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Lensing the Newport Mob: 60 Years Later, A Deep Dive Into 'Jazz on a Summer's Day'
WBGO | By Nate Chinen
Published March 26, 2020 at 7:06 AM EDT
Louis Armstrong, in a scene from 'Jazz on a Summer's Day'
Jazz on a Summer's Day opened in New York in March of 1960.
The film, which had premiered at the previous year's Venice Film Festival, is a pinnacle of jazz on the big screen, and one of the finest music documentaries ever made. After a period of unavailability on streaming services, it was recently given a 4K restoration by IndieCollect, and acquired by Kino Lorber — which has released the film on Blu-Ray and DVD. (I wrote the booklet essay.)
Below, find my essay Lensing the Newport Mob: On Jazz on a Summer's Day. Originally delivered as a keynote at the Literature/Film Association Conference, it was presented again at the Newport Jazz Festival in 2018, half a century after the events depicted in the film. I'm proud to publish it under the banner of Deep Dive.
Let us begin in prayer.
To be more specific, here is Mahalia Jackson, the Queen of Gospel Music, singing "The Lord's Prayer" at the Newport Jazz Festival. This is the scene that closes Jazz on a Summer's Day — in earthly supplication, quieted by the power of a sublime and awesome presence. (By which I mean Mahalia, in case you couldn't tell.)
Jazz On a Summer's Day, which was actually filmed over several days in the summer of 1958, principally but not entirely at the Newport Jazz Festival, has often been heralded as the greatest jazz film ever made. Certainly it's one of the most visually stunning: a color-saturated feast of sound and image that flouts the rules of cinema even as it snaps the phrase "motion picture" into literal focus.
The film is also a fascinating sociological document: a portrait of American leisure and privilege in the Eisenhower era, brimming with sunny hopes and sublimated tensions. Of course it's also an influential marker for many subsequent concert films, like Monterey Pop, Gimme Shelter — even Martin Scorsese's The Last Waltz. No less a filmmaker than Paul Thomas Anderson has called Jazz on a Summer's Day "the gold standard, for me, of making a film out of music." So the legacy of Bert Stern's movie is larger than the box into which it's typically slotted, even if its distinctive power depends in part on the growing distance between its moment and our own.
At the time of its release, on March 28, 1960, Jazz on a Summer's Day was both acclaimed and dismissed, occasionally within the same review. Archer Winsten of the New York Post praised Stern as a first-time filmmaker of possibly limitless potential. Bosley Crowther, of The New York Times, was more ambivalent:
Scenically and sonically, Jazz on a Summer's Day is great, but, in the cinematic area, it is inconsistent and thin. The shots, while entertaining, do not add up to much; some series, indeed, are pretentious and represent little more than a photographer's whim. A better title for this picture — more descriptive of it, at least — might be "Jazz on a Photographer's Field Day." Or "Lensing the Newport Mob."
Critics! But if you've seen the film, you may be nodding in agreement. Jazz on a Summer's Day is absolutely the product of a photographer's whim, as Stern would have been the first to admit. And the more you look into the conditions around its creation, the more you marvel at its air of carefree inevitability. Like most enduring cinema verité, it has a touch of fortuitous grace, the feeling of something that could just as easily have slipped right through our fingers. I'm not the first to suggest that this elusive quality bears special resonance with jazz, as a spontaneous discipline and an improviser's art.
So my aim in this Deep Dive is to situate the film in its cultural moment, with respect to jazz in general, and the early Newport Jazz Festival in particular. This is a worthwhile exercise in itself, but it also clarifies any formal analysis of the film, shedding light on the decisions and omissions that make Jazz on a Summer's Day such a success. I'd argue that you can't really understand it outside of that context, which begins with the stature of jazz in postwar American culture, and the conscious effort to refurbish, refine and literally "class up" its popular image.
You Dig It, Sir?
George Wein was an enterprising young jazz pianist from Newton, Mass. when he opened Storyville, a jazz club originally in the basement room of Boston's Copley Square Hotel.
Tellingly, the club bore the name of an infamous red-light district in New Orleans, in an act of playful appropriation. Storyville began as a haven for traditional jazz and Dixieland, but quickly evolved into Boston's top room for the modern jazz of the time: Dave Brubeck, Ella Fitzgerald, Erroll Garner, Stan Getz.
(I should disclose here that I coauthored Myself Among Others: A Life in Music, George Wein's 2003 autobiography, and consider him both a mentor and a friend. As of this writing, George is 94, and looking forward to covering the scene at Newport this summer, from aboard a trusty golf cart known as The Wein Machine.)
George Wein, right, with Louis and Elaine Lorillard in the mid-1950s.
Storyville's notoriety brought Wein into contact with the tobacco heir Louis Lorillard and his socialite wife Elaine, who were looking to create a jazz event in Newport, Rhode Island, the summer playground of the American elite. This larkish idea quickly led to the first Newport Jazz Festival, held at the International Tennis Hall of Fame in downtown Newport, 1954.
Time and tenure have endowed this festival with the air of a grand inevitability. It's easy to forget how audacious it felt at the time. The challenge wasn't an issue of audience interest — not in the popular heyday of Ella and Louis, Shearing and Peterson, Garner and Gillespie. (All of whom were on the festival bill that year, by the way.) What made the event so remarkable was the mere idea of presenting a festival of jazz in a setting like Newport, with the implicit assertion that this was music as deserving of cultural cachet as any classical program.
There's a wonderfully dry New Yorker piece by Lillian Ross about that first festival; in it she quotes Wein as saying "This town will never be the same again. What I want is to get Doris Duke's aunt or somebody else here with a big mansion to give us their place and let us turn it into a school of modern music. We could make Newport the jazz center of the world. What Salzburg is to Mozart! What Bayreuth is to Wagner! What Tanglewood is to classical music! That's what we could make Newport be to jazz!" What must have sounded then like the height of wishful thinking and naked ambition now sounds pretty close to the mark.
That New Yorker piece bears the title "You Dig It, Sir?" after a remark uttered by an audience member in an afternoon panel discussion; his name was Gerry Mulligan. The deadpan charm of the quote rests on a presumption of incongruity. In other words, it's a hoot just to contemplate the presence of jazz musicians in a setting such as this. It's worth stating the obvious here — that Gerry Mulligan was a clean-cut white musician, and that there was much more turbulence over the reception of African-American artists in the seat of America's Gilded Age.
The Newport Jazz Festival was formed as a nonprofit with a board of advisors. And at one board meeting late in 1955, there was a spirited debate over the issue of racial discrimination in Newport, come festival time. The minutes of that meeting are illuminating. Some members of the board, like Alan Morrison, the editor of Ebony magazine, propose relocating the festival to a more cosmopolitan and socially progressive setting, like New York City. Wein voices a practical objection, and so does John Hammond, the Columbia Records producer, and a product of Vanderbilt stock himself. Discussing the advantage of holding the festival in Newport, Hammond points out the unparalleled publicity value.
He goes on:
As far as the world acceptance of jazz is concerned, I think many of us who are on this advisory committee have been fighting for jazz for a long time. We have no particular love for Newport—I less than almost anybody here with family, relatives, and forbears all coming from Newport. It is a kind of society and a kind of life—everything that I abhor. Yet in one sense of the word we have brought democracy to Newport, which was the last place in the world where it could have been expected to be found in America.
Hammond's point was soon validated in a number of ways, a few of which played out on the big screen.
Now You Has Jazz
Perhaps you've seen the 1956 MGM musical High Society, a high-gloss remake of The Philadelphia Story, which in turn was an adaptation of the Philip Barry play.
Cary Grant, Katherine Hepburn and Jimmy Stewart in 'The Philadelphia Story'
The movie version of The Philadelphia Story was directed by George Cukor, and featured Katherine Hepburn, Cary Grant and Jimmy Stewart entangled in a classic remarriage plot.
Bing Crosby, Grace Kelly and Frank Sinatra in a promotional image for 'High Society'
High Society replaces them respectively with Grace Kelly, Bing Crosby and Frank Sinatra, relocating the action from the Main Line to the mansions of Bellevue Avenue. Cole Porter composed the score, and the orchestrations were by Conrad Salinger and Nelson Riddle. The movie was a box office success, despite mixed reviews, and it holds up today as a minor classic.
What I've just left out in my capsule summary is the raison d'être for High Society, and probably the most interesting thing about it. The film is set against the backdrop of the Newport Jazz Festival, with which Crosby's character, C.K. Dexter Haven, is somehow tangentially involved. (He's a member of the Newport gentry who has been slumming it as a popular songwriter, a fact that Cole Porter probably found both irksome and droll.) The movie opens on Louis Armstrong and his All-Stars in the back of a tour bus, en route to one of the mansions on Bellevue Avenue, where they'll be rehearsing. (Whether they're also staying there is left a little vague, for reasons you can probably discern.)
Armstrong sings an expository opening number, "High Society Calypso," to set up the plot. Then we see the band approaching the mansion, in the first of many class-based comic setups in the film. (Musician 1: "I can't go in there!" Musician 2: "Why not?" Musician 1: "I don't have my library card!")
In one of the adjacent scenes, Crosby's character thanks the matron of the house for allowing the musicians to rehearse there. "Don't you know you might lose your listing in the Blue Book?" he teases her good-naturedly. "Jazz is very unchic."
Now, the jazz trappings in High Society are more of a convenient pretext than an essential feature of the plot, despite a couple of swell duets. The film opened in mid-July of '56, which was extraordinarily good timing. Less than two weeks earlier, Duke Ellington had given an https://youtu.be/hTonhINTeXQ" target="_blank">instantly legendary performance at that year's Newport Jazz Festival, reviving his career with "Diminuendo and Crescendo in Blue" — a tenor saxophone feature for Paul Gonsalves, who electrified the crowd with an epic 27-chorus solo. That performance became a part of Ellington's legend; a centerpiece of the best-selling album Ellington at Newport; and a major reason for his appearance, the following month, on the cover of Time magazine. Obviously, there was something vital and attractive about the notion of jazz at Newport. So while it includes not a frame of real festival footage, High Society was right on trend.
And to its credit, the film presents Louis Armstrong with due respect. He's a sly commentator on the film's shifting romantic calculus, often breaking the fourth wall with a folksy aside or clever jibe. And he stands on equal footing with Crosby during a musical set piece called "Now You Has Jazz," featuring solos by every member of his All-Stars, singled out by name.
Bing Crosby and Louis Armstrong in 'High Society'
Armstrong at this point was a hugely popular entertainer with a growing filmography, and the movie doesn't patronize him, or at least not much. So even in light of the obvious frivolity of High Society, it was a mainstream entertainment that took pains to present jazz in an honest light: upbeat and low-down, but also perfectly at home in even the most dignified of settings. It's no small thing that Crosby's character, who has our sympathies from his entrance onscreen, harbors so much admiration and collegiality with Armstrong and his band. He could be a spiritual stand-in for John Hammond, undermining the starchy aristocracy from within.
Louis Armstrong and Jack Teagarden in 'Jazz on a Summer's Day'
There's certainly a parallel between the slangy familiarity Bing and Pops demonstrate in High Society and what we see during's Armstrong's knockout performance in Jazz on a Summer's Day. Singing the Hoagy Carmichael classic "Old Rockin' Chair" as a duet with trombonist Jack Teagarden, Pops pulls what Ralph Ellison would have called a trickster move. After Teagarden sings the line "Fetch me my gin, son, 'fore I tan your hide," he shoots back: "My hide's already tan." There's been a great deal of recent scholarship about veiled social critique in the Armstrong canon, and I'd suggest that the plantation echoes of this particular song, in this particular setting, are trenchant and fully intentional.
Ralph Ellison, Langston Hughes and James Baldwin at the 1958 Newport Jazz Festival.
As early as the very first Newport Jazz Festival, the presenters of the event aspired to foster a place for intellectual discussion as well as popular entertainment: there were afternoon panel discussions on subjects like "Jazz's Place in American Culture," and "The Jazz Dance," and that perennial staple, "The Future of Jazz."
Almost from the start, the festival was a magnet for leading black writers and cultural figures, like Ellison and poet Langston Hughes, who was briefly a member of the advisory board. Julian Bond, the civil rights activist, considered the Newport Jazz Festival a rite of summer for his collegiate peers in the late '50s. And as the historian John Gennari has noted, black newspapers like the New York Amsterdam News ran coverage of the festival "not just in the entertainment section but also in the social pages, where it exemplified the cultivated leisure of the black bourgeoisie."
In a broader sense, jazz's flirtation with Newport leisure and luxury, however provisional it was at the time, strengthened a popular perception of the music as something glamorous and moderne. Look at a selection of album covers from 1957, and you find jazz's growing traction with the worlds of high fashion and Madison Avenue style.
By 1958, the festival was so thoroughly embraced by this taste-making demimonde that one of the afternoon panels was titled "The Editors' Point of View." It was a conversation among top American magazine editors — and I don't mean the editors of jazz magazines. The panel included Harold Hayes of Esquire, Evelyn Harvey of Glamour and Leo Lerman of Mademoiselle.
I think it would be safe to assume that all of them were familiar with the work of Bert Stern.
Driest of the Dry
The image to the left is a 1955 print ad for Smirnoff vodka. The title of the campaign was "Driest of the Dry," and it was Stern's first professional assignment.
He came up with the idea while walking down Fifth Avenue with a martini glass full of water, and noticing the upside-down reflection of the Plaza Hotel. He traveled to Egypt to shoot the Great Pyramid of Giza, creating one of the emblematic commercial images of the age, and embarking on a legendary career.
Stern is most often remembered now for his portraits of Marilyn Monroe, especially the hauntingly intimate series for Vogue known as The Last Sitting, weeks before Monroe's death in 1962. But he was busy all throughout this era, shooting magazine covers and commercial spreads, along with profile-like shots of stars like Elizabeth Taylor and Audrey Hepburn. A 2011 documentary called Bert Stern: Original Mad Man cast him in that fancifully reductive light, though there is of course some kernel of truth to the idea that he was always selling something.
While we're talking film, Stanley Kubrick was an old pal of Stern's; they met at LOOK magazine before the war, and purportedly bonded over "a mutual interest in beautiful women."
When Kubrick was finishing up Lolita in 1962, he commissioned Stern to take some publicity stills for the movie. Without having seen the film, he brought the 13-year-old actress Sue Lyon and her mother out to Sag Harbor, where they found these heart-shaped sunglasses at a five-and-dime. The image, of course, is iconic, and it never appears in the film.
All of which is to say that Bert Stern was a maestro of style, someone whose visual instinct and formal vocabulary were highly attuned to the machinery of desire. He was not a jazz fan. In fact, he seems to have been completely out of touch with the design aesthetic of the music in the late '50s, all of those sleek and stylish album covers, the pop of a Reid Miles design. "My impression of jazz," he once recalled, "was something downstairs in a dark room."
Despite what must have been his positive associations with a photographic darkroom, that's not what he's talking about here. He's effectively describing the iconographic signature that dominated jazz in photographs and on film during the 1940s and early '50s. As an emblematic example, I'd offer Herman Leonard's most celebrated jazz image, a portrait of Dexter Gordon at the Royal Roost in 1948: the plume of smoke, the angles of his horn and his hat. A perfect distillation of postwar American cool.
Here's another example: a still from The Sweet Smell of Success, a fantastically caustic film noir from '57, starring Burt Lancaster as a coldblooded Broadway columnist and Tony Curtis as a sycophantic publicist. The image depicts drummer Chico Hamilton with his band, who briefly appear in the film. "Something downstairs in a dark room." Sounds about right.
We can infer that Stern probably saw The Sweet Smell of Success, because when he started to put together Jazz on a Summer's Day, the only real jazz musician he had heard of was Chico Hamilton. He went to see Hamilton and was so enthralled that he decided to give him pride of place in the film — "almost," he said, "like a leading man in the movie."
The genesis of the film couldn't have been more larkish: Stern had a friend who knew Elaine Lorillard, and while visiting one day he had the idea that Newport could be a fine setting for a short. He had been in the motion picture division while serving in the Army in Korea, so he had a little experience shooting news stories with handheld cameras. Because he knew nothing about jazz, he went to Columbia Records and met with the producer and executive George Avakian, to ask about recording the festival.
At the time, all of the big record labels recorded their artists at Newport, partly because the immense popularity of Ellington's album had imbued the phrase "At Newport" with a certain cachet. This particular year George Avakian made an arrangement to record all of the artists on the bill, to ensure some measure of consistency. He also told Stern which artists to film, making his calculations partly on the basis of likely clearance and approval.
The film is a musical delight, with a few moments you could rightly call iconic. Anita O'Day, in white gloves and a black sheath dress, scatting a storm through "Tea For Two." That Armstrong/Teagarden duet, a vision of interracial collegiality. Dinah Washington wailing with the Terry Gibbs Quintet, and playfully horning in on Gibbs' vibraphone solo. The abstract title sequence, a shot of light shimmering off the water, scored to the Jimmy Giuffre 3. Thelonious Monk in bamboo sunglasses, playing "Blue Monk" with Henry Grimes on bass and Roy Haynes on drums.
Credit Vernon L. Smith
Miles Davis at the 1958 Newport Jazz Festival.
In fact, there's such a tremendous bounty of great music in Jazz on a Summer's Day that it seems ungallant to reflect on what might have been. But while we're on the subject, let me just note that Miles Davis played the festival that year with his short-lived sextet, which featured Cannonball Adderley on alto saxophone, John Coltrane on tenor saxophone, Bill Evans on piano, Paul Chambers on bass and Jimmy Cobb on drums—the same personnel that would very shortly record Kind of Blue.
Sonny Rollins, the Saxophone Colossus, appeared just before Monk; Grimes and Haynes were the rhythm team in his trio. There were also sets by the Max Roach Quintet, the Randy Weston Trio and the Dave Brubeck Quartet. Ellington made his return. Stride piano master Willie "The Lion" Smith played an afternoon set. Joe Turner delivered a smashing show — and so did Ray Charles, thankfully rolling tape for a live album.
Stern has said that at some early point in the process, he had aspired to make something like a conventional feature film, with jazz and Newport as the backdrop. "It wasn't a real script," he said.
I thought we could create a love story, so I had this guy who was the writer, who was also an actor, and this girl who was very beautiful, that I was going with, and I thought they could be the subject of this love story. And I was going to do it improvisational, in the French genre. The mistake I made was that I rehearsed it and the rehearsal went great, but after that the passion that they had for each other was gone.
This does not, in short, describe the process of an experienced film crew. Stern also said that the first scene they shot involved a cat, and as soon as they started rolling, the cat bolted, throwing the production into limbo. Still, early marketing for the film touted a romantic angle; note the couple in the poster at left, not to mention the pull quote from Saturday Review. ("EMBARRASSINGLY INTIMATE." Um, OK.)
Anyway, I'm fairly confident that the young woman in the yellow headscarf, below, was Stern's then-girlfriend and would-be leading lady. Her few scenes in the film have a stagy quality — in one, she's idly reading a copy of Camille, and in another she's reacting to the feather in someone's hat — and there's some indication in a behind-the-scenes featurette that she was the actress he described.
By comparison, the woman in the red sweater and straw hat was a genuine discovery: her long, fidgety take appears early in the film, as a sort of impertinent comment on the windbaggery of Willis Conover, the festival emcee. I believe this yawn arrives just as he's talking about Thelonious Monk's special affinity for spiking his pianism with the intimation of quarter tones. (While researching this paper, I learned that this happens to be Patricia Bosworth, a biographer of Montgomery Clift, Marlon Brando and Diane Arbus. She's also a former actor, though I don't think she was acting here.)
As we all know, great art so often arises out of limitations of one sort or another. In Stern's case, he had a thorough lack of knowledge about jazz, bordering on active disinterest. But he also had the Avakians — George and his brother Aram, who was deeply involved in both the filming and editing of Jazz on a Summer's Day. There were five cameras on the scene, all handheld, and Aram Avakian served as an on-the-fly D.P., calling audibles and setting up coverage. (He also later spent the better part of a year editing the 80,000 feet of film they'd shot, and painstakingly syncing the images to the sound.)
The Newport Jazz Festival stage at Freebody Park, 1955.
Several of Stern's signature innovations in the film also came partly out of a workaround. When he first scoped out the location of the Newport Jazz Festival, he was bitterly disappointed: at the time, it took place in Freebody Park, a municipal park in a lot behind the high school. Nothing glamorous about it. In fact, he briefly decided to scrap the project. "There was nothing really to shoot that interested me," he explained.
His eventual solution was to do away with almost anything resembling a wide shot, so that you rarely get an accurate read on the physical dimensions of the site. Instead, using the same long lenses he favored in his still photography, he shot the action in tight closeup, often holding for an unusually long take, so that the viewer feels not only present in the moment but intimately so: I'm struck by how much these shots remind me of the enormous video screens you now see at outdoor pop festivals, so that the tiny speck onstage in the distance can also register as the artist you've paid handsomely to see.
The composition of these images is rarely less than intriguing, which reflects Stern's own assessment of the film: "It's like moving still pictures with music," he said. "It's an unusual film because it's like still photography."
During many of the night scenes, Stern shot into the stage lights, another evocative technique he'd adapted from his photographic practice, and something that hadn't at all been common practice in documentary films, until this one. As he put it, he was looking for any way to hide what he saw as the mundane tackiness of the setting — to conjure a little glamour.
And here is where some of the stranger magic of the film takes shape, because all throughout Jazz on a Summer's Day, the camera seems every bit as interested in watching the watchers—capturing audience members in their various states of inattention or rapture, looking rumpled or resplendent, aware or unaware.
This wasn't the norm for a concert film, and it really still isn't, though you can certainly point to examples that seem to echo this one.
The night shots here are especially striking, and it's worth noting that Stern had gamed the system a bit, making arrangements with the festival to light the event himself, because the conventional rig was too dark for his purposes. We see young faces expressing childlike wonder, bodies dancing with a loose-limbed abandon.
It's no coincidence that so many of these sequences coincide with the more popular acts on the bill.
I'm referring mainly to Chuck Berry, whose appearance on the bill was a bit controversial among jazz partisans. Like Big Maybelle, who also appears in the film, Berry was backed by the Newport Blues Band, a special assemblage of musicians like Teagarden, saxophonist Buddy Tate and drummer Jo Jones.
The inclusion of Berry and Maybelle was largely the work of John Hammond, who had strenuously argued the case. In that sense, Jazz on a Summer's Day can be understood not only as a cornerstone jazz film but also an accidental entry in the early rock 'n' roll filmography. (Rock Around the Clock had come out just a couple of years earlier, and Elvis was four movies into his Hollywood career.)
The lyrics to "Sweet Little Sixteen," which Berry sings in the film, sketch a bifurcated picture of night and day, wildness and obedience, sexual adventure and prim restraint. The groupie in the song has "got the grown-up blues / Tight dresses and lipstick / Sportin' high-heeled shoes." But she'll be back in class tomorrow morning, keeping up appearances of innocence and propriety.
There's a link between this carnal duality and Stern's presentation of music in the film — indeed, it's the core idea of the film, just as it's the animating tension of most early coverage of the festival. Right after the rollicking carnality of "Sweet Sixteen," we get the regal ministrations of Mahalia; Saturday night into Sunday morning.
Speaking of parties, we haven't yet touched on the extramusical footage in the film, some of which has aged less gracefully than the music. Stern gave up on his scripted aspirations, but he held on to the idea that Jazz on a Summer's Day needed the occasional break from the concert-and-audience model.
The worst of his cutaways involve house parties shot not during the festival or even in Newport but rather on Long Island, weeks later. There's an air of ebullient fakery to these scenes, and they may have born some responsibility for what happened at the festival in 1960, when a horde of young revelers in downtown Newport — not festival-goers, but college types blowing off steam — riotously clashed with the local police.
But then there are other cutaway shots that play out differently. We see Chico Hamilton and his band rehearsing in a living room: he's bare-chested, workmanlike but intensely serious, in tune with the coloristic drama of his music. As Stern put it, almost like a leading man. I can't say how authentic the moment is as rehearsal footage, but it feels truthful, or at least like something other than a falsehood. It also underscores a subtext of the film, the notion that jazz is in fact a serious discipline. We get another form of this legitimizing twitch when we see one of Hamilton's sidemen, Nathan Gershman, practicing a Bach cello suite.
Finally, another facet of this kaleidoscope of footage involves two locomotive set pieces. One centers on footage from the America's Cup trials, held in Newport harbor; Stern shot the sailboats with an Arriflex 35, while hanging out of a Piper Cub airplane. And these images, which form part of the allure of the film, underscore the notion that jazz is something windborne, wide-open and free — the antithesis of the dark cavern you reach by tripping down a flight of stairs.
The other series of shots features a clean-cut young Dixieland band tootling around Newport in a convertible jalopy, or jamming in a town square, or on a rocky shore. The band had a name, Eli's Chosen Six, and an affiliation, with Yale University: the Eli in the name was a nod to Elihu Yale, the school's mercantile namesake.
There's something maybe a little on-the-nose about a recurring role for an Ivy League trad-jazz crew, frolicking in the summer playground of the American elite. But one scene near the beginning of the film has a nice resonance: Eli's Chosen Six is negotiating a beachside curve in the jalopy when a sports coupe comes flying past, tires screeching. It's a handy shorthand for the cultural and social changes already underway in Eisenhower's America, and captured so precisely by Stern's watchful eye.
I don't mean to be utopian or glib: to the extent that Jazz on a Summer's Day was a tonic for the standard grim syntax of jazz onscreen—or a vision of some hopeful, integrated future— we know it was also an exceptional outlier, a document in many ways unrepeatable and unique.
Still, some of what the film augured has come to pass. Jazz can still evoke dark shadows and brooding demons, but that's hardly the fallback presumption now. The music now struggles for relevance, whereas in 1958 it was fighting for respect.
The Newport Jazz Festival still takes place each summer, and we can only hope it proceeds as planned this year. Scheduled headliners include Norah Jones, Wynton Marsalis, Charles Lloyd and Diana Krall. And in the same way that any lived experience can lodge in the mind, I sometimes catch myself making an almost subliminal comparison between the summer affairs of today and the one evoked in the film.
The festival now occupies a site as spectacular as any Stern could have desired: Fort Adams State Park, a craggy civil war fortification that juts into Narragansett Bay. Sailboats and rowboats and small yachts often drop anchor just off shore, and every year I witness another musician marveling at the view from the stage.
But in some respects it's a testament to Stern's visionary execution that there hasn't been another Jazz on a Summer's Day — a captivating, feature-length film deftly spun out of Newport festival footage. (There are, of course, plenty of standalone concert videos, including this one, courtesy of Jazz Night in America.)
What matters is that the influence of the film is as present as the music itself — just as difficult to isolate, as impossible to ignore, and ultimately as ageless in its appeal.
Music Deep DiveNewport Jazz Festival
Nate Chinen
A veteran jazz critic and award-winning author, Nate Chinen is editorial director at WBGO and a regular contributor to NPR Music.
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Tibor Rubin, Holocaust survivor and Korean War hero, dies at 86
Awarded Congressional Medal of Honor for his heroism
LOS ANGELES (JTA) — Tibor Rubin, who survived two years in the Mauthausen concentration camp and then two-and-a-half years in a Chinese prisoner of war camp during the Korean war, died at age 86.
Rubin died Saturday in Garden Grove, California, of natural causes.
Born in Paszto, a Hungarian shtetl of 120 Jewish families, Rubin was 15 when he was liberated by U.S. troops, and vowed to repay his debt by enlisting in the American army after arriving in New York in 1948. [Read more…]
Jewish organizations blast Trump for call to block entry of Muslims into U.S.
Plan to single out religious group "deeply offensive"
WASHINGTON (JTA) — Jewish groups blasted Republican presidential candidate Donald Trump for his proposal to block all Muslims from entering the United States.
"A plan that singles out Muslims and denies them entry to the U.S. based on their religion is deeply offensive and runs contrary to our nation's deepest values," the Anti-Defamation League said in a statement Monday evening, hours after Trump, a real estate billionaire and reality TV star, issued his call. [Read more…]
Time readers choose Bernie Sanders as Person of the Year
(JTA) — Readers of Time magazine chose Democratic presidential candidate Bernie Sanders as Person of the Year, according to a poll by the magazine.
Sanders is a Vermont senator, who is Jewish and self-identifies as a Democratic socialist. He is challenging former Secretary of State Hillary Rodham Clinton for the Democratic nomination. Sanders' polling numbers have exceeded expectations, but he still trails Clinton by a wide margin. [Read more…]
Palestinian lawmaker sentenced to 15 months in Israeli prison for incitement
TEL AVIV (JTA) — A member of the Palestinian parliament will spend 15 months in an Israeli prison for incitement to violence.
Khalida Jarrar was convicted in Israeli military court of incitement to violence and belonging to the Popular Front for the Liberation of Palestine, an illegal organization banned by Israel. The plea agreement reached Monday also carries a 10-month suspended sentence and a fine of approximately $2,600, according to Haaretz. [Read more…]
British-American Jewish academic under investigation for Jewish Nazi comment
Campaign Against Anti-Semitism files police report over Levine's statements
(JTA) – The British-American Jewish academic who told a 13-year-old Israeli girl that she would not answer her questions for a school project until there is peace in Palestine is under police investigation.
The Cambridgeshire Constabulary confirmed on Friday to the London-based Jewish Chronicle that it was investigating a complaint about a comment by archaeozoologist Marsha Levine, a former academic at the University of Cambridge, who told the Jewish Chronicle in response to an interview about the girl's request that "the Jews have become the Nazis." [Read more…]
Israeli man severely injured in West Bank stabbing attack
Man in his 40s attacked near Tomb of Patriarchs
TEL AVIV (JTA) — An Israeli man was seriously wounded in a stabbing in the West Bank.
The victim, who was stabbed near the Tomb of the Patriarchs in Hebron on Monday afternoon Israel time, was evacuated to a hospital, according to the Zaka emergency medical service. Israeli reports said he was in his 40s. [Read more…]
In Oval Office speech, Obama pledges to destroy Islamic State
San Bernardino attacks an 'act of terrorism'
WASHINGTON (JTA) — Calling last week's mass killing in San Bernardino an "act of terrorism," U.S. President Barack Obama pledged in a nationally televised Oval Office address to destroy the so-called Islamic State.
"It is clear the two of them had gone down the dark path of radicalization," Obama said Sunday, referring to the couple who carried out the attack at a social services center in the Southern California city. "This was an act of terrorism." [Read more…]
Women light Chanukah candles at Western Wall
JERUSALEM (JTA) — About 100 women gathered at the Kotel to light Chanukah candles.
Security guards permitted 20 women to enter with their menorahs, but then attempted to ban and confiscate a large communal one being brought in by the Women of the Wall organization.
Knesset member Ksenia Svetlova of the Zionist Union party used her parliamentary immunity to bring the communal menorah in to the site on Sunday night, the first night of Chanukah, the Women of the Wall said in a statement. [Read more…]
In Paris, public Chanukah ceremonies held despite security concerns
Jewish community refuses to let
terror attack stop freedom
of religious expression
(JTA) – About 6,000 people gathered in Paris under heavy security for the public lighting of a Chanukah menorah at the base of the Eiffel Tower, despite security concerns in the wake of last month's terrorist attacks.
French Chief Rabbi Haim Korsia lit the first candle of a 30-foot menorah on Sunday night, the first night of Chanukah, in the Eiffel tower ceremony attended by French Jewish leaders and government representative and sponsored by Chabad-Lubavitch. [Read more…]
In San Bernardino mass shooting, FBI inquiry looking at terrorism
(JTA) – The FBI is treating the inquiry into the mass shooting in San Bernardino, California, as a counterterrorism investigation.
The decision follows the discovery that the couple believed to have opened fire Wednesday at a social services centre's holiday party, killing 14, had stockpiled thousands of rounds of ammunition and pipe bombs in their home. [Read more…]

redpajama_set_name: RedPajamaCommonCrawl


Do we know what happened to it?
The aircraft was around 280km (175 miles) from the Egyptian coast when it disappeared, travelling at an altitude of 11,000m (37,000ft). Initial reports were that no distress call had been issued, but EgyptAir later said it received an emergency signal from the plane around 4.26am, two hours after the last radar contact.
The Greek defence minister said the plane made sudden swerves before losing altitude.
"At 3.39am (0039 GMT) the course of the aircraft was south and south-east of Kassos and Karpathos (islands)," Panos Kammenos told a news conference.
"Immediately after, it entered Cairo FIR (flight information region) and made swerves and a descent I describe; 90 degrees left and then 360 degrees to the right," he said.
The Airbus plunged from 37,000 feet to 15,000 feet before vanishing from radar.
Egypt says military search and rescue teams have been dispatched to the site the plan vanished from radars. Greece also has sent one C-130 Hercules and one early warning aircraft. One Greek frigate is also in the area and helicopters are on standby on Karpathos for potential rescue or recovery operations.
They were 30 Egyptians, 15 French citizens, two Iraqis and one person each from Britain, Belgium, Sudan, Chad, Canada, Kuwait, Saudi Arabia, Portugal and Algeria.
What kind of aircraft was it?
An Airbus A320 – considered a safe and reliable plane. Nonetheless the model has been involved in safety incidents in the recent past, including the Germanwings tragedy in March 2015 that claimed 150 lives. It was also the aircraft Chesley Sullenberg famously landed on the Hudson River in 2009.
Is there any suggestion of foul play?
Not at this stage. The aircraft passed through airports in Tunisia and Eritrea in the four journeys it made on Wednesday before the Paris-Cairo flight, but no warning flags were raised. Abdel said there were "no reported snags" from the crew in Cairo or Paris; nor was there any special cargo or notification of dangerous goods on board.
The area of the Mediterranean where the plane went missing is heavily trafficked and much-monitored, within reach of British listening posts in Cyprus, close to Israel and near to the US Sixth Fleet.
What are the next steps to revealing the aircraft's fate?
Search and rescue teams will be currently tracing the emergency beacon apparently emitted by the aircraft around 4.26am. Should that lead them to a crash site the crews will need to recover the aircraft's two black box flight recorders.
The water in that section of the Mediterranean can be 2,000m deep (6,500ft) – meaning that Dubai's Burj Khalifa tower could fit into two and a half times. The equipment involved in the search for MH370 is able to search depths of at least 6,000m.
If the EgyptAir A320 is the same as the Germanwings model that crashed last year, it will have two components: a cockpit voice recorder, which tapes what the pilots say, and a flight data recorder, which stores some of the around 2,500 different technical measurements in a modern aircraft.
Both are stored at the back of the aircraft and wrapped in titanium or stainless steel, to best survive a crash They are able to withstand one hour of 1,100C heat and weight of up to 227kg. The boxes can take years to be found – two years in the case of Air France flight 447, which disappeared in 2009 in the Atlantic.
The UK Foreign Office could not confirm reports that a British national was on board the missing the Airbus but said it was "in urgent contact" with authorities in Paris and Cairo.
EgyptAir said the country's prime minister Sherif Ismail was monitoring the search from the airline's crisis centre in Cairo.


text:
Active deformation and shallow structure of the Wagner, Consag, and Delfin Basins, northern Gulf of California, Mexico
Persaud, P.; Stock, J. M.; Steckler, M. S.; Martin-Barajas, A.; Diebold, J. B.; Gonzalez-Fernandez, A.; Mountain, G. S.
northern gulf of california; oblique rifting; reflection seismic data; distributed deformation; sonobuoy refraction data; northeastern baja-california; sierra san-fermin; plate motion; continental tectonics; magnetic-anomalies; pacific plate; late miocene;
[1] Oblique rifting began synchronously along the length of the Gulf of California at 6 Ma, yet there is no evidence for the existence of oceanic crust or a spreading transform fault system in the northern Gulf. Instead, multichannel seismic data show a broad shallow depression, similar to 70 x 200 km, marked by active distributed deformation and six similar to10-km-wide segmented basins lacking well-defined transform faults. We present detailed images of faulting and magmatism based on the high resolution and quality of these data. The northern Gulf crust contains a dense ( up to 18 faults in 5 km) complex network of mainly oblique-normal faults, with small offsets, dips of 60 - 80degrees and strikes of N-N30 degreesE. Faults with seafloor offsets of tens of meters bound the Lower and two Upper Delfin Basins. These subparallel basins developed along splays from a transtensional zone at the NW end of the Ballenas Transform Fault. Twelve volcanic knolls were identified and are associated with the strands or horsetails from this zone. A structural connection between the two Upper Delfin Basins is evident in the switching of the center of extension along axis. Sonobuoy refraction data suggest that the basement consists of mixed igneous sedimentary material, atypical of mid-ocean ridges. On the basis of the near-surface manifestations of active faulting and magmatism, seafloor spreading will likely first occur in the Lower Delfin Basin. We suggest the transition to seafloor spreading is delayed by the lack of strain-partitioned and focused deformation as a consequence of shear in a broad zone beneath a thick sediment cover.
710XYTimes Cited:2Cited References Count:73


text:
https://www.greenwichtime.com/local/article/Ex-manager-stole-106-000-from-Riverside-store-11164736.php
Ex-manager accused of stealing $106,000 from Riverside store: cops
By Robert Marchant
Updated 5:20 pm EDT, Monday, May 22, 2017
Julienne Julmeus
Photo: / GPD
GREENWICH — A former manager of a Riverside convenience store is facing a felony charge of larceny for allegedly stealing more than $100,000.
Julienne Julmeus, 23, of Seaside Avenue, Stamford, is accused of taking out thousands of dollars a week from the automatic teller machine at the Sheephill Mobil gas station on East Putnam Avenue, police said. According to the criminal complaint filed against her in Superior Court, she was making fake receipts for the ATM machine to hide the thefts.
Julmeus began working at the store as a cashier in 2014 and was later promoted to store manager. She was fired in late 2016 when the store management detected suspicious activities, according to the court papers. Private investigators and an accountant were brought in by Greenwich Convenient Mart Inc., the store management, and police were contacted.
Eventually, after a lengthy investigation and audit, authorities concluded that Julmeus allegedly stole $106,061 from the store management. Authorities reviewed videotape from the store to track her activities with the cash machine and went through financial documents.
Julmeus initially told investigators that she took the money to cover her husband's gambling debts, and that her 5-year-old son was being threatened as a result of those debts. That story fell apart under scrutiny, according to the complaint, and there were no outstanding gambling debts.
Julmeus also claimed she was sending money back to her family in Haiti, but that story became undone when investigators found that she had not made any wire or bank transfers to Haiti.
She was arrested Saturday. Bail was set at $50,000 which Julmeus was unable to post as of Monday morning, and she was being held in custody.
A court date of June 5 was assigned.
rmarchant@greenwichtime.com


text:
Recent Earthquakes Near Thermal, California, United States
Tijuana, Baja California, Mexico
Mexicali Calexico Area, California
Gulf Of Santa Catalina, California
San Pedro Channel, California
Greater Los Angeles Area, California
Santa Monica Bay, California
Channel Islands, California
Santa Barbara Channel, California
W. Coast Of Baja California
Long Valley Area, California
Island Angel De La Guarda
Thermal has had: (M1.5 or greater)
16 earthquakes in the past 7 days
The largest earthquake in Thermal:
today: 2.2 in Pine Valley, California, United States
this week: 2.5 in Pine Valley, California, United States
this month: 4.2 in Borrego Springs, California, United States
this year: 6.2 in Las Brisas, Baja California, Mexico
Sky Valley, California, United States
Today 2023-01-29 23:50:47 UTC at 23:50
8.2 km from Sky Valley (5.2 miles)
Pine Valley, California, United States
30.2 km from Pine Valley (18.2 miles)
Julian, California, United States
18.2 km from Julian (11.2 miles)
Aguanga, California, United States
8.2 km from Aguanga (5.2 miles)
Anza, California, United States
10.2 km from Anza (6.2 miles)
Banning, California, United States
7.2 km from Banning (4.2 miles)
Epicenter at 33.64, -116.718
Morongo Valley, California, United States
8.2 km from Morongo Valley (5.2 miles)
Valle Vista, California, United States
8.2 km from Valle Vista (5.2 miles)
Borrego Springs, California, United States
9.2 km from Borrego Springs (5.2 miles)
Desert Shores, California, United States
14.2 km from Desert Shores (8.2 miles)
Idyllwild, California, United States
4.2 km from Idyllwild (2.2 miles)
Cabazon, California, United States
6.2 km from Cabazon (4.2 miles)
16.2 km from Anza (10.2 miles)
Places Near Thermal


AMD Homes is the newest addition to the Distinctive Homes by DeMarco portfolio of homebuilding companies.
For more than a decade, Brian DeMarco has built a reputation of crafting exquisite custom, luxury homes. A family man, he felt the need to design and build homes that are more accessibly priced in today's marketplace. The result: AMD Homes.
AMD creates homes that are thoughtful in design, energy efficient, and feature all of the newest quality materials and products. Peace of mind comes with the excellent one-year warranty provided. AMD is everything you are looking for when selecting a fantastic plan from an experienced builder all at a great value. Your new dream home begins with AMD Homes.
AMD Homes is building in the Woodcrest neighborhood, conveniently located adjacent to the on-site elementary school.


text:
<?php namespace Arcanedev\GeoIP;

use Arcanedev\Support\PackageServiceProvider;
use Illuminate\Support\Arr;

/**
 * Class     GeoIPServiceProvider
 *
 * @package  Arcanedev\GeoIP
 * @author   ARCANEDEV <arcanedev.maroc@gmail.com>
 */
class GeoIPServiceProvider extends PackageServiceProvider
{
    /* -----------------------------------------------------------------
     |  Properties
     | -----------------------------------------------------------------
     */

    /**
     * Package name.
     *
     * @var string
     */
    protected $package = 'geoip';

    /**
     * Indicates if loading of the provider is deferred.
     *
     * @var bool
     */
    protected $defer = true;

    /* -----------------------------------------------------------------
     |  Main Methods
     | -----------------------------------------------------------------
     */

    /**
     * Register the service provider.
     */
    public function register()
    {
        parent::register();

        $this->registerConfig();

        $this->registerGeoIpManager();
        $this->registerGeoIpCache();
        $this->registerGeoIp();

        $this->registerConsoleServiceProvider(Providers\CommandServiceProvider::class);
    }

    /**
     * Boot the service provider.
     */
    public function boot()
    {
        parent::boot();

        $this->publishConfig();
    }

    /**
     * Get the services provided by the provider.
     *
     * @return array
     */
    public function provides()
    {
        return [
            Contracts\GeoIP::class,
            Contracts\DriverFactory::class,
            Contracts\GeoIPDriver::class,
            Contracts\GeoIPCache::class,
            Contracts\DriverFactory::class,
        ];
    }

    /* -----------------------------------------------------------------
     |  Other Methods
     | -----------------------------------------------------------------
     */

    /**
     * Register the GeoIP manager.
     */
    private function registerGeoIpManager()
    {
        $this->singleton(Contracts\DriverFactory::class, function ($app) {
            return new DriverManager($app);
        });

        $this->singleton(Contracts\GeoIPDriver::class, function ($app) {
            /** @var  \Arcanedev\GeoIP\Contracts\DriverFactory  $manager */
            $manager = $app[Contracts\DriverFactory::class];

            return $manager->driver();
        });
    }

    /**
     * Register the GeoIP Cache store.
     */
    private function registerGeoIpCache()
    {
        $this->singleton(Contracts\GeoIPCache::class, function ($app) {
            /** @var \Illuminate\Contracts\Config\Repository $config */
            $config = $app['config'];

            return new Cache(
                $app['cache.store'],
                $config->get('geoip.cache.tags', []),
                $config->get('geoip.cache.expires', 30)
            );
        });
    }

    /**
     * Register the GeoIP.
     */
    private function registerGeoIp()
    {
        $this->singleton(Contracts\GeoIP::class, function ($app) {
            /** @var \Illuminate\Contracts\Config\Repository $config */
            $config = $app['config'];

            return new GeoIP(
                $app[Contracts\GeoIPDriver::class],
                $app[Contracts\GeoIPCache::class],
                Arr::only($config->get('geoip', []), ['cache', 'location', 'currencies'])
            );
        });
    }
}

redpajama_set_name: RedPajamaGithub


text:
FTC Reveals Concerns Over Arco to BP Amoco
By Andrew Callus
LONDON -- U.S. antitrust watchdog the Federal Trade Commission has approached BP Amoco PLC outlining for the first time specific areas of its concern about the oil giant's planned purchase of Atlantic Richfield Co., a BP Amoco spokesman said Friday.
"The FTC did make an approach and have indicated there are some areas they would like to examine in more detail," the spokesman said.
He spoke as BP Amoco shares jumped more than 3 percent in early trade, partly on revived hopes the $26.8 billion deal may be spared a prolonged court battle with the FTC. BP Amoco hopes to make $1 billion a year of cost savings through the merger along with other potential synergies.
"Discussions include the process of litigation and an exploration of whether litigation can be avoided," the spokesman said.
But in a reference to a move the company made earlier this month to force a decision from the FTC on whether to clear the deal or go to court to block it, he added that "the 20-day clock is still ticking, and it ends on Feb. 3."
The FTC declined to comment in the United States on Thursday after BP Amoco first commented on discussions aimed at avoiding litigation, maintaining its official silence on the subject.
Sources familiar with the body's thinking say it is concerned that domination of Alaska crude output will reduce gasoline price competition on the U.S. West Coast, whose refineries rely on the state for 40 percent of supplies.
BP Amoco declined to say what was in the approach from the FTC, and would not comment on a report in the U.S. oil newsletter Oil Daily that said the FTC move may simply be internal maneuvering - an attempt by its chairman, Robert Pitofsky, to show he has explored all avenues.
Pitofsky needs the support of at least two of the other four members on the commission to take BP Amoco to court.
According to Oil Daily, an agency has told BP that if it wants a negotiated settlement it should be prepared to wipe out what it is picking up in Alaska - some 350,000 barrels per day of the combined groups' 800,000 barrels of production.
Analysts have long felt that BP Amoco would be prepared to do exactly that, though industry sources have insisted that it considered Prudhoe Bay, the jewel of Alaskan output where both companies work, as nonnegotiable.
BP Amoco has already agreed to divest 175,000 barrels in a deal with Alaska governor Tony Knowles, who backs the takeover. On Jan. 13 when it decided to force the FTC's hand, it revealed that it had offered the U.S. body the allocation of a further 210,000 barrels a day to third party buyers under long-term contracts. "Only about $200 million of the cost savings come from Alaska anyway and they'd be able to retain some of those, so 85 percent of the $1 billion of cost savings they'd be able to retain even if they did have to sell every barrel of Arco's Alaskan output," Lucy Haskins, analyst at Commerzbank, said.


text:
Younis Khan could become interim Pakistan Test captain
Posted by Editor at 10:57 PM .
Labels: Misbah-ul-Haq, Naeem-ul-Haq, Pakistan Cricket, Pakistan Cricket Board, PCB, Sarfraz Ahmed, Younis Khan
By Naeem-ul-Haq
With Misbah-ul-Haq uncertain about his future as the Pakistan Test captain, following a dismal run soon after claiming the number one slot in the world last year, there are strong enough indications of change of guard down the road.
Wicketkeeper-batsman Sarfraz Ahmed, who has been leading the national team in the shortest format of the game (Twenty20 Internationals), has recently also been appointed the skipper for the One-day Internationals, replacing the under-fire Azhar Ali, who prudently chose to resign instead of waiting to be axed.
With Sarfraz having shown the aggression as well as the enterprise when captaining the side in the opportunities having come his way so far in the limited overs matches, he remains untested for the longest format of the game.
There are many people who consider him as the natural choice to lead the national team at the Test level whenever Misbah's tenure is over. Yet there are a few heads who desire Sarfraz not to be fast-tracked into the role which could jeopardize his own future as well as that of the national team.
I also reckon that it would be wiser to let Sarfraz do an apprenticeship before being thrust into the most challenging role of his career.
If he fails to deliver as a Test captain at this stage this could hurt him in the limited overs formats as well and Pakistan could be struggling to find another capable leader.
While Misbah's days, by his own admission, seem numbered in the Test arena, the selectors can turn towards Younis Khan, the greatest-ever batsman produced by Pakistan, to lead the Test team in the period when Sarfraz could be groomed as his successor.
Younis as captain and Sarfraz as vice-captain could become win-win situation for Pakistan in Tests. Both of them are at the peak of their careers and together they can work wonders for the country.
Younis has a proven record both as a batsman as well as a captain. His records are far too impressive to ignore by any stretch of imagination.
In fact he has been very harshly treated on most occasions despite his accomplishments. It's never too late and too little to make amends. He is only 39 at the moment. He is among the fittest guys on the park.
He still has a lot to offer to Pakistan cricket, if allowed to do it. He has the capacity to turn it around.
With Misbah's retirement a matter of 'when' rather than 'if' the powers that be have a great option in Younis. Reappointing him as the Test skipper at this point of time will have multiple benefits.
While the functionaries of the Pakistan Cricket Board (PCB) have often been accused of hitting headlines for the wrong reasons, here's an opening for them to undo some of the sins of the past.
They will be hailed as the saviours of Pakistan cricket if they decide to bring in Younis as the Test captain and also give him an extended run to let him fire on all cylinders. He still has the energy and the burning desire to make things happen.
He may not be the show boy in the cricket field but he is certainly the most strong-willed person one could think of. He has proved his mettle every single time he has gone on to bat.
He has remained an outstanding fielder all along, having plucked a record number of catches. Wherever standing, he's a source of inspiration for the whole team.
Younis has been subjected to the toughest of pressures at all times. The most brutal treatment was meted out to him by the regime of Ijaz Butt which kept him out of the team for a year and and a half.
He not only has had to bring all his skills into play to negotiate and dominate the most fearsome bowling attacks of the world but he also had to deliver with a sword hanging around him all along.
It's indeed shameful that a batsman of his caliber, who has phenomenal Test record against all opponents, has been put under trial more often than not.
Instead of getting the due recognition from his own country's administrators he has had to engage in uncalled for battles. Just look at his numbers. He is only 23 runs away from becoming the first Pakistani batsman to reach the milestone of 10,000 Test runs.
He has already scored 34 Test centuries, which is Pakistan's highest. He can be proud of his average of 53.06 after 116 Tests in 17 years. What else could have been asked from this man?
He has all the major Test records for Pakistan under his belt. He has delivered all over the world, having scored heaps of runs in every continent. He has withstood the fastest bowlers of the world fearlessly. He has been equally proficient in taming the best spinners in the planet.
Yet Younis, a gentleman by nature, has never been accorded the respect he deserved in Pakistan. There has been politicking and all sorts of nuisance to curtail his advancement. Give credit to this man to have weathered the storm with a smile on his face, most of the time.
Obviously he's a human being and sometimes he has reacted bitterly to the senseless campaign to malign him. He has always believed in letting his bat to do the talking and he has been successful in silencing his critics by scoring heavily.
He was the man who brought glories for the country as Pakistan had won the ICC World Twenty20 Championship in 2009 under his captaincy in England. It's the only time Pakistan has got hold of this crown.
Despite bringing home the trophy, Younis faced more criticism at home rather than praise which was mind-boggling and unfortunate. The hero was being treated as a villain for reasons that defied logic.
He has been at the receiving end in the battles between the various groups surrounding the PCB and he has only survived due to the weight of runs he scored.
Needless to say, Younis has been blessed with nerves of steel. He can handle the bowlers of all kinds and he can also absorb the pressures from different corners. It's rare to find a man possessing so much mental toughness as him.
If better sense prevails and the PCB is prepared to look beyond its club, Younis is ready for another stint as the Pakistan captain. With Sarfraz waiting in the wings, and sharing responsibilities as the vice-captain, Pakistan could become a force to reckon with in Tests once more.
Younis Khan could become interim Pakistan Test cap...


text:
Amber Tamblyn appears on season 11 of CBS' 'Men'
NEW YORK (AP) - Amber Tamblyn plays Charlie Harper's previously unknown daughter, Jenny, on the 11th season of CBS' "Two and a Half Men," premiering Thursday night.
NEW YORK (AP) � Amber Tamblyn plays Charlie Harper's previously unknown daughter, Jenny, on the 11th season of CBS' "Two and a Half Men," premiering Thursday night.
Jenny and her father (who was played by Charlie Sheen) have something in common: a love for women. She's a hard-partying bisexual.
Tamblyn, whose TV credits include the dramas "General Hospital," ''Joan of Arcadia" and "House M.D.," said she wasn't sure if she was interested in appearing on "Two and a Half Men."
She said her agent told her, "Well, hang on. It's a genius role. ... She's very into alcohol and women."
Tamblyn, who has yet to see an episode of the show, said she's amazed by its bawdy, sexual humor.
"It is very fun to play," the 30-year-old actress said of her character. "I am shocked at what they get away with on the show. It's kind of incredible. Just the jokes and the language and the euphemisms for genitalia. There's a lot of that happening. I think I had more sex in the first episode than I've ever had in the 20 years in my career on any film or television. So it's pretty awesome."
She said taping a show before a live studio audience is harder than doing theater "because the writers come in and they change the jokes and then you have to do it again with all new jokes. That really requires a certain type of muscle memory, and I think talent. I bow down to Jon Cryer and Ashton Kutcher and what they do. Watching them is such a pleasure."
Angus T. Jones, who plays Cryer's son, Jake, made headlines last year for saying the show conflicted with his religious views. He's now on recurring status on the series.
Kutcher replaced Sheen on the show.
http://www.cbs.com/
Alicia Rancilio covers entertainment for The Associated Press. Follow her online at http://www.twitter.com/aliciar


text:
Difference between revisions of "Ali Krisht"
Phil (talk | contribs)
'''Ali Krisht''' is professor and neurosurgeon in the [[Department of Neurosurgery]] at [[UAMS]].
'''Ali F. Krisht''' is professor and vice-chairman of the [[Department of Neurosurgery]] at [[UAMS]]. He is also a neurosurgeon at the [[Gamma Knife Radiology Center]], and director of the [[Neuroendocrine Clinic]] and [[Cerebrovascular Clinic]] at UAMS.
Krisht was born in Kano, Nigeria, on September 17, 1959.
Krisht was born in Kano, Nigeria, on September 17, 1959. He received his medical degree from the American University of Beirut School of Medicine. He received his training in neurosurgery at Atlanta's Emory University School of Medicine. Krisht is a member of the American Association of Neurological Surgeons, the Congress of Neurological Surgeons, the [[Medical Association of Arkansas]], the North American Skull Base Society, the Southern Neurological Society. He is currently the editor of ''Contemporary Neurosurgery''.
*[http://www.uams.edu/neurosurgery/faculty/files/krisht_pdf.pdf Ali Krisht curriculum vitae]
*[http://www.gammaknife.uams.edu/physicians/krisht.asp Gamma Knife Radiology Center - Ali Krisht homepage]
[[Category:Physicians]]
[[Category:UAMS]]
[[Category:1959 births]]
Ali F. Krisht is professor and vice-chairman of the Department of Neurosurgery at UAMS. He is also a neurosurgeon at the Gamma Knife Radiology Center, and director of the Neuroendocrine Clinic and Cerebrovascular Clinic at UAMS.
Krisht was born in Kano, Nigeria, on September 17, 1959. He received his medical degree from the American University of Beirut School of Medicine. He received his training in neurosurgery at Atlanta's Emory University School of Medicine. Krisht is a member of the American Association of Neurological Surgeons, the Congress of Neurological Surgeons, the Medical Association of Arkansas, the North American Skull Base Society, the Southern Neurological Society. He is currently the editor of Contemporary Neurosurgery.
Ali Krisht curriculum vitae
Gamma Knife Radiology Center - Ali Krisht homepage
Retrieved from "https://honors.uca.edu/wiki/index.php?title=Ali_Krisht&oldid=8817"
UAMS


text:
Tadeusz Stanisław Bernatowicz (ur. 1956) – polski historyk sztuki, doktor habilitowany nauk o sztuce w zakresie historii sztuki nowożytnej, profesor nadzwyczajny Uniwersytetu Łódzkiego.

Życiorys
Absolwent historii sztuki i kulturoznawstwa na Uniwersytecie im. Adama Mickiewicza w Poznaniu. Stopień naukowy doktora uzyskał w 1994 w Instytucie Sztuki PAN na podstawie dysertacji Miles christianus et peregrinus. Fundacje Mikołaja Radziwiłła "Sierotki" w ordynacji nieświeskiej, przygotowanej pod kierunkiem Jerzego Kowalczyka. Stopień doktora habilitowanego uzyskał w oparciu o dorobek naukowy oraz rozprawę Mitra i buława. Królewskie ambicje książąt w sztuce Rzeczypospolitej szlacheckiej (1697–1763) na Wydziale Historycznym Uniwersytetu Warszawskiego (2012). Pełnił funkcję wicedyrektora Instytutu Historii Sztuki UW oraz pełnomocnika ds. zabytków i dziedzictwa kulturowego Wydziału Historycznego UW. W 2011 otrzymał nominację na członka Społecznej Rady Ochrony Dziedzictwa Kulturowego.

Jest autorem dokumentacji, która pozwoliła na wpisanie w 2005 roku rezydencji Radziwiłłów w Nieświeżu na Listę Światowego Dziedzictwa Kulturowego UNESCO.

Członek m.in.: Polskiego Komitetu Narodowego International Council of Monuments and Sites (ICOMOS), Fundacji im. Ciechanowieckich, Rady Naukowej Ogrodów w Arkadii i Nieborowie, Warszawskiego Oddziału Stowarzyszenia Historyków Sztuki, redakcji czasopisma naukowego "Barok. Historia – Literatura – Sztuka", redakcji czasopisma "Kronika Zamkowa Nowa", kolegium redakcyjnego półrocznika Katedry Historii Sztuki UŁ "TECHNE. Seria nowa".

W Katedrze Historii Sztuki Uniwersytetu Łódzkiego wykłada przedmioty dotyczące sztuki nowożytnej oraz organizuje konferencje naukowe o zasięgu co najmniej ogólnopolskim, m.in. HISTORIA – KONSERWACJA –  REWITALIZACJA. Funkcjonowanie rezydencji regionu łódzkiego w kontekście doświadczeń europejskich (26–28.09.2016), "Okno, przez które wkracza do nas rzeczywistość Boga". Ołtarz w świetle historii sztuki i teologii liturgii (01–02.06.2017).

W badaniach naukowych podejmuje zagadnienia związane m.in. z mecenatem magnackim XVI–XVIII wieku, fundacjami architektonicznymi rodu Radziwiłłów, sztuką nowożytną na ziemiach Wielkiego Księstwa Litewskiego, architekturą Warszawy i Saksonii, programami ideowymi rezydencji XVI–XIX wieku, założeniami ogrodowymi, urbanistyką oraz recepcją baroku rzymskiego w architekturze polskiej.

Odznaczenia
 Srebrny Medal "Zasłużony Kulturze Gloria Artis" (2018)

Wybrane publikacje

Monografie
 Mitra i buława. Królewskie ambicje książąt w Rzeczypospolitej szlacheckiej (1697–1763), Wydawnictwo Uniwersytetu Warszawskiego, Warszawa 2011.
 Alba. Od renesansowej willi do kompozycji krajobrazowej. Z badań źródłowych nad architekturą ogrodów na Kresach, Ministerstwo Kultury i Dziedzictwa Narodowego, Warszawa 2009.
 Królewska rezydencja w Żółkwi w XVIII wieku, Muzeum Pałac w Wilanowie, Warszawa 2009.
 "Miles Christianus et Peregrinus". Fundacje Mikołaja Radziwiłła "Sierotki" w ordynacji nieświeskiej, Wydawnictwo Neriton, Warszawa 1998.
 "Monumenta variis Radivillorum". Wyposażenie zamku nieświeskiego w świetle źródeł archiwalnych. Część I: XVI–XVII wieku, Bogucki Wydawnictwo Naukowe, Poznań 1998.

Artykuły
 Architektura i urbanistyka nowożytna
 Transformacje terytorium. Włoscy architekci fortyfikatorzy w służbie króla Stefana Batorego: Giacinto Barozzi da Vignola, Domenico Ridolfini, Simone Genga i inni,, [w:] Artyści znad jezior lombardzkich w nowożytnej Europie. Prace dedykowane pamięci Profesora Mariusza Karpowicza, Warszawa 2015, s. 261–272.
 Korelicze – zagubiony w przestrzeni pałac z ogrodem,, [w:] Fides Ars Scientia – Studia dedykowane pamięci Księdza Kanonika Augustyna Mednisa, red. A. Betlej, J. Skrabski, Tarnów 2008, s. 197–203.
 Niezrealizowana "królewska" rezydencja w Białej Podlaskiej,, [w:] Artyści włoscy w Polsce XVI–XVIII w. Prace dedykowane Profesorowi Mariuszowi Karpowiczowi, Warszawa 2005, s. 499–512.
 Na Kresach Multańskich. Kamieniec Podolski i zamki pogranicza polsko-tureckiego w świetle nieznanych planów, [w:] Studium urbis charisteria Teresiae Zarębska Anno Jubilaei oblata, Warszawa 2003, s. 13–28, 241.
 Rola Lublina w architekturze sakralnej Wielkiego Księstwa Litewskiego w XVI–XVII wieku,, [w:] Sztuka ziem wschodnich Rzeczypospolitej XVI–XVIII w., red. J. Lileyko, Lublin 2000, s. 15–36.
 Le chiese del Bernardoni nel Ducato di Njazviz, [w:] L'architetto Gian Maria Bernardoni sj tra l'Italia e le terre dell' Europa centro-orientale, Fondazione Giorgio Cini, Venezia 1999, s. 39–55.
 Die Befestigungen von Nieśwież – ein unbekanntes Werk von Giovanni Bernardoni, [w:] Architetti e ingegnieri militari italiani all'estero dal XV al XVIII secolo a cura di Marino Vigano, Livorno 1999, s. 259–269.
 Początki latynizacji architektury greckokatolickiej na Białorusi: cerkwie w Mirze i Nowym Świerżniu,, [w:] Pro Fide, Rege et Grege. Prace ofiarowane Profesorowi Jerzemu Lileyce, "Roczniki Humanistyczne" 1999 (42), z. 4, s. 129–142.
 Rezidencija Sobeskich i Radiwiliw u Żowkwi w switli niewidomogo płanu Antona Kastełło, "Wisnik", nr 10, Lwiw 1999, s. 78–83.
 Nesvisium Metropolis Ducatus. Nieznany przykład urbanistyki manierystycznej, [w:] Artes atque humaniora. Studia Stanislao Mossakowski sexagenario dicata, Warszawa 1998, s. 161–167.
 Rezydencja Sobieskich i Radziwiłłów w Żółkwi w świetle nieznanego planu Antonia Castello, [w:] "Ikonotheka" t. XIII: Prace dedykowane Karolinie Lanckorońskiej w stulecie urodzin, Warszawa 1998, s. 203–213.
 Kościół i klasztor benedyktynek w Nieświeżu, [w:] Sztuka Kresów Wschodnich, t. 2, red. J. Ostrowski, Kraków 1996, s. 127–146.
 Kościół nieświeski z 1581 roku, "Roczniki Humanistyczne" 1994 (42), z. 4, s. 181–188.

Mecenat magnacki i ideologia władzy w sztuce XVI–XVIII wieku
 Związki genealogiczne i fikcyjne pokrewieństwa. Idea koligacji Radziwiłłów z Habsburgami w mediach XVIII wieku, [w:] Środowiska kulturotwórcze i kontakty kulturalne Wielkiego Księstwa Litewskiego od XV do XIX wieku, red. U Augustyniak, Warszawa 2009, s. 39–53.
 "Akt bardzo rzadko praktykowany". Uroczystość obłóczyn księżnej Teofilii z Leszczyńskich Wiśniowieckiej we Lwowie, [w:] Polska i Europa w dobie nowożytnej. L'Europe moderne: nuoveau monde, nouvelle civilisation? Modern Europe – New World, New Civilisation?. Prace naukowe dedykowane Profesorowi Juliuszowi A. Chrościckiemu, Warszawa 2009 s. 325–332.
 "Miles Christianus et Peregrinus." Fundacje Mikołaja Radziwiłła "Sierotki" w ordynacji nieświeskiej, Warszawa 1998.
 "Idea principis christiani" w emblematyce około 1600. (Z badań nad recepcją tacytyzmu w Polsce), "Barok" 1996 (3), nr 1, s. 91–118.
 "Biblioteka jest jedna ozdoba..." Mikołaj Radziwiłł Sierotka i książki,, [w:] Badania księgozbiorów Radziwiłłów, Warszawa 1995, s. 35–54.

 Architektura Warszawy XVI–XX wieku
 Kościół wizytek w Warszawie a Benedykt de Renard i architektura późnobarokowego eklektyzmu rzymskiego przełomu XVII i XVIII wieku,, [w:] Sztuka Polski Środkowej. Studia T. VI, red. A. Barczyk, P. Gryglewski, Łódź 2016, s. 31–77.
 Plac Teatralny w Warszawie. Przemiany architektury i układu przestrzennego, w: Archeologia dawnej Warszawy, red. Włodzimierz Pela, Warszawa 2013, t. 3, s. 11–54.
 Architektura kościoła św. Katarzyny na Służewie XVIII–XX wiek – działalność Jana Z. Deybla i Franciszka Lanciego, [w:] Służew i jego kościół, Warszawa 2013, s. 360–393.
 Nowe spojrzenie na pałac Saski, "Spotkania z Zabytkami" 2007, z. 31, s. 14–16.
 Cesarskie Łazienki w Warszawie. Pałac w świetle nieznanych pomiarów Ludwika Szmideckiego z 1841 roku,, [w:] Hortus vitae. Księga pamiątkowa dedykowana Andrzejowi Michałowskiemu, Warszawa 2001, s. 29–37.

 Założenia ogrodowe i krajobraz kulturowy
 Reprezentacyjna kameralność. Barokowa kompozycja ogrodowo-pałacowa w Zauszu,, [w:] VELIS QUOD POSSIS: studia z historii sztuki ofiarowane Profesorowi Janowi Ostrowskiemu, red. A. Betlej, K. Brzezina-Scheurer, Kraków 2016, s. 75–78.
 Barocke Jagdschlösser und Tiergärten in Polen zur Zeit August III, "Barok. Historia – Literatura – Sztuka", t. XXI/1 (41), 2014, s. 219–230.
 Myśliwskie pałace "molino da vento" w kompozycji zwierzyńców: między kameralną rekreacją a elitarną reprezentacją, w: Europejskie tradycje łowieckie, red. T. Żuchowski, Warszawa 2013, s. 119–129.
 Dziedzictwo kulturowe na Białorusi w inicjatywach i działalności profesora Andrzeja Ciechanowieckiego, "Kronika Zamkowa" 2010, nr 1–2 (59–60), s. 37–46.
 Ogrody i krajobraz komponowany Ujazdowa w czasach królewskich, [w:] Jazdów, red. E. Rużyłło, Warszawa 2008, s. 81–97.
 Die Familie Knackfuss. Eine Studie über das Wirken deutscher Gärtner und Architekten in Polen. Deutsch-polnische Kulturkontakte im 16.–18 Jahrhundert, "Barock. Geschichte-Literatur-Kunst", Warszawa 2006, s. 203–215.
 Sentymentalne idee i wiejskie chatki w ogrodach "picturesque" czasów stanisławowskich,, [w:] Obraz i przyroda, red. U. Małgorzata, J. Patyra, M. Żak, Lublin 2005, s. 117–155.
 Ogrody do zabaw myśliwskich. Królewskie zwierzyńce czasów saskich wokół Warszawy,, [w:] Królewskie Ogrody w Polsce, red. M. Szafrańska, Warszawa 2001, s. 265–288.
 Abrysy i planty ogrodnika warszawskiego Carla Georga Knackfussa,, [w:] Arx felicitatis. Księga ku czci profesora Andrzeja Rottermunda w sześćdziesiątą rocznicę urodzin od przyjaciół, kolegów i współpracowników, Warszawa 2001, s. 411–423.
 Alba w czasach Karola Radziwiłła "Panie Kochanku", [w:] "In artium hortis". Studia i szkice z dziejów sztuki, konserwacji zabytków i muzealnictwa. Wojciechowi Fijałkowskiemu w siedemdziesiątą rocznicę urodzin, Warszawa 1997, s. 121–129.
 "Entre éventail et étoile". Zwierzyńce w osiemnastowiecznej Polsce i ich europejskie związki, "Barok" 1997 (4), nr. 1. s. 105–118.

 Rzeźba nowożytna
 Snycerz Stefan Müller i jego działalność, "Roczniki Humanistyczne" 2002,t. I, z. 4,  s. 391–411.
 Śmierć rycerza kresowego i jego sepulcrum, "Studia Muzealne" 2000 (19), s. 59–71.
 "Rotto" jako forma artystyczna w plastyce manierystycznej, [w:] Między Padwą a Zamościem. Studia z historii sztuki i kultury nowożytnej ofiarowane Profesorowi Jerzemu Kowalczykowi, Warszawa 1993, s. 111–120.
 Rzeźby Campagni i Franco w Nieświeżu a wczesny barok, "Biuletyn Historii Sztuki", t. LIV, 1992, s. 31–52.
 Peregrinus et miles christianus. O nagrobku Mikołaja Krzysztofa Radziwiłła "Sierotki" w Nieświeżu, "Biuletyn Historii Sztuki", t. LII, 1990, s. 227–249.

Przypisy

Linki zewnętrzne
 Biogram na stronie Katedry Historii Sztuki Uniwersytetu Łódzkiego
 Publikacje Tadeusza Bernatowicza online na portalu Academia.edu
 Heidelberg University Library (Tadeusz Bernatowicz – online publications)
 Publikacje Tadeusza Bernatowicza online na stronie Repozytorium Uniwersytetu Łódzkiego

Absolwenci Uniwersytetu im. Adama Mickiewicza w Poznaniu
Odznaczeni Srebrnym Medalem "Zasłużony Kulturze Gloria Artis"
Polscy historycy sztuki
Pracownicy Instytutu Sztuki PAN
Urodzeni w 1956
Wykładowcy Uniwersytetu Łódzkiego
Wykładowcy Wydziału Historycznego Uniwersytetu Warszawskiego

redpajama_set_name: RedPajamaWikipedia


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What Does It Mean When A Guy Asks You How Your Day Was?
We all know that guys are complicated creatures. Especially the young ones who are just trying to figure out how to get a girl's attention. Sometimes, they do things that completely throw themselves off, much less us girls. And since they always feel off-balanced, they can leave us feeling the same way trying to figure out what they are actually meaning by the things they say and do.
There are guys with no fear, who jump right in and tell you how they feel only to leave you confused by the sudden rush of attention, and then there are they guys who tiptoe around their feelings so long that you are not even sure they have any feelings anymore.
When guys are tiptoeing, the mixed signals can be crazy confusing. It only takes about a week before you give up completely on trying to figure them out. To help you streamline your process, and keep you from giving up, I have got a few reasons for their odd behavior that guys themselves have provided.
If a guy you know has been asking how your day has gone, then you will find these answers very helpful. So, what does it mean when a guy asks you how your day was?
1. It means he is interested in dating you and is trying to connect with you on a more meaningful, daily level. This means that the guy you have been talking to is trying to become a more permanent part of your life by giving you someone to talk to about your day and is inviting himself in to be that person.
2. He is trying to keep the conversation light and continuing by asking you a question that you can easily answer without too much thought. It is like a small offering of comfort in what is bound to be a nervous conversation.
3. If he does this every day, it is a sign that he wants to be a good friend of yours, which is still a romantic thing in most cases as friends make the best dating partners.
4. If he does it once or twice, he is fishing to see if you are interested in meeting up.
5. He is trying to flirt but is unsure of how to get that across without seeming cheesy or creepy. Insinuating himself into your life by trying to talk to you more is a sure sign that he is interested in something more even if he does not know how to make that clear.
6. He just wants to talk to you. When this kind of thing happens on a monthly or bimonthly basis with a guy friend, it could just mean that he respects you as a friend and wants someone to talk to about something going on in his life. He starts the conversation by asking about your day because that is the polite thing to do.
7. He is seeing where your interests lay. He is providing you with every opportunity to let him know how you feel about him. One of the first ways that a guy tests your affections for him is to get you used to speaking to him, and then stop suddenly. If you contact him, then he knows you are interested. If you do not, then he knows to move on.
8. He is casually talking to a few girls to see which of them he is interested in seeing more frequently and you are one of them. Guys have a tendency to do this and will fish for more information about the girls they are interested in to see if it is worth the effort of dating.
Also, remember that your response is just as important. If you aren't interested, let him know. If you are, then flirt, ask him lots of personal questions, or suggest getting together. Honestly, the worst that can happen is that he says he's not interested in you like that.
Your friendship should be pretty solid by this point, so romance is only one step away and, if he's not wanting to take that step, you're friendship will be able to survive.
No matter what these guys answered, the difference is in the details. Listen to the tone of his voice. Does he sound flirtatious, casual, seductive, or depressed? Use that tone, along with context clues, like what time he asks you, whether it is in person or over texts, and how frequently he does so to help you figure it out.
As in most other relationship questions, you already know the answer. All you have to do is shut off your mind for a little bit and really pay attention to him and you will have your answer. The real question is, are you happy about that answer?
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It looks like you may have commented twice on this one. I have to answer and approve all of the comments individually, so it sometimes takes me a bit to get around to all of them. If you don't see your response right away, don't worry because you will. Thanks for commenting!
He might not think of asking it all the time, or he may just be busy. I wouldn't read too much into whether he asks you about your day all the time or not. Actions always speak louder than words, so it is always better to judge someone on what they actually do instead of just what they say. Good luck, Rose!


Among nearby ancient sights are the ruins of the Seleucid city of Laodiceia, 6km north of Denizli, built for Antiochus II, and one of the Seven Churches in the book of Revelations. Some 15km further north is the ancient spa town of Hierapolis, which drew its wealth from the extraordinary hot mineral springs and travertine rock formations of Pamukkale, still a major tourist attraction.
The province's biggest secret, however, is its exquisite painted mosques. Sadly only a handful survived, and until a book published in Turkey in 2012 recorded them, they were virtually unknown to the art historians. Stunning pictures of these interiors featured in a major 36-page article in Cornucopia 48, with a commentary by Professor Serpil Bağcı. Plain looking from the outside, little more than barns, in fact, their colourful prayer halls, galleries, mirhabs and minbars are carved and painted with flowers, trees and geometric patterns. Many were decorated in the 18th and 19th centuries, some by Sufi followers, and are reminiscent of Anatolian medieval wooden mosques. All lie within a 50km radius of Denizli, notably at Akköy, Belenardiç, Boğaziçi, Kızılcabölük, Kocaköy and Yazır Köyü.
Denizli is 205 miles from Marmaris, 270km from Izmir, and as the transport hub of southwest Anatolia is easy to reach. It lies on the Izmir-Ankara rail route, which passes through Selçuk (Ephesus). There are also regular buses to the town and to Pamukkale/Hierapolis. Laodiceia is en route to Pammukale, 15 minutes' walk from the bus stop. Denzili-Çardak airport is 65km east of the town and has flights to Istanbul and Izmir. The airport bus from the city takes around an hour.


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Bitcoin's second layer off-chain solution for payment channels managed to take significant leaps this year, owing to the massive support from many luminaries in the cryptocurrency space, participating in the LN Torch experiment. Even as the technology continues to be in its formative stages, one of its developers is fairly confident that the channel is ready for "widespread adoption".
Bitcoin Lightning Wallet Developer, Anton Kumaigorodskiy, in a recent interview with ChangeNOW!, stated that the Lightning network's plus points, as well as its drawbacks, have been "fairly understood". He revealed that important updates were underway, which would make the running of the Lightning Network node less perilous and increase efficiency.
According to the developer, systems like the Lightning Network are complex, have a huge scope for improvement, and are "never ready". However, he opined that it is "almost ready" for extensive adoption as it has been successfully operated on the mainnet for more than a year.
His vision for the P2P mesh network is essentially a "network of hundreds to thousands of large payment hubs". He cited that the technology is trustless, but at the same time, could be distinguished and was reliable in the cryptospace. He is of the opinion that LN will definitely play a vital role in Bitcoin transactions in the years to come. Kumaigorodskiy also advised that if anyone wanted to be part of this new and developing technology, they should "act now".
The post Bitcoin's [BTC] Lightning Network is ready for 'widespread adoption', claims developer appeared first on AMBCrypto.


In August we wrote about the price increase for a subscription to PlayStation Plus – a question of time, was the adoption of such steps Microsoft. Xbox users should expect higher rates of annual subscription to Xbox Live Gold. 20 rubles.
Quarterly subscription to PlayStation Plus has grown in September of last year for the same amount. Instead of 59 USD, we had to pay 78 rubles. Interestingly, not changed, but the cost of a monthly subscription or subscriptions by one year (i.e. the most profitable). According to the website Polygamia, in the case of Microsoft, the increase would relate solely to the best annual options. Instead of the current 229 rubles, from February 18 to pay 249 rubles. Due to changes in prices, the U.S. company turns off auto-renewal services so you don't need to worry that your account disappears the amount that you do not approve of.
By the way, throughout the discussion of competing services from Microsoft and Sony raises few important thing with new prices for an annual subscription to PlayStation Plus is 50 rubles cheaper annual subscription Xbox Live Gold.
Of course, we are talking about official price of subscription services. For anybody not a secret that as at auctions and online stores, subscriptions (regardless of length) can be bought cheaper. In the case that access to XBL Gold the difference is enormous – instead of the current 229 RUB, a quick search on the Website shows offers almost half the price.
The official price for the PlayStation Plus 365-day 195 € – that's Allegro offers price is a little less. In both cases, of course, you can hunt for bargains that you will find both at auction and in shops devoted to spreading codes. So Xbox Live Codes who is buying access directly from Sony and Microsoft?
← New Xbox One ?


text:
Grupul statuar Horea, Closca și Crișan din Cluj-Napoca a fost realizat de sculptorul Ion Vlasiu și evocă pe cei trei conducători ai răscoalei țărănești din 1784-1785. Grupul statuar se află amplasat în fața hotelului "Grand Hotel Napoca", la intersecția a patru străzi: Octavian Goga, General Eremia Grigorescu și General Dragalina.

Legături externe
 Povestea monumentului lui Horea, Cloșca și Crișan , 10 octombrie 2012, Leonard Horvath, Ioan Ciorca, România liberă.

Vezi și
 Lista locurilor în Cluj-Napoca
 Răscoala lui Horea, Cloșca și Crișan
 Horea
 Cloșca
 Crișan
 Grupul statuar Horea, Cloșca și Crișan din Turda

Monumente din Cluj-Napoca


Police in southern New Jersey are looking for a woman who was caught on video Tuesday beating a mother in front of her toddler, who tried to intervene.
As bystanders watched and some recorded it on cellphones, police say Latia Harris, 25, pummeled the mother and kicked her in the back on a trail in Salem, N.J. The suspect is heard threatening to attack the victim's 2-year-old son, who was kicking at her legs to stop her from landing another blow.
"You better get your son before I kick him in the f---ing face, too," Harris allegedly yells in the video. A group of people formed around the attack, but only the son protected his mom.
Police Chief John Pelura III told The South Jersey Times that the video is "sickening to watch." She faces charges of aggravated assault and two counts of making terroristic threats, the paper reported.
Pelura says the victim, who was found bloodied and disoriented, was treated at a hospital and told officers a woman named "Tia," who works at McDonald's, accused her of spreading rumors about her and her manager. Police obtained the video before it was removed from Facebook.
"There is a moral and social breakdown in the fabric of our society which is clearly evident when a woman gets pummeled in broad daylight in front of her child while a dozen people pull out their phones to record the incident instead of calling for help," Pelura told the paper. "There is so little regard for human life — by the actor and the bystanders."


The US Geologie Survey (USGS) estimates that there's a 72 percent chance a dangerous quake might shake the area in the next 30 years; the earthquake could the most powerful ever.
The Congo Basin Rainforest is located in the central and western part of equatorial Africa. It is the world's second largest rainforest. China, Europe, and the US are importing vast quantities of wood products from the forests of Gabon and Cameroon. These are powerful incentives for the continued extraction of wood from the Congo Basin forests. Activities such as illegal hunting have direct impacts on forests and wildlife. The UN says that 2/3 of the Congo Basin will be gone till 2040.
The beautiful Seychelles Islands are a group of 115 breathtaking islands in the Indian Ocean, off the coast of Kenya. Unfortunately, the islands might soon be gone. Climate changes related to problems such rising sea levels are resulting in devastating coral die off.
This is the cause why Seychelles Islands are sinking and will soon disappear underwater.
One of the most remarkable ancient structures on our planet and symbol of China.The Great Wall of China may soon be gone over 30 percent of the ancient structure has already disappeared. How long will the Great Wall of China survive? Only time can tell.
Located in northeastern Italy, Venice is Italy's most romantic city. Standing just barely above the water line, it consists of 177 islands and over 400 bridges that cross its 150+ canals connect the city But Venice may disappear within 100 years. The land is sinking because of global climate change, the sea rising.
The beautiful islands of Maldives may be gone If the trend of sea rising levels continues, the Maldives will be completely submerged in 30 years.


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Afghan government losing territory to insurgency
Afghanistan Theater
The Afghan government controls less than 60% of the country's territory, a US oversight agency reports, with security forces retreating from many areas last year. The Afghan government "has lost territory to the insurgency" and "district control continues to decline," the Special Inspector General for Afghanistan Reconstruction (SIGAR) said in its most recent quarterly report to the US Congress Feb. 1. According to SIGAR, the Afghan government controls or influences just 52% of the nation's 407 districts today compared to 72% in Nov. 2015. "The ANDSF [Afghan National Defense and Security Forces] has not yet been capable of securing all of Afghanistan and has lost territory to the insurgency" since the last reporting period. The Afghan government has lost control of more than six% of the country's districts since SIGAR issued its last report on Oct. 30. (LWJ, Reuters)