text:
Ha ricevuto una candidatura al Premio Oscar come migliore attrice non protagonista per la sua interpretazione nel film The Whale (2022).

Biografia
Prima della sua nascita, i suoi genitori assieme ai loro due figli vivevano in Vietnam. Nel 1979 la famiglia era tra i boat people vietnamiti fuggiti dal loro paese, mentre sua madre era incinta di lei da sei mesi. Durante la loro fuga, il padre dell'attrice è stato colpito da colpi di arma da fuoco ed è quasi morto dissanguato. E' nata in un campo profughi in Thailandia nel corso dell'anno. E' cresciuta parlando il vietnamita come prima lingua e in seguito ha imparato l'inglese a scuola. La sua famiglia viveva in alloggi governativi ed utilizzava programmi di pranzo sovvenzionati. I suoi genitori hanno lavorato umilmente per garantire che i bambini potessero frequentare il college. L'attrice ha dichiarato che i suoi genitori, che parlano con un forte accento vietnamita, sono stati evitati in quanto migranti asiatici: "Per tutta la mia vita, mi sono sempre sentita la più accettabile dei miei genitori, mentre loro, erano sempre le persone che dovevano rimanere in disparte o nascondersi nell'armadio delle scope". Ha frequentato la Boston University a Boston, dove inizialmente ha studiato scrittura creativa. Ha cambiato la sua specializzazione in studi cinematografici quando i suoi genitori le hanno chiesto di studiare qualcosa di più pratico. Ha scelto la recitazione per sfidare la sua introversione; ha recitato in cortometraggi di altri studenti ed è stata incoraggiata a dedicarsi alla recitazione. Dopo il college ha ottenuto un lavoro con la PBS e ha anticipato una carriera nei documentari. Successivamente si è trasferita a New York, dove ha studiato recitazione.

Carriera

2006–2017: I primi ruoli e la svolta con Downsizing - Vivere alla grande
Ha cominciato a recitare in film ed in serie televisive nel 2006. Uno dei suoi primi ruoli di rilievo è stato nella serie televisiva Treme. Il suo primo ruolo cinematografico è stato nel 2014 nel film Vizio di forma, di Paul Thomas Anderson. Per due anni, dopo la partecipazione alla pellicola, non è stata in grado di ottenere un'audizione per un altro ruolo cinematografico. Nel 2017 ha un ruolo secondario nella miniserie televisiva Big Little Lies - Piccole grandi bugie. Lo stesso recita in Downsizing - Vivere alla grande, con il quale ha ottenuto il plauso della critica, ricevendo le candidature ai Golden Globe, ai Critics' Choice Awards, ed ai Screen Actors Guild Award, come miglior attrice non protagonista.

2018–presente: Il successo
Nel 2018 appare come ospite in diverse serie televisiva, tra cui BoJack Horseman e Forever. Successivamente ha avuto un ruolo secondario nella prima stagione della serie Homecoming. Nel 2019 ottiene i suoi primi ruoli da protagonista nei film Driveways e American Woman. Lo stesso anno prende parte alla miniserie Watchmen, nei panni della miliardaria Lady Trieu, la cui interpretazione è stata lodata dal critico Tim Goodman di The Hollywood Reporter, che l'ha definita una "performance eccezionale e memorabile". Nel 2020 ottiene ruolo più importante nella seconda stagione di Homecoming. Sebbene avesse filmato una piccola parte nei panni di Opal Koboi nel film Artemis Fowl, la scena è tagliata.

Nel 2022 prende parte al film horror The Menu, assieme ad Anya Taylor-Joy. Lo stesso anno recita al fianco di Brendan Fraser in The Whale, diretto da Darren Aronofsky.

Filmografia

Attrice

Cinema
 Vizio di forma (Inherent Vice), regia di Paul Thomas Anderson (2014)
 Downsizing - Vivere alla grande (Downsizing), regia di Alexander Payne (2017)
 Duck Butter, regia di Miguel Arteta (2018)
 Driveways, regia di Andrew Ahn (2019)
 American Woman, regia di Semi Chellas (2019)
 Artemis Fowl, regia di Kenneth Branagh (2020) – non accreditata
 Showing Up, regia di Kelly Reichardt (2022)
 The Menu, regia di Mark Mylod (2022)
 The Whale, regia di Darren Aronofsky (2022)

Televisione
 Trenches – serie TV, 10 episodi (2010)
 NCIS - Unità anticrimine – serie TV, 1 episodio (2010)
 How I Met Your Mother – serie TV, 1 episodio (2010)
 Treme – serie TV, 13 episodi (2011-2013)
 CSI - Scena del crimine – serie TV, 1 episodio (2012)
 Buona fortuna Charlie – serie TV, 1 episodio (2012)
 A to Z – serie TV, 13 episodi (2014-2015)
 Big Little Lies - Piccole grandi bugie – serie TV, 6 episodi (2017)
 Homecoming – serie TV (2018-2020)
 Forever – serie TV, 1 episodio (2018)
 Watchmen – miniserie TV, 4 episodi (2019)

Doppiatrice
American Dad! – serie animata, 1 episodio (2017)
BoJack Horseman – serie animata,  5 episodi (2018)

Riconoscimenti

 Premio Oscar
 2023 - Candidatura alla miglior attrice non protagonista per The Whale

Golden Globe
 2018 – Candidatura per la migliore attrice non protagonista per Downsizing - Vivere alla grande

Critics' Choice Awards
 2018 – Candidatura per la migliore attrice non protagonista per Downsizing – Vivere alla grande

Screen Actors Guild Award
 2018 – Candidatura per la migliore attrice non protagonista cinematografica per Downsizing – Vivere alla grande
 2023 - Candidatura alla miglior attrice non protagonista cinematografica per The Whale

Doppiatrici italiane
Nelle versioni in italiano delle opere in cui ha recitato, Hong Chau è stata doppiata da:
 Jun Ichikawa in Vizio di forma, Downsizing - Vivere alla grande, Homecoming, Watchmen
 Roberta De Roberto in Big Little Lies - Piccole grandi bugie
 Stefania Giacarelli in Artemis Fowl
 Angela Brusa in The Menu
 Letizia Scifoni in The Whale

Note

Altri progetti

Collegamenti esterni

Note

redpajama_set_name: RedPajamaWikipedia


text:
China, Hong Kong & Macau travel guide
coxkingsadmin | June 23, 2020
There are numerous things to do in China, due to the size of the country. To make it easier, we have broken this guide down into sections below.
The Central Provinces
The south-central part of China is a huge area centred on the middle reaches of the Yangtze river, with the Himalaya to the west, the Qinling mountain range to the east and the mountainous parts of Yunnan province to the south.
Chengdu is the capital city of Sichuan province and a rapidly developing economic hub, although still with some traditional bustling backstreets. The major attraction is its Giant Panda Research Station, where you can observe these beautiful creatures up close. In complete contrast to this thriving metropolis, the Aba prefecture in northern Sichuan is home to three areas of outstanding natural beauty, which are all listed as Unesco world heritage sites: Jiuzhaigou Nature Reserve, Huanglongsi National Park and Siguniangshan National Park.
In central China's Hunan province there are also a number of national parks contained within Wulingyuan Scenic Area, consisting of subtropical forests, majestic peaks, waterfalls, limestone caves and rivers. Zhangjiajie National Forest Park is particularly worth visiting: its distinctive limestone karst pillars have inspired Chinese artists for centuries and Tianmen, the highest mountain in the area, is found here. Take the long cable car ride to Heaven's Gate at the top, a naturally eroded hole in the mountain.
The South-Eastern Provinces
The focal point of south-eastern China is the giant municipality of Shanghai in the Jiangsu province. One of the most dynamic cities in the world with awe-inspiring architecture and a thirst for all things modern, it nevertheless remains an important port and centuries-old trading centre. Discover a fascinating history that can still be seen in the gardens, monasteries and street markets. Near to Shanghai is the peaceful historic town of Hangzhou. From Shanghai and Hangzhou you can easily reach the water towns of Zhouzhuang, Tongli, Wuzhen, Xitang and Luzhi. These picturesque towns on the Yangtze river are criss-crossed with canals and stone bridges.
Inland in Anhui province are some of China's best-preserved colonial villages and traditional Chinese architecture. Huang Shan, or Yellow Mountain, is one of the most beautiful areas, with its breathtaking mountain views and surrounding countryside of traditional villages and paddies. The picturesque villages of Hongcun and Xidi are close to Huang Shan (Yellow Mountain), as are the ancient settlements of Wuyuan County in the Jiangxi province.
Imperial Heartlands
The imperial heartlands are considered the cradle of Chinese civilisation, and encompass the fertile basin of Huang He, or the 'Yellow river', China's second longest river after the Yangtze. The region abounds in temples, monasteries and historic buildings.
Visit Xian, in the Shaanxi province, for a more traditional view of China. Home to the awe-inspiring Terracotta Warriors, it has impressive city walls, a number of outstanding temples and a fascinating mix of Buddhist and Islamic influences.
Travel north-east to the Shanxi province to visit the Unesco world heritage site of Pingyao, one of the best-preserved historic settlements in China, surrounded by a completely intact Ming dynasty city wall. Other sites to see in this province include the Buddhist temples carved out of a rock face at Yungang caves, and remnants of the Great Wall, one of the greatest man-made wonders of the world, at Desheng Bao.
The Great Wall can also be visited on a day trip from Beijing. Beijing is modernising at a tremendous pace, but still retains a historic atmosphere, both in the Forbidden City and within its hutong (narrow streets), offering a glimpse into a more traditional way of life.
The Southern Provinces
China has an astonishingly varied scenery, and within Yunnan province itself this ranges from alpine mountain ranges to tropical rainforests. This is considered by many to be the most beautiful part of China, its wonderful light being synonymous with Chinese art. Yunnan Stone Forest near Kunming is one of the natural wonders of the world, along with the dramatic cliffs and waterfalls of Tiger Leaping Gorge. Apart from marvelling at the natural beauty, visit the town of Lijiang, an old town of cobbled streets, wooden buildings, canals and lively markets, offering an excellent insight into traditional Chinese life.
In the Guangxi province, a cruise along the Li river in Guilin offers a great chance to appreciate this region's bizarre yet beautiful scenery of thrusting limestone peaks. The rice terraces of Longji, a few hours from Guilin, also provide for a breathtaking excursion.
If you're looking for something a bit more urban and buzzing, make a stop in Hong Kong. Beneath the neon lights, this dynamic city has something for everyone, from fantastic shopping to a romantic harbour, flower and bird markets, tasty food stalls, scenic walks and fascinating museums.
Described as 'the roof of the world', Tibet is the highest region on Earth with an average altitude of 4,900 metres. Spectacular snow-capped mountains, rivers, lakes and open grassland dominate the landscape of the Tibetan plateau. It is an area brimming with culture and spirituality, with unique ethnic traditions influenced by Buddhism.
Visit Lhasa, the world's highest city, and the enormous Potala Palace, once the main residence of the Dalai Lama and today a museum and Unesco world heritage site. Venture into the Himalaya and discover temples and monasteries, and, if you're feeling adventurous, you can travel as far as the border with Nepal, reaching the north base camp of Everest.
Tags: China, Far East, Hong Kong, Macau
China, Hong Kong & Macau travel guide… China, Hong Kong & Macau travel
Top 10… rooms with a view… Discover a collection of hotels around
Wondrous facts…about the New Seven Wonders… Cox & Kings' Eleanor Lawrence digs
Hunan province… China's hidden utopia… Cox & Kings' Amy Johnson discovers

redpajama_set_name: RedPajamaCommonCrawl


December 10th, 2018 marks the 50th anniversary of the death of Thomas Merton. Questions linger.
Was it a heart attack, accident, or murder?
Investigative Reporter, Hugh Turley, makes the case that the conclusion that Thomas Merton died by accident cannot possibly be true. Hugh Turley and David Martin are co-authors of the 2018 book, The Martyrdom of Thomas Merton, An Investigation.
John Shuck speaks live with Hugh Turley on Beloved Community about the death of Thomas Merton, who was an anti-war author and spiritual leader. He died mysteriously on December 10th, 1968 in Thailand.
"Merton was in apparent good health and at the height of his productive powers when he died suddenly and mysteriously while attending a monastic conference, on December 10th, 1968, near Bangkok, Thailand. He was 53 years old. Up to now, no one has examined the circumstances of his death systematically, critically, and what is most important honestly. That is our purpose here." p. 2.
Hugh Turley, as a volunteer columnist for the Hyattsville Life and Times was winner of the National Newspaper Association award for best serious column, small circulation, non-daily division.
Book's website – The Martyrdom of Thomas Merton.
KBOO [Friday July 13th 9 am] Catch The Beloved Community every second Friday from 9-10 am PACIFIC on 90.7 fm in Portland, 104.3 fm in Corvallis, 91.9 fm in Hood River and world-wide via livestream.


text:
Mathematical Models for Planning and Controlling Air Quality
Proceedings of an October 1979 IIASA Workshop
Editors: Giorgio Fronza Piero Melli
Imprint: Pergamon
Mathematical Models for Planning and Controlling Air Quality documents the proceedings of an IIASA Workshop on Mathematical Models for Planning and Controlling Air Quality, October 1979. The Workshop had two goals. The first was to contribute to bridging the gap between air-quality modeling and management. The second was to consider an unusual air-quality control strategy: namely, real-time emission control. The book is organized into two parts, corresponding roughly to the two goals outlined above. Part One examines the role of mathematical models in air-quality planning and includes: a presentation of a decision maker's viewpoint; illustrations of various types of models (descriptive and/or decision models) available to decision makers; assessments of the role of models in actual decision making; and two papers on the more traditional question of the significance and range of application of descriptive models, i.e., of models that represent the physics of the air-pollution phenomenon. Part Two is devoted primarily to real-time control. It includes a presentation of the IIASA case study of the Venetian lagoon; and papers on various aspects of this research; on alternative concentration predictors; and descriptions of implementations of real-time forecast and control schemes in Japan and Italy.
Part One: Models for Air-quality Planning
Air-quality Management: Regulatory Procedures in the FRG
The Impact of Models on Decision Making: An Assessment of the Role of Models in Air-quality Planning
Cases in the Applications of Air-quality Models in Policy Making
Regional Air-quality Policy Analysis
Using Mathematical Programming Models for Cost-Effective Management of Air-quality
A Comprehensive Approach to Air-quality Planning: Abatement, Monitoring Networks, and Real-time Interpolation
Source Allocation and Design via Simulation Models
Air-pollution Modeling Operations and their Limits
Air-quality Models, Particularly for the Mesoscale
Generalizing the Concept and Factors of Air-quality Management
Part Two: Models for Real-time Prediction and Control of Air Pollution
Short-term Forecasting of Local Winds by Black-box Models
AK Model for Simulating the Dispersion of Sulfur Dioxide in an Airshed
Kalman Prediction of Sulfur Dioxide Episodes
The Cost of a Real-time Control Scheme for Sulfur Dioxide Emissions
ARMAX Stochastic Models of Air Pollution: Three Case Studies
ARIMA and GMDH Forecasts of Air Quality
Real-time Control of Emissions in Japanese Cities
Real-time Control of Air Pollution: The Case of Milan
© Pergamon 1982
Giorgio Fronza
Piero Melli


SEATTLE (AP) — A new lawsuit is challenging Seattle's first-in-the-nation voucher system for publicly financing political campaigns.
The libertarian-leaning law firm Pacific Legal Foundation is suing the city over its new "democracy voucher" program, which was passed by voters in 2015 and is being used for the first time in this year's City Council races.
Under the program, Seattle's voters decided to tax themselves $3 million a year in exchange for four $25 vouchers that they can sign over to candidates. Supporters say it's a novel way to counter the effect of big money in politics and to help lesser-known candidates communicate their views.
But the lawsuit filed in King County Superior Court Wednesday says it forces people to pay taxes to support candidates they don't necessarily agree with — in violation of their free-speech rights.


text:
Technopaedia —
Casey Johnston - May 17, 2008 9:48 pm UTC
Pretty Good Privacy (PGP) is an encryption standard developed by Phil Zimmerman in 1991. PGP began as a symmetric encryption system that used the same cryptographic key to both encrypt and decrypt information. Eventually the program became an implementation of public key cryptography, which uses separate keys to encode and decode data.
In PGP systems, users each have a set of two keys. One is public any may be shared with anyone that wants to send data to the user, and the other is private and is used only to decrypt sent data. PGP programs can store multiple private keys, as well as the public keys of friends, in files called "keyrings."
PGP programs also must allow users to digitally attach their "signature" to an encrypted file, which is the functional equivalent of a return address—it allows targeted recipients to know who the message is coming from, absent an identifying email address or other information. Most often, public key cryptography in PGP uses RSA encryption algorithms with keys of 1024 bits. While these are vulnerable to side-channel attacks, once encoded, even multiple powerful computers running in parallel would take thousands of years to interpret the encrypted data.
Since its creation, PGP has simultaneously traveled both commercial and open paths: Zimmerman started PGP Inc., a company that was sold to Symantec in 2010, while a standard named OpenPGP remains free and allows developers to make their own PGP systems. OpenPGP is slated to become an internet standard, as curated by the Internet Engineering Task Force.
The Free Software Foundation maintains a free, OpenPGP client named Gnu Privacy Guard (GnuPG) that is available in both graphical and command line implementations.


text:
Google Puts Its Virtual Brain Technology to Work
A powerful new approach to artificial intelligence is ready to improve many Google products.
by Tom Simonite
This summer Google set a new landmark in the field of artificial intelligence with software that learned how to recognize cats, people, and other things simply by watching YouTube videos (see "Self-Taught Software"). That technology, modeled on how brain cells operate, is now being put to work making Google's products smarter, with speech recognition being the first service to benefit.
Platonic ideal: This composite image represents the ideal stimulus that Google's neural network recognizes as a cat face.
Google's learning software is based on simulating groups of connected brain cells that communicate and influence one another. When such a neural network, as it's called, is exposed to data, the relationships between different neurons can change. That causes the network to develop the ability to react in certain ways to incoming data of a particular kind—and the network is said to have learned something.
Neural networks have been used for decades in areas where machine learning is applied, such as chess-playing software or face detection. Google's engineers have found ways to put more computing power behind the approach than was previously possible, creating neural networks that can learn without human assistance and are robust enough to be used commercially, not just as research demonstrations.
The company's neural networks decide for themselves which features of data to pay attention to, and which patterns matter, rather than having humans decide that, say, colors and particular shapes are of interest to software trying to identify objects.
Google is now using these neural networks to recognize speech more accurately, a technology increasingly important to Google's smartphone operating system, Android, as well as the search app it makes available for Apple devices (see "Google's Answer to Siri Thinks Ahead"). "We got between 20 and 25 percent improvement in terms of words that are wrong," says Vincent Vanhoucke, a leader of Google's speech-recognition efforts. "That means that many more people will have a perfect experience without errors." The neural net is so far only working on U.S. English, and Vanhoucke says similar improvements should be possible when it is introduced for other dialects and languages.
Other Google products will likely improve over time with help from the new learning software. The company's image search tools, for example, could become better able to understand what's in a photo without relying on surrounding text. And Google's self-driving cars (see "Look, No Hands") and mobile computer built into a pair of glasses (see "You Will Want Google's Goggles") could benefit from software better able to make sense of more real-world data.
The new technology grabbed headlines back in June of this year, when Google engineers published results of an experiment that threw 10 million images grabbed from YouTube videos at their simulated brain cells, running 16,000 processors across a thousand computers for 10 days without pause.
Average features: This composite image represents the ideal stimulus for Google's software to detect a human face in a photo.
"Most people keep their model in a single machine, but we wanted to experiment with very large neural networks," says Jeff Dean, an engineer helping lead the research at Google. "If you scale up both the size of the model and the amount of data you train it with, you can learn finer distinctions or more complex features."
The neural networks that come out of that process are more flexible. "These models can typically take a lot more context," says Dean, giving an example from the world of speech recognition. If, for example, Google's system thought it heard someone say "I'm going to eat a lychee," but the last word was slightly muffled, it could confirm its hunch based on past experience of phrases because "lychee" is a fruit and is used in the same context as "apple" or "orange."
Dean says his team is also testing models that understand both images and text together. "You give it 'porpoise' and it gives you pictures of porpoises," he says. "If you give it a picture of a porpoise, it gives you 'porpoise' as a word."
A next step could be to have the same model learn the sounds of words as well. Being able to relate different forms of data like that could lead to speech recognition that gathers extra clues from video, for example, and it could boost the capabilities of Google's self-driving cars by helping them understand their surroundings by combining the many streams of data they collect, from laser scans of nearby obstacles to information from the car's engine.
Google's work on making neural networks brings us a small step closer to one of the ultimate goals of AI—creating software that can match animal or perhaps even human intelligence, says Yoshua Bengio, a professor at the University of Montreal who works on similar machine-learning techniques. "This is the route toward making more general artificial intelligence—there's no way you will get an intelligent machine if it can't take in a large volume of knowledge about the world," he says.
In fact, the workings of Google's neural networks operate in similar ways to what neuroscientists know about the visual cortex in mammals, the part of the brain that processes visual information, says Bengio. "It turns out that the feature learning networks being used [by Google] are similar to the methods used by the brain that are able to discover objects that exist."
However, he is quick to add that even Google's neural networks are much smaller than the brain, and that they can't perform many things necessary to intelligence, such as reasoning with information collected from the outside world.
Dean is also careful not to imply that the limited intelligences he's building are close to matching any biological brain. But he can't resist pointing out that if you pick the right contest, Google's neural networks have humans beat.
"We are seeing better than human-level performance in some visual tasks," he says, giving the example of labeling, where house numbers appear in photos taken by Google's Street View car, a job that used to be farmed out to many humans.
"They're starting to use neural nets to decide whether a patch [in an image] is a house number or not," says Dean, and they turn out to perform better than humans. It's a small victory—but one that highlights how far artificial neural nets are behind the ones in your head. "It's probably that it's not very exciting, and a computer never gets tired," says Dean. It takes real intelligence to get bored.
TaggedGoogle, Artificial Intelligence, Neural Networks


One of the most talked about entry-level Asus handset today is the ZenFone Live. The first ever entry-level smartphone with live beautification feature.
For almost two weeks, we are using the handset as our secondary phone, for live streaming purposes, and to conduct this review. Now, here's everything we discovered about the new Asus ZenFone Live. Is it worth the hype? Check this out!
Asus equipped the ZenFone Live with a pretty decent 5 inch screen with HD resolution. At 294 ppi, the sharpness is there and colors are average in quality. It's more on the cooler side, but if you are not used to that setting, colors can be calibrated on the display settings part. Viewing angles are acceptable as well. Interestingly, it has 10 points of touch, a feature not that common for the price.
Equipped with a 2,650 mAh of battery on just a 5 inch HD screen. The battery performance of this handset is great. It lasted for almost 9 hours in our PC Mark battery test. That's better than most of the Snapdragon 410 powered handset we tested in the past.
Battery life can lasts for an entire day on a single charge!
In real life performance, we recorded a screen on time of 7 hours and 20 mins. Still not bad considering that we are heavy users.
The speaker quality of the ZenFone Live is average. Loudness is good enough to fill a small room with decent sound. Quality is pretty clear as well. Just don't expect it to be super refined.
For headphones and earphones, output is better than expected. Bass punch is strong, but it won't muddy the mids and the rest of the audio spectrum that much. We just noticed that it needs some tweaking to sound even better.
Microphone quality is better than average, it has two mics in total, one on top and one below. As a result, it can record very good audio, great for both calls and recordings with less noise.
As usual, one of the highlights of a ZenFone device is their cameras. At the back, it's loaded with a 13 MP main camera with pretty bright f/2.0 aperture.
It has most of the modes found on PixelMaster ready Asus devices. In particular, we love the HDR Pro. It still has the usual lowlight mode, night mode, and super resolution. What's missing is the full manual control mode for pro mobile photography.
Quality-wise, daylight performance is a just okay. Focus speed and focus speed is decent with less than a second speed. Sharpness isn't the crispiest and shots could be grainy at times, but colors are fine.
There are even shots where you'll get great saturation and contrast. However, lowlight performance isn't great even with a supposedly bright f/2.0 aperture. Use the HDR Pro or flash most of the time.
In front, Asus highlights a 5 MP f/2.2 lens for selfies. Asus even coupled it with a nice type of LED flash for taking selfies even in the dark. It even has modes like lowlight night, beautify, and HDR Pro well. It also has the usual Asus different beautify levels. Just don't use anything above level 3 or it'll look so unnatural.
Quality-wise, it won't be that sharp again and colors is either yellowish or reddish even with good lighting condition. Also, use the flash as much as possible in the dark.
For videos, this handset has the ability to record in FHD (1080p) behind and HD (720p) in front. Quality is identical to what you'll see in photos except that focus won't be that fast behind. In front, we find it a little brighter than what you'll see in photos. Both will be shaky due to lack of OIS for stabilization.
Going to the highlight of this phone, the Asus ZenFone Live is truly designed to broadcast live videos on Facebook, Instagram, and YouTube beautifully. Using the app, it has the ability to beautify your videos before going live. You can even adjust how beautify you want yourself to be.
Inside, the Asus ZenFone Live is equipped with a Snapdragon 400 series chip paired with 2 GB of RAM. It also has 16 GB of expandable storage for your files and apps. For casual use and social media apps, the handset would be usable.
We expected a better chipset for the price!
However, the processor Asus used on ZenFone Live is already dated. Yes, it would be enough for its beautify live purpose, but you'll feel the lag and sluggishness when opening too many social media apps all at the same time. Even some of the native apps and camera app would have occasional stutters.
For the software, the phone boots with Android 6.0 Marshmallow OS with the newer ZenUI 3.5 skin on top. Icons looks clean, rich in features and gestures, and user friendly enough. However, the usual unwanted Asus bloats are still there.
For telephony and connection quality, the performance is average. We liked that OTG works, LTE is table, and GSM signal is fine.
For its main purpose of making you look GREAT on your LIVE videos, the Asus ZenFone Live is the budget smartphone to get. It'll also be a decent social media companion due to its long battery life.
Other than that, consider other affordable Asus smartphones. Just add a little and you'll get the likes of ZenFone 2 5.5 S and the ZenFone 3 Max ZC520TL. If you can even push your limit to PHP 10K, then the ZenFone 3 Max ZC553KL is one of the very best all around phone for the price.
Why? All of those other Asus smartphones are simply more capable and value packed compared with ZenFone Live.


It was a normal day for Skye when her life changed forever. She was involved in a devastating road accident and was lucky to survive. That day she lost her memory and with it everything in her life.
Leonard Cheshire Disability worked closely with Skye and helped her to build her confidence and skills and got her back to work.
We filmed Skye at home and edited this short fundraising film telling her story.


text:
Breaking the Waves
Opera Orchestra Chamber Ensemble Chamber Ensemble with Voice Solo Vocal Film Scores Victoire
MISSY MAZZOLI
COMPOSER AND PERFORMER
- HOW DIY OPERA COMPOSERS REINVENTED A GENRE: feature article on Missy Mazzoli and David T. Little (read the full article)
Critical acclaim for Missy's third opera, Proving Up:
-"The music of Missy Mazzoli is a treat in and of itself and that is especially the case in collaboration with Royce Vavrek. It's a rarity to see a tale set in Middle America and a welcome and much-needed addition to contemporary opera. To experience "Proving Up" is to see an American story nearly never told: one of the failure of its promise." - OperaWire
-"Brilliant" - Musical America
-"Ms. Mazzoli's expert score" is "ominously insinuating and brutal by turns." - Heidi Waleson, Wall Street Journal
(read the full article)
- "There is no better way to illustrate how hard it is to achieve the American Dream than to detail the struggle of homesteaders who desperately want to attain a farm deed on the unforgiving Plains. This production achieved that with excellence." – Omaha World Herald, review of Proving Up, April 2018
- Proving Up is "harrowing...powerful...a true opera of our time." – Washington Post (read the full article)
- Missy Mazzoli is "Brooklyn's post-millennial Mozart." – Time Out New York. (read the full article)
- "Missy Mazzoli's Harp and Altar [for the Kronos Quartet] offers further evidence that she is among the more consistently inventive and surprising composers now working in New York." – The New York Times (read the full review)
-"Little of [Missy Mazzoli's] music has been heard on this side of the Atlantic, but the European premiere of Sinfonia (for Orbiting Spheres) may well change that. Inspired by the shape of the solar system, it unfolds in slow-burning loops – with imaginative use of keyboards and percussion." - The Independent (London) reviewing the European premiere of Sinfonia for Orbiting Spheres performed by the BBC Symphony on the 2017 BBC Proms at Royal Albert Hall
-"Missy Mazzoli's "Breaking the Waves" is savage, heartbreaking and thoroughly original"– Heidi Waleson from the Wall Street Journal
-Breaking the Waves stands among the best 21st-century American operas yet.– David Shengold, Opera News" (read the full article)
-It is not easy to find new operas that command attention, tell their story lucidly and create a powerful, permeating mood. Dark and daring, "Breaking the Waves" does all this with sensitivity and style." – Zarchary Woolfe, The New York Times: (read the full article)
-a powerful, fully realized, artistically significant piece...if you believe the only depressing art is bad art, Breaking the Waves is exhilarating– David Patrick Stearns, Philadelphia Inquirer
-The most startling and moving new American opera in memory – Albert Innauato, Parteere Box
-Missy talks about Breaking the Waves on NPR
-May, 2016: "a striking musical/visual rendering" of Isabelle Eberhardt's life – Elaine Schmidt in a review of "Song From the Uproar", Milwaukee Journal Sentinel
-April, 2016: "But the most unforgettable glimpse of beauty here comes from composer Missy Mazzoli, whose "Orizzonte" is a still-voiced meditation on eternity, with a subdued yet haunting layer of electronic sounds overlaying the piano writing." - Joshua Kosman, San Francisco Chronicle
-October, 2015: "[Mazzoli's] wonderful score is seductive, meditative, spiritually elusive and subversive. With it, we can welcome a new natural for the art form. And now all eyes and ears are on Mazzoli's next, larger and more traditional opera slated first for Philadelphia Opera and based on Lars von Trier's film "Breaking the Waves." – Mark Swed, LA Times
-October, 2015: Missy Mazzoli "has been pushing through the cracks of contemporary classical music with an ear toward less stodgy sounds...quietly revitalizing the form from the outside in." – 5 Everyday, Los Angeles, CA
-October, 2015: Missy featured in Opera News as a "rising star." – Opera News
-April, 2015: "Of all Monk's friends and "friends," composer Missy Mazzoli came closest to internalizing her spirit when she arranged a medley of two wildly different works composed 35 years apart. In the original "What Does It Mean?" from the 1970 album Key, Monk bangs out obsessively basic keyboard patterns and vocalizes, alternating between chipmunk squeals and guttural rasps. The luminous neo-medieval "Passage," from the 2006 work Impermanence, is as glossy and seamless as the earlier piece is muscular and rough, but they share a lot of DNA. They both strip music down to an agile descant over a ground bass, intimate meanings encrypted in stray syllables, and conjure up a vivid physical space—a vaulted crypt, say, that coats the voice in reverberant shellac. Mazzoli found the common spirit in those two disparate pieces, translating a kaleidoscope of vocal hues into an instrumental watercolor. Monk has said that she realized in the mid-1960s that the voice could be an instrument, containing sonic multitudes. It took her another few decades to treat instruments like voices. Mazzoli, who handles both with flair and sensitivity, found a way to express Monk's discoveries of these long-standing truths." – Justin David, New York Magazine
-March, 2015: "The composer and keyboardist Missy Mazzoli has a thing for unlikely connections and startling gestures, and one of her gifts is the ability to tease out the hidden logic behind her choices. Her ravishing, unsettling album "Vespers for a New Dark Age" unfolds as a meditation on technology and spirituality, alienation and self-interest." – Nate Chinen, The New York Times
-March, 2015: "Music that once sounded like the lonely movement of your own thoughts now calls out to you in a voice of its own. The singers are bell-clear and troubled, like Julia Holter if she suffered insomnia." – Jayson Greene, Pitchfork.com
-March, 2015: "Mazzoli's ensemble Victoire, cleverly orchestrated, provides settings both cinematic and intimate at once, while Wilco drummer Glenn Kotche adds evocative scrims of percussion and some thunderous pounding." – Thomas Huizenga on NPR's First Listen
-March, 2015: "Casts a powerful spell…Mazzoli has fashioned an engrossing classical-electronic-vocal epic that sounds like the product of a much larger ensemble than the chamber-sized one it actually is." – Textura review of "Vespers for a New Dark Age"
-February, 2015: "Missy Mazzoli, has become nearly ubiquitous over the last decade. Her performances with Victoire – an ensemble that, depending on your point of view, is an art-rock band, a live electronic music group, or both – have been consistently enlivening. Her first opera, Song from the Uproar (The Lives and Deaths of Isabelle Eberhardt) (2010- 12), is a quirky, inviting high-tech score, in which graceful vocal lines are offset by sharp-edged neo-Classicism, post-Minimalist rippling, a touch of rock instrumental textures, and a video component by Stephen Taylor." – Allan Kozinn, MusicalAmerica.com
-January, 2015: "Missy Mazzoli's alluring "Isabelle Eberhardt Dreams of Pianos"… meshes evocative wisps of Schubert into a turbulent, digitally enhanced soundscape." – Vivien Schweitzer, New York Times, review of Shai Wosner's CD, featuring Schubert and Mazzoli
-December, 2014: "Curiously addictive…using simple musical materials – a plaintive melody over gently rocking, repeated notes and occasional chordal exclamations in the bass register – Ms. Mazzoli conjures nostalgic longing in her own 21st century-voice." – Barbara Jepson, Wall Street Journal, review of Shai Wosner's new CD featuring Isabelle Eberhardt Dreams of Pianos
-August 2014: "'Still Life With Avalanche' has been seen before here, but the two-section dance now sports a new coda by ODC Artistic Director Brenda Way. The participants are two men (Dennis Adams, Justin Andrews) and one woman (Anne Zivolich), all drawn to and frozen by bars of light on the floor. The men favor unisons; Zivolich squiggles all over the place; and in Way's sensible addition, they finally interact. The addition of a thrilling Missy Mazzoli score keeps it all percolating." – Allan Ulrich, The San Francisco Chronicle, review of dance piece choreographed by Kate Weare to Still Life With Avalanche
- May 2014: "Mr. Ax also gave the New York premiere of another work commissioned for his Brahms project: "Bolts of Rolling Thunder," by the young American composer Missy Mazzoli. The piece is a five-minute, organic, roiling mass of sound, with thumping bass lines, oscillating figures in the piano's midrange, and a right-hand element that keeps leaping from plunky low tones to celestial high ones." – Anthony Tommasini, The New York Times, review of Emanuel Ax at Carnegie Hall
- April 2014: "Mazzoli's is music not so much of, as out of, the spheres. Strings and winds swirl and swoon, sliding magically around pitches. There is no pulse, no thousand points of starlight, rather the motion of waves. She manages to squeeze in the hurdy gurdy without ever losing the sensation of gorgeous celestial bodies in the ether. The Sinfonia lasted 14 minutes and came near the end of a long concert that went to midnight. But this is music for a long night that never ends." – Mark Swed, Los Angeles Times, review of world premiere of Sinfonia for Orbiting Spheres with the LA Philharmonic New Music Group
- March 2014: "In Breaking the Waves, based on the von Trier film, Mazzoli's voice is like a 21st-century refraction of the Smetana/Janacek nexus, conveying the under-the-surface repression in the small-town community." – David Patrick Stearns, The Philadelphia Inquirer. - Ears wide open here in the new Brooklyn
- February 2014: "Mazzoli's compositions have been nothing but excellent, powerful and thought-provoking, and Saturday night's premiere of "Vespers for a New Dark Age" continued the stream of works by Mazzoli that leave you in awe." – Stephanie Orentas, Baeble Music. (review of Victoire and Glenn Kotche's Ecstatic Music Festival concert at Carnegie Hall)
- February 2014: Pitchfork premiere of Victoire's A Thousand Tongues: "the most striking and uncanny music Victoire have ever made." – Jayson Greene
- January 2014: "Engrossing…'Bolts of Loving Thunder,' an eight-minute piano showpiece by Missy Mazzoli, is a particularly fond and inventive homage to Brahms' distinctive keyboard style." – Joshua Kosman, San Francisco Chronicle (review of Emanuel Ax's "Brahms and Beyond" concert)
- October 2013: Cincinnati's CityBeat – "Mazzoli's music defies boundaries."
- June 2013: "Mazzoli has been widely recognized for an omnidirectional aesthetic that marries her highly refined classical music roots with vernacular influences and a kind of indie-rock identity and attitude… a pulsating post-minimalist rhythmic ground and gleaming, metallic orchestral colors, including savvy use of vibes and piano, captured the energy and motion of machinery. Mazzoli layered into the mix darting melodic gestures, brass chorales and percussive snaps of pizzicato strings and drums." – Mark Stryker, Detroit Free Press (read full review)
- May 2013: Detroit News – Detroit plays the muse for New York composer's 'Rouge River Transfiguration'
- May 2013: Song from the Uproar reviewed in Gramophone magazine!
- May 2013: "Ms. Mazzoli deftly uses repetition to build up the listener's expectation and sly wit to dash it, though she also serves up measured portions of real beauty." – Corinna da Fonseca-Wollheim, The New York Times review of Kronos Quartet at Carnegie Hall
- April 2013: "Missy Mazzoli's Heartbreaker (played by Sara Daneshpour) was the shortest and edgiest, and the most satisfying musical experience…" – Laurence Vittes, Huffington Post blog review of American Pianist Association's 2013 competition
- April 2013: Swiss NPR – Missy Mazzoli's Song from the Uproar
- February 2013: Cleveland's The Plain Dealer – Missy Mazzoli's Victoire performs at Cleveland Museum of Art
- January 2013: PopMatters – 20 Questions for Missy Mazzoli
- December 2012: Song from the Uproar included in The New Yorker's Memorable Performances of 2012, by Alex Ross
- December 2012: "After years of growing up in public, Missy Mazzoli's dreamlike opera lived up to great expectations and made a star of Abigail Fischer." – Song from the Uproar named #3 on Time Out New York's Best Events of 2012, by Steve Smith
- December 2012: "Mazzoli is a star of the indie classical world, walking the uneasy ground between the avant garde and rock with a style that's ethereal and hypnotic yet often wary and brooding." – New York Music Daily (read the full review)
- December 2012: "The whole is enveloped in the pulsing bursts and cantilevering melodic lines that make Mazzoli one of the most distinctive and immediately recognizable stylists among the 'rising New York composers.'" – Song from the Uproar included in A Fool in the Forest's 48 Favorite Albums of 2012
- December 2012: "Mektoub (It is Written)," from Song from the Uproar included on Brooklyn Based's Listening Back on 2012
- December 2012: "You Are The Dust" from Song from the Uproar included in I Care If You Listen's Winter Mixtape
- December 2012: Song from the Uproar original cast recording included in Rhapsody's Top 20 Classical Albums of 2012
- December 2012: Song from the Uproar original cast recording included in WQXR's Operavore Holiday Gift Guide
- December 2012: "Mazzoli possesses a startlingly original imagination plus superb command of vocal-and-instrumental interplay. Song from the Uproar is the latest in what's, frankly, been a rather staggering run for the New Amsterdam label." – Textura (read the full review), also included in Textura's Top 20 Albums of 2012
- November 2012: "Not so much opera as distillation, Mazzoli's version of Eberhardt's short, memorable life is a marvel of compact complexity itself." – eMusic, Richard Gehr (read the full review)
- November 2012: "Solid gold…flowing from one number to the next, the music tells its own story, building to a series of emotional climaxes with the narrative assurance of a bonafide opera composer." – Review of the original cast recording of Song from the Uproar, WQXR, Daniel Stephen Johnson
- November 2012: Missy Mazzoli's Violent, Violent Sea "is a beautiful, moving and memorable 10-minute score." – LA Times (read the full review)
- October 2012: New York Times review and the New York Post review of SALT, performed on the 2012 BAM Next Wave Festival
- July 2012: The New York Times calls Victoire's recent show at the River to River Festival "invitingly quirky", "evocative and alluring". (read the full review)
- May 2012: Review of Missy Mazzoli's new orchestral work, Holy Roller: "Missy Mazzoli's Holy Roller, which received its premiere, was "devotional music for a non-existent religion." Though her worshipers were imaginary, Mazzoli built them a grand and solid cathedral. The score was a glittering mosaic with arched and winding passageways." – ArtsTalk Blog, Albany NY
- March 2012: feature article in the Philadelphia Inquirer Sunday Arts Section:
Missy Mazzoli: From Lansdale to Music's Cutting Edge
"…what she does is so entrancing, you can't imagine any alert denizen of the 21st century not being drawn in."
- March 2012: Missy Mazzoli's Song from the Uproar is "a masterpiece of modern opera" – icareifyoulisten.com
- March 2012: Song from the Uproar is "powerful and new". – Wall Street Journal (read the full review)
- March 2012: "in the electric surge of Ms. Mazzoli's score [for Song from the Uproar] you felt the joy, risk and limitless potential of free spirits unbound" – New York Times (read the full review)
- March 2012: "Five stars" – Time Out New York review of Song from the Uproar (read the full review)
- February 2012: Missy Mazzoli's opera Song from the Uproar is critic's pick in New York Magazine.
- January 2012: Missy and Victoire featured on Bed-Stuy Public Access TV!
- June 22, 2011: Missy Mazzoli's Violent, Violent Sea is "beautifully constructed…alluring" – The New York Times READ THE FULL REVIEW
- May 2011: Feature Article in Washington Post: "Missy Mazzoli has a different take on classical music, and people are listening."
- The New York Times review of Missy's May 2010 concert at Roulette (NYC)
- "Missy Mazzoli's ensemble Victoire condenses moments of focused beauty and quiet conviction from the pandemic distractions of modern life. 7.8″ – Pitchfork (READ THE FULL REVIEW)
- Victoire's Cathedral City named "one of the top 10 classical albums of 2010" – NPR
- Victoire's Cathedral City is "one of 2010′s most memorable albums." – Alex Ross, The New Yorker
- Victoire's Cathedral City is "one of the top 10 classical albums of 2010″ – Time Out New York
- "Every once and awhile an artist/ensemble creates a sound so vast and original that all you can say about it is that it "defies categorization," that fail-safe phrase that more or less means open you ears, open your heart and let the music in. Victoire's new album Cathedral City deserves such a phrase." – New York Examiner
- "Ms. Mazzoli is going places fast. Bank on it."– The New York Times. (read the full article)
- Missy on the NPR Blog, writing about dinner dates with dead composers
-"One of the most sought-after young composers in the country" – South Carolina Free Times (read the full article)
- June 2009: "Missy Mazzoli's "I Am Coming for My Things" and "Like a Miracle," performed by her ensemble, Victoire [at the 2009 Bang-on-a-Can Music Marathon], danced between modernist pointillism and (in the arching clarinet and violin lines) rich hued Romanticism." – The New York Times
- June 2009: "[Song from the Uproar is] a haunting multi-media concert piece…live performance and video fused with unusual potency." – The New York Times
- October 2007: "Missy Mazzoli, of Brooklyn, introduced her "These Worlds Within Us," which turned out to be powerful and full of drama." Jim Kershner, Spokane Spokesman, review of a concert by the Spokane Symphony
- June 2007: "[Magic with Everyday Objects] one of the great surprises of the 2007 Bang-on-a-Can Marathon." John Schaefer, New Sounds Live
- June 2007: "NOW Ensemble offered highly attractive, unabashedly rock-influenced works by Mark Dancigers, Missy Mazzoli and Judd Greenstein." Steve Smith, The New York Times
- January 2007: "Mazzoli has a gift for both nervous, complicated rhythm and yearning, sustained melody, especially for strings. Sonic invention ranges from electronic ringing to piano arpeggios that could have been cadged from Rachmaninoff. In all cases, clear dramatic arcs pulled together wide-ranging sounds and musical elements. Mazzoli builds and releases tension in ways Aristotle would have recognized." – Tom Strini, Milwaukee Journal Sentinel
- December 2006: "The interviewer, when asked his preference, singled out Missy Mazzoli's These Worlds In Us, and conductor Osmo Vanska muttered assent. The Mazzoli piece also seemed to be a favorite of the audience, to judge from the applause of all 900 listeners who turned out." – James R. Oestreich, The New York Times, review of a concert by the Minnesota Orchestra
Living Music with Nadia Sirota
BUTI Young Artists Orchestra performs River Rouge Transfiguration at Seiji Ozawa Hall in Lenox, MA
Proving Up at Aspen Music Festival
Bridgehampton Chamber Music Festival performs Death Valley Junction in Water Mill, NY
West Edge Opera performs Breaking the Waves in Oakland, CA
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Yellow 14 Butter Cupcakes (page 295) – delivered!
"what does a cake journalist do when told food is not allowed in the theater? he writes! 3 packaged cupcakes on a flower basket. i said it isn't food, and the crazy woman believed it!" for ROSE'S heavenly CAKES: Yellow Butter Cupcakes (page 295) with orange oil burnt orange silk meringue buttercream, at Ballet Hawaii.
J, you got the point!


Retailers, restaurants, hoteliers, and small businesses are having problems discovering breaches on their POS systems. Delayed detection of a breach gives attackers more time to exfiltrate customer financial data while simultaneously damaging reputations and diminishing a brand's image. Undetectable malware are constantly bypassing security without being detected. POS systems are often under attack by cyber criminals for months, and even years, without being noticed. The majority of attacks on POS systems are only being identified once excessive suspicious financial activity and fraudulent charges are reported.
A data breach is never good news, but the cost of a data breach is proven to increase the longer a data breach goes undetected. Usually notifications of POS data breaches are made by credit card companies and banks making the correlation of multiple fraudulent charges stemming from similar transactions. Due to the size of POS systems and outdated legacy operating systems, such as Windows XP, most are not able to utilize all security solutions.
The enSilo Endpoint Security Platform is able to detect modern malware, including fileless malware and zero day exploits, before and after the malware execution. With enSilo, you gain full visibility of the entire environment with a small footprint which utilizes less than 1% CPU and only 40MB of RAM and are able to deploy on POS systems, agnostic to the operating system, including legacy systems (Windows XP). enSilo integrates so tightly with the operating system, utilizing artificial intelligence (AI) and machine learning algorithms, allowing enSilo to identify cyber incidents immediately and can stop threats in real-time. One of the best capabilities of enSilo is having the ability to triage any malicious activity on a device and block it from further spreading throughout the organization.
enSilo delivers the first complete endpoint security platform providing pre- and post-infection protection in real-time, defending endpoint devices from data tampering and breaches caused by advanced malware. enSilo provides security operators with an intuitive way to manage, orchestrate and automate prevention, detection, response and remediation tasks. A single lightweight agent combines enSilo's Next Generation AntiVirus (NGAV) and automated Endpoint Detection and Response (EDR) with real-time blocking to deliver a multi-layered defense strategy that can be managed from the cloud. enSilo strives to make self-defending endpoint security cost-effective so virtually any enterprise can ensure business continuity.


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Articles tagged with: Johnny
Johnny Ruffo Performed Do You Remember by Jay Sean – X Factor Australia 2011 Grand Finals
Singing his Audition song, Do You Remember by Jay Sean, Johnny Ruffo shows Australia that he is a serious contender of the The X Factor Australia 2011 title. With the support of young ladies who loves him and keep voting for him, Johnny Ruffo could be the dark horse of this competition.
If you like Johnny Ruffo 's performance, remember that he needs your vote to win the X Factor Australia title. The people of Perth will surely get behind their man.
Johnny Ruffo Stripped-off with the Song Tonight, Tonight by Hot Chelle Rae X factor Australia 2011 Top 4 Semi-Finals
This is what keeps Johnny Ruffo alive at the The X Factor Australia 2011! You know it and the young ladies loves it and they keep voting for Johnny Ruffo. He may not have the best vocals in the competition but his moves and his "X" appeal somehow put him to the top 4 and a potential place in the upcoming grand finals. Johnny Ruffo's second song last night with Tonight, Tonight by Hot Chelle Rae got the audience so ecstatic and loud when Johnny stripped off his shirt! Yep, I hope they won't change the name of the competition to "Triple X Factor"…LOL…
If you like Johnny Ruffo 's performance, don't forget to vote for him.
Johnny Ruffo Performed So Sick by Ne-Yo, Semi-Finals X Factor Australia 2011 Live Show 9
What keeps Johnny Ruffo alive at the The X Factor Australia 2011? His charm? His "there's something in you" as Mel B puts it? Or His hardwork? Ronan Keating gave a generous comment tonight saying that Johnny Ruffo could be the dark horse to win X- Factor Australia 2011!
Johnny Ruffo sang So Sick by Ne-Yo as his first song in last night's Pleasure and Pain theme of the X Factor Australia. The four judges: Mel B, Ronan Keating, Natalie Bassingthwaighte and Guy Sebastian gave Johnny generally good comments. Find out what they have to say about Johnny's performance.


I love this song so much! mr By: Brian Hernandez. Saxobeat sheet music download free in PDF or MIDI. Oct 29 track of Mr Saxo Beat - Alexandra Stan for alto saxobeat saxophone, tuba, bass flute, bass saxophone, flute, horn in B, clarinet , harmonic, flugelhorn, cornet, clarinet , baritone saxophone, mr sheet oboe , · Sheet saxobeat music , sopranino saxophone, soprano saxophone, trumpet, trumpet, sheet bass saxophone, , tenor saxophone, flugelhorn in my b, soprano flute saxobeat violin in C. It is a Eurodance song produced by Andrei Nemirschi , which was written Marcel Prodan. See more What others are saying " Transport yourself to the beach with this light and fruity Watermelon Tiki mr Drink. Sax- o- Beat mr - Arr. Discover ideas about Alto Sax sheet Sheet Music. NEW YouTube Videos Tuesday saxobeat & Friday - 2pm EST / 11am PST Subscribe and press ( ) to join.
Saxobeat" was released on as the lead single taken from Alexandra Stan' s debut studio album, " Saxobeats" ( ). cover Saxobeat performed by Alexandra Stan. Saxobeat is a dance/ pop song that came out in. The Gojirian Sax[ sheet / user] Not to be rude, but did you copy this. Mr saxobeat cover saxophone sheet. " Mr Saxo Beat" - Alexandra Stan score and track ( Sheet music cover free) Free sheet music for Tenor Saxophone. Print download in PDF MIDI Mr. How to Play the Sax solo from MR.
Ive seen like 5 versions of this exactly. saxobeat Hope you have fun learning it. Home › Alto Saxophone saxobeat mr › How to Play the Sax solo from MR. mr saxobeat tenor saxophone sheet cover music - Google Search. The play- along track will be available at our. It has mr an awesome alto sax solo part it' s fun to play! saxobeat This isnt the complete version this is just mr a run through but when i get around to it it will sheet be about 10 measures longer Mr. Posted on 09/ 24/ by sselfridge. Sheet music harmonic, trumpet, flugelhorn, oboe , flute, clarinet , , sopranino saxophone, bass sheet saxophone, soprano flute, clarinet , horn in B, cornet, track of Mr Saxo Beat - Alexandra Stan for alto saxophone, tuba, bass flute, bass saxophone, flugelhorn in my b, tenor saxophone, baritone saxophone, cover soprano saxophone, trumpet violin in C. My cover alto mr and tenor saxophone cover of Mr. This isnt the cover complete version this is just a run through but when i get saxobeat around to it it will be about 10 measures longer. Musicnotes Pro Send a Gift Card. Oct 31 · My alto tenor saxophone cover of Mr.
Alto Sax version of Mr. This product was created by a member of SMP Press, our global community of independent composers, arrangers, and songwriters. Our independent musicians have created unique compositions and arrangements for the Sheet Music Plus community, many of which are not available anywhere. Posted in Alto Saxophone, Mr. Selfridge, Song, song. 6 comments on " How to Play the Sax solo from MR.
SAXOBEAT " deyoomama says: 11/ 28/ at 12: 35 pm i wonder where exactly can we download the play along track? thank you n i think u r a badass saxophonist! Print and download Mr.
Saxobeat sheet music by Alexandra Stan. Sheet music arranged for Piano/ Vocal/ Chords, and Singer Pro in B Minor ( transposable).


It always happens the same way, several times during each visit. She sees the yellow roses I brought, her face lights up, and she retells the story. Although her dementia tends to wildly jumble her stories together, she always gets this one right.
It was shortly after the end of the second world war; she and grandfather were going to marry. But no matter how hard he tried, he simply could not find any red roses for her bouquet. In the end, he had to take yellow roses – the only roses he could find. From that day on, he always gave her yellow roses. Each and every anniversary, every birthday, yellow roses, for her.
She always gets this story right.
In the time leading up to this New Year's Eve, as usual, I felt a sort of resentfulness towards all the impending excess: all the drunk dolled up people, all the unnecessary expensive fireworks, all the noise and the waste afterwards in every street of every city.
But as it happens, the experience itself once more overturned my initial grumpiness. When the clock struck midnight, I stood at my attic floor window and marvelled at all the lights and colours outside like a child. There were so many in every direction, the air was filled with the shrill sounds of rockets and firecrackers, the night sky illuminated again and again by short-lived magnificent showers of radiant lights. For a blissful moment, I felt very much at peace; once again, for the first time in a long while, feeling very much a part of the society I happen to have been born into, feeling very much a part of this contingent community of humans that revels in the tradition of greeting each and every new year with an explosion of noise and shimmering lights, again and again, without questioning it. We do this because it simply is the kind of thing we like to do, and it is beautiful. That's enough, and it feels warm and sound when it is enough.
My 60-year old Dad on New Year's Eve a few years ago. He's lovely like that, with his usual combination of a formal jacket and a hoodie jacket beneath.


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Not to rush you or anything, but 2010 is winding down, and it's time to start thinking about getting a new calendar to ring in the new year. Our Apartment Buyers Emily and Marne told us which calendars are at the top of their list!
Which calendar is your favorite?
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Q: Azure App insights (with new alert metrics) deployment failing due to 'actionGroupId' I am creating application insights with new metric rules.
I was previously using classic alerts and was working fine before sep 1, 2019. I want to adopt to new alerts so I am modifying my arm template below:
{
    "$schema": "https://schema.management.azure.com/schemas/2015-01-01/deploymentTemplate.json#",
    "contentVersion": "1.0.0.0",
    "parameters": {
        "applicationinsights_platform": {
            "defaultValue": "",
            "type": "string",
            "maxLength": 6
          },
          "applicationinsights_location_shortname": {
            "defaultValue": "",
            "type": "string",
            "maxLength": 3
          },
          "applicationinsights_project": {
            "defaultValue": "",
            "type": "string",
            "maxLength": 6
          },
          "applicationinsights_environment": {
            "defaultValue": "",
            "type": "string",
            "maxLength": 7
          },
          "applicationinsights_uniqueid": {
            "defaultValue": "1",
            "type": "string",
            "maxLength": 1
          },
          "applicationinsights_componentKind": {
            "type": "string",
            "allowedValues": [
              "web",
              "ios",
              "other",
              "store",
              "java",
              "phone"
            ],
            "defaultValue": "web",
            "metadata": {
              "description": "application insights component kind"
            }
          },
            "applicationinsights_alertDescription": {
            "type": "string",
            "defaultValue": "This is a metric alert",
            "metadata": {
                "description": "Description of alert"
            }
        },
        "applicationinsights_alertSeverity": {
            "type": "int",
            "defaultValue": 3,
            "allowedValues": [
                0,
                1,
                2,
                3,
                4
            ],
            "metadata": {
                "description": "Severity of alert {0,1,2,3,4}"
            }
        },
        "applicationinsights_isEnabled": {
            "type": "bool",
            "defaultValue": true,
            "metadata": {
                "description": "Specifies whether the alert is enabled"
            }
        },
            "applicationinsights_metricName": {
            "type": "string",
            "minLength": 1,
            "metadata": {
                "description": "Name of the metric used in the comparison to activate the alert."
            }
        },
        "applicationinsights_operator": {
            "type": "string",
            "defaultValue": "GreaterThan",
            "allowedValues": [
                "Equals",
                "NotEquals",
                "GreaterThan",
                "GreaterThanOrEqual",
                "LessThan",
                "LessThanOrEqual"
            ],
            "metadata": {
                "description": "Operator comparing the current value with the threshold value."
            }
        },
        "applicationinsights_threshold": {
            "type": "string",
            "defaultValue": "0",
            "metadata": {
                "description": "The threshold value at which the alert is activated."
            }
        },
        "applicationinsights_timeAggregation": {
            "type": "string",
            "defaultValue": "Average",
            "allowedValues": [
                "Average",
                "Minimum",
                "Maximum",
                "Total",
                "Count"
            ],
            "metadata": {
                "description": "How the data that is collected should be combined over time."
            }
        },
        "applicationinsights_windowSize": {
            "type": "string",
            "defaultValue": "PT5M",
            "allowedValues": [
                "PT1M",
                "PT5M",
                "PT15M",
                "PT30M",
                "PT1H",
                "PT6H",
                "PT12H",
                "PT24H"
            ],
            "metadata": {
                "description": "Period of time used to monitor alert activity based on the threshold. Must be between one minute and one day. ISO 8601 duration format."
            }
        },
        "evaluationFrequency": {
            "type": "string",
            "defaultValue": "PT1M",
            "allowedValues": [
                "PT1M",
                "PT5M",
                "PT15M",
                "PT30M",
                "PT1H"
            ],
            "metadata": {
                "description": "how often the metric alert is evaluated represented in ISO 8601 duration format"
            }
        },
         "applicationinsights_instrumentation_key_output": {
          "defaultValue": "ApplicationInsightsInstrumentationKey",
          "type": "string"
        },

        "applicationinsights_actionGroupId": {
            "type": "string",
            "defaultValue": "test",
            "metadata": {
                "description": "The ID of the action group that is triggered when the alert is activated or deactivated"
            }
        }
    },
    "variables": {
      "basename": "[concat(parameters('applicationinsights_platform'), '-', parameters('applicationinsights_project'), '-', parameters('applicationinsights_location_shortname'), '-',  parameters('applicationinsights_environment'))]",
      "alertRulesName": "[concat(variables('basename'), '-aaiar-', parameters('applicationinsights_uniqueid'))]",
      "appInsightName": "[concat(variables('basename'), '-aaic-', parameters('applicationinsights_uniqueid'))]"
     },
    "resources": [
        {
            "name": "[variables('alertRulesName')]",
            "type": "Microsoft.Insights/metricAlerts",
            "location": "global",
            "apiVersion": "2018-03-01",
            "tags": {
              "[concat('hidden-link:', resourceId('Microsoft.Insights/components', variables('appInsightName')))]": "Resource"
            },
            "properties": {
                "name": "[variables('alertRulesName')]",
                "description": "Alert rule assigned to Application Insight component",
                "severity": "[parameters('applicationinsights_alertSeverity')]",
                "enabled": "[parameters('applicationinsights_isEnabled')]",
                "scopes": ["[resourceId('microsoft.insights/components', variables('appInsightName'))]"],
                "evaluationFrequency":"[parameters('evaluationFrequency')]",
                "windowSize": "[parameters('applicationinsights_windowSize')]",
                "criteria": {
                    "odata.type": "Microsoft.Azure.Monitor.SingleResourceMultipleMetricCriteria",
                    "allOf": [
                        {
                            "name" : "test01",
                            "metricName": "[parameters('applicationinsights_metricName')]",
                            "dimensions":[],
                            "operator": "[parameters('applicationinsights_operator')]",
                            "threshold" : "[parameters('applicationinsights_threshold')]",
                            "timeAggregation": "[parameters('applicationinsights_timeAggregation')]"
                        }
                             ]
                           },
                "actions": [
                    {
                        "actionGroupId": "[concat('/subscriptions/',subscription().subscriptionId,'/resourceGroups/',variables('basename'), '/providers/Microsoft.Insights/actionGroups/',parameters('applicationinsights_platform'))]"
                    }
                           ]
                         },
            "dependsOn": [
          "[resourceId('microsoft.insights/components', variables('appInsightName'))]"
                         ]
       },
     {
      "name": "[variables('appInsightName')]",
      "type": "microsoft.insights/components",
      "apiVersion": "2015-05-01",
      "location": "[resourceGroup().location]",
      "tags": {},
      "kind": "[parameters('applicationinsights_componentKind')]",
      "properties": {
        "ApplicationId": "[variables('appInsightName')]"
      }}

    ],
    "outputs": {
        "secrets": {
          "type": "object",
          "value": {
            "[parameters('applicationinsights_instrumentation_key_output')]": "[reference(concat('microsoft.insights/components/', variables('appInsightName'))).InstrumentationKey]"
          }
        }
      }

  }

My parameter file is-
{
    "$schema": "https://schema.management.azure.com/schemas/2015-01-01/deploymentParameters.json#",
    "contentVersion": "1.0.0.0",
    "parameters": {
        "applicationinsights_platform": {
            "value": "abc"
        },
         "applicationinsights_location_shortname": {
            "value": "def"
        },
         "applicationinsights_project": {
            "value": "ghi"
          },
          "applicationinsights_environment": {
            "value": "ijk"
          },
          "applicationinsights_uniqueid": {
            "value": "1"
          },
          "applicationinsights_componentKind": {
            "value": "web"
          },
          "applicationinsights_metricName": {
            "value": "availabilityResults/availabilityPercentage"
          },
          "applicationinsights_operator": {
            "value": "GreaterThan"
          },
          "applicationinsights_threshold": {
            "value": "80"
          },
          "applicationinsights_windowSize": {
            "value": "PT5M"
          },
          "applicationinsights_timeAggregation": {
            "value": "Average"
          },
         "applicationinsights_alertDescription": {
            "value": "New metric alert created via template"
          },
        "applicationinsights_alertSeverity": {
            "value": 3
        },
        "applicationinsights_isEnabled": {
            "value": true
        }
    }
}

I am getting error-

"Code": "BadRequest", "Message": "Arm resource
  /subscriptions/xxxx/resourceGroups/abc-def-ghi-jkl/providers/Microsoft.Insights/actionGroups/abc
  is invalid."

My Resource group is already existing and I am using Az Cli (Version 2.0.64) and below command to create the resource-
az group deployment create --name 'test' --resource-group 'abc-def-ghi-jkl' --template-file azuredeploy.json --parameters azuredeploy.parameter.json --verbose --debug

However the resources are provisioned when I hardcode the part in template-
 "actions": [
                    {
                        "actionGroupId": "/subscriptions/xxxxxxxx/resourceGroups/abc-def-ghi-jkl/providers/Microsoft.Insights/actionGroups/test0"
                    }
                           ]

I am not getting any clue why is it throwing an error when I am parameterising it.
I took reference for ARM template from here -
https://learn.microsoft.com/en-us/azure/templates/microsoft.insights/2018-03-01/metricalerts
Thanks in advance for your help/suggestions.

A: I understood later that the action group needs to be added at first and then only it can be linked to some other resource. So I added another resource actiongroup and then I was able to create app insight without any problem. Yeah, The only thing you should take care is AG short name shouldn't exceed 12 characters.
Here is the ARM template -
{
  "$schema": "https://schema.management.azure.com/schemas/2015-01-01/deploymentTemplate.json#",
  "contentVersion": "1.0.0.0",
  "parameters": {
    "applicationinsights_platform": {
      "defaultValue": "",
      "type": "string",
      "maxLength": 6
    },
    "applicationinsights_location_shortname": {
      "defaultValue": "",
      "type": "string",
      "maxLength": 3
    },
    "applicationinsights_project": {
      "defaultValue": "",
      "type": "string",
      "maxLength": 6
    },
    "applicationinsights_environment": {
      "defaultValue": "",
      "type": "string",
      "maxLength": 7
    },
    "applicationinsights_uniqueid": {
      "defaultValue": "1",
      "type": "string",
      "maxLength": 1
    },
    "applicationinsights_componentKind": {
      "type": "string",
      "allowedValues": [
        "web",
        "ios",
        "other",
        "store",
        "java",
        "phone"
      ],
      "defaultValue": "web",
      "metadata": {
        "description": "application insights component kind"
      }
    },
    "applicationinsights_alertSeverity": {
      "type": "int",
      "defaultValue": 3,
      "allowedValues": [
        0,
        1,
        2,
        3,
        4
      ],
      "metadata": {
        "description": "Severity of alert {0,1,2,3,4}"
      }
    },
    "applicationinsights_metricName": {
      "type": "string",
      "minLength": 1,
      "metadata": {
        "description": "Name of the metric used in the comparison to activate the alert."
      }
    },
    "applicationinsights_operator": {
      "type": "string",
      "defaultValue": "GreaterThan",
      "allowedValues": [
        "Equals",
        "NotEquals",
        "GreaterThan",
        "GreaterThanOrEqual",
        "LessThan",
        "LessThanOrEqual"
      ],
      "metadata": {
        "description": "Operator comparing the current value with the threshold value."
      }
    },
    "applicationinsights_threshold": {
      "type": "string",
      "defaultValue": "0",
      "metadata": {
        "description": "The threshold value at which the alert is activated."
      }
    },
    "applicationinsights_timeAggregation": {
      "type": "string",
      "defaultValue": "Average",
      "allowedValues": [
        "Average",
        "Minimum",
        "Maximum",
        "Total",
        "Count"
      ],
      "metadata": {
        "description": "How the data that is collected should be combined over time."
      }
    },
    "applicationinsights_windowSize": {
      "type": "string",
      "defaultValue": "PT5M",
      "allowedValues": [
        "PT1M",
        "PT5M",
        "PT15M",
        "PT30M",
        "PT1H",
        "PT6H",
        "PT12H",
        "PT24H"
      ],
      "metadata": {
        "description": "Period of time used to monitor alert activity based on the threshold. Must be between one minute and one day. ISO 8601 duration format."
      }
    },
    "evaluationFrequency": {
      "type": "string",
      "defaultValue": "PT1M",
      "allowedValues": [
        "PT1M",
        "PT5M",
        "PT15M",
        "PT30M",
        "PT1H"
      ],
      "metadata": {
        "description": "how often the metric alert is evaluated represented in ISO 8601 duration format"
      }
    },
    "applicationinsights_instrumentation_key_output": {
      "defaultValue": "ApplicationInsightsInstrumentationKey",
      "type": "string"
    },
    "applicationinsights_actionGroupId": {
      "type": "string",
      "defaultValue": "test",
      "metadata": {
        "description": "The ID of the action group that is triggered when the alert is activated or deactivated"
      }
    },
    "applicationinsights_recieverEmailId": {
      "type": "string",
      "defaultValue": "atf@stackoverflow.com",
      "metadata": {
        "description": "Email Address of Receiver"
      }
    },
    "applicationinsights_webhookURI": {
      "type": "string",
      "defaultValue": "http://requestb.in/1bq62iu2",
      "metadata": {
        "description": "Webhook receiver service URI"
      }
    }
  },
  "variables": {
    "basename": "[concat(parameters('applicationinsights_platform'), '-', parameters('applicationinsights_project'), '-', parameters('applicationinsights_location_shortname'), '-',  parameters('applicationinsights_environment'))]",
    "alertRulesName": "[concat(variables('basename'), '-aiar-', parameters('applicationinsights_uniqueid'))]",
    "appInsightName": "[concat(variables('basename'), '-aic-', parameters('applicationinsights_uniqueid'))]",
    "AGName": "[concat(parameters('applicationinsights_platform'), parameters('applicationinsights_project'), parameters('applicationinsights_location_shortname'), parameters('applicationinsights_environment'))]",
    "AGId": "[concat('/subscriptions/',subscription().subscriptionId,'/resourceGroups/',variables('basename'),'/providers/Microsoft.Insights/actionGroups/',variables('AGName'))]"
  },
  "resources": [
    {
      "type": "Microsoft.Insights/actionGroups",
      "apiVersion": "2018-03-01",
      "name": "[variables('AGName')]",
      "location": "Global",
      "properties": {
        "groupShortName": "[variables('AGName')]",
        "enabled": true,
        "emailReceivers": [
          {
            "name": "EmailOfRecipient",
            "emailAddress": "[parameters('applicationinsights_recieverEmailId')]"
          }
        ],
        "webhookReceivers": [
          {
            "name": "WebhookURI",
            "serviceUri": "[parameters('applicationinsights_webhookURI')]"
          }
        ]
      }
    },
    {
      "name": "[variables('alertRulesName')]",
      "type": "Microsoft.Insights/metricAlerts",
      "location": "global",
      "apiVersion": "2018-03-01",
      "tags": {
        "[concat('hidden-link:', resourceId('Microsoft.Insights/components', variables('appInsightName')))]": "Resource"
      },
      "properties": {
        "name": "[variables('alertRulesName')]",
        "description": "Alert rule assigned to Application Insight component",
        "severity": "[parameters('applicationinsights_alertSeverity')]",
        "enabled": true,
        "scopes": [
          "[resourceId('microsoft.insights/components', variables('appInsightName'))]"
        ],
        "evaluationFrequency": "[parameters('evaluationFrequency')]",
        "windowSize": "[parameters('applicationinsights_windowSize')]",
        "criteria": {
          "odata.type": "Microsoft.Azure.Monitor.SingleResourceMultipleMetricCriteria",
          "allOf": [
            {
              "name": "[variables('AGName')]",
              "metricName": "[parameters('applicationinsights_metricName')]",
              "dimensions": [],
              "operator": "[parameters('applicationinsights_operator')]",
              "threshold": "[parameters('applicationinsights_threshold')]",
              "timeAggregation": "[parameters('applicationinsights_timeAggregation')]"
            }
          ]
        },
        "actions": [
          {
            "actionGroupId": "[variables('AGId')]"
          }
        ]
      },
      "dependsOn": [
        "[resourceId('microsoft.insights/components', variables('appInsightName'))]",
        "[resourceId('microsoft.insights/actionGroups', variables('AGName'))]"
      ]
    },
    {
      "name": "[variables('appInsightName')]",
      "type": "microsoft.insights/components",
      "apiVersion": "2015-05-01",
      "location": "[resourceGroup().location]",
      "tags": {},
      "kind": "[parameters('applicationinsights_componentKind')]",
      "properties": {
        "ApplicationId": "[variables('appInsightName')]"
      }
    }
  ],
  "outputs": {
    "secrets": {
      "type": "object",
      "value": {
        "[parameters('applicationinsights_instrumentation_key_output')]": "[reference(concat('microsoft.insights/components/', variables('appInsightName'))).InstrumentationKey]"
      }
    }
  }
}

and my parameter file-
{
  "$schema": "https://schema.management.azure.com/schemas/2015-01-01/deploymentParameters.json#",
  "contentVersion": "1.0.0.0",
  "parameters": {
    "applicationinsights_platform": {
      "value": "foo"
    },
    "applicationinsights_location_shortname": {
      "value": "eus"
    },
    "applicationinsights_project": {
      "value": "bar"
    },
    "applicationinsights_environment": {
      "value": "dev"
    },
    "applicationinsights_uniqueid": {
      "value": "1"
    },
    "applicationinsights_componentKind": {
      "value": "web"
    },
    "applicationinsights_metricName": {
      "value": "requests/duration"
    },
    "applicationinsights_operator": {
      "value": "GreaterThan"
    },
    "applicationinsights_threshold": {
      "value": "10000"
    },
    "applicationinsights_windowSize": {
      "value": "PT5M"
    },
    "applicationinsights_timeAggregation": {
      "value": "Average"
    },
    "applicationinsights_alertSeverity": {
      "value": 3
    },
    "applicationinsights_recieverEmailId": {
      "value": "atf@stackoverfow.com"
    },
    "applicationinsights_webhookURI": {
      "value": "https://requestb.in/1bq62iu2"
    }
  }
}

A: Looks like there is a typo in your ARM template.
You wrote:
"actions": [
                {
                    "actionGroupId": "[concat('/subscriptions/',subscription().subscriptionId,'/resourceGroups/',variables('basename'), '/providers/Microsoft.Insights/actionGroups/',parameters('applicationinsights_platform'))]"
                }

But looking at your parameters, your probably meant to use applicationinsights_actionGroupId instead of applicationinsights_platform as the action group name.
Like this:
"actionGroupId": "[concat('/subscriptions/',subscription().subscriptionId,'/resourceGroups/',variables('basename'), '/providers/Microsoft.Insights/actionGroups/',parameters('applicationinsights_actionGroupId'))]"

As a suggestion, you can also create the action group in your ARM template (see here for the documentation), and then set the action group id with a resourceId reference:
"actionGroupId": "[resourceId('Microsoft.Insights/actionGroups',parameters('applicationinsights_actionGroupId'))]"

Hope this helps,
Asaf

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