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The treatment of women in the history of the United States Essay
In understanding the meaning and function behind marriage in the plays and how this ultimately contributes to the tragic ending of women, it is first crucial to understand how their society views the issue of marriage. Perhaps in modern times, the significance and implication of marriage is lost or not as conservatively valued as they were in the societies that the women are set in, however it is imperative to appreciate the meaning and function of marriage in the plays as it existed in American history and not undermine this importance.
In the six plays, there are scenarios where there are voluntary marriages made because women loved the man they decided to commit to although they may later find out that there are many time in their marriage where they are physically and emotionally abused, and involuntary marriages either by pressure from third parties or arranged by older family members. These three various routes all lead to marriage, but their meanings, expectations and functions of marriage are all different and thus are three different avenues to understand.
Despite the contrasting elements, there are a few things in common which are imperative to reflect upon when reading the plays. This includes the concept of marriage being a rite of passage where a woman is married off to a man, giving the husband responsibility to look after the woman and thus control over them, and that marriage brings both joy and sorrow, in which problems and displeasure experienced by men also become problems and grieve of the women.
When all these factors interact, what occurs is that the women find themselves in subordinate positions in their marriage as it existed many centuries before them, where they have no real say in their future as husband and wife. This subordination greatly adds to the tragic sentiments felt by the women as they wish for improvements in their situations.
The theme of surviving independently is not strictly confined in the parameters of life and death, but rather focuses on the concept of whether the women in the plays have the skills, the will together with fate on their side to rise up to the challenge of surviving in a society that is not kind to them as a gender.
To comprehend the vastness of this theme, we need to question the source of their 'survival skills' and how they obtained these skills which leads to the probing of whether the women are born with this instinct or from their exposure to America, they are able to learn and adapt to the harsh surroundings and therefore attempt to survive. The ability to survive also raises interest of whether this is done independently by themselves or there is significant reliance on their husbands or other male characters in the play, and as a result brings into context the idea of surviving alone as a form of isolation.
What is also worthy of note is that even though some of the female characters are unable to detach from their accustomed dependence on men, they still experience isolation, often in the form of emotional abandonment. Nowadays we recognize that women being able to stand up for themselves and live independently as a strong compliment but it is important to appreciate that it is extremely difficult for the women in the plays to reach independence. It is crucial that we take into account the factor that the time and place the women are in do not encourage their strife for independence and thus do not ease the path to achieve this.
Objectification and lack or respect is something that still exists today and this entrenched concept prevails over time as women are considered to be the inferior gender. With society accepting as the norm for men to work and provide for their family and the woman's role was merely to bear children and take care of the household, this separation of power and subordination results in men feeling they are always in control and they have the right to hold that power over women. Many women in return accept this and will not contest it, in most part because they are unable to fit the 'system' they are in.
This investigation on the six plays will also delve into the relationship between choosing not to fend off the objectification and lack of respect as a trade off to not need to be alone. It is also important to keep in mind while analyzing this theme in the plays that we do not assume that all men take advantage of the women and condemn as being 'evil', as we need to be aware that it is in part their nature to react in this way if they do because the society they are in constructs them to do so.
It is equally crucial that we acknowledge that society can change and therefore it just for women to continuously seek for change even when if the outcome looks bleak. Although much improvement has been instilled in societies around the world with fairer treatment of women at work or at home, readers need to understand that it is because women, like those portrayed in the plays, have endured the crux of the hardships in history already. The inability for women to successfully assimilate into their society will be explored, along with how it influences isolation.
To do so, it is essential in understanding how they approach assimilation in the time and place the play is set in; do the women have the right mindset to facilitate integration or are they still caught in the past and ponder about their homeland? When thinking about integration, we also need to be careful not to make the generalized assumption that it is a necessary element in their lives to bring happiness and that it is always achievable. Along with this is understanding how assimilation affect the three inevitable outcomes for women and whether the process of assimilation conflict with the women's desires to be happy.
Chapter 2: Role of Women in America The role of women is an intriguing topic to explore as the female character often has a significant function in drama, even when the play is written with a male dominated cast. To understand the representation of women as constructed by their respective societies in the various American plays, the study will focus on three aspects; the purpose and significance of marriage, the ability to survive independently, and the lack of respect and objectification of women.
The Purpose and Significance of Marriage The theme of marriage, or in some of the texts, the desire to be in a good marriage, is a focal point in all six plays; It appears to be the cause of happiness in some while the root of the family's misery and entrapment in others. While considering this theme and understanding how it interacts with the concept of the role of women, we must also take into account whether the marriages were voluntary or arranged.
In the view of these scenes, we can further understand where the position of women is in marriages and how their role in the marriage affects the family unity and the opportunity to sustain bliss. Marriage is considered a rite of passage for women in Machinal. Helen Jones is persuaded by the actions of other girls that marriage is the only key to success and happiness for a woman. When she is first propositioned, she becomes frantic and automatically trails off in her scattered and insecure thoughts about what is expected of her as a young woman.
"Married, all girls, most girls, married – babies, a baby! " (Treadwell, 186). While she is terrified by this though, she slowly reconciles her insecurities and forces herself to believe that this needs to a reality for her. Wanting to confirm her daunting feelings of marriage, Helen attempts to seek the advice from her mother. "I got to get married, Ma. All women get married, don't they? (Treadwell, 190). However her mother is too concerned with the prospect of her daughter's rich finance supporting her to notice her daughter's reluctance and vulnerability.
Unlike what she originally expected, Helen soon realizes that she can never genuinely feel happy in her marriage as she does not love her husband. On the surface, she fulfills the obligations of a married woman by giving birth to a girl and plays the role of a wife for six years without feeling affection towards her husband or her child. In a quest for true love, Helen finds herself in an affair, thinking she could escape the sorrow from her marriage. Her prevailing desire to escape from her marriage leads her to murder her husband.
"I put him out of the way – yes. To be free" (Treadwell, 248). The actions of this desperate woman to break the constructed role for all women in her society however, only results in her death as she is caught and tried for murder. In some cases, marriage is portrayed as an escape route, spurned by a desire to climb out of the hole of desperation and step into a future with hope and little remembrance of the past. In Bitter Cane, Li-Tai wishes for a better life than one of pleasing men but she knows no other way.
Her lover, Lau is a sugar cane laborer who is bound by contract to work for years to pay off his debt and so when Lau proposes to her and indulges her with thoughts of leaving Hawaii, she foresees that it would not succeed. "He wanted to marry me. What kind of a future would we have had? A plantation runaway and a pei-pa girl? He was obsessed with escaping" (Lim, 192). While Lau thinks that once they are married, they can start a fresh life together, she acknowledges that marriage is simply a fai??
ade for happiness and that their characters have always lead a harsh life and were not destined to find contentment. Li-Tai also suggests that her bleak life is connected with the fact that she is female as she tries to explain to him, "I'm a woman, Lau. There's nothing out there but desolation. " (Lim, 200). Lau commits suicide following Li-Tai's rejection and she meets Wing, who is Lau's son and later becomes her lover. However, Li-Tai's persistent despair wavers when Wing proposes and she grasps the opportunity to leave her past behind and attempt to find happiness with him.
What is particularly interesting here is that Wing intends to leave the sugar plantations in Hawaii to "go to Honolulu" (Lim, 194), another Hawaiian island. This suggests that their escape through marriage is not principally a physical escape, but more of an emotional escape. Blanche in A Streetcar Named Desire, also attempts to use marriage as a way to escape from her flirtatious past and take the opportunity to secure a stable appreciation from a man before she ages too much and therefore no longer entices the opposite gender.
The reader understands that Blanche is quite insecure about her deteriorating looks and her concerns about losing the power of seduction and often seeks for compliments to help convince herself that she has not completely lost her talent yet. When she first sees her sister Stella, she initiates the expected compliment by joking that she still has that "awful vanity about [her] looks even now that [her] looks are slipping! " (Williams, 123) with Stella dutifully responding, "They hadn't slipped one particle" (Williams, 123).
However Blanche's plan for marriage fails and her last chance of earning happiness and security with someone who appreciates her is lost. "She thought Mitch was going to – going to marry her" (Williams, 191). Her fianci?? e Mitch, is in a similar position as Blanche, also looking for someone to spend the rest of his life with, a stable long term partner as he admitted to his drinking buddies that "you all are married, but I'll be alone" (Williams, 144).
Despite his desperate need to be with somebody, Mitch does not want Blanche when her provocative life is revealed as she is no longer 'marriage material'. This suggests to the reader that marriage from Mitch's perception and perhaps from the perspective of society as well, is that the sanctity of marriage and the purity of the woman are traditionally crucial. Contrastingly, in Flyin' West, Minnie is pressured by her sisters to escape her abusive marriage as a move into the direction of a better future.
Minnie is reluctant to do so despite knowing her sisters' words of wisdom were only articulated out of love and protection. In the play, Minnie's character displays the dilemma that many women are caught in their marriages. On the one hand, they love their husband and will be willing to sacrifice themselves to place their husbands' outrageous requests and wishes first while their concerned family members struggle to convince the abused woman to think rationally for themselves and not their undeserving so-called husbands.
This problem is greatly highlighted by Sophie when she bluntly recalls the truth that no one else wants to mention. "You know as well as I do there are no laws that protect a woman from her husband. Josh beat Belle for years and we all knew it. And because the sheriff didn't do anything, none of us did anything either. " (Cleage, 717). Flyin' West also offers the reader an interpretation to the importance of marriage. Their grandmother explains that enduring a harsh life does not "make sense without the children" (Cleage, 698).
Respecting her grandmother's words, Minnie places her child's best interest first over Frank's as she accepts that she needs to escape from her abusive marriage regardless of how much she still loves him. In A Streetcar Named Desire, Stella withstands the abuse her husband exerts on her as a way to maintain happiness in her life. Stella comprehends the complexities of marriage and the need of personal sacrifice to build a life with her husband and provide a family for their unborn child. "I'm not in anything I want to get out of" (Williams, 158).
She accepts that there are both positive and negative aspects in her marriage and she concludes that the joy which her marriage brings to her life overrides the pain and heartbreak that she occasionally experiences. Most importantly, Stella displays her intimate affections for her husband, indicating that she has invested emotionally in this relationship to the point that it is impossible for her to break away from such a commitment. "I can hardly stand it when he is away for a night… when he's away for a week I nearly go wild!
And when he comes back I cry on his lap like a baby" (Williams, 125). However this concept of true love and marriage is lost on Blanche when Stella repeatedly tries to defend her love for Stanley, to the ironic extent that Blanche measures the validity of this concept by comparing it with her desire for short term pleasure with strange men and calls it a "fix is worse than mine" (Williams, 158). This idea of marriage invoking a symbol of happiness to help overcome any hardship is also represented in And The Soul Shall Dance through Murata and Hana's marriage.
Murata endures much of the same obstacles Oka faces when farming and trying to reap crops to support his family, but Oka envies Murata because he does not have his beloved wife with him. Oka believes that any hardship is tolerable so long as his Shizue could support and comfort him because they would "be poor but happy… like Murata and his wife and the kid" (Yamauchi, 151). However as a reader, I must examine whether the reason behind Murata and Hana's loving marriage and their happiness hinges on the fact that Hana plays the expected, stereotypical role of a woman as a devoted mother and wife.
In contrast, Emiko refuses to play the role of a wife as her heart belongs to another man and she does not want to be married to Oka in the United States. Her refusal antagonizes Oka as seen in his frustrated scene with her where he brutally scolds her and spats "all I wanted was a little comfort and you… no, you didn't" (Yamauchi, 151). This raises the question of whether subordination and living up to expectations is paramount to meeting the purpose of a successful marriage from the perspective of women and their husbands.
This concern also arises in Fences when the reader attempts to understand Rose's decision for staying in the marriage with her cheating husband, Troy. Throughout the play, the character of Rose revolves around Troy and their son Cory to the extent that she exists in the play simply to wait on the two most important men in her life. She does so without questioning the structure behind their family and appears to be content serving them from managing the housework to mediating between characters to maintain tranquility. "You ready for breakfast? I can fix it soon as I finish hanging up these clothes.
" (Wilson, 21). While Troy has a full time job with the garbage disposal department and their teenage son holding a part time job at the local supermarket, Rose is the only character in the household who does not have an occupation, something which is not uncommon for women in this time of society. What is interesting however, is that other characters in the play as well as readers take for granted that her role is merely a housewife, but when Rose confronts Troy's infidelity, she defines this as her employment and not simply a contribution to the family. "That was my job, not somebody else's" (Wilson, 69).
This suggests that Rose understands and accepts that she caters for her family and stands by her husband even if it means sacrificing her own dreams, not purely because she loves him, but because it is her responsibility to do so. The reader also has the opportunity to value the importance of committing to a marriage from the perspective of women. Rose admits in the opening scene that she once told Troy "if he wasn't the marrying kind, then move out of the way so the marrying kind could find me" (Wilson, 6), implying that it was crucial for her to find the right man to settle down with.
The opening sequence also reveals to the audience that Rose understand the importance of devoting her married life as a loving wife and mother as she "recognizes the possibilities of her life without him" (Wilson, 5). As a result, the ultimate incentive which drives Rose to fulfill the expectations of a responsible, dutiful yet subordinate wife may be generated from a desire to feel safe and secure. And The Soul Shall Dance also depicts the disastrous consequences of an arranged and unloving marriage.
At the heart of all their problems, lies the bitter circumstance of Oka and Emiko not being in love but forced into a marriage by Emiko's parents. "Your father palmed you off on me – like a dog or cat – an animal… couldn't do nothing with you. " (Yamauchi, 150). As a result, there is never peace in Oka's household, and over time the bitter truth and hateful feelings for each other are revealed as the two refuse to reconcile or make an effort to cope with each other. Oka can only imagine what life could have been like and he endures each day by believing that "there must be a better way to live…
there must be another way" (Yamauchi, 152). The fact that it is not only the female character, Emiko, who feels trapped in the marriage but also the male counterpart, Oka, as shown from his sour words, "I didn't marry her. They married her to me" (Yamauchi, 138), is quite a unique aspect in this play. The Ability to Survive Independently Males are often depicted as the breadwinner in literature, especially when the characters are situated in a patriarchal society. In And The Soul Shall Dance, it is understood that Oka provides for Emiko even though they do not love each other and he does so because legally, they are husband and wife.
As the harsh farming life does not guarantee a stable income, Oka finds it hard to support his life and send money back to Japan to support his first wife and daughter, Kiyoko. However, neither Oka nor Murata expected the difficulty they face in America as it was everyone's dream and belief that they could "make money, go home and live like a king" (Yamauchi, 138). As the women often simply take on the role of a mother and a wife, the females often do not work and solely depend on their husbands as Emiko does. She is financially reliant on Oka even though she wishes she did not have to owe him anything.
However she has no choice in this matter as she would not be able to survive without his money. "I don't have the money. Give me money to… I'd die out there" (Yamauchi, 151). Emiko's desperation displays the level of frustrated dependency the woman has on the man, a frustration that Oka is burdened with and a frustration that is imposed on Emiko. In some scenarios, the male do not solely hold the title as the financial controller. While they may be the breadwinner of the house and that is the only source of the income, they give their paycheck to their wives. This leaves the control of finances in the hands of the women.
In Fences, Rose says to Troy on payday, "You can hand yours over here too, Troy" (Wilson, 47), referring to the monthly income earned to pay for everything their family lives off. Rose also shows that she is in charge of deciding how the expenditure is allocated as she justifies that she uses the money responsibly by purchasing her groceries from the cheapest store. The reader can also interpret this habit of giving the wife the salary as a common practice as Troy's best friend Bono, shares with him that he has a similar experience with his wife on pay day. "Yeah, Lucille do me the same way" (Wilson, 47).
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Cinnamon rolls aren't breakfast food.
There, I just needed to get that off my chest. I feel much better now.
I thought I knew everything about cinnamon rolls. When you're from Sweden, the birthplace of kanelbullar (literally 'cinnamon buns'), you kind of automatically become a self-proclaimed expert on these sweet treats whenever you go abroad.
So the first time I heard about people having cinnamon rolls for breakfast here, I was shocked.
It must be a misunderstanding, I thought. You have cinnamon rolls with coffee, or a glass of milk—in the afternoon (or maybe, just maybe, on your first coffee break at work—still after breakfast though).
And what is with the sticky white thing on top? Glaze? On cinnamon rolls? Even IKEA can't seem to get it right over here.
Now, don't get me wrong, I like the sticky American cinnamon rolls. I even remember the first time I had one. It was at the Las Vegas airport, at a Cinnabon a little over five years ago. We needed forks and knives to eat those giant monstrosities, covered in frosting, caramel sauce and pecans.
They were good, but I would never think of a cinnamon roll and picture those.
In Sweden these sweet rolls are so pervasive they can even cause a bit of a childhood trauma. One of my best friends didn't like them growing up, so she was left out at the birthday celebrations in kindergarten where they would always serve kanelbullar and lemonade. Finally, she had to have her dad—a baker—bring them home from work every day and put her in "cinnamon roll training," and build up her tolerance.
It worked—very well in fact. Now they're on top of her list.
I don't think you'll have any trouble liking the version I'm sharing the recipe for here (in case you do, it's always good to know that you can learn to like them). I would choose them over the sticky American version any day of the week, but that's just me. You think I'm biased? You're probably right. So you should just see for yourself.
Your house will smell like heaven when you're done. Just saying.
Total time: 2-2.5 hours. Makes about 44 cinnamon rolls.
800-850 g (28.2-30 oz) all-purpose flour, take as much as you need—you don't want a sticky dough.
Heat up the milk to about 110-115 °F. Dissolve the active dry yeast in the milk and let it sit for a few minutes. Melt the butter and mix in with the milk. Add a pinch of salt, sugar, cardamom, egg and flour. Mix to a dough. Cover the bowl with a kitchen towel and let rise until double the size, about 1 hour. Mix the ingredients for the filling in a bowl and set aside in room temperature.
Roll out half of the dough (unless you have a really large working bench; then you can roll out the whole thing) to a large, thin rectangle. Spread half of the filling over the rectangle (or all of it if you rolled out all of the dough), then either roll up the dough to a cylinder and cut the dough in half an inch thick slices, or make these twirly tops.
Place the cinnamon rolls in muffin forms and put them on an oven tray. Now roll out the second half of the dough and do the same thing.
Let the rolls rise for another 30 minutes (up to 1 hour is okay) while you preheat the oven to 460°F. Brush the rolls with egg and sprinkle some sliced almonds on top. Bake for about 10-14 minutes until they are golden brown.
Let cool on a rack with a kitchen towel on top. Now treat yourself to a Swedish fika (coffee break) with a cup of coffee or a cold glass of milk.
This recipe was brought to you by Bitter Baker.
HI Yvonne, I much enjoyed your post and am keen to try out the recipe for our "Good-Bye- France-Hello Sweden-Party" next weekend (We'll be moving to Sweden soon…), but I am not sure I can bake sufficient quantities just on the day. Have you ever tried freezing them? Do they still taste nice when defrosted?
How exciting, these kanelbullar would be perfect for that party theme! That's a really good question, and I think you'll like the answer as well. You can absolutely freeze them. If you're not making them to serve the very same day, then I would actually recommend freezing them as soon as they have cooled down (that way they don't risk getting dry). They still taste very nice when they are defrosted, and even better if you heat them up in the microwave just a little bit before serving so they are lukewarm.
Have fun at your party and I hope you really like living in Sweden!!
I love this recipe, but 460F at 10-15 would surely burn them to a crisp?


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Falling poles, tangled wires in Cebu: Enough, councilor says
AFTER a falling post hit two women in Barangay Apas last Saturday, a Cebu City councilor decided to propose the creation of a group that will focus on fixing dangling wires and removing defective poles.
"There is already an existing ordinance on the matter but it seems like these telecommunication companies are neglecting this," Councilor Nestor Archival Sr. said. "Now we will make the move."
The proposed task group will be part of the amendments to City Ordinance 1894 that he will raise before the council, Archival said.
He will propose that while the City has taken the initiative to create the task group, telecommunication companies will shoulder the salaries of personnel in it.
City Hall can hire or outsource these personnel or ask the existing crew from the street lighting division of the City's Department of Public Services.
The councilor also wants to propose increasing the penalties on companies that fail to comply with the ordinance.
"Dugay nata sige'g hangyo nila to comply (We've been asking them for a long time to comply), but they are so insensitive," Archival said. He is set to submit the proposed amendments next week.
An executive session with all the utility firms is also scheduled on Aug. 5 to allow them to update the City on underground cabling activities they have initiated, so far.
Mayor Michael Rama said he is supportive of the plan.
"It's a challenge for the majority in the Council to push for the measure," he said.
Rama also tasked the City Legal Office to assist the families of Irene Bordon, 54, and Bella Bingala, 52, who were hit by a post that fell on Cebu Veterans' Drive in Barangay Apas after a boom truck got snagged by some wires last Saturday.
"The City can take legal actions against those who are responsible for the incident, on the family's behalf," he said.
Bingala was hospitalized after the post hit her head and knocked her out. Bingala has cuts in her hands.
It was the second time in 10 days that a post allegedly owned by the telecommunication company hit someone on the road.
Last week, a 13-year-old boy was killed and two young girls suffered injuries when a post fell on McArthur Blvd. in Barangay Tinago.
As of yesterday, City Traffic Operations Management (Citom) operations chief Jonathan Tumulak said that Bingala's family members have yet to go to their office to file a complaint against the driver and truck operator.
Citom, which is investigating the matter, has taken both the driver and the vehicle under its custody.

redpajama_set_name: RedPajamaCommonCrawl


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The Douglas Students' Union is run for students by students, and holds elections for students to be on the Board of Directors each Winter semester. Terms for elected members of the Board of Directors run from May 1 - April 30 (of the following year). For more information about student elections, please email elections@thedsu.ca.
Every winter semester, the DSU holds elections for students to run to be a student representative on the DSU Board of Directors. If you're interested in learning more please email elections@thedsu.ca and check out our videos here for some info and details about being a student representative, from some former board members.
We are also hosting a referendum this year. The DSU Referendum will follow the same dates and timelines as the DSU Student Elections.
Questions about the election and/or the referendum or how to become a designated campaign, either in favour or against the referendum, can be directed to elections@thedsu.ca
Election & Referendum Timeline
DSU Bylaws and Policies
Candidate Information & Platforms
Election Forum - Candidate Videos
2023 DSU STUDENT ELECTIONS
Notice Period – Wednesday January 18 – Monday January 30
Nomination Period – Monday January 30 @ 9:30am – Friday February 3 @ 12pm
All Candidates Meeting – Friday February 3 @ 4pm (on Zoom)
Campaign Period – Monday February 6 @ 9am – Friday February 17 @ 12pm
Candidate Platforms due – Monday February 6 @ 12pm
Candidate Videos/Forum due – Wednesday February 8 @ 12pm
(videos posted here Thursday February 9)
Polling/Voting – Monday February 13 – Friday February 17 @ 12pm
Questions? Please email elections@thedsu.ca
Please read through the DSU Bylaws and Policies, especially those related to the DSU Elections.
BYLAW VI: Election of Board of Directors Members
Policy 10.04: Elections Regulations
Policy 10.03: Referendum Regulations Policy 10.04: Election Regulations DSU Bylaws DSU Governance Policies DSU Financial Policies DSU Operations Policies DSU Services Policies
Stay tuned for candidate names, information, bios and platforms coming soon!
Stay tuned for candidate names and platforms coming soon!
Candidates will be given the opportunity to submit a video, up to 3 minutes in length, to answer questions for the Election Forum.
You can watch each candidate video through our Youtube channel and the link here.
Referendum Question
The building fee has not increased beyond CPI since 1999 and is currently $1.82 per semester. Building and capital fees at SFU are $99 per semester and other Students' Unions in BC range from $14.72 to $76 per semester for students enrolled in full-time studies. The building was renovated between 2018 and 2021 and repairs, maintenance, and amortization costs have increased beyond CPI. Future capital projects are planned to upgrade the exterior and roof of the building and to create larger student spaces on the Coquitlam campus.
Students voted in a referendum in 2003 to implement the Health and Dental Plan at a rate of $260 per year that has not increased since, and was reduced in 2018 to $250 without a reduction in service levels. While the majority of Health and Dental plans at post-secondary institutions in BC are $275 or more, the DSU seeks annually to maintain and increase service levels of the plan to meet the needs of members while costs of the plan have increased nearly 15% over the past 3 years.
The current definition of full-time for the health and dental plan automatic enrolment is 9 credits and students registered with the accessibility department are considered full-time at 6 credits. By decreasing the minimum credit limit for automatic enrollment, it would increase accessibility to more members, while members enrolled in external plans may opt out with comparable coverage or chose to combine coverage.
Are you in favour of the following:
The Building Fee being increased by $2.00 per semester (equal to $0.50 per month) as of September 1, 2023, and allow for annual increases of $2.00 for the following two years?
The Health and Dental Fee being increased by $15 per year (equal to $1.25 per month) to be a total of $265 per year as of September 1, 2023?
The Health and Dental plan automatic enrolment being decreased from 9 credits to 6 credits as of September 1, 2023?
http://www.thedsu.ca/free-classification-essay-on-movies.
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Cezanne – The Art of Bangladeshi Progressive Metal Bass
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We Are All In This Together: January 2021 Issue
Bass Musician Mag's Top 15 of 2020!
Stefan Lessard – Growing Back Home by Steve Gregory: Bass Musician Magazine September 2012
Steve Gregory
Stefan Lessard – Growing Back Home by Steve Gregory: Bass Musician Magazine September 2012… In album reviews and artist interviews, the phrase "going back home" has become a comfortable, knee-jerk phrase to employ. Any time an artist returns to something familiar, the words seem to be magnetically attracted to the situation. Unfortunately, there is all to often an unspoken, passive-aggressive nature to the expression: "On the latest album, Artist X is going back home (which is good, because we don't think that straying from the formula was a good idea at all)". In other instances, there is a sense that the writer is insinuating that the artist is in their final stages of popularity and/or viability: "The latest album finds Artist X going back home (to trot out some music that they hope will resonate with fans they once had)". Apparently, some people think you can't go home again unless you are grasping for sustainability or gasping for musical life.
If those negative voices spoke the truth, there would be a true dilemma when talking to Stefan Lessard about his work with the Dave Matthews Band and their new album, "Away From The World", which will be released on September 11. The number of ways in which Stefan is "going back home" creates a undeniable thread throughout our conversation: the new album features the reuniting of the band with producer Steve Lillywhite, the songwriting style is a throwback to the methods used on the first DMB albums, and Stefan is even finding his old Fender P-Basses to be his recent weapons of choice. To even think of using the phrase "going back home" with the aforementioned connotations is grossly incorrect and unjust. Contrary to those thoughts, Stefan and DMB are more alive than ever, bringing creative and innovative music to both stage and record.
When our conversation began, I allowed my fan-side to become briefly exposed by sharing the fact that my wife and I have a standing date to see the Dave Matthews Band each year on tour. I went on to explain that this was the first year since our initial trip that we didn't get to keep our engagement, but for a good reason: we were traveling across the country to be united with our newborn adopted son. Stefan was gracious to listen to my gushing about both DMB and my child, but it was in later reflection that I realized that my trip was an accurate model for the "coming back home" that Stefan was describing. On round-trips that mean something, you return to your doorstep having grown into wisdom, vision, and perspective, which in turn alter the way in which you thrive in your home environment. "Going back home" becomes "Growing back home", if you will. Stefan may be going back home in many aspects, but for no other reason than to fully utilize the elements of home in new, creative, and exciting ways.
Home with the Dave Matthews Band formed early for Stefan. He was recruited at the age of 16 to join a bartender named Dave Matthews, along with drummer Carter Beauford, and saxophonist LeRoi Moore to work through songs and to see if the grouping might work as a band. The band later added violinist Boyd Tinsley and the ensemble began to hone their unique sound, anchored by Stefan's strong bass lines that switched between riffs that matched guitar figures, grooves shared with the drums, and melodic, vocal-like flights that spanned the instrument.
Early years forced Stefan to decide if DMB was indeed where he should be, facing the choice to either stay in the band or begin his college career at Virginia Commonwealth University. Instinct led Stefan to opt for the band and Dave Matthews Band began their long, successful trip together. Live shows became a proving ground for Stefan, being forced to grow into his new role without the benefit of the years of experience his band mates enjoyed. Stefan thrived with the group and infused the independently released DMB album, "Remember Two Things" and their subsequent EP, "Recently" with undeniable energy and creativity.
Large-scale commercial success for Dave Matthews Band and Stefan came in 1994 with the release of their first label-supported album, "Under The Table and Dreaming". Singles including "What Would You Say" and "Ants Marching" introduced the pop market to the DMB sound and the creative center provided by Stefan Lessard. The album also marked the beginning of the band's partnership with producer Steve Lillywhite, a successful collaboration that would last for 7 years. During that time, two more studio albums were released – "Crash" and "Before These Crowded Streets". These albums gave Stefan the opportunity to explore bass lines that drew from a wide array of influences. Notable contributions include Stefan's James Jamerson-like verse groove on "Stay (Wasting Time)", the slow R&B pulse intro to "Crush", and his upbeat, arpeggiated work on "Tripping Billies". The first three commercial albums, known as the "Big 3" to the Dave Matthews Band fan base, clearly formed a foundation for Stefan.
After "Before These Crowded Streets", Stefan and the band returned to the studio to work with Lillywhite. These sessions never culminated in an official album, with the band instead leaving the producer to pursue other options. The band released their next album, "Everyday" with producer Glen Ballard, which showed that the band was continuing to explore new directions. The band moved to producer Steve Harris for the next album, "Busted Stuff" and then joined forces with producer Mark Batson on the following offering, "Stand Up". Stefan's bass work continued to be an integral part of the DMB sound, adding his signature to each turn the band took.
It is important to note that, along with DMB studio albums, Stefan and the band were pushing musical boundaries on the stage. The ability to stretch songs far beyond the "radio friendly" 4-minute mark into extended improvisation-heavy works became a hallmark of the band. Recordings released of these performances, which include "Listener Supported", "The Gorge", and "Live at Piedmont Park", to name only a few, captured the energy brought by the band to the live environment. Live DMB recordings also offer the listener a chance to hear Stefan play, build upon, refine, and reinvent the bass lines laid down on studio albums.
The next chapter for DMB was marked by tragedy: in 2008, saxophonist LeRoi Moore passed away from complications stemming from an ATV accident. The next album, "Big Whisky and the GrooGrux King", became a monument to the memory of LeRoi. Throughout the record, which was produced by Rob Cavallo, Stefan's bass lines are infused with a passion for his friend and band mate. Full energy is given to the groove-centric "Seven" and "Shake Me Like A Monkey", while the bass on "Lying in the Hands of God" weaves its way through spaces left by other instruments. "One of the most interesting bass lines is found on, "Spaceman", where Stefan imaginatively accents off beats in his quick, staccato figures.
Which brings us to the new album and the many ways in which Stefan is "growing back home". "Away From The World" has Steve Lillywhite back in the producer's chair, songwriting methods that harken back to those used on the "Big 3", and Stefan locking in grooves with an old P-Bass. This isn't a return home to "phone in" a mediocre attempt; rather, this is a time where the lessons, wounds, and rewards of life are funneled into an effort that releases the gifts of home that were undiscovered until now. "Away From The World" promises to be a landmark DMB album and a showcase of creativity for Stefan Lessard.
I looked through set lists from the Dave Matthews Caravan and the "Big Whiskey and the GrooGrux King" tours and I didn't see evidence of new material being worked out on stage at that time. Was that actually the case, that this album was done in a separate writing session?
We went into the studio in January, right after New Year's. I didn't really know how we were going to go about it, because like you said, there wasn't really much writing happening in the band since "Big Whiskey". What happened was Dave had been working with John Alagia, who worked with us before doing some demo work and some pre-production. When the band finally got together, [Dave] had about 15 bits and pieces. Some were just guitar parts, some were more full songs, some had lyrics, some had pseudo-lyrics, some melodies. The bulk of the original inspiration for all of the songs came from Dave going off on his own to discover and to work through some things. It was really cool. When we first started, that's kind of how we did it: Dave played me songs that he'd written and said, "Would you be interested in starting a band and seeing what we can do?" Since then, every record has been about catching up with songs that haven't been recorded yet. "Crash" was that. We played those songs live for years before we put them on the record "Crash". I think the first record that was really new material that hadn't been played live was probably "Before These Crowded Streets". Since then, the material is written before the album's made.
So this way was cool. Not only were we working with Steve Lillywhite again, but we sort of went back to the beginning when it was just Dave's songs and ideas that we then started to work off of. That was sort of the process for it.
What is your method for finding your bass part when Dave brings in pieces like that? Is there a specific process you use or is it just an organic evolution of things?
It's an organic evolution based on what the song requires and also what's available when I'm writing the bass lines for the songs. For example, for the song, "Belly Belly Nice", Dave had pretty much all of the parts together. I just followed his guitar and then kind of bounced around in different sections of the song so I could pull out from that part and showcase the bass a little differently. Typically I bounce around, as far as when it comes to the notes I choose, between the guitar and the vocals. I like to stick with the guitar in verses, because when I go into the bridge or choruses I tend to latch more onto the vocals. Especially during bridges, it makes such a beautiful sound to have a bass melody along with vocal melodies. Then on the songs that are very groove-oriented, I will listen to see where Carter is placing things and then listen to see where Dave's at, inside of what Carter's doing. Then I know where I can be.
In the studio, I try to find to find the soul of the song, or the pocket of the song, or the pulse of the song and then it is just experimentation. The good thing with this band is that no one is in a rush when we're recording. We'll play a song 20 to 30 times until we feel like we're done. It's not like I feel like I have to have something ready to go for the first few takes. Sometimes you'll come back the next day after you thought you were playing awesome and you're like, "Wow – what was I doing? I was all over the place!" Then there are days when you feel like you're not doing enough and you're not playing right or it just feels off, I'd come back and Lillywhite would play me something he'd put together from the night before and I was like, "Wow – it sounds great!" It's all experimentation and listening. That's why I love the studio, because you get to do all of that.
So for an album like this, you really are playing the songs over and over, working out parts as you go?
For an album like this. With Lillywhite, that's always been the way we've done it. The first thing he wants to do is try to showcase this band doing what we do for the record that can then translate back to the stage. He's very thoughtful about the fact that all of these songs should be able to be ready to go on stage. Also, the cool thing about this record was that parts were recorded all together. Most of the records I have, everything's overdubbed once you get the drums down. So you play together, just to get the drums and when the drums are good, everyone sort of starts layering again. Everyone has the opportunity to really think about what they want to do. That's probably a safer way to do it, because you spend all day on one song, just you and the producer and the drum tracks and the scratch vocal and scratch guitars. That's a great way to do really cool lines. If Carter does a crazy fill and I'm like, "I want to play a crazy line with that fill!" You can't do that when you're all just hashing it out take after take after take where you're just trying to keep up. But what happens is, you get these performances that are glue because they come together. Lillywhite will cop together full-on performances – I think I might have done one or two small overdubs over mistakes that happened, but almost all of the bass, drums, and guitar that you hear on the record are all played together, no one's overdubbing. Overdubs come in with other stuff like Tim's guitar parts, Dave's vocals, the horn section, and then percussion.
You mentioned Steve Lillywhite, who produced the "Big 3" and then the now infamous "Lillywhite Sessions", which never made it to a published record. As a bass player and a member of this band, what kind of growth did you experience from leaving Lillywhite, working with other producers, then returning to Lillywhite again?
That's such a cool thing! I always wanted to see what we could do with different producers. I didn't realize that when a producer gets a good band, they want to keep that band to be theirs and work with them album after album. I'm glad that we went away from Steve when we did – I'm really glad that we got to experience working with Glen Ballard, which was such a cool experience, because it was completely different from what we had done for the last three records. It took a little adjusting for me, because I walked into that studio session where basically Ballard and Dave had written a record in 10 days. Ballard put all of the bass down, piano parts, drum parts, and everything. When I was listening to it, I was like, "Well, what am I gonna do?" Then working with him, I got to realize what it was like to be more of a pop producer in that sort of style. By the end of it I was psyched, because I was able to push my own bass lines over his. I could be like, "Hey, on this second take I'm going to just try something a little different. If you don't like it, don't worry about it, we can go back to the other thing, I just wanted to see if you like this idea." Some of those stuck. The very end of "The Space Between" where Roi and I are playing that little line together, that was supposed to happen, but it was not on the original demo. So when you have little victories like that, it's like, "Yay – that's awesome!"
Then going from Ballard to working with Steve Harris who had worked on "Before These Crowded Streets" as an engineer, it kind of felt like, "OK, cool. We're producing our old record with our old engineer, taking all of the songs we had before and we'll finish them up." There was a freedom to that, because you felt like you were completely in charge. Steve Harris had great suggestions and great ideas as a producer, but then after that I think we were looking to do something different and that's when we went to Mark Batson.
I think that record ("Stand Up") is funny, because it wasn't what I expected! I didn't realize it was going to be as mixed up as it was. Doing that record, everyone came in with their own songs and we worked off of that. It was cool because I had never really worked with a hip-hop producer before. With so much rap and hip-hop that Mark Batson did, it was just cool to see his whole technique and see how quickly he would come up with stuff. He and Glen Ballard would do things similar where you would walk in and there's already all of this bass and drums already done. It's sort of like, "What am I going to do?" but then you have to re-invent what they did to make it your own.
Rob Cavallo was like, "Finally – we're home again!" because we're back in the studio with a band producer who's ready to make a big rock record and we're that band for him right now. So "Big Whiskey and the GrooGrux King" was kind of like us getting back in the saddle.
Then Lillywhite was like, "OK, we're back where we left off". We all had a little adventure and had a 13 or 14-year hiatus from each other and now we're back to make this record. It feels like all of those records in between were great, but there's something very special about the records we make with Lillywhite. And who knows? Now that we're working with Lillywhite again, maybe some of those older demos of some of those other songs will start to come up.
I believe this is the first record that has no tracks with LeRoi Moore – "Big Whisky and the GrooGrux King" had archival tracks with LeRoi…
Looking back on your time with Leroi, what lessons from him really shaped you as a player and as a musician?
Roi had great ideas. Roi used to say, "One for one"…of all his ideas, one would work. You might have 30 ideas during the day, but one of them is awesome! His whole thing was that you have to play your ideas, because you'll never know if they're cool or not.
He said a bunch of things that stuck over the years. One of the things he said that really helped me out when I was younger and still lasts to this day: once you find your own rhythm, don't care about what other people are doing. Stay true to your own self. Be true to your own meter and you know that your meter is right. You're right there! You don't have to worry about what everyone else is doing, because if you're right, you're right. Playing with someone like Carter, who, for the first 10 years of my career with him and this band, was an exciting struggle on stage. I wasn't really professionally ready to play with someone at his level. I should have still been in school, studying his playing, not on stage with him playing! This is all to say that Roi was always there and he could tell when I was messing up and he would be, "You've just got to stick to your own meter! Stop trying to figure out where his '1' is, you know where your '1' is!" Going to the studio now, I just get into my own world. I'm listening and I'm around, but if I want to do something, I'm going to do it, because I want to try it. Roi was just very real with music. He loved all types and was so open.
This is the first record without him. On "Big Whiskey", it was almost like there was a ghost of Roi that was on the record. I think that was perfect and such a beautiful statement at the time for us as a band with Roi. Now this record, it kind of felt to me like, even though he isn't with us, it is back to the way it was. His spirit is there, but this band now is not about us paying homage to his spirit, this record is about doing what this band does. You have those moments of breaking through the other side. In a way, this record is the other side now and "Big Whiskey" was us actually breaking through. I always wish he were there and wish there was a million horn solos to throw on top of stuff, but I think that the one thing that was different with "Big Whiskey" and then the other Lillywhite records, was that Lillywhite records were very organic and very real. People who were playing the music and playing the notes were the ones that were on the record and the ones you saw on stage. So now, we're kind of back to that.
A phrase you just used was, "doing what this band does". One thing that I would suggest the band does in a live setting is exploring songs and stretching out on them. Are there are any songs that have grown on the road, in your part especially?
It's funny, because "Stand Up" is the one that is probably our most "mix tape" sort of record. There's so much overdubbing and so much other stuff happening that Mark had going on with the drums and other bass notes. In the intro of "Smooth Rider" on "Stand Up" I think I'm on that song! I'm not really necessarily sure that's my bass you hear when you play it! That record is really hard to play those songs live and make them sound and feel right.
"Everyday" was the same way except the difference is that we've had a lot more time with "Everyday". On "Everyday" songs I think Glenn Ballard still tried to keep them in the way that this band should still be able to play them live. You listen to songs like "Everyday", my bass parts have changed a lot, but typically when I write a line for a song, it typically doesn't change. The vibe might change, but the line is still rooted in the same fundamentals where it came from. "Everyday" is the one record where I had the least responsibility for writing the bass parts on top of the songs. Those are the ones that now I feel that, whether the bass line was my own or not, now I feel that every time I play those songs, those songs are now more known for their live-ness than their studio recordings.
Songs like "What You Are" has really changed. "The Last Stop", going back to Lillywhite. "Before These Crowded Streets", that record itself has so much improv happening with the bass lines when we were writing and while I was recording, that I kind of feel like a lot of those songs are always improvised in certain parts. For example, with "Stone", when it goes into the chorus, I've never had a bass line that ever really stuck to it. I guess, to answer your question, probably songs off of "Before These Crowded Streets" and "Everyday" are the songs that have really changed the most from their originals record recordings.
Are there any tunes that you typically don't play live that you wish could be pulled back out, so that you can rework, or at least "re-vibe" them?
Yeah, there are still songs on "Everyday". I love "Everyday" songs. I know there was a controversy when that record came out, only because of the change and I understand that. As far as the love of playing songs, the "Everyday" songs are super fun. For one, "Mother Father" is one that we might have attempted to play one time live and that's it. I have always felt like that song would be such a killer song live. From "Before These Crowded Streets", everyone loves hearing, "The Last Stop" and that's a killer song – it's big and fun and awesome and that's one that would be nice to get under our hands again. "Spoon" is one we hardly ever play and the few times we've played it, you get this looseness to it and it's sort of like a rocky boat ride or something. Each time you do that, something new happens and it's like this new thing. It's kind of like the song, "Lying in the Hands of God" from "Big Whiskey". Same thing, it's very loose and fluid. There are certain songs, for example, "Don't Drink the Water" where the bass line is so obvious, but there are songs like, "Lying in the Hands of God" where you don't really know what I'm going to play. I kind of have an idea of where I'm at, but it changes each night. Those songs are the ones that the more we play them, the stronger and tighter they would get, but maybe they'll lose that loose fluidness that the song needs, so if "Spoon" is only played once every two or three years, maybe that's what that song is for. It's cool the way that happens, because there could be a certain song where I'm still playing the same bass line for 20 years and I still have to look at my fingers to do it, but yet the new stuff I wrote I don't have to look, I don't have to think about it, because it's so where I am today. When I'm playing bass lines from when I had only been playing bass for two years, playing those bass lines now is in some ways more difficult. Its like, "Why did I do that?" and I don't know where to go from there, because it's so stuck in muscle memory.
Let's jump to a couple of gear things. You've journeyed through several basses. You've been with Warwick, Modulus, and now I believe you're playing Hill basses?
I play Hill and now my Precision. I have two old Fender P-basses that I played. In fact, this album was the first record where I played my old P-bass for most of the record. You are correct though; it used to be Hill basses, now they're called Bootleg. I like John's (Hill) work a lot. Robbie from Godsmack was the first one to show me those basses and ever since then I was like, "I love it!" The producers all love them, engineers love them, and they are such great basses for the bigger, modern sound, more for rock songs. But I've really been enjoying playing my older Fender P's.
Just for the sound and the warmth?
Growing up, everyone always asked me, "Do you love Jaco? You have to love Jaco!" and I was like, "Yeah, it's all right – I get it." But to tell you the truth, if I had to put one guy up there it would have to be James Jamerson. That's who I would want to be, because he was on the radio. Jaco wasn't on the radio and I've always wanted to be on the radio. I'm like an 80's pop kid, so for me like James Jamerson and Flea, of course, but these guys that have been able to take the bass to new levels but also keep the bass where I like to listen to it, which is in a song supporting the lyrics and melody and so on.
You recently wrote an article (http://www2.timesdispatch.com/news/oped/2012/jun/25/tdopin02-lessard-keep-instruments-free-of-illegal–ar-2010657/) talking about legally sourced woods for instruments and the Lacey Act. What piqued your interest in this issue?
I actually have to give credit to Adam Gardner who is the guitar player from Guster, but who also started the organization Reverb, which we use on tour. He and I are good friends and in fact, he plays in my side project Yukon Cornelius. He brought me up to date with the Lacey Act. I had no idea that there was a bill that was basically saying you weren't allowed to use these woods and that bill was going to be stricken down. After we talked about it I was like, that's not something that I want to see happen because I like my instruments and I like my woods, but I want to know that it comes from a good place and it's not illegally forested wood. Just knowing that is enough to make me feel better promoting it and playing it on an instrument. There's so many great woods that you can get that are legal and are forested correctly. That was why we started talking about it. It's one of those things where if I can put my name and help support what I feel is a good cause, I will. That, to me, is a really good cause. I spend a lot of time in the Northwest and you see these mountains where half the hillside has been forested. It's one of those things like, if you have to do it, you have to do it in a controlled setting and make sure it's all done correctly so all of these forests come back strong and we're not hurting things in the process. We aren't taking wood out from places where there's not going to be any of that wood left. I don't care what it is in my hands; I'd rather it not be that wood.
You mentioned Yukon Cornelius – is there anything coming up for that group?
I haven't been working on any Yukon stuff, only because we've been promoting the record for the band. I'm hoping to see some activity after the release of the record. Yukon is great because the guys in Yukon are all busy; we're all doing tours in our bands. There's some time, maybe spring next year that we've started looking at a few arena shows possibly. We're looking to take it one step further. Our last show was in Vail and there were about 8,000 people that came out to see us. So with those numbers, we gave the organizers that are involved with the band a little hope, so we're looking at one, maybe two shows. Maybe one in Colorado somewhere and possibly somewhere on the East Coast.
You're closing out the current DMB tour with some dates on the west coast. After that, will you be on break for a bit or will there be more touring?
I'm hoping that there will be more touring this year. We just had another show added, which was the Hollywood Bowl show on the 12th. I can only imagine that with the promotion of this record we'd start playing some other shows. Nothing's on the books right now, but knowing the way things work, I wouldn't be surprised if people start to see some other shows popping up this year.
www.davematthewsband.com
www.izstyle.com
Related Topics:Bass Musician Magazine, Bass Player, Stefan Lessard, Steve Gregory
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Rating Agencies Are Not Useful Anymore: Gross
Published Wed, May 5 201010:11 AM EDT Updated Fri, Sep 13 20134:33 PM EDT
The big rating agencies are no longer very useful to investment companies such as the world's biggest bond fund manager PIMCO, which can be quicker to anticipate shifts in credit quality of debt, the company said on Wednesday.
Bill Gross
The credit rating agencies "no longer serve a valid purpose for investment companies free of regulatory mandates," wrote Pacific Investment Management's managing director Bill Gross in a May Investment Outlook on the company's Web site.
The big three rating agencies can be timid and slow to downgrade sovereign debt, Gross added, citing Standard & Poor's recent one-notch downgrade of Spain as an example.
On April 28, S&P cut Spain's rating one notch on the economic view.
"S&P just this past week downgraded Spain "one notch" to AA from AA+, cautioning that they could face another downgrade if they weren't careful ... And believe it or not, Moody's and Fitch still have them as AAAs," Gross wrote.
Spain has 20 percent unemployment and a recent current account deficit of 10 percent, Gross said, adding that in the markets its government bonds are already trading as if they were rated at Baa levels; in the lower echelons of investment grade.
"Their warnings were more than tardy when it came to the Enrons and the Worldcoms of 10 years past, and most recently their blind faith in sovereign solvency has led to egregious excess in Greece and their southern neighbors," Gross wrote.
Gross manages the PIMCO Total Return Fund, the world's biggest bond fund with assets under management of some $220 billion.
PIMCO New York Municipal Income Fund III


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Home»Local»Rise in mercury takes toll on birds
Rise in mercury takes toll on birds
By theokhlatimes April 23, 2022 No Comments3 Mins Read
With the onset of summers, there has been a sharp rise in bird rescue incidents. Birds stuck in stressful situations can be seen across Okhla and Delhi-NCR and a major reason for that are rising temperatures, which cause dehydration and heat exhaustion. Wildlife SOS has rescued numerous birds from such distress situations and provided necessary medical aid to the city's avian population.
Earlier this week, The Wildlife SOS Rapid Response Unit rescued a Black kite fledgling that was found in the garden of a residence. Nyaya Marg, Chanakyapuri. The young bird was unable to fly and hence was seen lying motionless on the ground. The excessive heat further aggravated the situation and made its condition even more critical. The OT had reported a few days ago that how a bird was rescued by an Okhla resident.
Upon reaching the location, the Wildlife SOS team first provided drinking water and hydrated the bird, after which it was carefully transferred to a transit facility. The kite is currently under medical observation and will be released once declared fit by the Wildlife SOS veterinarians.
In another incident, a black kite was found caught in a deadly manja (glass-coated nylon strings), hanging from a tree inside a residential complex in Sheikh Sarai Phase-I of south Delhi. The bird was rescued through a collaborative effort of the Wildlife SOS Rapid Response Unit and the Delhi Fire Service. It was suspected that the bird may have been stuck there for two days, and hence was dehydrated.
The NGO has already rescued over 20 Black kites that were found to be suffering from heat exhaustion and dehydration in the month of April.
Kartick Satyanarayan, Co-founder and CEO, Wildlife SOS said: "We get a lot of calls for kite rescues during the summer months. The rise in temperatures makes birds sick and the major cause is dehydration due to heat stroke in birds. Kites have a tendency to fly at higher altitudes and are more prone to the excessive heat. While descending down in search of prey or water, they very often collapse on the ground due to exhaustion. Summer is a difficult season for birds and dehydration can turn fatal for them. That is why when we rescue birds from such stressful scenarios, the first thing we do is to provide them with water."
Commenting on the impact of weather on birds, Wasim Akram, Deputy Director-Special Projects, Wildlife SOS said: "With maximum temperatures reaching 42 degrees Celsius during the day, a large percentage of the avian population in Delhi-NCR is becoming a victim of dehydration, heat exhaustion and lack of shade. They are often found lying on the ground unconscious and some even suffer from heatstroke, which can lead to death if appropriate measures are not taken."
In March alone, the Wildlife SOS Rapid Response Unit rescued nearly 120 birds, which included 30 kites and more than 70 pigeons.
Wildlife SOS has urged residents to do their bit by putting out earthen water bowls and food in their balconies, window sills, outside residential complexes and shops. Creating green cover by planting more trees and keeping potted plants also provide reprieve to these birds.
birds delhi heatwave Okhla rescue
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Boiling down the requirements
Immigration Boiling down the requirements
While addressing the migration of refugees is largely a humanitarian task, immigrants from the EU, India and China contribute substantially to securing a skilled workforce in Germany; this applies particularly to industrial occupations. That's why the immigration of skilled workers from non-EU countries needs to be increased over the long term with the support of an immigration act.
Axel Plünnecke / Wido Geis ·
Fachkräfte ·
Various research institutes predict that Germany will experience a decrease in qualified professionals, particularly in the healthcare and industrial sectors. The migration of refugees may well nourish hope of being the solution to the demographic problems in the German labour market. However, current figures prove that many refugees have a major skills gap and that only a small share is employed.
Prof. Dr. Axel Plünnecke
Leiter des Kompetenzfelds Bildung, Zuwanderung und Innovation
Dr. Wido Geis-Thöne
Senior Economist für Familienpolitik
A study conducted by the Cologne Institute for Economic Research (IW) also shows that, of the refugees from Syria, Afghanistan, Iraq and Eritrea who held jobs subject to social security contributions in June 2015, a large share (44 per cent) was engaged solely in unskilled labour – a rate nearly three times as high as the German average among employed persons subject to social security contributions.
However, a look at all immigrants – including qualified professionals – reveals that foreign workers already play a key role in securing a skilled workforce in industry-related occupations.
The employment of foreign specialists and professionals increased by 16 per cent between the fourth quarter of 2012 and the second quarter of 2015; whereas, the employment of Germans with the same qualifications decreased by 0.1 per cent during the same period.
The dynamics in professional industry-related occupations were especially high. The employment increase of nearly 27 per cent among foreign workers was three times as high as among Germans. A similar development could be seen in the health professions. What this implies:
If the employment of foreign workers between the end of 2012 and the middle of 2015 had remained constant, there would be 74,100 fewer skilled workers in industrial occupations today, and 19,300 fewer in the health professions.
A detailed comparison of German and foreign workers reveals some astonishing findings:
In industrial occupations, French and Indian employees lead the rankings of foreign workers in Germany. In relative terms, the industrial sector has more French and Indian workers than German workers; and these foreign workers are increasingly employed in professional areas.
Central and Eastern European as well as Turkish workers also have a high rate of representation in the industrial sector – but less in the professional occupations, and more as skilled workers.
Immigrants from China, Canada, Brazil and the United States are employed in fewer industry-related occupations than other foreign workers; but when they do work in the industrial sector, it is primarily at the professional level.
Refugees from Eritrea, Syria, Iraq and Afghanistan do not frequently work in industry-related occupations; and when they do, it is rarely at the professional level – except in the case of Syrians. The same is true for the healthcare professions, although Syrians constitute an exception here, too: indeed, in the second quarter of 2015, there were 1,500 Syrians employed in the healthcare professions – making them the fourth-largest group of workers in this sector, after the Romanians, Greeks and Austrians.
It would take considerable training measures for the migration of refugees to contribute towards securing a skilled workforce in the industrial sector. Looking forward, qualified non-EU immigrants are particularly needed in this area; and this will require an immigration act that takes three points into account:
First, in spite of recent easements, the legal regulations are highly complex in many areas and leave substantial room for interpretation. The goal needs to be the creation of a single provision – that is, a residency permit – for each group of people, rather than having multiple possibilities.
Second, the immigration of skilled workers should be aligned with their potential. People from non-EU countries should be permitted to enter Germany even without a specific job offer, if their qualifications make it likely that they will easily integrate into the German employment market.
A point system could serve as the basis for the selection; besides a person's qualification, the system would also take the applicant's knowledge of German, professional experience and age into account. However, a prerequisite for immigration would be that the person is able to support his or her own livelihood.
Third, a modern immigration regulatory system requires effective administration. Particularly desirable would be a central issuing agency for residence permits. This would allow decisions to be made based on a standardised model, and those working in the agency could gain further expertise in dealing with the very specific issues that arise within the system.
Yet even if Germany introduces new immigration regulations, it mustn't forget to make better use of the refugees' potential – at the very least for humanitarian reasons. Refugees cannot take the place of qualified immigration, but they still make a contribution to securing a skilled workforce.
Axel Plünnecke auf Phoenix ·
Video ·
"Qualifizierte Zuwanderung in den Arbeitsmarkt stärkt Deutschland langfristig"
Der Fachkräftemangel wird sich in Deutschland in den nächsten zehn Jahren weiter verstärken. Durch den demografischen Wandel gibt es immer weniger Menschen im erwerbsfähigen Alter. Durch qualifizierte Zuwanderung kann dieses Problem gelindert werden, erklärt IW-Ökonom Axel Plünnecke im Interview mit phoenix.
Axel Plünnecke ·
Fachkräfteeinwanderungsgesetz: Mehr Zuwanderung durch weniger Bürokratie
Im Kanzleramt wird heute über das neue Fachkräfteeinwanderungsgesetz diskutiert: Ab März nächsten Jahres soll es mehr Fachkräfte aus dem Ausland anwerben und so dem Fachkräftemangel entgegenwirken. Damit das gelingt, müssen allerdings einige bürokratische Hürden abgebaut werden.
Dirk Werner im Handelsblatt ·
Auszubildende: "Sie bilden so viele aus, wie sie brauchen"
Die früher übliche Ausbildung über den eigenen Bedarf hinaus ist vorbei, sagt der IW-Bildungsexperte Dirk Werner in einem Interview mit dem Handelsblatt.


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package org.apache.kudu.mapreduce.tools;

import static java.nio.charset.StandardCharsets.UTF_8;
import static org.apache.kudu.test.ClientTestUtil.countRowsInScan;
import static org.apache.kudu.test.ClientTestUtil.scanTableToStrings;
import static org.junit.Assert.assertEquals;
import static org.junit.Assert.assertTrue;

import java.io.File;
import java.io.FileOutputStream;
import java.io.IOException;
import java.util.ArrayList;

import com.google.common.collect.ImmutableList;
import org.apache.hadoop.conf.Configuration;
import org.apache.hadoop.mapreduce.Job;
import org.apache.hadoop.util.GenericOptionsParser;
import org.junit.After;
import org.junit.Before;
import org.junit.Rule;
import org.junit.Test;

import org.apache.kudu.ColumnSchema;
import org.apache.kudu.Schema;
import org.apache.kudu.Type;
import org.apache.kudu.client.CreateTableOptions;
import org.apache.kudu.client.KuduTable;
import org.apache.kudu.mapreduce.CommandLineParser;
import org.apache.kudu.mapreduce.HadoopTestingUtility;
import org.apache.kudu.test.KuduTestHarness;

public class ITImportCsv {

  private static final String TABLE_NAME =
      ITImportCsv.class.getName() + "-" + System.currentTimeMillis();

  private static final HadoopTestingUtility HADOOP_UTIL = new HadoopTestingUtility();

  private static Schema schema;

  static {
    ArrayList<ColumnSchema> columns = new ArrayList<ColumnSchema>(4);
    columns.add(new ColumnSchema.ColumnSchemaBuilder("key", Type.INT32)
        .key(true)
        .build());
    columns.add(new ColumnSchema.ColumnSchemaBuilder("column1_i", Type.INT32)
        .build());
    columns.add(new ColumnSchema.ColumnSchemaBuilder("column2_d", Type.DOUBLE)
        .build());
    columns.add(new ColumnSchema.ColumnSchemaBuilder("column3_s", Type.STRING)
        .nullable(true)
        .build());
    columns.add(new ColumnSchema.ColumnSchemaBuilder("column4_b", Type.BOOL)
        .build());
    schema = new Schema(columns);
  }

  @Rule
  public KuduTestHarness harness = new KuduTestHarness();

  @Before
  public void setUp() throws Exception {
    harness.getClient().createTable(TABLE_NAME, schema,
        new CreateTableOptions().setRangePartitionColumns(ImmutableList.of("key")));
  }

  @After
  public void tearDown() throws Exception {
    HADOOP_UTIL.cleanup();
  }

  @Test
  public void test() throws Exception {
    Configuration conf = new Configuration();
    String testHome =
        HADOOP_UTIL.setupAndGetTestDir(ITImportCsv.class.getName(), conf).getAbsolutePath();

    // Create a 2 lines input file
    File data = new File(testHome, "data.csv");
    writeCsvFile(data);

    StringBuilder sb = new StringBuilder();
    for (ColumnSchema col : schema.getColumns()) {
      sb.append(col.getName());
      sb.append(",");
    }
    sb.deleteCharAt(sb.length() - 1);
    String[] args = new String[] {
        "-D" + CommandLineParser.MASTER_ADDRESSES_KEY + "=" + harness.getMasterAddressesAsString(),
        sb.toString(), TABLE_NAME, data.toString()};

    GenericOptionsParser parser = new GenericOptionsParser(conf, args);
    Job job = ImportCsv.createSubmittableJob(parser.getConfiguration(), parser.getRemainingArgs());
    assertTrue("Test job did not end properly", job.waitForCompletion(true));

    KuduTable openTable = harness.getClient().openTable(TABLE_NAME);
    assertEquals(1, job.getCounters().findCounter(ImportCsv.Counters.BAD_LINES).getValue());
    assertEquals(3, countRowsInScan(harness.getAsyncClient().newScannerBuilder(openTable).build()));
    assertEquals("INT32 key=1, INT32 column1_i=3, DOUBLE column2_d=2.3, STRING column3_s=some " +
        "string, BOOL column4_b=true", scanTableToStrings(openTable).get(0));
  }

  private void writeCsvFile(File data) throws IOException {
    try (FileOutputStream fos = new FileOutputStream(data)) {
      fos.write("1\t3\t2.3\tsome string\ttrue\n".getBytes(UTF_8));
      fos.write("2\t5\t4.5\tsome more\tfalse\n".getBytes(UTF_8));
      fos.write("3\t7\twait this is not a double\tbad row\ttrue\n".getBytes(UTF_8));
      fos.write("4\t9\t10\ttrailing separator isn't bad mkay?\ttrue\t\n".getBytes(UTF_8));
    }
  }
}

redpajama_set_name: RedPajamaGithub


Do you have an innovative teaching idea you'd like to pursue but need some extra resources to make it happen?
The Monash Education Academy is here and ready to nurture your idea through its Small Grants Scheme with funding available up to $5,000.
link faculty work to that of the University's Education Portfolio.


CDP A Rental Company /laptop Rental company Notebooks in Delhi, Server Rental Company, Apple Mac Rental Company.
These are much more than words. These values inspire the way we serve our customers, who rely on CDP professionals as a true partner in their business success. We not only provide them with the absolute best products, technology and service, but we listen to them, respond quickly to their current needs, anticipate future needs, and earn their business every day.
As a strong observer, CDP observed the need of computer education for middle class segment 14 years back and launched a concept of Computer Training Institute, with very nominal charges…and achieved 100% success and become a trend setter in the same field.
CDP observed the continues growth of computer industry and had a major tie-up with The Associates for computer selling on installment basis, again it was proved as a mile stone and computer buying was no more a dream for a common man.
As the vision of anytime, anywhere computing comes closer to being a reality, the use of Mobile Notebooks is continuing to rise. Build-to-Order (BTO) Notebook Program to ensure that end-users continue to have the best possible Mobile PC experience, ACCRUE range of Mobile PCs promoted by us are a part of BTO Notebook Program.
ACCRUE brand of notebooks is the result of collaborative effort involving CDP and Notebook Manufacturers ( ODM ) in Taiwan & USA to provide channel partners and customers across the country with a notebook that is commercially affordable and operationally best among comparative brands available not only by the classes but also by the masses.


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« YWCA installs officers, cont... Findley Lake Library receive...»
Royal winners: Webbs named winter festival King, Queen
The 2017 Presidents Day Weekend Winter Festival, held February 18th and 19th, at Lakeside Park in Mayville honored Mayville residents Ben and Amy Webb as this year's Festival King and Queen.
Festival Committee members Tom and Debbie Przepiora of Mayville made the presentation on Saturday, Feb. 18 at the festival. The Przepioras' granddaughter, Olivia Przepiora, was a part of the royal court as this year's Festival Princess.
Presenters Tom and Debbie Przepiora said it best as to why the Webbs were chosen this year. "One of the great things about this community is that there are individuals, families, businesses, and couples who exemplify the spirit that a village like this represents. And this year's king and queen are part of a family and business who are the very essence of what Mayville is about. Tradition, tourism, entrepreneurial spirit, family, community, and respect for the things that make this Village great are the attributes that contributed to their unanimous selection this year.
Ben and Amy Webb of Mayville were crowned this year's King and Queen for the 2017 Presidents Day Weekend Winter Festival.
She is a mother, community activist, businesswoman, and partner. He is one of the hardest working members of a family who has truly made Mayville great. That sort of dedication to the past, present, and future of the Village of Mayville is why the gateway to Chautauqua Lake will continue to thrive. Please join me in honoring this year's king and queen."
The Mayville/Chautauqua Community Chamber of Commerce and the Presidents Day Weekend Winter Festival Committee congratulate Ben and Amy Webb as the recipients of this year's recognition.


WOW! It took me entirely too long to read this book, Pieces of Her by Karin Slaughter, when I was so excited by the author and book summary. I'd say this book was 200 pages too long of Andrea boo-hooing instead of attacking survival mode.
Once the book picked back up to what me as a reader craved (how did Laura know self-defense? Why does she have a storage unit packed with money? What is in Idaho?—among others), only then could I not put the book down. Before that, I took an abnormally amount of naps.
Laura's secrets spilled on top of each other while her daughter was on the run and found a boy to kiss then love her, LOL. Laura's interest in men was questionable but that happens when they're master manipulators, and her family was all 50 shades of messed up. The fact that Laura had any moral compass at all when she was blindly in love and incredibly rich was the icing on the evilest cake!
Upon purchasing the book, do yourself a favor and skip to page 133 (Chapter 7) and then ENJOY!


text:
Donan Engineering Continues Growth By Design Plans
Firm Announces Plans to Open a New Fargo, North Dakota Office
Donan Engineering
LOUISVILLE, Ky., April 26, 2012 /PRNewswire/ -- Donan Engineering Co., Inc. today announced plans to open a new office in Fargo, North Dakota. Donan will begin offering forensic investigative services from our new Fargo office on May 1, 2012. This office will represent the firm's first foray into the state of North Dakota.
"North Dakota is an underserved market where many of our customers struggle to find qualified, local experts," says Kevin B. Abell, Donan Engineering's chief sales and marketing officer. "Our goal is to eliminate that issue by having a local office that provides our complete array of services. We are very excited about the prospect of having an office in North Dakota, as it's a natural transition for us from our current location in Minneapolis, Minnesota. Our confidence level that we will be able to consistently provide exceptional customer service and turnaround throughout North and South Dakota is extremely high."
Abell went on to say, "We are passionate about listening and responding to the business needs of our customers. Our opening of a North Dakota location is proof positive that we are not only listening, but that we are taking that information and working to create solutions."
Donan Engineering offers consumers a single source for forensic engineering investigations and fire origin & cause investigations. The firm offers a wide array of services falling under the main categories of structural engineering investigations, fire and explosion origin & cause investigations, roofing investigations, and component testing.
Donan Engineering is a third-generation, family-owned engineering firm that was founded in 1947 in Madisonville, Kentucky. From 1947 until 1999, the firm focused on providing mostly conventional engineering services (civil, structural, environmental, mining, architecture, etc.). In 1999, with approximately 20 employees in four offices, the decision was made to focus exclusively on the forensic engineering and fire investigation industry. In 2005, the firm relocated its company headquarters to Louisville, Kentucky.
With the addition of the new Fargo office, Donan Engineering will have 48 offices located throughout 26 states. Currently, the firm has approximately 210 employees, and that number is anticipated to grow to near 280 employees by the end of 2012. In 2011, the firm completed approximately 27,000 forensic investigations for a client base consisting primarily of insurance companies, attorneys, commercial property owners and businesses, manufacturers, utilities, and homeowners. For a list of Donan's office locations, please visit www.donan.com/locations.
You can also visit Donan's website at www.donan.com.
SOURCE Donan Engineering


Panem comes to Times Square with the world premiere of The Hunger Games: The Exhibition, an immersive exhibit featuring hundreds of props from the hit movies. Prepare to be ignited with immersive themed environments, hundreds of authentic costumes and props and highly interactive digital and hands-on experiences, while you explore the world of Panem. Follow Katniss Everdeen's inspirational journey, from her humble beginnings in District 12 to her emergence as the Mockingjay.
Tip: You can zip through the exhibit in 45 minutes, but Insiders suggest 90 minutes.


Before his career in whisky, Robert taught literature and composition. His passion for wine and spirits prompted him to change course. He became a passionate veteran of the wine and spirits industry, crafting cocktails, studying wine, hosting spirited dinners throughout the land before becoming a Master of Whisky for international drinks company Diageo.
As Master of Whisky, Sickler studied in renowned distilleries such as Ireland's Bushmills distillery, Canada's Crown Royal distillery, America's Bulleit Distilling Company, George Dickel Tennessee Whisky distillery and the following distilleries in Scotland: Cragganmore, Cardhu and Johnnie Walker, Oban, Royal Lochnagar, Lagavulin, Talisker, Dalwhinnie, Clynelish and Caol Ila. He also visited dozens of additional distilleries to strengthen his understanding of the distillation process. His extensive knowledge of whisky enabled him to thrive as a leading brand ambassador and valued educational resource for distributors, consumers and trade in Ohio, West Virginia, Colorado, Missouri, Oklahoma, Arkansas, New Mexico and Kansas.
In 2015 Robert formed the Voice of Whisky, a whisky event and consulting company. As Voice of Whisky he engages with bar owners and managers, food & beverage directors, chefs and restauranteurs on menu development, mixology, spirits education and event marketing. He also hosts exclusive events, offers advice on product development and evaluation, conducts product reviews and is available for media presentations and public appearances.
Sickler also instructs The Whisky Ambassador Program, the UK's only accredited training course about whisky. It is a fun and interactive training program designed for professionals who work in the hospitality and spirits industry. The program gives staff and salespeople the knowledge, skills and confidence to talk to customers about Scotch whisky, leading to a better customer experience and increased sales. Upon completion of the written and practical exam participants receive a Whisky Ambassador certificate and badge to showcase their achievement.
When he's not bringing whisky to the people Robert enjoys expanding his culinary prowess in the kitchen. He incorporates his knowledge of international cuisine and proclivity for unique flavor combinations to create food and drink pairings that "transform hearts, minds and palates" at public and private spirited dinners. His fondness for herbs, spices, and exotic botanicals is also translated into innovative cocktails at his events that participants describe as both "approachable" and "unforgettable".
Robert's fondness for worldly libations and global cuisine inspired him to join forces with partners Noah Price and Thomas Merrill to establish a whisky and rum cocktail bar and food truck pod, showcasing whisky and rum cocktails and gourmet goodies. The bar, Finn's Manor, opened in September and will feature a series of ongoing spirited events and classes for the public and trade. The cocktails will pay homage to Scotland, the Caribbean, southeast Asia and New Orleans, places which have inspired Robert throughout his food and drinks journey.
Robert is extremely knowledgeable and exciting to watch as he takes new/existing consumers into the world of whisky. He captures the true heritage of each and every distillery, details the quality of ingredients to where you can taste / smell them without even doing so, and he brings out the rich essence of whisky through his professional demeanor.


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