Think of a "reset" as you would think of restarting a device that stopped working the way it should. Much in the same way, our bodies can start to feel less than optimal if we don't give them the love and attention they need and deserve. The Vegan Reset gives your body a break from meat, dairy, and processed foods so it can perform at its best, leaving you feeling happy and energized.
28-day meal plan, and finishes with additional recipes to carry you beyond the reset—all brought to life with her gorgeous photography throughout.


Such a lovely song! Thanks for the reminder!
Whoa, she is a really talented singer.
She's a talented musician as well! ! I love her latest single "White Orchid." I believe that she played all instruments on it.
Do you know if Natalya is still working on her album? When she posted the YouTube clip of "Bird" she said that it was without a home for now but was meant for a collaboration with Prince that was intended to be an album of original and co-written material.I recall that Dr.Funk tweeted to her that it would soon have a home. Was "White Orchid" the first single?
She will make an announcement when ready.
Ok. Thanks! Looking forward to hearing more music from her.


How to burn 853 calories?
Per 100 g / mL serving the food "Chuck Eye Steak, grilled" within the category "Beef & Veal" has a total of 277.0 calories and the following nutrition facts: 25.0 g protein, 0.0 g carbs and 19.6 g fat. All other nutritional information like vitamins and minerals you can find above within the calorie chart for the food "Chuck Eye Steak, grilled".


1.1 This standard is intended to set forth characteristics relating to performance, limited electrical and mechanical interchangeability, and safety of the equipment described, and to assist in the proper selection of such equipment. NOTE — Refer to the latest Federal Regulations concerning polychlorinated biphenyls (PCB) contamination in transformers. 1.2 This standard describes certain electrical and mechanical characteristics and takes into consideration certain safety features of three-phase, 60-Hz, liquid-immersed, self-cooled, underground-type distribution transformers rated 2500 kVA and smaller with high voltages of 34 500GrdY/19 920 volts and below and with low voltages of 480 volts and below. These transformers are generally used for step-down purposes from an underground primary cable supply and are suitable for occasional submerged operation. 1.3 This standard does not cover the electrical and mechanical requirements of any accessory devices that may be supplied with the transformer.


After an Unusual Period of Stability, Is the ACC Headed for a Coaching Shakeup in 2018?
ALDS Preview: Can the Indians Put an End to Astros' Title Defense?
The Patriots Have Some New Weapons—But Are We Convinced Yet?


Look no further! Magnificent mediterranean estate with spectacular panoramic water views enjoyed from every room in the house and oversized balconies! 270' of waterfront, 25,000 lb boatlift, tennis court, 2 1/2 lots. Ideal for entertaining, while intimate for a couple or a family. Exquisite home theater, most inviting summer kitchen, wine cellar, creston whole house automation system, elevator, 5 car garage, full house generator, state of the art security system, and impeccable landscaping. Top of the line finishes throughout. A must see!
Rarely available direct oceanfront condo at l'hermitage. Luxury living on the sand with amazing direct ocean views. 3 bedrooms, 4 bathrooms, open floor plan and ocean views from every room. Private elevator and private foyer. Resort complex with 10 acres of oceanfront, 2 pools, spas, poolside café, fitness center, concierge, valet, 24 hour security with guardhouse entry, private beach with beach attendants, 2 tennis courts and more. Great location walking distance to many popular shops and restaurants. Pet friendly with designated pet walking area. 2 pets ok. A must see!!
L'hermitage. Sunny. Se corner. Views of ocean , pools, coastline & city. Currently 2 bedrooms plus den with built-ins and sleeper sofa for third bedroom. Private elevator. Marble floors. Easy to see. Resort-like complex on 10 acres of oceanfront,w. Tennis, pools,spas,cafe,cocierge,valet,beach attendant, cabanas, bbq, private beach pavilion and more. 2 pets, any size ok.
Rare opportunity to own a double unit at the palms with gorgeous forever coastline views. Custom floor plan with 68 feet of wide open ocean frontage. Beautiful intra coastal views. Enjoy the great amenities of the palms-24hr. Gated security,24hr. Valet,chair & towel service on the beach,state of the art gym w/racquet ball/squash,tennis & more. Don't miss your opportunity to live at the palms, fort lauderdale's 5 star address. Come live at the intersection of sand and sky!
Southeast ocean views from this completely renovated 2 bedroom with den/2. 5 bath dream home in the sky. Marble floors throughout, new open kitchen with miele/viking appliances. Integrated control 4 sound system throughout/custom lighting. Remote window treatments throughout. Renovated master suite with modernized bathroom, upgraded closets, barn door entrance. Private and dramatic coastline views from master and living room. Two balconies. Upgraded high impact windows and doors throughout. Upgraded laundry room with sink. Glass door entrance from private elevators. Furnishings are negotiable. L'hermitage has over 10 acres of paradise with resort-like amenities including sauna/steam/hot-tubs/pools/gym/attended beach/cafe on site/bbq grills/tennis courts/valet/concierge/24h sec/pets ok.
Seller spent over $1. 9 million for this gorgeous, turn key unit. Completely remodeled to the highest standards and furnishings. Private elevator with 2 balconies - direct southeast ocean views and city views. Two bedrooms plus 3rd bedroom/den/office with murphy bed with real mattress. Up to 2 pets any size ok. L'hermitage is one of the most upscale resort style complexes featuring: tennis courts, concierge, private beach with pavilion and cabanas, beach attendant, two swimming pools, tiki huts, pool-side cafe, and bbq area. *seller's loss is buyer's gain* move-in ready.
As of today, 4/22/2019 the average home price for homes for sale in Fort Lauderdale is $1,373,381.


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Kathleen Edwards
Ottawa's CityFolk Announces 2022 Lineup with Kathleen Edwards, Orville Peck, Sarah Harmer Published Jun 21, 2022
Festival season is upon us, and Ottawa's CityFolk has announced the details of its 2022 edition, which comes to Lansdowne Park for two three...
Wilco Announce Toronto Performance with Bahamas, Kathleen Edwards Published Apr 04, 2022
Wilco have shared plans to make a singular visit to Canada in 2022, plotting a performance at Toronto's Budweiser Stage this summer. Taki...
Hear the Week's Best New Canadian Music: Kathleen Edwards, Faouzia, PUP, the Rural Alberta Advantage Published Apr 01, 2022
Instead of placing Saran Wrap over the toilet bowl or sticking a fish on someone's back, for this day of fools, we have once again compiled...
Kathleen Edwards Has Quit Her Quitters Coffee Shop Published Feb 24, 2022
Kathleen Edwards has been running a café called Quitters Coffee in the Ottawa suburb of Stittsville since 2014. Now, Edwards has announced t...
Hear the Week's Best New Canadian Music: Orville Peck, Charmaine, Andy Shauf Published Feb 11, 2022
The cutest couples in Canadian music are gearing up to celebrate Valentine's Day, but they're not holding out on love for us listeners, eith...
Kathleen Edwards Announces Acoustic EP, Shares John Lennon Cover Published Feb 10, 2022
Kathleen Edwards has now announced an acoustic EP titled Dogs and Alcohol. It's out April 1 through Dualtone, and Edwards has shared a cover...
Mariposa Folk Festival Gets Mavis Staples, the Weather Station, Lido Pimienta, Kathleen Edwards for 2022 Edition Published Feb 03, 2022
After two years away, Orillia's Mariposa Folk Festival is finally due to return to Tudhope Park this summer from July 8 to 10. The three-day...
Here's the 2021 Polaris Music Prize Long List Published Jun 15, 2021
Exclaim! aren't the only ones dropping their list of favourite recent albums today — the Polaris Music Prize has just announced its 2021 lon...
Exclaim!'s 50 Best Albums of 2020 Published Dec 02, 2020
This was a year of solitude and introspection, whether we wanted it or not. It was a year that forced everyone to confront their deepest, da...
Kathleen Edwards Announces "Live at Massey Hall" Event Published Nov 12, 2020
Kathleen Edwards is hosting a special online concert event as part of the ongoing "Live at Massey Hall" series. The beloved Canadian sing...
Kathleen Edwards Packs Her Alt-Country Songs with Emotional Power on 'Total Freedom' Published Aug 14, 2020
Kathleen Edwards's Total Freedom, which signals a return to music after a nearly six-year hiatus, is a reminder that vulnerability has alway...
Kathleen Edwards on the Depression That Stopped Her Career — and the New Perspective That Brought Her Back Published Aug 11, 2020
Kathleen Edwards felt like she was on a hamster wheel. After more than a decade of grinding, she had achieved commercial and creative succes...

redpajama_set_name: RedPajamaCommonCrawl


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Start | Shop | Vinyl | Eric B. & Rakim – I Know You Got Soul (7″) (19.06.2020)
Eric B. & Rakim – I Know You Got Soul (7″) (19.06.2020)
While it's undeniable that Eric B & Rakim crafted and concocted classic after classic back in the Golden Era of the late 80's and early 90's, very few of their records could ever be classified as 'dancefloor fillers'. But that's exactly what 'I Know You Got Soul' was. The duo's third single was released at a time when their debut LP, 1987's 'Paid in Full' was already being hailed as a game- changer. Rakim's smooth but sombre flow had introduced new phrases to the hip-hop lexicon, while the barrage of James Brown samples had declared open season on the Godfather of Soul's back catalogue. There were already stirrings of a backlash from the more frequently sampled artists at the time this came out, and the fact that it took not just its main hook but also its title from Bobby Byrd's James Brown-produced 1971 single was almost like rubbing salt in the wound. The hip-hop fans and the dance floor didn't care – this played all summer long in 1987, elevating the group to a Soul Train performance. Only months after this dropped, the UK collective M|A|R|R|S turned Rakim's "Pump up the volume" line into the basis of their own hit. Pop will eat itself.
The original 7" was released in a no-frills generic sleeve – this re-release comes with a brand new cover utilising some of Dan Lish's trademark artwork.
7" kaufen
Kategorie: Vinyl Schlagwort: Eric B. & Rakim
Aus datenschutzrechlichen Gründen benötigt YouTube Ihre Einwilligung um geladen zu werden. Mehr Informationen finden Sie unter Datenschutz.
7" kaufen / Details Quick View
Eric B. & Rakim – I Ain't No Joke / Eric B. Is On The Cut (7″) (19.06.2020)
Circa Waves – Sad Happy (Gold Vinyl) (13.03.2020)
Daniel Johnston – FUN (LP) (07.02.2020)
M. Ward – Migration Stories
2LP kaufen / Details Quick View
The Used – Heartwork (2LP) (24.04.2020)


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redpajama_set_name: RedPajamaGithub


text:
'Need a miracle' - Arsenal fans fear the worst after drawing Newcastle United in FA Cup
The Magpies will travel to the Emirates in January for a difficult FA Cup third-round tie, but the Arsenal fans aren't to optimistic
Arsenal are currently in woeful form (Image: Getty)
Get the latest NUFC updates, transfer and takeover news straight to your inbox for FREE by signing up to our newsletter
Arsenal fans are in pessimistic mood after drawing Newcastle United in the FA Cup.
Magpies fans may not be in the highest of spirits themselves these days, with plenty critical of Steve Bruce's style of football, but it appears that Arsenal supporters make them favourites for the FA Cup third round tie.
The Gunners are holders of the trophy after beating Chelsea in the final last season but they have been in woeful form recently, with Sunday's loss to Wolves their fifth defeat of the season already.
Arsenal have won just one of their last six matches - and the FA Cup draw has left fans feeling low.
Gunners boss Mikel Arteta blamed the defeat against Wolves for an inability to take chances and admitted his side's form is becoming worrying.
"Obviously I am really concerned," Arteta told Sky Sports. "I am responsible for that, but I must say the reaction the team had, the way we played second half, was what I expect from them, but at the end the desire and willingness to go and get a result was there.
"We have to put the ball in the net. We create the chances, but in the end it's putting the ball in the net. In the first half they have two shots on target and score two goals.
'Can we play Barnsley?' - Newcastle United fans react to the FA Cup third round draw
Newcastle United land tough FA Cup third round draw
"When we had the chances, we didn't. The goals will come, we have to insist, and we have to keep pushing the players and believe in them."
If the Gunners' run continues, then there is still the possibility that Arteta will not be manager by the time they face Newcastle in the FA Cup.
Whilst Arteta insists he is not worried about his future, he admits that there could be a debate over how long he remains in charge at the Emirates for.
"It's something that the day I decided to be a coach I know that one day I will be sacked or leave the football club," said Arteta.
Stay up to date with Newcastle United with our Black & White Bulletin!
It's never normal at Newcastle United, and we've formulated the perfect method for you to keep up to date with the club.
Each week, Mark Douglas will be bringing you the latest Newcastle news - straight up - into your inbox with the Black & White Bulletin, a special edition of our NUFC newsletter to break down the Toon latest.
Sign up to the newsletter and you'll get exclusive insight and analysis from St James' Park as Newcastle navigate themselves through the wake of a collapsing takeover, as well as a new Premier League season.
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"I don't know if it's the day after I sign my contract, in a month's time, a year's time or six months' time. I never worry about it.
"My only concern is to get the best out of the players, give the best possible service to the club and become better and better.
"I know, I repeat, in this profession, one day I will get the sack or leave but I don't know when that is going to happen."
Auf Wiedersehen, PetAuf Wiedersehen, Pet - where are Dennis, Oz, Neville, Barry, Moxy, Wayne and Bomber now?The actors who played Dennis, Oz, Neville, Barry, Moxy, Wayne and Bomber in the hit television series Auf Wiedersehen, Pet and what they went on to do after the series
10 South Shields pubs, past and present - from the Criterion to the Marsden Grotto
South ShieldsOur 10 photographs from the ChronicleLive archive recall some of the many and varied pubs, past and present, of South Shields


The Royal Fortress of Chinon offers a number of tours designed for school children to discover a unique historic monument.
This pack is designed for primary and secondary school teachers who want to prepare their pupils for a visit to the Royal Fortress of Chinon.
It was written by the team at the Royal Fortress of Chinon, along with the education department of the service for the conservation and promotion of regional monuments and museums.
Find out more about the educational and cultural programme for 2018/2019 (only in French) from the Departmental Council of Indre-et-Loire.


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Whenever I see that a fire injured someone I wonder whether the Smoke detectors were working and could have prevented personal injury. Yesterday I concluded a case in mediation where a young man was seriously burned in an apartment fire. The money he will get will help some , but pales in significance to his injury. There was no dispute that the fire detector did not work. Depending on the facts the landlord may or may not be responsible and liable for tenant injury for the failure of a smoke detector. So I was saddened but not surprised to read in the paper about a woman resident of the Silvercliff apartments suffering critical injury as a result of a fire. From reading the paper there was no way to tell much about the cause and origin of the fire or whether smoke detectors played a part . It was disturbing to read that "several complained this was the third or fourth fire in the building over the last year." You would think someone would be investigating this unusual occurrence of so may fires in one building. The fire department investigation does not always answer all the questions. Luckily it appears that the fire department heroically saved lives. The paper described the fire crews recued dozens of people, busting deadbolts off the doors or smashing windows. Fire injuries often are horrible, leaving the injury victim scarred for life. This fire will fade from the news. But it should not fade from investigation and placing responsibility at the feet of those who deserve it. I wonder what was the cause and origin of the fire and were smoke detectors there in accordance with Code and working properly. Often it is a follow up investigation by insurance or an attorney hired to help the victim that fleshes out could someone have prevented the injury. It can be critically important to have your own investigators document the fire scene before it is destroyed. Although fire department investigators will do so there is no substitute for a thorough investigation by someone on the victim's behalf. Here is a link to the breaking news story of the fire By Cincinnati accident and injury lawyer Anthony Castelli. you can speak with Anthony at 621-2345
cincinnati accident lawyer
fire injury
injury attorney
insurance company fire settlement
landlord resposible for fire victims injury


June's full strawberry moon appears this week with a special guest to keep it company in its travels.
While the moon becomes full at precisely 12:53 a.m. Thursday, it will rise big and bright tonight (Wednesday) at 7:57 p.m., and Thursday at 8:46 p.m.
With it tonight will be a bright shining point near its bottom and to the right that looks like a star, but is really the great ringed planet Saturn. As the month comes to an end, red Mars will be a closer companion to the waning gibbous moon on June 30.
South Florida's summer afternoon thunderstorm pattern is expected to continue through the end of the week, so seeing the moon will depend on where the storms erupt and when they clear.
Native Americans named the moons based on seasonal changes that aligned with hunting, planting or weather patterns. According to the Farmers' Almanac, the strawberry moon was used by Algonquin tribes.
In Europe June's moon was given the moniker the rose moon.
Regardless of the pink-hued names, the strawberry moon will not be red.


Jamie A. Lee inquires into critical archival theory and methodologies, storytelling, and bodies. She is a documentary filmmaker, archivist, and scholar committed to decolonizing methodologies/asset-driven approaches to community projects.
Dr. Punzalan is an assistant professor of archives and digital curation at the University of Maryland, College Park and the current Chair of SAA's Native American Archives Section. His research examines the social impact of access to digitized ethnographic archives.


I love to sit down and draw, usually with just graphite pencil and paper. I started drawing classic baseball players since I am a baseball fanatic but now have branched over into "Pop Culture" icons. Examples are Elizabeth Taylor, Ray Charles, Alfred Hitchcock, Paul McCartney, Michael Jackson, Michael Jordan, and Marilyn Monroe.... even Dracula and Austin Powers! Thanks for looking at my sketches!


Detroit 2001 - first auto-show Third Millennium.This Screensaver will showed cars of such firms: Acura,Bently EX Speed 8, BMW,Cadillac, Chrysler, Cunningham, Dodge, Faze, Ford, GMC, Honda Model X, Infiniti,Isuzu, Jeep, KIA, Land Rover, Lexus(Toyota), Mitsubishi, Nissan, Oldsmobile,Pontiac, Porsche, Buick, Saleen, Toyota, Volvo concept-car, Mercedes Benz.Available a 39 of screens.
Euro Screensaver (Popularity: ) : Euro Screensaver displays the new currency of the EC, falling, flighting and floating across your desktop. Soft money and coins in motion.You may learn about new money of Europe.
Autumn Motives Screensaver (Popularity: ) : Seasonal Screensaver for the autumn mood: foliage, wood, landscapes.Best qualitative images. It is available 30 images.All images in resolution 800*600 and High Color (24-bit).The screensaver also comes with 2 possibilities is "Screen Saver Control"and "Wallpaper Control".
Auto Mall Php Script(Blue) (Popularity: ) : The auto classifieds website allows car buyers to browse available properties for free. The property listings are detailed with features, photos, dealer/individual information and driving directions linked to MapQuest.
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Auto-Complete JS (Popularity: ) : Auto-Complete JS script allows you to create forms with auto-complete feature.


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May 9, 2020 · 11:07 pm
I listened today to Mahler's Symphony No. 2 "Resurrection" from the Mahler Festival in Amsterdam. It was an online broadcast of a Royal Concertgebouw Orchestra performance from 2016. The scheduled live performances of the 2020 Mahler Festival have all been cancelled during these catastrophic early days of the coronavirus pandemic.
The notes from the Mahler Festival website include the following:
"In August 1892 a cholera epidemic struck Hamburg as Mahler was on his way there to conduct another season at the Stadttheater. Faced with possibly drastic consequences and defying orders that he return to his workplace, he decided to retreat to his summer vacation spot in Berchtesgaden until the worst was over.
Faced with a pandemic affecting all of us, we, too, must act prudently, so it is both understandable and very sad that the Mahler Festival 2020 cannot take place as scheduled this May. Mahler Foundation has worked hard to support Het Concertgebouw Amsterdam in preparing this celebration of Mahler's life and works.
Our thoughts go out to all of the musicians and organizers and to all of you.
Mahler survived the crisis and shortly thereafter set to work on his next creation: The Resurrection Symphony (Symphony No. 2)."
The performance broadcast was preceded by a short documentary "Death and Resurrection" about Mahler's writing of his Symphony No. 2. The much-beloved mezzo-soprano Jessye Norman, much-mourned since her death in September 2019, sang in The Resurrection Symphony many times. In the documentary, she comments that in his text, "Mahler speaks from the depths …," and then quotes from Mahler's text: "Humankind is in trouble … we have an emergency … we live in pain …" How prescient were her words given our current context.
Mahler's Symphony No. 2 resonates deeply with me.
In early 1977, my partner Bill was in hospital, six months after we had first met, fallen in love, and started living together. Bill was in hospital because of severe pain and mobility difficulties that had arisen and now he had been diagnosed with multiple sclerosis. One day in the depths of that dark winter as I waited to go to the hospital, I put on our LP recording of Mahler's Symphony No. 2 with the Cleveland Orchestra under the direction of Leonard Slatkin and with mezzo-soprano Maureen Forrester and soprano Kathleen Battle. I conducted the 90-minute symphony through tears.
It was at that time a profoundly moving work of art for me and has remained so throughout my life.
Bill died suddenly of pancreatic cancer in August 2009, two short weeks after he had been diagnosed. I wrote a memoir "August Farewell – the last sixteen days of a thirty-three-year romance" that chronicled those two weeks. I followed that up with a novel "Searching for Gilead" that is half fiction and half semi-fictionalised autobiography in which Tom, the narrator, and Jonathan, his partner, endure a series of family tragedies over the course of their long relationship culminating in Jonathan's death.
The novel concludes with an epilogue in which Tom attends a concert of Mahler's Symphony No. 2 performed by the Toronto Symphony under the direction of Peter Oundjian, a concert that I attended in real life in September 2010, a year after Bill's death. In the novel, Jonathan has recently died and Tom's grief is all-consuming. During the concert, Tom hallucinates a conversation with Gustav Mahler. The words that Mahler speaks in this dialogue with Tom are drawn from Mahler's own writings in which he spoke about aspects of Symphony No. 2 and what he had in mind for the various movements.
After listening to the broadcast of Symphony No. 2 from the Mahler Festival today, I went back and reread the epilogue from "Searching for Gilead."
I've heard many performances and recordings of Mahler's Symphony No. 2 over the years. It moved me deeply in 1977 as I waited to visit Bill in the hospital, it moved me when I attended the TSO performance in 2010 as I was working on "Searching for Gilead", and it moved me again today listening to it in the context of the coronavirus pandemic.
Searching for Gilead
Are you sure that you are up for this, Mein Freund?
The unfamiliar voice and the presumptuous question startle me. Irritated, I glance around, having been interrupted as I perused the program notes for the opening concert of the Toronto Symphony's fall season.
The seat beside me at Roy Thomson Hall—Jonathan's—is vacant. I could have offered it to someone. As much as I love Sheila, I wouldn't have been able to tolerate her chatter. Not on this, my first time back to a TSO concert since his death in March. Carolyn and Wajdi are in Kabul for a brief visit with their film crew. Margaret is at home with Walter. There is no one else in my life, no one close enough to invite into this intimate time and space.
For the past six months, I have found solace only in solitude. Tonight will be no different.
The other long-term subscribers who usually sit around us have not yet arrived. They are probably lingering over dessert and coffee at the opening night patrons' dinner next door. I had made an early, discrete exit, exhausted by the condolences from acquaintances who hadn't seen me since the funeral and by the effort that it took to lie in response to the inevitable "How are you doing?"
The Kitteralls take their seats in the row ahead. Jonas and Babs smile at me, nod, and then, thankfully, leave me in peace.
I turn back to the booklet to pick up where I had left off.
Interesting piece of programming for you, all things considered. I called the first movement Todtenfeier. Jonathan, being the fine German scholar that he was, could have told you what that is. It means funeral rites.
I stare at the page. Mahler isn't looking directly back at me but rather off to the right—his left. Wireless glasses, much like my own, rest on his nose. The artist's rendering makes him appear more serene than actual photographs of him in the 1890s, and younger looking than the thirty-four years he was when he completed the Second Symphony. The mouth forms too much of a smile in the drawing, but the eyes are good. Tense. Brooding. Windows of the soul.
Shuffling sounds around me indicate the arrival of the almost-latecomers. The lights dim. I close the program booklet and drop it onto the floor. I shake my head vigorously back and forth a couple times and bring one hand up to my face to stretch the skin around my eyes, strategies for waking myself up from whatever this was.
Peter Oundjian stands with his hands clasped in front of his waist and pauses, head bowed, letting the murmuring in the hall subside. When all is quiet, he slowly raises both arms to shoulder height.
With a taut, almost imperceptible jerk of his wrists, a crevice breaks open—a kilometre wide and a universe deep.
The violins and violas pounce on to a fortissimo G. Not a vibrant G of a major key but a menacing G from the depths of C minor. C for Compton. Minor—not in stature but in tangibility. Immediately, a tremolo to pianissimo. I hover above the abyss, weightless, shuddering.
I am knocked off balance by the sudden growl of cellos and basses. A run of five-sixteenth notes, including one strategic accidental. Aggressively triple forte. Then repeated fortissimo, elaborated in length, with more accidentals, transforming into triplets at a diminishing volume until they reach pianissimo. All the while backdropped by the vaporous, shimmering violins and violas, neither light angelic, nor dark demonic. Just watching, waiting, guarded, intimidating.
For seventeen bars. Half the number of years we had been together. Capturing the essence of my precariousness. Nothing to grab a hold of. Vulnerable to plummeting. But somehow, not plummeting. Caught. Suspended. Somewhere.
The oboes and English horns place a sliver of stability under foot. Piano. Not insecurely, deliberately, self-confidently. Quietly posing the questions, giving no answers.
Like the, 'Is there life after death?' that is whispered in my ear. He is back. Or hasn't left.
If I believe my lecture to Jonathan on his death bed about love and memory, I should be less distressed than I am. Regretfully, the platitudes have lost their vibrancy. "He'll live on in your heart." "You'll be comforted by all your wonderful memories." Like hell. My memories serve not to comfort. Rather, they reinforce how much I have lost.
I was missing a person who I loved deeply too, when I wrote this. Hear those plaintive horns, rising with ever increasing intensity, and those repeated chords crashing one after another? I was standing by his coffin, trying to make sense of his life with all its struggles, passions, and aspirations. I kept asking myself, 'What now? What is this life and this death? Do we have an existence beyond it?'
Well, Gustav, old man, don't look to me for answers. I have a question of my own.
Where is that balm of Gilead to make our wounds whole, to heal our sickened souls?
Peter Oundjian takes what seems an extended pause after the climactic conclusion to the first movement.
I like this. I had originally decreed a five-minute break between the first and second movements to allow the audience to make the transition.
Well, I think that would be a bit excessive for the modern concertgoer.
It's important that one not be in such a rush that you miss out on life's essence.
I chuckle. Oops. Did I do that out loud? Babs turns around and gives me a modestly scolding glance. Now look at what you made me do. I was laughing about your 'life's essence' remark. From what I understand, you indulged quite a bit in life's essences with your tempestuous love affairs.
And what of it? My time with my various mistresses was full of life and vibrancy and excitement, as well as the drama and heartache. But Mein Freund, let your mind wander as the orchestra plays the second movement. It is so light and graceful and exuberant. Think back. You must surely have had the experience of burying someone who was very dear to you, and then, as you leave the gravesite, you remember some long forgotten experiences of shared happiness, and it is as if a sunbeam sweeps into your soul, obliterating, for a moment, the reality of what you've just been through.
Peter brings up his baton. I close my eyes. The strings begin delicately. Three-quarter time, a quiet, affectionate waltz. I smile as the music evokes candlelight and laughter, as at a party in a Jane Austen novel.
And then a succession of other images flood in.
Snuggled together in our cabin suite, we watched the sun set over Venice as the Orient Express pulled out of the station. After dressing into our tuxedos, we were ready for dinner. Just as we came out of our compartment, the train lurched slightly to the side. Jonathan caught me and gave me a gratuitous squeeze. We made our way through the bar car, where Jean-Jacques winked at us as he played "Misty" on the grand piano. Andreas met us at the dining car entrance, greeted us with a warm smile and a 'Buona sera, i signori,' escorted us to our table, held our chairs as we sat down, and then handed us the evening's menu. To the annoyance of a couple across the aisle that seemed anxious to use us as their audience, Jonathan and I secluded ourselves in our own romantic bubble, conversing softly, laughing regularly, and making our way through several bottles of fine wine with the various courses. We finished dinner just shy of midnight, and we headed back to our cabin. Once inside, I pressed the steward button. Vincenzo tapped lightly. I opened the door and gave him an order for two cognacs. Some considerable time later, I slipped out from Jonathan's sleeping embrace and into my own bed.
Margaret and I smiled at each other as we simultaneously noticed Jeremy pacing with nervous excitement outside the front door of the Art Gallery of Ontario. He ran toward us and grabbed hold of Margaret's arm, almost throwing her off balance as he rushed her through the front door. We were surprised when he led us, at breakneck speed, not toward the exhibition of new contemporary Canadian art where his The Kiss was on display, but instead into a smaller room of recent Aboriginal acquisitions. With laughter and tears intermingled and with arms flapping hysterically, he jumped and skipped in front of the vibrant Norvel Morrisseau painting, Self-Portrait—Devoured by His Demons, extolling to us his unfettered ecstasy at the passion that it exuded.
The rain kept us inside the tent playing cards. Eventually, Patricia, Carolyn, and I were sufficiently exhausted to be persuaded to bed with only modest protests. About two o'clock in the morning, a horrendous crash jarred all of us awake, stupefying Mom and Dad and terrifying us kids. Hours worth of rainwater had accumulated in the sagging roof of the add-on, eventually reaching a weight that overwhelmed the aluminium poles holding it erect. The supports gave way, and the mini-lake exploded down onto our doorstep, with more than a little water seeping in through the zippered front flap. We slept for the rest of the night in the car, initially somewhat traumatized, but by morning, we were quite thrilled by the unexpected addition to our summer camping adventure.
Sweet memories, Tom.
Yes. You are right, Gustav. Thank you for that.
The timpani reverberates into my reveries like a crash of thunder.
Sorry. I feel compelled to awaken you from that blissful dreaming and force you to return to this tangled life of ours.
The jarring introduction to the third movement progresses into a sweeping series of orchestral waves, some of which appear lighthearted and others of which exude robust energy. But there is something untrustworthy going on, an ominousness disguised as innocence.
It may easily happen that the surge of life, ceaselessly in motion, never resting, never comprehensible, suddenly seems eerie, like the billowing, dancing figures in a brightly lit ballroom that you gaze into from outside, in the dark—and from a distance so great that you can no longer hear the music. Then the turning and twisting movement of the couples seems senseless. You must imagine that, to one who has lost his identity and his happiness, the world looks like this—distorted and crazy, as if reflected in a concave mirror. Life becomes meaningless. He despairs of himself and of God, losing the firm footing that only love affords. He cries out in a scream of anguish.
You're preaching to the choir here. 'Life becoming meaningless'—that's my theme song these days. It's not only the personal losses.
I dedicated my career to trying to make the world a better place and to reduce suffering. So little to show for all the effort. Emissions keep on racing higher …
The orchestra is barreling along at an ever more frenetic pace, the brass pushing the adrenalin to almost intolerable levels. Shrill, acerbic sounds pierce through the hall.
… and really, my professional despair is not for myself. I've got a roof over my head. But what about those millions of poor whose roofs are being blown off, whose fields are becoming deserts, whose lives are now all about searching for scarce water or fleeing the raging cascades of too much?
You're asking, 'Why did I live? Is it all nothing but a huge, frightful joke? Do our lives have a meaning?'
A climax is reached. A progression of repeated, exhausted, descending chromatic scales reduce the volume and tempo until one sole horn stands alone, quietly holding a muted and dissipating note.
Damn, I'm tired. You're right, Gustav. I am despairing of myself and of God. Where, by the way, is he in all of this? When are we going to see some evidence that he does give a damn about "the least of these brothers and sisters of mine"?
I'm tired.
The program says Susan Platts, mezzo-soprano. With my sincere apologies to you, Susan, I'm not hearing you. I seem to be channeling Big Mo.
Maureen Forrester, contralto.
The stillness in the hall is riveting as the fourth movement begins. The whispered voice, making an ineffably sublime entrance, lays the opening phrase on our hearts, like someone placing a rose ever so gently on the coffin of a lover. A two-beat rest. Muted brass enter softly and play a melody with the most luxurious, choral-like harmony.
Maureen/Susan re-emerges with slightly increased volume, yet the same intense, understated emotion. The beauty is of such intensity that I'm hardly able to breath.
Do you understand …?
Yes, you don't have to translate. "Man lies in deepest need. Man lies in deepest pain."
And we do. I did. Now you do.
An oboe solo brings the first stanza to a serene conclusion.
A quickened tempo shifts the atmospherics toward a sort of pastoral light and then into an affirmation, composed and sung not just to express hope but also to assert a seemingly unequivocal conviction of heart and mind.
That's right. Ich bin von Gott und will weider zu Gott.
I am breathing again, not from an infusion of oxygen, but to placate my consternation.
How can you write that when you're not particularly religious? "I am from God and will return to God." Do you believe that?
Well … it is the actual text of a poem from Des Knaben Wunderhorn …
So, you're just using it for artistic purposes. You don't really believe it.
I didn't say that. I do believe in God … I guess, though I'm just not sure who or what God is …
But this profession of faith in God in the fourth movement is at such odds with the angst of the tortured soul in everything that has preceded it in the symphony. Is it that simple? You just say that you believe in God and eternal life and all the existential and spiritual questions are suddenly resolved? Give me a break.
We're not done yet.
Gustav is right. The tranquility of the fourth movement is blown apart by the crashing, cacophonous opening of the fifth and final movement. People around me jump. Just as unexpectedly, the bravura fades into a complex and extended orchestral passage, initially very quiet and then giving way to full-bodied dynamism. Throughout both the soft and the blaring moments, there is an ethos of otherworldliness. At times, some of the brass is literally distant, playing offstage, their notes emerging as if from some far-off place. Eventually, the instrumentation resolves down to only a few horns, a flute, and a piccolo, offering a quiet and mystical fanfare. Leading to what?
Initially unaccompanied, the mass choir enters stunningly, at a whisper, with a prayerful interpretation of a resurrection-themed text. Gradually and gently, the orchestra, starting with strings, undergirds them as they give voice to a faith in the surety of immortal life.
I discovered that text quite unexpectedly. I was struggling with how to bring the symphony to a satisfying culmination when I attended a memorial service for my sometimes-mentor, sometimes-antagonist, the composer Hans von Bülow, who had died in Cairo on January 12, 1894. At the memorial service held for him in Hamburg a couple months later, a children's chorus sang a very moving hymn using this text by Friedrich Klopstock. I knew, then and there, that this text gave me the solution to my dilemma about how to conclude the symphony.
Gustav, your musical accompaniment for it is so incredibly beautiful …
But?
You may have been able to resolve your compositional dilemma, but I can't as easily resolve my spiritual dilemmas.
You said that before.
Listen now, my dear Tom, to the conclusion of the symphony, starting with this alto solo, then the lines by the soprano, and then the final two stanzas by the full chorus. This is no longer Klopstock's poem. I wrote this text myself. I know it's not the rigid, traditional theological interpretation. But it's where I was at that moment in my life.
I am back in the here and now. Maureen Forrester is gone, laid to rest herself in June, three months after Jonathan. Now, sitting in Roy Thomson Hall on Thursday, September 23, 2010, I hear the actual corporeal voices of Susan Platts and Isabel Bayrakdarian, under the baton of Peter Oundjian:
O believe, my heart, O believe:
Nothing is lost with thee!
Thine is what thou hast desired!
What thou hast loved,
What thou hast fought for!
O believe,
Thou wert not born in vain!
Hast not lived in vain,
Suffered in vain!
What has come into being
Must perish!
What has perished must rise again!
Cease from trembling!
Prepare thyself to live!
O Pain, thou piercer of all things!
From thee have I been wrested!
O Death! Thou masterer of all things!
Now art thou mastered!
With wings which I have won me,
In love's fierce striving,
I shall soar upwards
to the light to which no eye has soared!
I shall die, to live!
Rise again, yea thou wilt rise again,
My heart, in the twinkling of an eye!
What thou has fought for
Shall lead thee to God!
The audience is on its feet applauding. I sit and stare straight ahead.
Auf wiedersehen, Mein Freund.
The steward, a small pile of discarded programs in her hands, stands for a few moments at the end of my row. Everyone else has left.
She coughs, quietly.
When I don't look up, she says, softly and apologetically, "I'm sorry, sir. I'm going to have to ask you to leave."
I nod and get up, holding onto the back of my chair for balance.
As I walk up the stairs to the exit door, I pause, turn around, and take one more look at the dark, deserted stage.
I am not the one leaving.
I am the one who has been left.
And left with a shattered heart.
A heart, which, I hope and pray, 'wilt rise again'. Someday.
I walk down through the lobby and out into the night air.
The Paradox of Music in Times of Isolation – comforting yet prodding our grief
We are not alone. We have each other. And we have music.
In these days, weeks, and months of isolation due to the coronavirus pandemic, music is playing a key role in comforting us as we struggle with our fears, our loneliness, and our depression.
But ironically, it can also provoke pain. That's not a bad thing. It's a good thing.
For musicians, as therapeutic as it might be to play and record music in conjunction with others for online transmission through the wonders of technology, it reinforces their painful reality of not being able to perform together live on stage with their much-beloved colleagues in front of an audience.
For us non-performers, listening to music such as the many wonderful new online creations of musicians and the many archival performances that are being streamed by arts organisations touches a deep level in our souls at the same depth where hovers our fear of sickness and death and our sadness about the constrained situation in which we find ourselves as individuals and societies.
That capacity of music to touch us so deeply (physically, psychologically, emotionally, spiritually) intensifies our pain. And that's okay. Connecting with our pain through the mysterious energy of music is, counterintuitively, a way for us to live through these difficult times. The music prompts tears for both performers and listeners. And when we weep together, we feel palpably how much we are not alone. We are together as lovers of music. And the music itself is a modality of this companionship. As we support each other, we are surrounded, indeed bathed in, the ethos of the music in all its tragic, heart-wrenching, poignant, profound, contemplative, idiosyncratic, exhilarating, exuberant, joyful manifestations.
A few recent examples:
On Sunday morning March 22nd, Jeff Beecher, the Principal Bass with the Toronto Symphony Orchestra, posted a 4 ½ minute video online of him and twenty-seven of his TSO colleagues, all safely physically-distanced in their own homes, performing the hauntingly beautiful "Simple Gifts" from Aaron Copland's "Appalachian Spring." It was one of the first such online musical creations of this pandemic era. Jeff said, "I was missing my colleagues and the vital nutrient of sharing live music with audiences in Toronto. And I was plagued by this existential question that we're now all asking ourselves in every medium and industry—how can I help?" So, he recruited colleagues and the video was the result. It took off like wildfire. As of this writing, it has been viewed 426,771 times in Canada and around the world. I posted it on my Facebook page and immediately started getting responses. A musician friend in San Francisco messaged me saying, "I was blown away by the coordination and the humanity. So beautiful! Copland has always been one of my favorite composers, and Simple Gifts, a favorite piece. I cried when I heard the TSO version." Like Jeff, so many musicians have commented in online posts over the past weeks about how very much they miss their colleagues and the chance to perform live together on stage. Musicians, by their very being, have well-springs of creative energy that crave to be expressed in the performance of their art. They are developing a myriad of creative responses for expression nowadays from which they and we listeners benefit, but that only partially compensates for what they are missing. They, and we with them, are grieving what the pandemic has deprived us all of. That was reinforced on Friday May 1st as the TSO broadcast online its first Watch Party. It was bittersweet. On the one hand, it was thrilling to see the Oct. 19, 2017 TSO performance of Mahler's "Das Lied von der Erde" conducted by TSO Music Director Emeritus Peter Oundjian with mezzo-soprano Susan Platts and tenor Michael Schade. But yet it was so sad that we were not at Roy Thomson Hall that evening listening to Peter conducting the TSO in Mahler's 5th Symphony as had been scheduled before all our lives entered this twilight zone of the coronavirus pandemic. In a brief pre-performance online conversation among Peter Oundjian, TSO Concertmaster Jonathan Crow, and TSO Principal Harp Heidi Elise Bearcroft, each of them safely ensconced in their respective homes, Heidi and Jonathan surprised Peter by playing a short version of the Adagietto from Mahler's 5th Symphony that Heidi had arranged for harp and violin. All of them had tears in their eyes at the end as did I and I'm sure many of the others who were watching online. It wasn't just because it's such a beautifully mournful piece of music, but because their playing of it had touched our regret and sadness that we weren't all together listening to Mahler's 5th in Roy Thomson Hall. Sadness, true, but what a connection we all felt at that moment. We were separated but we were not alone. We had each other and we had the music;
On Saturday April 15th, I sat glued to my computer screen all afternoon watching the Metropolitan Opera's At-Home Gala with forty opera singers performing from their homes around the world in support of the MET's fundraising campaign. The MET, like all performing arts organisations, is confronting a fiscal crisis with the cancellation of live performances. It was an unexpectedly emotional broadcast with music and artists offering balm for our souls during this time of global crisis. Renée Fleming teared up on camera after singing "Ave Maria" from Verdi's "Otello." Joyce DiDinato performed a moving tribute with the viola section in memory of orchestra violist Vincent Lionti who had died of Covid-19 a few weeks earlier. Bryn Terfel and Hannah Stone in Wales performed the so-appropriate spiritual "If I can help somebody." There was such humanity of the artists on display, such deep friendships evident amongst them, and such sadness for all of us in these days when live performances on stage are not possible. With his voice cracking, Music Director Yannick Nézet-Séguin said in closing, "Music and art cannot be silenced." A week later, I watched a broadcast of a Carnegie Hall recital taped on December 15, 2019 of Joyce DiDonato singing Schubert's "Winterreise" with Yannick Nézet-Séguin accompanying her on the piano. The artistic respect and personal affection that the two have for each other was evident throughout the performance and was grippingly on display at the end. After the last gorgeous notes had been left to hang poignantly in the hall and as the rapturous applause began to erupt from the capacity audience, the two of them approached each other and embraced, hugging tightly for quite some time. It was very moving to witness such an intimate moment … but also jarring and saddening because they and we are now deprived of such opportunities to express affection in these days of physical-distancing;
I attend a church in downtown Toronto. We're a small congregation that is diverse in age, gender, race, ethnic origin, sexual orientation, etc. Now that we can't worship together in our church building on Sundays because of the pandemic shutdown, we're struggling to do so on Zoom. The Zoom technology is new to many and it's taken a few weeks to get the hang of it. There are still glitches, but nobody minds. The community is able to gather and that's what's important. There's always a time of sharing and last week, an older woman acknowledged that she was having mobility problems and now with the pandemic restrictions, she was finding it difficult to get out for groceries. The other members rallied to assist her. The worship service planner called her later and asked if she'd be willing to sing a solo in the service today. She agreed and did so this morning. In the sharing time after the service, she said, "I can't tell you how grateful I am that you asked me to sing for you all today. All week long, I was singing the song to myself. The music provided such nourishment to my soul. I kept singing it over and over. I cried but I also smiled. It lifted my spirits. I'm very thankful."


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It was not really a question of price. It was a question of success.
I don't want a lawyer who tells me what I can't do. I hire a lawyer to tell me how I can do what I want to do!
Well, I don't know as I want a lawyer to tell me what I cannot do. I hire him to tell me how to do what I want to do.
I don't want a lawyer who tells me what I can't do. I hire a lawyer to tell me how I can do what I want.
Any man who is bearish on the United States will go broke.
Never sell a bear on the United States.
When you expect things to happen – strangely enough – they do happen.
When I have business on hand I think it is better to have it done quickly.
[On his part of the profits of the underwriting syndicate for the United States Steel Corporation] I never made money as easy as that.
I feel bound in honour when I reorganise a property and am morally responsible for its management, to protect it – and I generally do protect it.
I was going aboard the yacht and found that I had nothing to light my cigar with; so I ventured to ask one of the men on the pier for a match. In return for the courtesy I handed him one of my cigars- which I think a good deal of. He accepted it promptly. 'Thanks to you,' he said, 'I was just out of tobacco.' Then he broke it into little bits and stuffed it into his pipe!
[On negotiating with Art Dealers] I have heard enough. I'll take this at the price you paid plus fifteen percent. How much did you pay?
I am not a good judge of men. My first guess is sometimes right. My second never is.
In a business proposition as great as this would you let a matter of $5,000,000 stand in the way of success?
If you want time to pass quickly, just give a banker your note for 90 days.
Any man who has to worry about the annual upkeep of his yacht can't afford to own one.
[Junius Spencer Morgan] Never sell America short.
[On being accosted on the street and being asked 'What's the market going to do?'] It will fluctuate.
It is my desire to be buried in the family burial place prepared by my father in Cedar Hill Cemetery, at Hartford, Connecticut, and I hereby direct that my body be there interred on the west of the monument and opposite the place where my father's remains are interred. I wish that in all arrangements for my funeral the same general course by followed that was adopted in the case of my father, except that the service shall be held at St. George's Church in the city of New York, with the Bishops of New York, Connecticut, and Massachusetts, and the Rector of St. George's officiating.
If you have to ask how much they cost, you can't afford one.
[On being asked 'Is not commercial credit based primary upon money or property?'] No sir. The first thing is character. ['Before money or property?'] Before money or anything else. Money cannot buy it… Because a man I do not trust could not get money from me on all the bonds in Christendom.
I'll go to jail rather than discuss my personal affairs.
[Around 1864 on the United States] We are going some day to show ourselves to be the richest country in the world in natural resources. It will be necessary to go to work, and to work hard, to turn our resources into money, to pay the cost of the War, just as soon as it is ended.
[To President Ramsey of the railroad on Jay Gould securing a block of shares in the Albany & Susquehanna Railroad causing the railroad to be through into bankruptcy and having Fisk named as receiver. Then ] I want a statement of your exact condition. I want a brief report which will tell me all the Gould and Fisk have done. I will examine these reports. Then I will let you know what I think about the matter.
In my opinion this matter will have to be fought out in the courts. I feel certain that it can be successfully fought there. Shall I go ahead?
[On a business friend not wanting to participate in his Atlantic Shipping Trust Syndicate] You can stay out, but do not think that you will share with us again.
[On getting into a train station to catch a freight train for his friend the bishop to return to the city that night] Break in the door, get a big stone and smash it!
[In 1876] The credit of the United States should be higher today than it ever has been. Within a few years we are going to resume specie payments.
[To William H Vanderbilt on the New York Central Railway Corporation in 1876] How much stock, are you ready to sell?
[On the presidency for the Union League Club] No, you must find some other candidate.
[On whether he would accept election as a trustee to the Columbia University Board of Trustees] I should feel it an honour.
[On continued negative British press on American Railroads eg 'Freebooters of American Finance'] I made up my mind that something should be done.
It being believed that sufficient influence could be brought to bear on Mr. Vanderbilt to induce him to supply a majority or more of the South Pennsylvania subscriptions, I made a trip to Philadelphia.
That isn't the way to spell my name, I want it corrected. My name is spelt Pierpont, not Pierrepont; and I should be pleased if that would be understood hereafter in this office.
The purpose of this meeting is to cause the members of this association to no longer take the law into their own hands when they suspect they have been wronged, as has been too much the practice heretofore. This is not elsewhere customary in civilised communities, and no good reason exists why such a practice should continue among railroads.
I cannot help but feel that it is a little harsh language for us to hold here, but I can stand it, I suppose, if the others can.


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Emilia Mårtensson Band
Fri. 7 February 2020 at 20:00–23:00
Over the last decade, Emilia Mårtensson has built a well-deserved reputation as one of the most exciting young vocalists on the UK jazz scene, and was awarded Vocalist of the Year at The Parliamentary Jazz Awards in 2016. But you won't find her simply churning out hackneyed jazz standards. Her gently expressive voice and highly personal compositions are firmly rooted in the folklore and the countryside of her native southern Sweden, adding to the mystique and allure of a distinctive and truly original artist.
Hosted by Sheffield Jazz.
Jazz in Sheffield
Nat Johnson
"A little bit country, a little bit folk, a little bit indie."
Ant Law Quartet
Fri. 20 March 2020
A welcome return to Sheffield by Ant Law and this very talented guitar-led band.
Ashley Holmes
An artist with a multitude of interests – music, film, visual arts, archiving – investigating social and political histories, and exploring the ways that stories of Black people in Britain are told.


Consistent Colour should be obvious criteria for good product photography; this, however, is not as common as one might think. As light has intensity and colour, few product photographers know how to measure it. This has big implications.
Product photographs across a catalogue look much better when it is consistent.
Variable colours and imaging styles look sloppy and reduce your organization's brand equity.
At Jules Design, we measure the light in our product photography and personal portraits; in doing so, colours are accurate and unwavering. Skin tones look natural and we faithfully reproduce hues across the spectrum of your merchandise.
In hiring a graphics company for your business, companies should seek vendors who understand the integration of imaging and marketing. Better marketing communication is achieved through consistent messaging. If a brand is the perception people have of an entity, then picking an organization that can give you consistency should be a selection criterion.
Cohesive design includes sticking to the brand guide, understanding colour and knowing the rules and when you can break them.
As many graphic artists have limited knowledge in marketing, writing copy and more, it is exceedingly difficult for executives to expect good cost-effective creative development from a small team or a single individual.
Qualify your next design partner by meeting them face-to-face; nothing exceeds the validation of skill over an in-person meeting. Visit our studio to assess our colour managed workflow, equipment, insured services, facilities and general working aptitude. We pride ourselves in being people that are easy to work with, innovative and yield leadership in direction when it is needed most.
For your next commercial photography product or business, portraits call Jules Design. We specialize in producing product photographs as design elements for graphic design. Additionally, we offer creative services to utilize your images for web, print and social media marketing.


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Cantonul Mundolsheim este un canton din arondismentul Strasbourg-Campagne, departamentul Bas-Rhin, regiunea Alsacia, Franța.

Comune

 Achenheim
 Breuschwickersheim
 Eckbolsheim
 Hangenbieten
 Ittenheim
 Lampertheim
 Mittelhausbergen
 Mundolsheim (reședință)
 Niederhausbergen
 Oberhausbergen
 Oberschaeffolsheim
 Reichstett
 Souffelweyersheim
 Wolfisheim

Cantoane în Bas-Rhin

redpajama_set_name: RedPajamaWikipedia


Our newly renovated (2005), 4 star Alimonte Romantic Apartments, are ideally located at the foot of the Kitzbühler Horn and directly across from the main ski lift, in St Johann, offering apartments for 1-7 people.
The apartments are luxuriously furnished and offer every comfort to ensure a relaxing and rejuvenating holiday. Services include; bath and hand towels charged during your stay, and 'Bread service'. Apartments have either balcony or terrace, kitchens are equipped with dishwasher, stove with oven, microwave, etc. and covered parking.
Just 5 minutes walk to the village centre and 'Panorama Badewelt' recreation centre.
On which days would you like to stay in the »Alimonte Romantic Appartements«?


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Home / Posts tagged "Derek Roy"
Caps Announce Final Cuts, Derek Roy Does Not Make The Team
The Capitals announced their final roster cuts Monday morning. The most surprising dismissal was veteran center Derek Roy, who played well during training camp. With Jay Beagle announced as the team's third-line center and Nicklas Backstrom potentially missing only four games, the Caps must have seen little upside keeping Roy around as a fourth-line center.
The Caps also cut forwards Liam O'Brien and Chandler Stephenson, defensemen Aaron Ness and Ryan Stanton, and goalie Justin Peters, who struggled mightily last year, from training camp. That means Philipp Grubauer will be Braden Holtby's back-up this year.
As the Capitals PR team noted, Ness, Peters, and Stanton will all have to pass through waivers before joining the Hershey Bears in the AHL.
For those of you keeping track at home, that means forwards Chris Brown (who is injured), surprise-of-camp Sean Collins, and oft-criticzed Stan Galiev all remain on the roster, at least for now.
Nicklas Backstrom Rejoins Teammates at Practice for First Time Since Hip Surgery
Save for Alex Ovechkin, Nicklas Backstrom is the best player on the Washington Capitals – and it's been that way for some time. Seeing him on crutches, then, after undergoing arthroscopic hip surgery in late May was an unwelcome sight for Caps fans. On Wednesday, after four months of recovery, Backstrom practiced with his teammates for the first time since the operation — albeit in a non-contact jersey. Still, the star center who didn't miss a game last season is likely to miss this year's opener, though the a quicker return that some feared.
"There's no timetable," Capitals head coach Barry Trotz said when asked when Backstrom might get back into game action or lose the non-contact jersey. "Whenever he's ready, he's ready. I consider Nick a franchise player and you never put a franchise player at risk. When he's ready, he'll be ready. That will be determined by our medical staff, his doctor and more importantly, Nick himself."
By Chris Gordon 6 years ago
Over Analyzing Lines On the Third Day of Camp
Photo: Amanda Bowen
Let me be clear: I don't care about the preseason of any sport, not even hockey. Takeaways from preseason are often worthless, for a wide variety of reasons. Intersquad scrimmages are even further down the ladder of things we should care about and read into. And, considering line combinations aren't worth getting worked up about on a day-to-day basis during the season, no one should read much into lines from a scrimmage at training camp.
But let's do it anyway.
By Patrick Holden 6 years ago
Caps Invite Derek Roy to Camp on Professional Tryout Basis
Photo: Bill Wippert
Per Mike Vogel, the Caps have invited Derek Roy to training camp on a professional tryout basis. Roy is a 32-year-old center who, after spending much of his career in Buffalo, spent last season with Nashville and Edmonton.
Reviewing the Capitals' Options at Center at the Trade Deadline
Backstrom in pain after taking an elbow from Rene Bourque. (Photo credit: AP)
We don't need to tell you again. Every person in the DC area can probably tell you that the Caps need centers right now. In fact, with the new revelation that Nicklas Backstrom might be out for longer than we thought, the situation just got a little more dire – Ted Leonsis has stated that the Caps will be looking to make additions at the deadline, and there are some very specific pieces they'll be looking for.
"I liked the team we had put together this summer. Of course we've only had that team on ice for eight games. We're 8-0 in those games." George McPhee told the Washington Post's John Feinstein. "I still think if we get our guys back and if we can add something here in the next couple of weeks we're good enough to win the Stanley Cup. Then again, a lot of teams are looking to add something right now, too."
There certainly are, and it's a thin market this year, but it certainly looks as if the Caps plan to be buyers, not sellers. With that in mind, here's a shopping list of possible additions the Caps could make at the trade deadline, based on practical likeliness, scurrilous rumors, an idea of which teams may be looking to sell at the deadline, and other arbitrary factors.
By 10 years ago


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redpajama_set_name: RedPajamaStackExchange


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Here's the 14th team in the Premier League...
Not much of a football fanatic I remember my partner saying a while ago, the first glimpse of the toned torso of Kalou as he warmed up she soon took an interest. For me the physique of the players is just an exxxtra as I only care about the results. Hosting Manchester United is always a great fixture but when we are protecting our impressive home record it adds something extra to the mix. Add into that our stadium announcer, welcoming the champions to the Bridge with a cheeky, "Here's the 14th team in the Premier League' and also the continued rehabilitation of Ronaldo and Drogba given more minutes, and lights, camera, action!
Deco injuring himself in the warm up and then shortly after kick off Carvalho also needing medical assistance and being substituted can't have done much for the strategy. Alex came on to replace him but our defence didn't look solid and we soon conceded a weak goal as Cech spilled a Berbatov shot after good build up from United and Park fired in the rebound! Edwin van der Sar also went off injured, Rio Ferdinand appears to be the last person you would want by your side should you hurt yourself as if looks could kill.. Chelsea responded by going on the offensive and it proved to be a frustrating afternoon, especially for Joe Cole who missed a couple of chances. The biggest culprit was Anelka who missed a glorious chance to score but it wasn't to be his afternoon. Chelsea looked good and the more likely to score but they just couldn't find the end product. If only we had aquired the signature of Robinho at the end of the transfer window as his City hit half a dozen against Portsmouth today.
Both Ronaldo for United and Drogba for the Blues were released onto the pitch but it was another substitute Kalou who made the decisive impact. He connected with an Obi Mikel free kick and found the back of the net with a glancing header. There were lots of talking points with plenty of bookings, Drogba and Ronaldo showing the Premiership what has been missing with the good and bad aspects of their game, Hargreaves getting a slap around the head from a fan and Ferguson jumping for his life after a balloon was burst by No.2 Phelan. Credit to Sir Alex with his comeback though "I wish he had burst it under Mike Riley because it might have woken him up,'' overall a decent result and at least we kept our record going but still can't help but feel we should have got more from the game!
After the football we headed down to the park for a few hours, to wear the children out and in the process had a laugh albeit feeling the cold now that Autumn is upon us...
Manchester United stand proud again after riveting draw with Chelsea
Facebook 2.0 launches for iPhone
Flat Note!
Things that go bump in the night...
Hi I'm Joe, Can I Take Your Name..
It just got interesting!
Eat my shorts!
Hopelessly devoted...
That's some treasure chest you've got there
Zemanta gets social
Awaiting the Last.fm app update...
Market Turmoil
Rome was not built in a day!
I'll give you a clue...
Robinho and Nand'oh!
Child of the new Century...
Threeo!
At World's End
Apple Announcements
An epic sporting weekend!
My iPhone
What's in a title!
Chrome, Tags and Lily Allen
Launch early and iterate..
Red Herrings and Blue Moons


text:
What can you do to campaign for more privacy? – An interview with Nina Boelsums and Luca van der Kamp
The One With Nina and Luca
Can young activists change how a whole country thinks about a new law? Nina and Luca think they can. Together with a group of friends they campaigned for a national referendum about a new privacy law and collected over 400,000 signatures for a nation-wide petition. #Activism
Posted by European Heroes on Tuesday, September 18, 2018
At the beginning of 2018, a referendum took place in the Netherlands about a new privacy law. How did five students manage to make privacy and surveillance the hottest topic in the country for weeks, and to win a majority of the votes to reject the law? We met with Nina Boelsums and Luca van der Kamp in Amsterdam to find out more about the Sleepwet campaign.
Similar to other European countries, the Netherlands introduced in 2017 a law that granted authorities more intrusive powers into citizens' privacy. The new law included, among others, bulk interception rights as well as exchange of people's information with foreign services.
Five students noticed that the general public was largely unaware of the consequences stemming from enacting the aforementioned law. In a short time, the so-called Sleepwet campaign was born. In the end, a narrow majority of Dutch people voted for overturning the law.
"With this law, you are never really sure if someone is watching over your shoulder. And this will lead you to change your behaviour", says Nina Boelsums.
"We didn't want to live with the thought that we didn't do something about this issue, while we could. If we were not the ones to do something, who would be?", says Luca van der Kamp.
Boelsums says that "in the end, freedom is something that needs to be actively fought for".
"We are transitioning to a new digital era in which fundamental rights are thrown overboard, and we need to protect them in the digital age", says Nina Boelsums.
What can each of us do for protecting these rights? These tips can help you get informed and help you raise awareness about the importance of privacy:
Security in a box: The non-profit Tactical Tech has launched a free site where it shares privacy protection tools and apps for any user concerned about their privacy;
Subscribe to newsletters or donate to organisations that raise issues about privacy. These include, among others, Privacy International, EDRi, Amnesty International;
Inform yourself about the current surveillance laws in your country. Across Europe, several laws have been changed after recent terror attacks, sometimes limiting citizens' privacy in areas that are not related to preventing terrorism;
Join conferences, such as the Internet Governance Forum, EuroDIG, or any other hackathon or freedom of expression related event, to learn more about this field;
Demand more protection for your privacy at your workplace or school, and from your elected representatives at a national level. Talk with friends and relatives about privacy;
Share information about surveillance and privacy, and check out previous articles on this page about: starting a petition, starting a local action group or how to protest.
Yori Kamphuis
Making democracy more inclusive – An interview with …
european heroes
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text:
Ubykh or Päkhy was a Northwest Caucasian language once spoken by the Ubykh tribe of Circassians who originally lived along the eastern coast of the Black Sea before being deported en masse to Turkey in the Circassian genocide.

The Ubykh language was ergative and polysynthetic, with a high degree of agglutination, with polypersonal verbal agreement and a very large number of distinct consonants but only two phonemically distinct vowels. With around eighty consonants, it had one of the largest inventories of consonants in the world, and the largest number for any language without clicks.

The name Ubykh is derived from  (), its name in the Adyghe language. It is known in linguistic literature by many names: variants of Ubykh, such as Ubikh,  (French); and its Germanised variant  (from Ubykh ).

Major features

Ubykh is distinguished by the following features, some of which are shared with other Northwest Caucasian languages:

 It is ergative, making no syntactic distinction between the subject of an intransitive sentence and the direct object of a transitive sentence. Split ergativity plays only a small part, if at all.
 It is highly agglutinating and polysynthetic, using mainly monosyllabic or bisyllabic roots, but with single morphological words sometimes reaching nine or more syllables in length:  ('if only you had not been able to make him take [it] all out from under me again for them'). Affixes rarely fuse in any way.
 It has a simple nominal system, contrasting just three noun cases, and not always marking grammatical number in the direct case.
 Its system of verbal agreement is quite complex. English verbs must agree only with the subject; Ubykh verbs must agree with the subject, the direct object and the indirect object, and benefactive objects must also be marked in the verb.
 It is phonologically complex as well, with 84 distinct consonants (four of which, however, appear only in loan words). It has three phonemic vowels [ɐ ɜ ɨ] which correspond to Dumézil's [aa a ə] respectively and this is evident in the minimal triplet of /ɐsʃɨn/ ('I milk X'), /ɐsʃɜn/ ('I reap X'), and /ɐsʃɐn/ ('I milk them; I reap them').

Phonology

Ubykh has 84 phonemic consonants, a record high amongst languages without click consonants, but only 3 phonemic vowels. Four of these consonants are found only in loanwords and onomatopoeiae. There are nine basic places of articulation for the consonants and extensive use of secondary articulation, such that Ubykh has 20 different uvular phonemes. Ubykh distinguishes three types of postalveolar consonants: apical, laminal, and laminal closed. Regarding the vowels, since there are only three phonemic vowels, there is a great deal of allophony.

Grammar

Morphosyntax

Ubykh is agglutinative and polysynthetic:  ('we will not be able to go back'),  ('if you had said it'). It is often extremely concise in its word forms.

The boundaries between nouns and verbs is somewhat blurred. Any noun can be used as the root of a stative verb ( 'child',  'I was a child'), and many verb roots can become nouns simply by the use of noun affixes ( 'to say',  'what I say').

Nouns
The noun system in Ubykh is quite simple. It has three main noun cases (the oblique-ergative case may be two homophonous cases with differing function, thus presenting four cases in total):
 direct or absolutive case, marked with the bare root; this indicates the subject of an intransitive sentence and the direct object of a transitive sentence (e.g.  'a man')
 oblique-ergative case, marked in -; this indicates either the subject of a transitive sentence, targets of preverbs, or indirect objects which do not take any other suffixes ( '(to) a child')
 locative case, marked in -, which is the equivalent of English in, on or at.
There are X other cases that exist in Ubykh too:

 instrumental case (-) was also treated as a case in Dumézil (1975).
 instrumental-comitative case (-).
 Another pair of postpositions, - ('to[wards]') and - ('for'), have been noted as synthetic datives (e.g.  'I will send it to the prince'), but their status as cases is also best discounted.

Nouns do not distinguish grammatical gender. The definite article is  (e.g.  'the man'). There is no indefinite article directly equivalent to the English a or an, but -(root)- (literally 'one'-(root)-'certain') translates French un : e.g.  ('a certain young man').

Number is only marked on the noun in the ergative case, with -. The number marking of the absolutive argument is either by suppletive verb roots (e.g.  'he is in the car' vs.  'they are in the car') or by verb suffixes:  ('he goes'),  ('they go'). The second person plural prefix - triggers this plural suffix regardless of whether that prefix represents the ergative, the absolutive, or an oblique argument:
Absolutive:  ('I give you all to him')
Oblique:  ('he gives me to you all')
Ergative:  ('you all give it/them to me')
Note that, in this last sentence, the plurality of it (-) is obscured; the meaning can be either 'You all give it to me' or 'You all give them to me'.

Adjectives, in most cases, are simply suffixed to the noun:  ('pepper') with  ('red') becomes  ('red pepper'). Adjectives do not decline.

Postpositions are rare; most locative semantic functions, as well as some non-local ones, are provided with preverbal elements:  ('you wrote it for me'). However, there are a few postpositions:  ('like me'),  ('near the prince').

Pronouns
Free pronouns in all North-West Caucasian languages lack an ergative-absolutive distinction.

Possession

Possessed nouns have their plurality marked with the affix .

Verbs

A pastpresentfuture distinction of verb tense exists (the suffixes - and - represent past and future) and an imperfective aspect suffix is also found (-, which can combine with tense suffixes). Dynamic and stative verbs are contrasted, as in Arabic, and verbs have several nominal forms. Morphological causatives are not uncommon. The conjunctions  ('and') and  ('but') are usually given with verb suffixes, but there is also a free particle corresponding to each:
- 'and' (free particle , borrowed from Arabic);
- 'but' (free particle )

Pronominal benefactives are also part of the verbal complex, marked with the preverb -, but a benefactive cannot normally appear on a verb that has three agreement prefixes already.

Gender only appears as part of the second person paradigm, and then only at the speaker's discretion. The feminine second person index is -, which behaves like other pronominal prefixes:  ('he gives [it] to you [normal; gender-neutral] for me'), but compare  'he gives [it] to you [feminine] for me').

Agreement
Oblique 1 markers are limited to marking the agreement of a noun before a relational preverb and Oblique 2 markers are used for not only marking agreement with local and directional preverbs but also the simple oblique, or dative, arguments.

The second-person  is an archaic pronoun used to indicate that the person being referred to is a female, or heckling the speaker in some way.

Dynamic Verb Conjugation
Dynamic Ubykh verbs are split up in two groups: Group I which contain the simple tenses and Group II which contain derived counterpart tenses. Only the Karaclar dialect uses the progressive tense and the plural is unknown.

The singular-plural distinction is used when the subject, the ergative, is singular or plural.

Square brackets indicate elided vowels; parenthesis indicate optional parts of the stem; and the colon indicates the boundary of a morpheme.

Simple Past
The verbs in the simple past tense are conjugated with - in the singular and - in the plural.

Examples:

  - to say →  (s)he said
  - to eat →  (s)he ate
  - to know →  (s)he knew
  - to go →  (s)he went

Mirative Past
The verbs in the mirative past tense are conjugated with - in the singular and - in the plural.

Examples:

  - to say →  (s)he said apparently
  - to eat →  (s)he ate apparently
  - to know →  (s)he knew apparently
  - to go →  (s)he went apparently

Present
The verbs in the present tense are conjugated with - in the singular and - in the plural.

Examples:

  - to say →  (s)he says
  - to eat →  (s)he eats
  - to know →  (s)he knows
  - to go →  (s)he goes

Future I
The verbs in the present tense are conjugated with - in the singular and - in the plural. It conveys a sense of certainty, immediacy, obligation, or intentionality.

Examples:

  - to say →  (s)he certainly will say
  - to eat →  (s)he certainly will eat
  - to know →  (s)he certainly will know
  - to go →  (s)he certainly will go

Future II
The verbs in the present tense are conjugated with - in the singular and - in the plural. It conveys a generic sense of the future as well as an exhortative sense such as:  (let's go!).

Examples:

  - to say →  (s)he will say
  - to eat →  (s)he will eat
  - to know →  (s)he will know
  - to go →  (s)he will go

Static Verb Conjugation
In all dialects and speakers, only two static tenses exist: present and past.

Aspect
There are five basic aspects that exist besides the aspects that exist within the Ubykh tense system. They are: habitual, iterative, exhaustive, excessive, and potential.

A speaker may combine one of these aspects with another to convey more complex aspects in conjunction with the tenses.

A few meanings covered in English by adverbs or auxiliary verbs are given in Ubykh by verb suffixes:
 ('I can eat it') -  ('I can drink it')
 ('I eat it all the time') -  ('I drink it all the time')
 ('I am eating it all up') -  ('I am drinking it all up')
 ('I eat it too much') -  ('I drink it too much')
 ('I eat it again') -  ('I drink it again')

Questions
Questions may be marked grammatically, using verb suffixes or prefixes:

Yesno questions with -: ? ('did you see that?')
Complex questions with -: ? ('what is your name?')

Other types of questions, involving the pronouns 'where' and 'what', may also be marked only in the verbal complex:  ('where are you going?'),  ('what had you said?').

Preverbs and determinants
Many local, prepositional, and other functions are provided by preverbal elements providing a large series of applicatives, and here Ubykh shows remarkable complexity. Two main types of preverbal elements exist: determinants and preverbs. The number of preverbs is limited, and mainly show location and direction. The number of determinants is also limited, but the class is more open; some determinant prefixes include - ('with regard to a horse') and - ('with regard to the foot or base of an object').

For simple locations, there are a number of possibilities that can be encoded with preverbs, including (but not limited to):
 above and touching
 above and not touching
 below and touching
 below and not touching
 at the side of
 through a space
 through solid matter
 on a flat horizontal surface
 on a non-horizontal or vertical surface
 in a homogeneous mass
 towards
 in an upward direction
 in a downward direction
 into a tubular space
 into an enclosed space
There is also a separate directional preverb meaning 'towards the speaker': -, which occupies a separate slot in the verbal complex. However, preverbs can have meanings that would take up entire phrases in English. The preverb - signifies 'on the earth' or 'in the earth', for instance:  ('they buried his body'; literally, "they put his body in the earth"). Even more narrowly, the preverb - signifies that an action is done out of, into or with regard to a fire:  ('I take a brand out of the fire').

Orthography
Writing systems for the Ubykh language have been proposed, but there has never been a standard written form.

Lexicon

Native vocabulary
Ubykh syllables have a strong tendency to be CV, although VC and CVC also exist. Consonant clusters are not as large as in Abzhywa Abkhaz or in Georgian, rarely being larger than two terms. Three-term clusters exist in two words -  ('sun') and  ('to swell up'), but the latter is a loan from Adyghe, and the former more often pronounced  when it appears alone.
Compounding plays a large part in Ubykh and, indeed, in all Northwest Caucasian semantics. There is no verb equivalent to English to love, for instance; one says "I love you" as  ('I see you well').

Reduplication occurs in some roots, often those with onomatopoeic values (, 'to curry[comb]' from  'to scrape'; , 'to cluck like a chicken' [a loan from Adyghe]); and , 'to croak like a frog').

Roots and affixes can be as small as one phoneme. The word , 'they give you to him', for instance, contains six phonemes, each a separate morpheme:

 - 2nd singular absolutive
 - 3rd singular dative
 - 3rd ergative
 - to give
 - ergative plural
 - present tense

However, some words may be as long as seven syllables (although these are usually compounds):  ('staircase').

Slang and idioms
As with all other languages, Ubykh is replete with idioms. The word  ('door'), for instance, is an idiom meaning either "magistrate", "court", or "government." However, idiomatic constructions are even more common in Ubykh than in most other languages; the representation of abstract ideas with series of concrete elements is a characteristic of the Northwest Caucasian family. As mentioned above, the phrase meaning "I love you" translates literally as 'I see you well'; similarly, "you please me" is literally 'you cut my heart'. The term  ('Russian'), an Arabic loan, has come to be a slang term meaning "infidel", "non-Muslim" or "enemy" (see History below).

Foreign loans
The majority of loanwords in Ubykh are derived from either Adyghe or Arabic, with smaller numbers from Persian, Abkhaz, and the South Caucasian languages. Towards the end of Ubykh's life, a large influx of Adyghe words was noted; Vogt (1963) notes a few hundred examples. The phonemes  were borrowed from Arabic and Adyghe.  also appears to come from Adyghe, although it seems to have arrived earlier on. It is possible, too, that  is a loan from Adyghe, since most of the few words with this phoneme are obvious Adyghe loans:  ('proud'),  ('testis').

Many loanwords have Ubykh equivalents, but were dwindling in usage under the influence of Arabic, Circassian, and Russian equivalents:
  ('to make a hole in, to perforate' from Iranic languages) =
  ('tea' from Chinese) =
  ('enemy' from Persian) =

Some words, usually much older ones, are borrowed from less influential stock: Colarusso (1994) sees  ('pig') as a borrowing from a proto-Semitic *huka, and  ('slave') from an Iranian root; however, Chirikba (1986) regards the latter as being of Abkhaz origin ( ← Abkhaz agər-wa 'lower cast of peasants; slave', literally 'Megrelian').

Evolution

In the scheme of Northwest Caucasian evolution, despite its parallels with Adyghe and Abkhaz, Ubykh forms a separate third branch of the family. It has fossilised palatal class markers where all other Northwest Caucasian languages preserve traces of an original labial class: the Ubykh word for 'heart', , corresponds to the reflex  in Abkhaz, Abaza, Adyghe, and Kabardian. Ubykh also possesses groups of pharyngealised consonants. All other NWC languages possess true pharyngeal consonants, but Ubykh is the only language to use pharyngealisation as a feature of secondary articulation.

With regard to the other languages of the family, Ubykh is closer to Adyghe and Kabardian but shares many features with Abkhaz due to geographic influence; many later Ubykh speakers were bilingual in Ubykh and Adyghe.

Dialects
While not many dialects of Ubykh existed, one divergent dialect of Ubykh has been noted (in Dumézil 1965:266-269). Grammatically, it is similar to standard Ubykh (i.e. Tevfik Esenç's dialect), but has a very different sound system, which had collapsed into just 62-odd phonemes:
  have collapsed into .
  are indistinguishable from .
  seems to have disappeared.
 Pharyngealisation is no longer distinctive, having been replaced in many cases by geminate consonants.
 Palatalisation of the uvular consonants is no longer phonemic.

History
Ubykh was spoken in the eastern coast of the Black Sea around Sochi until 1864, when the Ubykhs were driven out of the region by the Russians. They eventually came to settle in Turkey, founding the villages of Hacı Osman, Kırkpınar, Masukiye and Hacı Yakup. Arabic and Circassian eventually became the preferred languages for everyday communication, and many words from these languages entered Ubykh in that period.

The Ubykh language died out on 7 October 1992, when its last fluent speaker, Tevfik Esenç, died. Before his death, thousands of pages of material and many audio recordings had been collected and collated by a number of linguists, including Georges Charachidzé, Georges Dumézil, Hans Vogt, George Hewitt and A. Sumru Özsoy, with the help of some of its last speakers, particularly Tevfik Esenç and Huseyin Kozan. Ubykh was never written by its speech community, but a few phrases were transcribed by Evliya Çelebi in his Seyahatname and a substantial portion of the oral literature, along with some cycles of the Nart saga, was transcribed. Tevfik Esenç also eventually learned to write Ubykh in the transcription that Dumézil devised.

Julius von Mészáros, a Hungarian linguist, visited Turkey in 1930 and took down some notes on Ubykh. His work Die Päkhy-Sprache was extensive and accurate to the extent allowed by his transcription system (which could not represent all the phonemes of Ubykh) and marked the foundation of Ubykh linguistics.

The Frenchman Georges Dumézil also visited Turkey in 1930 to record some Ubykh and would eventually become the most celebrated Ubykh linguist. He published a collection of Ubykh folktales in the late 1950s, and the language soon attracted the attention of linguists for its small number of phonemic vowels. Hans Vogt, a Norwegian, produced a monumental dictionary that, in spite of its many errors (later corrected by Dumézil), is still one of the masterpieces and essential tools of Ubykh linguistics.

Later in the 1960s and into the early 1970s, Dumézil published a series of papers on Ubykh etymology in particular and Northwest Caucasian etymology in general. Dumézil's book Le Verbe Oubykh (1975), a comprehensive account of the verbal and nominal morphology of the language, is another cornerstone of Ubykh linguistics.

Since the 1980s, Ubykh linguistics has slowed drastically with the most recent treatise being Fenwick's A Grammar of Ubykh (2011), who was also working on a dictionary. The Ubykh themselves have shown interest in relearning their language.

The Abkhaz writer Bagrat Shinkuba's historical novel Bagrat Shinkuba. The Last of the Departed treats the fate of the Ubykh people.

People who have published literature on Ubykh include
 Brian George Hewitt
 Brian Fell
 Catherine Paris
 Christine Leroy
 Georg Bossong
 Georges Dumézil
 Hans Vogt
 John Colarusso
 Julius von Mészáros
 Rieks Smeets
 Rhona (formerly Rohan) Fenwick
 Tevfik Esenç
 Viacheslav Chirikba
 Wim Lucassen

Notable characteristics
Ubykh had been cited in the Guinness Book of Records (1996 ed.) as the language with the most consonant phonemes, but since 2017 the !Xóõ language (a member of the Tuu languages) has been considered by the book to have broken that record, with 130 consonants. Ubykh has 20 uvular and 29 pure fricative phonemes, more than any other known language.

Samples
All examples from Dumézil 1968.

Notes

Notes

  Fenwick lists a plural form for  ('to give') but it is never used in the grammar even when a plural form is expected.

See also
North Caucasian languages

References

Bibliography
 Viacheslav Chirikba (1986). Abxazskie leksicheskie zaimstvovanija v ubyxskom jazyke (Abkhaz Lexical Loans in Ubykh). Problemy leksiki i grammatiki jazykov narodov Karachaevo-Cherkesii: Sbornik nauchnyx trudov (Lexical and Grammatical Problems of the Karachay-Cherkessian National Languages: A Scientific Compilation). Cherkessk, 112–124.
 Viacheslav Chirikba (1996). Common West Caucasian. The Reconstruction of its Phonological System and Parts of its Lexicon and Morphology. Leiden: CNWS Publications.
 Colarusso, J. (1994). Proto-Northwest Caucasian (Or How To Crack a Very Hard Nut). Journal of Indo-European Studies 22, 1-17.
 Dumézil, G. (1961). Etudes oubykhs (Ubykh Studies). Paris: Librairie A. Maisonneuve.
 Dumézil, G. (1965). Documents anatoliens sur les langues et les traditions du Caucase (Anatolian Documents on the Languages and Traditions of the Caucasus), III: Nouvelles études oubykhs (New Ubykh Studies). Paris: Librairie A. Maisonneuve.
 Dumézil, G. (1968). Eating Fish Makes You Clever. Annotated recording available via  .
 Dumézil, G. (1975). Le verbe oubykh: études descriptives et comparatives (The Ubykh Verb: Descriptive and Comparative Studies). Paris: Imprimerie Nationale.
 Hewitt, B. G. (2005). North-West Caucasian. Lingua. 115, 91-145.
 Mészáros, J. von. (1930). Die Päkhy-Sprache (The Ubykh Language). Chicago: University of Chicago Press.
 Vogt, H. (1963). Dictionnaire de la langue oubykh (Dictionary of the Ubykh Language). Oslo: Universitetsforlaget.
 Fenwick, R. (2011). A Grammar of Ubykh. Munich: Lincom Europa.

External links
 Two proposals for a practical orthography for Ubykh
 YouTube: Tevfik Esenç narrating the story of the two travellers and the fish in Ubykh
 A number of narrations by Tevfik Esenç, WAV format
 Ubykh word list and recordings

Agglutinative languages
Northwest Caucasian languages
Extinct languages of Europe
Languages of Russia
Languages of Turkey
Vertical vowel systems


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Ditto Bank is always looking for innovative ways to develop data-driven services for its customers. Based on its success with the IBM Cloud, the company is now using IBM Cloud Virtual Servers to accelerate the testing and development of new products without compromising on the industry-leading security of its dedicated cloud platform.
Founded in 2015 and headquartered in Boulogne, France, Ditto Bank offers a unique multi-currency service designed for customers who need access to multiple currencies on a regular basis. Through a mobile app, customers can open current accounts in different currencies, manage their money, make transfers and complete foreign exchange transactions. With multi-currency accounts linked to a single Mastercard, Ditto Bank customers can make payments, withdrawals and transfers anywhere in the world at no additional cost.
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