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Q: Cloudwatch Agent config file metric - additional EBS volume disks/partition mounts not showing For the config file, I have resources set to *
            "disk": {
            "measurement": [
                "used_percent",
                "free",
                "total",
                "used",
                "inodes_free"
            ],
            "metrics_collection_interval": 60,
            "resources": [
                "*"
            ]

I only see the OS disk volume but i do not see my 2nd volume /dev/sdf which stores all the data.
Is there something missing the config file or some other configuration?
If I do an lsblk on the VM, it does list all volumes.
Thanks

A: Solved. It was a permission issue on the user.


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Becoming one of the leading sets in the civil fraud arena.
Civil fraud and asset recovery
We have extensive expertise in acting in fraud litigation and asset preservation and recovery, including in complex commercial fraud cases, both onshore and offshore. Our members include recognised leaders in the civil fraud field and have been involved in cases which have made significant developments to the law in this area.
We act across the full spectrum of civil fraud claims including those based on misrepresentation, breach of duty, conspiracy, and accessory liability and at all stages in bringing or defending a claim. Our work includes:
freezing, search and disclosure orders (whether against a cause of action defendant or third party)
receivership orders (pre- and post-judgment)
committal proceedings (pre- and post- judgment) brought on allegations of contempt
all advisory and interim stages
enforcement, including insolvency proceedings
Our experience in related areas such as company, insolvency, banking and financial services, property and trusts law ensures expert and comprehensive representation and advice.
Rankings and recognition
Wilberforce is ranked as a leading civil fraud chambers in both Chambers & Partners and The Legal 500. Recent coverage is as follows:
Chambers UK 2020: Wilberforce Chambers offers a wealth of expertise in civil fraud claims. The set is regularly called upon to act for its clients in complex and high-value disputes involving allegations of breach of contract, deceit, bribery and conspiracy. Members are frequently instructed in both domestic and international disputes, and have experience of acting in matters involving Europe and Asia, as well as several offshore jurisdictions.
The Legal 500 UK 2020: Clients praise Wilberforce Chambers for providing 'excellent support' and 'communication which is honest and proactive so that any capacity issues can be properly managed'. The set is becoming 'one of the leading sets in the civil fraud arena' and is also noted for its expertise in overlapping areas, such as offshore disputes.
Chambers UK 2019: Wilberforce Chambers houses a large cohort of barristers who are experienced in civil fraud disputes. It acts for both claimants and defendants in an array of high-value disputes, relating to such allegations as deceit, conspiracy, fraudulent misrepresentation and breach of fiduciary duty. Many of its instructions arise in the banking and finance sector. Members of the set possess the multi-jurisdictional knowledge required to fight cross-border cases and are proficient in asset tracing and recovery.
The Legal 500 UK 2019: Wilberforce Chambers is 'a tremendously commercial-minded set' whose barristers are 'hugely respected in their individual fields, yet prepared to go above and beyond to assist'. Members are involved in a broad range of fraud cases, including many with an offshore element, such as AHAB v SAAD. Other highlights include Sabbagh v Khoury and Abela v Baadarani.
Recent instructions of note:
AHAB v SAAD [ongoing]. A multi-billion claim relating to a complex, cross-border fraud before the Courts of the Cayman Islands.
Meridian Trust v Eike Batista [ongoing]. A case involving the first statutory free-standing worldwide freezing order in Cayman. The first common law case in which a freezing injunction was granted over claims for American treble damages under RICO. Fraud resulted in losses of $5bn, with the lead claim being for $60m.
Libyan Investment Authority v Societe Generale [ongoing]. Significant concern civil fraud and bribery allegations
Lemos v Blue Diamond Corporation and Stegasis Corporation [ongoing]. A complex multi-jurisdictional case involving one of Greece's largest shipping families and their ownership of shares in two Liberian Corporations, which raises multiple conflicts of law issues and matters relating to fraudulent misappropriation of shares.
Gerald Metals v Frank Timis and others / Gerald Metals v Cape Lambert / Gerald Metals v Red Metal [ongoing]. Gerald Metals, a trading company which brought a claim in deceit and in unlawful means conspiracy (based on s.423 Insolvency Act 1986) against a large number of trustees and individuals. The dispute was very significant and worth around £100 million.
Libyan Investment Authority v JP Morgan and others [2019]. Acted for one of the successful defendants in his jurisdiction challenge – a Libyan businessman against whom a claim had been brought by the Libyan Investment Authority alleging fraud and corruption in relation to transactions that it had entered into with Bear Stearns bank in 2007.
Takhar v Gracefield Developments [2019]. Supreme Court case establishing that a person who applies to set aside an earlier judgment on the basis of fraud does not have to demonstrate that the evidence of this fraud could not have been obtained with reasonable diligence before the earlier trial.
National Trust Bank v Yurov & others [2019]. US$1billion claim for dishonest breach of duty against the shareholder directors arising from the collapse of Russia's 16th largest bank.
JSC BM Bank v Kekhman [2018]. A claim made by a Russian Bank against a "banana oligarch" for damages for deceit and unlawful means conspiracy in respect of a loan made to a Russian group of companies. The judgment is of note by identifying principles for inferring fraud.
Pensions Regulator v PAYAE and others [2018]. The Pensions Regulator's first fraud claim to go to trial.

redpajama_set_name: RedPajamaCommonCrawl


This property of 114.31 +/- surveyed acres in Lee County, AR is located approximately 4.5 miles west of Moro and 9 miles southeast of Brinkley. The cropland has a history of rice and soybean production. Total cropland acres are 67.88 which includes 46.15 acres leveled and 21.73 acres that could be improved. Soils are primarily silt loams. The property includes a submersible well and there is a creek running through the property that could be developed for surface irrigation and enhancement of wildlife habitat.
Along with the cropland, this property includes 46.43 +/- acres of timber for small game, deer, and waterfowl hunting. Deer rubs and trails were observed throughout the property. Lee County and surrounding areas produce large whitetail deer due to the fertile soils of the Mississippi Alluvial Plain.


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Acrolophus infida är en fjärilsart som beskrevs av Edward Meyrick 1913. Acrolophus infida ingår i släktet Acrolophus och familjen Acrolophidae. Inga underarter finns listade i Catalogue of Life.

Källor

Malfjärilar
infida

redpajama_set_name: RedPajamaWikipedia


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Corralito (prononcé ) est le nom officieux donné aux mesures économiques prises en Argentine le , lors de la crise économique, par le ministre de l'économie Domingo Cavallo dans le but de mettre fin à une course à la liquidité et à la fuite des capitaux. Prévu à l'origine pour une durée de 90 jours, il fut maintenu par Eduardo Duhalde, investi président en , jusqu'au . Le mot espagnol corralito est le diminutif de corral, qui sert à restreindre le mouvement des animaux et est utilisé en Argentine pour se référer à l'enclos pliant réservé aux jeux du bébé.

Mesures

Le corralito limite les retraits d'argent à 250 pesos par semaine et interdit tout envoi de fonds à l'extérieur, pour lutter contre la fuite des capitaux. Prévue à l'origine pour une durée de 90 jours, cette mesure provoqua la panique, chacun tentant de retirer ses dépôts des banques et entraîna la chute du gouvernement de Fernando de la Rúa trois semaines plus tard.

Le corralito eut pour conséquence immédiate de provoquer une baisse importante du commerce intérieur et extérieur, entre autres en raison d'un manque de terminaux de paiement électronique chez les commerçants.

En vigueur pendant presque une année complète, les mesures ont en pratique gelé les avoirs bancaires et interdit tout retrait des comptes de banque en devises dollars, tandis que les retraits en pesos eux-mêmes ont été fortement limités ; jusqu'à l'abrogation de la loi de convertibilité le , un peso valait un dollar. Cette mesure a été étendue à tous les comptes bancaires argentins : ainsi, même les Argentins à l'étranger, qui dépendaient de tels comptes, ont vu leurs retraits très fortement limités (tout au plus l'équivalent de quelques centaines d'euros, environ 300, pouvaient être retirés dans le mois).

Notes et références

Histoire de l'Argentine
Économie en Argentine


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Rare Farnese blue diamond sells for $6.7 million
Written by Oscar Holland, CNN
A rare blue diamond, passed between Europe's royal houses for more than 300 years, has been sold at auction for $6.7 million.
Known as the Farnese Blue, the pear-shaped 6.16-carat jewel surpassed pre-auction estimates after going under the hammer for the first time at Sotheby's Geneva Tuesday evening.
Originating from the Golconda mines in southern India, the fancy dark grey-blue diamond takes its name from the second wife of King Philip V of Spain, Elisabeth Farnese, who received it as a wedding gift in 1715.
A rare blue diamond, passed between Europe's royal houses for more than 300 years, sold at a Sotheby's auction for $6.7 million. Credit: Courtesy Sotheby's
Over the next three centuries, the jewel was passed down to through generations of her descendants, which -- due to marriages between European houses -- saw it join the royal families of France, Italy and Austria. At one point in history, the Farnese Blue is thought to have appeared on a diamond tiara belonging to Marie Antoinette.
The historic diamond was exhibited in London, New York, Singapore and Taipei, before arriving in Geneva ahead of yesterday evening's auction. The winning bid, made by an as-yet-unidentified buyer, exceeded pre-sale estimates, which had valued the item at between $3.7 and $5.3 million.
The diamond was one of a number of high-profile jewels featured in yesterday's auction. Among them was a round diamond ring, weighing 51.71 carats, that sold for $9.2 million, and a 50.39-carat oval diamond ring that went for $8.1 million.
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Are you ready to take your GED® exam in Sagamore Beach MA? The GED® test is only offered in pencil and paper format. Usually in order to take the test the student must be over 17 years old. The GED® testing cost in the state of Massachusetts varies from $40-$90.
The certification consists of five tests: reading, writing, mathematics, science and social studies. Each section of the test awards a score between 200 and 800. Many states require test takers to obtain a score of 410 on each of the five tests and an average of 450 for the exam to pass.


The barislight.eu is an online store products available through the internet created by (name of company ) called V.MPARIS & CO and the name '' BARIS LIGHT'' ( VAT No: 998363890 DOY: G ' PATRON ( B' AND LOWER ACHAIAS ) ] ) . The company is headquartered Akti Dymeon 3.26222 , Patras. Before you enter the online store and browse our website , we invite you to consult the following terms and conditions which apply specifically to the use of the shop of V.BARIS & CO , located at barislight.eu.
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Kalas's love affair with baseball began at age 10 and never looked back. Though he played little league baseball, Harry knew he would never make it to the big leagues by playing ball. He had the pleasure of growing up listening to the Chicago announcers like Jack Brickhouse and Bob Elson, and he knew he would love to do baseball play-by-play announcing.
After graduating from Naperville High School in 1954, Harry Kalas began his collegiate education at Cornell College in Iowa. There, he first became aware of the gift of his voice. A blind speech professor told the then-freshman Kalas that he had "the kind of voice that could make it in radio," which acted as a catalyst for Kalas's career. Transferring to the University of Iowa, Kalas became involved with the university radio station, WSUI, and broadcasted a wide range of sports from football and baseball, to swimming and track and field. Upon graduation, in 1958, Harry Kalas received a bachelor of arts degree in speech, radio, and television.
On the same day that his collegiate life ended, Kalas was drafted into the army and sent to Hawaii as a heavy weapons infantryman. After two days on the job, he was pulled off the assignment to do interviews of soldiers that would be sent home to their families. His two-year stint in the military passed, but he remained in Hawaii as the broadcaster for the Pacific Coast League Hawaii Islanders from 1961 to 1965. He was known for recreating broadcasts of away games in the studio.
Harry Kalas's big break came at a baseball management convention. One of 200 applicants, Kalas landed the job as the broadcaster of the new Houston Astros. As the new voice of the new team and stadium, Kalas made a name for himself by calling a few innings per game until 1970. When Bill Gilles, his colleague, moved to Philadelphia, Pennsylvania, Kalas went with him.
The City of Brotherly Love and Harry Kalas were a match from the beginning. After winning over the hearts of the fans who had been loyal to his predecessor, Harry Kalas became the voice of the Phillies. The 1971 season began with the opening of Veterans Stadium in which Kalas was honored to be the Master of Ceremonies. He also had the pleasure of meeting and working with Richie "Whitey" Ashburn. The two hit it off immediately and became best friends while entertaining Philadelphia. After 27 years in the booth together, Ashburn died in 1997, taking a piece of Kalas with him. There is not a game in the booth where Kalas does not mention "Whitey" at least a handful of times.
Kalas had the pleasure of once again being the Master of Ceremonies in 2003, this time to close Veterans Stadium. He called the first game in the new Phillies stadium, Citizens Bank Park. A restaurant behind the scoreboard is affectionately called "Harry the K's" in honor of the beloved sportscaster. Kalas has received many accolades from those in his field. He has been recognized 18 times as the Pennsylvania Sportscaster of the Year. Kalas has also been honored as the 2004 Person of the Year by the Broadcast Pioneers of Philadelphia and earned the Legacy of Excellence Award from the Philadelphia Sports Hall of Fame in the same year. Other local honors include the Board of Governor's Award at the Mid-Atlantic Emmy Awards, the Ken Garland Lifetime Achievement Award at the Philadelphia AIR (Achievement in Radio) Awards, and the Lifetime Achievement Award from the Philadelphia Sports Congress.
On July 28, 2002, Harry Kalas received the ultimate honor as a sportscaster. Awarded the Ford C. Frick Award from the National Baseball Hall of Fame and Museum, Harry Kalas joined an elite group including Bob Elson, Curt Gowdy and By Saam, who all have "made a difference in baseball" according to the prestigious Hall.
Harry Kalas's next contract was negotiated in 2006, and it kept him with the Phillies through the 2009 season. Commenting on his new contract in 2006, Kalas said, "I'm excited to be able to continue calling Phillies games. I really like the make-up of this club. The future – with Ryan Howard, Chase Utley and Jimmy Rollins – is very bright." Kalas predicted the future well, and he got to call another winning season in 2007 when the Phillies made a remarkable comeback, taking the National League East Championship. He was heard singing "High Hopes" over the public address system when the championship was clinched.
That "love affair" continued, heightened by his memorable call of the Phillies' victory in game five of the 2008 World Series, which brought the franchise its second world championship. During the off-season, Kalas had surgery for undisclosed reasons.


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In a study, the researchers found that when minorities seek mortgages they pay about 8 percent more — or $400 more — than white borrowers when they seek loans from white mortgage agents. Mortgage agents can assess fees, such as the broker origination fee, which are negotiable, or can even be waived.
Earlier studies had tended to focus on the race of the borrower, not the broker, according to Brent Ambrose, Smeal Professor of Real Estate, professor of risk management and an associate of Penn State's Institute for CyberScience (ICS). However, because the dataset, which contained information from more than 25,000 different mortgage brokers, included broker last names, the researchers were able to use a statistical method to infer the broker's race based on their last names and give them a better understanding of the role race played on both sides of the mortgage-buying process. By matching the brokers' surnames with a list of last names from the U.S. Census Bureau, the researchers were able to infer race and ethnicity. The method is similar to the ways that regulators and courts infer race and ethnicity.
"All the previous studies that have looked at race and mortgage lending have only been able to observe the race of the borrower, so it's never really clear what's driving the results," said Ambrose, who worked with James K. Conklin, assistant professor of real estate, University of Georgia, and Luis A. Lopez, doctoral student in business administration, Penn State.
To determine whether race was correlated with the fees paid by the borrowers, the researchers controlled for several other factors using data provided in the mortgage data, including financial literacy, fee transparency and the selection process of both borrowers and brokers. None of these factors had a significant impact on pricing the fees.
The researchers also investigated what was causing the discrimination. They tested whether the white brokers demonstrated overt racism — or animus — toward minority groups, or whether it is the result of statistical discrimination, a form of racial profiling.
In a first test, the researchers examined whether fees paid by minorities varied across credit scores, which would be a sign of statistical discrimination. In the second test, they investigated whether the use of Google search terms with racially charged language in specific areas correlated with preferential loan treatment in those areas. The results from both tests were inconsistent with the hypothesis that the observed differences in fees arose from animus on part of the white brokers.
Brokers have a high degree of discretion on the fees they assess, which can cause borrowers to pay more, or less for their mortgages, said Ambrose, who also serves as the director of the Institute for Real Estate Studies. For example, they can assess front-end fees, such as application fee, underwriter fee, mortgage brokerage firm fee and points. These fees are usually paid at closing. There are also back-end fees, including yield spread premium and correspondence premium.
The researchers used data from applications for brokered, first-lien, residential loans approved by New Century, a subprime lender, between January 2003 and March 2007. Computations for this research were performed on the Penn State Institute for CyberScience Advanced CyberInfrastructure (ICS-ACI).
The work was also supported by Penn State's Institute for Real Estate Studies.


text:
Home/America/Venezuelans protest after UN report alleges deaths and cover-ups
Venezuelans protest after UN report alleges deaths and cover-ups
NewsroomJuly 6, 2019
In the middle-class streets of Eastern Caracas, protesters gathered in large numbers at the call of opposition leader Juan Guaido. Their slogan: "No more torture.""There are no euphemisms that exist to characterize this regime more than 'dictatorship'," Guaido told reporters that day, citing the scathing report's findings. Meanwhile, as if in another world, embattled president Nicolas Maduro presided over a colorful military parade, where supporters shouted patriotic slogans as tanks rolled before them — an unusual sight even for the highly militarized country. UN High Commissioner on Human Rights Michelle Bachelet, who oversaw the report, they said, had simply been following a script written by Washington.
The OHCHR report
Issued one day earlier, the 16-page report has renewed longstanding criticisms of the embattled Maduro regime. It was created by the Office of the High Commissioner for Human Rights (OHCHR), a group Venezuelan Foreign Minister Jorge Arreaza has repeatedly criticized as "biased." The report vividly described a state that's failing to deliver basic necessities to its people, including the right to food, medical care and freedom of speech.
Diseases that had once been eradicated from Venezuela are re-emerging, it said, and laid the blame at Maduro's feet for allowing hunger to run rampant. "The Government has not demonstrated that it has used all resources at its disposal to ensure […] the right to food," it said, noting that public food aid is unequally distributed to favor government supporters.Earlier this week, a Venezuelan Navy captain died while in government custody, prompting the arrest of two military officers for murder. His wife has accused counterintelligence officers of torturing him — an accusation that OHCHR's findings support: The report described arbitrary detention as a "principal means" of social control for the Maduro administration, and offered evidence of systematic torture for political detainees.Based on a sample group of 135 people, the organization found that detained men and women were subjected to torture or "cruel, inhuman or degrading treatment" including "electric shocks, suffocation with plastic bags, water boardings, beatings, sexual violence, water and food deprivation, stress positions and exposure to extreme temperatures." In interviews, women told the organization that threats of rape, forced nudity and inappropriate touching were among the tactics used to humiliate prisoners and extract confessions.
A shockingly high number of those who have run-ins with government forces never make it to detention. Venezuela's feared Special Action Forces (FAES), a rapid-response government security unit, has previously been implicated in extrajudicial killings, and civilians told CNN earlier this year that the FAES killed their family members in apparently unprovoked raids. Thousands of Venezuelans have been killed while "resisting authority," according to government statistics, and the new UN report cast doubt on how "resisting authority" is defined in FAES operations.FAES members fake crime scenes to justify killings, the report alleged. In interviews with the family members of 20 such victims, the report found that "in every case, witnesses reported how FAES manipulated the crime scene and evidence. They would plant arms and drugs and fire their weapons against the walls or in the air to suggest a confrontation and to show the victim had 'resisted authority'."In 2018 alone, 5,287 Venezuelans were killed while "resisting authority," the report said, citing the Maduro administration's own figures. From January to May 2019, an official count of 1,569 more were killed. Local organizations estimate that the death toll is even higher.
Maduro regime responds
The Maduro administration has fiercely rejected the OHCHR's findings. In a statement on Thursday, it described the report as "a selective and openly partial vision on the real situation of Human Rights in the Bolivarian Republic of Venezuela." It also criticized the organization's methodoRead More – Source
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Description: This is a small rocky beach on the northern coast of the island, between Karavostamo and Evdilos.
Description: The beach of Karavostamo is surrounded by a rocky cliff. It is not organized and usually it doesn't get crowded.
Description: Kerame has some trees that provide nice shade. This nice surrounding combined with the closeness to the capital make this beach pretty popular in summer.
Description: This is a lovely beach on the northern side of the island. Secluded and calm, this is a nice place to relax.
Description: Although Miliopo is close to the capital, it is a secluded beach and usually isolate, as it doesn't receive many visitors.
Description: Prioni is a small secluded beach in close distance to the capital of Ikaria. Huge rocks surround this relaxing place.


This award is granted to students of Aboriginal ancestry, with one award recipient selected from each of the Provincial Territorial Organizations in Ontario (currently, Nishnabwe-Aski Nation, Ontario Federation of Indian Friendship Centres, Anishinabek Nation, Union of Ontario Indians, Association of Iroquois and Allied Indians, Grand Council Treaty No. 3, Métis Nation of Ontario). You must be a Canadian citizen, permanent resident or protected person and a resident of Ontario who demonstrates financial need. You must also present a minimum admission average of 70%.
Recipients of the award will be required to take part in a mentorship program.
To renew this award, you must register in a minimum of 18 credits per academic year and maintain a sessional grade point average of 6.0 (B).
Access the application, then select this award from the list and indicate your Provincial Territorial Organization affiliation in the personal statement section.
Note: Scholarship values are based on 2015–2016 awards and are subject to change. This scholarship cannot be held in conjunction with another renewable entrance scholarship, the York University Automatic Entrance Scholarship or the York University Continuing Student Scholarship.


This will be at Assistant Category Manager level paying 20k - 25k per month (basic, housing and transport). The upper end of this bracket will only be available for someone who is ready to progress into the Category Manager role in a few months.
* Integrity: sets and performs to the highest ethical and professional standards always.


Couples should communicate with one another about their financial standing to prevent money issues from creating excess stress in their marriage. Discuss how you both spend and save money, how your individual incomes and budgeting needs dictate the way you manage your finances, and what you can do to fix any existing financial strain.
Additionally, it is a good idea to set financial goals and give yourselves deadlines for meeting those goals. For example, identify one or two specific problem areas, brainstorm possible solutions, and then set a date you intend to solve the problem by. Last but not least, turn to various support systems, including other friends and family members who have been where you are, or self-help groups or financial advisors who can help steer you in the right direction.
If money and other circumstances have taken their toll on your marriage and you are in the midst of a potential divorce, you will need professional assistance to help you walk through the divorce process. Be sure to speak with a qualified Kane County divorce lawyer to equip yourself with the knowledge and resources you need to protect your finances and your rights. Call Shaw Family Law, P.C today at 630-584-5550 for a consultation.


Making Gunpowder - Dangerous Laboratories!
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HomeTimelinesVrije Universiteit Brussel
www.vub.ac.be...
HQ Country
The Vrije Universiteit Brussel (VUB) in Belgium was founded in 1970 and has since grown to the largest Dutch speaking university of Brussels with over 12,000 students. With a strong focus on sustainable development, the research group of Industrial Engineering Sciences in the Faculty of Engineering commenced research on energy harvesting and renewable energy to complement its existing research tracks on embedded electronic applications, parallel computing and wireless communication.
External press release
Retinal Imaging Breakthrough to Swiftly Detect Eye Diseases
Glaucoma, cataracts or macular degeneration will be quicker and easier to diagnose thanks to a new scanner being developed to capture real-time and artefact-free eye images.
Hydropower Plants to Support Solar and Wind Energy in West Africa
Hydropower plants can support solar and wind power, rather unpredictable by nature, in a climate-friendly manner. A new study in the scientific journal Nature Sustainability has now mapped the potential for such "solar-wind-water" strategies for West Africa: an important region where the power sector is still under development, and where generation capacity and power grids will be greatly expanded in the coming years.
Machine learning to help develop self-healing robots that 'feel pain'
Researchers will use self-healing materials and machine learning to develop soft robotics as part of a new collaborative project.
Robots to help children with autism
The Development of Robot-Enhanced therapy for children with AutisM spectrum disorders (DREAM) project will design robots that can operate autonomously and help the therapist to improve the child's social interaction skills, such as turn-taking, imitation and joint attention.
Energy Harvesting Europe 2017
Scalable Energy Harvesting For Decentralized, Smart, Autonomous Embedded Electronic Applications
Vrije Universiteit Brussel, Belgium
New insights and technologies to improve human-robot collaboration
Introducing new adaptive control software and using gestures to improve human-machine communication, Walt, a collaborative robot (cobot) has been developed that works alongside its human co-workers in a safe and flexible way.
Energy Harvesting and Storage Europe 2016
Performance Analysis Of Photovoltaics Under Mixed Spectrum Indoor Artificial Lighting Conditions
Is the 45 km/h electric bike a real alternative for the car?
The Belgian Green politician Björn Rzoska has recently entered quite a remarkable commuting experiment. In the next three months, he will travel from his home to the Flemish Parliament in Brussels on a 45 km/h electric bike. As a result, he will be riding around 100 km a day.
First wirelessly charged, fully electric buses in Belgium
The first wirelessly charged, fully electric buses in Belgium started operation in Bruges on Saturday October 17.


Look for the check box to "Allow Bookerville to block dates on your Bookerville calendar from VRBO's iCal feed". Be sure to check the box.
Next you need to find your VRBO iCal feed URL. To find your VRBO iCal feed URL, read VRBO's instructions on it. Look at the "Import external calendar" section of this page: Finding Your VRBO iCal Export URL. Copy the URL (Ctrl-C) and paste it (Ctrl-V) into the field in your Bookerville Property Setup page.
1) Be sure to read the "What's This" next to it for important details.
2) Bookerville currently reads external iCal feeds once per night (2:30 am Eastern Time).
3) As of March 16, 2016, Bookerville is no longer removing bookings from your Bookerville calendar simply because those bookings don't appear on an external iCal feed. Instead, Bookerville sends an email to you notifying you of the booking that seems to be missing from the external iCal feed, so that you can investigate and remove it manually if needed. This is due to the unreliability of certain external iCal feeds.
Thanks.. this is very useful information.. Thanks for sharing..
Does anyone have experience with FlipKey offering this workaround? Quite frustrating when some properties listed prior to the changes allow emails and more recent properties listed do not.
Niseko Boutiques - are they hiding the guest email addresses from you?
Yes John, with the new Flipkey policies, names and email adresses are not revealed until a deposit is paid. I will try listing on the other sites now that there is a work around though..
You might try reaching out to your account rep at FlipKey and tell them you are about to switch to a different listing site because of this policy. My suspicion is that may make them change their mind about it.
Have you been able to obtain the calendar and other synch with VRBO yet through iCal?
Hi Patrick - yes, there are two ways to do it. You can enter your VRBO iCal feed URL that they provide into your Bookerville property setup. Bookerville will read it every night and block dates on your Bookerville calendar. Alternatively, HomeAway is now providing iCal sync with external feeds, so you can copy/paste your Bookerville iCal feed URL into your HomeAway account, and they will apparently sync from that.
If a inquirer asks for a quote and receives the auto response and then comes back and asks a question through VRBO does that mean they get the 2nd auto response? This looks like this is what happened. I am not sure if this is a good thing. It looked to me as if they got the same auto response twice. Is this correct?
Note: don't try to enter in the above example URL. You need to use your own, located in your Property Setup page. Ask for help if you need it.
Done! It will sync periodically or you can choose a sync now option.
Bookerville would like to express many thanks to member Penelope ("noeflat") for providing this to help others. Well done Penelope, thank you!
Hi Gene - I think we spoke about this on the phone but I wanted to chime in here for anyone else you might read this.
The sync is one-way, from Bookerville to the other sites. This tends to work very well as you may be getting bookings from a variety of sources, so once they are entered into Bookerville, they will appear on your FlipKey and AirBnB calendars, and any other site that will read a standard iCal feed.
Does this export the Pricing for each unit from Bookerville as well? Or just whether the unit is booked or available?
Hi sunspot - this only exports availability data.
I believe AirBnB has an API that might facilitate richer integration, but I think they only open it up for managers with many properties. I would ask your AirBnB rep about that - tell them you're using Bookerville and you want integration. Have them reach out to us.
John , im just setting up my properties in bookerville, so i have to enter booked dates manually for every propery i list?
Yes, although if you use the Auto-Responder, then it's just a click of a button from your Dashboard.
John. I'm still a little confused here. Let's say I get a request on Airbnb itself. Will it show on Bookerville automatically or will I have to enter this manually on Bookerville?
If you're not using the Channel Manager (BookingPal), then yes, you'd have to enter them manually into Bookerville.
AirBnB will sync their availability calendar by reading Bookerville's iCal feed, so it's one-way using that technique.
Question: does AirBnB provide an iCal export that Bookerville could read?
Consider using the BookingPal Channel Manager: Bookerville has partnered with them. There is no extra cost to use them. When you go that route, you get full data integration, including features/amenities, rates, taxes, photos, etc. and also two-way, real-time calendar sync.


Home » Small Business » Can Your Business Use a Board of Directors?
Many small business owners don't want to have outsiders on their board "overseeing" them, and that's understandable.
If your small business is incorporated, you were required to form a Board of Directors when you formed your corporation, but chances are very good that the founders, management, and the Board are all the same people. If your small business is unincorporated, you haven't had to deal with the question of a Board of Directors at all. But a Board of Directors serves a very important purpose – to provide oversight, accountability, and expertise to management.
Of course, part of the reason that many of us start our own businesses is that we want to "be our own boss." But sometimes you will hear people say (usually to someone who never asks for advice and tries to do everything themselves), "Don't be the Lone Ranger."
Now, putting aside the fact that the Lone Ranger did not actually work alone (Remember Tonto?), most people understand this to mean, "get someone else to help you, don't go it alone."
Be a sounding board for the people running the organization on a day-to-day basis.
Ensure the continuity of the organization.
So, how do you get the outside help you need, without giving up your autonomy? There are three major ways that work well.
Join a peer based advisory group. These groups can be pricey but they're popular for a reason – they work.
Hire a business coach and some good consultants.
Be a sounding board for you and provide you with accountability.
Accountability and expertise are the most important.
The truth is, most of us need a little help in this area. When you decide to "be your own boss," you're gaining a lot of freedom. You're also losing one of the things that made you a successful employee – external accountability.
Knowing that other people know what you're supposed to be doing, what your performance goals are, and that your performance is being monitored against some standard (even if it's just showing up every day), is a powerful motivator and it keeps us on track.
So the first function of an advisory board is to give us someone to make commitments to and share our goals with, and then continually report to them how we're doing against those goals. This keeps us on the road to success.
Don't feel bad that you really can't do this for yourself; most people can't. That's why programs such as Weight Watchers are so much more effective than losing weight alone.
You would be surprised how much easier it is to run your business when you have other people – people whose paycheck doesn't depend on your decision – to go to for help and advice. Wouldn't it be nice to have a group of people with your best interests in mind to call on?
That's the "why" of advisory boards. And anyone can have one!
JoAnne Berg, CPA is the founder/CEO of Peer Coaching Network, Inc.


Karen Petrasko is an illustrator working in the San Francisco Bay area. She freelances as a digital artist providing whimsical, magical imagery for casual games. The majority of her work is created digitally in Photoshop, Painter, and Illustrator while utilizing her background knowledge of life drawing and painting.
Her work has been featured in many sources in the U.S. and beyond. In the past, she has provided illustration and design for Amaranth Games, PassionFruit Games, Wadjet Eye Games, Gamenauts and more.
If you have any questions or comments for Karen, please use the contact area of the website or send an email to KarenKarenPetraskocom.


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Explain how money was taken away under your nose: Rahul to PM on bank fraud
Athani (Karna), Feb 24: Dismissing Prime Minister Narendra Modi's statement that strict action would be taken in the PNB fraud case, Congress President Rahul Gandhi today asked him to first explain how the money was taken away from the bank under his nose.
"A scam of Rs 22,000 crore happens, Nirav Modi runs away with Rs 22,000 crore from Indian Banks and Modiji (Prime Minister) says action will be taken," Gandhi said addressing a rally in poll-bound Karnataka.
"Action will be taken? You first make us understand how did Nirav Modi take Rs 22,000 crore from Indian banks under the nose of Narendra Modi's government," he said,
He demanded to know why the finance minister and Modi "allowed this to happen".
Breaking his silence over the Rs 11,400-crore fraud at India's second-biggest PSU bank, Modi had yesterday warned of strict action against those involved in financial irregularities and said loot of public money would not be tolerated.
Rahul Gandhi has, however, been claiming that the size of the fraud is Rs 22,000 crore.
The Congress chief is touring parts of north Karnataka as part of his second leg of campaign in Karnataka, where elections are expected in April-May.
During his speech, Gandhi ttoday repeatedly quoted 12th century social reformer Basaveshwara from Karnataka, revered by dominant Lingayat/Veerashiva community which is predominantly present in northern parts of the state, to attack the prime minister.
He said Basaveshwara had said five things -- "don't indulge in theft, don't indulge in violence, do not lie, do not boast about yourself and don't spread anger."
"First one was don't indulge in theft. Narendra Modi says that the Congress party government in Karnataka is corrupt. When he says it, on his right side is his chief ministerial candidate Yeddyurappa who had gone to jail, on the other side four more ministers who had gone to jail," Gandhi said.
The Congress president said that Modi, who gives "long speeches", was quiet on the Rafael fighter jet deal.
"He (Modi) banned the notes, implemented Gabbar Singh Tax and destroyed lakhs of businesses, but Jay Shah's (BJP President Amit Shah's son) business within three months converts from Rs 50,000 into Rs 80 crore. On this Narendra Modi does not speak anything."
Pointing out that Basaveshwara also said don't indulge in violence, Gandhi hit out at the Modi government,accusing it of dividing society and indulging in atrocities against Dalits and minorities.
Referring to Basaveshwara's preachings against lying, Gandhi said Modi made "promises in the 2014 Lok Sabha polls, including that Rs 15 lakh will be deposited into bank accounts of every Indian, jobs to two crore youth and making India corruption free".
"Has he worked on this and shown to you? Wasn't the Rs 15 lakh promise a lie...? he asked.
Gandhi also accused the prime minister of claiming credit for every achievement of the country . "You say nothing happened in 70 years and whatever is happening, whether it is in your party or in the country, it is only because of Narendra Modi."
"Whether it is a rocket launch or the Army personnel that fight and are martyred on the border, Modiji says see I did it," he said.
"Sushma Swaraj (external affairs minister), Nitin Gadkari (transport minister) and Home Minister (Rajnath Singh) do not have any work in the government and only one man works, that is Narendra Modi.
"Modiji when you bow before Basawaji, remember what he said- do not boast about yourself, this is the truth," Gandhi said.


On April 1st 2019, MPP Jessica Bell introduced a motion to require the Ontario Government to match local municipalities' funding contribution to operating and maintaining local transit systems.
That, in the opinion of this House, the Provincial Government should match local transit agencies' funding contribution to operating and maintaining municipal transit systems across Ontario. Funding can be used for maintenance, increasing service, ridership growth strategies, express routes, improving accessibility, and/or fare discounts. Funding cannot be used to replace or reduce municipal contributions to transit.


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17. 33 Newsletter 19th /20thAugust, 2017
Newsletter 19th /20thAugust, 2017
Brother Kevin and Homeless Families
The national preparation programme for the World Meeting of Families in Dublin, August 2018 will be launched at Knock shrine on
Monday 21st August 2017.
To mark the launch and to focus on families in distress in Dublin, we have invited Bro Kevin Crowley from the Capuchin Day centre in Church Street to speak at all the Masses this weekend - Saturday & Sunday 19th /20th August.
We in the church of the Holy Family invite you to a cup of tea after each Mass and to make a donation to Bro Kevin for his work with homeless families in Dublin
The Parish RESOURCE CENTRE is closed and will reopen on the 4th September.
The Parish Office will remain open, Monday to Friday from 10 am to 1 pm
ROTAS FOR MINISTERS OF THE WORD
The rotas for the next three months – Sept/Nov will be available for collection from the parish office or from the display case near the Sacristy from 22nd August
The collection for the ST VINCENT DE PAUL last weekend amounted to €1,867.
Many thanks to all for your generosity
This is a course which offers reflection and discussion about Life, Faith and Ministry.
It will enable people to explore their faith with greater confidence
 One night a week
 Two year programme
 No exams
 For adults of all ages
 September to May
 Thursday 7.00 to 9.30 pm in
Clonliffe College, Clonliffe Road, Dublin 3; call 01-8379253 ext. 294
Application forms in church
Your prayers are requested for the soul of
Catherine Flynn
Teresa Quigley
recently deceased and also for the souls of the following whose anniversaries occur about this time:
Anne Howard
MAY THEIR SOULS AND THE SOULS OF ALL THE FAITHFUL DEPARTED THROUGH THE MERCY OF GOD REST IN PEACE. AMEN.
August 2017 Mass times & Intentions
Michael Kelly (Anniv)
Monica Kelly (Anniv)
Betty Fegan (Anniv)
Kevin, Derek & Frank Cummins (Anniv)
John Rigley (Anniv)
Marie Magahran (Anniv)
Henry Gilligan (Anniv)
Mary O'Reilly (10th birthday deceased)
Marian Regan (Recently deceased)
Thur 24
Elizabeth Scarff (3rd Anniv)
KNOW MARY.
KNOW JESUS.
Dare to Believe!
Catholic Young Adults Conference (age 18-40)
2 days: Residential: €80; Non-Residential: €50
Keith; 086-889-9123; Lucy 087-995-9803 or
This email address is being protected from spambots. You need JavaScript enabled to view it.;
Legion of Mary project
300 Club Draw - Week 8 - 14/8/ 2017
1. J & S Carr € 100
2. Brendan Ryan € 50
3. Peg O'Dwyer € 30
4. Ann Rooney € 20
Associate of the Dublin Diocesan Pilgrimage to Lourdes.
Margaret in the shop is available take money and to enrol members.
Bring All the Family!
21st August 2017 – One Year to
WORLD MEETING OF FAMILIES 2018:
We invite you and all your family to come along to the launch of the one-year programme of preparation for World Meeting of Families 2018, which will take place at the Knock Shrine, County Mayo, on Monday 21st August 2017, the Anniversary of the Apparition of Our Lady.
This day of celebration will include the celebration of the Eucharist, workshops and faith and fun activities for all the family.
The WMOF2018 Icon will be presented at Mass in the Basilica at 3pm and then begin its journey around the Dioceses of Ireland.
Registration & Tickets for WORLD MEETING OF FAMILIES in 2018 is now open. Visit the Tickets Section on www.worldmeeting2018.ie to access information on the different type of tickets and registration available. Accommodation booking is also available online at time of registration through the same booking form on the website.
Fr Willie Doyle was born in Dalkey on 3rd March 1873. He entered the Jesuit Novitiate at the age of 18 and was ordained in 1907.
From 1908 to 1915 he gave no less than 152 missions and retreats. His fame as preacher, confessor and spiritual director spread far and wide.
He was later appointed a World War 1 chaplain.
He died in action during the Battle of Passchendaele on 16th august 1917 while rushing to the aid of a wounded soldier trapped in no man's land.
To Raise the Fallen is a selection of the War letters, Prayer and Spiritual writings of Fr Willie Doyle S.J. has been published by Patrick Kenny, a parishioner.
It is an inspiring book and is available at the shop. Congratulations Pat Kenny on the fascinating book.


Idukki, the beautiful hill station of Kerala derives its name from a Malayalam word 'idukku', which means narrow gorge. Idukki is known as the land of massive mountains, variegated valleys and splendid streams. Located in the southern portion of Kerala, Idukki offers diverse tourist attractions like hill ranges, mountain treks, spice plantations, virgin beauty of nature and wild life sanctuaries.
Located at an altitude of 750-meters above the sea level the clean and luxuriant Idukki hills enthrall you with their enigmatic and bewitching appeal. Idukki is of course famous for the sprawling wildlife sanctuary that supports a whopping variety of wild animals and birds.
Idukki district in Kerala is known for the Periyar and Idukki wildlife sanctuaries and the hill station of Munnar. This area of the hill ranges in Kerala is also known for many picturesque waterfalls and verdant views.
The Idukki Wildlife Sanctuary is the prime attraction of the hill town of Idukki. It is spread over an area of 70 sq km in the vicinity of the Arched Dam. The Idukki Wildlife Sanctuary is rich in green forest cover and vibrant flora and fauna. Tourist may easily spot animals like the elephant, bison, sambhar, deer etc. you may also find a wide variety of snakes and birds like the jungle foul, laughing thrush etc.


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Contexts / Interviews / Theatre
Visions and monsters
by Mika Provata-Carlone Comments
Marta Fontanals-Simmons as Hel in The Monstrous Child, The Royal Opera © 2019 ROH. Photograph by Stephen Cummiskey
The Monstrous Child, which has just completed a very successful run at the Royal Opera House's Linbury Theatre, is one of the first and most audacious examples of a new genre: highly evocative classical opera especially written for teenage audiences. Adapted from the YA novel of the same name by Francesca Simon with music by Gavin Higgins, a libretto by Simon herself, and directed by Timothy Sheader, The Monstrous Child was well positioned to be noticed and to be, especially, a resounding success.
In many ways, in what are perhaps the most significant ways, it has indeed been a sold-out triumph. A spectacular piece of physical theatre, puppetry and heuristic acting, with music that is both monumental and breathtaking in its daring, richness, and unremitting adherence to a formidable classical legacy and tradition, The Monstrous Child is deeply moving, relentlessly human and poignant, a staggering experience.
It is, however, also quite unsettling. Its theme, underneath all the layers of caustic humour and campy double-references, is perception. Its almighty omnipotence and its hellish dominion. It is about male and female perspectives, power and self-definition, about isolation, anger, centres and margins. It is also about cultural highs and lows, stereotypes and real substance. A scathing commentary on conjugal and parental relationships, on authority and subjection, it looms over the audience a little like one of Louise Bourgeois' spider mother figures might loom over an unsuspecting Wagner. It is a very disturbing portrayal of the female psyche, of the distortions female identity undergoes, or especially inflicts upon itself. With an emphasis on Jungian archetypes, Norse gothic lore and the Lacanian principle of a gaze that validates or erases, The Monstrous Child contains much food for thought. In terms of realisation, however, the plot can seem longwinded, too reliant on a kitsch version of teenage angst, and as paying too much homage to pop culture and its emptiness, when its aspirations are decidedly high art, and of the very best kind.
The Monstrous Child is unquestionably part of a new era for opera writing, for opera audiences, for an operatic, one might say, perspective of our reality."
The music and the artistry of the staging, the almost sublime quality of the voices, however, have the power to transport and to enthral. The Monstrous Child is unquestionably part of a new era for opera writing, for opera audiences, for an operatic, one might say, perspective of our reality. It was a pleasure to meet and interview one of the two alternating conductors, Mark Austin, following the performance on Thursday 28 February 2019.
MP-C: Over the past ten years or so, opera has been experiencing a particularly vibrant revival, and in many ways you have been part of it. You have worked both with traditional operas and with new, even eclectic ones, with smaller companies and with the mainstream greats. What can opera mean to us today in your view? How do you feel audiences have changed both in their composition and in their response to the form?
MA: The wonderful thing about opera is that it offers so many ways in. There is always an element that first attracts each audience member: the music, the beauty of the human voice, the storytelling, the visual aspect of the sets and costumes, or even a particular singer. And what does it mean to talk about 'opera' after 420 years of the genre. Over the course of this period, the dramatic function of music and the means of expressing emotion were completely transformed. The operas of Handel and Puccini are fundamentally different entities, the one a series of 'affect' character arias primarily showcasing the singer's vocal ability and the other a second-by-second depiction of human emotion.
Marta Fontanals-Simmons as Hel and Dan Shelvey as Baldr in The Monstrous Child, The Royal Opera © 2019 ROH. Photograph by Stephen Cummiskey
Today there is a huge range of possibilities for opera-goers both new and experienced, including much-loved stagings of established masterpieces, challengingly conceptual rethinks of the canon, exciting new additions to the repertoire and a wealth of recorded and video material. The opera industry today offers the possibility of preserving, cherishing and re-examining the cultural past, whilst also refreshing the art form for a new audience. We have to remember that in the 19th century the thrill of opera was mainly based around the novelty of each new premiere. This is something that we have almost completely lost now as the majority of performances are of historical works – this sense of public anticipation is more present in a hotly-awaited film launch. Nonetheless, opera remains a way to depict the joys and sufferings of the human condition that television and film have not fully supplanted. The beauty, fragility and power of a magnificent voice, heard live with an orchestra, is an extraordinary experience.
Audiences range hugely in their approach to opera. There are extremely knowledgeable opera-goers who have an immense love for the form and appreciate the great works of the past and the art of singing in astonishing detail. There are loyal but occasional visitors for whom the total experience, for instance at a summer opera festival, is as important as the work itself. There is a small group of dedicated followers of new opera who actively hunt the novelty, the excitement of breathing in a new work. On the whole audiences today particularly value credible dramatic storytelling, such as we experience in film, and this preconditions the way productions are conceived and expectations are met.
Many companies are seeking to attract younger and more diverse audiences by breaking down some of the former boundaries (knowledge, dress codes, ticket prices). I am excited about all these initiatives and indeed value all audience members who take the risk of purchasing a ticket for an opera. Once they are in their seat it is our job as performers to captivate them, even just for one moment, and give them an experience that briefly causes time to stand still.
It is amazing to perform a new opera to an audience of young people… What is important is that there are as many ways in as possible – it only takes one experience to sow the seed of a lifetime's exploration."
Is it new audiences for new operas? Or is it an evolution and transformation on both sides of the podium?
It is amazing to perform a new opera to an audience of young people for whom it is their first experience of the art form. Some of these moments have been the most memorable in my career so far – the instinctive response that many children have to the power of opera is immensely inspiring and reassuring. I am undecided as to whether it is better to create new works for new audiences based on modern stories they already know, or whether to inspire them with some of the great operas of the canon. Certainly, works with stereotypically good and evil characters, such as Rigoletto, are highly accessible to an interested adult opera novice. What is important is that there are as many ways in as possible – it only takes one experience to sow the seed of a lifetime's exploration.
You have now conducted two new operas that are addressed to a younger generation of opera-goers, Coraline and now The Monstrous Child. The music in both cases has been unabashedly and very excitingly eclectic, uncompromising, determinedly rich, complex and mature. What has the experience been like?
I was assistant conductor for Coraline – I didn't conduct any performances. But working on a new opera is an immense thrill, particularly when the composer and librettist are in the room. As a team, everyone is creating something completely new and the discussions that this involves are incredibly collaborative. There are particular issues to solve: maybe the stage director needs some more time in a particular bar for emotional credibility in a dialogue, or a certain musical passage sits in an inappropriate range for a particular singer's voice. Both composers I recently had the honour to work with – Gavin Higgins and Mark-Anthony Turnage – instinctively understand the requirements of theatre. Their willingness to alter their own carefully-crafted scores in the rehearsal room is a far cry from the inauthentically inviolate status we now attach to works by Mozart or Rossini.
Your own background as a musician and as a conductor is quite unusual. You came to music by way of literature and philosophy, which gives you a rather unique insight into the relationship between story and representation, words and sound, between the dramatic experience and the human reality. As a conductor, you have always placed music in a broader creative context. How would you describe this broader context with regard to The Monstrous Child?
I am fortunate to have had music in my life from age 4, when I began learning the violin, and music has always sat at the centre of my life alongside my other studies. For me the cultural context of any particular work offers the performer a great help in getting to the heart of what it is aiming to say.
The Monstrous Child the novel is Francesca Simon's typically inventive and energetic re-imagining of elements of Norse myth. This is such a large cultural tradition that I had to prioritise my own preparation to what would directly affect and improve my ability to conduct the opera. I carefully read her novel, which is of course the main source text. This enabled me to see and admire how Simon, as the librettist, together with composer Gavin Higgins, had prepared the libretto by trimming the story and focusing on the key characters and plot corners. Behind any operatic telling of this myth sits Wagner's Ring, which is an enormously influential work dealing with the same material. However, it is not particularly relevant to The Monstrous Child – there is only one direct musical allusion to Wagner's music – as the story has its own colour in Simon's novel and Higgins is influenced by a number of different composers, including Britten, Puccini, Stravinsky, Ades, Turnage…
The rarity of new opera commissions means that the broader context of any new opera is not only its genesis or its relation to its source materials, but rather how it sits alongside other recent commissions. There is a genuine hunger in the opera community for successful new work (by which we loosely mean a piece which is dramatically and musically convincing to both an expert and a lay audience, allowing for commercial viability), and so the initial reception of each premiere helps to define what we currently think of as successful new opera writing.
Finally, I would add that as a performer my job is to channel the expressive power of any work to the maximum, and so sometimes reflecting critically can be less rather than more helpful. Simon alters the original dark ending of the Norse myth and allows a quasi-Judeo-Christian moment of rebirth to occur. This bold gesture can affect the reader/audience in different ways. The conductor's job is not to question whether the abandonment of the dark worldview is credible, or indeed well handled, but instead to draw out the threads that make it possible and to make it my own in performance.
The Linbury as a space is one of a kind – in terms of intimacy, acoustics, aesthetics, artistic possibilities. How did it feel working there?
This was the first opera to be put on in the newly renovated Linbury Theatre at the Royal Opera House. It is an elegant, intimate space and it was a thrill to be involved in the first production there. We worked very hard to explore the acoustic, which varies considerably depending on where you are sitting, and a key part of our work is to balance things with the orchestra to ensure that the text comes across clearly from the stage to the audience. The Monstrous Child is a technically complex production by Tim Sheader and offered a good showcase for what is possible in the Linbury, whether this regards music, lighting, video animation, special effects, etc. I never cease to be amazed at the multitasking and calm discipline of the backstage team, who had to cope with very quick costume changes, challenging music for finding cues, and some very timing-sensitive actions. Conducting at the Royal Opera has been a dream come true for me, and all the more so alongside such a brilliant cast and production team.
What is the future for opera in your view?
The opera industry is full of creative people seeking new directions, commissioning new works and finding ways to keep the existing repertoire alive for each generation. If we peer forward a couple of centuries it is hard to see now how the pace of musical and dramatic development that took place over the 19th and 20th centuries could be sustained in the future. There are now no new chords to be discovered! However, it is likely that technological innovation will play a larger role in the theatrical experiences of the future. Imagine a virtual reality experience where you could walk around on stage during an opera, or even pretend to be one of the characters.
The other important question is whether there will continue to be audience support, and whether future generations of politicians, business leaders and civil servants will consider opera's financial subsidy to be worthwhile. While the economic and cultural elites will always value opera, that is not enough for it to flourish, nor should this life-enhancing art form be inaccessible to the majority of the population. This is a question of music and drama education – does every child have the opportunity to come into regular contact with music, theatre and opera? – and here the situation looks less promising although not completely bleak. Cinema broadcasts have certainly widened the potential audience (possibly at the expense of less high-quality amateur companies).
Mark Austin was a violinist in the National Youth Orchestra while at school, and later studied at Cambridge University and the Royal Academy of Music, where he was a Junior Fellow. His conducting highlights include Le nozze di Figaro for Dartington International Festival, Goyescas for the Grange Festival, Tosca for Musique Cordiale International Festival and a two-concert Brahms residency with Guy Johnston and the Faust Chamber Orchestra at Hatfield House. As a pianist, he has performed at venues including Wigmore Hall, Kings Place, St John's Smith Square, Holywell Music Room, Paris's Opéra Bastille and the Shanghai Oriental Arts Centre. He is musical assistant to The Bach Choir, and regularly conducts them in concerts and in the recording studio.
mark-austin.net
@Mark_Aus_tin
Francesca Simon is known for the staggeringly popular Horrid Henry series, whose books and CDs have sold over 20 million copies in the UK alone and are published in 27 countries. She is also the author of the picture book Hack and Whack. She lives in North London with her family. The Costa-shortlisted The Monstrous Child is published by Faber & Faber.
francescasimon.com
@simon_francesca
Mika Provata-Carlone is an independent scholar, translator, editor and illustrator, and a contributing editor to Bookanista. She has a doctorate from Princeton University and lives and works in London.
The Monstrous Child was staged at the Royal Opera House's Linbury Theatre from 21 February to 3 March 2019 as part of the Winter 2018/19 season.
Tags: Contexts, Faber & Faber, Francesca Simon, Gavin Higgins, interview, Linbury Theatre, Mark Austin, Marta Fontanals-Simmons, opera, review, ROH, Royal Opera House, The Monstrous Child, theatre, Timothy Sheader, YA novel
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The trip of Lalibela Churches begins at 8am from the place you stayed the night or direct pick you from the first flight. You will drive to the churches to the amazing settlings of the people's history and some of the rock hewn churches found on the center of the town. You will visit all the churches with helping of the experienced English speaking guides and local guides.
In the city of Lalibela you will see about Eleven Rock Churches organized in to groups of three.
The spectacular churches were carved both inside and out from a single rock some 900 years ago.
The trip begins at 8am from the place you stayed the night or direct pick you from the first flight. You will drive to the churches to the amazing settlings of the people's history and some of the rock hewn churches found on the center of the town. You will visit all the churches with helping of the experienced English speaking guides and local guides.
At this day all the meals included on the provided time based on the plan. Overnight in your recommended hotel or Ashton hotel.
Early morning after your first meal, you will visit Bibilla found 30 km of north of lalibela. The drivers handle everything to see all the churches found in the village. You see three of the churches found in that localities. Bilbilla cherkos, Bilbilla Giorgis and Bilbilla Arbaetu insesa. And the most intriguing of the churches around Bilbilla is Yemrehanna Kirstos monastery. It is constructed in the late axumite style with alternating layers of wood and gypsum faced granite. A cavern behind the church houses the bones of more than 10000 Christian pilgrims who travelled from afar to die at the monastery. You will back to lalibela at early afternoon and fly to addis.
It took King Lalibela his entire reign and more than 60,000 men to finish the work. According to local accounts, the work was assisted by angels. Other erected and cave churches built during this period are found at a short distance from the town. Now a day the town is the center of tourism because of the 11 rock hewn churches found around it. It welcomes some 140,000 pilgrims a Year, especially between Christmas and Tikmet.


text:
My Memories of Eva Hesse
Earlier today I saw a lovely tweet from a young art history student:
It brought back memories of Eva Hesse, so I wanted to share the article I wrote along with that interview, first published in Feminist Art Journal and included in my memoir Firebrand:
After my women artists' forum was done, I had cast about for a new subject to interview for Artforum. I asked the dealer Abe Sachs if he could recommend an up-and -coming artist. He mentioned the name of Eva Hesse who did soft sculpture. I was intrigued. I had met the artist briefly in 1968 when she was in a having a one woman show at the Fischbach Gallery, which, though not at the top of the art world matrix, was still considered a good place to find, budding art stars. Eva Hesse was a pixyish, vivacious young woman in her early thirties. She had a yielding tender face, a melting smile, and bright dark eyes that could be mischievous one moment and heart wrenchingly sad the next. Her work was made up of both pieces hanging from the walls and of freestanding cylinder shapes made of fiberglass, latex rubber, cord, and other materials. The sculptures were completely abstract, but they had an emotional quality, an aspect of reaching out for attention and love that drew me in.
I didn't follow up on her then, but I did meet her several times: once a at warehouse where her work appeared in a group exhibition, sponsored by the Castelli Gallery and curated by the ubiquitous Robert Morris. We spoke a while and she showed me her steely ambitions side when she gave me her shrewd assessment of the art scene. "There are only a handful gallery worth visiting or to be shown at," she confided. I guessed she meant to be in one of them. She had gone to Yale Art School where she had not been happy, and afterwards arrived at New York and became friends with Minimalists like Sol Lewit, Donald Judd, Al Held and Sylvia Stone. Later on she also developed relationships with Richard Serra, Keith Sonnier, and Jackie Winsor, who were flouting Minimalist dogma. She longed to be accepted and taken seriously by leaders of the group who were fast getting art world attention.
Eva had been married to a sculptor named Tom Doyle who had gotten recognition, while she went unnoticed. In those days being married to a male artist meant being looked upon as a helpmate there to help propel the husband's career upward. Even Lucy Lippard, who, though married to the painter Robert Ryman, was an independent and respected art critic, ignored Hesse until the late 60's, and focused on Doyle. Women's art, for the most part, was looked upon as trivial. The marriage was not a happy one as the sculptor was a notorious womanizer and Eva was prone to depression and self-depreciation. Soon they divorced.
The next time I saw Eva was at a museum opening She had a bandage covering the whole top part of her head, as if she had just come out of surgery, and looked bloated and ghostly pale. I spoke to her, and she told me that she had had a brain tumor that was malignant, but it had been operated on and she would be all right. She smiled wanly as she said it, but there was a look of determination in her luminous dark eyes. I decided I would come and see her work at her studio that was on the Bowery.
When I got to the small, spare loft where she lived and worked, she welcomed me eagerly with the sweetest of smiles. She began to show me her current works, and I was touched by their beauty and uniqueness. Her forms were abstract; however they were not cold and pristine. Rather there was a tender, yearning quality they pervaded them like a woman longing for her lover. Some hung from the wall with cords plunging out of them, others used the wall as a support. The works were also sensuous and the rounded shapes that jutted off the wall suggested breasts, while the boxes with tubes growing out of the bottom and the sides evoked images of hairy vaginas. However, all the sculptures only hinted of a sexuality seeking to be expressed; none of them were literal depictions. There was nothing graphic.
I greatly admired the gouache and ink drawings that were hung on her walls. Many of them were either of round shapes or rectangles. They were all in black drawn with a light delicate touch and the subtle shading of the forms was exquisite. I wanted to buy one of the small drawings that were composed of two dainty meticulously delineated circles. She told me it would cost one hundred dollars, but she was loath to sell it. " Let me think about it" she said, grinning in an almost coquettish way as if she were flirting with me. I let it go much to my regret, since it spoke to something in my psyche. Later on when Eva became an art world icon, the drawing appreciated greatly in value.
It wasn't until January 1970 that I decided that Eva Hesse would be the next interviewee that I would suggest to Artforum. Phil Leider, the acerbic editor, gave me the go ahead. I called Eva at her the loft, but there was no answer. Someone suggested that I call Richard Serra who might know where she was. His response to my question after I told him I would be interviewing her for Artforum was, "She's got another brain tumor—she's dying. You're like a vulture." I was shocked by his response, but I was also insulted, since I had had no idea of how bad her physical condition was, and only thought that getting attention from a top art magazine would please her. But I persisted, so Serra told me she was staying at the loft of the painter Al Held and his wife the sculptor Sylvia Stone. This was not the last time Richard Serra was overtly hostile toward me. Later on I had an idea about doing an article on process art. I called him to get an interview and he demanded who else would be in the piece. I mentioned some of the artists I intended to include. He said,
"I don't think I want to be in the same article as those people." His response got my hackles up. I said, "You are a public figure and I don't have to get your permission to write about you."
"Fuck off," he yelled into the phone and then slammed the phone down.
I was furious, but now I realize it wasn't personal. I found out Serra was rude to practically everyone. He was maintaining his savage artist persona that has helped to make him into a legend of the baleful, temperamental genius á la Michelangelo and had the rich collectors eating out of his hand, (the hand which would smack them in the face.) His sculpture was outsized and threatening and his behavior was an extension of it. Meanwhile he got and continues to get huge commissions and has been anointed the world's most important contemporary sculptor.
I set up a date to meet Eva at her friend's loft. When I told her I wanted to tape her on cassettes, she sounded hesitant since she had never before been recorded, but she agreed to do it. It was on a bright wintry day with an intense blue sky and a few cotton candy white clouds sailing on high that I met with Eva. It was a good day to be alive. The building where she was staying had two different entrances and we kept missing each other, but we laughed about it as we entered the beautiful loft. The white walled rooms were spacious, the living floors were a burnished light brown wood; the tiled floored kitchen was state of the art, and the furniture modern but comfortable. The walls displayed Al Held's geometric paintings and simple pedestals showed off Sylvia Stone's abstract sculptures.
Eva settled me onto a comfortable couch with a coffee table in front of me where I could place the tape recorder, and she cuddled up, with her bare feet tucked under her, in a large cushioned armchair. I looked at her closely and I felt sad for her. Her shinning aura of dark hair was almost gone and her exposed scalp, with its covering of fuzz, gave her the look of a newly born chick. The large doses of cortisone she was being given had caused her to swell and her lovely gamin face resembled that of an overly large moon faced young child. But, her large dark eyes were as arresting as ever, and as we began to talk, they sparkled when she laughed. She told me she had just come home from the hospital after having had more chemotherapy. I asked her if she was up to doing the interview. She said,
"I'm very nervous about speaking into a tape. Maybe you could hide it so I won't see it." Then she asked, "Could I talk about myself and my background before we start talking about the work?"
I put the recorder out of sight and she began to outline her incredible history as a German Jewish refugee from a troubled background who escaped from the Nazis just in time. She felt that nothing in her life had ever been normal and that the only time she ever felt secure was when she was doing her art. It was a moving story.
After Eva finished giving me her personal history, she became much more relaxed. We took a break and began to chat about other aspects of her life. She told me that all the patients at Sloan Kettering were so optimistic. They all believed they were going to get well. Giggling, her eyes twinkling, she shyly told me she had a crush on a gorgeous orderly. I marveled that even with the specter of death bearing down on her, she still could extract joy from her existence. She asked me about my background. I gave her a brief sketch, and then I told her about how I had become a feminist and how I thought every woman should be one. Eva was skeptical even when I informed her how much women faced sexual discrimination in the art world. When I asked her if she had experienced sexism, she was ambivalent,
"Maybe but I don't know. Maybe I just wasn't good enough. Maybe I'm not as smart as the men, not intellectual enough. But maybe emotion is just as good as intellect. There ought to be a place for it. Richard Serra came to me. I think he took some of my ideas. But I'm so insecure, yet I know I can make great art. All my life I've been either the cockroach or the queen."
I totally empathized with Eva. I too had agonized all the time that I wasn't smart enough, that I wasn't a true intellectual. Yet when I completed a piece of writing that pleased me, I too felt that my ideas mattered and that I was meant to have a position of power. I also believed I could make a contribution to the history of art.
I asked Eva if she thought there were sexual elements in her art, allusions to female or male genitalia. With a wave of her small, determined hand, she denied it, and the statement that she gave me for woman artist's article also disappointed me. She wrote "Excellence has no sex" and "The way to beat discrimination is by art." Eva was sitting on the fence, afraid of antagonizing the male powers-that-be just when they were about to bestow their gifts on her.
We decided to continue the interview on another day because Eva was getting tired. So I came back to see her two other times. She was more confident about speaking on tape for the rest of the interview and was extremely articulate and knowledgeable about her work. She agreed that there was an obsessive quality to her sculpture, in her need to repeat some forms over and over to exaggerate. She found her creations to be absurd saying they reflected the absurdity of her life. She had made insightful comments about other artists from Goddard to Andy Warhol.
It was a terrific interview and instinctively I knew I had recorded material that was really valuable. I also felt that Eva and I had become friends. She was easy to like since she was charming and open and had a wry sense of humor. We talked about the difficulties women artists had being included in serious male artists' conversations at artists' hangouts. "If you go to an artists' bar, you're supposed to sit quietly in awe of the male speaker like a good little groupie," I said. Eva nodded her head. Then we decided that we would go together to St. Adrian's the current artist's hot spot and enjoy each other's conversation, ignoring the men.
St. Adrian's was on lower Broadway. It was a dark nondescript working class style bar with John Clem Clarke's murals on the wall behind the bar. When we walked in a few heads turned, but no one spoke to us. I think Eva was a little letdown, as she loved to flirt. She knew no one and neither did I. I was hoping to find John Clem Clarke seated at the bar, but he wasn't there. However we carried out our mission, sat at the bar and pretended we were having a good time. Neither of us admitted it was annoying not to receive any male attention. I was a feminist, but I was also a woman, and I liked to be admired by men. Masculine adulation shored up my confidence and made me believe that I was physically attractive and desirable. I always suffered from doubts my attraction for men even though I had won a handsome husband. It was a hold over from being a rejected by the boys when I was a youngster when we played Post Office and Spin the Bottle. That need never went away even after I read all the feminist literature and started going to consciousness raising groups. Eva too felt insecure in her womanhood, especially, I supposed, because her husband had left her. She too needed to be reassured. This mutual need cemented our friendship.
After the interview, I didn't see Eva again until I had the tape transcribed and I called her to let her know that it was done. She asked me to come over with it, as she wanted to read it. I brought a copy I had xeroxed to her at her own studio. The place was in disarray and I found her in bed under the covers looking small and vulnerable as an ailing little animal. "I'm not feeling well at all. I can hardly get out of bed. My sister is taking care of me," she told me in a low voice. I studied her pasty, puffed-out face and lusterless eyes and I knew she was very sick. "I brought the transcript for you to read. It's terrific." I spoke in as cheery tone as I could muster, feeling like phony. She took it from me, and looked at it in a lackadaisical fashion as if it were a pile of unimportant mail. Before she had finished the first page, she put it down. "I can't read it now. Please let me keep it and I look at it as soon as I can."
I wanted to do anything that would give Eva some pleasure, but I was leery. Instinctively, I knew that it was not a good idea to leave a rough transcript, or a finished, but unpublished interview with my interviewee. But she was so helpless, so beaten down by her illness that I did not have the heart to deny her any request.
When the interview came out in early May, 1970, Eva was back at Sloan Kettering after having a third operation. I went to see her there and found her in bed under a white sheet looking pale and fragile with a white bandage again encasing her head. It struck me that her last great sculpture "Untitled," consisted of freestanding forms that looked like they had been bandaged. When she saw me she managed to give me a smile and her eyes brightened a little. Phil Leider had given her the cover of Artforum, and the magazine was on the table next to her bed. She sat up a bit and boasted in barely discernible voice, "I've got the cover. I'm so happy." Then she pointed to a beautiful bouquet of spring flowers next to the magazine, and said, "Do you see these? They're from a big collector. I finally made it didn't I?" I took her hand, and I was glad for her. I knew then and there that Richard Serra had been wrong. I wasn't an exploiter. Not even setting out to do so, I had helped to bring a dying woman some of the acclaim that she so desperately wanted and deserved. The world had affirmed her importance as an artist; a goal had been reached. She had been validated.
Plucking at her covers absentmindedly, Eva chatted with me for a while about her gorgeous orderly, who had welcomed her back, and how she would be doing new pieces when she got back to her loft. She was amazing, and I even half believed she would be home creating again.
Two weeks later, I called the hospital and was told she had lapsed into a coma. I decided to go see her anyway. As soon as I entered her room, I knew this was the end. She was lying stone still on the narrow bed, totally unaware that I had come in and there was silence all around her. Small and expressionless under the blanched white bedding she was only a shell of her true vivacious self. I took her hand in mine and squeezed it and said my good-byes. As I walked out into a warm sunny spring day, with its puffy white clouds moving majestically across the deep blue sky, and felt a lovely gentle breeze brush my cheeks, I experienced a terrible sadness. Eva Hesse was only 33. What a waste of a fine talent coupled with youth and loveliness. I went to her funeral and met several women artists I knew. Nancy Grossman told me she didn't know Eva personally, but she felt as if she was at one with her. "She speaks for all of us," Nancy said.


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