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BMOP Sound has announced the September release of Paul Moravec: Northern Lights Electric, the first orchestral album of Moravec's music.
From the liner notes…
While music — especially music without words — speaks an essentially abstract, nonrepresentational language, my own music often seems to involve some physical, tangible catalyst. Three of the four compositions on this album were directly inspired by a personal experience at some particular place: New Hampshire (Northern Lights Electric), Venice (Sempre Diritto!), and Catalonia (Montserrat). In a way, the fourth work, Clarinet Concerto, also owes something to "a sense of place," as I composed it during my recent artist residency at the Institute for Advanced Study in Princeton, NJ, one of my childhood hometowns, full of happy memories and current associations.
Northern Lights Electric began its life as an octet commissioned and premiered by the North Country Chamber Players in 1992. In setting out to musicalize the majestic quality of the aurora borealis, I conceived the piece orchestrally more than in terms of chamber music, and I finally orchestrated it in 2000. The richer textures, greater timbral variety, and larger canvas of a full orchestra more effectively project my impressions of this astonishing natural phenomenon.
Clarinet Concerto is the second piece I've written for David Krakauer, the first being Tempest Fantasy, which he premiered with Trio Solisti in 2003. The Concerto especially makes use of his astounding stylistic range and technical virtuosity. In our early discussions about the piece, David suggested that I make it explicitly klezmer, but I demurred. I said that as an Episcopalian I didn't feel quite qualified, to which he replied, "You're Slavic. Close enough."
Sempre Diritto! was composed in Italy during the summer of 1991, inspired by my experience of getting lost in the convolutions of Venice. At the time I was listening a lot to Steve Reich's Music for 18 Musicians, and its influence seems to have found its way into my musical thinking. Sempre Diritto! is the closest I've come to Minimalism in my own music. In spatial, geometric terms, I imagine the repeating, gradually evolving patterns as describing
ever-tightening spirals. Sempre Diritto! is also my most neoclassical work, as reflected in its structural repose and Haydnesque orchestration.
The idea for Montserrat occurred to me when I happened upon a statue of Pablo Casals at the legendary mountain monastery north of Barcelona in 1994. The concerto gestated over a period of several years and I finally finished it at the MacDowell Colony in the summer of 2001. My memory of its premiere in Manhattan that November is colored by the lingering fear and uncertainty all New Yorkers experienced following the 9/11 attacks, but also by the determination to get on with making music. Cellist Arthur Fiacco and conductor Kent Tritle presented the premiere at Kent's professional home, the Church of St. Ignatius Loyola, which is especially apt in light of Ignatius's own historical and spiritual identification with the monastery at Montserrat.
Music by Haydn
https://northcountrychamberplayers.org/wp-content/uploads/2017/06/1-FJ-Haydn-Quartet-Op76-No2-Allegro.mp3
Over the 39 years that the North Country Chamber Players have brought beautiful chamber music to Northern New Hampshire, their reach has extended well beyond the concert hall.


Erin Morgenstern A writer and multimedia artist.
MR. STEVE ROBERTSThanks for joining us. I'm Steve Roberts sitting in today for Diane Rehm while she's attending a public radio conference, but she'll be back in this chair on Monday. Magical, enchanting, spellbinding, just a few of the words being used to describe a new novel about a mysterious circus that becomes the setting for a life or death competition between young magicians.
MR. STEVE ROBERTSThe story of how the book came about is equally fantastic. A high six-figure advance, rights sold to 31 foreign publishers, a movie option by the production company behind the "Twilight" movies, and an audio version voiced by the same actor who did the "Harry Potter" series. The title of Erin Morgenstern's debut novel is "The Night Circus," and Erin Morgenstern joins me in the studio. Delighted to have you here.
MS. ERIN MORGENSTERNThank you for having me.
ROBERTSOur email address is drshow@wamu.org. 1-800-433-8850 is our number. Erin Morgenstern, why a circus? What do you -- why do you -- now, you're not the first writer to write about a circus, you know, "Water for Elephants" was a huge hit just a few years ago. But what did you find so compelling about it?
MORGENSTERNI actually don't like circuses. I'm not a big circus person. What I found interesting about the circus as a setting is that it lends itself well to being the sort of entertainment that you can immerse yourself in.
MORGENSTERNThat you don't just go and sit and watch a show. It becomes the entire world that you're in for -- and I think that lends itself well to being a magical sort of location, and I -- I like some of the trappings of a circus. I like stripes and popcorn and that sort of thing.
MORGENSTERNYes. I'm not big on clowns, but I've yet to have any complaints that there are no clowns in my circus.
ROBERTSWhat's your favorite circus -- part of the circus?
MORGENSTERNI love the -- the feats of, like, strength. I love, like, that sort of, um, the acrobats and that sort of amazing things, like in the same way that dance is -- is always very impressive to me, I think that that sort of, um, physical body work is interesting to me as a circus.
ROBERTSYou want to be amazed.
MORGENSTERNExactly. I -- I want to see things I don't see every day.
ROBERTSOur producer here at the "The Diane Rehm Show" who read your book and said to me, I kept reading it and I wanted to join her circus. You must get that a lot.
MORGENSTERNI do. I have a lot of people who want to visit it. Fewer who want to actually join it. Most people just want to go and see it for themselves.
ROBERTSBut it's inside your head. There's no physical place.
MORGENSTERNIt is. It's -- it's hard to visit because it does exist only in my imagination, but I -- people can visit it through the book, which I think is kind of amazing that I invented a place and now people can go there in a way.
ROBERTSWell, we talked about all these astounding commercial successes already, the book's out a week. What about a theme park?
MORGENSTERNA theme park might be a little much for me. I would love a -- there's a British theater company called Punch Drunk that does immersive theater, and if someone wanted to do an immersive theater production of it where you actually walked into a space to experience it, I think that would be marvelous.
ROBERTSSo that would be sort of like a theme park.
MORGENSTERNExactly. It would be more of a -- it would be a smaller scale theme park.
ROBERTSTheatrical in -- an interactive theatrical experience.
ROBERTSNow, you say you're not a big circus fan, but the -- were there experiences you've had or things you've read the channeled their way into your imagination? What were the influences here?
MORGENSTERNI think I have a lot of different influences. I think there's a classic sort of fantastical storytelling vibe. I was always a big "Alice in Wonderland" person, and that sort of Wonderland idea that there's a strong kind of Roald Dahl, "Charlie and the Chocolate Factory" flavor going around in there.
ROBERTSFavorite book of my grandchildren, yeah.
ROBERTSOh, and I think that's the kind of thing I grew up on and kind of never really let go as a flavor that I enjoy, and I think that's where the tone and the whimsy of the circus comes from.
ROBERTSNow, I'd love for you just to give our listeners a hint of the tone. The very opening passage of the book, which you call "Anticipation," I'd love for you to read it to give our listeners a flavor of it.
ROBERTSTo use your word, flavor. Go ahead.
MORGENSTERNAnticipation. "The circus arrives without warning. No announcements precede it, no paper notices on downtown posts and billboards. No mentions or advertisements in local newspapers. It is simply there when yesterday it was not. The towering tents are striped in white and black, no golds and crimsons to be seen. No color at all, save for the neighboring trees and the grass of the surrounding fields.
MORGENSTERNBlack and white stripes on gray sky, countless tents of varying shapes and sizes with an elaborate wrought iron fence encasing them in a colorless world. Even what little ground is visible from outside is black or white, painted or powered or treated with some other circus trick, but it is not open for business, not just yet. Within hours, everyone in town has heard about it.
MORGENSTERNBy afternoon, the news has spread several towns over. Word of mouth is a more effective method of advertisement than typeset words and exclamation points on paper pamphlets or posters. It is impressive and unusual news, the sudden appearance of a mysterious circus. People marvel at the staggering height of the tallest tents. They stare at the clock that sits just inside the gates that no one can properly describe.
MORGENSTERNIn the black sign, painted in white letters that hangs upon the gates, the one that reads, 'Opens at Nightfall, Closes at Dawn.' What kind of circus is only open at night, people ask? No one has a proper answer, yet as dusk approaches, there is a substantial crowd of spectators gathering outside the gates. You are amongst them of course. Your curiosity got the better of you as curiosity is want to do. You stand in the fading light, the scarf around your neck pulled up against the chilly evening breeze, waiting to see for yourself exactly what kind of circus only opens once the sun sets."
ROBERTSThat's a lovely opening, and I must say, to tell our readers, the book itself, the end papers are black and white like the circus.
MORGENSTERNBlack and white stripes, they're beautiful.
ROBERTSAnd I find it -- them mesmerizing. I mean, they're almost hypnotic, the stripes, and they start swimming in front of my eyes. But that's in keeping with the mood you're trying to set.
MORGENSTERNIt really is. The book design itself, even the interior pages is so beautiful and evocative.
ROBERTSAnd particularly those stripes. But you mentioned, "Alice in Wonderland," and when I heard "Night Circus," the first children's book I thought was "In the Night Kitchen" by Maurice Sendak.
ROBERTSAnd there's -- when you think of particularly of his most famous book, "Where the Wild Things Are," there is a fantastical dimension that he captures that reminded me of this book, too.
MORGENSTERNOh, that's a very high compliment to be compared or even like evocative of Sendak. I also love picture books in general. My mother is an elementary school librarian, so I'm well-versed in my picture books. I'm also a big Chris Van Allsburg fan.
ROBERTSTalk about the evolution of it.
MORGENSTERNIt sort of did. It wasn't so much this book in particular, but I thought I might be more of a children's writer or a YA writer, but I think as I developed my own voice and sort of tried to write more what I really wanted to write, it -- it sort of started to skew a little more adult market, but I think it has that sort of universal appeal where it can appeal to younger readers as well.
ROBERTSSo you think that the younger readers who for instance have read "Harry Potter" might be interested in this?
MORGENSTERNOh, I -- I would hope so. I think it's not really a sort of book that has to be just for adults. I think younger readers could certainly read and enjoy it.
ROBERTSThe name of this book is "The Night Circus." Erin Morgenstern is with me. We have some lines open, so give us a call at 1-800-433-8850 and join the conversation with Erin. And one of the things that, of course, as the story evolved, is a love story right at the heart of it. And this book went through so many revisions. How many years did you work on it, and talk about the evolution of the love story at the center, and particularly the character Celia who didn't even appear in some of the earlier versions.
ROBERTSAnd for our listeners who don't know what that is, tell them.
MORGENSTERNIt's kind of a writing challenge. Your -- the point is to write 50,000 words in 30 days, which is a lot of words.
ROBERTSIt is a lot of words.
MORGENSTERN...which was a really useful thing for me. So in 2005, I never really planned for National Novel Writing Month, I would just kind of go in on November 1 with a vague idea, and see where it took me, which sometimes worked and sometimes didn't. So this particular year, I got very bored very fast, so I sent the characters to a circus, and the circus was immediately much more interesting than anything else that was going on.
MORGENSTERNSo I sort of just shifted my focus to just writing about the circus, and I did that for the next two years of National Novel Writing Month. I spend the entire month of November just exploring the circus and coming up with characters and histories and tents and just without any sort of structure in mind, just kind of exploring it as an imaginary space. And then I kind of took all of that material which, indeed, my main character in the final version is not even in, and tried to make it a little more book shaped.
ROBERTSWell, for listeners who are not familiar with National Novel Writing Month, we do have a link on our website so you can learn more about it, but it sounds like it was a combination of discipline and permission, and sort of created a space in which you could work, a space in time.
MORGENSTERNExactly. It's kind of freeing to be able to just have the need to just write and write and write to meet a goal, and it also has that magical deadline that you can't put it off because you only have the one month, and one month is not that long to spend on a kind -- on a crazy project.
ROBERTSSo you really found it a very useful discipline and experience?
MORGENSTERNIt worked really well for just kind of loosening me up as a writer, and allowing myself to write, and I think because it was such a large amount of writing, because I did it for years and years, this past fall was the first time since 2003 that I didn't do it. But it let me figure myself out as a writer.
ROBERTSBut you describe those early manuscripts as a mess.
MORGENSTERNOh, they are a mess. They have -- there's no plot, there's no structure. I don't even think it's fair to call them manuscripts because they don't have beginnings or ends. They're just sort of a lot of stuff, but it was a lot of good raw material to work from.
ROBERTSAnd you talk about -- you use the image of the iron fence around the circus, but you talk also about putting an iron fence around the novel to give it structure.
MORGENSTERNIt did. That's what it needed. It needed a structure, and I think once I put it into five parts and kind of gave it more of a plot, that where it sort of started to come together.
ROBERTSAnd from the time you put it down on paper to now, how long has this been really?
MORGENSTERNThat first inventing the circus was in 2005.
ROBERTSSo it's been a long journey.
ROBERTSErin Morgenstern, the journey ends with "The Night Circus," a new novel which is been optioned for the movies, 30 countries bought the foreign rights. Our conversation will continue with Erin Morgenstern and with you, so give us call, send us an email. I'm Steve Roberts sitting in for Diane, and Erin and I will be right back.
ROBERTSWelcome back. I'm Steve Roberts sitting in today for Diane while she's away at a public radio conference. And I'm talking this hour with Erin Morgenstern. Thirty-three years old, first time novelist, living now in Boston, graduate of Smith College. And her book is "The Night Circus." And you can join our conversation, 1-800-433-8850, drshow@wamu.org.
ROBERTSAnd we were talking about how your original manuscripts years ago were a mess where you had to impose discipline and structure. And one of the ways you did this was by seeking out an agent who helped guide you through this. Now I gather it took you a long time and many false starts to find someone who would even help or mentor you.
MORGENSTERNIt didn't take too, too long. I started careering literary agents in summer of 2009 and got a lot of requests, probably because I had an interesting sort of conceit just with the circus itself, and then a lot of rejections because it was still a mess. And I don't know what twist of fate landed me on Richard Pine's desk but he called me up and said basically that it was a mess, told me it needed to be completely rewritten. And I really, really expected him to say, good luck, kid. And instead he offered me a contract.
MORGENSTERNAnd I ended up not accepting it at that point. I had a couple other agents who also thought it had potential but needed work. So I revised it independently for several months and then sent it back and they all said no, it's not quite there yet, 'cause I had mostly just added bells and whistles. And so I put it away for about a month and then overhauled it. And I think it was May, 2010 when I sent it back and it got the stamp of approval. And I signed with Richard Pine and did a little more tweaking over that next summer.
ROBERTSAnd people don't really understand often that an agent can play an editorial role. We think he or she is just there to sell the book. But you found that it was very important to have someone guide you from mess to structural.
MORGENSTERNYeah, and he never told me what to do. No one ever told me what to do, but having people point out what wasn't working was really helpful for me to have that perspective of this is what is working, the setting was working. But the circus was sort of the focus at that point which wasn't working. It needed to be more of a setting for another story. And that's -- that story -- adding that on top of what I had just kind of atmosphere-wise was what made it kind of come together.
ROBERTSNow you're also a visual artist and among other things I've been reading that you painted a rather wonderful deck of tarot cards. But -- and in fact, we hope by the end of this show we will have some of your artwork up on our website so people can see some of Erin's original artwork.
ROBERTSBut one of the things that you talk about that I found so interesting in the writing process was how you were translating pictures that were inside your head. And in some ways, you start from a visual perspective and then put it into a verbal mode.
MORGENSTERNI really did. I'm a very visual person in general so I'm always picturing every image, every scene, everything I picture in my head from the way a room looks to the way the room is lit. I have to kind of translate the images into where sometimes I'll even just hit on one or two words or phrases that capture the picture properly and work from that.
ROBERTSAnd one of the things we've mentioned, this -- even before it was published this book has been optioned for the movies, a visual media -- or merging a visual and verbal media. How do you feel about that? You know, you spend all these years as sort of the sole person working on this book and suddenly your baby becomes the property of all these other people.
MORGENSTERNI think I tore it apart too much to think of it as a baby. That seems very violent. I feel like my part -- even though it was a long complicated process, my part's done. I have the book. It's -- my job is done. And where it goes from here is up to other people. And I'm kind of excited to see what they do to try to translate it for film. Because I think a book is one thing and a film is another. And you can do things in a book that you can't do on film, and vice versa.
MORGENSTERNSo I'm really curious to see how they approach it. And I'm especially curious to see how they visually interpret these things that I never wrote -- I mean, I can imagine these things in my head but I never wrote with the intention of someone is actually going to have to make these costumes or build these elaborate coo-coo clocks.
MORGENSTERNI just want to -- I would love to see sketches and plans and all of that. I think that would be marvelous.
ROBERTSAnd of course a number of the reviews have compared you to J.K. Rowling who, I guess, has now said she's done with the Harry Potter series. And this is such phenomenally successful. Do you recognize yourself in those descriptions?
MORGENSTERNI don't think I could've ever intended it to be this entrancing as it seems it is. I say I'm not sure what I did, but I'm glad I did it. I think there's something about -- I always loved books that felt like journeys, books that are escapes, that feel like someplace else to go to when you open the pages. And I think I tried and seems I succeeded in capturing that sort of feel where the circus itself and the story as well, it's someplace that people like to visit. And it kind of captures the imagination.
MORGENSTERNAnd to go back to the sort of Harry Potter comparisons that keep popping up, I think people want to go to the circus the same way people want their Hogwarts letter. And you don't have to just be 11 years old to go to the circus. It kind of has that wider range of possibility.
ROBERTS...particularly given the Harry Potter comparison.
MORGENSTERN...it definitely has, I think they call it crossover appeal that it would appeal to young adult readers as well. There's not a lot of content that's inappropriate. It's written in a way that I think is accessible on a pros level that I don't think has a reading level. They always have those reading levels on children's books, so I don't think it has a particularly overwhelmingly high reading level.
MORGENSTERNBut I think it was always intended to be a book for adults because I love that sort of magical whimsy feeling. But you don't often get it in adult market books. And, I mean, I'm 33 years old. I don't want the 16 year olds having all the fun and all the magical books. So I definitely think younger readers could read and enjoy it as well as older readers.
ROBERTSAnd one of the dimensions of your reading process that you've talked about a lot is -- are tarot cards and you made this deck. In effect some of the characters I gather were taken from other literary characters that are favorites of yours. And talk about how you used this whole world of tarot reading as part of your writing process.
MORGENSTERNI started reading tarot cards maybe about a decade ago. I'm not very good at it but I do love the symbolism and iconography and just the artwork of tarot decks. And so when I was looking for new visual art projects it seems like a good project so I wouldn't have to keep thinking of what to paint next. So I'd have 78 paintings that I'd know what I had to paint next.
MORGENSTERNSo kind of while I was writing, like concurrently I -- with the novel I was working on, this black and white tarot deck, it's called The Phantomwise Tarot kind of lived in monochrome for a very long time. And it has little flavors of the circus. It was never meant to be a companion piece. Actually historically it would be inaccurate for it to be the tarot deck from the book because it is a Rider Waite style tarot, which is a little bit later than the late Victorian era of the book.
MORGENSTERNBut there are little flavors of Alice in Wonderland in there and little nods to the circus. That card that's the hanged man is this -- a man in a tuxedo and top hat which is the same as the hanged man from the acrobat tent in the circus. And I actually don't remember which one came first.
ROBERTSAre there plans to bring out your tarot deck?
MORGENSTERNI am. I just got my passport over the summer. I think completely is the answer to how it's changed my life. It's just -- it's very strange and very disconcerting. And it's wonderful and odd all at the same time. I like to say it's like I have new life shoes. And they're really pretty shoes, but they still pinch my toes.
ROBERTSAnd is there one thing you went out and bought -- you're now making a lot more money than you did before. Is there one thing you always wanted that you actually went out and bought with your first check?
MORGENSTERNI didn't buy anything with my first check. My first check sat on my desk for about a month because I didn't know what to do with it. But I did eventually get the leather sofa that I had coveted for years and years. So -- and now, of course, I don't get to sit on it because I'm all over the country.
ROBERTSLet's talk to some of our listeners. And Lewis in Vienna, Va. Welcome, you're on "The Diane Rehm Show."
LEWISHey, thanks for having me. Great show. Erin, congratulations on your book. I was just curious, you know, when you were retelling your story about trying to find an agent and you made your first round of submissions. Then someone talked to you and they sent you away, you mentioned that you went back and did some rewriting and specifically added some bells and whistles.
LEWISAnd having worked in the film business with writers before, phrases like that sort of imply like, okay, there is a -- this bag of tricks that all writers know and I want to go back and play with some of these. Could you talk a little bit about what those (unintelligible) ?
MORGENSTERNSure. I started with not a lot happening. So what I did was I tried to add things that seemed like action to me. More things exploded and that sort of idea just -- because I didn't -- at that point I was being a little reluctant about restructuring and really kind of going and doing the heavy lifting that it needed. So I kind of tried to add an extra level of stuff happening, which was good because some of the things I added -- like I added an entire character at that point. And I added Hector Bowen who is now a very key player.
MORGENSTERNBut I added things mostly to make things more interesting or to have more things happen.
ROBERTSAnd -- but you said earlier that when you added the bells and whistles it wasn't enough.
ROBERTSIt needed a much more basic restructuring.
MORGENSTERNIt didn't address the structural problem. I gave it -- I made things explode and I added more things happening. But it still wasn't a good solid plot and it wasn't helping with the story structure.
ROBERTSYou mentioned Hector Bowen who's the father of one of the magicians who are at the center of the story. But in talking about the movie, is there anybody you have been thinking of as potential stars? I mean, you have mentioned in other interviews that at least Hector Bowen you had someone in mind.
MORGENSTERNI did. I'm not the kind of writer that I picture actors when I write. I know some writers have that kind of very distinct image of what kind of actor they would want. But for some reason in my head Hector Bowen was always Geoffrey Rush. Maybe not even looking exactly like him, just have that Geoffrey Rush air.
ROBERTSBut what about -- now, of course, what happens in movies is that the script often pares down the story and leaves out some secondary characters. At the core of the story the two magicians who fall in love, you have any ideas who might play them?
MORGENSTERNNo, I really don't. I think that the main character -- I have my actors who I thought sort of looked like them. Like Lee Pace was sort of a Marco looking in my head a little bit. But now he's probably going to be too old, which is unfortunate. But I haven't had any real specific actors in mind. I would love them to find unknowns or that sort of thing. I think that would be very interesting.
ROBERTSI'm Steve Roberts and you're listening to "The Diane Rehm Show." Let's talk to some more callers here, Erin. Teramal (sp?) from Crofton, Md. And I hope I've pronounced your name correctly.
TERAMALYes, you did, thank you. Thank you for taking my call. And, Erin, congratulations. It is such a wonderful voice you have. That's just another beauty here. The thing is when you started to read the passage -- the first passage from the book, when you first started I said, this thing is too flowery for my taste. But as soon as you said the words that, you know, the (unintelligible) except for the green trees against the circus tent, oh my god, I think is fabulous. It's fantastic.
TERAMALBecause as soon as you said the word green, I had a clearer picture. I could actually see it. So it was that powerful. Thank you very much for doing this. So the only question I have is how would you like to do an audio book of this?
MORGENSTERNThere is an audio version. I'm glad I didn't have to do it myself, but Jim Dale who has the most marvelous story teller voice. It's so transporting. He's done an audio version for Random House Audio and it is amazing. I got to see a little bit of the recording in the studio and it's phenomenal. I'm okay at reading, but he is amazing and he does all the voices too.
ROBERTSAnd you aren't tempted to do it yourself.
MORGENSTERNNo. I'm good -- I'm getting better at just reading certain passages, but I don't think I could handle doing the whole thing.
TERAMALOkay. Thank you very much for all this. I really appreciate it. And I'll look -- I'll get both of those, print as well as audio, okay.
MORGENSTERNGreat, thank you so much.
ROBERTSThank you. We now have a picture that you drew, Erin, of the lovers in a gallery on our website, so drshow.org. So folks who want to get a sense not only of Erin's wonderful voice that Teramal was just talking about, but also some of her visualizations. You can go to our website and we're a multimedia operation here like you are. Let's talk to Marty in Bethesda, Md. Welcome, you're on "The Diane Rehm Show."
MARTYHi. I read the review in the Washington Post and the book I thought of was something I read ages ago. I think it was by Ray Bradbury and I think it's called "Something Wicked This Way Comes." And it's about a very macabre circus that sort of comes into town at night and very nasty things happen and it kind of disappears. Have you read that and were you influenced by it at all?
MORGENSTERNI have indeed and I remember the film version from when I was very young, kind of catching it on television. And I think it's kind of seeped its way into my subconscious because I haven't read it in years and years. And actually while I was working on the book I sort of avoided all the circus novels. But that one kind of was way back in my memory and I'm sure it had an influence on the tone.
ROBERTSThanks very much for your call.
ROBERTSWe appreciate it, Marty. Thank you. Were there other novels that were back in your consciousness, do you think?
MORGENSTERNI think there were definitely ones -- even ones that I'm more conscious of. Susanna Clarke's "Jonathan Strange and Mr. Norrell" I think is definitely probably an obvious influence with the sort of dueling magician angle and the wonderful Victorian tone. And Christopher Priest "The Prestige," both the novel and the film version I think added a lot of sort of flavor reference. I'm big on talking about flavor.
MORGENSTERNNo. One book that had sort of a structural influence, while not maybe a content influence, was "Einstein's Dreams" by Alan Lightman, which is one of my very favorite books of all time, but it's told in these beautiful little vignettes. And I think that's where I started getting my very short chapter sort of structure from.
ROBERTSYou know, any writer, I think, absorbs influences. You don't make anything up entirely, right?
ROBERTSYou stand on the shoulders of other people.
MORGENSTERNYeah, I think I pull from pretty much anything I've ever read or seen. Or I pull references from all sorts of things. There's a whole aspect of the book that's very scent influenced because I'm such a perfume person.
ROBERTSErin Morgenstern. Her book is "The Night Circus." Her debut novel, going to be a movie, going to be sold all over the world , and you get a chance to talk to her here on "The Diane Rehm Show." So give us a call. Erin and I will be right back.
ROBERTSWelcome back. I'm Steve Robert sitting in today for Diane. She's away at a public radio conference. She'll be back on Monday, but meanwhile I get to talk to Erin Morgenstern, who's written a wonderful new book called, "The Night Circus," her first novel. 1-800-433-8850 is our phone number. drshow@wamu.org. We have on our website links to national novel writing month, which is November, which had a big impact on Erin's early development.
ROBERTSWe have some of her art work up, as well. So call us and join the conversation, but I have some emails here, Erin.
ROBERTSAnd I want to read to you. "Circus and magic," writes Craig from Rockford, Ill. "Circus and magic, it's happened before. I refer to 'The Circus of Dr. Lao' by Charles G. Finney published in 1935. Her reading sounded like a lift from this book. Did the author acknowledge any influence or inspiration from this book?"
MORGENSTERNI have never read this book.
ROBERTSWell, you've got to get it.
ROBERTSCathy Snodgrass writes to us, "I'm curious as to whether or not the author is familiar with W.D.'s 'Midnight Carnival,' a collaboration between my late husband, who was Pulitzer Prize winning poet W.D. Snodgrass and the visual artist Deloss McGraw. There, too, the carnival doesn't begin until nightfall."
MORGENSTERNOh, that's marvelous and, no, I haven't heard of it.
ROBERTSSo there's another one for your reading list.
ROBERTSAll this free time you're going to have flying between cities you can put those two on your list.
ROBERTS"It's been a tradition," writes Yvonne from Chicago. "It's been a tradition that the midnight circus performs every Halloween on Daly Plaza in Chicago. They also perform in theaters. Not your usual circus and not as marvelous as Cirque du Soleil." But the midnight circus in Chicago, that's one you've got to put on your list.
MORGENSTERNOh, I had no idea there were so many nighttime circuses. This is marvelous.
ROBERTSYou talk about Cirque du Soleil as one of your favorite visual media.
MORGENSTERNI've actually never seen Cirque du Soleil. I've seen little bits and pieces and snippets.
MORGENSTERNBut I haven't actually seen the show, but, I think it's much more of a Cirque du Soleil flavored circus than a Barnum and Bailey idea.
MORGENSTERN...there have been whispers about doing some sort of, like, online or video game or that sort of -- I think it would kind of lend itself well to that idea of a virtual world.
ROBERTSAnd, particularly, since this -- we were talking earlier so you've gotten so much reaction including from our own producer that she wants to join the circus or visit the circus. And if we rule out Erinworld, you know, we're, you know, with roller coaster rides this could be another version of it.
MORGENSTERNIt could be very interesting.
ROBERTSWell, Erin, let's talk to some more of our listeners who want to join this. And here's Debra in Fort Meyers, Fla. Debra, welcome, you're on "The Diane Rehm Show."
DEBRAHi, thanks for having me. I have a question for Erin. First of all I'd like to make a comment. I really, really enjoyed her book. I just finished it yesterday.
DEBRAAnd I have it downloaded on my Kindle so I did not have the opportunity to see the beautiful art work, but, visually, in the book even without seeing it I thought it was very visual, the colors, because it does have the black and white backdrop in the story. My sister in New Jersey just downloaded it on her Nook yesterday and I'm so happy to hear that you're going to be making a movie. I think it's going to be stunning and I can't wait for it to come out. I just wanted to know are you having any plans to write another book soon.
MORGENSTERNI am working on another novel. It's very different. It's not -- the circus was never meant to be a series or anything like that. It's its own stand alone novel. The one that I'm working on right now that is still in those messy exploration stages is sort of a film noire flavored Alice in Wonderland.
DEBRAOh, wonderful. And you know what I really like about this book, too, is the Victorian backdrop to -- to the story. And I really do believe this story can cross all ages and venues so it will be accessible to a lot of the public versus just one portion of the public. And I just wanted to say thank you. It was a marvelous story and I plan on reading it again next week.
MORGENSTERNOh, great. I'm told it holds up very well to re-reading.
ROBERTSThank you, Debra. We had another email, by the way, from Brian who asks, "Please ask Erin Morgenstern about her internet project flax-golden tale." What's that?
MORGENSTERNOn my website, erinmorgenstern.com, I keep a blog and about two years ago, as a way to make my blog look more writer-ly, I started writing ten-sentence short stories that I post every Friday that are inspired by photographs that are taken by my friend, Carey Farrell, and they're little bits of whimsy and they were partly inspired by Chris Van Allsburg's "The Mysteries of Harris Burdick," where you just had the image and a very short snippet of a tale to go with it.
ROBERTSAnd I was -- our caller who -- Debra, who loved your book so much, she mentioned something that I wanted to ask you about, which is the historical setting. This is very much set in Victorian times and it's seeped in that historical sensibility. Talk about that decision and that choice and the role the historical period plays in your -- in your vision.
MORGENSTERNIt's always been one of my favorite historical periods, especially visually. I love -- I love the fashion and the corsets and the top hats and that sort of gas lamp streetlight idea. Visually it was what I wanted and it's also a perfect time period for that sort of traveling circus idea. And my circus was always sort of a circus dressed in evening wear so I thought the whole time period really lent itself well and I like -- I like historical fiction.
MORGENSTERNI like fiction that has almost a timeless quality and, I think, setting it more historical gave the circus that element of feeling a little timeless when you're dealing -- you have trains, but you're not really worried about, like, cell phones and things like that. I think it works well for storytelling.
ROBERTSAnd you've used the word a number of times in our conversation you've referred to light and you just did again about gas light. And, of course, since the circus takes place at night, it sounds like part of your sensibility is that you're supposed to sort of view the scene through the flickers of a gas light not through some, you know, some high powered spotlight.
MORGENSTERN…made me extra conscious of how things are lit and, I think, there's something so interesting and that plays into that whole idea of the circus being very black and white because I think, especially, in photography and in old film, everything in black and white is very much about light and shadow, which, I think, makes it very interesting visually.
ROBERTSHas anybody brought up the possibility of actually doing this movie in black and white?
MORGENSTERNOh, no. I don't think they've gotten that far. I think they're still trying to, like get organized, but maybe, we'll see how they actually want to shoot it once we get to that point.
ROBERTSLet's talk to how about John in Kill Devil Hills, N.C. Welcome, you're on "The Diane Rehm Show."
JOHNWell, thank you for having me. I appreciate you giving me the chance to be on the air. And I tell you, every time I listen to an author on Diane Rehm's, I always add another book to my to-be-read pile. They always make me excited about their books so, Erin, I look forward to reading your book.
MORGENSTERNOh, thank you. I hope you enjoy it.
JOHN...where we all kind of share our stories around and comment and critique. And everyone's at about the same level and I find it helpful, but, then I also hear on the other side sometimes people argue that it's -- that it's not the way to go that you get, you know, you can pick up bad habits or get bad influences. And I just wondered what you used in your process of writing the book.
MORGENSTERNI have one critique partner. I don't have a whole group. I just have the one, but she's invaluable to me and I had -- I kind of experimented with a bunch of different readers to kind of read and give me feedback for a while. And with -- I was very lucky to find one person who -- who saw things in a very useful way and could give me feedback in ways that it made me realize things that needed improvement.
MORGENSTERNAnd she doesn't tell me what to do and she doesn't, like, give me specific suggestions always, but she's very good at, like, being -- this part isn't working and you know it's not working. And you can do better than that, which is a great thing to have. I think you can get too much feedback sometimes and, especially, since feedback is so person that if you're dealing with a lot of conflicting opinions it can get difficult to listen to your own voice, which is really the most important.
ROBERTSGood point. John, thanks for your call.
JOHNCan I -- can I just throw one more thing out there? I also -- I edit for an online magazine called Everyday Fiction and we do flash fiction. And if you like short stories send us one. We'd love to have something from you.
ROBERTSThanks, John. You know, this question of a writers group -- I teach a writing class. And I find that if you're going to do that -- I think it can be very helpful, but you have to create a sense of safety.
ROBERTSAnd reassurance so that people walk through the door knowing they're going to be criticized, but criticized in a constructive way. If it tends to nastiness then it doesn't work out.
MORGENSTERNYeah, I think you need that sort of balance where you're hearing what isn't working, but you're also hearing what is working so you don't get the sense that, like, nothing is working. You need to know what works and what doesn't.
ROBERTSAnd this is also the cheering each other on.
ROBERTS...keep at it. You can do it.
MORGENSTERNIt helps. It can get very discouraging, I think. There were points during the process where I was so discouraged I nearly threw out the manuscript.
ROBERTSReally, that -- that bad?
MORGENSTERNYeah, well, I think there was the point where I knew that the whole needed to change and, I think, it's very daunting to look at a 300, 400 page manuscript and know that you need to change most of it after you've done all that work already.
ROBERTSVeronica in Canton, Ohio, welcome, you're on "The Diane Rehm Show."
VERONICAYes. Am I on the air? This is Veronica.
ROBERTSYou are, please go ahead.
VERONICAYes. I have a question for Erin. I haven't seen your book so I really can't comment on your book, "The Night Circus." It might be a wonderful book, but when I, personally, think of the word circus, I think of the animals. I think of the elephants, the tigers, the lions and horses who, unfortunately, suffer tremendously from cruel training, being caged and trucked from place to place, particularly with the Barnum and Bailey circus.
VERONICASo I would just like for you to address this issue. You may not --your intention may not be, but by using the word circus, you might be inadvertently promoting circuses like Barnum and Bailey, which does a lot of cruel things to animals.
ROBERTSVeronica, thanks very much for your call. I'm Steve Roberts and you're listening to "The Diane Rehm Show." Please go ahead and answer Veronica.
MORGENSTERNMy circus isn't that kind of circus. The only animals in my circus are cats and some of them are kittens and the rest of the animals are made of paper and, sort of, these amazing mechanical creatures. But my circus actually isn't really that sort of traditional circus. It's more of a performance art of installation art exhibit dressed up in the trappings of a circus.
ROBERTSAnd you were -- we talked earlier about, at least the tangential connections of something like Cirque de Soleil, which also is -- doesn't have animals.
MORGENSTERNYeah, it's much more of a Cirque de Soleil style circus, which I think, when I think of circuses now, that's sort of more of the association that I have. I think circus as a word kind of encompasses more than maybe it used to.
ROBERTSGood, all right. We've got time for one or two more -- one or two more calls and Brian in Spring Branch, Texas, welcome, you're on "The Diane Rehm Show."
BRIANOh, hi, yeah, thanks for letting me -- letting me speak. I have another what did you read question. It's for Ms. Morgenstern -- a book called, "Nightmare Alley," by William Gresham. It's a 40's noire kind of story that takes place in a carnival, actually.
MORGENSTERNI have heard of it, but I haven't read it.
BRIANIt's -- it's marvelous. I found it in a graphic novel form several years ago. And I just -- I just ate it up, but I'm looking forward to your book.
MORGENSTERNI was going to say I'm going to have a long list of books to read.
ROBERTSBut now your new project is set in the (word?) .
MORGENSTERNYeah, I was going to say this sounds perfect for me because I've been in a very sort of film noire detective novel mindset lately, too.
ROBERTSDid you find it difficult to go from the 1890s to the 1930s?
MORGENSTERNNo, I found it refreshing to be doing something different.
MORGENSTERNNo hat. I have a big head, so I have trouble finding hats that fit me properly.
ROBERTSYou should be having -- you should be wearing some kind of fedora thing, right.
MORGENSTERNI'll go on a fedora hunt and find the right one.
ROBERTSAll right. All right. Any of our listeners know can send an email. One more -- Carrie, Fort Bragg, N.C., you get the last word, Carrie. What's up?
CARRIEI just wanted to say I look forward to reading your book, Ms. Morgenstern.
CARRIEI wanted -- I wanted to comment on, you said you were going to do a film noire movie based on Alice in Wonderland. And I had an inspiration. I was thinking you might want to try and team up with the Quaid brothers on that.
CARRIEAre you familiar with them?
MORGENSTERNI have heard of them. I haven't been doing much collaborative work so that might be interesting. I'm used to writing alone in my office with my cat.
CARRIEOh, no, no, ma'am, this would be for the visual aspects of it.
ROBERTSBut it's a good -- it's a good idea. The Quaid brothers were featured just, I think, yesterday on a big national public radio story.
ROBERTSIf I'm not mistaken, right?
CARRIECheck out -- check out the -- the piano tuner of earthquakes. They are some of the most interesting visual effects I have ever seen.
CARRIEVery -- very kind of half in a dreamlike state kind of thing.
CARRIEAnyway, I'll let you have the rest of the show.
ROBERTSOkay, thanks. You know, maybe one of the things we can do here is post on our website some of the reader suggestions.
ROBERTSYou know, of other books that, since you obviously triggered a whole literary conversation here about other references. Final -- final word here, we had a number of other callers and we get a lot of calls along this line because we've got a lot of people who listen to this show who are home and they're writing.
ROBERTSAny advice -- you've struggled for a long time. You finally made it. What would you tell young writers?
MORGENSTERNOh, I think my favorite writing advice -- I'm actually going to steal, I believe, it was Neil Gaiman who said keep writing and finish things, which, I think, is the best sort of advice because you can easily just keep writing and not ever have a finished product. So, and, I think, being sort of true to your own writer voice is also extremely important.
MORGENSTERNYes, yes, to keep writing and to finish things.
ROBERTSWell, November's coming up and you young writers out there you can find a reference on our website to what Erin's been talking about. Erin Morgenstern what a pleasure.
ROBERTSHer book is "The Night Circus," a novel that's coming to bookstores near you and eventually a movie near you. And maybe "The Night Circus," Erin Morgenstern theme park. Who knows?
ROBERTSI'm Steve Roberts sitting in today for Diane Rehm and we're delighted that you spent an hour with us. Thanks a lot.


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Report reflects information for : Fourth Quarter of 2012
Web Home Page Address http://www.cw55tv.com
State the average number of hours per week of free over-the-air digital video programming broadcast by the station on other than its main program stream 168.0
Digital Core Programs(13)
Digital Core Program (1 of 13)
Days/Times Program Regularly Scheduled Sun. @ 11am 10/7/2012 - 12/30/2012
Program Title Real Life 101 (.2)
Days/Times Program Regularly Scheduled Sat. @ 9am 10/6/2012 - 12/29/2012
Describe the educational and informational objective of the program and how it meets the definition of Core Programming. Real Life 101, is aimed at teens and young adults, and introduces them to real people doing real jobs. From doctors, lawyers, and veterinarians to career counselors, drug counselors, Lipizzaner stallion trainers, and special effects directors, Real Life 101 covers them all. Rated High for Educational Content by the Annenberg Policy Center.The program is 30 minutes in length, and is identified as an educational and informational show, targeted to 13 - 16 year olds, at the beginning of each broadcast and in listings provided to publishers of program guides.
Program Title Teen Kids News (.2)
Days/Times Program Regularly Scheduled Sat. @ 11:30am 10/6/2012 - 12/29/2012
Describe the educational and informational objective of the program and how it meets the definition of Core Programming. Teen Kids News is an award-winning television news show for kids. Highlighting positive stories about kids doing amazing things and helping to make the world a better place. Additionally, the TKN reporters examine everything that is fun or interesting or important about our world. The program is 30 minutes in length, and is identified as an educational and informational show, targeted to 13 - 16 year olds, at the beginning of each broadcast and in listings provided to publishers of program guides.
Program Title Ultimate Choice (.2)
Days/Times Program Regularly Scheduled Sat. @ 9:30am 10/6/2012 - 12/29/2012
Describe the educational and informational objective of the program and how it meets the definition of Core Programming. Ultimate Choice is a radically different television series where teens embark on thrilling outdoor adventures during the day and in the evening, grapple with controversial issues that they may face. Cameras follow eight young men and women who are individually challenged to develop their moral convictions and make important decisions. The program is 30 minutes in length, and is identified as an educational and informational show, targeted to 13 - 16 year olds, at the beginning of each broadcast and in listings provided to publishers of program guides.
Program Title Animal Exploration with Jarod Miller
Days/Times Program Regularly Scheduled Sun. @ 9:30am 10/7/2012 - 12/30/2012
Describe the educational and informational objective of the program and how it meets the definition of Core Programming. Animal Exploration with Jarod Miller is a half - hour live action television program designed to meet the educational and informational needs of children.Each week Jarod looks at exotic and domestic animals from his own unique perspective. Every week Jarod travels to zoos and aquariums to explore animals that fit a particular theme, whether it's the need for speed or animal heroes - there's always something amazing happening. Filled with energy, youth and humor. It is the mission of this program to inspire viewers, children and adults alike, to preserve the innate human instinct to explore. The program is 30 minutes in length, and is identified as an educational and informational show, targeted to 13 - 16 year olds, at the beginning of each broadcast and in listings provided to publishers of program guides.
Program Title Animal Atlas (.2)
Days/Times Program Regularly Scheduled Sat. @ 10am 10/6/2012 - 12/29/2012
Days/Times Program Regularly Scheduled Sun. @ 11:30am 10/7/2012 - 12/30/2012
Describe the educational and informational objective of the program and how it meets the definition of Core Programming. "Sports Stars of Tomorrow" focuses on amateur athletes who display a drive, determination, and a commitment to excellence that pays off both in competition and in life. The program tells the stories of individuals, teams, and communities that work to achieve greatness. It focuses on accomplishment, highlights exceptional performances, and emphasizes the results of teamwork, and discipline. Often, the show will include highlight stories on players and coaches to emphasize key attributes, such as commitment, perseverance, dedication, and avoidance of negative life factors such as drugs and alcohol, which allow the athlete to succeed. The program is 30 minutes in length, and is identified as an educational and informational show, targeted to 13 - 16 year olds, at the beginning of each broadcast and in listings provided to publishers of program guides.
Digital Core Program (10 of 13)
Program Title Safari Tracks (.2)
Describe the educational and informational objective of the program and how it meets the definition of Core Programming. Safari Tracks focuses on African wildlife and explores the magnificent and mysterious world of these animals, all in their natural habitat. Each week explore the African continent, from the brush lands of the savanna to the great Okavango delta... and beyond. The program is 30 minutes in length, and is identified as an educational and informational show, targeted to 13 - 16 year olds, at the beginning of each broadcast and in listings provided to publishers of program guides.
Program Title Real Life 101
Days/Times Program Regularly Scheduled Sun. @ 9am 10/7/2012 - 12/30/2012
Name of children's programming liaison Donna Howell
Email Address dhowell@fox10tv.com
Include any other comments or information you want the Commission to consider in evaluating your compliance with the Children's Television Act (or use this space for supplemental explanations). This may include information on any other noncore educational and informational programming that you aired this quarter or plan to air during the next quarter, or any existing or proposed non-broadcast efforts that will enhance the educational and informational value of such programming to children. See 47 C.F.R. Section 73.671, NOTES 2 and 3. The licensee has reviewed internal station records and documentation provided to us by program suppliers for compliance with the FCC's commercial limits in children,s programs (47 C.F.R. Section 73.670) and the licensee hereby certifies that the station fully complied with these limits for all programs specifically designed for children ages twelve (12) and under. In addition to the programs listed in this report, the station broadcast the following programs specifically designed for children ages twelve (12) and under: Cubix, Dragon Ball Z Kai, Sonic X, Yu-Gi-Oh!, Yu-Gi-Oh! Texal, Rescue Heroes, Power Rangers Lost Galaxy, Iron Man Armored Adventures, Justice League Unlimited, WWE Saturday Morning Slam. WFNA scheduled many elementary and middle school groups for in studio classes which emphasized how good writing skills and computer literacy were necessary if they wanted to pursue a career in television.
Other Matters (13)
Other Matters (1 of 13)
Days/Times Program Regularly Scheduled Sun. @ 10am 1/6/2013 - 3/31/2013
Days/Times Program Regularly Scheduled Sun. @ 9am 1/6/2013 - 3/31/2013
Days/Times Program Regularly Scheduled Sat. @ 9:30am 1/5/2013 - 3/30/2013
Days/Times Program Regularly Scheduled Sat. @ 11:30am 1/5/2013 - 3/30/2013
Days/Times Program Regularly Scheduled Sat. @ 9am 1/5/2013 - 3/30/2013
Days/Times Program Regularly Scheduled Sun. @ 10:30am 1/6/2013 - 3/31/2013
Days/Times Program Regularly Scheduled Sat. @ 10am 1/5/2013 - 3/30/2013
Other Matters (10 of 13)
Days/Times Program Regularly Scheduled Sun. @ 9:30am 1/6/2013 - 3/31/2013

redpajama_set_name: RedPajamaCommonCrawl


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Nigel van Zyl
Home > ORGANIZATION > CONTRIBUTING AUTHORS > Nigel van Zyl
www.proskauer.com
Nigel van Zyl is a partner in the Private Investment Funds Group. He has over 14 years' experience as a legal adviser to the private equity and broader private funds industry.
Nigel advises private equity and other alternative asset fund managers, institutional investors and investment advisors on a broad range of issues, including fund formations and fund raisings, secondary transactions, fund investments, internal governance, compliance and organization, carried interest and co-investment arrangements, spinouts, re-organizations and restructurings.
A significant portion of Nigel's practice is representing general partners in the formation, raising, maintenance and ongoing operation and compliance of private equity, infrastructure and renewable energy funds and funds of funds. He also represents institutional investors and funds of funds, or their advisors, with respect to their investments into private equity and other alternative asset funds.
Articles in the National Law Review database by Nigel van Zyl
6 Months to Brexit: Implications and Contingency Planning For Fund Managers (Posted On Wednesday, October 3, 2018)


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David Condolora
Ron Howard's Directing MasterClass
Throughout the second half of 2019, I went through my second MasterClass, "Ron Howard Teaches Directing." I'm a big fan of MasterClass in general—their classes are well-structured, have high-quality video, and have instructors that are masters of their craft. These aren't just celebrities; they're some of the best writers, filmmakers, etc. working today.
I tried to treat it as much like a real class as possible: I did the lessons on a fairly scheduled basis, and often moved on to the next lesson only after I had done my "homework," assignments that are given at the end of most lessons. I also took notes, and bound them along with the class workbook when I was done for future reference.
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When it comes to collaboration, try to keep the kind of mental/emotional equilibrium so that you know you're open and you hear everybody—but ultimately you listen to yourself.
Further learning: Ron Howard Teaches Directing by MasterClass
Start over →
David Condolora is a storyteller in games, film, and beyond.
© 2022 David Condolora.


text:
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Senior citizens are scrambling to figure out how to sign up to get their shots.
Let off steam and release some essential endorphins with these HIIT, yoga and dance classes. Your body and mind will thank you.
Experts explain how the coronavirus may affect the inside of your mouth and how to spot the signs.
If you're done with shoelaces, these slip-ons, boots, sneakers and sandals are for you.
In this age of pandemic and protest, people have united to support one another. HuffPost created "In This Together" to highlight stories of strength and solidarity in extraordinary times, and to share advice for staying connected.


text:
Opel Combo Life gets a new petrol engine
17-май, 19;28 admin 11 510
Opel has announced a new engine for the Combo Life. It can now be powered by a 1.2-liter turbocharged three-cylinder gasoline engine with 130 HP and 230 Nm of torque at 1,750 rpm. the Declared average consumption for this engine is 5.3 liters as a percentage of miles.
The engine is available exclusively with an eight-speed automatic transmission. The new unit meets the Euro 6d emission standard and is also equipped with a particle filter (GPF). The Combo Life, powered by a 1.2-liter turbo engine, accelerates from zero to 100 km / h in 12.3 seconds and reaches a top speed of 186 km / h.
Prices for Opel Combo Life equipped with this engine start from 27,200 euros for the basic level of production in Germany (including VAT).
In addition to the new engine and automatic transmission, the Combo Life 1.2 Turbo gets new features as standard, including a six-way adjustable seat with an armrest and a multi-function heated steering wheel wrapped in leather.http://fiatforum.lv/http://fiatforum.lv/
10-ноя, 17:03
29-июн, 19:28
The world premiere of Opel took place this year in Frankfurt..
17-июл, 14:52
Opel Astra test drive: what you need to know when buying..
17-июл, 2019, 14:52 / 1 363
Opel produces the electric Vivaro with 300 km of autonomy..
17-окт, 2019, 19:28 / 1 400
Opel Insignia GSi-official information..
First images with the new Opel Insignia. Wagon Sports Tourer..


With Dalit votes likely to be divided during the ongoing Lok Sabha elections, the 128th birth anniversary of Dr BR Ambedkar on Sunday saw parties trying to woo Dalit voters.
While Prakash Ambedkar, the grandson of the architect of the Constitution, floated the Vanchit Bahujan Aghadi (VBA) by taking All India Majlis-e-Ittehadul Muslimeen (AIMIM) on board, another key Dalit leader and union minister Ramdas Athawale stood firm by the ruling Bharatiya Janata Party (BJP). Smaller factions of the Republican Party of India (RPI) have joined hands with the Congress-NCP.
The Congress-NCP combine is believed to be most affected by the formation of the VBA, which is contesting all 48 Lok Sabha seats in the state.
On Sunday, apart from the Congress and NCP, the ruling saffron parties too paid tribute to Ambedkar, revered among Dalits for his pivotal role in their emancipation. The BJP candidate from Mumbai North East Manoj Kotak paid tribute to Ambedkar at Chaityabhoomi in Dadar, where his ashes were interred.
Top Congress-NCP leaders like Milind Deora, Eknath Gaikwad and Sachin Ahir visited Chaityabhoomi. Eknath Gaikwad went to Indu Mills, where the proposed Ambedkar memorial is being built. He accused the BJP-led government of delaying the project. "There is absolutely no movement on the project and the BJP government is just fooling the people," accused Gaikwad.
This was countered by Athawale, who said the project is being implemented in the right way. "We have appointed the best firms to execute the project and it will be ready by the end of 2020. I am taking periodic reviews ," said Athawale.
The Congress has alleged that Athawale and Prakash were misleading Dalits for their political gains. On Friday, Congress MP Bhalchandra Mungekar said there was a large section of Dalits, which would vote for the Congress. "Prakash is deliberately fighting on all 48 seats to split Dalit votes and help the BJP-led alliance. Despite sincere attempts for the tie-up by the Congress, Prakash did not respond. Similary, Athawale has been going with the BJP just to secure the Rajya Sabha seat and the union ministership," he added.
Athawale said, "I demanded the seat and ministership as an ally and there is nothing wrong in it". Meanwhile, the RPI (A) announced it will contest 76 seats to help BJP win more seats. It will contest 15 seats in Uttar Pradesh followed by 7 each in Andhra Pradesh and Tamil Nadu.
Other states where RPI will contest include Rajasthan, Assam, Kerala, Madhya Pradesh, Karnataka and West Bengal.


MAGICAL UNICORN JEWELLERY FOR KIDS!
The horn of the Unicorns (aka alicorn) are long believed to have special powers. Let your child's imagination run wild with the possibilities this necklace could bring!
Please note that the unicorn is made from resin.


Magnetite Ore, Magnetite Iron Ore, Iron Ore Mining Process Magnetite ore is a ferromagnetic material, with the chemical formula Fe3O4, and is one of several types of iron oxide It is a ubiquitous mineral in many parts of the .
beneficiation of iron ore sponge iron - YouTube 2 Dec 2013 ... KIOCL has set up a Beneficiation plant to beneficiate Magnetite ore with... Sponge Iron in gas based plants, ... iron ore beneficiation plant,iron .
Iron ore beneficiation process usually consists of three stages: crushing from raw iron ore to small particles, grinding iron ore particles to small powders and concentrating the available iron ore. Grinding equipment utilized in general is relatively little. Iron ore concentrator is utilized to beneficiate a multitude of industrial iron ores.
Metallic iron's bulk density is 4.4 g/cm3, compared with only 1.8 g/cm3 for iron-ore, and 93% of the metallic product is iron, compared with only 63% for iron-ore at the same shipping cost.
Beneficiation routes for upgrading iron ore tailings with a teetered . Sep 14, 2016 The representative samples were obtained from the stockpiled tail of the dry low intensity magnetic separator in an iron ore beneficiation plant.
Magnetite Ore, Magnetite Iron Ore, Iron Ore Mining Process Magnetite ore is a ferromagnetic material, with the chemical formula Fe3O4, and is one of several types of iron oxide. It is a ubiquitous mineral in many parts of the world, including Australia, the USA, Canada, South Africa, Mozambique and many other countries across most of the world's continents.
Iron ore is an important raw material for iron and steel production enterprises. After crushing, grinding, magnetic separation, gravity concentration etc, gradually we can get iron from natural minerals (iron ore). It is the mineral aggregates that contain iron or iron compounds which can be used economically.
Iron Ore, Wholesale Various High Quality Iron Ore Products from Global Iron Ore Suppliers and Iron Ore Factory,Importer,Exporter at . Iron Ore / hematite Iron ore Magnetite Iron ore/Iron ore Fines, Lumps and Pellets .. Tags: Iron Ore . Iron Ore Price . Iron Ore Mines In Mexico ... Compare (0/20) Contact Supplier. Clear All.


If you are looking for the best and trusted movers and packers in Kumara Krupa Bangalore and want to relocate your home efficiently, then you have reached the right destination. Transline Packers is the right platform for all those who are looking for reliable and authentic company in Bangalore. We are associated with city's best and top reputed removal companies. They will assist you to move your home, office, business or vehicle to the desired location without any damages. We have helped many relocators for a hassle-free move with the help of professional and highly-skilled movers. You will get list of verified moving companies from all over Bangalore and their contact details. You can contact them directly from the listing or can request for moving quotes. We provide you moving quotations of top removal companies at free of cost to compare rates and charges.
Transline Packers is working in this industry since many years and has helped many relocators to move safely and securely with the entire household or official goods. Our moving associates are not only licensed and certified but they are also knowledgeable, trained, skilled, qualified, experienced and proficient enough to handle any type of relocation. They have qualified and trained employees who execute different phases of relocation process efficiently. Using high-quality packaging materials and right methodologies they provide you safe, damage-less and hassle-free relocation experience. We provide you dependable list of verified packers and movers in Bangalore. All our moving associates are licensed and certified so you can handover your possessions to them without any doubts and worries and enjoy smooth and damage-free shifting experience.
Moving and shifting means the hectic task of packing stuff and transport it safely at new location. This not only consumes your valuable time but requires enormous efforts and means. We totally understand that relocation is a tough, daunting and chaotic task therefore we do business with only authentic and experienced companies so that we can provide you good-quality services at affordable and genuine rates. The trained packing team will pack your possessions using high-quality packaging materials and right methods that keep the goods safe from damages and breakages. You will get complete solution for shifting in Kumara Krupa, right from packing your stuff at your current location to unpack and rearrange your stuff at your new place. Our moving associates not only assist you for home shifting but also provide you commercial shifting, office shifting, shop shifting, plants and pets relocation, bike shifting, car transportation, furniture moving, local household shifting, international relocation, etc. Even if you need to store your possessions for some time then you can avail their warehouse and storage facility. They leave no stones unturned to make your move and ensure safe and hassle-free execution of complete shifting process.
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Transline Packers is working in this industry since many years and has helped many relocators to shift their home or office. You can move flawlessly with the assistance of our professional and highly-skilled moving associates. We cover all the major and minor locations of Bangalore like Ashok Nagar, Austin Town, Banashankari, BTM Layout, Chamarajpet, Chandra Layout, Chickpet, Domlur, Double Road, Ejipura, Electronic City, Frazer Town, Gandhinagar, Ganganagar, HRBR Layout, HSR Layout, Indiranagar, Infantry Road, ITPL, Jakkur, Jalahalli, Kalyan Nagar, Kamakshipalya, Lalbagh Road, Langford Town, Lavelle Road, Mahalakshmi Layout, New Bel Road, Pai Layout, Queens Road, Race Course Road, etc. They will also assist you to move from Bangalore to Mumbai, Pune, Delhi, Kolkata, Chennai, Hyderabad and many other cities of India. All our moving associates are authentic and certified companies and we list them according to their working skills and experience. So, you can rely on whenever you need to move within or outside Bangalore and enjoy safe local or long distance move.


Manufacturing firms in the country are worried the depreciation of the local currency could cause the collapse of their businesses.
In the last few weeks, the cedi recorded an impressive appreciation, a development which was attributed to the Bank of Ghana's daily injection of some 20 million dollars into the money market.
The currency has in the past few days lost about 15 percent to major trading currencies.
Speaking on Business Trends on Joy FM, Chief Executive Officer of the Association of Ghana Industries (AGI) Seth Twum Akwaboah said the trend is detrimental to their businesses.
Mr. Twum-Akwaboah said it has become simply impossible to price very well.
"If you price too high, you will be out of competition and if you price too low, you are going to lose money so industry player would just wait and not expand and the implication is that the kind of jobs we need through industry and through businesses, we may not get it," he said.
This according to him is because players would hold on the little monies they have instead of expanding and selling to the market and eventually lose out, so industry is being careful so that it does not get into experience the current situation again.
Also speaking on the show, the President of the Financial Markets Association of Ghana Othniel Kwainoh said the perennial depreciation of the local currency is giving credence to the perception held by many that the best store of value for them is the US dollars hence, would seize any opportunity to buy foreign currencies.
For him, looking at the central bank and its reserve capacity of about 5.5 Billion Dollars, if individuals are actually holding about 3 billion dollars, it means there is a lot of work to be done.
These he said are matter of fact the liquidity in the market which is supposed to fuel the whole cycle of import and export within the market.
"If the supply situation is getting worse, then it means people are not selling. They probably believe that holding on to the dollars is a good thing and therefore are not trading" he added.
According to Mr. Kwainoh, the Cedi could have depreciated further if the BoG had not injected the dollars into the economy.


text:
Q: Berks: Unable to satisfy constraints on package , which does not exist, I have a very small example.  1 cookbook with 1 recipe and 1 ohai plugin file but getting errors running berks/berks install or converging when running kitchen
I do have the ohai gems installed:
chefspec-ohai (0.2.0)
ohai (14.2.0)

the plugin is in ./files/default/apache_modules.rb:
Ohai.plugin :Apache do
  provides 'apache/modules'

  collect_data :default do
    apache(Mash.new)
    modules_cmd = shell_out('apachectl -t -D DUMP_MODULES')
    apache[:modules] = modules_cmd.stdout
  end
end

the error is:
Unable to satisfy constraints on package , which does not exist, due to solution constraint (apache = 0.1.0). Solution constraints that may result in a constraint on : [(apache = 0.1.0) -> ( >= 0.0.0)]
Missing artifacts:
Demand that cannot be met: (apache = 0.1.0)

Notice on the first line there is a space between package and the comma. So I'm at a loss as to what package it is complaining about.
my cookbook is named apache and has 1 recipe default.rb:
package 'httpd'

service 'httpd' do
  action [:start, :enable]
end

metadata.rb:
name 'apache'
maintainer 'The Authors'
maintainer_email 'you@example.com'
license 'All Rights Reserved'
description 'Installs/Configures apache'
long_description 'Installs/Configures apache'
version '0.1.0'
depends ohai

Berksfile:
source 'https://supermarket.chef.io'
metadata

my Berksfile and metadata.rb are both in the cookbooks/apache dir
Suggestions?
Thanks,
Andrew

A: That should be depends "ohai", it has to be a string.

redpajama_set_name: RedPajamaStackExchange


text:
Will Travel for Beer
Charlotte is surrounded by great beer. Here are four brew-centric day trips — now hop to it!
Annie Monjar,
The riverside, family-owned Coast Brewing Company is a staple among South Carolina breweries. The all-organic brewing process complements its unique spot in South Carolina beer history — the owners, David and Jaime Tenny, were organizers and pushers of the South Carolina Pop the Cap Campaign, which resulted in the repeal of the 6 percent alcohol limit on all beers within state borders in 2007 (it's now 17.5 percent). Tours are on Thursdays between 4 and 7 p.m., and on Saturdays between 11 a.m. and 2 p.m., and you'll be able to sample the lively HopArt IPA or a seasonal brew, like the much sought-after Blackbeerd Russian Imperial Stout. None of the brews are available outside S.C. 1250 Second St. North, North Charleston, 843-343-4727, coastbrewing.com
Once you've whetted your palate with a few samples, stop in Closed for Business for a full pint of local brew from one of thirty-six taps of craft beers. Enjoy a few Buffalo Oysters with a draft from the local Palmetto Brewery, or maybe a Pork Slap sandwich with an R. J. Rocker beer out of Spartanburg, S.C. 453 King St., Charleston, 843-853-8466, closed4business.com.
The best beer shopping in town is the Charleston Beer Exchange, where you'll find eyebrow-raising bottles like the vintage 2008 Rasputin (there are less than 300 bottles worldwide) or the Brooklyn Sorachi Ace. There's also an ample selection of Belgian lambics, an important player in the rising sour beer trend. 14 Exchange St., Charleston, 843-577-5446, thecharlestonbeerexchange.com
A pint of Ommegang Hennipen at Red Drum Restaurant in Mount Pleasant is the perfect crisp ale to go with the crab and corn salsa-topped sea scallops. Along with seventeen draft beers that include mainstays like Chimay White and Coast, the elegant, Southwest-inspired nightspot also offers another unique draft — a Dry Creek Sauvignon Blanc, making it the first place in Charleston to offer wine on tap. 803 Coleman Blvd., Mount Pleasant, 843-849-0313, reddrumrestaurant.com
Triad Area
Birthplace of the Tar Heel State's favorite just-sweet-enough lager, the Red Oak Brewery just outside Greensboro offers tours at 3 p.m. on Fridays for $5. All three of Red Oak's beers are Bavarian-style lagers and are brewed according to the German Beer Purity Law of 1516, which stated that beer could only be made with water, barley, and hops. It was the world's first law governing food or beverage. It's called priorities, people. 6901 Konica Dr., 336-447-2055, redoakbrewery.com
In downtown Greensboro, be sure to stop in at Natty Greene's Pub and Brewing Company. Open since 2004, this pub brews a dozen small-batch beers on site, all of which are available on draft year round. Good thing, too, because after a plate of cheese-topped Mesquite Fries and a half-pound Super Bacon Burger, you're going to need a cold Guilford Golden Ale or a Southern Pale Ale. Or two. 345 S. Elm St., 336-274-1373, nattygreenes.com
When Winston-Salem's Foothills Brewing Company releases its annual Sexual Chocolate Imperial Stout in February, there will be an all-night wait outside the brewery the likes of which you haven't seen since the last Harry Potter book hit Barnes & Noble. The rich, decadent brew has been written up in Men's Health and Esquire for its sensual (read: delicious) qualities, and despite doubling the amount it made in 2009 for 2010, the brewery still sold out within an hour. But even if you can't catch the mythical stout, this five-year-old brewery and brewpub is a one-stop shop for some of the best beers and bites in town. The Hoppyum IPA is perhaps the most notorious of the seven year-round brews, and you can try it at the restaurant attached to the brewery. There are windows behind the bar to give visitors a glimpse into the fermentation room, and the kitchen even works the brews onto the menu with Pale Ale–broiled Beer Brats and Ale-battered Shrooms. 638 W. Fourth St., Winston-Salem, 336-777-3348, foothillsbrewing.com
Greenville, S.C.
The twelve-year-old Thomas Creek Brewery will hold private tours for visitors — you can call ahead to make a reservation, or just pop in for a run-through of its brewing process and a drink at its bar. Try one of the fifteen award-winning beers, like the flagship malty River Falls Red Ale or a limited-edition beer only available for tasting at the brewery (selection varies). 2054 Piedmont Hwy., Greenville, 864-605-1166, thomascreekbeer.com
If you only have an afternoon to indulge your craft cravings, take a quick drive up to Mooresville, where the Carolina Beer Company (the brew masters behind Carolina Blonde, Cottonwood Endo IPA, and other local faves) offer tastings from noon to 3 p.m. on Saturdays. For a pint of pumpkin bliss, try the brand-new Cottonwood Pumpkin Spice Ale — the autumn answer to their summery Strawberry Blonde Ale. 110 Barley Park Lane, Mooresville, 704-799-2337, carolinabeer.com
Touring a brewery is fun, but (as with everything) it's more fun with a beer. That's why Big Boss Brewery offers $1 drafts from an on-site bar to keep you hydrated on its tours, held the second Saturday of every month at 2 p.m. You might know Big Boss from its shiny labels that look like they were copied from a motorcyclist's bicep — think the Hell's Bell Belgian Blond and the Bad Penny Brown Ale. 1249 Wicker Dr., Raleigh, 919-834-0045, bigbossbrewing.com
Since a liquid diet obviously includes grease, head to the Boylan Bridge Brewpub and try one of the Fried Shrimp Po' Boys with a brewed-on-site beer, like the rich Southbound Stout or the snappy Bruno Bitter. Don't feel like committing? Create your own hoppy smorgasbord by ordering half pints. 201 S. Boylan Ave., Raleigh, 919-803-8927, boylanbridge.com
After the tour, head over to the Pour House Music Hall, where the shows are as local and diverse as the drafts. You'll find a full bar with thirty taps, including state stalwarts Duck Rabbit Milk Stout, Cottonwood IPA, and Highland Gaelic Ale. 224 S. Blount St., Raleigh, 919-821-1120, the-pour-house.com
If you have extra time, head a few minutes south to Aviator Brewing Co. This brewery is a rising star, and it started operations in November 2008 in a plane hangar at a rundown, abandoned airport in Fuquay-Varina. It was forced to evict its roommate (a rusting airplane) out of the hangar to set up tanks for brewing. Thankfully, both its venue and its beer have been upgraded, with seasonal releases coming out each month, like the Frost Nipper winter ale. There is also a taphouse about a mile from the brewery, where you can kick back with live music, Aviator beer, and, starting in December, pub food. Though Aviator's flagship beer is the HotRod Red Ale, you'll want to try the thick, dense Black Belgian IPA. It's a unique breed, made with a single hop, and proceeds from its sales are donated to the Florida Aquarium's oil spill research. 209 Technology Park Ln., Fuquay-Varina, 919-567-2337, aviatorbrew.com
For those of you who thought flavored beer was for wimps, think again. Brewers at the just-opened Fullsteam Brewery are dedicated to finding the next fascinating (and often counterintuitive) beer flavor. The Plow to Pint series honors Southern agriculture by incorporating regional crops (and livestock — there's a Hogwash Hickory Smoked Porter) into the brewing process. The Carver Sweet Potato beer, an amber ale, has caught the most attention, but this winter, Fullsteam will tap Working Man's Lunch, a Moon Pie–flavored stout. While Fullsteam doesn't offer tours yet, there is an on-site tavern called R&G, where you can try an assortment of flavors or sip on one of its traditional beers, like the Rocket Science IPA or the 6:14 Mild Ale. 726 Rigsbee Ave., Durham, 888-756-9274, fullsteam.ag
If you must have your food in solid form, on a plate, rather than fermented into a beer, head over to Tyler's Taproom, where the sixty-tap bar attracts some of the country's most hard-to-find brews (it'll be the only bar in North Carolina with Ayinger Oktoberfest Marzen on draft). If you can find a spot on the patio, enjoy your meal and beverage outdoors, where a six-tap Biergarten offers a killer view of the iconic Lucky Strike Water Tower. 324 Blackwell St., Durham, 919-433-0345, tylerstaproom.com
This article appears in the October 2010 issue of Charlotte magazine.
Categories: Beer, Beer & Wine, News – Web Exclusives, Travel Feature


From an environmental perspective, we are living in transitional times; the practices we engage in now have far-reaching implications for the survival of the earth and all its life forms. "Environmental Art" is an umbrella term for a wide range of work that helps improve our relationship with the natural world. Art provides a lens through which to explore aspects of society--from urban food production, climate policy, watershed management, and transportation infrastructure to childhood education and clothing design--from an ecological perspective. This paper provides a brief history and salient examples of projects and practices in this field over the last several decades. Although primarily meant to provide a U.S. perspective of the Environmental Art movement, all of the work cited exists within a networked global system characterized by the rapid exchange of ideas.
The Reclamation Project is an exceptional participatory mangrove restoration project launched by Miami artist Xavier Cortada in 2006. At its most basic level, according to the artist, "it explores our ability to coexist with the natural world." With these modest ambitions as its starting point, the project succeeds by making reforestation so compellingly beautiful, fun, and engaging that people want to see it continue. The artwork involves the annual collection of mangrove propagules in coastal areas with the help of volunteers. The plant material is then exhibited in long rows of clear waterfilled cups suction-cupped to windows and walls in local museums, schools, businesses, and other public spaces. The propagules are nurtured into seedlings and then planted along coastal areas with the help of additional volunteers as part of an ongoing reforestation program. The Reclamation Project proved so popular that the Miami Science Museum committed to managing the coastal reforestation component and hosting a permanent ongoing exhibit of 1,100 mangrove seedlings in their facility. A Foundation was also formed to support additional installations in neighboring counties and communities.
Xavier Cortada's "The Reclamation Project: Installation at the Verge Art Fair, Miami Beach, FL," 2009 (curated by Amy Lipton, ecoartspace).
Annually, Reclamation Project volunteers collect mangrove propagules in coastal areas and distribute them across the community, symbolically "reclaiming" urban areas that once flourished with mangrove forests. The propagules are then exhibited in clear, water-filled cups, nurtured into seedlings, and eventually planted along coastal areas to create new habitats above and below the water line.