text:
Voyage 4. THE INDO-IBERIAN ARC
Περιήγηση 4η. TΟ ΙΝΔΟΪΒΗΡΙΚΟ ΤΟΞΟ
IT'S A PLEASANT SURPRISE when you meet the familiar figures of ancient Hellenes emerging from the pages of books about other peoples' ways of life and expression – such as fado and flamenco – and also playing leading roles in legends that are probably unknown to modern Greeks (see the previous Voyage 3).
"Casting" those heroic Hellenes in the dramatis personæ of other peoples' mythologies, of course, is not too strange a phenomenon. It is a measure of the splendour of ancient Greek civilization. What is quite unexpected is to find such legends in books dealing with music.
Indeed, there are so many legends, stories and tales about Heracles, Odysseus and, even more, Alexander! And it's no coincidence at all. It's them that have defined our common historical background: the westward voyages of Heracles and Odysseus and the eastward drive of Alexander outline this wider area, the one that, schematically more or less, I termed as the historical space of the Mediterranean.
Alexander's exploits in the Orient are still widely acclaimed and echo in so many legends about Iskandar. In the western Mediterranean, on the contrary, the whole picture is rather obscure; it lacks clarity. It was quite natural for me to focus my attention there for one more reason: until recently almost everyone spoke of the Eastern Mediterranean as if it was not just the "gravitational" centre of this historical space, but as though it constituted an area apart from both the western half of mare nostrum and the eastern extension of the Mediterranean space into continental Asia.(a)
Well, I searched for evidence to the contrary; and I arrived to the conclusion that there's no better and more convincing example than the music – or, rather, culture – of Andalusia: the western end of our historical space has received – and repeatedly indeed – so many cultural elements from its eastern end, India, that the wide scope of exchange becomes more than obvious. If the Greeks have also been involved in this give and take, so much the better…
Andalusia, the western end of our historical space, has received so many cultural elements from its eastern end, the Indies, that the wide scope of exchange becomes more than obvious.
However, apart from les enfants terribles de l'antiquité (see Voyage 2), there are some others, as well, that outline our historical space; a people quite humble who, without having bequeathed to mankind splendid monuments of art and literature, were able to leave their indelible mark wherever they passed through, despite the relentless persecution they suffered. I'm talking about the Gypsies, the Roma who, in their own way, remind us that civilization is not only great art and culture, but also the primitive but authentic way of human expression – which, we need not to forget, was the starting point of every art form.
So, let's go and meet them remaining on Iberian soil: from the world of fado in Portugal we cross into that of flamenco in Andalusia – and what we hear first of all are… passionate disputes about the origin of flamenco! It is an old controversy still going on strong between the advocates of an Andalusian birth certificate and those who see the genre as a Romani creation.
Even prejudiced persons are obliged to recognize that the Gypsies – or at least some of their tribes – have an innate talent for music. They are quick though to assert that the Roma are not distinguished for their creative inspiration, but just for their skill in the execution of music. Although self-contradictory, this view was expressed in all seriousness, even from authoritative personalities, perhaps with good intentions. It's true such controversies erupted in countries, like those in Eastern Europe, with a strong gypsy presence during the formation of the so-called "national schools". But the root of the problem goes far back:
Music was not a lucrative – and hence respectable – occupation for centuries, when the only professional musicians around were Gypsies. After the economic conditions had changed and many locals had become musicians, it was almost impossible to "purify" the local musical idioms…
Music as a profession was not a lucrative – and hence respectable – occupation for centuries, when the only professional musicians around were Gypsies. After the economic conditions had changed and many locals had become musicians, it was almost impossible to identify and set apart the indigenous musical elements from the gypsy additions – or, with a different phraseology, to "purify" the local musical idioms. Of course, we cannot accuse the Gypsies for this "problem" (if there was one)…
"Contact with foreign material is also a stimulus for new styles. Racial purity means stagnation: well-assimilated foreign impulses offer possibilities of enrichment." (Béla Bartók)
"Contact with foreign material," according to Béla Bartók, the celebrated Hungarian composer and ethnomusicologist, "does not merely imply the exchange of melodies, but – and this is even more important – is also a stimulus for new styles to arise… The current situation of Eastern European folk music can be summarized as follows: As a result of the continuous interaction of several peoples' folk music, a tremendous wealth of melodies and melody types has emerged… Therefore, the lack of racial purity that's appeared as a final result has had crucially beneficial resonances. A complete separation from foreign influence means stagnation: well-assimilated foreign impulses offer possibilities of enrichment."
Only racists would reject such important conclusions. But nationalism is also a problem, especially in an area like Eastern Europe as it was described above. Even Bartók was not immune to such "national sentiments". When he realized that Hungarian folk songs traditionally employed by "classical" composers were not autochthonous, he decided to make a research. In 1908, he and Zoltán Kodály, his colleague and compatriot, travelled into the countryside to collect old Magyar folk melodies, which had previously been categorized as "gypsy music". In contrast, they discovered that these folk melodies were based on pentatonic scales, similar to those in Asian folk traditions, such as those of Anatolia, Central Asia and Siberia.(b)
In a country with "gypsy violins" famous worldwide, playing mainly heptatonic scales, a controversy broke out in 1933 regarding the point at issue. When Bartók intervened, he claimed that:
"If we want to be precise, the term 'gypsy music' is incorrect, and what is described as gypsy music is in reality nothing but Hungarian music played by Gypsies"…
Alas, this "contact with foreign material" seems rather a "great idea" as long as it excludes the Romani contributions! Mind you that any "pure", autochthonous melody anywhere in the world would be tantamount to a musical "Grail"…
Let's return to Andalusia and to flamenco to go into the substance of this point at issue. Here the cultural substratum is far richer in finds with the successive layers of several civilizations. It's obvious how inadequate the dilemma: "Gypsies or locals?", "black or white?" is – and if you don't suffer from colour blindness, you realize very soon that this can be nowhere true.
"In flamenco music", according to Christian Scholze, "there are elements of Arab, Indian, North African, Greek and Jewish influence, and the respective proportions of these are hotly debated by flamencologists. What they do agree on is that the roots of flamenco lie in the suppression of the Gypsies. Wherever Gypsies found refuge and shelter over the centuries are today's centres of flamenco."
Voilà! There's also Greek influence detected in flamenco! Most important, though seemingly paradoxical: among all those cultures referred to by Scholze, the only one that did not have "bearers" actually present in Andalusia in the 16th century, when flamenco's formation began, was Hellenic culture. At that time, additionally, both the Byzantine Empire and Hellas were not on the map having lost their independence…
I mean to say that then in Andalusia, apart from the local andaluces, there were Arabs and North African Moors; there were Gypsies (as "bearers" of North Indian culture) and also Jews. It was the heterodox people that the decrees of Ferdinand and Isabella had declared personæ non grata in the name of religious "purity", a kind of racism, in order to enforce the "new (Catholic Castilian) order". That was the end result of the Crusades: the sanctified ethnic cleansing!
The dilemma was clear-cut: convert to Catholicism or get the hell out of here! And "for fear – even terror – of the Jews" and the rest of the heterodox people, the infamous "Holy" Inquisition began a persecution spree "in the name of God". Most Arabs and Jews (the Gypsies had no… address and it was difficult to track them down!) were forced out of their homes, finding refuge mainly in Morocco and hoping that they would soon return (a hope shared by all refugees such as those from Asia Minor). Others (mainly Jews, not Moors who found themselves in a familiar environment in Maghreb) chose to emigrate and ended up in lands that until recently were Byzantine but had already passed under the control of the Ottomans – inter alia, in Thessalonica.
Those who stayed in Andalusia without changing their religion or the others, who were judged as insincere in their "repentance", went underground, lived together and closed ranks out of necessity, despite all their differences, in order to confront the common enemy. Very soon this unlikely mixture of people was enriched with "new blood": the Andalusians, who in turn passed to the other side due to various problems with the new authorities. The conquest of America e.g. started then, and the necessary "manpower" was recruited mainly in Andalusia.
Flamenco was born in such circumstances from these fugitives. But where were the Greeks? And how did they manage – being absent and from afar – to exert their influence? There can be only one answer: thanks to the splendour of their civilization – even though it was already a relic of the past…
An eristic could possibly dismiss scornfully Christian Scholze. His view, however, is not new-fangled. It is shared by most musicologists who say more or less the same. The editors of the Classic CD magazine e.g., publishing an interview with the guitarist Paco Peña, epitomized the origins of flamenco as follows:
"A synthesis of several styles, the music of the Gypsies at the base of the Iberian Peninsula comes from Moorish, Byzantine and Jewish sounds, and at a certain point of its evolution it acquired the name flamenco."
And if that is not enough for you, here's the American flamencologist and guitarist Donn E. Pohren, author of a trilogy on flamenco (The Art of Flamenco, Lives and Legends of Flamenco, A Way of Life) translated into many languages, and teacher of the Andalusians in Jerez de la Frontera's Cátedra de Flamencología – but without "lecturing" at all, as he experienced flamenco's way of life side by side with the Gypsy and local performers of this music before it became fashionable:
"Contrary to a widespread belief, the Spanish gypsies were not the sole creators of the mysterious art called flamenco. Rather, it is generally agreed that flamenco is a mixture of the music of the many cultures that have played important roles, directly or indirectly, throughout the centuries in Andalusia, the most important of these being the Muslim, Jewish, Indo-Pakistani and Byzantine."
It's the very first paragraph in the main part of his book dealing with The Art of Flamenco when he sets out to examine it. This chapter on Origin and Background ends with the etymology of flamenco: "Where did the term flamenco come from?", Pohren wonders. "Again, no one knows, but theories abound"… We have already met the fugitives who probably created flamenco. Dismissing several theories about the origin of the word (e.g. Flemish, flamingo, flame, etc),(c) Pohren presents the most credible:
"Possibly the most likely theory states that the word 'flamenco' is a mispronunciation of the Arabic words 'felag' and 'mengu' (felagmengu), which means 'fugitive peasant'. It is likely that this term was borrowed from the Arabs (Arabic was a common language in Andalusia at that time) and applied to all the persecuted people who fled to the mountains. Through usage in Spanish 'felagmengu' was transformed into 'flamenco', until eventually the term flamenco was adopted by the fugitives themselves and in turn applied to their music."
If all the above are again not enough for you, I need to resort to… indisputable sages – meaning in other words to invoke the views of acclaimed Spaniards who know what they're talking about. Well, how about Federico García Lorca, his friend and teacher, Manuel de Falla, or his teacher's teacher, Felipe Pedrell?
García Lorca used the title Poema del Cante Jondo for a 1921 collection of poems. The next year he helped Falla in the organization of the Concurso de Cante Jondo held in Granada on 13 and 14 of June 1922 with a memorable series of performances held at the Alhambra. Cante jondo or grande (deep, great song) is the most breathtaking of the flamenco forms, the most authentic and pure and, in the interwar period, the most marginalized. That's why the two friends tried to support it. The other two forms – cante (inter)medio and chico (intermediate and small) – were considered as rather vulgarized forms, a view perhaps corresponding to the realities of the inter-war period (Lorca will soon present his point).
To promote the Concurso, Falla wrote an essay, El cante jondo (canto primitivo andaluz), in which he presented the results of his own research indicating that the primary foreign influences contributing to the origins of flamenco music and dance were three: Byzantine church music coming from the eastern Mediterranean; Moorish music from North Africa and Arabia; and especially that distinct music of India and its rhythms brought by the gitanos who began arriving in Spain more than five hundred years ago. On his own part, Lorca gave a lecture on 19 February 1922. Citing Falla, he also put forward these three historical events that shaped jondo:
• "a) the Spanish Church's adoption of [Byzantine] liturgical chant;
• "b) the Saracen invasion; and
• "c) the arrival in Spain of numerous bands of Gypsies.(d)
"This mysterious migrant folk", Lorca went on, "arriving in Andalusia, united ancient indigenous elements to what they themselves had brought, and gave cante jondo its definitive form. That is shown by the qualifying term 'gitana' which the siguiriya retains. This is not to say, of course, that cante jondo is purely Gypsy, since Gypsies exist throughout Europe and elsewhere in our peninsula, while these songs are only nurtured in Andalusia. It is a cante purely andaluz, the seeds of which existed in this region before the Gypsies arrived."
Except the local elements, there are also Greco-Byzantine, Arabo-Moorish, Indo-Romani, and perhaps even Jewish influences detected in flamenco (García Lorca, Falla, Pedrell, Pohren, Scholze, et al.)
In Falla's conclusions, as well as in Lorca's lecture, we find the same factors in the formation of flamenco; with the only exception that Jewish influence is conspicuously absent… Regarding the contribution of the Roma, Lorca tried to evaluate it in its proper dimensions, advocating neither in favour of an Andalusian parthenogenesis – for the Gypsies "gave cante jondo its definitive form" – nor in favour of a Romani birth: despite the many similarities he cited among the key elements of cante jondo and some Indian songs, mostly love songs (he'll deal about that later, as well), Lorca persistently insisted that "jondo is a cante purely andaluz".
Indeed, flamenco was impossible to be born in India; but, without the Roma, not even in Andalusia; just like rebetiko was impossible to be born in Asia Minor; but, without the Anatolian refugees, not even in Greece; or just like blues was impossible to be born in Africa; but, without the black slaves, not even in America. If this is true about the blues, an almost exclusively black music, you can imagine how much more relevant it is in the cases of flamenco and rebetiko where two locals became leading figures: Paco de Lucía and Basiles Tsitsanes.
Flamenco was impossible to be born in India; but without the Roma not even in Andalusia. Rebetiko was impossible to be born in Asia Minor; but without the Anatolians not even in Greece. Blues was impossible to be born in Africa; but without the blacks not even in America.
"Every cloud has a silver lining": the truth of the apophthegm is revealed in these diamonds of our musical culture. We can now enjoy their sparkling beauty thanks to the Roma, the Anatolians and the blacks – those that played the role of a catalyst in the polish of these diamonds of the Orphean art – who, nevertheless, suffered tremendously. Of course, some people had to play the role of the villains. For the gypsies, among many others, it was Tamerlane; for the Anatolians it was Kemal; for the blacks? Here we lose count!
Of course, Lorca also spoke about the difference between cante jondo and flamenco in general – "an essential distinction based on antiquity, structure and spirit":
"The essential difference is that the origin of cante jondo must be sought in the primitive musical systems of India, that is, in the first manifestations of song… It is cante imbued with the mysterious colour of primordial ages; flamenco is relatively modern and it cannot be said to acquire its definitive form until the 18th century… Spiritual colour versus local colour: that is the profound difference. Cante jondo is, then, the rarest specimen of primitive song, the oldest in Europe, bearing in its notes the naked shiver of emotion of the first oriental races. Manuel de Falla affirms that the Gypsy siguiriya is the only genre on our continent that preserves in all its purity the primary qualities of the primitive songs of the oriental peoples."
Let's have a closer look at siguiriya gitana, the appropriate song to express sorrow, deep pain, despair. According to Falla, it is the archetype of cante jondo, as Lorca defined it in another lecture, as well, entitled Architecture of Cante Jondo in 1931. Whether siguiriya is gitana or "purely andaluz" we better leave it to the Spaniards. For us, outsiders, far more interesting is the common position of the three musicians mentioned above, namely Pedrell, Falla, and Lorca (he was also a musician, let's not forget). I quote from his lecture of 1922:
"The great master Felipe Pedrell, one of the first Spaniards to treat questions of folklore scientifically, writes, in his magnificent Cancionero popular español: 'Musical orientalism survives in various popular songs and is deeply rooted in our nation through the influence of ancient Byzantine civilization on the ritual used in the Spanish Church, from the conversion of our country to Christianity until the 11th century when the Roman liturgy [Gregorian chant] can be said to have been fully introduced.'
"Manuel de Falla adds to this statement of his old master, specifying the elements of Byzantine liturgical chant revealed in siguiriya, which are: the tonal modes of primitive systems (not be confused with those known as Greek modes), the enharmony inherent in those modes, and the lack of metric rhythm in the melodic line. 'These same properties characterize certain Andalusian songs which appeared long after the Spanish Church's adoption of Byzantine liturgical music, songs which have a close affinity with the music which in Morocco, Algiers and Tunis is still called… «the music of the Moors of Granada.»' [Siguiriya has] 'specific forms and characteristics distinct from its relationship to sacred chant and the music of the Moors of Granada.' [Falla] has found an extraordinary agglutinative Gypsy element… of Indic origin."
Hence we can also speak of siguiriya griega or bizantina, not only indiana or gitana! But the findings of this triad (Pedrell, Falla and Lorca) go far beyond the relatively recent past, to prehistoric times. Lorca explains:
"Many suppose that chanting is the earliest form of language."
(Falla, Lorca)
"The essential similarities that Manuel de Falla notes between cante jondo and certain songs of India are: 'Enharmonics, as in intermediate modulation; a restricted melodic line, rarely exceeding the compass of a sixth; and the reiterative almost obsessive use of a single note, a process proper to certain forms of incantation, including recitations which might be termed prehistoric, and have led many to suppose that chanting is the earliest form of language.'(e) In this manner cante jondo, especially siguiriya, creates the impression of sung prose, destroying all sense of rhythmic metre, though in reality its literary texts are assonant tercets and quatrains."
Going way back into history, we need to parallel this incantation-recitation with the paracatalogé (παρακαταλογή) of ancient Hellenic tragedy, "a kind of melodramatic recitation of tragic and pathetic parts", according to Giorgos Iohannou, which "was something intermediate between the catalogé, i.e. the usual recitation of chants, and the proper song, the ode." Let us not forget, by the way, that the ancient drama was all in verse. It's not a coincidence that the modern Greek word for song, tragoudi (τραγούδι), comes from tragedy, while out of paracatalogé the word paralogé (παραλογή, ballad) was coined. The paracatalogé was accompanied, usually by aulos; in this sense it differed from the catalogé; as a melodramatic recitation, it was not a sung recitative; it also differed from the ode because there was no melos (melody), other than a certain rhythmic emphasis and the tonal or pitch accent of the ancient Hellenic language, which was musical, not dynamic like modern Greek. The tragic and pathetic effect was achieved by inserting paracatalogé in the middle of sung parts (ἐν ταῖς ωἰδαῖς). This technique enhanced the dramatic appeal of the text.
In Hellenic tragedy, "paracatalogé, a kind of melodramatic recitation of tragic and pathetic parts, was something intermediate between the catalogé, i.e. the usual recitation of chants, and the proper song, the ode." (Giorgos Iohannou)
GARCÍA LORCA gave another lecture in 1930 on Theory and Play of Duende – a keyword in order to get to the bottom of the essence of flamenco, of music in general, and to penetrate the core of all the arts, especially the so-called performing arts. According to dictionaries, duende means "fairy, demon, ghost, devil, goblin, spirit – holy or evil." Dictionaries rarely make things clear on concepts related to music and culture. And why should we let ourselves in the mercy of lexicographers when we have Lorca as a guide? Let's listen to him with due attention as we are introduced to the magic and mystical duende:
"All through Andalusia… people constantly talk about duende and recognize it wherever it appears with a fine instinct… The old Gypsy dancer La Malena once heard Brailowsky play a fragment of Bach, and exclaimed: 'Olé! That has duende!' but was bored by Gluck, Brahms and Milhaud. And [flamenco singer] Manuel Torre, a great artist of the Andalusian people, a man who has more culture in his veins than anyone I've known, on hearing Falla play his own Nocturno del Generalife spoke this splendid phrase: 'All that has dark sounds has duende'… – agreeing with Goethe, who in speaking of Paganini hit on a definition of duende: 'A mysterious force that everyone feels and no philosopher has explained.'
"All that has dark sounds has duende." (Manuel Torre)
"I heard an old maestro of the guitar say: 'Duende is not in the throat: duende surges up, inside, from the soles of the feet.' Meaning, it's not a question of skill, but of a style that's truly alive: meaning, it's in the veins: meaning, it's of the most ancient culture of immediate creation. It is, in sum, the spirit of the earth, the same duende that scorched Nietzche's heart as he searched for its outer form on the Rialto Bridge and in Bizet's music, without finding it, and without seeing that the duende he pursued had leapt from the Greek mysteries to the dancers of Cádiz and the headless Dionysiac scream of Silverio's siguiriya."
The "Dionysiac" and "mystic" Hellenes are here again in full force. Their theatre of action is now Cádiz, the ancient Gadeira (Gadir), or Roman Gades.(f) To this port of Andalusia on the Atlantic, just outside the Straits of Gibraltar, the Pillars of Heracles, we will return shortly. For the time being, we continue listening to Lorca spellbound:
"For every man, every artist called Nietzsche or Cézanne, every step that he climbs in the tower of his perfection is at the expense of the struggle that he undergoes with his duende, not with an angel, as is often said, nor with his Muse… Angel and Muse come from outside us: the angel brings light, the Muse form (Hesiod learnt from her)… While duende has to be roused from the furthest habitations of the blood. Reject the angel, and give the Muse a kick… The true struggle is with duende.
"The great artists of southern Spain, Gypsy or flamenco, singers, dancers, musicians, know that emotion is impossible without the arrival of duende. They might deceive people into thinking they can communicate the sense of duende without possessing it, as authors, painters, and literary fashion-makers deceive us every day, without possessing duende: but we only have to attend a little, and not be full of indifference, to discover the fraud, and chase off that clumsy artifice.
"Emotion is impossible without duende." (García Lorca)
"Once, the Andalusian 'Flamenco singer' Pastora Pavon, La Niña de Los Peines, sombre Spanish genius, equal in power of fancy to Goya… was singing in a little tavern in Cádiz. She played with her voice of shadows, with her voice of beaten tin, with her mossy voice, she tangled it in her hair, or soaked it in manzanilla or abandoned it to dark distant briars. But, there was nothing there: it was useless. The audience remained silent… Pastora Pavon finished her song in silence. Only, a little man… sarcastically, in a very soft voice, said: 'Viva, Paris!' as if to say: 'Here ability is not important, nor technique, nor skill. What matters here is something else.'
"Then La Niña de Los Peines got up like a madwoman, trembling like a medieval mourner, and drank, in one gulp, a huge glass of fiery spirits, and began to sing with a scorched throat, without voice, breath, colour, but… with duende. She managed to tear down the scaffolding of the song, but allow through a furious, burning duende, friend to those winds heavy with sand, that make listeners tear at their clothes with the same rhythm as the Negroes of the Antilles in their rite… La Niña de Los Peines had to tear apart her voice, because she knew experts were listening, who demanded not form but the marrow of form, pure music with a body lean enough to float on air. She had to rob herself of skill and safety: that is to say, banish her Muse, and be helpless, so her duende might come, and deign to struggle with her at close quarters. And how she sang! Her voice no longer at play, her voice a jet of blood, worthy of her pain and her sincerity"…
What an evening, indeed! I would love to be there… Well, here we are back to Cádiz with the captivating description of duende by Lorca. It's where we meet again Donn Pohren, who will lead us to the ancient city of Gadir via… India!
"Today", he says in his Biographical History, Lives and Legends of Flamenco, the second book of his flamenco trilogy, "nearly all theoreticians of the dance agree that the baile flamenco is directly descended from the ancient religious dances of the Indian Hindus… What in all likelihood has taken place is that the highly-civilized Brahmanic temple dances were adopted by a lesser-developed people, shorn of many subtleties, and returned to a more natural and primitive art form concerned only with the expression of oneself and one's emotions.
"Let us attempt to construct a brief history of the development of these Indian dances within Spain. First of all, how did they reach Spain? Traditionally performed only in the temples during Brahmanic religious rites, these dances eventually began to be danced more popularly outside the shrines in India. It was then that they were first introduced into other lands by way of early Mediterranean trading vessels and overland caravans. The point of entrance into Spain was most certainly Gadir, later called Gades, today called Cádiz, the oldest city in Spain, founded by the Phoenicians around 1100 BC. Gadir was an extremely important city, and it is likely that professional Indian dancers were brought in to entertain the city's royalty, probably during the time of the Greeks (c. 500–250 BC), less likely during the reign of the Romans (c. 250 BC–475 AD).(g) Hindu musicians and singers surely accompanied the dancers, and thus also introduced their art forms into Spain during this same period. This would partly explain the strong similarities that still exist between certain types of Hindu singing and music, and flamenco.
"These civilizations, with their emphasis on culture, undoubtedly introduced this religious dancing into their own temples, so that by the arrival of the Visigoths in Andalusia (c. 450–700), this type of religious dancing had already become so traditional as to be carried over into the primitive Spanish Church, encouraged and even performed by early Christian priests. 'It is now known that the fathers of the primitive Church openly admitted, and even fomented with their examples, the adoption by the Christian cult of certain elements of the sacred oriental dances, frequently danced by the very priests themselves.' ('El Baile Andaluz', by Caballero Bonald).
"The Visigoths accepted Catholicism and merged with the Hispano-Roman population, and religious dancing continued throughout their reign.(h)
"It is postulated that during the reign of the Moors (c. 711–1492) these sacred dances were danced more and more popularly outside the confines of the church, possibly even by Spain's first gypsies, who were thought to have come as camp-followers of the Moorish armies (after having arrived in North Africa from their homeground, India, by way of Pakistan, Persia, and Arabia). As both the gypsies and the Moors already cultivated a type of dance largely derived from the Brahmanic religious dances, their arrival most certainly gave the existing Andalusian dances a shot in the arm…
"Another historical event in the development of the flamenco dance was the arrival of the second migration of gypsies to Spain around 1450, shortly before the Moors were expelled from their last footholds in Andalusia. The gypsies arrived from India by the northern route (Persia, Russia, etc), bringing with them their interpretations of Indian dances and songs, and adding fresh fuel to the Andalusian folklore…
"After the Moors were forced out, all religious connotations in the dance ceased. The dances were not only banned from the Church because of their increasing sensuality and 'sinful movements', but at one time persecutions were carried out against interpreters of certain dances regardless of where they were danced. It was then that the dance, together with the cante, went underground, becoming an art of the 'lawless elements' of society. This happened more or less simultaneously with the 16th century edicts ordering the expulsion of the Moors, gypsies, and Jews, and can probably be cited as the beginning of the formation of flamenco as we know it today."
This panoramic picture of the evolution of dance from the Indian Brahmanic temples to the Andalusian gypsy camps, with all intermediate stages, has a negative side: it is one-dimensional, presenting India as the matrix of the art of dance – and even more – leading to wrong conclusions. But if, instead of the dance, we trace the evolution of the guitar, then the mosaic of the exchange becomes three–dimensional and balanced. Our guide, Pohren, as a guitarist, moves now into more familiar waters:
"The Spanish guitar", he writes in the chapter of the same book (Lives and Legends of Flamenco) dealing with his instrument, "is the direct offspring of, principally, the guitarra latina (Latin guitar) and, secondarily, the guitarra morisca (Moorish guitar), both of which are generally believed to have descended from the ancient kithara asiria (Oriental zither).(i)
"First let us attempt to trace the kithara asiria. José de Azpiazu, in his book "La Guitarra y Los Guitarristas", makes the observation that we must look to Egypt and Babylonia for the earliest string instruments, including the zither, from whence they passed on to Syria, Persia, India, and the Middle and Far East in general. He bases this assumption on diverse archaeological finds, principally in Egypt, singling out in particular a bas-relief, dated at 3500 BC, discovered in the tomb of one of the Kings of Thebes. This bas-relief, now in the museum of Leyden (Holland), includes an instrument somewhat resembling today's Spanish guitar. Azpiazu also states that around the time 1000–800 BC the Egyptians possessed an instrument greatly resembling the modern guitar. This instrument could easily have been the previously mentioned guitarra morisca, or one of its predecessors in its development from the kithara asiria.
"However, in view of continued archaeological discoveries, no date or place can be irrevocably pinpointed concerning the origin of any of the ancient stringed instruments. The discovery by an English archaeologist, Kathleen Kenyon, determining that the city of Jericho was teeming with life as far back as 6800 BC, makes the first Egyptian dynasty (3400 BC) seem relatively modern. In truth, the family tree of string instruments, in all of its rich variety, is as vague as civilization's early history. Perhaps the only data available to sustain the belief that the guitar is descended from the ancient kithara asiria is the similarity and progression of the zither-guitar terminology in various languages, and the corresponding similarity and development of the instruments represented by the terms, as follows: qitâra (Chaldea – an ancient region in Southeast Asia, on the Tigris and Euphrates rivers), quitar (Arabic), sitar (Hindi), kithara (Greek), cítara (Spanish) and guitarra (Spanish).
"If we wish to follow the popular theory that the guitar was derived from the kithara (there is no good reason not to), the guitar's development in Spain can be traced in rough outline. It is generally agreed that the kithara asiria (then called the kithara romana) was introduced into Spain during the time of the Romans, sometime before the birth of Christ.(j) The kithara flourished in Spain until the fall of the Spanish Roman Empire (5th century), at which time it fell largely into disuse until the invading Visigoths were firmly established on the peninsula. The Visigoths set about reviving the old Roman culture, and the kithara again emerged. In the 7th century San Isidro wrote of wandering minstrels singing and accompanying themselves on the kithara… It was around this period that the guitarra latina, an instrument containing four sets of double strings and which resembled a small version of the present Spanish guitar, was developed in Spain, presumably, as we have stated, from the kithara romana.
"Meanwhile, in the Middle East the kithara asiria had long ago inspired the family of the guitarra morisca, an oval-shaped, three-stringed instrument introduced into Spain with the 8th century Moorish invasion. It is thought that the only significant characteristic that the Latin guitar borrowed from the Moorish guitar, in its development into Spanish guitar, was the idea of the single strings in place of the formerly-used sets of double strings.
"So by the 9th century there existed in Spain guitars not unlike those we play today, but until the troubadour period (11th through the 13th centuries) the guitar was not widely introduced to the general populace. Little structural change of any significance took place in this guitar until the 16th century, when Vicente Espinel began using a fifth string. (This was not Espinel's invention, as guitars had existed previously with five strings. Espinel merely made the fifth string fashionable. Many musicologists express the belief that the famous Ziryab himself first innovated the use of the fifth string in the 9th century). With this development the Spaniards finally seemed to feel that the guitar was their instrument, and it was then that the guitarra latina was rechristened the 'Spanish guitar'. Two centuries later the final radical development was made, which was the addition of the sixth string by fray Miguel García, a monk also known as Padre Basilio, an excellent classical guitarist and the guitar instructor of King Carlos IV, Queen María Luisa, and the famous concert guitarist, Dionisio Aguado. Thus, except for its growth in size and quality, by the latter third of the 18th century the Spanish guitar was as we know it today.
"Now that we know something of the development of the guitar, let us look into the development of the music. According to Lévi-Provençal (La Civilización Árabe en España), the great tradition of Andalusian music was molded together and developed in the Cordovan conservatory of music established and directed by the Mesopotamian musician, Ziryab, in the 9th century. (Ziryab arrived in Córdoba in 822, in his early thirties, and remained there the rest of his life). What he must have done was gather, and become proficient in, the Andalusian folklore of that period, which was, of course, highly Oriental in nature, and conserve and teach it to attending minstrels and nobility in his conservatory. As he had spent years in the courts of Baghdad, and was the supreme musician of his time, he undoubtedly added to, and purified, what he found. Ziryab, in fact, is credited with having played the major musical role in making Andalusia the outstanding cultural center of the world at that time."
"Ziryab played the major role in making Andalusia the outstanding cultural center of the world in the 9th century." (Donn Pohren)
In this monumental mural painted mainly by Lorca and Pohren, with all the others contributing, we only need to apply some extra brushstrokes to… exonerate the Assyrians, who became notorious in history mainly for their cruelty, but also to show that in social processes parthenogenesis is out of the question in all places and all times – even in the case of the ancient "Hellenic miracle" that has been feasible due to borrowing know-how and intellectual "goods" from the Orient.
The kithara was an instrument of the professionals, while its little sister, the lyre, of the amateurs. According to the Encyclopedia of Ancient Hellenic Music by Solon Michaelides (the source of much information during our Voyages), the kithara was called Άσιάς (Asian). Plutarch (1st–2nd century CE) maintained that "it was called Asian because it was used by the Lesbian kitharodes [citharoedes or citharedes: kithara players who also sang] dwelling close to Asia". This is, of course, a pretext – even if Lesbos is actually close to Asia Minor. We learn the truth from Hesychius of Alexandria (5th century CE), who explains that the kithara was defined as such "for it was invented in Asia". The adjectives Άσιάς and Άσιάτις (Asian, Asiatic) were used not only in relation to the kithara, but also to music as a whole; as Strabo points out: "all music is thought to be Thracian and Asian". Ancient Thrace, of course, was not a part of Hellas.
These instruments of the kithara and lyre family have been extinct for centuries now because they were left behind in relation to the development of music, becoming inadequate and unable to satisfy the needs of the people – musicians and listeners. They are now rarely found still in use among primitive tribes, primarily in northeastern Africa – and this is indeed a pleasant surprise! Some German ethnomusicologists recorded, among others, the sound of a lyre played by a cattleman, member of the Hamar tribe of Ethiopia, and put his photo on the album's cover. Isn't it impressive? The symbol of so many "serious" music institutions, the "musical instrument par excellence" of the ancients, the celebrated Chelys of Hermes, who offered it to Apollo (to atone for stealing his oxen!), to be "mislaid" in the hands of primitive Africans, and also been made with a tortoise shell? It can't be, these Germans should have been certainly related in some way with… Fallmerayer!
In conclusion, if we assume that the guitar descended from the kithara, the latter must have been combined with some kind of lute – that is, with an instrument having a "neck": the guitar belongs to this lute family. The only similar instrument in ancient Greece was the so-called tríchordon (three-string), or pandura, panduris, panduros and phanduros. In Alexandrian times there was already a whole family of such instruments that became later even larger with the additions of the erudite thambura (tambur of Constantinople), folk tanbur-saz or bağlama, and also bouzouki.
As regards the origin of the instrument, Pollux (2nd century CE) informs us: "tríchordon, which the Assyrians called it pandura; it was also their invention." Thus, pandura, as a term and as an instrument, was Assyrian. Therefore, the kithara asiria, which Pohren referred to, must have been associated with pandura. The term tríchordon that the Hellenes used for the pandura means that the latter was also a tríchordon, that is, a three-string instrument. Let's not forget that the guitarra morisca, a kithara asiria descendant, was also a tríchordon.(k)
It's thrilling to imagine that the starting point of all these instruments was the primitive hunter's bow; that in time of rest could become a musical bow…


text:
Heritage Jupiter Luxury Hotel, Split
- Free WiFi
- Collect nights
Main amenities
- 31 smoke-free guestrooms
- Near the beach
- Restaurant and bar/lounge
- Rooftop terrace
- Breakfast available
- Spa tub
- Sauna
- Airport shuttle
- 24-hour front desk
- Coffee/tea in a common area
- Air conditioning
- Daily housekeeping
- Free WiFi
For families
- Cribs/infant beds (surcharge)
- Rollaway/extra beds (surcharge)
- Private bathroom
- Free toiletries
- Daily housekeeping
- Hair dryer
What's around
- In Split Old Town
- Diocletian's Palace - 1 min walk
- Gregory of Nin Statue - 2 min walk
- Cathedral of Saint Domnius - 4 min walk
- Mestrovic Gallery - 26 min walk
- Kresimir Street - 1 min walk
- Temple of Jupiter - 1 min walk
- Cindro Palace - 1 min walk
- Let Me Pass Street - 1 min walk
- Grisogono - Cipci Palace - 1 min walk
- City Clock - 1 min walk
Heritage Jupiter Luxury Hotel, Splitfrom $118
- Standard Double Room
- Superior Double Room
- Deluxe Double Room
- Deluxe Double Room, Sea View
- Superior Double Room Single Use
- Deluxe Double Room Single Use
- Deluxe Quadruple Room
- Standard Room Double Use, Ground Floor
More great choices
At a glance
Key facts
Hotel size
- This hotel has 31 rooms
- This hotel is arranged over 5 floors
- Check-in time starts at 2 PM
- Check-out time is 11 AM
- Express check-in/out
Required at check in
- Credit card or cash deposit required
- Government-issued photo ID required
- Minimum check-in age is 18
Travelling with others
- Children (2 years old and younger) stay free when occupying the parent or guardian's room, using existing bedding
- No pets or service animals allowed
- Pets allowed *
- Free WiFi in public areas
- Free WiFi and wired Internet access in rooms
- Airport shuttle (available on request) *
- No parking
Other information
- Smoke-free property
In the hotel
- Buffet breakfast daily (surcharge)
- Restaurant
- Bar/lounge
- Coffee shop/café
- Snack bar/deli
- 24-hour room service
- Coffee/tea in a common area
- Spa tub
- Sauna
- 24-hour front desk
- Tours/ticket assistance
- Dry cleaning/laundry service
- Luggage storage
- Wedding services
- Number of buildings/towers - 1
- Elevator/lift
- ATM/banking
- Rooftop terrace
- Television in common areas
In the room
- In-room climate control (air conditioning)
- Air conditioning
- Minibar
- Bathrobes
- Slippers
- Hypo-allergenic bedding available
- Blackout drapes/curtains
- Turndown service
- Sleep Number by Select Comfort mattress
- Individually decorated
- Individually furnished
- Private bathroom
- Bathtub or shower
- Free toiletries
- Hair dryer
- Cable TV channels
- Desk
- Free WiFi
- Phone
- Daily housekeeping
- In-room safe
Also popular with travelers from the USA
Special features
DiningKuzina - This restaurant serves breakfast, brunch, lunch, and dinner. Guests can order drinks at the bar and enjoy alfresco dining (weather permitting).
Heritage Jupiter Luxury Hotel, Split's small print
Also known as
- Jupiter Luxury Hotel
- Jupiter Luxury Hotel Split
- Jupiter Luxury Split
- Heritage Jupiter Luxury Hotel Split
- Heritage Jupiter Luxury Hotel
- Heritage Jupiter Luxury Split
- Heritage Jupiter Luxury
Only registered guests are allowed in the guestrooms.
For transfers, guests must contact the property before arrival at the number on the booking confirmation.
Mandatory fees
You'll be asked to pay the following charges at check in or check out:
- A tax is imposed by the city: EUR 1.06 per person, per night for adults; EUR 0.53 per night for guests aged 12-17 years old. This tax does not apply to children under 12 years of age.
Optional extras
Parking is available nearby and costs EUR 12 per 24 hours
Rollaway beds are available for EUR 35 per night
Buffet breakfast is offered for an extra charge of EUR 10 per person (approximately)
Cribs/Infant beds are available for EUR 15 per night
Pets are allowed for an extra charge of EUR 35 per pet, per day
Airport shuttle service is offered for an extra charge of EUR 40 per vehicle (one way)
We have included all charges provided to us by this hotel. However, charges can vary, for example, based on length of stay or the room you book.
What's around Heritage Jupiter Luxury Hotel, Split
- In Split Old Town
- Diocletian's Palace - 1 min walk
- Gregory of Nin Statue - 2 min walk
- Cathedral of Saint Domnius - 4 min walk
- Mestrovic Gallery - 26 min walk
- Kresimir Street - 1 min walk
- Temple of Jupiter - 1 min walk
- Cindro Palace - 1 min walk
Getting around
- Split (SPU) - 35 min drive
- Brac Island (BWK) - 116 min drive
- Split Station - 14 min drive
- Onsite parking not available
- Airport shuttle (surcharge)
Recent reviews
Very Good 8.4 From 75 reviews
Love this little hotel. It's nothing fancy but it's very comfortable and the staff is super helpful. There's a good breakfast included which is great. The location is very central and easy to get to.
The area is incredible, the staff are very nice and helpful. The rooms are beautiful.
The hotel staff was fantastic. I lost my passport on a bus coming from Budva. The Staff at the front desk helped me track it down and recover it in 24 hrs!!! UNBELIEVABLE great experience of their taking personal care of guests. The room and restaurant was fine. Very convenient location.
I stayed in a medieval building with modern upgrades next to the bc temple of jupitar. restaurants and music just outside the doors.
Good location and rooms were very nice. Breakfast could be upped another notch.
Is the description of this hotel not correct? Tell us

subset: commoncrawl


text:
Definitions of despond
v. i. - To give up, the will, courage, or spirit; to be thoroughly disheartened; to lose all courage; to become dispirited or depressed; to take an unhopeful view. 2
n. - Despondency. 2
The word "despond" uses 7 letters: D D E N O P S.
No direct anagrams for despond found in this word list.
Words formed by adding one letter before or after despond (in bold), or to ddenops in any order:
o - endopods s - desponds
Shorter words found within despond:
de den dens do doe does don done dons dope doped dopes dos dose dosed ed eddo eds en end ends ens eon eons epos es ne no nod node nodes nods noes nope nos nose nosed od odd odds ode odes ods oe oes on one ones ons op ope oped open opens opes ops os ose pe ped peds pen pend pends pens peon peons pes peso pod pods pond ponded ponds pone pones pons pose posed sen send sned so sod sodden son sonde sone sop sped spend spode
List shorter words within despond, sorted by length
Words formed from any letters in despond, plus an optional blank or existing letter
List all words starting with despond, words containing despond or words ending with despond
All words formed from despond by changing one letter
Other words with the same letter pairs: de es sp po on nd
Browse words starting with despond by next letter
Previous word in list: despoliations
Next word in list: desponded
Some random words: imp use jo eel wikiup obedience aorist
This is not a dictionary, it's a word game wordfinder.
- Help and FAQ - Examples - Home
Privacy and Cookies Policy - Share - © Copyright 2004-2018 Morewords.com - 53.377mS


text:
Get Farzi Khof Urdu Novel By Ishtiaq Ahmad Free Download Pdf. Farzi Khof is available here for free download. Farzi Khof is the title name of this Urdu novel which is written by Ishtiaq Ahmad who is famous and well-known digest writer, Urdu novel writer, fiction writer, thriller writer, and one of most popular novelist from Pakistan for his spy and detective novels. Ishtiaq Ahmad has written many Urdu short stories, thriller novels, and published in different Urdu digests and magazines. He has started his career by writing stories for children after that he has started writing novels. He wrote his first novel in 1973. He was much famous in 80s and 90s because his famous Shoki Series, Inspecter Kamran Miraza and Inspector Jamshed Series. Now a days because he is not with us people and especially children love with his writings and novels. He has wrote many suspense novels in Urdu for children in which the characters are like Inspector Jamshed,Shoki Brothers and also Inspector Kamran. Ishtiaq Ahmad has his own fan club because of his famous series novels, fiction, spy and detective novels which are famous among children and also in adults.
Hope you will enjoy when you read Farzi Khof Urdu Novel By Ishtiaq Ahmad Free Download Pdf by the link given below.


text:
From Andrew Sullivan, I learned that the infamous cartoon of Ariel Sharon eating a baby has won first prize in the British Political Cartoon Society's annual competition. Here is the story from Haaretz, which includes the disgusting drawing. The author apparently claims to have been inspired by Goya. The real inspiration almost surely was found elsewhere.
Political cartoonists tend crank out material that is even more mindlessly liberal than that produced by those who write for the same mainstream publications. I'm not sure why this is so, but it probably has something to do with the fact that cartoonists aren't required to make arguments. They can present any outrageous claim they choose to without even having to go through the motions of defending it. Whether their counterparts who write would make the same claims if they didn't have to defend them or, alternatively, whether, as writers, they are collectively more intelligent than the drawers, and thus not as prone to believe ridiculous things, I do not know.
In any event, with this award we can expect the race to the bottom in political cartoons to continue.
- Subscribe now!... Get rid of ADs!Support Power Line...VIP MembershipPresentsPower Line
Most Read on Power Line
Our Favorites
- American Greatness
- American Thinker
- Ann Althouse
- Belmont Club
- Center of the American Experiment
- Churchill Project
- Claremont Institute
- Dartblog
- Gatestone Institute
- Hot Air
- Hugh Hewitt
- InstaPundit
- Jewish World Review
- Legal Insurrection
- Library of Law and Liberty
- Lileks
- Lucianne
- Michael Ramirez Cartoons
- Michelle Malkin
- RealClearPolitics
- Ricochet
- Roger L. Simon
- Steyn Online
- The Federalist
- Tim Blair
- Urgent Agenda
Subscribe to Power Line by Email
Find us on Facebook
"Arise and take our stand for freedom as in the olden time." Winston Churchill
"Proclaim Liberty throughout All the land unto All the Inhabitants Thereof." Inscription on the Liberty Bell


text:
Choose Download Location
2006 Sliding Golf Tour 1.0
You have chosen to download 2006 Sliding Golf Tour 1.0. Check the file details to make sure this is the correct program and version, and that your operating system is supported.
Download Details
- Operating Systems 98 / 2k / Me / XP
- File Name 2006LogicalGolf_Setup.exe
- MD5 Hash 5ff94dcf8523c1dfdad4bb94278333fb
- File Size 259.59 KB
In order to make the download process as fast for you as possible, this file exists on several Tucows Downloads servers around the world. Please choose the location closest to you from which to download the file.


text:
Transportation Services
Telephone Numbers
Reservations and Information (270) 809-4770
Report accidents and breakdowns (270) 809-4770
After hours please call:
- Jerry O'Bryan Cell (270) 293-0794
- If no answer (270) 809-2222
Motor Pool contact telephone numbers are also listed on each trip ticket and in the Guidelines and Procedures booklet located in each vehicle.
You may enter the vehicle rental request through the AiM Work Order system, or you may call Transportation Services and provide the following information:
- Date(s) for which a vehicle is required, including departure and return times
- Destination
- Number of persons traveling in vehicle
- Name(s) of person(s) who will be operating vehicle
Vehicles are reserved on a first-come first-served basis. Vehicle assignments are based on the number of persons in the party, distance to be traveled, weather conditions, etc. If circumstances allow combining two or more reservations, the motor pool will contact those persons involved to suggest and arrange the combination.
Pick-up and Return of Vehicles
Vehicles are to be picked up on the day of actual departure and as close as possible to the hour of departure. If the departure time does not coincide with the hours of Transportation Services operation, keys may be obtained in advance of actual departure. Arrangements must be made at the time of
reservation booking.
Vehicles must be returned to the motor pool at the conclusion of a trip. A key to the gates of the motor pool is provided with each set of vehicle keys for return of vehicles after hours. Please relock the gate after exiting the motor pool area.
Vehicles cannot be parked at a residence prior to or after the end of a trip without the written authorization of the assistant director of transportation. If a vehicle will be needed longer than the reservation period, the operator must notify the motor pool as soon as possible.
Parking for personal vehicles is available at the motor pool for persons using passenger vehicles. The vehicle operator is responsible for recording beginning and ending vehicle mileage readings. Record the readings on the trip authorization sheet which is provided by the motor pool when the vehicle is picked up. Completed trip authorization sheets must be returned to the motor pool after conclusion of travel.
Breakdowns and Repairs
Call and advise Transportation Services personnel of a breakdown and, to the greatest extent possible, the nature of the problem. (The motor pool telephone numbers are listed on each trip ticket and in the Guidelines and Procedures booklet in each vehicle).
Do not have the vehicle towed unless it presents a hazard to or restricts the flow of traffic, or unless authorized by the assistant director of transportation. Do not have the vehicle repaired unless authorized by the assistant director of transportation.
Gasoline should be obtained at Transportation Services, whenever possible. A University Mastercard gasoline credit card is provided in the glove box of all passenger vehicles and is to be used for the assigned vehicle only. The Mastercard may be used at any station accepting Mastercard. It is the operator's responsibility to use self-service pumps when available. Operators shall only use self-service pumps when refueling university equipment, additionally the use of non premium fuel is required.
Accidents will normally fall under one of two categories: minor accidents occurring on or off a public thoroughfare where total damage to all vehicles involved is less than $500 and no other property damage or bodily injury occurred; and major accidents involving damage to vehicles over $500 and/or other property damage or bodily injury. Follow the minor accident procedures if the cause of damage is unknown or if the damage is extremely light. In all other instances, follow the major accident procedures. Each vehicle has an accident summary package in the glove box. Operators are required to complete the forms in the event of an accident.
Major Accident Procedures
- Give aid to injured persons
- Notify law enforcement authorities
- Notify Murray State Transportation Services
- Provide law enforcement authorities with all information requested
- Decline giving or making statements to persons other than law enforcement authorities
- Request that the investigating police officer obtain a statement from the other party or parties involved
- Record the license plate numbers of witnesses, if possible
- A card showing Murray State University's bodily injury and property damage liability insurance carrier, policy number and agent is provided in the glove box of each vehicle
Minor Accident Procedures
At the time of the accident, record the following to the greatest extent possible:
- Notify law enforcement authorities
- Notify Murray State Transportation Services
- Date, time, and place of accident or damage
- Road surface and condition
- Weather and light conditions
- Names and addresses of others involved
- Names and addresses of any witnesses
- License plate number of witness or first vehicle on the scene
- Statements by witnesses
- Insurance information of other party
Additional Accident Procedures
Do not have the vehicle towed without motor pool authorization unless it is a hazard to or is impeding the flow of other traffic. The account number listed on the trip authorization will be charged on a 'deductible' as follows for
repair costs:
- Less than $500 damage--$100 or actual costs, whichever is less
- More than $500 damage--$250
Employee Use of Vehicles
Murray State University personnel must be registered with Transportation Services and have their drivers license on file with the motor pool to be eligible to use University or rental vehicles. Prior to authorization all employees will have a current motor vehicle record check on file.
Student Use of Vehicles
The motor pool head must recommend that a student be authorized to use Murray State vehicles. The Request for Student Driver Authorization Packets are available from the motor pool. The packet contains a Guidelines and Procedures booklet, a Request for Student Driver Authorization form, and handouts covering van safety, seatbelt usage, and other information as required. Authorization for student use of vehicles must be renewed annually. All student operators will have a current motor vehicle record check on file. Any passenger car may be assigned to a student. To drive a van, students must be at least 21 years of age, and complete the van driver coaching program
Cost for use of passenger vehicles, repair 'deductibles,' or any other charges are charged to user departments via the inter-account billing system.
Procurement, Assignment, and Replacement of Vehicles
Service vehicle assignments are evaluated by Transportation Services at least annually. Special needs and requests should be made well in advance of budget preparation to allow sufficient time for planning and accommodation. The assistant director of transportation may recall or reassign vehicles to promote the highest and best utilization of the total fleet.
General Regulations
- Seat belts must be worn by the operator and all passengers when a vehicle is in operation.
- Vehicles must be used exclusively in performance of activities directly related to the mission of Murray State University.
- Operators must be employees of the University or authorized students.
- Passengers must be employees, students, or guests of the University.
- No vehicle may be modified or altered in any manner without the express consent of the assistant director of Transportation Services. This includes but is not limited to: Removing seating, affixing car-top carriers, altering wiring, installing radios or other electronic devices, attaching antennas or additional towing equipment, affixing signs, decals, and bumper stickers
- Boats and canoes cannot be carried in or on a passenger vehicle.
- Animals are not permitted in passenger vehicles.
- Vehicles should be returned in the same general condition as when picked up. Charges for cleaning vehicles returned in an excessively dirty condition may be billed to the appropriate account in addition to the per-mile usage charge.
- Repetitive or willful violations of Transportation Services' guidelines and regulations may result in additional charges or suspension of use privileges.
- Comments and suggestions are encouraged and may be furnished either verbally or in writing to the Assistant Director of Transportation Services or the Director for Facilities Management.
|Murray State University Vehicle Rates
|Vehicle Type
|Number of Vehicles in University Fleet
|Rate (cents per mile)
|Daily Charge
|10 Passenger Van
|Mini Van
|Mini Bus
|Truck with topper*
|Tractor 935
* Do not remove the topper.
There are two utility trailers for rent at 5 cents per mile. These trailers can be pulled behind either the University SUV's or the pickup truck (the trailers are light duty, and should be used for luggage or other light items). The trailers measure 4' wide, 6' long, and 4' high.
Request to Use Outside Vehicle Rentals
Passenger vehicles may be rented from outside agencies only when vehicles are not available from the University motor pool.
History of Transportation Services
The Murray State University Transportation Services was organized as a separate department in 1969. At that time the department was responsible for light service work, fueling and clean up maintenance. In 1973, the department was restructured and a full service maintenance facility was organized which performed all vehicle, light and heavy, repair work as well as the light maintenance that had begun in 1969.
With the successful expansion from 1973, it was decided to expand further. In 1976, the motor pool took charge of all general use equipment such as tractors, road graders, lawn equipment and emergency generators (engine section). In 1998, the department became a division of the Department for Facilities Management. Over these years, the motor pool has expanded to include:
- 175 plus cars and trucks
- 300 plus pieces of equipment
- 48 emergency generating plants
The division maintains a 24-hour retrieval service; an in-depth accident investigation service; maintains records; makes recommendations for settlements with those involved in accidents and with the insurance companies. Transportation Services is located directly to the south of Stewart Stadium. The north gate is located on Gilbert Graves Drive and the south gate is located at the northern end of the Facilities Management Complex. Hours of operation for customer service are 7:30 a.m. to 4:00 p.m., Monday through Friday.


text:
Celebrate #GlobalEngineer Day today and share the importance of engineers around the world! DiscoverE.org/GlobalDay.
Read '10 reasons to love engineering'
I will think of you, you think of me, when we have Tea and TED at 3! Today we are watching 'This deep-sea mystery is changing our understanding of life'. Will you be joining us? #ShowMeTheTea
We are running an Influencing course in Derby. See the link for more details. Contact email@example.com for more information and to book. "A workshop for those who are required to influence individual managers and professionals, as well as teams and other departments" http://ow.ly/H6L330lpTWc
#FF "Shona's style is extremely adaptable and Shona allowed me the time and space to work through the sessions in my own way, while ensuring that the sessions were structured and focused" – Rosie Mellers
The Ilkeston Heritage and Classic Vehicle Show was a great event organised by Erewash Partnership Events Ltd at the weekend.
©2010 - 2018 Neish Consultancy Ltd | Company No. 07417717


text:
posted by Thom Holwerda on Thu 2nd Mar 2006 12:24 UTC, submitted by Timothy Miller
The Open Graphics Project is dedicated to producing open-architecture graphics hardware that is friendly to free and open source operating systems like Linux and BSD. Yesterday morning, they released schematics for OGD1 for public review and critique. OGD1 is an FPGA-based development and prototyping platform that they decided to turn into a commercial product to raise funds. Check out an article on KernelTrap. The release of these schematics was accompanied by a discussion about how to price the OGD1 to maximize fund-raising while keeping it accessible to hobbyists; KernelTrap has another article about that as well.


text:
Ok, this post isn't technically related to family history. But this is something that's driven me nuts for years—trying to remember the difference between metaphors, similes and analogies. I end up referring to something as a metaphor when it's probably an analogy, or use a simile and call it an analogy. Maybe if I write down the definitions, I'll be a bit more likely to remember which is which.
Here are the definitions.
metaphor : a figure of speech in which a term or phrase is applied to something to which it is not literally applicable in order to suggest a resemblance
simile : a figure of speech in which two unlike things are explicitly compared
analogy : a similarity between like features of two things, on which a comparison may be based
Ok, that's a start, but these definitions don't really help me much. They all sound like pretty much the same thing.
Let's take another stab at defining each of these, and provide an example of each.
A metaphor is a figure of speech in which you say that one thing is another. By treating two seemingly different things as identical, you illustrate the similarities that we may have not noticed were there. Here are some examples:
- Life is a journey
- I am a rock
- My wife is a pain in the neck
Notice that I'm not saying "life is a journey because X, Y and Z". We just equate the two, which is the power of metaphor—the similarities are inferred.
A simile is a type of metaphor where we use the word like or the word as. It's more explicit than a metaphor, and less poetic. It tells us that two things are similar, rather than inferring that they are, by equating them. Here are some examples:
- Free as the wind
- Talking to him is like talking to a brick wall
- Her feet are as big as battleships
An analogy is more complex and intricate than either a metaphor or a simile. It's a way of comparing two different things by showing a number of ways in which they are similar. We also logically infer that if the two things are similar in some things, they are similar in others. Here are some examples:
- A URL on the web is analogous to a file name on your PC
- The fight for gay rights is the civil rights movement of the 21st century
- With that last statement, I am the Jerry Springer of the blogging world
The point here is that we're not pointing out just one characteristic that is similar between the two things mentioned, but drawing a parallel. In the case of the URL and the file name, you can think of a number of ways in which the URL is like a file name, e.g. it uniquely identifies what you're looking for, tells you where to find something, it's what you feed into a tool to view the item, etc.
The other type of analogy that you will run across is the kind found on many IQ or college prep tests, of the form "A is to B as C is to ?". Here are a few examples:
- Medicine is to Illness as Law is to Anarchy
- Keyboard is to Blogger as Guitar is to Rock Star
- Finger is to Eye as Knee is to Crotch
(Hey, I didn't say that they were going to be good analogies).
So Now You Know
There you have it. A quick overview of metaphors, similes and analogies. You no longer have an excuse to forget which is which. Your mind is full—like a pot of pasta.


text:
This collection is made for city streets and fabulous nights out. The 9 new patterns in the Haute Stuff collection have fierce style. Strut your stuff in chiffon blouses, leather and satin trousers, dramatic outerwear, and beautiful flowing dresses. These new patterns are from the August 2013 issue of Burda Style magazine.
The Wrap Maxi Dress has all the boho style of the swinging seventies. Channel your inner hippie goddess or rock chick in this flowing dress. The flowy shape and fitted cuffs have a gypsy vibe, and look amazing in patterned chiffons.
The start of cooler weather won't get you down when it means you get to wear the Chain Jacket. The boxy shape gets a pop of rock star glamour from the chained front. Make this style in metallic fabric or suede for an edgy look.
Make power dressing a little sexier in this pretty chiffon blouse. The Chiffon Blouse gets plenty of drama from the sweeping oversized tie neck. Wear it with a pencil skirt or cigarette pants for serious office style. Make sure to pick cute closures for the cuffs… pearl buttons would look great!
Be daring, and give these Leather Pants a whirl. The sleek legging shape is flattering and simple, so they go with almost any top. Whatever you wear them with, you'll feel like a rock star!
The slim fitting Elasticated Dress has just a hint of 80s style, but none of the bulk. An elastic waist, fitted cuffs, and deep split neckline are slim and stylish. This piece looks great in slinky fabrics with a wide belt.
This stylish Cape with Scarf will keep you warm in style, and is a great piece for transitional fall weather when you're not quite ready for a heavy coat. The big attached scarf is cozy and cute, and can be worn in a variety of ways to complement your outfit.
Add a little polish to your outfit with the Long Blazer. This clean lined style is sleek and professional. Make it in a wild fabric like this funky metallic animal print for rocker chic, or classic black for all your work ensembles.
Look sharp in the Creased Pants. These front creased trousers make a statement, and the roomy fit and front and back pockets keep you comfy. Make them with the Chain Jacket in matching crushed satin to really make your outfit pop.
Nothing says feminine glamour like a leopard print chiffon shirt. The Leopard Blouse has a dramatic tie and keyhole neckline and a front seam. Pick glitzy gold buttons for the cuffs if you're feeling extra fancy.
The mix of soft chiffon and tough leather will challenge your sewing and look amazing in your closet. This collection is absolutely gorgeous in rich gemtones like amethyst and emerald. Put on some Stevie Nicks or Pat Benetar, and get sewing!


text:
Jacket Kappa
90's oversized Kappa sports Top Jacket
90s Kappa sports jacket // very rare// oversized fit // classic Kappa logo on chest // Kappa logo down each arm// zip up // toggles and pockets // CONDITION: Excellent. This item is not new and signs of natural wear & age are to be expected.----OUR MODEL IZZIE is size 8 height: 5'4" --- This item is VINTAGE and one of a kind, the model is pictured in the exact same actual size/garment that is for sale. This item is carefully checked however vintage items are one off and unique therefore are not new any signs of wear/age are part of their character. --- There may only be one- once it's gone it's gone so don't forget to FOLLOW our boutique and be first to grab them! Not sure on sizing? Ask us any Q's about this product- Items ordered before 3 p.m. are dispatched the same day. No next day delivery over the weekends. We offer FUSS FREE RETURNS - Our instagram is CATSGOTTHECREAM, we drop the new stuff on there before it hits the site so get a heads up on there! CATS GOT THE CREAM TEAM
- Condition: Vintage
- Vintage Era: Early 1990s
- Material: Nylon
- Colour: Red
- Brand: Kappa
Returns & Exchanges
You may cancel an order from your account before it is shipped. Please note that if the item is made-to-measure you may only be able to cancel the order before it is shipped provided that the garment hasn't been altered or made yet.
If you receive an item and wish to return it for any reason you must inform the Seller in writing within 14 days of receiving the item.
You may also return any item to the Seller within 28 days if the item becomes faulty.
The Seller will then provide you instructions on how to return your item and once your item is received back, they will process your refund through Paypal.
Return postage is your responsibility unless the item is incorrect or faulty, in which case the Seller will refund the return postage. If you cancel your contract under the Consumer Contracts (Information, Cancellation and Additional Charges) Regulations 2013 any standard shipping charges that you have paid to receive your purchase will be included as part of your refund.
Please note that the Seller may refuse a refund if the garment has been made according to your precise measurements ie) made-to-measure. The items you return must be unworn and in their original condition save for your right to inspect the goods and try on the garments. It is your responsibility to ensure that you package the returned goods adequately so that it arrives back to the Seller undamaged.
If you have any further questions on returns, refunds or cancellations please contact the Seller.
This item is shipped from UKYou can select shipping options at the checkout.
|Multi item
|UK Standard
|7 days
|UK Express
|2 days
|Europe EU
|15 days
|Europe Non EU
|15 days
|North America
|20 days
|Rest of the World
|20 days
If your region isn't listed, the seller may still ship to you. Ask them.
About This Boutique
angmering UK
Also from us:
Calabasas jumper Sold by
Chicago slogan tee Sold by
Snake skin bandeau bra top Sold by
Kimmy crop top Sold by


text:
Jennifer Lopez has spoken out to dismiss allegations she played a part in the dismissal of a hotel maid who was reportedly fired for asking for an autograph, calling the story "hurtful".
Cleaner Pray Dodaj claims she was sacked after she knocked on the star's room door to get a signature during Lopez's stay at the Melia Dusseldorf hotel in Dusseldorf, Germany last week (ends04Nov12).
She told German newspaper Bild, "I am an incredibly big fan so I took all my courage and rang the bell to get an autograph. But I was rejected by two assistants at the door. A day later the cleaning company that employed me at the hotel called and said that Ms Lopez had complained. I was fired right there on the phone. Because of an autograph."
However Lopez, who played a hotel maid in 2002 movie Maid In Manhattan, is adamant she did not ask for the woman to be fired and has blasted the story in a post on Twitter.com.
She writes, "C'mon (sic) thought you knew me better than this. Would never get anyone fired over an autograph. 1st I heard of this was on Twitter. Hurtful."


text:
In this study, pregnenolone was given to rats directly in the fluid bathing
the brain. Following Preg administration, there was an increase in
acetylcholine levels in the cerebrum. The increase in cortical acetylcholine
reached a maximum thirty minutes after administration. This result suggest
that Preg interacts with the cortical cholinergic system, which may account,
at least in part, for the memory-improving properties of this hormone.
Comments: The crucial role that hormones play in the brain is gradually being
discovered. Unfortunately there has been very little thus far on the role of
pregnenolone in human cognition. Thus, safe and effective dosages have not yet
been established. You will often find Preg sold in dosages of 5, 10, 25, 30,
50, and even 100 mg. Although the high dosages may be useful in certain
conditions when used temporarily under medical supervision, I urge both
consumers and health care practitioners to limit their dosages when taking
Preg for the long term. The appropriate dosages for long term use may be as
low as 1 to 3 mg. Preg is a powerful hormone and needs to be treated
Darnaudery M. The neurosteroid pregnenolone sulfate increases cortical
acetylcholine release: a microdialysis study in freely moving rats. J
1998 Nov;71(5):2018-22


text:
Get Started
More Info
Contact Us
Member Login
August 18th: 52,334 Roommates Available
Three cheers for Roommates.com! I found the most ideal roommate in less than ONE WEEK! I cannot thank you enough for saving me so much time and effort! I was concerned about displaying fliers in public places because I had no idea who would be calling and how safe it would be to interview potential roommates. Your website made me feel secure in my search! Thank you, thank you, thank you!!!! I still can't believe how easy it all was! - Caroline
Of all the Roommate services out there. Roommates.com is the easiest to use, offers the best features, and asks all the right questions for a potential roommate. It is the only one I have found that is completely worth subscribing to. I never would have found my new apartment without this site. Thanks! - Sharon
More testimonials...
Sorry, the profile that you're trying to access is currently unavailable.


text:
Open Thread: Friends and Family and Everyone Else
Here's a place to talk about the relationships in your life whenever you want.
I consider myself a fairly patient person. I grew up in a house with four siblings and three pets—I can put up with a lot. But if you want to set my foot tapping and my eyes rolling, just start complaining about your life.
Recently, for example, I caught up with an old friend. Last I talked to her was several months ago, and things weren't going great -- she wasn't happy in her job, wasn't thrilled to be single and felt an overall uneasiness about her life. I felt her pain, and was ready to listen, encourage, and lend a shoulder to cry on.
But when we talked again, and I started the conversation with a simple, "How are you?" her immediate response was, "Meh." What followed was a string of complaints reminiscent of our previous conversation -- nothing had changed, and it seemed she hadn't tried to make it.
You hate your job, but aren't even looking for a new one? You want to meet men, but refuse to join an online dating site? You're upset with your weight, but won't change your diet and exercise? I can't help you. Only you can.
And I certainly won't justify you, or your complaints. It may be the politically correct thing to do -- cajole friends and try to boost them up with empty words when they're knocking themselves down -- but I don't think it's the right thing to do. I want the people in my life to feel they're equipped to make the improvements that they so desire; not to feel like they can come to me with their laundry lists of problems and receive validation in return. I know this sounds insensitive of me, so allow me to explain.
I've been through my fair share of hardships -- one of which almost cost me my life. Three years ago, I was nearly killed in a car accident. I was driving to work at 10:30 a.m. on a Saturday when I came upon an intersection and, having a green light, proceeded to drive through it. In my hazy dream-like recollection (it's almost a slow-mo progression), I turned my head to the left, saw a big van, had a moment of realization, and that was it.
The next several hours were a blur -- I was in and out of consciousness, with vague memories of ER chaos and CAT scans. I remember some loneliness, but strangely, most of my panic was related to not knowing where my shoes and accessories were, and that the doctors had cut my clothes off.
It wasn't until later that day, while lying in the Surgical Intensive Care Unit, that I learned the seriousness of my accident and the extent of my injuries. I was informed that I was hit by a drunk driver -- a career alcoholic with a blood-alcohol level five times the legal limit -- and I had three pelvic fractures, a broken rib, a bruised lung, and a lacerated spleen. The doctors told me that if the internal bleeding didn't slow down, I would have to have it removed.
Fortunately, after a few days in the ICU, the doctors concluded surgery wasn't necessary. But I did remain in the hospital for a total of eight days, and was told I'd be on bed rest and not fully walking for 12 weeks -- an entire summer. A huge blow to someone who fiercely values her independence.
As friends flowed in and out of my house for visits, and Facebook kept me up-to-date on everyone's lives, I thought about all I was missing. I was 23 years old; I had anticipated a fun summer of going to the beach, going out at night, and maybe a few road trips. Sitting inside in pajamas, sleeping in a hospital bed in my parents' dining room, and using a walker or wheelchair for the little movement I was allowed, was not part of that plan.
It wasn't easy to come to terms with that. I was bitter, but at the same time I hated myself for hating life. Eventually, I started going to therapy. While I think the idea for treatment was initially my mom's, I was eager to go. I wanted someone to help me change the way I felt. The psychiatrist diagnosed me with post-traumatic stress disorder (PTSD) and depression. I agreed to for as many sessions as was necessary to turn my life back around.
Even after I was able to walk again, I struggled. I felt like I had missed out on so much, and felt uncomfortable "rejoining" the world. For four months, I was coddled, taken care of, dependent. Once I was "normal" again, I realized how much I needed guidance. Every week, I went to therapy, talked about my fears and experiences, and it helped. Gradually, instead of being a nervous wreck behind the wheel, or cooping myself up at home away from my friends, I learned to "put myself out there" again.
Soon after, I decided to move to New York City -– a dream I had planned for years, long before the accident. After I was physically and, so I thought, emotionally healed, I prepared for my move –- quit my job, started looking for apartments and even left suitcases of clothes with a friend in NYC.
Then the panic set in.
Once the move was planned, I don't think a day went by that I didn't cry. I didn't have a job lined up, I didn't have an apartment or a roommate, and I didn't know what I was doing. I started fearing it was an awful idea to leave my family in Chicago, to take this chance. I wanted someone to tell me what to do and thought, perhaps if I cried and talked about it enough, someone would. But instead of staying in that mindset, I once again sought therapy, talked through my fears and made the move to New York.
Once there, I balanced freelancing at Starbucks with searching madly for full-time jobs, formed new friendships and relationships, and figured out how to be happy in my day-to-day life. I'm proud of myself for taking my life into my own hands, when I could've easily let my fear hold me back.
After being nearly killed by a drunk driver, I could have complained for the rest of my life. But I didn't. This is why I have a hard time sympathizing with people who do. So, forgive me if I don't shed a tear for a friend who complains about their life without doing anything about it.
Sure, I falter at times -- my incessant reminders to my boyfriend to wear his seatbelt in cabs can be annoying, and my fear of further accidents pops up every so often. But if I ever catch myself dwelling on the same problem or negative feeling for too long, I make myself do something about it.
I'm not saying there aren't those who go through worse things than what I've gone through -- I know for a fact there are. And everyone has their own way of dealing with obstacles. But, on a more basic level, I truly believe everyone is responsible for his or her own happiness. If there's one thing my car accident taught me, it's that.
Reprinted with permission from The Frisky. Want more?
Why Do I Feel So Depressed Around The Holidays?
Going To A Nude Beach Made Me Feel A Little Better About Life
How Being A Control Freak Ruined My Life (And I How I Learned To Let It Go)


text:
New York City attracts all types, and the High Line is no exception. People-watching is one of our favorite activities while reclining on the lounge chairs on Diller-von Furstenberg Sundeck, or eating lunch in the 10th Avenue Square. You hear all kinds of accents and languages, and see every kind of fashion, from the mundane to the bizarre.
Park visitors are an intriguing attraction at the park, and the most recent post on David Kimelman's Park Life proves it. Check out his blog for a full gallery of images.
Park Life showcases different aspects of the High Line in a fresh, new way. Kimelman captures everything from the delicate details of the horticultural design to the bold, afternoon sun across the park's peel-up benches. The project started in the spring and will continue for one year. We can't wait to see what the rest of summer has in store!


text:
Jordan Reed is the latest example of the modern model for his position — a 6-foot-3, 225-pound guy who will line up alongside the offensive line.
ASHBURN, Va. — As soon as Washington Redskins rookie tight end Jordan Reed got over the first of what's been a series of intermittent injuries, 13-year NFL veteran Santana Moss could tell the new kid was going to be good.
"Once he started running around, you're like, 'Ah, he got a little hop in his step,'" Moss said Thursday, shimmying his shoulders. "He's got something that's different from other tight ends. So when I watched that a couple of times, it made me tilt my head back, like, 'Wow. That's rare.' You know what I mean? You don't get a tight end that can bounce like that."
Reed, a former Gator, is the latest example of the modern model for his position — a 6-foot-3, 225-pound guy who will line up alongside the offensive line, yes, and go across the middle, yes, but also can speed into space and is "wired to separate," as quarterback Robert Griffin III put it, quoting offensive coordinator Kyle Shanahan's phrase.
"He's different from your average tight end — a big-body, big-bone guy that can run and catch. He actually is an athlete," Moss said. "He's just a mismatch. I enjoy watching him against safeties. ... You put him against any linebacker, and he's going to beat them. When I watch him separate against those safeties, I'm like, 'It's a wrap.'"
Heading into Sunday, when the Redskins (2-4) play at the Denver Broncos (6-1), Reed has emerged as one of Griffin's top receivers — and among the most dependable in the NFL.
Through Week 7, Reed ranks fifth in the entire league, and No. 1 among rookies, in reception percentage at 86.7, holding onto 26 of the 30 balls thrown his way so far, according to STATS LLC.
"I take pride in my routes and being able to create separation," Reed said. "I work on that every day in practice."
In last weekend's 45-41 victory over the Chicago Bears, Griffin aimed nine passes in Reed's direction, and all nine were caught, for a total of 134 yards. No Redskins rookie tight end ever had more than 78 yards receiving in a game; no rookie for the team, at any position, had gained that many yards via catches since 2001.
"He's got a wide catch radius, which basically means he can catch anything you throw at him — high, low, behind him," Griffin said. "He's a friendly target for a quarterback and can help with mismatches out there."
The reigning NFL Offensive Rookie of the Year got a chance to get comfortable with the third-round pick in this year's draft because both were injured — Griffin with his famously ripped up right knee; Reed with a bruised left knee. So Reed was part of the group of players who worked on the side with the QB.
"We built a rapport," Griffin said. "Him being with me the whole offseason only helps our chemistry out there on the field."
Right at this moment, the only obvious negative for Reed is a propensity for getting injured.
He played most of the game against the Bears with a bruised right hip after getting sandwiched between two defenders, but was a full participant in practice Thursday. He missed Washington's game at Oakland with a bruised right thigh. And he sat out the team's preseason opener with a sprained right foot.
"Hopefully he can stay healthy," Redskins head coach Mike Shanahan said. "He's got the intangibles that you look for."
Thinking back to when he drafted Reed, Shanahan said: "When we looked at Jordan, we felt we had a guy who was very special catching the football and very special in and out of breaks. More like a wide receiver than a tight end."
Reed is this season's version of last season's Alfred Morris, an unheralded draft pick who was expected to sit behind a veteran but quickly emerged as the main guy. In Reed's case, Fred Davis has gone from starter to someone who was inactive Sunday and now reportedly is on the trading block.
"I knew if I worked hard I'd give myself at least a chance to be out there," Reed said, "and that's what I did."
Notes: WR Leonard Hankerson was limited in practice Thursday because of an aching right foot that he said he hurt by tripping on stairs at home while playing with his kids. ... NT Chris Neild (right calf), DE Stephen Bowen (right knee), and S Reed Doughty (concussion) also were limited.


text:
Featured News - Current News - Archived News - News Categories
by Larry Austin
Both the Grand Island Board of Education and Grand Island Town Board want some more information about the prospect of allowing the Niagara Sunday Fliers to use school property on Staley Road.
In a joint board meeting held Monday at Grand Island High School, the fliers, who were represented by Joseph Macaluso and Paul Kolbe, explained their proposal to partner with the district in a program that would provide the club with access to former baseball fields on Staley Road to fly their radio-controlled model aircraft. The club would provide a educational program to students and access to aircraft.
In light of recent opposition to the proposal (July 20, Island Dispatch, Page 4), Board of Education President David Goris wants both board members to go on a field trip to the property on Staley Road to see and hear for themselves what impact the planes might create.
"It would be foolish on our part to stop this from going forward without really understanding the lie of the land" and the resident impact, Goris said.
Regarding a possible plane noise issue, Goris asked the club to "bring out the loudest one that you have."
Councilman Richard Crawford said other unanswered questions include what events the club may hold and what are the days and hours of operation could be.


text:
Copyright © 1994-2014 Interactive Data Systems. Interactive Data and Packertime are NOT affiliated with the Green Bay Packers TM or the NFL TM. This merchandising site is sponsored, owned, operated, and hosted by Interactive Data E-Commerce. All orders will be provided with a money back guarantee. If you are not completely satisfied, return your purchase within 30 days of purchase for a full refund (Shipping Excluded). If you have any questions or comments, regarding this www site, please send them to email@example.com.
Copyright © Interactive Data 1994-2015


text:
George Nicholas "Nick" Briggs
George Nicholas "Nick" Briggs, 78, of Lynchburg, Va., died Wednesday, March 23, 2011. He was born Feb. 1, 1933, in Massillon, Ohio, a son of the late William Briggs and Ruby Nell Briggs. He was husband of the late Sara Henley Briggs for 51 years. He attended the U.S. Coast Guard Academy, Akron University, and New Haven University. During his career, he advanced to senior vice president of human resources, residing in Guilford, Conn., St. Marys, Pittsburgh, and Atlanta, Ga., before retiring to Oak Island, N.C. He was an active member of the Episcopal Church. His hobbies were history, golf and bridge. He is survived by four children, Michael Briggs and his wife Sandra of Alamo, Calif., Elizabeth Lynch and her husband John of Manassas, Va., Anne Alfieri and her husband John of Lynchburg, Va., and David Briggs and his wife Carolyn of Pittsburgh; and 11 grandchildren, Patrick Briggs, Nicholas Lynch, Ryan Lynch, Annie Lynch, Angela Alfieri, Leah Alfieri, Joseph Alfieri, Phillip Briggs, Rachel Briggs, Sara Briggs, and Lauren Briggs A graveside service for George Nicholas "Nick" Briggs will be held at 11 a.m. Saturday in Sunset Hills Burial Park in Canton, Ohio. In lieu of flowers, those wishing to make memorial contributions are asked to consider the Alzheimer's Association, P.O. Box 96011, Washington, D.C., 20090-6011 (www.alz.org). Tharp Funeral Home and Crematory in Lynchburg, Va., 434-237-9424, is assisting the family. Condolences may be sent to the family by visiting www.tharpfuneralhome.com.


text:
HP Community
The Shapes of Things To Come – The HP 3D Printing Blog
3D printing is poised to revolutionize part manufacturing and the part distribution supply chain. HP Multi Jet Fusion™ technology is a disruptive 3D printing technology designed and built for this new era of manufacturing. Join us in exploring the shapes of things to come, opening up new possibilities beyond existing technologies to enable a whole new vision for the future of 3D printing.
367 Addison Avenue is an HP blog that delivers trusted technology information and provides best practices to help today's time-strapped small business. Named for the birthplace of Silicon Valley, the HP Garage where Bill Hewlett and Dave Packard created HP in 1939 with just $538 in capital, the blog is an open door for today's entrepreneur to have a dialogue with HP. From technology tips to real-life success stories, blog-exclusive product launches and guest posts from partners, the blog provides useful news and information to help small businesses tackle common challenges.
As the world undergoes major shifts in technology, a New Style of IT is emerging. It promises opportunity, but it also poses challenges for businesses and on IT professionals. This blog helps you understand how you can become business ready for the future and is available in English, French, German, Spanish and Italian.
From the call center and direct mail to the web and augmented reality, HP Software is centered on the most comprehensive set of customer experience and engagement technologies in the marketplace. Join our expert bloggers for a conversation around industry trends, products, and more.
Be inspired, learn and become an inspiration in our new online community, HP Create! We provide you with the ideas, tips and tools to help you create unique and personalized projects that will make life's moment even more special. Whether you have five minutes or an hour, HP Create has the perfect project waiting at your fingerprints.
HP Indigo Digital Printing Blog
Putting the digital print in your pixels. Insights, trends and analysis for printing businesses everywhere.
At HP Labs we create, identify and develop novel technologies and experiences that define the future of HP Inc.
Talk directly to the experts at HP. Share insights with other print service providers (PSPs) experienced with HP Latex printing. Become the expert yourself. Whether you're looking to dig into technical details, explore how to produce new applications, or share tips and tricks with your colleagues, the HP Latex Knowledge Center is a full set of resources—and a whole new community - designed just for you.
Press on! With HP PageWide Web Press
The HP production inkjet blog brings inside commentary, analysis and advice for the production inkjet industry, sharing experiences, insights and creative solutions from HP and customers alike inspired by the capabilities of the inkjet web press.
Conheça, aprenda e seja uma inspiração em nossa nova comunidade online. Aqui você encontra ideias, dicas e ferramentas para criar projetos exclusivos e personalizados. Não importa se você tem 5 minutos ou 1 hora, no HP Create você vai encontrar sempre uma ótima opção.
The Next Bench is the official blog for HP gadgets and consumer electronics. Get news and product tips from the people behind the machines.
Follow Us on Facebook
Follow Us on Twitter
Follow Us on YouTube
Follow Us on LinkedIn
Follow Us on Flickr
Follow Us on Pinterest


text:
|Perl Monk, Perl Meditation
Re: My preferred version control system is...by sasdrtx (Friar)
|on May 16, 2008 at 15:12 UTC ( #686933=note: print w/replies, xml )
|Need Help??
I've really only used Clearcase and Subversion, plus some mainframe (MVS) tools that range from decent to horrific. Clearcase may be the most superterrific software product in the world, but it was horribly complicated to use. Subversion is nice, easy, friendly, and suits me just great. I use svn on personal projects, even though no one else is likely to work on them. Having a version history is the main value of a change-control-system to me. I also use it to track changes to /etc on my home systems.
And, of course, it has the coolest name. (Git? Git out!).
In Section Past Polls