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The 9th Asia Pacific Triennial of Contemporary Art in Brisbane eschews the Western art world's reliance on checkbox diversity in favour of genuine immersion in our region.
First published in The Saturday Paper December 1, 2018.
In the weeks before the opening of the 9th Asia Pacific Triennial of Contemporary Art (APT) at QAG and GOMA in Brisbane, a New Yorker article by Margaret Talbot materialised again and again on my Twitter feed. 'The Myth of Whiteness in Classical Sculpture' explores our ignorance of polychromy, the practice of painting artefacts in different colours. This ignorance erased non-Europeans from defining aesthetic traditions. It also — quite literally! — helped cast whiteness as both signifier of beauty and arbiter of value. Sure, today's rollcall of biennales and triennials, often helmed by globetrotting celebrity curators, challenge our populist, post-Trump era. But they often do little to upend these endemic power structures. Too often, artists who've been producing exemplary work, sometimes for decades, beyond the limited reach of the Western art world are given a platform in service of a checklist diversity, invited to perform their identity. Or worse, their trauma. To borrow a term from the African-American philosopher George Yancy, the white gaze remains intact.
APT, an event whose 25-year old history predates this current fixation with performative wokeness, is the largest exhibition devoted exclusively to contemporary art from the Asia Pacific. (And, remarkably, the only one to position Australia within this context.) The show was overseen by Dr Zara Stanhope and an in-house team who've deeply immersed themselves in the region's countries and art scenes — an imperative that does a lot more for the presentation's depth and vitality than the nebulous "themes" so beloved by curators. It features upwards of 80 artists and collectives from 30 countries including — for the first time — Bangladesh, Laos, the Republic of the Marshall Islands, the Solomon Islands and the Autonomous Region of Bougainville, a constellation of atolls that was once part of Papua New Guinea.
The 400-strong series of artworks represent a universe of artistic styles and practices: monochrome photographs and rainbow-bright assemblages, woven basketry and high-concept video art. Threads recur. Some pieces deal with tangled colonial histories and the attendant feelings of displacement and longing. Others with nature, flux and matriarchy. But navigating the bottom floor of QAG and GOMA's airy, sun-splashed galleries, the idea that sprung to mind isn't diversity (diverse to whom?) but plurality. The notion that there is no one way to make art or, indeed, see art shouldn't strike me as fresh, exhilarating or downright radical. I've become so accustomed to the invisible presence of the white gaze, especially in rarefied spaces like galleries, that it does.
Over the last two years, the art world has been understandably preoccupied with politics. In some ways, grappling with the tyranny of borders, the scourge of racism and the fallout from the refugee crisis has never felt more necessary. The trouble is that so much work that brands itself as political — take Ai Weiwei's Law of the Journey at this year's Biennale of Sydney — comes off as empty and bombastic, designed to mirror rather than expand our worldview. As Stanhope, referencing the Indian art historian Geeta Kapur, points out at the media preview, APT is as concerned with poetics as it is with politics. The show pays attention to how the forces of history don't just shape global events but can refract, fragment and transform the consciousness of its subjects. This gives rise to some of its most poignant moments.
In a darkened gallery at GOMA, I sat mesmerised in front of Monira Al Qadiri's DIVER (2018). The four-channel video work, which sees synchronised swimmers duck, dive and spin to haunting Kuwaiti pearling songs, is a study in viscous, prismatic surfaces. It sparks aesthetic parallels between the Persian Gulf's 19th century history of pearling — the artist's grandfather was a singer on a pearling ship — and the modern-day oil boom, an industry equally implicated in human and environmental exploitation. The work conjures both the languid pleasure of gliding underwater and a push-pull between desire and terror, the sensation of drifting towards something whose contours are both familiar and unknown.
Elsewhere, the aftermath of historical narratives sparks new ways of recouping cultural practices and reclaiming collective memory — to powerful effect. Nearby, Ly Hoàng Ly Ashes (2013), the result of the Vietnamese artist's attempt to simmer cow bones for her daughter while living in Chicago, tenderly evokes the way homeland rituals become phantom limbs in the lives of immigrants, doomed to be replaced but never recreated. Over at QAG's Watermall, the Singaporean artists Donna Ong and Robert Zhao Renhui riff on the ways in which the city-state's lush tropical jungles are filtered through the colonial imagination in My forest is not your garden (2015-18). The installation channels the botanical displays that adorn the lobbies of luxury hotels in big Asian cities, exoticism internalised and spat out for Western consumption. To me, it also nods at the troubling yen for Empire-era interiors across bars in places like Melbourne and Sydney.
Back at GOMA, the Alice Springs portraitist Vincent Namatjira, the great grandson of the legendary Arrernte landscape painter Albert Namatjira and part of the Triennial's largest-ever cohort of First Nations artists, playfully skewers the hypocrisy that underpins the distribution of privilege in Australia. Three 2016 series, Seven Leaders, Prime Ministers and The Richest, pit the artists and law-men who helm South Australia's APY communities with Australia's richest magnates and the country's last seven leaders. The latter represent an in-joke that references their wilful disregard for Indigenous sovereignty. It also winks at the self-interest that's seen each leader's hapless grin become interchangeable over the last few years.
The Triennial has always commissioned monumental pieces, sometimes in partnership with major Asian institutions. This year's highlights include For, In Your Tongue, I Can Not Fit (2017-18), a room affixed with microphones that relay fragments of verse from Indian new media pioneer Shilpa Gupta and an audacious, Technicolour mural by Iman Raad, an Iranian artist whose practice references Mughal painting and the intricate artwork that adorns buses in South Asia. Along with freewheeling mixed-media paintings by Filipino artist Kawayan De Guia and giant rings of cane or Loloi, created for APT by the Tolai people of New Guinea, Raad's work reflects the exhibition's commitment to elevating vernacular art forms alongside the pieces we might see in a gallery. This feels subversive for a Western institution. It's also a reminder that those of us who grew up outside this context have long suspected that the aesthetics of everyday life may have as much to say as paintings and sculptures when it comes to how we see the world.
APT has a kaleidoscopic sensibility. So much work here is wildly ambitious, aimed at widening our visual horizons and elevating undersung artists. But not everything is executed to equal effect. Chinese artist Qiu Zhijie's Map of Technological Ethics (2018), an epic painting that adorns the main wall of GOMA's Long Gallery, draws on calligraphic traditions to map the moral landmines — artificial intelligence, climate change — that define our cultural moment. The brushwork is gorgeous, but the notion of imagined geographies doesn't feel distinct enough to live up to the work's aspirations. I tended, instead, to connect most with quieter explorations of the natural world. An example: the exquisite Untitled (giran) (2018) an installation in which 2000 winged sculptures, made from tools such as emu eggshell spoons, animal bones and feathers mine the connections between the breath and wind, language and Country by Kamilaroi/Wiradjuri artist Jonathan Jones.
Similarly, Women's Wealth, a first-time project that foregrounds the cultural practices — weaving, pottery and adornment — at the heart of matrilineal communities in Bougainville is admirable in its intentions. I think it could have delved a little more into the way in which the erasure of female labour continues to uphold capitalist systems and underpin the way entire societies are run. But the fact that this edition of APT plays host to more women than male artists also allows for a range of intriguing and specific perspectives on female agency. Taiwanese artist Joyce Ho's video work Overexposed memory (2015), which sees a manicured hand plunge its fingers, ever-so-slowly, into pulpy, hyperreal fruit, revelling in the juices that spurt out nods at the porous nature of the female body. It hints at the way being a woman often means being caught between the sensual and the abject, the ordinary and the sublime. Dark Continent (2018), an image by Latai Taumoepeau features the Tongan performance artist covering herself with spray-tan. The work, which symbolises white Australia's fetish for tanned skin, reveals the relationship between colour, power and value. It also tries to reframe it. In the end, this may be the best metaphor for APT's project itself.
The 9th Asia Pacific Triennial shows at QAG and GOMA shows from 24 November 2018 to 28 April 2019.
Posted by Web Site on May 7th, 2019
Apartheid in Sharp Focus


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This Waukesha man is building wheelchair ramps for those injured in the Waukesha Christmas Parade
Cathy Kozlowicz, Milwaukee Journal Sentinel
Brock Held and his dog, Athena, offered to donate the labor and the supplies to build a wheelchair ramp for anyone who was injured at the Waukesha Christmas Parade on Sunday.
When downtown Waukesha resident Brock Held heard that an SUV plowed into the Waukesha Christmas Parade on Sunday, he spent a frantic, heart-stopping 15 minutes seeing if his stepsister and her daughter, who were in the downtown area, were okay.
"It was like seeing a deer (when you are driving)," he said. "But that was nothing compared to what those people are going through in the hospital."
When he woke up the next morning, he had the idea to donate the materials, labor and all the work to install wheelchair ramps for the dozens of people injured in the parade.
More: What we know so far about the five victims of the Waukesha Christmas Parade
More: Darrell Brooks Jr., the accused driver in the Waukesha Christmas Parade massacre, charged with 5 counts of first-degree intentional homicide
More: The United Way and others have created a fund for people affected by the Waukesha Christmas Parade tragedy. Here's how you can help.
He said that people should not worry about how they will get their families home from the hospital. "They can keep their insurance checks, and they need (the ramps)," said Held.
After he posted his plans to build the ramps Monday night on the Waukesha Area Buy, Sell & Give Away Facebook page, he was inundated with messages — of people offering donations, supplies, free labor.
On Wednesday, he started working on the first ramp. He said it is for a family with four people who were injured. The mother will need it when she comes home from the hospital in a few weeks, Held said.
"I am going to keep this professional and try not to get too emotional about it," he said. "I am so excited (to make ramps) that I am trying to keep it together." He said that the ramps are relatively easy to make.
As a 2006 Menomonee Falls High School graduate, he said he learned his trade as a professional construction worker through high school classes such as shop class. He attended Waukesha County Technical College for welding. He has worked in the field since he was a teenager, is a professional contractor and owns his own business. He says he has built decks and other similar things.
"I am a professional problem solver," he said. "I am good at organizing."
He moved to downtown Waukesha about nine months ago to be closer to his work projects. "I enjoy the downtown feel of downtown Waukesha. It is not as busy (as a big city). I walk my dog (Athena) downtown regularly," he said.
More: 'It's going to take some time:' As streets and businesses reopen in downtown Waukesha, memories of a horrific tragedy remain
More: 'This is my community, this is my home': Hundreds gather at a candlelight vigil in Waukesha
But when he said he heard about the Waukesha Christmas Parade tragedy, he felt upset. He said he does not know anyone personally who has died or was injured, but he still wants to help.
"This is my way of giving back," he said. "I care about everyone."
To help or make a donation, email Held at brockandathena@email.com
Cathy Kozlowicz can be reached at 262-361-9132 or cathy.kozlowicz@jrn.com. Follow her on Twitter at @kozlowicz_cathy.
Our subscribers make this reporting possible. Please consider supporting local journalism by subscribing to the Journal Sentinel at jsonline.com/deal.
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This article originally appeared on Milwaukee Journal Sentinel: Waukesha man to make wheelchair ramps for those injured in parade
Custom 1961 'Double Bubble' Makes Appearance On Auction Block
This iconic classic restomod has made its presence abundantly clear at cars shows, online, and now the auction house floor.
What Happened To Nash Bridges' Plymouth Hemi 'Cuda?
A lot of people are wondering where the car is today.

redpajama_set_name: RedPajamaCommonCrawl


Brand Switch Analyst makes the analysis of brand switch behavior, which is the tendency of consumers to change preference between comparable products. This is vital information for fostering strategic thinking in managers aware of the importance of customer retention.
It is very easy to use Brand Switch Analyst. The only data needed is the sales of several competitors for two or more time periods. The output consists of figures and charts that, for each product, show the amount of sales or market share won from or lost to competitors.
Switch rates can highlight competitive weaknesses in the brand preference dynamics of competing products, which in turn makes it possible to allocate marketing resources in a more targeted way and, hopefully, to increase success.
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Brand Switch Analyst makes accurate estimates of switch and retention rates, which otherwise would be estimated using expensive marketing research surveys. It is a tool that can be used for challenging business axioms and to reinvigorate the strategic discussion within teams. It allows looking at data from a different perspective when segmenting customer preferences and competing products. It is also useful for developing functional know-how, for instance, for marketing analysts interested in quantitative techniques.


if you are interested then come to our site and create a profile don't worry we do not sell your email nor do we bug you with a sales script yes we do offer options on this site including Hosting plans domains and free and paid support to get your business started in the right direction. If you are new to making money online or just looking for a new way to run a business online then this is the place for you our site will grow with more coaches and specialists who can help you to be successful we will post new content every other day starting in Late June then expect at least one post per week and check our Podcast to listen to new tips on things that usually cause a person to fail or succeed.
Biggest mistakes people make Drop shipping and how to avoid them ?
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What's better than the natural hair movement? A mobile natural hair salon that sends expert stylists to your doorstep. You don't have to fight traffic or run to the train and sit in a salon all damn day. Tresse Noire (based in Philadelphia, but expanding to NYC, soon) is the naturalistas gift from the natural hair gawds. Ran by Beautifully Brown best friends Octavia and Regina, Tresse Noire is leading the new-age salon experience for Black women on the East Coast.
Beautifully Brown: What is Tresse Noire? What are the services that you offer and where?
Tresse Noire: So, Tresse Noire is a web-based, Philadelphia-based, traveling natural hairstyling service. We offer on-demand natural hair care services to professional women of color to manage and simplify their lives. We're Philadelphia-based, but we are expanding into New York City. We offer some services in New Jersey, too. We also offer some services in Delaware, West Chester County, and parts of Long Island.
BB: Are the services catered to natural hair only?
TN: Our focus and expertise is natural hair care; however, our mission is to connect professional women of color to hair stylists. So, if women have chemically treated hair, we will style them as well and offer them hair care regimens. A lot of women are transitioning, so they are still relaxed and are looking to transition. But we also offer services to anyone who needs us.
BB: So, how did you even begin the company, it's such a cool service?
TN: You know, we've both been naturalistas for over a decade each, and we started looking at our services. We started looking at the options we had in the natural hair service industry.
It had gotten to the point where I was bringing a hot spot Wi-Fi, computer, books, food, drinks and so on to my old stylist' salon because I knew I was going to be there all day.
Or on the flip side, I was hearing about amazing salons in New York that you were spending between two and three-hundred dollars for. There was no balance.
Also looking at the city, you see the Dry Bars popping up and the blow bars and the Glam Squad and so on. But not one of them catered to the types of styles that I was looking for. So, that was really the impetus.
We were both on vacation figuring out our lives and what we were going to do and Octavia's like, "I really, really want a hair salon". And I said, "That is awesome! How do we combine hair and technology?" That was basically kind of where Tresse Noire came from.
BB: How do women book their services?
TN: An app is in the works. But for now, women can go to the website. With our future app, you'll be able to book an appointment, select your location and then choose your stylist and service of choice.
BB: Do you use the hair typing method to help women find their curl pattern?
TN: I think it's a way to get on a path. But because your hair can grow in different curl patterns on your head, and your hair changes over time, it's kind of hard to say, "You definitely have 3A or 4C". I think it's helpful to know what ballpark you're in because if you don't have Tracee Ellis Ross hair, there's no amount of product that's going to get you there.
So I think it helps to get you into a lane. The density and porosity of your hair makes more of a difference than your curl pattern in terms of the types of products you use and how you take care of it. Those types of things are what our stylists go over.
BB: What kind of other styles do you offer?
TN: Children's styles, up-dos, blow-outs, crochet weaves – you name it, we do it. We do full sew-in's, too. We do everything.
BB: Do women end up paying more with you than they would in a salon? Or is it about the same?
TN: We would say it's about the same. We're priced at a premium, but we're less than luxury salons. On average, you're going to pay 100-120 dollars.
BB: Well, that's close to what you pay at the salon. And you're in and out.
TN: Right, and you're not fighting the traffic. You're not fighting the train. You're not fighting the weather. You're not parking. All you're doing is sitting in the house. Your hair should be washed and detangled before we arrive. We will either re-wet it depending on the style or we come with blow dryers. We come with soft-hooded dryers for a rod set. We come with all the materials that are needed to achieve the style that you want.
BB: How have you witnessed this service change the lives of women?
TN: I have not been to a salon in a year and I can't imagine going back. You know, with a few exceptions. I've heard women call us and say that their stylists hug and kiss them before they leave and they're so happy with their hair. We have a good re-booking rate with clients coming back. Our clients are referring us to their family and friends. We've sort of tapped into a very niche market of women who love our services and who also love the personalized service that they get. We know our customers by name. We know what event they were going to.
It's also the personal touches. We consider this a luxury salon experience. We come and set the mood. We set the environment of pampering and personalized attention and continue that experience even after we leave. I think that's a big difference between just going to a salon.
And It's not just about the styling. It's about the education that we provide with the curl consultation. We have a special sauce. We don't really like to tell the world. But, we got a thang.
You're not going to sit on the floor between somebody's knees. That's not what we do. These are beauty professionals that have been trained by Aveda and John Paul Mitchell and Carol's Daughter and Shea Moisture. Our stylist network is curated to make sure that we have the best of the best.


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Jack Bird at centre best fit for Dragons
Chris Kennedy NRL.com Reporter
Thu 18 Feb 2021, 09:45 PM
Despite plenty of summer speculation over a move to the pack, returning Dragon Jack Bird is set to play the 2021 season at centre where he says he can offer the most to the team.
Bird had trained most of the summer at lock and edge back row, with a move to a ball-playing lock role looking even more likely once inspirational skipper Cam McInnes went down with a season-ending ACL injury.
However after playing exclusively at left centre in his side's 28-6 trial loss to the Eels on Thursday night, Bird said staying at centre was his preference – though whatever he does will be dictated by the wishes of coach Anthony Griffin.
"I would probably prefer to play in the centres than in the back row," Bird said.
"It's probably too early for me to jump in the middle. Because coming back from two ACLs, it's a lot of moving around and running.
"It's probably best for my career at the moment to stay in the centres and take it easy. Hopefully when I am older and my body gets a little bigger I can move into the middle."
Match Highlights: Dragons v Eels
Bird's 25 minutes at left centre were most noteworthy for getting through unscathed after not playing since a trial match for Brisbane this time last year, and not playing NRL since May 2019, thanks to consecutive ACL injuries.
It was a quiet stint but did feature one big play when he forced a ball loose with the Eels on the attack before slipping a pass away for a Mat Feagai line break which eventually led to a try to Max Feagai.
"I probably preferred the centres from when I got here. It's up to Hook and what's best for the team, he must've thought it would be best for me to play middle or edge back row," Bird explained of his summer training in the pack.
"I feel like if I am in the centres it will make the team a lot stronger. But we still have some great young centres here but they are learning the game. It would be hard to chuck them straight in and expect them to play.
"I asked what position I was playing on the weekend and he said back row and centre. I said I would rather play centre. He asked why and I said I had played centre at the Sharks for two years and got used to it and moulded myself to it.
"Hook was trying to help my knee out a bit by doing lateral movements and steps, but I'm not much of a stepper anyway. That might come one day when I get a bit of confidence in my knees.
"I've played there for two years and am a lot more confident there and more vocal in meetings with centre rather than middle. I am still getting used to the middle and there are a few big fellas there who know the role better than me."
Bird admitted to plenty of nerves ahead of the Eels trial, despite having a grand final win and five Origin games on his resume.
"It was my first game in 11 months," he said.
"The main focus was just to go out there and get through the game, be confident and get a few touches. I tried that, I didn't do too much out there but I came away unscathed and felt pretty good out there.
Feagai brothers coast to coast effort gives us the opener
"I was real nervous, when I found out I was playing last week I got nervous then. I had butterflies the whole week. I haven't been this nervous before a game for a long time."
Bird said while the past two years had been very tough, he was happy just to be enjoying footy again.
"It's been pretty tough but I'm still here, I'm still happy," he added.
"As long as I stay injury-free and keep doing things for the team and try and be myself every day. I haven't played much footy, I'm nowhere near the player I was when I first got injured but hopefully I can get there."
Lawrie: "This means a lot to me"
Team Talk: Dragons 2023 overview, best 17, squad update
Shereb: "That's my goal, to fill one of those spots"
Recruit Watch: Ben Murdoch-Masila


On Thursday June 25th we had our End of Year Awards Ceremony. Congrats to all the boys and girls who got a special award. We are very proud of the work all of you have done this year! Below are pics of the children who received Attendance Awards, Friendship Awards, Hard Work & Determination Awards, Sports Awards, Music Awards, and Junior & Senior Students of the Year.
We also said a sad Farewell to Ms Collins today as she is returning home to teach in Cork. After all her years of work and dedication to St Audoen's we are very sad to see her go. The children gave her huge cheers and there were lots of tears and hugs. Thank you Ms Collins, you will be truly missed by us all.


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Meek Mill Talks Upcoming Single "B-Boy" Featuring Big Sean & A$AP Ferg
blame it on JES7 June 28, 2014
Sitting down with the beautiful MissInfo in the media room at the pre-BET Awards, Meek Mill disclosed a few details on his upcoming album, Dreams Worth More Than Money.
One exciting bit of news for fans of Meek Mill is a song called "B-Boy" which will feature A$AP Ferg & Big Sean, with a video being shot on Monday. Meek revealed that the song does not feature a hook. Watch part one and two of MissInfo's interview up top and below, and keep it locked here for our coverage on the BET Awards tomorrow.
Meek Mill Talks Upcoming Single "B-Boy" Featuring Big Sean & A$AP Ferg was last modified: March 31st, 2018 by JES7
Tags:asap ferg, big sean, meek mill
Problem – 0 to 100 Freestyle
Skeme – 24 Hours Freestyle


text:
Cachoeira do Sul este un oraș în Rio Grande do Sul (RS), Brazilia.

Cachoeira do Sul

redpajama_set_name: RedPajamaWikipedia


I found Page-a-Minute Memory Book to have very practical advice for improving my memory. The first part explains why we don't remember things so that we are more self-aware of how to fix it. That alone made it worth the price of the book. The second part has a lot of useful techniques for common things: how to remember people's names, remembering short lists, etc. I stopped reading when he started onto tips for remembering things that, well, would put you into the guinness book of world records. However, the remainder of the book was very helpful.
There's a great scene where Hepburn demonstrates the use of mnemonics as a way of improving ones ability to memorize random facts. She doesn't use the term mnemonics, but she shows show she's related anything she needs to remember to another fact. Since I use mnemonics (thanks to the Page-A-Minute Memory Book), it was great to see it in action and very interesting to see how the script portrays it.


擊滅定向射頻第3代 "內臟脂肪" – 奧迪寶Adipo Lab (Hong Kong) Ltd.	擊滅定向射頻第3代 "內臟脂肪" – 奧迪寶Adipo Lab (Hong Kong) Ltd.
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ASCOT RACES ODDS, PREVIEW AND ANALYSIS
The end of the British flat season is near. On Saturday, the last prestigious meeting is about to be held at the Ascot Racecourse, and we bring you the Ascot races odds, where four G1 races attract high-quality participants, while the G2 Long Distance Cup also features some star-stayers. The most mouth-watering clashes should happen in the Queen Elizabeth II Stakes with Baaeed and Palace Pier clashing for the very first time, and also, at the pinnacle of the day, the Champion Stakes as Mishriff will try to turn the tables on Adayar. The afternoon will also be the last chance for William Buick to catch Oisin Murphy in their charge for the Champion Jockey title.
British Champions Long Distance Cup
The series of prestigious British races for super stayers is concluded with this G2 turf event with the purse of £500,000, while three-year-old and older participants are about to cover the distance of two miles. To some extent, Saturday's race feels like a rematch for the G1 Prix du Cadran, but Stradivarius (7-2) didn't look the one to run Trueshan (5-4) down back in France, and he doesn't look like that again. The seven-year-old horse trained by John and Thady Gosden has won basically every single British race on such a distance; however, his form in the last two seasons is naturally a bit weaken as he grows old. Stradivarius is still respected here, moreover, when the ground stays good, but Trueshan's chances to win the Long Distance Cup again are just more appealing. The Alan King bound five-year-old achieved his first G2 victory in last year's edition of the race, scoring by remarkable 7 and ½ length before Search For A Song, while he bagged his first G1 success in July by winning the Goodwood Cup. In the Prix du Cardan, Trueshan proved uncatchable for his rivals again, and despite the fact he'd prefer softer ground on Saturday, he deserves to be perceived as the leading chance for the Long Distance Cup 2021.
The team around five-year-old Princess Zoe (10:1) strived to score the second Prix du Cadran in Longchamp, yet the mare wasn't granted with as heavy ground as she would've liked. Also, she probably isn't classy enough to challenge Stradivarius and Trueshan so that she might repeat the fifth place from France here. Still, she doesn't belong among favourites anymore, especially when the surface isn't expected to be anything near heavy. Baron Samedi (7-1) is an interesting stayer, given he's scored two G2 races so far, including Belmont Gold Cup Stakes over two miles. The four-year-old gelding lacks something to join the absolute elite but always tries hard in the final stretch regardless of the ground conditions. However, there's still another concern about him – he's apparently not capable of running straight as he always twists in various ways under his jockey. Based on what was said, Baron Samedi should run well, but challenging the couple of most preferred participants seems a bit far-fetched.
In October 2019, Hamish (6-1) managed to get the better of Trueshan in a Class 2 race; however, the five-year-old gelding recorded just one start last year, which applies to the season 2021, too, so far. Still, his only this year's outing resulted in an eye-catching effort in a G3 race on the all-weather surface at Kempton, where he headed smart Hukum. Hamish seems to be the one who could surprise the leading chances here, maybe together with Berkshire Rocco (12-1), who finished second in last year's St Leger to Galileo Chrome. Since then, he's taken second place in Riyadh and in a Class 2 race in September, and it seems he hasn't still shown everything he's capable of. The last to mention is three-year-old The Mediterranean (14-1), third in the St Leger 2021, who developed into a very reliably and trying stayer.
Horse Jockey Horse Racing Odds courtesy off Jazzsports
TRUESHAN Hollie Doyle +138
STRADIVARIUS Frankie Dettori +350
HAMISH Tom Marquand +550
BARON SAMEDI Dylan Browne McMonagle +750
PRINCESS ZOE J M Sheridan +800
BERKSHIRE ROCCO Jason Watson +1400
THE MEDITERRANEAN Ryan Moore +1400
MASTER OF REALITY James Doyle +2200
ROBERTO ESCOBARR William Buick +2200
MORANDO Silvestre De Sousa +4000
TASHKHAN Ben Robinson +5000
NICHOLAS T Paul Mulrennan +8000
Our betting prediction for the Long Distance Cup is: Trueshan because he currently seems to be the best stayer in Europe.
British Champions Sprint Stakes
The British series for elite sprinters is also about to end in Ascot as the Saturday's race offers the purse of £500,000 for three-year-old and older horses that will clash at the distance of 6 furlongs. At first sight, the field is strongly competitive, and with the absence of Starman, who was retired, and Oxted, who is on the sidelines, an upset is at hand. There are favourites, of course, but they lack the aura of champions the mentioned duo boasted. Still, Art Power (4-1) is a respected contestant due to his latest exploit at the G3 scene. In other words, he destroyed the competition by at least five lengths, suggesting his form is culminating. The four-year-old colt trained by Tim Easterby finished fourth in the Sprint Stakes in 2020, while he accumulated third, fourth and fifth place in the G1 races this year, while the expected good to soft ground should play to his cards. Art Power could bag his first victory among the elite on Saturday as his most serious rivals actually could be a bit tired from their difficult campaigns. Dragon Symbol (4-1), trained by Archie Watson, has run 10 times since March, and even though he hasn't finished worse than fourth, placing second in both the Commonwealth Cup and July Cup, his efforts are rated lower and lower. He's a brilliant sprinter for sure, but he might be short of breath on Saturday. Still, he shouldn't finish worse than fifth, which applies also to another three-year-old in the field, Rohaan (9-2). The David Evans bound gelding hasn't had anything resembling a break in the season as he's regularly hitting the track since last October. He's run 17 times since then, including denying Dragon Symbol a G2 success in May. In the G1 company, he hasn't shown anything interesting in the first two starts, but in the Flying Five Stakes at Curragh, Rohaan's fifth place wasn't bad at all. If he repeats the performance, he should place on Saturday.
Although the mentioned duo of three-year-olds may be pretty likeable, Creative Force (6-1) might be even better in this event and make amends for his underwhelming sixth place in the Sprint Cup Stakes at Haydock. He shined neither in the July Cup, so it could be said he isn't good enough to strike in the G1 company; still, the Charlie Appleby trained chestnut didn't seem to enjoy the good to firm conditions back then. Being granted with good to soft this time, Creative Force might come back with a bang here. Minzaal (8-1) and Happy Romance (20-1) look classy enough to be in the mix as well, while Glen Shiel (20-1) won the Sprint Stakes last year, but with one exception at Royal Ascot, his performances have been below par in 2021. Last time out, he was no match for successful Vadream (12-1) as the three-year-old filly scored a G3 race over six furlongs, suggesting shorter distances suit her well.
DRAGON SYMBOL Oisin Murphy +400
ART POWER Silvestre De Sousa +450
ROHAAN Ryan Moore +450
CREATIVE FORCE William Buick +650
MINZAAL Jim Crowley +650
KINROSS Frankie Dettori +900
HAPPY ROMANCE Sean Levey +1600
THUNDER MOON Tom Marquand +2200
LAST EMPIRE Daniel Tudhope +4000
KEEP BUSY James Doyle +4000
Our betting tip for the British Champions Sprint Stakes is: Art Power, as he's consistent at the G1 scene and should have something left in the tank even at the end of the season. For the braver wagers, we suggest trying out Vadream for placing here.
British Champions Fillies & Mares Stakes
The G1 turf race over the mile and a half is next on Snowfall's (9-2) agenda. Her trainer Aidan O'Brien had suggested the three-year-old filly might take on the competition of the Champion Stakes, but as he had to scratch Love from this £500,000-race for three-year-old and older fillies and mares, Snowfall stepped in. The bay has three G1 victories under her belt, including the breath-taking performance in the Epsom Oaks; however, her two most recent efforts were a bit underwhelming. She possibly had some excuses for the second place in the Prix Vermeille; however, it's never been really considered she should be stopped at the Prix de l'Arc de Triomphe by the heavy going. But Snowfall didn't fare at Longchamp back then, finishing sixth. Still, her effort was at least gallant in such a competition, so if the daughter of Deep Impact displays something similar on Saturday, she might add another G1 success to her record.
It's true, though, she's not as respected as she used to be in summer, and therefore, the British Champions fillies & mares Stakes is not perceived as a one-horse race at all. In the field of 8 contestants, four-year-old Albaflora (8-1) looks the most dangerous rival for Snowfall. Since the beginning of the season, the grey filly was creating the impression she could belong among the elite of fillies and mares at the longer distances, which she affirmed by her third place in the G2 Lillie Langtry Stakes and when finishing second in the G1 Yorkshire Oaks behind Snowfall. He hasn't hit the track since August, but if Ralph Beckett was his charge systematically preparing for this race, Albaflora will probably try to turn the tables on Snowfall. In terms of the rest of the field, almost every single contestant looks set to have a good chance to place here. Three-year-old Invite (10-1) ran down some quality rivals in a Listed race last time out, Eshaada (11:1), Tribal Craft (33-1), and Lady Hayes (33-1) achieved second places in the G2 company. And although she starts only after eight days, La Joconde (33-1) has already shown she can be much more than just a pace-setter for Snowfall, finishing third in the Yorkshire Oaks and Prix Vermeille.
SNOWFALL Ryan Moore -120
ALBAFLORA Rossa Ryan +450
INVITE J F Egan +450
ESHAADA Jim Crowley +800
TRIBAL CRAFT Oisin Murphy +2000
LA JOCONDE Hollie Doyle +2500
LADY HAYES Andrea Atzeni +2800
MYSTERY ANGEL Ben Curtis +3300
Our betting prediction for the British Champions fillies & mares Stakes is: Snowfall because, despite her recent winless efforts, she's still the one who took sixth place in the 100th running of the Prix de l'Arc de Triomphe. In other words, in the most prestigious European race everyone wants to win.
Queen Elizabeth II Stakes
Among milers, this G1 turf race with a purse of £1,100,000 is simply packed with high-class horses. Although the 2000 Guineas Poetic Flare has already been retired, the line-up is fascinating and promises the very first clash between Palace Pier (3-2) and Baaeed (7-4). At the distance of one mile, ten three-year-old and older horses are set to meet on a good to a soft surface, which shouldn't bother the couple, but Palace Pier trained by John and Thady Gosden is currently the preferred one. Last year, the bay colt quickly developed into a top-notch performer, winning two G1 races and concluding the season with a third place in the Queen Elizabeth II Stakes behind The Revenant (15-2) as the ground was too soft for him back then. In 2021, Palace Pier is unbeaten. After dominating the field of a G2 race, he went on to add three G1 victories in the Lockinge Stakes, Queen Anne Stakes, and Prix Jacques le Marois, where he defeated Poetic Flare by a neck. The awesome miler hasn't hit the track since August; he's not a horse suffering from long pauses between races, though, so everything seems to be set for the mouth-watering clash with Baaeed trained by William Haggas. The progressive three-year-old is unbeaten in his five starts, while everything about him shouted class since the beginning. From smaller races, Baaeed climbed effortlessly to Listed and G3 victories, upon which he was pointed to France where he proved to be a G1 horse by prevailing over Order of Australia in the G1 Prix du Moulin. It's not up to debate that Baaeed hasn't faced such a fierce competition he's about to on Saturday. But he has a considerable chance to strike this, given he doesn't mind the expected ground, and it's always looked that a mile should suit him best.
Besides the mentioned duo sired by Sea The Stars, the field features terrific three-year-old fillies from which Alcohol Free (7-1) seems the classier one. However, she'd prefer a softer surface, while Mother Earth (16:1) performs well on every ground. It showed in the 1000 Guineas where Mother Earth bagged her first G1 victory and Alcohol Free had to settle for fifth place, but on the heavy, Alcohol Free left Mother Earth Behind in the Coronation Stakes at Royal Ascot. Both of the fillies wouldn't surprise when running a huge race here, but the competition is super-tough, given the G1 winner's Lady Bowthorpe (16-1) and Lord Glitters (50-1) are the outsiders of the race. The Revenant from France bagged the last edition of the Queen Elizabeth II Stakes, yet, he thrives only on softer surfaces, so the globetrotter Benbatl (14:1) and the 2000 Guineas-second Master of the Seas (8:1) could better him on Saturday.
PALACE PIER Frankie Dettori +163
BAAEED Jim Crowley +250
MASTER OF THE SEAS William Buick +700
ALCOHOL FREE Oisin Murphy +800
THE REVENANT Olivier Preslier +800
BENBATL Pat Cosgrave +1600
MOTHER EARTH Ryan Moore +1600
LADY BOWTHORPE Kieran Shoemaker +1800
NJORD Tom Marquand +6600
LORD GLITTERS Daniel Tudhope +8000
Our free betting pick for the Queen Elizabeth II Stakes: is Palace Pier due to his G1 exploits and experience at the highest level.
Champion Stakes
The final big day of the British flat season is concluded with the G1 event for three-year-old and older horses that will compete at the distance of a mile and a quarter. The purse of £1,200,000 attracted the field of 10 participants, including last year's winner Addeybb (5-1), who scored on the soft surface he adores. Such a ground isn't predicted to feature on Saturday's races, moreover, the seven-year-old gelding hasn't run since the beginning of July. He's a respected contestant as, since July 2019, Addeybb hasn't finished worse than second in 12 races, winning eight of them, including three G1 events in Australia where he left behind even local superstar Veerry Elleegant. The leading chances are to be found elsewhere, in other words, in Mishriff (27-20) and Adayar (2-1).
The former is trained by John and Thady Gosden, for who he won his first G1 in Chantilly last year, and even though he failed to impress in the Champion Stakes 2020, he had his excuses due to the soft ground. Mishriff utterly astonished the world when running down Charlatan in the Saudi Cup in February, upon which he continued his four-year-old campaign with a G1 victory in Meydan. Then he added a second place in the G1 King George VI and Queen Elizabeth Stakes at Ascot. He handles the distance of a mile and a half, but Adayar was simply stronger on that day, beating Mishriff by one and ¾ of a length. However, the bay colt followed onto the Juddmonte International, where he enjoyed his moment in the spotlight, scoring the prestigious race easily by 6 lengths. Since then, he's been working towards Saturday's race, skipping the Arc, unlike Adayar, who grabbed fourth place here. Adayar's fall campaign wasn't that tough on him, so after 13 days, he's again about to run an exciting race, yet on a distance that plays to Mishriff's favour. Still, the Epsom Derby winner Adayar, trained by Charlie Appleby, seems to possess enough speed to be a solid rival for the favourite.
Also, other participants are classy ones as Dubai Honour (6-1) scored a G2 race in October at Longchamp, while Sealiway (12-1) finished fifth in the Prix de l'Arc de Triomphe. Yet, they should be no match for the aforementioned trio of multiple G1 winners.
MISHRIFF David Egan +163
ADAYAR William Buick +175
ADDEYBB Tom Marquand +650
DUBAI HONOUR James Doyle +650
SEALIWAY Mickael Barzalona +1200
AL AASY Jim Crowley +2000
BOLSHOI BALLET Ryan Moore +3300
MAC SWINEY Kevin Manning +3300
FOXES TALES Silvestre De Sousa +4000
EUCHEN GLEN Paul Mulrennan +6600
Our horse betting pick for the Champions Stakes is: Mishriff, as he's been trained for this race in particular since August, and when he's in the top-notch form, he's the one to beat at this distance.
Join us at JazzSports and make sure to stay tuned for the latest horse racing odds and racing entries.
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HRT Highlights #46: Pegasus World Cup 2023 Picks


text:
NM firms prepare for impact of tax overhaul
By Marie C. Baca / Journal Staff Writer
Published: Monday, January 22nd, 2018 at 12:02am
Updated: Monday, January 22nd, 2018 at 8:33am
Jimmy Trujillo, tax practice leader at REDW, says accounting firms will devote more of their practices to client education and planning. (Greg Sorber/Albuquerque Journal)
Lisa Todd, partner at Moss Adams and chair of the New Mexico Society of Certified Public Accountants.
For tax professionals, January is often a quiet time of gathering information, according to Lisa Todd, a partner at financial services firm Moss Adams in Albuquerque and chair of the New Mexico Society of Certified Public Accountants.
Not so this year.
"We are seeing an extraordinary amount of communication with clients," said Todd. "Everyone is trying to educate themselves about what the tax bill means for them."
At the heart of the scramble is the 1,000-page piece of legislation passed late last month by Congress, the most sweeping overhaul of U.S. tax laws since the 1980s. Among the changes: lowering the income tax on the nation's highest earners from 39.6 percent to 37 percent; allowing owners of certain types of businesses to deduct 20 percent from their business income; and lowering the corporate tax rate from 35 percent to 21 percent.
Jim Hamill, director of tax practice at the Albuquerque-based Reynolds Hix & Co. and a Journal columnist, said what is clear at this point is that the complexities of the law present an enormous opportunity for CPAs.
CPA and Journal columnist Jim Hamill says the tax overhaul has made complicated tax returns even more complicated. (Marla Brose/Albuquerque Journal)
"Technology has long threatened to take over mundane tax preparation work," said Hamill. "In my view this is a bad bill – it was put together very quickly and, as a result, will likely have unintended consequences – but it has created lots of opportunities to plan. And in our industry, that's a good thing."
Proactive measures
Jimmy Trujillo works at his desk. (Greg Sorber/Albuquerque Journal
Jimmy Trujillo, tax department head of the Phoenix- and Albuquerque-based REDW, said accounting practices could see their client flow change under the new law. Under the old law, the standard deduction was $6,350 for individual taxpayers or $12,700 for joint filers, with personal exemptions of up to $4,050 for each family member. Now there will be no personal exemptions and standard deductions of up to $12,000 for single filers and $24,000 for joint filers. As a result, more individuals may elect to simply take the standard deduction, said Trujillo.
"It's probably going to change how many individuals need a tax preparer to file their returns," he said. "It's too early to tell, but this is the way the industry has been heading for a while."
And while high-net-worth individuals have long been an important part of the client roster, Trujillo said it is businesses that will likely need the most tax planning help from professionals. As a result, he said, REDW is identifying clients who could benefit from additional planning services.
"There are just so many new provisions on the business side, and in many cases it requires some pretty sophisticated planning," he said. "We've already started reaching out to our clients, setting up times to meet with them."
Trujillo also said the company is updating its software so that it can run financial projections for its clients that reflect the new guidelines.
At Moss Adams, technology is also coming into play, in the form of webcasts the company is creating for its clients to educate them on the changes in the bill. Todd said devoting resources to the planning and education side of its business will be a priority for the company going forward.
Structure and depreciation
It will likely take years for the government to fully flesh out the details of the new law, according to Tom Broderick of the Albuquerque-based accounting and consulting firm BPW&C.
Tom Broderick, BPW&C
"The last big overhaul was in 1986, and most of the relevant regulations weren't in place until the early nineties," said Broderick. "These things take time."
Still, he said the IRS will issue initial guidance in the coming months, and the business community will be expected to make "reasonable interpretations" based on the bill and Congressional committee reports for tax year 2018.
For small business owners who don't know where to start, Broderick suggests paying particularly close attention to two issues: the structure of the business entity (see sidebar) and bonus depreciation.
Bonus depreciation is a concept that reflects the fact that certain investments owners make in their own businesses depreciate over time: a construction company that buys a loader, for example, will see that piece of equipment become less valuable over time as it is used.
On their taxes, businesses can engage in a process called "accelerated depreciation" with equipment, which gives owners a deduction of up to 50 percent the first year the equipment is put into use. Now, that deduction has been increased to up to 100 percent for a five-year window from Sept. 27, 2017 to Dec. 31, 2022. Companies that are considering buying equipment or investing in other types of business property may want to look carefully at the new rules around bonus depreciation to see if they can put them to use, Broderick said.
Perhaps the biggest takeaway of all, according to Broderick, is that every business is different, and a solution that saves one organization millions of dollars isn't necessarily a one-size-fits-all approach for the rest of the industry. In other words, if there was ever a time to seek the advice of a CPA, it would be now, said Broderick.
"We're definitely feeling in demand," he said.
Pass-through, or corporation?


text:
Q: select one element of a nested list and convert it to dataframe in R I have the following list structure
ts1 <- ts(rnorm(10))
l <- list()
l[["P1"]][["M1"]][["forecast"]] <- rnorm(1)
l[["P1"]][["M1"]][["accuracy"]] <- rnorm(1)
l[["P1"]][["M1"]][["forecast"]] <- rnorm(1)
l[["P1"]][["M1"]][["accuracy"]] <- rnorm(1)
l[["P2"]][["M2"]][["forecast"]] <- rnorm(1)
l[["P2"]][["M2"]][["accuracy"]] <- rnorm(1)
l[["P2"]][["M2"]][["forecast"]] <- rnorm(1)
l[["P2"]][["M2"]][["accuracy"]] <- rnorm(1)

I wish to convert it to a data frame with the following columns: Note that I only want one of the elements of the final list
df <- data.frame(Product=c("p1","p1","p2","p2"),model=c("M1","M2","M1","M2"),accuracy=c(l$P1$M1$accuracy,l$P1$M2$accuracy,l$P2$M1$accuracy,l$P2$M2$accuracy))

I tried something like this:
df <- lapply(l, function(x) do.call(rbind,x))
df <- do.call(rbind,Map(cbind,product=names(df),df))
as.data.frame(df)

But I don´t manage to get the names properly

A: In base R, you could try something like this :
tmp <- lapply(l, function(x) {
  df <- do.call(rbind,x)
  data.frame(df, model = rownames(df))
})
do.call(rbind, Map(cbind, tmp, Product = names(tmp)))

#     forecast   accuracy model Product
#P1 -0.6148388 -0.6326906    M1      P1
#P2  0.1245955  0.9269495    M2      P2

However, it is shorter with tidyverse functions.
library(dplyr)
library(purrr)

map_df(l, ~bind_rows(.x, .id = 'model'), .id = 'product')

#  product model forecast accuracy
#  <chr>   <chr>    <dbl>    <dbl>
#1 P1      M1      -0.615   -0.633
#2 P2      M2       0.125    0.927

A: An option with data.table
library(data.table)
rbindlist(lapply(l, rbindlist, idcol = 'model'), idcol = 'product')
#   product model   forecast  accuracy
#1:      P1    M1 0.72132201 0.9557613
#2:      P2    M2 0.01656428 0.8460819

redpajama_set_name: RedPajamaStackExchange


Place olive oil, onion, garlic, and ginger in the bottom of the pressure cooker and cook on "Saute" until soft and fragrant. Add remaining ingredients, except lemon juice, and bring to high pressure. Cook at high pressure for 10 minutes and allow to depressurize naturally. Using an immersion blender, blend soup, add lemon juice, and serve.
This was a little bit too thin when I pureed it, so I added a chopped sweet potato that I had on hand. The thicker result was delicious! I served it at a large gathering and it was a hit!
This turned out really good. The only thing I changed was adding 2 Tbsp of tomato paste instead of lemon juice and using dried ginger instead of fresh. Thank you for posting!
In a typical computer view, to the righthand side of the screen in the column, down about 1/3 of the way.
Can you be a bit more specific what you mean by "large" butternut squash – 2 lbs, 3 lbs, or how many cups when peeled and diced? Thanks – not sure if it's essential but large is pretty subjective.


Kids who ride through tropical winters may not understand how the hi-tech fabric works to cool their skin as they work on their diagonals, but they definitely appreciate the refreshing effect. The fun Kerrit Sticks are strategically placed on the seat and inner leg for grip and breathability. The side pocket is perfect for treats.


Dafna Nundi Gewurtz Izraeli examined Israeli society through the lens of gender studies, showing how sexism in the Israeli army had wider repercussions for gender inequality in Israeli businesses and politics.
An experimental writer who often grapples with religion in her writing, Mary Doria Russell has found inspiration in historical events from WWII to the OK Corral.
Ruby Daniel's memoir of her life in India revealed not only the rich culture of her childhood but also her experiences as a Jewish woman in the Indian Navy, serving alongside Muslim and Hindu men.
Rokhl Auerbakh's determination to record everything she witnessed in the Holocaust led to her creating the questionnaires to capture other survivors' stories for war crime trials and Holocaust memorials.
Both as a historian and as a fiction writer, Hanne Blank has questioned how we relate to our bodies and our sexuality, from gender norms to fat-shaming.
Nechama Tec's experiences as a child in the Holocaust led to her career highlighting nontraditional stories of the Holocaust, and inspired the movie Defiance.
Despite a lack of formal training as an anthropologist, Marjorie Shostak wrote one of the most popular life histories in the field, Nisa: The Life and Words of a !Kung Woman, in 1981.
In her most famous book, Black, Jewish and Interracial: It's Not the Color of Your Skin but the Race of Your Kin and Other Myths of Identity, anthropologist Katya Gibel Mevorach (nee Azoulay) explored identity politics, "passing" as white, and other social constructs of race.
Anthropologist Hortense Powdermaker used her experiences of anti-Semitism and "passing" to offer new insights into how societies manage tensions between insiders and outsiders.
A pioneer of the study of adult development and aging, Bernice Levin Neugarten found that there was no one right way for people to grow old.
Ruth Schlossberg Landes made her mark as one of the first professional female anthropologists with her work on gender and religious identity in different cultures.
Gisela Peiper Konopka ignored conventional wisdom and focused on what troubled teens had to say, a process that led to her becoming a pioneer of group therapy, rebuilding shattered German psyches after WWII.
Esther Loeb Kohn helped bridge the gap between Chicago's volunteer and professional social workers and spent thirty years running the Hull House settlement whenever founder Jane Addams was away on her frequent travels.
Despite being legally blind from childhood due to cataracts, C. Marian Kohn worked tirelessly to help others in need, from orphans and immigrants to people with disabilities.
During the Depression, Dorothy C. Kahn helped pioneer social work as a service provided by the government to all who needed it, instead of the responsibility of just private or religious charities.
Ruth E. Fizdale helped transform social work from a charitable volunteer activity to a paid profession through her development of a fee-for-service, nonprofit counseling firm.
Renowned anthropologist Barbara Myerhoff made waves when she chose to study a very different culture: her own.
Ruth Fredman Cernea said, "Jewish humor is not silly, but it is absurd absurdity. It is the opposite of deep seriousness."
Learn about tools and techniques that will make oral history projects more engaging for both you and your students. Get oriented to various online resources that will help you collect and share stories in your classroom or community. Finally, explore how oral histories can be used as "Jewish texts" that teach students about Jewish history, identity, and community.
"Like 'The Man Who Came to Dinner,' I was the woman who came to Princeton."
Frances Feldman's life and work are a testimony to the highest standards of social work scholarship. They reflect compassion, systematic understanding, and relentless curiosity. A pioneering spirit, personally and intellectually, she changed the world she lived in and left indelible memories with all who knew her.


The Ulva Ferry Pontoon offers berthing for up to 8 boats. Fuel, water and electricity available.
Our pontoon is the perfect base for exploring Mull's beautiful north-west coast, Ulva & Gometra, Staffa & the Treshnish Isles.
Fabulous restaurants and local attractions nearby. The Ulva Ferry Community Transport Service can take you further afield on Mull.
An absolute must-see, the long sweep of Calgary is the largest and most accessible beach in North Mull.


text:
Q: How can I copy a apache web server response variable to a new response header variable I have a requirement where I would like a response variable to be copied to a new header variable.
i.e. a response variable called "Location" and to be copied to "X-Location".
From apache documentation I can see that I can set new headers or edit existing headers but I cannot seem to be able to copy a existing header to another header. I am using apache 2.2 .
Any pointers ?
Thanks
Narsimha

A: Here is the solution
Header set X-Location "expr=%{resp:Location}"

This will copy response header Location to response header X-Location


text:
Want more information about Rocklin Academy Family of Schools? Click here!
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Authorized under the Charter School Act of 1992, the Rocklin Academy Family of Schools are public schools open to ALL students. We were the first public school in the greater Sacramento area to offer the nationally-recognized Core Knowledge curriculum.
The Rocklin Academy Family of Schools are public, tuition-free, charter schools that embody high standards, parent partnership, rich core content and collaborative use of data, resulting in high quality teaching and learning in a nurturing environment.
The demand at the Rocklin Academy elementary campuses led to additional campus offerings and the development of Western Sierra Collegiate Academy, our 7-12 educational program. Our middle/high school is similar in design and educational program to some of the best public and private schools in the United States.
The structure of Western Sierra was based on the Pacific Collegiate School, the highest achieving open enrollment high school in California, and other high performing schools in California and throughout the United States. Western Sierra is a college-preparatory, public, tuition-free charter school open to all. We have a diverse population, and students are accepted without entrance criteria. Western Sierra provides an engaging and rigorous academic curriculum, focusing on math, science, social studies, foreign language and the arts. Students in grades 9-12 will be enrolled in courses required for entrance to the University of California, California State University and selective private universities.
2204 Plaza Dr. Suite 200
Rocklin, CA 95765 Phone: (916) 778-4544 Fax: (916) 626-6855
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text:
#ifndef vaapidecoder_base_h
#define vaapidecoder_base_h

#include "common/log.h"
#include "common/common_def.h"
#include "VideoDecoderInterface.h"
#include "vaapi/vaapiptrs.h"
#include "vaapidecpicture.h"
#include <deque>
#include <pthread.h>
#include <va/va.h>
#ifdef HAVE_VA_X11
#include <va/va_x11.h>
#else
typedef unsigned int Display;
#endif

template <class B, class C> class FactoryTest;

namespace YamiMediaCodec{

#define CLAMP(x, low, high)  (((x) > (high)) ? (high) : (((x) < (low)) ? (low) : (x)))
#define ALIGN_MB(a) (((a) + 15 ) & (~15))

#define INVALID_PTS ((uint64_t)-1)

struct VideoDecoderConfig {
    /// it is the frame size, height is 1088 for h264 1080p stream
    uint32_t width;
    uint32_t height;
    uint32_t fourcc;
    uint32_t surfaceNumber;
    VAProfile profile;

    VideoDecoderConfig()
    {
        resetConfig();
    }
    void resetConfig()
    {
        width = 0;
        height = 0;
        fourcc = 0;
        surfaceNumber = 0;
        profile = VAProfileNone;
    }
};

class VaapiDecoderBase:public IVideoDecoder {
  public:
    typedef SharedPtr<VaapiDecPicture> PicturePtr;

    VaapiDecoderBase();
    virtual ~ VaapiDecoderBase();

    virtual YamiStatus createPicture(PicturePtr& picture, int64_t timeStamp /* , VaapiPictureStructure structure = VAAPI_PICTURE_STRUCTURE_FRAME */);
    virtual YamiStatus start(VideoConfigBuffer* buffer);
    virtual YamiStatus reset(VideoConfigBuffer* buffer);
    virtual void stop(void);
    //virtual YamiStatus decode(VideoDecodeBuffer *buffer);
    virtual void flush(void);
    virtual const VideoFormatInfo *getFormatInfo(void);
    virtual SharedPtr<VideoFrame> getOutput();

    /* native window related functions */
    void setNativeDisplay(NativeDisplay * nativeDisplay);
    void releaseLock(bool lockable=false);

    void  setAllocator(SurfaceAllocator* allocator);

    //do not use this, we will remove this in near future
    virtual VADisplay getDisplayID();
  protected:
      YamiStatus setupVA(uint32_t numSurface, VAProfile profile);
      YamiStatus terminateVA(void);
      YamiStatus updateReference(void);
      YamiStatus outputPicture(const PicturePtr& picture);
    SurfacePtr createSurface();
    YamiStatus ensureProfile(VAProfile profile);

    //set format to m_videoFormatInfo, return true if something changed.
    bool setFormat(uint32_t width, uint32_t height, uint32_t surfaceWidth, uint32_t surfaceHeight,
        uint32_t surfaceNumber, uint32_t fourcc = YAMI_FOURCC_NV12);
    bool isSurfaceGeometryChanged() const;

    NativeDisplay   m_externalDisplay;
    DisplayPtr m_display;
    ContextPtr m_context;

    VideoConfigBuffer m_configBuffer;
    VideoFormatInfo m_videoFormatInfo;

    /* allocate all surfaces need for decoding & display
     * in one pool, the pool will responsable for allocating
     * empty surface, recycle used surface.
     */
    DecSurfacePoolPtr m_surfacePool;
    SharedPtr<SurfaceAllocator> m_allocator;
    SharedPtr<SurfaceAllocator> m_externalAllocator;

    /* output queue*/
    typedef std::deque<SharedPtr<VideoFrame> > OutputQueue;
    OutputQueue m_output;

    bool m_VAStarted;

    uint64_t m_currentPTS;

  private:
      bool createAllocator();
      YamiStatus ensureSurfacePool();
      VideoDecoderConfig m_config;

      struct VideoFrameRecycler;

#ifdef __ENABLE_DEBUG__
    int renderPictureCount;
    bool m_dumpSurface;
#endif

};
}
#endif                          // vaapidecoder_base_h

redpajama_set_name: RedPajamaGithub


The World Bank declares that its mission is to end extreme poverty within a generation and to boost shared prosperity. These goals are universally agreed as part of the Sustainable Development Goals. But the World Bank lacks an SDG strategy, and now it is turning to Wall Street to please its political masters in Washington. The Bank's president, Jim Yong Kim, should find a better way forward, and he can do so by revisiting one of his own great successes. Kim and I worked closely together from 2000 to 2005, to scale up the world's response to the Aids epidemic. Partners in Health, the NGO led by Kim and his colleague, Harvard University's Paul Farmer, had used antiretroviral medicines (ARVs) to treat around 1,000 impoverished HIV-infected rural residents in Haiti, and had restored them to health and hope. I pointed out to Kim and Farmer 18 years ago that their success in Haiti could be expanded to reach millions of people at low cost and with very high social benefits. I recommended a new multilateral funding mechanism, a global fund, to fight Aids, and a new funding effort by the United States. In early 2001, UN Secretary-General Kofi Annan launched the Global Fund to Fight Aids, Tuberculosis, and Malaria, and in 2003 US President George W Bush launched the PEPFAR programme. The World Health Organisation, led by the Director-General Gro Harlem Brundtland, recruited Kim to lead the WHO's scale-up effort. Kim did a fantastic job, and his efforts provided the groundwork for bringing ARVs to millions, saving lives, livelihoods, and families. There are four lessons of that great success. First, the private sector was an important partner, by offering patent-protected drugs at production cost. Drug companies eschewed profits in the poorest countries out of decency and for the sake of their reputations. They recognised that patent rights, if exercised to excess, would be a death warrant for millions of poor people. Second, the effort was supported by private philanthropy, led by Bill Gates, who inspired others to contribute as well. The Bill & Melinda Gates Foundation backed the new Global Fund, the WHO, and the Commission on Macroeconomics and Health, which I led for the WHO in 2000-2001 (and which successfully campaigned for increased donor funding to fight Aids and other killer diseases). Third, the funding to fight Aids took the form of outright grants, not Wall Street loans. Fighting Aids in poor countries was not viewed as a revenue-generating investment needing fancy financial engineering. It was regarded as a vital public good that required philanthropists and high-income countries to fund life-saving treatment for poor and dying people. Fourth, trained public health specialists led the entire effort, with Kim and Farmer serving as models of professionalism and rectitude. The Global Fund does not stuff the pockets of corrupt ministers, or trade funding for oil concessions or arms deals. The Global Fund applies rigorous, technical standards of public health, and holds recipient countries accountable – including through transparency and co-financing requirements – for delivering services. The World Bank needs to return to its mission. The SDGs call for, among other things, ending extreme poverty and hunger, instituting universal health coverage, and universal primary and upper secondary education by 2030. But, despite making only slow progress toward these goals, the Bank shows no alarm or strategy to help get the SDGs on track for 2030. On the contrary, rather than embrace the SDGs, the Bank is practically mute, and its officials have even been heard to mutter negatively about them in the corridors of power. Perhaps US President Donald Trump doesn't want to hear about his government's responsibilities vis-à-vis the SDGs. But it is Kim's job to remind him and the US Congress of those obligations – and that it was a Republican president, George W. Bush who creatively and successfully pursued the battle against Aids. Wall Street may help to structure the financing of large-scale renewable energy projects, public transport, highways, and other infrastructure that can pay its way with tolls and user fees. A World Bank-Wall Street partnership could help to ensure that such projects are environmentally sound and fair to the affected communities. That would be all for the good. Yet such projects, designed for profit or at least direct cost recovery, are not even remotely sufficient to end extreme poverty. Poor countries need grants, not loans, for basic needs like health and education. Kim should draw on his experience as the global health champion who successfully battled against Aids, rather than embracing an approach that would only bury poor countries in debt. We need the World Bank's voice and strenuous efforts to mobilise grant financing for the SDGs. Healthcare for the poor requires systematic training and deployment of community health workers, diagnostics, medicines, and information systems. Education for the poor requires trained teachers, safe and modern classrooms, and connectivity to other schools and to online curricula. These SDGs can be achieved, but only if there is a clear strategy, grant financing, and clear delivery mechanisms. The World Bank should develop the expertise to help donors and recipient governments make these programmes work. Kim knows just how to do this, from his own experience. Trump and other world leaders are personally accountable for the SDGs. They need to do vastly more. So, too, do the world's super-rich, whose degree of wealth is historically unprecedented. The super-rich have received round after round of tax cuts and special tax breaks, easy credits from central banks, and exceptional gains from technologies that are boosting profits while lowering unskilled workers' wages. Even with stock markets' recent softness, the world's 2,000+ billionaires have around $10tn in wealth – enough to fund fully the incremental effort needed to end extreme poverty, if the governments also do their part. When going to Wall Street, or Davos, or other centres of wealth, the World Bank should inspire the billionaires to put their surging wealth into personal philanthropy to support the SDGs. Bill Gates is doing this, with historic results, for public health. Which billionaires will champion the SDGs for education, renewable energy, fresh water and sanitation, and sustainable agriculture? With a clear SDG plan, the World Bank would find partners to help it fulfil its core, historic, and vital mission.


英文摘要 In 2008, Japanese Enterprises got trouble of getting into debt and terrible operation condition with global economic effect. Besides taking measures to lay off employees and to decrease output, they must to take notice of staff training and the change of human resources. It's the point that Japanese enterprises need to make use of staff's talent for getting better efficiency and finally combine with enterprises' ideas. The research of Panasonic and Toyota both keep an eye on human resources, so the most important things are staff training, changes of employees, making use of human resources, organization operation.
In order to analyze this thesis, so focusing on human resources strategy. So, there are two ways need to know that how the enterprises to grow much more competitive by themselves.
1.The employees must understand fully the strategy and aims of the company. At the same time, employees have to improve their own abilities and work hard in order to gain more work experiences which help them perform better.
2.The enterprises must understand that how to use human resources strategy to control the cost and increase enterprise's income by using the human resources strategy. Finally, holding the enterprise competitive advantage continuously.
1.Michael G. Harvey,(1984), "Application of Technology Life Cycles to Technology Transfers", Journal of Business Strategy.
2.Lucas, R. E. Jr., (1988), "On the Mechanics of Economic Development", Journal of Political Economics, vol22.
3.Nurkse, R., (1953), "Problems of Capital Formation in Undeveloped Countries", New York, Oxford University Press.
4.Ulrich, D. (1991), "Using Human Resources for Competitive Advantage, Making Organization Competitive", San Francisco: Jossey-Bass Inc.


text:
Q: LM339 basic operation

simulate this circuit – Schematic created using CircuitLab
What voltage needs to be applied at \$V_{\text{in}}\$ for the LED to turn on?
My answer:
\$V_{\text{in}} > 9\text{V}\$
Is this correct?

A: The LM339 datasheet says this:

A basic comparator circuit is used for converting analog signals to a digital output. The output is HIGH when the voltage on the non-inverting (+IN) input is greater than the inverting (-IN) input. The output is LOW when the voltage on the noninverting (+IN) input is less than the inverting (-IN) input. The inverting input (-IN) is also commonly referred to as the "reference" or "VREF" input. [...] The output can also be used as a simple SPST switch to ground (when a pullup resistor is not used).

So, for your circuit, the HIGH output is obtained when 9V > Vin. And the LOW output is obtained in the opposite case 9V < Vin (as you said). For the LED to turn on, the output most likely needs to be LOW [depends on the on some other things discussed later].
What the LOW output voltage is depends on what you tie the LM339 negative supply pin to. Here you don't show that. I'm guessing it's tied to the ground of your circuit since that's how the LM339 is typically used. Since LM339 has an open-collector output the HIGH output voltage does not depend on its own supply. You could for example set the LM339 positive supply to just 5V and the HIGH output will still be ~12V when Vin is above 9V.

Beware however of exceeding the LM339's input common-mode voltage range if you do something like that. For Vin varying between (say) 0 and 12, the input common mode voltage [in you circuit] varies between 4.5V and 10.5V. The latter will cause problems in practice even if it looks fine in simulation.
The datasheet says the common voltage range should not exceed the LM339's positive supply minus 1.5V, so in a real circuit if we use a 5V supply for LM339, the input common voltage should not exceed 3.5V. Bob Pease has an excellent article on how far you can push a comparator. For LM339, you need to set the supply voltage so that just one of the input pins doesn't exceed the common mode range. So for a 9V reference, if you set the LM339 supply to at least 10.5V, then the other input can range all the way from 0V to 36V without causing problems.

A: I would like to add a clarification for LM339 comparator. This IC is an open-drain output comparator. Meaning, when non-inverting input is higher than the inverting, the output goes floating, thus needing a pull up resistor if used as comparator. On the other hand, when inverting input is higher than the non-inverting, the output is pulled the ground making it in low state.
Source: https://www.ti.com/lit/ds/symlink/lm2901.pdf?ts=1636011964681&ref_url=https%253A%252F%252Fwww.google.com%252F


In this age of digital content marketing, we're being advertised to constantly while online. As consumers become more savvy in noticing the influx of Facebook and Google Ads, brands are increasingly becoming more "human" in the way they connect with their audience. Enter the Instagram influencer. Instagrammers are building huge organic audiences by curating fresh content specific to your hobby. Whether you're a foodie, fashion lover, bargain hunter, interior design DIYer, movie buff, dog obsessed- there's an Instagrammer with thousands of followers and great content waiting for you. Brands are taking advantage of the organic audiences created by these content kings and queens and finding ways to work with them to champion their brand.
We talked to Amy Langrehr of Charm City Cook, who has an Instagram audience of almost 12,000 people and specializes in eating and drinking at the many restaurants in the Baltimore-metro area. Something that started out as a side hobby has become a full-on gig, complete with partnerships with restaurants, hotels and more that she helps promote to her trusted audience. If I could describe her feed in one word, it would be "warm". Amy invites her audience into her kitchen, out to eat with her and often takes you behind the scenes, providing everything you need to recreate her fantastic dining experiences around Baltimore.
We asked Amy a few questions about her industry and here's what she had to say about growing her channel, making a name for herself and staying true to her roots. There's also a few tips and tricks in there for the burgeoning influencer looking to grow their online presence and relationships. Check it out!
1. How would you describe your personal brand?
Real, normal, relatable. I cook. I eat Taco Bell sometimes.
2. When did you realize that your hobbies of food and photography could become a career?
I honestly just fell in love with food and cooking. A few years ago, I didn't like my full-time job very much and thought, what the hell? After going out to eat and drink a lot, I realized that I knew a ton of people in the industry, so I jumped and just figured it out as I went along. However, I don't actually recommend doing it that way! Save up some money and try to have a really flexible job that'll allow you to duck out to a business lunch or media event every once in awhile. But, honestly, quitting my job felt pretty darn good at the time. I'm still glad I did that.
3. There are local/regional food bloggers all over the Internet, but somehow you've managed to cut through the noise and make a real name for yourself in the Baltimore community, with over 11,000 followers on Instagram. What do you think sets you apart?
I'm sometimes told that my voice is authentic. I try to only post about people whose work I actually like. Also, since my Insta is about food in Baltimore, I try not to make it too focused on me – that would be boring to me. I'd much rather share stories of the people doing the heavy lifting.
4. How did you grow your channel?
Slowly, organically. When I have time or it's really important, I try to tell a story – of the dish, of a farm, of a chef's inspiration. In our world of scroll, scroll, scroll, I love when someone stops to read something and leaves a comment. Oh, and hashtags! They really work. I always feel bad when I post a vegan dish and use #vegan and get a few new vegan followers…then, a few days later, I post a huge ribeye steak. Sorry, guys. I eat everything. Also, Instagram stories are trackable GOLD. Use them.
5. What's been the most exciting event/moment you've experienced since becoming a food blogger?
I think the first time I got a paid writing gig, that felt really good. Earning a living as a food writer is not easy – and even though food writing is not my main job – I love when I can write and get paid. So much time goes into it.
6. What strategic advice do you have for up and coming Instagram influencers?
I think if you're scrolling through photos on your phone trying to find something to post, don't post. You're overthinking it. I wouldn't say that there's a hard and fast rule on the number of posts – if more feels right and you're getting real engaged feedback, maybe post a little more. If your engagement lessens, slow it down. Whatever your sweet spot number turns out to be, be consistent. Balanced content is just as important as creating your voice and vibe. I also try to just take photos and collect content while I'm out (for example, at dinner) and then post it later when I can focus. While I'm out, I want to be in that moment and enjoy the food, drinks, people I'm with, not think about what I'm going to post or how I'm going to caption it.
7. As video becomes more ubiquitous year after year, do you make a point of incorporating that into your feed/using Instagram stories? Why?
Yes, I'm starting to post more video content. People pay attention to videos. Attention spans are becoming shorter every day. In a regular IG post, you can see how many people view it…and in stories, you can see who viewed it – pretty cool. Personally, I like viewing Instagram stories more than regular posts. It feels more fun and interactive. I'm still not sure what I think about the effectiveness of Boomerangs, but they're certainly engaging when done in the right way.
8. Do you predict any shift in influencer marketing in the coming future?
Paid posts are becoming much more mainstream now. I'm getting lots of inquiries for those. Some Instagrammers in major cities make their living posting sponsored content. The only way I'd do that is if I was going to post about them anyway. Legally, you have to be really careful with those posts and make sure you use the appropriate hashtags (#ad #sponsored, etc.) and also keep your core audience in mind. You don't want to lose followers just to make money. Again, balance is the key. And don't post something you don't actually believe in.
As brand and influencer partnerships continue to become ever-present in 2018, Amy's thoughts on careful paid post selection hit home on the brand side as well. Partner with an influencer whose tone, photography, and disposition match well with your brand. Most importantly, be sure it's an influencer that fits with your audience demographic. Champion your brand by being open and honest in your brand partnership. Pitch ideas, take notes and come up with clear, concise goals. Most importantly, trust the influencer you've chosen to make the magic happen. If you've done the careful task of selecting the right influencer, they will bring the campaign to life. And to any Baltimore brands out there, be sure to check out Amy's incredible channel, @charmcitycook on Instagram. She rocks!


Middle Georgia State University is accredited by the Southern Association of Colleges and Schools Commission on Colleges (SACSCOC) to award associate, baccalaureate, and master's degrees. SACSCOC maintains the Principles of Accreditation which member institutions adhere to.
Accreditation is reaffirmed every ten years with a Five Year Interim Report at the midpoint. Middle Georgia State University was reaffirmed in 2016. A Quality Enhancement Plan was started in the Fall of 2015. The Fifth Year Interim Report will be due March 15, 2022, and the next decennial reaffirmation will be 2026.


text:
Basehitz Media
News Updates You Can Always Trust!
Nigerian Parents, Teachers Unhappy As Ghanaian Students Top 2020 WASSCE
The Nigeria Union of Teachers (NUT) and some parents have expressed worry about the excellent performance of Ghanaian students as compared to their Nigerian counterparts in the 2020 West African Senior Secondary Certificate Examination (WASSCE).
Describing the development as a 'big shame', the Union asked for the 2020 WASSCE's result to be a wake-up call to resuscitate the Nigeria education system.
In March 2021, Ghana swept all the top three International Excellence awards instituted by the West African Examinations Council (WAEC), seeking to honour candidates with outstanding performance in WASSCE.
The trio, Cecil Tetteh Kumah, Godfred Aseda Obeng and Afua Manukure Ansah, took first, second, and third positions, respectively, and were awarded at the 69th annual council meeting of the organisation in Accra.
Reacting to this in an interview on Nigerian Tribune, the General Secretary of NUT, Dr Mike Ene said for Ghana to sweep all the awards is worrying.
"For only Ghana winning gold, silver and bronze medals in the same examination written by countries like Nigeria which presented almost about 70 per cent of the total candidates, is not good enough for Nigerian image," he said.
NUT scribe explained that gone were the days when the standard of education in Ghana was below Nigeria's.
"Ghana had to strive to make things work to the extent that the country is now attracting many international students, including Nigerians into its schools while only a few foreign students, if any at all, come to study in Nigerian schools.
"So, it is all about vision, about political will, determination and commitment particularly on the part of the government,' he added.
The National President of Nigeria's Parent- Teacher Association of Nigeria (NPTAN), Haruna Danjuma, on his part, lamented Nigeria's education system characterised by constant strikes by various academic and non-academic workers.
He also raised concern about inadequate infrastructure, learning tools, low morale amongst workers, students' laziness, and above all, insufficient government funding.
Danjuma, therefore, stated that until government approaches the issue holistically, Nigeria will continue to lag in the education sector.
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oluwapelumi Aduragbemi
reach me via pelumiekunluyi@gmail.com


Who Are the Schools Affiliated With NWAIS?
NWAIS represents a diverse group of schools, each of which has its own mission and culture. Their philosophy, principles, and practices are consistent with a free, open and humane society. Our schools provide an intellectual environment in which students are free to express individual points of view and to debate all sides of a subject.
NWAIS member schools are primarily day schools with a few boarding programs. Enrollment has been increasing gradually over the past few years while the number of applications has also grown.
The average five day boarding tuition was $49,920.
19% of students in NWAIS schools received financial aid, with an average grant of $11,300.
Enrollment of students of color stands at 29%.
When Should You Begin The Process of Selecting The Right School For Your Student?
While all schools within NWAIS are committed to providing a positive and safe educational experience for all their children, there is no common mold for our schools. Each school has developed a distinctive program and culture based upon its mission and suited to its own community. It is recommended you begin this process the fall before the year in which you wish to enroll your child. Also, you should consider a number of schools as many schools have more applicants than places for new students.
What Are The Key Questions You Should Ask?
As you attempt to answer these questions, you should also begin collecting information about the various schools in which you are interested. Call and request admission brochures and application materials. You can use the NWAIS School Search to explore profiles of our member schools and our School Tour and Open House Calendar to help you plan visits to schools in your area.
What are the requirements and deadline dates of the admission process?
Are interviews with you and your child required?
What type of admission testing or academic assessment must your child go through?
Are references from current teachers required?
Are there deadline dates for various steps in the process?
When will schools make admission decisions and/or financial aid decisions?
What factors does the school take into account when choosing between students?
Additional information can be found via the NAIS Parents Guide on the National Association of Independent Schools website. Families in the greater Seattle area can also vist the Puget Sound Independent Schools website for additional details on the admissions process and school tours.
How Do I Decide Which School Is The Right Choice For My Child?
Once you have heard from the schools that accepted your child, you will be given a certain amount of time to make your choice - usually two weeks. Whichever school you choose, be sure to inform the other schools which accepted your child of your final decision. Many schools have candidates on waiting lists and these students are anxious to learn whether a space will become available. Once you return the enrollment contract along with a tuition deposit, your family will be considered part of that school's community. You will hear several times from the school before the start of the next school year and will begin to experience the sense of community and caring that is such an important part of the independent school world.


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text:
Classical Editor: Rob Barnett Founder Len Mullenger: Len@musicweb-international.com
Sonata for Violin and Piano
Gerald FINZI
Elegy for Violin and Piano
William WALTON
Daniel Hope (violin); Simon Mulligan (piano)
NIMBUS NI 5666 [62.10]
Crotchet AmazonUK AmazonUS
Elgar's Sonata for Violin and Piano wastes no time asserting its allegiance to late Romanticism. Intense Brahmsian themes and legato figures alternate with the serene. The opening bars burst into the room like partygoers tipsy from Liebfraumilch. Written at the end of World War I, this piece is a lament for what Elgar perceived as lost innocence. His approach involves great variation in tonal shades, producing fin-de-siècle motives like nostalgia and regret. At once point, the violin actually sounds like sobbing. Remarkably, violinist Daniel Hope and pianist Simon Mulligan elicit subtlety from Elgar where there is precious little. Hope twists mood and accent from the many scalar ascents, sometimes shaking them when they require melodrama, other times coaxing them onward like shy children. Movement II (Romance and Adagio) suggests a dance-like tune at first, but one that never breaks into exhilaration, as if content to sit on the sidelines and reflect. Through dominant chords and major key shifts, Elgar expresses courage in the last movement, but tempered by perplexity with the calamitous twentieth century. The musicians are utterly faithful to this music, giving it the melodic expression its calls for and deserves.
Gerald Finzi's 1940 Elegy for Violin and Piano keens for the lost pastoral and romantic spirit, both squashed by the encroaching World War II. Romanticism runs thick in Finzi's blood. (He set Wordsworth's Ode: Intimations of Immortality.) This piece's melancholic first theme engenders images of youths pining for the unobtainable. There are several spontaneous shifts in tonality, such as the one about two minutes into the piece, then one a minute later. Such shifts keep the lyricism strong in the same way a lyric poem connects its nature description to the poet's psychological state. It returns several times to its first theme, varying the piano accompaniment only slightly. The performers expertly convey the dense layers of regret in this brief piece. It has a mid-nineteenth century feel, perhaps because Finzi believed he could "shake hands with a good friend over the centuries." There is no trace of dissonance. Even when the violin wails at its peak-the lament as the war intrudes-the music doesn't smooth its furrowed brow. Its ff strains rave on, but with a sharper sense of urgency. The penultimate melody doesn't depart radically in style from the opening one, but instead dwindles tastefully to its death, like a verismo opera heroine.
Like those of his compatriots Gerald Finzi and Edward Elgar, William Walton's Violin Sonata is a romantic piece, but one with dense layers of complexity. Although his piece crosses similar territory to theirs, it explores higher ground and deeper caverns. Its thirty minutes are like a thirty-day love affair, filled with tempests, ecstasy, and reflection. In the first movement surprising shifts in tempo and volume make the music a poor candidate for a late night soporific. The lead melody never meanders but instead changes its textures like a leaf through the seasons. Just when the intensity seems about to break, Walton slows it so it arches like a caressed cat. Violinist Daniel Hope and pianist Simon Mulligan play the variations in II with such skill that they don't seem like variations at all, but rather thinly connected themes. It begins with a lurking tension then explodes dramatically, with the melody propped by staccato chords. This is Waltonian drama rather than Elgarian melodrama. At one point, the violin plays a haunting pizzicato, a segment that Hope plays with the loopy abandon he learned from his Schnittke and Weill interpretations (NI 5582). Don't miss this one. It's one of the great twentieth century violin sonatas.
Peter Bates
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text:
class TestClassOverloading {

 int myFuncWithoutDefaultArgument(int a, int b);

 //Default Argument -> No finding
 int myFuncWithDefaultArgument(int a, int b, int c = 12);

 inline bool operator == (TestClassOverloading &b) const //Operator Overloading -> No finding
    {
        return false;
    }
}