Whether they are longtime residents or brand new to Oakmont, it's the beautiful Valley of the Moon and a close proximity to family and friends that probably drew them here. But whether Oakmont is succeeding in its mission to be considered "premier" depends a lot on how that goal is interpreted.
At the request of the Board of Directors, the Long Range Planning Committee was asked to get an understanding of the qualities and attributes that define Oakmont and whether those attributes were correctly reflected in the Oakmont mission statement.
In July, a subcommittee conducted 26 interviews with people considered to be community leaders and compared that with 93 new residents who filled out a questionnaire for the OVA. Age ranges were fairly balanced but there were more women respondents than men.
Still, the results in both studies were remarkably similar.
LRPC member George McKinney, reporting on the new resident results, said location, family and activities also topped the list, and, again, safety stood out as a major reason for moving to Oakmont.
"In both groups, quite a number of people had family near here, had family that had lived here, had friends who lived here, or were from Sonoma County, so they knew Oakmont before deciding to come here," McKinney said.
The LRPC also felt that a new community-wide survey, is not something that should be undertaken now, but could be conducted if the committee or the Board of Directors require answers to specific questions. The previous survey was done in 2014.
"The subcommittee believes that the data collected from the interviews will adequately inform the LRPC, and ultimately the board, as it starts making long-term and short-term strategic decisions," Cannon said in her report.


Watching silently as time flies by.
Giddily they forget, tenderly try remember what's benign.
Medusa the great walks to give them the eye.
What's not theirs to own, as the gist defines.
Leave at their wake, gnats and flies to feast at the fallen.
Wrought as they come, come what may.
Dilapidated the skin lags, bones as their hangers.
Beating them would take an altogether different masquerade.
To live, to pain, to die, long for a feel at last.


text:
Increasing numbers of travelers are booking vacation lodging through Airbnb, choosing to forgo cookie-cutter hotel accommodations in favor of apartment or home rentals. As the tide continues to shift, destinations have bubbled to the top of Airbnb's listings in terms of popularity. Based on the number of active listings, we've sussed out Airbnb's most popular cities and highlighted the must-see attractions every visitor should experience.
The Seine River in Paris, France, with Eiffel Tower in the distance.
Photo by: Valerie Conners
Valerie Conners
The City of Light's must-see list is lengthy. Get your art fix at the Musee d'Orsay, where you'll find Impressionist works by masters like Cézanne, Monet, Van Gogh, and Degas. Find your literary fix at the most famous bookstore in the world, Shakespeare and Company, the one-time hangout of greats like Ezra Pound, Ernest Hemingway, and James Joyce. Make your way to the famed, gritty Montmartre neighborhood, home to the Moulin Rouge. Later, take a walking tour of Canal St. Martin, Paris's smaller, tree-lined waterway, and explore the surrounding trendy neighborhood's bars and boutiques.
Make like a local and head to one of the city's famed markets, like Marché Bastille. Stock up on cheeses, fruit, veggies, saucisses, olives, and fresh bread and enjoy a truly local afternoon lunch.
During summer months, head to Les Berges, a pedestrian walkway on the left bank of the Seine, where pop-up bars on barges appear, live music filters through the air, and crowds of young Parisians lay out picnic baskets in the early evening. Finally, as darkness falls, book a scenic boat tour along the Seine on one of the city's romantic bateau-mouche vessels.
New York City Skyline
The New York City skyline with One World Trade.
You could spend a lifetime in New York City and still not explore all its nooks and crannies. The city is home to some of the world's most recognizable buildings, and iconic structures, many of which are must-visits on a trip to the Big Apple. Don't leave without visiting Times Square; stop by the TKTS booth for discount tickets to Broadway shows.
Pay your respects to the victims of the 9/11 terrorist attacks at the National September 11 Memorial and Museum. From here, admire the architecture of the extraordinary One World Trade Center building, then gape at the views from One World Observatory, on the top floors of the building.
Bypass the crowds in the major museums, and experience the exceptional art collection at the beloved Frick Museum. Gain a sense of the city's urban immigrant history at the fascinating Tenement Museum. For an outdoor fix, make your way to the extraordinary High Line, an elevated park built along former railroad ties. Today, you'll find gardens, as well as pop-up vendors hawking food, drinks and art.
Stroll through the quirky West Village, and pop into the neighborhood boutiques. Head back downtown for a walk through Chinatown and a stroll over the Brooklyn Bridge and into the city's trendiest borough.
Cross the pond to experience some of the finest art collections in the world at London's excellent museums, like the British Museum, Tate Modern, and the National Gallery. Next, check out the epicenter of government at the Houses of Parliament, where you'll also spy everyone's favorite clock tower and bell, Big Ben.
For an unusual way of exploring the Thames River, rent a bike and cycle the Thames Path, home to public beaches, The Prospect of Whitby pub (a favorite of Charles Dickens), and the quaint village of Rotherhithe. Later, catch a breather in the Kyoto Japanese Gardens in Kensington Holland Park. You'll find tranquil paths, statues, peacocks and an opera house.
For a travel buzz, head into bustling Piccadilly Circus, which has been likened to New York City's Times Square. From here you'll be in easy proximity to the city's West End Theater District, home to some of the finest playhouses in the world. You can also easily make your way to the boutiques at Oxford Street. If you are interested in stretching your purse strings, spend a morning or afternoon at Portobello Road Market in the chic Notting Hill neighborhood or the grittier (but perhaps, more entertaining) Camden Market. Unwind amidst the greenery of Hyde Park and Kensington Gardens.
Rio de Janeiro as seen from Sugar Loaf Mountain.
Rising from Brazil's stunning, green coastline, Rio de Janeiro is arguably the world's sexiest city. When you're not sunbathing on Copacabana Beach, or seeking out the Girl From Ipanema, on neighboring Ipanema Beach, you can make your way to Sugar Loaf Mountain, where a tram car will take you to the peak. Here, you can snap photos of the stunning city sparkling along the waterfront below. Next, be sure to head to the top of Corcovado Mountain, where you'll be greeted by the wide-open arms of the Christ the Redeemer Statue.
Nature lovers can admire some 8,000 species of plants in the Jardim Botânico, then bicycle around Lagoa Rodrigo de Freitas, a saltwater lagoon in the city center. As evening falls, head to the popular Lapa neighborhood for drinks and dancing. But use caution -- though the bohemian neighborhood is far safer than it once was, it can still be dodgy in parts.
The unfinished spires of Sagrada Familia basilica rise above the sprawling city of Barcelona, like a fairy tale church plucked from the pages of a Dr. Seuss book. Designed by Antoni Gaudí, the site is a must-see. From here, you can head to another Gaudí-designed icon, the whimsical, mosaic-covered Parc Güell. To experience the cheerful pulse of the city, make your way to Las Ramblas, a tree-lined boulevard that stretches from Plaza Catalunya and ends at the Monument of Columbus at the Port Vell harbor. Before your legs grow weary, be sure to explore the Barrio Gotico, or Gothic Quarter, an ancient section of the city center market by twisting streets, interesting shops and cafes perfect for a revitalizing coffee break.
Art lovers should stop at the Picasso Museum, where they'll see famous works marking the artist's' early years spent living in Barcelona. Sports fans -- particularly fútbol aficionados -- should visit FC Barcelona Museum & Camp Nou stadium; if the season is right, you can buy tickets to a match.
What to Stop Spending Money on so You Can Travel More
Small change adds up to big travel experiences.
What To Do if a Bear Attacks
Rules for safer travel in bear country.
What to Pack for Your Destination Wedding
Professional wedding planners share their tips.
Resort-Like College Campuses
Hit the books at a beautiful school.
2017 Domestic Travel Trends
Add these trending U.S. cities to your wish list.
Santa's North Pole Home is Worth How Much?
The big guy's home is on Zillow. The photos rock.
Roaming With: Party Rocker Andrew W.K.
A chat with the well-traveled philosopher of fun.
Art Hotels: Check in and Check Out the Masterpieces
Come for the room, stay for the artwork.
Fellow Traveler: L.A. Vegan Chef Natasha James
Take a peek into this jack-of-all-trades' bag.

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: How to inner join three tables with XMLTABLE in Oracle I have a table called XML_INFRASTRUCTURE which has the following design:
COLUMN_NAME  | DATA_TYPE          | NULLABLE
-------------|--------------------|--------
XMLI_ID      | NUMBER(10,0)       | No
FILENAME     | VARCHAR2(255 CHAR) | Yes
LAST_VERSION | DATE               | Yes
XML_RAW      | CLOB               | Yes

In this table I am storing all the XML files I'm receiving through FTP as an XMLTYPE. I use XMLTABLE to get the information out and it all works well, until I start joining tables.
In the XML_INFRASTRUCTURE I have the following data:
XMLI_ID | FILENAME     | LAST_VERSION | XML_RAW
--------|--------------|--------------|--------------------------------
1       | ptcar        | 07-JAN-18    | <?xml version="1.0" encoding="ISO-8859-1"?><cern:ptcars creationDate="2018-03-16T19:35:54" xmlns:cern="http://www.website.com/Infrastructure" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.website.com/Infrastructure ../ns/infrastructure.xsd"><cern:ptcar id="1" validFromDate="1996-06-02" validToDate="2007-12-08" ....>
2       | ptrefColumn  | 07-JAN-18    | <?xml version="1.0" encoding="ISO-8859-1"?><cern:ptrefColumns creationDate="2018-03-20T11:33:21" xmlns:cern="http://www.website.com/Infrastructure" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.website.com/Infrastructure ../ns/infrastructure.xsd"><cern:ptrefColumn id="279" validFromDate="1998-04-01" validToDate="2001-06-11" ....>
3       | ptref        | 07-JAN-18    | <?xml version="1.0" encoding="ISO-8859-1"?><cern:ptrefs creationDate="2018-03-20T11:33:05" xmlns:cern="http://www.website.com/Infrastructure"xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.website.com//Infrastructure ../ns/infrastructure.xsd"><cern:ptref id="232" validFromDate="1998-04-01" validToDate="2001-06-11" ....>

And next I have the following requirements:
Given values: ptrefId and givenDate
select a.longNameFrench , a.longNameDutch
from   ptcar as a,
       ptrefColumn as b,
       ptref as c
where c.id = ptrefId
and b.id = c.ptrefColumnId
and a.id = b.ptcarId
and a.validFromDate <= givenDate
and a.validToDate >= givenDate
and b.validFromDate <= givenDate
and b.validToDate >= givenDate
and c.validFromDate <= givenDate
and c.validToDate >= givenDate

So knowing this, I tried getting the XML out with XMLTABLE, but I have no idea how to get the join up and running. As you can see I tried chaining the XMLTABLE, but like this it's been running for over an hour now.
SELECT X.LongNameFrench, X.LongNameDutch
FROM XML_Infrastructure,
    XMLTABLE(
        '$d/*:ptcars/*:ptcar'
        PASSING XMLTYPE(XML_Infrastructure.XML_RAW) as "d"
        COLUMNS
            Id              VARCHAR2(10)    PATH    '@*:id',
            LongNameFrench  VARCHAR2(60)    PATH    '@*:longNameFrench',
            LongNameDutch   VARCHAR2(60)    PATH    '@*:longNameDutch',
            ValidFromDate   VARCHAR2(10)    PATH    '@*:validFromDate',
            ValidToDate     VARCHAR2(10)    PATH    '@*:validToDate'
    ) AS X,
    XMLTABLE(
        '$d/*:ptrefColumns/*:ptrefColumn'
        PASSING XMLTYPE(XML_Infrastructure.XML_RAW) as "d"
        COLUMNS
            Id              VARCHAR2(10)    PATH    '@*:id',
            ValidFromDate   VARCHAR2(10)    PATH    '@*:validFromDate',
            ValidToDate     VARCHAR2(10)    PATH    '@*:validToDate'
    ) AS Y,
    XMLTABLE(
        '$d/*:ptrefs/*:ptref'
        PASSING XMLTYPE(XML_Infrastructure.XML_RAW) as "d"
        COLUMNS
            Id              VARCHAR2(10)    PATH    '@*:id',
            ValidFromDate   VARCHAR2(10)    PATH    '@*:validFromDate',
            ValidToDate     VARCHAR2(10)    PATH    '@*:validToDate'
    ) AS Z
WHERE Z.Id = '512'
AND FILENAME = 'ptcar';

Suggestions are very welcome! (Sorry for the overload of information)

A: You are creating the three XMLTable results X, Y and Z from the same XML document, and that only has the ptcar node - so Y and Z don't find any data (as there are no nodes matching those XPaths).
Given the similarities between the three XML documents, and assuming the ID nodes you've shown are all supposed to be the same value (which isn't the case in your example data), you could use a single XMLTable to extract all of the relevant data from all of the documents:
SELECT X.Name, X.Id, X.ValidFromDate, X.ValidToDate, X.LongNameFrench, X.LongNameDutch
FROM XML_Infrastructure
CROSS JOIN XMLTABLE(
        '$d/*/*'
        PASSING XMLTYPE(XML_Infrastructure.XML_RAW) as "d"
        COLUMNS
            Name            VARCHAR2(10)    PATH    './local-name()',
            Id              NUMBER          PATH    '@*:id',
            LongNameFrench  VARCHAR2(60)    PATH    '@*:longNameFrench',
            LongNameDutch   VARCHAR2(60)    PATH    '@*:longNameDutch',
            ValidFromDate   DATE            PATH    '@*:validFromDate',
            ValidToDate     DATE            PATH    '@*:validToDate'
    ) X;

This uses wildcards to get any child node, but you coudl filter that if you have other types you haven't shown. It also adds a name column so you can tell which document each row came from (or you could include the file name if you prefer). It will give null values for the attributes that don't exist in all three.
And then use that in a CTE and join that to itself twice:
WITH cte AS (
  SELECT X.Name, X.Id, X.ValidFromDate, X.ValidToDate, X.LongNameFrench, X.LongNameDutch
  FROM XML_Infrastructure
  CROSS JOIN XMLTABLE(
          '$d/*/*'
          PASSING XMLTYPE(XML_Infrastructure.XML_RAW) as "d"
          COLUMNS
              Name            VARCHAR2(30)    PATH    './local-name()',
              Id              NUMBER          PATH    '@*:id',
              LongNameFrench  VARCHAR2(60)    PATH    '@*:longNameFrench',
              LongNameDutch   VARCHAR2(60)    PATH    '@*:longNameDutch',
              ValidFromDate   DATE            PATH    '@*:validFromDate',
              ValidToDate     DATE            PATH    '@*:validToDate'
      ) AS X
)
select a.longNameFrench, a.longNameDutch
from cte a
join cte b on b.id = a.id
join cte c on c.id = b.id
where c.name = 'ptref'
and b.name = 'ptrefColumn'
and a.name = 'ptcar'
and c.id = ptrefId
and a.validFromDate <= givenDate
and a.validToDate >= givenDate
and b.validFromDate <= givenDate
and b.validToDate >= givenDate
and c.validFromDate <= givenDate
and c.validToDate >= givenDate;

This is somewhat similar to creating views of the queries for each document type and then joining those, but without needing any new permanent objects.
With your partial sample data in another CTE, and setting all the IDs to 512 and adding the missing names in ptcar:
with XML_INFRASTRUCTURE (XMLI_ID, FILENAME, LAST_VERSION, XML_RAW) as (
  select cast (1 as number(2,0)), cast('ptcar' as varchar2(255)), date '2018-01-07', to_clob('<?xml version="1.0" encoding="ISO-8859-1"?>
<cern:ptcars creationDate="2018-03-16T19:35:54" xmlns:cern="http://www.website.com/Infrastructure" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.website.com/Infrastructure ../ns/infrastructure.xsd">
 <cern:ptcar id="512" validFromDate="1996-06-02" validToDate="2007-12-08" longNameFrench="Jean Dupont" longNameDutch="Jan Jansen"/>
</cern:ptcars>') from dual
  union all select 2, 'ptrefColumn', date '2018-01-07', to_clob('<?xml version="1.0" encoding="ISO-8859-1"?>
<cern:ptrefColumns creationDate="2018-03-20T11:33:21" xmlns:cern="http://www.website.com/Infrastructure" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.website.com/Infrastructure ../ns/infrastructure.xsd">
 <cern:ptrefColumn id="512" validFromDate="1998-04-01" validToDate="2001-06-11" />
</cern:ptrefColumns>') from dual
  union all select 3, 'ptref', date '2018-01-07', to_clob('<?xml version="1.0" encoding="ISO-8859-1"?>
<cern:ptrefs creationDate="2018-03-20T11:33:05" xmlns:cern="http://www.website.com/Infrastructure" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.website.com//Infrastructure ../ns/infrastructure.xsd">
 <cern:ptref id="512" validFromDate="1998-04-01" validToDate="2001-06-11" />
</cern:ptrefs>') from dual
),
cte AS (
  SELECT X.Name, X.Id, X.ValidFromDate, X.ValidToDate, X.LongNameFrench, X.LongNameDutch
  FROM XML_Infrastructure
  CROSS JOIN XMLTABLE(
          '$d/*/*'
          PASSING XMLTYPE(XML_Infrastructure.XML_RAW) as "d"
          COLUMNS
              Name            VARCHAR2(30)    PATH    './local-name()',
              Id              NUMBER          PATH    '@*:id',
              LongNameFrench  VARCHAR2(60)    PATH    '@*:longNameFrench',
              LongNameDutch   VARCHAR2(60)    PATH    '@*:longNameDutch',
              ValidFromDate   DATE            PATH    '@*:validFromDate',
              ValidToDate     DATE            PATH    '@*:validToDate'
      ) AS X
)
select a.longNameFrench, a.longNameDutch
from cte a
join cte b on b.id = a.id
join cte c on c.id = b.id
where c.name = 'ptref'
and b.name = 'ptrefColumn'
and a.name = 'ptcar'
and c.id = 512
and a.validFromDate <= date '2001-01-01'
and a.validToDate >= date '2001-01-01'
and b.validFromDate <= date '2001-01-01'
and b.validToDate >= date '2001-01-01'
and c.validFromDate <= date '2001-01-01'
and c.validToDate >= date '2001-01-01';

gives
LONGNAMEFRENCH                                               LONGNAMEDUTCH
------------------------------------------------------------ ------------------------------------------------------------
Jean Dupont                                                  Jan Jansen

A: Make a select (or create views) like this:
CREATE VIEW ptcar AS
SELECT Id, LongNameFrench, LongNameDutch,
    TO_DATE(x.ValidFromDate, 'YYYY-MM-DD') as ValidFromDate,
    ...
FROM XML_Infrastructure,
    XMLTABLE(
        '$d/*:ptcars/*:ptcar'
        PASSING XMLTYPE(XML_Infrastructure.XML_RAW) as "d"
        COLUMNS
            Id              VARCHAR2(10)    PATH    '@*:id',
            LongNameFrench  VARCHAR2(60)    PATH    '@*:longNameFrench',
            LongNameDutch   VARCHAR2(60)    PATH    '@*:longNameDutch',
            ValidFromDate   VARCHAR2(10)    PATH    '@*:validFromDate',
            ValidToDate     VARCHAR2(10)    PATH    '@*:validToDate'
    ) as x;

CREATE VIEW ptrefColumn AS
SELECT Id,
    TO_DATE(x.ValidFromDate, 'YYYY-MM-DD') as ValidFromDate,
    ...
FROM XML_Infrastructure,
XMLTABLE(
    '$d/*:ptrefColumns/*:ptrefColumn'
    PASSING XMLTYPE(XML_Infrastructure.XML_RAW) as "d"
    COLUMNS
        Id              VARCHAR2(10)    PATH    '@*:id',
        ValidFromDate   VARCHAR2(10)    PATH    '@*:validFromDate',
        ValidToDate     VARCHAR2(10)    PATH    '@*:validToDate'
) as x

Afterwards you can join them directly as given in your question.
NB, why do you store XML_RAW as CLOB rather than XMLTYPE?

redpajama_set_name: RedPajamaStackExchange


text:
Jack West Announces Debut Album "For the Record" Out August 2, and Shares New Single "What I Can Get"
May 21, 2019 / DCWS Staff
Sometimes it takes youth to lead us to the next place, to revive rock 'n' roll by taking the old and putting a new spin on it. Fourteen-year-old Jack West has announced his debut, eight-song album, "For the Record", for an August 2 release – sharing debut single, "What I Can Get" – via Youtube below.
"What I Can Get" perfectly captures the pangs of a roller-coaster adolescence... What I can get, Is bigger than I am right now, If I could let it pass.
"For The Record" is a collaboration between West and renowned Seattle producer Barrett Jones (Nirvana, Foo Fighters, Jawbox) at his famed Laundry Room Studio. West compiled 18 tracks, laid down the piano, guitar, bass and drum tracks on Logic, from which he and Barrett Jones chose to make "For the Record", a nod to both old-school vinyl records and Jack's first official recordings made public.
The songs on "For the Record" are about preparing to take flight, but at the same time, wary of plummeting to the ground. The opening track, "Won't Look Back," sounds like a lost outtake from Dark Side of the Moon crossed with After the Gold Rush, while the plaintive David Gilmour-ish guitar riffs in "Look Out Below (How Long)" offer a paean to surfing and the thrill of catching the perfect wave.
An homage to his hometown of Rochester, NY, "The Flower City" is a slice of '60s psychedelia that refers to the city's annual Lilac Festival and the flour shipped through the Erie Canal from the shores of Lake Ontario, while "Unsinkable" has that unmistakable Springsteen fervor in its vow to rise above the world's chaos. The glam-rollicking "Revival" manages to channel the spirit of Ziggy Stardust and Mott the Hoople – as well as Foo Fighters and Jack White – with whimsical flower power sentiments. West touches on the threats of global warming in the chilling apocalyptic, end-of-days Crazy Horse refrain of "Into This Lifetime," then shows support for war veterans and gun control in the acoustic blues of "Leave Us Behind."
West has previously performed with grunge-rock icon Eddie Vedder before 30,000 at a concert in Nashville. Now, he and his five-piece band - which includes a number of local, veteran Rochester musicians - will perform at the big Napa Valley, Memorial Day weekend festival, BottleRock on Friday, May 24, before select East Coast dates, with many more to be announced.
Connect with Jack West: Website | Facebook | Instagram
May 21, 2019 / DCWS Staff/
Review: "I've Seen Enough, I Know ...
Interview: Compton Based Band No ...


text:
A-State Opens Spring Schedule With Fourth-Place Finish at Tiger Invitational
Tiger Invitational Final Results
OPELIKA, Ala. (2/26/19) – Led by three players collecting a top-15 individual finish, the Arkansas State men's golf team wrapped up play Tuesday at the Tiger Invitational in fourth place out of 16 teams after posting a combined three-round 873 score.
A-State began play Sunday at its first spring tournament by posting a 283 that put it atop the leaderboard, but dropped to third after shooting a 300 for the second 18 holes. The Red Wolves came back today to cut 10 strokes off their second-round total, but South Alabama shot a 288 to edge them by one stroke in the final standings.
Including Arkansas State, the tournament field featured three top-25 ranked programs. Host-school and No. 10 Auburn claimed the championship with a combined 853, while No. 6 SMU finished runner-up with an 863.
A-State finished ahead of Kennesaw State, UNC Wilmington, Auburn (B), ULM, Chattanooga, Western Kentucky, Georgia State, Mercer, Missouri, Austin Peay State, Florida Atlantic and Lipscomb.
"The weather has made it difficult to have a consistent practice schedule leading up to this tournament, so to come out and shoot 5-under in the first round was really good," said A-State head coach Mike Hagen. "If we don't shoot the 12-over yesterday and just keep it somewhere close to par, we're right there with SMU. I also liked the way our guys responded in the third round, staying motivated and shooting 2-over after a tough day on Monday.
"There were a lot of good things that happened this week that you have to look at, both how we performed coming in from the fall and then also moving on into the spring. I'm proud of how our guys come to work every day and their work ethic never changes, so I'm happy about where we're at after this event."
Julien Sale recorded a combined 215 (71-74-70) to place him a team-best tied for eighth place. The junior's total was his second lowest three-round score of the season, helping him pick up his third top-10 finish of the year.
Ending the tournament tied for 10th place, senior Joel Wendin shot a combined 216 (66-79-71) that counted as his second lowest 54-hole total this season. He carded a career-best 66 for the opening round and has now finished among the top 10 players in four of A-State's six tournaments.
Finishing among the top 15 players for the Red Wolves as well, freshman Luka Naglic shot a 217 (74-74-69) that put him in a tie for 12th place. The tournament marked his fourth top-15 outing of the season.
Also competing for A-State, junior Zan Luka Stirn finished tied for 59th place with a 229 (74-74-81) and junior Matthew Cole placed tied for 62nd with a 230 (72-78-80).
The Red Wolves return to action March 11-12 at the Border Olympics in Laredo, Texas.
ARKANSAS STATE RESULTS
Place, Name (RD 1-RD 2-RD 3—Total)
4, Arkansas State (283-300-290—873)
T8, Julien Sale (71-74-70—215)
T10, Joel Wendin (66-79-71—216)
T12, Luka Naglic (74-74-69—217)
T59, Zan Luka Stirn (74-74-81—229)
T62, Matthew Cole (72-78-80—230)


Jake and Nancy both have 12 years of sailing experience, two of which are with catamarans, so they chose to buy a Fountaine Pajot Lucia 40. They felt it was the "perfect size and price point for a couple, and for chartering". Their 2019 Lucia 40, named Harbour Lights, was officially commissioned in November 2018. She is a Maestro model with 3 cabins and 2 heads. Her elegant lines, bright interior spaces, and extensive social seating spaces are signatures of the Fountaine Pajot brand.
If you are a client and would like to share your memories with us, please tag us on Facebook or Instagram! For individuals who are considering yacht ownership, please feel free to reach out to one of our experienced consultants to get your buyer's journey started!


Kuseno.com | Shipping And Returns. Your comfort is our priority!
We ship anywhere within Canada and the United States via Canada Post or Fedex. When checking out, you can compare prices and pick the best carrier. Unfortunately, we are unable to ship to other countries at this time.
We try to keep all pillow sizes in stock and will typically ship in 1-3 business days.
Most flaxseed therapy packs are custom made to order. Please allow a couple extra days before it ships.
Weighted Blankets are all made to order and can take up to 5 weeks to ship, depending on our current workload.
The shipping method (for example overnight air) only affects the travel time, not the shipping time. We always do our best to get orders out the door as fast as possible.
I'm buying a bunch of different products. Why are your shipping costs ridonkulously high?
The problem is how the website software deals with multiple products. I enter the product with length, width, height, and weight. I then tell it that multiple products will add to the height and weight. When you order two pillows, I will stack them in a box since it doesn't make sense to lay them end-to-end in a very long box.
When the website requests a shipping quote, it passes the dimensions on to our shipping partners and gets back a quote. If the dimensions are out of the shipping partner's range (box too tall), then it won't return a quote.
If the shipping quotes you get back are unusually high, or if Overnight Air is the only option and you think there's an error, contact us! If the problem is because of the way the website stacks the items, we will recommend that you just choose an available shipping option and we will refund the difference once we know the actual cost for your actual preferred shipping method. Sometimes the shipping costs are just high (if you live in a rural area) and there's nothing we can do about that, but we will always do the best we can for you.
Our products are generally big and heavy and our shipping partners will charge by size or weight, whichever results in them making the most money. In our case, we're usually charged by size.
We have no control over the prices the shipping carriers charge. We do not tack on a little extra for ourselves and we do not charge a handling fee. The prices shown come from the carriers directly and is based on package dimensions and weight.
Where are you located? Can I pick up from your store?
Check our list of Retail Locations that you can purchase your products from.
See our Events Page for a list of locations we'll be at and buy a pillow in person (we accept cash, Visa, Mastercard and American Express).
Buy your pillow online and pick it up at an event we're at. Simply fill our your shipping information as normal and select the Event Pickup as a "shipping" option during checkout.
Note some items are made to order and we will require extra time for that.
Can I buy my item online and pick it up at a Retail location?
Free shipping isn't free. If we were to offer it, we'd have to raise our prices on pillows $15-20 each. Customers who are geographically close to us would subsidize the shipping for the customers further away. But what if you order 2 pillows? The shipping cost doesn't double, but the pillows would cost $30-40 more. While I would appreciate it from a business perspective, it's not fair to you. This is why we get real-time quotes from our shipping partners and that's what you pay.
What is the Money Back Guarantee all about?
Our buckwheat hull pillows come with a 45-day money back guarantee. Within 45 days, if you're not happy with your buckwheat hull pillow, you can return it for a full refund of the purchase price of the pillow. If you're not happy with the size, exchange it for another size.
A buckwheat hull pillow is firmer than most people are used to and some customers reported that it took 2-3 nights to adjust. We suggest that you use your Kuseno Buckwheat Hull Pillow for 1-2 weeks before deciding. If you are not satisfied with your Kuseno Buckwheat Hull Pillow, see What If I Don't Like The Pillow for tips on enhancing your comfort. If it's still not working out, send it back to us for a refund. Some conditions apply.
We want you to be happy and love your Kuseno Buckwheat Hull Pillow as much as we do.
Use your pillow! OWN your pillow. Take your pillow out of the plastic bag (we've had more than two returns with the pillow still sealed in the plastic bag). Take some hulls out if it's not right (store them in a paper bag or Ziploc bag).
45 Days is a long time to accept returns. Why 45 days?
As long as we have your return in our hot little hands within 45 days of the purchase date, and you sent back everything you are intending to return, you'll be credited the purchase price of your returned product(s).
What's the most common reason for pillow returns?
The most common return happens just days after the initial purchase because the customer found the pillow to be too firm. This is a firm pillow, and if you're used to a soft pillow, it could take 2-3 nights to adjust to a buckwheat pillow. Some customers have needed a full week to adjust, while others loved it after the first night. All we ask is that you take advantage of our 6 week return policy and try it for at least a couple of weeks before deciding if it's right for you.
What do you do with returned pillows?
Due to hygienic reasons, the hulls and pillow case can not be resold to another customer. The hulls are mulched and added to soil for the garden, while the pillow case is tied to a stick, soaked in kerosene and lit on fire so I can practice fire juggling. Just kidding! The pillow case is disposed of "the normal way" as cotton recycling doesn't seem to exist yet.
Can't I keep the pillow if you're just going to dispose of it?
Sadly, no. We wouldn't want someone to take advantage of us by "claiming" they don't like the pillow just so they can get it for free.
What's your return policy for other products?
Flaxseed Therapy Packs can be returned, unopened, within 45 days.
Weighted Blankets are custom made to order and can not be returned or exchanged. Please consult with your occupational therapist or doctor to be sure that a weighted blanket is right for you or your child before you purchase it.
Please contact us before returning any product as you will need a return authorization return number. Detailed warranty return instructions will be given at that time. The returned product will undergo an inspection upon its arrival to our facilities prior to the refund being processed.
Do you reimburse the shipping?
Only the Kuseno product is covered under the return policy. All shipping charges for returned product are the responsibility of the purchaser. The Shipping Carrier did their job and should get paid for it.
What does the 1-year limited warranty cover?
All Kuseno products include a 1 year limited warranty on workmanship and materials (fabric, seams, and zipper where applicable) with normal use. The warranty does not extend to the filling inside the product: buckwheat hulls, flaxseed, water-absorbing polymer, or weighted pellets where applicable.
Warrantied items will be shipped back to us at your expense and we will ship the replacement at our expense. We'll share the shipping costs. For warrantied zippered pillow cases, empty the buckwheat hulls from your pillow before shipping to save on shipping costs.
For example: If the stitching around the zippper of your buckwheat hull pillow comes loose and the hulls spilled out (this has never happened), we will replace the case within the first year. Save the hulls so you can refill the replacement case.
What doesn't the limited warranty cover?
The filling (buckwheat hulls, flaxseed, water absorbing polymer, or weighted pellets) is not covered under the warranty.
If the Kuseno Buckwheat Hull Pillow is damaged by misuse (including but not limited to attempting to wash the pillow with the buckwheat hulls still inside) we may, at our discretion, offer a replacement pillow for a discounted price (plus shipping costs).
If a flaxseed therapy pack or Kolo Cool Tie is damaged by a defect in workmanship or materials, it will need to be shipped back to us at your expense and it will be replaced with a new replacement, identical item at our expense.
For example: If you left your flaxseed neck wrap in the microwave for 6 minutes straight and now it smells terrible, it's not covered by the warranty.


text:
Flyers explode, rout Lightning
Cherry Hill (N.J.) Courier-Post
Pierre-Edouard Bellemare%2C Mark Streit and Brayden Schenn broke scoreless streaks of 28%2C 23 and 15 games respectively
There were only four Flyers skaters that didn't have a point in the big win.
PHILADELPHIA – It seemed like a curious decision when it appeared as though it would matter.
Without Steve Mason, the Flyers' starting goalie that almost always has to play well because he gets little goal support, coach Craig Berube went with Rob Zepp instead of Ray Emery.
Zepp was on a plane for more than six hours Sunday, called up from the minors where the Lehigh Valley Phantoms were in Newfoundland, Canada.
He more support than he needed in a 7-3 Flyers win over the Tampa Bay Lightning, breaking a six-game losing streak to the Lightning. The Flyers had previously won only one of their last 10 games against Tampa.
At age 33, Zepp was the oldest goalie in 88 years to win his NHL debut Dec. 21 against Winnipeg. Now he's 2-0.
If the decision to play Zepp seemed unlikely, there were more statistical anomalies in the game. Pierre-Edouard Bellemare, Mark Streit and Brayden Schenn broke scoreless streaks of 28, 23 and 15 games respectively.
The Flyers exploded for five goals in the second period against the Lightning, the stanza that has given them the most trouble this season. The last time the Flyers had a five-goal period was Dec. 19, 2013, a 5-4 win over the Columbus Blue Jackets.
For the first two periods, there wasn't much for Zepp to do in his second NHL game. The Lightning, owners of the most potent offense in the league, didn't get much because the Flyers didn't allow it.
Tampa had only five shots in the first period and six in the second.
Steven Stamkos notched his 23rd goal of the season on the power play near the midway point of the first period, a laser shot that probably would have beaten any other goalie in the world.
The Lightning's second goal wasn't Zepp's fault either. Brian Boyle scored with 4:37 to go in the second period when his shot deflected off Mark Streit's stick and high in the air. Brenden Morrow took a swing at the puck with a high stick, but never connected. It landed behind Zepp and in the net.
Although the Wells Fargo Center crowd groaned, the goal didn't matter much. The Flyers already held a five-goal lead even with the strange tally by Boyle, his eighth of the season.
The Flyers were busy racking up points. There were only four Flyers skaters that didn't have a point in the big win.
Tampa tested Zepp more in the third period and notched another one at 1:20 of the final stanza. Ryan Callahan scored from the slot with the Lightning on the power play.
Even the team with the most goals in the league couldn't overcome its deficit against the Flyers, though. Zepp finished the game with 21 saves, including a nice glove-hand stop on Matt Carle with 4.7 seconds left and helped the Flyers get back in the win column.
Reach Dave Isaac at disaac@courierpostonline.com. Follow him on Twitter @davegisaac.


text:
Request for input: What makes a good title?
In the last couple of weeks we have been polling for opinion about a possible list of words (or phrases) that will filter questions out of the HNQ list.
(See this which evolved into a poll and a discussion.)
Some members of the community were extremely critical of the idea, and others were simply very critical of some suggestions. For example, at the time of writing, the word "advice" has a +8/-12 score, "interesting" has +7/-13, and "question" has +5/-13.
I am personally opposed to the use of vague pronouns ("this" has a +6/-15 score at the moment), as I find them to be very uninformative and lacking.
Let me put aside the discussion about the HNQ filter, which is not a ban on titles from the site anyway. Instead let me talk about what I feel is an odd reaction of a significant part of the community to the issue of titles.
I raised an issue, nearly 9 years ago, about subjective titles. How should we treat subjective titles? where I asked what should we do about words like "hard" or "difficult" that appear in titles. Often found in the context of a completely bland title "Difficult integral question" or "Hard inequality".
The issue is not the subjective part. It is the uninformative part. And titles should contain useful information about the question, which mostly subjective words do not add. But also words like "help" or "question" are not adding, and are usually used as a replacement for something that is in fact informative.
Even the arguments in favour of allowing subjective words are not really in favour of allowing them in the title. Yes, there is merit for someone using the term "diffiuclt integral" in the body of the question, where more context can be given. But there is no reason to put this into the title, which should give an idea of what lies inside the question itself.
So I wanted to bring this up, again.
What is a good title?
Should it have some information about the actual question? Should we even care what is the title of a question?
discussion titles
Asaf Karagila♦Asaf Karagila
347k88 gold badges174174 silver badges314314 bronze badges
$\begingroup$ "I am personally opposed to the use of vague pronouns ("this" has a +6/-15 score at the moment), as I find them to be very uninformative and lacking." I know. The entire world know about it. Think about $+6$ vs $-15$ for a moment, what could one imply from it? $\endgroup$ – allesia_b Apr 14 '20 at 14:49
$\begingroup$ @Magic_Isa: Yes, which is why I am asking the community what do people think is the role of a title, and what counts as a good title. Let's focus on that, yes? $\endgroup$ – Asaf Karagila♦ Apr 14 '20 at 14:57
$\begingroup$ Ok. "And titles should contain useful information about the question, which mostly subjective words do not add." you're right. I think we all agree in this. This would be ideal, but it's not the reality. Keep in mind that some users, specially new users just ask like if they were in a classroom, among friends, etc. They don't know our formalities, but that of course doesn't mean that their question won't be as valuable & important as the one with such a -perfect title- $\endgroup$ – allesia_b Apr 14 '20 at 15:07
$\begingroup$ @Magic_Isa: Yes, new users need to be educated. And experienced users need to educate them. But also one way of doing that is making an effort that when people see questions, they see them with good titles. Can you please stop making this about the HNQ, though? $\endgroup$ – Asaf Karagila♦ Apr 14 '20 at 15:13
$\begingroup$ Asaf, a good title can contain the word "this", so you should not be opposed to the use of it. $\endgroup$ – allesia_b Apr 14 '20 at 15:59
$\begingroup$ @Magic_Isa: Honestly, if you don't have anything relevant to add, it's maybe a good idea to not add anything. $\endgroup$ – Asaf Karagila♦ Apr 14 '20 at 16:27
$\begingroup$ No, no, if you want to delete the comments, you're free to do that yourself. I want to understand how telling me that "this" could appear in a good title (something that I never denied, by the way), is relevant to the discussion on what is a good title. $\endgroup$ – Asaf Karagila♦ Apr 14 '20 at 16:34
$\begingroup$ My point was, that it seems that you don't want this on titles, but it could be good to have it on titles. // Why am I mentioning this? Because you bring the topic in your post. And there's no need to be upset. $\endgroup$ – allesia_b Apr 14 '20 at 17:06
$\begingroup$ The current title of this question ("Question to the community on a problem ") is so general that it could be argued to be clickbait. It's not clear if such a title was purposely chosen in order to make a point about bad titles, but I think it would be be better to instead lead by example and give it a title that you consider to be a good title. Also it would help to mention the meaning of the polarity of the cited votes. $\endgroup$ – Bill Dubuque Apr 14 '20 at 18:36
$\begingroup$ @Gone: When I try to lead by example, I get called out for being a censor, dictator, or otherwise. This time, I follow the example of the community. If the quality of the title is irrelevant to the quality of the question, I decided to raise an issue and I put effort into the question. Do you really care about this title? $\endgroup$ – Asaf Karagila♦ Apr 14 '20 at 18:39
$\begingroup$ @Magic_Isa the argument you gave was anyway backwards. It's not so much that no one will ever have a look, but that it would be better to give more information for the convenience of readers and future organisation. I mean there is no need to have a title on the cover of a book either. Just open it and you'll see. There is no need to sort the books in a library, just search a bit and you'll find. $\endgroup$ – quid♦ Apr 14 '20 at 18:53
$\begingroup$ @Magic_Isa do not flood threads. At some point it becomes too much and it backfires. $\endgroup$ – quid♦ Apr 14 '20 at 18:57
$\begingroup$ @Magic_Isa: You're not the community. $\endgroup$ – Asaf Karagila♦ Apr 14 '20 at 19:49
$\begingroup$ @Theo: I think that people simply forget the titles. Often. You see that a lot in edits, someone edits the post to perfection, but leaves the title out. I think that we can make this a conscious thing, and it will improve, at the very least with those people aware of the problem. $\endgroup$ – Asaf Karagila♦ Apr 15 '20 at 18:07
$\begingroup$ @AsafKaragila I am certainly guilty of trying to fix up a post, but neglecting the title. I've even done this when my goal in editing was specifically to clean up a title! $\endgroup$ – Xander Henderson♦ Apr 15 '20 at 18:59
What makes a good title?
Good titles should unambiguously tell the user what they are getting into before they click on it. The goal is to attract the attention of those people who have the expertise to answer the question or may be interested in an answer, while not wasting the time of readers who don't care. Perversely enough, a good title might decrease the number of views, but should increase the average quality of interaction (as measured by time spent reading the question, ability of the reader to answer, and/or other folk having a similar question).
Good titles will generally consist mostly of nouns, verbs, and maybe a preposition or two (where one might regard an expression like $x = y$ as a SVO sentence or sentence fragment). Adjectives and adverbs should be few and far between, as they typically don't add much in the way of content (there are exceptions, particularly when such words are used in a technical capacity, e.g. a question about a "hard integral" is very different from a question about "hard analysis").
Good titles should quickly get to the point of the question. Ideally, a brief version of the question should be stated in the title. Because this website is about asking mathematics question, good titles will generally (though not always) include notation. Notation should be included, and should be typeset correctly[1], whenever it is appropriate.
Good titles include enough detail about the context surrounding the problem to provide signposts for potential readers. For example, the expression "$x^2 + y^2 = (x+y)^2$" will mean one thing if the title makes it clear that the problem was encountered in grade-school algebra, and another if accompanied by a phrase such as "freshman's dream" or "field of characteristic two". Thus a good title for question about this identity should include something about the material being studied. Other context which might fit into a title are a indications of the asker's level of knowledge, the general field they are studying (particularly if tags are insufficient), a text author (there are a large number of questions on MSE with titles containing some variation of "Theorem X from Baby Rudin"), or the provenance of a competition problem.
To build an example from something I encountered today, let us suppose that I have the following question (which is likely an appropriate question for MESE, but that isn't really the point):
Today, while helping my daughter with her remote-instruction schoolwork, I discovered that they students in her second grade class were being taught to solve linear equations in two variables using a method involving colored bars. The teacher's notes refer to this as the "bar model", but there is no explanation for how it works.
My daughter seemed fairly proficient with the technique, hence it went by too quickly for me to parse what was going on. It seems that she was using various bars of differing length (or color, maybe?---she seemed to be insistent on using different colors of whiteboard markers in particular way) to represent known and unknown quantities in a system of equations. The way in which bars were "stacked" or "concatenated" seemed important, though, again, my daughter worked through the problems faster than I could discern the pattern.
Does anyone know what this method is called, and can anyone explain how it works or point me in the direction of useful references?
So, what title should I give this question? A few possibilities include:
What is this crazy thing my daughter is doing?!
This title is less than useless. It gives the reader no idea what the question is about, and is, at best click-bait. Moreover, it editorializes (via the adjective "crazy"). My guess is that nearly every click on this title will be quickly followed by the closure of a tab or a user hitting the back button.
Can someone explain this technique for solving systems?
This title is better, but still leaves off a lot of context. What is "this" technique? Who is solving these systems? What is the level of student? The basic question is in the title, but there is no context to orient the reader (aside from a vague reference to "solving systems").
What is the "bar model" used by an 8 year old to solve systems?
On short notice, this is about the best I can do. The phrase "bar model" is important context (it was on the teacher's slide, after all), and the inclusion of my daughter's age tells the reader that a tenured professor with research in systems of nonlinear PDE probably doesn't care to click through, while an expert in grade-school education immediately knows that they might have an answer.
[1] For technical reasons, there is a small downside to including MathJax in titles: questions with MathJax'd titles cannot appear in the "Hot Network Questions" list, because the MathJax renderer is not loaded for every site in the network. To avoid ugly code in the titles of questions rendered on other sites, such questions are excluded from the list. However, this technical concern about how mathematics questions are advertised to the wider non-mathematics community should be a minor, secondary concern (in my opinion).
Xander Henderson♦Xander Henderson
$\begingroup$ Thank you Xander, for a solid answer that addresses the issues raised. $\endgroup$ – JonathanZ supports MonicaC Apr 15 '20 at 5:05
$\begingroup$ Thank you! Now I know that every good question should have some MathJax in the title, as this has the upside of keeping it off the HNQ list, thereby avoiding the danger of having a horde of under-informed people come come along and up-vote the bad answers, down-vote the good ones, and add noise to the comments. Only a small upside, because good questions are not in much danger of making the HNQ list anyway. $\endgroup$ – bof Apr 15 '20 at 5:26
$\begingroup$ +! for the first sentence! Titling a question is like titling a novel -- and just as hard. $\endgroup$ – postmortes Apr 15 '20 at 5:27
$\begingroup$ (+1) This seems like solid guidelines/advice for titling questions. A minor comment though: Imho, the use of imperative in asking questions comes off as rude, so in the best title example, I would probably prefer either "Could someone explain the 'bar model' used by an 8 year old to solve systems?" or just "A 'bar model' used by an 8 year old to solve systems". $\endgroup$ – jgon Apr 15 '20 at 7:02
$\begingroup$ Nice answer. Very nicely written. $\endgroup$ – user170039 Apr 15 '20 at 8:36
$\begingroup$ @bof I am not sure if I should be reading your comment as sarcastic or sincere, but in either case, I think that the nature of "good title" is (and should be) orthogonal to the HNQ. I understand that this discussion was prompted by possible changes to the HNQ, and I get that there are strong opinions and emotions on both sides of that issue, but I really want to try to address Asaf's question in isolation from those issues. Another related question which I also don't think is pertinent to this conversation: can a question be considered "high quality" if it has a poor title? $\endgroup$ – Xander Henderson♦ Apr 15 '20 at 20:16
Not the answer you're looking for? Browse other questions tagged discussion titles .
Which words (if any) in the title of a question should prevent inclusion in the HNQ list?
How should we treat subjective titles?
Autofilters for Hot Network Questions
Discussion around voting on what words should be on the HNQ block-list
Sacrificing the grammar of title of questions for clear visibility of relevance in related links on the side
Using MathJax/TeX in the titles of questions - yes or no?
Consider giving better titles to the questions you answered… especially right after you answer them
Should the site have an automatic word filter for titles?


ARTIFACT: This is a circa mid- to late 1960s stewardess wing 2nd issue for Overseas National Airways. Overseas flew between Oakland, California, Baltimore, Maryland and New York, New York from 1950 to 1978. The center of the wing is bordered by a ship's wheel.
SIZE: Approximately 5/8" in height and 1-7/8" in width.


text:
Music Well – Dosia McKay, Composer, Painter, Writer
Reflections on Art and Life
About Dosia McKay
The Flow – A Novel
Delightful Art – Education, Techniques, and a Toolbox of Renaissance Composers
Did Renaissance composers in training use pencil and paper? Did they study scores of their mentors? Was improvisation strictly forbidden? What was the ratio of boys to girls in a classroom?
For a young contemporary composer a serious study of music composition begins with the analysis of Renaissance masters. One cannot fully appreciate modern composition techniques and orchestration until he or she has been immersed in the art of counterpoint; studying the shape of individual lines of polyphony, and understanding the tension of dissonance and its resolution in consonance. The western music education world has followed this sequence for several centuries with much success. And rightly so, since a careful examination of Renaissance music autographs, treatises, and culture shows that the composers of that period were highly skilled, well educated artisans with superior ear training capacity and a wide collection of intricate compositional tools at their disposal, worthy of imitation.
While during medieval times learning was mostly associated with the prosperous cathedrals and colleges of the Roman Catholic Church and centered on religious worship, the Renaissance saw new approaches to education as the Reformation swept through Europe. When Martin Luther restored the long lost doctrine of the priesthood of all believers to Christianity, and as the winds of change blew across stagnated Catholic Europe, artists and scholars began to see their calling in a new light. Educators sought to revive the principles of the classic education to equip their students in various disciplines of art and sciences, and music came to the forefront.
Lewis Lockwood, in his Grove Music Online article "Renaissance", points out that one of the pioneers of humanist learning was Johannes Tinctoris who, in the preface to his Proportionale (c1472–5), cites Plato's idea of the science of music as being "the mightiest of all." Tinctoris argues that "no one ignorant of music could be considered truly educated."(1) In Lutheran and Calvinist schools music became one of the primary and mandatory subjects. Christle Collins Judd, in Reading Renaissance Music Theory, describes the requirements for the position of a rector of the Latin school in Nuremberg, who was expected to be not only a scholar, but also a musician. The list of his duties included oversight of the school choir, which was responsible for chant and polyphony in the daily worship services of the local church.(2)
Another example of the importance Renaissance Europeans placed on music studies is given by Charles Plummerige in his Grove Music Online article on music schools. Plummerige describes an ambitious German course of study by Martin Agricola entitled Ein kurz deudsche Musica (1528), intended for the boys at the Lateinschule in Magdeburg, which comprised musical theory and exercises to be followed for a period of ten years.(3) Germany was not a uniquely progressive country at that time as many European grammar schools (for example in Spain and in France) included counterpoint, choral, and instrumental instruction in their curricula.(4) In addition to institutional studies, it was customary for students to pursue private instruction while serving as apprentices to established composers and performers.(5) These examples illustrate the scope and intensity of musical training available during the Renaissance. The atmosphere of respect for the arts and scholarship proved to be fertile ground, which produced many superb composers, such as Orlande de Lassus, Giovanni Pierluigi da Palestrina, Luca Marenzio, and Thomas Morley, to name a few.
Although counterpoint was a part of many school curricula, its study did not necessarily equate with the study of composition itself; it was merely a basic requirement for all music students. Perhaps in keeping with the classic Greek understanding of the hierarchy of musical specializations, in which the composer was elevated above the performer, Adrianus Petit Coclico (possibly a pupil of Josquin des Pres)(6) writes of Josquin that he "did not […] consider all suited to learn composition; he judged that only those should be taught who were drawn to this delightful art by a special natural impulse".(7) Composition instruction was most likely given only to bright and promising students. According to Coclico, Josquin taught composition to students only after they proved to be fluent in singing and counterpoint.(8)
Although it is difficult to reconstruct the compositional process of a student, or to fully understand how composition was taught during the Renaissance, a number of artifacts from that period survive to shed light on specific tools of young composers. Owens describes examples of cadences for two or four voices catalogued in a music treatise "Regule de contrapuncto" and provides copies of consonance tables. Other manuscripts that she references preserve collections of musical phrases and counterpoint exercises over a cantus firmus.(9) Many other treatises by such composers and theorists as Johannes Tinctoris, Pietro Aaron, Adrianus Petit Coclico, Nicola Vicantino, Gioseffo Zarlino, Pietro Pontio, Vincenzo Galilei, and Giovanthomaso Cimello were in circulation and became increasingly more accessible with the invention of the printing press. They were the textbooks of the leading European schools and were well known by composition students. These treatises discuss rules of voice leading, the function of dissonance, suspensions, construction of chords, rules associated with composition of particular musical segments (beginning, middle, end), as well as specific structural rules governing fugues, canons, and cadences.(10) The treatises provide not only descriptions of the compositional process, along with the music notation, but also tables aiding the students in understanding the art of counterpoint. For example Aaron in his Thoscanello (1523) features a three column table (one column each for: tenor, bassus, and altus) illustrating possible interval combinations between the bassus and altus relative to the cantus-tenor relationship, expressed in Roman numerals.(11)
The practical skills of a rising Renaissance composer far exceeded mere memorization of consonance charts and cadencial patterns. Without the luxury (or crutch) of a laptop, and still limited by lack of cheap paper, the composer was expected to mentally combine the separate parts of any polyphonic work into a musical unit, without ever creating a physical score.(12) This skill would have been developed over years of choral practice, as the student sang from part books containing individual lines of polyphony and, through listening to other voices, learned the function of his part as it related to the whole.(13) In addition, it appears that Renaissance singers (composers in training) were also skilled improvisers of counterpoint. Coclico in his Compendium musices (1552) attributes to Josquin des Prez a statement that singing extemporaneous counterpoint provided valuable preparation for composition.(14)
Beside the intellectual tools, the Renaissance composers relied on tangible, practical tools to aid their composition process. Before committing a work to ink and paper (the pencil had not yet been invented), the composers first notated it on an erasable tablet.(15) The tablets, most commonly called cartella in Italian, were made of plaster, wood, or stone (specifically slate), and had a smooth surface. Such erasable tablets served as instructional tools for teachers, as counterpoint exercise notebooks for students, as well as a storage medium on which composers notated and preserved their entire compositions. The cartellas came in different sizes and were widely popular not only in the musical circles but also in the every day life of merchants, scribes, and city officials.(16)
The Renaissance composition students worked by candlelight and may have grown weary of carrying around their cumbersome cartellas. Their efficiency and productivity would have been greatly enhanced had they had mere pencils and erasers. They certainly could not have fathomed the technology available to the 21st century composers, but would likely welcome the music notation software, World Wide Web, and the availability of music on demand. However, where their technology and efficiency was lacking, their intensive musical training and their practical skills more than made up for them. It is every contemporary composer's dream to be able to hear music in his or her mind before it is notated, but as we rely on our advanced technology, it is rarely the case. The Renaissance composers must have had superior ability to hear and discern multiple layers of music simultaneously if they functioned fluidly within intricate polyphony without relying on a score. Their mastery of counterpoint is evident in works which continue to not only bring beauty and enrichment to the listener, but remain a model and inspiration to the contemporary student of music composition. The progressive Renaissance culture in which they were privileged to work, one where both the religious and secular institutions highly valued music education, scholarship, and arts in general, is an enviable environment for any contemporary composer.
The study of Renaissance counterpoint should remain one of the fundamental building blocks of contemporary music composition curriculum. The analysis of the early composition techniques is essential for development of skills of the modern student, but beyond mere understanding of tools, tricks, rules, and shortcuts, the study of the craftsmanship of the Renaissance composers remains a rich lesson in respect for the heritage of the art of music composition.
I originally wrote this essay in December 2007 when I was a student of Music Theory and Composition at the University of Tennessee, Knoxville.
(1)Lockwood, Lewis: 'Renaissance', Grove Music Online ed. L. Macy (Accessed 11/24/2007), http://www.grovemusic.com.proxy.lib.utk.edu:90.
(2)Judd, Cristle Collins, Reading Renaissance Music Theory, Hearing with the Eye. Cambridge University Press, 2000, 84.
(3)Plummeridge, Charles: 'Schools', Grove Music Online ed. L. Macy (Accessed 11/20/2007), http://www.grovemusic.com.proxy.lib.utk.edu:90.
(4)Ibid.
(5)Owens, Jessie Ann, Composers at Work, The Craft of Musical Composition 1450 – 1600. Oxford University Press, 1997, 12.
(6)Ibid., 12.
(7)Compendium musices descriptum ab Adriano Petit Coclico discipulo Iosquini de Pres in quo prateter caetera tractantur haec: De modo ornate candeni, De regula contrapuncti, De compositione (Nuremberg, 1552; reprint, Kassell, 1954). This translation, adapted from Smijers, is found in Gustave Reese and Jeremy Noble, "Josquin Desprez," The New Grove High Renaissance Masters (New York, 1984), 20, here quoted from Owen's Composers at Work, 11.
(8)Owens, Composers at Work, 12.
(10)Ibid., 14.
(12)Blum, Stephen: 'Composition', Grove Music Online ed. L. Macy (Accessed 11/07/2007), http://www.grovemusic.com.proxy.lib.utk.edu:90
(13)Ibid.
(15)Owens, Composers at Work, 74.
(16)Ibid., 75-100.
©2007 Dosia McKay
One comment on "Delightful Art – Education, Techniques, and a Toolbox of Renaissance Composers"
t h i n g s + f l e s h
your blog, Dosia, is a gorgeous treasure of musical insight. i enjoy my visits so much. tony
This entry was posted on April 28, 2013 by Dosia McKay in Essays and Articles and tagged Cartella, Choir, composer, Composition, Consonance, Counterpoint, Dissonance, Johannes Tinctoris, Josquin des Prez, Marenzio, Music, Music Education, Orlande de Lassus, Palestrina, Reformation, Renaissance, Thomas Morley, Thoscanello, Treatise.
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This group covers everything related to the Austin-based, indie rock band Spoon.
You can join this P!ATD group or not. But it's better if you do.
Kasabian are an English rock band formed in Leicester in 1997.


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By Carolyn McDowall May 26, 2016
Outlander Series 2, Episode 7 – Never Shy Away From Truth
Modern manners, codes of behaviour, decorum and rules of etiquette matter in every culture and society – they illuminate and respect the human experience. The word culture has evolved its meaning over time to reflect the means by which the nature of the changes in our society over time might be explored. One of the ways it is happening significantly in our age is through the visual and performance arts.
Visually superb STARZ Outlander, a truly outstanding television series inspired by the books of Diana Gabaldon, has been adapted for the screen by a variety of very talented writers. It has won fans world wide not only through the integrity of its scripts but also the outstanding performances by its cast.
Interestingly the stories of the first seven episodes of Outlander Series 2 are taking place at a period in time when France had taken the lead, changing society dramatically to a less rude way of life. Italian born and living in Paris, the Marquise de Rambouillet (1588-1665) established a pattern of well-mannered behaviour in her aristocratic salon that gradually spread to the beau monde, influencing polite society throughout Europe, England and America by the end of the eighteenth century.
No family is ever exempt from sad or devastating events during its lifetime, and our principal heroes Claire Fraser (Caitriona Balfe) and her handsome Scot Jamie Fraser (Sam Heughan) to date seem to have suffered far more than most.
STARZ Outlander is giving viewers an opportunity to discover how terrible things can happen when we least expect it, because of our interaction with each other. Often what we say or do sets a chain of events in motion hard to stop and however hard it may seem, the decision makers at Outlander do not shy away from 'shocking' their audience, or from revealing the 'base' nature of human beings, which can descend into acts of depravity.
Episode 7 of Outlander is one of grace; about healing, about forgiveness and about the unconditional love that eventually helps Claire and Jamie to find a road back to each other through Faith, healing their relationship after suffering great loss.
Many scenes provide an opportunity to gain an understanding of the depth of emotions uncovered when terrible things disrupt, and destroy lives and livelihood.
Please don't read any more if you don't want spoilers.
In Series One of Outlander the last two episodes revealed the horrors of torture and rape that Jamie Fraser was subjected to in gaol at the hands of English Captain Black Jack Randall (Tobias Menzies).
They shocked and distressed us all and it was a good thing we had a break to assimilate it all before Series 2.
To date Season 2 episodes 1 – 6 have taken place in Paris, where their lives have been all about changing to save the world anew.
Claire had collapsed after witnessing her husband Jamie and Black Jack duelling, rushed off to L'Hopital Des Anges by faithful retainer Magnus (Robbie McIntosh) her baby's life threatened. Now in Episode Seven she has to face the full gamut of her emotions as she loses her and Jamie's longed-for child.
Superbly written by Toni Graphia and directed by Metin Hüseyin, the viewer is given space and time to experience Claire's grief and the terrible trauma attached to the loss of Faith, the child named and baptised by Mother Hildegarde as her mother continues to fight for her life.
As Hildegarde beautifully explains to the distressed Claire later, her baby has joined the angels.
This is a powerful episode that as ever, does not shy away from challenging issues demanding an emotional depth from actress Caitriona Balfe rarely witnessed on any screen, and briefly, but nevertheless powerfully, by Sam Heughan,
Giving the female perspective, this episode is brilliantly conceived and realised by the show's outstanding supporting cast members, Romann Berrux (Fergus), Stanley Weber (St. Germain), Dominique Pinon (Raymond), Lionel Lingelser (Louis XV), Frances de la Tour (Mother Hildegarde) and Claire Sermonne (Louise) also deserve applause.
Everyone rose to such a high level of performance excellence, they ensured this was the most devastating and powerful episode of the second series to date. It is award winning stuff.
Jamie is not there to offer his support, because he has been taken to the Bastille and not seeing him in there, we don't experience his torment this time. Monsieur Raymond her friend also risks life and limb to steal into the hospital in the dead of night to help Claire. He removes the remainder of the placenta, which hasn't come away and is causing her terrible complications. After she regains her strength Claire demands to see the tiny body of her baby.
Clutching it in her arms she whiles away the whole day mourning until her friend Louise, who up until now has been seen in a frivolous light, steps up to help her, carefully taking the baby away so that she can come to terms with its loss, is heartwrenching to watch.
Claire also makes it harder for herself by hating Jamie for breaking his word and duelling, without giving him an opportunity to explain why, which is all about her own grief.
Finally at home she is faced with other than her own pain, with young Fergus who brought her cornflowers and asked her to come home she finds is suffering severe nightmares. When she attempts to soothe his distress she discovers the truth, that Jamie had only acted in his young charge's defense.
The shocking scene we had only imagined in Episode Six is now played out, as we witness Black Jack raping the young child. His depravity doesn't have any borders he won't cross to gain personal gratification.
Finally understanding, Claire has to gather all her wits about her so that she can petition the King for Jamie's release.
Mother Hildegarde, who is a cousin of the royal family comes to her aid once more, arranging an audience although warning her, there will be a price to pay; granting the King her sexual favour.
When she arrives at Versailles it is to find Master Raymond and her old enemy the Comte St. Germain have been arrested. The King wants Claire, Madame Blanche to stand in judgment of the charge of 'black arts' against them both.
King Louis XV (1710-1774) is known to have been interested in astronomy, astrology, and magic at this time, and now he takes her through a secret passage to his Star Chamber, a superbly imagined setting; the walls are covered with ancient etchings of alchemy and sacred geometry, while the floor is covered in ancient graphs of astronomy. In the centre is an astrolabe, an ancient instrument used to take astronomical measurements.
Claire has to hold her nerve and think quickly because she doesn't want the blood of either on her hands because as a healer it's not who she is. And she also owes Master Raymond her life.
So she offers both prisoners a potion of bitter cascara, which usually causes terrible pain but not death, requesting the King save them both if they survive.
Giving it first to Master Raymond knowing he has built up a resistance to the 'poison', as he hands the chalice back to her after doubling over in pain, she turns to give to the Comte.
The stone Master Raymond gave her to protect herself from poison, which she's been wearing around her neck, suddenly turns black. The Comte knowing its power also knows the potion now contains poison, added by Raymond's slight of hand, not hers, because the apothecary has taken the responsibility for the Comte's death from her unto himself.
Forced to drink it and bring about his own demise, the Comte looks into Claire's eyes knowing that the day he met this unique 'Sassenach', his fate had surely been sealed.
The King impersonally receives his sexual favour from Claire then informs her Jamie will be released and that he will negotiate with the English government to also honour the pardon.
Returning home, she has to come to terms with offering Jamie, the man she loves so well her own forgiveness, which means she has to forgive herself first, which is the hardest thing of all to do.
Their ensuing intimate scene of grace and forgiveness is sublimely written and acted, especially as Claire tells Jamie when he arrives home about their child, then about her having to lay with the King to gain his release. She knows now to never shy away from the truth.
Series 2 Episode 7 of STARZ Outlander ends gently as Claire expresses her desire for them both to journey back home to Scotland before together they visit the tiny grave of the daughter they have lost to say goodbye.
Carolyn McDowall, The Culture Concept Circle, 2016
Outlander: Series 3 Episode 10 – Heaven, Earth and Disease
Outlander: Series 3 – Episode 3, All Debts, Now Paid in Full
Outlander: Series 3 – Episode 1, Battle of Culloden & Boston
Outlander: Series 3 – Episode 2, Jamie's Prison, Body & Mind
Caitriona BalfeCaptain Black Jack RandallClaire FraserClaire Sermonne (Louise)Dominique Pinon (Raymond)Frances de la Tour (Mother Hildegarde)Jamie FraserLionel Lingelser (Louis XV)OutlanderOutlander Series 2 Episode 7Romann Berrux (Fergus)Sam HeughanStanley Weber (St. Germain)Tobias Menzies
Carolyn McDowall
Carolyn McDowall FRSA has gained considerable experience and business acumen in her professional career. An independent cultural and social historian, Carolyn is an interior designer by trade. She has been involved in the creative sector for over thirty years in Australia; completing interior design projects, creating and producing innovative corporate and not-for profit (social profit) community events. She has over that time continuously conducted independent research , while designing, developing, and producing educational art and design history programs in conjunction with renowned specialist colleagues.
Latest Posts By Carolyn McDowall
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The Social Brain Project – An Initiative of the RSA @ London
The RSA at London's 'Social Brain Centre' seeks to support personal development and wellbeing, inform social and educational practice and to improve financial and environmental behaviour.


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Allen Adams
edge staff writer
Party on, dudes! 'Bill & Ted Face the Music'
One of the many unfortunate side effects of 21st century cinema's affinity for franchises is the occasional appearance of the years-later sequel. These movies continue stories on which the book had closed a decade or more in the past. They are almost always bad ideas across the board, woeful misfires that fail to capture or even understand what made their predecessors so beloved in the first place.
Note that I said "almost always," because it is possible for one of these films to actually prove to be a worthwhile continuation, a new chapter that both expands upon and embraces the legacy of the movie or movies that came before.
"Bill & Ted Face the Music" is just such a chapter. Reuniting Alex Winter and Keanu Reeves as the titular duo, the film captures the essence of what made these characters resonate 30 years ago while also allowing them to tell a different kind of story, a story of adulthood and the pressures of expectations and the challenges that come in a life that lacks balance … even as they remain in many ways the same amiably goofy dudes that they've always been.
It's also a story of family and what it means to live up to a legacy, of how the next generation's ideas about the world are impacted by those who came before, but not always bound by them. It's about the frustration of having a path dictated for you and the disappointment when it proves too difficult to properly follow. It is weird and hilarious and moving, sweetly and unapologetically strange.
It was 30 years ago that Bill (Alex Winter, "Showbiz Kids") and Ted (Keanu Reeves, "John Wick: Chapter 3 – Parabellum") played the song that would ostensibly be the one to put the universe in harmony and define the future. However, it turns out that the song – while excellent and successful – was NOT the one that would unify the cosmos. In the decades since, the two have been on a quest to fulfill the destiny laid upon them so long ago – a quest that has been largely futile.
Bill and Ted remain inseparable, living next door to one another in San Dimas with their respective families. Their wives – the princesses Joanna (Jayma Mays, TV's "Drunk History") and Elizabeth (Erinn Hayes, "Holly Slept Over") – love them very much, though both are somewhat frustrated by the arrested development of their husbands. Meanwhile, their kids Thea (Samara Weaving, "Ready or Not") and Billie (Brigitte Lundy-Paine, "Bombshell") are best friends and music aficionados of the highest order (not to mention very much their fathers' daughters).
Unfortunately, time has run out for Bill & Ted. In the far-flung future, it is determined that without the song, the very fabric of the universe will tear and reality will collapse in on itself. Desperate, the Great Leader (Holland Taylor, TV's "Hollywood") sends Kelly (Kristen Schaal, "My Spy"), the daughter of Bill and Ted's old mentor Rufus, to fetch the pair. When they learn that they have less than two hours to write the song, they decide to head into the future to steal it from future versions of themselves.
This goes about as well as you might expect.
Meanwhile, Thea and Billie decide to take matters into their own hands and venture out into the time stream, on a mission to assemble history's greatest band in an effort to give their dads the best possible chance at success when the time to play the song arrives.
This too goes about as well as you might expect.
Two generations of Prestons and Logans, venturing in different directions through the time stream, hoping to make the choices necessary to save reality as we know it … even as their affable denseness continually lands them in various flavors of peril involving old friends like Death (William Sadler, "The Grudge") and new ones like Dennis the robot (Anthony Carrigan, TV's "Barry") and some historical figures that I won't name due to spoilers.
And all the while, the clock in San Dimas is ticking – and when time runs out, time REALLY runs out.
Very rarely is a film so utterly and completely aimed at me as "Bill & Ted Face the Music" is. As someone who was a teenage boy when the first two "Bill & Ted" movies came out, I fully admit to carrying a great deal of bias toward this movie. I LOVED Bill and Ted. And as someone who has also taken his own up-and-down journey into adulthood, I can certainly relate to the struggles that come with outside forces influencing our direction.
The truth is that I was just really happy to see my old friends again, to catch up with them and see how they've been doing. We've ALL been growing up, and not a one of us has done a perfect job of it.
The film is built largely around the undeniable friendship at its core, both in terms of the characters and of the actors playing them – no big surprise since the script is written by "B&T" OGs Ed Solomon and Chris Matheson. That central relationship is the reason those first movies are so fondly remembered; this latest entry continues it in a heartfelt and meaningful way.
Winter and Reeves are just so damned likeable as Bill and Ted, even as they play steadily more absurd versions of themselves. And they absolutely capture the logical development of these two weirdoes, illustrating the unwavering devotion of friendship. These aged dudes are a delightful duo, to be sure. What's particularly great is the fact that Weaving and Lundy-Paine have high-octane chemistry of their own, funny and charming in a way that evokes Bill and Ted but never tips over the edge into mimicry.
There's some fine work out of the ensemble as well, with Sadler and Carrigan providing a number of highlights. Schaal and Taylor are fun, as are Hayes and Mays. In addition, we get to see some more throwbacks from the first films (Ted's dad or Missy are both here and I was surprised by how much that delighted me). New faces include Beck Bennett as Ted's now-grown little brother Deacon and Jillian Bell as a couples therapist.
In case it isn't clear, I was always going to enjoy "Bill & Ted Face the Music." For me, just the fact that it exists is enough. But the thing is – it's actually pretty good. Certainly better than these sorts of delayed-continuation sequels tend to be. It is a hilarious and heartwarming opportunity to check in with some old friends – the kinds of friends with whom you can simply pick up where you left off, regardless of how long it has been.
Be excellent to each other. Party on, dudes.
[5 out of 5]
Last modified on Thursday, 27 August 2020 14:35
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Another restaurant was added in the Burger King Cyprus Network. Their new interior & exterior image is more than welcoming to diners who want to peacefully enjoy their meals. Pissis helped to create this amazing atmosphere inside and outside the restaurant. Production & Installation included: Pylon sign 16m, BK LED Logos and Letterset, Murals, Freestands, Fixing Acrylics, Kitchen & Storage Doors, Counter, Cabinets, Kids Toy Display, Wall Frames and many more.


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Young Moroccans in Sidi Moumen, a Casablanca suburb dare to dream
"To teach young people to dream, to find better ways express themselves other than violence." This informs the existence of the Les Etoiles cultural centre in Sidi Moumen, a deprived suburb of Casablanca in Morocco.
A neighbourhood infamous for the murderous attacks carried out in 2003 by a group of suicide bombers.
Lessons here include classic dance, solfège, music, hip-hop workshops, English and French classes. More than 300 young people frequent this place.
"Since the first day of registration here, I've seen a difference," says Amel Zaima, a member of the Les Etoiles Centre. She says she has learnt a lot and gained experience, especially in the field of dance.
"I corrected my moves and was able to discover the real dance. For me, all this is new. Today I know the true value of dance," Zaima adds confidently.
Another member Faiza Fouad says the center has attracted "well-known people to discover this neighborhood" and has encouraged its very ambitious young talents to go further.
In Morocco, in popular circles where traditional values dominate,the relationship with art in general and dance in particular, is described as "very difficult" by those in charge of this establishment. But, they admit, Les Etoiles is changing the game, little by little, with some parents already attending the shows.
For Belouarrak Abdellah, a trainer of plastic arts, it is above all a recreation space for young people.
Music trainer Chouaib Bendagha affirms that the centre provides a rehearsal space and musical instruments that young people would not otherwise have had access to. "Here in the center, everything is available, he says."
After Casablanca, another cultural center, Les Etoiles de Beni Makada, literally translated as The stars of Beni Makada recently opened in Tangier in the North. They hope to open yet another cultural space in Fez next year, and another in Marrakech, in the same kind of marginalized suburbs.
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LSU International Programs
Administration, Development & Outreach
ADO Team
Current Agreements & Partnerships
Initiate New Agreement or Renewal Request
Types of Agreements
Initiating an International Agreement or Renewal Request
Invitation to Initiate a New International Partnership
LSU International Programs encourages LSU faculty to initiate viable and relevant international exchanges and research opportunities. International partnerships should be initiated and driven by faculty members and academic departments at LSU in collaboration with the international partner to ensure the most productive and mutually beneficial outcomes.
International partners are invited to identify specific departments/research centers of interest and initiate discussions about potential areas of collaboration. After a connection is initiated, LSU International Programs (IP) will assist formalizing an agreement between both parties.
Requests and proposals
Requests and proposals for new agreements, partnerships, and renewals should be directed to the Coordinator of International Development and Outreach (mhoechsmann@lsu.edu)
Request for New Agreement Form
Important Agreement Considerations
Although a particular department will request an agreement, the final agreement must be established between LSU and the international institution and signed by LSU's Executive Vice President & Provost and the equivalent official (authorized signatory) at the other university.
Steps for Establishing International Agreements
LSU International Programs (IP) adheres to university, state, and federal policies in the development and management of international partnerships and agreements. LSU International Programs will liaise with various stakeholders and departments in order to ensure adherence to current policies, including, but not limited to: the Office of the Vice President of Legal Affairs and General Counsel, the Office of Risk Management, the Office of Research & Economic Development, the Office of Sponsored Programs, Information Technology Services, and the Office of Academic Affairs.
A request/proposal for initiating a new agreement or renewing an existing agreement should be submitted to IP (Coordinator of International Development and Outreach mhoechsmann@lsu.edu)
Upon preliminary approval of the agreement request, IP will commence negotiation with the prospective partner institution and draft an agreement.
Once the agreement has been fully satisfied by both sides, IP will forward final agreement to the prospective partner institution for signatures.
Upon the return of the signed agreement from the partner institution, IP will forward signed agreements to the Office of Academic Affairs (OAA) for final approval.
IP will provide copies of the signed agreement to all involved parties.
Learn more about common agreements LSU enters into.
ipwebmaster@lsu.edu


Gerald McCoy and the Bucs gave fans plenty to celebrate in San Diego - a four-game winning streak that has Tampa tied for the top spot in the NFC South.
The Tampa Bay Buccaneers, so woeful for so long, are doing everything they can to prove they're for real.
Jameis Winston threw a go-ahead, 12-yard touchdown pass to Cameron Brate midway through the fourth quarter and Keith Tandy intercepted Philip Rivers in the end zone with 2:56 left to give the Tampa Bay Buccaneers their fourth straight victory, 28-21 victory against San Diego on Sunday.
"I've been here for five years and this is the first time we've been playing meaningful football in December, so I can't lie to you, it is a great feeling," Tandy said. "But we also know we have a lot of work to do, so we'll take 24 hours to enjoy it and get back to work."
"We're having fun, and when you have fun good things happen," rookie cornerback Vernon Hargreaves said. "Hopefully we can keep this streak going and see where it takes us."
"We didn't have the energy we had the last couple of weeks. So that's all we kept talking about," Tandy said. "You could hear guys going, 'Let's get the energy back. Let's get the energy back and let's keep punching.' "
The Chargers (5-7) were trying to get back to .500 for the first time since Week 2. They remain buried in the AFC West basement.
"We've had a handful like this, not necessarily exactly losing them this way, but we have had our chances to win and we haven't gotten it done," Rivers said.
"You can't turn it over twice. Can't turn it over, one for a touchdown and the other in that situation."
After giving up the pick-6, Rivers came right back and led a drive capped by a nice 40-yard touchdown toss to Williams for a 21-17 lead. Rivers also threw a 35-yard touchdown pass to Inman on the game's first possession.
The Bucs outscored the Chargers 21-7 in the second half. They've also beaten Chicago, Kansas City and Seattle in their winning streak. Winston completed 20 of 30 for 280 yards.
Chargers rookie defensive end Joey Bosa sacked Winston for a 12-yard loss on second-and-10 from the San Diego 15 late in the first half. Jacquizz Rodgers got 14 back on the next play, but the Bucs had to try a 31-yard field goal and Roberto Aguayo pushed it wide right.
Bosa has 5½ sacks. He might have had more by now, but he missed all of training camp in a nasty contract spat with management, then hurt a hamstring that cost him the first four games.
Bosa came off late in the game, appearing to slightly favor his left leg. He returned a few plays later. Coach Mike McCoy refused to say what the problem was.


Physiotherapy and yoga can help with joint pain. Here are a few tips to truly get the most out of yoga or physiotherapy for joint pain treatment.
This article provides information about Yoga & Meditation practices one can implement in their daily life and take a successful U-turn out of depression.
There are many causes behind insomnia, including stress, mental health, and physical health. Meditation and yoga practice can be a solution.
A yoga retreat could be an entirely healing experience, and here's why you should couple it with a complete digital detox.


At 36 years of age, Tom is already a veteran of surf photography. His work has graced the covers of over 50 magazines world wide for the past 15 years. He was the most published photographer in the USA, multiple years according to the Transworld Business Exposure meter. Tom has also been the staff photographer for Volcom for over a decade, where he continues to work today. After working for Transworld Surf, Surfing Magazine and Stab Magazine, Tom is now a Senior Photographer for Surfer Magazine, the bible of our sport. Always pushing the boundaries of surf photography, Tom was the innovator of the off camera flash work you can see in his galleries. Tom currently resides in Costa Mesa, CA with his lovely wife KC and legendary pup Woody.


Image Title: Wonderful Abstract Tile Design Kitchen Design Ideas With Bella Cosa Pertaining To Backsplash Tile Design Modern. Filename: wonderful-abstract-tile-design-kitchen-design-ideas-with-bella-cosa-pertaining-to-backsplash-tile-design-modern.jpg. Image Dimension: 508 x 800 pixels. Images Format: jpg/jpeg. Publisher/Author: Mackenzie Bayer. Uploaded Date: Monday - February 04th. 2019 02:53:05 AM. Category: Home Design. Image Source: freshome.com.
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