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Tag Archives: Ravi Shankar
New Depths of Hindustani and Medieval Music in a Debut Album by Composer/Cellist Chris Votek
Microfest Records 22
Though one could cite composers like Mozart and Beethoven having imitated the exotic ethnic music of Turkey and the late nineteenth century fascination with "orientalism", the actual study of ethnic and non-western musical traditions probably started in earnest with the folk song collecting done by Bela Bartok and Zoltan Kodaly in eastern Europe and similar work by Charles Seeger and the Lomaxes in the United States. The work of Colin McPhee then took the study of ethnic musical traditions into the academic realm. But, for this listener, it was the Yehudi Menuhin collaborations with Ravi Shankar and Alla Rakha that brought non-western musical systems to the public in a big way via the LP record. Hindustani music and dance did not even get any representation in film until Satyajit Ray's 1958 masterpiece, "The Music Room".
And since Hindustani music has traditions going back hundreds of years among diverse practitioners in a large geographic area, it is not surprising that there are traditions and styles that reflect such diversity and that western musicians continue to explore and learn the varieties and subtleties of practices. This album is certainly a fine example of Mr. Votek's mastery of the vocal tradition of Gayaki-Ang which is another of the rich traditions of the vast practice of Hindustani and Carnatic musical practices. What I'm ultimately saying now is that the familiarity with those great Menuhin/Shankar recordings affords the listener but a "tip of the iceberg" perspective of the depth of the traditions and practices of Hindustani/Carnatic music. Chris Votek is a part of a new generation of artists who are breathing fresh life into these practices and incorporating them in their own compositional and performance practices. And therein lies the significance of this release.
Chris Votek with this cello. Photo Credit Hannah Arista from composer's web site
So now, on to the music. The album begins with a work for string quintet, in this case a string quartet with a second cello. While this will necessarily invoke comparisons to the classical string quintet repertoire such as Mozart and Schubert this composition both pays homage to the classical tradition and infuses it with the composer's take on diverse musical worlds which reach far back into musical history. He takes medieval melodies and harmonies incorporating these into a work in three distinct movements titled, "Serpents", "Fossil Dance", and "Migration of the Fires". Each of the movements has its own character as the composer finds ways to work with this material.
Whether you choose to experience this as three separate pieces or, as this writer does, as a single work, this is the composer working with old western music incorporating it into a work for a String Quintet titled, "Memories of a Shadow". It works as individual movements but, as a unified whole it represents a stage of Votek's compositional development with this material. And while his encounters with Hindustani music is not explicit here, it is undoubtedly a part of his compositional thought as well.
The result is a gentle three movement String Quintet that could be programmed alongside Schubert's essay in the medium. It is, of course, stylistically different from Schubert but the instrumentation is the same and it provides a contrast to Schubert's work from 200 years earlier. Add to that the incorporation of medieval music (in Votek's work) and you get some delightful contrasts indeed. It is a work that shows its charms more clearly with each hearing and is a substantial addition to the repertory regardless of what else shares the program.
Neelamjit Dhillon with Chris Votek. Photo credit Kat Nockels from the composer's web site
Track 4 is dedicated to the performance of a single piece, a traditional raga played in a Hindustani vocal style called, "Gayaki-Ang". Accompanied by tabla player Neelamjit Dhillon, Votek performs on his cello the vocal part of this raga. This evokes for this writer memories of the late Arthur Russel whose vocalizations along with his cello playing had roots, at least peripherally, in a similar sound space. This is a traditional raga, a tradition that extends back hundreds of years to a sound world that paralleled but did not interact with western music of the medieval era heard in the earlier work. Happily, the interaction begun between early western collaborators with Hindustani musicians such as Menuhin and Shankar continues here most joyfully to explore the splendorous riches of that tradition.
While this is first disc dedicated exclusively to his own work listeners will want to peruse his collaborations listed on this well organized web site. He is an artist that is poised to create some thoughtful new music. This CD can be obtained via Microfest Records as well as other outlets.
Leave a comment Posted in 21st century, alternate tunings, American Composers, Cello Music, Chamber Music, classical music, composers, historical, modern music, music, music scholarship, new music Tagged Alla Rakha, Bela Bartok, Cello, Charles Seeger, Chris Votek, Franz Schubert, Hindustani music, Lomax, Ludwig van Beethoven, medieval music, MIcrofest Records, Neelamjit Dhillon, orientalism, raga, Ravi Shankar, Satyajit Ray, String Quintet, tabla, The Music Room, Wolfgang Amadeus Mozart, Yehudi Menuhin, Zoltan Kodaly
Sharon Isbin's "Strings for Peace"
A quick look at Sharon Isbin's discography makes it clear that she embraces her instrument in all of its historical, cultural, and geographical guises. From baroque classical on to contemporary classical, from jazz to folk and troubadour traditions. She has had over 80 works written for her and has collaborated with a wide range of musicians and musical styles.
For this release, Isbin has chosen to follow the route originally pioneered by Yehudi Menuhin in exploring and collaborating with South Asian musicians. Menuhin helped introduce music from other cultures (we now call it "world music") to the western world. His recordings with Pandit Ravi Shankar and Ustad Alla Rahka were revelatory and instructive to thousands of listeners (this writer included). Now comes another generation reaping the joy of collaboration inserting her western instrument in a context with musicians from another culture. The end result enhances both cultures.
Her collaborators span seven generations of familial musical traditions in India. Here we have master sarod player, Amjad Ali Khan and his very accomplished sons, Amaan Ali Bangash and Ayaan Ali Bangash. They are dazzlingly accompanied by tabla player Amit Kavthekar. All the music was written by Amjad Ali Khan and arranged for Sharon Isbin. And so she joins people like Menuhin and Ry Cooder in establishing a new generation of collaborative music making.
There are four compositions here lasting about 15 minutes (the second track is shorter at about 4 minutes) each based on a raga (a stale of notes) and named for that scale. Each piece is also given a more poetic title as well giving us: By the Moon-Raga Behag, Love Avalanche-Raga Mishra Bhairav, Romancing Earth-Raga Pilu, and Sacred Evening-Raga Yaman. All are world premiere recordings.
The recording was done in New York following a successful concert tour in India. It is lucid and a joy to the ears. There are doubtless multiple meanings hidden here in the kaleidoscopic world of Indian musical traditions and in the minds of the performers but the music has a joyous directness that comes from performers who have mastered their craft.
Leave a comment Posted in 21st century, alternate tunings, Chamber Music, classical music, composers, Julliard, music, new music, performance Tagged Alla Rakha, Amaan Ali Bangash, Amit Kavthekar, Amjad Ali Khan, Ayaaan Ali Bangash, Guitar, raga, Ravi Shankar, Ry Cooder, Sarod, Sharon Isbin, tabla, Yehudi Menuhin
Indian Raags for Piano made easy
Last year I reviewed Mr. Pitts' How to Play Indian Sitar Raags on a Piano. It was an enthusiastic review and the book continues to have a valued place on my piano as it opens a whole world of ideas. Now the author has done a kind and useful service by issuing this simplified version of that work.
In fact this simplified version is more in line with the rather unpracticed keyboard skills of your humble reviewer. The author chooses 6 raags or ragas which provide a good starting point for similarly humble musicians to begin this approach to Hindustani music.
Hindustani music became pretty much ubiquitous, or at least familiarly cliché in western musical culture largely due to the efforts of Indian musicians such as Ravi Shankar and Alla Rakha. In fact it is an endlessly fascinating musical system whose logic has much to offer both musicians and composers.
In the past one had to learn traditional Indian instruments to gain much familiarity with these ancient musical systems but Pitts' book offers an alternative to musicians whose familiarity is limited to the western keyboard. Purists may denigrate this approach but even if it does not perfectly represent all aspects of Hindustani musical theory at least it provides a manageable entry point for amateur musicians and professionals alike.
Having struggled somewhat with the previous book I was particularly delighted to have these simplified examples which fall nearer to my skills level. Even if I don't wind up incorporating this into performance or compositional efforts I have no doubt that the exposure to the actual practice of this music will leave a valuable bit of programming in my neural circuits that will enhance my musical thinking and ability to appreciate other musics.
As with the first book, this too is highly recommended. Kudos Mr. Pitts!
1 Comment Posted in 21st century, authentic performance practice, Chamber Music, classical music, esoterica, modern music, music, music scholarship, new music, pianists, piano music, Transcription Tagged Alla Rakha, amateur musicians, Hindustani music, John Pitts, lower skill levels, musical thinking, piano music, Ravi Shankar, simplified music, Sitar
The Heresy and the Ecstasy: Brooklyn Raga Massive Does "In C"
This is heresy. It is not, strictly speaking, faithful to the 1964 score and it is a sort of cultural appropriation which is actually the very basis of Brooklyn Raga Massive, a sort of latter day "Oregon" (to those who recall that band) which takes on all sorts of music and filters it through the unique lens of this flexibly populated group of musicians whose backgrounds range primarily from Hindustani and Carnatic traditions (though hardly in the most classical sense) but also from western classical and jazz. Their "heresy" comes from their choices. The root of heresy is the Greek word, "hairesis" which means choice. There is a lovely selection of their musical heresies on their You Tube Channel.
No this is not purely heresy and it is certainly not blasphemy. Quite the opposite actually. And I would prefer to think of this effort as cultural integration. The choices made here instead lead to some mighty ecstatic music making which pays honor to Terry Riley who turned 80 in 2015 and provides a unique perspective on this classic work.
"In C" (1964) is without doubt Riley's best known work by far and the one which pretty much defined what would later become known for better or worse as "minimalism". It is an open score meaning that no instruments are specified for performance making this music heretical in nature as well. In addition there is no conductor's score as such. Rather there are 53 melodic cells numbered 1 to 53 and the ensemble is held together by the expression of an 8th note pulse played by at least one of the musicians involved. The defining reference on the intricacies of this work is composer/musicologist Robert Carl's masterful book entitled simply, "In C". He describes the wide variety of potential choices which can be made in performance and the different results which can be achieved.
There are a great deal of recordings available of this work from the first (released 1968) on Columbia's "Music of Our Time" series curated by the insightful David Behrman to versions involving a wide variety of instrumental combinations of varying sizes. The first "world music" version this writer has heard is the version for mostly percussion instruments by Africa Express titled, "In C Mali" (released in 2014).
Not surprisingly BRM, as they are known, have chosen a largely Hindustani/Carnatic take on this music. The unprepared listener might easily mistake this for a traditional Indian music recording with the introduction which incorporates a raga scale and adheres to the traditional slow free rhythm improvisation of the introductory "alap" section common to such traditional or classical performances.
The familiar sound of these (largely) South Asian instruments with their rich harmonics sets the tone gently. This writer has at best a perfunctory working knowledge of these complex and beautiful musical traditions but one must surmise that the choice of Raga Bihag may have some intended meaning. Indeed such music is by definition integrated into the larger cosmology of Hinduism, the Vedas, the Gita, the Sanskrit language, and, no doubt other references. This is not discussed in the brief liner notes but is worthy perhaps as a future interview question.
It appears that many of the musical decisions were made by sitarist Neel Murgai though it becomes clear as the performance develops that individual soloists are allowed wonderful improvisational freedoms at various points. The recording is intelligently divided to let the listener know which set of melodic cells is being expressed at a given time.
The alap gives way to the sound of the tablas which initiate the pulse mentioned earlier. The structure of this piece produces a range of musical experiences from a sort of didactic beginning to the swirling psychedelic waves of sound which stereotypically define much of the music born in the mid 1960s in this country. In fact Terry Riley's deep study of South Asian musics (most famously under vocalist Pandit Pran Nath) did not occur until later in his career. Nonetheless there seems to have always been some affinity between Riley's vision and the sort of music whose popularity was driven in the United States most famously by the efforts such as Pandit Ravi Shankar and Ustad Alla Rakha in the 1970s.
What follows is a riot of musical ecstasy involving some inspired improvisational riffs and some stunning vocalizations as well giving us a fascinating take on this music which was written well before these musicians came into the world. We have a later generation paying homage to the beloved American composer and to the beautiful traditions of their own eclectic ethnic heritage.
The set concludes in this live and lively recording with a traditional fast paced Jhalla, the traditional ending to classical Indian musical performances. This will likely become known as the "Indian" recording of "In C" but it is so much more than that. It is an homage. It is a look back from the view of at least a couple of generations of artists. And it is heresy in the best sense of that word, choices made judiciously to achieve higher artistic goals. Not all art is heresy and not all heresy is art but the heresies perpetrated here definitely deserve our ears.
The heretics are: Neel Murgai, Sitar and Vocal; Arun Ramamurthy, Violin; Andrew Shantz, Vocal; Josh Geisler, Bansuri; Sameer Gupta, Tabla; Roshni Samlal, Tabla; Eric Fraser, Bansuri; Timothy Hill, vocal; Trina Basu, Violin; Ken Shoji, Violin; Kane Mathis, Oud; Adam Malouf, Cello; Michael Gam, Bass; Lauren Crump, Cajon; David Ellenbogen, Guitar; Max ZT, Hammered Dulcimer; Vin Scialla, Riq and Frame Drum; Aaron Shragge, Dragon Mouth Trumpet.
Namaste, folks.
Leave a comment Posted in 21st century, alternate tunings, authentic performance practice, Chamber Music, classical music, composers, Covers, esoterica, experimental music, free jazz, jazz, minimalism, modern music, music, new jazz, new music, performance, vocal music Tagged Aaron Shragge, Adam Malouf, Africa Express, alap, Alla Rakha, American music, Andrew Shantz, Arun Ramamurthy, bansuri, Bass, BRM, Brooklyn Raga Massive, Cajon, Carnatic music, Cello, Columbia Records, cultural appropriation, cultural integration, David Behrman, David Ellenbogen, Dragon Mouth Trumpet, Eric Fraser, experimental music, Frame Drum, Guitar, Hammered Dulcimer, heresy, Hindustani music, In C, In C Mali, Indian Music, jhalla, Josh Geisler, Kane Mathis, Ken Shoji, Lauren Crump, Mali, Max ZT, Michael Gam, minimalism, Modern Music, Music of Our Time Series, Neel Murgai, New Music, Oud, Pandit Ravi Shankar, raga, Ravi Shankar, Riq, Robert Carl, Roshni Samlal, Sameer Gupta, Sitar, tabla, Terry Riley, Timothy Hill, Trina Basu, Ustad Alla Rakha, Vin Scialla, violin, Vocals


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Sankt Petri kyrka är en kyrkobyggnad i Västervik, Västerviks församling, Småland. Den tillhör Linköpings stift.

Kyrkobyggnaden
Sankt Petri kyrka uppfördes i rött tegel och sandsten 1903-1905. Arkitekt var Adolf Emil Melander. Kyrkobyggnaden präglas av historiserad blandstil med dominerande inslag av nygotik, vilket kommer till uttryck i centraltornets höga spira jämte de mindre spirorna i byggnadskroppen samt portaler och spetsbågefönster. Kyrkans grundplan är ett latinskt kors med kor i öster, vapenhus i väster och korsarmar i norr och söder. Interiören har karaktär av basilika. Över mittskeppet välver sig ett högt tunnvalv medan sidoskeppen har kryssvalv.

Inventarier
Altartriptyken i nygotik är dekorerad av Gottfrid Kallstenius.
Predikstol med ljudtak. Målningar i korgens sex fälten av Gottfrid Kallstenius.
Nygotisk bänkinredning och orgelläktare.
I kyrkans torn hänger tre kyrkklockor. Klockorna hängde tidigare i Sankta Gertruds kyrka. Klockornas toner, från den största till den minsta, är diss1-e1-giss1. Storklockan är gjuten år 1701, mellanklockan år 1615, samt omgjuten år 1785. Lillklockan är gjuten år 1705.

Orglar

Södra läktaren
1905 byggde Åkerman & Lund en orgel med 28 stämmor fördelade på två manualer och pedal. Orgeln är mekanisk-pneumatisk med Barkermaskin och Rooseveltlådor.

Västra läktaren
1968 byggde Marcussen & Søn en orgel med 41 stämmor fördelade på tre manualer och pedal. Den är helmekanisk, med undantag från pedalens registratur som är elektrisk.

Galleri

Se även
Västerviks församling
Sankta Gertruds kyrka

Referenser

Tryckta källor

Noter

Externa länkar

Kyrkobyggnader i Linköpings stift
Kyrkobyggnader i Västervik
Kyrkobyggnader invigda 1905
Byggnader ritade av Adolf Emil Melander
Tegelkyrkor
1905 i Sverige

redpajama_set_name: RedPajamaWikipedia


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SXSW 2018 - 5 standout performances by NYC artists
No surprise, SXSW 2018 was busy. With over 2000 acts from 63 countries performing this year, Austin was jam-packed with industry professionals and music fans all week. Downtown was a human ocean in the wee hours, the crowds were rowdy at venues like Dirty Dog and tamer at the Central Presbyterian Church. I waited in line for many of our favorite NYC artists at venues that were filled to capacity hours before they were meant to go on (I'm looking at you, Anna McClellan). Here's a short recap of my favorite performances from this year's SXSW.
Beshken's Ben Shirken adeptly took us far away from the noise of 6th street and into an ethereal world of eclectic dance music with a nifty setup and bassist/guitarist Ian White at Burnside's Tavern on Wednesday.
Jukebox the Ghost is currently based out of NYC recording their fifth album Off To The Races at Studio G in Brooklyn. The band put on a stunning show at the StubHub Stage on Wednesday night, playing old songs such as "Girl" and "Somebody," and also debuting "Fred Astaire" and "Everybody's Lonely," two singles from their upcoming record. Their final song of the night was a cover of Queen's "Bohemian Rhapsody" that had everyone, sober and not-so-sober, singing along every word.
Soccer Mommy played songs from her acclaimed new album Clean in a great set at Cheer Up Charlie's on Friday, followed later that night at the same venue by Brooklyn's Topaz Jones, whose soulful, crowd-pleasing performance had us laughing and dancing alike. "Has anyone seen Stranger Things?" he asked, introducing his 2016 song "Winona."
Finally, my absolute favorite performance of this year's SXSW was Kitten's at Mohawk Outdoor (pictured above). Originally from LA, the band recently moved to NYC and enrolled local musicians BITS (Blu and Rex Detiger) in the live lineup. Kitten's frontwoman Chloe Chaidez was a delight to watch: an unusual burst of energy and incredibly agile gymnast, all without missing a note or a beat. She finished out the night with a 20-foot jump (more or less) into the audience and then sitting down at the drum kit, completely nailing the rhythm section of the last song and taking us all by surprise. -Geena Kloeppel
Alt Pop
DIY/Lo-Fi
beshken
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redpajama_set_name: RedPajamaCommonCrawl


I was both very excited and rather apprehensive about this concert, and anyone who has read my previous post on Nigel Kennedy will understand why. I was looking forward to my favourite violinist playing one of the best composers in history, but also steeled for a fair amount of waiting around, whimsical anecdotes, and interminable prog rock noodlings. The 10pm start time came and went, but the 20 min delay was, as Mr K was keen to point out, "not late because of me", and probably due to a minor security incident or the like, plus it taking a while to ram the auditorium, arena and gallery to a full capacity rarely seen at Late Night proms.
And then, with a minimum of fuss, 45-odd minutes of solid, brilliant, wonderful Bach. On the way in I'd overheard the conversation of a couple of what I'm going to (perhaps unfairly) call ClassicFM fans who, while very keen on Nigel, were rather concerned about this JS Bach, and whether the music was going to be "all stuffy" and "difficult". All credit to them for giving it a go, and I hope the highly-charged, exuberant and joyous Partita No. 3 in E (Prelude), which opened the concert, won them over.
The main work, though, was the Partita No. 2 in Dm in its entirety – something of a marathon. *Digression alert* Violinists – were you aware we flutes have been appropriating your music all this time? I have a couple of well-thumbed and scribbled-on volumes of unaccompanied Bach nicked from various partitas, suites, sonatas, etc. for violin, cello and whatever – all transposed to fit the flute range, broken chord appoggiaturas substituting for double-stops. And they work, because the magical thing about Bach is that it sounds good on ANY instrument. Really – any. Even tenor saxophone – I know, I've tried. (Didn't work so well on theremin, but this is almost certainly due to my lack of skill – sure it would sound great if Clara Rockmore was playing it.) Anyway, the 1st movement of the Dm is one particularly frequently hacked through by young flautists, as it was on one of the Grade lists (VII?), so it was very good to actually hear it on the originally-intended instrument, and more to the point, not hacked through, but played thoughtfully, lovingly, and with each phrase given the depth it deserves. And for the rest of the movements, I'll go with 'stunning', but please help yourselves from the superlative buffet.
It's rare for me to say this, but after the marathon of intensity and virtuosity, I was actually ready for something light – a bit of baroque-jazz crossover, even. Not only does Bach work on any instrument, but it can also take being swung without sounding daft – as has been demonstrated by Swingles et al. Here, Mr K was joined by friends (whose names I didn't catch) on double bass, guitar and drum (just the one) and used the Air "on the G string" as a launch pad for a riot of quote-heavy semi-improvised jazz shenanigans. Having been described as "all of you cats is like the most knowledgeable in the world", no less, the audience had not emitted a single clap between movements of the Partita (saving them all up for thunderous applause at the end), but were also aware that in the jazz tradition it is correct etiquette to applaud as each member of the band finishes their solo. The obvious tension between knowing one is supposed to show appreciation at a certain point, and the orchestral fan's 'but- but- there's music playing and we don't want to make a noise and so miss a single note of it!' was quite amusing.
Encores were all Fats Waller tunes, and they were charming. At around 11.40pm, the audience reluctantly let the man go, hopefully to enjoy a few well-deserved beers and bask in the afterglow of an awesome gig.
'I thought, "why don't I just start my own orchestra?", then I'm not going to have these hypothetical discussions about what is possible and what isn't – just do it!', wrote Nigel Kennedy in the programme notes for this, the largest-scaled concert of the Southbank Centre's Polish Weekend. Juxtaposing compositions by J. S. Bach (1685-1750) and Duke Ellington (1899-1974) two masters of harmony, melody, and – importantly – improvisation, and performing them with a group of performers from classical, jazz, and other musical backgrounds, it certainly promised to be an interesting evening.
And yet… I can't help feeling there's a back story to the subject, that doesn't sit comfortably in a formal review context, and is better suited to a blog post. So, a companion piece, of sorts.
My next Kennedy purchase was the Bruch/Mendelssohn CD, which is particularly associated for me with age 16-18. Although my teens were by no means unremittingly miserable, I had some periods of great stress, adding to and drawing from severe insomnia. During stressful periods (A-level exams, university auditions, romantic disasters, etc.) I got into the habit of listening to the Bruch on headphones in bed every night before trying to get some sleep. For some reason, it had an unusual power to calm me and temporarily make all seem well with the world. At university I used the (1991) Brahms concerto in the same way. It seems obvious in retrospect that orchestral music (both performing or listening) should be such an important part of my life, be able to give me intense enjoyment when happy, and keep me sane in times of stress/illness/heartbreak/etc. – I can't imagine it any other way. Of course, I could make a long list of favourite recordings by Nigel and other favourite artists – but there is no doubt in my mind that these three are not only tied to particular points in my life, but played a special role in my developing relationship with music.
At university, for a while I had a poster of Nigel on my wall, to the general derision of non-musical friends (for the bad clothes) and fellow music students (for being populist), but remained unapologetic. Given that I was at that point mostly immersed in the 2nd Viennese School and the development of total serialism, the idea of me liking something because it was popular was somewhat unconvincing; besides, now and then things become Very Popular because they are Very Good. And someone wearing a tie-dyed shirt topped with a waistcoat (yes, this was the early 90s) has no business commenting on anyone else's sartorial choices. For the record, I might mention that the walls of my student residences also featured Simon Rattle, Philip Glass, Arthur Brown and Jim Bob (although I drew the line at Ian Anderson). Visual appearance is irrelevant in my musical allegiances (although looking nice never did anyone's popularity any harm, and yes, I mean you, Emmanuel Pahud), as, frankly, is anything they have to say for themselves. This is not to say that it's not absolutely fascinating to hear some musicians talk (including some of the above) – just that it's a bonus, not a requirement.
(a) I really don't like hearing little snippets of larger work – something some of my operatic friends describe delightfully as 'bleeding chunks' recitals (albums, etc.). A concerto (symphony, opera, etc.) is a single entity, and to play a single movement is like opening a lovely bar of chocolate, snapping it along the helpful moulded divisions – and then chucking half in the bin. In fact, it's worse than that, because each chunk is part of a more complex structure, and becomes less enjoyable when taken out of context – like (desperately trying to keep the chocolate analogy going) eating just the icing but not the cake underneath – a quick rush, perhaps, but ultimately unsatisfying. Additionally, irrespective of cropping, it's much harder to maintain one's concentration in a concert made up of a lot of little pieces than a couple of long ones, which goes against the received wisdom that the 'MTV generation' need everything in 3-minute bites. Good music transports the listener and changes one's experience of the passage of time; it does so less effectively if every time you start flying away, you're swiftly brought back down to earth with a thump and the spell broken.
(b) I don't like too much (ok, any) talking about the music or the musicians during concerts. I work with some conductors who like to talk a bit, and, to be fair, know some audience members who like to hear it, but as far as I'm concerned, that's what programme notes are for. I'll (generously!) make an exception for new or rare works, concerts where the composer is present to conduct or perform their own work, and a Phil Brit concert I did a while back where they got an actor to read some interesting selections from Mozart's letters interspersed with the pieces composed at that point in his life.
(c) Crossover. Fusion. Terms which are rarely used in a complimentary manner, but this is mostly because a great deal of genre-blending music is vile – not at all the same thing as disapproving of it on principle. The most heinous kind is when 'classical' music is fused with pop, in a deliberately dumbed-down Easy Listening nightmare of cheese; however, apart from that particular kind, I'm all for cross-genre experimentation. I wouldn't go quite as far as Duke Ellington, who resisted any classification of music other than 'good' and 'bad', but musical categories are certainly not clearly-defined, and there's considerable blurring and disagreement around the boundaries (although, for that matter, no two people could agree completely over what would fall into Ellington's two categories). It's all a question of how well it's done – and that, again, is very much down to personal taste.
I think that's quite enough self-indulgent rambling from me. I don't blog very often – does it show? Still, you didn't pay any money for it and could have left any time you liked without anyone knowing. Congratulations to anyone who got this far! Please consider leaving a comment below and telling me where I've got it all wrong.
* Edit (2013): Doing a bit of research for an article, it seems my dates above don't add up, and this blogpost may contain historical inaccuracies. Whatevs. That's how I remember it.


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text:
A Roof Over My Head
Skådespelare: Alfie Bass, Brian Rix, Francis Matthews, Lynda Baron, Sheila Keith
Nätverk: BBC One
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Genre: Familj, Komedi
Masterchef Holland
A Woman's Guide to Adultery


Bell Top for your Nantucket Maggie's Bell Mold. Available in two sizes and 6 species of wood: cherry, oak, maple, walnut, ebony or rosewood.
Small - for 2 inch "Maggie's" Bell Mold.
Large - for 3 inch "Maggie's Bell Mold.
The bases (bell tops) I received from you have worked very well for my craft. Very nice quality workmanship, nice wood and they look beautiful in the finished piece.


"The radios we took apart for this week's teardown are the UV-5R and the UV-5RB, though there appear to be many products by Baoefang with a similar product designation (UV-5R, UV-5RA, UV-5RB, UV-5RC, UV-5R+, UV-5R V2, etc...). While only the UV-5RB will appear in the following article, the interior layout of the two radios is largely identical. I opened two radios because the UV-5RB that I initially tore down had multiple integrated circuits with illegible or completely absent top-side markings."
Circuit drawings and other info at the link.
Basically, $13 per radio to the US - if you need 10. 12/29 Correction: Reading is hard. Thanks to the correction in the comments - this is for the battery only. Doh.
Put one in your trunk. Leave one at work. Put one in your laundry room.
Someone got on top of Neyland Stadium with a UV-5R.
The UV-5R makes another TV appearance.
Guess we are done... Baofeng UV-5RZ. They've run out of letters, so no more radios. Sad face goes here.
Thanks to Nate for the link.
Image via reddit - love the comments.
Both this post and number four on the list suggest a real desire for a good quality, but inexpensive mobile. They made the list despite only getting posted in May of 2015.
The UV-5R remains popular and hams like to tinker/fix things.
I'm surprised that this got so many hits as I don't maintain it - looks like I should do some updates.
Again, software posts seem to be popular. And everyone that got a UV-5R wanted to check out the the new version of the software.
I'm glad this gets some hits as I try to keep it updated as a quick reference - I would like to expand it by keeping track of lowest prices and other miscellaneous data.
The UV-B5 still seems to be a sleeper.
I think the Baofeng Tech UV-5001 and Baofeng Tech UV-2501 mobile radios would have been more popular posts than the KT8900 - except they weren't released until November.
The little clone of the Yaesu VX-3R, the UV-3R, really got folks interested in the Chinese radios. I can't believe it still gets so many hits.
And hams would love to get something for nothing!
This tells me that lots of people visit my blog the old fashioned way - by going straight to the root domain.
Here's to an interesting 2016. May it be everyone's best year yet!
Baofeng UV-5R for $31 (Free Ship) as an Amazon Lightning Deal - only about an hour left.
From the guys at BuyTwoWayRadios... the Blackbox Base station that I've posted about a couple of times.
A while back I posted about what I called the Blackbox Baofeng Base Station. The guys over at BuyTwoWayRadios discuss the Blackbox base station on their podcast. They've watched the video from Richard Klein (see below). There isn't a ton of information, so they speculate a little, ask some questions, and offer some opinions. I pretty much agree with everything they say - interesting idea, mounting to the wall would be odd unless the antenna rotates, either this is a repackaged Baofeng or they are taking advantage of popular (thus cheaper) components, and the $239.95 price tag means few amateurs will be interested.
"You should ask questions before you post ignorant comments.
Yes we use a Baofeng keypad and screen due to low cost, but the entire thing from there is custom.
The power supply is modified to accept AC.
The speaker output is 3X a portable radio (4 Ohm speaker with amplifier).
The circuitry is completely modified with high quality shielding, voltage protection, and coil mod.
So you think it's a Vega from the headlights, but we wrapped it in a Ferrari body, and put a Maserati engine inside."
Drop the first and last lines and you've got a helpful response. I really don't think anything said in the podcast was as harsh as the response.
I saw thumbnail of that image first. I thought it was an Atari joystick.
"This capability isn't available in CHIRP (yet).
I am working on it and wouldn't mind a few testers.
The oldest radios must get the settings from firmware and can't be adjusted. My UV-5R with BFB231 firmware can't be adjusted.
I first tried this out on a UV-82L with success. Then later on a GT-3. Earlier this week, I got to try it on my own UV-82 and BF-F8HP radios. The difference is amazing. I don't know why Baofeng ships these radios with the squelch so "broken"."
I believe that you will now find that Squelch 9 can really squelch out stronger stations and you will have to reduce squelch to 6 or maybe 5 for normal operation.
If you like these settings, don't upload any other image file into your radio or they will be reset to the values in that image file. If you don't like these settings, or that don't appear to do anything, then just upload your original image file and everything will be as is was before."
I'll be following this to see how it develops.
"Two models are on display so far: the Misutā Samurai, and the Misutā Hero. Both are, of course, UV-5Rs, with reverse LCDs. Prices are about the same."
These things sure are full featured - they even act as a remote for auto-opening garbage cans.
If you are having problems with your UV-5R where the receiver is muted, check out Miklor and the BuyTwoWayRadios pages for some common problems and fixes.
Some newer radios with N5R-20 and N5R-30 firmware.
This is a current firmware that will ship with ALL UV5R series radios. This includes all UV5R, RA, GT-3, BFF8, F8HP, etc.
So a there is a new kid on the block... the Baofeng BF-F8HP.
Miklor has a review. He says it has the same chip as the GT-3. He also has output power measurements and they look good.
You can order one at Amazon for about $63.


text:
Q: RegEx to exclude word starts with symbol "]" now i have regex that just capture words from content
/\b(word1|word2|word3)\b/i

its quite simple and it works, but i have a case when it shouldn't fire. When word is in wordpress shortcode
[voice]word1[/voice]
In this case regex doesn't need to be fired.
I've tried [^\]]\b(word1|word2|word3)\b but it captures extra space. Check https://regex101.com/r/KdEvbN/1
I spent about 2 hours and now i hate regex. Help me get out. Thanks

A: Try a negative look behind like this:
(?<!])\b(word1|word2|word3)\b

redpajama_set_name: RedPajamaStackExchange


@RogueNasa has just joined the 'online resistance' against the Trump Administration with its own twitter account.
Rogue twitter accounts have been appearing ever since the Trump administration's ban of twitter usage for government public agencies.
RogueNASA already has 453,000 followers and counting.


College Station - Texas Task Force 1, the state's elite urban search and rescue team, will respond to a mock earthquake at Disaster City® during its Operational Readiness Exercise, or ORE, March 29-31.
TX-TF1 is sponsored by the Texas Engineering Extension Service and can be deployed by the Governor's Division of Emergency Management or as one of the Federal Emergency Management Agency's 28 sanctioned urban search and rescue teams.
TX-TF1: One of TX-TF1's three 80-person Type-1 urban search and rescue teams. Members of TX-TF1 range from firefighters and medical personnel to structural engineers and come from all areas capable of reporting to College Station within a four-hour window, including the Dallas/Ft. Worth, Houston, Austin and San Antonio areas. TX-TF1 will deploy to Disaster City® with its cache estimated at $2 million.
Texas A&M Emergency Care Team: Will play the role of the Disaster City® EMS department.
Disaster City®, College Station, Texas: Disaster City® is 52 acres of simulated catastrophe, including rubble piles, collapsed buildings, a train derailments, and much more. It is the largest and most comprehensive urban search and rescue training facility in the world.


text:
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To boost your guest blogging goals, we've compiled an up-to-date list of blogs that accept guest posts. Each category contains 20 blogs. This is a work-in-progress list and will be updated regularly as we add new categories.
The blogs have various criteria for writers at different levels and experiences.
There is a lot happening in the political world, such as Brexit in the UK and the battle between Donald Trump and Hillary Clinton in the US for the coveted White House seat. Do you have opinions, views, debates or up-to-date news to share on political blogs?
Your guest posts will be read globally, putting you and your blog in the spotlight. In addition, you will become known as an authority in the political niche. You will also build social proof, grow your social media followers, meet prominent contacts and develop more political knowledge. There are many high-ranking blogs to choose from in the list below. Start pitching your article ideas now.
Do you have a passion about issues related to women in business and in leadership positions? Or would you like to inspire, encourage or share worthwhile advice about interesting sisterly topics? Make use of the guest blogging platform and write for women blogs. Put your blog on the radar and get your voice heard. Gain more women subscribers who will be keen to hear your unique insights.
This platform can take your business, coaching, blogging or writing to new and exciting levels. Women love to read useful, practical life-changing content. Providing this through guest posting will attract a new global audience. Think of the new relationships and friendships you will establish. Get started now by sharing your expertise. The blogs in the list below are looking for excellent writers, so choose one or more and start pitching.
Are you a creative geek? Do you own paintings, sculptures, modern art pieces or love writing about anything arty? Now is your chance to display your artwork or get your voice heard by sharing your stuff on art blogs. Apart from getting exposure, you could meet new business contacts or clients.
Guest posting is a great content marketing strategy. When done right, it could transform your blog, attract a new audience and develop your credibility. If you want to develop your art skills, writing for this niche will increase your knowledge. Look through the blogs listed below, read the guidelines and start guest posting.


text:
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Should States Support Public Charter School Facilities Funding?
What Were Your Biggest Charter School Challenges in 2019?
Building an Effective Charter School Board
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Announcing the Winners for our 2019 Dewey Awards!
How Changing the School Environment Can Affect Student Outcomes
Preparing Your Charter School Board to Govern For Growth
Do School Choice Programs Reduce Crime? Multiple Studies Say Yes!
How the Charter-School Backlash Will Hurt American Kids
How to Prepare Your Charter School Students for College Readiness
Charter School Leaders: How To Prepare For the Compensation Conversation
Our toolbox of solutions are designed to help provide charter leaders with resources needed to support the success of their schools.
Access working capital to support school growth.
Achieve long-term stability with our facility financing options.
Optimize building health and efficiency with our Energy Services.
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Leverage best-in-class marketing services to increase enrollment.
Recover school-based Medicaid reimbursements.
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Answers to our most frequently asked questions.
Get to know the members of our dedicated and mission-driven team.
Stay up to date on news about the charter school movement.
We're always keeping an eye out for exceptional talent.
Browse our broad library of charter school resources.
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If it's happening in Charter Schools, it's being talked about on our blog. See what's new!
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Key Elements of Successful Charter School Authorizing
Karrie Sundbom
Tags : Charter school authorizercharter school authorizers
Date : May 23, 2018
Elements of Successful Charter School Authorizing
Editor's note: This post on charter school authorizing was originally published on February 27, 2108, by the National Alliance for Public Charter Schools and written by Kevin Hesla, the Director of Research and Evaluation at the National Alliance for Public Charter Schools. In an earlier CHARTER EDtalk with Darlene Chambers Sr. Vice President for Programs and Services, National Charter Schools Institute, we discussed the importance of balance as it pertains to the authorizer/charter school relationship. This is another interesting look at the role of authorizers as examined in the newest NACSA study, Elements of Successful Charter School Authorizing. It not only highlights the essential qualities of successful authorizing as shared in this post but also the essential practices – in four key areas – of successful charter school authorizing.
We think it's vital to keep tabs on the pulse of all things related to charter schools, including informational resources, and how to support charter school growth. We hope you find this—and any other article we curate—both interesting and valuable.
Strong, thoughtful, and visionary authorizers and authorizing practices are absolutely essential to the continued growth and health of the charter school movement – a movement which aims to provide expanded opportunities to millions of students while also positively reshaping the larger public education landscape. Based on recent national surveys, 16 to 17 percent of parents would choose a charter school for their child if location and capacity were not an issue – indicating that the potential number of charter school students in the U.S. is between 8 and 8.5 million. While parent demand for charter schools remains strong, supply growth has increasing been constrained by several factors, including: facilities access, the talent pipeline (including founding groups, school leaders, and teachers), overall funding and funding equity, authorizer capacity, union and political opposition, and limitations in state laws (including caps on charter growth).
Amidst this environment, the National Alliance, the National Association of Charter School Authorizers (NACSA), and various stakeholders at the national, state, and local levels, are committed to working together to remove these barriers to growth. That is what makes NACSA's new report on the successful elements of charter school authorizing so important and timely. The best authorizers view their role as supporting school success and not as that of "compliance cop." As charter school demand continues to exceed supply – the role of strong and visionary authorizers in providing systemic leadership, setting expectations, supporting schools, and helping developing groups overcome obstacles – is more important than ever.
Over the past several years, NACSA convened a panel of researchers and advisors to collaboratively investigate the perspectives and practices of high-performing authorizers compared with a sample of authorizers achieving moderate outcomes. As a result of this research, NACSA identified a list of "practices and [qualities] that appear similar and different across these two groups of authorizers." These qualities and practices are highly correlated with success; however, the report notes that "additional research is needed to establish casual relationships between authorizer practices and outcomes."
NACSA found that "while successful authorizers are grounded [in] smart systems and tools, they are [also] empowered to make the best decisions for children through great leadership, institutional commitment, and strong professional judgment."
Essential Qualities:
Great Leadership: "Great authorizers are dedicated to a mission of giving more children access to better schools through the proactive creation and replication of high-quality charter schools and the closure of academically low-performing ones."
Institutional Commitment: "Great authorizers reflect their institution's commitment to quality authorizing. Authorizing is visible, championed, and adequately resourced, rather than buried in a bureaucracy. The people responsible for day-to-day authorizing functions have influence over decision making."
Professional Judgement: "Great authorizers make decisions based on what will drive student outcomes, not based on checking boxes or personal beliefs."
Along with these three essential qualities, NACSA also looked at essential practices among four key areas: culture, staff development, and norms; the application and pre-opening process; monitoring and intervention; and charter school renewal, expansion, and closure. Among these four topic areas, NACSA found a number of practices that differentiate strong authorizers from average authorizers.
"our nation's strongest authorizers create environments where charter schools thrive [and they] help charter schools live up to their fullest potential."
Essential Practices:
Culture, Staff Development, and Norms.
High-performing authorizers developed a culture and staff competencies that were grounded in their mission of providing expanded educational opportunities to students and families. They used data as a tool to help drive decision making, but they also applied their professional judgement in interpreting the data and understanding its limitations. They created a culture where staff felt empowered to make decisions and were not "bound by protocols, templates, or other authorizing tools that limit decision making." High-performing authorizers built strong and supportive relationships with their schools while also drawing a "very clear line between providing support and direction." They frequently sought out new and best practices from other authorizers (and at times other sectors) and modified them to fit their organizational context. They created an environment with structured and regular opportunities for "staff reflection and self-critique on practices and systems." They had a "history of long-tenured senior leadership, including multiple long-tenured executive directors." And they spent a great deal of time developing their staff, including cross-training on other authorizing functions and developing "explicit strategies to ensure a shared understanding of, and expertise in, quality authorizing."
Application and Pre-Opening Process.
High-performing authorizers were transparent in their decision-making process, they often encouraged denied applicants to reapply, and they supported schools in the pre-opening process. They provided applicants and the public with "detailed information about the application process including timelines, evaluation criteria, [and] previously submitted and reviewed applications." They looked at the application holistically while also ensuring that "all parts of the application [were] internally coherent and reinforcing." They assessed geographic and community need while being careful not to "specify a preference for specific types of schools." They used the approved application as a detailed blueprint for the opening and operation of the school. Unlike in other areas of the authorizing practice, high-performing authorizers were "very hands on (sometimes quite intensively) in the pre-opening process" and they used the pre-opening process to "build relationships, set expectations, and provide technical assistance to schools." In addition, they reviewed their application process after each cycle to improve its efficiency and validity.
Monitoring and Intervention.
High-performing authorizers conducted ongoing monitoring that was clearly aligned with the expectations laid out in the charter contract, they did not ask for data that they could easily obtain from public sources, and they used professional judgement in determining if interventions were necessary. High-performing authorizers provided formal and informal feedback to schools so that there was consistency and clarity about where schools stood relative to their expectations. They used "formal site visits to collect information about schools [and] facilitate difficult conversations with schools when needed." They used a transparent, regular, and predictable system to collect data from schools and they did not ask schools for data that they could easily obtain from public sources. In addition, they used their professional judgement to determine if interventions were necessary and, if so, the specific nature of the intervention.
Renewal, Expansion, and Closure.
High-performing authorizers provided clear information about whether or not schools were meeting expectations, they provided incentives for replication and expansion, and they took an active role when a school was closed. High-performing authorizers regularly communicated with schools and alerted them to any potential underperformance or concerns long before formal decision were made about renewal, expansion, or closure. They did not approve replication and expansion plans automatically but they did provide incentives for replication and/or expansion by, for example, reducing per-student oversight fees, expediting the application process, and providing access to facilities. In addition, they took an active role when a school was closed by finding a replacement operator and/or ensuring that students had access to other schools.
The report notes that "authorizing is, ultimately, an intensely human endeavor. Like all bureaucratic functions, authorizing certainly must be grounded in good laws and policies, sound principles and standards, and—day-to-day—smart processes, rubrics, and benchmarks." But NACSA points out that the best authorizers take a much more proactive approach to their work, specifically "our nation's strongest authorizers create environments where charter schools thrive [and they] help charter schools live up to their fullest potential."
We'd love to hear your thoughts and comments on this topic. Please leave them below.
Charter School Capital is committed to the success of charter schools and has solely focused on funding charter schools since the company's inception in 2006. Our depth of experience working with charter school leaders and our knowledge of how to address charter school financial and operational needs have allowed us to provide over $1.6 billion in support of 600 charter schools that educate 800,000 students across the country. For more information on how we can help your charter school, contact us!
Since the company's inception in 2006, Charter School Capital has been committed to the success of charter schools. We help schools access, leverage, and sustain the resources charter schools need to thrive, allowing them to focus on what matters most – educating students. Our depth of experience working with charter school leaders and our knowledge of how to address charter school financial and operational needs have allowed us to provide over $1.8 billion in support of 600 charter schools that have educated over 1,027,000 students across the country. For more information on how we can support your charter school, contact us. We'd love to work with you!
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A blood-red tomato salsa with serious garlic undertones makes this the ideal associate for home made burgers & sausages and a must for pre-barbecue snack with tortilla chips. Try Vampire Relish as an alternative to tomato sauce or to stir through your pasta dish. Alternatively, this delicious tangy relish is simply addictive when used as a dip.
Ingredients: Tomatoes (43%), Onion, White Wine Vinegar, Unrefined Raw Cane Sugar, Green Peppers, Red Peppers, Tomato Puree (3%), Garlic Puree (3%), Ginger Puree (3%), Soy Sauce (Water, Salt, Colour: Caramel, Sugar, Soybean, Wheat Flour), Spices, Extra Virgin Olive Oil PDO, Smoked Paprika.


Renal cancer is the disease in which certain tissues of the kidney starts to grow uncontrollably and form a tumor.
It is also called as renal adenocarcinoma or hypernephroma.
Classic triad of symptoms are flank pain, palpable abdominal mass and gross hematuria.
Patients with renal cell carcinoma (RCC) who received the first-line combination of avelumab and axitinib had longer progression-free survival (PFS) compared with those who received sunitinib, particularly those with PD-L1–positive tumours, according to findings of the phase III JAVELIN Renal 101* trial.
A combination therapy of nivolumab plus ipilimumab (NIVO + IPI) continues to confer survival benefit and durable response over 30 months of follow-up compared with sunitinib in patients with advanced renal cell carcinoma (RCC), according to updated results of CheckMate 214 presented at ASCO Genitourinary Cancers Symposium (GUCS) 2019.
Treatment with radiofrequency ablation yields good long-term oncologic outcomes in patients with small renal masses but not in those with tumours >3 cm, a study has shown.
Initial cytoreductive nephrectomy provides overall survival (OS) advantage in metastatic renal cell carcinoma compared with initial systemic therapy, a recent study reports.
Use of axitinib in the neoadjuvant setting appears to result in weight loss, with notable reductions in skeletal muscle and subcutaneous adipose tissue in patients with localized renal cell carcinoma, a recent study has shown.
Nivolumab plus ipilimumab significantly improves overall survival (OS) vs sunitinib in patients with intermediate- or poor-risk advanced renal cell carcinoma (RCC), according to results of the first-line CheckMate 214 study presented at the European Society for Medical Oncology (ESMO) 2017 Congress held in Madrid, Spain.
Some patients with metastatic renal cell carcinoma (mRCC) who have slow-growing disease can safely undergo active surveillance for months to years before starting systemic therapy, a small phase II study has shown.
Long-acting beta2-agonist (LABA) plus long-acting muscarinic antagonist (LAMA) combinations compare with inhalers containing both LABA and corticosteroid (LABA-ICS) in terms of reducing chronic obstructive pulmonary disease (COPD) exacerbations, although the LAMA-LABA combination is more favourable as it is associated with fewer episodes of severe pneumonia, according to a study.


Advanced Chemistry Development, Inc., (ACD/Labs) is a global chemistry software company developing desktop and enterprise solutions to effectively utilize the wealth of scientific knowledge generated among the many branches of chemical, biochemical, and pharmaceutical R&D. Using our deep understanding of chemical disciplines, advanced mathematical algorithms, and computer science, our solutions help guide on-going research, aid decision-making, and speed the development of new chemical entities for the marketplace.
Acorn NMR develops and markets NMR-related software for Windows and Macintosh, and operates an NMR spectroscopy service in Livermore, CA.
NMRPipe is a UNIX-based collection of programs and scripts for manipulating multidimensional Nuclear Magnetic Resonance (NMR) Spectra. It is developed and maintained by Frank Delaglio, with contributions from the colleagues listed the illustration link here. A typical NMRPipe installation includes related software such as NMRDraw, NMRWish, TALOS, DYNAMO, ACME, and MFR.
CYANA ((c) by Peter Gu"ntert) is a program for automated structure calculation of biological macromolecules on the basis of conformational constraints from NMR. The combination of automated NOESY cross peak assignment, structure calculation with a fast torsion angle dynamics algorithm, and the ease-of-use of CYANA provide for unprecedented efficiency in NMR protein structure determination.
NMR spectroscopy is an extremely powerful tool providing valuable structural and also quantitative information for the characterization of single compounds and mixtures. NMR parameters (chemical shifts and coupling constants) extracted from 1D-1H spectra already provide comprehensive structural information. However, spectral overlap and higher order effects pose a challenge making these NMR parameters difficult to access. Complete NMR spectral analysis using quantum mechanical optimization of NMR parameters to match the actual ones in the experimental data is a classic approach to handle this problem and used to be the gold standard of spectral analysis.
LCModel, Automatic quantification of in vivo proton MR spectra.
MRVision is a high-end image display and processing program offering state-of-the-art analysis and visualization functions to realize the latest advances in medical imaging.
Analyze is comprehensive and interactive package for multidimensional image visualization, processing and analysis.
Simple and easy-to-use analytical software compatible with various medical images.
All the tools for the analysis of MRI, CT, Conventional Radiology, Nuclear Imaging exams in a single place.


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   @6 ,40 prom '                ù‹ê'‹® ' &&2
   @7 ,40 prom '  –'"¨'Ÿõ ¤÷–'Ÿþ®ø—¢ø¤ø ' &&3
   @8 ,40 prom '               ù¢û'‹‹ªõ ' &&4
   @9 ,40 prom '                žò‹‹‹¬ ' &&5

Now I need to search trough all text file and extract that texts which is in between quotes
Result would be like:
'                0šø¤‹‹¡ '
'                ù‹ê'‹® '
'  –'"¨'Ÿõ ¤÷–'Ÿþ®ø—¢ø¤ø '
'               ù¢û'‹‹ªõ '
'                žò‹‹‹¬ '

A: You could use a function to filter out the quoted text from each line:
function TextBetweenQuotes( const s : String; quoteChar : Char) : String;
var
  p,p1 : Integer;
begin
  Result := '';
  p := Pos(quoteChar,s);  // Find first quote char
  if p > 0 then begin
    p1 := Pos(quoteChar,s,p+1); // find second quote char
    if p1 > 0 then begin
      Result := Copy(s,p,p1-p+1);  // Copy text between quotes, including quotes
    end;
  end;
end;

If you have an older Delphi version which does not support optional offset argument in the Pos() function, use the StrUtils.PosEx() instead.


As all political junkies know, the US president is elected not directly by a citizen vote but by the Electoral College - an archaic original compromise of the Founding Fathers and States. (Yes, we will have a powerful President, but the States will be influential in its election.) There were four presidential elections when the popular vote was different from the elected president: 1824, 1876, 1888 and 2000. Besides, the first few elections were confused by the issue of Vice-Presidency (especially in 1796 and 1800), leading to the more specific 12th Amendment.
This is almost a lazy quote diary, except my primary inspired source is in Dutch. So this is a sketchy translation, with a few quotes in English from elsewhere.
Yap is a small island of just 100 km2, some 1500 km to the east of Philippines. Until the end of the 19th century, it was one of the most isolated and disregarded islands on Earth. In 1903, an American anthropologist visited the island for two months. Soon he published a lively book on Yap's social hierarchy, religion and... the most remarkable economy. What can be amazing about the economy based on fish, coconuts and sea cucumbers? Well, John Maynard Keynes was impressed in his early years.
for centuries, the main form of currency on this tiny Micronesian island was stones. Very large stones. Looking like Claes Oldenburg sculptures of oversized bagels, the stones -- or rai, as they're called -- can stand as high as ten feet and weigh several tons each.
While these carved stones may not look like big bucks to an outsider, some have enough value to purchase a new house.
As we got a little interested in the age distribution of readers of this blog, I follow the Swedish royal suggestion to bring up a poll. Please contribute in making this survey representative.
And let's discuss, whether we should take on a mission to attract a batch of younger readers, or expand all age groups.
How right the Keynesians are gonna be?
I was writing a comment to the diary "LQD: How Depressingly Right We Have Been", but the quotation became substantially long even abbreviated. Hence this diary.
There was another recent diary, on Krugman's argument about GDP growth and limiting carbon emissions. A couple of Krugman's posts sparked steady reaction from the Post Carbon Institute and such. I noticed an ongoing series of articles from one blog, particularly. It mixed edgy enmity towards Krugman and liberals with eventually some relevant line of thought.
On the face of it, Paul Krugman appears entirely confident in the future of the American way of life and the growth of a globally inclusive economy. He is similarly confident in our ability to address climate change by running that economy on renewable energy.
There was a brief incomplete discussion the other week here on macho dominance, hierarchy enforcement, power dynamics. I had lived pretty ignorant of social status games for long - but recently I realized that hierarchy interactions, instincts and emotions have to be taken seriously. Let me shake similarly your rational onlooker premises about power and human nature.
The Economist has a provoking article in the Christmas issue on French noir moods. It should stir some discussion here.
[...] Le Monde ran three pages under the title "Liberté, Égalité, Morosité", in a bid to decode its fellow countrymen's "persistent melancholy". France, it turns out, has the highest suicide rate in western Europe after Belgium and Switzerland. An American psychiatric study showed that, among ten rich countries, the French were the most likely to have a "major depressive episode" at some point in their life. Even the French language seems to be particularly well stocked -- morosité, tristesse, malheur, chagrin, malaise, ennui, mélancolie, anomie, désespoir -- with negativity.
Lithuania had the second round of Seimas elections yesterday: run-off voting in individual constituencies. The Social Democrats had won 22 seats yesterday, and will be the largest party in the new parliament.
The first round voting took part and was discussed two weeks ago. The voter activity was much lower yesterday: 35.86%, down from 52.93% on October 14.
One constituency has no representative yet, because first round results there were declared invalid.
Darbo Partija was under pressure from numerous voter buy-off reports.
Lithuania [elected] a new parliament (Seimas) [yesterday]. 70 members are elected in a proportional party voting (with 5% barrier), and 71 members are elected in local constituencies (with runoff voting 2 weeks later, in districts where no one got 50% of votes).
The election 4 years ago produced a shaky-looking coalition of the serious Homeland Union (the conservatives and Christian-democrats), two liberal parties, and a new populist Rising Nation party of a TV star. The populist party disintegrated after one year; it was swallowed mostly by the Center-liberal party. The coalition survived the whole term however, despite shifts in the coalition, the economic crisis, boosted emigration, austerity measures, and such joys.
A big Youtube sensation this summer has been the music video "Gangnam style" by the Korean rapper PSY.
He is not a usual K-pop act, being 34 and chubby. But he likes to entertain, and now he became the first Korean pop artist to break through in the US.
I was going to respond to a discussion on taxation in the Inequality diary - but my piece got long enough for this diary.
Rather than talk about earned versus unearned income, I suggest to think about taxation of surplus capture (or appropriation). Bear with me.
The basic story in the economy theory is how labour and capital (material and financial) and real estate (land and accommodation) cooperate nicely to produce more wealth. The big problem which is sometimes abused but more often vulgarly ignored is distribution of the newly produced wealth.
Classical economists broadly agreed that generally labor is at the most disadvantageous position, as its wages depend on labor market competition and bargaining power, not ion the surplus produced. We are returning to the times when labor rewards are disgustingly skimpy indeed.
Sure, some highly skilled labor is still richly rewarded, sometimes out of proportion to produced value - think of football (and other sports) star contracts that did turned out delusional. But generally, the impact of globalization was harsh on labor wages.
When I was in graduate school in economics in the early 1960s we were taught that capital was the limiting factor in growth and development. Just inject capital into the economy and it would grow [....] Capital was magic stuff, but scarce. It all seemed convincing at the time.
Many years later when I worked for the World Bank it was evident that capital was no longer the limiting factor, if indeed it ever had been. Trillions of dollars of capital was circling the globe looking for projects in which to become invested so it could grow. The World Bank understood that the limiting factor was what they called "bankable projects" -- concrete investments that could embody abstract financial capital and make its value grow at an acceptable rate, usually ten percent per annum or more, doubling every seven years.
Right, this is well visible in recently liberated economies. Quite a few services and infrastructures are abandoned as not yielding enough for "decent" living.
Without much preface, I will turn here on two articles currently top-headlined at "Asia Times". The authors are Spengler (David P. Goldman) and Chan Akya. The economic commentary of these regular contributors was timely interesting in 2008. But by now their insight and argumentation are reduced to simplistic "National Review"-lite anti-liberal chatter.
Disheartening developments at the Fukushima Daiichi nuclear plants continue, as nuclear elements take on their own course. Is it getting too late for human responsibility?
Today the IAEA has finally confirmed what some analysts have suspected for days: that the concentration per area of long-lived cesium-137 (Cs-137) is extremely high as far as tens of kilometers from the release site at Fukushima Dai-Ichi, and in fact would trigger compulsory evacuation under IAEA guidelines.
The IAEA is reporting that measured soil concentrations of Cs-137 as far away as Iitate Village, 40 kilometers northwest of Fukushima-Dai-Ichi, correspond to deposition levels of up to 3.7 megabecquerels per square meter (MBq/sq. m). This is far higher than previous IAEA reports of values of Cs-137 deposition, and comparable to the total beta-gamma measurements reported previously by IAEA and mentioned on this blog.
This should be compared with the deposition level that triggered compulsory relocation in the aftermath of the Chernobyl accident: the level set in 1990 by the Soviet Union was 1.48 MBq/sq. m.
Was the Euro outright an anti-labour project?
It's been known for years -- centuries, really -- that monetary unions are hard to hold together [....] As theorized by Robert A. Mundell, the Nobel Prize-winning economist at Columbia University, a monetary union can't survive without something very close to political union, including free mobility of labor to nations where jobs are more available, flexible wages, a tax system that transfers funds from the winners to the losers, and strict rules preventing members from running up big budget deficits.
Now that we know what "free mobility" and "flexible wages" mean: If these neoliberal components are indeed vital for monetary unions, what was the hope for labouring masses? It was actually "third way" Europe's labourists and socialdemocrats who did the final push for euro. Did they already think along the same theory?!
For the tens of millions of people who are unemployed, underemployed or have given up looking for work altogether, we are in a crisis. The economy is an absolute disaster, ruining their lives and also jeopardising the futures of their children and grandchildren.
But that is not the way that the people paid to contemplate economic policy in Washington see things. This gang is busy congratulating themselves because things could have been worse. They point out that if they had been even more incompetent that we could be in a second Great Depression with unemployment staying in the double digits for a decade.
An investor who went from the stock market to the bond market was like a small, furry creature raised on an island without predators removed to a pit full of pythons.
I used to think if there was reincarnation, I wanted to come back as the President or the Pope or a .400 baseball hitter. But now I want to come back as the bond market. You can intimidate everyone.
Does anyone here have experience in that ecosystem?
This co-op, whose problems were recounted in a 1977 article in The Journal of Money, Credit and Banking, was an association of about 150 young couples who agreed to help one another by baby-sitting for one another's children when parents wanted a night out. To ensure that every couple did its fair share of baby-sitting, the co-op introduced a form of scrip: coupons made out of heavy pieces of paper, each entitling the bearer to one half-hour of sitting time. Initially, members received 20 coupons on joining and were required to return the same amount on departing the group.
Is Dow Jones a big bubble?
I thought that I saw these graphs, but I am struck by the overall shape. The right-hand side of the picture looks completely different from the "lethargic" middle and left parts. What kind of common parameters of economic goodness or random walk could fit the whole graph?
We can recognize that the Great Depression recovery was long, or that there was a mysterious deflation in the 1970s. But the growth rates since the 1980s do not look like anything of the previous 50 years.
The Ascent of Money: A Financial History of the World.
The same story is put into televised series. The author is a contentious historian, known also for two volumes The House of Rothschild, and for the touch apologetic Empire study. Recently he got involved in a debate with Krugman and others over Obama's economic policies.


It is officially holiday party season! I wanted to share one of my favorite go-to styles on my natural 4C/4B hair! It is super simple, sleek and chic and perfect for New Years Eve, holiday parties and any other special events! Enjoy!


Home » Healthy » Injectable Vitamin C For Brighter Skin ?
Injectable Vitamin C For Brighter Skin ? - Skin looks radiant and fresh certainly look more attractive. Unfortunately, exposure to sunlight and free radicals often can not be avoided. Yet that is what makes the skin dull, lusterless.
One known way to get a powerful and secure in a bright skin is to utilize the potent antioxidants such as vitamin C. Some people even do the procedure of injecting high doses of vitamin C for the sake of brighter skin.
Although the procedure is known to be safe, but according to the plastic surgeon and aesthetic reconstruction, Irena Sakura Rini, vitamin C is consumed through food. That way, rated Irena more profitable than doing high doses of vitamin C injections.
"Nowadays people are strange, but a strict diet injections of vitamin C. In fact, a good diet it means enough vitamins, fruits contain vitamin C should be eaten," he said on the sidelines of a press briefing Annual Scientific Meeting of the Association of Physicians and the Reconstructive Plastic Surgeon aesthetic premises (PERAPI), some time ago in Jakarta.
According to Irena, by eating fruits or other foods that contain vitamin C, the benefits are not only skin, but also for overall health. That is why, the consumption of vitamin C is naturally better than injections.
Irena explains, vitamin C has the ability to suppress the growth of melanin cells in the dermis layer of the skin. Malanin cells are cells that provide pigment in the skin. If the cell count is the more it will seem darker skin.
In addition, vitamin C also acts as an antioxidant against radical bebes body obtained from exposure to pollution and sunlight. It would retard the aging process of skin cells that keep it supple and youthful.
The dose of vitamin C a day for adults is 75-90 milligrams per day. Fruits are brightly colored like oranges, guava, apple, kiwi, and grapes are a good source of vitamin C.


text:
The Kitchen - "Taking Over the Neighborhood" Official Featurette
Video of The Kitchen - "Taking Over the Neighborhood" Official Featurette
Buy tickets for The Kitchen: https://www.fandango.com/the-kitchen-2019-218574/movie-times
Melissa McCarthy, Tiffany Haddish, and Elisabeth Moss star in #TheKitchenMovie, only in theaters August 9.
http://www.facebook.com/TheKitchenMovie
http://twitter.com/KitchenMovie
http://www.instagram.com/TheKitchenMovie
http://www.thekitchenmovie.com
https://www.dccomics.com/movies/the-kitchen
New York City, 1978. The 20 blocks of pawnshops, porn palaces and dive bars between 8th Avenue and the Hudson River owned by the Irish mafia and known as Hell's Kitchen was never the easiest place to live. Or the safest. But for mob wives Kathy, Ruby and Claire—played by Melissa McCarthy, Tiffany Haddish, and Elisabeth Moss—things are about to take a radical, dramatic turn. When their husbands are sent to prison by the FBI, the women take business into their own hands, running the rackets and taking out the competition…literally.
Now they own the neighborhood.
The gritty, female-driven mob drama The Kitchen, from New Line Cinema and BRON Creative, is written and directed by Andrea Berloff, who was nominated for an Oscar for Original Screenplay for Straight Outta Compton.
The film also stars Domhnall Gleeson (Star Wars: The Last Jedi), James Badge Dale (Only the Brave), Brian d'Arcy James (Spotlight), with Margo Martindale (TV's The Americans), Oscar winner Common (Selma, Marshall), and Bill Camp (Vice), with an ensemble cast including Jeremy Bobb (Marshall), E.J. Bonilla (TV's The Long Road Home), Wayne Duvall (Prisoners), Annabella Sciorra (TV's Daredevil), Myk Watford (HBO's True Detective).
Berloff's screenplay was based on the comic book series created for DC Vertigo by Ollie Masters and Ming Doyle. The film was produced by multiple Oscar nominee Michael De Luca (Captain Phillips, Moneyball, The Social Network) and Marcus Viscidi (Rampage). Serving as executive producers were Richard Brener, Michael Disco, Dave Neustadter, Aaron L. Gilbert, Jason Cloth, Elishia Holmes, and Adam Schlagman.
Community Event Highlights
Check out all the events occurring in the community this week!
Watch More: The Kitchen
The Kitchen - "Taking Over the Neighborhood" Official...
The Kitchen - Official Final Trailer
The Kitchen - Official Trailer
kitchen, the kitchen, the kitchen movie, the kitchen trailer, new kitchen trailer, kitchen featurette, Melissa McCarthy, tiffany haddish, elisabeth moss, mob, mob movie, Mafia, New York, New York City, NYC, dc vertigo, vertigo comics, vertigo comic book, vertigo graphic novel, ming doyle, ollie masters, new line, warner bros., dc films, dc movies, vertigo movies


text:
Q: npm fatal error on ubuntu, any idea? I have tried a lot of things, but this is still not working. When I try to run npm start command, it gives me this error:

npm ERR! argv "/usr/local/bin/node" "/usr/local/bin/npm" "start"
npm ERR! node v6.4.0
npm ERR! npm  v3.10.6
npm ERR! file sh
npm ERR! code ELIFECYCLE
npm ERR! errno ENOENT
npm ERR! syscall spawn
npm ERR! angular2-quickstart@1.0.0 start: `tsc && concurrently "tsc -w" "lite-server" `
npm ERR! spawn ENOENT
npm ERR!
npm ERR! Failed at the angular2-quickstart@1.0.0 start script 'tsc && concurrently "tsc -w" "lite-server" '.
npm ERR! Make sure you have the latest version of node.js and npm installed.
npm ERR! If you do, this is most likely a problem with the angular2-quickstart package,
npm ERR! not with npm itself.
npm ERR! Tell the author that this fails on your system:
npm ERR!     tsc && concurrently "tsc -w" "lite-server"
npm ERR! You can get information on how to open an issue for this project with:
npm ERR!     npm bugs angular2-quickstart
npm ERR! Or if that isn't available, you can get their info via:
npm ERR!     npm owner ls angular2-quickstart
npm ERR! There is likely additional logging output above.
npm WARN Local package.json exists, but node_modules missing, did you mean to install?

npm ERR! Please include the following file with any support request:
npm ERR!     /home/gg/Scrivania/my-proj/newangular/npm-debug.log

A: Perhaps you have some missing peer dependencies. As you are on npm version 3+ you will have to install any required peer dependencies manually.
You should see warning messages when running npm install to this effect. To be sure, delete node_modules and reinstall, checking the output of npm install carefully, as follows:
cd /home/gg/Scrivania/my-proj/newangular
rm -rf node_modules
npm install


Jay Z made history Thursday by becoming the first hip-hop artist to be inducted into the Songwriters Hall of Fame.
The man who helped present the award was another trailblazer, the nation's first black president, Barack Obama. The two have much in common, as Obama mentioned in his speech.
Perhaps the most immediate thing they have in common, though, was that neither man was actually at the event. Obama gave his speech in a prerecorded video, and Jay Z tweeted about it later. E! reported the rapper was not able to attend the awards gala in New York City.
In the video, Obama named and congratulated all the inductees before turning to Jay Z (given name Shawn Carter), whom he called "a true American original."
"I like to think Mr. Carter and I understand each other," Obama said. "Nobody who met us when we were younger men would have expected us to be where we are today."
The former president continued, highlighting some of the personal difficulties both men faced and, in their own ways, overcame.
"We know what it's like not to have a father around," he said. "We know what it's like not to come from much, and to know people who didn't get the same breaks that we did. So we try to prop open the door of opportunity so that it's a little easier for those who come up behind us to succeed as well."
Obama sprinkled in a bit of his signature wit as well, saying, "Jay and I are also fools for our daughters, although he's going to have me beat once those two twins show up," referring to twins Jay Z and his wife Beyonce have on the way (or have already had, if you believe the Internet rumors).
Speaking of Beyonce, Obama tossed in a knowing reference to her and Michelle Obama, saying, "Let's face it. We both have wives who are significantly more popular than we are."
It isn't particularly surprising to see the former president speaking about the rapper. The two share a long and abiding respect for each other, perhaps even friendship.
"I'm pretty sure I'm still the only president to listen to Jay Z's music in the Oval Office," Obama said. "That may change at some point, but I'm pretty sure that's true now."
As he mentioned in his speech, "I sampled his lyrics to close my speech at Selma."
It's true. On the 50th anniversary of Alabama state troopers attacking nonviolent, mostly black protesters marching from Selma to Montgomery to fight for voting rights, Obama said, "We honored those who walked so we could run. We must run so our children soar."
This was a paraphrase of Jay Z's verse on the remix of Young Jeezy's "My President," in which Jay Z raps, "Rosa Parks sat so Martin Luther could walk/Martin Luther walked so Barack Obama could run/Barack Obama ran so all the children could fly."
Furthermore, Obama said, "I tweeted a reference to 'My First Song' as I was putting the finishing touches on my final State of the Union address."
Obama has previously mentioned the song in an interview, saying he listened to it on the campaign trail because it "kinda keeps me steady. It's a great song. It reminds you that you always have to stay hungry."
Obama said he got to know the Carters during the first few years of his presidency, adding, "They're good people. Beyonce could not be sweeter to Michelle and the girls. So they're good friends. We talk about the same things I talk about with all my friends."
Beyonce sang - well, lip-synced - the "Star Spangled Banner" at Obama's second inauguration.
Jay Z even once said of the former president, "I've spoken to him on the phone and had texts from Obama, of course." He's rapped about it too, saying in "On to the Next One" that he has "Obama on the text."
In fact, Jay Z and Beyonce visited the White House several times during the Obama administration. And, according to Obama, the rapper still serves as an inspiration.
"Jay, you have been inspiring, making me want to be active in my retirement just you have been in yours," he said, before closing with a quote from Jay Z himself: "'I never looked at myself and said that I need to be a certain way to be around a certain sort of people. I've always wanted to stay true to myself, and I've managed to do that, people have to accept that.'"


text:
Arsenal🔫 in Contract Talks📝 with Aaron Ramsey😯
Arsene Wenger has revealed Arsenal are in talks with Aaron Ramsey over a new contract.
The Gunners have come under the spotlight for their contract negotiations in recent months. Mesut Ozil signed a new deal, but Alexis Sanchez was allowed to leave in January once it became clear he had no intention of committing his future to the club.
Meanwhile, Jack Wilshere, who captained the side in Sunday's 3-0 Premier League win over Stoke, sees his current deal expire in the summer, with the player and club publicly at odds as to the progression of contract talks.
When asked about a new deal for Ramsey, whose current deal runs to the end of next season, Wenger said: "We are communicating.
"Yes, I'm confident, he's not at the end of his contract, he has one and a half years to go. From my side it is clear, but you always have to find an agreement."
Read more: http://v.duta.us/0nEYawAA