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Ashkenaz Festival > Latest News
Lucidarium Ensemble: Commemorating the 500th anniversary of the Venice Ghetto
One of the many overarching themes at this year's #AshkenazFest is the commemoration of the 500th anniversary of the establishment of the Venice Ghetto in 1516. This was the first such Ghetto of its kind in the world (in fact the word Ghetto comes from the Italian word for foundry, geto, referring to the site's prior use), and while it segregated Jews from the greater Venetian population, this was as much about protecting the Jewish population as it may have reflected any prejudice. Jews seeking a place of refuge from persecution across Central Europe were in fact attracted to the relative cultural freedom experienced by Venetian Jews. This created a cultural intersection between Ashkenazi, Sephardi, Turkish and Italian Jews. Though conditions were less than ideal, Jews prospered culturally, bringing study, scholarship and some permissible commerce into the community. The Ghetto thus became a place that attracted Christians and Gentiles to concerts and theatre. The melting pot that became the Venetian Ghetto remains today, 500 years later, an illustration of the impact of Jewish cross-cultural influence.
In addition to a lecture by esteemed scholar Shaul Bassi, and a fantastic exhibition about the Ghetto that comes to us from the Museo Italo Americano in San Francisco, the Festival will feature a marquee performance by renowned European chamber music ensemble Lucidarium, who specialize in bringing little-known musical repertoires from the Renaissance and Middle Ages back to life in an entertaining, and engaging way for a 21st century public. Their show, entitled "Sounds of Shylock's Venice," promises a fascinating musical kaleidoscope of Renaissance-era sounds, performed in a variety of languages (Hebrew, Yiddish, Ladino, Italian) and on exotic period instruments. This is one of the few ticketed events in the Festival, and it happens to be one that I am particularly excited for.
Q&A with Lucidarium Ensemble's Avery Gosfield
This week, I asked Lucidarium Ensemble's co-artistic director Avery Gosfield to answer a few questions giving us further insight into this momentous anniversary and the program the group will share with us here on Saturday September 3, 7pm at Harbourfront Centre Theatre.
Q: You along with your co-artistic director, Francis Biggi, conduct much of the research that goes into developing programs, can you tell us a little bit about that process? Where do the visions and inspirations come from? What is the main focus of your research?
A: Usually we have a story we want to tell, and begin researching a particular period in time, a milieu, the general social structure. A lot of our work is centered on the poems that we know were sung but for which no written music remains, and archaic traces that have stayed in certain popular music traditions. One example is Shuruq, one of Francis' programs, which features two young Palestinian musicians, and focuses on the parallels between medieval music and the modern Arab tradition. Another is Hombres de Maïz, which traces the links between the Northern Italian repertoire and the music played in Northern Mexico today. Francis concentrates more on Italian music, and I am more interested in Early Jewish music, but both are part of a larger project designed to bring the music of the other 98% – the sectors of the population that lived in the shadows of the courts and ecclesiastical institutions that were the centers of music writing and record keeping – back to life.
Q: How does Shakespeare's Merchant of Venice reflect the cross-cultural influence of Jews in the ghetto?
A: In the third scene of Act I, Shakespeare sums up the rules governing Jewish and Gentile relations in the Italian Renaissance, when Shylock says: I will buy with you, sell with you, talk with you, walk with you, and so following; but I will not eat with you, drink with you, nor pray with you.'
Q: What sort of vibe can spectators expect of this show? Is the program mostly in Italian?
A: The program focuses on musical life both in and out of the ghetto: mainstream dances and songs for carnival, a festive hymn welcoming the Sabbath, a rollicking account of a (pre-ghetto) fire on the Rialto. Most of the program is very lively, but there are also more pensive moments: a piyyut mourning the destruction of the Temple, a selection of coplas about Josephs's interpretation of Pharaoh's dream. There are songs in Hebrew as well as the three major spoken languages of the Ghetto: Italian, Yiddish and Spanish (all transcribed in Hebrew letters), as well as the Italian and Venetian dialects that would have been heard beyond the ghetto gates. Recited texts drawn from the Venetian archives as well as Jewish sources that illustrate different aspects of life in the ghetto – ranging from comic to tragic – round out the picture. The main 'nouveauté' of our performance at Ashkenaz will be the projections by the Italian-Swiss video artist, Silvia Fabiani: which use images drawn from Jewish Italian sources to draw the audience into a kind of 360 degree image of Shylock's world.
Q: It is said that your group specializes in reviving overlooked musical repertoires from the Renaissance and Middle Ages, how do you so successfully adapt these musical repertoires such that it is enjoyed by audiences today?
A: Although we try and respect the past, we know that what we are making is 21st century music, and embrace the creative aspect of what we're doing. We try and draw audiences into another time and place, but we try and have fun while we're doing it, and this usually rubs off on the audience. Playing in Jewish and world music festivals has been a great 'school' for this, because we're often dealing with audiences that are not familiar with classical or early music, so that we have to work harder to draw them in. When we play in early music festivals, which can be quite serious, it's nice to see how audiences react to a situation where they are not only allowed, but are actually expected to have fun…
Q&A: Daniel Kahn, the inaugural Theodore Bikel Artist-in-Residence
I can't believe we're less than two weeks away from this year's #AshkenazFest. With all the hype in the office and everyone running around like chickens with their heads cut off (Chickens..See what I did there? See 11th Ashkenaz Festival logo), it was nice to take a deep breath and check in with inaugural Theodore Bikel Artist-in-Residence recipient, Daniel Kahn.
Dan Kahn will be performing in a myriad of acts at this year's Festival and you really don't want to miss him:
Death of a Salesman (Toyt Fun a Seylsman), BUY TICKETS
Semer Ensemble, Sunday September 4, BUY TICKETS
Yiddish Cabaret, Saturday September 3
Daniel Kahn, "Song Smuggler", Monday September 5
Remembering Theodore Bikel, Sunday September 4
Q&A with Dan Kahn
Q: As the inaugural Theodore Bikel Artist-in-Residence, tell us what this honour means to you and what influence Theo may have had on you as an artist and human being?
A: It's deeply humbling to be given this honour. Theo was a force of nature. A polyglot, polymath, a powerful performer, a progressive, a poet, a pal, and a mensch. I'm grateful for every moment I had with him and I miss him. An artist like him comes along only a couple times in a century.
Earlier this year I wrote about him in an article for Smithsonian Folkways Magazine called "Yiddish Song Smuggling."
Perhaps the most prominent proponent of Yiddish folk song in the American folk revival was the actor-singer-activist-translator Theodore Bikel. After a career that spanned seven decades, Theo passed away this last summer. I had the honour of having him as a friend, mentor, and comrade. Singing in over twenty languages, Theo's universalist humanism—fused with his commitment to a dynamic and defiant Jewishness—was rooted in the songs themselves. As he said, "I sing Jewish songs not because they are better songs than the songs of my neighbour. I sing them because they are mine and unless I sing them that part of the culture will vanish…" His songs were his cultural passport. He was at once an ambassador and a smuggler. He translated numerous songs into singable English and rendered them accessible to a population for whom they were not intended. He opened them up to the world.
Q: What is it about your artistic practice and personal values that makes you an appropriate choice for this honour?
A: There was so much, but more than anything it may be his ability to cross borders: between art forms between theatre and music, between languages with singable translation and the re-contextualization of old songs, and between cultures -both national and political. As I wrote, he was an ambassador wherever he went. And he was damn funny. I still tell every joke I ever heard from him.
Q: You are involved in this year's Festival in a myriad of ways – what are you most looking forward to in your various performances at this year's Festival?
A: I'm looking forward to all of it. Ashkenaz is such an amazing beehive of culture. It's exciting to be able to explore so many different facets of my recent work in once place. Playing Biff in Death of a Salesman again will be a challenge, as it was last year in New York, but I'm sure it will be rewarding. It's a beautiful piece of work. I'm also looking forward to performing with my Berliner friends in Semer Ensemble. It's a great program. And the solo sets and Theo Bikel tribute event are a great honour. I hope I can get some sleep.
Q: Your songwriting has been said to "follow in the footsteps of Leonard Cohen or Tom Waits." What do you think of those comparisons, and who would you say are your greatest artistic influences?
A: I can't deny how much I am under the influence of my influences. These song poets are great teachers. I welcome the comparisons. We're all whittling wood from the same tree. I mean, I've translated songs from both of them into Yiddish, after all. I hope they don't mind.
Q: You were born and raised in Detroit, but have lived and worked in Berlin for many years? Why Berlin?
A: Berlin is a great city. I was invited there in 2004 by Alan Bern and after we re-elected Bush I moved there. I love Detroit and had lived in New Orleans and New York but I had never been anywhere so open and livable as Berlin. It's a true cosmopolis. And I've found an important home in the music and theatre communities there. I especially love working at the Maxim Gorki Theater. And the klezmer scene is really blooming right now. Come visit. We'll get some good hummus.
Q: What other projects are you currently working on?
A: Oy. So many. Later this year I'm releasing a record with a band called The Disorientalists (with Yuriy Gurzhy, Marina Frenk, and Hampus Melin). It's a cabaret song cycle telling the story of Essad Bey, a Jew from Baku who fled the Russian revolution to Berlin, converted to Islam, and became a bestselling author in the 1930s. A crazy life. We perform the program with PowerPoint and sing his whole biography.
At Berlin's Gorki Theater I have three plays running. Two are in the regular program: "Enemies, A Love Story" and "Fear Eats The Soul". I wrote and perform original songs for both of them. The third is "Genghis Cohn", a short Yiddish/German 2-man play that I co-wrote, directed, and perform in. It's an adaptation of a French novel from the 60's about a former SS officer who is possessed by the dybbuk of a Yiddish comedian he shot. Dark dark fun.
Besides that, I'm still playing with The Brothers Nazaroff. Our Smithsonian Folkways record is out and the film that we were shooting the last time we were at Ashkenaz will be released next month. I also have a duo program with Sasha Lurje called Strangelovesongs. We'll do some of that material at Ashkenaz this year. What else? OH. We also may have been working on tracks for a new Painted Bird album…
New food program announced at this year's Ashkenaz Festival
This year's biennial Ashkenaz Festival welcomes a diverse lineup of notable chefs, restaurateurs, and food writers in its first ever Fressers Summit, highlighting the role of food in contemporary Jewish cultural revival. The new program features talks, demos and tastings by some of Canada's most colourful Jewish food personalities, as well as some special guests from south of the border. Notable personalities participating include Zane Caplansky, Bonnie Stern, Leor Zimerman, Judy Perly, Michael Wex, Liz Alpern, Dina Rock and Michael Twitty.
An aspect of all cultures that brings people together, food was a natural choice for the festival's already robust weeklong lineup of international music, film, theatre, dance, literature and visual arts. "I can't believe we haven't done this sooner, "said Ashkenaz Festival's Artistic Director Eric Stein. "The Jewish food scene is exploding right now, and it very much parallels the creativity, diversity and cultural renewal that has characterized our performing arts programs for years." The Summit kicks off at Harbourfront Centre on Saturday September 3, 6pm, with a panel discussion moderated by respected NYC-based food and arts journalist Michael Kaminer. The panelists will introduce themselves to the audience, and discuss their work at the vanguard of the contemporary Jewish food movement, sharing new directions and old wisdom in Jewish cuisine and foodways. Over the subsequent days, each will host an individual session highlighting the historical sources, personal experiences and cultural inspirations that animate their work. The resulting dialogue will nourish the imagination, tickle the taste buds, and provide a window into the heart and soul of contemporary Jewish culture. North America's premier festival of global Jewish music and culture returns to Toronto's Harbourfront Centre for its 11 th year from August 30 to September 5. The Ashkenaz Festival is co-produced with Harbourfront Centre.
Website: www.ashkenaz.ca
Twitter: @ashkenazfest
Facebook: AshkenazFestival
#AshkenazFest
A man, a musician, a magician, a Montrealer, amongst many other titles that don't start with 'M'
Over Labour Day Weekend 2012, I was visiting Toronto from Montreal for a Maccabiah Israel basketball training camp. My Sunday night was open, so my cousin suggested that we check out the Ashkenaz Festival. At the time, I hadn't heard too much about the festival (How things change in just four short years!). I had a blast, but the highlight of my evening was hands down the spectacle put on by Josh Dolgin, aka, Socalled. The energy was electric both on-stage and amongst the multicultural and multigenerational crowd. The Montreal-based performer had his audience jumping, laughing and clapping as he shared with us his remarkable array of talents. I'd been to concerts and music festivals before, but no prior experience had been quite like that. The show embodied Klezmer culture through comedy, music/instrumentals, rap and even magic. I couldn't help but leave the Festival on a "Socalled" high. I haven't had the opportunity to see a live Socalled performance since then, but fortunately for all of us, he'll be putting on several different performances at this year's #AshkenazFest.
Where to see Socalled at this year's #AshkenazFest:
HAPPENING NOW: Tuesday August 9 – Tuesday September 6 at the Miles Nadal JCC: "18 Years in the Yiddish Revival: A Socalled Photography Show"
Abraham Inc. | Saturday September 3, 9:30-11pm
The Great Dolgini | Sunday September 4, 2pm
Socalled's Retro Dance Party | September 3 & 4, 12:30pm
Some questions answered by Socalled
Happening Now: 18 Years in the Yiddish Revival: A Socalled Photography Show at the MNJCC
Q: What does it mean to you to perform at the Ashkenaz Festival? This year, you're performing with Abraham Inc. as well as presenting a photo exhibit, doing a magic show, and late-night DJ sets. What are you most looking forward to?
A: Ashkenaz Artistic Director Eric Stein is an old friend, someone I've known since school. For something like 20 years, we've been watching each other develop into professional artists. So, if I can play a part in making his festival special and amazing, well, that's awesome; it's more than just a professional exercise, it's personal. And because he's my friend, he knows what I can bring to this party. Every participation I've had at Ashkenaz has been super special and different, so I expect nothing less for this year's crop of performances. To play with Abraham Inc. again after a little hiatus will be a real treat: with a band who's individual members are spread out far and wide working on a myriad of private projects, it's not easy to tour, so this Ashkenaz show gives the band a much-appreciated opportunity to meet, work and rock together again. My secret passion is photography. I've been making photographs since I got a camera for my bar mitzvah, 25 years ago. My photo exhibit is a super exciting moment for me to try to get my billions of photographs finally seen by more than just my friends and collaborators, and seeing them enlarged and kicking ass on the JCC walls is an honour and a half. The magic show for kiddies is stressful but one of the most rewarding as a performer: I should at least have some of the words in Yiddish for this year's show. The late-night DJ thing is fun too but I'm not a professional DJ, so there might be some bad mixes. I'll bring a load of real old vinyl LP's of Yiddish theatre, Klezmer, Hassidic, Israeli and whatever else I can, people don't get to hear a lot of these sounds every day.
Q: What is your fondest memory performing at the #AshkenazFest?
A: My fondest memory of Ashkenaz was eating smoked meat sandwiches with Moses Znaimer.
Q: You've collaborated with several talents artists across genres and generations, like David Krakauer, Fred Wesley, Theodore Bikel, Enrico Macias, and dozens more. Is there someone with whom you have not yet collaborated who you're dying to work with?
A: I sure would love to work with Dr. Dre. Or Tom Waits. Or Jimmy Cliff.
Q: Most people are really good at just one thing, but you have a vast multidisciplinary set of expertise – music, producing, journalism, photography, filmmaking and directing and puppeteering – where did you start and how did you come to perfect all of these disciplines?
A: Who said "perfect"? I'm a dedicated hobbyist. I love pursuing my interests, and I'm into working on repertoire. Love studying the details. But I have to love the thing to pursue it: it must be born of pure love. I make puppets because I had a piece of fur kicking around and thought it would be fun to add eyeballs to it and make it talk. I can't explain why I thought that would be fun, or why I would then build a dozen other puppets and use them in musicals and videos. Things start out as hobbies and eventually wind up as part of my artistic life. I like making people go "wow". Practice is key. When I get bored of one interest – or when I feel like, ok that's enough for now – I can turn my attention to another obsession: I'm thus always inspired. Or I try to be.
Q: How did you get the name Socalled?
A: I used to be called "Heavy Jay", in High School. It was one of those Hip Hop names my Hip Hop heroes had: Snoop Doggy Dogg, Q-Tip. So I was Heavy J. I started working with a rapper from Halifax, went by the name of Devilous. I met him through the bass player in a gospel band I was playing with at the time. He called me up one day and asked if I was making beats: at the time, not everybody and their mother was making beats. It was the beginning of a long collaboration with him that lasts until this very day. I guess Devilous noticed that I was not heavy at some point during our early friendship and collaborations, so he started to call "Socalled Heavy J". And then eventually dropped the "Heavy J" and started to call me "Socalled". That was it!
Q: You have a singing dog, Poopsie. Will she be making an appearance at this year's festival?
A: Unfortunately Ashkenaz falls this year at the same time as a very prestigious blues festival in Switzerland; Poopsie had been booked to sing there over a year ago, and found it impossible to reshedule her opening night performance. That, coupled with her opening spot for Elton John's Eastern European tour, made an Ashkenaz cameo out of the question. So, no, unfortunately, no Poopsie this year! #poopsiewerk (Check out Poopsie Sings the Blues on Youtube).
Check back for fresh articles, Q&As, profiles and news. Follow us on Instagram and Like us on Facebook and Twitter to stay up-to-date with all information pertaining to this year's #AshkenazFest
Yiddish is SEXY again! An interview with DOAS's (Toyt Fun a Seylsman), Avi Hoffman
We're nearing the one-month countdown to the 2016 Ashkenaz Festival! As things start to fall beautifully into place, this week, with much excitement, ticketed events for this year's #AshkenazFest were announced. Such events include, The Klezmatics, Lucidarium Ensemble, Muzsikás, Semer Ensemble and We Keep Coming Back. One ticketed event I'd like to highlight in this week's blog post is the Canadian premiere of the Yiddish-language adaptation of Arthur Miller's seminal American classic, Death of Salesman (Toyt Fun a Seylsman).
Ashkenaz, in association with the Joseph Papp Yiddish Theatre, is pleased to present the new Yiddish-language production of the iconic play at this year's Festival. This Canadian premiere production, presented with English supertitles, will feature members of the original New York cast, originally directed by Moshe Yassur.
This week, I connected with renowned Yiddish actor and Death of a Salesman (Toyt Fun a Seylsman) lead, Avi Hoffman. Hoffman received a 2016 Drama Desk nomination as Best Actor for his portrayal of Willy Loman, the NY production also received a Drama Desk Award Nomination for Best Revival of a Play. Another fun factoid, Avi is the third Hoffman to play Willy Loman, following Dustin and Philip Seymour.
Q: Why Death of a Salesman in Yiddish? How does the Yiddish adaption of this play in particular help us interpret the lives of Arthur Miller's characters?
A: Arthur Miller based Willy Loman and the characters in DOAS on his uncle Manny and those around him, mostly immigrant Yiddish speaking Jews, trying to pursue the American Dream. In 1949, when first produced, being Jewish was not considered a positive attribution, and so the characters were assimilated and Americanized to Willy, Linda, Bif and Hap. By restoring the Yiddish immigrant quality we are actually staying true to Arthur Miller's intentions.
Q: Does one need to understand Yiddish to come to this production and understand/appreciate it?
A: Absolutely not. The supertitles clarify the literal meaning of the words, but the highly charged emotions in this powerful piece are made even more profound by the Yiddish language and immigrant experience it brings to the work.
Avi Hoffman and Suzanne Toren
Q: Do you and all of your co-actors share the same passion for the preservation of Yiddish-language and culture? If so, what is the atmosphere/dynamic like between you and your fellow co-actors on-stage and off-stage?
A: I can not answer for all the actors, but many of us feel that we are on an important cultural mission to preserve, not only a language, but an entire history of Yiddish theatre that has largely been ignored in the history books. Before Broadway and Hollywood there was a popular and thriving Yiddish theatre community which laid the foundation for most of what we now enjoy as mainstream American and world culture. Don't even get me started….
Q: What are you most looking forward to about bringing this iconic Yiddish adaption to Canada for the first time and to the Ashkenaz Festival in particular? As someone who works tirelessly to preserve Yiddish culture, what are your feelings about the Festival?
A: I have performed at major Yiddish Festivals around the world, and I am incredibly psyched to finally perform at the Ashkenaz Festival. I applaud all those who have persevered in keeping the tradition of Yiddish alive. Bravo!!!
Q: If you could do a translation and reinterpretation of any play in Yiddish, which one would it be and why?
A: That is too complex a question to answer without serious contemplation, but Joseph Papp's dream in establishing the Joseph Papp Yiddish Theatre was to perform Hamlet and Merchant of Venice in Yiddish. We have our work cut out for us.
Q: What is the current state of Yiddish theatre, is it on the rise or decline? Is it evolving in new ways or is there continuity in the tradition from its heyday in the early 20th century?
A: Yiddish theatre today is more vital than it has been in the past five decades that I have been involved with it. I began my professional career at the age of 10 in the Folksbiene production of 'Bronx Express 1968' and have watched the Yiddish theatre scene deteriorate, almost to extinction. But Yiddish is the language of survival and the past few years have seen a great renaissance of Yiddish theatre worldwide. From the Yiddishpiel – National Yiddish Theatre of Israel, presenting the Joseph Papp Yiddish Theatre modern musical 'Songs of Paradise' to Montreal's Dora Wasserman Yiddish Theatre group's recent production of Mel Brooks' The Producers in Yiddish,' from the New Yiddish Rep's productions of 'Waiting for Godot' and 'Death of a Salesman' to the Folksbiene's recent award nominated production of 'The Golden Bride', and many other Yiddish productions around the world, Yiddish is SEXY again! Constantly evolving and rising from the ashes to delight audiences with its emotional depth.
Q: What is the favorite role you've ever played?
A: Many different roles have been my favorite for different reasons, but Willy Loman is, by far, the most complex character I have ever had the privilege to portray.
Q: You were recently inducted into the Bronx Jewish hall of fame. Can you tell us about this honor and what it means to you?
A: I have to admit that I was quite shocked and humbled to have been chosen for this honour, especially compared to the others inducted with me. When I asked what I had done to deserve this recognition, I was told that I was being recognized for my accumulated accomplishments for past 50 years working to preserve the beauty and depth of Yiddish and Jewish culture. I couldn't be prouder and I am so happy that my mother could be there to share the honour with me.
Death of a Salesman (Toyt Fun a Seylsman) runs from Aug. 31 to Sept. 10 at the Toronto Centre for the Arts. Order your tickets here: http://bit.ly/2amJJTr.
Sholem Aleichem
Sholem Aleichem – prior to joining this year's #AshkenazFest team as the Communications Associate, Sholem Aleichem was just a phrase I would use to greet people – it didn't have much more significance than my own satirical way of saying hello, especially amongst my non-Jewish friends. Since my start at Ashkenaz, however, this phrase has taken on a whole new meaning.
Sholem Aleichem is the pseudonym of one of the founding fathers of modern Yiddish literature and theatre. Often called the "Jewish Mark Twain," he is best known for creating the characters and stories that resulted in Fiddler on the Roof, probably the world's best-known work of Jewish popular culture. There is no greater testament to his influence in his own lifetime than the fact that when he died in NYC in 1916, over 100,000 mourners turned out, making it the largest funeral procession the city had ever witnessed to that point.
Shalom Aleichem's funeral, attended by over 100,000 people
The 2016 Ashkenaz Festival is observing the centenary of the iconic writer's death as an overarching theme. As I have become more and more immersed in this year's Festival program, I have learned the importance of looking at current Jewish arts and culture through a historical lens to fully understand its roots. Sholem Aleichem is one of the most important, if not the most important, protagonists of Yiddish language and culture. His wit and wisdom as well as his own life experiences are quintessential to understanding Ashkenazi Jewish culture. Sholem Aleichem led a life of triumphs, which were often overshadowed by personal travail and tragedy. His stories and characters often mirrored his life experiences and his use of satire in recounting these tragic stories set a tone for his work that is very much prevalent in Yiddish culture today.
Sholem Aleichem's enduring characters and stories are a window into the lives and souls of our East European ancestors. Though plagued with hardships, the characters in these stories managed to remain upbeat and optimistic. Yiddish culture today maintains this theme. For example, Yiddish music that is ever-present at Jewish celebrations is often up-beat and fast tempo, but a lot of melodies have a minor-key, somber undertone, reflective of a history riddled with hardship, but counterbalanced by perseverance, strength and vitality.
Throughout his career in Eastern Europe and North America, Sholem Aleichem was devoted to elevating Yiddish literature and increasing its artistic merit and cultural status. The 2016 Ashkenaz Festival will most explicitly celebrate Sholem Aleichem as the theme of this year's Ashkenaz Parade. Other Festival presentations related to this commemoration include:
A presentation of the film: Theodore Bikel: In the shoes of Sholem Aleichem
Theodore Bikel starring as Tevye in "Fiddler on the Roof"
Ukrainian singer-songwriter Zhenya Lopatnik, whose work symbolizes the survival of the Yiddish language in the country of Sholem Aleichem's birth
A number of other artists who work within Yiddish will be linking aspects of their performance to Sholem Aleichem's legacy as an icon of Yiddish, eg. The Klezmatics, Daniel Kahn, Semer Ensemble.
The Yiddish-language production of Arthur Miller's iconic Death of a Salesman (Toyt Fun a Seylsman), symbolizing the continuing relevance of the Mameloshen in this extraordinary re-imagination of an American classic
This year's Ashkenaz Festival is taking place from Aug. 30 and runs through Labour Day Weekend. Shalom Aleichem's legacy will surely be felt as over 60, 000 people come down to the Harbourfront Centre to celebrate the persistence and vitality of the language to which he was so devoted.
The Klezmatics: 30 years of devotion to klezmer revival
In my first full week at Ashkenaz, I had the opportunity to check in with Klezmatics' Frank London to weigh in on the iconic group's influence and contribution to the revitalization of klezmer music over the past three decades. The Grammy-award winning band is performing its 30th anniversary show on the Festival's opening night, Tuesday, August 30.
Q: As one of the most iconic and influential bands of the klezmer revival, credited with redefining Yiddish roots music for the past three decades, what is your relationship toward the Ashkenaz Festival and what is its personal significance? What does it mean to you to be kicking off the Festival with the Klezmatics' 30th Anniversary show?
A: Both the Klezmatics & Ashkenaz Festival are simultaneously products of and strong motivating factors in the revival of interest in klezmer and Yiddish music and culture that began in the 1970's and flourishes today. Our paths have been parallel; we both believe in the strength of adhering to your roots and moving forward into the future. For us to celebrate our 30th Anniversary and release of our new cd Apikorsim – Heretics at the Ashkenaz Festival is so fitting, a real celebration of what we both stand for.
Q: As the only klezmer band to have ever won a Grammy, what does the award mean to you and how has it shaped any of your future projects, if at all?
A: Winning a Grammy was not only a triumph for the Klezmatics, but also an acknowledgement of all the amazing work created by the countless Yiddish groups over the last 40 years. It both gave the band some serious 'street cred', but also added to the consciousness of our music and culture.
That said, winning the Grammy never influenced our work after that — nothing so cynical as trying to do another project like a previous one because of its success. Our goal is to continue our growth and exploration of Yiddish music and culture in any way possible.
Q: You released your first album in 1989, now 30 years later; you're releasing your latest album since 2011. What are your feelings going into the release of this album versus your first album given the resurgence of klezmer music over the past three decades? Has your artistic approach changed? How has the band evolved?
A: The Klezmatics evolve, but not in a linear fashion. Our latest recording — our 11th or 13th, I can't count — is in certain ways a serious nod to both the tradition and to the sound of the band itself. Hard to believe, but after all these years, Apikorsim – Heretics is the first recording we've done with just the six of us, no long list of guest artists and session musicians and friends and community singing with us, and therefore really represents who we are. Is this a sign of a move towards a 'roots-revival' sound for the band? Nope, it's just who we are on this record. We move in a lot of directions.
Q: How do you manage to stay together over thirty years when so many other revival bands have disbanded? What's the secret to your longevity?
A: Our longevity is based on a mutual desire to keep things new, evolving, relevant and challenging. Not staying in one place. In addition to Apikorsim – Heretics , we have recently created the avant garde – found footage film museum installation with Hungarian film artist Peter Forgacs; and are working on a possible Broadway musical! The secret is to focus on the work. The tradition is strong, it is a well that we dip in and that nourishes us.
Thanks for the great interview, Frank! Side note, according to Eric, Frank is one of the busiest guys around and yet he got back to me with his answers within 24 hours. What a mensch!
The Klezmatics perform their 30th Anniversary show on the Festival's opening night, Tuesday, Aug. 30.
Welcome to the #AshkenazFest Blog!
Vus makht du, folks? My name is Melissa Szilagyi. I am the Communications Associate for this year's Ashkenaz Festival. I come to Ashkenaz from a diverse PR background, ranging from work in politics and public affairs, healthcare and the Jewish not-for-profit sector. As part of our in-house communications strategy, I am launching a blog to help promote this year's Festival. The #AshkenazFest blog is a forum in which we'll hone in on the 2016 Festival's artists and programming, share news and upcoming events and spark relevant discussion surrounding the Festival and global Jewish music, art and culture.
A little bit about how I ended up here
A friend of mine referred me to an opportunity at the Ashkenaz Foundation to help out with some in-house communications leading up to this year's Ashkenaz Festival. Growing up in Montreal, I hadn't heard of the organization nor had I heard of the Festival, or so I believed. Then, I thought back to a beautifully moving havdallah service on Toronto's Harbourfront and a wildly entertaining performance by Socalled that I had attended just a year before I moved to Toronto. As it turned out, I was at the 2012 Ashkenaz Festival.
I came in to meet with Eric and Sam and right off the bat I could feel my heart racing as we enthusiastically brainstormed ways in which to promote this year's Festival. I remember thinking to myself 'This sounds really cool – I like music, I'm Jewish and, get this, I'm Ashkenaz!'. In my first week, however, I quickly learned that the Festival has expanded to incorporate all global Jewish arts and culture, not just music, but film, theatre, food etc., and certainly not just Eastern European Jewry.
On my first day, I was introduced to a very diverse group of people. You may think that an event of this magnitude is planned over the two years between festivals by a 20 plus member team. This is incorrect. A small but mighty group led by Eric Stein, Sam Parnes and Ed Segalowitz, is responsible for putting together this extraordinary seven-day celebration of global Jewish arts and culture over just six to eight months. The office is dynamic, collaborative, fast-paced and loud. Its blue walls, plastered with art and framed posters from past festivals creates a unique environment in which you certainly feel the Yiddishkayt influence, opening doors to creativity and productivity.
A week into this new role and I find myself fully immersed in North America's largest showcase of Jewish global arts and culture, learning more than I ever thought I would about Yiddish culture and klezmer music, in particular. Did you know that there is a Japanese klezmer band, how cool (and unique) is that? They're called Jinta La-Mvta and they're performing at this year's festival. I digress.
The phrase I most often heard from my bubbe growing up was femakh em pisk, roughly translating to shut your mouth. "Femakh em pisk", she'd exclaim as I took over the Shabbat dinner table conversation with endless chatter. Since the time I could speak, I was always a chatterbox. Naturally, this led me to a career in PR. Now, nearly 24 years later, I find myself as a Communications Associate at the Ashkenaz Festival. I like to think that my bubbe would be proud to know that I've chosen my gift of gab to promote a festival historically devoted to reinvigorating her Eastern European Jewry. I'm overjoyed and so grateful to be a part of this team and can't wait to celebrate global Jewish arts and culture at this year's #AshkenazFest.
Tomorrow, I share with you my first interview with one of the biggest names in Klezmer music, Frank London of the Klezmatics.
2016 Ashkenaz Festival
Hard to believe it's that time again, but the 11th biennial Ashkenaz Festival is now less than two months away. Our dedicated staff have been working feverishly to put all the pieces of this massive, one-of-a-kind event together. Once again we'll be bringing the best of the international Jewish culture scene to Toronto for one glorious jam-packed week at the end of the summer, and like always, most of it is free. This year, our 90+ events will include more than 250 artists hailing from across Canada, the US, Israel, Germany, France, Italy, Switzerland, Poland, Russia, Ukraine, Turkey, Brazil, and…wait for it…Japan!
Headline programming includes the following:
The Grammy award-winning Klezmatics, celebrating their 30th anniversary with a new CD release concert at the Festival-opening, Annual Summer Yiddish Concert at Richmond Hill Performing Arts Centre
The return of Jewish-funk supergroup Abraham Inc, featuring the titanic trio of klezmer clarinet master David Krakauer, legendary funk trombonist and arranger Fred Wesley (James Brown, George Clinton), and Canada's own Yiddish hip-hop renegade Socalled.
An overarching festival theme observing the 100th yarzheit of iconic Yiddish writer Sholom Aleichem (1859-1916)
The Canadian premiere of the acclaimed Yiddish-language version of Arthur Miller's iconic Death of a Salesman (Toyt Fun a Seylsman), starring the original New York cast, featuring Avi Hoffman, who was nominated for a Drama Desk award for his brilliant portrayal of Willy Loman in last year's NY production of this show
North American premiere of Germany's Semer Ensemble, a supergroup of Klezmer/Yiddish music luminaries from Berlin, recreating music recorded on the German-Jewish Semer Records label in the 1930s, and then lost and believed destroyed by the Nazis.
A multidisciplinary commemoration of the 500th anniversary of the creation of the Venice Ghetto (the world's first Jewish ghetto), including a performance by Italy's Lucidarium Ensemble, a lecture by renowned Venician-Jewish scholar Shaul Bassi, and a traveling museum exhibit.
Unique musical projects that build bridges across musical cultures, including: the outstanding Japanese klezmer group Jinta La Mvta; Hungarian folk music legends Muszikás; Sephardic group Janet and Jak Esim Ensemble from Turkey; and a Jewish-Persian musical project with the Israeli-Iranian Musical Initiative.
Performances by some of the top up-and-coming musicians and bands in the contemporary Jewish music scene, including: Hassidic-Reggae hipsters, Zusha; 21st century Sephardic and Mediterranean music with Israel's Baladino; middle-eastern/Americana fusion with NYC's Sandcatchers;
Stalwarts of the Canadian folk and world music scene, Gypsy Kumbia Orchestra, Beyond the Pale, Ventanas, Nomadica, and the ever-popular Lemon Bucket Orkestra
The Ashkenaz Parade and popular kids/family programming, including a puppet show based on a Sholem Aleichem story, and readings of Dr. Seuss in Yiddish by Avi Hoffman.
A new focus on Jewish food and Jewish foodways, featuring many of Toronto's leading Jewish food personalities and others from further afield
The launch of the new Theodore Bikel Artist-In-Residence program
A week of workshops and masterclasses in Klezmer and Yiddish music, culminating in "student" performances at Harbourfront Centre
Join us at Harbourfront Centre and other venues across the GTA for an unforgettable week of music, culture, community, and spectacle. Be sure to follow us on Facebook or join our email list to keep up with the most current info.
By Eric Stein
Muzsikás: The Lost Jewish Music of Transylvania
Posted in News, Upcoming Events
AN EXTRAORDINARY PERFORMANCE OF PRE-WAR HUNGARIAN-JEWISH MUSIC, BROUGHT BACK TO LIFE BY HUNGARY'S PREEMINENT FOLK ENSEMBLE, MUZSIKÁS
For over 40 years, the musicians of Budapest's Muzsikás Ensemble have been the leading global emissaries of Hungarian folk music. Their legendary career began in the mid-70s when they pioneered in the development of Budapest's Tanchaz (dancehouse) scene, a roots music revival that grew into a national movement celebrating the nation's rich musical culture. They have since toured all over the world, collaborated with leading artists, released many acclaimed recordings and received countless accolades and awards.
In the early 90s, the group embarked on one of their most challenging and meaningful projects: to reconstruct the musical traditions of Hungary's pre-war Jewish community. Focusing particularly on the region of Maramaros (Maramures) in Transylvania, once home to over 5,000 Jewish families, the group conducted field research in the spirit of Bartok and Kodaly, seeking out those who had played with Jews before WWII or could remember anything of the community's musical life. Their work resulted in a widely-acclaimed CD, considered by many to be the most authentic depiction of pre-war Hungarian-Jewish music. Click HERE to read a historical essay by Judith Frigyesi about the significance of Muzsikás' "Maramaros" album.
In this stirring program, the master musicians of Muzsikás bring forth a unique hybrid repertoire, strongly influenced by the broader musical vernacular of the region but inflected with a distinct Jewish accent. Not quite Klezmer and not quite Hungarian village music, this unique repertoire and style stands as a reflection of a community that was deeply integrated in its cultural context. This moving concert program has been described as "aural" history, and is a rare and poignant expression of musical riches now lost from Hungary's cultural fabric as a result of the Holocaust. This unique program was last presented in Toronto 20 years ago, as part of the very first Ashkenaz Festival.
Presented by Ashkenaz Foundation as part of Holocaust Education Week.
Presented with the generous support of Tom's Place; Moses, Libby and Sam Znaimer; Andrea Kalmar; and the Consulate General of Hungary in Toronto.
Muzsikas live in concert from their 40th anniversary show, performing a Jewish dance melody from Maramaros
Muzsikas playing with Roma fiddler Gheorghe Covaci, whose recollections of playing with Jewish musicians before WWII helped inform this project.
Thursday November 5, 2015, 8pm
George Weston Recital Hall, Toronto Centre for the Arts, 5040 Yonge St.
Tickets $36 / $30 (+ HST and service charges) Click HERE to buy now.
For tickets call Ticketmaster toll-free 1-855-985-2787 or buy online at www.ticketmaster.com (service charges apply). To avoid service charges, buy tickets in person at the Toronto Centre for the Arts Box office, 1-6pm Tuesday to Saturday, (closed Sundays and Mondays)
For more info call 416-979-9901 or visit our website
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One Battery Park Avenue | Asheville, NC 28801
Today, the Haywood Park Hotel honors its rich unique history, by delivering exceptional guest experiences and luxurious amenities.
Haywood Park Hotel
Located in the historic Bon Marché (1923-1937) and Ivey's (1937-1975) department store building, after significant renovations and attention to detail, the classic-revival style Haywood Park Hotel opened its doors in 1985. The iconic heritage of Asheville's first department store, coupled with the modern conversion into a boutique hotel, represents over 90 years that our location has been a flagship destination for those seeking the finest in quality and the highest of service. This tradition is at the core of what we at the Haywood Park Hotel provide our guests.
When the Bon Marché opened in the 1920s, dignitaries and celebrities from throughout the world ventured to fashionable Asheville seeking roaring good times and sweet mountain air. It was a time in history of innovation, style, consumerism, individual fame, and fortune. Hometown favorite author Thomas Wolfe was quoted as saying, "…the Bon Marché is such a landmark in Asheville life…I know that it has always stood with the women-folk at home for the best in merchandise and fashion…" It was the Jazz Age, the days of flappers, prohibition, speakeasies, and the Charleston; and the Bon Marché ushered in Asheville's Golden Age of style and fashion.
Stylish living and attire continued to be the custom when Ivey's Department Store took over occupancy in 1937 and the store remained at the forefront of good taste until it relocated in the mid-1970s. Ivey's was a North Carolina-based department store founded in 1900.
Today, the Haywood Park Hotel honors its rich unique history, by delivering exceptional guest experiences and luxurious amenities. The hotel celebrates its days as a Bon Marché and Ivey's by showcasing displays where the mannequins feature fashions and accoutrements of days gone by.
JUST A FEW REASONS TO CHOOSE
Haywood Park Hotel in Asheville, NC
Downtown Entertainment
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Today, the Haywood Park Hotel honors its rich unique history, by delivering exceptional guest experiences and providing luxurious amenities. The hotel celebrates its days as a Bon Marché and Ivey's by showcasing displays where the mannequins feature fashions and accoutrements of days gone by.
info@haywoodpark.com
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Whole house fans can provide effective natural cooling for a fraction of the energy cost of air conditioning by drawing cool fresh air in through open windows and purging hot stale air out through the roof vents, early in the morning and later in the evening.
It creates a fresh, healthy, and comfortable living environment as it pushes heat out of the structure to reduce your air conditioning load.
The hot air gets trapped in your attic and insulation and acts like a large heated blanket that in turn heats up the living space inside your home.
The Whole House Fan takes the warm air from every part of your home and replaces it with the cooler outside air. It does this by pulling in the cooler outside air through one or two open windows.
The warm air is pulled out of your home and is pushed out the attic vents – cooling your attic as well as your living area.
Whole House Fans are the most effective way to cool your home for a fraction of the energy cost of running your air conditioner.


ДОВЕРЬТЕСЬ ЭКСПЕРТАМ В ДЕЛЕ ИСПЫТАНИЯ СТРОИТЕЛЬНЫХ МАТЕРИАЛОВ И ... ЦЕНТР ТЕСТИРОВАНИЯ И ПРОЕКТИРОВАНИЯ СООРУЖЕНИЙ».
2018-11-21 At the time the UK was one of the largest net oil importers in the world, as North Sea oil production only started in 1975. The country also had, via BP, a direct interest in the stability of the region. It may seem tempting to attribute UK intervention in Nigeria to ties to its former colony.
Отделки отдельных ветвей от пучок недавно собранный chamise для удаления мертвых и отделение материалов больше, чем диаметр ¼ дюйма.


If we are to learn anything from the uprisings against racial injustice that has taken place on many campuses, it is that as campus ministers, we can no longer view them as outside of our commission because they are occurring within our very own mission field—the university campus.
Months of student and faculty protests to address racial tensions followed by the threat of a boycott by the football team brought about the resignation of the president of The University of Missouri. Hundreds of students were involved in a campus protest after the non-indictment of Michael Brown and Eric Garner at Princeton University. The list goes on and on.
While some Christians are pleased that students are speaking out, many are less willing to accept that God calls us not only to empathize with their concerns but to also be the ones who help lead the charge for biblical justice. If we are to do the good that God requires of us —which is to do justice, love kindness and walk humbly with Him— what are some of the actions that Christians can begin to take to enter into the fight for racial justice on campus?
Here are four steps that I believe are necessary and wise in our efforts to honor God and stand with others in solidarity.
Before we take any action at all, we need to invite God to give us discernment and direction in prayer so that our actions are biblical and productive. This is always the first step when we engage principalities, powers and systems and structures because our God is full of mercy for the oppressed and will speak.
Recently at Loyola University Maryland, the InterVarsity chapter hosted a "Race Matters" Panel of multiracial students exploring the connection between Ethnicity and Spirituality. A Black student named Kyhlia Desire recounted a conversation with her mother where she shared about some of the racial injustice she was feeling anger toward. Her mother reminded her to pray before taking action saying, "Have you asked God what you should do about it?"
Where in our ministry structure can we begin to pray and listen to God together? Perhaps it is in our small groups or morning prayer meetings or leadership gatherings?
What actions does God want us to take that will lean into our strengths, goals, and initiatives for campus outreach?
Who are some of the people (pastors, Christian professors, chaplains etc.…) we should consult for wisdom and discernment before taking action?
If there is one thing we can be assured of on any campus is that a racial incident will blow up at some point nearly every school year. Yet I am dismayed that Christian students and campus ministry leaders are often caught off guard. Because we are not anticipating racial injustices on campus, we are not ready to respond in any way that could speak to the power of the Gospel in addressing systemic sin.
Because we are not anticipating racial injustices on campus, we are not ready to respond in any way that could speak to the power of the Gospel in addressing systemic sin.
We pride ourselves in being so prepared for every weekly meeting, small group meeting and leadership gathering that we rarely leave ourselves any margins in our event calendar that will give us the flexibility to address racism when it springs up— and believe me it springs up on nearly every campus every school year. We want to be relevant and timely, but our own strength in over planning works to our disadvantage in these crisis moments.
We must become attuned to the signs of the times and then give ourselves the space and availability to do justice when the opportune moment presents itself.
To create margins, make sure that you leave a few weekly group meetings in the schedule unplanned.
Which clubs we are willing to partner with?
What are other campus leaders do we already have a relationship with?
How much of our budget are we willing to allocate toward important justice actions each semester?
Who are our strongest leaders with cross-cultural skills who can serve as spokespersons?
It is easy to presume that we have to be good at everything we do on campus. However, there are other campus groups and clubs that not only have a heart for justice but also are better at organizing than we are. This calls for a humble spirit on our part to become good allies and allow them to lead us in an area that many of our chapters are still not competent in—addressing racial and systemic injustice.
We must be willing to accept that we do not have to be in agreement on every theological, historical and political point in order to work effectively with others. This is a real tension we have to be willing to live with even if it means that we may end up being misunderstood by other Christians. Nevertheless, our greatest evangelistic witness often comes when we stand with the unbelievers and begin to dispel their false stereotypes about Christians as being irrelevant and slow to act for justice.
When we stand with unbelievers, we regain their respect and eventually their interest in understanding the meaning of our presence. What a perfect moment to share our role as God's ambassadors of reconciliation with Him and each other!
We must be willing to accept that we do not have to be in agreement on every theological, historical and political point in order to work effectively with others. This is a real tension we have to be willing to live with even if it means that we may end up being misunderstood by other Christians.
During my student ministry years as the campus staff worker at Hunter College in Manhattan, we felt convicted that God wanted us to have a real presence on a justice issue on campus. We soon discovered that the Disabled Student Union (as they were called then) were experiencing massive budget cuts. We decided to protest and partner with them in every way we could for two years. We tutored and read to students. We wrote letters of protest to the administration. Some of our computer-savvy students repaired their computers. To help them raise money we had an Ethnic Food Fair and collected over $600 in a matter of 3 hours.
The Director, who was Atheist, was shocked that we gave them all the money from the food sale. She began to ask us questions about our faith. One of their students, Jennifer, even became a follower of Christ. We were ecstatic and helped her grow in her faith.
Later that year as Jennifer crossed a busy Manhattan street she fell out of her wheelchair and died from a head injury. No other Christian groups were invited to the memorial service but our group. In fact, two of our student leaders were invited to speak and our gospel choir was invited to sing at her memorial service held on campus. Even the administration took note of our commitment to the Disabled Student Union and gave us an award in recognition of our service to the campus.
These were very important lessons for me as a young staff worker trying to lead students in doing justice and mercy that spoke to the power of the gospel to deliver us from sin and evil.
Join a campus group or local activist organization that isn't at odds with our biblical worldview.
Prayerfully and generously give our time and energy to support an important cause we care about.
Pray for divine appointments to love, serve and share our faith as we partner with other organizations that have come to trust and believe in our leadership.
One of my favorite people is activist and author Alexia Salvatiera who co-wrote Faith-Rooted Organizing: Mobilizing The Church in Service to the World. In one of her chapters entitled Prophetic Advocacy in Public Witness she writes about the prophetic power of symbols.
She states that in the Christian faith community we have a treasure trove of symbols that point to the power of our message of the gospel and that we need to make better use of them in our public communication and witness. The prophet Jeremiah, for example, took a jug and shattered it on the ground before the leaders of Israel. Moses turned a staff into a snake before the unjust Pharaoh. These are just a few examples of ways God communicated prophetic messages through powerful symbols.
Salvatierra also gives an example of when she worked with the Clergy and Laity United for Economic Justice (CLUE) and tried to get several hotel owners to negotiate a contract in good faith. To those who were negotiating in good faith they brought milk and honey during Holy Week. To the owners who were trying to break the union of hotel workers they brought bitter herbs. This symbolic act awakened one hotel owner to see his management choices as a moral issue and soon he too became convicted to negotiate in good faith. We need to pray to gain this kind of clarity regarding the prophetic symbols we are to use that will soften hearts and open closed minds.
What is particularly powerful about prophetic symbols is that not only do they convict those whose hearts must change but also, if done well, can transform those we stand with in our fight for justice and open them up to an encounter with the love of Jesus Christ. It presents to them a fuller and more powerful biblical approach that goes beyond disruption and dismantling of evil systems and moves toward restoration, healing and the biblical concept of Shalom—the way things are supposed to be.
Ezekiel lay on his left side for 390 days to symbolize the 390 years that Israel sinned. On campuses throughout the country students have participated in die-ins, also known as lie-ins, to symbolize the unjust deaths of Blacks and Latinos.
Ezekiel was also told to walk in every direction in a valley full of dry human bones and then to prophesy to them as a way to symbolize God bringing the Israelites out of death. We can use many different kinds of actions to symbolize a campus coming back to life after a racial incident that has created distrust, anger and division.
InterVarsity chapters around the country have used an interactive and provocative approach to artwork, called Proxe Stations, to present a biblical worldview using scripture and images to attract attention and stimulate conversation that points to biblical truth, reconciliation, justice and shalom. The Hope Campaign (pictured above left) is a Proxe Station specifically designed to engage issues of race and reconciliation. You can use browse the entire list of Proxe Stations of InterVarsity Evangelism and prayerfully consider which themes, images and symbols you might use to engage your campus.
As Christ followers what an opportune moment we have been given to engage in racial and systemic justice on campus as prophetic witnesses. May God fill us with the courage to stand with others for the sake of biblical justice that reconciles and restores communities and brings the true Shalom of God and His son Jesus Christ!


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Kennedy wanted Johnson to put an end to it; winning Texas in would be difficult enough without a Democratic party riven by conflict.
At that point Tiger had three basic options. Oswald shot and killed Tippit with a. At the 11th hour, however, the White House was inundated with requests from the CIA and the FBI to redact several hundred documents in the interest of national security.
In all, duringNARA released nearly 35, documents related to the Kennedy assassination, including some 16, that were released in full. Having worked for a prominent polling institute, I can assure you that, yes, it is true that most pollsters are indeed liberals. The fact that Oswald killed the police officer questioning him speaks volumes about his guilt as well.
The governor also testified that when his head was facing about 20 degrees left of center, [27] he was hit in his upper right back by a bullet that he did not hear get fired.
He seemed to do so perfectly as he hit the ball to three feet from the hole and appeared to make a spectacular bogie six on the hole.
At the airport the president and first lady shook hands with members of a hospitable crowd before boarding the backseat of a customized open convertible to ride with Democratic Texas Gov.
During her sophomore year there, she organized a rally in front of a Providence supermarket. Most of the documents released, however, already had been made public but were re-released with fewer redactions.
An article published in Life magazine on Nov. The tent intended for the wedding became a site for family prayers during the search for her cousin. Kennedy, on the basis that John F. Tippitwho is thought to have believed that Oswald matched the description.
Ted Kennedyand my cousin, Caroline Kennedypublicly endorse Sen. This created a two-and-a-half inch oval-shaped air-sucking chest wound. Then of course came the Draconian and nonsensical NCAA sanctions which, remarkably, were void of basic due process, jurisdiction, logic, or even actual evidence.
He features prominently in Kennedy-assassination theories, and many believe he killed Oswald to keep him from revealing a larger conspiracy. Anita Gates of The New York Times wrote that Kennedy would understandably want to be known as "the one who became a filmmaker. He raised his elbows and clenched his fists in front of his face and neck, then leaned forward and left.
The never ending cycle of circular arguments and the media momentum they created had come to its ultimate and grossly unjust conclusion. Kennedy, facing him, then put her arms around him in concern.
Despite this loss, at age 41, Kennedy had already had an extremely successful political career and decided to take the next step. Army general Edwin Walker, a figure known for his extreme right-wing views. The black-white income gap is narrower todaybut only by about six percentage points.
His first run for office was for the Democratic Congressional seat in the 11th District of Massachusetts during the Election of Together they have formed a tidal wave of momentum which has intimidated and stifled any voices of opposition and created the misperception that there is no question that justice has already been served.
Having already explained why I think this is the likely outcome, I would like to examine why it is that so many conservatives appear to be nearly delusional about the current chances of beating Obama.
The Soviets decided to take advantage of the young President and secretly built nuclear missile launching pads on the Island of Cuba pointed at the heartland of the United States. After that, he was re-elected to the United States House of Representatives twice.
I love you, Jack. This was well known to the rest of the country. He was the president, and his job was to send John Glenn into outer space. Now, all that is left is for the actual truth to come out. She conducted interviews with people who were present at the prison along with those directly involved in the abuse.
Polaroid photo by Mary Moorman taken a fraction of a second after the fatal shot detail. In earlyhe bought a. That fourth shot, a miss, was thought to have come from the grassy knoll.
Donald Trump effusively anticipated the disclosure. The facts are on our side. In he might not be.John Fitzgerald "Jack" Kennedy was the 35th president of U.S.A and he served from up till his untimely death via assassination in He was killed on his entourage in Dallas Texas while travelling on an open top car motorcade on 22 November His assassination was the fourth.
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As part of the Winnersh Household Level Flood Mitigation Scheme, funded by the Environment Agency, some 48 residential properties were earmarked to be protected. The properties were located in the flood plain of the River Loddon in an area which has experienced flooding historically from primarily fluvial sources. In the past the roads in which the properties were located have flooded as a result of the River Loddon exceeding the channel capacity. A main river tributary of the River Thames, the River Loddon is maintained by the Environment Agency. There is a flood warning service provided for the residents of Winnersh by the Environment Agency, who have a river level gauge on the River Loddon upstream at Arborfield Bridge and downstream at Sindlesham Mill.
Properties in the village of Winnersh have experienced a long history of flooding, reflecting their vulnerable position located on the floodplain of the River Loddon. Perhaps the most severe flooding in the past forty years was in July 2007, when properties along Reading Road experienced internal flooding, as well as flooding occurring along Cavendish Gardens, Belvedere Walk and Riverdene Gardens. Another notable flood occurred in November 2000, however this mainly affected the local road network and no internal flooding of properties occurred.
A tender document was drafted and a number of companies invited to submit their tenders with a pre-requisite that they should be able to install BSI Kitemark accredited products. Prices were to be submitted for each of the properties included in the scheme although their inclusion in the contract was conditional on the return of an approval form signed by the property-owner. The community itself was directly engaged by Floodguards at a public event at the local community centre. Tenders were submitted by Four companies and were assessed on both quality and value, Floodguards tender was duly accepted.
Having successfully tendered against 4 major competitors Floodguards was awarded the contract to protect all of the properties within the Winnersh Household Level Flood Mitigation Scheme. Individual property surveys and recommendations had previously been carried out by JBA Consulting and details of the mitigation measures required for each property were passed to Floodguards. Floodguards carried out their own installation surveys to ascertain the type and number of our products that would be required in order to protect the properties. In all some 116 standard guards of varying widths were utilised during the project and 4 bespoke guards had to be individually manufactured.
Floodguards completed the contract within the allotted timescale of 6 weeks from start to finish. This was achieved because Floodguards allocated 5 teams of two installers per team to install the mitigation products to the properties. On Average it took a team one and half days to complete each property. However it should be noted that some properties required longer to complete than others and conversely some properties were completed in a shorter time span.
In addition to the products manufactured and installed by Floodguards other "ancillary" products were supplied to property owners, these included: Submersible pumps and Toilet Pan Seals.
The project was completed on time and within budgetary constraints and was received particularly favourably by the residents whose properties were protected.
Mr Klucklow: "The service from Floodguards was quick, efficient and friendly, giving us peace of mind and security. It's been a learning experience, so if we are ever in this position again, we know where to go. It has also been good to see that the E.A is doing something to plan ahead.
C. Nemeth: "Don't worry when the bad weather hits, gives us peace of mind – Good workmanship, excellent customer service, informative and helpful. James was extremely helpful.


ICC Cup, 26 July 2017.
Kevin De Bruyne starred and Danilo made his Manchester City debut in a 4-1 victory against Real Madrid.
Danilo made his Manchester City debut as Kevin De Bruyne led his team to a resounding 4-1 win over Real Madrid at the International Champions Cup.
Danilo, signed for a reported £26.5million earlier this month started on the left against his former club at the Los Angeles Memorial Coliseum.
It took until the second half for City and De Bruyne to come to life on Wednesday.


Contemporary education should provide a level of knowledge that all members of our society must possess regardless of any specialized occupation or profession. To this end, Daytona State College has designed its curriculum to provide you with sufficient knowledge which will permit you to be a more responsible, articulate, and informed citizen.
To see the wide range of degrees and programs we offer, please use the search system below. You can search by the first number of the program code, the first letter of the program name, the program type, or choose to show all of our programs.
College Catalog. To view previous catalogs, please click here.


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An Abstergo display wrist blade made for the production of Justin Kurzel's 2016 video game adaptation Assassin's Creed.
Multiple styles of wrist blades are displayed in cabinets within the Animus hall, notably seen in the background when Nathan (Callum Turner) smashes a cabinet to gather weapons to battle the Abstergo facility's guards. Hidden wrist blades were the signature weapon used by members within the Assassin Brotherhood.
The thin blade and majority of the housing is made from plastic and has been finished in varying shades of dark steel grey paint. Ornate detailing on the front of the housing is made to replicate the appearance of worked ivory. A brown leather wrist strap is attached and additional distressing, including a distorted blade tip, has been applied giving the weapon a worn appearance.
The weapon displays minor additional wear, such as resin pieces becoming partially unattached on the front. However, the wrist blade remains in very good condition.
Materials: Plastic, Resin, Leather, Ferrous Metals.


A special meeting of the Jermyn Borough Council was held on May 17, 2016 at 7 p.m. at the Jermyn Community Center, 440 Jefferson Avenue, Jermyn, pa. Meeting called for personnel matters.
Meeting called to order at 7:00 p.m. Members present: Members Dan Markey, Kevin Napoli, Frank Kulick, Joseph Smith, and Mrs, Joanne Wilson. Absent: Members Robert Parks and John Mark. Also in attendance were Mayor Bruce Smallacombe and Solicitor Al Nicholls, Esq.
President Kulick, after roll call, called for executive session at 7:05 p.m. Meeting reconvened at 7:55 p.m.
First order of business to accept the following resolution: "And now on the 17th day of May 2016, council of the Borough of Jermyn, hereby creates the office of Assistant Secretary, and hereby appoints JoAnne Wilson to act as such until further notice. It was moved by D. Markey, seconded by K. Napoli, to accept the Resolution as presented by Solicitor Nicholls. All present voted in favor. J. Wilson abstained. Motion carried vote 4 yeas and 1 abstaining.
President Kulick presented the letter of resignation from Mrs. Deborah Morcom. D. Markey moved, seconded by K. Napoli, to accept the resignation of the current Borough Manager- secretary/treasurer, Mrs. Deborah Morcom, effective May 27, 2016. All present voted in favor. Motion carried.
D. Markey moved seconded by J. Smith to appoint JoAnne Wilson as the Jermyn Borough Right-to-Know officer. All present voted in favor. J. Wilson abstained, Motion carried — 4 yeas and 1 abstaining.
D. Markey moved, seconded by K. Napoli, the pay Joanne Wilson the rate of $12 per hour as assistant borough secretary. All present voted in favor. J. Wilson abstained. Motion carried — vote 4 yeas and 1 abstaining.
K. Napoli moved, seconded by J. Smith, the council hire Wepay for payroll services for the Borough Of Jermyn effective immediately. All present voted in favor. Motion carried.
D. Markey moved, seconded by K. Napoli, to advertise for the position of part-time secretary/treasurer for the Borough of Jermyn. All present voted in favor. Motion carried.
There being no further business to come before the council, D. Markey moved, seconded by K. Napoli, to adjourn the meeting. All present voted in favor, Motion carried.


If you looking for a teaching job, inlingua School of Languages is recruiting!
Imagine a worldwide network of language centres dedicated to improving communication across borders. Consider a company that offers something for everyone. A local business with an international flavour, an individual centre with global support, a time-tested teaching method with a personal touch. Working for inlingua offers you a unique opportunity to gain experience in a multicultural environment and develop skills for international relations.
If you are passionate about sharing your culture and experience and you want to be become part of a modern and dynamic organisation with worldwide influence and opportunities, you should contact inlingua School of Languages for a rewarding career.
We are always looking for people who are considerate, open-minded, responsible and enthusiastic and who are capable of transmitting these values to our students and clients.
Candidates must be native speakers of the language they teach and hold a University degree or equivalent. Teaching experience is preferable, although training will be provided. Candidates for part-time positions must be Singapore Citizens, Permanent Residents or be on a Dependant's Pass. All candidates must be presentable, dynamic and result-oriented, and possess excellent interpersonal communication skills.
We have an internship programme for students awaiting entry to institutions of higher education or undergraduates of polytechnics and universities.
Overseas students on Work Holiday Pass or Programme are also welcome to apply for an internship programme with us.


Śnieżka SATIN is a paint for interior use, manufactured by taking advantage of innovative technology – Polumers Protection, as well as top quality resins and pigments. As a result of this formula, it ensures incredibly durable coats, which allow to preserve an ideal look and colour of walls. Due to subtle satin finishing, it's recommended to be used on smooth and flat wall surfaces. The paint has unique coatings, which are resistant to washing and scrubbing, hence removal of stains and dirt is almost effortless. Its special features prevent the paint from splattering during painting and allow to apply the paint easily with excellent covering properties.
The paint is intended for decorative and protective painting of interior walls and ceilings made of cement, cement and lime, lime, gypsum plasters as well as cardboard gypsum panels, wooden and wood-based, wallpapers, including fibreglass ones. Due to unique properties and durability, the paint is recommended to be used in areas particularly exposed to dirt such as, for example; passageways, corridors, private and office premises, living and dining rooms.


Fiat 500 R from 1975, with only 2,171 km driven since restoration. Body and mechanics full restoration performed in 2008. Interior in very good conditions. Orange-coloured province initials on the number plates. Original registration booklet in very good conditions.
Car with valid inspection until 2020. All documents are regular for a prospective exportation. The car is in very good conditions and ready to be used.
It does not show rust, only 2 paint imperfections on the body (one on the passenger door and the other near the front bumper - they can be seen in the pictures).
It is fitted with a 650 cc engine (upgraded in relation to previous series) and a synchronised transmission.
A real gem for those who will be lucky enough to win it.
The car can be viewed and collected in Forlì, Italy.
Myyjä toivoo, että kohde noudetaan kaupungista Predappio (Italia). Toimitus voidaan hoitaa ainoastaan sopimuksella. Ostaja maksaa toimituskulut.


text:
D&E's Daniels-Smith Named Outstanding Accounting Educator
ELKINS – Davis & Elkins College Assistant Professor of Accounting Lisa Daniels-Smith has been honored by the West Virginia Society of Certified Public Accountants as the Outstanding Accounting Educator of the Year. She received the award at the organization's annual Committee Day Luncheon.
Established in 1989, the award recognizes an educator who is distinguished for excellence in classroom teaching and motivating students. This is the first time a Davis & Elkins College faculty member has been selected for the honor. Daniels-Smith was nominated by alumna Mia Gresak, CPA, and by Chair of the D&E Division of Business and Entrepreneurship Dr. Carol Carter.
"I am honored that Mia and Dr. Carter nominated me for this award," Daniels-Smith said. "Additionally, I am thrilled that the WVSCPAs committee chose me as the recipient. I have worked in the accounting profession for over 20 years and in the teaching profession for 11 years. To me, this award combines my professional knowledge as a CPA with my love of teaching. It is exciting to watch our students become successful in their chosen profession, and Mia is one of my first graduates from Davis & Elkins College. Dr. Carter is always supportive of my ideas and I could not have achieved my goals without her guidance. I feel privileged to receive this award as a D&E faculty member."
In her letter to the nominating committee, Gresak describes Daniels-Smith as a professor who goes above and beyond by bringing real-life scenarios and materials into the minds of her students, and serving as a mentor well beyond their college career.
"These classroom experiences have benefitted me in ways I would never have imagined," Gresak wrote. "I believe I was able to be acclimated to public accounting while relating my studies and her teachings to my comparable first-year job experiences."
Carter described Daniels-Smith as an extraordinary educator who in the last five years has transformed the College's accounting program and increased the number of accounting majors.
Since joining the Davis & Elkins College faculty in 2012, Daniels-Smith has developed a broader accounting curriculum to include courses such as Ethics, Intermediate III and Income Tax II. To further help her students excel, she revived the College's accounting club and ensures that students have the most up-to-date study materials for the CPA exam. In 2017, she was selected for the Lois Latham Teaching Excellence Award.
In addition to her work as an educator, Daniels-Smith is the owner of Accounting Solutions, LLC, serves as chair of the Randolph County Commission Audit Committee, and is a member of the National Railway Historical Society Washington, DC Chapter Audit Committee; Randolph Technical Center Advisory Council for Business Education; Accounting Professional Research Panel; West Virginia Society of CPAs and AICPA, among other professional organizations.
Daniels-Smith is the former treasurer for the City of Elkins, has taught multiple courses at Fairmont State University and was a corporate officer for Schleer Builders, Inc. She holds a Bachelor of Science degree in Business Administration and Accounting from Fairmont State University and a Master of Accountancy from Stetson University.


text:
Knowledge Discovery: Making Sense of Big Data
Implementing Algorithms for Data Analytics
In an age where we are buried in information, how do we make sense of it?
Graduate student in computer science, Wellington Cabrera (Ph.D., '17) worked on implementing algorithms for data mining and analytics.One of technology's many advantages is the ease with which we can collect information on everything from internet browsing patterns to activity levels recorded by wearable trackers to weather patterns, all of which allow for more accurate insights. This ease of data collection, however, has its own drawback, as the sheer amount can be overwhelming.
Data Mining: Teasing Out Hidden Patterns
While working on graduate degree in computer science, Wellington Cabrera (Ph.D., '17), sought to address this problem by creating and implementing algorithms for data analytics and mining in database systems. This research was performed under the guidance of Carlos Ordonez, associate professor of computer science in the College of Natural Sciences and Mathematics.
In this deluge of information, with all of its tangled implications, data mining works to tease out the hidden patterns.
"Another name for data mining is 'knowledge discovery,'" Cabrera noted.
Parallel Computing Increases Speed and Storage Capabilities
Cabrera's research was to develop algorithms that could work for parallel database systems. Often, database systems are distributed across multiple computers, a strategy termed parallel computing. Although this increases a database's speed and storage capabilities, this also requires an adjustment in how tasks are performed.
"Developing an algorithm for a single computer requires a lot of sequential steps," Cabrera said. "For parallel systems, the challenge is getting these multiple computers to work together to solve problems."
Scalable Algorithms
Cabrera focused on scalable algorithms, in order to get comparable performance regardless of a database's size.
"You want an algorithm that can work just as well with two computers as it does with 1,000," Cabrera said. "When you have many computers working together, you tend to see a degradation. If the algorithm does not coordinate the parallel processing correctly, then the computers cannot work together in the right manner, becoming a mess."
During his time as a graduate student, Cabrera faced many of the typical challenges of juggling coursework, research and his responsibilities as a teaching assistant, all while trying to plan for the next
step in his career.
"To get a Ph.D., you have to overcome many obstacles," Cabrera said.
This hard work ultimately paid off, as Cabrera landed several internships, published numerous papers in well-respected journals, and, after graduation, was offered a job in the tech industry.
"I am very stubborn," Cabrera said. "I don't like to give up."
- Rachel Fairbank, College of Natural Sciences and Mathematics


text:
Industrial Kitchen Sector
Juicer Manufacturer in Turkey-Cancan
CANCAN MEYVE PRESLERİ SAN. TİC. LTD. ŞTİ.
Checkout Juicer Manufacturer in Turkey-Cancan	Watch Video
About Cancan
Cancan is Turkey's leading juicer manufacturer. Salih Özuğurlu founded the company in 1958. First, he began his activities with orange squeezing machines and the repair of kitchen appliances. After that, he continued his services in the food industry with machine production. Later, in 1994, he obtained the company's trademark registration and started his work in Ankara İvedik Organized Industrial Zone. Besides, Cancan continued to produce at its facilities in Sakarya and had the opportunity to expand its product range.
Cancan, a juicer manufacturer, produces manual and automatic juicer, peeling, washing, and canned openers. On the other hand, it has added products such as tomato cutting, solid juicer, lettuce slicing, and fruit peeling machine to its products. Besides, Cancan, which plans new products in line with the sector's needs, has also commissioned the production of cutting and chopping blades.
Product Categories of Cancan
Domestic Type Manual Fruit Press
Professional Type Manual Fruit Press
Cafe Model Automatic Orange Juicer Machine
With Tank Model Automatic Orange Juicer Machine
Cooler Model Automatic Orange Juicer Machine
Hydraulic System Pomegranate Press
Pineapple Peeler Machine
Industrial Type Electrical Can Opener
Industrial Model Pot Washing Machine
Wall Mounted With Intermediate Tap Pre-Rinse Faucet
Quality & Exports
Cancan, a juicer manufacturer, continues its R&D efforts continuously. In addition, it continues its production planning without slowing down. Therefore, it exports 55% of its production. For example, European and Middle Eastern countries come at the top of their markets. In addition, Cancan became the 66th most exporting company in its region in 2020. On the other hand, the company, which aims to increase the share of exports and the number of countries exported, manufactures all products under one roof.
Cancan, a juicer manufacturer, has achieved successful results in the global market with its technology. Therefore, the most important reason for this success has been successful R&D studies. In addition, it continues to lead the way in patents. Most importantly, it is among the companies that have applied for the most patents. On the other hand, it is a strong company that makes its name in the global market with its innovative structure.
Cancan, a juicer manufacturer, has adopted quality and customer satisfaction in all areas of its service. Therefore, it has instilled customer service awareness in all its employees. Thus, it produces larger-scale juice presses and apparatus. To summarize, Candan company is a world brand with its technological and easy-to-use design products.
If you want to know more about juicer manufacturer companies in Turkey, visit our website. Please do not hesitate to contact us by mail at [email protected] or to call/WhatsApp us at +90 532 361 51 49. We can help you to get in direct contact with producers or provide you with everything that you need. Further, you can visit our social media account.
Awards:1958
Products:Domestic Type Manual Fruit Press, Professional Type Manual Fruit Press, Cafe Model Automatic Orange Juicer Machine, With Tank Model Automatic Orange Juicer Machine, Cooler Model Automatic Orange Juicer Machine, Hydraulic System Pomegranate Press, Pineapple Peeler Machine, Industrial Type Electrical Can Opener, Industrial Model Pot Washing Machine, Wall Mounted With Intermediate Tap Pre-Rinse Faucet
Yeşiltepe Mah. Modern San. Sit. 8030 Sok. No:15 Erenler / SAKARYA
https://cancan.com.tr/
Mine Üçer


text:
<?php

namespace ImageOptimizer\TypeGuesser;

abstract class AbstractTypeGuesserTest extends \PHPUnit_Framework_TestCase
{
    /**
     * @var TypeGuesser
     */
    protected $typeGuesser;

    protected function setUp()
    {
        $this->typeGuesser = $this->createTypeGuesser();
    }

    /**
     * @test
     * @dataProvider validImageFileProvider
     */
    public function givenImageFile_returnType($filepath, $expectedType)
    {
        $this->assertEquals($expectedType, $this->typeGuesser->guess($filepath));
    }

    public function validImageFileProvider()
    {
        return array(
            array(
                __DIR__.'/../Resources/sample.png',
                TypeGuesser::TYPE_PNG,
            ),
            array(
                __DIR__.'/../Resources/sample.jpg',
                TypeGuesser::TYPE_JPEG,
            ),
            array(
                __DIR__.'/../Resources/sample.gif',
                TypeGuesser::TYPE_GIF,
            ),
            array(
                __FILE__,
                TypeGuesser::TYPE_UNKNOWN,
            ),
        );
    }

    abstract protected function createTypeGuesser();
}

redpajama_set_name: RedPajamaGithub


RPM International (RPM) Q1 Earnings Preview: What's Shaping Up?
RPM International (RPM) is expected to deliver flat earnings compared to the year-ago quarter on higher revenues when it reports results for the quarter ended August 2018. This widely-known consensus outlook gives a good sense of the company's earnings picture, but how the actual results compare to these estimates is a powerful factor that could impact its near-term stock price.
The stock might move higher if these key numbers top expectations in the upcoming earnings report, which is expected to be released on October 3. On the other hand, if they miss, the stock may move lower.
This specialty chemicals company is expected to post quarterly earnings of $0.86 per share in its upcoming report, which represents no change from the year-ago quarter.
Revenues are expected to be $1.42 billion, up 5.6% from the year-ago quarter.
How Have the Numbers Shaped Up for RPM International?
For RPM International, the Most Accurate Estimate is the same as the Zacks Consensus Estimate, suggesting that there are no recent analyst views which differ from what have been considered to derive the consensus estimate. This has resulted in an Earnings ESP of 0%.
So, this combination makes it difficult to conclusively predict that RPM International will beat the consensus EPS estimate.
For the last reported quarter, it was expected that RPM International would post earnings of $1.18 per share when it actually produced earnings of $0.63, delivering a surprise of -46.61%.
RPM International doesn't appear a compelling earnings-beat candidate. However, investors should pay attention to other factors too for betting on this stock or staying away from it ahead of its earnings release.


text:
'use strict';

// MODULES //

var isObject = require( 'validate.io-object' ),
	isArray = require( 'validate.io-array' ),
	isBoolean = require( 'validate.io-boolean-primitive' );

// ZIP //

/**
* FUNCTION: zip( arr1, arr2,...[, opts] )
*	Generates array tuples from input arrays.
*
* @param {...Array} arr - input arrays to be zipped
* @param {Object} [opts] - function options
* @param {Boolean} [opts.trunc=true] - boolean indicating whether to truncate arrays longer than the shortest input array
* @param {*} [opts.fill=null] - fill value used for arrays of unequal length
* @param {Boolean} [opts.arrays=false] - boolean indicating whether an input array should be interpreted as an array of arrays to be zipped
*/
function zip() {
	var args = Array.prototype.slice.call( arguments ),
		numArgs = args.length,
		opts = {},
		fill = null,
		arg,
		flg,
		len,
		out,
		arr,
		val,
		i, j;

	for ( i = 0; i < numArgs-1; i++ ) {
		if ( !isArray( args[i] ) ) {
			throw new TypeError( 'zip()::invalid input argument. Must provide array arguments. Value: `' + args[i] + '`.' );
		}
	}
	arg = args[ numArgs-1 ];
	flg = isObject( arg );
	if ( !flg && !isArray( arg ) ) {
		throw new TypeError( 'zip()::invalid input argument. Last argument must be either an array or an options object. Value: `' + arg + '`.' );
	}
	if ( flg ) {
		opts = args.pop();
	}
	numArgs = args.length;
	if ( numArgs === 0 ) {
		throw new Error( 'zip()::insufficient input arguments. Must provide at least one array.' );
	}
	if ( opts.hasOwnProperty( 'trunc' ) ) {
		if ( !isBoolean( opts.trunc ) ) {
			throw new TypeError( 'zip()::invalid option. `trunc` option must be a boolean.  Value: `' + opts.trunc + '`.' );
		}
	} else {
		opts.trunc = true;
	}
	if ( opts.hasOwnProperty( 'fill' ) ) {
		fill = opts.fill;
	}
	if ( opts.hasOwnProperty( 'arrays' ) ) {
		if ( !isBoolean( opts.arrays ) ) {
			throw new TypeError( 'zip()::invalid option. `arrays` option must be a boolean. Value: `' + opts.arrays + '`.' );
		}
	} else {
		opts.arrays = false;
	}
	if ( numArgs === 1 && opts.arrays ) {
		// Treat the lone array argument as an array of arrays to be zipped...
		args = args[ 0 ];
		numArgs = args.length;
	}
	len = args[ 0 ].length;
	if ( opts.trunc ) {
		// Find the min array length...
		for ( i = 0; i < numArgs; i++ ) {
			val = args[ i ].length;
			if ( val < len ) {
				len = val;
			}
		}
	} else {
		// Find the max array length...
		for ( i = 0; i < numArgs; i++ ) {
			val = args[ i ].length;
			if ( val > len ) {
				len = val;
			}
		}
	}
	out = new Array( len );
	for ( j = 0; j < len; j++ ) {
		// Temporary array to store tuples...
		arr = new Array( numArgs );

		// Create the tuples...
		for ( i = 0; i < numArgs; i++ ) {
			arg = args[ i ];

			// If an array is too short, use a fill value...
			if ( arg.length <= j ) {
				arr[ i ] = fill;
				continue;
			}
			arr[ i ] = arg[ j ];
		}
		out[ j ] = arr;
	}
	return out;
} // end FUNCTION zip()

// EXPORTS //

module.exports = zip;