text:
Q: Sort data from Text File into tree structure I have data in a delimited text file containing list of items and their relationship with each other, as shown below
Data set text file
where each Item Id is distinct and parent wbs column shows the relationship with parent items.
i am able to import the above data to excel, but unable to figure out how to structure them in tree format in excel and also make sure that under each node the items are sorted again by their sequence numbers
For i = 3 To LastRow
            Dim found As Boolean = False
             For k = 2 To wbssht.UsedRange.Rows.Count

                If wbssht.Cells(k, 1).value = sht.Cells(i, 3).value Then
                    wbssht.Rows(k + 1).insert
                    wbssht.Cells(k + 1, 1).value = sht.Cells(i, 1).value
                    wbssht.Cells(k + 1, 3).value = wbssht.Cells(k, 3).value + 2
                    wbssht.Cells(k + 1, 2).value = Space(wbssht.Cells(k + 1, 3).value) & sht.Cells(i, 2).value
                    wbssht.Cells(k + 1, 4).value = sht.Cells(k, 3).value 'parentwbs
                    wbssht.Cells(k + 1, 5).value = sht.Cells(k, 4).value 'sequence
                    found = True
                    Exit For
                End If
            Next
            If found = False Then
                wbssht.Cells(wbssht.UsedRange.Rows.Count + 1, 1).value = sht.Cells(i, 1).value
                wbssht.Cells(wbssht.UsedRange.Rows.Count, 2).value = sht.Cells(i, 2).value
                wbssht.Cells(wbssht.UsedRange.Rows.Count, 3).value = 0
                wbssht.Cells(wbssht.UsedRange.Rows.Count, 4).value = sht.Cells(i, 3).value
                wbssht.Cells(wbssht.UsedRange.Rows.Count, 5).value = sht.Cells(i, 4).value
            End If

        Next

I am trying to achieve an indented output structure as image below in excel.
Expected output
I know its probably really simple, but may need some different approach.

A: Try this code:
Private Sub TreeView1_KeyUp(KeyCode As Integer, ByVal Shift As Integer)

    'Checking what button is pressed.
    Select Case KeyCode

        'If F5 is pressed.
        Case Is = 116

            'Declarations.
            Dim RngList As Range
            Dim RngTarget As Range
            Dim DblNameOffset As Double
            Dim DblParentOffset As Double
            Dim DblSequenceOffset As Double
            Dim StrMarker As String
            Dim NodNode As Node
            Dim DblRow As Double
            Dim DblCounter01 As Double
            Dim DblItemMax
            Dim ObjTreeView As Object

            'Setting RngList as the first value in the Item ID column.
            Set RngList = Sheets("Sheet1").Range("A2")

            'Setting ObjTreeView.
            Set ObjTreeView = ActiveSheet.Shapes("TreeView1")

            'Setting StrMarker as a value that won't be in any Item ID value nor in any Sequence value.
            StrMarker = " | "

            'Setting the variables as offests of each column of data from the Item ID column.
            DblNameOffset = 1
            DblParentOffset = 2
            DblSequenceOffset = 3

            'Changing RngList to cover the whole Item ID list.
            Set RngList = RngList.Parent.Range(RngList, RngList.End(xlDown))

            'Setting DblItemMax as the count of Item IDs.
            DblItemMax = Excel.WorksheetFunction.CountA(RngList)

            'Checking that RngList does not contain any non unique value, non numeric value, blank cell.
            For Each RngTarget In RngList
                Select Case True
                    Case Is = (Excel.WorksheetFunction.CountIf(RngList, RngTarget.Value) > 1)
                        MsgBox "Non unique item ID found. The treeview will not be updated.", vbCritical + vbOKOnly, "Invalid item ID: " & RngTarget.Value
                        Exit Sub
                    Case Is = (RngTarget.Value = "")
                        MsgBox "Blank ID found. The treeview will not be updated.", vbCritical + vbOKOnly, "Invalid item ID in cell " & RngTarget.Address(False, False)
                        Exit Sub
                    Case Is = (IsNumeric(RngTarget.Value) = False)
                        MsgBox "Non numeric item ID found. The treeview will not be updated.", vbCritical + vbOKOnly, "Invalid item ID: " & RngTarget.Value
                        Exit Sub
                End Select
            Next

            'Clearing ObjTreeView of any previous nodes.
            ObjTreeView.OLEFormat.Object.Object.Nodes.Clear

            'Covering each Item ID from the smalles to the greatest.
            For DblCounter01 = 1 To DblItemMax

                'Setting DblRow as the number of row in RngList that contains the given Item ID.
                With Excel.WorksheetFunction
                    DblRow = .Match(.Small(RngList, DblCounter01), RngList, 0)
                End With

                'Setting RngTarget as the cell that contains the given Item ID.
                Set RngTarget = RngList.Cells(DblRow, 1)

                'Checking if the given parent name exist in RngList.
                If Excel.WorksheetFunction.CountIf(RngList, RngTarget.Offset(0, DblParentOffset).Value) = 0 Then
                    'If it doesn't exist, the new node is added with no parent node.
                    ActiveSheet.Shapes("TreeView1").OLEFormat.Object.Object.Nodes.Add , , "K" & RngTarget.Value, RngTarget.Offset(0, DblSequenceOffset) & StrMarker & RngTarget.Offset(0, DblNameOffset)
                Else
                    'If it exists, the new node is added under its parent node.
                    ActiveSheet.Shapes("TreeView1").OLEFormat.Object.Object.Nodes.Add "K" & RngTarget.Offset(0, DblParentOffset), tvwChild, "K" & RngTarget.Value, RngTarget.Offset(0, DblSequenceOffset) & StrMarker & RngTarget.Offset(0, DblNameOffset)
                End If
            Next

            'Sorting each node (they were added with the Sequence value at the beginning of it text).
            For Each NodNode In ActiveSheet.Shapes("TreeView1").OLEFormat.Object.Object.Nodes
                NodNode.Sorted = True
            Next

            'Cutting out the sequence value from the text of each node using the properly placed StrMarker.
            For Each NodNode In ActiveSheet.Shapes("TreeView1").OLEFormat.Object.Object.Nodes
                NodNode.Text = Split(NodNode.Text, StrMarker)(1)
            Next

    End Select

End Sub

It's a private sub that will activate when you press F5 while the treeview is selected. Therefore you'll have to place it in the module of the sheet where the treeview is located. It assumes that your treeview is named TreeView1. It also assumes that your list is placed in the cells A1 of a sheet named Sheet1; that means that in cell A1 of Sheet1 you'll find the header "Item ID" while in cell A2 you'll find the first ID. Note that you can have the list in one sheet and the treeview in another one. Anyway you can edit the code itself accordingly to your needs (perhaps you can change the list address, the treeview name or the key to be pressed to activate it). Other paramaters can also be costumized.
The code checks for any empty, non numeric non unique Item ID and if it finds any of them it terminates itself.
The list can be sorted in any order. The code should work anyway. In your data sample the first item (27521) has a parent name (18133) with no match in the Item ID column. In case like this, the code create a node with no parent node. In any case it is assumed that any Item ID has a father with a lower Item ID.


The Art of the Warriors is a beautifully designed and lucid introduction to Plains rock art. Written by one of the foremost authorities on this subject, Forest Service archaeologist James D. Keyser, it neither mystifies nor oversimplifies. This glossy, oversized volume will appeal to three primary audiences: those who love the Great Plains but know little about rock art, those who love rock art but know little about the Great Plains, and scholars who enjoyed Keyser and Klaasen's Plains Indian Rock Art ( 2003) but longed for color photos. Useful endnotes and an extensive bibliography complement the lavishly illustrated text.


Welcome to the home page for the Doncaster Detector & Collectors Club .
The aim of this site is to tell you about the club and show you what we do . The site is still currently under construction , so not all the titles will have something under them yet . The guestbook , message board & For Sale sections are all working ,so please leave an entry in the guestbook so we know who is visiting us . Alternatively you can e~mail us at doncasterdetectors@hotmail.com .
Thanks for visiting and we hope you enjoy our site .
The Doncaster Detector & Collectors Club .
This is the section for information about the club and articles from it's members . Just click on the heading that interests you .
Below you will find our guestbook (so please sign it !!!) , a message board for any questions or comments about the page and various relevant web rings that will take you to the pages of other societies and give you some important links (alternatively , see the links section above) .
This Treasure Hunters site owned by Vanessa Bremner.


According to the Issue Tracker thread, Instant Apps interfere with the getInstalledPackages and getInstalledApplications commands. Apps use these to find a list of other apps on your phone. You might need that in apps that manage notifications, storage cleaners, or Google's own Files Go app that tells you when apps haven't been used in a while. After installing an Instant App, these commands just return empty lists.
You can see a demo of the issue in the video above. Googlers in the thread have confirmed the issue, saying it's reproducible in Android 8.0. It seems like most (possibly all) Android 8.0 devices are affected. However, Android 8.1 doesn't seem to be affected. Google is looking into a fix for affected devices.


text:
Q: 'Submit' onload enters into a loop I want this form to submit once the page has loaded, and I've used the following code to do it. The problem is that the page keeps on reloading and stays in that loop.
HTML

 <form id="filters" method="post">

      <select id="Genre" name="genres" >
        <option value="Select Genre">Select Genre</option>
        <option value="All">All</option>
        {% for row in genre %}
          <option value="{{row.genre}}">{{row.genre}}</option>
        {% endfor %}
      </select>
      <select id="Rating" name="ratings" >
       <option value="Select Rating">Sort by Rating</option>
       <option value="Best">Best</option>
       <option value="Rating_IMDB">IMDB</option>
       <option value="Rating_RT">Rotten Tomatoes</option>
     </select>

 </form>

A: Current State Of The Question
Currently the question doesn't really provide enough information for a good answer, because we have no idea either
1) Where the form is submitted to
2) What the form is supposed to do when submitted
Once these are added, then this answer can be further improved.
Answer
You need to add an action for that form if you want it to do something. Also, I can't see why you want to submit a form BEFORE A USER CAN INPUT ANYTHING.
Currently the form makes no sense. It is acting effectively as a redirect to the page you are already on, because by default action="#" (I think).
AJAX
In order to do the equivelant of submitting a form without this reload loop, you want to use AJAX. This sumbits an asynchronous request to the server and doesn't actually load the page in browser. Here is how:
function loadDoc() {
  var xhttp = new XMLHttpRequest();
  xhttp.onreadystatechange = function() {
    if (xhttp.readyState == 4 && xhttp.status == 200) {
      document.getElementById("demo").innerHTML = xhttp.responseText;
    }
  };
  xhttp.open("POST", "Where_you_are_submitting_form_to", true);
  xhttp.send();
}

source: w3 schools

A: You need to put the "action" in the form.

<form id="filters" method="post" action="path">

  <select id="Genre" name="genres">
    <option value="Select Genre">Select Genre</option>
    <option value="All">All</option>
    {% for row in genre %}
    <option value="{{row.genre}}">{{row.genre}}</option>
    {% endfor %}
  </select>
  <select id="Rating" name="ratings">
    <option value="Select Rating">Sort by Rating</option>
    <option value="Best">Best</option>
    <option value="Rating_IMDB">IMDB</option>
    <option value="Rating_RT">Rotten Tomatoes</option>
  </select>

</form>

Fiddle

redpajama_set_name: RedPajamaStackExchange


QuickTime 7.1.1 addresses an issue with 3rd party start-up items on Intel Macs. This release also fixes an issue exporting to Keynote presentations to iDVD. Also delivers numerous bug fixes, support for iLife06, and H.264 performance improvements. This update is highly recommended for all QuickTime 7 users.
Use the 7.1.1 link above to go to the download page or check your software update.


Tap The Thumbnail Bellow to See Related Gallery of "Lion Head Iron Drawer Pull Hardware Throughout Pulls Idea 17"
Image Title: Lion Head Iron Drawer Pull Hardware Throughout Pulls Idea 17. Filename: lion-head-iron-drawer-pull-hardware-throughout-pulls-idea-17.jpg. Image Dimension: 680 x 680 pixels. Images Format: jpg/jpeg. Publisher/Author: Enrique Treutel. Uploaded Date: Monday - February 19th. 2018 09:17:17 AM. Category: Architecture. Image Source: homestyler.com.


text:
Q: timing the execution of a source command I'm trying to improve the execution of my zsh dotfiles, and I need to time the execution my sub-scripts.  I have a section of code in my .zshrc looking like this:
typeset -U config_files
config_files=($DOTFILES/**/*.zsh)
for file in  ${(M)config_files}
do
    source file
done

What I'd like to do is something like this:
for file in  ${(M)config_files}
do
    \time -f %E source file
done

But unfortunately, I get this kind of response:
time: cannot run source: No such file or directory

Where am I going wrong?

A: source is a builtin, not an external command, so using the external time to time it doesn't make sense. Do either of:
TIMEFMT=%E
for file in  ${(M)config_files}
do
    time (source file)
done

Or:
for file in  ${(M)config_files}
do
    \time -f %E zsh -c 'source "$1"' zsh "$file"
done

In the former, the subshell is necessary because:

Additional note:  The time builtin applied to any construct that is
  executed in the current shell, is silently ignored.  So although it's
  syntactically OK to put an opening curly or a repeat-loop or the like
  immediately after the time keyword, you'll get no timing statistics.
  You have to use parens instead, to force a subshell, which is then
  timed.

And in the latter case, you're starting a new zsh instance for each file. So, in both cases, there's no way for easily timing dependent scripts (i.e., where one config file does something that is required by or somehow affects another config file). Alternately, you can save the output of time after each source, which will give you cumulative timing:
TIMEFMT=%E
{time} 2> times
for file in  ${(M)config_files}
do
    source file
    {time} 2>> times
done

Then you can use awk or something to get the individual timings:
awk 'NR != 1 {print $0 - prev} {prev = $0; getline}' times

A: I looked at the man time command and noted
Users of the bash shell need to use an explicit path in order to run
the external time command and not the shell builtin variant.  On system
where time is installed in /usr/bin, the first example would become

so I'm guessing you should provide a path for time.
Please note i have no experience in zsh


text:
@interface TableViewController ()
<
UIAlertViewDelegate
>

@property (nonatomic) NSMutableArray *dailyForecasts;

@end

@implementation TableViewController

- (void)getWeatherStuff{

    [self.dailyForecasts removeAllObjects];

    NSString *apiKey = @"8040fc5b15adaaafabbe7de9c3ff5458";
    NSString *latitude = [[NSUserDefaults standardUserDefaults] objectForKey:@"Latitude"];
    NSString *longitude = [[NSUserDefaults standardUserDefaults] objectForKey:@"Longitude"];

    NSString *url = [NSString stringWithFormat:@"https://api.forecast.io/forecast/%@/%@,%@", apiKey, latitude, longitude ];

    AFHTTPRequestOperationManager *manager = [AFHTTPRequestOperationManager manager];

    [manager GET:url parameters:nil success:^(AFHTTPRequestOperation * _Nonnull operation, id  _Nonnull responseObject) {

        NSDictionary *daily = [responseObject objectForKey:@"daily"];
        NSArray *dailyData = [daily objectForKey:@"data"];

        for (NSDictionary *day in dailyData){

            Forecast *forecast = [[Forecast alloc] init];
            forecast.highTemp = [day objectForKey:@"temperatureMax"];
            forecast.lowTemp = [day objectForKey:@"temperatureMin"];
            forecast.iconTitle = [day objectForKey:@"icon"];
            forecast.summary = [day objectForKey:@"summary"];
            forecast.humidity = [day objectForKey:@"humidity"];
            forecast.rainChance = [day objectForKey:@"precipProbability"];
            forecast.wind    = [day objectForKey:@"windSpeed"];

            NSString *epochTime = [day objectForKey:@"time"];
            NSTimeInterval seconds = [epochTime doubleValue];
            forecast.date = [NSDate dateWithTimeIntervalSince1970:seconds];

            [self.dailyForecasts addObject:forecast];
        }
        [self.tableView reloadData];

    } failure:^(AFHTTPRequestOperation * _Nonnull operation, NSError * _Nonnull error) {

        UIAlertView *alert = [[UIAlertView alloc] initWithTitle:@"Invalid Coordinates" message:@"Set your latitude and longitude to valid coordinates" delegate:self cancelButtonTitle:@"OK" otherButtonTitles:nil];
        [alert show];
        NSLog(@"error: %@", error);
        [self.tableView reloadData];
    }];
}

- (void)viewDidLoad {
    [super viewDidLoad];

    UINib *nib = [UINib nibWithNibName:@"ForecastTableViewCell" bundle:nil];

    [self.tableView registerNib:nib forCellReuseIdentifier:@"forecastCellIdentifier"];

    self.dailyForecasts = [[NSMutableArray alloc] init];
}

-(void)viewWillAppear:(BOOL)animated{

    [self getWeatherStuff];
}

#pragma mark - Table view data source

- (NSInteger)numberOfSectionsInTableView:(UITableView *)tableView {
    return 1;
}

- (NSInteger)tableView:(UITableView *)tableView numberOfRowsInSection:(NSInteger)section {
    return self.dailyForecasts.count;
}

- (UITableViewCell *)tableView:(UITableView *)tableView cellForRowAtIndexPath:(NSIndexPath *)indexPath {
    ForecastTableViewCell *cell = [tableView dequeueReusableCellWithIdentifier:@"forecastCellIdentifier" forIndexPath:indexPath];

    Forecast *forecast = [self.dailyForecasts objectAtIndex:indexPath.row];

    NSDateFormatter *dateFormatter = [[NSDateFormatter alloc] init];
    [dateFormatter setDateFormat:@"EEEE"];

    cell.weekdayLabel.text = [dateFormatter stringFromDate:forecast.date];
    cell.temperatureLabel.text = [NSString stringWithFormat:@"%.1f - %.1f", [forecast.highTemp floatValue], [forecast.lowTemp floatValue]];
    cell.iconImageView.image = [UIImage imageNamed:forecast.iconTitle];

    return cell;
}

- (void)tableView:(UITableView *)tableView didSelectRowAtIndexPath:(NSIndexPath *)indexPath {

    ForcastDetailViewController *viewController = [self.storyboard instantiateViewControllerWithIdentifier:@"ForecastDetailViewController"];

    Forecast *forecast = [self.dailyForecasts objectAtIndex:indexPath.row];
    viewController.forecast = forecast;

    [self presentViewController:viewController animated:YES completion:^{
        NSLog(@"toot");
    }];
}

#pragma mark - Navigation

// In a storyboard-based application, you will often want to do a little preparation before navigation
//- (void)prepareForSegue:(UIStoryboardSegue *)segue sender:(id)sender {
//
//}

@end

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The duration between my trips to the US keeps getting shorter! I have set a new personal record with just two weeks between my trip to Orlando and this one. BTW, the US has (finally) begun introducing exit procedures when you leave the country. In San Francisco airport, there are now automated machines where you can scan your visa/passport to record your exit.
While awaiting the departure of my flight to Singapore, I noticed some wonderful murals in the new (?) Terminal G of San Francisco International Airport. The first one is by Juana Alicia and Emmanuel Catarino Montoya called Sanctuary depicting the arrival of immigrants and drawing similarities with migrating birds. The mural is painted in Fresco Buono, an ancient technique that mixes pigment directly into wet plaster.
The second is a ceramic tile mosiac by Rigo, called Thinking by Balmy Alley, of a solitary boy totally absorbed in the art of painting, and is inspired by a mural (since destroyed) painted in 1993 by the artist and local youth in Balmy Alley, located in the mission district of San Francisco.
I had six hours to kill at Singapore Airport which gave me enough time to write up most of these blog entries in the lounge, take a shower, and enjoy some Chwee Kueh and hot wonton noodle soup, before taking the flight to Mumbai.
San Francisco is one of the prettiest cities in the USA. I love watching the traffic disappearing over the hilly horizon, the tram-cars that remind me of Calcutta, streets with Spanish and Victorian houses, the Golden Gate shining in the sunlight, the downtown area filled with many dining and shopping options, the hustle-and-bustle of Chinatown, and of course the people. I have been here many times before, but I still like visiting here.
The picture alongside is that of a decorative vase in my hotel room. My room on the 12th floor had a great view of the downtown area; the Metreon multiplex and Bloomingdale shopping complex are only two blocks away and I could see the distant hills with houses and roads winding up and down in the distance.
On the last night of my stay here, I ate at the Ame, the Regis' signature restaurant at the lobby level. Ame combines elements of fine Japanese and Western cooking.
I ordered chilled sake and started with Tuna Sashimi with avocado tartare, shaved sake cured foie gras and nori tuile. For my entree, I ordered the chef's special for tonight that consisted of honey glazed rabbit with snow peas, spinach ravioli, dusted with goat cheese. And for dessert I went with the waiter's recommendation of a warm rhubarb pie with fresh strawberry salad and ice-cream, followed by freshly brewed Earl Grey tea.
Ame is run by husband and wife chefs, Hiro Sone and Lissa Doumani. You can find more details of this wonderful restaurant and the menu here. The pictures in this posting are of the sashimi, the dessert and the unique teapot in which the tea was brewed and served. After this awesome dinner, it was time to pack up for my long trip back home the next day.
The team dinner this time was in an upscale French restaurant. The Fleur de Lys is said to be one of the best restaurants for fine dining in San Francisco. This 45 year old restaurant has won many awards, as has its celebrity chef, Hubert Keller, who also owns this restaurant. Keller has been a guest chef to the Clinton White House, and the author of more than one cookbook.
We started with a tasting platter of Alsation Choucroute consisting of Choucroute soup, toasted spatzle, paprika oil Choucroute fondant with Osetra caviar and Choucroute strudel with sauteed foie gras.
This was followed by saddle and chops of rabbit with bean salad, carmelized cumin seed, honey and mint vinaigrette. Then came the symphony of smoked salmon tartar, chilled cream of salsify, Tartine of foie gras, duck breast and salad Lyonnaise.
For my entree I chose the boneless Quail stuffed with ris de veau presented with roasted parsnips, young leeks and foie gras, lightly smoked Tarragon jus. Dessert was equally grand with peanut and chocolate pot de cream, chocolate mousse cake flavored with lemon herbal tea, chocolate and strawberry feuilletine, Vanilla bean ice-cream and orange terrine. Whew! I bet it will take you a dictionary or heavy use of Google to figure out what I ate unless you are French.
For those who are wondering what Fleur de Lys means, it is a stylised, decorative flower symbol associated with the French monarchy and is still used in many logos and banners.
And finally, here's a picture of yours truely with the celebrity chef himself!
UPDATE: You can read about a more recent visit to Fleur de Lys here.
Unpretentious, superior hospitality, and cosy restaurants. That, in a nutshell, is how I would describe the Le Royal Meridian Hotel in Mumbai. I spent exactly four hours here before taking the Singapore Air flight on my way to San Francisco. The hotel is located behind Hyatt Regency and ITC Grand Maratha, and is very close to Mumbai's International Airport.
The hotel is not large and lavish like most five-star hotels in India. However, the lounge area on the same level, surrounded by the Chinese and multi-cuisine restaurants are done up rather nicely with white drapes and chandeliers. The live music during the evenings livens up the atmosphere considerably.
I ate at the Imperial China which had Oriental fans swaying to-and-fro in the ceiling; never seen that before! The prawns in black pepper sauce was delicious; however, the chilly-garlic rice was nothing to write about. I finished off with rose-petal ice-cream, which was rather nice and reminded me about childhood indulgence of home-made rose-flavored sweet dishes.
What stood out during the few hours I spent here was the great service by the hotel staff. The moment I got off the car, one of the staff greeted me by name, escorted me directly to my room and handed me my room keys, etc. The bellboys and front-desk staff were very courteous, as was the waitress at the restaurant, offering me complimentary kimchi and starters while I was waiting for my order, and magazines to read. Definitely a notch higher than the service levels at most hotels I visit; almost Oberoi quality!
Is is any surprise that Singapore Airlines almost always bags the Best Airline awards everywhere? They not only have a very modern fleet and a great airport in Changi, but also manage to keep their prices competitive. The Singapore Girl is often cited as yet another reason for travelling on this airline!
While most travellers equate the Singapore Girl to pretty attendants on the flights, it is serious business for the airline which has used the 'Singapore Girl' as one of its most successful brand icons. French haute-couture designer Pierre Balmain designed a special version of the Malay sarong kebaya as the uniform which later became one of the most recognized signatures of the airline. The icon has become so strong that Madame Tussaud's Museum in London started to display the Singapore Girl in 1994 as the first commercial figure ever.
And now there is another reason to look forward to travelling by Singapore Airlines: the newly designed cabins that have been introduced on routes serviced by their newly acquired Boeing 777-300ER jets. Here are some pics of their new business class cabins (seats in 1-2-1 configuration).
An excellent article on Singapore Airlines and how they built one of the most successful Asian brands can be found here.
Delta used to be my favourite airline. Their BusinessElite seating was one of the best some years back. I thought they had the best Frequent Flyer program and also the best selection of wines. Their lounges are among the best I have seen in the USA (of course, they are still way behind if you compare the local airline lounges in Singapore and Hong Kong).
But times have changed. While the Asian airlines thrive and keep upgrading cabins and service-offerings every year, the large US airlines (United, Delta, Continental, Northwest) have been trying to stay afloat. The last six months seem to have been good and profitable; however, I think they still have a long way to go before they can compete with the Asian airline companies. Here's an article from USA Today that discusses the troubling signs.
The average age of planes owned by the big four American airlines varies between 17-11 years! The problem is, even if the US airlines find money to upgrade their fleet, the only two suppliers of airplanes - Boeing and Airbus - have an order backlog all the way to 2010. And guess who's been ordering planes by the dozen all this time:the burgeoning airlines in India, China, Middle-East and Far-East Asia.
I flew to Orlando and back with my family on Delta with mixed feelings knowing I may not fly with them again any time soon.
BTW, when you fly business on Delta, they usually put you on First Class in the local US connections; I don't know of other airlines that do this. On the negative side, most Delta flights from India connect via Paris, which is probably the worst airport in Europe!
Since we visited the theme parks only on three days during this trip, we had a couple of days to laze around in the resort. During these 'lazy' days, we would take the bus to Downtown Disney during lunch. Downtown Disney has a variety of shopping, entertainment and dining options arranged around a lake.
A huge Virgin store for all the movies and music you want to buy, an AMC 24-screen multiplex, a Cirque du Soleil theater playing La Nouba, and the largest Disney shop in the world for Disney toys & clothing. It's all here in Downtown Disney along with night clubs in Pleasure Island which requires entry tickets. This is the only Disney location which seems to have something for the adults to do after being surrounded by Mickey, Donald and their pals in the theme parks!
However, what drew me here were the many dining choices. Bongo's serves Cuban food and is owned by Gloria Estefan and her husband. Other options are the House of Blues, Planet Hollywood, Wolfgang Puck, and the volcano-spewing Rainforest Cafe.
Here are some pictures of the rather interesting fare we sampled at the Rainforest Cafe. The Chimi Cha-Cha is a starter; light, crisp wonton skin embraces roasted chicken breast, sweet corn, black beans, citrus zest,roasted red peppers, and a 4 -cheese blend.
The Pastalaya, an entree, is made of shrimp, sauteed chicken breast, bell peppers, onions and Andouille sausage tossed in a hot and spicy Cajun sauce and served over linguini.
Of course, the most interesting thing in this eatery is the ambience: vines and trees all over the place, animals that move and make threatening noises accompanied by periodic thunder and lightning. My little angel felt threatened by the ugly-looking gorilla right above our table which would grunt and beat his chest every few minutes. Bad gorilla!
I had written earlier about Disney's Animal Kingdom Lodge here. This resort is probably Disney's best 'deluxe' resort and also one of its newer ones. I had booked a Savannah facing room and we would occasionally see giraffes, zebra, pelicans, deer and other African animals right from our balcony.
Everything here is designed to contribute to the 'being in Africa' feeling: the staff from African countries (or cast members as Disney prefers to call them) , real African artifacts, the low lighting in the rooms and corridors, the furniture, the African drum-beats heard in the corridors, the greenish colored swimming pool, the thatched roofs on the hotel, and of course the large Savannah that surrounds the property.
The main hall is awe-inspiring (click picture to view a larger sized one) and appears to be constructed of logs held together by ropes and with a thatched roof. This feeling is reinforced by the detailing that includes chandeliers made of tribal shields and spears. A massive fireplace is placed in one corner, with large windows looking out into the Savannah. There are multiple activities conducted by the rangers for kids during the day at the Arusha Rock viewing area, the flamingo pond, and at the Sunset Lounge.
But what did I like the best? As you can guess, it was the food! The African Kingdom has three dining options: The Jiko serves contemporary African food and stocks over 70 African wines, the Boma serves buffet in a market-place setting, and Mara for quick-service options. Both Jiko and Boma have won recent awards; Zagat Survey recently rated them among the top five restaurants in the city.
Both breakfast and dinner buffets at the Boma were a treat for the senses. The ambience, the presentation, and the quality of food and drinks served are excellent. There were about 60 items in the dinner buffet and I can remember Marakkesh Cous Cous, Fufu, Pap & Sheeba, Sharaak, exotic salads made of orange with raddish and watermelon rind. Dessert choices that included peach crumble, zebra domes, fruit tartlets, chai flavored kheer, etc.
For breakfast I usually had their jungle juice, made-to-order omelettes (mine usually had ham, cheese, mushroom, and onion), french toast, banana nut muffin, sausages, bacan, baked potatoes, and fresh fruit. Oh yes! I was having fun. I can also say that Boma makes some of the best omelettes I have ever eaten. BTW, why can't they make muffins in India? I miss my banana-nut and blueberry muffins!


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We work towards eradicating generational divides, loneliness and isolation within the community. Our Love Your Neighbour champs will spend an hour or so a week with an older neighbour who lives close to their home/work/university. How you decide to utilise your time is entirely up to you both. Whether it's catching up over a cup of tea, or going down to the local coffee shop, pub or theatre, we trust you just enjoy your new-found friendship. Story telling is a big part of what we do too so the more stories you share the better.
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Are you passionate about inspiring the next generation to create sustainable solutions to the problems our planet is facing? We are at PPL PWR. We are a collective who aim to encourage new ideas and technologies to power sustainable change. Our "DIY Renewables" project is a series of workshops in secondary state schools funded by the Royal Academy of Engineering which allow students to develop engineering skills and create their own product in the theme of sustainable technology.
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La quinta stagione della serie televisiva Da Vinci's Inquest è stata trasmessa in anteprima in Canada dalla CBC Television tra il 27 ottobre 2002 e il 23 febbraio 2003.

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This fact sheet provides an overview of transgender resources in Washington, DC.
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Bernstein at 100: a personal look by Jay Nordlinger
February 2018 February 2018
Leonard Bernstein. Photo: New York Philharmonic
Features February 2018
Bernstein at 100: a personal look
On the composer, conductor, pianist, and writer Leonard Bernstein.
Concert halls are filled with the music of Leonard Bernstein this season, for we are in an "anniversary year": the centennial of Bernstein's birth. He was born on August 25, 1918, and died on October 14, 1990 (at seventy-two). Anniversaries are virtually the organizing principle of the music business. I have long complained of "anniversaryitis"—but there are worse afflictions, true.
New York is especially Bernstein-mad. The composer spent his career in this city, though he was born and raised in Massachusetts. He wrote, among many other things, "New York, New York," that catchy song from On the Town (you know which town). It's practically an anthem of the city. The New York Philharmonic asserts particular ownership of Bernstein, as well it might: he was the orchestra's music director from 1958 to 1969, and regularly conducted the orchestra thereafter. A few years ago—peeved at some expression of idolatry— I wrote that Bernstein was "kind of a god and mascot of the Philharmonic, and of New York." The subject of Bernstein provokes peevishness in some people.
On New Year's Eve, the Philharmonic had a Bernstein gala, conducted by Bramwell Tovey, an Englishman. In remarks to the audience, he said many over-the-top things about Bernstein —things he might have reconsidered in the cold light of day. But he also said this: Bernstein "was the most famous American musician of the twentieth century." When I heard this, I thought it was wrong. Then, in thinking about it for a few seconds, I could not contradict it.
The subject of Bernstein provokes peevishness in some people.
It would be unfair to count Rachmaninoff (who obtained U.S. citizenship). Same with Horowitz (who in any case was probably not more famous than Bernstein). Gershwin? Copland? Barber, with his Adagio for Strings? Maria Callas (who was American-born, but later took Greek citizenship)? Philip Glass? No, Maestro Tovey was right: it must be Bernstein. (And we are talking about classical musicians, of course, not Elvis.)
Shortly after Bernstein died, his friend Isaac Stern, the violinist, made a good point: Bernstein's "multifaceted talents came to full flower" just as television became the dominant medium in America, and just as the recording industry took off. Bernstein was everywhere. He was on television—primetime network television—often. Today, classical music barely has a foothold in television, even at odd hours and on odd channels.
"He hated it when someone said, 'You're really the Renaissance man,' but, damn it, he was. He had more than music in him." So said Marilyn Horne, the great American mezzo-soprano, to me in an interview some years ago. She went on, "One could learn so much from Lenny, just by having a meal with him. He had so much to give." I asked her, "Did he like singing?" "I think he did," she answered. "I never rehearsed anything with him—even something I thought I knew rather well—that he didn't put a whole new insight into. I learned a lot from him." Other musicians, at the top tier, give this same testimony.
Bernstein wrote classical music and Broadway music. He played the piano and conducted. He gave lectures and wrote—wrote prose, I mean. Donal Henahan, the late critic, once spoke of Bernstein's "bewildering versatility." Have we had anyone else like him? Yes, André Previn comes to mind. He writes music, of various sorts. He is a pianist (classical and jazz). He is a major conductor. And he writes like a dream—prose. (Try No Minor Chords, his memoir of Hollywood. It was edited by Jacqueline Kennedy Onassis, who was also close to Bernstein.)
Throughout Bernstein's life, there was a debate: Should he narrow down and do less, so that he could do one or two things better, or even better? Should he write classical music, only? Musical theater, only? Should he concentrate on conducting? Should he throw himself into piano playing, and be an actual concert pianist? I am one of those who believe that he needed to do it all. That he needed the blizzard of activity. I'm not sure he would have done any one thing better, had he focused on just that.
Bernstein reminds me of William F. Buckley Jr., different as they were in their politics. Buckley edited a magazine, wrote a syndicated column, hosted a television show, lectured widely, wrote spy novels, etc. When will he knuckle down and write a serious book?, many said. Why do we need another sailing journal or a hundred more columns on the news of the day when he could give us some summa? I believe that Buckley needed his blizzard of activity, needed outlets for his various talents, needed to scratch a variety of itches. Both Buckley and Bernstein were dedicated workers. They got a lot done. Each worked until his final breath (and kept going, I bet).
In preparation for this piece, I spent a few days bingeing on Bernstein: his music, his conducting, his piano playing, and more. I do not propose a complete survey here, far from it. Rather, I have some comments to make, in this season of Bernstein-bingeing. If you sample Bernstein recordings, bear this in mind: he made more than four hundred of them. Not all of them are gems, as how can they be? Even Homer nods, especially when he makes more than four hundred recordings. But Bernstein's record (no pun intended) is impressive.
Our opinions of Bernstein probably say as much about us as about him. When I was younger, I was a bit allergic to Bernstein, though I always acknowledged his talent (and thought West Side Story a masterpiece). You perhaps know the rap on him: trashy, vulgar, shlocky; needy, showy, mannered; bathetic, self-indulgent, egotistical. Bernstein is guilty of some of that, I think, but my allergy has largely vanished. I have become more "latitudinarian" in my musical judgments (to use a Buckley word). Young people, as a rule, are strict. They insist on right and wrong, and their conception usually comes from their teachers. When you get older, you accept that there's more than one way to skin a cat—although there are still right ways and wrong ways.
Our opinions of Bernstein probably say as much about us as about him.
For me, the key questions, certainly about performance, are: Is it musical? Is it reasonably faithful to the composer? Does the performer have a case? Almost never was Leonard Bernstein without a case.
A lot of conductors have played the piano, in public. Furtwängler, Walter, and Szell come to mind. Sawallisch, too. We should not count Eschenbach, because he was a famous pianist who then emerged as a conductor. Levine is a very good pianist. So is Previn, of course. Bernstein, too, was a very good pianist—a real pianist, not just a conductor who dabbled in piano playing—and he could probably have had a career, if he had wanted. We can see this in his earlier recordings especially.
In 1946, he recorded Ravel's Concerto in G (with the Philharmonia Orchestra of London, which he conducted from the keyboard). He plays beautifully and shrewdly. He observes French cool and American jazz (also cool). In 1947, he recorded Copland's Piano Sonata, in a commanding way. In 1959 came an enduring seller: Bernstein in Rhapsody in Blue, the Gershwin hit. Less famous but equally good is his 1966 recording of Mozart's Concerto No. 15 in B flat, K. 450, with the Vienna Philharmonic (which he also conducts). This performance is full of Mozartean character.
I will make two or three general remarks about Bernstein at the keyboard: He played with a big, fat tone. And his playing was masculine. Virile. The pianist he most reminds me of is Daniel Barenboim, who, as you know, has made a big career as a conductor, too.
Bernstein's later recordings, I find, are less good than his earlier ones. This is especially noticeable in the same repertory. Bernstein has practiced less, I imagine, and his fingers are sluggish. I once interviewed Eschenbach, who, that very morning, had resumed playing the piano after a long layoff. "My fingers felt like sausages," he said. Bernstein, in his later years, sometimes had sausage fingers. Also, the videos show us that his posture was poor: he sat close to the keyboard and hunched his shoulders, just as he did when he conducted, which was no hindrance. Bernstein looks restricted at the keyboard, and he was. His passagework is clumsy.
While he may have lost facility, he never lost boldness. He just bulls his way through, heedless of any obstacles. And even when he is at his worst, he shows you something musical. There is always some spark in his playing. The same is true of his conducting.
Leonard Bernstein with daughter Jamie and son Alex. Photo: Bernstein estate.
He loved Haydn, and conducted a lot of him. Try Bernstein in a 1984 recording—a film, actually—of Haydn's Symphony No. 92 in G, the "Oxford," with the Vienna Philharmonic. Bernstein is so alive. That is what Isaac Stern said about him and his music-making: above all, he was "so alive." In the Haydn symphony, Bernstein is free yet tasteful. He gets Haydn's humor. He lets the man have his flair. In these hands, the music swings.
In Bernstein's hands, the music swings.
"I got rhythm," Gershwin wrote (along with his brother Ira). American musicians are expected to have rhythm, and Bernstein was a leading example of this.
In my recent binge, I wanted to hear him in Brahms's Symphony No. 2, because a conductor must really know how to breathe in this symphony, and he should keep himself out of the way. I was worried that Bernstein would be all too present, and that Brahms would be distorted. I need not have worried—at least about a performance that Bernstein gave with the Boston Symphony Orchestra in 1972. On the podium, Bernstein speaks like Brahms, or rather, he lets Brahms speak. It is a beautiful, Brahmsian performance.
At the top of his game, Bernstein had extraordinary communicative powers, and extraordinary leadership ability. He felt that he belonged on the podium, and that the music came through him. He was its advocate, and others needed merely to follow. You can see this in a 1979 performance of Beethoven's Ninth Symphony with the Vienna Philharmonic. (Kurt Moll, incidentally, is stunningly good as the bass soloist.) The music is incisive, uplifting, and right. And no one is having a better time in the auditorium than the conductor.
He bothered a lot of us with his podium style: his leaps and swoons and so on. But I like to say, "No fair lookin'. " Music is an aural art, and if you don't like what you see, look away and listen. Moreover, a conductor must do whatever is necessary—stand on his head, if that's what it takes—to get from the orchestra what he desires.
Bernstein had a big appetite for music, as for other things, and he conducted almost everything. Curiously, he did not conduct much Bruckner. One of the Bruckner symphonies he did conduct was the Sixth, which almost no one conducts. For a famous man of the musical theater, he conducted only a modest amount of opera. He and Callas teamed for Medea and La sonnambula. He teamed with Marilyn Horne for Carmen. He teamed with Fischer-Dieskau for Falstaff.
A couple of years ago, I was writing about Falstaff, and I was positively drunk on the closing fugue. I think I listened to every recording of it—and none was better than Bernstein's. None was as good, actually.
In the concert hall, he championed his fellow American, Charles Ives, and indeed gave the premiere of Ives's Symphony No. 2—a full fifty years after it was written. He also championed Nielsen, the Dane, and Mahler and Sibelius, who are staples now, but who were not so established then. (Ives and Nielsen remain on the fringes.)
I wish to note, too, that Bernstein could conduct his own music, very well. In Bernstein, there is no one better than Bernstein. But doesn't that go without saying? Not necessarily. Some composers are less than ideal interpreters of their own music. I would rather hear Copland conducted by Bernstein than by Copland. And Stravinsky conducted by Bernstein than by Stravinsky.
The great Russian—actually, he became an American, like Rachmaninoff and others—was Bernstein's guest on television one night. The year was 1960. Bernstein called Stravinsky—as he did more than once, unambiguously—"the greatest composer of our time." (Remember that Shostakovich and Britten were also at work.) He said that a composer, in a recording, can show people for all time how his music should go. He then had Stravinsky conduct scenes from The Firebird (Stravinsky's magnificent ballet). I must admit, this conducting is awfully good, whether the last word or not.
Starting in 1954, Bernstein gave concert-lectures for the Omnibus program on cbs. In 1958, he gave the first of his Young People's Concerts, also carried by cbs. He did fifty-three of those concerts. The first of them was called "What Does Music Mean?" The last of them, aired in 1972, was on Holst's Planets. Over these fifty-three programs, Bernstein set an example in music appreciation. These days, almost every musician talks from the stage, whether asked to or not. Bernstein was really good at it. His thoughts were well organized, and he expressed them in excellent English. He also had a very good voice: a very good speaking voice. He could communicate in more than musical ways.
He spoke to the children at an amazingly high level. He spoke to them at a higher level than musicians today speak to adult audiences. He also assumed more knowledge (probably because he could). In his own day, Bernstein was regarded by many as low-brow, or at least a popularizer. Today, he would be considered the height of sophistication, maybe a snob. It's hard to watch Bernstein's Young People's Concerts now and not think that our culture has gotten markedly dumber.
In February 1960, he presented a program called "Who Is Gustav Mahler?" He tells the children that Mahler was one of the greatest conductors who ever lived. He then notes a criticism made by many people: Mahler may have been a great conductor, but he was not that good a composer, probably because his head was filled with the music of others—the music that he conducted—making it hard to compose music genuinely his own. Of course, this same criticism was made of Bernstein himself.
In his own day, Bernstein was regarded by many as low-brow, or at least a popularizer.
He then says, "I admit it's a problem to be both a conductor and a composer: there never seems to be enough time and energy to be both things. . . . That's one of the reasons I'm so sympathetic to Mahler: I understand his problem. It's like being two different men locked up in the same body. . . . It's like being a double man."
Bernstein has the orchestra—his New York Philharmonic—play some happy music from Mahler's Symphony No. 4. He then tells the children, "You might not believe it, but the man who wrote all that jolly stuff was one of the most unhappy people in history!" He further says, "When Mahler is sad, it's a complete sadness. Nothing can comfort him. It's like a weeping child. And when he's happy, he's happy the way a child is—all the way. And that's one of the keys to the Mahler puzzle: he is like a child. His feelings are extreme, exaggerated, like young people's feelings." Mahler was "half man, half child," says Bernstein. And, of course, that is said about Bernstein, with reason.
Years ago, I was talking with a musician friend of mine—a conductor—about Mahler. My friend did not care for Mahler. Explaining why, he said, "You know how young people say ' tmi'? 'Too much information'? That's how I feel about Mahler. The music is grossly personal." Leaving Mahler aside, that is a problem some of us have had with Bernstein, both as composer and as conductor.
Here is an interesting fact, slightly macabre: Bernstein lies buried with a copy of a Mahler score—that to the Symphony No. 5—lying across his heart.
When I looked at the catalogue of Bernstein's classical music, I was surprised by several things. First, there is less of it than I would have thought. Yes, Bernstein was busy as a conductor—extremely busy—but I somehow thought he had written more. Second, most of his writing was done in the first half of his career. There is a petering off. Third, he did not write very much piano music, especially for a composer who was so good a pianist. There is no concerto, for example. (There is no concerto for any instrument, except the violin, and he called that piece "Serenade.") Fourth, there are not that many art songs, for so famous a songwriter—for the composer of dozens of memorable Broadway tunes. But then, there is a fine line between his art songs and his Broadway songs, if any. Is "Somewhere" Broadway or "art"?
A radical in his politics, Bernstein might be seen as a conservative in his music. He clung to tonality when the fashion was the other way. He was willing to be simple when complexity was in style. He wrote for audiences and he wanted them to like it. He cared whether you listened. (Here, I allude to the famous, or infamous, title of a 1958 essay by Milton Babbitt: "Who Cares if You Listen?") Bernstein was attached to the old forms, including the medieval. Virtually his last work was Missa Brevis.
One of his best pieces, I have always thought, is the first one he ever published: his Sonata for Clarinet and Piano (1942). It is both French, as so many woodwind pieces were, and American. It is lovely and intelligent —with just enough jazz to make you grin. This sonata will likely remain in the clarinet repertoire.
Chichester Psalms (1965) has much beauty and power in it. (Have you ever thought of Bernstein as a religious composer? In addition to Chichester Psalms and Missa Brevis, he wrote a "Jeremiah" Symphony, a "Kaddish" Symphony, MASS, and more.) The second movement of the Chichester piece treats the Twenty-third Psalm, using a boy soprano. I find this music cloying. I am allergic to it. But I will also grant that there is an ingenuousness about it. Bernstein could be amazingly ingenuous or innocent, for such a sensualist and hedonist. The "Kaddish" Symphony (1963) I admit to being allergic to, even if my general Bernstein allergy has faded. The symphony strikes me as pretentious or pseudo-deep. It makes me cringe. I find parts of it emotionalist, rather than emotional. I can hardly listen. At the same time, I understand why other people respond to this piece. It is heart-on-sleeve. One man's pretentiousness or emotionalism may be another man's honest feeling.
I have said that the early sonata is lodged in the clarinet repertoire. What else of Bernstein will last? He himself feared that he would be remembered as a conductor, not as a composer. This may happen to Pierre Boulez, I believe. I wonder whether any of his music will be played, generations hence. This is impossible to tell. But I believe that Bernstein's Serenade (1954)—formally, "Serenade (after Plato's Symposium) for violin, strings, and percussion"—will last. When future generations want an American violin concerto from the middle of the twentieth century, they will turn to the Serenade, I wager. It is a beautiful, intelligent, and inspired work. More and more, I love it. I have always regarded it as Bernstein's best piece, in the classical field.
And I smiled when reading some New York Philharmonic program notes last October. It was almost a smile of vindication. Joshua Bell was playing the Serenade, and the program notes told a story: Late in his life, Bernstein was rehearsing the Serenade, and he turned to the soloist, Glenn Dicterow, to make a statement: "This is the best fuckin' piece I ever wrote."
Before leaving the subject of Bernstein's classical music, I should say this, too: he had an influence on other composers, especially Americans. Over the years, I have frequently described a new piece as "Bernsteinian," as regular readers can no doubt attest.
In 1954—the same year as the Serenade—he wrote a film score: that to On the Waterfront, Elia Kazan's masterpiece. The music enhances the movie. Later, Bernstein fashioned a suite from his score. He was nominated for an Oscar, but lost to Dimitri Tiomkin, who had written the music for The High and the Mighty. (Other nominees included two famous composers: Max Steiner, for The Caine Mutiny, and Franz Waxman, for The Silver Chalice.) Bernstein did not take his loss graciously. Not for him was "It's an honor just to be nominated." "I am furious about the Academy Awards," he wrote to his secretary. "It is obviously politics, and I don't care, except that it would have jacked up my price for the next picture to double. And that is important. Oh well." Bernstein, celebrated for his leftist ideals, sounds pretty money-grubbing in this note. I will also point out a curious fact: Bernstein wrote the music for what is many anti-communists' favorite movie of all time.
Opening Carnegie Hall's season in 2008, Michael Tilson Thomas gave a little talk. He was conducting his San Francisco Symphony in a Bernstein gala. Bernstein, he said—no, yelled—was a "lib-er-al." That's how he pronounced that word: with three distinct, fist-shaking syllables. The crowd erupted in applause and cheers. Was Bernstein a liberal? Only in the sense that the UC Santa Cruz faculty is. Bernstein was on the left, with such friends as Marc Blitzstein and Lillian Hellman. It was Bernstein who inspired Tom Wolfe's coinage "radical chic." Wolfe was writing about the fundraising party in 1970 that Bernstein and his wife, Felicia, had thrown for the Black Panthers. In 1989, the first President Bush wanted to give Bernstein the National Medal of the Arts. Bernstein refused, because of a controversy over federal funding of an art exhibit having to do with aids. In any case, Bernstein was involved in politics throughout his life.
Politics used to influence what people thought about Bernstein, musically.
I have no doubt that politics used to influence what people thought about Bernstein, musically. But that has largely burned away . . .
He wrote many pieces that are neither quite classical nor quite popular. Take his ballet Fancy Free (1944). Is it classical or popular? It is in between, I think, like Gershwin's American in Paris. What would you call MASS, Bernstein's "Theatre Piece for Singers, Players, and Dancers" (1971)? (I have quoted the subtitle.) The singers in the Gloria in excelsis Deo section sound like the Sharks and the Jets (gang members from West Side Story). What is Candide (1956)? Bernstein himself, on television one night, described it as "my operetta or musical or whatever you want to call it." He then conducted the overture. This overture, in all likelihood, will never leave the repertoire. Speaking to his audience of children, Bernstein said Candide had run only about two months on Broadway. Sadly, "the show is temporarily over, but the overture lingers on, I hope." The children may not have known it, but their parents probably did: Bernstein was adapting a lyric from a popular song—Irving Berlin's "The Song Is Ended (But the Melody Lingers On)."
The overture is fizzy and funny and fine (to quote a West Side Story song). Churchill once said of fdr, "Being with Franklin is like opening a bottle of champagne." The overture to Candide is that way too. So is the aria that the overture quotes, "Glitter and Be Gay." Another song from the show, "I Am So Easily Assimilated," is a funny one about the Jewish experience. Candide ends with "Make Our Garden Grow," which I refer to as a "secular hymn." It is a common gala-ender. In fact, the New York Philharmonic ended its recent New Year's Eve concert with it. Some audience members sang along with the professionals, unbidden: it is a hymn for the Church of the Upper West Side. As you might suspect, I'm not crazy about this song, having a slight allergy to it. Indeed, I react as to fingers on a chalkboard. But I should also say that "Make Our Garden Grow" is often performed in a treacly fashion, and it need not be.
Bernstein wrote two musicals—musicals that are obviously musicals, and not anything else—whose titles sound alike, confusing many of us. One is On the Town (1944) and the other is Wonderful Town (1953). Both musicals have lyrics by Comden & Green. On the Town is stocked with songs that endure: "New York, New York," "Lonely Town," "I Can Cook Too," "Lucky to Be Me," "Ya Got Me," "Some Other Time." Wonderful Town, not so much. ("Ohio"?) Also not enduring is 1600 Pennsylvania Avenue, which Bernstein wrote in the American bicentennial year of 1976, with no less than Alan Jay Lerner. Almost nothing from it lingers on. On New Year's Eve in Berlin, Joyce DiDonato, the American mezzo-soprano, sang "Take Care of This House" with the Berlin Philharmonic, under Sir Simon Rattle. I suspect a political point was being made, more than anything.
Finally, we come to West Side Story (1957). Bernstein dreaded being remembered as a conductor, not as a composer, but he also dreaded being remembered as the man who wrote West Side Story, period. Even if he were remembered that way—so what? West Side Story is enough for one lifetime, or ten. Years ago, record companies would put out box sets of complete operas, and also a single LP of highlights. I once described Handel's Giulio Cesare as a long, continuous highlights album. Every number in that show is a winner, one after the other. Giulio Cesare is an extended, historic bolt of inspiration (like the same composer's Messiah, in fact). Well, West Side Story is one big highlights album too. There is hardly a weak note, a weak moment, in the show. That goes for moments instrumental and vocal alike. "One Hand, One Heart" can be a little treacly —but it need not be performed that way.
"Something's Coming" is a model of anticipation. "Maria" is an outstanding tenor aria. "Tonight" is a rhapsodic duet. "America" is eternally hot. "I Feel Pretty" is an outstanding waltz-song, something that Brahms would have admired. "Gee, Officer Krupke" is comedy gold. "I Have a Love" is another duet, with Straussian intervals. And let me say about "Somewhere"—that Schubert wouldn't have minded putting his name to it.
As long as there is anything like musical theater, there will be West Side Story. As long as people want to sing and play and dance, there will be West Side Story. Those proverbial cockroaches that will survive a nuclear holocaust? They will have West Side Story to enjoy.
When The New Criterion asked me to write about Bernstein at 100, I sort of groaned. I was Lenny'd out a long time ago. But I much appreciated my immersion, my bath, my binge on Bernstein. When I was younger, I think I resented all the attention that Bernstein got, especially when others were ignored. (Attention often seems to be a zero-sum game.) Why doesn't anyone care about Eugen Jochum?, I would think. Not sexy enough, not weird enough, not publicity-seeking enough? I was nauseated by Bernstein's celebrity. I was repulsed by his obvious neediness and egotism, and by the Cult of Bernstein.
I understand my former views, and can still get peeved from time to time. But the Bernstein wars are long past, even if the melody, or smoke, lingers a little. The record is clear, for anyone to examine, whenever he wants: Bernstein was a great musician—a total musician—and a genius. In his vast and varied output, he made a big contribution to the cultural heritage of his country, and beyond.
Jay Nordlinger is a Senior Editor at National Review.
His podcast with The New Criterion, titled "Music for a While," can be found here.
This article originally appeared in The New Criterion, Volume 36 Number 6, on page 10
Copyright © 2020 The New Criterion | www.newcriterion.com
https://newcriterion.com//issues/2018/2/bernstein-at-100-a-personal-look
Topics:Music, Leonard Bernstein, American Music
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Home/NBA/Vanessa Bryant's Blunt Response To Staples Center Name Change
Vanessa Bryant's Blunt Response To Staples Center Name Change
Carlos GarciaNovember 17, 2021
The Staples Center will become Crypto.com Arena starting December 25th of this year.
After spending the last two decades as the home of the Los Angeles Lakers, Clippers and Kings, the world-renowned venue sold its naming rights for $700 million.
As part of the agreement, the soon-to-be Crypto.com Arena will undergo a massive renovation not unlike the one that occurred with Madison Square Garden recently.
Given that the Staples Center had been home to so many incredible sports memories for LA fans, the announcement that it would soon have a new moniker elicited many strong reactions.
In a late night post, Kobe Bryant's widow Vanessa published this on Instagram:
It's tough to argue with that assessment. Kobe played a significant role in establishing the Staples Center as a must-see venue whenever he played. There's a reason why LA sports fans reacted the way they did when a guy tried to publicly disrespect Kobe in his own city.
Vanessa wasn't the only member of the Laker family to react to the name change.
Former team forward Kyle Kuzma, who is now with the Washington Wizards, also weighed in.
Sheeshhh RIP @STAPLESCenter https://t.co/WycoWdpPkt
— kuz (@kylekuzma) November 17, 2021
Various members of the LA Clippers also offered their thoughts.
"The Lakers have their history here, Kobe, especially my era, growing up, watching those championships. Shaq [O'Neal]. Nah, it's too many memories. It's gonna be hard to not call it Staples," Reggie Jackson said on Tuesday night.
Obviously this change will take some getting used to on the part of all parties involved.
Alex Caruso's model girlfriend brought a special guest to the last Lakers game. https://t.co/6Kkvr8EbpU
— Game 7 (@game7__) November 17, 2021
Regardless of how everyone feels, though – the name change is happening. Will it at some point feel a little less weird than it currently does? Time will tell.
Related: DeMar DeRozan Reveals Who's To Blame For Failed Lakers Deal
Kobe Bryant Lakers Los Angeles Lakers NBA Vanessa Bryant


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Opening Game of 2015 IPC Ice Sledge (Sled) Hockey World Championships
The Sled Hockey Foundation on Apr 26, 2015 | News
The 2015 International Paralympic Committee Sled Hockey World Championships are underway at HarborCenter in Buffalo, New York!
Norway is up on the Szech Republic by a score of 3 to 1 as the third period begins. It has been a fast game with lots of end-to-end action.
The international fans are here and the building is energized. The day will build to the formal opening ceremony later tonight just before USA squares off against the Russians - a rematch from the 2014 Olympic games where Team USA won Gold.
This is truly a world class event with the attention of the world watching the finest sled hockey players from around the globe compete for a world title.
It will be a great week!
Get your tickets while you can.


So how do you shed a pound a week?
First you must know how many calories are in a pound of fat. There are 3500 calories in a pound of fat.
So the rest is simple. Just burn 3500 extra calories.
Call or reply to this article to set up your free consultation.
Spread the word. Check out our Etobicoke Boot Camp! Use the "refer a friend" link below to forward this newsletter to your friends, family, and coworkers.


I consider myself like a parent to my art. I create it, nurture it, devote my time and love to make it the best that I can. But in time, I have to set it free and send it out into the world. What happens to it then, while it still affects me, I realize I have no control over. In a sense, my art has become a separate, living entity to be evaluated and interpreted by all that come in contact with it.
Because of this, I feel uncomfortable when pressed to describe my work. I like for people to look at it and enjoy it as they see it. I don't like to tell people what they should be seeing. I like my pictures to tell stories. And I want people to see their own story in it.


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Entrepreneur — Kevin Mansell-Abell
Kevin studied for a graphic design degree at UWE Bristol's School of Art and Design. He now runs his own successful creative design studio
It's the excitement, the buzz, the challenge, the unknown that has made me want to run my own business
An opportunity to compete on a live brief gave me a taste of the 'real world' outside of education. Winning a competition and completing a placement led to future sub-contracted work. I left university with a degree, a growing portfolio and client base together with £10,000 in the bank.
It's the excitement, the buzz, the challenge, the unknown that has made me want to run my own business. As a child, I'd seen the highs and the lows experienced by my parents running a business and wanted a piece of the action. Control of your own destiny is a massive part of it, and the rewards when things are going well.
My mother is my main inspiration, and despite the lack of an academic background she's opened national store chains and built businesses. If she could do it with no formal qualifications, what could I do with a degree and the business experience?
How did your university course inspire you?
The subject I studied is integral to the work I do now. Without that, I wouldn't have the skills and knowledge. However, it's the work outside of my university degree that has taught me about finance, planning and people skills.
Any advice for budding entrepreneurs?
Take every opportunity in front of you. Be authentic, real and honest, even if things go astray - after all, people buy from people, not from businesses.
What top skills do you need?
Resilience - remember the good times when things get tough.
A long-term outlook - while short term, quick fixes and immediate wins are nice, they won't last.
People skills - customers, colleagues and suppliers. Connections can make or break a business, so treat people fairly and exceed their expectations.
What sacrifices have you made?
I gave up nights out, living at university and my free time. Earnings for the first five years were invested back into the business, so while I wasn't getting the reward for it, it was all part of the longer term plan. I managed to lower my risk by not borrowing a penny for the business - ever.
What are the key elements for running a successful business?
Attitude - the can do, want to and drive for moving forward, even when it's tough. More action and less talking.
Creativity - don't do what's always been done. You should challenge everything.
Relationships - look after others and give people an opportunity. Invest in long-term relationships with your clients and partners.
Organisation - keep things on track and on schedule. Slip ups can be expensive, complicated and can reduce client confidence.
Planning - be clear on what you want, and how much you want it. Think of the lifestyle the business will create for you. You'll need to have a tight grip on the goal when times get tough.
Gain an insight into self-employment.
Discover more about Kevin's business, That Media Group.
Sourced by Daniel Higginbotham, Editor
Prospects · November 2018
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text:
Парламентские выборы в Норвегии проходили 24 октября 1921 года. Это были первые выборы, в которых использовалось пропорциональное представительство, которое заменило предыдущую мажоритарную систему с выборами в два тура. Результатом стала победа альянса Консервативной и Левой либеральной партий, который получил 57 из 150 мест в Стортинге.

Избирательная система
Это были первые парламентские выборы в Норвегии, проведённые по пропорциональной избирательной системе, которая заменила мажоритарную систему по одномандатным округам. При распределении мест парламента использовался метод Д'Ондта. Это предоставило более мелким партиям возможность добиться представительства в Стортинге. Больше не было возможности баллотироваться в качестве беспартийного кандидата. Всего было 29 избирательных округов — 18 сельских округов и 11 городских. Количество депутатов парламента увеличилось на 24 до 150, из которых 100 депутатов избиралось от сельской местности и 50 — из городов. Возрастной ценз вступления в избирательные права был снижен с 25 до 23 лет.

Результаты

Примечания

Выборы в Норвегии
Норвегия
1921 год в Норвегии
Октябрь 1921 года


text:
Kimpa Vita
Authors & Contributors Listing
Home African Union Why East Africa should reject Economic Partnership Agreements deal with Europe by...
Why East Africa should reject Economic Partnership Agreements deal with Europe by Horace G. Campbell
Kimpavitapress
Europe is in crisis, and yet countries in East Africa are ready to sign on a poorly understood trade agreement with the EU whose overall impact will be disastrous for years to come. EPA will favour trade in the direction of Europe and stunt African progress. Tanzania has hesitated and called for public debate. Tanzania should provide the bold leadership required in the region to reject the EPA.
It seems to me that the discussion on the EPA that is being pushed by Kenya, especially the flowers lobby, does not understand the changes in the international situation. In 2016, Africans are a long way away from the era when British settler bigwigs in Kenya Michael Blundell and Bruce McKenzie could make decisions about the future of Africa. Then, they built the flowers trade as part of the lift capabilities of the British and European long term plans for Africa. These plans were thwarted by Tanzania and the liberation forces.
In the period 1971-1990, there had been an attempt by the West to isolate Tanzania because Tanzania did not toe the line of the West on the future of Southern Africa. For a short while, especially the days of Nguvu Kazi, Tanzania was alone, yet Nyerere did not blink.
Need for thorough examination of the texts
The present Tanzanian society is in a much better position than it was in 1984. The private sector has come out clearly against this Economic Partnership Agreement.
The Speaker of Parliament has called for debates in Parliament. But Parliament cannot debate unless they have full public disclosure of the EPA texts.
Universities, trade unionists, teachers and students ought to be engaged in this debate in public. The EU is depending on frightening the people that 'aid' would be cut off. But, if the figures were examined clearly, then one can see that the goals of the EPA are detrimental to the future of regional or full continental economic cooperation.
The EPA is a legally binding international instrument. It is of indefinite duration. Once in force a party can only withdraw from its obligations and entitlements by 'denouncing' the Agreement in its entirety (problematic in light of the goals of 2063).
If the agreement is signed, it endows EPA implementation with a degree of supra-nationality which EAC governance itself does not possess.
Lessons from the past
Older citizens of the East Africa will remember that when the East African Community broke up in 1977, it was not only for trade reasons, but also for reasons of security. The Entebbe raid of 1976 and the use of the East African airlines by the Kenyan security was something that former President Julius Nyerere could not accept silently. Importantly, Nyerere understood that the flowers lobby – Bruce McKenzie and Michael Blundell – was doing the deals with the Europeans and Israelis behind the back of President Jomo Kenyatta.
The most recent book by Saul David, Operation Thunderbolt:Flight 139 and the Raid on Entebbe Airport, the Most Audacious Hostage Rescue Mission in History, should be required reading for all literate East Africans. The Kenyan journalist John Kamau has detailed the duplicity of Charles Njonjo in keeping the Head of State in the dark about such a major military operation on Kenyan soil. (See How Entebbe Raid was plotted in Njonjo's home.)
In the present period, pan-Africanists and those who are planning for the future integration of Africa are not sure that the current Kenyan leadership fully understands the implications of signing this agreement. Former Tanzanian President Benjamin Mkapa has provided the necessary figures to point out the fact that, "The EPA with Europe is bad news for the entire region, even Kenya."
There must be a better grasp of the balance of economic forces in Kenya. The section that is pushing the deal has strategic control over the financial base, but such a base can shift within the twinkle of an eye. Kenyans should remember the role of France and the EU in Cote D'Ivoire.
Three months for debate
The good thing for Tanzania is that there are three months for debate. These will be three tumultuous months.
In the first place, the original discussion of the Economic Partnership Agreement (EPA), the collapse of the financial system (2008 crash) and the printing of money by the Europeans and the US government under the policy of quantitative easing makes it imperative that Tanzania moves to develop the infrastructure for local industry based on biomass and solar. The 2008 financial crisis is beckoning again and the head of the IMF Christine Lagarde hasstated that we are moving to a 1914 situation. It is a warning that we should heed.
There is no excuse for not rallying the people to grasp the threat to the independence of Africa. There are enough financial resources in Tanzania in the financial institutions. This is real money, as compared to the fiat money that will be given as 'aid.' This is the money that they are printing since 2011, because of the financial crisis.
Secondly, the fragility of the economic system in Europe has created political uncertainty. Hence, the British have taken the first step to break from the EU. Why should Tanzania sign the EPA at a moment of such great uncertainty?
The combination of the financial crisis (quantitative easing), the uncertainties in Europe over BREXIT and the excess capacities from the One Belt One Road (resources for infrastructure- R4I) provide the kind of breathing room that can only be filled by boldness.
If the government of Tanzania and the Governor of the Central Bank follow closely the global economic and financial situation, they will understand that there is deflation in Europe. The situation is one where there is 'bad money', meaning that money sitting in financial institutions where the money is earning negative interest rate because the international financial situation is so toxic. Literate East Africans should read this article by the former Minister of Finance for Greece, Yanis Varoufakis.
Tanzanians will have to re-position their economy so that they build strong links with the Democratic Republic of the Congo (DRC) and the economic potential that will come, even before this phase of the crisis is over in the EU and the USA and build up the Mtwara Corridor of Southern Tanzania, Malawi and Mozambique.
Audacity and boldness can only come from a conception of the leadership that will be provided by Tanzania. The Ugandans are so weak and opportunistic that they will break from the flowers and sugar barons once they realize that Tanzania is serious.
Such boldness will come from a proper reading of the international situation and that under no condition should any country be signing up for its future with Europe.
In the short term, the spaces on the question of the EPA should be filled with discussions. Yes, the EU wants governments to sign this agreement without real discussions.
Tanzanians should be discuss why the EU refuses to drop the subsidies that are given to their farmers under the Common Agricultural Policy of the EU.
Tanzanians have been called upon to drop subsidies and to ensure that the market decides prices. Tanzania should demand the same for Europe.
The EPA runs counter to the goals of the African Union Agenda of 2063. Even organs representing billionaires such as Mo Ibrahim grasp the detrimental implications of signing the EPA. According to their calculation:
The EPAs include only sub-Saharan African countries, excluding North African members of AMU. It potentially creates a split between North African and sub-Saharan African countries.
The EPA cements an unequal trading relationship in which sub-Saharan Africa exports raw unprocessed goods and imports EU manufactured goods. A reduction in tariffs will reinforce low value-added activities and reduce manufacturing output.
EPAs will favour trade in the direction of Europe. EPAs have rules of origin that differ from those in the RECs, which are simpler and have lower value-added requirements.
EPAs seek to eliminate export taxes, thus depriving African governments of crucial potential revenue. If East Africans want to see the full implications of signing the Partnership agreement with the EU, then they need only to look at the impact of the West Africa EU/EPA on the future of West African integration. The regional integration process in West Africa is being held back by the active role of France in both (ECOWAS) and the West African Economic and Monetary Union (UEMOA). France is working overnight to ensure that there is no move towards harmonizing trade and monetary relations in West Africa.
Tanzanians will have to ask themselves how will Tanzanian and East African firms be developed to the point where they can compete on equal grounds with EU firms? This agreement is like the Europeans telling the peasants in Sukuma-land that they have to wait for fixed landlines before they can join the information highways.
The EPA is more than just a trade agreement: it commits–or carries the potential of committing—the region to a path of economic retrogression. If this is the path the East African region wishes to follow, then it should do so with full knowledge of the consequences and prepare to deal with them. If not, then it might wish to pause and take stock. But the choice should be a conscious one, and fully informed.
* Prof Horace G. Campbell is Kwame Nkrumah Chair, University of Ghana, Legon, Ghana.
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Basilosaurus (or Zeuglodon) bones are found only in the Jackson marls, and other marine fossils are abundant.
Fraas, of Stuttgart, has demonstrated the derivation of the whale-like Zeuglodon from the creodonts.
It must be admitted, however, that the links between Zeuglodon and typical cetaceans are at present unknown; but it may be hoped that these will be eventually brought to light from the deposits of the Mokattam Range, near Cairo.