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DAVID DAWSON: The Romantic Choreographer
Article by Maggie Foyer
The words 'romantic' and 'ballet' rarely conjure cutting edge modernity, that is unless you're writing about David Dawson. He is a choreographer with a strong allegiance to classical ballet yet his artistic associates in music and design are the foremost and most innovative in their fields. Dawson is unique in taking the classical technique to the limits of the human body to carve out a twenty-first century aesthetic, then matching it to the emotional nexus of love, life and death, which lies at the heart of each of his ballets.
Dawson's choreography is challenging. It moves the dancers from their comfort zones and demands mental and physical agility. He needs dancers who share his passion and go to the depths and heights with him. Courtney Richardson, who created Isolde in the 2015 Dresden Semperoper production of Tristan and Isolde, said, 'you can feel his energy, his passion for what he's doing. He knows what he wants, and he'll push to get it.' Dawson has the reputation of a hard taskmaster, but the results are astounding. One dancer watching a video playback in the studio blurted out, 'Did I do that?' Continuing a previous conversation, I asked if he still expected his dancers to fly? He smiled. 'Yes, and they do! They are a joy to watch. Taking a performance beyond the limit is what makes it special. It takes the dancer beyond the realm of their imagination and into their emotions. There it becomes honest, true and very real.
Dawson says, 'classical ballet is being danced differently today. It's a slow, quiet evolution and kind of amazing. Suddenly you're confronted with new generations of dancers who have been educated in new ways, new styles and even when they dance the classics, it's astounding how fresh they look and how beautifully they are danced.'
Born in London, Dawson now lives in Berlin and is equally at home in Amsterdam, where he is artistic associate to Het Nationale Ballet. He joined the company as a dancer in 1995 and has maintained his relationship over the years. 'But', he says, 'it was never a plan to become a choreographer. I just wanted to create. Coming to Amsterdam was like a liberation. It was somewhere I was accepted for all of my flaws. I was allowed to find my uniqueness and dance in a way that suited me. I was able to explore myself further.'
In Amsterdam, Dawson created his first major work, A Million Kisses to my Skin, in 2000. It proved a great success and continues to be danced in companies all over the world. Dawson finished his performing career in Ballett Frankfurt with William Forsythe. 'Bill, was another incredibly important person in my life. The company culture and how everybody worked together was another push towards becoming more self-productive and self-reliant. Bill put things together in a way that is interesting, and that still inspires me as a choreographer.'
His time in Ballett Frankfurt was not a 'goodbye to classicism' as he thought it might be as he returns more and more to it in his choreography. 'I am part of an artform, I love classical ballet and the incredible beauty to be found in an arabesque. Respect for the art runs through my whole schooling, who formed me and what formed me. There are my memories, my inspirations and things that are almost mythic, like Svetlana Beriosova teaching us Saturday morning classes. I will never forget it my whole life. These things spur you forward and 1 propel you to be brave, and creating ballet needs an enormous amount of courage.'
Dawson's brand of ballet defies conventions. It is not the child's world of rainbows and unicorns neither is it the Imperial courts of kings and queen. Working with costume designer, Yumiko Takeshima, also a former dancer with Het Nationale, Dawson's ballets are off-limits to tulle, tiaras and tutus. Dawson believes ballet can be about ordinary people and engage with tough contemporary ideas. His concern for threatened values of diversity and empathy inspired Citizen Nowhere, (2017), a tour de force for a male dancer that won Edo Wijnen the coveted Zwaan Award. It was built on a raft of ideas: political statements, Antoine de Saint-Exupery's, The Little Prince and themes of loneliness and statelessness came together accompanied by a commissioned score from Szymon Brzóska and wrapped in Eno Henze's set and video projections. It was ballet immersed in finest contemporary art.
The Four Seasons, created in Dresden in 2018, is part of the new triple bill. The title suggests abstraction but for Dawson, 'the ballet represents life, the life around us and the life we experience from birth to earth. The fresh green of spring, or the bare branches of winter. All the colours are experiences and emotions and even when something ends, it's about to begin. I find that really inspiring because it represents hope.'
The ballet has an ensemble of ten dancers and three lead couples and features some of Dawson's most thrilling pas de deux. The dancers are dressed in body tights, designed by Takeshima in a kaleidoscope of colours and lit by Bert Dalhuysen while Henze's set designs features geometric shapes to embody the changing season. He chose Max Richter for the music. 'I created Nature of Daylight to his music and wanted to return to it for the beauty, the melancholy and the modernity.'
In Recomposed by Max Richter: Vivaldi – The Four Seasons, to give the full title, Dawson finds affinity with his own philosophy. 'It's bridging time. You have the Vivaldi recomposed and sometimes you're fooled into thinking you're listening to the original. I try to do that with dance where I'm using classical ballet but in a different way, so the audience understand what they are seeing in terms of the classicism yet at the same time you're taking them forward. It's evolution.'
Choreography is one of the most personal expressions of art. Dawson remembered a friend saying, 'When I watch Million Kisses, I always see ten Davids on stage.' Dawson has worked with many of the world's greats and observes how style comes from the choreographer's nature and their individuality. 'When you see a Van Manen piece, you see Hans in the work very, very clearly. You would say the same of Forsythe, of how Bill dances, his knowledge and his experience.'
The studio has been a safe space for Dawson since his first ballet class at seven years old. It's the place he nurtures his ideas. 'Each piece I've made has been a way of creating another world, full of different ideas and different emotions. My ballets are not abstract they represent emotion in different worlds. For me they are very tangible things.' Dawson comes to the studio with his ideas prepared but creates the choreography with his dancers. 'I really see the choreography as 2 a guide for the dancers to express their artistry. For me the most interesting thing is the dancers' interpretation. Sometimes you need to let go of your 'out of studio' plan and then things happen, things that seem so right and natural.'
Dawson's striving for great art is the motor that drives his creativity. 'Without art what would humanity become? It's an incredibly important force. I've been an outsider most of my life, but it was always my own self-criticism that gave me the impetus to achieve my goals. I want to make dance, I am making dance and I will go on making dance through all adversity. I enjoy my work now more than ever and every opportunity I have to create a ballet is really amazing. The struggle to create the right kind of work, the best work you can do, is not about being 'happy'. Nevertheless, at this point in my career, I feel more free, I feel more natural, I feel the only relationship I look for is the relationship between the music and the dance and trying to achieve a symbiosis between them.'
'I have to go through this long journey, working with the big picture. I'm thinking thirty years on and all of the ballets that I hope to create in that time. You look at A Million Kisses which I made when I was twenty-seven and you look at The Four Seasons. It's a different period of my life and I know different things. I know what I want to make without trying to be, let's say, 'accepted'. I'm a romantic choreographer, so I am letting myself be so.'
This article was originally posted on heraldscotland.com, March 2016
Copyright © 2016 by Mary Brennan / Herald Scotland
© 2020 DAVID DAWSON | Website by Mr.Matthews


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When kicking off a new project, whether working on an existing code base or creating a new one, should you rapidly prototype the solution (at the risk of writing throwaway code), or apply best practices and sound architectural approaches (at the risk of over-engineering the solution)?
This is a question with which I've struggled over the years. I've found that the answer only seems to become clearer when you attempt to answer a deeper question: how much uncertainty is there in your project?
In this article, I'll first elaborate on what I mean by the "rapid prototyping" and "best practices" approaches and why I see them as two opposing ends of a spectrum to possibly solve a problem using software. I will then try to unpack that rather abstract question a little more.
Ultimately, the point of building software is to solve some kind of problem: usually different problems at varying degrees of abstraction. For example, you might be building a game. At the lowest levels, you're solving problems of CPU and memory management and performing tricky mathematical calculations to fool the player into thinking they're looking at a super mutant chasing them through a junk yard. Meanwhile at a higher level you're attempting to help someone solve the problem of what to do with their free time so that they can basically have the most fun, while their enjoyment allows you to put food on your table.
When we get this mix just right at the right levels of abstraction, we say that we're delivering value.
Software development is somewhat analogous to the process of bridge building – building from a situation of little value, to a situation of greater value. When building a bridge, you're also attempting to solve many different kinds of problems at different levels. Where do I put the bridge? How sturdy do I make it? What materials do I use? How do I build it within the budget and time constraints I have?
The approach you take to building a bridge must necessarily be context-dependent, taking into account the local geography and geology, weather, labour force, etc. Ultimately, it must, at a higher level of abstraction, take into account the overall purpose of the bridge: why connect points A and B at all? Why not just go around the canyon, wade through the river, or fly over it? Building a multi-lane tarred bridge with steel and concrete reinforcement wouldn't make sense if one was just building a bridge for preschool children over a tiny puddle of a pond on their playground. Similarly, one wouldn't build a bamboo and rope bridge for long-haul trucks to traverse a canyon.
You may not have the best possible labour force available to build the ideal bridge, or that labour force may incur significant changes during construction.
You may not be able to anticipate certain kinds of weather or geological events that could completely destroy it.
You may not have much time to build it (eg. you may be at war, and the enemy may literally kill you before you have a chance to get to the other side).
You may not even know how or when people will end up using this bridge (eg. people may want to drive trucks over this bridge, when you've only built it to support a handful of pedestrians).
If the situation allows for it, you may start out by building a prototype bridge. You could for instance build a scale model first. In the software world that could be anything ranging from paper-based to clickable wireframes. Perhaps, if you still had too many critical unanswered questions, you may go all the way through to building a rickety version of the final bridge, perhaps in a different location, at a smaller scale, and only accessible by a select few people.
I've often found in the software world that building this rickety version (replete with copious quantities of warning signs and disclaimers) can save you a tremendous amount of pain and suffering in the future. It could answer many of your unanswered questions and reduce the risk of failure of the final bridge's construction. If you're extraordinarily lucky, which is more often the case in software development than in bridge building, your prototype may be good enough for your client to use as-is.
The key defining characteristic of a prototype is its brittleness. The most bare definition of a prototype that I can come up with would be something that can solve all the relevant problems, at all of the most critical levels of abstraction, under very strict conditions. It delivers value, but only within those strict conditions. The moment that one attempts to operate it outside of those conditions, it falls apart, and someone is likely to get hurt.
I would therefore argue that a prototype could be classified as an extreme point on the one end, as it just barely solves the most important problems with which we're currently concerned. There is, of course, another end of the spectrum.
When building a large bridge requiring a work force of hundreds, intended to carry millions of people for many decades, however, one should take a different approach to building a prototype from the outset. If you know you've got a decent amount of time, budget, a good labour force, great materials, a clear vision and paying customers, it really does often make sense to make use of every best practice you can. The point here is to make sure your final product is as robust as possible in solving all of the important problems at all the relevant levels of abstraction.
Just as in bridge building, many books have been written on the topic of software architecture that focus on developing the right kinds software abstractions to deal with these problems. Over the years, many smart people have discovered that there are patterns that tend to emerge when attempting to solve certain kinds of software problems. Just do a quick search on Amazon for books on the topic of "software design patterns" or "software architecture" and you'll see.
When this approach is incorrectly applied, however, one ends up in a situation where the final product is over-engineered: it's built to withstand earthquakes one hundred times stronger than anything the country's ever seen in its recorded history, or built such that it won't need maintenance for a decade, or even built to allow aeroplanes to take off from it. You've wasted millions (or even billions), wasted years, killed your labour force's morale and nobody cares about your bridge any more, because Elon Musk's built a Hyperloop right under it that makes it obsolete.
The incorrect over-application of "best practices" can often be seen as premature optimisation, and is seen as one of the cardinal sins of the software development world.
So where do you aim for your software project? I still often struggle with this question, because answering it requires wisdom and careful attention, which can be both challenging and draining. Do you start with a brittle prototype (maybe in the form of a handful of Python scripts), or do you engineer a system that can withstand multiple simultaneous AWS data centre outages (i.e. withstanding the end of the world)? As you can imagine, the answer is usually somewhere in between. To know roughly where though, you have to answer the right questions that pertain to the uncertainty you currently face in your project's development.
The following questions are by no means exhaustive, but they usually give me a good head start.
Do you have a paying end customer?
The first question I like to ask is: do you have any real-world end-of-the-value-chain customers that are either ready, or have committed to paying for and using what you're building? If you've already got a guarantee of payment for what you're building, then you should generally be aiming more towards using best practices.
If you're working for a company and being paid to implement a new internal system, are you guaranteed that people are going to be using this new system once it's built and working well?
If you don't have a paying customer yet, or if your customer doesn't have a paying customer, or if there are no end users for your system yet, you have a high level of uncertainty in your project. I've found it's really useful to rather iteratively prototype together with the potential client/user in these sorts of situations. This requires an explicit up-front understanding of what you're building is in fact a prototype (call it an "alpha" or "beta" version if your client is more amenable to that phrasing). At this point, your focus is most likely on "making the sale", or demonstrating real value to the client, end customer or end user.
The times when I've failed to apply this insight, the project inevitably fizzled out and died. One big lesson I've learned through such experiences is that, especially when you're taking a gamble on a new product or system, it's usually wise to choose the route that requires relatively little investment with the possibility of significant pay-off. If it doesn't work out, your losses should be capped and be affordable. This, by the way, is one of the central lessons I took from reading Nassim Taleb's book: Anti-Fragile.
This first question leads us naturally to the second.
Do you have a clear vision for the project?
Do you know what the end product of your labour will look like? Perhaps you have to integrate with data sources where the quality is questionable, but you don't have enough of it to determine just how questionable it is. Perhaps you are building a system where the client vacillates so often on the front-end design and/or basic features, that you need to take prescription medication. Or, perhaps, you don't even have a customer yet, but your product owner is adamant that his/her vision of the product is what the client/customer will definitely want.
In these sorts of cases, you've got a high level of uncertainty, and you should probably be aiming towards the prototype end of the spectrum. Specifically with the data quality example, I've witnessed how building a prototype here can provide a very effective stop-gap solution while the robust version is being built. This increases the understanding of the data's real quality and reduces waste when building the robust version.
What you really want to achieve in this sort of scenario is to allow yourself room to iterate with your relatively brittle solution, until you've reached a clearer understanding of what the end product needs to be. More robust solutions usually have more tests, layers of abstraction and greater levels of compensation for errors. They also require more work, and are therefore more costly to change.
Who will be maintaining the project?
The third question has to do with uncertainty around the longer-term maintenance of the project: who will be looking after it over time? Perhaps you're only building something that's supposed to last for a few months or a year, like a short-term digital marketing campaign. Or, perhaps you're building a system for a bank, where you know that it's probably going to be running in production for at least a decade.
The brittleness of a prototype, just like a fragile wine glass, requires one to have the right knowledge and expertise to tend to it throughout its lifecycle. Whoever wrote the code would need to maintain it, as there would usually be hidden fragilities unbeknownst to others. Learning about all of these hidden fragilities and the tolerances of these fragilities can be an expensive and painful process.
I've had several young developers ask me: which programming language, or languages, should I learn? This isn't an easy one to answer, because new languages pop up at such an incredible rate these days. Follow Hacker News and you'll see: a new language seems to be born every week.
I find that scripting languages are often better suited for building prototypes, whereas compiled languages are often better suited for building more robust systems. This is partially because so many of the frameworks for the compiled languages already implement the majority of "best practices" and software design patterns. If you don't believe me, just try finding a good, widely used dependency injection framework for scripting languages when compared to those available for Java/C#. In addition to this, scripting languages that don't enforce strict typing and don't require compilation often provide quicker cycle times when iteratively building solutions.
You'll regularly encounter situations where you'll be building something using a mainstream compiled language, but you need to do something quick 'n dirty, like data transformation from CSV files to SQL tables. This scenario occurs more often than you think, and is usually way harder to do using a compiled language. In the end, the two languages end up being complementary.
You'll most definitely find work if you know two such mainstream programming languages, and know them well.
When looking at the range of possible software solutions to problems, it appears as though a spectrum emerges when measuring those solutions against their robustness. Brittle solutions usually take the form of prototypes, whereas the application of better architectural principles and design patterns tends to result in more robust solutions. Choosing where to aim when building your solution with your particular problem set and context in mind can be challenging. It can however be made a bit easier when considering a few questions to uncover how much uncertainty there is in your particular project.
When you don't have a clear customer and/or vision for your project, aim more towards a prototype, which will allow you to iterate more rapidly on possible solutions until you reach the most appropriate one. When you know your solution will need to work for some time, and you don't know who will look after it, it would be better to invest in developing a more robust architecture, as looking after a brittle solution usually requires specialised knowledge, expertise and care.


UFO spotting isn't quite as easy as ghost-hunting. Ghosts tend to be strongly associated with particular places; UFOs much less so. That said UFO sightings are not entirely random. Though in theory an alien spacecraft could be spotted anywhere, in practice UFO sighting reports do tend to be concentrated in particular locales.
UFO aficionados speak of what they call a "flap." A flap is a burst of concentrated UFO activity with many sighting reports occurring within a short space of time, usually but not always within the same geographical area. If you're determined to see a UFO for yourself, your best bet is to hook up with other like-minded enthusiasts. There are many UFO clubs and associations in Britain, often localised; many with their own websites. Joining one of these will allow you to keep up with developments. If activity flares up over a spot in Britain, you can plan your trip accordingly, increasing your chances of actually seeing a UFO.
In addition to the periodic "flaps", there are also certain areas of the country where UFO activity has been historically high. The greatest concentrations of UFO sighting reports in the UK have come from Warminster in Wiltshire; the so-called Falkirk triangle in Scotland; and North Wales.
Warminster became famous in the 1960s for its huge number of reported sightings but activity there appears to have ebbed since. North Wales has a consistently high level of reported sightings in the area around Llandudno. In recent years, however, the area comprising the Falkirk triangle in Scotland, which centres on the town of Bonnybridge just outside of Edinburgh, has without question, been the UFO capital of the UK and some say the world. In fact, Bonnybridge has even been twinned with Roswell in New Mexico, infamous site of the alleged UFO crash in 1947. The area only has a population of around 5,500 but, according to one report, approximately 2,000 of those claim to have seen a UFO! Even the local politicians have gone public with claims about UFOs. On average, the area is said to record around 300 sightings per year so Bonnybridge may well be worth placing on your itinerary if you're determined to see a UFO for yourself.
Once you've decided on a location for your UFO-spotting expedition, what should you take with you?
Flask of warm drink – it gets cold out there.
Camera – still or video.
By general consensus, the night time is the right time for spotting UFOs!
Don't go alone. Company will help keep you awake, and, if you do see something, you'll have witnesses to back you up.
Standing on a hillside is best. You'll have a clearer view of the sky and the surrounding landscape, helping you gain a better impression of the speed of any unusual object you see.
Some dedicated spotters believe UFOs are seen most frequently in the vicinity of water so perhaps perching yourself somewhere close to a river, lake, or even the sea is a good idea.
There are those who claim that UFOs follow Ley Lines – mysterious lines of hidden energy within the earth. It may be nonsense but if you can get hold of a local ley line map, and have no other preference location-wise, it can't hurt to try it out!
The necessity of patience cannot be stressed enough if you intend to become a UFO spotter. Do not expect to be able to just spend a few hours in the dark on a hillside before a bunch of Venusians turn up, whisk you away in their flying saucer and give you a quick tour of the solar system. Dedicated UFO spotters, who devote substantial portions of their lives to pursuing their interest, often have no more than two or three encounters with what they believe to be extraterrestrial craft.
If spending your nights freezing to death on dark hillsides isn't your idea of fun, you could always try UFO spotting the easy way – through a web cam. Sometimes web cams are set up to scan the skies in places where many sighting reports have been received and feed their images to a web page. Usually the web cam will take a picture automatically every few minutes and, often, the web page will allow you to press a button and save the current picture to your hard drive. People have actually spotted anomalous phenomena in this way and taken pictures of them so it's not entirely to be sneered at!
You may take the idea of UFO spotting seriously or you can regard it all as a bit of a laugh. If you do see an alien spacecraft, you may find that it is a life-changing moment; if not, well, you should at least have increased your knowledge of astronomy with all that staring at the night sky.
Hi guys, im new to this, but not to the concept per se. Are there actually groups of people that go on trips to spot UFO's? If there are i would consider going myself... Is there anybody out there?


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So I guess I've got a few things to apologize for…one is for not posting on here in FORever. Remember those weekly resolutions that I promised to do? Yeah, those didn't really happen. The only thing I've really been keeping up with is working out, and even that's started to fall to the wayside a little bit.
Confession: I'm not doing okay right now.
Don't let a cheery Spring Break album, a perfectly planned campaign, or an insightful Facebook quote fool you. It's true, I cater my social media to reflect the blessings in my life. But there are also a bunch of things that honestly, have worn me down.
I am struggling with my faith.
I've lost some relationships that are really important to me, a lot because of my own doing.
I'm dealing with a lot of failures and closed doors that I can't understand.
I've been trying so hard to keep my head afloat with what I'm doing that I've lost sight of the purpose of it all.
I've become impatient, irritable, and pessimistic. There are days when I want to drop everything that I am doing and run away from everything. And more often than not I find myself doubting God's ultimate plan for my life.
But it just seems so much easier to keep living the lie—maintaining the images, keeping up the appearances, assuring myself that if I keep pretending that I've got it together eventually it will be so. That if I don't, the people that look up to me are going to be disappointed, because they're going to see who I really am.
That's right. This is who I am.
Yes, I am the fun, free, life-loving Jeanette Morelan—but I am also the girl who makes mistakes, says things she shouldn't have, and hurts people when she's angry. I am the girl who would rather not admit to you that she's got her problems because at the end of the day all she wants is to be loved and accepted.
The "while we were still sinners" part is the phrase that really gets me. Yes, I'm not okay. I'm not the person that I want to be, nor the person that I should be. But it's okay because that person is unconditionally loved by God. And even on my best days, the ones that are worth posting on Facebook about or hanging up on a wall—God's love for me is just as much as those days when I don't even want to exist.
I can look back on this past semester and say that there have been a lot of moments when I haven't been acting like a Christ follower. But I also know that the biggest part of being a Christ-follower is being able to accept when you're way off track. It's learning that Christ shines through our cracks. The glory of His love is made perfect in our imperfections.
So I'm admitting to myself, and the world around me: I'm not okay. And I'm really okay with it.
I hope this small rant will hopefully encourage you to be okay with that too.
Jeanette, this was beautiful, sweet sister. I have been struggling with some of the same exact things this semester. Social media gets so entangled in our human desires for acceptance. And it's hard to feel comfortable at church in The South where it's a total to-do and social requirement. What we've both been going through reminds me of the parable of the Prodigal Son. Remember no matter what, God, like the father in the parable, will run to meet you where you are despite your mistakes. I will be praying for God to meet you, sista 3x over. Best of luck with your campaign, it is truly perfectly planned and totally adorbs. MAOT, DYW & Theta love.
Needed this today, Jen…you're amazing. Don't ever let yourself get you down. This time next year, you'll be in a whole new world (cue Aladdin music)… But for real. I was going through a really rough patch around this time last year. This have 80% turned around this year. I can't say 100%, because there will always be downs to go with your ups…but after realizing that I'm 21 years old and in a truly blessed position, it's a little easier to let God take the wheel while you enjoy your college years.
Don't let yourself get you down.
Hey girl! Didn't know that you read my blog! Haha :) Thank you so much for your encouragement…it's really good to know I'm not the only one in this position too!
You're just getting started Jeannette. Remember what I've told you before…it's OK to not be all that organized and spot-on. Give yourself a break from carrying the world and all its foibles on your shoulder – and by all means; get off your own back.


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Star Volunteers
Tutor Anniversaries
Students of the Month – Nov. 2020
Victor Bornia | November 10, 2020 | Star Students
Lily loves to dance and draw in her free time and is interested in taking dance or art classes in the future. She is also interested in history and learning about different cultures.
Certain areas of math have presented a challenge, so we have focused on solidifying her foundation. I am constantly inspired by her positive attitude and willingness to try new things, even when they are challenging.
Eliana McIlvery, Tutor
Emmanuel wants to become a doctor. He loves drawing everything and anything, and also enjoys piano and likes classical music. He has been taking lessons since he was 6 years old, and is currently learning the piece "Sunflower."
One thing we focus on is slowing down to read instructions so we can avoid making careless mistakes. Learning to tutor and adjusting to my student's needs remind me to listen to understand instead of listening to respond. It is helping me think outside of the box as I need to explain/teach in ways he understands instead of how I learned it.
Meng Liev, Tutor
Karen wants to be a police officer, teacher, and doctor. She loves mermaids, making slime, making her own squishies, and playing with her baby doll.
When we first started working together Karen told me that her biggest challenge is math, so when she told me she got an A+ on her math test, I was so proud! Karen also helps me practice my Spanish and teaches me new words.
Therese Auza, Tutor
Milo is very talented and has a defined goal to become an architect. He loves to draw and sketch just about anything that comes to his mind, and also likes to play football.
Milo is very eager to learn and gives his all to everything we work on; there haven't been many challenges. As an architect, Milo would like to someday help create a special community center just for families.
Family is important to him; he dreams of the day when he'll get to play football and have fun being part of a big family. It makes me so happy to work with someone who loves to learn as much as I love to teach. Spending time with Milo always makes me smile.
Myrna Sanpascual, Tutor
star students 2020
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The number of women in UK architecture firms is falling, and many urbanists are worried by the 'very, very male-dominated' worlds of planning and construction. So how would cities differ if women designed them?
It's an ingredient essential for success, but confidence can be maddeningly elusive. In part, perhaps, because it is misunderstood. Confidence doesn't, for example, have to look Mad Men macho.


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Q: Getting the "percentage hash-code" the right way in java I am trying to generate a random number in Java but in an OBVIOUSLY deterministic way. By that I mean I cant use java.Random even though it is predictable. I need the random value to be a formula of a string.
I am trying to get a random number between 0-1 and I tried it like this
double random = (double)(address().toString() + i).hashCode() / (double)(int)Integer.Max;

This however ends up almost every time resulting in 0.6333. The issue is the address string ends up always being like "server1" or "server2" or "server3".
Is there a better way to get a random number as a function from this string and a number?

A: For better distribution, use (int) Math.pow(i, i) instead of i in your formula and use Math::abs to avoid negative values.
Demo:
public class Main {
    public static void main(String[] args) {
        for (int i = 1; i <= 10; i++) {
            System.out.println(
                    Math.abs((double) ("Hello" + (int) Math.pow(i, i)).hashCode() / (double) (int) Integer.MAX_VALUE));
        }
    }
}

Output:
0.9951498815767233
0.9951498801797395
0.849646274861715
0.3390345123312597
0.5100578281609611
0.18870856016348514
0.09847050304453378
0.6037361368554347
0.8181958188387546
0.5456916850738655

redpajama_set_name: RedPajamaStackExchange


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text:
Banksy mural stolen from Paris terror attack venue
Updated / Sunday, 27 Jan 2019 18:29
The piece appeared last summer on the emergency door of the Bataclan
A painting in homage to terror victims by famous street artist Banksy has been stolen from the Bataclan concert hall in Paris, where 90 people were killed in 2015 in a jihadist attack.
The white stencilled oeuvre showing a sad-faced girl on one of the emergency doors of the famed Parisian venue was cut out and taken away.
"Banksy's work, a symbol of recollection and belonging to all: locals, Parisians, citizens of the world has been taken from us," the establishment said, stressing the staff's "deep indignation."
A source close to the investigation told LCI television that "a group of hooded individuals armed with angle grinders cut the painting and took it away in a truck" on the night of Friday to Saturday.
This work along with other similarly-themed paintings popped up in Paris last June and has been attributed to the reclusive British street artist.
Banksy, whose identity is known to only a handful of friends, caused a sensation in October when one of his paintings began shredding itself, just after selling for €1.2m.


text:
Home Fire History
Fort Thomas Fire Department History
Excerpts from the book; "100 Years of Service, An Historical Account of The Fort Thomas, Kentucky Fire Department, by Ken J. Schaub.
The history started long before the City of Fort Thomas was formed and includes a large amount of fire fighting from members of the community and the Soldiers of the Fort. Below are just a few of the highlights from the hundred years of service provided to the community.
In 1903 the district entered into a contract with the Union Light Heat and Power Company to install water lines and fire hydrants. On October 21, 1904, soldiers from the post fought a fire on the midway, which destroyed the buildings. The brick two story saloon of Charles Reidmatter. Every soldier from the Army post was working at the fire alongside citizens of the community. The post's fire engine was also used. Two soldiers were injured when a ladder they were working from collapsed. Assistance was asked for from the Cincinnati Fire Department but the buildings were to the ground by the time they arrived with an engine and a hose wagon. All of the injured people were taken to the Army post hospital.
During the latter part of 1904 the group of citizens formed the official District of the Highlands' Volunteer Fire Department. This organization agreed to become a volunteer public service organization to fight the area's fires and help the public in many different ways including salvage operations from storms, flooding, and other natural disasters. They approached the trustees for help in acquiring equipment.
In early October the District of the Highlands put into service the Fire "Chemical' wagon. The Chemical Wagon was a one horse drawn wooden wagon that stored the fire equipment and had extinguishers. The wagon was housed at the W.A. White Altamont Boarding and Sales Stable. The agreement with Mr. White and the District included Mr. White provided a driver and saw that the Chemical Wagon arrived at the fire. The brand new Chemical Wagon was used to fight the fire at St. Joseph's Orphanage in Cold Spring.
In 1905 the Volunteer Fire Department consisted of eight men from the community including Mr. Frank Phister, who was named the Captain-in-Charge, and leader by the other members of the organization, (although no one held the rank of Fire Chief in the new department, Mr. Phister was the first official leader of the volunteer fire department of the District of the Highlands). The other members were Engineer W.A White, his assistant Walter Jones, Captain Phister's assistant June Wilson, Secretary Treasurer L.H. Wilson, Board of Trustees Albert Stegmann, Jas. L. Storrs and C.F. Bruinger.
At the November 1907 meeting the district's trustees issued new By-Laws by Ordinance for the police and firemen. In the By-Laws it was stated that the police personnel would take care of all police and fire calls and that the district's Police Chief would have the duties of the Fire Chief and see that the chemical wagon and the patrol wagon be kept clean and ready for service. Also during this meeting Charles R. Flynn was elected as the District's first Police Chief and the duties of the Fire Chief were given to him. After that action the Highland Fire Volunteer Organization's members started loosing interest. Because of the city's leadership action some members left.
On January 16,1909, at the district's trustees meeting, Police Chief Charles Flynn was voted out of office after serving just over one year and a new Police Chief was named. Louis Cook Jr. was voted to the position. He was also given the duties of Fire Chief and Pound master, (the toll collector). (He was also thought to have been the first fire chief of the District of the Highlands as it was printed in some articles on the district's history. Louis Cook retired in 1955 from the office of Police Chief after over 46 years of service included 21 years of being the Fire Chief).
At the January 14, 1916, City Council meeting the cities fathers elected Mr. Charles Hanna as the official first paid fireman for the City of Fort Thomas. His duties included the duties of a policeman. Police Chief Louis Cook retained his duties as the Fire Chief. At this time and until 1925 there were six volunteers to assist the fire chief and one fireman. The firemen's salary was established by council at eighty dollars, ($80.00) per month.
January of 1925, fireman Paul Pirsche resigned. The city felt the need to have more than one firemen and appointed Mr. Bernie J. Nielander and Mr. Raymond Tatman to the positions. This gave the city three paid firemen and six volunteers. The new firemen also served as policemen. In that same year the city's #1 fire engine, the Ahren's Fox model K11, was sent back to Ahren's Fox Company, in Cincinnati , for an overhaul. The overhaul work included work on the engine and pump. The fire department and city leaders saw a need to start plans for another fire truck.
In 1928, the city purchased a second fire engine from Ahren's Fox Fire Truck Company of Cincinnati, Ohio for thirteen thousand five hundred dollars, ($13,500). The City's #2 fire engine, was a R-K-4 model, 1000 gallons per minute front mount piston pumper with a chrome plated pump ball on the nose of the truck.
With ordinance #298 adopted by city council, fireman Bernie J. Nielander became the first full time Fire Chief for the City of Fort Thomas and fireman Raymond Tatman became the first Assistant Fire Chief. This same ordinance in May of 1930 relieved Police Chief Louis Cook of all fire chief responsibilities. The city's paid firefighting staff was now officially at four men.
During the year of 1942 the city had a population of 11,034 and an annual fire department budget of $11,288, just a fraction of a dollar over one dollar per person living in Fort Thomas. That was such a bargain considering today's costs to run a fire department.
In 1952, the city had a population of 11,950 and had almost thirty-one and half miles of streets. The fire department maintained 236 fire hydrants with seven paid regulars and thirteen volunteers. The fire department budget was set a $35,229 for the year.
On December 20, 1952, the city's high school caught on fire. The Chemistry lab sustained over $5,475 of fire and water damage. The fire department ended the year making 120 emergency runs and 106 life squad runs.
In 1955, Fire Chief Bernie Nielander and Police Chief Louis Cook retired. Chief Nielander served the city's fire department for thirty years and held the Chief's position for twenty-five of his thirty years on the force. Also in 1955 three more firefighters were hired, and the fire department went to a new standard work uniform. Smoky gray was the color and the uniform replaced the use of fireman's personal clothing while on duty. The added firemen gave the department eight paid firemen and thirteen volunteers. Assistant fire Chief Raymond Tatman officially took over the position of Fire Chief for the Fire Department. He had a budget of $46,366 to aid citizens now numbering 13,820. During that year the Fire Department made 110 emergency runs and 154 life squad runs.
On January 6, 1962, the City of Fort Thomas suffered a sever loss when at 9:15 pm on the windy, cold, snowy night the high school caught fire. Chief Mueller was not on duty at the time because of an illness and Captain Reppetto was in charge of the operations. The intense blaze called for five fire departments and one hundred and eighteen firefighters to combat. Units from Dayton, Southgate, Highland Heights, and Newport answered the call to help Fort Thomas' Highlands High School which was where the present junior high school is now located. The loss to the school building went over $500,000.00. The replacement building became the Highlands Middle School. And cost over $1,000,000.00. Over 25 firemen were injured or suffered from smoke inhalation that night. Earl Reppetto was acknowledged by city council for his rescue of Dayton firefighter Terry Senger.
In 1967, the members of the fire department entered into membership with the International Association of Fire Fighters, the National Firefighter's Union. The city was clearing the city building area for a new building. The Ahren's Fox pumper went to the Highland Hills Park off of Mayfield Avenue, and the fire department went to the lower public works garages until the new city services building was finished.
In 1968, the fire department's budget was, for the first time, over one hundred thousand dollars. The amount $111,797 was to operate the department now consisting of twelve regular and eighteen volunteer firemen. The department responded to 193 emergency runs and 363 life squad runs while covering a population of 17,031. The new city building opened with council chambers located on the second floor, the police department located on the south side of the building and the fire department located on the north side of the building. The city purchased a new ambulance that year for a cost of $9,039 to replace the 1957 ambulance. The new ambulance was a Pontiac. The Campbell County Firefighter's Education Association, (C.C.F.E.A), purchased an air compressor and storage cylinders for breathing air. It was decided on and approved that the lower garage at Fort Thomas was to the location for the fill station for Campbell County. The Fort Thomas firefighters became operators and Earl Reppetto and Joe Radenheimer maintained the unit.
On April 6, 1970, Fire Chief Raymond Mueller retired from active service after serving a long and distinguished 41 years. He is currently the longest serving firefighter on record for the City of Fort Thomas. Earl Reppetto took over as Fire Chief of Fort Thomas. Also in 1970 the city and fire department members opened talks on physical fitness for all of the firef ighters.
On January 1, 1974, the first work agreement was signed between the City of Fort Thomas and the Fort Thomas I.A.F.F. Union Local 1928. The firefighters also signed on agreement with the city on overtime pay to avoid problems that other cities in the area were having.
In 1975, the members of the fire department enrolled in fire science classes at Northern Kentucky University in Highland Heights. The members seeking to further their education were Earl Reppetto, Jack Simon, Clyde Young, Jerry Sandfoss, Dennis Decker, Pete Teismann, Jack Huenefeld, Jim Kuhnhein, Tom Mozea, Ken Schaub and Rick Seyberth.
On Saturday, May 28, 1977, at nine o'clock in the evening a call was received for Fort Thomas units to assist Southgate with a possible fire at the Beverly Hills Supper Club. This was an automatic move-up for Fort Thomas and was practice one week earlier. One of Fort Thomas Fire Department Volunteers, Bruce Rath, who was assigned to work with 604, left the pumpers work area and went up the hill to the rear of the building where he made national and international news with a picture showing him working on a female who was pulled from the fire earlier and left for one of the dead. He revived this person and aided in her removal from the fire scene. He also accompanied the patient to Saint Elizabeth hospital in Covington, where he stayed until after 5am, when he was seen walking away from a transport unit coming back up the drive.
5/16/97 KY Beverly hills fire overall – Overall shot of Beverly Hills in flames the night of May 28, 1977. David Kohl photo
Members of the Fort Thomas Fire Department who saw action on that night were: Chief Earl Reppetto, Captain Jack Simon, Captain Jerry Monroe, Lieutenant Clyde Young, Firefighters Joe Radenheimer, Mahlon Robb, Pete Teismann, Jerry Sandfoss, Jack Huenefeld, Rick Seyberth, Ken Schuab, Mike O'Day, Tom Mozea and Jim Kuhnhein.
In September of 1978, a foggy night, the fire department responded to a fire alarm call with 604 when a second fire was called in by a Dayton policeman driving out Route 8 and noticed a glow in the sky. Unit 603 and a converted army six by six responded to the second fire call that was at 339 Tower Hill Road in the city, the home of the Huenefeld family. Jack Huenefeld was a member of the fire department at the time and was away with his family at Morehead University watching a football game in which his brother was playing. The two-story frame was completely burned to the ground when the units arrived at the scene. Water tanker trucks from Melbourne and Camp Springs were called to help with the water problem.
In March of 1979, the Fort Thomas Fire Department responded to assist Silver Grove Volunteer Fire Department with a major fire at the Chessie System Railroad Yard's 'Round House' on route 8. The roundhouse complex included three or four buildings with common walls. The Fort Thomas firefighters operated a large monitor nozzle and many hand lines to help control the blaze. One diesel locomotive and one steam locomotive called the "Chessie Steam Special" were destroyed along with the building. The steam locomotive, unofficially named the 'Spirit of America' because the engine pulled the United States Bicentennial train throughout the country, was being stored in this large building used to repair and turn around engines for trains in the yard. The loss exceeded one million dollars to buildings and content.
In June of 1983, Fire Chief Earl Reppetto retired from the Fort Thomas Fire Department with over 24 years of service to the city. He had been the fire chief since 1970. The new fire chief came from the Louisville area. William Dieckman took over the 15 man paid and 10 man volunteer department the same month. He was previously a volunteer fire chief of Shelbyville, Kentucky.
In July of 1986, with a strong push from Union Local 1928, the first Advanced Life Support Squad in Campbell County was started in Fort Thomas. The unit had two paramedics riding per shift most of the time. The paramedics on the fire department were Jeff Dean, Rick Seyberth, Pete Tiesmann, Ken Clift, Dale Edmondson and Dale Cruze. All department emergency medical technicians received additional training as paramedic assistants.
On January 30, 1988, the Fort Thomas Fire Department responded to assist in a move-up to Dayton on a large apartment building fire and Sixth and O'Fallen avenues. Fort Thomas firefighters, making one of the deeper entries into the building, advanced a hose line into the second floor hall by way of the east wall entrance.


The 7:45s are soul extraordinaires on a mission from Manchester to produce the perfect pop-song. Taking their name from the beloved 7-inch 45-rpm single, The 7:45s formed in late 2016. The manifesto is to release singles from across the soul spectrum: from Northern Soul to Neo Soul and everything in between.
The project's first release was sister-group Mancheska's rocksteady single Girl Next Door. Keep your eyes and ears peeled for the forthcoming release of The 7:45s' debut single: the Northern-Soul-inspired Too Little Too Late/Tell Me No Lies!
Expect groovy soul and funky disco originals plus a smattering of select covers that inspired the band's formation!


text:
Muhammad Ali Bogra Biography
Muhammad Ali Bogra was the third Prime Minister of Pakistan and was known for initiating bilateral talks with India on the Kashmir issue. To know more about his childhood, career, profile and timeline read on
http://www.pakistanherald.com/profile/mohammed-ali-bogra-1178
Birthday: October 19, 1909
Nationality: Pakistani
Famous: Prime Ministers Political Leaders
Died At Age: 53
Sun Sign: Libra
Also Known As: Mohammed Ali
Born in: Bogra
Famous as: Former Prime Minister of Pakistan
political ideology: Political party-Muslim League
Spouse/Ex-: Aliya Saddy in 1955, Begum Hamida Mohammad Ali
Died on: July 15, 1963
place of death: Bogra
education: University of Calcutta
Muhammad Ali of Bogra, or Shahebzada Muhammad Ali Bogra, was from East Pakistan. He was a Calcutta University graduate who went on to be involved in politics for a majority of his life. Beginning with the Bengal Legislative Assembly, he eventually became Prime Minister of Pakistan. Though he was not a well-known personality through much of his career, he was instrumental in helping Pakistan to become the nation it is today. His biggest goal was to create a constitution for Pakistan. To do this, he created the famous "Bogra Formula". This formula outlined the structure to be used for a Government. Unfortunately, before this plan could come into fruition, Ghulam Muhammad, the governor-general of Pakistan, dissolved the Pakistani Assembly. After the Assembly was gone, he was again re-elected as the Prime Minister and then later went on to become the Ambassador to the Japan. He also made it possible for men to have multiple wives. He himself married his secretary after his first wife had already given birth to two sons. In an interview with the 'Times Newspaper', he stated that polygamy was Muslim's answer to divorce. That way a man can marry another woman he loves while the other wife keeps her dignity intact. He led a life of many accomplishments until dying in his homeland
Pakistani Men
Born in Barisal of British India, October 19th 1909 to Nawabzada Altaf Ali, he was raised primarily by his paternal grandfather, Nawab Bahadur Sir Nawab Ali Choudhury. He grew up mainly on his grandfather's estate in Borga.
He started his education at 'Hastings House' in Calcutta. Then Mohammad went to 'Calcutta Madrassah' before attending 'Presidency College' of 'Calcutta University'.
Libra Leaders
Male Leaders
Pakistani Leaders
Pakistani Prime Ministers
He stayed in Borga and became the chairman of the Borga municipality. Later, he became the chairman of the District Board. Intrigued by politics since an early age he was an active member of the 'Waqf Board'.
He began his political career in 1937 by being elected to the legislature of undivided Bengal in Calcutta from the MLA (Muslim League Assembly).
In 1943-1946 Mohammad became included in Huseyn Shaheed Suhrawardy's cabinet as the minister of health. While the minister, he established the 'Dhaka Medical College' and the 'Lake Medical College Hospital'. During that time, he was also made the minister of local self-government as well as the minister of finance.
Pakistan was born in 1947 and he was elected to the Constituent Assembly of Pakistan.
In May of 1948, he left for Burma on a diplomatic mission as assigned by Mohammed Ali Jinnah who was the then governor-general. He suffered a heart attack the same year.
One year later, July 1949, a new governor-general, Nazimuddin, was in power and Mohammed Ali of Bogra was send as the first high commissioner of Pakistan to Canada.
Amid political and social turmoil in Pakistan, he was made the ambassador to the United States in 1952.
Despite his own protests, he was made Prime Minister of Pakistan in April 1953. He was appointed by Ghulam Mohammed, the then Governor-General of Pakistan, and was also unanimously elected president of the Muslim League party. Three days after this election, United States' President Eisenhower ordered thousands of tons of wheat to be shipped to Pakistan to help the new country.
Also in 1953, he outlined his "Bogra Formula" that would have formed a bicameral legislature. Unfortunately, the plan was put down by Ghulam Mohammed that same year.
As the Prime Minister started peace negotiation with the Indian Government on issues concerning Kashmir, the governor-general Ghulam Mohammed called for another election. Mohammad Ali again won the title of Prime Minister.
August of 1955 he resigned as Prime Minister and went on to serve as the ambassador to Japan for three years. It was in Japan that he became a member of the United Nations Committee for Re-unification and Rehabilitation of Korea. He was a chairman of this committee for the space of one year.
He then held the office of Foreign Affairs for Pakistan in 1962 under governor general Ayub Khan. He held this position until his death.
Pakistani Political Leaders
He is most famous for his "Bogra Formula". According to this formula the parliament would consist of an Upper House contained 10 seats from each province, making 50 seats total. The Lower House would be determined by the population of each province. This would make it contain 300 seats, 165 from East Pakistan and 135 from West Pakistan.
This formula also stated that if the President were from the East then the Prime Minister would have to be from the West, and vice-versa. Even though this formula was a diplomatic solution to a tense problem, the autocratic leaders of the country did not allow it to be implemented.
The British awarded him the title of 'Khan Bahadur'. This was the equivalent of an Order of the British Empire. He later rejected the title as a sign of protest against the British Government.
Personal Life & Legacy
He married Hamida. Together they had two children one of which is Syed Hamde Ali.
On April 2, 1955, he married Aliya Saadi who was his secretary.
On 23 January 1963, this eminent politician died of cardiac arrest in Dacca, Pakistan (now Dhaka, Bangladesh)
See the events in life of Muhammad Ali Bogra in Chronological Order
Muhammad Ali Bogra Bio As PDF
- Muhammad Ali Bogra Biography
- https://www.thefamouspeople.com/profiles/muhammad-ali-bogra-5876.php
Muhammad Ali Bogra
(Pakistani)
Altaf Hussain
Muhammad Ali Jinnah
Khan Abdul Ghaffar Khan
Iskander Mirza
20th Century | Celebrity Names With Letter M | 20th Century Leaders | Male Celebrity Names With Letter M | 20th Century Prime Ministers | 20th Century Political Leaders


text:
Big Bear City és una concentració de població designada pel cens dels Estats Units a l'estat de Califòrnia. Segons el cens del 2000 tenia una població de 5.779 habitants.

Demografia
Segons el cens del 2000, Big Bear City tenia 5.779 habitants, 2.290 habitatges, i 1.603 famílies. La densitat de població era de 643 habitants/km².

Dels 2.290 habitatges en un 32,3% hi vivien nens de menys de 18 anys, en un 54,1% hi vivien parelles casades, en un 10,8% dones solteres, i en un 30% no eren unitats familiars. En el 23,6% dels habitatges hi vivien persones soles el 8,9% de les quals corresponia a persones de 65 anys o més que vivien soles. El nombre mitjà de persones vivint en cada habitatge era de 2,52 i el nombre mitjà de persones que vivien en cada família era de 2,97.

Per edats la població es repartia de la següent manera: un 26,5% tenia menys de 18 anys, un 6,9% entre 18 i 24, un 27,3% entre 25 i 44, un 25,9% de 45 a 60 i un 13,3% 65 anys o més.

L'edat mediana era de 39 anys. Per cada 100 dones de 18 o més anys hi havia 96 homes.

La renda mediana per habitatge era de 35.615 $ i la renda mediana per família de 42.995 $. Els homes tenien una renda mediana de 33.994 $ mentre que les dones 20.844 $. La renda per capita de la població era de 19.301 $. Entorn del 5,1% de les famílies i el 6,6% de la població estaven per davall del llindar de pobresa.

Poblacions properes
El següent diagrama mostra les poblacions més properes.

Referències

Entitats de població del comtat de San Bernardino
Concentracions de població designades pel cens de Califòrnia

redpajama_set_name: RedPajamaWikipedia


text:
For Tech Experts
An Interview with Bernard Golden: How VMWorld Stacks up Against reInvent
By Ofir Nachmani
bernard golden, re:invent, vmworld
By Ofir Nachmani, IOD CEO
I have known Bernard Golden for years, and it is always a pleasure to chat with him and hear his views about the enterprise IT industry, in general, and, of course, about cloud trends. Over the last decade, I've found that interviewing experts and influencers (whether at a conference or remotely) has proven to be both educational and beneficial. This conversation with Golden recently over Skype also gave me lots to think about, especially one month before AWS re:Invent 2017.
The purpose of the interview was to get his takeaways from the VMworld conference in August, which hosted close to 24,000 IT professionals. We discussed the atmosphere at VMworld, VMware's attempts to stay relevant in the face of AWS's rapid development, the current state of the ecosystem, and more.
VMware is an established player in IT and is historically known for server virtualization, but Golden says that it is no longer limited to this traditional role. According to Golden, VMWare's main focus today is trying to respond to the increasing importance of apps and its comparatively smaller impact on operations. For that matter, VMware is making large investments to build its footprint in mobile and client device management and security. It is also expanding into applications delivery, containers, and the public cloud.
Our conversation continued with a back and forth about the IT industry's two largest events: AWS re:Invent and VMWorld.
The Show Floor
When it comes to traditional vendor conferences such as VMworld, I asked Golden, was his experience similar to what I typically experienced at re:Invent (which amounts to an annual amazement at Amazon's consistent trailblazing innovation)? Did he make any observations about how the VMware ecosystem is changing to adjust to the continued adoption and growth of cloud?
Golden told me that he saw a rich ecosystem at VMworld, where many professionals on the exhibition floor said their services were more than a solution just for VMware or bare iron type stuff, but for Amazon, too. He saw lots of backup and hybrid cloud solutions to help customers run multiple IT environments across multiple domains and infrastructures.
Golden was also surprised by how many large booths there were this year. He said that just ten years ago, these same providers represented their companies in small booths along the least expensive side strips, but this year they had custom booths in high-priced, high-visibility spots. He says that the rich ecosystem validates VMware's success. Golden is right: VMware is doing very well. It has grown 13% each year while other established players are experiencing negative growth. While other established companies are giving up on the public cloud and are retreating, VMware continues to grow.
I have noticed similar ecosystem changes, and it is one of the more interesting movements I have been covering over the last few years when it comes to cloud. For example, new startups such as CloudCheckr, Datadog, and Dome9 have raised hundreds of millions of dollars in recent years. They started from nothing, but by understanding the AWS disruption and taking advantage of it, their companies grew and they too moved from unimportant spots at re:Invent to center stage.
One Market, Two Branches
We know that opportunities in the IT industry are growing like crazy, but what does the future of IT look like?
Golden referenced a paper from IDC that states that the industry is splitting into two branches: one that is static and low-growth (1-3% each year), and another that is basically the cloud side of things with a high growth rate (~20% each year). He sees things playing out this way in IT, with the traditional players in a downward trajectory and cloud players continuously growing. Referencing a recent blog post of his, Golden said that AWS's 40% growth is at about $15-16B, and he researched to see if any other technology companies could compare. He said that only Google and Facebook came close to AWS's growth rate, but that they still had a much "lighter touch than AWS in customer adoption." We both agreed that Amazon's growth is unprecedented, especially for a company that is being used in the enterprise market. Up until now, only scalable technology has been able to grow at this rate.
Looking at the phenomenal increase in amount of attendees at AWS re:Invent, starting at around 5,000 in the first year to more than 30,000 people last year, I can confidently say that AWS fits into the second branch Golden described. Amazon's native internet play and strong ecommerce skills made AWS wildly successful as they started selling EC2 instances by the hour… and today by the second.
Read more: Amazon, Microsoft and Google: The Cloud Leading Trio
Wrapping Up: AWS Becomes Traditional IT, Too
I asked Golden to summarize the relationship between Amazon and VMware. He said that while VMware has always been what we consider traditional IT, AWS is now becoming "traditional" IT, too.
In the past, many thought AWS was only for startups and small businesses. However, after attending the last AWS re:Invent, Golden said that he noticed the attendees were very mainstream, or "blue shirts and Dockers," as he cleverly put it. VMware sees AWS's rapid growth, so they are really trying to make a partnership with AWS work in order to stay in the game. To paraphrase what Golden told me, from re:Invent, you get the sense that AWS is the future of IT, whereas VMworld feels more like a gathering of the traditional IT crowd. If VMware and AWS learn to synergize, they have the potential to do great things together.
Are you a tech evangelist or cloud influencer? Drop me a line. I'd love to meet you and interview you at re:Invent this year!
Roll Out Your Personal CI with Docker
I've Got a Plan for reInvent 2017. Do You?
Ofir Nachmani, CEO, IOD (iamondemand)
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text:
Cima da Conegliano, né Giovanni Battista Cima (Conegliano 1459 - Conegliano 1517), est un peintre vénitien de la Renaissance de l'école vénitienne.

Biographie

Seuls de rares documents permettent de reconstituer la vie du peintre. La date de naissance de l'artiste (1459 ou 1460) n'est pas établie, mais déduite des registres de Conegliano de 1473, qui mentionnent un cimator (ouvrier drapier) nommé Joannes, mais est-ce lui, ou bien un ouvrier de son frère Antonio ? Joannes est un prénom courant. Si c'est bien le peintre, il devait avoir à ce moment quatorze ans, puisque c'est l'âge où il a commencé à payer des impôts, selon les lois de la ville.

On ne sait rien sur sa formation en peinture avant 1489, année de sa première œuvre, Vierge à l'enfant entre saint Jérôme et saint Jacques, destinée à l'église San Bartolomeo de Vicence. Un rouleau figurant au pied du trône de la Vierge porte la signature et la date précise du premier  : «Joannes baptista de Coneglano fecit/ 1489. A dì primo Mazo».  Cette œuvre montre une influence de Bartolomeo Montagna, tant par la rigueur du trait que par une riche gamme de tons chauds. Elle révèle néanmoins un style propre, qui se distingue par une lumière claire et une impression de douceur, loin de l'austérité de Montagna. On y voit également une intégration déjà parfaitement maîtrisée d'éléments architecturaux idéalisés dans la composition de l'œuvre, ici une pergola, qui seront régulièrement repris dans les tableaux majeurs de Cima.

Le peintre s'installe alors à Venise, où sa présence est attestée dès 1492 et où il est « maître », ce qui sous-entend qu'il a son propre atelier avec au moins un apprenti. Il s'impose dans la cité lagunaire comme peintre d'art sacré, obtient rapidement une élogieuse réputation qui s'étendra bien au-delà de Venise, et laissera quantité de tableaux commandés tant par une clientèle laïque que religieuse.

Vasari dit de lui qu'il fut l'élève de Giovanni Bellini, qu'il mourut jeune et que sans cela il eût probablement égalé son maître.

L'année 1494 voit quelques paiements effectués à l'artiste. Les autres paiements remontent à 1499, 1504 et 1510.

Entre 1500 et 1515, il a probablement vécu entre Venise et la région de l'Émilie. À Parme, Bologne, des œuvres lui ont été commandées pour les églises, comme la Vierge et l'Enfant, des saints Michel et André en 1505 et la Conversation sacrée en 1513.

Sa présence à Conegliano, où il a passé les étés, est documentée pour la dernière fois en 1516. Il meurt entre 1517-1518, probablement à Conegliano, où il existe aujourd'hui un musée Giovanni Battista Cima.

Œuvres

Une centaine d'œuvres lui sont attribuées, dont une trentaine de retables, quatre polyptyques, deux triptyques, 19 Vierge à l'Enfant, 18 Conversation sacrée, cinq Jérôme au désert.

Avant 1490
 Vierge à l'Enfant avec saint Jean-Baptiste et saint François, 1478-1488, Huile sur chêne, Museum Kunstpalast, Düsseldorf
 Vierge à l'Enfant avec saint Paul et saint François , 1488-93, Nivaagaards Malerisamling
 Vierge en majesté avec saint Jacques l'apôtre et saint Jérôme, 1489, Pinacotèque du Palais Chiericati, Vicence Pinacothèque Vicenza

De 1490 à 1500

 Le Couronnement de la Vierge v. 1490, huile sur toile (restauration en 1999) basilique San Zanipolo Venise
 Vierge à l'Enfant couronnée avec des saints et des saints patrons (Conversation sacrée avec les saints Sébastien, Jean-Baptiste, Madeleine et Roch), v. 1490, huile sur toile, , Pinacothèque de Brera, Milan.
 Saint Jean-Baptiste entre saint Pierre, saint Marc, saint Jérôme et saint Paul (retable de saint Jean-Baptiste), 1491-1492, bois, , Galeries de l'Académie de Venise, réalisé pour l'église de la Madonna dell'Orto.
 Saint Jérôme au désert , 1492, huile sur toile, National Gallery (Londres).
 Le Baptême du Christ, 1494, bois, , église San Giovanni in Bragora, Venise.
 Vierge à l'Enfant avec deux vierges martyres, 1495, tempera sur bois, Memphis Brooks Museum of Art, Tennessee
 Annonciation, 1495, Tempera et huile sur toile,  × , musée de l'Ermitage à Saint-Pétersbourg
 Vierge à l'Enfant avec saint Jérôme et saint Jean-Baptiste, 1495, huile sur toile,  × , National Gallery of Art, Washington
 Vierge à l'Enfant avec saint Jérôme et Marie-Madeleine, 1495, taille , Alte Pinakothek, Munich
 Vierge à l'Enfant en majesté avec les saints Pierre, Romuald, Benoît et Paul, v.1495, huile sur peuplier, , Gemäldegalerie, Berlin
 Vierge à l'Enfant trônant avec les Saints, 1496-1499, peinture sur bois, , Galeries de l'Académie de Venise, 1495, Tempera et huile sur panneau de bois, , Galeries de l'Académie de Venise. Provient de Santa Chiara à Murano
 Conversation sacrée, 1496, huile sur toile,  × , fondation Gulbenkian à Lisbonne
 Présentation de la Vierge au Temple, 1496-1497, huile sur toile, Gemäldegalerie Alte Meister, Dresde
 Sainte Hélène, 1498, huile sur toile,  × , National Gallery of Art de Washington
 La Guérison d'Aniane, 1497-1499, Gemäldegalerie, Berlin
 Vierge à l'Enfant avec saint Michel l'archange et saint André l'Apôtre, 1498-1500, huile sur bois, , Galerie nationale de Parme
 Polyptyque Miglionico, fin du , basilique Santa Maria Maggiore, Miglionico, Basilicate.
 Christ rédempteur avec le calice dans un paysage, , huile sur panneau, 18 x 13,5 cm,  musées Civiques de Pavie
 Imago Pietatis, fin du , palais de Wilanów
 Thésée tuant le Minotaure, fin , huile sur panneau, , musée Poldi-Pezzoli, Milan

De 1500 à 1510
 Vierge à l'Enfant avec les saints Jean-Baptiste et Nicolas de Tolentino, v. 1500, tempera et huile sur peuplier, , Brooklyn Museum, New York
 Sant'Elena e Costantino ai lati della Croce, 1501-1503, Église San Giovanni in Bragora Venise
 Sainte Catherine d'Alexandrie, 1502, Wallace Collection, Londres
 Vierge à l'Enfant, 1504, tempera sur bois, , Musée des Offices, Florence où l'Enfant tient le pouce de sa mère
 Vierge à l'Enfant, 1505, huile sur toile,  × , National Gallery (Londres)
 L'Incrédulité de saint Thomas et l'évêque saint Magne, v. 1505, bois, , Gallerie dell'Accademia de Venise. Vient de la Scuola dei Mureri à San Samuele
 Vierge à l'Enfant entre l'archange saint Michel et l'apôtre saint André, 1505, huile sur toile, , Galerie Nationale de Parme
 Vierge à l'Enfant, v. 1505, huile sur toile, , Museum of Fine Arts de San Francisco
Saint Pierre Martyr avec saint Nicolas et saint Benoît, 1505, huile sur bois, , Pinacothèque de Brera, Milan
 La Nativité (avec sainte Catherine, sainte Hélène, Tobie et l'archange Raphaël), bois, , Gallerie dell'Accademia de Venise. Vient de l'Église Santa Maria dei Carmini
 Conversation sacrée, panneau, , Museum Kunstpalast, Düsseldorf

De 1510 à 1518
 Vierge à l'Enfant avec saint François et sainte Claire, 1510, Huile sur bois, , Metropolitan Museum de New-York
 Vierge à l'Enfant avec saint Georges et saint Jacques, 1510-1511, triptyque, huile sur toile,  ×  et  × , musée des beaux-arts de Caen
 Descente de Croix , huile sur toile, musée des beaux-arts Pouchkine de Moscou.
 Saint Jérôme au désert, après 1510, bois, , Musée des Offices, Florence.
 La Vierge et l'Enfant entre saint Jean-Baptiste et sainte Marie-Madeleine, Conversation sacrée, 1511-1513, huile sur toile, , musée du Louvre, Paris. Vient de Parme, entré au Louvre en 1812
 Vierge à l'Enfant avec saint Jean l'évangéliste et saint Nicolas de Bari, 1513-18, National Gallery de Londres
 Vierge à l'enfant avec des saints, 1515, Cleveland Museum of Art
 Vierge à l'Enfant avec saint Jean-Baptiste et sainte Catherine, 1515, huile sur bois, , Pierpont Morgan Library, New York
 Vierge à l'Enfant avec les saints Sébastien, François, Jean-Baptiste et Jérôme, v. 1515, huile sur bois, , Fogg Art Museum, Cambridge
 Vierge à l'Enfant avec saint Jean-Baptiste et saint Paul, Gallerie dell'Accademia de Venise

 Les thèmes
Ils sont essentiellement religieux. Cima da Conegliano a peint de nombreuses Vierge à l'Enfant.

 Les Conversations sacrées
Il s'agit de tableaux dans lesquels la Vierge en majesté et l'enfant Jésus, sont entourés de personnages saints avec lesquels ils semblent converser dans un espace commun, contemporains ou non :
 Vierge à l'Enfant avec Saint Jean-Baptiste et Saint François, 1478-1488, Museum Kunstpalast, Düsseldorf
 Vierge à l'Enfant avec saint Paul et saint François, 1488-93, Nivaagaards Malerisamling, Danemark
 Vierge en majesté avec saint Jacques l'apôtre et saint Jérôme, 1489, Pinacotèque du Palais Chiericati, Vicence
 Vierge à l'Enfant couronnés avec des saints et des saints patrons (Sébastien, Jean-Baptiste, Madeleine, et Saint Roch), v. 1490, Pinacothèque de Brera, Milan
 Vierge à l'Enfant avec saint Jérôme et saint Jean-Baptiste, 1495, Washington
 Vierge à l'Enfant avec deux vierges martyres, 1495, Memphis Brooks Museum
 Vierge à l'Enfant avec saint Jérôme et Marie-Madeleine, 1495, Alte Pinakotheke, Munich
 Vierge à l'Enfant en majesté avec les saints Pierre, Romuald, Benoît et Paul, v.1495, Gemäldegalerie, Berlin
 Vierge à l'Enfant avec des saints, 1496-1499, Gallerie dell'Accademia de Venise
 Vierge à l'Enfant avec saint Michel l'archange et saint André l'Apôtre, 1498-1500, Galerie nationale de Parme
 Vierge à l'Enfant avec les saints Jean-Baptiste et Nicolas de Tolentino, v. 1500, Brooklyn Museum, New York
 Vierge à l'Enfant avec saint François et sainte Claire, 1510, Metropolitan Museum de New-York
 La Vierge et l'Enfant entre saint Jean-Baptiste et sainte Marie-Madeleine, 1511, Musée du Louvre
 Vierge à l'Enfant avec saint Jean l'évangéliste et saint Nicolas de Bari, 1513-18, National Gallery de Londres
 Vierge à l'enfant avec des saints, 1515, Cleveland Museum of Art
 Vierge à l'Enfant avec saint Jean-Baptiste et sainte Catherine, 1515, Pierpont Morgan Library, New York
 Vierge à l'Enfant avec les saints Sébastien, François, Jean-Baptiste et Jérôme, v. 1515, Fogg Art Museum, Cambridge
 Vierge à l'Enfant avec saint Jean-Baptiste et saint Paul, Gallerie dell'Accademia de Venise

Les paysages, à l'arrière-plan, sont souvent inspirés de Conegliano, sans toutefois en être une représentation fidèle.

 Tableaux mythologiques
Cima da Conegliano a également peint quelques tableaux d'inspiration mythologique :

 Endymion dormant, Galerie nationale de Parme
 Le Jugement de Midas (entre Apollon et Marsyas), Statens Museum for Kunst, Copenhague
 Le Mariage de Bacchus et Ariane, Musée Poldi-Pezzoli, Milan
 Thésée tuant le Minotaure, Musée Poldi Pezzoli, Milan
   Technique
Les premières œuvres sont à tempera mais Cima da Conegliano passe rapidement à la peinture à l'huile. Ses supports sont essentiellement du bois même s'il existe quelques toiles.

Ses tableaux comportent très peu de repentirs, ce qui peut supposer un certain nombre de dessins préparatoires mais qui n'ont pas été conservés. En effet, seule une dizaine de feuillets ont été identifiés.

 Postérité
Il était considéré comme l'un des grands peintre vénitiens de son temps, jusqu'à la fin du . Il a influencé plusieurs de ses contemporains dont Giovanni Bellini, Vittore Carpaccio, Titien et même, sans doute, Albrecht Dürer. Son aura a décliné durant le .

 Sources

 Exposition
 Cima da Conegliano : Maître de la Renaissance vénitienne, du  au , Paris, musée du Luxembourg.

 Catalogues d'exposition
 1966 : Dans la lumière de Vermeer, Paris, musée de l'Orangerie,  -  (Sacra Conversazione'', Lisbonne, Fondation Gulbenkian)
 2012 :

Notes et références

Liens externes

Peintre italien du XVe siècle
Peintre italien du XVIe siècle
Peintre italien de la haute-Renaissance
Peintre d'art sacré
Naissance en 1459
Naissance à Conegliano
Naissance dans la république de Venise
Décès en 1517
Décès à Conegliano


Hillbilly Gothic, a memoir by yrs trly about families and babies and Appalachia (but funny, in the way that I am funny), will be published by The Free Press , a division of Simon and Schuster, in early '06. The finished manuscript is due May 1, which should make the next few months really interesting. If you see me running about in circles, wearing nothing but some fuzzy bunny slippers and hugging a laptop, know that I have not lost my mind, but am hard at work making the magic happen. Or something like that.
Neil Gaiman's "A Writer's Prayer" is online in MP3 form. The last verse is worth the download time.
The Learning Channel has started showing Peep and the Big Wide World at 8 a.m. Not only is the theme song by Taj Mahal and the narration by Joan Cusack, the show is wet-your-pants funny, even if you are not a toddler. Allegedly, it also teaches kids about science, which I can sorta see, but it also teaches them about whimsy, animation and creativity. While those qualities may not be as fundamentally lucrative as science, they also contribute to a nice, well-rounded offspring or, at the very least, one who thinks ducks are amusing.
For weeks, the women's only water came from an open pail. Their food—all of it colorless slops—was infested with worms. When one of the leaders, Alice Paul, embarked on a hunger strike, they tied her to a chair, forced a tube down her throat and poured liquid into her until she vomited. She was tortured like this for weeks until word was smuggled out to the press.
So, refresh my memory. Some women won't vote this year because—why, exactly? We have car pool duties? We have to get to work? Our vote doesn't matter? It's raining?
Classes start tomorrow and I'm still trying to get syllabi, first week assignments and the rest of the various school-starting what-not together. Of course, rather than do that, I'm sitting here writing a blog entry and watching Olympic beach volleyball. One must have priorities.
It's been 84 years since women won the right to vote and still the only women in the race for White House housing are ladies, as in first lady. This year, Iraqi women, under their brand new constitution, will hold 25 percent of the government seats, but American women, under their venerable old Constitution, will hold only 13.8 percent of the congressional seats.
"Failure is impossible," said Susan B. Anthony. But she forgot to mention how slow success could be.
While this has nothing to do with women and voting, we just got back from Maine, where we visited old college chums and their children, who live near Bath. Gorgeous country.
The first full day, however, was a little rainy and, as a result, buggy. Fortunately, there was a spare almost-Diva-sized slicker around.
We decided the best course of action was lobsters, which also made good playthings, corn and general carnage.
The weather improved, as weather often can -- and we learned why Maine is so popular.
"I wish I could write a beautiful book to break those hearts that are soon to cease to exist: a book of faith and small neat worlds and of people who live by the philosophies of popular songs."
Myrna and Charla are no more. While I respect what they were trying to do, I wanted to smack the crap out of the taller one, who may have been Myrna or may have been Charla. But, now, they are gone and I can focus my ire on the twins.
Personally, I'm rooting for the Bowling Moms or Chip and Kim, which means neither team will probably win.
Small complaint, tho: One of the reasons I liked AR so much is that they didn't have that many disgusting food challenges a la Survivior. So this season so far, there have been two. Granted, the foods themselves weren't disgusting but the quantities were. Still, I don't like watching folks fight back vomit. Yeeg. While reality TV isn't the classiest of mediums, AR used to have some. Now, I can see them poised with one foot on a slippery slope.
And if you have no idea what any of that means, sorry. The next post may be more to your liking.
New York in August. Woo.
Just got back from The Big City, which takes longer to get to than I'd thought. We did, however, drive to Croton-Harmon, which was ~4 hours, then took the train in, which was another hour. There has got to be a better way.
Regardless, it was more a business trip than a pleasure trip, although the Hub and the Diva came along. The Diva did quite well -- and the train was the best thing ever, in her eyes. She also pointed out every last bus and fire truck to us during our stay and would wave to passing New Yorkers as we strolled along the city's sidewalks. Surprisingly, most of the folks waved back.
It did, however, drizzle almost the entire time we were there, which scrapped grander plans of romping about Central Park. Walking anywhere was just damp and unpleasant, but we did make it to the Toys 'R Us, where we had a big time watching the Ferris Wheel and staring at the life-style Dora and Boots and Blue. By about 11 a.m., tho, she seemed to just fall into an overload coma. There was no crying or tantrums, just eyes the size of bagels, and the Diva was quiet as a snowstorm.
At noon, I lunch with the Editor and had a big time my own self. It seems like an awesome match, frankly. Contracts went back in the mail today. I am still dumbfounded, frankly -- but thrilled.
While I did take a camera, the battery died after just a few shots. Oooops.
Next weekend, Maine, which promises to be more scenic. And, yes, I plan to buy more batteries.
Note the cute kitty card. Note that said kitty is in a typewriter. Awesome choice!
On the knitting front, I'm almost finished with the Diva's Tasia cardie, which is being done in a purple, pink, yellow and blue version of Koigu Kersti, which is soft and springy and good. Pictures when it is done.
Also on the knitting front, the back and fronts of my Peace Fleece cardi are blocking and I'll piece 'em together soonish. Then comes sleeves. Oh, how I loathe sleeves.
The Diva is a bit under the weather today and is home. Currently, her snotty, coughing self has finally fallen into something resembling a nap, and I am trying to catch up. What I am doing instead is posting on the blog and watching the Brini Maxwell show, which is very, very strange. It's part helpful hints, part skewering of Martha Stewart. With a drag queen. And a fabulous costume design. And a segment introduced by name-dropping the Unibomber. Don't know If I'll ever watch it again, but it is worth experiencing once. But just once.
Shameless self promotion: new stuff up at Bookslut: my take on the upcoming Hugos: Hugos and Oblivion.
Also: the divine Miss Melissa has a column up at Austinmama. It's good stuff.


text:
The Daily Texan • November 12, 2021 • https://thedailytexan.com/2021/11/12/researchers-receive-1-2-million-grant-for-telescope-instrument-opens-possibilities-for-exploring-planetary-conditions/
Researchers receive $1.2 million grant for telescope instrument, opens possibilities for exploring planetary conditions
Katy Nelson, News Reporter
To better understand the conditions and potential for hosting life on other planets, a collaboration of researchers, including some from UT, received a nearly $1.2 million grant in early October for key components to complete their telescope instrumentation.
In collaboration with the Carnegie Institution for Science and the Korean Astronomy and Space Science Institute, UT researchers received a Heising-Simons Foundation grant for their MagNIFIES project, which is an instrument that will be used on the Magellan Telescope in Chile. Daniel Jaffe, vice president for research, said he hopes the technology will be able to better examine the atmospheres of smaller planets like Neptune and measure atmospheres of Earth-like planets in other solar systems.
"One of the things that people think would be a signature of the presence of life (on other planets) is the existence of free oxygen," said Jaffe. "MagNIFIES will be able to detect one of the sets of features that oxygen makes and be able to see if it's in the atmospheres of other planets, (which) is very difficult to do because there's oxygen in the Earth's atmosphere, and it blocks out the light of the oxygen from the planets."
MagNIFIES, which stands for "magellan near-infrared five-band immersion grating efficient spectrograph," can cover significantly more wavelength space than standard instruments in a shorter amount of time, project researcher Alycia Weinberger said. This capability allows researchers to study more of the planets or stars they observe, Weinberger said.
"(Astronomers) get a certain amount of time on the telescope to do a project, and the faster you can make an observation, … the more you can learn by taking more and more individual observations on a specific target," said Weinberger, a staff scientist at the Carnegie Institution for Science Earth and Planets Laboratory. "It'll be much faster to observe objects in the universe with MagNIFIES than it is with other instruments."
Jaffe said the team began the MagNIFIES project about five years ago, and in January, they plan to submit a proposal to the National Science Foundation for funding to have the instrumentation completed and ready for the Magellan Telescope.
If the proposal passes, Jaffe said it will take about another four years to make sure the telescope and instrument can work together.
"I hope MagNIFIES will improve our understanding of the nature of a variety of different types of bodies in our galaxy, and (make) our understanding of the universe better by having a better tool to sense the true nature of these objects," Jaffe said.
Editor's note: This story has been updated to include the correct granting agency, the Heising-Simons Foundation. The story has also been updated to reflect Daniel Jaffe's correct title as UT's vice president for research. The Texan regrets these errors.


Though Eve Faraday was once attractive and clever, she by no means anticipated to be wooed by way of the devastatingly good-looking and totally captivating Aubrey Ashford, the main eligible bachelor in all of London. Skeptical of the unexpected awareness, she attempts tough to prevent temptation, however the appealing Aubrey—and his kisses—prove irresistible! She accepts his provide of marriage and strikes with him to his ancestral domestic at reasonable Isle. yet after this type of whirlwind courtship and lightning-quick marriage, Eve starts to wonder whether she rather understands Aubrey in any respect. there's something mysterious, whatever magical and primeval approximately her new husband . . .
Aubrey isn't really who he seems to be to be—that a lot is bound. yet his emotions for Eve are real. And merely whilst he finds his extraordinary mystery will Eve notice that she and Aubrey may need an opportunity at a love that may final eternally . . .
After Olivia Dobson is jilted on the altar, she endures one other humiliation: a alternative groom! The elder brother of her runaway betrothed has taken concerns into his personal fingers. Shy Olivia has lengthy held a mystery charm for Andrew Richardson, the good-looking Earl of Ashcombe. but if she's wedded, bedded and dispatched on my own to his state property, the timid good looks discovers one evening of ardour has ignited a daring internal hearth.
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Impossible. He must be holding back. But why? She moved back a step to look for an answer in his expression. But she wasn't as good at reading him as he was at knowing her thoughts. She saw 38 EDITH LAYTON his raised eyebrow, and could only guess that was laughter at the back of his eyes. It made her take a breath, step further from him, and raise her chin. " she asked shakily. "No," he said. "I'm only happy because I was right. Didn't you feel it? " "I felt our mouths suited," she said crossly.
And all the while, Aubrey stood in the hallway with a slight smile. "Thank you for a lovely evening," Eve finally said, looking up at him, suddenly aware that she ought not to have sent her maid to bed so soon. "No, thank you," he said. "Ready to accept my proposal, Eve? " "You read my face, and not my mind," she countered, annoyed at how transparent she was to him. " he said in a soft voice, stepping closer to her. "I think not. Let us be done with the problem, Eve. Once we know, we'll know a lot more, and you'll either dismiss me .
He wanted her, and that was very different. She knew that too, for herself. "I'll wait then," he said. " She nodded. "And the next night, for the masquerade ball. Maybe you can learn more about me when I'm in disguise? You're so contrary, that may turn the trick. I can't wait to see what disguise you've chosen. " "At the ball, yes. But maybe not in our costumes. " she asked in astonishment. "It can't be Sherry. I didn't tell him. But he has a way of talking the housemaids and 40 EDITH LAYTON the footmen around anything .


Recently 'Aashiq Banaya Aapne' star Tanushree Dutta accused Bollywood veteran Nana Patekar of sexual misconduct and criminal intimidation on the sets of 'Horn 'Ok' Pleassss'.
She also accused director Vivek Agnihotri of bad conduct during the shooting of 'Chocolate'.
Some Bollywood stars have expressed support, and some have predictably skirted the issue.
But Salman Khan's response qualifies as the worst one.
Tanushree accused Nana of purposely including a lewd dance step in a song to be intimate with her. However, when rebuffed, he hired goons to intimidate her.
Nana categorically denied these charges and his lawyers have filed a case against Tanushree.
In Agnihotri's case, Tanushree alleged that the director asked her to take off her clothes and dance to give Irrfan Khan cues.
About this row, Salman was questioned by a female journalist, in Mumbai, at a sports-related event.
Claiming ignorance, Salman condescendingly said, "I'm not aware of this, my dear. Let me know and understand what is happening."
What begs disbelief is, a social butterfly like Salman would be unaware of something big like this, especially when media is covering it relentlessly.
Moreover, organizers asked to maintain event's 'dignity'. Say what?
Further, the organizers strictly asked the journalist to maintain the event's 'dignity'.
Salman, too, overbearingly questioned her what kind of event was she in.
The journalist asserted her awareness that it was a sports-related event but event-related questions had been asked by others.
She added, the issue was pressing and Salman didn't give interviews every day, so she seized the opportunity to ask his opinion.
Salman is receiving much flak because his response was the worst constructed.
However, star Amitabh Bachchan, who ironically starred in women-empowering film 'Pink' had a bad response too. He skirted the issue saying he was neither Tanushree nor Nana.
Aamir Khan, reputed for his apparent empathy, too said the 'veracity' of the event must be determined, but expressed sadness that such things happened.
Though big names avoided the issue like the plague, many Bollywood stars, predictably mostly women, have spoken in support of Tanushree.
Twinkle Khanna, Priyanka Chopra, Sonam Kapoor Ahuja, and Farhan Akhtar all took to Twitter to express support and encouraged others to speak up.
They lauded the bravery to speak up against this injustice and urged people to listen before judging the survivor.
Tanushree's calling out perpetrators of sexual misconduct might have opened the floodgates in Bollywood.
In what might be Bollywood's #MeToo moment, we need stars to speak in support.
Remaining within an apathetic safety net like Amitabh and Aamir is deplorable.
As for Salman, maybe he should check his Twitter feed apart from promoting 'LoveYatri'.
The time is now, speak or forever hold your silence.
'Thugs of Hindostan', the highly anticipated big-budget film, has dropped its first trailer.
In 2008, journalist Janice Sequeira, who worked for AajTak and Headlines Today earlier, was sent to cover behind-the-scenes of the song being shot for 'Horn OK Pleassss'.
Marvel Studios is bringing to life, a potentially huge moneymaking franchise, 'The Eternals'.