text:
Ocasio-Cortez Backs Pelosi as 'Most Progressive' Speaker
by Jerome Frank
in World News
"We recruited and supported Ocasio-Cortez all the way to a historic victory", Justice Democrats Executive Director Alexandra Rojas told Politico in a statement, "and now we're going to repeat the playbook".
In a subsequent tweet, she called for Scarry to apologize.
Other members of Congress chimed in, saying they, too have had issues with this. "This is what happens when you're a young WOC [woman of color] in Congress - but it shouldn't", Rep. Grace Meng, D-N.Y. who was elected in 2013 wrote on Twitter. Apparently, working-class people can't have nice things, or perhaps it's just working-class women.
Accordingto Claire Sandberg, another key progressive campaign strategist and veteran of Sanders' insurgent 2016 run, "Every Democratic politician who has prioritized bank deregulation over responding to the threat of catastrophic climate change deserves to worry that they might be next to face a primary challenge from the left". It's no big deal.
And after the newly elected Congress member said she couldn't afford rent in a Washington, DC, apartment in an interview with the New York Times - because she was barred from working before her term began but also couldn't take a salary until she started working - Fox News correspondent Ed Henry claimed she could have used her savings to pay her rent until her term began. The tweet was taken as something else, so I've deleted it!
"Right now, out of the field, I would say that she is the most progressive candidate", Ocasio-Cortez said on her Instagram Live.
After deleting the tweet, Mr Scarry said it had been misconstrued. Noun. A female child, from birth to full growth. E.g.
During her first couple of days on Capitol Hill, Ocasio-Cortez was mistaken for an intern or a spouse. "It's creepy", he wrote in a tweet.
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On top of showing us a part of the government that many of us know little about, she's also making it as inclusive as possible.
Others mocked the tweet and posted photos of others wearing numerous clothing that were sent from a "hill staffer".
While she hasn't officially started her term as a U.S. representative from New York, Ocasio-Cortez has already become a focal point of attention on Capitol Hill - and a target of criticism.
"If we work our butts off to make sure that we take back all three chambers of Congress - Uh, rather, all three chambers of government: the presidency, the Senate, and the House", she said in the video.
"Long story short, I need you to run for office", Ocasio-Cortez said. Dark hates light - that's why you tune it out.
Many women, especially women of color, can relate to how their actions are scrutinized in ways that men are not, and we celebrate Ocasio-Cortez's message to "shine bright and keep it pushing".
After attempting at first to push back on the criticism, Scarry deleted the tweet.
As an incoming member of Congress, she's learning the ropes as she goes. He eventually deleted the tweet.
"We recruited and supported Ocasio-Cortez all the way to a historic victory", Justice Democrats Executive Director Alexandra Rojas told Politico in a statement, "and now we're going to repeat the play...
http:///2018/11/ocasio-cortez-backs-pelosi-as-most-progressive-speaker/
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This is the perfect opportunity to develop your skills and discover new industry tactics that really work. You can catch Alexandra's talk at Brighton SEO on the 12th April at 10:25am, Syndicate 1 & 2.


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Home > News > Weather Deals Blow to Louisiana Rice Harvest
Weather Deals Blow to Louisiana Rice Harvest
Farmers probably would like to forget the 2019 rice crop, which has been plagued by low yields.
Bad weather from the start of the growing season through harvest is being blamed.
"Growing conditions have been less than ideal," said LSU AgCenter rice specialist Dustin Harrell. "We didn't have good conditions at any one point."
Harrell estimated yields are off by 15% to 20% from the average harvest.
Yields range from the mid-20 barrel to the mid 60-barrel range, but much of it is between 35 and 43 barrels. "Most of it is below 45," he said.
The second crop isn't providing much hope.
"The second crop hasn't come back as quickly as we thought," Harrell said. "We're getting off to a bad start."
Cloudy days have interfered with sunshine new growth needs.
The crop year started with wet, cool soil conditions, and wet soil complicated applications of herbicides and fertilizer. "Getting fertilizer applied in time and on dry ground is critical to maximize yields," Harrell said.
Andrew Granger, AgCenter agent in Vermilion Parish, said wet conditions also interfered with herbicide applications.
Low rice prices, currently about $18 a barrel, are also a problem for farmers. "If rice was $25 a barrel, they would be OK," Granger said.
Hurricane Barry hit in early July, the same time that most rice plants were flowering for pollination. Winds beat up the young plants and caused many of the panicles to have empty hulls. But at least the forecasts of more than 20 inches of rain never developed, Harrell said.
Farmer Christian Richard, of Indian Bayou, said the first part of the harvest was bad with low yields, but yields improved in later-planted fields. "Then the weather quit cooperating, and it started raining every day," he said.
Richard estimates his yields are down by 15% to 20% from his average.
Richard said he had a truckload of rice rejected by a buyer because of smut, adding that false smut and kernel smut are widespread in his fields. "Our combines are black or yellow, depending on what kind of smut you've got," he said.
Richard said grain quality has been a problem with his crop. "The quality was never good from the beginning. The milling yields are just horrendous," he said.
Richard is about 70% finished, but he's trying to locate a set of tracks for a combine to harvest 500 acres of rice in a muddy field that he couldn't prepare properly earlier this year because the ground never got dry enough to work.
Regrowth on his second-crop fields has been slow, he said.
Rains have continued into harvest, complicating the process. "The harvest has been stop-and-go every day," Harrell said.
Some rice in Vermilion Parish was a total loss due to flooding after Barry, Granger said, and Vince Deshotel, AgCenter agent in St. Landry Parish, said some rice acreage was ruined by high water.
Excessive heat during night and day in June, combined with continuous rain, especially at flowering, reduced yields by about 10%, Deshotel said.
Later, steady rains kept fields wet and humid. AgCenter plant pathologist Don Groth said the field conditions created the perfect environment for disease.
Fields that normally yield 45 to 55 barrels are only producing in the low 30-barrel range.
Groth said Richard's problem with smut is not isolated. Smuts and other diseases are being reported throughout the area. Panicle blight and blast disease also have been problems, he said.
Smut spores have produced visible brownish-yellow clouds. "I've gotten reports from Texas that they're having the same problem," Groth said.
He estimates the harvest throughout south Louisiana is about 70% complete.
Jeremy Hebert, AgCenter agent in Acadia Parish, said many farmers are disappointed this year. "Yields are down more than expected. There have been some disasters," he said.
Farmers were facing an uphill struggle from the beginning of the growing season.
Some later-planted rice appears to have more potential, and some of rice grown for a second crop looks good, Hebert said.
Jimmy Meaux, AgCenter agent in Jefferson Davis, Calcasieu and Cameron parishes, said about 70% of the fields there have been harvested.
Yields are down by 10% to 15%. "It's not great. They're probably in the low 40s or the high 30s," he said.
Daily rains during harvest are a problem for farmers. "I don't know if they ever get a full day of cutting," Meaux said.
Farmer Mike Fruge, of Eunice, said he wrapped up his harvest on Aug. 19. He said his yields were off consistently. Some fields were down from his average by as much as 20% while some were down by only a few percentage points. "It wasn't as bad as some others I've heard," he said.
He also had a smut problem in the last 400 acres he harvested. But weather complicated harvest. "Our last 200 acres took us double the time it should have taken," Fruge said.
Rice harvest in northeast Louisiana is about to get started, and Harrell said that crop looks better. "It looks good in northeast Louisiana," he said. "They don't seem to have all the issues we had here."
Keith Collins, AgCenter agent in Richland Parish, said fields are being drained in northeast Louisiana and harvest should be in full swing within two weeks.
Source: LSU Ag Center

redpajama_set_name: RedPajamaCommonCrawl


"Lutes" redirects here. For the last name, see Lutes (surname). For the medication, see Lutes (medication).
For other uses, see Lute (disambiguation).
A lute (/ljuːt/) is any plucked string instrument with a neck (either fretted or unfretted) and a deep round back enclosing a hollow cavity, usually with a sound hole or opening in the body. More specifically, the term "lute" can refer to an instrument from the family of European lutes. The term also refers generally to any string instrument having the strings running in a plane parallel to the sound table (in the Hornbostel–Sachs system). The strings are attached to pegs or posts at the end of the neck, which have some type of turning mechanism to enable the player to tighten the tension on the string or loosen the tension before playing (which respectively raise or lower the pitch of a string), so that each string is tuned to a specific pitch (or note). The lute is plucked or strummed with one hand while the other hand "frets" (presses down) the strings on the neck's fingerboard. By pressing the strings on different places of the fingerboard, the player can shorten or lengthen the part of the string that is vibrating, thus producing higher or lower pitches (notes).
The European lute and the modern Near-Eastern oud descend from a common ancestor via diverging evolutionary paths. The lute is used in a great variety of instrumental music from the Medieval to the late Baroque eras and was the most important instrument for secular music in the Renaissance. During the Baroque music era, the lute was used as one of the instruments which played the basso continuo accompaniment parts. It is also an accompanying instrument in vocal works. The lute player either improvises ("realizes") a chordal accompaniment based on the figured bass part, or plays a written-out accompaniment (both music notation and tabulature ("tab") are used for lute). As a small instrument, the lute produces a relatively quiet sound. The player of a lute is called a lutenist, lutanist or lutist, and a maker of lutes (or any similar string instrument, or violin family instruments) is referred to as a luthier.
The words lute and oud possibly derive from Arabic al-ʿoud (العود - literally means "the wood"). It may refer to the wooden plectrum traditionally used for playing the oud, to the thin strips of wood used for the back, or to the wooden soundboard that distinguished it from similar instruments with skin-faced bodies.
Many theories have been proposed for the origin of the Arabic name. A music scholar by the name of Eckhard Neubauer suggested that oud may be an Arabic borrowing from the Persian word rōd or rūd, which meant string. Another researcher, archaeomusicologist Richard J. Dumbrill, suggests that rud came from the Sanskrit rudrī (रुद्री, meaning "string instrument") and transferred to Arabic and European languages by way of a Semitic language. However, another theory according to Semitic language scholars, is that the Arabic ʿoud is derived from Syriac ʿoud-a, meaning "wooden stick" and "burning wood"—cognate to Biblical Hebrew 'ūḏ, referring to a stick used to stir logs in a fire. Henry George Farmer notes the similarity between al-ʿūd and al-ʿawda ("the return" – of bliss).
The geometry of the lute soundboard is relatively complex, involving a system of barring that places braces perpendicular to the strings at specific lengths along the overall length of the belly, the ends of which are angled to abut the ribs on either side for structural reasons. Robert Lundberg, in his book Historical Lute Construction, suggests ancient builders placed bars according to whole-number ratios of the scale length and belly length. He further suggests the inward bend of the soundboard (the "belly scoop") is a deliberate adaptation by ancient builders to afford the lutenist's right hand more space between the strings and soundboard.
Soundboard thickness varies, but generally hovers between 1.5 and 2 mm (0.06–0.08 in). Some luthiers tune the belly as they build, removing mass and adapting bracing to produce desirable sonic results. The lute belly is almost never finished, but in some cases the luthier may size the top with a very thin coat of shellac or glair to help keep it clean. The belly joins directly to the rib, without a lining glued to the sides, and a cap and counter cap are glued to the inside and outside of the bottom end of the bowl to provide rigidity and increased gluing surface.
After joining the top to the sides, a half-binding is usually installed around the edge of the soundboard. The half-binding is approximately half the thickness of the soundboard and is usually made of a contrasting color wood. The rebate for the half-binding must be extremely precise to avoid compromising structural integrity.
The back or the shell is assembled from thin strips of hardwood (maple, cherry, ebony, rosewood, gran, wood and/or other tonewoods) called ribs, joined (with glue) edge to edge to form a deep rounded body for the instrument. There are braces inside on the soundboard to give it strength.
The neck is made of light wood, with a veneer of hardwood (usually ebony) to provide durability for the fretboard beneath the strings. Unlike most modern stringed instruments, the lute's fretboard is mounted flush with the top. The pegbox for lutes before the Baroque era was angled back from the neck at almost 90° (see image), presumably to help hold the low-tension strings firmly against the nut which, traditionally, is not glued in place but is held in place by string pressure only. The tuning pegs are simple pegs of hardwood, somewhat tapered, that are held in place by friction in holes drilled through the pegbox.
As with other instruments that use friction pegs, the wood for the pegs is crucial. As the wood suffers dimensional changes through age and loss of humidity, it must retain a reasonably circular cross-section to function properly—as there are no gears or other mechanical aids for tuning the instrument. Often pegs were made from suitable fruitwoods such as European pearwood, or equally dimensionally stable analogues. Matheson, c. 1720, said, "If a lute-player has lived eighty years, he has surely spent sixty years tuning."
The bridge, sometimes made of a fruitwood, is attached to the soundboard typically between a fifth and a seventh of the belly length. It does not have a separate saddle but has holes bored into it to which the strings attach directly. The bridge is made so that it tapers in height and length, with the small end holding the trebles and the higher and wider end carrying the basses. Bridges are often colored black with carbon black in a binder, often shellac and often have inscribed decoration. The scrolls or other decoration on the ends of lute bridges are integral to the bridge, and are not added afterwards as on some Renaissance guitars (cf Joachim Tielke's guitars).
The frets are made of loops of gut tied around the neck. They fray with use, and must be replaced from time to time. A few additional partial frets of wood are usually glued to the body of the instrument, to allow stopping the highest-pitched courses up to a full octave higher than the open string, though these are considered anachronistic by some (though John Dowland and Thomas Robinson describe the practice of gluing wooden frets onto the soundboard). Given the choice between nylon and gut, many luthiers prefer to use gut, as it conforms more readily to the sharp angle at the edge of the fingerboard.
Of note are the catlines used as basses on historical instruments. Catlines are several gut strings wound together and soaked in heavy metal solutions to increase the string mass. Catlines can be quite large in diameter compared to wound nylon strings of the same pitch. They produce a bass that differs somewhat in timbre from nylon basses.
The lute's strings are arranged in courses, of two strings each, though the highest-pitched course usually consists of only a single string, called the chanterelle. In later Baroque lutes two upper courses are single. The courses are numbered sequentially, counting from the highest pitched, so that the chanterelle is the first course, the next pair of strings is the second course, etc. Thus an 8-course Renaissance lute usually has 15 strings, and a 13-course Baroque lute has 24.
The courses are tuned in unison for high and intermediate pitches, but for lower pitches one of the two strings is tuned an octave higher (the course where this split starts changed over the history of the lute). The two strings of a course are virtually always stopped and plucked together, as if a single string—but in rare cases, a piece requires that the two strings of a course be stopped or plucked separately. The tuning of a lute is a complicated issue, described in a section of its own below. The lute's design makes it extremely light for its size.
Ancient Egyptian tomb painting depicting players with long-necked lutes, 18th Dynasty (c. 1350 BC).
Curt Sachs defined the word lute in the terminology section of The History of Musical Instruments as "composed of a body, and of a neck which serves both as a handle and as a means of stretching the strings beyond the body." His definition focused on body and neck characteristics and not on the way the strings were sounded, so the fiddle counted as a "bowed lute". Sachs also distinguished between the "long-necked lute" and the short-necked variety. The short necked variety contained most of our modern instruments, "lutes, guitars, hurdy-gurdies and the entire family of viols and violins."
The long lutes were the more ancient lutes; the "Arabic tanbūr...faithfully preserved the outer appearance of the ancient lutes of Babylonia and egypt." He further categorized long lutes with a "pierced lute" and "long neck lute." The pierced lute had a neck made from a stick that pierced the body (as in the ancient Egyptian long-neck lutes, and the modern African gunbrī). The long lute had an attached nick, and included the sitar, tanbur and tar (dutār 2 strings, setār 3 strings, čatār 4 strings, pančtār 5 strings).
Sachs' book dates from 1941, and the archaeological evidence available to him placed the early lutes at about 2000 B.C. Discoveries since then have pushed the existence of the lute back to c. 3100 B.C.
The line of short-necked lutes was further developed to the east of Mesopotamia, in Bactria and Gandhara, into a short, almond-shaped lute. Curt Sachs talked about the depictions of Gandharan lutes in art, where they are presented in a mix of "Northwest Indian art" under "a strong Greek influences." The short-necked lutes in these Gandhara artworks were "the venerable ancestor of the Islamic, the Sino-Japanese and the European lute families." He described the Gandhara lutes as having a "pear-shaped body tapering towards the short neck, a frontal stringholder, lateral pegs, and either four or five strings."
(Left-two images) Oud-family instruments painted in the Cappella Palatina in Sicily, 12th century. Roger II of Sicily employed Muslim musicians in his court, and paintings show them playing a mixture of lute-like instruments, strung with 3, 4 and five courses of strings. (Right) 13th century A.D. image of an Oud, from the 12th century work Bayâd und Riyâd, a larger instrument than those in images at the Cappella Palatina.
Bactria and Gandhara became part of the Sasanian Empire (224–651). Under the Sasanians, a short almond shaped lute from Bactria came to be called the barbat or barbud, which was developed into the later Islamic world's oud or ud. When the Moors conquered Andalusia in 711, they brought their ud or quitra along, into a country that had already known a lute tradition under the Romans, the pandura.
During the 8th and 9th centuries, many musicians and artists from across the Islamic world flocked to Iberia. Among them was Abu l-Hasan 'Ali Ibn Nafi' (789–857), a prominent musician who had trained under Ishaq al-Mawsili (d. 850) in Baghdad and was exiled to Andalusia before 833 AD. He taught and has been credited with adding a fifth string to his oud and with establishing one of the first schools of music in Córdoba.
By the 11th century, Muslim Iberia had become a center for the manufacture of instruments. These goods spread gradually to Provence, influencing French troubadours and trouvères and eventually reaching the rest of Europe. While Europe developed the lute, the oud remained a central part of Arab music, and broader Ottoman music as well, undergoing a range of transformations.
Although the major entry of the short lute was in western Europe, leading to a variety of lute styles, the short lute entered Europe in the East as well; as early as the sixth century, the Bulgars brought the short-necked variety of the instrument called Komuz to the Balkans.
Beside the introduction of the lute to Spain (Andalusia) by the Moors, another important point of transfer of the lute from Arabian to European culture was Sicily, where it was brought either by Byzantine or later by Muslim musicians. There were singer-lutenists at the court in Palermo following the Norman conquest of the island from the Muslims, and the lute is depicted extensively in the ceiling paintings in the Palermo's royal Cappella Palatina, dedicated by the Norman King Roger II of Sicily in 1140. His Hohenstaufen grandson Frederick II, Holy Roman Emperor (1194–1250) continued integrating Muslims into his court, including Moorish musicians. By the fourteenth century, lutes had disseminated throughout Italy and, probably because of the cultural influence of the Hohenstaufen kings and emperor, based in Palermo, the lute had also made significant inroads into the German-speaking lands.
David Hoyer, an artist, painted by Jan Kupetzky, ca. 1711.
Portraits of Early modern or Renaissance men, posing with lutes.
In the last few decades of the fifteenth century, to play Renaissance polyphony on a single instrument, lutenists gradually abandoned the quill in favor of plucking the instrument with the fingertips. The number of courses grew to six and beyond. The lute was the premier solo instrument of the sixteenth century, but continued to accompany singers as well.
By the end of the Renaissance the number of courses had grown to ten, and during the Baroque era the number continued to grow until it reached 14 (and occasionally as many as 19). These instruments, with up to 26–35 strings, required innovations in the structure of the lute. At the end of the lute's evolution the archlute, theorbo and torban had long extensions attached to the main tuning head to provide a greater resonating length for the bass strings, and since human fingers are not long enough to stop strings across a neck wide enough to hold 14 courses, the bass strings were placed outside the fretboard, and were played open, i.e., without pressing them against the fingerboard with the left hand.
A stele from Augusta Emerita for a Roman boy, with pandurium, 2nd Century A.D; Museo Arqueologico, Merida, Spain.
Christian and Muslim playing lute, miniature from Cantigas de Santa Maria by king Alfonso X. 13th century.
Frans Hals: Buffoon playing a lute, 1623.
The lute enjoyed a revival with the awakening of interest in historical music around 1900 and throughout the century. That revival was further boosted by the early music movement in the twentieth century. Important pioneers in lute revival were Julian Bream, Hans Neemann, Walter Gerwig, Suzanne Bloch and Diana Poulton. Lute performances are now not uncommon; there are many professional lutenists, especially in Europe where the most employment is found, and new compositions for the instrument are being produced by composers.
During the early days of the early music movement, many lutes were constructed by available luthiers, whose specialty was often classical guitars. Such lutes were heavily built with construction similar to classical guitars, with fan bracing, heavy tops, fixed frets, and lined sides, all of which are anachronistic to historical lutes. As lutherie scholarship increased, makers began constructing instruments based on historical models, which have proven lighter and more responsive instruments.
Lutes built at present are invariably replicas or near copies of those surviving historical instruments that are in museums or private collections. Many are custom-built, but there is a growing number of luthiers who build lutes for general sale, and there is a fairly strong, if small, second-hand market. Due to this fairly limited market, lutes are generally more expensive than mass-produced modern instruments: factory-made guitars and violins, for example, can be purchased more cheaply than low-end lutes, but at the highest level of modern instruments, guitars and violins tend to command higher prices than lutes.
Unlike in the past there are many types of lutes encountered today: 5-course medieval lutes, renaissance lutes of 6 to 10 courses in many pitches for solo and ensemble performance of Renaissance works, the archlute of Baroque works, 11-course lutes in d-minor tuning for 17th-century French, German and Czech music, 13/14-course d-minor tuned German Baroque Lutes for later High Baroque and Classical music, theorbo for basso continuo parts in Baroque ensembles, gallichons/mandoras, bandoras, orpharions and others.
Lutenistic practice has reached considerable heights in recent years, thanks to a growing number of world-class lutenists: Rolf Lislevand, Hopkinson Smith, Paul O'Dette, Christopher Wilke, Andreas Martin, Robert Barto, Eduardo Egüez, Edin Karamazov, Nigel North, Christopher Wilson, Luca Pianca, Yasunori Imamura, Anthony Bailes, Peter Croton, Xavier Diaz-Latorre. Singer-songwriter Sting has also played lute and archlute, in and out of his collaborations with Edin Karamazov, and Jan Akkerman released two albums of lute music in the 1970s while he was a guitarist in the Dutch rock band Focus. Lutenist/Composer Jozef van Wissem composed the soundtrack to the Jim Jarmusch film Only Lovers Left Alive.
Lutes of several regional types are also common in Greece: laouto, and outi.
Orazio Gentileschi's young lutenist, painted c. 1626, plays a 10-course lute, typical of the time from around 1600 through the 1630s.
Lutes were in widespread use in Europe at least since the 13th century, and documents mention numerous early performers and composers. However, the earliest surviving lute music dates from the late 15th century. Lute music flourished during the 16th and 17th centuries: numerous composers published collections of their music, and modern scholars have uncovered a vast number of manuscripts from the era—however, much of the music is still lost. In the second half of the 17th century lutes, vihuelas and similar instruments started losing popularity, and almost no music had been written for the instrument after 1750. The interest in lute music was revived only in the second half of the 20th century.
Improvisation (making up music on the spot) was, apparently, an important aspect of lute performance, so much of the repertoire was probably never written down. Furthermore, it was only around 1500 that lute players began to transition from plectrum to plucking. That change facilitated complex polyphony, which required that they develop notation. In the next hundred years, three schools of tablature notation gradually developed: Italian (also used in Spain), German, and French. Only the last survived into the late 17th century. The earliest known tablatures are for a six-stringed instrument, though evidence of earlier four- and five-stringed lutes exists. Tablature notation depends on the actual instrument the music is written for. To read it, a musician must know the instrument's tuning, number of strings, etc.
Renaissance and Baroque forms of lute music are similar to keyboard music of the periods. Intabulations of vocal works were very common, as well as various dances, some of which disappeared during the 17th century, such as the piva and the saltarello. The advent of polyphony brought about fantasias: complex, intricate pieces with much use of imitative counterpoint. The improvisatory element, present to some degree in most lute pieces, is particularly evident in the early ricercares (not imitative as their later namesakes, but completely free), as well as in numerous preludial forms: preludes, tastar de corde ("testing the strings"), etc. During the 17th century keyboard and lute music went hand in hand, and by 1700 lutenists were writing suites of dances quite akin to those of keyboard composers. The lute was also used throughout its history as an ensemble instrument—most frequently in songs for voice and lute, which were particularly popular in Italy (see frottola) and England.
The earliest surviving lute music is Italian, from a late 15th-century manuscript. The early 16th century saw Petrucci's publications of lute music by Francesco Spinacino (fl. 1507) and Joan Ambrosio Dalza (fl. 1508); together with the so-called Capirola Lutebook, these represent the earliest stage of written lute music in Italy. The leader of the next generation of Italian lutenists, Francesco Canova da Milano (1497–1543), is now acknowledged as one of the most famous lute composers in history. The bigger part of his output consists of pieces called fantasias or ricercares, in which he makes extensive use of imitation and sequence, expanding the scope of lute polyphony. In the early 17th century Johannes Hieronymus Kapsberger (c. 1580–1651) and Alessandro Piccinini (1566–1638) revolutionized the instrument's technique and Kapsberger, possibly, influenced the keyboard music of Frescobaldi.
French written lute music began, as far as we know, with Pierre Attaingnant's (c. 1494 – c. 1551) prints, which comprised preludes, dances and intabulations. Particularly important was the Italian composer Albert de Rippe (1500–1551), who worked in France and composed polyphonic fantasias of considerable complexity. His work was published posthumously by his pupil, Guillaume de Morlaye (born c. 1510), who, however, did not pick up the complex polyphony of de Rippe. French lute music declined during the second part of the 16th century; however, various changes to the instrument (the increase of diapason strings, new tunings, etc.) prompted an important change in style that led, during the early Baroque, to the celebrated style brisé: broken, arpeggiated textures that influenced Johann Jakob Froberger's suites. The French Baroque school is exemplified by composers such as Ennemond Gaultier (1575–1651), Denis Gaultier (1597/1603–1672), François Dufaut (before 1604–before 1672) and many others. The last stage of French lute music is exemplified by Robert de Visée (c. 1655–1732/3), whose suites exploit the instrument's possibilities to the fullest.
The history of German written lute music started with Arnolt Schlick (c. 1460–after 1521), who, in 1513, published a collection of pieces that included 14 voice and lute songs, and three solo lute pieces, alongside organ works. He was not the first important German lutenist, because contemporaries credited Conrad Paumann (c. 1410–1473) with the invention of German lute tablature, though this claim remains unproven, and no lute works by Paumann survive. After Schlick, a string of composers developed German lute music: Hans Judenkünig (c. 1445/50–1526), the Neusidler family (particularly Hans Neusidler (c. 1508/09–1563)) and others. During the second half of the 16th century, German tablature and German repertoire were gradually replaced by Italian and French tablature and international repertoire, respectively, and the Thirty Years War (1618–48) effectively stopped publications for half a century. German lute music was revived much later by composers such as Esaias Reusner (fl. 1670), however, a distinctly German style came only after 1700 in the works of Silvius Leopold Weiss (1686–1750), one of the greatest lute composers, some of whose works were transcribed for keyboard by none other than Johann Sebastian Bach (1685–1750), who composed a few pieces for the lute himself (though it is unclear whether they were really intended for the lute, rather than another plucked string instrument or the lautenwerk).
Of other European countries, particularly important are England and Spain. English written lute music only began around 1540, however, the country produced numerous lutenists, of which John Dowland (1563–1626) is perhaps the most famous. His influence spread very far: variations on his themes were written by keyboard composers in Germany decades after his death. Dowland's predecessors and colleagues, such as Anthony Holborne (c. 1545–1602) and Daniel Bacheler (1572–1619), were less known. Spanish composers wrote mostly for the vihuela; their main genres were polyphonic fantasias and differencias (variations). Luys Milan (c.1500–after 1560) and Luys de Narváez (fl. 1526–49) were particularly important for their contributions to the development of lute polyphony in Spain. Finally, perhaps the most influential European lute composer was the Hungarian Bálint Bakfark (c. 1526/30–1576), whose contrapuntal fantasias were much more difficult and tighter than those of his Western European contemporaries.
The revival of lute-playing in the 20th century has its roots in the pioneering work of Arnold Dolmetsch (1858–1940); whose research into early music and instruments started the movement for authenticity. The revival of the lute gave composers an opportunity to create new works for it.
One of the first such composers was Johann Nepomuk David in Germany. Composer Vladimir Vavilov was a pioneer of the lute revival in the USSR, he was also the author of numerous musical hoaxes. Sandor Kallos and Toyohiko Satoh applied modernist idiom to the lute, Elena Kats-Chernin, Jozef van Wissem and Alexandre Danilevsky minimalist and post-minimalist idiom, Roman Turovsky-Savchuk, Paulo Galvão, Robert MacKillop historicist idiom, and Ronn McFarlane New Age. This active movement by early music specialists has inspired composers in different fields; for example, in 1980, Akira Ifukube, a classical and film composer best known for the Godzilla's theme, wrote the Fantasia for Baroque Lute with the historical tablature notation, rather than the modern staff one.
6-course Early Renaissance lute tuning chart.
10-course Late Renaissance/Early Baroque lute tuning chart.
Lutes were made in a large variety of sizes, with varying numbers of strings/courses, and with no permanent standard for tuning. However, the following seems to have been generally true of the Renaissance lute.
For lutes with more than six courses the extra courses would be added on the low end. Because of the large number of strings, lutes have very wide necks, and it is difficult to stop strings beyond the sixth course, so additional courses were usually tuned to pitches useful as bass notes rather than continuing the regular pattern of fourths, and these lower courses are most often played without stopping. Thus an 8-course tenor Renaissance lute would be tuned to (D'D) (F'F) (G'G) (Cc) (FF) (AA) (dd) (g), and a 10-course to (C'C) (D'D) (E♭'E♭) (F'F) (G'G) (Cc) (FF) (AA) (dd) (g).
However, none of these patterns were de rigueur, and a modern lutenist occasionally retunes one or more courses between pieces. Manuscripts bear instructions for the player, e.g., 7e chœur en fa = "seventh course in fa" (= F in the standard C scale).
The first part of the seventeenth century was a period of considerable diversity in the tuning of the lute, particularly in France. However, by around 1670 the scheme known today as the "Baroque" or "D minor" tuning became the norm, at least in France and in northern and central Europe. In this case the first six courses outline a d-minor triad, and an additional five to seven courses are tuned generally scalewise below them. Thus the 13-course lute played by composer Sylvius Leopold Weiss would have been tuned (A″A') (B″B') (C'C) (D'D) (E'E) (F'F) (G'G) (A'A') (DD) (FF) (AA) (d) (f), or with sharps or flats on the lower 7 courses appropriate to the key of the piece.
Modern lutenists tune to a variety of pitch standards, ranging from A = 392 to 470 Hz, depending on the type of instrument they are playing, the repertory, the pitch of other instruments in an ensemble and other performing expediencies. No attempt at a universal pitch standard existed during the period of the lute's historical popularity. The standards varied over time and from place to place.
^ a b During, Jean (1988-12-15). "Encyclopaedia Iranica - Barbat". Iranicaonline.org. Retrieved 2012-02-04.
^ Pourjavady, Amir Hossein (Autumn 2000 – Winter 2001). "Journal Article Review Reviewed Works: The Science of Music in Islam. Vols. 1-2, Studies in Oriental Music by Henry George Farmer, Eckhard Neubauer; The Science of Music in Islam. Vol. 3, Arabisch Musiktheorie von den Anfängen bis zum 6./12. Jahrhundert by Eckhard Neubauer, Fuat Sezgin; The Science of Music in Islam. Vol. 4, Der Essai sur la musique orientale von Charles Fonton mit Zeichnungen von Adanson by Eckhard Neubauer, Fuat Sezgin". Asian Music. 32 (1): 206–209.
^ "Strong's Hebrew: 181. אוּד (ud) -- a brand, firebrand". biblehub.com. Retrieved 2018-03-24.
^ Farmer, Henry George (1939). "The Structure of the Arabian and Persian Lute in the Middle Ages". Journal of the Royal Asiatic Society: 41–51 (49).
^ http://www.cs.dartmouth.edu/~wbc/vanL/lute-inside.gif Photo on external web-site.
^ Mattheson, Johann (1713). Das neu Eroffnet Orchestre. Hamburg. pp. 247ff.
^ a b c d e f Sachs, Curt (1940). The History of Musical Instruments. New York: W. W. Norton & Company. p. 464.
^ a b Sachs, Curt (1940). The History of Musical Instruments. New York: W. W. Norton & Company. pp. 255–257.
^ Sachs, Curt (1940). The History of Musical Instruments. New York: W. W. Norton & Company. pp. 102–103.
^ Sachs, Curt (1940). The History of Musical Instruments. New York: W. W. Norton & Company. pp. 82–83.
^ https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1447477&partId=1&people=24615&peoA=24615-3-17&page=1 British Museum, Cylinder Seal, Culture/period Uruk, Date 3100BC (circa1), Museum number 41632.
^ "Bracket with two musicians 100s, Pakistan, Gandhara, probably Butkara in Swat, Kushan Period (1st century-320)". The Cleveland Museum of Art. Retrieved March 25, 2015.
^ a b c Sachs, Curt (1940). The History of Musical Instruments. New York: W. W. Norton & Company. pp. 159–161.
^ a b "Encyclopaedia Iranica – Barbat". Iranicaonline.org. 1988-12-15. Retrieved 2012-02-04.
^ Gill, John (2008). Andalucia: A Cultural History. Oxford University Press. p. 81. ISBN 978-01-95-37610-4.
^ Lapidus, Ira M. (2002). A History of Islamic Societies. Cambridge University Press. p. 311. ISBN 9780521779333.
^ "The journeys of Ottoman ouds". oudmigrations. Retrieved 2016-04-26.
^ Roger Boase, The Origin and Meaning of Courtly Love: A Critical Study of European Scholarship, Manchester University Press, 1977, p. 70-71.
^ https://m.flickr.com/#/photos/julio-claudians/8098646683/ Flicker based photo of the museum information sign for the stele.
^ Henry Purcell (Glory Of His Age) by Margaret Campbell (Published by Open University Press 1995 paperback) - (ISBN 0-19-282368-X) - p. 264 (about Alfred Dolmetsch) "His discoveries were so fruitful that he decided to concentrate on performing early music on original instruments, something that had not been attempted hitherto—at least not outside a private drawing-room."
^ Yokomizo, Ryoichi (1996). 伊福部昭ギター・リュート作品集 (Akira Ifukube - Works for Guitar and Lute) (CD Booklet). Yoh Nishimura and Deborah Minkin. Japan: FONTEC. p. 4.
^ "Forms of the Lute". The Lute Society of America. Trustees of Dartmouth College. 24 May 2015. Retrieved 3 November 2018.
Dumbrill, Richard J. (1998). The Archaeomusicology of the Ancient Near East. London: Tadema Press.
The Lute in Britain: A History of the Instrument and its Music by Matthew Spring, published by Oxford University Press (2001).
Historical Lute Construction by Robert Lundberg, published by the Guild of American Luthiers (2002).
La musique de luth en France au XVIe siècle by Jean-Michel Vaccaro (1981).
Articles in Journal of the Lute Society of America (1968–), The Lute (1958–), and other journals published by the various national lute societies.
Eckhard Neubauer, "Der Bau der Laute und ihre Besaitung nach arabischen, persischen und türkischen Quellen des 9. bis 15. Jahrhunderts", Zeitschrift für Geschichte der arabisch-islamischen Wissenschaften, vol. 8 (1993): 279–378.
Wikimedia Commons has media related to Lute.
Wikisource has the text of the 1911 Encyclopædia Britannica article Lute.
ABC Classic FM presents: Lute Project videos Watch Tommie Andersson play the theorbo, 7-course & 10-course lutes.
Music Collection in Cambridge Digital Library. One of the most important collections of manuscript music in Cambridge University Library is the group of nine lute manuscripts copied by Mathew Holmes in the early years of the seventeenth century.
Le Luth Doré Urtext music editions The most important collection of modern Urtext music editions for lute.


Went down to Iowa to visit my father in-law with the family and he made this for lunch. It was so simple to make and yet so tasty. Certainly something we'll be trying again at home. Thanks Rog!
Simmer for 30 minutes and serve.


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Production I.G. to present FLCL 2 Panel with Creator and Haruko's Voice Actress at AX 2016
(Picture above does not represent the free poster/postcard)
Come join Production I.G. VP/producer, Maki Terashima-Furuta as she hosts FLCL 2 panel with Jason DeMarco from Adult Swim, introducing Kazuya Tsurumaki, the one and only original creator of FLCL and Mayumi Shintani, the lovely voice behind Haruko. The first 1,500 attendees will receive a complimentary FLCL poster/postcard only available at AX. This panel will follow immediately after the Production I.G panel you would not want to miss!
When: Sunday, July 3 at 5:15 PM – 6:15 PM
Where: LP1 (Petree Hall)
Both Kazuya Tsurumaki and Mayumi Shintani will also be doing autograph sessions throughout the weekend. (Schedule TBA)
About Kazuya Tsurumaki
Creator and director of FLCL, Kazuya Tsurumaki served as animation director for Nadia: The Secret of Blue Water and as assistant director for Neon Genesis Evangelion, as well as directed His and Her Circumstances. He is also currently working as a director on the Rebuild of Evangelion film series.
About Mayumi Shintani
Best known as the voice of Haruko Haruhara in FLCL, Shintani's anime voice acting career was revived in 2013 when she played Nonon Jakuzure in Kill la Kill.
Originally starting her career as a stage actor in 1995, Shintani appeared in a number of musicals and plays, where she captivated audience with her charm.
In 1998, she made her voice acting debut as Tsubasa Shibahime in His and Her Circumstances, when Hideaki Anno discovered her unique talent and voice.
After her appearance in FLCL, she went on to appear in many works, exhibiting a strong personality in the various roles, which has grabbed the hearts of anime fans.


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The  is a bridge in Tokyo built in 1659 spanning the Sumida River just upstream of its confluence with the Kanda River. Its name, meaning "two provinces", came from its joining Edo (the forerunner of Tokyo in Musashi Province) and Shimōsa Province. The neighborhood at the east end of the bridge, Ryōgoku, derived its name from that of the bridge. The bridge featured in the 2015 anime "Miss Hokusai".

Timeline
 1659 (Manji 2): Building began on the Ryōgoku Bridge.
 September 1, 1923 (Taishō 12, 1st day of the 9th month):  The bridge was damaged during the Great Kantō earthquake.
 1932 (Shōwa 7): Bridge re-building completed.

Gallery

References

Buildings and structures in Chūō, Tokyo
Buildings and structures in Sumida, Tokyo

redpajama_set_name: RedPajamaWikipedia


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Astronomers discover exoplanet shaped like a rugby ball
(Image credit: ESA)
Planets are typically round bodies in space that orbit stars, at least most of the time anyway: We've just gotten our first look at an exoplanet that has been deformed by its star's gravity into a rugby ball-like body.
While it sounds weird as heck, this isn't unexpected — but it is the first time we've ever actually seen something like this out in the universe. The exoplanet, detected by the ESA's Cheops exoplanet-hunting mission, orbits WASP-103 in the constellation Hercules.
Cheops finds exoplanets by measuring the light of stars and watching for telltale dips in luminosity when a possible exoplanet passes between us and the star. Dips that come at regular, precise intervals are very strong evidence of an exoplanet.
This exoplanet, WASP-103b, is a gas giant about twice the size of Jupiter with 1.5 times its mass. But rather than orbiting out in the farther reaches of its solar system, WASP-103b is what's known as a "hot Jupiter".
These are gas giants that orbit extremely close to their star, often much closer than even Mercury orbits our Sun. As a result, these exoplanets typically orbit their stars much faster than we're used to seeing, but WASP-103b completes an orbit around its star – which is about 1.7 times larger than our sun – in less than a day.
That puts it extremely close to WASP-103; so close, in fact, that the gravity exerted on the star-facing side of the planet is much greater than that exerted on the side facing away from the star.
This difference in gravity, known as tidal force, is stretching the exoplanet out of the typical spheroid shape. We experience something similar with the moon as it produces ocean tides on Earth, hence the name. Until now though, we've never seen these forces actually deform a planet.
The Cheops astronomers managed to detect the deformation thanks to the exoplanet's very rapid orbital period. This gave astronomers plenty of opportunities to take measurements and observe the exoplanet transiting the star, and the data they were seeing in the light curve of the star revealed the planet's unusual shape.
"It's incredible that Cheops was actually able to reveal this tiny deformation," Jacques Laskar, of the Paris Observatory, Université Paris Sciences et Lettres, and co-author of the study detailing the findings in this week's Astronomy & Astrophysics journal, said in an ESA statement.
"This is the first time such analysis has been made, and we can hope that observing over a longer time interval will strengthen this observation and lead to better knowledge of the planet's internal structure."
Analysis: why didn't our own Jupiter become 'hot'?
When we first started looking at exoplanets, we expected to see them arranged like they are here in our own solar system, with rocky inner worlds and large gas giants in the outer regions.
We've found a startling number of hot Jupiters though, including the very first exoplanet ever identified around a main-sequence star (i.e., one that wasn't a stellar corpse), Pegasi 51b.
While a majority of gas giant exoplanets we've identified reflect the setup of our own solar system, it does beg the question of what causes a gas giant to quickly migrate into such a close orbit around a star, and what kept the original Jupiter from doing the same.
We don't really know, honestly. That's one of the reasons astronomers are so keen to study exoplanets – it's our best real hope of understanding how our own solar system formed.
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John (He / Him / His) is TechRadar's Computing Staff Writer and is also a programmer, gamer, activist, and Brooklyn College alum currently living in Brooklyn, NY. Named by the CTA as a CES 2020 Media Trailblazer for his science and technology reporting, John specializes in all areas of computer science, including industry news, hardware reviews, PC gaming, as well as general science writing and the social impact of the tech industry.
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Maxfli Mallet Putter Headcover - Black is rated 3.9 out of 5 by 23.
Rated 3 out of 5 by engineer57 from good value. Good value to protect your woods and putter, mutuality is ok for the price.
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Learning Ally, previously named Recording for the Blind & Dyslexic or RFB&D, is the leading provider of audiobooks – including the world's largest library of audio textbooks. This is a paid subscription service. Learning Ally now has some books available in full text, rather than audio only. Those books are listed as VOICEtext in the browsing library.


text:
USL season
Locomotive FC Set to Play First Two Home Games Without Fans
As the coronavirus cases continue to rise in the city and throughout Texas, the El Paso Locomotive FC has decided to play without fans in the stands for their first two home matches.
Adrian Broaddus
USL & Players Reach Agreement Prior to Season Start
In anticipation of the league's return-to-play on July 11, the USL league office and the USL Players Association reached a tentative agreement for the start of the season, reported ESPN.


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I woke up Friday morning ready to head out to my favorite Zumba class and later an hour of weight lifting, but never left the house after learning about the theater killings. The image that appeared before me on the screen caused my heart to do a few somersaults. A former French student of mine was being interviewed. She spoke of her fear that her friends had been in the theater, and no one had been able to contact them.
I live 30 minutes from the theater and could not believe what I was seeing on television. I tried to compose myself by praying. My mind went back to the times my two older children and their friends had attended many late-night premieres of Harry Potter movies. Foolishly, even though my youngest had stayed home the night before, I still ran upstairs to make sure he was in his room. I breathed a sigh of relief upon seeing him in his bed, sound asleep.
To make matters worse, I called my daughter who lives in Los Angeles, and she was in a hurry to get off the phone. "Mom, I can't talk to you right now, I am heading out to go see the new Batman movie." My heart did a few more somersaults. "Please, I beg you, do not go," I said. She was not aware of what had happened in Colorado.
Columbine has left its mark in my hometown of Littleton, Colorado. Now these senseless killings in Aurora have me very baffled. I am deeply troubled that Mayor Bloomberg of New York began politicizing the killings before the victims were identified. I am hoping this will not turn into a huge political debate.
In my opinion, this is not the time to start using a major tragedy to fulfill any type of political agenda. Clearly, James Holmes is a very sick person and it is certainly haunting the way he obtained so much ammunition. In the meantime, I am hoping all types of political agendas will not become more important than the healing and grieving process of this horrific act of violence perpetrated against innocent victims.
It does not take much for me to be thankful. In two days, it will be July 4th. I celebrate America every day of the year. I am very thankful to be a naturalized American citizen. Where would I be without coming to America? I shudder when I think about the possible answers to this question. Originally, from Port-au-Prince Haiti, I came to the United when I turned 10. I worked hard, took advantage of all that was available to me and went to college. I honestly, do not think I would be alive today, had I not come to America.
Would I be among those living in tent city because of the 2010 earthquake? Would I even be alive? I try my best not to ponder upon these things, but being human, these thoughts do cross my mind. I think in some ways it is good because it is a constant reminder that I should always remain thankful for what I have. Therefore, in celebration of July 4th 2012, I am going to share a poem I wrote many moons ago. I LOVE YOU AMERICA! HAPPY 4th OF JULY TO ALL!
I attribute all of my successes to you!


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« Windsurfer caught by a Force 10 Gust
Seagull Outboards not coping with the sea conditions »
Fishermen rescued from their sinking boat.
Boats launched: Atlantic 85 and D-class
Date : Saturday 5th May
Launched at : 17:58
Returned at: 18:30
Weather: ENE Force 4/5
A fishing boat in the vicinity of Dean Tail buoy was trying to raise it's anchor. The skipper was using his engine to try and break out the anchor when the rope got wrapped around the propeller. This pulled the boat round so that waves were breaking over the stern. The skipper went to the stern to try to clear the propeller which made the stern lower in the water and a larger wave swamped the boat which within seconds capsized throwing the two men into the water. They had no time to make a Mayday call and neither were wearing life jackets which were later found in the boat. Fortunately an air pocket in the bow stopped the boat from completely sinking and they clung to the small section of the boat that was above the water. A gaff rigged Cornish Shrimper saw the capsize and went to their help but they were in the water for some 15 minutes so that when the boat took them on board they were already very cold.
The skipper of the shrimper contacted the Solent Coastguard using a mobile phone and both the lifeboats were paged. The Atlantic 85 was sent to pick up the fishermen and the D boat to pinpoint the position of the sunken fishing boat. Both fishermen were suffering from hypothermia and were brought to Sparks Marina where an ambulance met them. Having spent 45 minutes in a warm ambulance they were discharged and came to the lifeboat station.
The D boat managed to locate the partially sunken fishing boat and took it in tow as the tide had pushed it south of the shipping channel. It made slow progress against the wind and the tide and so the Atlantic 85, having dropped off the casualties, went to assist the D boat. By skillful use of towrope and engines, the boat was dragged to the surface with most of the water ejected over the stern and it was then towed back to the lifeboat station. In discussion with the owners it was decided to take the boat to Sparks Marina where it could be craned out.
This incident had a most satisfactory outcome to what could easily have been a tragic accident and both fishermen agreed that wearing life jackets in future would be essential.
The two lifeboats returned to the station and were made ready for further service.
To view the video for the above service please Click Here.
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Sunrise, Sunset, Day Length Tomorrow in Alhambra, CA, United States
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Sunrise: 06:56:24
Sunset: 17:11:48
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daytime: 10h 15m 24s
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Nautical 05:59:16 18:08:56 12h 09m 40s
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Alhambra California United States
DMS: 33° 47′ 11″ N 118° 17′ 56″ W
Decimal: 33.7866 -118.299
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Upcoming Solar & Lunar Eclipses
Annular Solar Eclipse over Asia - December 26,2019
Lunar Eclipse - January 10,2019
What time is sunrise and sunset in Alhambra, CA, United States Tomorrow
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