The longnose gar is a primitive fish found in rivers and lakes throughout the eastern half of the United States, as far north as southern Quebec and extreme southern Ontario in the Great Lakes and as far south as northern Mexico, They are also known as needlenose gar. A needle-like nose, suit-of-armor scales, and a long body produce a look unlike any other species outside the gar family. Gars are well known for their sharp teeth and aggressive nature. These fast growing fish can obtain lengths up to six feet, weights 20-30 pounds and can live upwards of 20 years.
Longnose gar have streamlined, torpedo-shaped bodies covered with bony diamond-shaped scales. Their long, narrow razor-sharp tooth filled snout is 13 times longer than the narrowest width. Colors vary from brownish to dark olive shades along the back, transitioning to a white underside. Large, round spots generally cover the fins and to some extent the body, although as the fish ages the body spots can fade. Fins are frequently orange-tinted. In addition gills, gar can obtain oxygen by gulping air into their swim bladders, allowing them to survive in lowly oxygenated water.
Gars prefer shallow, slow-moving sections of large bodies of water; often near weeds or floating logs. They are tolerant of wide range of oxygen, salinity, and pollution levels. Preferring warm waters Longnose Gar often bask in the sun near the surface lying very still and often resemble a floating log or stick.
Longnose gars spawn around April/May in shallow water associated with sloughs and streams.
One female can be accompanied by several males as she lays big, bright green eggs (poisonous). These adhesive eggs attach to cobble or rubble substrate and hatch within a week. The parents provide no care to the eggs or hatchlings and leave shortly after spawning.
Fish up to a third of their body length are the primary prey for Longnose Gar. Occasionally they will take crustaceans and other creatures. Gar hunt by slowly stalking or more often simply floating motionless until a hapless fish swims by. They attack from the side catching the prey across their jaws and then they thrash about to lock the prey in their teeth. After they have the fish under control, it is worked around and swallowed head first. Feeding often occurs after dark.


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21 May 2019 Editorial Team
New McLaren GT: superlight Grand Touring, the McLaren way
McLaren Automotive today reveals its unique interpretation of a modern Grand Tourer: the new McLaren GT. Sleek, elegant and muscular, the superlight new GT challenges the conventions of the Grand Tourer category with a compelling blend of beautiful design, high-quality innovative materials, true supercar performance and McLaren driving dynamics and engagement.
"The new McLaren GT combines competition levels of performance with continent-crossing capability, wrapped in a beautiful body and true to McLaren's ethos of designing superlight cars with a clear weight advantage over rivals. Designed for distance, it provides the comfort and space expected of a Grand Tourer, but with a level of agility never experienced before in this segment. In short, this is a car that redefines the notion of a Grand Tourer in a way that only a McLaren could."
Mike Flewitt, Chief Executive Officer, McLaren Automotive
Positioned alongside the established Sports, Super and Ultimate Series families, this is a new McLaren for a new audience and provides an alternative to existing products in an expanding market segment. In re-imagining the spirit of traditional Grand Touring – long-distance driving in comfort, at higher speeds and with room for luggage – McLaren has also redefined the modern GT ownership experience with a car that is lighter, faster and more engaging than existing products in the segment, with greater space, comfort and usability.
Like all McLarens, the new GT has a carbon fibre structure that possesses exceptional strength and rigidity while enabling unparalleled driving dynamics and lightest-in-class kerbweight. At 1,530kg (DIN), the McLaren GT is more than 130kg lighter than its closest core competitor and literally hundreds of kilogrammes less than other cars in the segment. With 620PS from its 4.0-litre, twin-turbocharged V8 engine, the power-to-weight ratio of the superlight new McLaren GT is a remarkable 405PS-per-tonne.
The bespoke MonoCell II-T monocoque – the T denoting 'Touring' – incorporates a carbon fibre rear upper structure that adds minimal weight but allows the creation of a 420-litre luggage area below the front-hinged, full-length glazed tailgate. The tailgate has a soft-close function as standard and can be optioned as electrically powered.
The low height of the engine and positioning of the exhaust system has allowed the volume, shape and usability of the luggage bay to be optimised. A golf bag or two pairs of 185cm skis and boots as well as luggage can be carried with ease, while a further 150 litres of storage at the front means the new McLaren GT can accommodate a total of 570 litres.
The strength of the carbon fibre core structure means that glazed C-pillars and rear-quarter windows can be incorporated into the design, enhancing rearward vision and bringing still more light into an inherently spacious and uncluttered cabin. Dihedral doors swing upwards to expose a wide opening and low sill.
The interior is a cosseting space designed to delight on longer journeys, but with all the essentials for focused, high performance driving; the seating position, location of controls and forward visibility are as important here as they are in any McLaren. The streamlined, electrically adjusted and heated seats, which are unique to the McLaren GT, have been engineered to meet the requirements of Grand Touring, being optimised for long-distance comfort, with the perfect amount of padding and shoulder and back support in combination with superb lateral control.
Technology and modern craftsmanship share equal prominence in the new McLaren GT, with the finest high-quality materials complemented by features such as the most sophisticated McLaren infotainment system to date; hidden-until-lit ambient lighting and the option of an electrochromic glazed panel in lieu of the standard carbon fibre composite gloss black roof, darkening or lightening at the touch of a button. Machined and knurled aluminium switches and controls – including the steering wheel-mounted gearshift paddles – contrast with gloss black surrounds for the infotainment screen, window switches, gear-selection console and air vent housings. A 12-speaker, Bowers & Wilkins premium audio system featuring carbon fibre sub-bass woofers and Kevlar mid-range drive units, is available.
The Nappa leather trim that features as standard can be upgraded to softgrain luxury leather or Alcantara®, depending on which vehicle specification is chosen. Cashmere will become available as an additional choice towards the end of 2019 – the first time that this exclusive material has been used in a production vehicle. SuperFabric® trim for the rear luggage bay is another option, the innovative woven fabric that is infused with a layer of tiny armoured guard plates, providing increased resistance to stains, cuts, nicks and abrasions, as well as being breathable, easy to clean and quick to dry.
The infotainment system developed for the new McLaren GT is the company's most sophisticated to date. Among the fastest-operating in any car, it also features industry-standard HERE® navigation mapping and real-time traffic information. The driver interface operates in a similar way to a smartphone and the seven-inch central touchscreen is used to select from vehicle functions such as satellite navigation, Bluetooth telephony, media streaming and voice activation. DAB digital radio (or Sirius satellite radio in North America) is standard. Heating and ventilation controls are also incorporated into the touchscreen, ensuring ease of use and reducing the overall number of switches and controls. Dual-zone climate control and air conditioning are standard, with the system allowing fully automatic and independent settings for both the driver and passenger.
Ahead of the driver and providing key vehicle information is a 12.3" TFT screen. The instrument graphics are like those seen on aircraft, the aeronautical influences delivering clear, crisp displays that are easy to read. In addition to vehicle speed, gear selection and engine revs, the instrument cluster can also display turn-by-turn navigation, phone calls, chosen audio output and tyre temperatures and pressures. When a reversing camera has been specified, the image behind the vehicle is displayed when reverse gear is selected, which keeps the driver's eyeline as high as possible.
As befits a Grand Tourer, ambient refinement was a priority for the new McLaren GT from the outset. Unique engine mounts that are half the stiffness of those in the track-focused McLaren 600LT help to minimise structure-borne noise, while low-frequency sounds emitting from the carbon fibre structure are reduced rather than amplified into the cabin in the way that they are in the McLaren Senna; in Comfort mode, the new McLaren GT is the most refined McLaren ever.
Creating a new type of McLaren – and the first true Grand Tourer from the brand – saw the McLaren design team embracing the visual history of Grand Touring cars while remaining true to the philosophies that underpin all McLaren design. The long, elegant exterior lines that are widely recognised as Grand Tourer design cues are executed in the new McLaren GT according to the aerodynamic principles that define every McLaren. The muscular rear fenders – another design trait commonplace in Grand Touring history – are an example of the form of every McLaren being true to its function, incorporating here the air intakes for the high-temperature radiators that cool the engine.
At almost 4.7m, the new McLaren is longer than any of the cars in the McLaren Sports or Super Series. The front and rear overhangs extend further than is traditional for McLaren, but the 10-degree approach angle at the front (13-degree with vehicle lift engaged) means the new McLaren GT can cope with the most aggressive traffic calming measures. In combination with underbody clearance of 110mm (130mm with vehicle lift) this ensures the car is eminently usable in all urban situations; not only is it competitive with all rivals, but in 'lift' mode it is the equal of mainstream sedans.
"The new McLaren GT combines McLaren's design philosophies with classic Grand Tourer visual cues. Bold, elegant volumes flow seamlessly from nose to tail, encapsulating the beautifully crafted cabin. The sophisticated, sculpted body expresses both the power of the car and its ability to cosset occupants during long-distance driving. The teardrop shape of the cabin, which stretches back to encompass the rear luggage area, follows the aerodynamic principles inherent in all McLarens, while the muscular rear fenders that form the side intakes for the high-temperature radiators are an example of how we merge both beauty and functionality to create breath-taking authentic designs. The new McLaren GT clearly stands out both as a new type of McLaren and a cutting-edge interpretation of a Grand Tourer for a new era."
Rob Melville, Design Director, McLaren Automotive
The width and stance of the new McLaren GT are emphasised at the front by the signature 'hammerhead line' that runs horizontally across the nose and draws the eye out to the sides of the vehicle. At the rear, an integrated fixed rear wing, large diffuser and substantial exhaust tailpipes are reminders that this is a Grand Tourer with supercar performance.
The source of that performance is a new, 620PS 4.0-litre, twin-turbocharged engine, designated M840TE. Further expanding the family of McLaren V8 engines, it is bespoke to the new McLaren GT and has the immense power and torque and superior exhaust sound quality that are the hallmarks of a true Grand Tourer. Torque of 630Nm is produced between 5,500rpm and 6,500rpm, with more than 95% of this available from 3,000rpm to 7,250rpm. The new engine is mated to a 7-speed SSG transmission to deliver linear, seamless and relentless acceleration.
The performance statistics* speak for themselves: with a launch control function optimising acceleration from a standing start, 0-100km/h (0-62mph) is achieved in 3.2 seconds (0-60mph in 3.1 seconds), 0-200km/h (0-124mph) is dispatched in 9.0 seconds. The maximum speed of the McLaren GT is 326km/h (203mph).
Another defining element of the new McLaren GT – and arguably what will cement its position as the new segment leader – is its dynamic prowess. The suspension, steering and brakes are all bespoke to the car and honed and optimised to provide an outstanding Grand Touring driving experience, with inherent balance, responsiveness and precision yet better ride comfort than any other McLaren.
The suspension is a lightweight aluminium, double wishbone design, paired in the new McLaren GT with hydraulic dampers to deliver Proactive Damping Control. Governed by the most sophisticated iteration yet of the pioneering Optimal Control Theory software algorithm developed for the 720S, the suspension uses inputs from sensors to 'read' the road, interpreting what will likely happen next and reacting predictively in just two milliseconds. Overall, body movement is tailored for occupant comfort and vertical load and contact patch variation are optimised to enhance grip levels, but each of the three active dynamics handling modes – Comfort, Sport and Track – has its own distinct set of parameters to reflect the selected preference, for example, a particularly compliant ride in Comfort mode.
Driving precision and enjoyment is further enhanced in new McLaren GT by hydraulic steering, which uses a single software 'map' across Comfort, Sport and Track modes to deliver optimal feel and response. Reflecting the requirements of the new McLaren GT, it also provides increased assistance at low speeds to aid urban driving and parking, without loss of rewarding feedback at higher speeds.
Just as the steering response more than meets expectations across the wide range of Grand Touring driving styles, so too do the tyres and brakes. McLaren and its technical partner, Pirelli, have developed a bespoke P ZERO™ tyre for the new McLaren GT that meets the demands of high-performance driving and comfort and refinement in equal measure. The 21-inch alloy rear wheels, which are the largest ever fitted to a McLaren, are paired with 20-inch at the front and available in 7- or 15-spoke designs.
The high-performance braking system has also been designed to deliver across the full range of requirements, from precise pedal feel and hard deceleration when driving at higher speeds to usability and comfort at lower speeds or when holding the vehicle in traffic, where less pedal effort is preferable.
"The new McLaren GT delivers the dynamic performance and driving exhilaration expected of a McLaren but is also an exceptionally refined vehicle. We're particularly proud of the Proactive Damping Control suspension, which utilises the next generation of our pioneering Optimal Control Theory to deliver levels of ride comfort that better all previous McLarens. Overall, the breadth of ability demonstrated by the new McLaren GT – especially its everyday usability – is truly remarkable."
Darren Goddard, McLaren GT Vehicle Line Director, McLaren Automotive
The new McLaren GT is available to order now from McLaren retailers worldwide, with customer deliveries commencing towards the end of 2019. UK pricing starts at £163,000 including taxes.
Further information about the new McLaren GT, including detail of the different levels of specification, the range of colours and interior trim choices and the options available – including components developed by McLaren Special Operations – can be found here: cars.mclaren.com/new-mclaren-gt.
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Halifax, England: On Saturday morning, two days after its disastrous by-election loss to the Tories more than 150 kilometres away in Copeland, Cumbria — an area that had been Labour since 1935 — there was little enthusiasm for the party or its leader, Jeremy Corbyn, in the west Yorkshire town — and, equally strikingly, a waning antipathy to Theresa May's Conservatives.
This weekend, while Jeremy Corbyn vows to soldier on, angst is growing at the top of Labour. Corbyn declared himself disappointed by the Copeland result on Friday but delighted that the party had held off Ukip in a second by-election in its rock-solid stronghold of Stoke-on-Trent Central.
Others, however, are not so relaxed. In a speech to Scottish Labour Corbyn's deputy, Tom Watson, had a more sobering, critical message. Stoke and Copeland had shown it was not Ukip that was now the main threat to Labour in its heartlands, as many had feared, but, perhaps more ominously still, the Conservatives.
May and the Conservatives, a party previously riven by splits over Europe but now more united since Brexit, believe they, not Labour, now identify with working people's concerns over immigration and their need for bold, clear leadership. That appeals in places like Halifax. In the budget next week there will be a renewed emphasis on helping working people, remodelling the ex-nasty party's image away from the metropolitan preoccupations of the David Cameron years.
That Ukip imploded in Stoke is some comfort to Labour nationally, but the party's chaotic first period under new leader Paul Nuttall could also help the Tories. Voters turned off by Nuttall seem to be heading instead to the Tories, applauding May's clear messages on Brexit, which contrast with Labour's strained attempts to find consensus.
Labour's paralysis, under a leader who has won two leadership elections but whose MPs mostly have no faith in his ability to deliver, is the Tories' opportunity. They are enjoying their current successes but one good by-election week is not fooling anyone. Political tides can turn fast. Brexit could still floor Theresa May. It is less than three months since the Tories lost the Richmond by-election in leafy south-west London to the Liberal Democrats as Remain voters deserted en masse. But there is one constant: Labour performed disastrously in Richmond too, losing its deposit.
Chris Anderson, a teacher and floating voter, backed Remain but said he liked the way May was handling Brexit. "I didn't vote for Brexit, but I'm glad they're doing it and I think she'll steer us through it," he said.


Dr. Mulera, a native of Kahondo ka Byamarembo, Kigezi graduated from Makerere University, Kampala, with a Bachelor of Medicine and Bachelor of Surgery in March 1977. He received internship training at Nsambya Hospital in Kampala under the supervision of Dr. Veronica Cotter, Dr. Miriam Duggan and Dr. Kathleen O'Sullivan, three Irish women he credits with consolidating his love of clinical medicine in general, and maternal and child health in particular.
Forced to escape from Uganda in August 1977 before completing his medical internship, Dr. Mulera became a refugee in Kenya before taking up employment as an intern and then a medical officer in Maseru, Lesotho.
In 1980, Dr. Mulera joined the Department of Physiology at Trinity College, Dublin, Ireland as a demonstrator in physiology and research-trainee under the supervision of Professor Roland E. Moore.
He arrived in Canada in the summer of 1981 to start his residency (postgraduate training) in paediatrics at the University of Calgary, Alberta, under Professor Robert H.E. Haslam.
It was the beginning of a career that would see him become Chief Resident in Paediatrics at the Alberta Children's Hospital, a Licentiate of the Medical Council of Canada, a Diplomate of the American Board of Paediatrics, a Fellow of the Royal College of Physicians of Canada, a Fellow of the American Academy of Paediatrics, Senior Fellow in Neonatology at the Hospital for Sick Children, an attending staff neonatologist at the same institution and Assistant Professor of Paediatrics at the University of Toronto.
Over the last 18 years, Dr. Mulera has combined his passion for clinical neonatology with leadership in the development and establishment of advanced neonatology services at two centres that had previously had limited capacity in this subspecialty.
From 1993 to 1999, Dr. Mulera was Medical Director of Neonatology at the Royal Victoria Hospital of Barrie, where he also served as Chief (Head) of Paediatrics. Since 1999, he has been the Medical Director of Neonatology at Southlake Regional Health Centre, Newmarket, Ontario, where he has also served as Chief of Paediatrics. He has also run a private practice as a consultant paediatrician for 20 years.
Dr. Mulera's chief interest is teaching paediatrics and neonatology to undergraduate and postgraduate students. He considers this a priceless opportunity for him to continue learning in order to provide the most current care to his patients and their families.
Dr. Mulera was the Chairperson of the Constitution Review Committee of the Uganda Martyrs Church of Canada (2011) and was recently elected a member of the Council of the Uganda Martyrs United Church of Canada.
His major focus at present is to advocate for better working conditions for doctors in sub-Saharan Africa and the voluntary repatriation of sub-Saharan African doctors currently practicing in the developed world.
Dr. Muniini will be honored at the Ugandan Diaspora Social Networking Event, for his contributions to the Ugandan Diaspora Community and the work he has done in Uganda to Sensitize his fellow countrymen and women on the challenges of Child health.
I am very much impressed by Dr. Munini Murera's contributions to Ugandans and to the world. I wish everyone could have a chance to read this and have a chance to appreciate nd find his/her own level of contribution to the societies we live in. Good luck Doctor.
As a Ugandan Canadian who is blessed to know Dr Mulera, I can hardly think of another Ugandan that makes me as proud to be Ugandan as the doctor does. Congratulations Muniini and thanks for being such an excellent role model to many of us that have learned a great deal from you.
Mr.Munini is an example to many Ugandans! Many of the Billionaires we have in Uganda have failed to do what Mr.Munini has to community.Long live Mulera!
Dr. Mulera- You have my vote – Please deliver us from NRM!!!
Iwe Byamarembo-katabaare okatabaruka! You make us proud-we who associate with you from the great roots of "Kahondo ka Byaramembo omu ntookye nyamwingi ei empungu ezeereera ekabura obugwero! We wish you the best as you do your part in bettering humanity.
Its so interesting to hear all the inspirations and reading all that is all about you guys. We are happy for you the Ugandans in the diaspora and surely great Job done and we will be joining you soon God willing.
Dr. Mulera, we need your comments on Monitor .co.ug. Uganda is going to the dogs. No more brave columnists that will tell the emperor that he has no clothes!
very interesting iwant also to work in canada. am nurse by proffesional with BNS From Uganda christian university mukono uganda. exp 12 years in nursing. recommended by ur friend proff. Nuwagaba A. from kabale.
I love the previous. Mr. Muniini, you make know that everything is possible.
DR you inspire me alot. The Uganda you LOVE should listen to your advice for peace,health and prosperity.
Dear Dr. Munini, I want to join others in appreciating your efforts, especially in the areas of saving life- but also regarding advocacy towards governance governance, most especially in Africa.
Please note that in big numbers here in Uganda we do follow your articles in monitor daily paper, and do appreciate them.
like to say on the topic of this post, in my view its truly amazing for me.
Dr.thank you for the great work well done, we are looking forward to doing the same.when our time arrives.God bless you.


text:
Ernesto De Curtis (ur. 4 października 1875 w Neapolu, zm. 31 grudnia 1937 tamże) – włoski kompozytor licznych pieśni neapolitańskich, w tym "Torna a Surriento", skomponowanej do tekstu brata, Giambattisty. Jest również kompozytorem popularnego romansu, "Non ti scordar di me", napisanego w 1935 roku do włoskiego tekstu Domenica Furnò, którego pierwszym wykonawcą był znany tenor, Beniamino Gigli.

Życiorys i twórczość

Młodość i edukacja muzyczna
Ernesto De Curtis urodził się 4 października 1875 roku w Neapolu jako czwarte z sześciu dzieci Giuseppe De Curtisa, malarza dekoracyjnego i Elisabetty Minnon. Ze strony matki był spokrewniony z kompozytorem Saveriem Mercadante. W wieku około ośmiu lat uczył się podstaw muzyki pod kierunkiem Vincenza Valente, jednego z ówczesnych mistrzów pieśni neapolitańskiej, przyjaciela Giuseppe De Curtisa. Edukację muzyczną kontynuował w neapolitańskim konserwatorium San Pietro a Majella, które ukończył z dyplomem. Talent muzyczny Ernesta De Curtisa rozwijał się pod kierunkiem jego starszego brata, Giambattisty, malarza, poety i muzyka. To Giambattista napisał poetycki tekst do pierwszego utworu Ernesta w dialekcie neapolitańskim, " 'A primma vota", opublikowany przez wydawnictwo Bideri w Neapolu w 1897 roku. Dzięki tej pieśni Ernesto stał się znany w środowisku artystycznym. Był to początek owocnej współpracy artystycznej pomiędzy braćmi, która miała trwać przez około trzydzieści lat i okazała się bardzo owocna. Rok ten był zarazem początkiem czterdziestoletniej kariery Ernesta De Curtisa jako kompozytora pieśni neapolitańskiej w jej złotym okresie, a także jako pianisty-akompaniatora.

Kariera artystyczna
W 1899 roku Ernesto De Curtis wydał "I' penso siempre a te" (do tekstu Adolfa Genise), w 1900 – "Canzona sincera", a w 1901 – "Tiemme cu te" (wszystkie do tekstów brata). W 1902 roku skomponował, również do tekstu brata, pieśń "Amalia", poświęconą Amalii Russo, z którą kilka lat później ożenił się; w tym samym roku skomponował pieśń "Torna a Surriento", (ponownie do tekstu brata), opublikowany przez Bideri w 1904 roku. W tym samym roku Bideri opublikowało również "Voce 'e notte", pieśń skomponowaną w 1903 roku do tekstu Edoarda Nicolardiego.
W kolejnych latach Ernesto De Curtis skomponował takie pieśni jak: "'A muntanara" (1905), "'A surrentina" (1906), "Pusilleco e Surrento" (1906), "Te vene a mente" (1906), "Serenata gelosa" (1906), "Dui core" (1907), "La speranza" (1907; wszystkie do tekstów brata), "Facitime felice" (1907), "Primmavera" (1907, do tekstów, odpowiednio: Vincenza i Ferdinanda Russa). W 1909 roku skomponował "Canta pe' me" do tekstu Libera Bovia, a następnie "Sora mia" (1910) i "'A femmena" (1911, do tekstów Rocca Galdieri), również opublikowane przez Bideri. W 1911 roku przeszedł do niemieckiego wydawnictwa Poliphon. W tym samym roku skomponował "Ah, l'ammore che ffa fà" (do tekstu Ernesta Murola); w następnym roku "So' 'nnamorato le te" i "I' m'arricordo 'e te", obie do tekstów brata. W 1912 roku powrócił do współpracy z Liberem Boviem komponujac: "Canzone 'e Napule" znanej również jako "Me ne vogl'i' a ll'America", a następnie "Autunno i "Sona chitarra" (obie w 1913 roku) oraz "Tu ca nun chiagne" i "'A guerra" (obie w 1915 roku).

W 1915 roku napisał pieśń "Lusinga" (tekst Adolfa Genise), jedną z pierwszych w języku włoskim, a w kolejnych latach: "Voi ed io" (do tekstu Genise), "Mese gentile" (do tekstu Nella De Lutia), "Odorano le rose", "Non sei tu", "Nostalgia", "Tutto passa", "Sogno ancora", a później: Non ti scordar di me" i "Ti voglio tanto bene". Kontynuował również pisanie utworów w dialekcie neapolitanskim: "Core napulitano" (tekst R. Galdieri), "Solo cu' te" (tekst A. Barbieri), "Luna gentile" (do tekstu brata). W 1917 roku powstały pieśni "Mandulinata" oraz "'E canzone", obie do tekstów Libera Bovia, a później: "Nun sia maie" (tekst C. Letico), "'Na parola sola" (tekst G. Esposito) oraz "Sorrento" i "'O balcone 'e Napule", obie do tekstów Ernesta Murola, zaprezentowane w 1934 roku podczas przeglądu w Piedigrotta.

Współpraca z Beniaminem Giglim
Pieśni Ernesta De Curtisa wykonywali Enrico Caruso i Beniamino Gigli. Szczególnie z Giglim wiążą się największe sukcesy i popularyzacja za granicą takich piosenek jak: "Torna a Surriento", "Voce 'e notte", "Non ti scordar di me" oraz innych. De Curtis i Gigli spotkali się w latem 1922 roku w Agnano, miejscowości uzdrowiskowej w pobliżu Neapolu i wkrótce zaprzyjaźnili się. Przypuszczalnie jesienią tego samego roku De Curtis wyjechał w ślad za Giglim do Ameryki Północnej (gdzie kilka lat wcześniej pojawił się również Enrico Caruso) i gdzie pozostał przez ponad dziesięć lat. Z Giglim De Curtis koncertował w Stanach Zjednoczonych, Brazylii i Argentynie, odnosząc sukcesy zarówno w prezentacji pieśni neapolitańskiej jak i romansów włoskich. Przed 1934 rokiem powrócił do Neapolu. Kontynuował komponowanie piosenek, ale było to już w schyłkowym okresie świetności pieśni neapolitańskiej. Jednak w ostatnich latach życia, dzięki współpracy z Domenikiem Furnò, skomponował dwa ze swych najpiękniejszych romansów: "Non ti scordar di me" z 1935 roku, który dał tytuł włosko-niemieckiemu filmowi, nakręconemu w tym samym roku przez Augusta Geninę z Beniaminem Giglim jako głównym bohaterem oraz "Ti voglio tanto bene", z 1937 roku, również spopularyzowanym przez Giglego w innym filmie, zatytułowanym Solo con te. "Non ti scordar di me" przypomniał w 1968 roku w unowocześnionej wersji Sergio Leonardi, doprowadzając go do 15 miejsca na włoskiej liście przebojów, Hit Parade Italia. Utwór wykonywali również tacy artyści jak: Gino Bechi, Giuseppe Di Stefano, Tito Schipa, Claudio Villa i Luciano Virgili.

Ernesto De Curtis zmarł 31 grudnia 1937 w Neapolu, tuż po ukończeniu pieśni "Ave Maria", dedykowanej Giglemu. W tym samym roku zmarli również dwaj inni znani twórcy pieśni neapolitańskiej, Ernesto Tagliaferri i Rodolfo Falvo.

Przypisy

Linki zewnętrzne

 Ernesto De Curtis – nuty w bibliotece Polona

Włoscy kompozytorzy
Ludzie urodzeni w Neapolu
Artyści związani z Neapolem
Urodzeni w 1875
Zmarli w 1937

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Piccadilly Pulse: Is it right to pull the plug on BBC3's TV time?
Piccadilly Pulse: Train trouble... do you know your rights when a rail journey is delayed or cancelled?


Now its easier than ever to create a haunting, spooky and spine tingling scenes. Horror Game Sound Effects Library features over 1200+ dark and eerie sounds of horror and devilish dealings. Sounds from the crypt and tormented creatures abound. Horror Game includes a complete compliment of sound FX to describe any horror environment. The possessed, beings from the grave, terror and tension, chants and spells, sounds of magic, haunted clock, tick tock timer, chilling chimes, exorcism, full moon, zombie sounds, underworld, dark wind and ethereal voices. That's just to name a few.
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The Lodge rooms include three wooden Eco-Lodge buildings, Well Tree House and one Adobe* room which all situated close to the Reception area and Wooden Shala. The Eco-Lodges and Well Tree House are self-contained wooden rooms, each with en-suite bathrooms. Each room (except Adobe*) comfortably sleeps up to two people in a double bed or two single beds and has its own spacious balcony with daybed and magnificent views of the palm grove at the front. Our Lodges have a distinctly 'Indonesian' feel, with Moroccan inspired polished bathrooms.
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Well, it's been about two months since I left Yahoo! and I've been spending pretty much literally all my time working on an iPhone application. It's nothing super flashy, mind you, but I feel it is the best app of its kind. I had been really disappointed with all the Twitter apps for the iPhone. Either they were too slow, or scrolling was poor, or it just didn't work the way I did. So I set out to write the version I'd want to use. I ended up with an application called Tweetsville. I've been putting together a small site for it here, so you can check out the features there. I also have set up a Twitter user you can follow if you care.
Totally responsive, with glassy scrolling.
Embrace the natural aesthetics of the iPhone user experience.
Use the full power of the Twitter API.
It's definitely fast and smooth (though admittedly it could be tweaked a bit more), and it looks like a real honest-to-goodness iPhone application. For whatever reason, I thought it would be ideal to do this app using as many standard (or standard-looking) controls as I could. The less custom stuff the better.
But the real beauty is the fact that I cache as much of your Twitter stream as I can get from the API, coupled with the depth of what you can do with this application. You can see your timeline, do direct messaging, see your favorites, history, and replies. You can also see the latest trends and do searches, including advanced searches. It is without a doubt the most powerful Twitter iPhone application I've seen to date. Of course, I've had my head in the sand for the past 8 weeks!
Will this application change the world? Hell, no. But I think it will definitely make a dent in the Twitter space. And it was fun, which was really my whole main point of writing it. It's been a long while since coding was fun.
Even with all it does, there is still other things I'd like to do to it to improve the functionality and ease of use beyond what's there, but there are only so many hours in the day, and I'm burnt out from coding so much. I need a vacation from my vacation!
The real question is: should I even charge for it? I'm currently thinking no, but man, it might really take off, and then I'll be missing out. If I don't charge for it, I will likely make the source publicly available. I've already got a subversion repository set up and ready for some sources if I do. Or there's always code.google.com.
I'm hoping this will get submitted very very soon. My last build seems to be pretty stable, and I'm too paranoid to make any real changes now.
Wow, this would be the first thing I've ever written and released like this since… Aaron (if anyone remembers that). Again, wow.
From the screenshots this app looks great and having search integrated is a great feature to have and will make it stand out from the current croud, looking forward to testing it when it's released.
That's more like it! Twitterrific is nice and all, but damned if I know how to make it do what I really want! Plus: native iPhone look and feel? Thank you!
I would charge, it is better than most with all it's features. At .99 I think you would get a pile of money.
And yes, you should charge it. Your effort is worth being paid for, and it might motivate you to keep building upon it.
You can charge 99¢ and at least recoup your iPhone dev program cost. You'll probably end up making a whole lot more.
I would pay $0.99, maybe $2 for it but it wold be great if it can be free. I don't mind ad-supported as long as it's not intrusive, like what twitterrific does.
The question, when are thinking of pushing it to the App Store? I can't wait to try it out!
I'm just waiting at this point for something else to happen. Can't go into it quite yet. If it doesn't happen in the next 24-48 hours, I'm going to say the heck with it and upload it to the store.
It should be uploaded on Monday unless something goes horribly wrong. At present, the plan is that the first version in the store will sell for 3.99, but there will be an ad-supported version for free hopefully within a few weeks. I'll be posting a more detailed post here with the full details of what's going on.
Next post: Recursive Locks Will Kill You!


A new study found that states with legalized recreational use of marijuana have an increase in accident insurance claims. The study, conducted by the Highway Loss Data Institute looked at three states: Colorado, Oregon and Washington.
According to the study, the number of vehicle collisions reported to insurance companies in the three states is at least 3% higher than what would have been expected if marijuana had not been legalised. However, the study did not indicate whether the increase in collisions were directly caused by drivers who were under the influence of marijuana.
CNBC noted that the study also did not look at highway fatality rates in states where marijuana use is legal.
The institute compared collision claims before and after legalisation, with collision claim rates of comparable states where marijuana is still illegal, to determine whether collision rates are higher than they would be if recreational use was still illegal.
The study found that collision claims following legalisation are up 16% in Colorado, 6.2% in Washington and 4.5% in Oregon.
The study was released as more states consider legalising marijuana sale, CNBC reported.
While questions regarding marijuana use and auto collisions have emerged in states that have approved of cannabis for recreational use, they are difficult to answer. CNBC reported that field sobriety tests to check drivers specifically for marijuana do not exist.


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UIndy faculty and staff combine yoga and acts of service
by Steven Pagel | Staff Writer December 14, 2022
written by Steven Pagel | Staff Writer Published: December 14, 2022 Last Updated on December 11, 2022
This semester, opportunities for yoga have been provided to students, faculty and staff through Yoga for Service. Started and currently run by Assistant Professor Taylor Gurley, she first had the idea after teaching yoga in a kinesiology course for undergraduate students and said there was a lot of interest in yoga from faculty and staff.
Gurley said she wanted to find a way to instruct her yoga sessions while also giving back and avoiding not having to charge people to come to them. Through donations, people come to each yoga session and put forth a donation to a respective cause or theme during the month they are happening.
Administrative Assistant Franci Dilk, a repeat participant at yoga events throughout her time at UIndy, believes that Gurley offers yoga sessions that are different from ones in the past.
"I think Taylor [Gurley] in particular, I think she has a really different approach than what we've been used to," Dilk said. "She has a lot of variety in her class. She will always give modifications for someone new. If it's a pose that might be difficult, she's aware of that and she'll give modifications."
Graphic by Breanna Emmett
While in the yoga sessions, students, staff and faculty follow the instructions Gurley gives, usually lasting around 45 minutes to an hour, according to Dilk.
"Taylor introduces herself, explains what the routine is going to be, and then really we just jump in," Dilk said. "She does… basic stretching, and then we start moving into the poses and at the end, [we] do a little more stretching and then have a deep relaxation, where you're literally just relaxing and taking in the quiet time and just having a moment to yourself… Usually, people don't want to get out, they're so relaxed and they feel so refreshed, it's hard to get back to work."
Gurley runs the sessions in the yoga room on the first floor of the Health Pavilion. She runs everything, creates and leads the workouts.
"I create the yoga flow for all different body types and ability levels," Gurley said. "We have all the materials, we have yoga mats, blankets, blocks, any props that they might need. They'll just be welcomed in and participate as they can. They can make their donation and that's about it."
There have been two scheduled yoga sessions across this semester. The first yoga session held this semester held a donation towards the UIndy Food Pantry, according to Gurley. She said she will try to make each Yoga for Service session next semester a theme relative to the month.
"So we had one event last month, and we made donations to the food [pantry]," Gurley said. "And then December is warm clothing donations, and then my plan is to do one each month next semester to a different organization."
Dilk said there is no judgment during the sessions and they are a great place to begin for those who want to try yoga. Gurley said there is appeal for different areas of donation themes from people who have attended.
"I want to be able to appeal to a lot of different interest level[s]," Gurley said. "Some people feel strongly about animal care, so I'll be able to offer that. We'll be able to offer more for the homeless shelter. I'm going to actually talk to some of my students just to see if they know of specific organizations in the community that they really feel have a need. We just want to go where the need is."
FeatureFranci DilkIndianapolisIndySteven PagelTaylor GurleyThe ReflectorThe Reflector OnlineUIndyUniversity of IndianapolisYogaYoga for Service
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Installing a fire sprinkler system in your home can be your best insurance against fire damage, provided it is installed correctly. Finding a qualified and experienced tradesmen is much easier through Plentific's services which can quickly create a bespoke list of the best tradesmen in your local area that offer the expertise you need. To help you make your choice you will also be given quick access to customer ratings and reviews so that when you make your hire you make it with confidence.
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Muted pastels are hot off the press this season and the Vans Old Skool Zip promises instant style points. The timeless skate shoe arrives in pale lilac leather, joined with zip detailing and signature Sidestripe branding. A waffle tread completes.


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Category: Research Critique 1 – Understanding Interactivity
A Critique on Interactivity
Crystal Universe by teamLab, Future World,Art Science Museum, Singapore
picture taken from: https://faithjoyhope.blogspot.com/2016/03/new-what-you-can-expect-artscience.html
The first art work that I chose for this critique is 'Crystal Universe' by teamLab. What I find intriguing about this work is the way entering the space is like entering a different realm. It is an aesthetic work, if you want to classify it, but what makes it so effective is that because it is so 'instagram worthy' it draws crowds of people easily. The work is described as a 'galaxy of hanging leds' by vice.com. True enough the LEDs light up like a galaxy of stars in the dark room, and one is allowed to travel through the path created, experiencing the LEDs from different perspectives. The interactive element comes in two forms, the first being immersing ones self in the atmosphere created by the twinkling LEDs and the subsequent one being actually changing the LEDs programming through your smartphone. By doing so the viewers control the way the LEDs shine, creating a reflective space that suit them. As such the viewer becomes both the audience as well as the artist who shapes their experience of the space.
However, on a more realistic note, the experience of creating your own experience is not always a pleasant one, considering that the number of people that visited the space, and the lack of limitation of the people walking through the work at all times which hinders the viewers experience of the work.
The Treachery of Sanctuary 2012, by Chris Milk, Fort Mason Center, San Francisco
Picture taken from:http://milk.co/treachery
The second piece i chose was Chris Milk's "The Treachery of Sanctuary". The piece consists of three monolithic screens that are shone with light. When a person moves in front of the screens their 'shadow' is shone over it, triggereing the art to react. What I found interesting about this piece is how it took the image of the person and warped/disinitegrated it. The wor
The work is a representation of its own creative process, which I find hilarious.
The first panel represents "the genesis of the idea, when you finally have a breakthrough."
The participants then notice a flock of birds above them– as they reach out, their body begins to break down and birds begin to emerge.
this represents the viewers becoming the idea behind the work, and later in the secon panel, the flock continues to rain down on their 'shadow' pecking what is left of the shadow. This the artists says represents the hardships faced during the project. Finally, the last panel is the triumph where you become a bird yourself.
The entire work is coded to act in a certain way, but will not be able to do so without the audience interacting with it. Hence in this situation the audience is still sort of the artist shaping what is viewed on the screen.
For this project the audience still plays a huge role in the artwork by interacting with it and creating the visual imagery. However as always the artist has created the code which limits the reaction of the work, meaning they have set the narrative and setting of the art work, everything else is free to be influenced and changed by the audience.
Interactivity and aesthetics, how do you attract people to your work without prompt
Viewer experience and will a large audience affect the experience of the work compared to a small audience
Crystal Universe:
https://www.vice.com/en_au/article/yp555v/enter-a-real-life-matrix-in-teamlabs-crystal-universe
https://www.teamlab.art/w/crystaluniverse/
The Treachery of Sanctuary:
https://www.vice.com/en_uk/article/53wbw8/chris-milks-the-treachery-of-sanctuary-unveiled-at-londons-digital-revolution
https://www.wired.co.uk/article/chris-milk-installation
http://milk.co/treachery


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COMU [(1-Cyano-2-ethoxy-2-oxoethylidenaminooxy)dimethylamino-morpholino-carbenium-hexafluorophosphat] ist ein Kupplungsreagenz, welches in der Peptidsynthese zur Erzeugung von Peptiden verwendet wird.

Die Verbindung ist thermisch instabil und kann sich stark exotherm zersetzen. Eine DSC-Messung zeigt ab 127 °C eine Zersetzungsreaktion mit einer Reaktionswärme von −736 J·g−1 bzw. −315 kJ·mol−1.

Alternative Kopplungsreagenzien sind z. B. HATU, HBTU, HCTU, TBTU, TOMBU und COMBU.

Einzelnachweise

Hexafluorophosphat
Morpholin
Imin
Abkürzung
Nitril
Oximether
Alkansäureester


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text:
Visano is een gemeente in de Italiaanse provincie Brescia (regio Lombardije) en telt 1766 inwoners (31-12-2004). De oppervlakte bedraagt 11,2 km², de bevolkingsdichtheid is 155 inwoners per km².

Demografie
Visano telt ongeveer 635 huishoudens. Het aantal inwoners steeg in de periode 1991-2001 met 11,8% volgens cijfers uit de tienjaarlijkse volkstellingen van ISTAT.

Geografie
Visano grenst aan de volgende gemeenten: Acquafredda, Calvisano, Isorella, Remedello.

Gemeente in Brescia


Emigrate: "You Are So Beautiful"
ESP signature artist Richard Z. Kruspe -- perhaps best known as the guitarist and founding member of German Neue Deutsche Härte band Rammstein -- takes on a softer, more writerly tone with his alternative band Emigrate. Their latest video is for "You Are So Beautiful", a song off their album A Million Degrees which was released toward the end of last year and is available now. In the video, Richard is playing one of his massive collection of ESP models, in this case an LTD EC-1000 in Silver Sparkle finish.


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Q: My MacBook Pro won't exit out of iPhotos I was importing pictures from my Nikon d3200, i had to stop it early, so i pressed the stop importing, and the delete the pictures that you have already imported, then I left. Now, it won't close out of iPhotos and it says it is importing photos, but it said that all day. Since it won't close out, i can't shut down my Mac or restart it. And I can't import the rest of my photos either. What should I do?

A: There are two ways to exit an application that is stuck:
Hold alt+cmd+esc and then Force quit the application that is not responding.
If that did not work force shutdown the computer by holding the power button for 5 seconds or longer.
In both case you will lose all unsaved information.

redpajama_set_name: RedPajamaStackExchange


It was only hours ago that we found out Battlefield 3 had shipped 10 million copies with retailers begging for more, but straight from EA itself, we find out that Battlefield 3 has an estimated 5 million sold in its first week of availability. That is a bloody good number, but what most people want to know is how the numbers are split between the consoles and PC versions of the game.
We are happy to report that we had a great weekend with server stability at roughly 98.9 percent. While some players experienced intermittent outages of online services due to high volume, internal estimates show that servers and service stabilized, ensuring that players were connected and enjoying the game, with a commitment to support the game as a software service, EA is listening to consumer feedback and is making daily updates and improvements to ensure an optimal online experience for all.
EA have said that Battlefield 3 has exceeded their "best expectations" coming out of the beta, and EA does note that they are finding new ways to "optimize and improve" the game's performance now that the system is operating under a full load.
Hey, EA/DICE, how about you fix the multi-monitor issues first? There are hundreds of people (and most likely thousands more) with the best of the best setups, that had no issues in the Beta, but cannot use their setups in the retail release. I'm stuck to a third of my monitor size and resolution until this is fixed.
But the game is fan-friggin-tastic, even with the issues - I know they'll be fixed eventually.
>> NEXT STORY: RumorTT: Apple to discontinue Mac Pro line?


Euro Blog 2 – Salzburg : Red Bull as the new cultural icon?
The third day, and third stop on my tour sees me in Salzburg. Trips such as this are never 100% plain sailing, and I come across my first problem while on the train. I have managed to mislay the European-UK plug converter. This may not come across as the most serious loss in the history of these voyages (I have lost my computer once, while another hopper of my acquaintance has managed to lose not one, but four interrail train tickets in a single act of tidying up). Still it is an item that needs to be replaced as all my favourite "boy's toys" (computer, mobile phone, camera) depend on recharging their batteries. The shops near the station do not yield a solution, but I am told to head for the out of town centre, called Europark – a centre that requites a 30 minute tram ride may have been an inconvenience, except that it is only a couple of stops further on the same tram, to the stadium. The time taken, though meant that I had to abandon my original plan of seeing two games at the stadium. The match between Salzburg and LASK was preceded by a reserve game against Wiener Neustadt, in the Erste Liga (strictly translated that means first division, but as is the fashion these days, first division is of course the second level). By the time I entered the ground, Neustadt were 5-0 up (with ten minutes to play) and had won the title, meaning next season they will return to play Salzburg's first team.
The stadium is known by a confusion of different names, the oldest of which is Wals-Siezenheim Stadion, after the area in which it was built. Maps of Salzburg, though refer to it as the Euro-stadion, as does the bus timetable. The football club itself would have you call the place the Red Bull Arena. It is a curious site, in that the two stages of construction are clearly shown. The lower tier has concrete steps, and a grey stone exterior – most of the seats are lower than the surrounding ground level, so the stadium must have been literally dug out of the ground. The stands are square to the pitch, with little to interrupt the sight lines, and two areas that allow standing rather than seats, (in the centre behind one goal, for the home fans, and a corner at the opposite end for the away ones). The upper tier is a steel lattice work construction, and appears to have been dumped, literally onto the existing stadium. I guess this is not far from the truth, as it was added a few years after the initial construction, to increase the size to that required for the last European championships. The upper tier does not continue on the West side, where executive boxes and a smaller upper section already existed, and hence the stand appears to come to a dead end. The roof is at the same level all around. From the outside, the newer constructions are more obvious, if only due to the creation of steel staircases rising around the stadium, like giant pillboxes, connected only by a bridge to the actual venue. The pitch, incidentally is 3G artificial and played quite well. It was heavily watered between the two games.
On a city that exists now as a tourist trap, dependent on its culture and history; it is strange that Red Bull has tried hard to eliminate all signs of historical culture from the football club. They actually tried to incorporate the date of their take over (2005) into the name of the club – the Austrian FA would not allow that,although they have no qualms about Austria Salzburg becoming Red Bull Salzburg. I guess this is better than many – it actually keeps the town name. The purple in the strip has been replaced by red and white despite some supporters objections. Not that there is no compensation for the supporters, not only does the day's victory leave the side on the cusp of retaining the championship, but the fact that a single sponsor is subsidising the budget makes the shirts relatively clean. The Red Bull logo is on the front of the Salzburg shirts, and the wording "Red Bull" on the backs. By comparison, the LASK shirts had five logos on the front, two on the back and one on each sleeve – two more logos are added front and back of the shorts, and not forgetting the socks. This is the way of the majority of clubs in Austria, forced to accept whatever they can for small donations towards the costs. Others accept complete loss of name to a sponsor, hence in recent years we have had two different internet betting sites as football clubs, and Superfund, which first took over Pasching, as FC Superfund, and now with Pasching having sold their licence to Karnten, Superfund fund Kapfenburg, under the title KSV Superfund.
On the field, mid-table LASK put up more resistance than may have been expected, but gave away too many free kicks around the 25 yard mark. Three such kicks in the first 13 minutes saw first a narrow miss, than a good save, and finally a goal. A second was added just after the half hour, when the keeper appeared to misjudge a downward header. Surprisingly, Salzburg could not add to this, and actually conceded a goal to a distant shot with just over 15 minutes to go. This did not turn out to be a rallying call to either side, and the game seemed to tire itself out.
While Salzburg will retain their title and achieve their domestic aim, many fans may feel that the sponsors promised much more from the takeover. Trappatoni is certainly not going to turn up as coach, and the certainly show no signs of being able to achieve success in Europe.
You are currently browsing the Football Shaped blog archives for May, 2009.


Other Ingredients: Vegetable Glycerin, 15-20% Certified Organic alcohol, Purified Water, Propylene Glycol.
Suggested Use: As a dietary supplement, take 1/2-1 mL (approx. 14-28 drops) 2 times a day in a small amount of water.