file_field_file_image_title_text';
$handler->display->display_options['fields']['field_document_cat_field_field_document_file_field_file_image_title_text']['table'] = 'search_api_index_advanced_search_index';
$handler->display->display_options['fields']['field_document_cat_field_field_document_file_field_file_image_title_text']['field'] = 'field_document_cat_field_field_document_file_field_file_image_title_text';
$handler->display->display_options['fields']['field_document_cat_field_field_document_file_field_file_image_title_text']['alter']['alter_text'] = 0;
$handler->display->display_options['fields']['field_document_cat_field_field_document_file_field_file_image_title_text']['alter']['make_link'] = 0;
$handler->display->display_options['fields']['field_document_cat_field_field_document_file_field_file_image_title_text']['alter']['absolute'] = 0;
$handler->display->display_options['fields']['field_document_cat_field_field_document_file_field_file_image_title_text']['alter']['external'] = 0;
$handler->display->display_options['fields']['field_document_cat_field_field_document_file_field_file_image_title_text']['alter']['replace_spaces'] = 0;
$handler->display->display_options['fields']['field_document_cat_field_field_document_file_field_file_image_title_text']['alter']['trim_whitespace'] = 0;
$handler->display->display_options['fields']['field_document_cat_field_field_document_file_field_file_image_title_text']['alter']['nl2br'] = 0;
$handler->display->display_options['fields']['field_document_cat_field_field_document_file_field_file_image_title_text']['alter']['word_boundary'] = 1;
$handler->display->display_options['fields']['field_document_cat_field_field_document_file_field_file_image_title_text']['alter']['ellipsis'] = 1;
$handler->display->display_options['fields']['field_document_cat_field_field_document_file_field_file_image_title_text']['alter']['strip_tags'] = 0;
$handler->display->display_options['fields']['field_document_cat_field_field_document_file_field_file_image_title_text']['alter']['trim'] = 0;
$handler->display->display_options['fields']['field_document_cat_field_field_document_file_field_file_image_title_text']['alter']['html'] = 0;
$handler->display->display_options['fields']['field_document_cat_field_field_document_file_field_file_image_title_text']['element_label_colon'] = 1;
$handler->display->display_options['fields']['field_document_cat_field_field_document_file_field_file_image_title_text']['element_default_classes'] = 1;
$handler->display->display_options['fields']['field_document_cat_field_field_document_file_field_file_image_title_text']['hide_empty'] = 0;
$handler->display->display_options['fields']['field_document_cat_field_field_document_file_field_file_image_title_text']['empty_zero'] = 0;
$handler->display->display_options['fields']['field_document_cat_field_field_document_file_field_file_image_title_text']['hide_alter_empty'] = 1;
$handler->display->display_options['fields']['field_document_cat_field_field_document_file_field_file_image_title_text']['field_api_classes'] = 0;
/* Filter criterion: Search: Fulltext search */
$handler->display->display_options['filters']['search_api_views_fulltext']['id'] = 'search_api_views_fulltext';
$handler->display->display_options['filters']['search_api_views_fulltext']['table'] = 'search_api_index_advanced_search_index';
$handler->display->display_options['filters']['search_api_views_fulltext']['field'] = 'search_api_views_fulltext';
$handler->display->display_options['filters']['search_api_views_fulltext']['group'] = 1;
$handler->display->display_options['filters']['search_api_views_fulltext']['exposed'] = TRUE;
$handler->display->display_options['filters']['search_api_views_fulltext']['expose']['operator_id'] = 'search_api_views_fulltext_op';
$handler->display->display_options['filters']['search_api_views_fulltext']['expose']['label'] = 'Search me';
$handler->display->display_options['filters']['search_api_views_fulltext']['expose']['use_operator'] = 1;
$handler->display->display_options['filters']['search_api_views_fulltext']['expose']['operator'] = 'search_api_views_fulltext_op';
$handler->display->display_options['filters']['search_api_views_fulltext']['expose']['identifier'] = 'search_api_views_fulltext';
$handler->display->display_options['filters']['search_api_views_fulltext']['expose']['required'] = 1;
$handler->display->display_options['filters']['search_api_views_fulltext']['fields'] = array(
  'title' => 'title',
  'body:value' => 'body:value',
  'field_document_cat_field:field_document:file:name' => 'field_document_cat_field:field_document:file:name',
  'field_document_cat_field:field_document:file:field_file_image_title_text' => 'field_document_cat_field:field_document:file:field_file_image_title_text',
);

/* Display: Page */
$handler = $view->new_display('page', 'Page', 'page');
$handler->display->display_options['path'] = 'advanced-search';

A: You can try inline_entity_form or multifield modules.
related link : https://drupal.stackexchange.com/questions/81676/alternative-to-field-collection


text:
JohnofOz
An Occasional Correspondent
About JohnofOz
In Praise of Obituaries and Reading from the Back
Posted on October 11, 2020 by johnofoz
It may be that your correspondent is feeling his advancing years. Why even contemplate such a subject as obituaries? As an art form the obituary must necessarily be short, neither biography nor reflection on the decades in which the subject may have lived. Unlike a biography, an obituary must, in the briefest of forms, encapsulate the very essence of an individual: the personal, professional, spiritual elements which the life embodied, while eschewing the irrelevant. The skills involved might well be those of the short story writer who must dispense with the novel's rambles, the character explorations, the myriad influences and relationship complexities, and focus solely on the who. Not just a precis, or worse an executive summary, but a life in miniature. Your correspondent knows the challenges having written a couple, the best of which, on scientist and scientific envoy W.E. (Bill) Purnell, appeared in Chemistry in Australia in November 2009. Another piece, about the late Ken Tribe which appeared on this blog in 2010 was more personal reflection tha true obituary.
There are special skills involved in writing miniatures. Composers wonder at the works of Webern: short in length but long in content and feeling. The Haiku compresses ideas in a rigorous way but does not constrain insight or feeling. Of course, the obiturist has more to play with than seventeen syllables, which is just as well since dealing with a broader spectrum. But the same principles apply. A personality, a life must be communicated in perhaps 1200 words, not a task for other than the most skilled wordsmith.
Along with the formal obituary, there are two other similar forms which depart somewhat from the ideal. These generally appear in the daily press and may owe some of their deficiencies to deadlines. The first is the simple recording of the death of a noteworthy individual. These usually read like a curriculum vitae. At the end of the article the reader knows what the deceased has done but knows nothing of the individual. The other is where the death embodies a wider story of how and why the deceased departed this life, and the individual is subsumed into the mystery or wonder of the narrative. These forms are perhaps mere journalism, lesser in the wordsmith's eye than the true craft of the obituary.
References to the times in which the subject lived and those with whom they dealt should only intrude if they add to the knowledge of the subject. Too often, and particularly in the journalistic obituary, the background story becomes the main event to the detriment of the reader's eventual understanding of the individual.
Depending on your obsessions there can be numerous reasons for reading newspapers and magazines from the back. It may be sports news is your "thing" or perhaps a favoured columnist appears on the back page. The true obituary tends often to be at or near the back of the publication, perhaps the best example of which is The Economist magazine where the obituary always takes up the last page. Belying its location, the writing is invariable stylish, concise and insightful. You would expect that of The Economist, the writers for which are happy to let their work shine without attribution. No by-lines here, so the obituary writer or writers are unknown. Compare that with a recent short article in the Sydney Morning Herald about a deceased jurist. This required not one, but two named journalists to write a rather pedestrian obit.
The last five months of The Economist have produced a fascinating selection of obituaries, ranging from the quaint and obscure to the great and the good: Evan Boland, Irish poet; Lily Lian, Parisian street chanteuse; Comrade Duch, a hated member of the Khmers Rouge; Larry Kramer, a AIDS campaigner; Julian Bream, guitarist and of course Ruth Bader Ginsburg, US Supreme Court Justice. How's this for variety? Some you may know, some not. But after reading their obituaries you will certainly know more about them than before, understand them better, and know more of the time and place in which they, and indeed we have lived. Such is the skill of the competent obiturist.
Your correspondent recommends, therefore, if you care for the modern social history of the world, you read from the back. The obituary page of The Economist is the best place to start.
Posted in Memories of the Past, writing	| Tagged Obituaries	| Leave a comment
Burlesque Goes Mainstream
Posted on February 24, 2019 by johnofoz
A couple of years ago a burlesque artist moved in next door. There goes the neighbourhood!
Being of a certain age, your correspondent may justifiably claim unreliability of memory, but there is a recollection of once attending, in Sydney's King's Cross, a joint called The Paradise Club, a stereotypical strip joint featuring knee-boots and nipple bonnets, high drink prices and tired jokes. Probably one of Abe Saffron's locales. The entertainment was clearly directed at men. The same appeared to be the case in a couple of clubs in both Hamburg's Reeperbahn district and West Berlin in the seventies when, accompanied now by Mrs Oz, a different sample of nightlife was entertained.
All the constraints of a conservative, family oriented middle age then intervened, so it was not until post-regular employment in the "noughties" that attendance at burlesque and cabaret shows was again occasionally on the agenda. The one name that stood out then and now as a remarkable producer and exponent of the art was Moira Finucane, a particularly savvy producer, whose work appealed for its social commentary and biting wit, along with good old-fashioned entertainment. It was respect for Moira Finucane, who many might say works in a rather arcane segment of the arts, which led your correspondent to seek to know more of the work of the recently arrived neighbour.
Well versed readers will understand when reference is made to that old G and S Policemen's Song: "When the enterprising burglar's not a burgling…" . It is true too of burlesque artist neighbours who, saddled with the pressures of wifedom, motherhood, home ownership, car and all the other elements of suburban life, give little away about professional life. But an early reference to writing for an "obscure New York publication" sparked the interest of this fellow wordsmith. A stage name, revealed later, led to opening up a fascinating world. That obscure publication turned out to be Burlesque Beat, a source of vast information on the burlesque scene around the world. The writing style might not get you a piece in The New Yorker but it's fresh and honest. 21stcentury millennial style perhaps? And while the amazing life's journey of our neighbour is one element of this world and can, in part, be accessed in that publication, it is the size and development of the art of burlesque which also attracted the interest of your correspondent. This is how Burlesque Beat's Contributing Editor put it in a 2016 article:
"Burlesque went mainstream—it happened, folks. It's everywhere now, with hundreds of festivals, schools popping up like mushrooms, scenes thriving in small towns everywhere. It's exciting. But it didn't go "mainstream" like some of us hoped it would—it became more common, and maybe lost some of its outlaw appeal."
That is not only true of the USA. In Australia there are competitions in all states except the Northern Territory, as well as a national title. There are schools all over. And even a museum. The shows may generally be found as part of fringe festivals or at smaller venues such as Sydney's Red Rattler, The Old Fitz or The Factory Theatre. But they also form part of major festivals. Sydney Festival 2019 included a wonderful cross-cultural show "Shanghai Mimi" at Riverside Theatres, Parramatta produced by none other than Moira Finucane. What about Sydney Opera House? The Sydney Symphony Orchestra put on "A Night at the Speakeasy" as part of their 2018 mainstage opera house programming. Burlesque with classical musicians? That's mainstream. The sector knows it's made it, even if Shanghai Mimi and A Night at the Speakeasy were rather light on Burlesque Beat's "outlaw appeal".
The better shows in recent years have developed significant social and political edge which probably has been a boon, not only for the audiences but also for producers looking to add some grunt to the plethora of hula hoops and aerialists. Along with social commentary the sector appears to be wrestling with many issues concerning other sectors of the arts: diversity, inclusion, cultural appropriation and so on. Check out this passionate blog post from 21stCentury Burlesque. Depending on your point of view this concern may be natural or perhaps surprising given the genesis of the artform in nineteenth century Britain where it was designed to poke fun, satirise and send up mainstream performance arts and the society around which they revolved, through comedy, song and dance presented by both women and men. Crossing the Atlantic in mid-century, burlesque often presented female producers and performers increasingly questioning the way in which women appeared, challenging their accepted status and Victorian constraints. Politically correct it was not.
No doubt driven in part by the radical changes happening at the time in the entertainment industry, burlesque suffered a downturn in the mid twentieth century, sliding into a sleazy, strip based culture directed at primarily male audiences. Happily, the 21stCentury resurgence of the form as noted by Burlesque Beat has reversed this trend. Neo-burlesque perhaps. It has taken a while for realization to strike your correspondent. Why did shows have such enthusiastic female audiences? The female whoops and shouts far out clamoured the male. Then, one night at the Red Rattler, at a benefit show for a dance school, it dawned. The genre now represents what it did back in the nineteenth century in terms of female empowerment. In a similar way to the growth of pole dancing clubs, shows and competitions, burlesque has become the place for women to express a powerful presence and their individual millennial selves.
This is all very well but has a minor downside for your correspondent: he now gets emails from Sheena Miss-Demeanour. Better not tell Mrs Oz. And by the way, the neighbourhood is doing just fine, thanks.
Posted in Arts, Theatre	| Tagged Burlesque, Moira Fincune	| Leave a comment
Pay Day in Port Kembla
Over half a century ago your correspondent, then a student, worked for a time in the steel town of Port Kembla. This vignette, which came to light recently during a clear-out of the family home in Melbourne, was penned at the time and originally appeared in "Cranks and Nuts" 1960, a publication of the Melbourne University Engineering Students Club.
The day shift draws to a close. Diesel hoots mingle in three-quarter tone harmony with boiler house sirens and the whine of overhead cranes. In the grit and smoky air a restlessness pervades the tired bodies. Boilermaker, rigger, staff man, all have their mind on a brown manila envelope. The works buses are more crowded than any other day yet the same number of men leave the plant. Perhaps they all feel bigger with notes at their hips.
On the footbridge across the railway a union organiser stands, his grimy coat flung carelessly over the handrail. A battered kitbag squats at his feet like a faithful dog. "Paid yer quarterly dues?" he asks of each bunch of men. They, unconcerned, pass him by. He has been there before, and will be there again.
Down by the canteen a huckster grinds out a tune on a barrel organ, his two-tone shirt shining like a gem among the coal-dirty buildings and be-whiskered faces. The faces toss loose coins onto a rug in front of the organ. They, rich for the day, feel a momentary thrill like a patron of the arts. Yet it is gone in a second and the faces turn to more important things: tobacco; newspapers. A fight it is too through the sweaty bodies to the tobacconist's window, for today no man may ask his mate for the "makin's". Even the Vendolux is laying cigarette packets like a prize hen.
Along the main road two vans are parked, their rear doors open displaying a multicoloured array of cheap clothing. Where is it from? Nobody asks. Many finger the wares while a greasy faced man extols the virtues of this jacket or that pair of stovepipe trousers. Some buy. Necessities must be bought when the money is on hand.
There is another sight, one which is too common to bode well. Many wives come, squealing children coupled like carriages behind, to meet their men. To remove temptation. To remove doubts and fears they have of a blustering sot, blundering through the house before collapsing asleep and missing the next day's shift.
A steady stream heads for the pubs where rows of empty, foam etched schooners line the puddled counter, relics of those who came and are gone already. A few play pinball or darts, but most concentrate on the glass in hand. The night is yet to come. There is time enough for games.
The evening traffic swells to a capital city rush as the workers head for the clubs. The men hurry as if eager to lose to lady luck, joining the queues waiting a chance for the monotonous excitement of the press-pull, press-pull action on the poker machines. Then a drink, and again to the machines. The drug possesses the mind, daemonic and horrifying till the last florin is gone.
All the joints are open. The proprietors know that tonight business will be good. And so it is, till ten o'clock when the stream is homewards, gutterwards, while the stench of beer breath fills the air, the sickly thought of tomorrow turns the mind and the stomach turns itself.
It's a frightening thought, almost unbelievable: a fortnight's wages blown in a night. But proof enough is the affluent ostentatiousness of the clubs, and the rings on the fat victuallers' fingers. There is money in steel. It will be the same in a fortnight.
Posted in Memories of the Past	| Tagged Port Kembla, Steel towns	| Leave a comment
Orpheus, Presented by Forest Collective
Posted on February 2, 2019 by johnofoz
Photo by Kate Baker
It may come as a surprise to the alert members of this blog's readership that your curmudgeonly correspondent has even heard of Melbourne's Midsumma Festival, let alone gone to a festival performance. The festival, which has been growing in size and stature since 2009 is a celebration of LGBTIQ culture held annually in Melbourne. Last night it offered two classical music offerings. "Homophonic", now in its eighth year, celebrates the works of queer composers. This year the works ranged from Thomas Ades to Nico Muhly with a raft of young Australian talent included both as composers and performers. The second offering was "Orpheus", a new look at the famous Greek myth, created by Evan Lawson and his Forest Collective at the Abbotsford Convent. This blog first reviewed a Forest Collective performance, "Shared Lines" back in 2013. Since then Lawson and his group have continued, with obvious dedication and commitment, to present innovative and interesting, relevant, programming.
Orpheus, billed as an opera, might better be called a danced oratorio. Each of the three characters has two creators, one a singer and the other dancer, backed by a collective of musicians ranging from harp to bass flute. To those who might question why Orpheus needs another retelling, Lawson explains: "Since the Victorian era many ancient Greek myths have been hijacked and altered to have any reference to same-sex relationships or gender fluidity removed." "I was fascinated to find about [Orpheus'] pederasty relationship with fellow argonaut Calaïs. It provided… a fascinating…love triangle to explore on stage." Lawson also wanted to draw a new perspective of Eurydice, presenting her challenges and responses more strongly than her more common presentation as just a love object.
Lawson, who also wrote the music, drew on texts from three sources for the work of just over an hour: libretti from Ranieri de Calzabigi and Alessandro Striggio and words from Phemocles as well as Shakespeare. The text was sparse however, and often reinforced by non-flexible vocables to strong emotional effect, while many phrases were repeated as is common in baroque opera.
Opening with ethereal sounds from flute and bowed harp, three singers evoke the sea with an Ancient Greek hymn. The work then falls into four distinct parts followed by a brief epilogue. First is a musical, and then danced, dialogue between Orpheus and Calaïs on board The Argo. Dancers Ashley Dougan and Luke Fryer presented a languorous if somewhat stylised duo which seemed more dalliance than intense relationship. The Siren's song is depicted by complex harmonies across the ensemble. In the second part Orpheus is joined by Eurydice, danced most effectively by Piaera Lauritz, both in duo and solo leading up to her death which was ominously followed by a quiet rumble of thunder, perhaps foretelling the further trials to come. The dance is combined with some fine singing from her alter ego, presented by mezzo soprano Kate Bright who moves around the stage from time to time giving her the most involved parts amongst the singers. At one touching moment Eurydice comes up behind her singing self and cups her hands in front of Bright's mouth, modifying the sound to give ethereal effect.
Part three involved Orpheus in a long solo dance, first quiet, developing his remorse and confusion, then becoming more intense and agitated before Eurydice returns to the dance, perhaps in Orpheus' imagination.
Part four then develops Orpheus' despair, having lost both his loves, with an elegant trio of dancers, again perhaps in the imagination of Orpheus, at times dancing in unison, in line, reflecting the sad tension of failed relationships.
The epilogue relies on Shakespeare to conclude the tragedy:
"In sweet music is such art
Killing care and grief of heart
Fall asleep, or hearing, die."
The spare production leaves a great deal to the imagination of the audience. Many of the complexities of the story are related by dancers rather than the sung text. This is a production where a second helping would undoubtedly bring great benefit. The lack of lighting effects also detracted from the overall atmosphere. No doubt cost and constraints of the venue played a role here.
The performance will be repeated on Sunday 3 February at 3.30pm and 7.30pm at Abbotsford Convent.
Posted in Opera, Uncategorized	| Tagged Forest Collective, Midsumma Festival, Orpheus and Eurydice	| Leave a comment
Woodwinds, Wine and Wind: Huntington Estate Music Festival 2018
Posted on November 30, 2018 by johnofoz
The challenge of reviewing a music festival is daunting: so many concerts, so many players. And then of course there's so much wine and fellowship – not conducive to reasoned debate and scholarship. But then your correspondent has always left the learned discussions to the experts. Here you will get the personal reflections of a dilettante. FWIW, if you will.
Last Sunday saw the end of the 29thHuntington Estate Music Festival. Its illustrious past embraces the Australian Chamber Orchestra years, and then the Musica Viva era. Different in so many ways but one thing has remained constant: an intensely personal touch which leaves the audiences and musicians with a feeling of friendship and family which is particularly special. This year was no different.
The cold winds tried to cool the spirits this year. But musical and personal communication warmed the Barrel Room such that mere climate became irrelevant. Don't stop the music!.
There were two particular threads to this year's festival: a focus on English composers of the 20thcentury (Britten, Bliss, Bridge, Elgar, Finzi, Vaughan Williams, Grainger) and a concentration on woodwinds, with clarinettist Sebastian Manz and oboist Juliana Koch performing a wide range of works. Of the two, Sebastian Manz was the performer with personality and strength who drove the high levels of excitement which we have come to expect from good music festivals. This is not to demean Koch, a fine oboist who performed with precision and care. Just she was less exciting a performer. Australian composers, both living and dead also received attention with Carl Vine allowing himself a brace of his own works, along with Roger Smalley, Nigel Westlake and Stuart Greenbaum. If the purists prefer to claim internationalist Percy Grainger as Australian, then he can be included here too. There is more on the two young Australian composers later. One of them is female which will hardly allay the concerns of those who demand more women composers in their programming. There were no other female composers featured during the festival. I suspect the happy audience didn't notice.
The highlights of the festival were too numerous to detail, but some warrant particular mention. Amongst the necessary "tops of the pops" standards were the Weber Clarinet Quintet where Manz was joined by the Goldner String Quartet. While always a crowd pleaser, in this work Manz delivered a revelatory reading which owed much to his skills communicating new clarinet sounds and sensibilities to a, sometimes, jaded audience. (Did we really need "Death and the Maiden" again?) It was as if hearing Weber's work for the first time. Manz, who as a young student was strongly influenced by Benny Goodman's melding of classical and jazz, has clearly embraced the jazz idiom and incorporates it into his own, personal, interpretations. Then, later, it was educational to hear his Mozart Clarinet Quintet, again with the Goldner. It was a clear and precise rendition, without mannerisms, a performance which could not offend the most puritanical of musicologist. At most Manz allowed himself a couple of finely crafted ornaments in the slow movement. This was pure joy. Was the influence of Sabine Meyer on show? Perhaps. She taught Manz free for a year in his formative youth.
It would be remiss not to mention the Concertino for Oboe, Clarinet and String Orchestra by Alexandre Tansman, a Polish composer who lived mostly in Paris in the first half of the 20th Century. In this work a chamber orchestra of strings from the Australian National Academy of Music joined with Manz and Koch to deliver a resounding and joyful performance which displayed the soloists' skill in both duet and conversation, as well as wild delight. Festival music at its best.
Artistic Director Carl Vine, whose final Huntington Festival will be in November 2019, programmed two premieres by young Australian composers. The first, "Interwoven", a string quartet by Elizabeth Younan was a moving work in which differing musical ideas are interwoven to form a complex whole. The composer says the work finishes with a "rush of joy and hope". The Orava Quartet delivered this with convincing style.
The second premiere, a string octet by Harry Sdraulig, was equally impressive. While an integrated work, there were elements of conversation, or interaction, between the two quartets which suggested to your correspondent that the players should better have been opposed rather than integrated as is the common practice for the better known octets. The work has some beautiful lyrical elements and wonderful moments for viola. It is a fine addition to the limited string octet repertoire, although not quite on the scale of those which are often selected as the big work to end events. It is salutary to observe that Musica Viva has been instrumental in encouraging the composition of at least three string octets, the others being from Jakub Jankowski and Nicole Murphy.
Soprano Taryn Fiebig played an important role at the festival. Her Schumann "Liederkreis" Op 39 was quite delightful, although could have been even better had her diction carried the German text through the hall. A German text alongside the English translation would have helped the audience. Similarly, the beautiful concept of Samuel Barber's "Hermit Songs", based on snippets written by medieval monks and nuns in the margins of religious manuscripts, would have been greatly enhanced had the audience been provided a text to illuminate their enjoyment. In the event a fine work was reduced to indifference. Taryn Fiebig's unprogrammed intervention in which she accompanied herself on cello was also less than successful. She rendered three arias which lacked form and style, works which she clearly knew well, but failed to embrace while having to play her own accompaniment. Perhaps had she selected works written specifically for singing cellist this segment may have worked better (Gramata Cellam from Peteris Vasks, or Uluru Song from Martin Wesley-Smith come to mind).
Pianists were in abundance of course with Jayson Gillham, Amir Farid and Musica Viva Future Maker Aura Go all contributing to the overall program. Particularly noteworthy were Gillham's performances of works by Stuart Greenbaum and Percy Grainger. Pure enjoyment. Amir Farid's playing of the complex piano part in the Frank Bridge Piano Quintet, along with the Orava Quartet, was impeccable with fine articulation and sensitivity. He is a wonderful chamber musician.
There was of course much more. A musical feast accompanied by a feast of food and wine, delivered by a family with whom, over the years, many attendees have formed a fine bond. It is worth the drive to Mudgee. And next year will be the thirtieth anniversary, Carl Vine's last as Artistic Director. Perhaps a good reason to come along?
Note: Artists for 2019 include: The Australian String Quartet; Arcadia Winds; Ian Munro; Goldner String Quartet and a world-famous violist. Further details to be announced.
Posted in Chamber Music, Goldner String Quartet, Musica Viva	| 1 Comment
In Remembrance of Richard Gill
While your correspondent did not know Richard Gill personally, the character of the man was such that many who did not nevertheless felt they did. His influence was all embracing; the intensity of his message unavoidable. So, like so many others,I feel the urge to pay some sort of tribute. Back in 2015 I penned a piece on music education prompted by two inspirational people. Richard Gill gave the Peggy Glanville Hicks Oration that year. I repeat my blog post in his memory. While my words may not sufficiently reflect the stature of the man, those of many others, in the last few days, have made up for my inadequacy. May his legacy grow.
Posted in Music, Music Education	| Leave a comment
Major Performing Arts Sector Under Review
Posted on August 7, 2018 by johnofoz
The Framework for the Major Performing Arts sector in Australia is being reviewed, driven by the Federal Department of Communications and the Arts.
Your correspondent finds it interesting that of the MPA companies that regularly send emails, marketing material and the like, only one has seen fit to alert their stakeholders to the survey and suggest participation. The Australian Brandenburg Orchestra sees broad input into the considerations as important. (Stop the presses: Belvoir have just also put out the call!) Who would not agree? The attacks on the MPA sector by the small end of town back in the Senator Brandis days might suggest that an avalanche of submissions will be received bad mouthing the larger players. There was something of a diatribe from Scott Rankin from Big hART carried in ArtsHub earlier this month but that appears to be about it. Perhaps all the others are keeping their views to themselves and just submitting responses quietly. It seems there have been some 2000 submissions so far so perhaps there is more going on. A quick and unscientific Twitter search suggests the only organisation calling for submissions other than state arts departments is BlakArt. Good for them.
From the antediluvian perspective of your ageing correspondent there is a need to maintain something like the MPA framework. There is a distinct role for the large companies, and some justification for separating the funding from the small, medium and independent sector. It is the natural order of things that the smaller players will be the leaders in innovation and the contemporary. No one wants to see Sydney Dance Company do "The Nutcracker" or Chamber Made do "Aida". But these sorts works do need to be staged from time to time as part of a vibrant arts scene. Is there need for some cultural change on the part of MPA companies? Almost certainly yes. But give them credit where it may be due. You never hear mention from the complainers of the likes of the Melbourne Symphony Orchestra's "Metropolis" series. It's been going for twenty years. And while admittedly part of a festival, the South Australian Opera did stage Brett Dean's "Hamlet". Over the years your correspondent has enjoyed some remarkable events, all at the hands of the majors: Steve Reich's "Piano Phase" at the Sydney Opera House, "Nixon in China" in Adelaide, "Madelaine Lee" by Opera Australia (or was it the Australian Opera then), "Bliss" courtesy of OA, and a whole raft of good times courtesy of Musica Viva. Sydney Theatre Company did "Secret River" and the Sydney Dance Company "Nude Live". Perhaps these are just the unspecified half dozen good guys referred to by Scott Rankin in his ArtsHub piece. But it is the experience of a single participant, so must therefore be limited.
Lest readers get the impression nothing needs to change, far from it. But the best approach is to strengthen the best parts of the majors, encourage culture change and perhaps introduce some form of peer review. Not for funding allocation, but to ensure the prime criteria for being an MPA company are being fulfilled. Limit the tenure of artistic directors? Perhaps, but then there are the likes of Carl Vine at Musica Viva. There will always be exceptions.
For what it is worth, quoted below is your correspondent's final comments as submitted in the final survey box. There was scope for 4000 words. Here are just a few hundred. Let the other pontificators quote the malleable statistics and write learned essays. But whether you agree or disagree, you should have your say. the link is here.
"It has been disturbing in recent years to see how the arts practitioners have turned against themselves with the small to medium sector aggressively attacking the MPA companies for perceived (and sometimes real) failings. This is usually prompted by dissatisfaction about funding and a belief that the MPA sector sucks an unjustified proportion of funding from the available pool. The MPA sector needs to do a better job of promoting the work it does alongside their conventional mainstage activities which tend to receive greatest criticism. In addition the MPA sector needs to strengthen its collective voice in advocating for the broader arts sector, for better funding for all, for the development of sound policy and the development or creation of institutions and infrastructure which benefit the sector as a whole. While the big end of town will always receive much criticism, individual MPA companies can do a much better job of explaining their broadly based activities. And of course some can do a better job of programming the under-represented (women, indigenous, Australian etc.) But that notwithstanding, the sector should not succumb to the introduction of quotas or the like which would potentially lead to compromises of various sorts. It should be part of their culture.
There also needs to be a clearer framework for evaluating whether MPA companies are fulfilling their roles. Evaluation should be regular, if not on-going. It should not have to wait for a major review such as that of opera companies which was the catalyst for change at, for example, South Australian Opera. Perhaps some sort of regular peer review could be introduced to assess whether MPA companies are operating according to the funding priorities. Aside from ensuring companies were encouraged to address shortcomings early, this would also help to answer the often claimed fault that funding for MPA companies is not peer reviewed."
Melbourne International Chamber Music Competition: all over for another four years. Thanks @MusicaVivaAU #MICMCM2018
Posted on July 18, 2018 by johnofoz
Your correspondent is still recovering from some hectic days in Melbourne. After a conscious decision not to review individual performances or to pick winners it seems, nonetheless, that quality will out even in the earliest moments of competition. You may have heard it streamed on 3MBS but nothing can compare with hearing it live. The wonderful CutCommon asked me to reflect on the eight days of competition. Here, with their permission, is a link to your correspondent's thoughts about the event.
Posted in Chamber Music	| Leave a comment
Goings on in South Melbourne: The Melbourne International Chamber Music Competition @MusicaVivaAU #MICMC2018
Posted on July 2, 2018 by johnofoz
Your correspondent has been enjoying the crisp winter air of Melbourne and the joys of South Melbourne. Those in the know may wonder whether this refers to the coffee culture, the South Melbourne market, the rattle of the trams (that's "streetcars" for readers from the Americas). No. The justification for ten days down south is the Melbourne International Chamber Music Competition. Sydney has rugby league and the piano competition. Melbourne has AFL and the chamber music competition. And indeed Melbourne has a large audience of serious aficionados who are prepared to undergo seven hours a day of serious listening in the South Melbourne Town Hall.
Having sworn off foolish pursuits like picking winners or reviewing performances it nonetheless moves your correspondent to again refer to the special joys, the emotional charge, that sometimes comes from live, and only live, performances. There have been many fine performances so far, and indeed the first round is one concert short of ending, but tonight's concert was one of those special ones. Regular readers may recall that your correspondent is a fan of Haydn and Mozart and decries the current fashion to play these often delicate works as if from a different era. And indeed the required performances of Haydn, Mozart or Beethoven have, in the main, been big and bold. But tonight, by chance, two ensembles were featured who clearly believe what your correspondent does: Mozart and Haydn trios and quartets require a light and deft touch.
Now this is all a subjective matter but suffice it to say your correspondent was on the edge of his seat when the Trio Marvin played Mozart K502. It was bright, light, articulate and varied and the articulation, particularly from pianist Vita Kan was a sheer delight. Then, Trio Marvin followed up with some Peteris Vasks, to whit Episodi e Canto Perpetuo. What a magnificent work. It just seemed to make sense, unlike some of the sound and fury heard earlier. It works up emotionally to two false endings and then delivers a moving pastorale played first on the cello and then the violin before the two combine. Another climax follows followed again by a pastorale passing between the strings and leading to a peaceful conclusion. Of course all cellists love Vasks. If you don't know why listen to his cello concerto and Gramata Cellam (The Book of the Cello).
As if this was not enough then the Goldmund Quartet came on stage to play Haydn Op 54 No 1. Again this was a revelation. Precise, detailed, varied with more light and shade than a forest. But again the lightness of touch was what moved the listeners. It is a rare skill. The following works by Ana Sokolovic Wolfgang Rimn were respectively amusing and intense. Beautiful.
So tonight was one of those concerts that make attendance at live events worthwhile. Your correspondent will keep kissing frogs for the rare chance of occasinal handsome princes (and princesses). The women and men of Trio Marvin and the Goldmund Quartet delivered in spades tonight.
Posted in Chamber Music, Haydn, Mozart, Music	| Tagged MICMC	| Leave a comment
Beethoven by Ballot: @selbyandfriends at the City Recital Hall
Posted on March 14, 2018 by johnofoz
Selby and Friends' current concert tour carries the headline "Beethoven by Ballot". Apparently subscribers were invited to suggest the Beethoven works they would most like to hear. It comee as no surprise, therefore, that the program was something of a "Tops of the Pops" event: the "Spring" Sonata, the Cello Sonata in A Major, and the "Archduke". Plus a lesser known trifle, the Allegretto in B Flat WoO. 39, added to the program by Katherine Selby as a pipe opener so that the three players could start the evening together, her colleagues for the evening being young violinist Grace Clifford and a regular "friend", cellist Clancy Newman.
The opening Allegretto was unremarkable, a light-hearted piece, short, more in the nature of a piano sonata with string accompaniment than a true piano trio. Apparently it was written by Beethoven as encouragement for a ten year-old piano student of his, Maximiliane Brentano, the daughter of his good friends Franz and Antonie Brentano.
Then followed the first of the two highlights of the evening, at least for your correspondent who first heard Grace Clifford play chamber music some four or five years ago with none other than Selby and Friends. On that occasion Grace was participating alongside violinist Elizabeth Layton, Clancy Newman and violist Tobias Breider, in what was a fine example of professional mentoring of an already outstanding young player. There was thus a sense of anticipation to see what the intervening years of study at the Curtis Institute may have wrought.
Beethoven's "Spring" Sonata is such a joyful work, it was a delight to hear it played by a youthful musician with the ability to imbue the work with all its intricacies. The work is a true partnership between violinist and pianist and the understanding between the two was clear. This was a partnership, not of master and apprentice, but of equals. Grace demonstrated great skill as a chamber musician, one element of which is her ability to adjust between leadership and secondary roles as the work develops, executing a much underrated ability to play softly without losing intensity or purpose. It was not only the ability to play softly but at the same time to craft beautiful phrases from what a lesser musician may see as simple accompaniment. All Beethoven's subtle and not so subtle emphases were there; beautifully crafted ornaments in the slow movement suggested a youthful, yet mature, understanding, while impeccable articulation, so vital in Beethoven, added to the beauty of the whole performance.
Clancy Newman's performance of the A Major Cello Sonata was businesslike. He is a confident and occasionally showy performer and he made the most of the variety in the work. Your correspondent has always found the emotional content of the Beethoven cello sonatas somewhat lacking, so a business like performance of what might be considered a businesslike work is not inappropriate.
The concluding Archduke Trio was very effectively crafted by the players melding as a true team; Kathy Selby as always rock solid, with the two string players working in unity of purpose to bring out the best elements of the work and to allow everyone to shine at the appropriate moments. While Clancy Newman, as the showman of the three, made strong statements from time to time, Grace Clifford was less demonstrative, displaying an ever-present understanding of how a chamber musician should blend as part of a unified whole. With a future in a world of superstars and showmen however, there may perhaps be value for her to stick her neck out a little and show off her technique. In the piano trio game there is plenty of scope for violinists to put themselves out there and emphasise a leadership role to the undoubted enjoyment of their listening public.
You can catch the remaining concerts in the current Selby and Friends tour tonight at Methodist Ladies College, Kew; the following concert in Canberra at the National Gallery is sold out; then March 17 in Mittaagong at The Playhouse and March 18 at the Uniting Church, Turramurra.
Posted in Chamber Music	| Tagged Selby and Friends; Beethoven;	| Leave a comment

redpajama_set_name: RedPajamaCommonCrawl


text:
Best Captain in IPL | Top Five Most Successful Captains in IPL history
Indian Premier League (IPL) is one of the most competitive T20 leagues around the globe. The popularity of the IPL stems from the fact that some of the best players in the world feature under the same roof during the Indian summer. In such a league, captaining a team is not the easiest of jobs. However, some of the seasoned campaigners have aced in this role to be counted among the best captains in the IPL.
Here's a look at the top five most successful captains in IPL history with a minimum of 50 matches as captain:
5. Gautam Gambhir – Kolkata Knight Riders
M: 129, W: 71, L: 57, Win %: 55.42
KKR won IPL 2014 under the successful leadership of Gambhir
One of the most aggressive captains in the IPL, Gautam Gambhir proved to be a valuable asset for Kolkata Knight Riders in IPL 2011. As captain, Gambhir led KKR to their maiden IPL triumph in 2012. He led by example and inspired the troops to a fruitful IPL campaign. Gambhir's form as an opener translated into his success as a skipper.
Even in IPL 2014, Gambhir was yet again instrumental in guiding KKR to another IPL win within two years. With two IPL trophies win, Gambhir ranks among one of the most successful captains in IPL history. In 129 matches as captain in IPL, the Delhi-born lad won 71 matches with a win percentage of 55.
ALSO READ | IPL Records and Stats | Most Thrilling IPL finals
4. Shane Warne – Rajasthan Royals
M: 55, W: 30, L: 24, Tied: 1, Win %: 55.45
Shane Warne captained Rajasthan Royals to a successful IPL campaign in 2008
Shane Warne was the captain for Rajasthan Royals in the inaugural edition in IPL 2008. Leading one of the underdog teams of the tournament, Warne led the Jaipur-based franchise to glory in IPL 2008. He was a master at identifying young talent and carried a bunch of young boys with his experience to lift the IPL trophy in 2008.
He was at the helm of affairs for Rajasthan as a mentor, coach, and most importantly as the captain. In 55 matches that Warne captained during his IPL stint, his team could emerge victorious in 30 games with a win percentage of 55.
3. Sachin Tendulkar – Mumbai Indians
M: 51, W: 30, L: 21, Win %: 58.82
Sachin Tendulkar became the first Indian to win Orange Cap in IPL 2010
Despite his huge stature as an Indian cricketer, Sachin Tendulkar was never counted as one of the country's most successful captains. He didn't enjoy a successful stint as India captain during the late 1990s. However, when Mumbai Indians asked the Master Blaster to lead the IPL team, Sachin had a decent record leading the franchise.
He carried the side to the IPL final in 2010 before bowing out against a superior Chennai Super Kings. He was the Orange Cap holder in 2010 and ensured his performances helped his team in going far in that season. In 51 matches as captain, Tendulkar could emerge victoriously on 30 occasions with a win percentage nearing 59.
2. MS Dhoni – Chennai Super Kings
M: 195, W: 115, L: 79, Win %: 59.27
Dhoni is among the two most successful IPL captains
MS Dhoni, one of the greatest players in IPL history, holds the record for most matches as captain in IPL. Popularly known as 'Thala', Dhoni has been a constant figure for Chennai Super Kings in all these years at the IPL. He has been a key figure behind their success in the last 12 years of the IPL.
With three IPL trophies in ten years, Dhoni is one of the most successful captains in the history of the league. In their comeback season in IPL 2018, Dhoni played a huge part in mentoring CSK through to an emotional season. In 195 matches as IPL captain, Dhoni has won 115 games with a win percentage of 59.
1. Rohit Sharma – Mumbai Indians
Rohit Sharma has led Mumbai Indians to five IPL title wins since 2013 (Pic source: IPLT20.com)
The most successful captain in IPL history, Rohit Sharma has led Mumbai Indians to five IPL triumphs in the eight years. Rohit has played an instrumental role in changing the fortunes of the franchise ever since 2013. Despite a few under-par seasons as a batsman, Rohit hasn't allowed his personal performances to hamper the success of his IPL team.
The Mumbaikar has always been an inspiring figure in the MI setup. He has allowed a few youngsters in Jasprit Bumrah, Hardik Pandya, and others to grow along the way to become real match-winners for Mumbai Indians in the past few years. In 123 matches as IPL captain, Rohit has led Mumbai to wins in 72 matches with a win percentage of over 60. Some might argue, but Rohit Sharma can be regarded as the best captain in the IPL.
1. Who is the best captain in IPL?
Ans: As per the captaincy records, Rohit Sharma is the best captain in IPL. Rohit has led Mumbai Indians to five IPL title wins since 2013.
June 26, 2021 June 26, 2021 Chennai Super Kings (CSK), David Warner, Gautam Gambhir, Kolkata Knight Riders (KKR), MS Dhoni, Mumbai Indians (MI), Rajasthan Royals (RR), Rohit Sharma, Shane Warne, Sunrisers Hyderabad (SRH)


DE PERE - St. Norbert College rebounded from a tough loss one day ago to top Northland International University 5-0 in a non-conference match at Schneider Stadium.
The Green Knights (1-1) wasted little time taking control of the match, connecting on three goals in the first 15 minutes of the match. Michael LaTorre scored his first collegiate goal by finishing off a pretty passing combination at the 7:50 mark, with Sam Lamers and Jim Blisk assisting.
Nate Felhofer converted a penalty kick at 12:02, and Lamers finished a breakaway with Joe Fabich assisting at 14:38.
The Green Knights salted the game away with a pair of second-half goals. Blisk converted from the doorstep at 60:08 with Lamers assisting. Fabich then scored his first collegiate marker at 70:17, finishing off a breakaway of his own with Trevor Scales assisting.
Lamers finished with four points, getting one goal and two assists. Blisk and Fabich both had three-point games with one goal and one assist.
St. Norbert outshot Northland International (0-1) by an 18-9 count. Scott Faul made five saves to earn the win in goal for the Green Knights, which included a penalty-kick save in the first half.


Since 2015, Cycloid has bridged the gap between teams, cloud infrastructures, applications and the many existing tools. This platform industrialises the DevOps approach between developers and administrators, while accommodating each person's skills, thanks to a suite of functionalities compatible with the existing tools integrated in a collaboration and control interface. In order to make further technological progress, Cycloid is launching a new innovative functionality, an "infrastructure as a code" generation engine from an architecture diagram.
This platform addresses three main situations: companies' major transition to the cloud, a shortage of the most competent resources and organisational changes to teams, and the increasing fragmentation of tools and hosting platforms.
Cycloid is also developing a network of indirect partners for its integration and distribution, in France and in Europe, to offer a holistic approach: organisation, service and platform. In line with its partnership with Amazon Web Services, Cycloid will deploy new technological partnerships to guarantee complete interoperability with the environments and tools already deployed by its clients.
Orange is therefore welcoming a new player into its innovation ecosystem and confirms its leading position in DevOps transformation: Cycloid will be accessible to Group teams and its business partners to rapidly simplify tools and improve teams' operational efficiency.


text:
Kentucky Citizens Troll 'Moscow Mitch' & His Re-Election Is In Shambles
Senate Majority Leader Mitch McConnell (R-Ky.) is continuing to reap the publicly humiliating blowback from his efforts to block election security legislation from proceeding in the Senate recently. Now, the Kentucky Democratic Party (KDP) has launched a webstore featuring various items dragging "Moscow Mitch," as the GOP leader has been nicknamed in the wake of him essentially turning a blind eye (at best) to efforts to stop Russian interference in U.S. elections. The nickname apparently first emerged from West Kentucky retired teacher Marshall Ward and was eventually shared by MSNBC's Joe Scarborough on national television — and it's stuck.
Democrats have made shirts, buttons, stickers, and Russian-looking hats available. Most of the items sport the traditional yellow-on-red pattern used by Communist propagandists and read:
'Just Say Nyet! To Moscow Mitch'
KDP communications director Nicole Erwin added:
'There's no comparison between the Father of Our Country and Moscow Mitch. 'It certainly provides a clear contrast: Mitch McConnell doesn't care about the coal miners or any of the working families here in Kentucky.'
Even the "just say no" part of the slogan is a dig, since it's a callback to the anti-drug campaign of the same name that emerged in the United States around the time of the Cold War, when Russia (as the Soviet Union) maintained higher power. McConnell's actions have placed him squarely in that context, allowing for Russian expansion to proceed unchecked at the possible expense of fundamental American security. Just recently, a Senate Intelligence Committee report said that Russian agents had targeted election systems in all 50 states! Figures from former Special Counsel Robert Mueller to current FBI Director Christopher Wray have insisted that Russian election interference is a continued, active threat. Yet, Moscow Mitch decides to help block security bills anyway, because he finds them politically unacceptable. This is about more than politics!
McConnell has responded to the criticism by claiming he's being subjected to "modern day McCarthyism," referencing the mad push from U.S. Senator Joseph McCarthy to root out nonexistent Communist infiltrators some decades ago. The comparison is false — this isn't about stopping the Senate leader's "free speech" or whatever else! This is about him failing in a fundamental requirement of his office, that to protect his constituents.
Prominent progressive New York Congresswoman Alexandria Ocasio-Cortez had a fitting response to those claims from the Senate leader when she shared:
'McCarthyism is the practice of baselessly accusing political opponents of being communists as unjust grounds for targeting & harassment. You are blocking action to protect US elections despite official DoJ pleas. That doesn't make you a communist. It just makes you a bad leader.'
McCarthyism is the practice of baselessly accusing political opponents of being communists as unjust grounds for targeting & harassment.
You are blocking action to protect US elections despite official DoJ pleas. That doesn't make you a communist. It just makes you a bad leader. https://t.co/qLqR2vtOfI
— Alexandria Ocasio-Cortez (@AOC) July 30, 2019
The newest surge of opposition to the widely disliked McConnell comes as at least some Democrats hope to unseat him in 2020. He's up for re-election, and veteran Amy McGrath has announced a candidacy that she's casting as the "No B.S." option. Whether that resonates with Kentucky-ians remains to be seen — as does whether whoever the Democrats eventually nominate for the 2020 presidential election is able to topple Donald Trump.
Moscow Mitch
Previous articleJared Kushner Exposed For Major Health Code Violation At Key Business
Next articleBen Carson Suffers Widespread Public Humiliation (IMAGES)


Literacy, as defined by the Utah State Office of Education, is "…to enable all students to become proficient in the area of literacy for the purposes of reaching their individual potential and becoming successful citizens in today's world." In Provo City School District, we support this statement. Beginning in the primary grades, critical reading skills are addressed through research-based instructions and practices, a systematic and explicit sequence of instruction, and the use of a variety of genre. Our aim is to develop a deeper understanding and appreciation of the powerful impact of the written word.
The Secondary English Language Arts curriculum gives students in grades 7-12 opportunities to deepen their understanding of the Utah Core Standards and increase critical thinking skills. Both will prepare students to be College and Career ready post high school graduation.
Provo School District students read both fiction and nonfiction in their grade band text complexity. An emphasis placed on close readings of rich texts and synthesizing information from a variety of texts on a common topic prepare students to successfully navigate literacy throughout their adult lives. A variety of writing assignments (argument, explanatory/informative and narrative) teach students to compose for a variety of purposes and audiences while discussion opportunities using multiple formats prepare students to engage in thinking and listening skills critical to success.


Food made from white flour or refined sugar isn't allowed on the No White Foods diet.
The Eat Nothing White diet goes by a number of other names, including the No White Foods diet and the No White at Night diet. All are based on the same principle - the key to losing weight is to stop eating a specific list of white foods. Proponents of the diet say that the majority of white foods contain a high concentration of simple carbohydrates that cause your blood sugar to spike, then drop, causing you to overeat and gain weight. Health experts like the Mayo Clinic's Dr. Jon Ebbert praise many aspects of diets that eliminate white foods, though some dieters may find the plan too difficult to stay on long term.
A person just beginning the Eat Nothing White diet is instructed to completely eliminate the following foods from her diet: white rice, white potatoes, white beans, white sugar and any product made with refined sugar and white flour products like white bread or pasta. No White Foods diet followers are also told to avoid using solid fats that are white without artificial coloring added, such as cheddar cheese or butter. The only exceptions to the no-white rule are cauliflower, egg whites, parsnips, milk, white fish and white poultry meat. A dieter should replace the restricted foods in his meals with brown rice, whole-wheat pasta and bread and a wide variety of colorful fruits and vegetables.
A typical day on the Eat Nothing White diet might begin with a breakfast of egg whites scrambled with spinach or tomatoes and served with dry whole-grain toast, or a whole-grain cereal like muesli, non-fat milk, berries and almonds. Lunch could be a brown rice or wheat berry salad containing chopped vegetables and herbs and dressed with an olive oil-based vinaigrette. Grilled fish or chicken breast, steamed or sautéed vegetables and a green salad might serve as dinner. Dieters are encouraged to have a morning and afternoon snack. Snack choices might include fresh or dried fruit, raw nuts or vegetables with a bean-based dip like hummus.
According to Ebbert, eliminating white potatoes, white bread, white rice and white pasta from your diet will help you lose weight. Ebbert adds that increasing your intake of whole grains and lean protein from beans, meat and fish, as recommended by the No White Foods diet, will aid with weight loss. Nutritionist Joanna McMillan Price agrees, saying that the lean protein, vegetables and whole-grain products emphasized by diets that eliminate white foods are all items with a low glycemic index, meaning that they will not cause your blood sugar to spike. By eating more colorful fruits and vegetables, you'll have an increased intake of the phytochemicals that are linked to a decreased risk of heart disease, cancer and diabetes.
While most versions of the No White Foods diet say that regular exercise is important, none provide specific exercise instructions, which may be a problem for people who need more encouragement to begin a regular schedule of physical activity. The diet also does not inform followers about portion control or provide sample menus for people with differing nutritional requirements, such as vegetarians or vegans or those trying to follow a gluten-free or kosher eating plan. Some dieters may find it too hard to eliminate all white rice, bread, pasta and potatoes from their meals, and may end up regaining all the weight they lost when they begin eating these foods again.


Learning that you are expecting a baby is a common impetus for couples to move. That awesome loft in the Byward Market may have been an awesome place to live when you were kid-free, but once you become expectant parents your needs change and that Barrhaven townhome looks a lot more attractive.
However, you have an important decision to make. Should you move before the child arrives so you can be all settled into the new home by the due date? Or should you wait until after the baby is born so you don't have to go through the stress of moving while pregnant? Let's explore the pros and cons of both options.
Trying to do anything when you have a newborn baby can feel like an impossible feat. Now imagine house hunting, negotiating the purchase price, doing all the paperwork, packing your things, and then moving when you've got the world's crankiest neighbour – no fun.
The nesting instinct is real and peaks in the third trimester. If you move before the baby comes, you'll be able to get the house in perfect order three times over.
Babies are all about routine, and moving early in their life can upset important things like their feeding and sleep schedule. Moving before the baby comes means there will be no interruption in routine.
Being pregnant ranges from uncomfortable to painful. Your back aches, your feet swell, you walk with a waddle…it's no fun. Now imagine being in that position and trying to move house. Of course hiring professional movers makes this easier, but it's still a headache you don't need in the late stages of pregnancy.
With the baby bump gone, it will be a lot easier to set-up and organize the new space.
With the baby finally here, you'll have a better understanding of what you need from your space. For example, only after having the new baby do you realize how much space a baby takes up with clothes, diapers, toys, and gear. Plus…what if you have twins?
Your new baby provides an instant topic of conversation to neighbours, allowing you to make new friends and connections right away without that awkward introduction.
No matter which option you choose, First Rate Movers is here to help. Our professional moving company in Ottawa will get you settled into your new place quick and easy so you can focus on what matters most: starting a new chapter in your life.


text:
Philanthropies / BYU-Idaho / More Than a Degree
BYU-Idaho Giving Opportunities
BYU-Idaho Need-Based Financial Aid
BYU-Idaho Employee Giving Form
BYU–Idaho President's Report
More Than a Degree
After she returns from her mission in 2017, Amanda Bishop will complete her degree in early childhood education and then, she hopes, fulfill a lifelong dream of working in childcare. But when she crosses the stage to collect her diploma, she knows her degree won't be the only thing she'll have gained from her time in Rexburg.
"I've grown so much," she says. "When I first came here, I was really shy. I would keep my head down while I walked to class, and I didn't talk at all.
"I feel like people have been put into my life over the past couple of years who have helped me grow. I've learned to put more effort into school, and I have a purpose. My education is going to get me somewhere."
Amanda comes from a single-parent home. Her parents divorced when she was just 2 years old.
Her mother immediately went to work as a cake decorator at a grocery store and began studying to complete her degree. Eventually, Amanda's mother became an elementary school teacher. While her salary was enough to feed her four children, it left little wiggle room.
"My mom is my role model," Amanda says. "Even though life was hard, she still completed her dreams."
When Amanda was about to graduate from high school, she thought she wouldn't be able to afford to come to BYU-Idaho. But then, unexpectedly, she received a needs-based scholarship.
"My biggest dream is to help children, so that scholarship was a great blessing for me," she says. "Now I can achieve my dreams."
College or Mission? Colin Knew He Couldn't Afford Both
Colin had been saving for college for some time. However, when Colin's bishop asked him to serve a mission, he knew he could afford one or the other – not both.
A Niggling Feeling that the Lord Expected More
Contrary to conventional wisdom, David Decker felt to embark on a new educational adventure.
Pathway Brings New Hope, New Skills
First in a three-part series: On a Thursday night last April, the meeting house gym in Monterrey, Mexico was lined with tables and chairs for 67 very important guests: students hoping to register for their first Pathway semester.


Ivana Majksner & Tina Varga Oswald, Croatia, ID CLEaR2016-363; Voltaire produced his works within the literary-historical period of classicism and the Enlightenment, in which the prevalent role of literature was educational. The period also dictated what genre, theme, style and composition authors should follow, however more and more changes of literary genres appear and the process of stratification of literature on high and trivial takes place. The aim of this paper is to describe the polarization of two mutually different processes involved in the literary shaping of Voltaire's philosophical narrative Candide or Optimism. In Voltaire's narrative, the popularization of philosophy in order to simplify and illuminate the philosophical writings of G. W. Leibniz, results in the changes of style and content that become understandable to the general reading public since they work within the scheme of an adventure novel. In this process trivialization does not affect only the genre, but is also present in other parts of literary analysis and interpretation such as the theme, motifs, composition, characterization, narrator and narrative techniques, stylistic features and others.
Keywords: Voltaire, Candide or Optimism, Leibniz, popularization, trivialization.


text:
<?xml-stylesheet href="../../../style/xhtml-full.css" type="text/css"?>

  <title>Substring matching attribute value selector on beginning with declared namespace</title>
  <meta name="author" content="Daniel Glazman, Ian Hickson"/>
  <link rel="stylesheet" type="text/css" href="../../../style/xhtml-full.css"/>

  <link rel="first" href="css3-modsel-1.xml" title="Groups of selectors"/>
  <link rel="prev" href="css3-modsel-100b.xml" title="Attribute dash-separated value selector with declared namespace"/>
  <link rel="next" href="css3-modsel-101b.xml" title="Substring matching attribute value selector on beginning with declared namespace"/>
  <link rel="last" href="css3-modsel-d4.xml" title="Dynamic updating of :first-child and :last-child"/>
  <link rel="up" href="./index.html"/>
  <link rel="top" href="../../../index.html"/>

    CSS 3 Module

     <==
     Test #
     ==>

    W3C Selectors
    144 of 296

    Testing
    Date
    Revision

    Substring matching attribute value selector on beginning with declared namespace (ID #101)
    2001-11-13
    1.1

NOTE: The UA must support namespaces for this test.

This paragraph should have a green background.

<q xmlns="http://www.example.org/a" a:title="et si on chantait">This paragraph should be unstyled.</q>
<r xmlns="http://www.example.org/a" a:title="si on chantait">This paragraph should have a green background.</r>
<s xmlns="http://www.example.org/b" b:title="si on chantait">This paragraph should be unstyled.</s>

@namespace a url(http://www.example.org/a);
@namespace b url(http://www.example.org/b);
@namespace html url(http://www.w3.org/1999/xhtml);
*|p, *|q, *|r, *|s { display : block ; margin-bottom : 1em }
*|p, *|r { background-color : red }
*|*[a|title^="si on"], *|*[title^="si on"] { background-color : lime }

<p title="si on chantait">This paragraph should have a green background.</p>
<q xmlns="http://www.example.org/a" a:title="et si on chantait">This paragraph should be unstyled.</q>
<r xmlns="http://www.example.org/a" a:title="si on chantait">This paragraph should have a green background.</r>
<s xmlns="http://www.example.org/b" b:title="si on chantait">This paragraph should be unstyled.</s>

redpajama_set_name: RedPajamaGithub


text:
Order a Brochure Find a Store
Flight Centre UK
All Holiday Types
What are Tailor-made Holidays?
ALL FLIGHT TYPES
Multi-Stop Flights
Round the World Flight Upgrades
Premium Cabin Flights
Premium Airlines
Flights from the UK
Call FREE: Mon-Fri: 9am-7pm, Sat-Sun: 9am-6pm
Many of our deals are not available on our website. For regional departures, different travel dates or a quote on a specific airline or hotel please call our experts who will find the right deal for you at the best price.
Our opening hours are Mon-Fri: 9am-7pm, Sat-Sun: 9am-6pm.
Call free on landline:
Call free on mobile:
I'm happy just browsing
How to Experience the Best of Costa Rica in 7 Days
As soon as we crossed the border from Panama, it was clear we had entered Costa Rica. Somehow, the vegetation seemed greener, despite both countries virtually sharing the same geography. Our bus rode on seaside roads and through lush jungles, past miles upon miles of solitary beaches, small towns, verdant hills, and towering waterfalls. From aboard the bus, I gazed out into the passing trees trying hard to spot a monkey or a sloth, and at one point I think I saw something hanging from a palm tree – a sloth for sure, I thought, although it was probably nothing more than a coconut.
My boyfriend Eamonn and I were travelling northbound through all of Central America, and Costa Rica, the second country on our list, was the one I was most looking forward to visiting. We had a week to discover the country, so we narrowed down our time there to three places that we felt would give us a good understanding of Costa Rica: the capital, a beachside national park, and a mountainous cloud forest.
RS-Day-1-National-Theatre-San-Jose.jpg
National Theatre San Jose (image: Claus Gurumeta)
After a long day of travel, our bus arrived into San Jose in late afternoon and, after checking into our hotel, we headed out to Chelles, a famous restaurant that's popular with locals. We indulged on a casado, a traditional dish consisting of rice, black beans, fried plantains, stewed vegetables, salad, and grilled meat – simple but delicious, and very filling. Wishing to explore the city's nightlife, we checked out a popular salsa nightclub. The music was great and, with many talented patrons on the dance floor, we decided to stay on the sidelines and simply enjoy the atmosphere, partly because watching the dancers was riveting, but mainly because we didn't trust our own dancing abilities with such competition. After a couple of drinks, we moved on to another local joint, a modern club that hosted live entertainment and played popular international music, a complete contrast from our previous haunt.
RS-Day-2-Golden-Room.jpg
Golden Room (image: Claus Gurumeta)
Day 2: San Jose
The next day we explored San Jose, a city with various museums, great restaurants and bars, pretty parks and plazas, and a beautiful historic centre. We visited the Museo de Arte Costarricense, a museum dedicated to art by Costa Rican artists, housed in the handsome terminal building of the city's former airport. While the art collection is striking, the highlight of the museum is the aptly named 'Golden Room', a former VIP waiting area that has a 3D mural across all four walls, painted in hues of gold and copper. Afterwards, we walked down Avenida Central, the mostly pedestrian main street that cuts right across the city, lined on both sides with shops, cafés, restaurants and bars. We walked around the historic centre's squares, visited a couple of churches, and went to the central market to enjoy a tasty meal and a milkshake at one of the sodas, local eateries reminiscent of old American diners, which are popular throughout the city. At night, we visited San Jose's trendy Paseo Gastronomico La Luz district on 33rd Street, boasting fashionable restaurants and its very own craft beer bar.
RS-Day-3-Manuel-Antonio-monkeys.jpg
Monkeys in Manuel Antonio (image: Claus Gurumeta)
Day 3-4: Manuel Antonio
We left San Jose early and headed southwest on a four-hour bus ride towards Manuel Antonio, a beachside town built into the lush hills of the Costa Rican rainforest. Our hilly accommodation overlooked the jungle as it stretched out in every direction, seemingly endless but for a view of the ocean in the distance. Over the next couple of days we would meet our neighbours: a family of bats that made their permanent home in the outdoor hallway, and some mischievous monkeys always on the lookout for anything to steal.
The rainy season meant huge downpours every night, which luckily always happened while we were safely tucked away eating dinner. We found a little restaurant with great food nearby, which we would revisit every night we spent in Manuel Antonio. There, we dug into a delicious huge portion of ceviche served with petacones (deep-fried plantain patties), all washed down with pints of local beer. After the nightly storms, the jungle came alive with the sounds of nature like I've never heard before; the frogs in particular sang a sleepy lullaby, just in time for a peaceful walk home and bedtime.
RS-Day-4-Manuel-Antonio-beach.jpg
Manuel Antonio beach (image: Claus Gurumeta)
Every day, in the early morning, the eerie screeching of a howler monkey woke us up. Although it was a chilling sound at first, we soon learnt to appreciate the noises of the rainforest – we were truly one with nature here! Eamonn and I spent one whole day frolicking in the beautiful shores of Manuel Antonio, walking the entire stretch of an almost-empty beach, with the sea on one side and rugged rocks and the jungle on the other. We soaked up the sun, caught up on reading, and had a dip or two in the ocean to cool down from the intense heat – pura vida, the Costa Rican expression for the daily enjoyment of life, never rang so true. In the evening, we watched the sun set into the sea from high up in the hills, before grabbing another serving of ceviche for a storm-time dinner and more amphibian lullabies.
RS-Day-5-Sloth-at-Manuel-Antonio-National-Park.jpg
Sloth at Manuel Antonio National Park (image: Claus Gurumeta)
Day 5: Manuel Antonio National Park
The crown jewel of this beautiful seaside destination is the Manuel Antonio National Park, Costa Rica's smallest national park in size, but one of the best in the country in terms of wildlife-watching opportunities and biodiversity. This natural realm has a bit of everything: hiking trails, jungle paths, beaches, and a varied fauna. We spent an afternoon exploring the park, hiked up a steep trail to a viewpoint, lazed in one of the beaches, and walked through various paths searching for wildlife. In one afternoon we were able to spot various animals, including a big family of white-headed capuchin monkeys, a couple of howler and squirrel monkeys, crab-eating raccoons, agouties, tropical birds clad in bright colours, iguanas, and even one of Costa Rica's icons: a three-toed sloth!
RS-Day-6-Monte-Verde.jpg
Monteverde (image: Claus Gurumeta)
Day 6: Monteverde
Another long day on the road was in order, until we reached the town of Monteverde up north. We welcomed the cooler climate and enjoyed the fresh mountain air, a nice change from the hot and sticky coastal weather of the last few days. Monteverde is quaint, spanning only a few blocks but full of nice cafés serving locally grown coffee. We enjoyed a café con leche and a casado for dinner before calling it a night; we wanted to make sure we would be fresh for an early start for discovering the cloud forest the next day.
Day 7: Santa Elena Cloud Forest
Costa Rica is regarded as the greenest country in the world in terms of environmental sustainability, and Monteverde is a great example of why the country has achieved this title. In the past two decades, the cloud forest in the area has grown in size five-fold, as farmers have recognised the financial potential of tourism and planted trees to turn their former grasslands into thriving forests. Today, Monteverde sees an influx of visitors seeking to explore the cloud forests and participate in canopy tours and zip-lining activities.
RS-Day-7-Claus-at-Santa-Elena-Cloud-Forest-Reserve.jpg
Me at Santa Elena Cloud Forest Reserve (image: Claus Gurumeta)
We spent most of the day in Santa Elena, the smaller of the two cloud forest reserves (the other bearing the same name as the town, Monteverde). We walked through the fairytale forest, admiring the gigantic moss-covered trees towering up and disappearing into the low-lying mist which gives cloud forests their name. Our guide identified various colourful birds up in the canopy, showed us how to lure tarantulas out of their burrows to admire them, and pointed out dozens of colourful insects and beetles that seamlessly blended into the lush forest. We weren't lucky enough to see any big fauna (thankfully we had gotten our fix in Manuel Antonio!), but the experience was nothing less than spectacular; the cloud forest itself, splattered in every shade of green and always covered with the cool mist of the clouds, was simply magical.
After Monteverde we headed north towards Nicaragua, watching the jungle pass us by from aboard a bus, as we left behind a place we had fallen in love with. Costa Rica was only a small part of a bigger trip, but it had a huge impact on both of us, and we look forward to our next visit.
Chat to our Travel Experts about booking your Costa Rica group tour or creating a tailor-made Journey.
A Traveller's Guide to Central America
A Food Lover's Guide to Mexico
Claus Gurumeta
Travel addict with a mild obsession with international cuisine and craft beers. Although I am happiest exploring the streets of a vibrant city, I enjoy discovering quiet villages, hiking mountains, kayaking seas, and the odd day or two lazing on a beautiful beach.
more articles from this author
First and Business Class
Quirky Travel
The Travel Team
Talk to a Travel Expert
Instant call back »We'll call you back for free
We'll call you back shortly
Please enter a valid UK landline or mobile number
Get a quote » A consultant will contact you
Visit a store »Plan ahead and request an appointment
First and Business
Tailor-Made Holidays
All Tailor-Made Holidays
Trust & Compliance
Be the first one to get our deals
We'd love to send you our latest holiday offers and travel inspiration by email. To sign up, please enter your details below.
We're passionate about travel and want to inspire you, however, you have the right to withdraw your consent from marketing communications at any time.
We value our customers' privacy and will treat your personal details with the utmost care and respect. For information about how we handle your data, please read our Privacy Policy.
© 2019 Flight Centre (UK) Limited, Registered in England No. 02937210
* 0800 calls are free for landlines and mobiles. 0333 calls are included within inclusive minutes package on mobiles, otherwise standard rates apply.
0844/0845 calls are 7p/pm plus your local carrier charge.
Speak to one of our lovely humans
Put you number below to request a call back
Instant call backWe'll call you back for free
Get a quote A consultant will contact you
Visit a storeRequest an in store appointment


text:
George Washington and Valparaiso set to meet for NIT title
By MIKE FITZPATRICK
Valparaiso's Darien Walker drives past BYU's Kyle Davis on Tuesday during the semifinals of the NIT. (Frank Franklin II / AP)
NEW YORK (AP) — A few weeks back, Mike Lonergan's buddy sent him a basketball net. The message was pure motivation: cut one down in March.
With a victory over Valparaiso in the National Invitation Tournament championship game Thursday night, the George Washington coach and his posse of international players can do just that. Smack in the middle of Madison Square Garden, no less.
"I haven't cut down nets in a while, since I was at Vermont I think," Lonergan said. "So it's great to be in this situation."
The gift has become something of a good-luck charm for the Colonials, who hung the net in their locker room and started taking it on the road as a reminder of the prize they pursue.
One more win would do the trick.
"We just kind of touch it sometimes. I touch it before every game," Lonergan said Wednesday. "It was just something to kind of try to keep our focus."
The only team still standing in George Washington's way is top-seeded Valpo (30-6), which turned back BYU 72-70 in the semifinals Tuesday thanks to a tiebreaking 3-pointer with 20 seconds left from reserve forward David Skara.
The fourth-seeded Colonials (27-10) cruised to a 65-46 rout of San Diego State.
"They have a lot of different pieces. They play very well together. They rebound the ball well. They have skilled players that make shots, and they have experience," Crusaders coach Bryce Drew said. "We know how good they are going to be."
Valparaiso was one of the first four teams left out of the NCAA Tournament. The Crusaders went 16-2 in the Horizon League, winning it by three games, but lost to Green Bay in overtime during the conference tournament semifinals.
They've bounced back in a big way, just like GW. And now, both schools are on the cusp of their first NIT crown.
"It's a huge step for our program," Drew said. "To be able to play this deep into March, only a few teams left in the country, getting the exposure on ESPN, and getting to play in Madison Square Garden. I think our fan base and our university, it's just been a great response from our alumni, and everyone is just really excited about what's happened the last few weeks."
Lonergan explained Wednesday that his pal who sent the net actually had the Atlantic 10 Tournament in mind. But after the Colonials lost in the quarterfinals, they were left out of the NCAAs despite wins over then-No. 6 Virginia and Big East Tournament champion Seton Hall.
"We had to rally them because we were all, literally, all a little bit depressed," Lonergan said. "They really responded well and got refocused and made a nice run here in the NIT."
The title game matches the tournament's top two performers in Crusaders star Alec Peters and Colonials counterpart Tyler Cavanaugh, strikingly similar players.
Both junior forwards are listed at 6-foot-9, separated by 5 pounds. Offensively skilled inside and outside, they each shoot 51 percent from the field, better than 42 percent from 3-point range, and at least 82 percent at the foul line.
Peters averages 18.4 points and 8.4 rebounds. Cavanaugh, a Wake Forest transfer, is putting up 16.9 points and 7.6 rebounds per game.
"I think when both of them play well, obviously our teams play a lot better and guys feed off of them," Drew said. "But it will be an interesting matchup because they do similar things. They can pick off 3s or duck in the post and score. They both really go at the offensive boards and defensive boards very hard. It will be a good matchup with two very good players."
Consistency is a hallmark, too.
Peters had 20 points or more in seven straight games before scoring 15 in the semifinals. Cavanaugh has reached double figures in every game this season.
And both have been at their best in the NIT.
Peters is averaging 22.3 points and 8.3 rebounds in four games, while Cavanaugh is at 21.3 points and 9.8 rebounds to go with 55.6 percent shooting from beyond the arc (10 for 18).
"He's been incredible," Lonergan said. "Tyler knows the game. Everything he says, it's amazing his IQ. I'm happy for him because he had a lot of options when he left Wake Forest, and we recruited him in high school. He was a jump shooter and he's become a rebounder. He's worked on his body. I just think going to next year, (he) could be a conference player of the year."
George Washington, located four blocks from the White House in the Foggy Bottom neighborhood of Washington, D.C., figures to have plenty of fan support Thursday night. New York City is about a 225-mile trip up I-95, and some trains take less than 3 hours.
The Colonials, who start players from Argentina, Denmark and Japan, also hope to have a relatively healthy Joe McDonald against Valpo. The senior point guard injured his ankle Tuesday night but stayed in the game, finishing with nine points and six assists.
"I think he'll be OK. I don't know about 100 percent, but hopefully he'll be OK," Lonergan said. "Luckily for us he's one of the toughest kids I've ever coached. It would take a lot for him to miss this. I think it's just a sprain."


Members may be interested in the WoodBuild 2018 Conference and Expo being hosted at Cardiff Metropolitan University on the 14th June, organised by Woodknowledge Wales, which will showcase with invited speakers from across the UK innovation with the use of timber. The Welsh Government's Assembly Member for Housing and Regeneration |Rebecca Evans, will launch the Powys CC Home Grown Homes project, that aims to spearhead the use of home grown timber for high performance and healthy homes from timber grown in the UK and Wales. See the exciting program here: http://woodknowledge.wales/wp-content/uploads/2018/01/WoodBUILD2018-Event-programme-20180529-1.pdf.
In summary the morning sessions will shed light on some of the emerging metrics for quality and explore the role of building performance evaluation (BPE). The afternoon session will provide real-world responses from leading practitioners. As always with Woodknowledge Wales events, ample time is allocated for discussion and debate.
Ultimately, by creating forums for the exploration and sharing of knowledge and ideas, Woodknowledge Wales hopes to inspire new added-value collaborations in the timber supply chain from the client to the forest.
I/my employer do not gain financially from this conference or post, so sorry if anyone is offended.
Does the morning session consider quality in all forms of construction or only in timber construction?