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Gridley city and school candidates speak at forum
PUBLISHED: October 10, 2008 at 12:00 a.m. | UPDATED: September 8, 2018 at 12:00 a.m.
GRIDLEY — Smart growth, public safety, jobs and relationships with the county and neighboring communities showed up as central themes for Gridley City Council candidates during a League of Women Voters forum Wednesday.
Candidates for Gridley Unified School District board of trustees talked about budget concerns, test scores, electives and other issues facing schools.
CHECK OUT more election coverage
In the council race, Dan Boeger, David Garner and Owen Stiles oppose incumbents Frank Hall, Pedro Mota and Marlena Sparks for three seats.
Stiles, a retired educator who called himself "an average fellow," listed things he wanted to see preserved or improved in the community, including the hospital, parks and recreation.
"I"m not a politician," he said. "There are some things that have to change if we"re going to get any of these done."
Garner, a government program analyst who commutes to Sacramento daily, talked about developing a vision for the community.
"I believe Gridley has a right to its own destiny, as much as Chico, or any other community," he stated. He emphasized creating jobs to reduce commutes, but to adopt a planning strategy as a guide first.
Boeger, a retired businessman, accused the city of being wasteful in deciding to extend a sewer line at a cost of $27 million, without considering alternative methods that could have cost as little as $4 million.
He touted his record bringing jobs to Gridley when he previously served as a councilor.
Hall, a retired Gridley policeman, talked about the need to provide services for new residents, and stressed his concern that Gridley remain a community where senior citizens can enjoy a high quality of life.
Mota, just finishing his first term as councilor, said he was "pro-growth," but agreed with Hall that services and infrastructure had to be planned before growth. For example, the need for a sewer line resulted in a building moratorium, but the city was now moving ahead on making improvements and finding tenants for its industrial park.
He stressed that the community needed to preserve its hospital to attract or keep residents and businesses.
"If we work together, we get things done," he said.
Sparks said that her vision for Gridley included partnering with its neighboring cities and with farmers to benefit everyone.
Besides creating jobs, she listed one of the city"s greatest challenges as public safety. In the school board election, Richard Harp is running unopposed in his area, while incumbent Eric Waterbury is opposed by Robert Zunino and Kathy Wheeler.
Waterbury, finishing his second term as trustee, said he would be open-minded about a charter application, but it would depend on what the proposal was and who applied.
He called the district "fiscally fit this year," and described the process of forming a committee to examine where the budget could be tightened.
"Everybody threw out ideas," he said. If more cuts are needed next year, he said they would do the same thing again.
Wheeler said she wanted to increase high school electives, especially those in career and technical education, so students would be job-ready when they graduated.
She said she spearheaded expanding the high school technology program and would work to make more options available — such as more advanced math courses.
Zunino explained that he wanted to ensure students would get the same high-quality education he received when he attended and graduated from Gridley High School.
He stated that his experience as assistant auditor-controller for Colusa County gives him valuable skills for helping the district stay fiscally sound, but he would trust and work with teachers to help raise students achievement.
Staff writer Chris Gullick can be reached at 896-7760 or cgullick@chicoer.com.


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Wednesday, February 19 2020 / Published in Basketball
Bounce Back Candidate: Russell Westbrook Topps Chrome RC PSA 10
From the span of March 2017 to October 2017, the average auction sale of the Russell Westbrook 2008 Topps Chrome RC PSA 10 was $408. Westbrook just logged his first season ever averaging a triple-double, and he did it while averaging 31 points per game. He was a one man show, but it didn't last long into the playoffs. The Thunder got bounced in 5 games by the Rockets in the first round. It wasn't all for naught, as Westbrook did collect his first MVP trophy in June 2017.
The next season, he averaged a triple-double again… and then again for a third time the season after. He was putting up stats we've never seen before, but from November 2017 to present day, the average auction sale has only been $202. While all the stats were shiny at first (leading to the high selling price), it didn't last long since over those three seasons the Thunder never eclipsed 50 wins, and they lost in the first round of the playoffs all three seasons. What's the lesson here? Stats aren't enough to hold up extremely high selling values – wins have to follow.This past summer, Westbrook got traded to the Rockets to join up with former teammate, James Harden. So far this season, he's not averaging a triple-double, but he is putting up 27.2 points per game, 7.2 assists per game, and 8.0 rebounds per game. The Rockets are currently 5th in the Western Conference at 34-20. Will Westbrook do enough in the playoffs this year to help resurrect his values? Or are the peak value days behind us?
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redpajama_set_name: RedPajamaCommonCrawl


Love the blend of flavor and the bright colors and crunch.
Our Honey Crisp Apple Broccoli Salad pairs perfectly with Dijon Balsamic Grilled Pork Tenderloin and our Blue Cheese Stuffed Burgers. Follow up with our Cherry Coke Cupcakes and Rootbeer Cupcakes.
Fresh, bursting with flavor this broccoli salad is different than a traditional broccoli salad. You'll love the extra crunch of the apples and celery!
A delicious salad filled with fresh ingredients. Perfect to make ahead and serve at potlucks, picnics, BBQs, and Cookouts.
With a paring knife, cut the Broccoli crown (that's the fluffy looking bright green part on top) away from the stem. Set stem aside. Pull the crown florets apart, and then cut the small florets away from the small stems that are holding them, and you should end up with bite-size florets.
Take the large stem you set aside and cut both ends off and discard. Slice the remaining stem into bite-size pieces, and put all the Broccoli, stems and floret pieces, in a colander, and thoroughly wash under cold running water until clean. Let drain in the colander.
In a medium stock pot filled 3/4 full of hot water, bring the water to a boil, adding a little olive oil or butter and a pinch of salt to the water. Break the Fettuccine into 2-inch pieces, and place in boiling water. Turn the heat to low, and cook for 6 minutes, or until pasta is Al Dente (done, but still a little firm).
When Fettuccine is cooked, remove from water with a slotted spoon, or pasta strainer, to a dish, and place the broccoli in the pasta water.
Bring the water to a boil, and then turn down the heat to low, and cook two minutes. Drain broccoli in the colander, and set aside to cool.
While the Fettuccine and broccoli are cooling, wash and peel the carrots, and either grate or shred them in the food processor. Wash and slice the celery. Peel and chop the red onion, and green onions.
Place the cooled, drained broccoli and the fettuccine in a serving dish, and add the carrot, celery, and red and green onion, and place dish in the refrigerator.
Prepare the dressing and place in the refrigerator.
Wash and chop the apple, and add to the salad. Immediately pour the dressing over the salad, and add the raisins, and toss all ingredients together to coat the pasta and vegetables in the dressing.
Place the salad back in the refrigerator until serving.
OPTIONAL: Cook the bacon, and drain on paper towels. When bacon has cooled, and right before serving the salad, crumble the bacon over the top of the salad).
A delicious dressing to top an apple, carrot and broccoli salad.
In a small bowl, with a whisk, add the Hellmann's Mayonnaise, sugar, vinegar, lemon juice, garlic, salt, and pepper and whisk all together until well blended, and place in the refrigerator.
Add to completed salad. Place salad in refrigerator until ready to serve.
With a paring knife, cut the Broccoli crown (that's the fluffy looking bright green part on top) away from the stem. Set stem aside. Pull the crown florets apart, and then cut the small florets away from the small stems that are holding them, and you should end up with bite-size florets. Take the large stem you set aside and cut both ends off and discard. Slice the remaining stem into bite-size pieces, and put all the Broccoli, stems and floret pieces, in a colander, and thoroughly wash under cold running water until clean. Let drain in a colander. In a medium stock pot filled 3/4 full of hot water, bring the water to a boil, adding a little olive oil or butter and a pinch of salt to the water. Break the Fettuccine into 2-inch pieces, and place in boiling water. Turn the heat to low, and cook for 6 minutes, or until pasta is Al Dente (done, but still a little firm). When Fettuccine is cooked, remove from water with a slotted spoon, or pasta strainer, to a dish, and place the Broccoli in the pasta water. Bring the water to a boil, and then turn down the heat to low, and cook two minutes. Drain broccoli in the colander, and set aside to cool. While the Fettuccine and broccoli are cooling, wash and peel the carrots, and either grate them on a grater or shred them in the food processor. Wash and slice the celery. Peel and chop the red onion, and green onions.
Place the cooled, drained broccoli and the Fettuccine in a serving dish, and add the carrot, celery, and red and green onion, and place dish in the refrigerator. Prepare the dressing: In a small bowl, with a whisk, add the Hellmann's Mayonnaise, sugar, vinegar, lemon juice, garlic, salt, and pepper and whisk all together until well blended, and place in the refrigerator. Wash and chop the apple, and add to the salad. Immediately pour the dressing over the salad, and add the raisins, and toss all ingredients together to coat the pasta and vegetables in the dressing. Place the salad back in the refrigerator. (OPTIONAL: Cook the bacon, and drain on paper towels. When bacon has cooled, and right before serving the salad, crumble the bacon over the top of the salad). Serve as a side dish, on a buffet, or as a starter in place of lettuce salad. Enjoy!
NOTE: If possible, add ingredients in the order the recipe states. Make sure you add the Apple last and pour the dressing immediately on the salad because the dressing contains lemon juice which helps to keep the apple from turning brown. All apples turn brown after cutting or chopping, but lemon juice will help to retain the natural apple color.
What a wonderful combination of flavors in this salad. I want to make one right now!!
Yes! Such a fun and flavorful salad recipe.
OHHH yum!! I want to make this ASAP! I love honey crisp apples! They are the sweetest and most delicious!
This salad looks so good! I can see us making this dorna sundys lunch!
I love how fresh and vibrant this dish is! It is truly a tasty experience that makes for the perfect spring side dish!
Yum! I have never had a salad like this. I am excited to put all the flavors together.
What a wonderful flavor combination! I love all these healthy veggies in one meal!
I would serve the salad immediately. It will stay overnight but it is better crisp.
Hello Kerri! This salad was absolutely delicious! My wife has never eaten raw brocolli and enjoyed it in a dish until I made this salad. She really liked it. Thanks for the delicious food and inspiration!
Michael recently posted..Rice Vinegar Substitute: What Can I Substitute for Rice Vinegar?


Islamic banks have proliferated and emerged as important players in the global banking industry especially in the Muslim-Majority countries. The recent increase in the number and market share of Islamic banks has intensified the competition in this new industry. Despite its importance, the increasing competition in Islamic banking market not only from its own Islamic peers, but also from commercial banks has not been adequately addressed nor its consequences have been investigated. This summary aims to shed the light the market structure and the evolution of the competition under dual banking system.
Islamic banking is called shariah compliant banking as all transactions conducted in the banking transaction starting from product offering stage until the dispute resolution stage shall comply with the principles of Islamic law. As such the objective of this paper is to find out the application of parol evidence rule to Islamic banking in Malaysia and to find out whether the application of parol eveidence is compliant with the principles of Islamic law or not.
Islamic banking is more developed in the Gulf region that anywhere else in the world. Although there is much information and writings on Islamic banking on the Arab side of the Gulf, much less is available on the workings of the Islamic banking system in Iran. The aim here is to examine the very different approaches taken by Iran and its Guld Arab neighbors to Islamic banking. The political factors that determined these different approaches will be analyzed and their implications explored.


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Switch eShop
Bloodstained's Miriam Joins 3D Brawler Mighty Fight Federation This Spring
Iga's excited
by Liam Doolan Fri 5th Mar 2021
Super Smash Bros. Ultimate isn't the only all-star brawler on the Nintendo Switch. In fact, last month saw the release of the Power Stone "inspired" 3D arena fighter, Mighty Fight Federation.
The game already has characters like ToeJam & Earl along with Yooka-Laylee in it, and it's now been confirmed Miriam from Bloodstained: Ritual of the Night will be entering the battle this Spring.
The developer apparently worked directly with Bloodstained's famed creator, Koji Igarashi, to ensure it did Miriam justice. Iga even shared the following message:
"Hello, this is Iga. I am pleased to announce that Miriam has been included in Mighty Fight Federation! Miriam is the protagonist of my exploration-heavy side-scrolling action game Bloodstained: Ritual of the Night. I am very excited to see what kind of fighting style she'll bring to the table. Oh, and if you haven't heard of Bloodstained, please check it out as well~ I wish you all have tons of fun playing both works."
Here's exactly what you can expect from Miriam when she arrives:
"Miriam comes with her own level and remixed music track. She will have one the largest movesets in Mighty Fight Federation, focusing on weapon and shard synergy, with many moves inspired by the entirety of the Bloodstained franchise."
If you would like to learn more about Mighty Federation Fighter, check out our full review. Bloodstained's Miriam was also recently added to Soulslike/Metroidvania action game, Blasphemous.
Miriam from Bloodstained (@SwordOrWhip) is joining the Mighty Fight Federation! Check out the PlayStation Blog more information and a quote from @kojiiga himself!https://t.co/Xnn1JTcvI6 pic.twitter.com/f7HNeI4cfm— Mighty Fight Federation (@FightMighty) March 4, 2021
[source blog.playstation.com]
Mighty Fight Federation Review
Bloodstained: Ritual of the Night (Switch)
Mighty Fight Federation (Switch eShop)
About Liam Doolan
When he's not paying off a loan to Tom Nook, Liam likes to report on the latest Nintendo news and admire his library of video games. His favourite Nintendo character used to be a guitar-playing dog, but nowadays he prefers to hang out with Judd the cat.
BakaKnight
Fri 5th Mar 2021
Wait..what is this?
How did I totally miss the release of a Power Stone like game?
Thank you Miriam! Not only I'm sure you'll be a great addition to their roster, but your arrival will advertise the game properly (at least it worked for me, good job!).
alexybubble
Damn, I can't believe that they managed to get Miriam to look better in this than in her home game (probably just the shading). She'll probably play better (for me) in this game as well, since you won't be pausing to switch shards! This will probably be the first time I actually enjoy playing as her if I pick it up, so at least that's great.
Wargoose
There's quite a cool collection of characters in this. I'll be getting it as soon as there's a sale. It would be great if they could get a Power Stone character as a guest.
Moistnado
I wonder if she will include special powers like in bloodstained on switch. Hopefully she'll carry over the ability to have lower resolution environments, severe input lag, low frame rates and game crashes.
bimboliquido
Stop making her "a thing".
She won't be.
dBackLash
At this point it almost becomes more noteworthy when a game doesn't feature Miriam.
It's astonishing how salty people can get whenever something about Bloodstained is mentioned...
Tap here to load 7 comments
Ocean's Heart Is A Cute Zelda-Inspired Adventure Destined For Switch
"I am ecstatic to see the game come to Nintendo Switch"
Hands On: 'Infernax' Blends The Best Of Zelda II And Castlevania II While Skipping The Flaws
Gifting gore and irreverence this Valentine's Day
Mighty Fight Federation Switch eShop
Bloodstained: Ritual of the Night Switch


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ICOMOS is ready for WUF10!
Written on 30 November -0001 .
The International Council on Monuments and Sites (ICOMOS) will have a strong presence at the 10th Session of the World Urban Forum (WUF10), to be held in Abu Dhabi, UAE from 8 to 13 February, 2020. Convened by UN-Habitat, the biennial World Urban Forum is the foremost international gathering for exchanging views and experiences on sustainable urbanization; this year, the WUF theme is 'Cities of opportunities - Connecting Culture and Innovation'.
Responding to this unique opportunity to raise the profile of cultural heritage in the urbanism community, ICOMOS will be represented both institutionally and through the diverse roles played by its participating members, such as coordinator/member of the Climate Heritage Network (CHN), the ICOMOS Climate Change and Heritage Working Group (CCHWG) and the ICOMOS Sustainable Development Goals Working Group (SDGWG).
The ICOMOS delegation to WUF10 will include Peter Phillips (Secretary General/ Australia), Amel Chabbi (UAE), Ana Pereira Roders (SDGWG member/ Netherlands), Andrew Potts (CCHWG Coordinator/ USA), Claus-Peter Echter (CIVVIH President, SDGWG member/ Germany), Donovan Rypkema (SDGWG member/ USA), Ege Yildirim (SDG Focal Point/ Turkey), Eman Assi (UAE), Eric Huybrechts (CHN & SDGWG member/ France), Jeff Soule (ICOMOS World Urban Campaign Focal Point/ USA), and Julianne Polanco (CHN member/ USA).
The Climate Heritage Network, coordinated by the ICOMOS CCHWG, will be particularly active, with a suite of sessions including a Networking Event, Special Session, a Planners 4 Climate Action training events and others. Click here for more detailed information on CHN activities.
The ICOMOS SDGs Working Group will also have a chance to showcase some of its activities related to urban heritage and sustainability, in particular through its collaboration with United Cities and Local Governments (UCLG), which includes the report "Culture in the Implementation of the 2030 Agenda", jointly prepared by ICOMOS, UCLG, the International Federation of Library Associations (IFLA) and other members of the Culture 2030 Goal Campaign Network.
A great contribution
Here is a list of WUF10 events, either organised by ICOMOS working groups or with contributions from ICOMOS members :
- Saturday, February 8: World Assembly of Local and Regional Governments, where Peter Phillips will be taking the floor as respondent in the 1st Roundtable on "The role of urban and territorial policies in preserving cultural heritage"
- Sunday, February 9: Special Session "Urban Culture and Climate Change Action: The intersection of urban cultural heritage and climate change", with closing remarks by Andrew Potts
- Sunday, February 9: Networking Event 16, "Heritage Beyond History, Towards A Sustainable And inclusive Historic Urban Core", with Ana Pereira Roders among speakers.
- Monday, February 10: Side Event 39, "Measuring and Communicating Cultural Heritage for Sustainable Urban Development: good practices and global perspectives of Riyadh Museum District Youth Challenger", co-organized by Ege Yildirim with Ana Laura Petrucci of Dar al Uloom University, with Jeff Soule among speakers
- Monday, February 10: Networking Event 59, "Culture2030goal: Strengthening the global platform on culture and the SDGs", organized by UCLG, with Ege Yildirim among speakers
- Monday, February 10: Networking Event 62, "Smart Cities Hold the Key to Sustainable Urbanisation – How Cultural Heritage Integrate into Smart City Environment", organized by PLANMalaysia, with Peter Phillips among speakers
- Monday February 10: "Culture and innovation in buildings – for a world below 2°C.", Andrew Potts among speakers.
- Tuesday, February 11: Dialogue 3 on "Tradition and Modernity: A creative convergence for sustainable cities", with Julianne Polanco and Ege Yildirim among speakers
- Tuesday, February 11: Networking Event 89, "Mobilizing Arts, Culture and Heritage for Transformative Climate Action in Cities and their Territories", organised by the CHN, with Andrew Potts, Eric Huybrechts, Jeff Soule and Julianne Polanco among speakers.
- Tuesday, February 11: Networking Event 105, "Worldwide Cultural Institutions Between Universal and Territorial" organized by the French Ministry of Culture, with Ege Yildirim among speakers
- Wednesday, February 12: Dialogue 5 on "Urban Planning and Heritage Preservation - Regeneration", with Donovan Rypkema among speakers
- Wednesday, February 12: Habitat Professionals Forum Roundtable, where Eric Huybrechts will be moderator of the group for UNH Strategic Plan- Domain of change 2: Shared Prosperity of cities and regions, while Ege Yildirim will be rapporteur of the group for UNH Strategic Plan- Domain of change 4: Urban Crisis Prevention and Response. (ICOMOS is standing for the position of Co-Chair at the HPF elections, which will be held during WUF10, as well.)
- Throughout WUF10, ICOMOS member Donovan Rypkema and his colleagues at Heritage Strategies International will participate in the WUF10 Urban Expo, at booth H9-32.
- Also, Eric Huybrechts will represent the L'Institut Paris Region, Jeff Soule the American Planning Association, and Amel Chabbi the Abu Dhabi Department of Culture and Tourism, which will have their own events during the Forum.
Last but not least, ICOMOS is set to deepen its partnership with UN-Habitat on the occasion of WUF10, through a Memorandum of Understanding to be signed during the Forum, creating a wide framework for collaboration between the two organizations, targeting (a) Policy inputs on urban heritage in global and local guidelines, legislation, plans and projects; (b) Knowledge on the relation between culture/heritage and cities/territories; (c) Active partnership within existing UN-Habitat frameworks; (d) Pilot joint projects on customizable solutions for heritage conservation; (e) Monitoring processes and data on heritage management.
We hope you can catch some of the exciting WUF10 events online- WUF proceedings will be livestreamed at UN Web TV.
Cultural Heritage and Sustainable Development
ICOMOS work on Climate change
The WUF10 brochure
Credits: Abu Dhabi © Edward Stojakovic


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Thymochares exiguus är en insektsart som beskrevs av Günther, K. 1974. Thymochares exiguus ingår i släktet Thymochares och familjen torngräshoppor. Inga underarter finns listade i Catalogue of Life.

Källor

Torngräshoppor
exiguus

redpajama_set_name: RedPajamaWikipedia


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Derek Madden & Company are a firm of Certified Public Accountants with offices based in Mallow, Co. Cork. We are a practice of professional advisors founded by the practice partner Derek Madden, BBS, CPA.
Derek Madden & Company Limited has direct experience in business matters and our priority is to enable your business to prosper by utilising our own specialist expertise in various business disciplines. As a young dynamic practice Derek Madden & Company will grow and develop with its clients.
New Civil Service mileage rates and bands came into operation on 1 April 2017. Some changes to subsistence rates also take effect from this date.
The Department of Public Expenditure and Reform have recently issued circulars outlining new Civil Service mileage rates and changes to subsistence rates. We understand that Revenue's Manuals and website will be updated shortly to reflect these changes.
This is just a follow up and reminder to clients in relation to correspondence that Revenue sent to every taxpayer who filed a 2015 income tax return, explaining the benefit of regularising their non-Irish tax affairs pre 1 May 2017 (extended to 04th May 2017).
This will be particularly relevant where an individual holds any non-Irish property or assets (such as inherited properties outside Ireland, foreign pensions, foreign bank accounts and foreign trusts) which have not been included or accurately included in their tax return. From 1 May, there will be new restrictions on the ability to regularise non-Irish tax matters and this could also negatively affect their Irish tax position.
Failure to regularise non-Irish tax issues will result in penalties of up to 100% of any underpaid tax, potential criminal prosecution and publication of the taxpayer's name on the Revenue list of defaulters.
Details of how to correct tax returns, and the benefits of making a 'qualifying disclosure' are set out in the Code. The full Code and Frequently Asked Questions (FAQs) are available on the Revenue website. We have attached a link to the FAQs for your convenience.
The office will close on the 22nd of December 2015 and reopen again on the 4th of January 2016. From everyone at Derek Madden & Company we would like to wish you and your families a peaceful and Happy Christmas and a prosperous New Year.
We wish to remind all persons who sold an asset between 1 January and 30 November 2015, or if they received capital payments from such assets, that they must pay* any Capital Gains Tax due by 15 December this year.
This applies to all taxpayers, including PAYE and self-employed. We have attached the 2015 payslip.
*Interest on late payment maybe applied by Revenue for late payment.
If you have any questions on CGT please contact the office.
Under the 2014 Act, the current form of private limited company will cease to exist and will be replaced by two different types of private limited company, being the private company limited by shares ("LTD") and the Designated Activity Company ("DAC"). The LTD is the default or "model" type of private company limited by shares under the 2014 Act and is designed to simplify some of the burdensome features of the existing private company under the current legislation. The DAC, on the other hand, can be said to be quite similar in form to the existing private company and will retain most of these features. Once the 2014 Act is commenced in June of this year, there will be a "transition period" of 18 months, during which period all existing private companies will need to decide whether to re-register as an LTD or as a DAC. For more details on the key differences between the LTD and the DAC please keep an eye on our website for future updates or alternatively contact the office.
Best of luck to all the finalists in the 2015 Blacknight SME Awards. Looking forward to a great night in Cork on 25th April!


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Ensuring Equity: State Strategies for Monitoring COVID-19 Vaccination Rates by Race and Other Priority Populations
Emily Zylla, Sydney Bernard & Elizabeth Lukanen, SHADAC
The rollout of vaccines designed to end the coronavirus (COVID-19) crisis is in high gear across the United States. In most cases, each state is responsible for determining how to allocate, distribute, track, and report its vaccine allotment from the federal government. Since the beginning of the pandemic, Black, Indigenous, and other people of color have been disproportionately impacted by both higher risks of infection and poorer health outcomes, and many are concerned that an inequitable or inefficient distribution of the COVID-19 vaccine may further widen health inequities among these populations.
The mass vaccination of the U.S. population has already proven to be a complicated and challenging endeavor. Even when not in the midst of a global pandemic, vaccination campaigns have often fallen short of population immunity targets. Recent analysis from colleagues at SHADAC, at the University of Minnesota, found that vaccination rates ranged widely by age, race and ethnicity, income and health status. If these patterns serve as hint to challenges a COVID-19 vaccination campaign can expect, the study authors cautioned that policymakers should keep in mind that "U.S. and state populations are not monoliths but instead are comprised of many segments, some of which will be more challenging to reach and are likely to require targeted efforts."
One way to help ensure the equitable administration of COVID-19 vaccine is to track vaccine administration disaggregated for key subpopulations, such as gender, race and ethnicity, and geography (e.g., urban vs. rural). The Centers for Disease Control and Prevention (CDC) currently reports overall US COVID-19 vaccine distribution and administration numbers, and on February 1, the CDC published the first national look at demographic characteristics of persons vaccinated (including by race and ethnicity). That report found that nationally 60.4 percent of persons vaccinated were White, 14.4 percent were categorized as multiple or other race/ethnicity, 11.5 percent were Hispanic/Latino, 6.0 percent were Asian, 5.4 percent were Black, 2.0 percent were American Indian/Alaskan Native, and 0.3 percent were Native Hawaiian or other Pacific Islander. These results have to be interpreted carefully, however, because race/ethnicity data was unknown or not reported for 48.1% of the population that was vaccinated.
Several states are reporting their own vaccine related demographic data, which can be helpful for state planning and vaccination efforts. In this expert perspective, we look at what data states are currently publically reporting related to vaccine administration. Specifically, we provide an interactive map that explores the extent to which all 50 states are reporting vaccine administration data breakdowns by age, gender, race, ethnicity, provider type, and level of geography. We also highlight examples of new equity-related measures states are tracking and reporting related to vaccine administration. We discuss what current data sources states are using to provide this information, and finally, we provide an overview of options states can consider to collect information about the administration of COVID-19 vaccine in populations via survey data. Going forward, SHADAC will be tracking and updating this data periodically as we expect more states to report vaccine administration by subpopulation over time.
States' Reporting of COVID-19 Vaccine Administration Data
All 50 states and the District of Columbia (D.C.) now report the total number of vaccine doses administered on some type of public website or vaccine dashboard. The map below (Figure 1) shows how states are reporting disaggregated metrics related to vaccine administration, and can be filtered to highlight which states are reporting by each category. States marked by a darker shade highlight color are reporting more data breakdown categories than lighter-shaded states. Clicking on a state provides a link to each state's vaccine-reporting website.
Forty-seven states are reporting doses administered by age, and 43 states are reporting by gender. Almost all states (47), with the exception of Montana, New Hampshire, Oklahoma and Wyoming, are now reporting vaccine doses administered by race; and 44 states are reporting doses administered by ethnicity. Thirty states report information about how the administration of vaccine doses by race and ethnicity compares to the state's underlying population distribution. Indiana, for example, displays the percent of vaccinations by race and ethnicity category as well as the percent of the state population for each category (Figure 2).
Figure 2. Indiana Statewide Demographics for Vaccinated Individuals
Source: Indiana Vaccine Dashboard. Accessed MArch 15, 2021.
Nineteen states currently report how many doses are administered by various provider types (e.g. hospitals, pharmacies, local public health, community clinics, primary care, tribal health, etc.). Forty-eight states now report how many vaccines have been administered at the county (or regional) level. Two states, New Jersey and Rhode Island, report vaccine administration at the city or town level; and six states, Arizona, California, Connecticut, Maine, Massachusetts, and South Carolina, report vaccine administration at the zip code level (Figure 3). South Carolina, for example, provides a map of people vaccinated by county of residence that allows the user to hover over each individual county to see how many individuals have received either the first dose or completed series of COVID-19 vaccine. The state also indicates how many cases for which the county of residence data is missing, which is helpful to interpret the completeness of the data. (Figure 3).
Figure 3. People Vaccinated by Zip Code of Residence: South Carolina
Source: South Carolina Vaccine Dashboard. Accessed March 15, 2021.
Current Vaccine Demographic Data Sources
According to a review of states' vaccination distribution plans, most states are using either their existing immunization information (IIS) systems, PrepMod (the CDC-supported Vaccine Administration Management System), or both systems to support their vaccine management and reporting. Not all states' IIS systems, however, currently have the capability to report all demographic breakdowns that might be of interest, such as race and ethnicity. We do know, however, that some states are currently working on changes to their systems to allow for the addition of race and ethnicity data from incoming records. For example, one state's vaccination distribution plan, indicated that it could take at least six months for such changes to be implemented. Additionally, some states' systems are capable of collecting information such as race and ethnicity, but they are not required fields during data entry, therefore the data is often not complete.
New Vaccine Administration Equity Measures
In addition to the demographic data above, several states are beginning to report additional equity-related vaccine administration data. Minnesota, for example, added an "Equity Metric" to its COVID-19 Vaccine Dashboard (Figure 4). This metric displays the vaccinated population of Minnesota by Social Vulnerability Index quartiles. The Social Vulnerability Index (SVI) ranks geographic areas on 15 social factors (unemployment, disability, access to transportation, poverty, race/ethnicity, homelessness, etc.) to summarize multiple dimensions of disadvantage. In Minnesota's dashboard, ZIP codes are grouped into four quartiles based on their degree of disadvantage. (Q1 = "High Disadvantage"; Q2 = "Medium-High Disadvantage"; Q3 = "Medium-Low Disadvantage"; Q4 = "Low Disadvantage"). As of June 1, this data shows Minnesotans who live in the highest risk SVI quartile are vaccinated at a lower rate proportionate to their share of the overall population compared to those Minnesotans who live in the highest SVI quartile.
Figure 4. Minnesota's Vaccine Equity Metric
Source: Minnesota Vaccine Dashboard. Accessed June 3, 2021
North Carolina created a new interactive tool to map social vulnerability (measured by the SVI) and vaccination rates by census tract. The map (Figure 5) provides a visual snapshot highlighting the areas of the state with the highest rates of social vulnerability (areas in red) and the lowest rates of COVID-19 vaccination (smallest teal circles). When a user hovers their mouse over each census tract a pop-up window displays demographic about that specific area, including the percent of households speaking limited English, the percent of households with no vehicle available, and the percent of African American, American Indian/Alaska Native and LatinX populations. The state encourages vaccine providers and partners to use the map to determine where to conduct outreach efforts and where to locate vaccination sites and mobile units.
Figure 5. North Carolina Vaccines by Census Tract
Source: North Carolina Department of Health and Human Services Vaccines by Census Tract. Accessed June 3, 2021.
Using Survey Data to Supplement Vaccine Administration Data
If states cannot disaggregate vaccine administration data by categories of interest, such as race or ethnicity, survey data could be used to provide an alternative or supplementary way for states to assess vaccine distribution in terms of determining the impact on individual-level health equity. Depending on the particular design of such a survey, it is possible these data would only be available after a considerable time lag. However, it might be the only way for some states to understand the distribution of vaccines by populations of interest. Additionally, it is possible that vaccination campaigns may struggle to effectively reach some disenfranchised segments of state populations for extended time periods, so the lag times associated with surveys may not be particularly problematic for identifying persistent vaccination gaps.
One potential vehicle for this data collection is the Behavioral Risk Factor Surveillance System (BRFSS). The BRFSS survey is an annual telephone survey that collects data on civilian noninstitutionalized individuals aged 18 years and older across all 50 states and D.C. The survey focuses on health-related risk behaviors, chronic health conditions, and use of preventive services. The survey is supported by the CDC, but is conducted independently by individual states. All states are required to administer standardized core questionnaire, but states also have the flexibility to add survey questions or supplement sample in order to gather information on either specific populations or to address specific health issues.
Each state has a unique process for adding questions or oversampling a particular group or geography, and the cost of adding questions varies (based on a review of publically available information, costs commonly range from $3,000 to $5,000 per question, while only one state provided a cost estimate to add sample, at $100 per additional survey respondent). The process of proposing state-added questions or oversample is managed by the BRFSS State Coordinator in each state and these changes are typically considered in the late summer/early fall of the year preceding the survey. For example, some states, such as Florida, have used BRFSS to ask questions about potential sources of COVID-19 and prevention behaviors.
On March 12, 2021 the CDC requested approval to add an optional questionnaire module about COVID vaccination to the BRFSS survey. CDC is recommending that the following questions be added in mid-year 2021 after vaccinations are available:
Since [DATE OF VACCINE AVAILABILITY], have you had a COVID-19 vaccination?
How many COVID-19 vaccinations have you received?
During what month and year did you receive your (first) COVID-19 vaccination?
At what kind of place did you get your (first) COVID-19 vaccination?
During what month and year did you receive your second COVID-19 vaccination?
At what kind of place did you get your second COVID-19 vaccination?
Optional module questions, such as the ones above, are standardized questions that have been cognitively tested. Once selected, a module has to be used in its entirety and asked of all eligible respondents. To-date, five states (Alaska, Illinois, Missouri, New Jersey and North Carolina) have already indicated that they will be adding the COVID vaccine-related module to their BRFSS surveys. North Carolina also plans to include the following state-added question:
What is the MAIN reason you have NOT received a COVID19 vaccination?
One important consideration for using the BRFSS is the sample size available for populations of interest such as specific racial and ethnic groups. In most states, the sample size is robust enough to produce estimates for Whites, Black and Latino populations. The feasibility of readily producing precise estimates for Asians and Pacific Islanders, and American Indian and Alaska Natives is limited to a smaller sub-set of states, depending on the overall samples size (which is related to the size of the state) and the size of those populations within the state.
While the BRFSS has some obvious limitations, such as a focus on noninstitutionalized adults and a time lag, the benefits include being able to link this information to the broad range of demographic data collected by the survey as well as rich information on health conditions and risk factors. States interested in using the BRFSS to monitor COVID-19 vaccine distribution should start working with their BRFSS state coordinators now to assess the sample size of priority subpopulations and to discuss the process for including state-added questions and/or additional sample size to address their vaccine distribution monitoring goals.
Another approach that states can take to gather more timely information on vaccine distribution is to conduct independent, state-specific surveys or polls. Since March, roughly half of states in the country have gathered information from their residents on COVID. These data collection efforts vary in scale, size, cost and sponsoring entity (e.g. surveys have been conducted by state universities, state and local health departments, health policy groups, and partnerships between universities and the media). A benefit of conducting an independent survey or poll is the speed with which you can field and produce relevant data and the ability to fully customize the content. The major drawback is cost, which could seriously limit sample size.
The U.S. Census Bureau's Household Pulse Survey (HPS), which is an ongoing, weekly tracking survey designed to measure impacts of the COVID-19 pandemic, is an example of a survey tool states could use to monitor rates of vaccination by demographic and socioeconomic factors closer to real-time. On January 27th, the HPS released new state-level data on the take-up of COVID-19 vaccines. Colleagues at SHADAC recently explored the top-level findings from this survey as well as the pros and cons of this data source in a blogpost. Overall, from February 17 – March 1, 2021 Asian and White adults continue to be likely to have received a vaccine than Black and Hispanic adults, and adults in the highest income category were twice as likely to have been vaccinated than those in the lowest income category.
It is evident that the COVID-19 pandemic highlighted and exacerbated existing inequities in the health care system. As states seek strategies to begin to breakdown and address these inequities, they can look to their vaccine administration tracking data to ensure that those populations most affected by COVID-19 are able to receive equitable access to needed preventive care.
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Music Recording Lessons in Needham, MA. Amazing Teachers.
Flexible & affordable music recording lessons. In person or online.
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"Today is my opportunity to practice music recording."
Popular Music Recording Teachers in Needham, MA
Jimi Z.
Ashland, MA
Speaks Italian, English
Awarded Max Winkler Music Scholarship from Belwin Mills Music Publishing
Teacher's Studio
Private Music Recording Teacher
Artist Development through influences. Songwriting, Music theory, Harmony, Ear Training and Songwriting.
RECORDING TECHNIQUES/PRODUCTION DISCUSSED WITH PERSONAL ARTIST DEVELOPMENT.
About Jimi
*****SPECIAL MESSAGE REGARDING COVID-19 FOR NEW STUDENTS WANTING TO STUDY IN PERSON AT THE ASHLAND, MASSACHUSETTS MUSIC STUDIO: We are excited to announce the return of in person lessons for those students wanting them. Because of the evolving changes that the Corona Virus gives us progressively
Rakeen
Some people might fare better with this instructor. More chatting than instructing. Usually telling stories trying to sell himself and talk about how great he is. Delusional ideas about your relationship. Accusatory. Takes things personally. Burns bridges. Claims to be a vocal therapist but doesn't do any vocal therapy. Can provide bad advice and medical information.
This was my first piano lesson in 50 years. It was everything I hoped it would be... intellectual, fun, relaxed... and it filled me with hope that I could finally make something out of a musical instrument I left in the dust so many years ago. Jimi is wonderful to talk with and work with. This was beyond my expectations.
I'm 80 years old and play sax in a Senior band. I signed up for several lessons with Jimi Z. to improve my tone and breathing. I think Jimi did a great job with me, and I recommend Jimi for sax lessons. Dan Ginsberg
Awarded Grand Prize Winner from Meridian Records
Music Recording:
If you always wanted to record your songs or songs of others I can help. I teach Logic Pro. Logic Po is a digital audio workstation and MIDI sequencer software application for the macOS platform. I will teach you the interface including software instruments, audio effects, loops, editing, real-time scoring in musical notation, supporting guitar tablature, drum notation, and much more. If you want to learn to record your songs or the songs of others Logic interface is GREAT and I would love to teach you!
Frankie P.
Awarded Berklee Achievement Scholarship from Berklee College of Music
Master of Music from Boston University
I was a Music Production and Engineering major at Berklee, so I can instruct anyone on the most common DAW platforms today. This includes Pro Tools, GarageBand, and Logic.
About Frankie
Hello, future student. I want to tell you just a little about myself to see if you would like to study with me. I have over 20 years of teaching experience with degrees from West Virginia University, Berklee College of Music, the University of West London, along with a Doctorate in Music Educa
Enjoyed my first lesson! Got my work cut out!
Carter M.
Frankie's great. My son has progressed well and is learning a lot!
Cooper W.
B.A. in Contemporary Writing and Production from Berklee College of Music
I studied Music Production in college, and I have recorded countless projects using Digital Performer, Pro Tools, and Logic. I'm also proficient with Reason. We can go over different recording techniques, and how to get things to sound their very best, as well as techniques for your chosen DAW.
About Cooper
I have a Bachelor's Degree from the Berklee College of Music in Boston, and I also studied Classical Performance at the Lionel Hampton School of Music. I have ten years professional performing experience road touring in the U.S.A., and international on cruise ships. Most recently with For The
I am new to playing the flute, self-taught for 8 months. Cooper is very personable and I think he spotted my weaknesses quickly. He was very encouraging and gave me a mixture of exercises working on the beginnings of listening and playing with another musician as well as fingering. He is going to get some theory in as well, so that's hitting all of what is essential for me to move forward.
Cooper B.
Cooper is kind and encoraging and helped my son work through a difficult audition piece. He really related well with my son and made him feel proud of his abilities and skills. I would be glad to recommend Cooper.
Christian D.
Just getting started but I can tell Cooper knows what he's doing and I'm looking forward to getting to where I want to be with the harmonica
Schroeder S.
Awarded Leader from National Fraternal organization
Learn EQ, mix, placement of sound, outboard processing, etc.
About Schroeder
" There's a difference between playing the notes and making the Music. Wanna know the difference? "I've been a professional musician and teacher for over 35 years. I have a degree from the University of Minnesota and I studied music at the University of St. Thomas when I was in high school. I've per
Richard B.
My first lesson with Schroeder was a marvelous experience. Amazing enthusiasm he brings to the table. I recommend him to anyone who is beginning or is seeking to move up on the instrument. Can't wait for the next lesson.
Schroeder has done an excellent job teaching my son to play the saxophone. He makes the lessons fun and connects the learning to applicable examples that make sense to my child.
I loved my first lesson with Schroeder, he was knowledgeable, energetic and communicated in a great way! Looking very much forward to my next lesson.
Ayme F.
Speaks Spanish, Japanese
Bachelor of Arts from Long Island University
I haven't taught this specifically, but I do have a lot of experience with home recording and have interned at a recording studio. I can give you the basics of what you need to get started recording yourself.
About Ayme
Music can be as simple or as intricate as you want to make it. I will to teach you how to make the most of whatever knowledge and skill you have and to have fun while you do it. My tastes are all across the board, rock and roll, country, metal, opera, I love it all. So, let me know what you are into
Very professional and patient.
Dean S.
Ayme is a great teacher, makes learning very easy to enjoy....
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Looking for an online Music Recording teacher in Needham, MA?
No matter where you live, chances are we can introduce you to an amazing music recording teacher in your neighborhood. You can take lessons in the privacy of your own home or at your teacher's location.
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"Will was everything I expected. I was looking for someone to teach naturally as opposed to rote (boring) learning. I'm sure Will can do rote but he did what I asked.
He really knows his music and can teach in a way that gets my son directly into actually playing music, which is exactly what I was after.
He's really flexible and can take anything and turn it into something good.
The pace was spot-on, matching perfectly the maximum my son could understand at the time.
I think my son learnt the absolute maximum he could in that short space of time and he learned a LOT."
Took Music Recording lessons from Will F.
"Brandon is fantastic. I don't know that he's ever given me a word of bad advice, and has been a HUGE help in getting my career as a producer and narrator off the ground. He's incredibly knowledgeable and skillful, and my experiences in both hiring him and learning from him have been absolutely fantastic. I would heartily recommend him!"
Took Music Recording lessons from Brandon S.
"Chris found out quickly what my experience was and what my goals were. Were working toward that. Thanks Chris."
Took Music Recording lessons from Chris S.
"Jarod is genuinely interested in helping his clients exceed their goals, and he cares a lot about getting the best outcome for the project. I would definitely work with him again and refer him to others."
Took Music Recording lessons from Jarod G.
"Best instructor ever"
Took Music Recording lessons from Fawn A.
"Jarod knows how to make his clients feel welcome in his studio, he is productive with his time, gives very helpful feedback during recording, and I look forward to future in studio sessions with him."
Colleen S
"Learned a lot today! Very friendly and helped me improve the quality of existing recordings I made with gain staging and additional compression techniques"
Took Music Recording lessons from ryan S.
"Jeremie is a good listener and I think he really got what it was that I wanted to learn. He wasn't up on the latest version of Garageband for ipad, but he knew the basic stuff from past versions. This was only my first lesson, so I haven't spent enough time to give a deeper review. Jeremie seems very nice."
Took Music Recording lessons from Jeremie W.
"Randy has been a very positive influence in my musical life
I got a lot of inspiration and encouragement from Randy to express myself and create my own music. In fact, I am now a film composer.
Ryan S."
Took Music Recording lessons from Randy L.
"Wonderful teacher. Made everything simple and clear."
Took Music Recording lessons from Ramona D.
Popular Music Recording Articles from our Blog
Getting Started with Music Recording
Interested in getting started with music recording? You've come to right place. Our featured guest author for today is one of our newest teachers in Rancho Santa Margarita, California - Cory M.! Read on for his advice for recording newbies... Do you write songs and want to record them to share with the world? Awesome! Fortunately, computer technology allows you to do this in the privacy of your own home at a fraction of the cost of recording at a "real" studio. So, what eq …
Are You Really Ready To Record Your Song Or Book A Vocal Session?
Think you're ready to write your own song and record it? Songwriting can be an arduous process - but seeing the final product is an amazing feeling. Read on for a helpful pre-recording checklist from Perth Amboy, NJ teacher Jeff S... Whether you're singing your own song or hiring a vocalist to sing on your demo or master, there are many layers of preparation needed to ensure optimum results. Some songwriters like to wing it and hope that things will magically work out because they …
5 Ways Microphones Have Changed the Music Industry
If you've ever stepped on stage to perform, you may not have thought much about the microphone you're about to use. But its history is actually pretty interesting, as music recording equipment has developed drastically since the first condenser microphone came on the market. These changes have made a big impact on the music industry as a whole, and, for better or worse, are here to stay. Power Requirement Without outside amplification, the loudest musician wins every time. But when you int …


While some leaders are skilled in teaching or in group process, many group leaders lack sufficient training and experience in facilitating groups and classes effectively. Many group leaders are new to the process of leading groups; and many group leaders were never formally trained in the skills of conducting a group, but rather they learned how to run a group on-the-job by observing a co-worker or a supervisor. This book provides some guidelines for teachers and leaders of groups that are knowledge-based or skills-based, but they are not designed for facilitating a support or therapy group.
Regardless of the type of group being led, all groups require the leaders to perform skills before the group in preparation for the group or class, during the group while conducting the group or teaching the class, and afterthe group for following-up the group or class activities. This book is organized into sections that outline these preparation, delivery, and follow-up skills. Information is included that explains this series of group process skills as well as some examples and exercises to practice the skills. Throughout the book you will be asked to think of a group or class that you currently lead or are planning to lead in the future. Be specific about identifying a particular group or class that will be the focus for your practice exercises throughout this workbook. At the end of each chapter is a checklist that may be used by individual group leaders as a self-assessment tool to assess their own group process skills, and it may be used by supervisors as an evaluation tool.
Citation: Spaniol, L., McNamara, S., Gagne, C., & Forbess, R. (2009). Group process guidelines for leading groups and classes. Boston, MA: Boston University Center for Psychiatric Rehabilitation.
Sue McNamara, MS, began her career in 1978 providing services for people with psychiatric disabilities in community programs, and in 1985 she began teaching the skills of psychiatric rehabilitation to providers in the mental health field. For 15 years, Ms. McNamara worked as an Adjunct Clinical Assistant Professor in the Rehabilitation Counseling Program at Sargent College of Health and Rehabilitation Sciences at Boston University. She has co-authored several articles and curricula on psychiatric rehabilitation. Currently, Ms. McNamara is the Director of the Professional Development Program, which offers various options for continuing education through the Center for Psychiatric Rehabilitation. She also works as the Product Specialist in the Publications Division at the Center and is involved in developing and marketing products, monitoring inventory and sales, and providing customer service.
Cheryl Gagne, ScD, has been with the Center for Psychiatric Rehabilitation since 1988 when she joined the Supported Employment Research Project Team. Since then she has worked in numerous research, training, and service projects at the Center. Currently, Dr. Gagne is a senior training associate and spends her time training and consulting with mental health programs in the United States and internationally. She is the associate director of the Services Division of the Center, which develops, delivers, and evaluates innovative services for people with psychiatric disabilities. She has developed many training programs and courses for mental health professionals and people who use mental health services. Since 1994, Dr. Gagne has taught the course, Rehabilitation of Persons with Psychiatric Disabilities, at Boston University.
Group Process Guidelines for Leading Groups and Classes may be used to supplement any of our curricula products.


The mission at Model in a Bottle is to provide high quality makeup-setting tools to help seal and hold makeup in place through out your busy day.
Can be used with all types and brands of makeup. Liquid, powder, mineral you name it, with Model in a Bottle you'll be looking as great in the evening as you did at the start of your busy day. NO MORE TOUCH UPS!


← Sweet Potato & Black Bean Salad with Avocado Dressing & Feta.
Peel and medium dice the sweet potatoes into ½-inch cubes; transfer to a medium bowl.
Drizzle the potatoes with olive oil and season with chili powder, cumin, salt, and pepper; toss to coat. Transfer the mixture to a sheet pan and spread out in a single layer.
Place the potatoes in the oven and roast, tossing once halfway through cooking time, until the potatoes are tender and lightly browned, 15 to 20 minutes.
Drain and rinse the beans in a colander; set aside to drain further.
Scoop out the avocado flesh and transfer to a medium bowl; mash with a fork until smooth.
Trim off and discard the root end of the garlic; peel and mince or press the garlic. Add to the bowl with the mashed avocado.
Juice the lime and add to the bowl.
Add olive oil, salt, and pepper to the bowl; mix the dressing until well combined. Alternatively, use a hand blender to make a very smooth dressing.
Place the feta in a small bowl.
Using a knife, shave the cilantro leaves off the stems at a downward angle, working away from your body; discard the stems and finely chop the leaves. Transfer to a large salad bowl.
Add the sweet potatoes and beans to the salad bowl; toss to combine.
To serve, divide the mixed greens between dishes, top with the salad and feta, and drizzle with the dressing. Mix together and enjoy!


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Jersey Storm thunders to 12U Mothers Day Classic title
By DN WRITING STAFF | May 10, 2022
It was only fitting that Jayden Beriguette's final at-bat on Sunday resulted in a grand slam.
The blast, which capped an eight-run second inning for the Jersey Storm, was his fifth home run during a four-game day, and sent his team to a 12-0 victory over the Diamond Jacks 12U Gold in the championship of the 12U Mother's Day Classic at Diamond Nation.
Berguetto scattered his other four home runs throughout his team's compacted day in Flemington, the result of the rainouts on Friday and Saturday.
The North Jersey team, which has already traveled the country this spring, had the offense, depth and power pitching to overcome any adversity along the way. It wound up outscoring its opponents, 52-3, in rolling to the title.
"I knew it was going to be a long day," Beriguette said. "I was pretty confident we'd play in the championship game. I wasn't expecting to hit like that, maybe a couple of extra base hits, but it just happened. It was great."
Jayson Beriguette (5 HRs) and Chris Jurla of Jersey Storm were named the 12U Mother's Day Classic co-MVPs.
In the final, the Storm showed their strength right from the start. Starting pitcher Anthony Muaranga was throwing fastballs clocked as high as 74 mph, when most 12U pitchers at Diamond Nation throw in the low-to-mid 50s. He struck out two batters and got the other out on a grounder to first base.
Then, the Storm struck almost immediately in the bottom of the inning, when Michael Alberto led off with a single to right field, stole second, moved to third on a wild pitch and then scored when No. 2 hitter Colin Raymond smashed a ball off the fence in left field.
The Storm were kept off the scoreboard for the remainder of the inning, but in the top of second, Muaranga walked one and struck out the other three batters.
That set the stage for the eight-run outburst in the bottom of the frame, which included an RBI single by Justin Accosta and bases-loaded walks to Edward Piniero, Jeremy Irazerry and Raymond before Berguetto's grand slam.
The slugger then pitched the third inning, throwing with speed mostly in the mid-60s, and recorded all three outs via strikeout.
The Storm scored their final three runs in the third. Jack Spitaleri led off with a tomahawk home run to left field, and Irazerry hit a two-run shot beyond the fence in right center with two out.
Alberto then pitched the fourth inning, and struck out the side to clinch the championship.
"These kids have been together the last couple of years, and we've got a couple of new additions," Jersey Storm coach Nigel Archibald said. "We've done some traveling for the first time and it's built them up confidence-wise. We went to Vegas in January, Texas in February and Carolina in March. It just builds."
The experience and talent also had the Storm ready for the busy day, which culminated with the team presenting flowers to their moms.
"We're lucky enough to have the depth to be able to do it," Archibald said of the dominant showing. "Different kids stepped up throughout the day, so it was just amazing."


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7 October 2019 0 Comments
Posted in Charities, News
Intrepid trio from Royds Withy King prepare for Mount Kilimanjaro climb in aid of Julian House
Posted by Chloe Boyce,
An intrepid trio from law firm Royds Withy King are preparing to climb the highest mountain in Africa to raise funds for Julian House.
Photo: Pictured are Jess Burston, Fran Tremeer and Ali Cloak with Tessa Kerslake from the charity (second left).
Jess Burston, Ali Cloak and Fran Tremeer – based at the firm's Bath head office – are joining the challenge trek to scale Mount Kilimanjaro in February. Their target is to raise over £10,000 for the homeless charity based in the city. Julian House is the 2019-2021 charity partner for the Bath office of the law firm. This year, the organisation will provide life-changing support to over 1,000 vulnerable individuals, particularly in the areas of homelessness, domestic abuse and prison resettlement.
The team will trek across some of the most spectacular and varied landscapes in the world. Their mission will be to summit the iconic Uhuru Peak, which – at 5,896 metres high – is 4.4 times the height of Ben Nevis.
The nine-day adventure presents a physical and psychological challenge, with altitude sickness one of the biggest concerns. But it also promises to be a life-changing experience, with the opportunity to explore incredible and varied landscapes while raising funds to make a big difference to the lives of many.
Jess Burston, Director of Operations at Royds Withy King, said: "I am apprehensive about the physical challenge but excited for the adventure. I am very pleased to have the opportunity to make this more than a bucket list activity and directly contribute to the well-being of many vulnerable people this coming year."
Ali Cloak, Senior Associate at Royds Withy King, said: "Julian House is a truly inspiring charity. I feel very proud to be fundraising for them, safe in the knowledge the money will be used to improve the lives of some of the most vulnerable people in the community. As well as securing much needed funds, I am also keen to raise awareness about the charity's work and show how others can get involved if they want to help in some way."
Fran Tremeer, Solicitor at Royds Withy King, said: "While I haven't encountered a physical challenge quite like this before, I am extremely motivated by Julian House as a cause. I feel so grateful to be facing Mount Kilimanjaro with two of my colleagues and a wider team of like-minded people and hope that our fundraising will make a real difference to the charity and the individuals it supports."
Jessica Gay, Senior Community and Events Fundraiser at Julian House, said: "We are absolutely thrilled that Fran, Ali and Jess will be taking on our Kilimanjaro Challenge. Climbing Kilimanjaro is certainly no mean feat. It'll take a huge amount of effort, dedication and commitment from the team. But by doing so and through raising vital funds and awareness, they will make a real and lasting change to the lives of the most vulnerable people we support."
The fund-raisers have set up a JustGiving page for donations. Royds Withy King will also be marking World Homeless Day on Thursday 10 October, by reflecting on local homeless issues and those affected by them.
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Le Kronos Quartet () est un quatuor à cordes fondé par le violoniste David Harrington en 1973. Il est basé à San Francisco (Californie) depuis 1978.

L'effectif initial comprenait David Harrington et John Sherba aux violons, Hank Dutt à l'alto et Joan Jeanrenaud au violoncelle ; il est resté inchangé durant plus de vingt ans. En 1999, Jennifer Culp a remplacé Jeanrenaud, puis Jeffrey Zeigler a pris sa place en 2005 et enfin Sunny Yang le remplace depuis .

Nouvelles œuvres
Kronos est spécialisé dans la nouvelle musique et a une longue histoire de commande d'œuvres inédites. Plus de 600 œuvres ont été créées par le quatuor Kronos. Ils ont collaboré avec de nombreux minimalistes, dont Arvo Pärt, Steve Reich, Philip Glass, Roberto Carnevale, Terry Riley et Kevin Volans.

Le Kronos Quarter contribue à faire connaître la musique de Peter Sculthorpe, dont le nom est popularisé dès le milieu des années 1980 avec l'enregistrement du CD de l'ensemble, sur lequel le  quatuor à cordes du compositeur australien côtoie la musique d'Aulis Sallinen, de Philip Glass, de Conlon Nancarrow et un arrangement du Purple Haze de Jimi Hendrix.

Kronos a aussi travaillé avec des compositeurs d'origines très diverses, tels Franghiz Ali-Zadeh originaire d'Azerbaïdjan, Clint Mansell du Royaume-Uni ou encore le compositeur argentin Osvaldo Golijov. Golijov, récompensé par le prix de la fondation MacArthur Fellow, a composé de nombreuses transcriptions et œuvres originales pour le quatuor Kronos qui ont donné lieu à des disques tels Caravan et Nuevo.

Récemment, le quatuor Kronos a commencé un programme d'appel aux compositeurs âgés de moins de 30 ans, dans l'espoir de mettre au jour de jeunes compositeurs modernes.

Genres divers
Kronos couvre une très grande étendue de genres musicaux : musique mexicaine, musique expérimentale, musique pré-classique, bandes originales de films (Dracula, Requiem for a Dream, Heat, The Fountain), jazz et tango. Kronos a même enregistré des adaptations de Purple Haze de Jimi Hendrix, de Sigur Rós (Flugufrelsarinn), de Television (Marquee Moon) ou de Raymond Scott (Dinner Music for a Pack of Hungry Cannibals).

En plus des compositeurs, Kronos a collaboré avec des artistes du monde entier, dont la légendaire chanteuse de Bollywood Asha Bhosle, le peintre américain d'origine mexicaine Gronk, la soprano américaine Dawn Upshaw, le clarinettiste David Krakauer, les pop-rockers mexicains de Café Tacvba, le groupe tsigane roumain Taraf de Haïdouks, la chanteuse malienne Rokia Traoré (sur l'album Bowmboï), les post-rockers écossais de Mogwai ou le DJ brésilien Amon Tobin.

Kronos s'est produit en concert avec le poète Allen Ginsberg, Astor Piazzolla, le Modern Jazz Quartet, Tom Waits, David Bowie, Björk, Laurie Anderson ou encore l'intellectuel Noam Chomsky. Il est apparu dans des enregistrements avec les auteurs-compositeurs Dave Matthews, Nelly Furtado, Rokia Traoré, Joan Armatrading ou le chanteur de musique country Don Walser, spécialiste du yodel.

Distinctions
 National Academy of Recording Arts and Sciences The Recording Academy President's Merit Award 2005
 Prix Rolf Schock/Académie royale suédoise de musique (1999)
 Musical America (2003) Musicians of the Year
 Prix Polar Music (2011)
 Le Diapason d'Or de  for the Kronos Quartet recording of Osvaldo Golijov's The Dreams and Prayers of Isaac the Blind (France) (1997)
 Grammy Awards & Grammy Nominations
 Grammy Award for Best Chamber Music Performance: The Kronos Quartet & Dawn Upshaw for Berg: Lyric Suite (2004)
 Grammy Award Nomination for Best Contemporary World Music Album for Kronos Quartet with Asha Bhosle, You've Stolen My Heart: Songs from R.D. Burman's Bollywood (USA) (2005)
 Grammy Award Nomination for Best Chamber Music Performance for Pēteris Vasks' String Quartet No. 4 (USA) (2003)
 Grammy Award Nomination for Best Classical Crossover Album for The Tiger Lillies with Kronos Quartet, The Gorey End (USA) (2003)
 Latin Grammy Award Nomination for Best Classical Album for Nuevo (USA) (2003)
 Grammy Award Nomination for Best Classical Crossover Album for Nuevo (USA) (2002)
 Grammy Award Nominations for Best Classical Album & for Best Chamber Music Performance for Kronos Quartet Performs Alfred Schnittke : The Complete String Quartets (USA) (1998)
 Grammy Award Nomination for Best Chamber Music Performance for Early Music (Lachrymae Antiquae) (USA) (1997)
 Grammy Award Nomination for Best Chamber Music Performance for Black Angels (USA) (1991)
 Grammy Award Nomination for Best Chamber Music Performance for White Man Sleeps (USA) (1987)

Enregistrements

Kronos Quartet Plays Music of Thelonious Monk (1985)
Mishima : Musique du film créé par Philip Glass (1985)
Kronos Quartet (1986), with music of Peter Sculthorpe, Aulis Sallinen, Philip Glass, Conlon Nancarrow and an arrangement of Jimi Hendrix's Purple Haze.
Music of Bill Evans (1986)
White Man Sleeps (1987)
Terry Riley : Cadenza on the Night Plain (1988)
Winter Was Hard with music of Aulis Sallinen, Terry Riley, Arvo Pärt, Anton Webern, John Zorn, John Lurie, Astor Piazzolla, Alfred Schnittke and Samuel Barber (1988)
Kronos Quartet Plays Terry Riley: Salome Dances for Peace (1989)
 Steve Reich : Different Trains (1989)
 Black Angels (dont George Crumb's Black Angels, 1990)
 Witold Lutosławski : String Quartet (1991)
 Kevin Volans : Hunting:Gathering (1991)
 Five Tango Sensations (avec Astor Piazzolla, 1991)
 Henryk Górecki : Already It Is Dusk (1991)
 Pieces of Africa (1992, musique par sept compositeurs africains)
 Short Stories (1993)
Henryk Górecki : Quatuor à cordes  et  (1993)
Morton Feldman : Piano and String Quartet (1993, avec la pianiste Aki Takahashi)
At the Grave of Richard Wagner (1993)
Bob Ostertag : All the Rage (1993)
Night Prayers (1994)
Kronos Quartet Performs Philip Glass (1995)
 Released : 1985-1995 (1995)
 Heat (par Michael Brook, Brian Eno, Elliot Goldenthal, 1995)
 Howl, USA (Allen Ginsberg's poem Howl set to music, as well as other Cold War pieces, 1996)
Osvaldo Golijov: The Dreams and Prayers of Isaac the Blind (1997)
Tan Dun : Ghost Opera (1997)
Early Music (1997)
Kronos Quartet Performs Alfred Schnittke : The Complete String Quartets (1998)
 John Adams : John's Book of Alleged Dances (1998)
 Kronos Quartet : 25 Years (10 disks)
 Dracula (par Philip Glass, 1999)
 Requiem for a Dream (avec Clint Mansell, 2000)
 Caravan (2000, with guest artists: Zakir Hussain, Taraf de Haïdouks, Kayhan Kalhor, Ziya Tabbassian, Ali Jihad Racy, Souhail Kaspar, Martyn Jones)
 Steve Reich : Triple Quartet (2001)
 Terry Riley : Requiem for Adam (2001)
 Nuevo (music of Mexican composers, 2002)
Alban Berg : Lyric Suite (2003, Grammy Award Winner)
Harry Partch : U.S. Highball (2003)
Pēteris Vasks : String Quartet No. 4 (2003)
Mugam Sayagi : Music of Franghiz Ali-Zadeh (2005)
You've Stolen My Heart : Kronos Quartet, Asha Bhosle (sorti en ), a tribute to Rahul Dev Burman.
 Clint Mansell : The Fountain (2006)
 Amon Tobin : Foley Room (2007)
 Nine Inch Nails : Year Zero Remixed (2007, sur la piste Another Version of the Truth)
 Dark Was the Night (2009, Dark Was The Night)
 A Thousand Thoughts, Nonesuch Records, 2014 (compilation)
 Journey et Lost Light (2017, bande originale du jeu vidéo Destiny 2)

Notes et références

Liens externes

Quatuor à cordes (ensemble)
Ensemble de musique contemporaine
Musique à San Francisco
Groupe musical formé en 1973
Lauréat du prix Schock
Artiste de Nonesuch Records


text:
namespace Suneco.SitecoreBlogs.BestPatternMatches.Services
{
    using System;
    using System.Collections.Generic;
    using Suneco.SitecoreBlogs.BestPatternMatches.Models;

    public interface IContactIntelligenceService
   {
        IEnumerable<BestPatternMatch> GetBestPatternMatches(Guid contactId, int pageNumber = 1, int pageSize = 3);
    }
}

redpajama_set_name: RedPajamaGithub


Contractor will reject an interchange (transmission) that does not contain a valid ID in ISA06.
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Contractor will only process one transaction type (records group) per interchange (transmission); a submitter must only submit one type of GS-GE (Functional Group) within an ISA-IEA (Interchange).
Contractor will reject an interchange (transmission) that is submitted with an invalid value in GS03 (Application Receivers Code) based on the carrier definition.


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text:
Illustrated essays on motion pictures and the performing arts.
Tag: Daniel Fapp (cinematographer)
Natalie Wood: On the Cusp* 1960-1963 (Part One)
Posted on May 12, 2011 May 12, 2011 by Gene Zonarich
[This post is part of a planned series of essays on the film career of Natalie Wood. They are intended to illuminate not each and every film, but rather the choices, situations and circumstances that led to her participation in the more important films of her career and the performances she gave in them. (In some films, "West Side Story" for example, I spend time on analysis of aspects of that particular film beyond her participation in it.) Her's is a career — and life — that fascinates more with each revelation of the many twists, turns, coincidences, ironies and the patterns that seem to emerge and form a sort of narrative of her so very brief time here. In each of these essays, I present facts as I know and understand them (and I ask the reader to keep in mind that essays are opinion, not recitiation of facts and hard evidence to reach a degree of proof), and I offer my analysis and interpretation of those facts for the benefit of the reader who may, in turn, draw their own conclusions. If those conclusions differ, so much the better for discussion and exchange of new ideas and diverse opinions.]
Natalie Wood was a rare commodity in the fading film factories of Hollywood at the end of the nineteen-fifties: a former child actor with a future. She had been an adorable and precocious child actress, but not overly cute or precious — never quite the "star" child; maybe not being the next Shirley Temple worked to her benefit. As she outgrew childhood, she was pretty in a delicate way unusual for that typically awkward period between onset of puberty and blossoming adolescence (a period of youthful development not given its own name until the era of 'tween tyros Hilary Duff and Miley Cyrus). Eager to shed the ponytails her mother and directors forced her to wear in film roles until she was nearly 15, she was ready to explode through that 'tween period into full-blown, but still young, womanhood in her first significant young adult role as Judy in "Rebel Without a Cause" (Warner Brothers, 1955, directed by Nicholas Ray), opposite James Dean. A more iconic film, director and co-star she could not have selected had she been able to control the vagaries of fate by sheer force of will.
Yet this would be the unfortunate pattern of her career: huge steps forward, followed by stultifying periods of inertia, of hesitation — time lost, and not recovered — or worse, two steps backward. And that is precisely what occurred after "Rebel" was released.
Her next role after "Rebel" was a small part in a major film, another landmark of mid-twentieth century American filmmaking, John Ford's masterpiece, "The Searchers," (WB, 1956), with the top American male star of the era, John Wayne, and one of the hottest young actors in Hollywood, Jeffrey Hunter. Despite her relatively high billing (fifth in an outstanding, veteran cast) her screen time, all of it in the last five minutes of the film, could be counted in seconds. She had no lines of dialog. But the character of "Debbie," (played as a small child in the opening scenes by another actress), offscreen and unseen from the time her family is slaughtered and she is captured by a native tribe, is the focal point of the film and the object of her uncle Ethan's (Wayne) search. She is also nearly the victim of his powerful race hatred, but is saved at the end of his search for her by his loyalty to and love of family. For these reasons, this tiny part is far more than a footnote to a great film — it is a catalyst for the emotional climax of the narrative, a story that resonates with audiences to this day, as timeless now as it was fifty years ago, or as it will be a hundred and fifty more from now..
ABOVE: Ethan (John Wayne) pursues the fleeing Debbie (Natalie Wood), his niece who was captured and raised to adulthood by a native tribe, and married to a "buck" indian. Just moments before this scene, Debbie's indian husband had been killed by her cousin Martin (Jeffrey Hunter). Ethan, in the fury of his race hatred, intends to kill Debbie too -- as the "wife" of an indian, she has been "ruined" for white civilization and white men. BELOW: Debbie, expecting to be killed, is stunned when her uncle Ethan instead lifts her off the canyon floor. She collapses into his arms, soon to be reunited with her surviving relatives.
For Natalie Wood, "The Searchers" was of modest value at best to the development of her career, which at this point required adult roles — young, to be sure, but no longer adolescent — no more dreamy teens were necessary after "Rebel." A strong followup to "Rebel," would have made sense of her participation in "The Searchers;" it would have put that limited role in its proper context within her developing career: a small but significant and memorable part in a great film, working among a cast of stars and veteran character actors, and working for a legendary director.
But her next role was in a routine police drama, "A Cry in the Night," (WB, 1956, directed by Frank Tuttle), a black and white (figuratively and literally) crime story, better suited for the small screen in 1956 (the nucleus of its production company would create a legendary television series, the long-running western drama, "Bonanza," three years later).
In "Cry," she played the kidnapped victim of a young male sociopath. He was the dominant character in the screenplay and likewise in the completed film as portrayed by Raymond Burr (another future legend of television in two long-running series) as the twisted, misunderstood, momma's boy, hulking but sensitive: James Dean with a streak of psychotic mother-love and violent, lightening-quick mood swings. It was clearly Burr's film, and did little for the career of Natalie Wood but mark time.
An ideal role for her, on paper and in theory, should have been the title character in "Marjorie Morningstar," (WB, 1958, directed by Irving Rapper). Some felt she was miscast as the young dreamy Jewish girl who aspires to be a dancer and falls in love with her dance instructor (it anticipated "Dirty Dancing" by about thirty years). But the real miscasting was 45 year old Gene Kelly (26 years her senior in real life), as Marjorie's love interest. Creepy then, creepy now. The film bombed with critics and audiences alike. Very unfortunate and certainly unanticpated. The book on which it was based — by the author of extremely popular, epic, soap-operatic novels, Herman Wouk — was a huge, late-fifties bestseller, and the film version should therefore have had a strong head start with an all-but-guaranteed audience base. It didn't work for audiences, critics, and it did not work for Natalie Wood. What should have been her best film role between "Rebel" and her first triumphs of the sixties was, instead, another opportunity lost.
The single biggest miracle of the career of Natalie Wood, unmentioned directly or else not given the proper context or emphasis in her career by anyone or any writer I've ever read, is that she survived this period, a critical period early in her adult career — already a difficult and in most cases impossible transition for successful child or teen actors. She survived this string — five years — of mediocre films, and had a devastating loss in her personal life: a failed first marriage. She survived it to become not just successful, not just a star, but a major star on the cusp* of superstardom (before "superstar" had entered the language in the mid-60s courtesy of Andy Warhol and his Factory). And it all happened with just two breakthrough films — two roles, both perfect for Natalie Wood, and both in the same year, 1961: Deenie in "Splendor in the Grass" and, of course, Maria of "West Side Story." The former was a role that fit like a glove, a role she seemed born to play and one that was plainly reflective of her recent past and hauntingly predictive of her future. The latter — though hardly created with her in mind — she made her own, and so thoroughly, so convincingly, it seemed that it had been written only for her to play.
But there was still one turd to hurdle, a terrible film made during and at the end of her marriage, her first, to Robert Wagner. Both of the (2000-2002) significant biographies of Natalie Wood deal with her marriages in detail. That's not my interest here. It's doubtful that a happier married life would have made her next film, her first of the 1960s, any better.
"All the Fine Young Cannibals" (WB, 1960), is without question the worst film of her adult career, and her worst performance as well. However, my theory of film acting gives close to equal credit or blame to the person who has the final say, at least on set, as to when a performance is good enough — the director. Suffice to say that it was not a high point of Director Michael Anderson's career (whose work prior to "Cannibals" included the widescreen big budget epic "Around the World in 80 Days" (1958), and the film for which he is probably best known today, the sci-fi thriller "Logan's Run," (1976). Nor was it characteristic of the career of the man who had the final word on the production, Executive Producer Pandro Berman, who had been responsible in large part for the amazing streak of wonderful Astaire/Rogers films of the thirties at RKO.
Natalie Wood was not alone in this travesty. It was also home to the worst (also, by far) screen performances of Robert Wagner, George Hamilton and Pearl Bailey (still doubt my director-acting theory?). No one escaped unscathed except veteran character actress Louise Beavers as (what else) the maid of a wealthy family. The strongest element of "Cannibals" was the photography — not surprising given that the cinematographer was William Daniels, whose career up to that point spanned more than forty years. Daniels was Greta Garbo's favorite "cameraman," and was one of the two cinematographers on Erich von Stroheim's monumental film project, "McTeague," released as "Greed" by MGM in 1925, and a film many (myself included) consider a highpoint of silent film.
But this is where fate, in whatever form it may take, intervened in the career of Natalie Wood . . . and not a moment too soon.
THE REALISTS: "Riff" (Russ Tamblyn) leader of "The Jets" on the mean streets amid the tenements (before 1960s demolition for the Lincoln Center complex) of Manhattan's West Side. THE DREAMER: Tony (Richard Beymer) and his premonition that something great is coming . . . and it would come, but in the final 12 hours of his life.
Tony's dreams lift him -- and us -- from the dismal, dank alleyways upward to where the clotheslines appear transformed into a kaleidoscopic dreamworld . . . leading to . . .
. . . another Dreamer, . . . Maria . . .
. . . and Dreamer Maria is confronted with another Realist, her cousin Anita (Rita Moreno).
"West Side Story" was an innovative stage musical, and one of the greatest success stories in the history of American theater. In its melding of modern dance with a 400 year old story of star-crossed lovers and an operatic score by Leonard Bernstein as counterpoint to its gritty, modern urban setting, it was a landmark of musical theater of any form. An it is as close to opera in form and presentation as earlier, more celebrated works, such as George Gershwin's "Porgy and Bess."
Leonard Bernstein was already a celebrated figure in American music, the "face" of classical art music to the general American audience of the mid-twentieh century. The choreography, the modern dance "set pieces" that drive the story forward, were by Jerome Robbins. The "book" by Arthur Laurents and song lyrics by Stephen Sondheim was "Romeo and Juliet" with racial/ethnic conflict (as opposed to the kind of teen angst ala "Rebel Without a Cause" that one might have expected to come out of the explosion of pop psychology in the 1950s).
The film adaptation was also as innovative as one could find in mainstream American filmmaking at the dawn of the 1960s. The film was perhaps the best example to date (in 1961) of the reinvigoration of the screen musical that began in the early to mid–1950s, spurred by the adaptation of Broadway stage musicals to film via widescreen with Cinemascope, then later in the decade with the 70mm format, which was the process chosen, and wisely, for the screen adaptation of West Side Story. The location shots (though few in number and almost all in the first ten minutes (including the opening montage from above New York City); and the dance sequences in particular, benefited greatly from the wider format, and gave nearly as much depth as width to those scenes, with judicious camera placement, editing and process photography. It gave added depth and meaning to the quiet, non-dance moments within or between the angular and often frenetic dances on city streets, rooftops . . . and at the gymnasium where Tony and Maria first lock onto each other's gaze:
At the far left and far right in each of the two frames above, Maria and Tony stand riveted, each by the sight of the other, motionless, as the rest of the dancers on the gymnasium floor melt away . . .
BELOW: Director Robert Wise, possibly better known to fans of film noir for his work in that genre in the late '40s and early '50s, uses the 70mm format not just to take advantage of its extra wide field, but to add depth of field by filling successive planes within the frame from front to back, as in this sequence with Bernardo (George Chakiris) and Anita (Rita Moreno), the "Sharks" and their girlfriends. The scene culminates in the extended "America" dance set-piece, a highlight of the film:
Anita (to Bernard0, arguing over their former home, Puerto Rico): "Was it good there? We had nothing!"
"I like the isle of Manhattan . . .
. . . smoke on your pipe . . .
. . . and put THAT in !"
"America," music by Leonard Bernstein, lyrics by Stephen Sondheim. "West Side Story," United Artists, 1961.
In the noisy hallways of their west side tenement, and in Maria's room, quiet but for the sound of her prayers, vibrant colors jump from the frame in each setting. The use of color by director Wise and cinematographer Daniel Fapp, while not as purposeful and focussed as in later works in the decade by Fellini or Antonioni, is more prominent in "West Side Story" than any mainstream Hollywood production before the mid-sixties. Color as used here, in the film's interiors seems to belie the difficulty of the lives of Puerto Ricans in the America of Manhattan's West Side, as opposed to the far less vibrant, and often dull colors of the "exteriors," at least those shot on sets in the studio (the scenes shot on location in the streets of New York at the film's beginning, in daylight, are more saturated in color).
ABOVE and BELOW: In these two sets of frames from the "Tonight"/"Somewhere" sequence, all the elements of wideframe composition, width and depth, and the subtle but intense use of color, and crisp deep focus in which every physical detail, the brick alleys, windows illuminated warmly among the brick facades of the tenements and cast iron fire escapes (which were the chosen image used in the poster art for the film by Saul Bass), are combined to create the film's most iconic image, the "Romeo & Juliet" balcony scene, in a mid-20th century reincarnation: Tony and Maria and their back-alley "balcony."
BELOW, in the first set of frames: Maria's father hears voices outside their apartment, and calls to her that it is late, and past bedtime. Tony, with the certainty that this "love at first sight" is the beginning of a life partnership, assures her, "I will like him, and he will like me . . ."
ABOVE and BELOW: Almost immediately, Maria's smile disappears and now she becomes a "realist" — she knows that the hatred in her father's heart and mind toward others not of their kind will never allow him to accept Tony . . . but she puts on a brave face, and with Tony's exhuberance beginning to infect her, she manages to smile once again.
BELOW, the classic images of Tony and Maria in the film adaptation of "West Side Story." In New York and Paris, the film played multiple showings seven days a week, continuously, for two years (1962-1963) after its premiere in late 1961.
After the emotional climax of the "Tonight"/"Somewhere" sequence, the play, the film, and Tony's twelve hours of anticipation and bliss are nearly half over. The hours that spanned the late afternoon premonition "Something's Coming," the evening at the dance and the revelation of "Maria" to him, and their late night emotional bonding between the tenements in "Tonight" and "Somewhere," are now behind him. The remaining hours, and with them Tony's dreams . . . and his life . . . will be gone before the sun rises.
[End of Part One, Natalie Wood: On the Cusp* 1960-1963. Part Two will begin with the critical and commercial response to "West Side Story," industry acclaim for Natalie Wood, "Splendor in the Grass," her best performance on film, and will return, fittingly, to New York City in early spring of 1963 and the making of "Love with the Proper Stranger."]
Tagged A Cry in the Night (1956), acting, Arthur Laurents, Bonanza (television series), Color in film, dance in film, Daniel Fapp (cinematographer), Film Musicals (Widescreen), Gene Kelly, George Chakiris, Herman Wouk, James Dean, Jeffrey Hunter, Jerome Robbins, John Ford, John Wayne, Leonard Bernstein, Marjorie Morningstar, modern dance in film, Natalie Wood, Nicholas Ray, opera in film, popular culture, racism depicted in film, Raymond Burr, Rebel Without a Cause, Richard Beymer, Rita Moreno, Robert Wagner, Robert Wise, Russ Tamblyn, Saul Bass, Stephen Sondheim, West Side Story (1956 Broadway musical), West Side Story (1961 film), William Daniels (cinematographer)Leave a comment
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THE PICKFORD BIOGRAPHS: "A BEAST AT BAY"
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THE PICKFORD BIOGRAPHS: THE COMEDIES!
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FLORENCE LA BADIE, PART TWO: THE ACTRESS UNAFRAID
THE PICKFORD BIOGRAPHS: "THE MENDER OF NETS"
ZaSu PITTS, UNEXPECTED
THE PICKFORD BIOGRAPHS: "AN ARCADIAN MAID"
THE TWO MARYS
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text:
Lomba ist eine portugiesische Freguesia (Gemeinde) im Kreis (Município) Lajes das Flores auf der Azoren-Insel Flores. In ihr leben  Einwohner (Stand ).

Einzelnachweise

Lajes das Flores


text:
Q: akka with play framework still learning to master akka java with play framework. I have a code snippet below. It was working fine but has decided to give some headaches.
public class Application extends Controller {

static ActorRef masterActor;
  RubineActor rubineactor;

  public static Result index() {
      return ok(index.render(null));
   ........ somecode
  }

it was working fine but now my eclipse juno complains that it cannot resolve the index object in the return line . I am new to both akka and play framework . Can someone please explain what is happening to me. cos have to submit the project as my final year project. thanks

A: Your problem is not related to Akka, it's a template concern.
The variable index is provided by a template import, certainly import views.html.*;
Eclipse sometimes cannot resolve this object because it is generated automatically by Play after the first request.

Templates are compiled as standard Scala functions, following a simple naming convention. If you create a views/Application/index.scala.html template file, it will generate a views.html.Application.index class that has a render() method.

See the hello word sample for a concrete exemple.

redpajama_set_name: RedPajamaStackExchange


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