text:
New Twitter Rules for 2018 and Beyond
Last Updated: 1 year ago By Melissa Vinsonhaler Time to Read: 3 minutes
In the wake of the 2016 US presidential election, Twitter has been in the spotlight due to the alleged use of the network by Russian bots to influence the election.
Facing heavy scrutiny from the US Congress, Twitter recently announced a number of significant rule and policy changes designed to counteract some common uses and abuses of the Twitter system. Twitter announced policy changes on February 21, 2018 with rules going into effect 30 days later on March 23, 2018.
These policy changes are aimed at reducing the influence of spam across Twitter by limiting the ability of multiple twitter accounts to coordinate the spread and amplification of certain Tweets.
Twitter's policy changes impact all Twitter users – not just the bad actors. So whether you are a Russian bot farm operating in St. Petersburg or an upstanding small business trying to market on social media, you are now subject to Twitter's new rules.
New Twitter Rules
This means many common and effective tweeting practices relied on by legitimate Twitter users are no longer allowed.
For instance, if you manage more than one twitter account – you can no longer post the same or similar original content to those accounts. This limitation applies regardless of whether the Tweets are published to Twitter at the same time, or are scheduled/queued for future publication.
If you're used to simultaneously publishing or scheduling tweets across multiple twitter accounts, you'll no longer be able to do this. Twitter removed this option from TweetDeck and all apps must follow by March 23.
Per Twitter: "One of the most common spam violations we see is the use of multiple accounts and the Twitter developer platform to attempt to artificially amplify or inflate the prominence of certain Tweets."
Additionally, Twitter is now stepping up enforcement of other policies related to duplicate content. Twitter rules prohibit duplicate updates on a single account. This rule was previously only loosely enforced by Twitter. For instance, Twitter previously blocked identical posts to the same account only if the posts were attempted within the same 12 hour period. Twitter is now poised to enforce this policy much more aggressively by restricting all duplicate content posting, even if it the posts are made even days or weeks apart.
If you are like many major brands, and recycle the same tweet more than once on a single Twitter account – you're now in danger of suspension or termination from Twitter.
How do these changes impact your use of dlvr.it?
Most importantly, our goal is to help our users make sure they are playing by Twitter's new rules. We want our help our users avoid any problems with Twitter that could lead to their accounts being suspended or blocked.
To that end, we're making some changes to dlvr.it and the way we handle posting to Twitter. We'll be rolling out these changes next week.
You may connect only one Twitter account to an RSS feed for automated posting
— You will no longer be able to connect more than one Twitter account to a single RSS feed for automated posting.
— If you have any feeds set up for automated posting to more than one Twitter account, we'll deactivate posting to Twitter.
— We are working on tools to enable you to post the original content to a single account and then retweet out to other accounts you own. This will be available soon. Stay tuned!
You may select one Twitter account when posting or scheduling content
— When posting or scheduling tweets, you'll be limited to posting or scheduling that update to a single twitter account at a time.
— You may build another, differentiated post for posting to another Twitter account.
No EverQueue posting to Twitter
— We'll no longer support automated recycling of original posts to Twitter via EverQueue.
— You will not be able queue additional EverQueue items for your Twitter accounts and any existing Twitter EverQueue posting will be deactivated.
— We'll continue to support EverQueue posting to Facebook and other social networks.
Automated HashTags
— We will limit the practice of automatically including hashtags on Tweets.
— You can continue to manually add hashtags to posts, However, the automated addition of hashtags as prefixes or postfixes to Tweets will be deactivated.
We understand these changes may not be welcomed by all of our users. But the new Twitter policies apply evenly to all Twitter users and apps – even if you've been responsibly using Twitter for upstanding purposes. The goal of these changes to dlvr.it is to ensure all our users continue to play by Twitter's evolving policies.
There may be some pain in the near term as we all adjust to the new Twitter rules. In the long term, these updates may result in a better Twitter experience for law abiding Twitter users. Expect adjustments and tweaks to Twitter's policies as these new changes take effect. We're closely monitoring the situation and will be updating dlvr.it's features as Twitter tweaks and clarifies their policies.
We'll be making announcements in the coming days and weeks regarding some fresh new features to help our users navigate the new Twitter landscape. Stay tuned!
We'd love to hear your thoughts on the Twitter policy changes. Will these new rules result in a better Twitter experience? Will these policy changes keep unsavory actors from gaming Twitter? Let us know what you think in the comments below.
Category New Features| Service Issues| social networks
Top 5 Time Management Apps
Facebook and Twitter 2018 Rules Changes – Update
About Melissa Vinsonhaler
I am a pro at helping people learn tools and strategies to better their experiences in the world. I spend my free time as a wife and student of life.
Vanessa Vaile
As a blogger on social media, independent online researcher and volunteer online activist, I had already noticed the TweetDeck changes — and a few other other platforms with automated share settings. I haven't checked all of them yet but have it on my list. Admittedly, the changes will add time to sharing / content distribution, but mostly they are confusing and will be until I internalize the new routines. Not so long ago, I rebuilt my Rube Goldberg system. Now I'll need to do it again. Your post comes as a welcome reminder and help across the board.
Melissa Vinsonhaler
Hi, Vanessa!
So glad that you found this post helpful! I had to read through the changes a few times myself.
So they are saying you can't tweet the same tweet twice ever? No matter how far in the future? Because Social Oomph is saying every 24 hours. Twitter's document doesn't specify.
Hi, Mel!
I understand it is very confusing. Based on Twitter's documentation, all we know is repeating a post is a direct violation. They haven't released any other information indicating if this is based on a time limitation. They have stated that Retweets are acceptable as long as they aren't spammy. I recommend erring on the side of caution in this case.
GottaLaff
Quick question: Do any of these changes affect what I see on TweetDeck? I've filed tickets for well over a month now that every since these changes were announced, I can no longer see tweets on TweetDeck from ANYONE (including myself) who types a tweet from Web Twitter (Twitter.com). I can see tweets typed on phones, other apps, and from TweetDeck, but many accounts are now invisible to me when they issue a tweet from the Web directly. Help? It's been about 45 days of this now.
Great question! Yes, these changes have affected TweetDeck. Twitter implemented these changes on TweetDeck before the deadline date. This is likely when you started noticing those changes.
So I'll no longer be able to see anyone's tweets who type from Twitter.com? Forever? From now on??? There's no fix for this?
Unfortunately, if Twitter maintains this set of terms, they will no longer allow you to see anyone else's Tweets through TweetDeck. They have applied this to all third party applications. You can only automate Retweets from your own accounts. I hope that this clarification helps.
Perhaps I wasn't clear. Twitter owns TweetDeck, right? I'm referring to tweets sent FROM Twitter.com, that no longer show up on TweetDeck. Twitter.com is a site, not an app, right? I'm not referring to retweets at all. I'm saying I'm not seeing ANY tweets on my TweetDeck that are sent from Twitter.com. I do see them if they're sent from phones, tablets, other apps, but I am NOT seeing tweets if they're written from Twitter.com.
I'd like to take this discussion out of these comments because we're getting very specific to your account. Because this is related to TweetDeck, though, I would recommend reaching out to their support. Here's a link to their FAQs: https://help.twitter.com/en/using-twitter/tweetdeck-faqs. If you'd like to discuss this more on a different venue, you can reach out to me at support@dlvrit.com.
I asked what you were going to do on Twitter when the announcement came out. Would have been nice to hear this there.
Anyway, I look forward to the feature that lets you RT from other accounts. Another feature that you could build within the rules would be for an RSS feed to randomly select from a list of Twitter accounts to do the post. Then, you could have it RT from the other accounts that didn't do the native post.
So, for example…
RSS 1 has a post
@Twitter1 posts from the RSS Feed
@Twitter2 RTs it
RSS 1 has a 2nd post
This way the RSS feed gets spread across multiple accounts with natural posts and Twitter2 and Twitter3 in this scenario don't just become accounts that RT everything that Twitter1 tweets.
Basically, the RSS feed could choose from a "pool of accounts" and then the RTs would come from whoever is in the pool of accounts that didn't post the original. Of course, you'd ideally put some random time between RTs from the accounts in the pool.
To clarify, we will not be allowing RT from other accounts. Twitter has specifically stated that anything other than Retweeting from a handle that you control to a specific number of handles that you control is considered abusive. This is a clear violation of Twitter rules.
Thank you for this because of these new rules of not being able to share content of other sources and brands since my feeds are curated from people i follow. I guess because other people share links too We turned off all our Twitter accounts thanks to this. I can't believe i can't share other people's blog content and news stories anymore with twitter my main account is only 33k followers with people such as the Former President of The United States following etc. so i guess we will no longer manage our brands or post articles to Twitter i guess and delete all our different brands off Twitter with these new rules you can't post anything with this new law marking Twitter useless lol ok this sucks bye Twitter i will miss you. And don't let me get started with all the sponsored content we now have to re think other platforms
Twitter dead and Facebook is dying messenger is on the rise and google plus been dead for years lol
Thank you Dlvr.it Team for letting me know i will cut the ad spend from all our client accounts too! Pointless now lol and like that 100 client accounts gone and a million $ plus ad spend a week pulled will be moving to messenger or more youtube i guess i don't know how other agency's will cope but its the end of an era i guess very sad 😢 Twitter was my favorite platform for sharing too. And we are small what will the big brands do i have no idea they depend on influencers to share there content and those click to tweet plugins on your website to share your page can no longer be pre populated with a tweet to share as it will now vialate there new terms of service with these new rules. Anyhow very sad day for Twitter.
All the best thanks for letting our team alerted to these changes
Always best,
Hi, Michael!
I agree that this set of changes is difficult for many businesses. So sorry to hear that it has so significantly impacted your business. I hope that our article helped to clarify a few of these issues for you.
Trevor Oxborrow
It's good that automated duplication is to be restricted, but what about Tweets that say "Just arrived at station" or similar? They are legitimate and likely to occur daily for commuters, say.
Hi, Trevor!
I agree that this needs a lot more clarification by Twitter.
Thanks for the post Melissa. I am trying to find information about the following statement "Posting the same content more than once to a single Twitter account is not allowed."
I have read the Twitter announcement you referenced, but am unable to see information regarding this in the Twitter post. I might have overlooked it, but could you direct us to the exact statement in that post where it talks about this?
Hi, Corwyn!
This is actually something that we received more direct communication on from Twitter. This is not directly stated in the announcement, but they did explain that this would no longer be permitted. However, their documentation has suggested that they will allow Retweeting. I hope that this helped!
Thanks Melissa!
Looking through some of our feeds, I have noticed that dlvr.it is actually skipping over a duplicate post. As an example…if we have a job ad that gets posted on the 1st of the month, normally it would expire on the 30th. If the ad gets renewed by our customer, we repost the ad (same URL with the current date as the post date) for another 30 days. What would be the correct way to have this post show up in our Twitter account?
Hey, Corwyn!
I'd like to address your question through our support system. Can you please send an email to support@dlvrit.com?
Thanks Melissa….done!
Can you show us the actual email? Because as you say, the public announcement does not say dupe tweets from *single* acct are banned.
Really wish Twitter was clearer, more upfront about this. Resharing same tweet is widely-used practice.
Hi, Pam!
Twitter released a statement this morning clarifying their original rules. You can read this here:
https://twitter.com/TwitterDev/status/977224044851417090
I read and re-read Twitter's statement on this, too. The public statement says this applies to "multiple" accounts. It never says you can't send dupe tweets from the same account. Have reached out to Twitter support and @yoyael for clarification.
Just wondering how these new twitter rules would affect me. I currently share multiple RSS feeds on one twitter account that posts weather warnings from each state of Australia. I have had written permission from the Australian Bureau of Meteorology to share their warnings rss feed. I use hashtag prefixes provided by your application to show where the warning is coming from. Are you getting rid of this feature completely or will I be able to at least use plain text instead of prefixes (however this would make the posts go more unrecognised)? And most of the warnings are obviously republished in the same way all the time. Like they will always have the same links and similar wording when published.
Hi, Ben!
Twitter has indicated that hashtag spam is one of its main targets. With that in mind, dlvr.it is eliminating hashtag prefixes and suffixes. You will still be allowed to use inline hashtags, which are basically hashtags that will replace text within a post. I hope this helps!
Margaret Skea
I have a couple of FB accounts – a personal one and an author one. At the moment they are set up to automatically tweet my news and sometimes I put the same piece of news on both accounts to give a chance for all my friends / followers to see it. (Not huge numbers – c 300 followers) Does this mean that I need to disable the function on one of these accounts to avoid a duplicate posting to Twitter?
Hi, Margaret!
Twitter has indicated that duplicate content is a direct violation of its Terms of Service. Therefore, if this is duplicating content, it would be advisable to remove the potential duplicates in some way.
I've just got a new plugin click to tweet. It allows me to highlight a acentence in the textvso people can tweet it. Will this count as duplicate content as coming from same site? Or different as it's coming from different people?! 🤔
Hi, Leanne!
Twitter has indicated that the terms of service are targeting the same posts by multiple users controlled by a single person. That being said, they haven't addressed the issue of Click to Tweet buttons and how they will be addressing this problem. That will be up to Twitter. Hope this helps!
Ramon Tonnaer
This is a bad decision by Twitter if you ask me.
They finally are showing some healthy growth, business-wise and this isn't going to help.
Dlvr.it customers now have to either curate everything manually, look for way more feeds to fill the gap or ditch accounts.
Twitter offers a stage and verifies accounts of people who grew their Audience with bought followers.
People who claim to be Social Media Experts like @TamaraMcCleary & @dannysullivan with their +100K fake followers.
I understand these measures are to fight automation.
But they are fighting the wrong battle and pushing away the ones that are able to get Twitter in the lift.
Their battle should have been (years ago) against the so-called Zombie accounts.
The fake accounts that are killing every Social Network.
Hi, Ramon!
Twitter is not fighting automation, but is really fighting spam. It's certainly difficult to separate the two in some cases. dlvr.it is working on solutions to make sure that users are playing by the rules while they're still able to make their posts easily. I hope that this post helped clarify the rules a little bit more for you.
This is a continuation of the rules that were introduced at the end of 2017 in order to carry out the following/unfollowing as manual as possible. So I disagree with you this isn't a measure to fight automation.
But whether it is Twitter's intention to prevent automation or not, this rule will saddle many people with time-consuming work and especially businesses making use of Twitter to market their products/services.
What about syndicating content? I work for an organization that will tweet the same content to different accounts from groups like the Associated Press; it's just what our readers are clicking. Are we going to be stopped from doing this?
Hi, Ian!
Unfortunately, Twitter has stated that sending the same content to multiple handles by a single user is not allowed under the new rules. They have stated that Retweeting is acceptable as long as it is done in a well-controlled fashion.


text:
Announcement: Community Currency network
June 20, 2001 by Richard Moore
Bcc: misc.
A while back I sent out a request to the list, hoping to get
leads to some software contracting.  One of the people who
responded was Michael Linton, one of the pioneers of the
LETS initiative.  I wrote a prototype system for him which
he is now using for demos.  I don't quite understand why
community-currencies work, but evidently they are being used
very effectively all over the world.  In Brazil, due to cash
strangulation brought on by globalization, community
currencies have hit the big time.  They allow people to do
business with one another without using pieces of paper
issued by some bank - pieces of paper that come at a high
real cost to the user.
Community currencies are free, they are creative, they help
build a stronger sense of community, and they help empower
that community.
I was intrigued by the project I did for Michael.  For the
past two weeks I found myself unable to do anything except
improve that system and turn it into something that people
could really use.  It's available now - 'cybercredits
trading network', at:
http://cyberjournal.org/cybercredits/
Cybercredits is not a currency - it's a system in which
anyone can set up a currency.  You simply make up a currency
name, establish it, and then you can tell your friends and
neighbors.  They sign on to cybercredits, register with your
currency, and then they can record trades with one another.
Don't ask me what to use it for - that's not my department.
But if you're into it, give it a try.  I'd love to hear what
you use it for, and of course feedback on the system
operation would be welcome. If anyone wants to design better
screens, I'd be glad to incorporate them.  The current
interface seems fine to me, but that's because I'm an
engineer.
It's free and there's no advertising.
http://cyberjournal.org
War in the Middle East?
Susan George: "Please read carefully"

redpajama_set_name: RedPajamaCommonCrawl


text:
Complaint to OFCOM for BBC Sunday Morning Live's bias against Sakineh Mohammadi Ashtiani
To OFCOM
I am writing to complain about BBC Sunday Morning Live's factually incorrect statements on a 5th September programme entitled "Is it Right to Condemn Iran for Stoning?"
The principal reason for my complaint is statements made by Susanna Reid which were factually false and which gave the impression that Sakineh Mohammadi Ashtiani is not to be stoned and that stoning does not take place in Iran (or is rare). She said that no stonings have taken place since the 2002 moratorium; in fact, 17 stonings have occurred since this time. Indeed, Amnesty International stated very recently that eight men and three women are awaiting stoning at present and that since 2006 at least six people have been put to death in this way.
Ms Reid also said that Sakineh Ashtiani is facing execution for murder rather than adultery despite court documents proving that Sakineh was sentenced to death for adultery and was acquitted of murder.
All of this is clearly contrary to the BBC Charter, which states (6.1): "The BBC shall be independent in all matters concerning the content of its output, the times and manner in which this is supplied, and in the management of its affairs."
This was compounded by the fact that the programme excluded me from the discussion, though I had been invited to join the debate via webcam; instead, the programme included only two supporters of the stoning and/or execution via webcam.
Since international protests have so far saved the life of Sakineh Mohammadi Ashtiani, it is all the more vital that accurate information be provided to the public on her case.
Please see my initial letter to BBC's Sunday Morning Live and their inadequate response here.
Given that the programme has refused to supply corrections to their viewers, I ask that you look into this matter of clear media bias and misinformation.
I look forward to your response on this matter.
BM Box 2387
London WC1N 3XX, UK
iransolidaritynow@gmail.com
www.iransolidarity.org.uk
iransolidarity.blogspot.com


text:
Q: How to use multiple cache sink in a single data flow and use outputs of both the sinks in a pipeline? I am having two cache sinks in a dataflow, when selecting write to activity output for both the sinks throws validation error: Multiple Cache sinks found with output set to 'true'. Output for only one sink is supported.
Is there any workaround / Solution to use output of both the sinks in a single pipeline?

A: Only 1 cached sink can send output from a data flow. Would it be possible to combine or union multiple data streams into a single cache sink in your data flow?

redpajama_set_name: RedPajamaStackExchange


text:
Become a Contributer
[ November 13, 2020 ] Ethiopia on brink of civil war	Politics
[ September 23, 2020 ] Africa Latests News	Magazine
[ August 26, 2020 ] Condemnation of the Malian coup from global powers with high stakes	Politics
[ July 29, 2020 ] Icelandic multinational fishy fish business in Namibia	Magazine
[ June 11, 2020 ] Covid19 claims first African president	Politics
[ June 9, 2020 ] Africa Latest news	Magazine
Djibouti The superpowers' playground
April 9, 2016 Politics 0
Everyone wants a piece of Djibouti. It´s all about the bases
AT 2pm in the tiny African state of Djibouti everything stops. As the sun burns high in the sky people retreat to their homes, save for a few men lying in the shade of colonial-era walkways, chewing qat leaves that bring on a hazy high. In the soporific heat you would be forgiven for thinking that time had forgotten the New Jersey-sized nation. Yet its quiet stability within the volatile Horn of Africa has made the country of just 875,000 people a hub for the world's superpowers.
The stars and stripes flutters alongside the runway where military and passenger planes touch down: Camp Lemmonier, America's only permanent military base in Africa, hosts 4,500 troops and contractors who conduct missions against al-Qaeda in Yemen and al-Shabab in Somalia. The outpost, leased for $60m a year, shares an airstrip with the international airport, although its drones now fly from a desert airfield eight miles away after one crashed in a residential area in 2011.
Djibouti also hosts France's largest military presence abroad (it still has an agreement to defend its former colony); Japan's only foreign base anywhere; and Spanish and German soldiers from the EU's anti-piracy force, who are billeted at the fancy Kempinski and Sheraton hotels. The Saudis and Indians are also rumoured to be interested in establishing outposts, as are the Russians.
Meanwhile, China is building its first overseas base anywhere in the world in Djibouti, for which it will pay a more modest $20m in rent annually. It is supposedly nothing more than a logistics hub for anti-piracy operations and evacuating citizens from hotspots like Yemen, just 20 miles away across the Bab el-Mandib strait. Some Western officials fear that China may have bigger plans, however. It might in the future be awkward to have countries that do not always see eye-to-eye running military operations out of the same crowded space.
The tiny desert state wants to be more than a superpowers' playground, though; it has ambitions to become a Dubai or Singapore at the gateway of the Red Sea and Indian Ocean. "We don't have anything else but location," says Robleh Djama Ali, the head of business development at the Djibouti Ports and Free Zone Authority. The country's lack of natural resources may be coincidental, but its fortuitous geography, wedged between Eritrea, Ethiopia and Somalia, is no accident. France wanted a port to rival Aden, Britain's colony on the other side of the Red Sea. It has been desirable more recently too. The terrorist attacks of September 11th, 2001 brought the American military. Somali pirates brought EU soldiers. The Ethiopia-Eritrea war from 1998 to 2000 robbed Ethiopia of access to its smaller neighbour's ports. Now 90% of Ethiopia's imports come through Djibouti, accounting for 90% of its ports' traffic.
Ethiopia's double-digit growth over the past decade has rubbed off on Djibouti. Around $9.5 billion of energy and infrastructure projects are under way, including four more ports, two new international airports and two pipelines, and a railway to Ethiopia (the last, ministers promise, is due to open within weeks). Another $9.7 billion of proposals are as yet unfunded. To put this in perspective, Djibouti's GDP was just $1.6 billion in 2014.
China is the biggest investor, much of it via soft loans. Officials won't say exactly how much they are in hock to the Chinese, but both the IMF and African Development Bank have warned about its public debt, which is projected to balloon from 60.5% of GDP in 2014 to 80% in 2017. The finance minister, Ilyas Moussa Dawaleh, isn't concerned: "what we are getting from China is much more important than any other long-standing partner," he says.
The boom has not benefited everyone. The ports account for a whopping 70% of GDP, but only provide a few thousand jobs. The UN puts unemployment at 60%, though Mr Dawaleh claims it is half that (Djibouti's data are dodgy). Illiteracy runs at about 45%. The lack of employment is offset by traditional support systems; one worker can support an entire extended family. So the government can buy the loyalty of, say, 30 people by hiring a single bureaucrat.
Dissent still simmers. Opposition figures claim police killed 19 people at a religious celebration in December 2015 (the government says only seven died). A corruption case brought by the government against Abdourahman Boreh, a wealthy businessman who was President Ismael Omar Guelleh's right-hand man until he questioned his plan to run for a third term in 2011, was thrown out by a British High Court at the start of March. The country is voting on April 8th, but the re-election of Mr Guelleh for his fourth presidential term is a foregone conclusion; the opposition, an unwieldy coalition of seven parties, is fielding two rival candidates.
Source: http://www.economist.com
Zombie Banks Stalk Africa With Mergers One Way to Limit Risk
A year of illusions: five things we learnt about democracy in Africa in 2017
Canadian firm faces new forced labour claims over Eritrean mine
These 5 Facts Explain the Good News About Africa
The African Development Bank is leading in renewable energies
Africa Latests News
Africa has defied the covid-19 nightmare scenarios. We shouldn't be surprised. Washington Post After the novel coronavirus first appeared in Africa in late February, Ghana's [read more…]
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Leaked documents and an affidavit from a whistleblower working at a major Western fishing company operating in African waters have given rare insight into how [read more…]
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Africa eyes the world's top trade job — but spars over its candidate Politico One senior African trade official stressed that the continent's advantage was [read more…]
© 2016 The Local Africa News. All Rights Reserved


At St. Luke's we believe that high quality history lessons inspire children to what to know more about the past and to think and act as historians. Linking learning to a range of topics, children have opportunities to investigate and interpret the past, understand chronology, build an overview of Britain's past as well as that of the wider world, and to be able to communicate historically.
• An excellent knowledge and understanding of people, events and contexts from a range of historical periods, including a range of significant events in Britain's past.
• The ability to think critically about history and communicate ideas confidently to a range of audiences.
• The ability to support, evaluate and challenge their own and others' views using historical evidence from a range of sources.
• A passion for history, with a developing sense of curiosity of the past and how and why people interpret the past in different ways.
• A respect for historical evidence and the ability to make critical use of it to support their learning.
If you would like to find out more information about the current National Curriculum for History, you can access the full curriculum here.


text:
The Birth of Trump's America?
Sweat, by Lynn Nottage.
By Stephanie Sandberg
LYNN NOTTAGE wrote her sizzling new play Sweat three years ago on a commission from the Oregon Shakespeare Festival. There are moments when artists such as Nottage write at the height of their powers and seem to prophesy about the life of humanity. Certainly Arthur Miller's Death of a Salesman or Tony Kushner's Angels in America accomplished such prophetic feats, and it's not a stretch to say that Nottage's Sweat could do the same. Set in the Rust Belt of the United States, with the decline of manufacturing jobs reeling out of control, Sweat may be the timeliest play of this New York theater season, opening March 4 on Broadway, at Studio 54.
Nottage got the idea to write the play after hearing that Reading, Pa., is one of the most impoverished towns in the U.S. We witness on stage the birth of Trump's America, rife with economic hardship in a community that is doing all it can to hang on to its identity, and losing it at every turn.
This pressing drama is set between the years 2000 and 2008, shifting back and forth in time to reveal just how the devastating economic hardships of the 21st century were taking hold. Most of the scenes are set in the town's local watering hole, where we witness the local culture, friendships breaking down, and a serious hate crime that lands two of the characters in jail. We follow these two directionless young men who are seeking a life that yields more than just another job. We also follow a trio of female friends who have supported one another through it all on the factory floor and in the intimacies of life.


text:
Q: How to build notepad++ When I run
BuildBoost.bat --toolset msvc-9.0 your\boost\install\folder

it gives the message "boostpath.mak" not found
I'm following these instructions How To Compile Notepad++ From Source.

A: The path to boost must be absolute.
Although it shouldn't be required, I'd also recommend running BuildBoost.bat from the scintilla\boostregex directory within the Notepad++ tree - it was only tested in this scenario - ie. don't supply a path for BuildBoost.bat.
Something like this:
D:\code\notepad-plus\scintilla\boostregex> BuildBoost.bat --toolset msvc-9.0 d:\code\boost

If you've done all that, and still get the error, it's worth removing the @ECHO OFF from the first line of the batch file, and posting the complete output.
Disclaimer: I'm the author of the buildboost.bat batch file

A: I did have the same problem and got the error below :
getboostver.mak(15) : fatal error U1052: file 'boostpath.mak' not found
Stop.
******************************
** ERROR building getboostver.exe

It seems that spaces in the path name to the notepad++ project folder (...\Visual Studio 2008\....) caused the error.
Running Buildboost.bat from within the scintilla\boostregex didn't solve the problem.
After moving the boost folder and notepad++ project folder to a location without spaces, boost compiled perfectly.


"#3) He is well aware of the transportation issues of the city. I see him fighting hard for more access to the city via bike lanes and infrastructure (I've been biking to work so far this year, and wow is this really needed), as well as public transportation badly needed for our residents to get to their jobs. Right now, the Charm City Circulator reaches mainly only the white parts of the city, something that Dorsey pointed out with indignant passion. He also discussed an anger of mine, that the city has such poor transportation for its students, who have to rely on crowded and unreliable MTA busses to get to school; he wants to change this. (Related Link: Baltimore Spokes, a Bicycle Advocacy group in Baltimore, has endorsed Dorsey for the 3rd District race.)"


1st Annual Roast a Mod Contest!!!
I read the most interesting thing yesterday. Did you know that the surface of the Sun will pass Earth's orbit in 7.6 billion years? It's such a large number to comprehend!
To put that in perspective, The Earth will be consumed in atomic fire about the time Briched finishes the StarFinder character sheets!
My donation should cover a couple of posts here. Ahem.
Imveros is so clever he misspelled my username to keep me from noticing while casually pushing me in front of the bus to corner the Starfinder voting segment for the roast thread.
Imveros is so talented at storytelling and gameplay that half his RPXP in the past month comes from roasting staff in this thread.
Imveros is so well known that when I try for google autocomplete on "Imveros is so " there must be so many options that Google can't come up with anything and has no suggestions.
EDIT: Forgot to add: Welcome to the club, chummer!
PPS Imveros is so awesome that he supported the drive by making a direct donation to the BBR Foundation and participating wholeheartedly in this thread.
Imveros is so stupid, he calls 411 to get the number to 911.
Imveros is so dumb, when he heard that a thermos keeps hot things hot, and cold things cold, he filled his with soup and ice cream.
Imveros went to the doctor and said, Everywhere I touch it hurts." The doc asked "What do you mean?"
So Imveros showed him what he meant. He touched his knee and said "Ouch!" Then he touched his chest and said, "Ouch!" Then his shoulder, "Ouch!"
The doctor looked at him and asked, "You are really stupid, aren't you?"
Imveros said "No, why do you think that?"
Doctor says, "Well, first off, your finger is broken."
Imveros got mad, and said "I want a second opinion!", so the doc said "Okay, you are ugly too."
Do you know why you can't tell Imveros a knock-knock joke?
He always leaves in the middle, to answer the door.
But actually, Imveros isn't actually as stupid as all that. He once patented the idea for ejection seats in a helicopter. And, screen doors for submarines.
Like an afternoon with Dirkoth, this thread has to come to a merciful end. Birched will be posting the winner of the contest soon.
Even though we jest a lot on this site, our community should be increbily proud. We raised over $1900 for a really good cause and the world has been made a better place because of it.


Michael and I were planning on getting in the attic today to hang the new pendants in my studio because we're supposed to be experiencing some 'mild' weather – no higher than 90°. As I was checking my email the phone rings and it's Lowe's letting me know our fans have arrived. I almost missed seeing the notification that this necklace just sold!
I believe this is more than just me saying I need to get back to work.
Debbi, I hope you enjoy wearing it as much as I enjoyed making it!
Yesterday's show was a lot of fun but I missed having my posse around. It's the first time I've done a show by myself, in like forever. Kristen did a great job organizing the event and I'm already excited for the next one, which will most likely be in the fall. I met a couple of very cool people and had great response from vendors and people attending the event. I had a nice dose of 'we've heard about you' in a very positive tone and that really blew me away! I sold a few shoe clip and wristbands. I'm so happy I had them and am motivated to keep making them. I had some nibbles on necklaces and hopefully someone who grabbed a card will visit my Etsy shop.
As usual, I was last minute getting some of these finished and didn't get photos of the new stuff that sold. I will snap photos of what is left of the new inventory later in the week so I can upload them to Etsy. We dropped all of the booth goods at the new house after we left the Farm.
I'm also working ideas on a better table display. I had my standard dress form and a smaller decorative table version, as well has using my small velvet jewelry busts for the ribbon chokers. We started on papier mache bust but just couldn't get it finished in time. Michael also brainstormed the stand for them.
I realized that I hadn't uploaded any photos of one of my new pieces that actually sold at the Inman Park Festival. I only got a couple of decent photos during the rush of the last day before we left for Atlanta.
I am working on a write-up, but for now here are a couple of photos.
One more and I need to get some sleep!
Michael and I are joining a couple of friends to sell our collective crafts. I made 16 new necklaces and squeezed in extra shoe clip at the last minute. I have several pieces 'in process' that will help me with a show I'm doing here in Charleston on June 5. I took photos of everything but have only managed to get 6 uploaded to my Flickr. I also tried shooting a new way today while being SWARMED by gnats.
I'll upload the rest when we get home along with a full report. Oh yes, new computer will be purchased next week!
I feel like I've completely abandoned my blog. Where, o where have I been? The answer to that is…house hunting! We started looking in January for a place suitable for me & Michael, our studios, my mother and a guest room. That's a lot of space needed. We found a house at the end of January that was a wonderful fit but the offer/counter offer process fell apart. We held off on continuing to look until we returned home from our trip. Sadly, we had to cut some of our housing budget which made the hunt a little more challenging. It has taken up most of my time and energy but yesterday we hit pay dirt! We put an offer on another house and today the sellers accepted our counter. It's a huge weight lifted from us and we're excitedly starting to plan our garden and other awesome domestic things. We won't close until June so that the seller's children can finish out their school year at home. They're moving to Ohio. The house hadn't been on the market very long and they made a large price cut that allowed it to show up on our radar. Yay!
Anyway, during this time I filled a custom order for a necklace. I found myself to be a tad nervous making this one, as I wanted everything to be perfect because it is for Ariel, who does Offbeat Bride. In her ongoing support of independent artists, she will do trades for ad space. I decided to bite the bullet and submit my photos to see if anything tickled her interests. I was very excited when she replied back saying she'd love a version of the very first piece I made, but with hot pink detailing. I finished it last week and it's on it's way to her. Ariel, I really hope you like it!
I have finally added the first pair of shoe clips to my Etsy page and have two more ready to photo. I'll post those soon, if it will stop raining!
Here are the three latest bib necklaces listed.
I'm working on a different 'type' of fabric flower for some shoe clips that will also be expanded to the necklaces. I'm very finicky about finishing details, so I'm tinkering with those now. They're quite sassy, btw!
This fabric is very special to me as it is a remnant from the material I used to make my wedding dress and corset.


Building a successful sales team is a vital consideration for any startup. Without the right people in the right positions at the right time, failure can be inevitable. How do you ensure that you're able to build a successful team, though? It all comes down to understanding SDRs and AEs. In plain English, those would-be sales development representatives and account executives.
Understanding the roles of both SDRs and AEs is essential to building a successful sales team.
AEs: Account executives generally spend their day in search of new leads, handling meetings, and connecting with SDR teams. They may also conduct product demonstrations, and they usually spend a great deal of time on the phone with prospects.
SDRs: A sales development representative generally focuses on developing leads, rather than closing sales. They research and respond to prospects, user personas extensively, and prioritize top prospects before handing those off to AEs.
Promoting from within is an essential consideration for building strong sales teams, and you can do that by transitioning high-performing SDRs to AEs over time. That works well for your business, but it also ties in with the future plans for most SDRs. How do you transition them successfully, though? It all comes down to focusing on the representatives who want to do more, and achieve more. Choose high-performing SDRs who aren't afraid of success, and who hit their metrics consistently.
While you can and should promote from within, that's not always possible. In some instances, you'll need to hire account executives from outside your company. This can leave you open to a great deal of ambiguity and lead to potential challenges if not handled correctly, though.
What should you look for in a potential outside AE hire?
It really all comes down to knowing exactly what you need in an AE, and then creating a rigorous screening process and sticking to that with every single potential AE that you interview. Failure to follow these steps with every potential hire could lead to negative repercussions, wasted time, and lost money.
How Many SDRs Do You Actually Need?
Balance is crucial in your personal life, but it's also a vital consideration for running a successful business. In building sales teams, you need to balance the number of SDRs versus the number of AEs you have, and that balance hinges on a wide range of different factors. Just a few of those include the number of quality leads needed to close a new account, the number of opportunities needed to hit your sales goals, the number of opportunities required per AE, and the number of AEs doing demos per day.
With the right people onboard as SDRs and AEs, the right AE hiring practices, and a good understanding of how to balance the number of SDRs and AEs within your business, you open your business up to growth, profitability and success.


text:
contact cold blue
The Wind in High Places CB0041
The Wind in High Places is an elegant, haunting collection album containing three of Adams's serenly powerful recent string works: (1) The Wind in High Places (2011), a three-movement string quartet commissioned to celebrate the 50th anniversary of Theodore Front Musical Literature, performed by JACK Quartet; (2) Canticles of the Sky, a four-movement piece for four cello choirs, performed by the 48-member Northwestern University Cello Ensemble, directed and conducted by Hans Jørgen Jensen; and (3) Dream of the Canyon Wren (2013), a single-movement string quartet written for and performed by JACK Quartet.
All three of these works share certain features: harmonies based in the overtone series, slowly changing polyrhythmic textures, and arch forms. Both of the string quartets are devilishly virtuosic, The Wind built solely from natural harmonics and open strings and Dream built from overlapping streams of glissandos.
As this ever-in-motion, ever-in-flux music unfolds, the listener is slowly taken up in a series of sonic waves that usually start from almost nothing and grow to great richness (increasing in density of instrumental voices and number of concurrent pitches), while often simultaneously shifting the piece's or movement's general tessitura (e.g., low and soft to high and loud or high and soft to low and loud). This sort of very natural-feeling wave motion may occur once per movement or a few times per movement, often reaching a very expressive sense of ecstasy at each crest.
"The Wind in High Places, a tripartite piece for string quartet that uses only natural harmonics and open strings—played extremely quietly—to create a still, pastoral ambience…. Could any new music be more delicately sparse, more wonderfully poetic? I think not." —John von Rhein, Chicago Tribune
The composer
John Luther Adams, winner of the 2014 Pulitzer Prize in Music, was for many years based in Alaska, where his work derived much of it unique character from the landscape and weather of the Great North. In the past year, he moved from Alaska, and now splits his time between New York City and Mexico's Baja California, although his works still take wide-open natural spaces as a primary inspiration.
Described by The New Yorker's Alex Ross as "one of the most original musical thinkers of the new century," Adams composes for orchestra, chamber ensembles, and electronic media, and has worked with many prominent performers and venues, including the Chicago Symphony Orchestra, the International Contemporary Ensemble, eighth blackbird, the California EAR Unit, Bang on a Can, Percussion Group Cincinnati, Other Minds, the Sundance Institute, Almeida Opera, and the Radio Netherlands Philharmonic. He has written two books, Winter Music and The Place You Go to Listen (both Published by Wesleyan University Press), and a book of essays about his music, The Farthest Place, was issued by University Press of New England. He has taught at Harvard, Oberlin, Bennington College, and the University of Alaska; been composer in residence with the Anchorage Symphony, Anchorage Opera, Fairbanks Symphony, Arctic Chamber Orchestra, and the Alaska Public Radio Network; and served as president of the American Music Center. He has received numerous awards and grants, including the Heinz Award for his contributions to raising environmental awareness. His music has been released by a number of record labels, including Cold Blue, which has released five CDs devoted to his work, including The Light that Fills the World (CB0010), Red Arc/Blue Veil (CB0026), the place we began (CB0032), and Four Thousand Holes (CB0035), as well as including two of his sorter works on the anthologies Adams/Cox/Fink/Fox (CB0009) and Cold Blue Two (CB0036).
"Adams's major works have the appearance of being beyond style; they transcend the squabbles of contemporary classical music."—Alex Ross, The New Yorker
"The music of John Luther Adams is simply beautiful. It has a crystalline quality and a peaceful character that evoke the Arctic life…. Adams' music sounds like it has nothing to accomplish. It simply exists, hanging in mid-air, waiting to be listened to." —AllMusic Guide
"Out of many eligible composers of his generation, John Luther Adams is the greatest proponent of the American experimental tradition, a lineage that includes Ives, Cowell, Varèse, Partch, Nancarrow, Cage and Tenney."—Sequenza 21/Contemporary Classical Music Weekly
Read BMI's MusicWorld interview (January 2015) with John Luther Adams.
The performers
JACK Quartet (violinists Christopher Otto and Ari Streisfeld, violist John Pickford Richards, and cellist Kevin McFarland) is focused on the commissioning and performance of new works, leading it to work closely with composers John Luther Adams, Derek Bermel, Chaya Czernowin, James Dillon, Brian Ferneyhough, Beat Furrer, Georg Friedrich Haas, Vijay Iyer, György Kurtág, Helmut Lachenmann, Steve Mackey, Matthias Pintscher, Steve Reich, Roger Reynolds, Wolfgang Rihm, Salvatore Sciarrino, John Zorn, and many others.
The JACK Quartet electrifies audiences with "explosive virtuosity" (Boston Globe) and "viscerally exciting performances" (New York Times). David Patrick Stearns (Philadelphia Inquirer) proclaimed a JACK performance as being "among the most stimulating new-music concerts of my experience." The Washington Post commented, "The string quartet may be a 250-year-old contraption, but young, brilliant groups like the JACK Quartet are keeping it thrillingly vital."
Recipient of Lincoln Center's Martin E. Segal Award, New Music USA's Trailblazer Award, and the CMA/ASCAP Award for Adventurous Programming, JACK has performed to critical acclaim at Carnegie Hall, Lincoln Center, Wigmore Hall (UK), Suntory Hall (Japan), Salle Pleyel (France), Muziekgebouw aan 't IJ (Netherlands), La Biennale di Venezia (Italy), the Lucerne Festival (Switzerland), Bali Arts Festival (Indonesia), Reykjavik Arts Festival (Iceland), Festival Internacional Cervatino (Mexico), Kölner Philharmonie (Germany), Donaueschinger Musiktage (Germany), and the Wittener Tage für neue Kammermusik (Germany).
"[JACK's] fresh, energetic, and stylistically omnivorous approach to the contemporary repertoire makes it a worthy heir to the tradition of new-music quartets that goes back to the Composers Quartet in the 1960s and rivals the Kronos and Arditti Quartets of today…. Many of their recordings are must-haves, for anyone interested in new music. Among those are two devoted to the music of John Luther Adams—The Wind in High Placesand Everything That Rises."—Allan Kozinn, Musical America
Hans Jørgen Jensen, cellist, director, and conductor of the Northwestern University Cello Ensemble, is the recipient of numerous honors and awards, including the Jacob Gades Prize, a Danish Ministry of Cultural Affairs Grant for Musicians, Copenhagen Music Critics Prize of Honor, and Artist International Competition in New York. He has also been named Outstanding Studio Teacher of the Year by the Illinois chapter of the American String Teachers Association and was granted a US Presidential Scholar Teacher Recognition Award by the US Department of Education. He has performed as a soloist and recitalist throughout the United States, Canada, Europe, and Japan, and has appeared with the Copenhagen Symphony, Danish Radio Orchestra, Irish Radio Orchestra, and Basel Symphony Orchestra. He is Professor of Cello at Northwestern University and a faculty member at the Meadowmount School of Music. His students have won prizes in numerous national and international competitions. Jensen studied at the Juilliard School with Leonard Rose and Channing Robbins and pursued private studies with Pierre Fournier.
The Northwestern University Cello Ensemble was established as a permanent ensemble at Northwestern in January of 2014. Its members are cello students at the university's Bienen School of Music, joined by a few former Northwestern cello students who now perform professionally. The cello studio at Northwestern, under Jensen's direction, has produced a number of outstanding cellists who have won numerous important competitions. Former cello students from the studio are members of leading symphony orchestras, including the Chicago Symphony Orchestra, Cincinnati Symphony Orchestra, Detroit Symphony, Montreal Symphony Orchestra, St. Louis Symphony, Sydney Symphony Orchestra, and Toronto Symphony Orchestra and faculty members at leading music schools.
"Taking inspiration from the icy vistas and bracing breezes of his beloved Alaska, the Pulitzer Prize-winning composer John Luther Adams has written a string quartet [The Wind in High Places] of dazzling stillness and quiet complexity. The excellent JACK Quartet makes its glassy harmonics sing. In Dream of the Canyon Wren, its cooing glissandi imitate birdsong with uncanny economy; a fine reading of the Canticles of the Sky, by the Northwestern University Cello Ensemble, directed by Hans Jorgen Jensen, rounds out this mesmerizing disc." —Corinna da Fonseca Wollheim, New York Times
"John Luther Adams creates music that is more than just imaginative. At times it is pure magic…. Maestro Adams has successfully, brilliantly managed to give us a modernism (or a postmodernism if you will) that is radiantly representative without being programmatically literal, tonal without being classically sequential, rapturous without direct reference to human or cosmic agency—a music without myths, without much in the way of extra-verbal textuality, with affect but without discernable human intent. He does something like this again with his new album, The Wind in High Places.
"First up is the title piece, The Wind in High Places. Adams conceives of the string quartet as a sort of 16-stringed wind harp for the three movements that comprise the work. Through open strings and harmonics a varying canvas of aetherial, primal voicings come at us in varying degrees of density and intensity, all representing the wind in natural settings. It has an uncanny tonality that through sound color recreates nature in all its ebbs and flows. The music is striking in its almost primitively elemental, yet vividly natural color.
"The most sonorously astounding of the three works surely is the four-movement Canticles of the Sky. On it are 44 cellos. They create a world of their own, as limitless and even as breathtaking as the sky panoramas they depict. This, as in the other works here, is not thematic in any conventional sense. Canticles presents open sounds as variable but then too as unified in expression as drifting clouds. The music creates analogies of vast expanses in space, and…they ebb and flow, flux and disperse in ecstatic singularity. There is an ever-shimmering harmonic fundamentality of fourths and fifths and added notes, a stunning largo ground without so much foreground as continuousness. It captures the imagination with a real grandeur that like its subject acts as a benevolent force of nature.
"Dream of the Canyon Wren returns to the string quartet for a piece that emulates the call of the Canyon Wren, familiar to the composer as a fellow inhabitant of his desert home. It is an evocative work that concludes the program on a positive note. It may not be quite as astounding a piece as the two preceding it, but it gently cradles us and brings us back down to earth in a way most fitting.
"This is a beautiful recording with music that enchants. John Luther Adams gives us some of his most intimate music on this one. It communicates directly and with sublimity."— Grego Edwards, Gapplegate Classical-Modern Music Review
"Most of the dazzling oeuvre of Alaskan composer John Luther Adams is inspired by and informed by nature, and the three recent works on this excellent album are no exception. The title piece adapts the principles underlying the Aeolian harp, which is played by the wind; it treats the ensemble, in this case New York's versatile JACK Quartet, as a single 16-string instrument. Throughout its nearly 20 minutes, the players never touch their fingerboards, instead rendering its austere, melancholy melodies with open strings and ghostly harmonics. Just as gorgeous and ethereal is Canticles of the Sky, performed by the Northwestern University Cello Ensemble, which means to evoke the way atmospheric conditions can create the suggestion of a multitude of suns or moons in the arctic and in the Sonoran Desert. The final piece, played by JACK, delivers Adams's adaption of the song of the canyon wren."—Peter Margasak, Chicago Reader
"When John Luther Adams premiered his outdoor piece Sila: The Breath of the World at Lincoln Center's Hearst Plaza this past summer, all sounds were created equal. As notes from musicians filled the air, so did those from the non-instrumental surroundings. A July breeze, a pigeon flapping its wings, an audience member's shuffling feet—each natural sound gained an important weight when framed by Adams's open composition. It was as if he pulled back a curtain, showing the listener the everyday music that covers the Earth.
"On his new album, The Wind in High Places, Adams pulls back the same curtain with different hands. Using only stringed instruments (no pigeons this time), the same philosophy of raw, gathered, uninhibited sound prevails. The album exposes the potential in every note, whether heard on a cello string or the unseen curve of a gust of air.
"But while Adams has mastered the sonic world of the outdoors and open space, do not mistake 'natural' for 'unstructured.' The album's thought is evident without being distracting. Especially in the second movement of The Wind ("Maclaren Summit"), translucent cycles of harmonics pass between each musician without notice. The skilled fusion of the JACK Quartet turns The Wind into something other than a three-movement work. It's like watching something take flight and, as the final notes fade, blend in with the sky.
"The Northwestern Cello Ensemble, directed and conducted by Hans Jørgen Jensen, then takes over with Canticles of the Sky. It's a beast of a group with 48 members, and Canticles fills it up. "Sky with Four Suns" climaxes to a sharp, bright web of sound, while "Sky with Endless Colors" is grounded in sweeps from the lower register and sneaky dissonances.
"Adams's album closes with Dream of the Canyon Wren, also performed by JACK. Compared to the sounds that precede it, the small work at first seems strange; it has neither the dreamy satisfaction of The Wind nor the grit of the Canticles. But as it unravels, imitating the descending call of the bird, it begins to make sense in the way the breezes, pigeons, and footsteps did at Sila. A canyon wren, sitting small and speckled atop a rock, has dense power in its call. A violin does, too. They become equals in John Luther Adams's music—the kind of art that points to the sky and says, 'Look how much sound is already there.'"— Elena Saavedra Buckley, WQXR Q2 Music (an Album of the Week selection)
"The Wind in High Places, a striking new album of austere landscapes and mysterious light." — Tom Huizenga, Deceptive Cadence, NPR
"John Luther Adams won the Pulitzer Prize for Music in 2014 with his orchestral work Become Ocean. The Alaska-based composer, whose music is concerned with—and inspired by—natural landscapes, wrote the three-movement string quartet The Wind in High Places two years earlier than Become Ocean but it shares many of the same characteristics: a distinctive, narrow sound world, glacial thematic movement and a sense of openness and wonder. However, as performed by the outstanding Jack Quartet, the earlier work is a more introspective, spectral composition. Featuring only natural harmonics and open strings, it evocatively reflects its title in its high, ethereal palette of sound. At its core, flanked by the slow outer movements, the middle section, 'Maclaren Summit,' glides and soars through a haze of wonderfully blended harmonics. The two other works here—the four-movement Canticles of the Sky for 'cello choir' and Dream of the Canyon Wren, again with the Jack Quartet—are built from more traditional string textures, the latter vivid and unsettling, the former more lush and filmic. All the works are recorded immaculately: dry and exact for the Jack Quartet and with warming reverberation for the excellent cello ensemble from Northwestern University."—Tim Woodall, The Strad
"There are three pieces on this release…. All of these pieces are quite dream-like and atmospheric…with long sustaining sounds, long attacks and sounds dying out very slowly, suggesting much space. The release opens with the first part of the title piece, which is a beautiful piece of gliding, soft notes, followed by a somewhat more frantic part and another, lower, third part, full of tension and drama, but played out slowly. These slow movements—moving, always—are also present in Canticles of The Sky for that cello ensemble, and this is a piece that reminded me of Arvo Pärt's best works: heavenly beautiful, very intense, but also an excellent set of drone-like clouds. Anybody who loves a bit drone and who is fed up with laptops, loop stations and electricity, this is the place to look for something new and exciting…. I thought this was a great release." —Frans de Waard, Vital Weekly
"Having heard and re-heard the three movements of John Luther Adams's The Wind in High Places many times in its new recording from Cold Blue Music…. [I]n Adams's work you hear a profound comprehension for the pace of the world…. The world outside us, way outside, tundra-and-butte outside, where momentum can be measured in mountain's movements. Adams speaks the natural world. He is fluent in the fields, conversant with the cries of animals and aeons. It shouldn't surprise me, but it does, every time I hear him: he knows the pace.
"What you hear in this Wind is the sort of mind-widening lift that the best of the late György Ligeti achieved in such works as the 1961 Atmosphères. Adams knows that when the tones come close together and cluster, like richly wrought words meeting each other at close range, an 'opening' sense, an expansive grace takes over. Small ensembles playing three-movement works to the four winds start to sound very big, resonant with the reach of a concept like Adams's.
"Canticles of the Sky…. Such tenuous, gathering gravity there is under these several skies. Again, as in The Wind, you slow down, you find your breath, your place, and so many points of sonic support rush to you. Underneath these slowly revolving canopies of sound, you can sense that signature authority with which Adams conjures the magic most of the rest of us miss in the world. Here is solidity, and knowledge, generated by legato hovers, one string after another, glistening by you, one tone effortlessly sheering off near another, then nestling in the shared light of a fine friction that holds it all together." —Porter Anderson, Music for Writers
"John Luther Adams, the Pulitzer Prize-winning composer who spent most of his career working out of Fairbanks, has a new CD that, in part, pays tribute to his adopted state. The title cut is a suite of three pieces for string quartet with individual titles that reference Alaska places. The 20-minute set is played entirely on open bowed strings and their overtones. In other words, the players never touch the fingerboard. Adams likens this to a 16-stringed Aeolian harp, an instrument that is not directly played by a musician but uses natural wind to make music. The first Wind piece is titled 'Above Sunset Pass.' That's probably the Sunset Pass in the Brooks Range, where Adams previously has taken such harps to record the sound of air as it moves through wild spaces. It consists of long, slow, breathy lines. 'Maclaren Summit' has shorter bow strokes and a rhythm, though irregular, more suggestive to me of the bumpy, dirt Denali Highway that crosses the summit south of the Alaska Range rather than the viewpoint itself. 'Looking Toward Hope,' the final piece in the set, again reverts to long, sustained notes but they have more of a mournful hymn quality; I'm reminded that Adams' dear friend, the late conductor Gordon Wright, had a cabin above Rainbow looking toward Hope across Turnagain Arm. Adams was a frequent visitor and among those who brought Wright's body down the mountain when the conductor died there in 2007….
"Canticles of the Sky…is a set of four pieces compressing a day from sunrise to sunset, or sunset to sunrise, played by 48 cellos (their names are all listed in the cover notes). The first two Canticles are named for atmospheric phenomena associated with cold northern setting, 'Sky with Four Suns' and 'Sky with Four Moons.' The third, 'Sky with Nameless Colors' and 'Sky with Endless Stars' evoke the clear space above deserts.
"The Canticles are all of the same length, within six seconds of four minutes and 30 seconds. They all follow the same three-part pattern, a quiet set of still tones raising in a dense crescendo then returning to silence. Each part takes 90 seconds; think of a quartet of perfect bell curves. In this case the similarity is not boring, probably because Adams selects tones in combinations of shimmering beauty. What catches my breath every time I hear it, and I've been listening a lot for the past few days, is the climax of 'Endless Stars.' But lines have been building into a loud approximation of a major chord which, with a shift of one note down a half-step, turns the whole thing a different color. It's an old trick, but it never loses its poignant punch and, in this case, it's all the more powerful because it's unexpected. If I were trying to introduce someone to Adams's music for the first time, I would play this first, then the full set of Canticles, and then try them on the Wind pieces.
"The CD concludes with another desert tribute, Dream of the Canyon Wren. Birds have been a recurring motif in Adams's music for maybe 40 years now. This common bird is famous for its trickling song, often described as a "cascade" of notes, and often tagged with a squawky, buzzing 'call.' Adams says the sound evokes 'feelings of deep tranquility and longing' He repeats an imitation of the descending trill in something like a variation format."— Mike Dunham, Alaska Dispatch
"The music of Alaska-based John Luther Adams is minimal, but not minimalist, produced with a great economy of sound resources but showing definite shapes. This pair of string quartets and one piece for 'cello choir' makes a good introduction to the music of this Pulitzer Prize-winning composer, whose works often show a strong connection to the natural world.… Despite its simplicity, the thematic material in Adams' music is not neutral, and listeners will tend to remember these pieces…long after they're heard."—Exystence and AllMusic Guide
"Cold Blue Music has released The Wind in High Places, a new CD of string music by 2014 Pulitzer prize-winning composer John Luther Adams. The album consists of three pieces: The Wind in High Places, a 3-movement work performed by the JACK Quartet, Canticles of the Sky, a 4-movement piece for four cello choirs as performed by the Northwestern University Cello Ensemble and Dream of the Canyon Wren, by the JACK Quartet.
"The first movement of The Wind in High Places is titled 'Above Sunset Pass' and this begins with high, needle-like violin tones riding above sustained lower pitches. There is the feel of wind whistling through rocks in remote isolation…. The harmonies are ruggedly beautiful and precisely played by the JACK Quartet, especially the very highest pitches that are the most evocative. 'Above Sunset Pass' with its pastoral sensuality and primal harmonies offers the listener an invitation to dwell in this wild place on its own terms.
"'Maclaren Summit' follows and this has a busier feel with a series of fast, sharp passages in the higher registers, like snow swirling along a ridge line. There is an ethereal feel from the continuous motion in the violins, pleasantly complimented by a slightly more rugged texture in the lower strings. This feels like more mountainous terrain and is almost pointillist in its depiction of the snowy landscape. The playing here is very delicate and has just the right touch, as if the air itself is moving the strings.
"'Looking Toward Hope' is the third and final movement of The Wind in High Places and this begins with a low, steady cello, now mixed with higher sustained tones. This has a craggy feel, like looking at a rugged mountain face. The texture is rich and warm throughout, evoking a feeling of grandeur. All three movements of The Wind in High Places offer the listener a peaceful alternative to the adversarial and often politicized relationship with nature that we moderns have inherited from a problematic past.
"The four movements of Canticles of the Sky follow, as performed by four cello choirs…. 'Sky with Four Suns' is the first of these and begins with warm, deep tones in the bottom registers, building up on thirds and fifths. Lovely harmonies rise up like a cathedral tower, beautiful and lush, with a bright upper line arcing overhead. The feeling is a bit like that sense of the mystical one hears when an orchestra is tuning. The notes rise in volume and pitch, with a powerful fullness of texture, and then slowly decrescendo back to the lower tones and a peaceful finish.
"'Sky with Four Moons' is next and this movement opens on a single sustained high tone, soon joined by lower pitches, almost as an inversion of the first movement. The volume swells as the piece progresses and a deep rugged sound is heard as the tones reach the lower registers. The pitches re-ascend, becoming quieter at the finish. This movement has a slightly more remote and distant feel, as a quiet night sky might appear.
"'Sky with Nameless Colors' follows, again opening on a sustained high note with tones added in close harmony above and below. This develops a thicker feeling, especially as the pitches settle in at the bottom. As the piece progresses the texture thins out to a somewhat brighter feel as it ends quietly on a single note.
"The final movement of Canticles of the Sky is 'Sky with Endless Stars' and this begins with a low, deep tone that builds upward in a dark harmony. There is a somber feel to this, like a dirge played very slowly on a pipe organ. The volume builds as tones are added, rising upward to a higher, brighter register that brings out a feeling of expansiveness. As with the other movements this concludes by way of decrescendo and a thinning out of the harmonies to a single tone.
"The final track on the CD is Dream of the Canyon Wren as performed by the JACK Quartet and this has a more surreal quality than the previous pieces. This opens with a series of low repeating figures in the cello that are followed by similar passages in the violins. The sound is suggestive of a series of dreamlike birdcalls. Silences follow, and then a flurry of fast figures in the higher registers that devolve into lower, slower echoes. This pattern continues, slowing to a low, gauzy wash before concluding on one last high-pitched burst. Dream of the Canyon Wren is perhaps the most abstract of the works on this CD and the playing by the JACK Quartet is meticulously precise.
"The music of The Wind in High Places precedes Become Ocean, the 2013 symphonic work that won Adams the Pulitzer last year. But this album of string music is cut from the same cloth, perfectly expressing the gentle sensibilities that inform a highly sympathetic view of nature. In a recent Facebook posting John Luther Adams wrote: 'That's been my lifelong obsession… Place as Music. And Music as Place.' The Wind in High Places is compelling evidence of just how completely he has succeeded." —Paul Muller, Sequenza21
"Adams's latest release is a collection of three works for string ensembles.… [The] first two pieces are truly captivating and wondrous, reaching an almost ambient feel at times, blending slow-moving tones and spaces into beautiful, tranquil vistas of iridescent light. All that changes on the closer, Dream of the Canyon Wren, which is a bit more avant-garde and experimental…. All taken, this is a radically distinctive collection of pieces that begs for repeat listens."—Peter Thelan, Exposé
"In his string quartet The Wind in High Places, where the sounds are entirely produced either on open strings or by harmonics so that the instrumentalists totally avoid the use of the fingerboard…there is a surprising amount of variety…with each movement displaying a distinct character of its own. The avoidance of any tones except the open strings and harmonics might lead the listener to expect a sort of 'New Age' contemplation. In the event the sounds we hear are far removed from this. There is an excoriating sense of openness, and no feeling at all of warmth such as would have been provided by string vibrato on the fingerboard. This serves well to express the cold and frozen landscapes which the composer seeks to illustrate. Indeed, in places the fortissimo sound of the high harmonics can be quite painful on the ears. That is clearly part of the effect that Adams seeks to create, however, and the results are unexpectedly exciting."—MusicWeb International
"Like much of Adams' music, these pieces combine relative harmonic stasis with virtuosic difficulty and deep structural and timbral complexity—which means that identifying him with the minimalist school is problematic. Beautiful and fascinating stuff."—CD HotList
"Fantastic." —Nova Express
"John Luther Adams would seem to be hitting some kind of incredible mid-to-late career stride, as evidenced by the 2014 Pulitzer Prize he received for his recent orchestral work Become Ocean. Yet while the recorded version of it was issued on Cantaloupe Music, Cold Blue has been the more long-standing outlet for the composer's music. In fact, five CDs of his work have been released by the label, including The Light that Fills the World, Red Arc/Blue Veil, the place we began, Four Thousand Holes, and now The Wind in High Places. As Adams lived for many years in Alaska (having moved a year ago, he now splits his time between NYC and Mexico's Baja California), it's only natural that the landscape would have informed the works he produced during that time.
"That's never more apparent than in the recording's sixteen-minute title piece (2011), which draws for inspiration from the Aeolian harp, an instrument whose sounds derive directly from the wind. In a three-movement work exquisitely realized by JACK Quartet, the musicians assume the character of a sixteen-stringed harp; in this case, Adams's own liner notes merit quoting at length: 'All the sounds in the piece are produced as natural harmonics or on open strings … [and] the fingers of the musicians never touch the fingerboards of the instruments. If I could've found a way to make this music without them touching the instruments at all, I would have.' Adams, in his writing, and Jack Quartet, in their rendering of the material, uncannily evoke wind patterns as they arise in their natural settings. At certain moments, the music, often fragile and ethereal in tone, exudes calm; at other times, intensity, and the music ultimately achieves a time-transcending quality. Each movement is different from the others: in 'Above Sunset Pass,' the strings gently whistle as if positioned at the highest conceivable altitude; the winds seemingly pick up during 'Maclaren Summit,' given the flurries of cross-currents suggested by the strings; and a rustic quality permeates the keening soundworld of 'Looking Toward Hope.' The Wind in High Places, like much of Adams's writing, inhabits its own unique, atemporal sphere.
"Nature also works its way into the conception of Canticles of the Sky, a four-movement setting that's vividly brought to life by the forty-eight-member Northwestern University Cello Ensemble. In this case, Adams conjures in musical form a particular apparition that sees the low angle of the Arctic sun and heavy ice crystals in the air producing 'halos, arcs, and sundogs,' and sometimes the illusion of multiple suns. Not surprisingly, Canticles of the Sky is the album's most sonorously ravishing work, given the resources involved. A sense of elemental grandeur is generated by the material, as well as a sense of panoramic sweep, and there's a purity and simplicity to the writing that's reminiscent of Arvo Part, especially when the cellos more produce textural masses than conventional melodies. JACK Quartet returns for the recording's final piece, the single-movement Dream of the Canyon Wren (2013). Nature is present once again, though this time the touchstone isn't natural phenomena but the Canyon Wren, whose voice is simulated by Adams and the string players in a series of overlapping glissandos. Despite the presence of fundamental differences between the three works, they hold together marvelously due to the singularity of Adams' compositional voice. The Wind in High Places makes for another sterling addition to his discography, one that Alex Ross has astutely described as 'beyond style.'"—Ron Shepper, Textura (Textura "Album of the Month," February 2015; one of Textura's "Top Twenty Albums" of 2015)
"Canticles of the Sky, scored for four cello choirs (48 cellos in all, at least as recorded here), is in a somewhat similar vein as Become Ocean. Adams writes that this four-movement work was inspired by natural phenomena observed in the Arctic sky ('Sky with Four Suns,' 'Sky with Four Moons') and in the Sonoran Desert ('Sky with Nameless Colors,' 'Sky with Endless Stars'). Overlapping planes of gorgeous cello sound swell and recede. At times the music takes on a Ligeti-like intensity; I was often reminded of the Hungarian composer's Lontano, surely one of the most ecstatic orchestral works composed in the last century. I was also reminded of ancient composers such as Robert Carver and Peter Philips, who could create a state of ecstasy and a sense of eternity through their endlessly layered, overlapping polyphonic writing for choirs. The 48 cellos often cease to sound like cellos at all. Even though they are played in a traditional manner, Adams's writing sometimes makes them sound like an organ, or like a synthesizer. This is uncanny and wonderful stuff, and the Northwestern University Cello Ensemble plays it like pros.
"The Wind in High Places and Dream of the Canyon Wren, both written for and performed by the JACK Quartet, obviously create leaner sound worlds. In the former, the string players use only natural harmonics and open strings. As the composer writes, 'Over the course of almost twenty minutes, the fingers of the musicians never touch the fingerboards of the instruments.' Here, Adams demonstrates that less sometimes really is more. In the latter, the string players play overlapping glissandos that vary in their length and speed. I am not familiar with the song of the canyon wren (or of the hermit thrush, which moved Adams when he was living in Alaska), but I expect that Adams, in this work, was not trying to imitate its song but rather to transform it. Both works—all of the music on this CD, really—expertly create a sense of place. Both works create a sense of environmental fragility too, and yet also one of endurance and strength. Man comes and goes, but the hermit thrush and the canyon wren remain, and the wind still blows and makes its music as it blows against the rocks and trees. In these two works, we sense that Adams has much in common with Messiaen and Sculthorpe, although their musics do not sound at all similar. The musicians of the JACK Quartet play this lean and ethereal music with intensity, and make me feel nostalgic for places that I have never seen."—Raymond Tuttle, Fanfare magazine
"This [album] was chosen by six writers for their best-of-year lists. John von Rhein of the Chicago Tribune describes The Wind in High Places nicely: 'Could any new music be so wonderfully sparse, so delicately poetic? I think not.'"—Barney Serman, Iowa Public Radio
"Adams must dream of Aeolian harps: 'If I could've found a way to make this music without them touching the instruments at all, I would have.' The idea for The Wind in High Places is that the quartet plays only harmonics or open strings. The players touch strings, but do not press string to fingerboard. The three movements appeal as an exercise in restraint, and Adams elicits delicate combinations, the final 'Looking Towards Hope' arriving at the lowest open fifths. An outrageous quantity of cellos (four dozen) usher forth Canticles of the Sky. If Wind appeals because of its design, Canticles' homogenous spread satisfies with its luscious sound. Its four slowly drawn parts in minimal tonality suggest a slow pan across a mesmerizing landscape, but little else. Dream of the Canyon Wren captures not just expansive space, but one of its smallest residents. A particular intervallic gesture is thoroughly investigated across registers, sometimes imitating, perhaps inadvertently, the sound of a decelerating windup toy. For Adams, this particular bird calls up tranquility and longing; as a suburbanite, I heard alarms and sirens." —Grant Chu Covell, La Folia
"The performances are delicate and otherworldly, exactly as required."—American Record Guide
"Another remarkable evocation of natural beauty from composer John Luther Adams, The Wind in High Places takes inspiration from the principles of the Aeolian harp (in a piece performed by New York's fantastic JACK Quartet), the song of the canyon wren, and the way atmospheric conditions can create the suggestion of a multitude of suns or moons in the arctic and the Sonoran Desert. You don't necessarily need to know this sort of backstory to be enriched by this meticulously articulated music, but it helps."—Peter Margasak, Chicago Reader (from the year-end article "Peter Margasak's Favorite Albums of 2015")


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HOME > FAMILY & RELATIONSHIPS > BOOSTING FAMILY READINESS
Boosting Family Readiness
U.S. Air Force photo by Kemberly Groue
Provides tips for strengthening family readiness
Identifies available military resources to help families with readiness
Change is constant for many families, but even more so for military families who regularly adapt to new surroundings due to experiencing relocations, adjusting to new routines when a family member is deployed, and facing the daily grind of operational stress.
Just as service members can build mission readiness, families can also take steps to boost their readiness. Family readiness is a military family's ability to use physical, psychological, social and spiritual resources to prepare for, adapt to and grow from military lifestyle demands. By helping family members feel more secure and connected in daily life, families can build their capacity to adapt to the stressors and changes associated with military life. This not only helps keep relationships strong but can help protect the psychological health of children who may struggle with change, fears or missing a parent. Also, the more adaptable military families are, the better able they are to support their service member.
The Department of Defense offers service-specific resources to help military families boost their readiness. Programs may vary by branch and location, and may include referrals to local community resources, outreach programs for families new to the military, classes in parenting or stress management, or help for families undergoing a permanent change of station.
Family Readiness Tips
During all stages of military life, whether a service member is home or away, families can successfully navigate change by using family readiness tools. Try the following suggestions and examples to strengthen family readiness:
Physical. Exercise can relieve stress and help you and your family stay healthy. Exercising as a family can also help bolster family connections.
Psychological. Have regular family dinners to talk about the day and strengthen bonds or talk with a family therapist about fears or concerns.
Social. Get involved in activities through a local military family support group to stay informed and strengthen your social network.
Spiritual. If spirituality or religion is a source of strength for your family, stay with it. Whether it's personal practices or support groups, connection with friends makes the going easier.
Service members and families can also build readiness by using internal and external tools. Internal tools, like family traditions, dinners or game nights, are important for strengthening bonds. External tools like Family Readiness Groups (FRG) can be helpful during all stages of military life. FRGs offer families a supportive forum for sharing experiences, tips and resources. FRGs also provide social activities to help people stay connected and positive, and they provide opportunities for moral support during deployments.
What Line Leaders Can Do
Warriors are not alone in their concern for their families. Family readiness affects line leaders and service member readiness, which impacts missions for military leaders. Line leaders themselves may experience stressors in home life, and these disruptions can cause stress for their unit members. It's important for leaders to encourage unit members to use the family resources that are available, as well as using the resources themselves. Family centers offered by the military can help families stay strong during, in between and after deployments. This, in turn, helps strengthen the health of the whole force.
Military OneSource
Human Performance Resource Center
FOCUS Project
Clearinghouse for Military Family Readiness
RAND Corporation. (2015). Family Resilience in the Military: Definitions, Models, and Policies. Santa Monica, CA: Meadows, S.O, Beckett, M.K., Bowling, K, Golinelli, D., Fisher, M.P., Martin, L.T.,...Osilla, K.C.
The Road to Resilience. (n.d.). American Psychological Association.
Bowles, S.V., Pollock, L.D., Moore, M., Wadsworth, S.M., Cato, C., Dekle, J.W.,...Bates, M.J. (2015). Total Force Fitness: The Military Family Fitness Model. Military Medicine, 180(3), 246-258.
Saltzman, W.R., Lester, P., Milburn, N., Woodward, K., Stein, J. (2016). Pathways of Risk and Resilience: Impact of a Family Resilience Program on Active-Duty Military Parents. Family Process, 55(4), 633-646.
Tags: Family & Relationships Transitions


CBSE UGC NET Answer Key Nov 2017 – UGC NET Answer Key November 2017 by CBSE is now available. Answer keys of CBSE UGC NET 2017 contain correct answers of questions asked in Paper 1, 2, 3. The Board has released the answer key online and the candidates download it from the link below by entering Application Number, Password, and Security Pin. The candidates can challenge the answer key of UGC NET, from December 12 to 18, 2017. Central Board of Secondary Education has conducted UGC National Eligibility Test on November 5, 2017. Candidates can use the UGC NET Nov 2017 Question Paper and Answer Key to estimate their score. However, final calculation of marks for the purpose of the result of UGC NET Nov 2017 is as per official answer key published by CBSE. Get here CBSE UGC NET Answer Key Nov 2017 of all papers here.
The official site has released the CBSE NET Answer Keys on 12th December 2017. You can read the entire blog to get detailed information about this. Also, check the procedure to claim your answer keys & recorded responses.


On Monday 22nd April 2019, our Honorary Life Vice President – Sir Robin Knox-Johnston – will be celebrating the 50th anniversary of his historic win of the first Golden Globe Race held in 1968/69. Sir Robin will be sailing Suhaili from Gosport to Falmouth and will cross the original finishing line on the same date and time as he did in 1969. This will be followed by a grand buffet reception later in the afternoon and through the evening at the Royal Cornwall Yacht Club, to which 30 of our members are cordially invited to attend. This is a special privilege as the LSC, together with the Cruising Association, are the only clubs, out of the many invited, to be allocated this number of tickets at Sir Robin's specific request and in recognition of his long and active association with both clubs.
A number of these tickets have already been assigned. If you wish to be there and join in with the celebrations for this unique and historic event, whether by sea or by land, please email directly to Emma Eason of Clipper Ventures at: eeason@clipper-ventures.com and copy in to me also at: richardtkeen@gmail.com Tickets are £30 each and give entry to the ticket only buffet reception and evening party at the Royal Cornwall YC. As you might imagine, numbers are strictly limited. If you would like to attend this reception, please purchase your tickets no later than close of business on Monday 11 March.
This is a truly unique opportunity to celebrate with Sir Robin, his family and friends, so don't delay in registering your intent and to avoid the disappointment of missing out on the limited tickets available.
Update: A number of Cruising Association vessels will be accompanying Sir Robin at his commemorative sail-in on the 22nd. Sir Robin hopes to see a few LSC yachts and motor boats taking part as well.


A waste of time. All Passiflora seed coats are thought to be permeable. Sandpaper, filing & nicking or damaging chemically is not necessary & will just increase the chances of fungal attack.
Some seed may benefit from this to remove germination inhibitors e.g. P. incarnata & P. lutea. Long term application of cold is called stratification. See Germination inhibitors. I have tried this with P. incarnata and the seed have germinated within 4 days of being planted.
Using bottom heat will help for most seed. Some need to be very hot to hatch out. I put them up to 38°C/100°F with a temperature drop at night. This seems high, but big compost heaps can reach temperatures of 60°C-71°C/140-160°F and the tropical jungle floor is like a thin compost heap – usually covered in a layer of leaf litter & animal droppings. Note that even Tacsonia which come from cooler cloud forest seem to germinate well at high temperatures but move to a cooler location with dappled light without bottom heat once up.
There is no evidence that either light or dark affect Passiflora seed germination. So as they can benefit from light as an energy source the moment they emerge, germinate them exposed to it.
Traditionally, gardeners have been advised to sow seeds at the full moon, perhaps because our ancestors discovered that seeds germinated more rapidly then. Some people today sow at the new moon in order to ensure germination before the growth spurt given the plant by the full moon. Probably not relevant to planting indoors in artificial conditions. If you are sowing seed outdoors, or planting, Moon phases may be important but there is no firm scientific evidence as to which & when, different sources of information being contradictory. Worth trying.


A 29-pg. illustrated catalog from Royal Diversified Products, Warren, RI, presents the company's 2010 lineup of die and mold components, and describes the firm's coating and heat-treatment processes. Chart after chart detail product specifications and dimensions, and a fax-back worksheet allows stampers to request a custom tool built to a sketch and required, specified tolerances.
See also: Royal Diversified Products, Inc.


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Chart of the Week: New COVID-19 cases per day
Christopher Dembik
Head of Macro Analysis
Summary: In today's edition, we explain you why we think Europe will need to take further health and economic measures in order to contain quickly the COVID-19 outbreak.
You have probably seen this chart, or something similar, everywhere. It refers to the worldwide number of new COVID-19 cases per day. While there is no new reported cases in China, the coronavirus peak has certainly not been reached yet in the rest of the world. Following the successful containment of the virus, China's economy has restarted faster than most expected. A few days ago, FEDEX pointed out that China's demand has rebounded strongly and that 90% to 95% of large Chinese manufacturers and 65%-70% of small business are operating again. These reassuring figures give hope that a similar rebound may occur in the rest of the world, especially in Europe which is the new coronavirus epicenter. Unfortunately, at this stage, everything suggests that the conditions have not yet been met for an economic rebound to occur so quickly in Europe. There are two notable differences between the health and economic responses of China and Europe to the coronavirus outbreak.
In Europe, the health response is still too slow and too lax in some countries. Though there are numerous factors at play that we don't fully understand, it seems we can learn some valuable lesson from the Province of Venice in order to fight efficiently the spread of the virus. Probably influenced by Chinese standards, Venice implemented a health response at a very early stage (February), adopted a large scale testing approach (especially targeting the most exposed people: hospital staff, cashiers, policemen etc.) and enforced restrictive home quarantine (for suspected cases and asymptomatic cases). This is still far from being the case in many European countries while it is scientifically proven that these measures are the most effective.
On the economic side, the main issue is the lack of European coordination and demand-oriented support measures. The most obvious economic responses taken at national level consisted in tax deferral, liquidity injections, extending unemployment benefit and avoiding layoff with short-time working paid in part with public money. So far, the coordinated EU response has been ridiculously insufficient. A support package of around 1% of net euro area GDP has been unveiled, including some initiatives that are not new. A bigger stimulus will be need, including tax cuts and cash handouts, if we want Europe to restart when the containment measures will be lifted. Without that, China is unlikely to be a leading indicator for Europe on the economic front.
Access to MacroChartmania.
Crypto weekly: Increasing competition for Ethereum and extended regulation
Social and political stakes rising with surging wheat prices
Podcast: Focus on inflation ahead of Biden inauguration
Market Quick Take - January 19, 2021
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text:
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use Symfony\Component\Routing\Route;

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$collection->add('goldopuk_front_homepage', new Route('/front', array(
    '_controller' => 'GoldopukFrontBundle:Default:index',
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redpajama_set_name: RedPajamaGithub


Commercial Jet has two North American facilities strategically located in Miami, Florida and Dothan, Alabama. With a combined square footage of over half-a-million square feet (46,000 square meters), both facilities are capable of handling multiple heavy maintenance checks simultaneously. The Dothan facility incorporates a dedicated state-of-the-art paint facility able to handle narrow and wide-body aircraft.
Commercial Jet's full-service facility is located on Miami International Airport (KMIA), in Miami, Florida. Our hangar has up to 146,000 square feet of floor space, and is capable of supporting six heavy maintenance checks simultaneously. Our support shops, stores department, shipping and receiving, and administrative offices occupy an additional 35,000 square feet. This expansive facility, coupled with more than 110,000 square feet of ramp space, makes Commercial Jet one of the largest MROs in South Florida.