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The Met's 2020-2021 Season
September 21- December 12 2020: Aida
September 22- October 16 2020: Les Contes d'Hoffmann
September 23- October 10 2020: Roberto Devereux
October 2 2020- March 12 2021: Carmen
October 17- November 6 2020: Tristan und Isolde
October 24 2020- May 8 2021: La Traviata
October 30 2020- May 29 2021: Il Trovatore
November 12- December 5 2020: The Fiery Angel
November 21 2020- April 17 2021: La Bohème
November 30- December 23 2020: Fidelio
December 11 2020- January 14 2021: Il Barbiere di Siviglia
December 15 2020- January 8 2021: Hansel and Gretel
December 31 2020- June 5 2021: Die Zauberflöte
January 12- April 22 2021: Roméo et Juliette
March 2-21 2021: Giulio Cesare
March 1- May 20 2021: Don Giovanni
March 5-20 2021: Lulu
March 16- April 6 2021: Rusalka
April 8- May 2 2021: Dead Man Walking
March 26- May 15 2021: Nabucco
April 16- May 6 2021: Die Frau Ohne Schatten
May 7- June 4 2021: Il Pirata
May 21- June 5 2021: Billy Budd
The Met announced the 2020-2021 season. The new productions are Aida, The Fiery Angel, Die Zauberflöte, Don Giovanni, and Dead Man Walking. Sunday matinee performances are continuing and the season extends into June.
Press Releases | Official Site
Posted at 04:11 PM in 2020-2021 Season Previews, The Metropolitan Opera | Permalink | Comments (1)
Wozzeck at the Met
William Kentridge's latest production of Wozzeck (pictured, photograph by Ken Howard) at The Met perfectly captures the nightmarish quality of Berg's piece. The opening yesterday evening was one of immersive theater and absolutely beautiful playing from the orchestra.
The set is dark, filled with projected drawings, animations, and video footage of human movement. The beauty of the images really puts to shame much of the screensaver-like video projections we often see on the opera stage.
There are a couple of actors dressed up as soldier/nurse hybrids complete with gas masks, caps with red crosses, and aprons. It was as if Kentridge's images had come to life and the effect is unsettling.
Maestro Yannick Nézet-Séguin conducted a clarion orchestra, the shape of the music apparent and striking. The banda that comes on stage through a wardrobe did particularly well. The chorus also was great, sounding cohesive and embodying the aesthetic of the production.
The cast is strong, as one would expect. Bass-baritone Christian Van Horn is malicious but still comic as the Doctor, matched well by the incisive tones from tenor Gerhard Siegel as the Captain. Tenor Christopher Ventris is a bold Drum Major, appealing but his cruelty comes through clearly in Act II, Scene 5, when he taunts Wozzeck.
Mezzo-soprano Tamara Mumford (Margret) has some wonderfully deep low notes, a fine contrast with soprano Elza van den Heever (Marie). Van den Heever showed her range, she could be terrifying, almost harsh and sweet and even close to angelic. Most impressive is baritone Peter Mattei in the title role. His warm sound is engaging, and his pathos made Wozzeck seem very human.
We sat in Row B, all the way to the right of the house. After 8pm, when the performance was supposed to begin, a woman boldly sat in front of us, where one of the staff usually sits to guard a door to the orchestra pit. The employee directly asked to see the person's ticket, and she made many excuses, even lying that she did have that seat.
There was some light talking, and someone loudly hushed the offenders at least once. Some people definitely left early, even though there was no intermission.
Posted at 06:59 AM in Opera Review, The Metropolitan Opera, William Kentridge, Wozzeck | Permalink | Comments (0)
The Magic Flute at the Met
The Met's holiday presentation of The Magic Flute (David Portillo as Tamino, photograph by Karen Almond ) is completely charming. The abridged version in English is less than two hours long, and perfect for children.
I saw the full version of this production in German more than twelve years ago, and vividly remember Julie Taymor's cunning use of puppetry. It holds up well, my five-year-old didn't say a word for the entire performance.
He loved the bears dancing when Tamino plays the flute, the sight gags of lobster and spaghetti with Papageno, and the flamingos in "Ein Mädchen oder Weibchen." J. D. McClatchy's translation is direct and immediate. The illustrated synopsis was helpful, this might be a good idea for all operas, but really made the action clear to my son, who has seen the DVD version of this production twice, but liked having a refresher on what was going to happen.
Maestro Lothar Koenigs conducted a sprightly and beautiful orchestra, the only fuzzy note coming from the horns during the trial by fire. The chorus was lovely and transparent.
The cast is very good. Tenor Rodell Rosel is very funny as Monostatos, the crowd adored him with his bat wings and eight little claws. The audience also loved baritone Joshua Hopkins as Papageno. He has a very sympathetic presence, and his dance moves are extremely funny. His sound has a delightful lightness. Bass Soloman Howard is a noble Sarastro. He is creaky, but not in an unpleasant way.
Soprano Ying Fang (Pamina) is limpid and bright. Her voice showed no strain at all. Soprano Kathryn Lewek is almost brassy as the Queen of the Night, but not at all shrill. Her metallic sound was pronounced in her first aria and more bird-like in her second. Tenor David Portillo is a fine Tamino, his voice is so open and clear.
When the 2019-2020 season was announced, I was very keen on going to Wozzeck, as the production ins from William Kentridge. Somehow I convinced my spouse that we should have Christmas in New York City, and since our five-year-old (pictured) loves Mozart, I thought it was a good opportunity to go to The Magic Flute with him. Since he was very much into San Francisco Opera's Hansel and Gretel last month, I wasn't too worried about if he could sit still for one hour and 45 minutes. He himself was a bit concerned, but we took the subway to Lincoln Center, had a chocolate chip cookie on the concourse level of the theater, took the elevator to the top of the house, and walked back down to our seats in the front row of the orchestra. I sat in Row A Seat 108, which is obstructed by the conductor and let my child enjoy the better seat.
Theo was nervous about the snake in the beginning, and asked if it was acceptable to close his eyes for that part. I told him it was fine, and this is the first opera performance we've been to together that he hasn't ended up on my lap. It was so sweet to hear him laugh at Papageno and to share this music with him, it had me in tears by the end of the opera. As soon as we got back to the place we are staying in New York, Theo excitedly told his little sister that he had seen "the real Papageno."
Since we were so close to the stage, even the small amount of talking from audience members was easy to ignore. I also noticed some snoring from the person on the other side of Theo, but this was very brief.
There are two more matinee performances this Saturday and next Thursday. The weekend performance also features an open house.
Posted at 06:24 PM in Die Zauberflöte, Opera Review, The Metropolitan Opera | Permalink | Comments (0)
September 23 2019- February 1 2020: Porgy and Bess
September 24- October 26 2019: Manon
September 25- October 12 2019: Macbeth
October 3 2019- April 25 2020: Turandot
October 11 2019- April 11 2020: Madama Butterfly
October 20- November 10 2019: Orfeo ed Euridice
October 25 2019- May 7 2020: La Bohème
November 8- December 7 2019: Akhnaten
November 16 2019- February 22 2020: Le Nozze di Figaro
November 29- December 21 2019: The Queen of Spades
December 13 2019- January 4 2020: Der Rosenkavalier
December 15 2019- January 4 2020: The Magic Flute
December 27 2019- January 22 2020: Wozzeck
January 10- March 19 2020: La Traviata
January 25- February 15 2020: La Damnation de Faust
February 6- March 7 2020: Agrippina
February 15- March 14 2020: Così fan tutte
March 2-27 2020: Der fliegende Holländer
March 12- April 3 2020: La Cenerentola
March 16- April 4 2020: Werther
March 26- April 18 2020: Tosca
April 10-25 2020: Simon Boccanegra
April 28- May 8 2020: Manon Lescaut
May 2-9 2020: Káťa Kabanová
The Met announced the 2019-2020 season today. The new productions are Porgy and Bess, Der fliegende Holländer, Wozzeck, Agrippina, and Akhnaten. Sunday matinee performances are being offered for the first time.
Press Release | Official Site
Adriana Lecouvreur at the Met
Francesco Cilea's Adriana Lecouvreur had a final performance this season last night at the Metropolitan Opera. There was much prettiness in the music, staging, and singing.
The new David McVicar production is very droll, everything looks nice and Rococo, as the piece is set in 1730. There is one long pause between Acts I and II, but McVicar puts in a sight-gag to draw the audience back in before the music starts up again.
Maestro Gianandrea Noseda and the orchestra reveled in the loveliness of Cilea's music. It is not at all a surprise to read that Cilea admired Bellini. The opera has some fun Neo-baroque music, and I especially liked the ballet in Act III (Act III pictured left, photograph by Ken Howard).
The cast had many strong singers. Baritone Ambrogio Maestri as stage manager Michonnet was endearing, he loves Adriana and is both funny and kind, the warmth of his voice was very nice for this. As Adriana's murderous rival, the Princess of Bouillon, mezzo-soprano Anita Rachvelishvili is simply a malevolent force. Her sound is deliciously dark and passionately evil, she's the perfect villain.
Tenor Piotr Beczala is dashing as love-interest Maurizio, with a sunny, sweet tone. I was not initially impressed by soprano Jennifer Rowley, who shared the title role with Anna Netrebko. Rowley struck me as shrill, she has a lot of vibrato. She did win me over though, Act II was definitely better. Her Act IV aria "Poveri fiori" was moving.
We will be seeing this at the War Memorial at some point, as this is a co-production of the Met; the Royal Opera House, Covent Garden, London; Gran Teatre del Liceu, Barcelona; Wiener Staatsoper; San Francisco Opera; and L'Opéra National de Paris.
I was in standing room on the orchestra level, and was struck by how nice everyone was to each other. I was offered seats on no less than three occasions, which, of course, I turned down.
Posted at 03:36 PM in Adriana Lecouvreur, Opera Review, The Metropolitan Opera | Permalink | Comments (0)
Pelléas et Mélisande at the Met
Debussy's mysterious Pelléas et Mélisande (pictured left, photograph by Karen Almond) had a splendid fourth performance this season at the Metropolitan Opera yesterday. Though the singing was lovely, the real stars of the show was conductor Yannick Nézet-Séguin and the orchestra.
The production is straight-forward enough, the revolving set is made of walls that can be rearranged to change the scenes. There were two short pauses for this (and two intermissions) but considering that the performance is 4 hours long, this was pretty efficient. The scene changes were impressively quiet.
The direction did take some of the dramatic effect out of Pelléas' death by having the couple kiss ardently, rationalizing Golaud's response perhaps, and certainly making him sound silly when he sings "Ils s'étaient embrassés comme des petits enfants...Ils étaient frère et soeur..." in Act V.
Maestro Yannick Nézet-Séguin had the orchestra sounding utterly transparent and vibrant. All the lushness of the score was on full display.
The cast is solid. Bass-baritone Kyle Ketelsen seemed wooden in Act I and II, but perhaps that is how Golaud should be, as the evening progressed he got more and more erratic and downright scary.
Tenor Paul Appleby is a fine, youthful Pelléas. He showed his range from tender to passionate in his last scene in Act IV. Mezzo-soprano Isabel Leonard gave a convincing portrayal of Mélisande. Her pure sound tends toward the ethereal which is perfect for this role.
Most distinctive was bass Ferruccio Furlanetto. His voice is gorgeously resonant and his Arkel the most sympathetic of all the characters. His singing in Act IV Scene 2 was especially appealing.
Someone appeared onstage before the performance to announce a casting change. The relief of the audience that it was the role of Yniold, the young son of Golaud, that was replaced was palpable.
Since I was able to convince my dear friend to come to New York to see this opera with me -- she lives in Colorado, has two toddlers, and is 7 months pregnant -- I sprang for first row seats. My view was "obstructed" by the conductor, but I did not mind in the least.
Posted at 06:50 AM in Ferruccio Furlanetto, Opera Review, Pelléas et Mélisande, The Metropolitan Opera | Permalink | Comments (0)
Iolanta and Bluebeard's Castle at the Met
Mariusz Treliński's 2015 striking production of Iolanta (pictured left, photograph by Marty Sohl) and Bluebeard's Castle at the Metropolitan Opera was revived last night. The singing in both operas is wonderful, and conductor Henrik Nánási had a fine Met debut.
The production is highly-detailed, with an attractive set. There are lots of projections. The narration and sound-effects for Bluebeard seem unnecessary, pointlessly dragging out the performance when Bartók's music should be more than sufficient. The scenes changes did pack a lot of punch and I did like that both operas inhabited the same creepy forest.
Maestro Henrik Nánási and the orchestra gave a fluid, shapely account of both operas. The brass had some fuzziness in Iolanta but was clear for Bluebeard. Tchaikovsky certainly had the two harps working hard in the second half of Iolanta, and the playing was very impressive.
The contrast of the two lead sopranos is remarkable. As plaintive Iolanta, Sonya Yoncheva has a warm resonance, she always sounds very comfortable in her voice and grounded. Angela Denoke has a penetrating quality as Judith in Bluebeard, but is never shrill, with a creamy iciness.
Bass Vitalij Kowaljow projected power as King René in Iolanta. I liked baritone Alexey Markov's brightness as Robert, and the fresh, open sound of tenor Alexey Dolgov, who filled in for an ailing Matthew Polenzani as Vaudémont.
Baritone Gerald Finley has a lovely voice, which was surprisingly appealing for Bluebeard. His sound has a good weight and brilliance, but he was grim enough as well.
I was surprised to see that the former house manager at San Francisco Opera now is a performance manager for the Met.
Standing room in Family Circle was empty, as were most of the back rows of the house, so very little to report on that front.
Posted at 06:00 AM in Opera Review, The Metropolitan Opera | Permalink | Comments (0)
Met Opera's 2018-2019 Season
September 24 2018- March 28 2018: Samson et Dalila
September 25- November 13 2018: La Bohème
September 26 2018- March 7 2019: Aida
October 4-27 2018: La Fanciulla del West
October 25 2018- April 6 2019: Tosca
October 19- November 10 2018: Marnie
October 30 2018- February 8 2019: Carmen
November 8- December 1 2018: Mefistofele
November 44- December 8 2018: Les Pêcheurs de Perles
November 23- December 15 2018 Il Trittico
December 4 2018- April 27 2019: La Traviata
December 14 2018- January 10 2019: Otello
December 31 2018- January 26 2019: Adriana Lecouvreur
January 15-31 2019: Pelléas et Mélisande
January 24- February 14 2019: Iolanta and Bluebeard's Castle
January 30- April 18 2019: Don Giovanni
February 7- March 2 2019: La Fille du Régiment
February 12- May 10 2019: Rigoletto
February 22- March 16 2019: Falstaff
March 30- April 20 2019: La Clemenza di Tito
May 3-11 2019: Dialogues des Carmélites
March 9- May 6 2019: Das Rheingold
March 25- May 7 2019: Die Walküre
April 13- May 9 2019: Siegfried
April 27- May 11 2019: Götterdämmerung
The Met announced the 2018-2019 season today, the first for Yannick Nézet-Séguin as Music Director. The new productions are Samson et Dalila, Nico Muhly's Marnie, La Traviata, and Adriana Lecouvreur (which is a co-production with San Francisco Opera, among others). Philippe Jordan conducts the Lepage production of Der Ring des Nibelungen, which stars Christine Goerke as Brünnhilde.
Press Release with Casting | Official Site
Posted at 10:27 AM in 2018-2019 Season Previews, The Metropolitan Opera | Permalink | Comments (1)
September 25- December 16 2017: Norma
September 26- October 28 2017: Les Contes d'Hoffmann
September 27- October 14 2017: Die Zauberflöte
October 2 2017- March 10 2018: La Bohème
October 12 2017- April 5 2018: Turandot
October 26- November 21 2017: The Exterminating Angel
November 2 2017- March 16 2018: Madama Butterfly
November 11- December 2 2017: Thaïs
November 24- December 2 2017: Verdi's Requiem
November 25- December 9 2017 The Magic Flute
December 6 2017- January 19 2018: Le Nozze di Figaro
December 14 2017- January 11 2018: The Merry Widow
December 31 2017- May 12 2018: Tosca
January 8- February 1 2018: Cavalleria Rusticana & Pagliacci
January 16- February 17 2018: L'Elisir d'Amore
January 22- February 15 2018: Il Trovatore
February 5-27 2018: Parsifal
February 19- March 17 2018 Semiramide
March 1-23 2018: Elektra
March 15- April 19 2018: Così fan tutte
March 22- May 10 2018: Lucia di Lammermoor
March 29- April 21 2018: Luisa Miller
April 12- May 11 2018: Cendrillon
April 23- May 12 2018: Roméo et Juliette
The Met announced the 2017-2018 season today. There will be 220 performances of 26 works, including five new productions. The Met premieres include Thomas Adès' The Exterminating Angel and Massenet's Cendrillon.
Online 2017-2018 Brochure | Official Site
Yannick Nézet-Séguin Named Met Music Director
The Metropolitan Opera announced today that Yannick Nézet-Séguin (pictured left) is the new Music Director starting with the 2020-21 season. He will become the Met's Music Director Designate during the 2017-18 season.
Posted at 07:57 AM in The Metropolitan Opera | Permalink | Comments (4)
Met Opera's 2016-17 Season
September 26- October 27 2016 : Tristan und Isolde
September 27 2016- May 11 2017: Don Giovanni
September 28 2016- January 14 2017: La Bohème
October 4-29 2016: L'Italiana in Algeri
October 18- November 12 2016: Guillaume Tell
October 28- November 17 2016: Jenufa
November 5 2016- April 20 2017: Aida
November 14- December 10 2016: Manon Lescaut
December 1-29 2016: L'Amour de Loin
December 5-28 2016: Salome
December 12 2016- January 7 2017: Nabucco
December 31 2016- March 18 2017: Roméo et Juliette
January 9-February 11 2017: Il Barbiere di Siviglia
January 20-April 27 2017: Rigoletto
February 2- March 2 2017: Rusalka
February 10-28 2017: Il Puritani
February 16- March 9 2017: Werther
February 24- April 14 2017: La Traviata
March 6-25 2017: Idomeneo
March 16- April 8 2017: Fidelio
March 30- April 22 2017: Eugene Onegin
April 13- May 13 2017: Der Rosenkavalier
April 25- May 12 2017: Der Fliegende Holländer
May 2-13 2017: Cyrano de Bergerac
The Met announced the 2016-2017 season today. There will be 225 performances of 26 operas, including six new productions. The new productions are Tristan und Isolde, Guillaume Tell, L'Amour de Loin, Roméo et Juliette, Rusalka, and Der Rosenkavalier.
The Met's Lulu
A spectacular new production of Lulu (pictured left, photograph by Ken Howard) opened at the Metropolitan Opera last night. Director William Kentridge's staging is vibrant, and the singing and playing was strong.
There were times when the production was perhaps busy, there was a lot of enormous video art projected across the stage and much use of silent dancers, but Kentridge's visual language has a marvelous consistency. The silent film in the middle of the opera came out rather beautifully.
The orchestra gave a spirited performance under the baton of Maestro Lothar Koenigs, and the music is utterly disturbing, as is the whole opera. I felt viscerally ill, and have rarely been so physically effected by a performance.
All the singing was perfectly fine, the piece is well-cast. Tenor Daniel Brenna had a lovely Met debut as Alwa. Susan Graham was impressive as Countess Geschwitz. Best of all was the Lulu, Marlis Petersen. Not only does she have incredible legs that were put to good use in the staging, her voice is powerful but still has a wonderful fragility to it that works really well in embodying the role.
Standing room in Family Circle only had about four people, and there were plenty of seats for the taking. As there was nearly no one near me, there was little bad behavior on display. The video art is perhaps best viewed from afar, I was glad to not be on the orchestra level for this one.
Posted at 12:31 PM in Lulu, Opera Review, The Metropolitan Opera, William Kentridge | Permalink | Comments (0)
September 21 2015- May 6 2016: Otello
September 23 2015- January 30 2016: Turandot
September 25 2015- February 13 2016: Il Trovatore
September 26 2015- January 9 2016: Anna Bolena
October 8-31 2015: Tannhäuser
October 16- December 1 2015: Tosca
October 20- December 17 2015: Rigoletto
November 5- December 3 2015: Lulu
November 23 2015- May 5 2016: La Boheme
December 4 2015- January 7 2016: Die Fledermaus
December 16 2015- January 2 2016: The Barber of Seville for Families
December 31 2015- February 4 2016: Les pêcheurs de perles
January 21-February 26 2016: Cavalleria Rusticana / Pagliacci
January 29-February 20 2016: Maria Stuarda
February 12- March 11 2016: Manon Lescaut
February 19- April 12 2016: Madama Butterfly
February 25- March 26 2016: Le Nozze di Figaro
March 10- April 7 2016: L'Elisir d'Amore
March 24- April 19 2016: Roberto Devereux
April 1-16 2016: Simon Boccanegra
April 14- May 7 2016: Elektra
April 22- May 7 2016: Die Entführung aus dem Serail
The Met announced the 2015-2016 season today. There will be 227 performances of 25 operas, including six new productions. The new productions are Otello, Lulu, Les Pêcheurs de Perles, Manon Lescaut, Roberto Devereux, and Elektra.
Lady Macbeth of Mtsensk at the Met
A revival of Lady Macbeth of Mtsensk opened at the Metropolitan Opera last night. Graham Vick's 1994 production is humorous and makes quite good use of space, despite being essentially constrained to one room (pictured left, photograph by Ken Howard). Though there was much going on at all times, the staging enhanced the piece, rather than detracting from it. The brides wielding vacuum cleaners in Act I and the disco ball of Act III were particularly entertaining.
Maestro James Conlon conducted the Met Orchestra to fine effect. The playing was intense yet polished. There were beautiful contributions from the bassoon, English horn, and bass clarinet. The brass sounded imposing. Likewise the chorus sounded together and formidable.
Soprano Eva-Maria Westbroek is a fiery Katerina Lvovna Ismailov, radiating strength, but able to sound desperate and ultimately despairing. Brandon Jovanovich convinced as Sergei. His voice is both powerful and lovely. Raymond Very's voice contrasted nicely with Jovanovich's. His Zinoviy Borisovich Izmailov was bungling without being a complete buffoon. Anatoli Kotscherga made for a sinister Boris Timofeyevich Izmailov, his voice entirely suiting the role.
We sat in a part of the dress circle that was not especially crowded. At least one watch alarm and one mobile telephone rang during the second half of the opera.
Posted at 06:22 PM in Brandon Jovanovich, Eva-Maria Westbroek, James Conlon, Lady Macbeth of Mtsensk, Opera Review, The Metropolitan Opera | Permalink | Comments (2)
The Death of Klinghoffer at the Met
A sixth Metropolitan Opera performance of John Adams' The Death of Klinghoffer (Act II, Scene 2 pictured left, photograph by Ken Howard) was held last Saturday. There were a handful of protesters with signs reading "Shame on Peter Gelb Met Opera" and so forth. The opera itself is not particularly contentious, if anything, it is a mild, mournful piece. The characters are shown as rather human, and of course there was a choice line from Leon Klinghoffer regretting his hatlessness. One imagines that this production might not be as well-attended were it not for the vehemence of the demonstrators.
The orchestra had a graceful clarity under the baton of David Robertson. The strings were particularly lucid, as were the woodwinds. The Met chorus also sounded strong and cohesive.
The principal singers all seemed suited to their roles. It was a joy to hear former Adler Fellows Sean Pannikar (Molqi) and Maya Lahyani (Palestinian Woman). Bass-baritone Aubrey Allicock had a strikingly disturbing aria as Mamoud in Act I, Scene 2. Baritone Paulo Szot made for an appropriately conflicted Captain. Baritone Alan Opie (Leon Klinghoffer) sang his finale aria with gravitas. Mezzo-soprano Michaela Martens was poignant as Marilyn Klinghoffer, her voice is rich and full.
Tom Morris' production makes use of projected text and historical photographs. The text is somewhat burdensome, and the photographs less so. The effect of the bright sun in Act II is haunting. The dancing, choreographed by Arthur Pita, is impressive, especially in the case of Jesse Kovarsky (Omar).
I repeatedly hushed the woman behind me in Family Circle, as she spoke during the quietest parts of the music at the beginning of Act I. She informed me that she was reading the projected text that she could see to the two blind women she was with, and I sheepishly apologized at intermission.
I moved down to the right side of the last row of the Grand Tier to sit with some friends. A young composer seated near us may have spoken quite a lot during the music, but it was difficult muster annoyance at this, having already been so mortified by my own previous behavior.
Posted at 06:47 AM in Adler Fellowship Program, David Robertson, John Adams, Maya Lahyani, Opera Review, The Death of Klinghoffer, The Metropolitan Opera | Permalink | Comments (2)


text:
Szteklinek  is a settlement in the administrative district of Gmina Lubichowo, within Starogard County, Pomeranian Voivodeship, in northern Poland. It lies approximately  north-east of Lubichowo,  south-west of Starogard Gdański, and  south of the regional capital Gdańsk.

For details of the history of the region, see History of Pomerania.

References

Szteklinek

redpajama_set_name: RedPajamaWikipedia


text:
I've been a victim of 'systemic racism', says 'Kenya One' Origi
By Citizen Team For Citizen Digital
Published on: June 6, 2020 19:59 (EAT)
Harambee stars goalkeeper Arnold Origi moments before their Africa Cup Of Nations 2017 qualifier match against Guinea Bissau at the Estadio 24 Setembro in Bissau on March 24, 2016. The Djurtus won the match 1-0 courtesy of Idrissa Camara's goal. Photo/Stafford Ondego/www.sportpicha.com
Harambee Stars custodian Arnold Origi who plies his trade in Finland with HIFK FC says he's experienced "systemic racism" during his long playing career in Europe.
Origi joined his current team last year after long stints in Norway, where he was a first team regular with Lillestrom between 2013-2017.
Speaking exclusively to Radio Citizen on Saturday on the weekly sports show Michezo na Burudani, Origi gave a glimpse of the racial discrimination black players are subjected to while plying their trade in Europe.
Regarded as one of the best shot stoppers Kenya has produced in the last two decades, Origi also condemned the racial murder of George Floyd, an unarmed 44-year-old black man who met his death in the hands of a racist white police officer who knelt on his neck for eight minutes until he died, last week, in Minneapolis, USA.
The death has sparked global outrage with violent protests across America.
Said Origi: "I was so sad when I saw the news of what happened in the United States; I remember in 2010 when I used to play for … in Norway, whenever I used to give a suggestion in our club meetings people could not support my ideas just because I am black and if a Norwegian could express the same the coach and the technical team could listen to him," he said, adding: "Not only that but at personal level I find it hard to apply for a loan or even looking for a house just because I am black, this is so heartbreaking and I think Floyd's death will assist in containing such cases across the world."
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United's Cavani charged with misconduct by FA over racial term
According to Origi, 'systemic racism' is so pronounced even denying gifted athletes chances of joining top clubs in Europe, on the pretext of their skin colour.
"I have seen beautiful talents from black goalkeepers moreso from Africa, a good example being Ugandan Dennis Masinde Onyango who apart from featuring in South Africa's top league playing for Mamelodi hasn't made it to Europe maybe because he is just black like me. That's very discouraging," claimed Origi.
Origi who is best remembered for his starring role in Stars colours against Uganda Cranes in an Africa Cup of Nations qualifier in December 2010 at the Namboole Stadium in Kampala and against Zimbabwe, at home, at the Nyayo National Stadium, a match that left him with broken ribs after colliding against the woodwork, said he's still available for national team selection.
"Yes, I have dual citizenship(Norway and Kenya)and that means I can play for my team again(Harambee Stars) but that depends on the head coach's decision. There are so many good talents in our Kenyan clubs and they are good keepers too but my aim is to achieve more with the national team."
"I am not longing to play for Stars just for the sake of it. No! I am after helping them to achieve big dreams – that's winning the African Cup of Nations as well as taking part in the World Cup."
Origi also took time to hail some of the great coaches who shaped his career, singling out Mohammed Kheri, Jacob "Ghost" Mulee as well as Adel Amrouche.
Origi, son to former Kenyan international Austin Oduor, did not lift the lid on his personal life but gave a hint of having settled down in Norway.
Report by Geoffrey Mwamburi and Mkalla Mwambodze
Arnold Origi
Harambee Stars
Bulgarian top tier resumes amid coronavirus rules violations
Bayern crush Leverkusen to stay firmly on title course
Story By Citizen Team
news 'BBI is not about helping Raila,' President Kenyatta says as he dismisses 'hustler' narrative

redpajama_set_name: RedPajamaCommonCrawl


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text:
#ifndef DWARF_UTIL_H
#define DWARF_UTIL_H

/*
    Decodes unsigned leb128 encoded numbers.
    Make sure ptr is a pointer to a 1-byte type.
    In 2003 and earlier this was a hand-inlined
    version of _dwarf_decode_u_leb128() which did
    not work correctly if Dwarf_Word was 64 bits.
*/
#define DECODE_LEB128_UWORD(ptr, value)               \
    do {                                              \
        Dwarf_Word uleblen;                           \
        value = _dwarf_decode_u_leb128(ptr,&uleblen); \
        ptr += uleblen;                               \
    } while (0)

/*
    Decodes signed leb128 encoded numbers.
    Make sure ptr is a pointer to a 1-byte type.
    In 2003 and earlier this was a hand-inlined
    version of _dwarf_decode_s_leb128() which did
    not work correctly if Dwarf_Word was 64 bits.

*/
#define DECODE_LEB128_SWORD(ptr, value)               \
    do {                                              \
        Dwarf_Word sleblen;                           \
        value = _dwarf_decode_s_leb128(ptr,&sleblen); \
        ptr += sleblen;                               \
    } while (0)

/*
    Skips leb128_encoded numbers that are guaranteed
    to be no more than 4 bytes long.  Same for both
    signed and unsigned numbers.
*/
#define SKIP_LEB128_WORD(ptr)                     \
    do {                                          \
        if ((*(ptr++) & 0x80) != 0) {             \
            if ((*(ptr++) & 0x80) != 0) {         \
                if ((*(ptr++) & 0x80) != 0) {     \
                    if ((*(ptr++) & 0x80) != 0) { \
                    }                             \
                }                                 \
            }                                     \
        }                                         \
    } while (0)

#define CHECK_DIE(die, error_ret_value)                          \
    do {                                                         \
        if (die == NULL) {                                       \
            _dwarf_error(NULL, error, DW_DLE_DIE_NULL);          \
            return(error_ret_value);                             \
        }                                                        \
        if (die->di_cu_context == NULL) {                        \
            _dwarf_error(NULL, error, DW_DLE_DIE_NO_CU_CONTEXT); \
            return(error_ret_value);                             \
        }                                                        \
        if (die->di_cu_context->cc_dbg == NULL) {                \
            _dwarf_error(NULL, error, DW_DLE_DBG_NULL);          \
            return(error_ret_value);                             \
        }                                                        \
    } while (0)

/*
   Reads 'source' for 'length' bytes from unaligned addr.

   Avoids any constant-in-conditional warnings and
   avoids a test in the generated code (for non-const cases,
   which are in the majority.)
   Uses a temp to avoid the test.
   The decl here should avoid any problem of size in the temp.
   This code is ENDIAN DEPENDENT
   The memcpy args are the endian issue.
*/
typedef Dwarf_Unsigned BIGGEST_UINT;

#ifdef WORDS_BIGENDIAN
#define READ_UNALIGNED(dbg,dest,desttype, source, length)                 \
    do {                                                                  \
        BIGGEST_UINT _ltmp = 0;                                           \
        dbg->de_copy_word( (((char *)(&_ltmp)) + sizeof(_ltmp) - length), \
            source, length) ;                                             \
        dest = (desttype)_ltmp;                                           \
    } while (0)

/*
    This macro sign-extends a variable depending on the length.
    It fills the bytes between the size of the destination and
    the length with appropriate padding.
    This code is ENDIAN DEPENDENT but dependent only
    on host endianness, not object file endianness.
    The memcpy args are the issue.
*/
#define SIGN_EXTEND(dest, length)                                          \
    do {                                                                   \
        if (*(Dwarf_Sbyte *)((char *)&dest + sizeof(dest) - length) < 0) { \
            memcpy((char *)&dest, "\xff\xff\xff\xff\xff\xff\xff\xff",      \
                sizeof(dest) - length);                                    \
        }                                                                  \
    } while (0)
#else /* LITTLE ENDIAN */

#define READ_UNALIGNED(dbg,dest,desttype, source, length) \
    do  {                                                 \
        BIGGEST_UINT _ltmp = 0;                           \
        dbg->de_copy_word( (char *)(&_ltmp) ,             \
            source, length) ;                             \
        dest = (desttype)_ltmp;                           \
    } while (0)

/*
    This macro sign-extends a variable depending on the length.
    It fills the bytes between the size of the destination and
    the length with appropriate padding.
    This code is ENDIAN DEPENDENT but dependent only
    on host endianness, not object file endianness.
    The memcpy args are the issue.
*/
#define SIGN_EXTEND(dest, length)                               \
    do {                                                        \
        if (*(Dwarf_Sbyte *)((char *)&dest + (length-1)) < 0) { \
            memcpy((char *)&dest+length,                        \
                "\xff\xff\xff\xff\xff\xff\xff\xff",             \
                sizeof(dest) - length);                         \
        }                                                       \
    } while (0)

#endif /* ! LITTLE_ENDIAN */

/*
    READ_AREA LENGTH reads the length (the older way
    of pure 32 or 64 bit
    or the dwarf v3 64bit-extension way)

    It reads the bits from where rw_src_data_p  points to
    and updates the rw_src_data_p to point past what was just read.

    It updates w_length_size (to the size of an offset, either 4 or 8)
    and w_exten_size (set 0 unless this frame has the DWARF3
    and later  64bit
    extension, in which case w_exten_size is set to 4).

    r_dbg is just the current dbg pointer.
    w_target is the output length field.
    r_targtype is the output type. Always Dwarf_Unsigned so far.

*/
/*  This one handles the v3 64bit extension
    and 32bit (and   SGI/MIPS fixed 64  bit via the
        dwarf_init-set r_dbg->de_length_size)..
    It does not recognize any but the one distingushed value
    (the only one with defined meaning).
    It assumes that no CU will have a length
        0xffffffxx  (32bit length)
        or
        0xffffffxx xxxxxxxx (64bit length)
    which makes possible auto-detection of the extension.

    This depends on knowing that only a non-zero length
    is legitimate (AFAICT), and for IRIX non-standard -64
    dwarf that the first 32 bits of the 64bit offset will be
    zero (because the compiler could not handle a truly large
    value as of Jan 2003 and because no app has that much debug
    info anyway, at least not in the IRIX case).

    At present not testing for '64bit elf' here as that
    does not seem necessary (none of the 64bit length seems
    appropriate unless it's  ident[EI_CLASS] == ELFCLASS64).
*/
#define READ_AREA_LENGTH(r_dbg,w_target,r_targtype,                      \
    rw_src_data_p,w_length_size,w_exten_size)                            \
    do {                                                                 \
        READ_UNALIGNED(r_dbg,w_target,r_targtype,                        \
        rw_src_data_p, ORIGINAL_DWARF_OFFSET_SIZE);                      \
        if (w_target == DISTINGUISHED_VALUE) {                           \
            /* dwarf3 64bit extension */                                 \
            w_length_size  = DISTINGUISHED_VALUE_OFFSET_SIZE;            \
            rw_src_data_p += ORIGINAL_DWARF_OFFSET_SIZE;                 \
            w_exten_size   = ORIGINAL_DWARF_OFFSET_SIZE;                 \
            READ_UNALIGNED(r_dbg,w_target,r_targtype,                    \
                rw_src_data_p, DISTINGUISHED_VALUE_OFFSET_SIZE);         \
            rw_src_data_p += DISTINGUISHED_VALUE_OFFSET_SIZE;            \
        } else {                                                         \
            if (w_target == 0 && r_dbg->de_big_endian_object) {          \
                /* Might be IRIX: We have to distinguish between   */    \
                /* 32-bit DWARF format and IRIX 64-bit DWARF format. */  \
                if (r_dbg->de_length_size == 8) {                        \
                    /* IRIX 64 bit, big endian.  This test */            \
                    /* is not a truly precise test, a precise test */    \
                    /* would check if the target was IRIX.  */           \
                    READ_UNALIGNED(r_dbg,w_target,r_targtype,            \
                        rw_src_data_p, DISTINGUISHED_VALUE_OFFSET_SIZE); \
                    w_length_size  = DISTINGUISHED_VALUE_OFFSET_SIZE;    \
                    rw_src_data_p += DISTINGUISHED_VALUE_OFFSET_SIZE;    \
                    w_exten_size = 0;                                    \
                } else {                                                 \
                    /* 32 bit, big endian */                             \
                    w_length_size  = ORIGINAL_DWARF_OFFSET_SIZE;         \
                    rw_src_data_p += w_length_size;                      \
                    w_exten_size = 0;                                    \
                }                                                        \
            } else {                                                     \
                /* Standard 32 bit dwarf2/dwarf3 */                      \
                w_exten_size   = 0;                                      \
                w_length_size  = ORIGINAL_DWARF_OFFSET_SIZE;             \
                rw_src_data_p += w_length_size;                          \
            }                                                            \
        }                                                                \
    } while (0)

Dwarf_Unsigned
_dwarf_decode_u_leb128(Dwarf_Small * leb128,
    Dwarf_Word * leb128_length);

Dwarf_Signed
_dwarf_decode_s_leb128(Dwarf_Small * leb128,
    Dwarf_Word * leb128_length);

int
_dwarf_get_size_of_val(Dwarf_Debug dbg,
    Dwarf_Unsigned form,
    Dwarf_Half cu_version,
    Dwarf_Half address_size,
    Dwarf_Small * val_ptr,
    int v_length_size,
    Dwarf_Unsigned *size_out,
    Dwarf_Error *error);

struct Dwarf_Hash_Table_Entry_s;
/* This single struct is the base for the hash table.
   The intent is that once the total_abbrev_count across
   all the entries is greater than  10*current_table_entry_count
   one should build a new Dwarf_Hash_Table_Base_s, rehash
   all the existing entries, and delete the old table and entries.
   (10 is a heuristic, nothing magic about it, but once the
   count gets to 30 or 40 times current_table_entry_count
   things really slow down a lot. One (500MB) application had
   127000 abbreviations in one compilation unit)
   The incoming 'code' is an abbrev number and those simply
   increase linearly so the hashing is perfect always.
*/
struct Dwarf_Hash_Table_s {
    unsigned long       tb_table_entry_count;
    unsigned long       tb_total_abbrev_count;
    /* Each table entry is a list of abbreviations. */
    struct  Dwarf_Hash_Table_Entry_s *tb_entries;
};

/*
    This struct is used to build a hash table for the
    abbreviation codes for a compile-unit.
*/
struct Dwarf_Hash_Table_Entry_s {
    Dwarf_Abbrev_List at_head;
};

Dwarf_Abbrev_List
_dwarf_get_abbrev_for_code(Dwarf_CU_Context cu_context,
    Dwarf_Unsigned code);

/* return 1 if string ends before 'endptr' else
** return 0 meaning string is not properly terminated.
** Presumption is the 'endptr' pts to end of some dwarf section data.
*/
int _dwarf_check_string_valid(Dwarf_Debug dbg,void *areaptr,
    void *startptr, void *endptr, Dwarf_Error *error);

Dwarf_Unsigned _dwarf_length_of_cu_header(Dwarf_Debug,
    Dwarf_Unsigned offset,Dwarf_Bool dinfo);
Dwarf_Unsigned _dwarf_length_of_cu_header_simple(Dwarf_Debug,Dwarf_Bool dinfo);

int  _dwarf_load_debug_info(Dwarf_Debug dbg, Dwarf_Error *error);
int  _dwarf_load_debug_types(Dwarf_Debug dbg, Dwarf_Error *error);
void _dwarf_free_abbrev_hash_table_contents(Dwarf_Debug dbg,
    struct Dwarf_Hash_Table_s* hash_table);
int _dwarf_get_address_size(Dwarf_Debug dbg, Dwarf_Die die);
int _dwarf_reference_outside_section(Dwarf_Die die,
    Dwarf_Small * startaddr,
    Dwarf_Small * pastend);
void _dwarf_error_mv_s_to_t(Dwarf_Debug dbgs,Dwarf_Error *errs,
    Dwarf_Debug dbgt,Dwarf_Error *errt);

#endif /* DWARF_UTIL_H */

redpajama_set_name: RedPajamaGithub


text:
Home Anime Tokyo Revengers Season 2 Episode 3: Stand Alone! Release Date
Tokyo Revengers Season 2 Episode 3: Stand Alone! Release Date
Fans of the anime will be delighted to know that there is no break in the release of the next episode. So, the hype for the new one is very high. Tokyo Revengers Season 2 Episode 3 will bring Takemichi into a stringent position. Right now, he is standing on the enemy's ground. And what is more interesting here is the fact that only Taiju Shiba is the one aiming to kill the people who have breached the territories of this place. So, without taking much of your time, here is all you need to know about the next one.
The next one will show negotiating skills of Takemichi. Taiju orders that he wants to beat Hanagaki to death. But this is not something that shall be done at any cost. What is to happen to the two of them? Here is all you need to know about it!
From the details that have been released, the title of the next one will be "Stand Alone." The episode will open with the continuation of the meeting between Hakkai Shiba and Takemichi. But seeing them in the area, Taiju Shiba will not like the territorial breach. Thus, he will order his men to attack then and there. He will order his men to beat Takemichi to death after this.
But just as everyone tries to kill him, Hinata comes in front of Takemichi, mentioning that she will be around to protect him. Tokyo Revengers Season 2 Episode 3 will open with the same fight. But Takemichi will have his way around this fight as he wants to join hands with some keen members of this team.
Taking some personal time out, Takemichi told Hinata that Hakkai Shiba was known for some interesting things. And one of those was his history of killing the leader of the Black Dragons from the 10th Generation. But when the Black Dragons saw these two in their area, the men were given the orders to kill them. Even though Hakkai took a stand for them, the former wanted to kill them in cold blood.
This time, not Netflix, but Disney is streaming the new episodes of the show. So, Tokyo Revengers Season 2 Episode 3 will be coming out in a matter of days. The final release date for the new episode is January 21, 2023. All viewers will be able to catch the new episode only on the official pages of Disney Plus. At last, keep an eye on The Anime Daily to get all the updates right here.
The post Tokyo Revengers Season 2 Episode 3: Stand Alone! Release Date appeared first on The Anime Daily.
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text:
Lars Sullivan Panic Attack And Contract Update
Published 16th January 2019 at 1:26am by Wrestle Talk
Lars Sullivan has undoubtedly been the most hyped of WWE's most recent batch of NXT call-ups.
An incident in which he missed a debut on last week's Raw placed concerns on the status of Sullivan and his push, but PWInsider has confirmed that the self-proclaimed Freak is still under contract with WWE.
All six advertised NXT call-ups were scheduled to be present at last week's Raw and SmackDown Live. However, it is reported that Lars Sullivan suffered an anxiety attack shortly before his debut in a dark match.
Dave Meltzer of the Wrestling Observer confirmed that WWE officials took time to sit down with Sullivan and help him work through his issues after the January 7 show.
At that point he was booked for a dark match following SmackDown the next day. Unfortunately, Sullivan was not present at the show, having instead flown from Florida to his home in Colorado.
With Sullivan's absence from last night's Raw, which featured all the other scheduled call-ups, further questions have been raised about his status in the company. We do now know that Sullivan did not miss Monday's program due to contract issues, and he is still an active member of the roster.
Thankfully, WWE have a well-developed precedent of taking mental health seriously.
In the wake of Mauro Ranallo's struggles with bipolar disorder and Daniel Bryan's decade-long struggles with depression and anxiety, a strong culture of openness to discussing mental issues has been present.
While every individual case of illness is unique, WWE's strong track record concerning mental issues is reassuring. The company's openness to working with him through his battle means that we could still see a debut at the Royal Rumble, with a "super push" to follow.
And surely, if he needs someone to reach out to, Lars has a number of fellow wrestlers in his corner who have fought the same battles.
The entire WrestleTalk team is hopeful and optimistic that Lars Sullivan will make a speedy and healthy return to the ring.
How would you book Lars Sullivan's call-up? Let us know on WrestleTalk's Twitter here or on my Twitter here. You can also join us on Discord to chat with Oli, Luke, Laurie, and the entire WrestleTalk team and fans here!
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Update On Ric Flair Attending Chris Jericho Cruise
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Watch Liv Morgan Debut New Entrance Music At House Show (VIDEO)


text:
New York City's waterfront is booming
June 16, 2012 by Matt Wenner
Think of the waterfront as New York City's sixth borough.
At least the city's government is − dubbing it so for the amount of planning and energy going in to revamping the Big Apple's waterfront, said Arthur Platt, an architect and one of the guides on Classic Harbor Line Cruise's Architectural Tour.
The tour, which lasts about three hours, is given three times a week and circles the island. It gives a sense of how quickly the city's waterfront is changing — and helps give a new perspective on the city.
"I feel like it's a very interesting way to catch up with all the development in different neighborhoods in a very short time," said Meta Brunzema, an architect and founding director of the Friends of Hudson River Park, who served as a guest tour guide.
About 50 years out of the deindustrialization of the waterfront, changes have occurred at a slower pace than on land — but they are gaining steam, Brunzema said. Large lots occupied by sanitation or railyards have made spaces harder to develop, but very desirable.
"Ferry services want the space, people want it, and ecologists want to protect it," she said. "What we really see is constant conflict resolution at work. It is very much a zone in transition at all times."
The Daily News went on the tour. Here are our favorite shots from a city's waterfront in transition:
Starchitecture in far West Chelsea: Shown in top image. Big names in architecture have glitzed up this section of the waterfront on the far West Side. At the far left, luxury condominium 100 11th Ave. is seen, created by French architect Jean Nouvel. Nouvel used different-size panes of glass at varying angles to pick up the light differently and create the multicolored glass effect. Moving right is the IAC Headquarters, designed by Frank Gehry. The bent glass resembles sails on a ship. In the background, the Empire State Building stands tall.
Statue of Liberty: The pedestal is closed to visitors through the end of 2012, but people can still come to Liberty Island. The New York City icon is best seen from the water.
Pier 57: After a wooden version of Pier 57 burned to the ground, it was reconstructed in the early 1950s as a state-of-the-art pier atop concrete caissons rather than wood pilings, said Brunzema. The building was designed in a 1930s Art Deco style and has served as a dock for ocean liners, a bus depot and even as a holding pen for people arrested during the 2004 Republican National Convention. Now, plans are in the works for developer Youngwoo & Associates to turn it into a complex with space for markets, restaurants and other businesses.
Click here to view it on the Daily News Website!
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Tags: Architecture, Kingston, Manhattan, Motor
Boys of Summer Photo Shoot
June 14, 2012 by kevinw
View PDF version
Comments Off on Boys of Summer Photo Shoot
Tags: America 2.0, Sailing
MV Manhattan
June 1, 2012 by Matt Wenner
Melding styles is something that daring designers do. Getting it right can make one a legend, but the risks attached to failure are great in a business where you're only as good as your last design. This is why so few naval architects and boat builders, like their couturier counterparts, are truly daring, and why should they be in times like the present when cash seems to be more abundant than imagination. Play it safe offerings embalm the classics at one end of the market while ever more ostentation and gimmickry supply the other end. Once in a while inspiration does break through – unpredictably, innovatively, daringly. In marine design it is rare because naval architecture is by definition more evolutionary than revolutionary. But there's no mistaking when it occurs, the instinctive awareness that one is looking at a design that is somehow familiar but decidedly new, where it all works together in the right way and with the visceral certainty there will be emulators. MV Manhattan is such an occurrence and for now, there is only one, a working girl in New York harbor created by the Scarano Boat Building Company. Like her namesake, Manhattan embodies grace, charm, power and seduction in one beautiful package. Marilyn would approve.
A Trio of Design Concepts
MV Manhattan subtly combines elements of three design styles from the 1920s. Dominant among them is her Commuter heritage. The fast, waterborne limousines of the Roaring 20s sped to downtown docks in cities like Boston, Detroit, Philadelphia, New York and San Francisco while their captains of industry owners dressed and breakfasted at leisure. Manhattan's plumb stem, narrow beam and tumble home transom are all topside reminders of her dominant genes. Below the waterline, the flat run and twin 34" x 36" five-bladed props powered by a pair of turbocharged diesels (John Deere 6125 AFM 526 HP at 2100 RPM) through 2.54:1 reduction gears (Twin Disc MG5114 SC) easily put a bone in her teeth. Manhattan achieves 22 knots with ease. This classy dame will loiter for admirers but is fast on the getaway when she wants or needs to be. In the trade it's called giddy-up and Manhattan has plenty to get her morning commuters to work in a style to which they, like their forebears, are most certain to become accustomed. The morning commute across the Hudson includes complimentary coffee service, bagels, muffins and seasonal fruit juice, Bloody Marys, and Mimosas, complimentary newspapers and fresh flowers. If going to work we must, this is the way to get there!
Notably, the first Commuters were not yachts by the standard of their time. Originally, yacht-like luxury was subordinated to speed, since true lavishness was reserved for sedate, floating mansions inhabited by people who never needed to hurry. But big wallets, huge egos and natural competitiveness were no less drivers of innovation eight decades ago than they are today. In time, greater elegance, comfort and capacity also accompanied speed as the role of Commuters expanded from pure transportation to entertainment as well. The Commuters evolved into the Commuter Yacht. With enough mahogany bright work and white enamel to require sun shades on a cloudy day and inside capacity for 50 guests (80 total including outside seating) MV Manhattan personifies the height of Commuter Yacht development, but with modern comforts.
Manhattan's décor is elegant understatement, starting with plush cushioned seating for the climate-controlled main saloon accented by innovations like large opening skylights to maximize use of natural light to accentuate the beauty of natural woods and to provide vertical viewing from inside the cabin. Hand-woven throw rugs highlight the teak deck.
Every detail aboard Manhattan whispers personal warmth, from the fully stocked bar to full-size marine heads below decks. The galley (not pictured) is immaculate and efficient. Ambiance and style aboard Manhattan are more akin to a private club than to larger size dinner yachts or excursion boats.
Finally, there's Manhattan's semi-enclosed pilot house that harkens back to the open bridge destroyers and sub-chasers of World War I. Open at the aft end, it enables a level of communication and intimacy between the captain and passengers in the cabin behind him that was replaced years ago on larger craft by intervening decks, junior officers and "Do Not Enter" signs. One has to have skippered a yacht like Manhattan (this writer has) to understand the respect, interest and admiration passengers have for what the captain does – for many passengers this is a more novel experience than viewing the sights. It's kudos for captain and crew when all goes right, it's live entertainment when it doesn't. Subconscious awareness makes every cruise a more personal and memorable shared adventure.
Manhattan blends saltiness and elegance. Eighty years ago she might have chased submarines or rum-runners or been a bootlegger herself!
It is not hard to picture Marilyn Monroe offering her playful comparison of yachts and destroyers in Some Like it Hot as she steps aboard Manhattan (the yacht in the famous movie was Caledonia II). Tony Curtis' reply to Marilyn's remark is also memorable. Playing the part of an oil-baron's son, he says:
"Oh, it's just regulation size, we have three [yachts] like this."
We are not all Marilyn Monroe or Tony Curtis but thanks to MV Manhattan we don't have to be to experience the glamour of a bygone era and the excitement of a modern day designer / builder betting on his instincts and coming up aces. If Al Capone were still with us today, he'd probably send flowers!
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Tags: Manhattan, Motor
New York City Cruises
It's summer, which means that along with the overbearing heat, the streets of New York City are teeming with people. While I usually don't mind bumping shoulders with strangers, sometimes we all need a break from the chaos. Instead of holing up at home or in your hotel room, let me let you in on a little secret: local cruises.
Classic Harbor Line, a local boating company that features sailing, boat tours and private charters, allows for a mini vacation with their special interest day cruises. The vessels depart from downtown Chelsea Piers and sail on the Hudson River.
Classic Harbor Line gives you numerous options. Offerings range from having top scholars speak about the history and future of the NYC waterfront to foodie experiences of past Morimoto sushi & sake fights. Other options include the AIA (American Institute of Architects) NYC Architecture Tours. With this event, you sail down the Hudson as the NYC skyline sprawls around you in a 360 degree panorama. All the while, members of the AIA tell you how it came to be.
There's a cruise to spark every interest. Check out the Jazz Cruise, the Spanish Wine Pairing, and Flamenco Guitar. These are just some examples, but you can enjoy anything from wine tasting, beer and cheese pairings, brunches, sunset dinners, jazz shows and more.
Beginning on May 23, the new America 2.0 is ready for boarding. It's an 11-foot eco-friendly schooner and one of the leading boats for Op Sail 2012.
Here's an idea. With Independence Day around the corner, why not hop onboard? Classic Harbor Line has all it takes for a spectacular Fourth of July evening. You can get aboard the Schooner Adirondack or the Yacht Catskill. You'll sip champagne and watch the beautiful fireworks display over the NYC skyline, all in the company of Lady Liberty.
www.sail-nyc.com
Comments Off on New York City Cruises
Tags: Adirondack, America 2.0, Kingston, Manhattan, Motor, NYC Boat Tour, Sailing


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Google Hangouts Review
UPDATE: Google Hangouts has been transitioned to Google Chat.
Google Hangouts was an instant messaging service that the company discontinued in November 2022. Hangouts was excellent for personal use, but lacked some important capabilities that we saw from competitors like Zoho Meeting and RingCentral Video.
Compare Google Hangouts to The Best Video Conferencing Software
Google Hangouts failed to make our top video conferencing software list. It was created to be a more basic tool, and it's no match for the top video conferencing tools designed to support businesses of any size. Nonetheless, as a personal communication tool, it is a good one with a lot of advantages, including being free and easy to use.
If you're looking for a video conferencing tool for your business, it's important to know the best providers.
RingCentral – Best video conferencing software for most businesses
Zoho Meeting – Best for simple webinars at a budget-friendly price
Microsoft Teams – Best video conferencing tool for large businesses
Vectera – Best for branded 1:1 video calls with customers & clients
Livestorm – Best if you focus heavily on webinars and live events
We've tried countless video conferencing tools to compile a list of the best. See all of our top picks here to make an informed decision on what will work best for you.
Google Hangouts: The Good and The Bad
Google Workspace Integration: Like other Google products, Google Hangouts seamlessly integrates with other Google Workspace apps. This is a huge benefit for people who already use other Google apps. Users can pull contacts from Google Contacts and add a phone number with Google Voice. These integrations can save time and gives Google Hangouts a sense of familiarity with Google users.
Contacting Options: Google Hangouts also has instant messaging, voice calling, and video calling. Contact flexibility is essential because video calling is not always preferred. You can use the chat option for quick questions and calls for longer conversations. There is also a hybrid option combining both video calls and chats.
Ease of Use: Anyone even slightly familiar with technology can easily use Google Hangouts. When you want to chat with someone, simply type their name or email address in the search bar and send them an invitation.
To add more people and make it a group chat, you'll click the plus icon at the top of the chatbox. The photos icon at the bottom right allows users to easily send photos to the group.
For video calls, click the video call button, and a window will pop up. Video call members can also be invited through the search bar. Once a call has begun, users can turn off their cameras or mute microphones with a single click.
There is also in-call messaging, which is using the text feature during a call. This feature is perfect for sharing links, photos, and notes while speaking to others.
Users can invite more people to create group calls, and the screen share option allows all participants to focus on one user's screen. Screen sharing is perfect for going over step-by-step processes in real-time.
If you don't want to use your personal cell phone number, you can sign up for a Google Voice phone number. Calls made in the United States are free, but international calls cost money depending on the country.
Mobile Apps: If you need to use this service while away from your desktop, Google Hangouts has your back. It has a mobile app available for iOS and Android. This allows for easy cross-communication between desktop users and mobile app users.
Free Software: If you don't want to purchase video conferencing software, Google Hangouts may be for you. The tool is free and easily accessible for anyone with a personal Google account.
Unclear Product Offerings: Google offers Google Hangouts, Google Chat, and Google Meet. All are similar product offerings for slightly different uses.
Google Hangouts is geared toward personal consumers and includes chat and video calling. Google Chat is a chat service intended for businesses. Google Meet is a video conferencing service meant for businesses. Google Hangouts is free, and the other two vary depending on a user's Google Workspace plan.
This confuses potential customers. If Google were to simply combine these into one product with different pricing plans, it would be a much clearer product offering.
Personal Use Only: Google Hangouts is extremely limited because it's only meant for personal use. While this software is easy to use, it's also extremely basic. It lacks recording space, business phone systems, and task management features. Businesses needing proper video conferencing software will need to upgrade to Google Meet.
Google Hangouts Pricing and Options
Google Hangouts is completely free to use. Google Meet and Google Chat are similar services meant for businesses and part of paid Google Workspace plans.
While Google Workspace pricing is unclear and unnecessarily complicated, Google Hangouts pricing is straightforward. It has one plan, and it's free.
Before diving into the different products Google has to offer, it's important to understand how Google Workspace's pricing structure works. Most Google apps can be used for free. However, many of these apps have upgrades available when purchasing Google Workspace plans. Confusing, right? Let us simplify this for you.
Apps like Gmail, Google Drive, and Google Docs are free for anyone with a Gmail account to use. To upgrade these apps, you must pay for a Google Workspace plan. Paid Google Workspace plans are meant for businesses, while individual consumers typically use Google's free app versions.
Google offers a 14-day free trial with Workspace before needing to pay. Its Business Starter plan costs $6 per user per month. It includes business emails, 30 gigabytes of cloud storage per user, and 100 video meeting participants.
The Business Standard plan costs $12 per user per month. Its video meeting participants limit increases to 150 people and allows call recording. This plan comes with two terabytes of cloud storage per user.
The Business Plus plan costs $18 per user per month. It includes enhanced security, five terabytes of cloud storage, and 250 video meeting participants.
Finally, the Enterprise plan has unlimited storage and enhanced customer support. You must contact Google to find out more about this plan's pricing information.
While Google Workspace's pricing complexity can cause headaches, it is affordable for the value it brings. We do not like the requirement to pay for enhanced support in the Business Standard and Business Plus plans.
Most people reading this have heard of Gmail or already have a Gmail account. There are over 1.5 billion active Gmail users worldwide. Gmail is Google's free email service. It has a simple signup process and a sleek layout and includes a mobile app. It also integrates with all Google Workspace apps.
Email inboxes get cluttered, and many people forget to follow up on important emails. Fortunately, Gmail includes helpful reminders at the top of a user's inbox. Some examples of these are "Received 2 days ago. Reply?" or "Sent 7 days ago. Follow up?"
The Smart Compose Personalization feature creates personalized suggestions depending on a user's writing style to save time. As far as security is concerned, Gmail has your back. It warns users of suspicious emails and blocks 99.9% of dangerous emails.
It even places an "Ad" logo to highlight advertisements in a user's inbox. The inbox is separated into a Primary tab, a Social tab, and a Promotions tab for easy organization.
Gmail is an industry leader in the email service space. We recommend Gmail for anyone seeking an easy-to-use service that syncs with Google Workspace apps.
Google Drive is Google's cloud storage and syncing service. It lets users store, share, and edit files from their desktops, tablets, and computers. In addition to Google Workspace integration, it also connects with third-party apps like Adobe, DocuSign, and Salesforce. It is absolutely top of the line for collaborative documents, forms, spreadsheets, presentations, and more.
Google Drive offers 15 gigabytes of storage space for free. After 15 gigabytes, users will need to pay more for additional storage via Google Workspace plans. Google Drive is one of the leading cloud storage providers in its space, and its free version offers a solid amount of storage.
Google Docs is an intuitive document software that is part of Google Drive. It lets users write, edit, and collaborate on documents. The collaboration tool allows more than one person to edit a document in real-time. Users can share documents with anyone, chat with each other, and add comments. It comes with styling and intelligent editing tools and lets users add images, drawings, and links.
Google Docs isn't only for typical documents. It has pre-made templates for help with resumes, reports, and meeting agendas. When users aren't connected to the internet, they can still access their documents from the desktop or mobile app in offline mode.
Google Docs eliminates the need to save documents manually; the documents auto-save to the cloud whenever any change is made. If you make a mistake, you can simply look at previous versions of the document through the version history. Therefore, there is no need to worry about losing the changes.
Google Docs is free to use, and it's the perfect tool for users who need to collaborate on and save documents. For business use, the app can be upgraded with Google Workspace plans. For people who prefer more traditional document software like Microsoft Word, Google Docs may not be the right fit.
Google Calendar focuses on managing its users' schedules so that they have more free time. It is primarily used via its mobile app but can be used on a desktop as well. The Schedule View separates it from boring calendars by adding images, color-coding, and maps to events.
When users receive a scheduling email to their Gmail account, it is automatically added to their Google Calendar. This is helpful when receiving flight information, hotel check-in details, or restaurant reservations. The interface lets users see different views of their days, weeks, and months.
Users can invite guests, and events are automatically backed up online. For easy organization, events can also be color-coded.
Like other Google Workspace apps, Google Calendar is free to use. Google Calendar is a simple calendar tool for users who appreciate automatic scheduling features.
Google Chat is an app that helps companies and teams communicate with each other more quickly than with email. It can be used on its own or inside of Gmail.
Users can create a virtual room to keep projects on track and organized and add their team members. These rooms support up to 8,000 users, and Google Chat can be set to 28 different languages.
The search feature lets users find specific bits from previous conversations. Safety is a priority with Google Chat. Google's anti-abuse measures keep organizations safe, and all data is encrypted at rest and in transit.
Google Chat has more intuitive chat options than Google Hangouts. Unlike Google Hangouts, it can be upgraded through the paid versions of Google Workspace.
Google's Chat and Hangouts differences can be a little confusing, and we think it's unnecessary to separate them into two separate tools. As a reminder, Google Hangouts is for smaller-scale use, and Google Chat is for larger businesses.
In addition to Google Chat, there is also Google Meet. Google Meet is geared toward video conferencing. It is free to use but can be upgraded for additional features via Google Workspace plans. While Google Hangouts also has video conferencing, Google Meet's video conferencing is intended for larger businesses.
Meetings can be started instantly or scheduled on Google Calendar. Google Meet's free version is nothing special. However, the upgraded versions pack much more value.
Advanced features like breakout rooms, polls, Q&A, and live streaming are included with Google Workspace's paid plans. These plans also feature hand raising, noise cancellation, meeting recording, and attendance tracking.
The further you upgrade your Google Workspace plan, the more valuable this tool becomes. While this video conferencing software is a step up from Google Hangouts, it's not one of the best available.
How Google Hangouts Ranks
Google Hangouts does not make our list of top picks because it doesn't stand up to the top video conferencing tools on the market today due to its limitations. Microsoft Teams can host meetings with up to 10,000 members with 24-hour time limits. Zoho Meeting lets users customize meeting forms with company names, logos, and colors, and Livestorm gives users high-end webinar experiences.
Google Hangouts does none of these, and it's only meant for personal use. For more information on the best video conferencing software available, check out our article here.
If you need video conferencing software for your business, steer clear of Google Hangouts. This software is only meant for the individual consumer and lacks many of the features necessary for business use.
Tools like RingCentral, Livestorm, and Microsoft Teams are better options for business users. They have unique tools that tailor to businesses, and Google Hangouts can't compete. Google Hangouts is a more suitable tool if all you need is a simple free tool for personal use.
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UNC 42, James Madison 10
By T.H. Sep 4, 2011, 9:54am EDT
Share All sharing options for: UNC 42, James Madison 10
Welcome to the Bryn Renner era at UNC.
You ma want to temper your excitement a bit, because it was James Madison, a middle-of-the-road FCS school. But their pass defense was their strong point, and Renner had a field day in his first college start. The sophomore set a Carolina record for completion percentage, connecting on 22 of 23 attempts. That's one completion away from Tee Martin's NCAA record of going 23 for 24. An even that 23rd pass never hit the ground, finding its way into the hands of JMU safety Dean Marlowe on a deep route.
Renner started the first series with the standard short passes to Dwight Jones we're so used to seeing from last season before finding him on a deep route over the middle for a 34-yard touchdown. Jones would remain the favorite option, catching nine passes for 116 yards, including a second TD in the fourth, but the offense was spread around, with seven players catching passes.
The running game looked similar to what it was two years ago, with Ryan Houston grinding out 3.7 yards a carry, while redshirt freshman Giovani Bernard stepped ably into the Shaun Draughn role of the speedier, more nimble back. Bernard, who had a fractured hand in a cast for most of camp, averaged 7.1 yards on nine carries an caught two passes while alternating series with Houston. He also found the end zone twice, on runs of 12 and 14 yards. Again, I'm trying not to get too excited, as the Dukes' run defense isn't a particularly big challenge in the grand scheme of things, but this was a great debut performance.
The defense was strong, but not really tested. If a weakness stood out it was the two passes over the secondary that resulted in JUM gains of 41 and 47 yards, including their only touchdown. Things tightened up in the second half, and the passes were kept short, but that might be something to worry about in the next few weeks.
Even special teams showed some improvement. True freshman Thomas Hibbard botched his second snap leading to a blocked punt, but put his other two attempts on the JMU four and one yard lines. Another true freshman, wide receiver T.J. Thorpe, took kick return duties and averaged returns just shy of 20 yards on three attempts, while Todd Harrelson was equally successful handling punt returns.
Again, I have to keep telling myself this was an average FCS opponent, and not evidence that the Heels are going to dominate this season. But they played a lot better than many other schools against lesser competition yesterday – see State's slow start against Liberty, for example – and had a lot of new faces put of some very good numbers. Rutgers is a week away, led by another freshman with some impressive stats. But if Carolina can continue this level of play against steeper competition, this looks to be a very fun season.
Dukes vs Tar Heels boxscore


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Зинерит — комбинированное лекарственное средство на основе эритромицина и солей цинка. Применяется для лечения угревой сыпи.

Фармакологическое действие

Антибактериальный препарат для местного применения. Оказывает также противовоспалительное и комедонолитическое действие. Эритромицин действует бактериостатически на микроорганизмы, вызывающие угревую сыпь: Propionibacterium acne и Streptococcus epidermidis. Zn2+ уменьшает выработку секрета сальных желез.

Показания

Угревая сыпь (при неэффективности общегигиенических и косметических средств), хроническое акне, неаллергические неспецифические прыщи.

Режим дозирования

Наружно. С помощью прилагаемого аппликатора наносить тонким слоем на весь пораженный участок кожи 2 раза в сутки: утром (до нанесения макияжа) и вечером (после умывания), наклонив флакон с приготовленным раствором вниз, с легким нажимом. Разовая доза — 0,5 мл приготовленного раствора. После высыхания раствор становится невидимым. Продолжительность лечения — 10—12 недель.

Побочные эффекты

Быстропроходящие: жжение, раздражение, сухость кожи в месте нанесения препарата.

Особые указания

Может возникнуть перекрестная резистентность к другим антибиотикам группы макролидов, линкомицину, клиндамицину. Необходимо избегать попадания препарата в глаза или на слизистую оболочку носа и рта, так как это может вызвать раздражение и ожог. Очень эффективное средство, но важно не злоупотреблять им, так как может возникнуть привыкание и препарат потеряет свою эффективность.

Источники
Описание в справочнике лекарств РЛС

Ссылки
 zinerit.ru
 noproblems.com.ua
 helpface.ru

Дерматотропные средства
Макролиды и азалиды


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Department for Clinical Neurosciences and Preventive Medicine
University / Faculties / Faculty of Health and Medicine / Departments / Department for Clinical Neurosciences and Preventive Medicine
Open subnavigationDepartment for Clinical Neurosciences and Preventive Medicine Close subnavigation Show navigation entries
University Faculties Faculty of Health and Medicine
Center for Neurosciences
Center for Neurorehabilitation
Center for Vascular Prevention
Center for Dementia Studies
The Department for Clinical Neurosciences and Preventive Medicine was established in 2006 and developed from the previous Department of Environmental and Biomedical Sciences. This new department became necessary because of the high numbers of students and of the need for specialization.
The Department for Clinical Neurosciences and Preventive Medicine has the task to promote continuing medical education in all clinical areas and to develop a focus in the area of prevention.
According to the general mission of Danube University Krems postgraduate continuing education should involve all areas of medicine with emphasis on research and teaching in areas with special needs. This emphasis includes teaching projects in general postgraduate education for medical doctors, for the large areas of clinical neurosciences including stroke medicine and rehabilitation. The further development of teaching and research will be embraced in an interdisciplinary programme which includes clinically and health policy relevant areas such as clinical epidemiology, general medical prevention and lifestyle medicine as well as the clinical applications of the scientific research consulting from these areas.
Advisory Board of the Department
Prof. Valeria Caso, MD, PhD, FESO
Stroke Unit, Azienda Ospedalieria di Perugia,
Italy, president of the ESO.
Prof. Dr. Andrés Ceballos-Baumann
Schön Klinik München Schwabing, Germany
Univ.-Prof. Dr. Georg Goldenberg
Prof. Dr. Elmar Gräßl
Head of the department Psychology and medical sociology,
Universitäts-Klinikums Erlangen , Germany.
Prof. Wolf-Dieter Heiss
Max-Planck-Institut für neurologische Forschung
Prof. Dr. Iva Holmerová, Ph.D.
Faculty of Humanities, Vice-Dean for International Affairs, Karls University Prague.
Univ. Prof. Georg Kerkhoff
Universität des Saarlandes, Saarbrücken, Germany.
Univ.-Prof Dr. Michael Brainin
michael.brainin@donau-uni.ac.at
+43 2272 601-10721
Campus Krems, Tract I, Ground Floor, 0.311