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The sun never caught Chuma Himonga sleeping
11 July 2017 | Story Carla Bernardo. Photo Robyn Walker.
Professor Chuma Himonga is the latest recipient of the Alan Pifer Research Award for Socially Responsive Research.
After 24 years of service at UCT and nearly 40 years in customary law, advancing the rights of women, children and indigenous communities, Professor Chuma Himonga is the latest recipient of the Alan Pifer Research Award for Socially Responsive Research. It is the celebration of an illustrious career that all began on a farm in Zambia where young Chuma started on a path supported by her determination, discipline and love for her roots.
Discipline, dedication and rural roots
"I am a rural girl," says Himonga, who grew up on her father's farm in Monze, where she and her siblings helped care for the cattle and harvested maize, sweet potatoes and groundnuts.
It was hard work from a young age, and Himonga credits her father for laying the foundations for the discipline she applies in many areas of her life today.
"He would say to us, 'If the sun finds you in bed when it rises, you will be poor.'"
Her father's words were her guiding light from the farm to boarding school, to the University of Zambia, University of London, University of Bayreuth in Germany and all the way to UCT where Himonga is set to retire at the end of 2017.
"If my father was still alive today, I would tell him that the legacy he left was the work ethic he instilled," she says.
It was this – along with her love for the system that regulated her life as well as those of her friends and family – that led Himonga to carve out a celebrated academic career in customary law.
Common law and customary law
In rural Africa, customary law regulates the lives of millions – people who live at a "complex and shifting intersection of traditional and state institutions". Equally, black Africans living in towns often regulate many aspects of their lives using a combination of customary law and other systems of law in a country's legal system.
Himonga, as a leading scholar on both common law (the law of European origin in African legal systems) and customary law (a community's customs or practices that were never codified but are so common that they are considered legally enforceable), is uniquely placed to speak to overlaps between these systems of law.
Among her many contributions to reconciling traditional regulatory frameworks and common law, Himonga has been part of a group of legal academics who have been influential in seeking ways of defining and ascertaining customary law for purposes of its application and reconciling this system of law with human rights, including constitutional rights in South Africa.
Throughout, Himonga's work has greatly contributed to advancing the rights of women, children and indigenous communities.
Professor Penelope Andrews, the dean of law, and Professor Dee Smythe, director of research in the Faculty of Law, refer to Himonga's work as "a remarkable record of engagement with vernacular justice in practice".
In their nomination submission for the award, Andrews and Smythe laud Himonga and her research, her collaborative efforts, strides made under her leadership as South African Research Chairs Initiative (SARCHi) Research Chair, nurturing of the continent's leaders, her transformative role within the Faculty of Law, and her teaching.
Her research centres on the law of persons and marriage, African customary law, legal pluralism, and women and children's rights under customary law in Southern Africa.
"It is a body of work that reflects four strong imperatives," says Andrews.
These are demonstrating the operation of law in practice; debunking the enduring primacy of common over customary law; working towards creating a complex, responsive and vibrant legal system; and, to illustrate the need and advocate for reform of both systems, better serving the most disadvantaged.
These priorities, says Smythe, are readily apparent in Himonga's fourth and most recent book, Reform of Customary Marriage, Divorce and Succession in South Africa: Living Customary Law and Social Realities, co-authored with UCT sociologist Elena Moore.
Himonga and Moore look in detail at the impact of interventions into the customary law of marriage and succession.
"Critically, the book also deals with the financial consequences of divorce and the impact on children," says Smythe.
She adds that Himonga's writing "spans the terrain of personal law", the consequences and dissolution of marriage, rights of women living in or entering into polygynous marriages, lobola, land grabbing in the context of inheritance, and the rights of the children.
"Always, there is the pressing question of how to reconcile rights to culture and gender equality, and to give full effect to the constitutional recognition of customary law."
In committing her life's work to advancing the rights of Africa's marginalised, Himonga's career is marked by collaboration with other academics, across disciplines and with a number of civil society organisations.
She has collaborated with the UCT Faculty of Health Sciences in exploring new perspectives based on African philosophies about the right to health and has worked alongside traditional leaders on the coexistence of indigenous and non-indigenous legal cultures, among others.
"There is a long history of impact in her work," says Andrews
Along with many other achievements and roles, Himonga co-founded Women and Law in Southern Africa, an activist-research organisation, in 1988. She is the warden of All Africa House, hosting, among others, African scholars from different countries on the continent in addition to convening and coordinating the All Africa House Fellowship Programme for the past six years; and she is the current South African Research Chair in Customary Law, Indigenous Values and Human Rights hosted by UCT, funded by the Department of Science and Technology (DST) and administered by the National Research Foundation (NRF).
"My Chair has been the highlight of my career for the simple reason that it helped me do what I love to do, which is study customary law and the operation of law in practice," she says.
Andrews describes how in her position as Chair, Himonga has facilitated "a rich and forward-thinking research agenda", teaching a generation of UCT lawyers the importance of customary law. Under Himonga's guidance, UCT is one of the few law faculties to offer customary law as a compulsory LLB subject.
As retirement nears, Himonga is looking forward to spending more time with her two children, their spouses and her three grandchildren.
While growing as an academic, she raised her children as a single mother after she was tragically widowed early in her career.
"It was a challenge because no-one thinks of the family situation, of the whole person," she says of some of the hidden faces of gender in academia.
Fortunately, Himonga says, her children were easy and demonstrated the same kind of independence and discipline her father and mother had instilled in her so many years ago.
"They recognised very early on that they had to fight the battle of life together," she says.
Now, Himonga is looking forward to receiving the Alan Pifer Award and has already planned her celebrations.
"It will give my children and grandchildren the opportunity to see my work," she says smiling.
Then, in keeping with the work ethic instilled in her during her formative years on the farm, Himonga will tie up as much of the research at her Chair as possible before retiring.
But do not expect her to slow down. She plans to undertake faith-based community outreach, helping community members living in poverty lead healthier lifestyles, spend more time with her family and keep one foot in academia.
Certainly, even in retirement, the sun will never catch this socially responsive researcher sleeping.
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Q: Table doesn't exist - returns 'Invalid Object Name' I'm using SQL Fiddle for a project. I built my schema in left panel, everything works out fine and I get the Schema Ready message. When I attempt to perform a Select query on the right table, it tells me the tables I just created do not exist. Here is the select statement:
SELECT *
FROM table1;
SELECT *
FROM table2;

Again, I am pretty sure the tables I created are working fine and are using an exact match to the names in my select statement. The error I receive says only, "Invalid object name 'table1'."

A: *

*Check if you are using the correct database, sometimes when you change from server to server you end up running the query on the master database of a server

*If thats not the case, also put the name of the schema before the table as follows: schemaname.tablename

redpajama_set_name: RedPajamaStackExchange


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Home / SmellyBlog / Tagged: Orientalism
Adornment as Survival
Filed under Art, Feminism, Historic Formulation, Israel, Naive Art, Orientalism, Painted House, Painted Palace, Shlomi, Wild Feminine, Wild Woman, Women Artist, Yemen, Yemeni Culture, Zbad
In the edge of the sleepy border town of Shlomi, there is a run-down neighbourhood of subsidized housing whose appearances are as yawn inducing as ever. You pass by a synagogue down an abandoned alley, courtyards with neglected gardens, and walk a few stapes up the mouldy staircases, and then there is a gate to an otherworldly temple. Even before the door is opened for you, you know you're stepping into a different time-space zone. It is decorated with intricate designs, resembling an African weaving patterns.
The moment you step inside, the colours shout at you from all directions. Very striking earthy and almost primary colours, reminiscent of African art and perhaps also with some Mexican association (if it weren't for the very sparse use of azure colours). There is also an overpowering scent of highly-perfumed floor cleaner. There is no place for the eye to rest or think of anything else but what the artist intended to create here. A magnetic energy both suffocates you and transports you into the inner corridors and innermost secret chambers of her life, and death.
The foyer is tiny, and packed with portraits and collages of the artists superimposed over newspaper clippings. Before you realize where you are, you're already in the kitchen, of which the only homey remnants are the aluminum pots still stashed away in the cabinets. But in this context they seem more like witches cauldrons than anything else, and it's hard to imagine any sustenance cooked within these spirited walls. Behind it is a service balcony with broomsticks and buckets and other cleaning affair, also looking like they carry much more magical meaning than their humble appearance. It seems like not even a good idea to step closer - like the Sorcerer's Apprentice, at any moment these object may start walking towards you and drown you with bucket-water all on their own. The broomstick is also painted with zebra-like stripes, and all the pipes running through this balcony are meticulously decorated, to conceal any distracting parts of reality from the eyes of the beholder.
The other rooms are just as haunting, an disturbingly intimate - with beds laid with the same blankets and bedsheets of the artist who dwelled her, and with the artist's personal belonging in the painted closet: antique face powder, with an unrealistic peach colour of no real skin... Crusted-blood-red nail polish, hand creams, medications, and a quarter-liter Eau de Cologne that smells nothing fresh or cologne-like, but rather like a deep, rich ambreine perfume, in the vein of Shalimar: some bright bergamot drowned in a syrupy concoction redolent of vanilla, castoreum and patchouli. The legendary perfume that Afia's children remember her by is probably sitting right in front of me.
This is The Paineted House of the late artist Afia Zekharya. You don't need to know her life story to appreciate the power of her art and the magic of this space where she lived and ultimately died. But it sure helps to understand why she did what she did: spent the last 15 years of her life covering everything inside this apartment with art. Also, similarly to other female artist that focus on their internal storytelling, and although her art is immensely biographic, it is more figurative and symbolic, and less elaborate than Frida Kahlo for example, whose art also portrays the deep suffering - although infused with joy - she experienced in life.
There is more unknown about Afia's life story than there is know, party because she spoke only Arabic, and therefore hasn't communicated much with her neihbours. But also because her family keeps its privacy, and does not like to be interviews about here. Whether it is to protect her memory or because they are media shy, we will never know. But we do know she was born in Southern Yemen, got married off at a young age (probably 10), and has immigrated to Israel with her husband, a traditional Yemeni jewellery artist (if you haven't seen Yemeni silver jewellery - it is very ornate, and requires much skill), and their six children (although according to what I've heard she's given birth 15 times - so most of the children did not survive). They were first settled in a big Arabic house in the abandoned village of Al-Bassa, whose inhabitants fled during the War of Independence/AKA The Naqba in 1948. The village was mostly ruined and on top of it was built the moshav Betzet, and parts of the industrialized section of the new Israeli border town of Shlomi.
It was a big house with garden and yard and Afia had dedicated her life to raising her children, cooking traditional Yemeni food in a taboon (a specialty clay wood stove for baking flatbreads) that was built in the house - a lifestyle I imagine was still somewhat familiar to what she had in Yemen, despite being displaced in a new foreign country. But before each day has began, she would take great care adorning herself: painting her fingernails with nail polish, wearing Yemeni regalia and jewellery and dousing herself with her signature perfume - an Oriental concoction that is forever engrained in her children's and grandchildren's memory. Perhaps this was her only pathway for self-expression, because Afia was forbidden by her husband to pursue her true passion for painting - something that according to a rare interview from 1994, she was very good at and was even recognized for while living in Yemen. According to her story, she was so gifted and her art so loved that she was especially commissioned to paint a king's palace in her youth.
But sometime in her old age of 80, after all her children left home, and her husband already among the dead - Afia was displaced again. This time because the town of Shlomi needed the land where she lived to expand the industrial compounds. Without knowing the language, she was signing a lease that robbed her of her house, and instead was provided with a claustrophobic rental space in the Amidar neighbourhood of Shlomi. No garden, no chickens, no taboon to bake her bread. Instead of using the sun balcony to keep contact with the world, Afia shut herself in and in secret, with cheap paint, began telling her story that was locked inside her all these years, on every surface of the house. Including all the walls, the frosted-glass window panels of the sun-balcony, the screens that keep away mosquitoes, the cupboards, closets and even the toilet bowl. Then the floors, (all the parts that were not covered by carpets, so now that the carpets were removed, you can see some bare floor). And finally, despite her short height, painted the ceiling. To overcome her height obstacle, she placed a chair atop a table and methodically decorated the entire ceiling in each and every room in the apartment. She was almost done painting the last square meter of the ceiling when she fell and injured herself so badly she had to be hospitalized.
But that injury did not stop her creativity. She now stocked up on multiple dolls from the souk, created Yemeni regalia to cover their bare plastic skin, and painted their faces with traditional Yemeni -style "makeup" - adorning their eyes with blue and black frames, painting their lips a bright red and adding henna-like decorations for their skull-like yellow-painted faces. Like the pattern on the walls, all the faces replicate each other, and all replicate Afia's face, which she also painted, reigning on her kingdom of painted dolls. As if frozen in time in their childhood, the part in life which Afia was never really able to live to its fullest. They're stuck in that moment in time, the night of there Henna ceremony, their eyebrows and forehead smeared with Z'bad - a seductive solid perfume made of civet paste, camphor and spices.
The dolls look all alike: their seamless baby-plastic complexion suffocated by cakey makeup and weighed down by heavy metal jewellery and ornate ceremonial Yemeni-wedding embroidery. Their once innocent appearance now seems menacing. Frozen on the eve of their wedding night, like a serial-killer's victims - or perhaps like a murderess themselves.
This art and the house struck a chord with me on many levels. First of all, because Afia Zkharya is also a Fringe Artist like my daughter Tamya (an autistic artist that paints and draws purely out of her own need to express herself, and less so from a need of an audience or recognition). My daughter's innocent portraits seem violet at times - wide-smiling "happy" girls exposing sharp teeth and claw-like nails, surrounded by dense patterns and many colours.
Secondly, on a more personal or emotional level, being a woman and having experienced the blurring of my identity (being raised by a stepfather of Moroccan descent who hated anything to do with my European heritage, he insisted on silencing of my voice and criticizing me whenever I was singing German Lieder or Italian opera), and the general oppression of my art and creativity while growing up - especially confusing when on the surface it was nurtured and encouraged, and I was constantly praised for my "talents". Something that I believe a lot of women can relate to. As women, we are often not allowed to show the full spectrum of our emotions, not even through a socially acceptable form of art. And this is especially apparent in more traditional patriarchal societies and those still strongly dominated by that.
Last but not least, on a more political level, being an Israeli all those oppressive events, such as wars and violence, and especially violence agains minority groups and women from those groups is deeply disturbing and affects me even if I wasn't an Arab-Jew or an Arab-Palestinian thrown out of my home, or having my children stollen (which happened to many Jewish women from Yemen, the Balkans and other Arab-Speaking countries) on the pretence that they were still-born. This is an affair that is only recently being acknowledged by the Israeli government - being denied as being an urban myth even though we as a collective all knew and believed the victims all along, a story that kept being told and there was no other way. This kind of pain is not something that no matter how much you try to - it cannot be erased or denied. The truth comes out because it is part of people's lives who live among us, even if it doesn't affect us directly. And this is also true for the Sixties Scoop in Canada, which is a too-obvious comparison, and has bled through all level of society, whether if we like to acknowledge it or not. Jut like a war, you can't have a whole generation scarred and lives displaced and shuttered this way without having a multi-generational effect on all of society.
The fact that her art is recognized, and the Painted Palace saved from erasure, just as Afia insisted on expressing herself despite all odds, and being rented to another family is a consolation. Just like the artist has and preserved her language and her name (Israel's melting pots of the 1950s and beyond was very aggressive about morphing everyone into "Israelis" and not allowing preserving their identity and culture from abroad - beginning by forcing people to forget their mother's tongue, and change their names into Hebrew names. For example, Afia, which means Health in Arabic was "Hebrewsized" into "Ofra" (which means a baby deer), Now the art and culture division of the town of Shlomi is fundraising for preserving the house so that many more generations can experience this magical place and be touched by Afia's story and the suffering she's endured. Like Dia de los Muertos, this creation feels more like a commune with the dead. Next time I go there I want to bring a Yemeni soup as an offering, and give Afia's doll one of my cherished jars of Z'bad I received as a gift from my friend Dan, to refresh her painted face and perfume all her self-portraits.
Olfactory Orientalism
Filed under Alchemy, Arab Perfumery, Attar, Incense History, Indian Attar, Indian Perfumery, Mata Hari, Orientalism, Perfume History, Philosophy
Most fragrance families have strange, if not weird names. But "Orientals" almost sounds racist... And it kind of is. The term originates in the "Orientalism" movement in art, architecture and design which was most prominent in the 19th Century, but began before and continued after as well - and is still alive and kicking in the world of perfumery. Orientalists had one thing in common - what seems like an obsession and perhaps even idealization of cultures in the Middle East, Asia and North Africa. But there is also a sense of condescending. A view that has a subtext that says that Western culture is better, and could imply a view that these cultures are static, primitive or inferior. Which of course is far from the truth.
The Orientalism in 19th Century Europe was largely related to imperialism. It romanticized Asian, North African and Middle Eastern cultures, in a way that is neither authentic nor free of prejudice. With that being said, it has largely influenced popular culture as well as perfume and the design and art that go with it. From bottle design to the actual "jus" - the Orient was infused in many perfumes of the early 20th Century - and beyond. Names such as Mitsouko, Shalimar, Crepe de Chine were some of the first to derive their inspiration, name and design from "Eastern" themes; perfumes such as Opium, Cinnabar and Samsara revived the interest in Orientalism towards the end of the 20th Century; and now we have Tom Ford and Serge Lutens as the leaders of the post-modernist Olfactory Orientalism movement, with perfumes bearing names such as Shanghai Lily, Japon Noir, Plum Japonais, Bois Marocain, Arabian Wood, Ambre Sultan, Arabie, Borneo 1834, Muscs Kublai Khan, Fumerie Turque, Rahat Loukum, etc.
Besides the aesthetic idealism of this style and movement, there is also a clever marketing decision, cashing on the Westerner's constant desire to be swept off their feet by an exotic culture; be transported into distant places with only a whiff from a bottle. Admittedly there is much magic in this; but also the danger of caricaturization an entire culture, and innocent yet wrong interpretation of names, concepts and symbols. One such example is Samsara - a wonderful floriental by Guerlain created in the 1980's, with an evocative name that mean "seven heaps of dung" - a metaphor to the material body's various stages of life. Hardly a romantic meaning for this gorgeously orchestrated jasmine-and-sandalwood perfume.
As one can see by the choice of name, marketing and advertising materials - there are plenty of stereotypes packed into each one of these, perhaps all exemplified and demonstrated by this long-yawn-inducing video clip for Guerlain's iconic Shalimar, a mega production that seems to cater to the teenage male fantasy of computer-games and completely unrealistic courtship: misogynistic as well as patronizing a bundle of Eastern cultures (kind of hard to tell where one begins and another ends - we have here an amalgamtion of what seems like an Arab prince on a white stallion, the iconic Indian Taj Mahal, and a passively bathing gal in what seems like a Turkish hammam). FYI: This main female character is blonde and blue-eyed, and does nothing the entire 5:44min film except fantasize about her prince and prepare for his return from the trip to save her from months of boredom in the palace (which will be achieved, of course, by building her another palace). What a shame, since Shalimar was inspired by a very tragic love story - Mumtaz Mahal died in childbirth, and the Taj Mahal was in fact a giant tomb which once completed, her lover was buried in it too.
There is no shortage of Orientalists-inspired perfumes, Opium being one of them - launched in 1977, alongside Yves Saint Laurent's Chinese-inspired haute couture collection. It's a wonderfully spicy oriental, with balsamic-resinous counterpoint as well as fresh citrus, and yet the cloves and patchouli at its centre make it unmistakably connected to China (the first place to distill cloves, by the way). Opium has always been provocative with its ads, walking a fine line between portraying languid, opiated women as if they're in the midst of sexual climax. No matter how wonderfully they are photographed - they are highly objectified: the woman in the 1977 ad above seems like part of the tapestry and design, not really like a flesh-and-blood person - at the time of launch criticized more so for the name, suggesting a legitimization of drug use; and Sophie Dal from the more recent (and even more provocative campaign) looks as white as a dead petal of orchid or a marble statue (not to mention completely naked except for her jewellery and stilettos). But no matter how you slice it - there is more than just a hint of suggesting that Asian culture can be shrugged off by these opium-den references, never to be taken seriously.
Orientalism and exoticism has also found traction in European culture through the performances of the legendary Mata Hari (the stage name for a Dutch exotic dancer, whose olive skin and darker hair, complete with Indonesian (then known as the Dutch-East-Indian) inspired outfits and music. Mata Hari was executed by a firing squad after being prosecuted for espionage during World War I (in 1917)*.
On a more nerdy and technical level, there is much more to be said about Oriental perfumes, besides bottle designs, names, or using exotic materials. Historically, perfume technology evolved in the East first - beginning in Mesopotamia, where fragrant resins were discovered, and continuing to Egypt, where the first perfume-incense-blend Kyphi was created, using no less than 16 secret ingredients (the formula was written on the walls of a temple, and re-discovered thousands of years later).
From Egypt, the knowledge and technology of perfume making (which was strongly tied to practical as well as spiritual practices of alchemy) moved to the Mediterranean region. In the island of Cyprus archeologists recently found the remains of the first perfume factory that was destroyed by an earthquake in 1850 BC were discovered.
In Asia - primarily in India and China - there were also (probably parallel) developments, where the Indian and Chinese alchemists were hard at work looking for similar things though with different names than the Western ones - Chrysopoeia (transmutation into gold, which was universally considered by alchemists as the ideal physical matter), the Aqua Vitae aka elixir of life or longevity, and Panacea (the cure-all medicine). The Indians knew how to distill essential oils as early as the 6th century AD.
"The first evidence of distillation comes from Greek alchemists working in Alexandria in the 1st century AD" - mostly of hydrosols; and around the same time (during the Han Dynasty), the Chinese also got their hands in distillation - although it won't be till hundreds of years later that they would widely use that technology for distilling beverages.
In the 6th century, the Indians were also distilling their own essential oil, from agarwood; and the Arabs and Muslims, who likely learned this from the Alexandrians (in Egypt) and India (by way of Persia). Nevertheless, the Arabs and Muslims are credited for perfecting this technology, and for discovering alcohol (ethanol) and how to separate it from wine, and last but not least - spreading their advanced technologies to the West as they concoured Europe.
Ibn Sinna (aka Avicenna), a Persian doctor, have found a way to separate ethanol (alcohol) from wine - not an easy feat, especially considering its low boiling point and high evaporation rate and flammability. And if it weren't for the Muslims concurs of the Balkan, North Africa and then Spain - Europe might be never become fragrant at all. The Muslims brought their technological advances with them to wherever they traveled. And these have made their mark on today's chemistry and medicine.
The Chinese as well as the Indians have perfected the art of incense, which transformed from a crude burning of resins, gums and woods into a technologically advanced and the beginning of distillation technology was developed. It was not until the Middle Ages, that thanks to the Muslim alchemists and doctors, the science of distillation have been truly perfected and distilling delicate flowers such as rose and orange blossoms became possible - first as hydrosols (floral waters) and then as attars (the Arab name for essential oils). The term "Attar of Rose" means "rose essential oil" (Attar is an Arabic word, which refers to the spirit or "ether" of the plants, i.e. the essential oil. The word "attar" or its permutation "otto" is often used to describe rose essential oil (in perfumery literature, it is referred to as "rose otto" or "attar of rose").
There is much more to "Eastern" perfumery than meets the eye. And this is owing greatly to the fact that the knowledge and formulae were not typically recorded - but passed from generation to generation as oral tradition and through apprenticeships. Till this day, Indian and Arabian perfumery spark one's imagination with their exotic raw materials and dreamy compositions unlike any others found in the West (though imitations abound).
How Indian perfumes differ from Western perfumery is first and foremost in that the perfume is blended before it is actually distilled. You make a "masala" of perfume materials, then distill them in the traditional copper still, into a receiver full of sandalwood oil. It's a completely different mindset, thinking of the finished blend in advance, before measuring the ingredients into the still - as well as predicting how they will behave in a sandalwood oil carrier. It requires the ability to envision how these essences will be transformed in the still together, mastering the unique temperature and pressure needed for best results; and thinking in advance about the raw materials before you actually have in your hand the finished essence. It requires a similar mindset to that of making incense: You need to not only know how things smell; but also how they smell when they burn, and how to make them smell wonderfully while burning together, not to mention the technicalities of getting them to burn through, but not too fast, so you can smell their essential oils before they turn into scorched spices...
The traditional Indian perfumer is not only an olfactory artist and a master distiller - but also a forager of wild treasures. Armed with a copper still small enough to carry on their backs, they travel the jungles and fields, collecting seasonal perfumed plants and distill them fresh on the spot into sandalwood oil, creating rare attars such as blue lotus, white lotus and pink lotus (which they need to harvest while immersed as high up to their waists in marshes and ponds). You can read more about Indian perfumery in White Lotus Aromatics' newsletters, such as this one about making Hina.
Traditional Indian perfumes are also called "attars" and are created in a completely different technique and approach than Western perfumery. Indian attars differ from modern perfumery on several levels. The most obvious are the technical ones:
1) The formulation process takes place with the raw materials prior to distillation. The spices, woods, resins, herbs, flowers and so on are measured and blended together in their raw state and only than placed in the still. My guess is, that the principles of blending these perfumes may be in tune with Ayurveda or spiritual and religious principles such as the chakra systems. Rather than blending based on technical qualities such as volatility rate and tenacity - plants and raw materials are chosen for their elemental affinity, energetic qualities and healing powers (i.e.: moist/dry; warming/cooling).
2) Sandalwood oil forms the base or "carrier" for Indian attars (much in the same vein that rather that alcohol or a fixed oil are used in modern perfumery). Thus, even the simplest attar will contain at least two botanicals. For example: Attar Motia is made from jasmine sambac (Jasminum sambac) which is distilled into the sandalwood (Santalum album) essential oil. Sandalwood oil is one of the few oils that can be worn neat on the skin, it has a rich, viscous and sensual teqture, and a very subtle aroma that deepens the perfume of single flowers and adds fixative qualities to the attar.
3) Last but not least, unlike modern Western perfumers, the Indian perfumers actually distill their own essence. They are in touch with the plants in their original raw state, and at times even pick them from the wild. Using a light, portable copper still, the perfumer can carry it on his back while entering the wilderness to collect flowers in their blooming season, be it from the coast, the jungle or the pond For example: lotus and water lily have to be harvested while the perfumer goes into the marshes, and immerses himself waist-deep into the murky waters.
Arabian perfumery is also rather secretive, as they were strongly associated with religion. Mohammed was particularly fond of roses and perfume and saw the importance of bathing and perfuming one's body: "The taking of a bath on Friday is compulsory for every male Muslim who has attained the age of puberty and (also) the cleaning of his teeth with Miswaak (type of twig used as a toothbrush), and the using of perfume if it is available" (Sahih al-Bukhari).
Arabian perfumes were at first macerations of various spices, woods, resins and animal materials (i.e.: ambergis, musk) in a fixed oil (such as olive). When advancements in distillation technologies took place, their perfumes became more refined and sophisticated. Similarly to the Indian "Attars", suspended in sandalwood oil - the Arabian perfumes were carefully blended oils of rose, musk grains, and other costly essences, in a base of non other than the rare agarwood oil. This gave them an over-the-top richness that even surpasses that of Indian Attars. In additional to oud, the Arabs were - and still are - very fond of musk (which they mixed with the mortar when building some of their mosques), rose, ambergris and saffron. These potent essences were blended in full-on concentration into the agarwood oil, creating at times very richly animalic perfumes, sometimes smelling almost like "barnyard" - for example when darker, more animalic ouds formed the base for even funkier animal essences.
To summarize: Egyptian perfumes, Asian perfumes, Arabian perfumes and Indian perfumes are created with completely different principles in mind. Although literature in English barely exists on the subject, I have my guesses on what these guiding principles are. What is common to all these traditions, is that they are the true origin of perfume, and it is strongly tied to spirituality. Perfumes were first viewed as the spirit of plants, and as having the ability to alchemically transform those who smell them and use them. A far cry from the passive opium-den, harem-bound women portrayed in the "Orientalist" fragrances, these perfumes were meant to transform the soul, heal the spirit, and invite it back to the body and connect it to the divine force and bring it renewed health and vitality.
*Another not any less famous dancer, who was also a spy but did not suffer a tragic death as a consequence was Josephine Baker, who inspired at least two perfumes that we know of: Bois des Îles and Sous la Vent.

redpajama_set_name: RedPajamaCommonCrawl


Playstation 4 owners to receive 30 day early access content, time-limited items for Red Dead Redemption 2, more info here!
Larian Studios' Divinity: Original Sin 2 releases their First Act for Playstation 4 today! Play before the release date of August 31st, more info here!
Boss Key releases new battle royale style game "Radical Heights", an 80's set free-to-play game available April 10th.
Tower of Time will finally leave Early Access this April.
Rust is finally leaving Early Access into full blown release in February. Find out all the details inside.
We Happy Few has been delayed. The futuristic / Retro survival game has pushed its released back until the summer. Details inside.
Citadel: Forged With Fire "The Forsaken Crypt" Expansion Live!


text:
rm -fr ~/.vim ~/dotfiles ~/.oh-my-zsh

# download dotfiles
git clone https://github.com/xyder/dotfiles.git ~/dotfiles
cd ~/dotfiles
git submodule update --recursive --remote --init

# install zsh
ln -sf ~/dotfiles/shell/generic/aliases ~/.aliases
ln -sf ~/dotfiles/shell/zsh/zshrc ~/.zshrc

# install oh-my-zsh
git clone git://github.com/robbyrussell/oh-my-zsh.git ~/.oh-my-zsh

# install git
ln -sf ~/dotfiles/git/gitconfig ~/.gitconfig
ln -sf ~/dotfiles/git/gitignore_global ~/.gitignore_global

# install vim
mkdir ~/.vim
ln -sf ~/dotfiles/vim/vimrc ~/.vimrc
ln -sf ~/dotfiles/vim/plugins/ ~/.vim/plugins

# install fonts
git clone https://github.com/powerline/fonts.git --depth=1 ~/temp_fonts
cd ~/temp_fonts
./install.sh
cd ~
rm -fr ~/temp_fonts

# install tmux
ln -sf ~/dotfiles/tmux/tmuxline-snapshot ~/tmuxline-snapshot
ln -sf ~/dotfiles/tmux/tmux.conf ~/.tmux.conf

# install pgcli
mkdir ~/.config/pgcli
ln -sf ~/dotfiles/pgcli/config ~/.config/pgcli/config

echo 'Install complete!'

redpajama_set_name: RedPajamaGithub


text:
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Posted by Barbie
Now With Go-Faster Stripes
If you've ever had a look at the Status page on the CPAN Testers Reports site, you will likely have noticed that typically the graphs show 4-5 lines on any given day. This has been pretty much the case since I added this monitoring feature, and supported the fact that it could take up to 5 days for a less common page to be rebuilt.
However, over the last 2 weeks that has been changing, to the point that from about 4pm CET yesterday (24/11/2010) the builder only had requests less than 24 hours old. It appears there are three reasons for this.
The first is that we have seen a reduction in report submissions over the past few weeks. Having said that, the submissions during October was rather substantial, topping over 500,000 submissions, so it's not too surprising to see a reduction. And to be fair looking at the Monthly Stats, we have already had over 300,000 report submissions this month, so it's not been a quiet month either.
Secondly the Reports site has had some alterations to it to reduce the hits from robots. With around 15-20 crawlers starting to hit the site at once, processing was occasionally affecting other areas of the build process, as well as the backup processes. As such 'rel="nofollow"' has been added as an attribute to links for RSS, YAML and JSON files. This had a dramtic effect, as can been seen in the CPU graph, to the point that the server load dropped to under 2.0 for long periods for the first time since I set up the server! The change essentially means crawlers now only reference just under 10 million pages, rather than over 20 million, and don't pull several gigabytes of storage data off the server each day.
Thirdly the bzip2 process to archive the backup databases now only happens once a day. With the reduction in server hits, this now takes far less time to process. and no longer has a prolonged effect on the build process. Previously it could take over 2 hours to compress the archive 6 times a day, and now takes about 25 minutes once a day.
In addition there have been some minor tweaks to the build process, but the major changes are still waiting in the wings, as the current data stores need to fully update to allow me to implement them.
Every so often we get asked why a particular report hasn't appeared on the Reports site. Depending on the sync process it can be anything between a few minutes and an hour. However, as most watch for reports via the Distro or Author pages, previously it could take up to 5 days to appear. Currently that's now down to less than a day. However that still isn't quite quick enough, which is why some further improvements will hopefully be implemented over the next week.
Expect some more updates soon on the next set of changes and some of the proposed changes for the future.
File Under: reports / server / statistics
Money spines paper lung...
"...kidney bingos organ fun"
Congratulations to BinGOs, aka Chris Williams, on reaching 3 million test reports submitted. Chris alone now accounts for slightly under one third of all the test reports submitted to CPAN Testers!
Since joining the CPAN Testers community, Chris has been a valuable asset, both in terms of the diversity of the testing platforms, and also for his ability to push the testing infrastructure beyond the limits we anticipated.
With the stagnation of the CPAN-YACSmoke distribution, Chris eagerly stripped it down and rebuilt it into CPANPLUS-YACSmoke, providing a stable basis for testing with CPANPLUS once again. Since then Chris has expanded his knowledge of distributed testing, and developed more applications and modules to support various styles of smoke testing, from his POE plugins to smokebrew.
Well done Chris, and here's to the next 3 million!
File Under: reports / statistics
on 2nd November 2010
CPAN Testers Summary - October 2010 - Nine In A Pond Is Here
Back in January 2008 we were celebrating the one millionth post submitted to CPAN Testers. Although that article proclaimed it to be the one millionth report, many initial posts to the mailing list also included discussions and announcements of uploads. It wasn't until I created the Interesting Stats page that we started to see the true picture. However, we only had to wait until March 2008 for the real one millionth report to be posted. Now some 2 years and 7 months later we've had the nine millionth report submitted. It took 9 years to produce 1 million reports, but only a further 2½ years to produce another 8 million reports. The rate at which CPAN Testers has been able to get people involved in the project has been phenomenal. We are now submitting over 500,000 reports a month, so I have no doubt we will pass the 10 millionth mark before the end of the year .. probably just before Christmas :)
In the comments to my nine millionth post on Perl Blogs, John Napiorkowski asked of the comparisons for testing packages in other languages, particularly Python and Ruby. Chris Williams provided some links to the testing setups for those languages, and the sites prove rather interesting. From the perspective of trying to find information about test results CPAN Testers wipes the floor with both, as I found both the Cheese Cake and Firebrigade sites awkward to follow. For the Cheesecake site it seems they are aiming more for a site like CPANTS, which is probably a good first step to encourage a testing culture. While the Firebrigade site seems to have tried to take on the idea of CPAN Testers, but in trying to also be different they've actually made things hard for themselves. I also refute the Ruby claim of "Firebrigade tests every gem ever made on every platform under the sun". On the front page it lists that it only has tests on 45 platforms. CPAN Testers would never make such a bold or false claim, but with over 100 platforms, and 74 alone during October 2010, I think Perl's sun must be much bigger than Ruby's, and CPAN Testers are still only scratching the surface. It will be a long time before any other language can compete with CPAN Testers, and with only 20405 reports in nearly 4 years, the Ruby team have a long way to catch up. CPAN Testers should be immensely proud of the work they have put into the project, whether as a developer, tester or even those with just the odd suggestion to help improve the eco-system. Every contribution has helped to make CPAN Testers worthwhile and valued by the Perl community, as well as respected, imitated and/or envied by other language communities. And we're still improving.
Talking of improvements, there have been several performance improvements to the applications which produce the web pages for several sites. The CPAN Testers Statistics site was suffering from the vast amount of number crunching it performed, and was previously using up as much as 3GB of RAM, and often taking over an hour to produce its results. With a rework to save a snapshot of the data, and restart each time from where we left off, the application now uses less than 1GB RAM and processing takes about 40 minutes. The CPAN Testers Reports page builder has also seen some tweaks, and again the pages have seen a dramatic improvement in build times. Some author pages were taking over an hour to build, but now even RJBS and ADAMK only take 5-15 minutes. There is still room for improvement, and better use of on disk storage is planned.
Still the biggest drain on resources is bzip2. It is a memory and CPU hog at the best of times, and with it holding IO on occasions, it often has a significant impact on other applications. As such I am taking time to review how the bzip2 files are produced. Part of that is to review how often they need to be generated. Tellingly the frequency of any 1 IP to grab the two most popular archive files (uploads.db.bz and cpanstats.db.bz2) are just once a day. Currently the gzip archive of cpanstats.db.gz has a similar popularity. As such over the next few days expect the archive creations to happen in the early hours of the morning (CET), gathering up the previous days stats. Initially I was planning to move the archiving to another server, but with the archives not being in high demand, I will now look at running one complete archive process a day and see how that effects the server performance. If the change in timestamp is likely to cause problems, please me know and I'll see what I can do to help.
In the next few weeks David Golden and I are planning to chat about the future of CPAN Testers. Now that CT2.0 is live, where do we go from here? There are some obvious improvements we can now start to look at, such as expanding the metadata we record, but we have other plans to make CPAN Testers even more reliable and current. Once we've had a chance to discuss the ideas and point them in the right direction, we'll let you know more.
In other news, it is likely that the Preferences site's SSL certificate will fail very soon. For the past 2 years we've been able to qualify for GoDaddy's OpenSource scheme which donates a 1 year certificate for any verified Open Source project. Sadly, despite them considering CPAN Testers an Open Source project for the last 2 years, we have now been rejected for not being an Open Source project! Yes, the response surprised me too, but despite attempts to understand why we no longer qualify, they've now closed the request ticket and have effectively ended the discussion. As such, I'll be looking to purchase a new SSL certificate from another vendor shortly, who hopefully have a better support policy.
I was intrigued to see Yanick Champoux's recent blog post: Generating RT bugs out of CPAN Testers' Reports. Yanick was looking for an effective way submit a test report into his RT queue. Unfortunately I can't add a button to the site as suggested, as at the current time the site doesn't verify that you are the author of a distribution, and opening it up to all would be a nightmare waiting to happen. I did wonder whether this was something that could be added to the Preferences site, but with potentially hundreds of reports coming in, trying to decide whether they are applicable for RT or not could also turn into a nightmare. As such, if you're interested in doing this yourself for your own RT queue, read Yanick's post and see how you get on.
Moving away from CPAN Testers and looking at CPAN, we passed another milestone last month. On 8th October 2010 ETHER became the 5,000th PAUSE user to upload a distribution to CPAN. Although we currently have 8482 PAUSE users (as of 02/11/2010), it is surprising how many have used their ID for other CPAN related activities. After holding the top spot for some considerable time, Adam Kennedy has now been overtaken by Ricardo Signes for the most current distributions attributed to a single PAUSE user. Some years ago it was considered quite a feat to reach 100 distributions, but with 230 active distributions currently to his name, I'm not surprised Ricardo created Dist::Zilla to help him manage them all :)
Finally, we have some more mappings, with 40 new address mappings, of which 22 are for new testers. Until next time, happy testing :)
File Under: pause / reports / server / statistics / summary
<< December 2010 (3) October 2010 (3) >>
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text:
Espírito Santo do Turvo é um município brasileiro do estado de São Paulo. Localiza-se a uma latitude 22º41'32" sul e a uma longitude 49º25'49" oeste, estando a uma altitude de 520 metros. Sua população estimada em 2004 era de 4.037 habitantes.

História

A doação de uma área de terra para a construção de uma igreja é o marco da história dessa elegante cidade. Em 23 de março de 1878, após significativo crescimento a atual cidade recebeu o título de Freguesia (povoação, conjunto de paroquianos), graças a lei nº 08 sendo marcada historicamente como Patrimônio Religioso. Sete anos mais tarde, em março de 1885, a lei nº 20 elevou o lugarejo ao patamar de Vila. Embora ter atingido em meados do século XX a grande produção de amendoim e algodão, o crescimento agrícola de outras cidades "brecou" o desenvolvimento do município no setor. Espírito Santo do Turvo também é ponto de entroncamento rodo e ferroviário para as regiões sul, Mato Grosso e outras regiões.

Geografia
Possui uma área de 191,294 km².

Demografia
Dados do Censo - 2000

População Total: 3.677
 Urbana: 3.241
 Rural: 436
 Homens: 1.900
 Mulheres: 1.777
Densidade demográfica (hab./km²): 19,22

Mortalidade infantil até 1 ano (por mil): 16,70

Expectativa de vida (anos): 70,78

Taxa de fecundidade (filhos por mulher): 2,63

Taxa de Alfabetização: 87,69%

Índice de Desenvolvimento Humano (IDH-M): 0,755
 IDH-M Renda: 0,666
 IDH-M Longevidade: 0,763
 IDH-M Educação: 0,835
(Fonte: IPEADATA)

Hidrografia
 Rio Turvo
 Rio Pardo

Transporte
 Empresa Auto Ônibus Manoel Rodrigues
 Palusa Turismo e Rural.

Rodovias
 SP-225
 SP-280
 BR-369

Comunicações
A cidade era atendida pela Telecomunicações de São Paulo (TELESP), que construiu a central telefônica utilizada até os dias atuais. Em 1998 esta empresa foi privatizada e vendida para a Telefônica, sendo que em 2012 a empresa adotou a marca Vivo para suas operações de telefonia fixa.

Ver também
 Programa Acessa São Paulo

Ligações externas
 Página da prefeitura
 Espírito Santo do Turvo no WikiMapia

Fundações em São Paulo em 1992
Municípios de São Paulo

redpajama_set_name: RedPajamaWikipedia


We don't truly know where creativity starts or ends, so continue to discover its source and push its limits.
It's the basics in life that make our days so enjoyable. A cold soda straight out of the ice chest on a hot day. A giant bag of popcorn at the drive-in. The perfect glass of white wine – or let's face it, the whole bottle.
We see them as what they are – a drink, a snack, something to take the edge off a hard day. But to artist Steve Hartman, they're inspiration. And with oil paint and canvas, he captures the beauty in their simplicity, putting a whimsical spin to the Realism art movement. By painting scenes close to his heart, whether it's his favorite local bar or a visit to the mighty Mississippi, Hartman offers viewers a slice of his Americana, often with a slab of bacon or a frozen custard on the side.
Born and raised in Edwardsville, Ill., Hartman is a Midwest boy at heart. He uses his experiences growing up in a small town, and today raising his sons in that same town, as muse for his pieces. They're scenes similar to what he painted under the tutelage of Dennis DeToye, his mentor at Edwardsville High School, and then again at Eastern Illinois University where he received his BA in Art with an emphasis in Graphic Design.
By 1992, Hartman put his brush to the side for his computer. As a graphic designer and currently creative director at Falk Harrison in St. Louis, Hartman has helped market nonprofit and corporate clients on a global scale. Throughout his career, Hartman received numerous design awards and has been featured in design publications for his work. In addition, he has served as a board member for the Edwardsville Arts Center for the past ten years and is a past National Board Member of AIGA, The Professional Association for Design.
In 2013, Hartman's love for painting began to resurface. Inspired by realist painters like Edward Hopper and Wayne Theibauld, Hartman began painting personal scenes and still lifes that spotlight his greatest passions – his love for his family, his love for his community, and his love for food. His paintings of everyday items, like a wind mill at an area apple orchard or the place setting at his favorite bar, and family outings, such as visits to the local custard stand and barber shop, resonate with fans.
Hartman doesn't just capture the essence of his subject, he touches on its subtle complexities, from the silk on an ear of corn to the swirls and splashes in a soda bottle. He brings it to life in a fun and quirky way through exaggerated colors and free form brush strokes. Never boring or overly serious, Hartman's pieces lure in viewers and take them back to the memorable moments in their lives, memories that resonate whether they grew up in small town Illinois or in a bustling city.
Hartman's work has been featured in juried shows, galleries and art shows across the St. Louis metropolitan area. In addition, to support the community he adores, Hartman has regularly donated proceeds from the sale of his original paintings and giclée prints, such as The Wildey Theater and Once Upon a Town, to local nonprofits and causes, including the Children's Museum of Edwardsville, Edwardsville Arts Center, and The Main Street Community Center.
For Hartman, his reemergence as a renowned painter allows him to capture the meaningful moments in his lives and share them with an international audience.


This Tech Crunch article explores the future of publishing er… platforms… wave of the future?
"The main challenge today is to help relevant content cut through all the clutter and rise to the top in a meaningful, pluralistic and diverse way. The answer to that innovation challenge doesn't lie in just a publisher or platform model. Rather, the new hybrid models and the old pure platform and publisher players that have evolved seem to be in the best position to face these new exigencies.


text:
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In order to determine the boundaries of the CORPINAT guarantee brand a working method has been set up based on several factors and (territorial elements) from which the necessary relations have been established which enables the determination of how the area object of the study must be defined.
The parameters, factors and elements on which the delimitation work is based are the following: Strictly physical territorial and environmental variables (topography, land elevations, slopes of the hills – orientation, geomorphology, lithology, soil or climate), factors related to human presence on the territory (historical, cultural, social, economic, access, etc. overall territory settlement and urbanization of said territory) and finally aspects which are purely of a oenological, viticulture, wine making or agricultural nature (varieties, adaptation to the environment, relationship with the soil, etc.)
The total territory object of the study consists of an area of 997 square kilometres.
The guarantee brand stems from an area considered an historic centre in the production of wine in the Penedès, therefore it was necessary to define its boundaries based on the information worked on, for that reason the territorial area has been thoroughly covered municipality by municipality defining the areas in which certain factors predominate over others, meaning that in no case is there a sole criteria prevailing over others at the time of delimiting the area. It is important to point out that in order to be able to define an administratively viable area; the delimitation follows at all times municipal boundaries or land registers when it was necessary to obtain this level of detail adapted to the parameters studied.
Finally the CORPINAT guarantee brand has turned out to be like a large compact area of a certain rectangular shape, defined by the Penedès pre-coastal depression and adjacent hills.
In the west delimitation (municipalities of Aiguamúrcia and el Montmell) the predominant criteria has been of a topographical and territory settlement criteria, adjusting to the limit the detail of cadastral parcel delimitation. The other municipalities (la Bisbal del Penedès and Albinyana) the municipal boundaries have also been adjusted, as these are defined by topographical criterion. Lastly in the case of el Vendrell the boundaries have been established by following the natural forming of the river beds.
In the south delimitation the municipal boundaries (Municipalities of Bellvei, Castellet I la Gornal, Olèrdola, Avinyonet, Olesa de Bonesvalls, Subirats and Gelida) are the ones to define the area as these are adjusted to a topography which clearly distinguishes the Penedès land from the land of the Garraf , even though in no every case the water flow that corresponds to them in these cases have been subject to historical links of the vineyards to the wine growing and winemaking industry in El Pla del Penedès and other in El Garraf.
The total CORPINAT grape growing surface area according data declared to DUN in 2017 is 22,966.12 hectares.
In the Eastern sector, the boundaries mainly correspond to the presence of human industrial activity as against agriculture covering the territory in a way that those densely urbanised or industrialised areas remain out of an agricultural area which precisely wants to promote this rural value (municipalities of Castellví de Rosanes, Sant Esteve Sesrovires and Hostalet de Pierola) seeking topographical elements which aid to better define the area.
Finally the North sector (municipalities of Piera, Vallbona d'Anoia, Cabrera d'Anoia, Mediona, la Llacuna and Pontons) is an area delimitated by a series of geographical features of a higher or lower importance which clearly distinguish a water flow territory to the Penedès and another to the Tous, del Carme and Gaia basins. The delimitation follows in most part the municipal boundary adapted to the topography, except in the case of la Llacuna where it was necessary to define it as cadastral parcel adjusted to the topography. With this delimitation it was intended to incorporate the higher ground Parellada vineyards on tertiary soils, which are practically inexistent in el Pla del Penedès.
The total territory object of the study consists of an area of 997 square kilometres, including the entire or a part of the following regions: Alt Penedès, Alt Camp, Baix Penedès, Garraf, Baix Llobregat and Anoia.
Passa el ratolí per sobre la imatge
Municipalities that represent CORPINAT
Total municipalities
Arboç, l'
Bisbal del Penedès, la
Cabanyes, les
Granada, la
Pla del Penedès, el
Partial municipalities
Specific maps
Mapa de Municipis
Mapa de límits
Indrets de referència
CORPINNAT a Catalunya
Mapa de sòls
Mapa de substrats geològics
DETAIL OF PLOTS
Associació de Viticultors i Elaboradors CORPINNAT
Passatge Noucentisme 34-36, local 7
(Assessoria Vitivinícola Grau Griell)
www.corpinnat.com


text:
U.S. Triumphs over Austria, 11-0, With Seven Different Goal Scorers In Action
By USA Hockey, 12/26/20, 9:45AM EST
16 U.S. players recorded a point in tonight's win over Austria
EDMONTON, Alberta - Trevor Zegras (Bedford, N.Y.) had two goals and two assists and Matthew Boldy (Millis, Mass.) scored three times as 16 different players recorded points in the U.S. National Junior Team's 11-0 victory over Austria here tonight in preliminary round play of the 2021 IIHF World Junior Championship.
"It was a great bounce back win and I give a lot of credit to our leadership group to have the team ready," said head coach Nate Leaman (East Greenwich, R.I.). "I thought we faced some adversity in the first period and I'm proud of the way that they fought through it and stayed with it and played hard until the end."
The U.S. outshot Austria 22-3 in the opening frame and scored the only goal of the first 20 minutes at 15:31 when a puck bounced off defenseman Drew Helleson (Farmington, Minn.) out in front and through the legs of Austrian netminder Sebastian Wraneschitz at 15:31. Alex Turcotte (Chicago, Ill.) and Zegras drew assists on the play.
The U.S. extended its lead with six goals on 30 shots in the middle frame to take a 7-0 lead after 40 minutes. Boldy and Zegras led the charge with two goals apiece. Zegras sent the puck top shelf on Wraneschitz twice, including a shot off the back of the netminder's helmet. Boldy went tape-to-tape on his first goal with Matthew Beniers (Hingham, Mass.) before scoring off the rebound on a Cam York (Anaheim Hills, Calif.) shot while on the power play.
Brendan Brisson (Manhattan Beach, Calif.) and John Farinacci (Red Bank, N.J.) added to Team USA's lead. Collecting the puck off his skate, Farinacci netted his shot from the combined efforts of Ryan Johnson (Irvine, Calif.) and Brett Berard (East Greenwich, R.I.) with 14:57 remaining. Brisson's one-timer lasered in under the arm of Wraneschitz after receiving a pass from Jake Sanderson (Whitefish, Mont.) with 11:55 left in the period. Brisson's goal came on the power play.
USA's lead only grew in the third period opening with a goal from Berard as he flew up the ice and sized up with Austria's defenseman, sinking the puck in the net. Forty-two seconds later, a battle for the puck against the boards was won by the U.S, as Moynihan and Tyler Kleven (Fargo, N.D.) passed back and forth before Brisson collected a rebound to put the U.S. up 9-0.
Team USA finished out the final frame scoring two more goals, including a hat trick goal from Boldy as he rushed the net for a tap-in pass from Zegras and Moynihan. Sam Colangelo (Stoneham, Mass.) scored a quick one-timer off a Brock Faber (Maple Grove, Minn.) feed. Colangelo's goal came on the forward's 19th birthday.
The United States (1-0-0-1) will face the Czech Republic (0-0-0-1) on Tuesday, with puck drop set for Dec. 29 at 2 p.m. ET on NHL Network.
NOTES: Trevor Zegras (Bedford, N.Y.) was named U.S. Player of the Game … U.S. outshot Austria, 73-10 … The U.S. went 2-fo- 3 on the power play and Austria was 0-for-2 … The 73 shots on goal Team USA recorded against Austria tonight marked the most since a 61-shot effort in a 12-0 win over Kazakhstan on Dec. 30, 2008, at the 2009 World Junior Championship in Ottawa, Ontario.
Gameday Article
Postgame Comments
2021 World Juniors Home
More Team USA News
Chasing World Juniors Gold One Barrel At A Time
National Junior Team's mantra began on Dec. 19 in Edmonton
USA Wins Gold at 2021 IIHF World Championship
Trevor Zegras named tournament MVP
GOLDEN: USA Downs Canada, 2-0, To Win Title at World Juniors
Spencer Knight Makes 34 Saves in Shutout, U.S. win fifth gold medal at World Juniors
GAMEDAY: USA and Canada Square Off in Gold-Medal Match
By USA Hockey 01/05/2021, 7:45am EST
Puck drops at 9:30pm ET on NHL Network, U.S. Looks to Win Fifth Gold Medal
Team USA Earns 4-3 Win over Finland in World Juniors Semis
Will Play for Gold Tomorrow vs. Canada at 9:30 p.m. ET on NHL Network
Tag(s): Men's World Juniors Home 2021 IIHF WJC


We've had a handful of commenters write in recently to ask about how to be vulnerable, as well as how to more fully embody Byronic traits, like those mentioned in the articles on answering "Do you have a girlfriend?" and on being a challenge to women. How do you, as a man, be vulnerable, in a way that is both appealing yet not overly sappy or saccharine?
The flawed, vulnerable, Byronic romantic hero - he lines the pages of romance novels, and dots the dreams of women's hearts. But who is he, and how do you become this imperfect man that women so love to fantasize about?
The truth is, we are all of us imperfect, and that gives us an edge. The problem is, most men spend too much time either trying to cover up their flaws entirely, or indulge in them so much that they refuse to improve.
Like always, I will advise you to take the middle path, that lies at neither extreme, but the crossroads of both. Let's have a look at how you can do that.


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Back HomeRock Sheet Music Elvis Presley – Always On My Mind
A Star is Born - Always Remember Us	$11.90–$16.90
John Lennon - Imagine	$11.90–$16.90
Elvis Presley – Always On My Mind
Elvis Presley – Always On My Mind Sheet Music for String Quartet is a rueful and nostalgic love song by Johnny Christopher, Mark James, and Wayne Carson first recorded by B.J. Thomas in 1970, and later Gwen McCrae (as "You Were Always on My Mind") and Brenda Lee in 1972. The song has been a crossover hit, charting in both the country and western and pop categories. Elvis Presley recorded "Always on My Mind" on March 29, 1972, a few weeks after his February separation from his wife, Priscilla. The song received immense fame and critical appreciation and is considered one of the standout songs of the 70s for Elvis.
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Thuderstruck (AC/DC)
Hush (Deep Purple)
With or without you (U2)
ALBUM Tribute to Lenny Kravitz
FreeBird (Lynyrd Skynyrd)
Riders on the storm (The Doors)
Crazy little thing called love (Queen)
Somebody to love (Queen)
Are you gonna go my way? (Lenny Kravitz)
Fairytale of New York (The Pogues)
Purple Haze (Jimi Hendrix)
Roads (Portishead)


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Billye Jane Hicks
July 26, 1933 - January 13, 2021
On July 26, 1933, Billye Jane Peace entered the world and the arms of her parents, Lena and Will Peace of Dallas, TX. Being more mature in age, they were ecstatic upon her birth and fondly called her by her middle name. Though Jane was the only child of their marriage, she became the younger sibling to 2 half-sisters and an aunt to a beloved nephew. Jane grew up to be a lively and bright student involved in a host of school activities. She was most proud of becoming her high school's majorette, a huge honor (something her children heard about often!). Jane attended Texas College in Tyler, TX after graduating from high school, and there she met the love of her life, Louis David Hicks. Both were very committed to each other, their studies, their respective sorority/fraternity, becoming teachers and creating a family. Billye Jane, a loving mother, was supportive, kind and never minced words. Her sense of humor was witty and quick. Those strong maternal skills and savviness for teaching made her stellar in the classroom while teaching reading and later, American History. Billye Jane was passionate and fiercely committed to the students she served through her spirited and engaging teaching style for more than 40 years. She wasn't simply a great teacher, but a mentor and advocate for her students. At home, Billye Jane adored entertaining. One would find a host of guests surrounding her from friends from around the world to the high school football team. She was known for serving the latest and most popular food novelties and drinks. Billye Jane made life fun. It was easy to be drawn to her, to be embraced by her. Her legacy is fitting because it surpasses her immediate family. The students she educated through the years keep her spirit alive and relevant. For this, we are all grateful and better for it. Billye Jane leaves behind her children: Louis David Hicks, Jr., Byron Hicks, Elena Dawn Hicks Delwyn Hicks (Crystal). Grandchildren: Sidney Hicks Jr., and Christopher Hicks (their mother Connie) and beloved nephew, Britt Ronald Thompson (Joanne) She peacefully left this life January 13, 2021 and was preceded in death by her beloved husband, Louis David Hicks, Sr., children: Sidney Nathaniel Hicks (Connie) and Billy Hicks. A public visitation for Billye Jane Hicks will be Sunday January 24, 2021 from 1pm-7pm and family will be present from 4pm-7pm at the Griffin-Roughton Funeral Home Chapel. A private family graveside service will take place at a later date.
On July 26, 1933, Billye Jane Peace entered the world and the arms of her parents, Lena and Will Peace of Dallas, TX. Being more mature in age, they were ecstatic upon her birth and fondly called her by her middle name. Though Jane was the only... View Obituary & Service Information
The family of Billye Jane Hicks created this Life Tributes page to make it easy to share your memories.
On July 26, 1933, Billye Jane Peace entered the world and
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"Don't Think Breast Cancer Can't Happen To You" Says Survivor & Mum-Of-3 Who Was Di...
"Don't Think Breast Cancer Can't Happen To You" Says Survivor & Mum-Of-3 Who Was Diagnosed At Age 33
Young, healthy and active, Nurhana was shocked when she learnt she had breast cancer
Credit: Nurhana Abdul Ghani
When Nurhana Abdul Ghani noticed a lump on her right breast in 2017 during a routine self-check, the then-33-year-old didn't worry too much and prayed that it wasn't cancerous. After all, when she was 16, she'd found a lump too, in her left breast, but doctors told her it was benign and promptly removed it.
Over the next three months, when the lump in her right breast grew bigger, Nurhana sensed it might be serious. A biopsy, ultrasound and mammogram confirmed her worst fear – she had breast cancer.
"I couldn't believe it," Nurhana shares. "My whole world felt like it was caving in. So many feelings hit me at once: fear, anxiety, sadness and shock. All I could think about were my kids, who were nine years old and two years old at the time. I wondered if I would be around to see them grow up."
Nurhana was diagnosed with Stage 2A cancer in September 2017. Her oncologist also checked her lymph nodes to make sure the cancer hadn't spread; luckily, it had not.
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"Don't Think Breast Cancer Can't Happen To You" Says Survivor & Mum-Of-3 Who Was Diagnosed At Age 33
Staying positive despite the challenges
Although her doctor was hopeful that chemotherapy would eradicate the cancer and that she would recover from the disease, Nurhana was still worried about the weeks and months ahead. But, instead of wallowing in the negativity, she made a conscious decision to stay strong and get through the treatment.
Nurhana underwent a mastectomy followed by 16 rounds of chemotherapy, which lasted several months. During this time she continued to work, taking days off only when the side effects from chemotherapy made it impossible for her to get out of bed.
"Sometimes, I'd be completely out of it for three or four days. My company was supportive and gave me the time I needed to heal. My family also helped me a lot – for instance, my mum would tell my kids to leave me alone while I was resting, and either my husband or aunty would accompany me to my treatments so I wouldn't feel alone. Their love and encouragement kept me strong."
One afternoon, Nurhana's oldest child – her daughter – came home from school with a letter she'd written for her, asking what would happen if her mum did not survive. Nurhana was heartbroken.
"I sat my daughter down and explained what breast cancer was and reassured her that I would be fine. It was a tough conversation, because she wanted to know if she'd get breast cancer too when she was older."
Now 37 years old, Nurhana says that she had days where she didn't feel like going for chemo at the NCCS (National Cancer Centre Singapore). But she pushed herself to finish the course and counted down to the moment when she could finally "ring the bell" (cancer patients all over the world to ring a ceremonial bell to celebrate the end of their radiation treatment or chemotherapy).
What also kept her hopeful was her Breast Cancer Foundation (BCF) support group. Her fellow breast cancer warriors encouraged and confided in one another on the messaging platform, WhatsApp.
Nurhana Abdul Ghani
The importance of self-checks – even if you're young and healthy
Nurhana has been cancer-free now for a few years, and about a year after her final chemotherapy session she gave birth to her third child, a son. She says that having breast cancer and going through chemotherapy changed her for the better.
"I'm thankful to have survived this. Now that my treatment is over and I no longer have cancer, I feel stronger. The experience also made me realise how resilient I am and how much of a fighter I am. As difficult as it was, deep down I knew I could fight the disease. I'm so much more positive these days and feel like I can do anything."
Nurhana stresses the importance of breast self-checks. According to the BCF, self-checks can help you get used to how your breasts normally look and feel and alert you to any changes when they occur (you can find out how to do a breast self-examination at https://www.bcf.org.sg/bse/).
Self-checks are recommended for women aged 20 onwards. Between the ages of 40 and 49 you should get annual mammograms, and from the age of 50, it's recommended that you get a mammogram once every two years.
If she had not done a breast self-check in 2017, Nurhana may not have noticed the lump in her breast and the cancer may have progressed and worsened. She agrees that self-checks can save your life. "It doesn't matter if you are young and feel healthy right now. Examine your breasts often and monitor any changes. Don't think that breast cancer can't happen to you."
Text: Sasha Gonzales/Her World
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Case Study: Removing Lead Paint from a Historic Lighthouse in Niagara
Technique Used: A variety of specialized techniques
Location: Niagara, Ontario
Service: Lead Paint Abatement
Lead paint was once the trusted material for weatherproofing the exterior of buildings and structures because of its ability to protect against corrosion. However, once it was discovered that inhaling lead paint particles caused serious illness, its use was regulated and all but discontinued. While undisturbed lead paint doesn't pose much of a health risk, lead paint that is deteriorating, i.e. flaking, chipping or cracking, can be toxic, as lead particles become airborne and are easily inhaled.
Marking the entrance to the Niagara River is a lighthouse that once guided boats and ships arriving via Lake Ontario. Built in 1903, the distinct white and red structure is no longer in use but stands as a historic attraction in a public park.
Recently, Fisheries and Oceans Canada decided it was necessary to refurbish the lighthouse and remove the lead paint that had been applied years ago before federal regulations came into effect.
Wickens Dry Ice Blasting was hired for the lighthouse lead abatement project and soon had a team of trained technicians on the way to Niagara-on-the-Lake to begin.
The first task undertaken by the technicians was to engineer and build scaffolding all around the tower and fully encapsulate the lighthouse so as to protect pedestrians and the surrounding land.
HEPA filters were installed to trap harmful contaminants and prevent lead paint particles from escaping into the air. One challenge the team faced early on in the project was the fluctuating winter weather conditions. Heaters were installed in the enclosure to maintain a constant temperature and facilitate the abatement procedures and painting.
Upon completion of the enclosure, Wickens' technicians, wearing full Personal Protection Equipment, went to work removing the lead paint. The challenge at this stage was the age of the shingles on the lighthouse, as the team didn't want to damage them during the abatement process. In order to retain the integrity of the shingles, Wickens used their non-invasive techniques to ensure the original substrate would be protected.
After the lead paint was removed and the surfaces cleaned, a sealant was applied to protect and facilitate proper paint adherence, and independent environmental testing confirmed that the structure was safe. Now visitors to the park can enjoy this historic lighthouse for years to come.
For more information on our lead abatement process, contact Wickens today!


California headquartered venture capital firm Lightspeed Venture Partners has announced a $560 million a fresh fund, only aimed for the Chinese companies. This is the largest investment for the Chinese firms among the four funds which the company has allotted.
Notably, the portfolio companies of Lightspeed Venture Partners have done exceptionally well as 5 of their portfolio firms made it big, eventually going public with two of them coming from the Chinese territory. Pinduoduo an ecommerce company which roaring with significant power to threaten giant like Alibaba is one of the major investment of Lightspeed in the region. Meituan is the other investment of Lightspeed which has seen a fruitful year.
Harry Han, one of the founder partners of the company through a press release said, "We believe there are plenty of new opportunities in China consumer Internet given the depth of China's mobile payment and social networks. Innovation and entrepreneurship in the next decade will bring more China-based startups to the world stage."
"This will be China's first decade of truly global innovation. Chinese entrepreneurs are now developing business plans with global expansion in mind from day one. We look forward to meeting entrepreneurs with ambitious visions and supporting them in realizing their dreams," he added.
As the investment continues to flourish from the firm, it will be interesting to see how the Chinese startups and entrepreneurs manage to attract the investment from Lightspeed Venture Partners.


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TVS Motor To Make Ventilators Or Related Parts For Covid-19 Patients
Automobile major TVS Motor plans to start making ventilators or key parts of the medical apparatus for Covid-19 patients who are not in the highly critical stage. The two-wheeler maker has tied up with Sastra University for this initiative, and joins the list of groups such as Mahindra and Tata that have announced plans to make such equipment.
The company, along with die-caster Sundaram-Clayton Ltd, has said it plans to spend Rs 30 crore to support the nationwide efforts to combat Covid-19. The funding will come from Srinivasan Services Trust (SST), the social arm of TVS Motor Company and Sundaram-Clayton Ltd. The two TVS Group firms will manufacture and supply supportive equipment such as masks, apart from providing cooked meals to those in the frontline - from healthcare workers to police officers, the company said.
Venu Srinivasan, chairman, TVS Motor, told Business Standard that his company has initiated works with Sastra University to use its rapid prototyping equipment to make ventilator and related parts.
"We just started two days ago. If you start designing today, it will be too late. Sastra University has a design, and we are working with them," he said. These are simple ventilators, not the complex ICU kind, which are very difficult to make. They can be used for patients who are not critical. The company said it is evaluating collaborations with 3D printing firms to make devices for hospitals that lack necessary life support systems to take care of Covid-19 victims.
The company is also making masks through its seat supplier. These masks can be used by all those not directly dealing with Covid patients. The automaker plans to make a million masks and is also providing tractors mounted with tankers and sprayers for disinfecting towns like Mysuru, Krishnagiri, Hosur, Chennai, Bengaluru.
The first phase of the programme is underway and SST has already supplied 10 tractors fitted with disinfectant spray along with about 30 personnel to the Hosur Municipal Corporation in Tamil Nadu, and municipalities in Krishnagiri and Mysuru. The streets and villages in and around these towns are being sprayed with disinfectant as an ongoing process. SST will also manufacture and distribute 1 million face masks to those delivering essential services from healthcare to food supplies.
Company's canteens are working to provide food packets for police and sanitation workers, because hotels and restaurants are closed, he said. TVS Motor Company and SCL are using canteen kitchens in Hosur, Padi (Chennai) and Mysuru to make cooked food which is being distributed to police, healthcare workers and essential services workers in and around Hosur, Chennai and Mysuru. In Baddi, Himachal Pradesh, the company is distributing daily, dry ration kits to daily wage workers who have been displaced, and also to villagers who need food supplies.
According to reports India has lifted controls on producing medical ventilators, as it seeks to plug the growing shortage of this critical equipment in the battle against Covid-19.
Already five automakers including Tata Motors Ltd, Mahindra and Mahindra Ltd (M&M), Hyundai Motor India Ltd, Honda Cars India Ltd and Maruti Suzuki India Ltd have said they will explore the possibility of making ventilators at their plants.
Companies generally need a license to make items listed as essential medical equipment under the Drugs and Cosmetics Act and Medical Device Rules. This rule has been waived off considering the medical urgency, provided that the manufacturer has partnered with a licensed firm.
TVS Motor
Covid-19 patient


four tie straps around the protective sheath, hoses and wiring. Secure the tie straps on the four smooth central sections of the corrugated hose.
Install the wire on the new ejector for the level sensor and pump.
Insert the hoses and wiring into the tank via the right-hand tank hole.
Grip the right-hand level sensor and pump holder and pinch it so that the float is held in its lowest position.
Carefully and slowly lower the holder. Carefully work the holder into place.
Pull the wire so that the hoses and wiring end up on the left side of the tank.
Press the right-hand level sensor down so that the fuel line connections are pointing forwards and to the right.
Check that the O-ring is not trapped.
Tighten the screw. Tighten to 60 Nm (Use tool 999 5720 ).
Install the hoses on the level sensor.


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Home / Technology / Fun Facts about Hovercrafts
14 High-Octane Facts about Hovercraft
First published 30th June 2020 Robin James
Hovercrafts are amazing inventions which allow you to traverse plains of water — in fact, they're a real water glider – and there are plenty of things you should know about hovercrafts before you try and charter one for yourself! Take a look at a few fun facts about hovercrafts to clue you in on what you can expect.
1. It's intriguing science!
A hovercraft works by effectively floating above water. This means that it runs with a special engine that forces the vehicle up above the water and which also propels it along. As you can imagine, that's going to take plenty of thrust.
2. But – how does a hovercraft actually work?
It works by sucking in air from its rear fan(s), and the blowing or transferring this underneath. Effectively, it is a very clever way to take in air from one side of the vehicle and to transfer it elsewhere to provide a double thrust of sorts.
3. You can use hovercrafts off the water as well!
A hovercraft isn't just ideal for using on water, as it will also work on land. It can be very useful to help you get across large patches of ice or even swampland, too. Some even use hovercrafts in desert situations where sand is too risky to traverse any other way.
4. Hovercraft racing has been around for decades!
The first-ever hovercraft race took place in 1960.
5. Hovercraft technology is always evolving.
There have been many different engines put to use in hovercraft over the years. For example, some innovators and drivers have set up craft with lawnmower engines! However, heavier models for military use, for example, can use rows of engines with up to seven or eight of them working at once.
6. One hovercraft is likely to be very different from another.
Hovercrafts have a variety of different names and monikers, for example, you may see them referred to as skimmers from time to time. The reason for this should be pretty obvious – they skim across the water like stones!
7. Riding a hovercraft is a cushioned experience!
A hovercraft will slightly touch the surface of water or land it moves itself along. It rides on an air cushion of sorts.
8. You can use a hovercraft for many different reasons.
Hovercrafts are used for various different purposes, for everyday recreational use as well as for commercial and military reasons. For example, many people use hovercraft for surveys, dive rescue and recoveries, cross-terrain transport, swamp, and ice rescue, heavy equipment transfer, oil cleaning, bird rescue and more besides. Many people use hovercraft to get the thrill of flying without needing to take up any kind of formal license. It's a really safe way to travel!
9. The hovercraft dates back to around the 50s.
Hovercraft have only really been around since the 1950s thanks to the innovator Sir Christopher Cockerell. However, the ideas and concepts behind hovercraft travel have actually been in motion since the 1870s. Thankfully, technology had progressed enough by the 1950s for Cockerell to perfect the ideas initially drafted by Sir John Thornycroft.
10. Big but speedy!
The fastest speed for a Navy warship was achieved by a hovercraft in the US forces in 1980. Weighing around 100 tons, the SES 100-B was able to speed up to a staggering 170 kilometers per hour.
Hovercraft can move quicker than you might think – despite how bulky and unwieldy some of them might look!
11. How fast is a hovercraft?
Generally, you can expect hovercraft to hit speeds of around 56 kilometers per hour, however, general max speed for lighter, more contemporary systems might reach up to 112 km/h.
12. There are many different records.
There is a separate record for the fastest hovercraft, and that belongs to Bob Windt. He claimed the accolade in 1995, sailing his own DiscoverHover One machine down Portugal's Rio Douro. He achieved a blistering speed of 137 km/h on water – that's truly eye-watering.
13. Hovercrafts are complex machines.
Other parts of the hovercraft include the hull and the skirt. A hovercraft hull is made from toughened material such as fibreglass or aluminium, whereas the skirt is made from a looser material built and coated to interact with water.
14. Hovercrafts don't exactly look lithe.
Hovercraft tend to be extremely bulky, which is why it's all the more impressive that they can glide as smoothly as they do! You'll find that some hovercraft can weigh in at up to 200lbs for recreational use, whereas military models drift into the tons.
FAQs about Hovercrafts
Can a hovercraft fly?
Technically, they do so by design! Hovercrafts can generally fly a few inches off the water.
Can a hovercraft sink?
You normally won't have to worry about a hovercraft sinking if it comes to a stop, even if it is waterlogged.
Are hovercrafts efficient?
Generally, you can expect the average hovercraft to consume around three gallons of fuel per hour, making it impressively efficient.
Do you know any fun facts about hovercraft? Share them in the comments below!
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Symphonic Raises $37M To Boost Acquisitions, Expansion, & Further Investment In Nashville
January 5, 2022 /in Uncategorized /by Haley Crow
Independent music distributor and technology platform Symphonic Distribution announced that it received a $37M Series B investment led by NewSpring and Ballast Point Ventures. The new investment comes on the heels of funding announcements by other industry participants, further solidifying investor interest in music technology and distribution.
"We are so excited to announce this fund-raise as the effects of it will be greatly felt in Nashville," says Randall Foster, VP Business Development/Nashville GM, Symphonic. "Since founding this office in 2019 we have doubled the headcount year over year and now have an impressive team heading up Client Marketing, YouTube/UGC Monetization, and Business Affairs along with fantastic support staff therein. This coupled with our recent move to the Orbison Building means we are here to stay and we will be growing in the coming months."
The financial milestone follows a string of announcements for Symphonic, including partnerships with TIDAL and Joyner Lucas' music start-up, Tully, as well as expansions into Africa and Mexico. Headquartered in Tampa, Florida with offices in Nashville and Brooklyn, and with international presence in Africa, Brazil, Colombia, Dominican Republic, Mexico, Spain and more, Symphonic remains a 100% independent distribution and music technology company that continues to work with some of today's most unique and innovative artists.
"On behalf of all of the team members of Symphonic, I can't put into words how excited we are about the next chapter. The partnership with NewSpring, along with our existing investor, Ballast Point Ventures, will help position Symphonic as a strong market leader in independent music technology, services and distribution. This investment will enable us to invest more in our clients, our technology platform, strategic initiatives, intellectual property and other acquisitions," says Jorge Brea, CEO, Symphonic.
"Watching Jorge and Taylor scale a homegrown Tampa technology company in the fast-growing music industry has been very impressive. We are excited to continue as their partner for this next leg of growth, and we are further excited to welcome NewSpring to the investor group as Symphonic prepares for its future growth," says Robert Faber, Partner, Ballast Point Ventures.
"As the global trend toward streaming continues to guide the future of the music industry, Symphonic's distribution platform offers independent artists the tools needed to supercharge their careers and expand their reach. We've been impressed for a long time with what Jorge and the team are building at Symphonic, everything from their patented technology to their incessant focus on putting the independent artist first. We look forward to working closely with Jorge and Ballast Point Ventures to broaden its offering and help Symphonic reach even higher levels of growth," says Brian Kim, Partner, NewSpring.
Founded in 2006 by Brea, a music producer, Symphonic provides global digital music and video distribution through a comprehensive and best-in-class technology platform, marketing planning and strategy, including playlist support, and a comprehensive suite of services for artists, record labels, managers, and distributors. Symphonic has worked with clients such as Maggie Rose, Erin Enderlin, Blackberry Smoke, Leah Turner, Scotty McCreery, Isaia Huron, Andy Velo, Jess Moskaluke, Tim Hicks, The Hunter Brothers, Tyler Joe Miller, David James, Surf Mesa, Stick Figure, CloZee, Laura Marano, Rachel Bradshaw, El Alfa, Juan Luis Guerra, Pi'erre Bourne, DJ Nu-Mark, Doechii, Nick Murphy aka Chet Faker, and La Ross Maria among many others across a wide variety of genres worldwide.
Haley Crow
Haley Crow is the Graphic Design and Production Manager at MusicRow Magazine.
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https://musicrow.com/wp-content/uploads/2022/01/Symphonic-Distribution-Horizontal-FT.jpg 975 1200 Haley Crow https://musicrow.com/wp-content/uploads/2019/03/MusicRow-header-logo-Mar19B.png Haley Crow2022-01-05 10:15:332022-01-05 10:15:33Symphonic Raises $37M To Boost Acquisitions, Expansion, & Further Investment In Nashville