Trying to limit the number of hourly results I get. I'm currently seeing hourly results for 24+hours. I'm working on fixing this with a break in my foreach loop. That is all well and good but it's problematic and will require a lot of conditionals in the code to get it right. I was wondering if there is a quicker way.
After 4 years this question is open: Is there now a method to get hourly forecast in larger intervals than 1 hour e.g. through a parameter in the url? (?hourly=3 or similar to get hourly forecast for every 3 hours).


text:
Private Photo Session (1991)
Added: Nov 6, 2018	| Duration: 14:49	| Views: 211
Behind the scenes footage and interview for a private session photoshoot in 1991.
Indie Wire (2018)
Added: Jan 29, 2018	| Duration: 04:57	| Views: 1744
January 26, 2018. Interview with Angelina Jolie and Loung Ung to promote the release of "First They Killed My Father".
In the Land of Blood and Honey – Interview
Added: Jan 25, 2018	| Duration: 01:02:03	| Views: 700
Interview/Q&A with Angelina Jolie and Vanesa Glodjo from "In the Land of Blood and Honey".
Netflix (2017) – 02
Added: Jan 4, 2018	| Duration: 01:25	| Views: 1772
October 2, 2017. Interview with Angelina Jolie to promote the release of "First They Killed My Father".
The Breadwinner – Press Junket Interviews
Interviews with Angelina Jolie and Nora Twomey to promote the release of "The Breadwinner".
The Hollywood Reporter's Directors Roundtable (2017)
Added: Dec 8, 2017	| Duration: 01:35:55	| Views: 1939
December 6, 2017. Angelina Jolie participates in "The Hollywood Reporter Directors Roundtable".
The Los Angeles Times (2017)
Added: Nov 30, 2017	| Duration: 05:30	| Views: 3003
Interview and behind the scenes footage for the photoshoot for The Los Angeles Times: Envelope - The Directors Roundtable (US).
Netflix (2017) #01
Added: Oct 4, 2017	| Duration: 03:55	| Views: 1998
October 2, 2017. Interview with Q&A from fans with Angelina Jolie and Loung Ung to promote the release of "First They Killed My Father".
The Wrap (2017) – Clip
Added: Sep 24, 2017	| Duration: 00:54	| Views: 1906
September 2017. Interview with Angelina Jolie, Loung Ung and Rithy Panh to promote the release of "First They Killed My Father".
Nightline (September 16, 2017)
Added: Sep 16, 2017	| Duration: 5:46	| Views: 1978
September 16, 2017. Angelina Jolie, Loung Ung and Rithy Panh attends "Nightline" to promote the release of "First They Killed My Father".
Good Morning America (September 15, 2017)
September 15, 2017. Angelina Jolie, Loung Ung and Rithy Panh attends "Good Morning America" to promote the release of "First They Killed My Father".
Variety (2017)
September 11, 2017. Interviews with Angelina Jolie, Loung Ung and Rithy Panh to promote the release of "First They Killed My Father".
Vanity Fair (2017)
September 11, 2017. Interview with Angelina Jolie to promote the release of "First They Killed My Father".
The Hollywood Reporter (2017)
September 12, 2017. Interview with Angelina Jolie, Loung Ung and Rithy Panh to promote the release of "First They Killed My Father".
First They Killed My Father – Press Junket Interviews
Added: Sep 7, 2017	| Duration: 07:42	| Views: 2005
August 25, 2017. Interviews with Angelina Jolie and Loung Ung to promote the release of "First They Killed My Father".
BBC World News – February 20, 2017 – Clip
Added: Apr 7, 2017	| Duration: 0:41	| Views: 2613
February 20, 2017. Interview with Angelina Jolie to promote the release of "First They Killed My Father".
BBC World News – February 20, 2017
Good Morning America (2017)
Added: Feb 21, 2017	| Duration: 05:44	| Views: 2759

redpajama_set_name: RedPajamaCommonCrawl


text:
Fitbiotics
Why Fitbiotics
Fungal Aid
Wrappell
Reload BCAA
Hairy Harry
V Vitamins
Spot Derm
Palus
NTZ
RELOAD AMMINO ACID 1000+
BCAAs are often thought to be the supplement of choice to build muscle when working out, we are true, however there are many other qualities associated with BCAAs.
BCAAs – Branched-chain ammino acids
The branched-chain amino acids (BCAAs) are a group of three essential amino acids: leucine, isoleucine, and valine.
They are essential, meaning they can't be produced by your body and must be obtained from food.
BCAA supplements have been shown to build muscle, decrease muscle fatigue and alleviate muscle soreness.
They have also been used to prevent or slow muscle loss and to improve symptoms of liver disease.
Amino acids, often referred to as the building blocks of proteins, are compounds that play many critical roles in your body.
They're needed for vital processes like the building of proteins and synthesis of hormones and neurotransmitters.
Some may also be taken in supplement form for a natural way to boost athletic performance or improve mood.
Health Benefits of Supplementing with Essential Amino Acids
While essential amino acids can be found in a wide array of foods, taking concentrated doses in supplemental form has been linked to several health benefits.
Improve Mood and Sleep
Tryptophan is needed to produce serotonin, a chemical that acts as a neurotransmitter in your body. Serotonin is an essential regulator of mood, sleep, and behaviours.
While low serotonin levels have been linked to depressed mood and sleep disturbances, several studies have shown that supplementing with tryptophan can reduce symptoms of depression, boost mood and improve sleep.
Can Boost Exercise Performance
The three branched-chain essential ammino acids are widely used to alleviate fatigue, improve athletic performance, and stimulate muscle recovery after exercise.
Can Prevent Muscle Loss
Muscle loss is a common side effect of prolonged illnesses and bed rest, especially in older adults.
Essential amino acids have been found to prevent muscle breakdown and preserve lean body mass.
Essential amino acid supplements have also been found to be effective in preserving lean body mass in elderly people and athletes.
May Promote Weight Loss
This may sound contradictory to the message of muscle growth; however, some studies have demonstrated that branched-chain essential amino acids may be effective in stimulating fat loss.
For example, an eight-week study in 36 strength-trained men found that supplementing with 14 grams of branched-chain amino acids per day significantly decreased body fat percentage, compared to whey protein or a sports drink
Supplementing with certain essential amino acids may help improve mood, boost exercise performance, prevent muscle loss and promote weight loss.
Increase Muscle Growth
One of the most popular uses of BCAAs is to increase muscle growth.
The BCAA leucine activates a certain pathway in the body that stimulates muscle protein synthesis, which is the process of making muscle.
Whey protein contains all the essential amino acids needed to build muscle.
Therefore, while BCAAs can increase muscle protein synthesis, they can't do so maximally without the other essential amino acids, such as those found in whey protein or other complete protein sources.
BCAAs play an important role in building muscle. However, your muscles require all the essential amino acids for the best results.
Decrease Muscle Soreness
Some research suggests BCAAs can help decrease muscle soreness after a workout.
It's not uncommon to feel sore a day or two after a workout, especially if your exercise routine is new.
This soreness is called delayed onset muscle soreness (DOMS), which develops 12 to 24 hours after exercise and can last up to 72 hours.
BCAAs have been shown to decrease muscle damage, which may help reduce the length and severity of DOMS.
Therefore, supplementing with BCAAs, especially before exercise, may speed up recovery time and may decrease soreness.
Reduce Exercise Fatigue
Just as BCAAs may help decrease muscle soreness from exercise, they may also help reduce exercise-induced fatigue.
Everyone experiences fatigue and exhaustion from exercise at some point. How quickly you tire depends on several factors, including exercise intensity and duration, environmental conditions and your nutrition and fitness level
Your muscles use BCAAs during exercise, causing levels in your blood to decrease. When blood levels of BCAAs decline, levels of the essential amino acid tryptophan in your brain increase
In your brain, tryptophan is converted to serotonin, a brain chemical that is thought to contribute to the development of fatigue during exercise
Prevent Muscle Wasting
BCAAs can help prevent muscle wasting or breakdown.
Muscle proteins are constantly broken down and rebuilt (synthesized). The balance between muscle protein breakdown and synthesis determines the amount of protein in muscle
Muscle wasting or breakdown occurs when protein breakdown exceeds muscle protein synthesis.
Muscle wasting is a sign of malnutrition and occurs with chronic infections, cancer, periods of fasting and as a natural part of the aging process
In humans, BCAAs account for 35% of the essential amino acids found in muscle proteins. They account for 40% of the total amino acids required by your body
Therefore, it's important that the BCAAs and other essential amino acids are replaced during times of muscle wasting to halt it or to slow its progression.
Several studies support the use of BCAA supplements for inhibiting muscle protein breakdown. This may improve health outcomes and quality of living in certain populations, such as the elderly and those with wasting diseases like cancer
Taking BCAA supplements can prevent the breakdown of protein in certain populations with muscle
wasting.
Benefit People with Liver Disease
BCAAs may improve health in people with cirrhosis, a chronic disease in which the liver does not function properly.
It's estimated that 50% of people with cirrhosis will develop hepatic encephalopathy, which is the loss of brain function that occurs when the liver is unable to remove toxins from the blood.
While certain sugars and antibiotics are the mainstays of treatment for hepatic encephalopathy, BCAAs may also benefit people suffering from the disease.
Liver cirrhosis is also a major risk factor for the development of hepatocellular carcinoma, the most common form of liver cancer, for which BCAA supplements may also be useful.
Foods High in BCAAs
Consuming protein-rich foods will also provide you with other important nutrients that BCAA supplements lack.
The best food sources of BCAAs include:
Beef, round
3.5 ounces (100 grams)
1 scoop
1/2 cup (50 grams)
1/2 cup (140 grams)
What Are Essential Amino Acids?
Amino acids are organic compounds composed of nitrogen, carbon, hydrogen, and oxygen, along with a variable side chain group.
Your body needs 20 different amino acids to grow and function properly. Though all 20 of these are important for your health, only nine amino acids are classified as essential.
These are histidine, isoleucine, leucine, lysine, methionine, phenylalanine, threonine, tryptophan and valine.
Unlike nonessential amino acids, essential amino acids can't be made by your body and must be obtained through your diet.
The best sources of essential amino acids are animal proteins like meat, eggs and poultry.
When you eat protein, it's broken down into amino acids, which are then used to help your body with various processes such as building muscle and regulating immune function.
Conditionally Essential Amino Acids
There are several nonessential amino acids that are classified as conditionally essential.
These are considered to be essential only under specific circumstances such as illness or stress.
For example, although arginine is considered nonessential, your body can't meet demands when fighting certain diseases like cancer.
That's why arginine must be supplemented through diet to meet your body's needs in certain situations.
Their Roles in Your Body
The nine essential amino acids perform several important and varied jobs in your body:
Phenylalanine: Phenylalanine is a precursor for the neurotransmitters tyrosine, dopamine,epinephrine and norepinephrine. It plays an integral role in the structure and function of proteins and enzymes and the production of other amino acids.
Valine: Valine is one of three branched-chain amino acids, meaning it has a chain branching off to one side of its molecular structure. Valine helps stimulate muscle growth and regeneration and is involved in energy production.
Threonine: Threonine is a principal part of structural proteins such as collagen and elastin, which are important components of the skin and connective tissue. It also plays a role in fat metabolism and immune function.
Tryptophan: Though often associated with causing drowsiness, tryptophan has many other functions. It's needed to maintain proper nitrogen balance and is a precursor to serotonin, a neurotransmitter that regulates your appetite, sleep, and mood.
Methionine: Methionine plays an important role in metabolism and detoxification. It's also necessary for tissue growth and the absorption of zinc and selenium, minerals that are vital to your health.
Leucine: Like valine, leucine is a branched-chain amino acid that is critical for protein synthesis and muscle repair. It also helps regulate blood sugar levels, stimulates wound healing, and produces growth hormones.
Isoleucine: The last of the three branched-chain amino acids, isoleucine is involved in muscle metabolism and is heavily concentrated in muscle tissue. It's also important for immune function, haemoglobin production and energy regulation.
Lysine: Lysine plays major roles in protein synthesis, hormone and enzyme production and the absorption of calcium. It's also important for energy production, immune function and the production of collagen and elastin.
Histidine: Histidine is used to produce histamine, a neurotransmitter that is vital to immune response, digestion, sexual function, and sleep-wake cycles. It's critical for maintaining the myelin sheath, a protective barrier that surrounds your nerve cells.
As you can see, essential amino acids are at the core of many vital processes.
Though amino acids are most recognized for their role in muscle development and repair, the body depends on them for so much more.
That's why essential amino acid deficiencies can negatively impact your entire body including your nervous, reproductive, immune and digestive systems.
If you exercise regularly, you likely want to be sure you're getting the most out of it.
One important benefit of exercise is gaining muscle and strength. Having a healthy amount of muscle allows to you to perform your best during exercise and daily life.
Three main criteria must be met for maximal muscle gain: eating more calories than you burn, consuming more protein than you break down and an exercise program that is challenging to your muscles
While it's possible to meet all these criteria without taking dietary supplements, certain supplements may help you meet your goals.
RELOAD Branched-Chain Amino Acids
Branched-chain amino acids (BCAAs) consist of three individual amino acids: leucine, isoleucine, and valine.
They are found in most protein sources, particularly those of animal origin like meat, poultry, eggs, dairy and fish.
BCAAs are critically important for muscle growth and make up about 14% of the amino acids in your muscles
Just about everyone consumes BCAAs from food every day, but it's also very popular to take BCAAs as a supplement.
RELOAD BCAA AMMINO 1000+
Fitbiotics is a specialist wellbeing company which from humble beginnings, is becoming world renowned company, with a reputation for quality and a leader in innovation.
Based in the UK with a worldwide customer base which is growing year on year.
Atlantis is a unique Inch loss solution
Everything to
do with Washing
Spot Derm is harsh on the acne yet kind on the skin. 100% natural
Shrinking Wrappell The number one product for the body wrap market.
Fungal Aid a 100% pure remedy for nail fungus. This is now fully trademarked approved.
Copyright © 2000 - 2021 Fitbiotics A trading name for HDC Group - All rights reserved


Video marketing is an awesome way to reach out and engage multiple users all at the same time. Videos have a startling effect on the human psyche that gives brands the immense power to engage visually and emotionally. When you see a video that is relatable or resonates a common pain point that you've faced too, you automatically feel connected to the brand that made this video.
However, there have been so many times that you have seen a video ad, loved the content, but later you couldn't recall the name of the brand that released the video originally. While the video content was great, that particular brand failed to make an impression. This is a common mistake brand make while creating their video content. They immerse themselves in creating a good story but unconsciously side-track their brand's purpose and market demand. So, if you are creating a video that is awesome but your audience forgets to take note of your brand, then that video campaign goes in vain.
I just finished reading an interesting and insightful article, "If You Are Still Ignoring YouTube, You're Missing Out (Again) on Being a Leader", by INfluencer Tara Hunt here on LinkedIn. This is the first time I've come across any of her material; she breaks down the world of vlogging and social media through her own YouTube channel and articles she is publishing on LinkedIn. She creates content that is both personable and really easy to understand.


text:
class GameScene;
class GameOverScene : public Scene
{
public:
	GameOverScene(Application& app);

	virtual void processEvent(const sf::Event& e);
	virtual void update(const sf::Time& deltaTime);
	virtual void render();

	~GameOverScene() {}

private:
	//screenshot of last frame
	sf::Image mBackground;
	sf::Texture mBackgroundTex;
	sf::Sprite mBackgroundSpr;
	//highscore
	sf::Text mHighscore;
	//info
	sf::Text mInfo;

};

redpajama_set_name: RedPajamaGithub


Roaring Raptor or Re-worked Ranger?
You are here: Van Leasing > Latest News > Roaring Raptor or Re-worked Ford Ranger?
Roaring Raptor or Re-worked Ford Ranger?
The Ford Ranger Raptor IS landing, right?!
You've probably already read some Ford Ranger reviews, so the good news is this isn't one of them… THIS is a Ford Ranger RAPTOR review. Vanarama's Tia Richards tells you more.
Sorry to mention the Ford Ranger again, but the Raptor will have to follow in some BIG wheels when it's actually here. After all the Ranger is the best-selling pickup in the UK right now.
Oh, and if you thought that the Raptor had already been released in the UK, it hasn't, but it will be later this month. So, sit back and relax because this time it's different, this blog is not all about the release of the Raptor, this blog aims to make sense of what it IS.
So, is it really something to rave over or is it just driving hype? Let's leave it to the spec to decide.
Ford themselves describe the Raptor as a "super pickup" and apparently there's "nothing else like it" … is it just me that's expecting the hulk or a Ranger on steroids?
All this and so much more. Yep its big AND bold! Oh, AND it can go from 0-62mph in 10.5 seconds thanks to its impressive 2.0-litre engine, revving up 210bhp through its 10-speed gearbox.
But who's all this for?
That's a good question, to be frank were not sure. Sorry to mention the name again but the RANGER is a favourite for trades-people. The Raptor is basically a souped-up version of the favourite. Can you really imagine a landscape gardener or electrician driving the beastly Raptor? I suppose we will have to see when it's on UK turf.
Sick of waiting for the Raptor? Have a look at our Ford Ranger deals.


text:
package format

import (
	"github.com/kitwalker12/fotomat/vips"
)

// Metadata is the currently-known metadata about an Image.
type Metadata struct {
	Width       int
	Height      int
	Format      Format
	Orientation Orientation
	HasAlpha    bool
}

// MetadataBytes parses an image byte slice and returns Metadata or an error.
func MetadataBytes(blob []byte) (Metadata, error) {
	format := DetectFormat(blob)
	if format == Unknown {
		return Metadata{}, ErrUnknownFormat
	}

	return format.MetadataBytes(blob)
}

// MetadataBytes parses an image byte slice in known format and returns Metadata or an error.
func (format Format) MetadataBytes(blob []byte) (Metadata, error) {
	image, err := format.LoadBytes(blob)
	if err != nil {
		return Metadata{}, ErrUnknownFormat
	}

	defer image.Close()

	return metadataImageFormat(image, format), nil
}

// MetadataFile parses an image file in known format and returns Metadata or an error.
func (format Format) MetadataFile(filename string) (Metadata, error) {
	image, err := format.LoadFile(filename)
	if err != nil {
		return Metadata{}, err
	}

	defer image.Close()

	return metadataImageFormat(image, format), nil
}

func metadataImageFormat(image *vips.Image, format Format) Metadata {
	m := MetadataImage(image)
	m.Format = format
	return m
}

// MetadataImage returns Metadata from an Image. Format is always unset.
func MetadataImage(image *vips.Image) Metadata {
	o := DetectOrientation(image)
	w, h := o.Dimensions(image.Xsize(), image.Ysize())
	if w <= 0 || h <= 0 {
		panic("Invalid image dimensions.")
	}
	return Metadata{Width: w, Height: h, Orientation: o, HasAlpha: image.HasAlpha()}
}


For the last two weeks, all eyes have been on Brett Kavanaugh, his accusers, and the Senators who have decided the fate of the Supreme Court for years to come. The nation was and continues to be divided. Some believe the accusers and others believe Kavanaugh, with the rest just wanting our elected leaders to rise above this national spectacle.
As a former prosecutor in New York, I firmly believe that all serious allegations of illegal behavior must be thoroughly investigated to protect the integrity of the highest court and the future of this great nation. By no surprise to those of us who know Brett Kavanaugh, the federal investigation has cleared one of the most well-respected American jurists of our time, finding no evidence or proof of the accusations made against him.
Even still, with the nation so divided and the mid-term election weeks away, the decision to move forward on a vote before the Senate was a difficult one.
But in the face of the media, and many in the halls of Congress who sought to distort and sabotage the confirmation process over the past few months, Senate majority leader Mitch McConnell and 50 U.S. senators ultimately did the right thing. And it's with that courage and bold leadership that the original intent of the Second Amendment is now secured for years to come.
Justice Kavanaugh's judicial record in support of an individual's right to keep and bear arms is untarnished. In the US Court of Appeals for the District of Columbia v. Heller, AKA "Heller II," the court narrowly upheld the restrictive gun laws in D.C.
But Kavanaugh dissented, arguing that a ban on semiautomatic rifles and requirements for handgun registration are unconstitutional on the grounds of historical and traditional basis. His detailed dissent shadowed Justice Antonin Scalia's majority opinion in the original Heller — further protecting gun rights against local and state lawmakers, as well as overactive, political judges.
Justice Kavanaugh's clearly articulated dissent demonstrated not just his originalist bona fides, but his deeply held respect for the role of the Supreme Court. In the marrow of his bones, Justice Kavanaugh knows the primary duty of the court is to faithfully apply the law. His decisions on the bench have been upheld 11 times in just 12 years by the Supreme Court.
His thoughtful and clear opinions are to be envied by many in the legal system, but it's his firm foundation for fairness and rule of law that has earned him such outstanding praise.
It was a sad day when some in the Senate chose politics over constitutional duty, and as a result, Justice Kavanaugh was not afforded the same objectivity and justice he has shown the American legal system his entire career. Those senators identified themselves early, defining their opposition even before Justice Kavanaugh's name was announced.
To the Senators who stood for fairness and due process, thank you for your actions to confirm a great jurist and man. For that, you've written your names in history books. By allowing the truth to come forward in the face of so much noise, Justice Kavanaugh will rightly have a seat on the Supreme Court and the opportunity to shape the American legal system for a generation or more.
Lawrence Keane is senior vice president and general counsel for the National Shooting Sports Foundation.


por le gold ore crusher suppliers in nigeria. copper crusher supplier in nigeria mobile gold ore impact mobile por le copper portable . por le gold ore impact crusher suppliers malaysia used dolomite impact .
Gold Ore Jaw Crusher For Sale In Nigeriaanrexim.in. Portable Gold Ore Jaw Crusher Suppliers In Nigeria. Get Price And Support. stibnite metal crushers ... por le gold ore jaw crusher manufacturer nigeria.
iro ore por le crusher supplier in india… mobile iron ore impact crusher for hire in indonessiamobile crusher price in nigeria used iron ore, Suppliers and Ore Crusher, por le jaw rock .iron ore impact crusher suppliers in Cone, cost of mini stone crusher plant in india; ore gold .
Mining Nigeria Ore Crusher Manufacturer And Supplier . portable gold ore crusher suppliers nigeria, nigeria crusher plants .. the integration unit is stone crusher plant for gold mining in nigeria gold .
por le gold ore crusher supplier in nigeria. mobile gold ore impact crusher price nigeria portable gold ore cone crusher for hire nigeria portable gold ... Get Price Mobile Gold Ore Jaw Crusher Manufacturer .


This is a "track-skin", which replace several plant textures from Human's awesome Sakura track with better quality ones. I always had the feeling, that the plant and grass textures wasn't on the same level then the rest of the tracks quality. As a bonus, also the skybox is replaced with a new one. The skybox is from this homepage, and was recommended by Flyboy. I haven't touched the rest of the textures (walls, wood,…), because they are already pretty good.
At installation, only some texture- and skybox-files will be replaced, no other files. This means that this track-skin is 100% compatible when playing online multiplayer. The download also includes a new track picture. There are backups of the original files included as well, so you can go back to the original files without any issues any time.


text:
import httplib2
import os
import sys

from apiclient.discovery import build
from apiclient.errors import HttpError
from oauth2client.client import flow_from_clientsecrets
from oauth2client.file import Storage
from oauth2client.tools import argparser, run_flow

# The CLIENT_SECRETS_FILE variable specifies the name of a file that contains
# the OAuth 2.0 information for this application, including its client_id and
# client_secret. You can acquire an OAuth 2.0 client ID and client secret from
# the {{ Google Cloud Console }} at
# {{ https://cloud.google.com/console }}.
# Please ensure that you have enabled the YouTube Data API for your project.
# For more information about using OAuth2 to access the YouTube Data API, see:
#   https://developers.google.com/youtube/v3/guides/authentication
# For more information about the client_secrets.json file format, see:
#   https://developers.google.com/api-client-library/python/guide/aaa_client_secrets
CLIENT_SECRETS_FILE = "client_secrets.json"

# This variable defines a message to display if the CLIENT_SECRETS_FILE is
# missing.
MISSING_CLIENT_SECRETS_MESSAGE = """
WARNING: Please configure OAuth 2.0
To make this sample run you will need to populate the client_secrets.json file
found at:
   %s
with information from the {{ Cloud Console }}
{{ https://cloud.google.com/console }}
For more information about the client_secrets.json file format, please visit:
https://developers.google.com/api-client-library/python/guide/aaa_client_secrets
""" % os.path.abspath(os.path.join(os.path.dirname(__file__),
                                   CLIENT_SECRETS_FILE))

# This OAuth 2.0 access scope allows for full read/write access to the
# authenticated user's account.
YOUTUBE_READ_WRITE_SCOPE = "https://www.googleapis.com/auth/youtube"
YOUTUBE_API_SERVICE_NAME = "youtube"
YOUTUBE_API_VERSION = "v3"

def get_authenticated_service(args):
  flow = flow_from_clientsecrets(CLIENT_SECRETS_FILE,
    scope=YOUTUBE_READ_WRITE_SCOPE,
    message=MISSING_CLIENT_SECRETS_MESSAGE)

  storage = Storage("%s-oauth2.json" % sys.argv[0])
  credentials = storage.get()

  if credentials is None or credentials.invalid:
    credentials = run_flow(flow, storage, args)

  return build(YOUTUBE_API_SERVICE_NAME, YOUTUBE_API_VERSION,
    http=credentials.authorize(httplib2.Http()))

# Add the video rating. This code sets the rating to "like," but you could
# also support an additional option that supports values of "like" and
# "dislike."
def like_video(youtube, video_id):
  youtube.videos().rate(
    id=video_id,
    rating="like"
  ).execute()

if __name__ == "__main__":
  argparser.add_argument("--videoid", default="L-oNKK1CrnU",
    help="ID of video to like.")
  args = argparser.parse_args()

  youtube = get_authenticated_service(args)
  try:
    like_video(youtube, args.videoid)
  except HttpError, e:
    print "An HTTP error %d occurred:\n%s" % (e.resp.status, e.content)
  else:
    print "%s has been liked." % args.videoid


text:
Construction Starts On New Hurtigruten Cruise Ship
A steel cutting ceremony at the Kleven shipyard in Norway marked the start of construction for the first of two new cruise ships for Hurtigruten.
Roald Amundsen will be the first of the two new cruise ships for Hurtigruten, which is due to enter service in summer 2018. The second ship, Fridtjof Nansen is expected to launch in 2019.
Both ships will boast state-of-the-art Scandinavian design and the latest environmentally friendly marine technology. Hurtigruten has an option for an additional two ships.
The two 20,000 gross tonne cruise ships will accommodate 530-passengers and will have the capability of sailing under electrical propulsion for around 30 minutes by utilizing hybrid power using a battery system which will reduce fuel consumption by approximately 20 percent.
Many of the cabins on board the new ships will feature balconies, whilst there will also be a number of suites. Each ship will also feature three restaurants, a pool deck with an infinity pool, as well as a number of bars and lounges offering spectacular views. Viewing platforms located on the bow of the ships will allow guests to get up-close with the wildlife and nature in the destinations they visit.
Hapag Lloyd Cruises
Mexico Riviera
New Ships
Over-50s
Phonix Reisen
P&O Cruises Australia
River Cruise News
Swan Hellenic
Thomson Cruises
Transocean Kreuzfahrten
U By Uniworld
Ultra-Luxury
Voyages To Antiquity
Commission The Artist
Artwork FAQ
Featured Cruise Ships
Featured Cruise Lines
Top Cruise Tips
Cruise Q&A
Africa
USA
Cruise Industry Awards
BLOGS
Harry's Blog
Cruise Points
Cruise Points FAQ
Copyright © 2019 Cruise Cotterill
Website Last Updated: 02 September 2019 at 13:54 GMT


text:
class AjaxController < ApplicationController
  def index

  end

  def time
    @time = Time.now.to_s
  end

  def search
    @books = Book.all
  end

  def result
    sleep(2)
    @books = Book.where(publish: params[:publish])

  end
end


text:
Subscribe to Dacapo's newsletter
About Dacapo
Releasing music?
The String Quartets
I. Bortdragende Stormskyer (Storm Clouds Receding): Allegro focoso – Allegro ma non troppo – Allegro focoso – Agitato – Più mosso – Poco lento – Allegro ma non troppo – Allegro focoso – Grave – Poco a poco adag
II. Bortkørende Tog (Train passing by): Poco moderato – Presto – Poco moderato – Presto impetuoso
III. "Skumrende Landskab" (Landscape in Twilight): Andante pastorale – Con poco moto – Fiero alla zingaresa– Andante pastorale – Con poco moto – Andante
IV. "Vandring" (The Walk): Poco lento elegiaco – Poco allegro alla marzia risoluto – Poco lento sostenuto – Poco allegro alla marzia risoluto – Poco lento – Alla marzia risoluto energico – Allegro scherzoso …
I. Poco allegro rapinoso (Rovbegærligt) – Quasi stacciamento – Furioso – Agitato
II. Presto scherzoso artifizioso (underfundigt) – Più animato quasi non scarpino – Furioso mortifero – Pesante collerico
III. Tranquillo – Scherzoso schernvole (spodsk) – Furioso – Tranquillo – Mosso frenetico – Tranquillo – Mosso frenetico – Fiero, stringendo – Maestoso
Poco tranquillo – Poco vivace – Poco tranquillo – Poco con moto – Con moto – Vivace scherzando (…) Impetuoso fieramente – Poco a poco tranquillo
Introduction: Solenne sostenuto, lento
Var. 1: Andante sostenuto
Var. 2: Poco lento sempre tranquillo
Var. 3: Lento
Var. 4: Andante sostenuto – Lento – Andante sostenuto
Var. 5: Poco allegro tranquillo
Var. 6: Tranquillo sospirando
Var. 7: Poco allegro maestoso – Allegro fiero – Più tranquillo
I. Interiör: Poco andantino semplice – Animato – [Tempo I] – Con moto – Animato – Piu tranquillo – A tempo [I]
II. Mozart: Molto vivace e scherzoso – Poco tranquillo – Coda: Alla marcia – Tempo primo – Vivace
III. Draabefald (Drop fall): Tranquillo dolente e misterioso
IV. Rococo: Poco con moto
l. Allegro con brio – Poco sostenuto – Tempo primo (Allegro) – Poco sostenuto – A tempo (Allegro)
II. Molto allegro scherzando
III. Lento dolente – Con moto – Poco tranquillo – Con poco moto – Con moto appassionata – Tranquillo – Lento dolente – Più lento – Molto lento – Tempo primo
IV. Allegro agitato – Più tranquillo – Allegro
l. Andantino scherzoso (♩ = 84) – Quasi marcia – Animato – [Tempo I] – Allegro – A tempo [I]
II. Scherzoso (♩ = 112) – Sostenuto – A tempo – Sostenuto – A tempo
III. Sostenuto (♩ = 60) – Allegretto, scherzoso (♩ = 80) – ♪ = 126 – ♩ = 80 – Allegretto – ♪ = 126 – ♩ = 80–84 – Allargando
I. Andante ma non troppo – Più tranquillo – (Più lento) – Andante ma non troppo – Con moto – Con anima – Dolce tranquillo
II. Allegretto scherzando – Più tranquillo – Lento – Allegretto scherzando – Più tranquillo con sentimento – Animato e molto espressivo – Lento e molto sostenuto – Più animato – Allegretto scherzando – Molto vivace e con fuoco
III. Grave – Allegro – Grave – Allegro – Grave
IV. Sostenuto – [L'istesso tempo] – Più allargando – Allargando – Presto animato robusto
I. Andante quasi andantino misterioso – Con un poco più moto – Un poco più lento – Tempo l – Poco minaccevole – Animato – Tempo primo – Con poco moto – Tempo I
II. Scherzoso grazioso – Poco appassionata – Scherzoso grazioso – Con brio
III. Lento misterioso – Allargando – Misterioso – Più lento – Tranquillo, a tempo
IV. Lento – Allegretto quasi andantino – Tranquillo – Più lento – Con fuoco – Più tranquillo – Poco animato scherzoso – Allegretto –Tranquillo – Più lento – Con fuoco – Scherzoso – Molto allegro
Nightingale String Quartet
The Nightingale String Quartet's survey of the complete quartet works of Rued Langgaard (1893–1952) heralded the arrival of a major new ensemble and won the maverick Danish composer thousands of new fans. Poised and restrained one minute, wild and emotional the next, Langgaard's string quartets reveal the composer's breathtaking originality and individuality, oscillating between luscious Romanticism and outlandish experimentation. They are played with love and understanding on these multiple prize-winning recordings, here gathered together in a single release for the first time.
Buy album Stream
€20.1 / $21.84 / £17.66
Kudos to these excellent musicians and to Dacapo for such a marvellous survey of this very fine music.
Dean Frey, Music for Several Instruments
Performing these fine works impeccably is the Nightingale String Quartet
Kevin Filipski, The Flip Side
CD of the week
These recordings stand up superbly
Jonathan Woolf, MusicWeb International
I hadn't heard the cycle as a whole, but discovering its range of expression and frequent beauty has proved a great source of pleasure, especially in such winning performances - all of them superbly recorded
Rob Cowan, Gramophone
Efterhånden som du udforsker disse værker, vil du blive forbløffet og (forhåbentlig) stimuleret og/eller henrykt over de excentriske veje som Langgaard tog da han komponerede værkerne. [...] Hvilken berigende rejse, det har været!
Lynn René Bayley, The Art Music Lounge
Rating: 10/10 - The recordings are excellently successful
Hans Quant, Luister
String Quartet No. 2 BVN 145 (1918, rev. 1931)
I. Bortdragende Stormskyer (Storm Clouds Receding): Allegro focoso – Allegro ma non troppo – Allegro focoso – Agitato – Più mosso – Poco lento – Allegro ma non troppo – Allegro focoso – Grave – Poco a poco adag 8:35
II. Bortkørende Tog (Train passing by): Poco moderato – Presto – Poco moderato – Presto impetuoso 2:18
III. "Skumrende Landskab" (Landscape in Twilight): Andante pastorale – Con poco moto – Fiero alla zingaresa– Andante pastorale – Con poco moto – Andante 6:18
IV. "Vandring" (The Walk): Poco lento elegiaco – Poco allegro alla marzia risoluto – Poco lento sostenuto – Poco allegro alla marzia risoluto – Poco lento – Alla marzia risoluto energico – Allegro scherzoso … 7:57
String Quartet No. 3 BVN 183 (1924)
I. Poco allegro rapinoso (Rovbegærligt) – Quasi stacciamento – Furioso – Agitato 7:29
II. Presto scherzoso artifizioso (underfundigt) – Più animato quasi non scarpino – Furioso mortifero – Pesante collerico 1:40
III. Tranquillo – Scherzoso schernvole (spodsk) – Furioso – Tranquillo – Mosso frenetico – Tranquillo – Mosso frenetico – Fiero, stringendo – Maestoso 5:35
String Quartet no. 6 in one movement on a Swedish folk tune, BVN 160
Poco tranquillo – Poco vivace – Poco tranquillo – Poco con moto – Con moto – Vivace scherzando (…) Impetuoso fieramente – Poco a poco tranquillo 15:06
Variations on "Mig hjertelig nu længes" ("Oh, Sacred Head! Now Wounded"), BVN 71 (1914; 1391)
Introduction: Solenne sostenuto, lento 1:25
Var. 1: Andante sostenuto 1:21
Var. 2: Poco lento sempre tranquillo 1:36
Var. 3: Lento 1:30
Var. 4: Andante sostenuto – Lento – Andante sostenuto 2:23
Var. 5: Poco allegro tranquillo 2:06
Var. 6: Tranquillo sospirando 2:38
Var. 7: Poco allegro maestoso – Allegro fiero – Più tranquillo 2:21
Rosengaardsspil (Rose Garden Play) BVN 153 (1918)
I. Interiör: Poco andantino semplice – Animato – [Tempo I] – Con moto – Animato – Piu tranquillo – A tempo [I] 7:48
II. Mozart: Molto vivace e scherzoso – Poco tranquillo – Coda: Alla marcia – Tempo primo – Vivace 4:34
III. Draabefald (Drop fall): Tranquillo dolente e misterioso 6:59
IV. Rococo: Poco con moto 5:55
String Quartet (A-flat major) BVN 155 (1918)
l. Allegro con brio – Poco sostenuto – Tempo primo (Allegro) – Poco sostenuto – A tempo (Allegro) 6:29
II. Molto allegro scherzando 3:05
III. Lento dolente – Con moto – Poco tranquillo – Con poco moto – Con moto appassionata – Tranquillo – Lento dolente – Più lento – Molto lento – Tempo primo 5:46
IV. Allegro agitato – Più tranquillo – Allegro 7:13
String Quartet no. 4 "Sommerdage" ("Summer Days") BVN 215 (1914–18, rev. 1931)
l. Andantino scherzoso (♩ = 84) – Quasi marcia – Animato – [Tempo I] – Allegro – A tempo [I] 7:22
II. Scherzoso (♩ = 112) – Sostenuto – A tempo – Sostenuto – A tempo 3:36
III. Sostenuto (♩ = 60) – Allegretto, scherzoso (♩ = 80) – ♪ = 126 – ♩ = 80 – Allegretto – ♪ = 126 – ♩ = 80–84 – Allargando 9:36
String Quartet No. 1 BVN 68
I. Andante ma non troppo – Più tranquillo – (Più lento) – Andante ma non troppo – Con moto – Con anima – Dolce tranquillo 8:49
II. Allegretto scherzando – Più tranquillo – Lento – Allegretto scherzando – Più tranquillo con sentimento – Animato e molto espressivo – Lento e molto sostenuto – Più animato – Allegretto scherzando – Molto vivace e con fuoco 6:59
III. Grave – Allegro – Grave – Allegro – Grave 11:55
IV. Sostenuto – [L'istesso tempo] – Più allargando – Allargando – Presto animato robusto 9:49
String Quartet No. 5 BVN 189
I. Andante quasi andantino misterioso – Con un poco più moto – Un poco più lento – Tempo l – Poco minaccevole – Animato – Tempo primo – Con poco moto – Tempo I 12:54
II. Scherzoso grazioso – Poco appassionata – Scherzoso grazioso – Con brio 3:48
III. Lento misterioso – Allargando – Misterioso – Più lento – Tranquillo, a tempo 5:44
IV. Lento – Allegretto quasi andantino – Tranquillo – Più lento – Con fuoco – Più tranquillo – Poco animato scherzoso – Allegretto –Tranquillo – Più lento – Con fuoco – Scherzoso – Molto allegro 7:26
String Quartet Movement 'Italian Scherzo', BVN 408 (1950) *
On the Work with and Recording of the Quartets
by Tim Frederiksen
Neither in his own time nor later have Rued Langgaard's string quartets been performed much on the musical scene, although in the course of time the second and third quartets have occasionally been in the repertoire of Danish string quartets both in Denmark and abroad. It has been said of Langgaard that he was born fifty years too late, and that his musical idiom, according to the taste of the time, did not follow the robust innovations that Carl Nielsen in particular represented. Thanks to that slightly derogatory attitude Langgaard's works more or less disappeared from the awareness of the Danish musical establishment. With the re-emergence of his symphonies on the international scene the time has also come for a new generation to experience Langgaard in his own right as a composer, instead of the eternal opposite pole to Nielsen.
With the three CDs containing all the works of Langgaard for string quartet, it has been our aim to show what a striking personality and outstanding composer Langgaard is, and that his string quartets are an important contribution to Danish chamber music.
There is no doubt that in these works Langgaard shows that he is a great master of instrumentation for the string quartet, even though very many passages in the individual instruments may be particularly challenging. With an expressive register ranging from the lushly romantic to eruptive high drama, his string quartets make great demands on ensemble technique as well as the artistry and sonority of the performing musicians' interpretation.
As teacher and coach of the Nightingale String Quartet and artistic producer on the three CDs, I have conducted close readings with the quartet of all the available musical material in order to achieve as authentic a result as possible: the composer's manuscript scores and his wife's transcriptions (in the Royal Danish Library); earlier printed scores and individual parts. Seven of the works that have never before been printed as sheet music have been produced by the Rued Langgaard Edition in parallel with the recording process. The project has thus also had the result that there is now a body of written music that has been played through and corrected and is ready for use.
In the interpretation of a work the performing musician must constantly assess whether the composer intended his slurs as indications of phrasing or articulation. At the same time it may now and then be necessary to make certain changes in the slurs to render it practically possible to play a demanding passage – of course without changing the overall content. Apart from String Quartets Nos. 2 and 3 this has been a very comprehensive process in the other works, where many possibilities have been tried out and compared. Since Langgaard's lesser known string quartets, as mentioned before, have been performed very little, there has been no living tradition to draw on.
It has therefore been unknown territory to explore, and to many questions it has been necessary to find an answer – our answer – along the way. The sometimes inadequate indications of dynamics in the score have given us the freedom to point up our own contrasts, in order to demonstrate Langgaard's special artistic format; for example in the first quartet, third movement, bars 25-41 and 102-118, where a misleading piano in the viola part is the only indication in a musical progression that develops from a quiet beginning towards a very dramatic climax with a natural rise in the dynamics. We have also chosen to emphasize the intense explosion that suddenly interrupts the intimate atmosphere by playing molto furioso at a fast tempo, for example in the same movement, bar 57, allegro. In other places there have been such alien notes in the chords that we have had to discuss them and finally apply our sound musical sense to determine whether this was innovative thinking from Langgaard or an error in the transcription of the score.
When one is playing the collected works it is tempting to follow a habitual chronology. In this edition we have chosen to do it differently, and to gather the works in terms of their musical atmosphere. CD 1 has a strong dramatic element (Quartets Nos. 2 and 3), while poetic and idyllic expression is predominant in the works on CD 2. In the two quartets on CD 3 Langgaard draws on both aspects, and it was a pleasure after such long labour to sum up the whole expressive register of Langgaard's composite personality.
As a performing musician I would venture to say that music lives through its interpretation. It is our hope that these interpretations will inspire new ideas, and that Langgaard will thus gain a place in the musical awareness of the present.
Tim Frederiksen, professor of chamber music and viola, the Royal Danish Academy of Music, Copenhagen.
by Bendt Viinholt Nielsen
Rued Langgaard is an outsider in Danish music. His Late Romantic and Symbolist background and his passionate views on art and the role of the artist brought him into conflict with the sober, anti-Romantic view of art that reigned supreme in Denmark in the 1920s and 1930s. Langgaard did not shrink from the visionary and experimental, the eccentric and extreme, and his music ventured into areas where the outlooks, musical styles and qualitative norms of the twentieth century clash.
Rued Langgaard was born in 1893, the son of a highly respected Copenhagen piano teacher, Siegfried Langgaard, who was also active as a composer and was greatly preoccupied with musical/philosophical speculations along Theosophical lines. Langgaard's mother was a pianist too, and he had his basic musical education from his parents. In 1905, at the age of 11, he made his debut as an organ improviser in Copenhagen, and when he was 14 his first major orchestral and choral work was performed. But the young composer got off to a bad start, since the reviewers gave it the thumbs-down; and in fact Langgaard never succeeded in being properly accepted either by the press or by the musical powers-that-be in Denmark.
So in 1911, when Rued Langgaard had completed his hour-long First Symphony, it proved impossible to have the work performed in Denmark. Langgaard had been on several study trips to Berlin, accompanied by his parents, and the Langgaard family's contacts with conductors like Arthur Nikisch and Max Fiedler led to a world premiere of the symphony in 1913 in Berlin by the Berlin Philharmonic conducted by Max Fiedler. Yet the overwhelming success enjoyed on this occasion by the 19-year-old composer did not result in a performance of the symphony in Denmark, and the outbreak of the Great War in 1914 made it impossible for Langgaard to follow up his success in Germany itself.
The scepticism of the Danish musical establishment towards Langgaard meant that he had difficulty getting his compositions performed, and had to organize his own concerts to present his music. The expansive artistic development he experienced in the 1910s therefore went unnoticed by both critics and audiences at home. Important experimental works like Sinfonia interna (1915-16), Sfærernes musik (The Music of the Spheres) (1916-18), Symphony No. 6 (1919-20) and the opera Antikrist (Antichrist) (1921-23) were either not performed or not understood in Denmark.
In his native country Rued Langgaard was alone in striving for a visionary musical idiom as a continuation of the Romantic tradition with a Symbolist basis of the kind one finds in the works of Scriabin. The tendency in Denmark was towards a questioning of the whole Late Romantic spirit, and Langgaard had to go to Germany – at the beginning of the 1920s – to experience successful performances of his symphonies. Yet there was no question of any widespread or general interest in Langgaard in the south, and the performances soon ebbed out.
The years around 1924/25 marked a major turning point in Langgaard's life and music. After many years of openness and responsiveness to currents in the most recent music – not least in Carl Nielsen's progressive works – Langgaard changed tack and turned to a Romantic, pastiche-like style with Niels W. Gade and Wagner as his exemplars. He indicated that he felt betrayed by the age and by the musical establishment, and he hit out at Carl Nielsen, who in his view had a status that was far too guru-like. The result was that Langgaard was now given the cold shoulder for good. After 1930, concert performances of his works became rare indeed (they were however given quite a few radio broadcasts, especially in the 1940s). He was unable to find a job as a church organist, although he applied for innumerable posts all over the country. He did not succeed until 1940, at the age of 47, when he was given the position as organist at the cathedral in Ribe in South Jutland. In Ribe Langgaard's music entered a new phase in which the defiant, the jagged and the absurd became more prominent.
After Langgaard's death in 1952 his name seemed threatened by oblivion; but in the 1960s the renewed interest in 'neglected' Late Romantics shed new light on Langgaard: it was discovered that although Langgaard had fundamentally been a conservative composer, there were features in his music that strangely prefigured the static music, collage music and minimalism of the 1960s and 1970s.
Today innumerable of his 431 compositions have been recorded, his output and life have been recorded in book form, and his works, most of which remained unprinted, are being published.
© Bendt Viinholt Nielsen
Rued Langgaard's String Quartets
Rued Langgaard's contributions to the string quartet genre were mainly written within an interval of just eleven years, from 1914 until 1925. In this period he composed eight quartets, four of which were created in the course of only twelve months (1918-19). The works were thus written in the composer's productive and extremely expansive youthful years, when he also created major works like Symphonies 4 and 6, The Music of the Spheres and the opera Antichrist. In the next phase, from 1925 until 1940, when his composing almost came to a halt, he took several of the eight quartet works up for revision and reworking, and thus new versions saw the light of day. However, no entirely new contributions to the genre came from Langgaard's pen, except for two small pieces written around 1950: on one hand a small piece that has disappeared today, written in memory of the composer Niels W. Gade, and on the other an ultra-short Italian Scherzo.
The catalogue of his works lists ten known, independent compositions by Langgaard for string quartet. The composer's typical way of working, characterized as it was by 'recycling' and repeated revisions, has meant that whole movements and certain themes recur in different works. Further confusion is created by Langgaard's own numbering of the string quartets in the 1930s, which does not include all the works, nor does it correspond to the order of their creation. The following list gives a chronological overview:
String Quartet No. 1 (BVN 68)
E major, 4 movements. Composed in 1914-15, partly rejected but revised and reconstructed in 1936. Fourth movement incorporated in reworked form as fourth movement in String Quartet No. 5.
Variations on "Mig hjertelig nu længes" (BVN 71)
E major. Introduction and seven variations. Composed in 1914-15, revised and furnished with a new introduction in 1931/1940.
String Quartet No. 2 (BVN 145)
D minor, 4 movements. Composed in 1918, revised in 1931.
Rosengaardsspil (Rose Garden Play) (BVN 153)
E major, 4 movements. Composed in 1918. First and fourth movements reused in revised form as first and third movement in String Quartet No. 4.
String Quartet (A flat major) (BVN 155)
A flat major, 4 movements. Composed in 1918.
D minor, one movement. Composed in 1918-19.
3 movements. Composed in 1924.
F major, 4 movements. Composed in 1925, revised in 1926-38. The fourth movement is a reworked version of String Quartet No. 1, fourth movement.
String quartet No. 4 "Sommerdage" (Summer Days) (BVN 215)
F major, 3 movements. Composed in 1931 (on the basis of material from 1914-18). The first and third movements are revised versions of the first and fourth movement of Rosengaardsspil; the second movement is based on String Quartet No. 1, second movement.
String quartet movement "Italian Scherzo" (BVN 408)
F major. Composed in 1950.
Rued Langgaard did not write his string quartet works for particular ensembles – with the exception of No. 3, which was composed for one of the best chamber ensembles in Denmark in the 1920s, the Breuning-Bache Quartet. String Quartet No. 3 is also the only one of the ten works that was published during the composer's lifetime, in 1931. The others have only been published after 1993, the last six as late as the present recording project and under the auspices of the Rued Langgaard Edition. Three of the works on the list were not performed in Langgaard's time, and all in all there were only ten concert performances of the remaining quartets in his lifetime. Quartet No. 3 was performed four times, the last time by the Gerhard Rafn Quartet during the festival Nordic Music Days in Oslo in 1934. In addition, in the 1930s and 1940s there were sporadic radio performances of Nos. 2, 3 and 5. After this, interest in Langgaard's string quartets ebbed out. In 1972 the first recording of one of the quartets, No. 3, was released featuring the Copenhagen String Quartet, and a milestone was reached in 1984, when the Kontra Quartet recorded six of the works and made Langgaard's string quartets known in innumerable performances in Denmark and abroad.
The remarkable thing about Langgaard's music for string quartet is the wide stylistic spectrum covered by the works as a whole. They were written in the time of new departures between Late Romanticism and Modernism, and it is in fact a typical feature of the period that in his musical idiom Langgaard veers off now in the 'retro' direction, now in the avantgarde direction, but without abandoning the classical formal norms. In Langgaard's quartets we thus find Classicist, Romantic, Neoclassical, Expressionist and Modernist features – in short, the tonal idioms of the music span the whole scale from Mozart to Bartók. The Neoclassical tendency, which has no counterpart in Langgaard's symphonies, makes its impact in the movement "Mozart" (of Rosengaardsspil), and colours the string quartet in A flat major throughout; the latter is almost a pastiche of Vienna Classicism. At the other extreme we find String Quartet No. 3, which with its aggressively Expressionist tonal idiom represents the wildest avantgarde in Danish music in 1924. One characteristic feature of the quartets, unlike Langgaard's symphonic music, is that among the total of 29 movements we find both decided (and humorous) scherzo movements and some of the weightiest slow movements that Langgaard wrote.
Several of the works have a quite special inspiration. In 1913 the 20-year-old Langgaard was on holiday in Sweden, in the small spa town of Kyrkhult in Blekinge, where he lodged (with his parents) in a property called "Rosengården" (the Rose Garden). His stay there was to assume a lifelong significance for Langgaard, first and foremost, we are led to believe, because he had fallen in love with a girl called Dora (in all likelihood the two years older Dora From). At Rosengården Langgaard wrote some love songs to texts by Goethe, and five years later these songs and mood evocations from that summer formed the inspirational basis for a whole three string quartets. At first all three of these works were given the title Rosengaardsspil (Rosengaard Play), but later their titles were changed (one quartet, however, has been published in its original form under the title Rosengaardsspil, while the same piece in a reworked form is called String Quartet No. 4; the other two are String Quartet in A flat major and String Quartet No. 6). Quartet No. 1 is also related to Rosengården and at one point was called Rosengaardsspil . The scherzo movement is based on the Goethe song Gleich und gleich, which is about the little bird and the little bee! Motifs from this song recur in Rosengaardsspil (1st movement) and String Quartet No. 4 (1st and 2nd movements). Another leitmotif with references to Rosengården appears at the beginning of the final movement of String Quartet No. 1 and reappears in both Rosengaardsspil and String Quartet No. 4. Five of the quartets are thus part of a complex of works with the summer of 1913 as a shared source of inspiration. And clearly it is no coincidence that String Quartet No. 6 quotes the Swedish folk song "Och hör du unga Dora vill du gifta dig i år" (Oh tell me now, young Dora, would you married be this year?)
The work was written in January-February 1918 and was given its first performance in a concert arranged by Langgaard himself at the Royal Academy of Music in Copenhagen in 1919. The boldness and aggression of the musical idiom did not go down well with the music critics, but the work must have made an impression in the progressive music milieu, for the quartet was performed again in 1922 at the Young Composers' Society, which promoted interest in contemporary music. In 1931 Langgaard revised the work, but only to a modest extent, and in this form it was performed on the radio in 1938 by the Gerhard Rafn Quartet. The original title was Composition for Four String Instruments, signalling the work's straightforward, 'modern' attitude. The first movement alternates between 'fiery' passages (allegro focoso), and passages of a contemplative character. The ending is dominated by the dissonant tritonus interval E flat – A, which also concludes the work as a whole. The second movement is 'futuristic machine music', with a train passing at full steam on screeching rails. This 'realistic' depiction of a locomotive was composed five years before Honegger's famous orchestral workPacific 231. The third movement was originally entitled Landscape with a Fiddler, like the title of a painting. The music pans over a landscape, and along the way we pass a fiddler who plays a fiero alla zingaresa solo, after which the landscape again comes into focus. The final movement has a composite character, but is welded together by a repeated, energetic alla marcia risoluto section. The title Vandring (The Walk) should perhaps be understood quite literally as a 'walking tour' where the 'march' is interrupted by varying views characterized for example by romantic and mysterious sounds.
In 1924 the Copenhagen-based Breuning-Bache Quartet planned a concert of music by young Danish composers, and in this connection approached Langgaard to ask if he had a suitable work 'in storage'. The approach inspired him to supply a brand new quartet, which was composed and fair-copied within a single week and given its first performance the same month (September 1924). Once more the music critics were entirely uncomprehending, but among Langgaard's colleagues a certain interest could be detected, and this led to the printing of the quartet in 1931. Richard Hove's review of the publication in Dansk Musik Tidsskrift was to be one of the most positive mentions ever accorded a work by Langgaard. Hove speaks of "the divine spark", of "eruptions of a magical temperament" and of the work's "great internal power". The idiom of the quartet is the most wildly experimental musical language to be found in Danish music before Carl Nielsen's Sixth Symphony (1925). Like Nielsen (in the Sixth) Langgaard ironizes over modern music, but at the same time furnishes a solid defence of it. Langgaard's characterizations, for examplerapinoso (rapacious), artifizioso (artful) and schernevole (scoffing), suggest his attitude to the dissonant and aggressive in the idiom. The contrast to this is the chorale that begins the last movement, and which attempts to make itself felt in the middle of the movement amidst the maelstrom of modern music – and in the end carries off the victory. The melody was written for B.S. Ingemann's hymn "Den store mester kommer" (The Great Master Comes), and a few years ago it was added as a four-part piece to the official chorale book of the Danish national church.
This one-movement quartet was composed in three days around New Year 1918/19 and given its first performance less than two months later in a concert arranged by Langgaard himself at the Royal Academy of Music in Copenhagen. In the programme the work is called Rosengaardsspil (over en svensk Folkevise) (Rosengaard Play (on a Swedish folk song)), and the composition is clearly inspired by the summer stay at Rosengården in Sweden in 1913. It has the sound of a piece of programme music, depicting in a free form episodes and moods experienced by the composer. Idyllic and melancholy passages alternate with scherzo-like elements in the first part of the movement, in which two recitative-like solo sections, first in the viola and later in the violin, quote a Swedish folk song of unrequited love, "Allt under himmelens fäste" (Beneath the vault of heaven). An expressive passage leads into a festive waltz in Swedish folk-fiddler style (burlesco rustico), and this is followed by the concluding part of the work, which is based on the Swedish folk song "Och hör du unga Dora vill du gifta dig i år" (Oh tell me now, young Dora, will you married be this year?), this too a song of unrequited love. After the first performance the work was laid aside by Langgaard, but he looked it out again in the 1940s and furnished it with the title String Quartet No. 6 in One Movement (the numbers 1-5 were already taken). The second performance took place on Danish radio in 1980.
Variations on "Mig hjertelig nu længes"
The composition bears the subtitle Chamber music for 2 violins, 1 viola and 1 cello. The melody, best known in English as "O sacred Head! Now wounded" was composed by Hans Leo Hassler (1564-1612), but is used in a later traditional chorale form. The quartet was composed in July 1914, but only fair-copied in the summer of 1915. It was put on the shelf, but resuscitated by Langgaard in 1940. The original introduction, which had evidently been lost, was now replaced by a new introduction in the form of a reworking of an organ prelude to "Mig hjertelig nu længes" which Langgaard had written for a funeral in 1931. The hymn tune is only heard in its entirety in Variation I (in the cello part), but the ending reappears in Variation VII (in the first violin part). The variations are one of the composer's most purely classicist works, with reminiscences of Beethoven's late quartets. The composition was given its first performance in 1967.
The Rosengård Quartets
In 1913 the 20-year-old Rued Langgaard spent the summer in the little spa town Kyrkhult in Blekinge, Sweden, where he was lodged with his parents in a house called "Rosengården" (The Rose Garden). The two-month stay there was to prove of lifelong significance to the composer, first and foremost, we must assume, because he met and fell in love with a girl, a certain Dora. The young Langgaard was immediately emotionally awakened, and over the next few years wrote a quantity of songs, piano works and chamber music pieces whose texts, titles and musical substance refer to the memorable days at Rosengården. This is true not least of the four string quartets that all were called Rosengaardsspil (Rose Garden Play). Later three of them were given different titles. The first of these four "Rosengård Quartets" is the present String Quartet No. 1 (1914‑15; recorded on vol. 3), then come Rose Garden Play (1918), the string quartet in A flat major (1918) and the Quartet No. 6 (1918-19; on vol. 1). The final passage in the last of these works is based on the Swedish folk song "Och hör du unga Dora, vill du gifta dig i år?" (Oh tell me now, young Dora, is it married you would be?), a song of unrequited love. On this CD we hear Rose Garden Play and the A flat major quartet and the String Quartet No. 4, added in 1931, which is based on material from Rose Garden Play and Quartet No. 1. If we count Quartet No. 4, the complex of string quartets related to the Rosengård summer of 1913 thus consists of no fewer than five works.
At Rosengård Langgaard composed among other things three love songs to texts by Goethe, and immediately after his arrival back home in Copenhagen he added a fourth song to the collection Lieder von Goethe (BVN 60). The new song, entitled Vergeblich (In Vain) is about two young people who are constantly in each other's thoughts – but in vain. A motif in the song appears as a 'memory motif' in very many of Langgaard's works, including three of the string quartets. In the same three works there are also quotations from another of the Goethe songs, Gleich und Gleich – about a flower and a bee that are made for one another! The beginning of that same song is used as a theme in the scherzo movements of String Quartets No. 1 and 4.
Rose Garden Play
We know nothing of what actually happened in Sweden in 1913, but the music Langgaard wrote five years later in the light of his memories is typified by great contrasts with reflection and melancholy on the one hand and youthful optimism on the other. The complex emotions and moods are particularly expressed in the quartet Rose Garden Play, which was written in June-August 1918 during Langgaard's stay that summer in the fishing hamlet Kerteminde on the island of Funen. The four movements –Interiör, "Mozart", Drop Fall and Rococo – suggest that the music programmatically describes quite specific situations or moods related to Rosengård. The first movement has a first subject and a second subject, but otherwise is an improvisation-like course in which quotations from the two above-mentioned songs to texts by Goethe are interspersed. The leaping triad motif from Gleich und Gleich can be heard in the cello part at 2:37, 2:59 and 7:06, while the little turning motif (four notes) from Vergeblich comes at 6:18, first in the cello, then in violin I. In the second movement there is Mozart being played. Langgaard calls the movement "Mozart", and the quotation marks in the title of course make a point in relation to this slightly parodic Mozart pastiche. The slow movement in C sharp minor, Draabefald (Drop Fall), shows the composer in a melancholy mood one rarely sees persisting throughout a whole movement. The title is cryptic, but surely refers to a tear being shed. The minimalist motivic material consists of a theme in a folk-like style (cello) and a 'painful' motif (designated espressivo dolente), which moves from part to part in shifting transpositions. In the final movement, Rococo, the good mood returns, although there is also room for an ethereal chorale theme before the movement is rounded off by a coda with an unambiguous reference to the music of the eighteenth century. The composition was only performed once in Langgaard's lifetime (in 1919); performance no. 2 took place in 2002.
String Quartet (A flat major)
The neoclassical continues with even more consistency in this quartet, which was composed at the same time as Rose Garden Play – and was given the same title. The work was not performed in Langgaard's lifetime and was not included in the numbered series of quartets. The present title comes from the 1940s, and the first performance was given as late as 1993. The work exemplifies how for Langgaard specific musical styles are compositional tools just like form, tonality and themes. Musical history offers a wealth of moods and references from which the composer can choose freely, and which he can exploit for his own artistic purposes. The Rosengård summer was clearly under the auspices of the Rococo and Vienna Classicism. But at the same time interest in the classical epoch was part of the spirit of the age, and it seems reasonable to see Langgaard's A flat major quartet as a parallel to Prokofiev's Sinfonie classique, given its first performance just a few months before Langgaard wrote his work. Langgaard kept rigorously to the Vienna Classical idiom with reminiscences of Beethoven in the first two movements. The third movement (C minor) with the designation Lento dolente has a recurring funeral-march theme that is played pizzicato, and two weighty contrasting sections. The last time the pizzicato theme is presented, it is in E flat minor. It comes to a halt before it is finished and sequences downwards into darkest despair (where it ends in the key of the movement, C minor). The final movement, Allegro agitato, has a similarly original Langgaardian fingerprint which saves the quartet from pure stylistic imitation. In the middle section of the energetic movement a space opens up where time stands still and beauty is held in inward-looking contemplation.
String Quartet No. 4 "Summer Days"
Around 1930 the four Rosengård quartets from 1914-18 were at the bottom of Langgaard's piles of music. He had even scrapped the last two movements of Quartet No. 1.
However, in the spring of 1931 he looked out two of the old works and on this basis created a new quartet in three movements. The outer movements from Rose Garden Play were reused as movements 1 and 3, and as movement 2 Langgaard inserted a short, recomposed version of the scherzo from String Quartet No. 1 – all now presented in the main key of F major, Langgaard's 'bright' key (he wrote a whole eight symphonies in F major!). The first movement is by and large identical to the first movement of Rose Garden Play, while the final movement has been considerably expanded from the fourth movement of Rose Garden Play. Besides a new introduction and a new coda Langgaard has interpolated a 'second subject' which has been cut out of the first movement of String Quartet No. 1. The result was that Quartet No. 4, unlike Rose Garden Play, emerges as something homogeneous and 'Late Romantic' in expression. We understand that over the years the memories of Rosengård have come to stand in a different light. It is striking that on the one hand the three movements are all designated scherzoso, and on the other that the two motifs from Lieder von Goethe have been given a more prominent place. The second movement is based on Gleich und Gleich, and the elegiac motif from Vergeblich is now also heard in the second and third movements: in the scherzo at 1:03 and 2:20, in the first bars of the third movement and in the coda at 8:48. In the first performance of 1933 (the only performance in Langgaard's lifetime) the quartet was called Lacrimetta – that is, 'the little tear'. In the end, as late as around 1950, Langgaard chose the title Summer Days.
The quartet is Rued Langgaard's first major chamber music work. It was begun in May 1914 and finished on 15 January 1915 by the then just 21-year-old composer. To date the work has only been performed once, on 30 November 1916. The musicians were members of the Royal Danish Orchestra, and the first violin was Axel Gade, Rued Langgaard's uncle. Since this was not a real public concert, no reviews appeared. The original name of the quartet was String Quartet in E major, but around 1918 it was renamed Rosengaardsspil like several other string quartets that Langgaard composed at this time.
In 1927 Langgaard scrapped movements 3 and 4 in a fit of dejection, and at the beginning of the 1930s, when he reviewed and numbered his string quartets, his first quartet was not part of the picture. He apparently considered it 'used up' inasmuch as he had reused the last movement in an abridged form as the final movement of String Quartet No. 5 (1925), while the second-subject section from the first movement and the theme from the second movement were used in String Quartet No. 4 (1931). A few years later, however, he looked out the first two movements of the old quartet and revised them. At the same time he regretted that he had scrapped the last two movements, and in 1936 he wrote them down again "from memory". In this way Langgaard's first quartet was recreated under the title String Quartet No. 1. The revision of the first two movements involved many details, but the original form of the movements was preserved. In both movements there are personal references to the Rosengård summer of 1913 in the shape of quotations from the above-mentioned Goethe songs. In the first movement, for example, the small "memory motif" from Vergeblich is quoted in the passage 3:08-3:30. The same bars can also be heard in Langgaard's sixteenth symphony, fourth movement (1951). The scherzo movement (second movement) is based on the song Gleich und Gleich, while the memory motif also emerges in this movement (for example at 1:33). The slow grave movement, which as mentioned – like the fourth movement – is a reconstruction from 1936, is one of Langgaard's strong-willed original creations. Static, in reality subjectless music is interrupted by 'agitated' eruptions that come like bolts from the blue. They can be understood as destructive comments on the surrounding music. In the final movement (whose initial sostenuto reappears in String Quartet No. 4, last movement), the main theme is a hymn-like melody that could be a quotation from a Romantic Danish hymn tune.
The quartet is the last conceived of all Langgaard's string quartets. The first version of the work is from 1925, but movements 1 and 3 in particular were considerably revised in 1926-28 and in a later phase up to 1938. A version of the quartet was performed in 1929 under the title "Faraway Melodies", and it was very well received by the press, which emphasized the composition's natural melodiousness, the relatively contrastless progression and the "beautiful and fresh musicality" of the work. The final version of the quartet was performed on Danish radio in 1942 with the title "Moods of Forgetfulness", a title Langgaard later abandoned.
The work was written in 1925 after Langgaard had turned his back on "the horrors of modern music" and set out to create uncomplicated works based on Classical and Romantic ideals. The musical idiom is anachronistic, in the style from around 1850. It was undoubtedly Langgaard's intention to transport the listener into an undisturbed Romantic-nostalgic atmosphere. And the key is in fact the idyllic, 'pastoral' F major.
String quartet movement "Italian Scherzo"
From time to time in the thirties and forties Langgaard wrote down small draft subjects for string quartets of which nothing more came. In 1948 he created a small piece which has unfortunately disappeared, and which had the title In the Chapel of Holmens Church (Sigh at the grave of Gade). On the other hand Langgaard's very last contribution to the string quartet genre is preserved – the movement recorded here with the title "Italian Scherzo". It was written in Ribe on 21 October 1950 between 7 and 7.30 a.m. On the sketch the disillusioned composer wrote: "Can't be bothered composing the remaining parts, perhaps to no avail!"
Rued Langgaard - Langgaard: Works for String Quartet
Recorded at the Concert Hall of the Royal Danish Academy of Music: on 10-12 December 2010, 16-18 June and 19-21 August 2011 (Vol. 1); on 18-21 August 2012 (BVN 215), 16-17 November and 20-21 December 2012 (BVN 153) and 7-10 January 2013 (BVN 155) (Vol. 2); on 19-24 August 2013 (No. 1), 3-6 September 2013 (No. 5) and 10 January 2013 (Italian Scherzo) (Vol. 3)
Recording Producers: Tim Frederiksen and Simon Brinkmann
Sound Engineer: Simon Brinkmann, www.simonbrinkmann.dk
SACD Mastering: Preben Iwan and Mikkel Nymand, www.timbremusic.dk
Previously released on 6.220575, 6.220576 and 6.220577
℗ 2012-2014, © 2019 Dacapo Records, Copenhagen
Liner notes: Bendt Viinholt Nielsen
English translation: James Manley
Proofreader: Svend Ravnkilde
Artwork: Denise Burt. Flower image courtesy of the Library of Congress LC-DIG matpc-10209,
LC-DIG matpc-10205
Publisher: The Rued Langgaard Edition, www.langgaard.dk/rlu
Dacapo Records acknowledge, with gratitude, the financial support of Langgaard-Fonden and Solistforeningen af 1921. We also wish to thank Tube-Tech for providing preamps for the recording
This series was recorded and released in cooperation with the Royal Danish Academy of Music, Copenhagen
Dacapo is supported by the Danish Arts Foundation


text:
Q: How to assign variables inside Makefile I am trying to set variable with result of grep command inside my Makefile, but it does not work. Is there anything missing here?
HOST ?= $(grep HOST ~/.myhostfile)
install:
    ./runInstall.sh ${HOST}

I also tried But no success
export HOST= $(grep HOST ~/.myhostfile)

When I try the same in shell it works fine

redpajama_set_name: RedPajamaStackExchange


Beautiful New Construction on 1+ Acre Home Site surrounded by farmland. Featuring large country front porch, Oak staircase plan, Sunroom, upgraded kitchen with 42" maple shaker style cabinets & granite, hardwood floors, Gas Fireplace, upgraded master suite with large soaking tub, walk in shower, granite and walk in closet. Dual Zone HVAC, Upstairs Laundry, & First floor mud room, and much more! New Home Warranty Included! HOME WILL BE READY FOR A SUMMER DELIVERY. Model Available to tour. Go to 10 Oak View Terrace for Open House scheduled for Sunday, 6/24/2018 1-4pm.


The 'Will of the Council' is one of Worlds Adrift's largest updates ever, second only to Update 27 aka 'Foundations'. It brings many big features such as positional voice chat throughout the world, huge performance improvements that should see FPS going up considerably for everyone, customisation options to allow colouring and tweaking ship parts, plus a host of other improvements and expansions.
'Will of the Council' is the result of priorities elected by the Community Cloud Council (aka CCC -- a council made of Worlds Adrift players) in concert with the development team, who pulled no stops to implement such large changes to the game in record time in a bid to elevate the quality of Worlds to new heights. It's a testimony of how much more we can achieve together, with the help of the players, in our goal of making Worlds Adrift the game we all dream of during its Early Access cycle.
There's more to come, of course, as work on Update 30 and 31 is already underway. But for now, behold the gigantic full list of features below, jump into the game and experience it by yourself.
Rendering distant islands now involves an optimisation to render an impostor - a 2D texture - instead of the full 3D island every frame. This impostor is updated if the angle changes too much, or every 5 seconds, whichever comes first. In the future we may make this threshold customisable in the Settings menu.
Character damage from physical impacts has been reworked again. We've built a new system to calculate damage. This first iteration of the new system may be a bit rough - please let us know your thoughts on its fairness and believability!
Disclaimer: Although some of the features were directly requested by the CCC, their implementations were studio-driven. The Council was largely consulted with on their experiences on many of the QoL issues.
so my jet engines can only fire for like 5 seconds now before they overheat...even if i go slowest only like 5 seconds..is this intended?
any time we gonna et somthing BETTER then crappy pistal for defense ??
Do you still scan everything in the game still?
My uh.... outfit turned brown since this update. O.o any reason for that?
"Players can no longer place timed explosives or atlas lifters on ungrappleable surfaces." Erm... There are some hidden places what made of only ungrappable surface walls, you can only climb on those walls with Atlas Lifter. So those places are now pointless?


Super-cute and sturdy, this pink plaid bucket bag is perfect for any age!
Fill with her favorite Easter treats and personalize the front with her name for a one-of-a-kind basket that is designed to be reused all year long. Personalization is embroidered in matching thread.


© 2009 Seven Seas Entertainment, LLC and Christopher Rowley.
Kirsti Rivers is an LA girl suddenly transplanted to the small New England town of Arkham Woods. Kirsti and her mother, Victoria, are tasked with clearing out and selling the old house left to them by Silas Scadmore, Victoria's recently deceased eccentric uncle. In the basement of the house, Kirsti and her friends unwittingly unleash an ancient evil that could spell the end of the world–unless Kirsti can find a way to stop it! Arkham Woods is an original stand alone manga tale of supernatural horror inspired by the Cthulhu mythos of H.P. Lovecraft.


I have always said, and truly believe that people come into our lives for a reason. And, with that said, I think our paths cross at just the right time. We don't meet people by chance. Yesterday, a dear friend of mine…and of many… passed away. I met this incredibly unique woman fifteen years ago, and from the very first time that I met her, I felt that I had known her all of my life. She is a Nashville Icon, jewelry designer, Margaret Ellis… pictured here with the two loves of her life, her husband Fred and their beloved dog Pinky… in their happy place, San Miguel, Mexico.
To say that Margaret was unique, is totally missing the mark. She was full of life, imagination, passion for so many causes, that were near and dear to her… and, well… she was just downright cool. She was a no BS kind of woman and she made a statement, whether she was trying to or not. She was welcoming and warm… and at the time in my life when I met her, that was exactly what I needed. I was in the Corporate world and newly divorced, and I remember as my weekly travels would bring me back into town, I would stop by the studio, (Margaret Ellis Jewelry, Nashville) and just hang out with her and Fred. Pinky was always there… and that made it all the more welcoming. I loved being in her creative world, surrounded by the jewelry that she had designed… Over the years our friendship grew… and so did my collection of her jewelry. She welcomed my ideas for new jewelry, and commissioned many pieces for me. To say that I have a drawer of Margaret Ellis Jewelry is no fabrication. From the very first bracelet and ring that I purchased from her, to the most elaborate commissioned items, that came to life from a drawing on a piece of paper … every one of them has a story. Over the coming weeks, I will be posting, on Instagram, some of my favorite items and the stories attached to them.
I will remember so many precious times at the studio, and in Margaret and Fred's home. I remember one evening after a couple glasses of wine, she started taking pictures of me draped in Margaret Ellis jewelry… and I ended up as her "February girl" for a promotion. I remember so many "girl twirls", as she coined them, after work at local eateries, close to their home in the Belmont area, at that time. I remember after a break up, calling her… in tears, and she said, "My dear, I think you just dodged a bullet! Now, come on over here, and let's have a drink". When I decided to make the big leap from Corporate America to Aesthetics… she was so happy for me… she knew I needed a change in my career and was sure that I was doing the right thing… she was one of my first clients. I specifically remember the night that I had dinner with her and Fred at their home in Nashville, just before they moved to San Miguel, and she gave me two gorgeous winter coats that she had purchased in New York, during freezing trips to market. She wanted me to have them, as she would no longer need them in her new life in Mexico.
Margaret was a gem… and how ironic is that… considering all of the gems that she handled in her life. She was a strong woman and a mentor to me in so many ways. She created jewelry and memories for so many people. She was a truly talented and creative soul… but most importantly she was my friend. Every time I would leave her, she would give me a huge hug and she would say, "love you"… Tonight, I have tears… I have lost a dear friend. But, I will always have the laughter and the love… and I will wear my Margaret Ellis jewelry with a new sense of pride.


the obsessive imagist | art, design, life: MOVING!
I will be in high gear for packing and moving over the next several days, so the blog will be slightly neglected. Once I have internet again and manage to uncover my power cord all will be back to normal.
Until then, I suggest you check out some of the fabulous cartoons in the New Yorker archive (like the one above) here.


text:
Print Page | Sign In | Register
Why Membership Matters
Why use an MNLA Member?
Pro Grow News
Advertising with MNLA
MCH Board
New England Grows
MNLA Foundation
Become an MCH
MCH Recertification
MNLA Resource Guide
News & Press: News
USDA Designates 11 Counties in Massachusetts as Primary Natural Disaster Areas
Friday, September 16, 2016 (0 Comments)
WASHINGTON — The U.S. Department of Agriculture (USDA) has designated 11 counties in Massachusetts as primary natural disaster areas due to losses caused by frost and freeze that occurred from February 14 through May 4, 2016.
Those counties are: Barnstable, Essex, Hampshire, Plymouth, Berkshire, Franklin, Middlesex, Worcester, Bristol, Hampden and Norfolk
"Our hearts go out to those Massachusetts farmers and ranchers affected by recent natural disasters," said Agriculture Secretary Tom Vilsack. "President Obama and I are committed to ensuring that agriculture remains a bright spot in our nation's economy by sustaining the successes of America's farmers, ranchers, and rural communities through these difficult times. We're also telling Massachusetts producers that USDA stands with you and your communities when severe weather and natural disasters threaten to disrupt your livelihood."
Farmers and ranchers in Dukes, Nantucket and Suffolk counties in Massachusetts also qualify for natural disaster assistance because their counties are contiguous.
Farmers and ranchers in the following counties in Connecticut, New Hampshire, New York, Rhode Island and Vermont also qualify for natural disaster assistance because their counties are contiguous.
Hartford, Litchfield, Tolland and Windham
Cheshire, Hillsborough and Rockingham
Columbia, Dutchess and Rensselaer
Bristol, Newport and Providence
Bennington and Windham
All counties listed above were designated natural disaster areas on Sep. 15, 2016, making all qualified farm operators in the designated areas eligible for low interest emergency (EM) loans from USDA's Farm Service Agency (FSA), provided eligibility requirements are met. Farmers in eligible counties have eight months from the date of the declaration to apply for loans to help cover part of their actual losses. FSA will consider each loan application on its own merits, taking into account the extent of losses, security available and repayment ability. FSA has a variety of programs, in addition to the EM loan program, to help eligible farmers recover from adversity.
Other FSA programs that can provide assistance, but do not require a disaster declaration, include the Emergency Conservation Program; Livestock Forage Disaster Program; Livestock Indemnity Program; Emergency Assistance for Livestock, Honeybees, and Farm-Raised Fish Program; and the Tree Assistance Program. Interested farmers may contact their local USDA Service Centers for further information on eligibility requirements and application procedures for these and other programs. Additional information is also available online.
FSA news releases are available on FSA's website via the "Newsroom" link.
For Green Professionals
5/8/2019AmericanHort Update on Additional 30,000 H-2B Visas
2/22/2019Crop Insurance Deadline Nears in Massachusetts
Down to Earth Summer Conference
28th Anniversary Benefit Golf Tournament
Home News Events Membership MCH Jobs
About Links Contact
Conway, Massachusetts 01341
Rena Sumner, Executive Director


text:
BHPD On Alert; Rodeo Drive Closed
The Beverly Hills Police Department said that it would be on "full alert" beginning on Halloween and continuing through next week due to possible social unrest, connected to the election.
Officers will have backup from other law enforcement personnel and private security teams. Meanwhile, the city plans to shut down one of the most iconic streets lining its posh shopping district on Election Day.
In a video posted on the city's social media platforms, Beverly Hills Police Chief Dominick Rivetti said luxury goods retailers "may choose to limit operations during this time." He indicated Rodeo Drive would be closed on November 3 and the following day from Santa Monica Boulevard to Wilshire Boulevard, a stretch worldly renowned for its elegant fashion boutiques.
According to the Los Angeles Times, "the move came as City Hall encouraged some businesses to board up their high-end stores." Looters and vandals targeted the vicinity in May when police used tear gas to disperse a crowd after declaring an unlawful assembly.
The problems stemmed from a series of demonstrations throughout L.A. County expressing outrage over the death of George Floyd, a 46-year-old Black man who had died while in the custody of Minneapolis cops.
"As election day approaches, and with the potential of increased demonstrations and protest activity across the region, the city is taking a proactive approach to ensure a safe community for residents, businesses, and visitors," Chief Rivetti said in the video.


Are you are looking for a eco friendly company that can collect and remove of your rubbish material safely? Rubbish Clearance Ltd can help. .
Looking for a cheap price for domestic waste disposal or home waste collection? Whether you are in a factory or house we can help all local people in Borley Green. We are a council registered Home removal company based in Essex. We do all the lifting and loading so you don't have to. Whatever amount of rubbish you have, our two man teams can safely collect and dispose of it. Stuff that we dispose of include mattresses, piles of topsoil / dirt, unwanted electricals and tvs.
We remove and clear up of all your radiators, loads of bricks, old ovens, baths or pass it sofas safely at a registered dump from anywhere in CO10.


Eisenman's studio in Brooklyn looks delightfully painterly. The artist's space has a warm, cozy feeling to it – there's a lot of dark wood, and the slight clutter along with the earthy hues of Eisenman's artworks lends the whole space a very inviting sensibility.
It reminds me of the studio of illustrator Alan Lee – I can certainly picture a densely packed bookshelf hiding somewhere just outside of the camera frame. The windows, too, have a very old-architectural feel to them, and though it's hard to say for certain, appear to look out onto some trees – a pleasant view to be able to see while at work.
You can just see the artist's desk in the foreground, and it looks just as packed as the rest of the space. A pile of brushes, possible with some pens or pencils, seems to spill right off the table surface and the bent lamp speaks of late nights and early morning spent poring over a sketch. Eisenman herself stands on the right side of the photo – to her left is her friend, writer and fellow creative Grace Dunham.
Eisenman worked as a professor at Bard College for about six years, until 2009. She's been awarded several honors throughout her career, including the Guggenheim Fellowship, the Carnegie Prize, and the 2015 MacArthur Genius Grant.


No idea how Björk suddenly came into the picture but the results are no less uncompromising than before, mostly mangling Björks voice as samples throughout the tracks.
- Yelling "OH YEAH (I should be worried) OH YEAH (I'm temporary)" on "Up My Sleeves".
- When the beat suddenly clicks into place on 'Black Quarterback'.
Hey this stuff makes sense after all!
-The lyrics 'HEY it's a party, come early if you're lonley/ SAY HEY kid SAY HEAY don't you O.D./ SAY HEY Kid come play dead.' on "Say Hey Kid"
-The lyrics "My shadow is on to you/ voila ... I'll make your face look voila"


text:
Office of the President, Oren Burbank Cheney records
These records contain records from during and after the tenure of O.B. Cheney as the first President of Bates College. Among the materials are certificates signed by Cheney, to be given to donors to a "Sunday School Offering to the Endowment Fund" for Bates, and a brief letter from Maine Governor Edwin C. Burleigh. The "General Information" folder contains, among other items, a hand- and type-written transcript of information recorded by Cheney from Mrs. A. Wakefield of Lewiston, concerning David Davis, a Quaker and farmer who owned land in Lewiston, and for whom Mount David is named. Folders containing his diary (from 1864) and much of his correspondence and other writings also contain photocopies for patron use. Other folders contain correspondence, reports, sermons, and Cheney's resignation letter as president of Bates College.
Bates College (Lewiston, Me.). Office of the President (Organization)
Oren Burbank Cheney, the founder and first president of Bates College, was born in Holderness, N.H., December 10, 1816 to Freewill Baptist parents. His father, Moses Cheney, was a paper manufacturer and a conductor on the Underground Railroad.
At the age of thirteen, after injuring his thumb in an accident at the paper plant, Oren spent a brief time at the New Hampton Literary Institute in New Hampton, N.H. It was here that he came under the influence of Hosea Quinby, a young man who would become a leader in education among the Freewill Baptists. In 1832, when Mr. Quinby became principal of the Parsonfield Seminary, a Freewill Baptist school located in Parsonfield, Maine, Oren Cheney became a student, attending the school for one year. While at the Seminary, he helped start the school's temperance society and came under the influence of John Buzzell, pastor of the Parsonfield church, editor of the Morning Star newspaper and successor to Benjamin Randall, founder of the Freewill Baptists. Finding it inconvenient to be so far from home, Cheney decided to return to the New Hampton Literary Institute to finish his preparation for college. It was during his time here that he consecrated his life to Christian service.
Oren Cheney entered Brown University in 1835. Already an abolitionist, Cheney became more outspoken in his convictions after witnessing mob violence against anti-slavery sympathizers. He left Brown after one term and in 1836 entered Dartmouth College where anti-slavery sentiments were allowed more freedom of expression.
After graduating from Dartmouth in 1839, Cheney spent the next several years as principal of academies in Farmington, Maine, Strafford, N.H. and Greenland, N.H. In 1843, he became principal of the Parsonfield Seminary where he both taught and preached; his home became one of the stations of the Underground Railroad.
Feeling a call to the ministry, Oren Cheney was ordained as a Freewill Baptist minister in 1844 and entered the Biblical School in Whitestown, N.Y. to study theology. Unable to complete his studies due to the death of his wife, Rev. Cheney became the pastor of the Freewill Baptist Church in West Lebanon, Maine serving from 1847-1852. He was also elected by the Free Soil Party to serve in the State Legislature where he represented the towns of Lebanon and Sanford during the winter of 1851-52. It was during his time in the legislature that he obtained a charter for the foundation of Lebanon Academy.
In 1852 Rev. Cheney became the pastor of the Freewill Baptist Church in Augusta, Maine, a position he held until 1857. In September of 1854 he received a letter informing him of the burning of the Parsonfield Seminary and it was then that he had the vision of founding a seminary which would be more centrally located. After much perseverance, he obtained a charter and solicited funds and on September 1, 1857 the Maine State Seminary in Lewiston, Maine, opened. In 1864, with the financial support of Boston businessman Benjamin E. Bates, a charter was obtained turning the Maine State Seminary into Bates College. Oren Cheney served as president of the College until his resignation in 1894.
Oren B. Cheney was involved in many other endeavors. He was instrumental in establishing the Maine Central Institute at Pittsfield, Maine, and Storer College, a school for freedmen, at Harper's Ferry, West Virginia. He was active in the Freewill Baptist denomination serving three times as moderator of the general conference and in 1876 he was a delegate to the General Baptists of England. Wesleyan University conferred the Doctor of Divinity degree upon him in 1863.
Dr. Cheney was married three times. In 1840 he married his first wife, Caroline A. Rundlett and they had one child, Horace Rundlett. Caroline died in 1846 and in 1847 he married Nancy S. Perkins who died in 1886. They had two children, Caroline and Emmeline. In 1892 he married Emeline S. (Aldrich) Burlingame. Oren B. Cheney died in Lewiston, Maine on December 22, 1903.
0.5 Linear Feet (1 manuscript box)
This collection contains records from during and after the tenure of Oren B. Cheney as the first President of Bates College (1855-1894). The records include correspondence, donor certificates, and printed and handwritten documents regarding the early work and activities of Bates College, especially relating to the college's relationship to the Free Will Baptists. Notable correspondents include Maine governor Edwin C. Burleigh, and Cheney's successor at Bates, George C. Chase.
The files are arranged alphabetically by folder title.
Acquisition and Custody Information
Accession No.: xx-001.
MC091, Freewill Baptist Collection, Edmund S. Muskie Archives & Special Collections Library, Bates College
Bates College (Lewiston, Me.). Office of the President -- Archives
Burleigh, Edwin C. (Edwin Chick), 1843-1916 -- Correspondence
Chase, George C. (George Colby), 1844-1919 -- Correspondence
Cheney, O. B. (Oren B.), 1816-1903
Free Will Baptists (1780?-1911) -- History
Guide to the Office of the President, Oren Burbank Cheney records, 1857-1902
Office of the President, Oren Burbank Cheney records, Edmund S. Muskie Archives and Special Collections Library, Bates College.
Office of the President, Oren Burbank Cheney records, Edmund S. Muskie Archives and Special Collections Library, Bates College. https://bates-archives.libraryhost.com/repositories/2/resources/10 Accessed January 29, 2023.


The Intensive, with John Boylan, runs this November.
A month long of work. The best work is often the result of an intense and in depth period of concentrated effort. This is also the way an actor makes significant gains in his overall abilities. If you've acted in the theatre, for example, you know how great a distance you travel and how much you progress in a 3 – 4 week rehearsal period. An acting intensive can have the same rewards.
Nov 6, 8, 10, 11, 13, 15, 17, 18, 20, 22, 24, 25, 27, 29.
For more information, and to register, visit the Centre for the Arts webpage.
*A photo and resume must be submitted before attendance can be confirmed.