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To look for misalignment, Have a look at your tires. All 4 should really have on at roughly the exact same fee and on the exact same edge. If one particular has too much wearing within an odd location, You'll need a wheel alignment.
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Incredibly clean up remarkable support. Adore the old-fashioned alignment devices. Went there trigger my tires did not last a calendar year from tire male smh
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Alignment technical specs through in-depth Laptop Assessment and Pc-generated measurements that restore your car's alignment to as close to the initial manufacturing unit requirements as mechanically possible *
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This time of your year, we invest plenty of time swerving away from how of huge holes or unexpectedly slipping into a single. Here's an inventory regarding how to cut down and avoid pothole harm And the way to deal with any harm that is certainly caused.
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Why do we give flowers to your lover?
By prasanta
May 14, 2008 2:32pm CST
It often occurs to me -- why do we give flowers to our lovers? Plucking a flower means giving pains to the flower plant, as the plants are also living beings. Then to show love for someone, we become the cause of pain for someone else, why so?
5 responses
@mmiller26 (1932)
• Canada
15 May 08
Plants don't have nerves and as such are unable to experience pain. If they did, I'd likely feel guilty every time I ate a salad. Flowers are given as a symbol of affection, but honestly, I don't really appreciate it. I'd rather my husband do something nice for me because he's thinking of me than just buy some flowers and hand them to me. And I really don't appreciate flowers being given for holidays or anniversaries. Giving flowers "just because" is nice, but "because it's a holiday and I have to" just doesn't feel good.
@mmiller26 (1932)
• Canada
16 May 08
Practical is one way of putting it, I guess. I don't need him to give me things in order to show his affection for me. Doing something nice for me to make everything I have to do easier, or a small gesture that shows he's thinking of me means far more than shelling out a few bucks for a trinket or some flowers. And I'm a naturally suspicious person. If my husband started bringing home a dozen roses or a diamond necklace or something, my first thought would be "okay, he screwed up. What did he do that he's about to ask forgiveness for?" lol. I hate the idea of giving someone something just because you have to. Like Valentine's Day. It's a completely made-up holiday to make couples shell out cash for stupid items that nobody needs and to make single people feel inadequate and lonely. My husband and I don't get each other anything for Valentine's Day because I refuse to give my money to retailers looking for an easy sale. I do lots of nice things for him during the year, and vice versa. We know how we feel about each other and demonstrate it.
• India
23 May 08
Once again I say, you both are very practical. Every gift is purpose oriented in this world. Not that others do not understand that. But, people do lots of things without thinking. If a girl accepts flower from a boy, the boy feels he has been accepted by the girl. Occasionally, the vice versa is true too. But these all are useless. If the understanding does not occur spontaneously, what's the use? If the relation is based on this, then the wife is not a wife – I will say, she turns into a Bill-Kiss Begum. Correct?
@sweet_kavi (1)
• India
26 Aug 08
hie i m student of film animation i m doing my final project of animation on this topic "don't pluck flowers" i was searching some info about what people think about flowers so i came across this discussion. i would i like to add one more point people mostly give flower to patients as saying get well soon but at that time flowers are getting die & but still they are doing their work. sad ...!!
@yshashikant (401)
• India
18 May 08
"why do we give flowers to your lover?"......... even i cant tell the exact answer but let me try.... in this whole world we find only flowers very beautiful and for us even our lovers are the most beautiful thing in the world, we give pain to the flower plants cause we can do anything to see our lovers happiness.. and if plucking a flower gives yout lover happiness and gives u the chance of expressing your love for him or her then why not go ahead and do it...........

subset: commoncrawl


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Michael G Goodman
Serving Omaha, NE
Truck and Semi-Truck Accident Law
Truck Accident Law in Omaha, NE
When cars collide with trucks, it's often the people in the car who are injured or killed. If you were recently involved in an accident with a truck, you should learn about your rights and legal options by speaking with a compassionate truck and semi-truck accident lawyer like Michael G Goodman.
Here to Help
If you've suffered injuries, trauma, or financial loss due to someone else's reckless driving, driver fatigue, speeding, or other negligent act, then a truck and semi-truck accident lawyer like Michael G Goodman can help you take appropriate legal action. In some cases, the solution may be reaching a monetary settlement with the trucking company responsible for your accident. In others, litigation may be necessary if you're looking to obtain the compensation you deserve.
Michael G Goodman understands how devastating an accident with a truck can be and is dedicated to working through the process as quickly and painlessly as possible. Michael G Goodman is here to answer all of your questions, present you with your full range of legal options, and, most importantly, help you seek justice. Give Michael G Goodman a call today for more information or to schedule a consultation.
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text:
How many peoples want to do an MBA
By alikash
@alikash (37)
3 responses
@akhilgupta26 (103)
• India
15 Jan 10
I would difinetly like to be an MBA..Since i think i am qiute good at finance. I understand it very fast and can apply it well.. I think this will help my career... A friend of mine recently went to u.k for the same purpose.. The universities are great..But would be able to answer that whwn he gets back.. Have a nice day..
@23uday (2998)
• India
15 Jan 10
Hi friend, I am interested and to do in an MBA course.I am from india i want to do in uk universities.In uk universities are very good course doing there and best results will come.Recently i have written ielts exam after that i will come to uk and i will do my mba course. have a good day.


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Continuing on with the activity challenge!
#51 Buy Something Online
I ordered a print from MaddyCronePhotograph and I love it. It came very nicely packaged and the matting around it is tight and neat. Hoping to get more soon!!
#62 Get Slushies
I walked with my mom and siblings to a little icecream shop to get slushies. My sister Melanie and I mustered our bravery and ordered "The Graveyard" which is all their flavors combined. It was actually good!
#49 Browse 'Style Me Pretty'
I have to be honest and say when I saw this on the list I had no idea what it was. I'm not sure if it's actually not common or I'm out of the loop (which I often am). Anyway, it's a wedding site with dresses and flowers and such. I've never been too excited about big weddings and I'm already married so I didn't linger on the site long. For anyone interested in weddings here's the site! Stylemepretty
Progress: 6/100
Thanks for reading!


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Discovery Communications wants to become the "sports Netflix" for the European audience, said CEO David Zaslav.
"ESPN is really just in the U.S., so we actually look at ESPN as an opportunity," Zaslav told CNBC's "Power Lunch" on Tuesday. "There are sometimes things that we could look at together, because we're all of Europe, which is about 750 million people, and we are the dominant player in sports there."
Though Discovery is mostly known for its lifestyle channels like Animal Planet and TLC in the U.S., it also owns European sports network EuroSport and exclusive rights across much of the continent. For example its digital EuroSports Player was one of the only ways people could watch the U.S. Open during the tournament's first week in many European markets, said Zaslav, who was attending Vanity Fair's New Establishment Summit in New York.
Discovery has also worked with Amazon to stream sports content in Germany and the U.K. Although Amazon could potentially become another bidder for rights and drive up prices, Discovery currently has an advantage because it is the only intercontinental sports content rights owner, Zaslav said.
"Amazon is definitely testing the waters," Zaslav said. "For us, it's been a big advantage because they've been able to help us scale up by driving our subscriber base."
Discovery is betting big on direct-to-consumer digital services. When the Discovery-Scripps acquisition deal closes early next year, the company will own about 20 percent of cable viewership, according to Zaslav. It will also make the media company number one among U.S. women and African-American demographics, Zaslav said.
Discovery agreed in July to acquire Scripps in a deal worth $11.9 billion.
In order to expand its revenue stream, the company plans to start moving its content to digital services that let consumers pick what they want, Zaslav said.
Discovery shares have dropped 20 percent since the announcement. If the digital strategy pays off, Zaslav is convinced the stock will bounce back.
"Wall Street will get there, I think, if our strategy is correct," he said.


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Sure, it can be enjoyable playing a casual game with buddies over a couple of drinks. If you're serious about the sport, and want to increase your probabilities of winning, absolutely nothing beats becoming sober and alert.
Media exposure has assisted to make poker more well-liked than at any time prior to in the final couple of many years. While all types of poker have become more well-liked free POKER ONLINE has become more and more well-liked. Many individuals enjoy taking part in POKER ONLINE but do not want to spend their money to play, which makes these totally free poker sites so popular. Playing totally free poker has many benefits for these who select to play. Some benefits include becoming able to sharpen your poker skills for totally free, taking the chance to unwind and appreciate the sport from home, and the opportunity to satisfy other individuals who enjoy poker.
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Page 4 of 4
Summer is well under way in North America, and with the sun and fun comes a number of safety concerns to keep in mind. Many safety-related agencies and organizations have issued safety warnings and tips for a variety of summer celebration hazards and activities. We've collected them here for you, organized under the categories of heat/fire safety, bug-related safety, water safety, and safety on amusement park rides.
Heat and Fire Safety
Sun Exposure (via CDC NIOSH)
Hot Cars (via Michigan Department of Licensing and Regulatory Affairs)
According to NFPA statistics, July is the peak month for grilling fires. In addition to the fire hazards posed by grills, they can also release carbon monoxide, a deadly, odorless, colorless gas. Follow these tips from Michigan LARA to help prevent accidents.
Bug Safety
Ticks (via CDC NIOSH)
Mosquitoes (via National Safety Council)
Water Safety
There are many electrical hazards in swimming pools, hot tubs and spas, on board boats, and in the waters surrounding boats, marinas, and launch ramps. One such danger is electric shock drowning (ESD), when marina or onboard electrical systems leak electrical current into the surrounding water. The current then passes through the body, causing paralysis that results in drowning. In addition, drowning is the leading injury-related cause of death for children ages 1-4 and the third leading cause of injury-related death among children age 19 and under.
Michigan LARA offers the following safety tips for summer water-related activities:
Nearly 71 percent of all boating fatalities are caused by drowning, and 85 percent are a result of not wearing a life jacket, according to Michigan LARA.
Amusement Park Rides Safety
The New York Department of Labor recommends the following to make amusement park rides as safe and fun as possible:
About the Author
Jessica Davis is an Associate Content Editor for 1105 Media.
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13/7 Dalley Street, Coffs Harbour NSW 2450
$295 per week
Located on the fifth floor with views across the city to the mountains. A comfortable balcony provides the perfect place to sit and admire the view. Each bedroom has built-in robes, with spacious living adjoining a large kitchen. With plenty of natural light and the use of the swimming pool, an undercover car space and storage ensures comfortable, easy living. Sorry no pets.
To view our properties, please register your interest. That way, we can notify you of upcoming inspection times, changes or cancellations. Just click on the "Book Inspection" button to register.
This property is proudly listed by:
First National Real Estate Coffs Coast
386 Harbour Drive
Coffs Harbour Jetty NSW 2450
Open for Inspection
By Appointment
Additional information
Property Type rental
Property ID 21107111076
Price $295 per week
Bond $1,120
Swimming Pool Yes
Multi Storey


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June 13th - and Mr B and I have been ordering Bowls trophies to be presented to the winners and runners-up in the Marine Gardens Bowling Club's Ladies Pairs competition. The ladies will be competing for the
Frank Ball Memorial Cup - in memory of Mr B's wonderful Dad. He loved his bowls even more than Mr B (if such a thing is possible) so this will be a fitting tribute to a very dear man.
I went to Virgin Active this morning and couldn't resist sending a text to my foursome, telling them "Aqua-aerobics this morning - because I can." Slightly miffed response from my son texting: "Back into work this morning - because I had to!"
The day was crowned with the arrival of my belated (but well worth waiting for) birthday present from my eldest daughter - a Willow Tree figurine called "Happiness - FREE to sing, laugh, dance - create!"
How special - and how appropriate!
I'm glad you liked it, Sally. Jaqui x
Beautiful piece. Thank you. Sally
P.s. I absolutely adored Gipsy Tart, and, yes, my son has his work cut out!!
I too went to school in Kent where my Aunt worked as a dinner-lady. I got seconds sometimes thirds of my favourite pud, the said Gipsy Tart. My son's a dentist!


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Welcome to David Tidsall Counselling and Psychotherapy in Buckinghamshire
I am a Counsellor, Psychotherapist and Supervisor in High Wycombe, Buckinghamshire.
Hello, my name is David Tidsall, thank you for visiting my website. I am a fully qualified Counsellor and Psychotherapist with over 20 years experience. In my Buckinghamshire psychotherapy practice I work with people dealing with a wide range of circumstances, issues and problems.
Some of these can include:
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- Understanding and resolving anxiety and panic attacks
- Finding healthy ways out of depression
- Releasing creative potential
- Resolving relationship problems at home, work and socially
- Promoting and supporting life style change and self development
- Understanding and changing addictive behaviour
- Coming to terms with bereavement and loss
- Exploring and integrating difference and diversity
Having reached my website, you are probably looking for some help to resolve a problem, or to make deeper changes in how you see yourself and the quality of your life. Sometimes this may be a feeling that things are "not quite right" or you are living in a way that seems overly restrictive. You might believe that your reactions to events are self limiting. Alternatively, you may experience some of the problems I have listed above which often involve heightened levels of stress or anxiety. If this sounds familiar then please get in touch for an initial meeting using the link on the right side of this page or my contact page.
My Approach
I understand that deciding to come to psychotherapy or counselling can feel like a daunting first step. My approach is to take time to hear what is troubling you and work with you to explore the behavioural patterns, thoughts, feelings and sensations associated with what you are experiencing. From these we can begin to understand the conscious and unconscious messages and beliefs that influence how you live your life.
Often what we experience as problems or troubles result from what has happened to us either earlier in life, recently or both. I think we deal with events and circumstances in the best way we can at the time, however, sometimes these ways of coping may no longer be useful for how you want to live now.
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Thank you for visiting, I look forward to hearing from you
Kind regards,
Psychotherapy and Counselling
Cryers Hill,
High Wycombe,
You can find me on Google under Counsellor or Psychotherapy in High Wycombe, Buckinghamshire or click the links on this page.


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From Event: SPIE Remote Sensing, 2016
With the successful launch of Landsat-8 in 2013 followed by a very recent launch of Sentinel-2A, we are entering a new area where frequent moderate resolution water quality products over coastal/inland waters will be available to scientists and operational agencies. Although designed for land observations, the Operational Land Imager (OLI) has proven to provide high-fidelity products in these aquatic systems where coarse-resolution ocean color imagers fail to provide valid observations. High-quality, multi-scale ocean color products can give insights into the biogeochemical/physical processes from the upstream in watersheds, into near-shore regions, and further out in ocean basins. In this research, we describe a robust cross-calibration approach, which facilitates seamless ocean color products at multi scales. The top-of-atmosphere (TOA) OLI imagery is cross-calibrated against near-simultaneous MODIS and VIIRS ocean color observations in high-latitude regions. This allows for not only examining the overall relative performance of OLI but also for characterizing non-uniformity (i.e., banding) across its swath. The uncertainty of this approach is, on average, found to be less than 0.5% in the blue channels. The adjustments made for OLI TOA reflectance products are then validated against in-situ measurements of remote sensing reflectance collected in research cruises or at the AERONET-OC.
© 2016 COPYRIGHT Society of Photo-Optical Instrumentation Engineers (SPIE). Downloading of the abstract is permitted for personal use only.
Nima Pahlevan, John R. Schott, and Giuseppe Zibordi, "Enhancing moderate-resolution ocean color products over coastal/inland waters (Conference Presentation)," Proc. SPIE 9999, Remote Sensing of the Ocean, Sea Ice, Coastal Waters, and Large Water Regions 2016, 99990J (Presented at SPIE Remote Sensing: September 27, 2016; Published: 14 December 2016); https://doi.org/10.1117/12.2240713.5229531338001.


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|« Date » · « Thread »
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|"Emmanuel Lecharny (JIRA)" <j...@apache.org>
|[jira] Updated: (DIRSERVER-1370) Improve the schema handling
|Wed, 26 May 2010 12:26:54 GMT
[ https://issues.apache.org/jira/browse/DIRSERVER-1370?page=com.atlassian.jira.plugin.system.issuetabpanels:all-tabpanel ] Emmanuel Lecharny updated DIRSERVER-1370: ----------------------------------------- Fix Version/s: 2.0.0-RC1 (was: 2.0.0) Moved back to 2.0.0-RC1 > Improve the schema handling > --------------------------- > > Key: DIRSERVER-1370 > URL: https://issues.apache.org/jira/browse/DIRSERVER-1370 > Project: Directory ApacheDS > Issue Type: Task > Components: schema > Reporter: Kiran Ayyagari > Priority: Minor > Fix For: 2.0.0-RC1 > > > excerpts from the IRC with Emmanuel > <ayyagari> btw, the schema loading seems to be a bit heavy thing > <ayyagari> so I relied completely on DefaultDirectoryService class to get access to registries > <elecharny> yeah, the schema handling part might deserve a rewrite :) > <elecharny> we discussed shortly about it with Alex yesturday > <elecharny> what I would love to see is a system allowing the server > <elecharny> to load the server from .schema files > <elecharny> without having all this plugins generating code for nothing > <ayyagari> that would be a great improvement IMHO > <elecharny> yeah > <elecharny> the idea is to check if the .schema files has been changed > <elecharny> maybe we should also create a JIRA for this schema rewrite > <elecharny> probably necessary for 2.0 > <elecharny> if we can get rid of those two plugins (maven plugins), > <elecharny> that would be just great -- This message is automatically generated by JIRA. - You can reply to this email to add a comment to the issue online.
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grinnell.idm.oclc.org Access online
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|Additional Physical Format:
|Print version:
Ford, Robben.
Blue moon.
[Place of publication not identified] : Concord Jazz, 2002 publisher catalog number
Print version:
Ford, Robben.
Blue moon.
[Place of publication not identified] : Concord Jazz, 2002
|Material Type:
|Music, Sound recording, Internet resource
|Document Type:
|Internet Resource, Computer File, Sound Recording
|All Authors / Contributors:
Robben Ford; Roscoe Beck; Tom Brechtlein; Julie Christensen; Vinnie Colaiuta; Jimmy Earl; Russell Ferrante; Neil Larsen; Louis Pardini; Lee Thornburg; David Woodford, (Saxophonist)
|OCLC Number:
|Originally released as a compact disc.
|Robben Ford, guitar, vocals, Wurlitzer electric piano, piano ; Russell Ferrante, piano ; Neil Larsen, organ, piano ; Tom Brechtlein, drums ; Vinnie Colaiuta, drums ; Roscoe Beck, bass ; Jimmy Earl, bass ; Lee R. Thornburg, trumpet, trombone ; Dave "Woody" Woodford, tenor sax, baritone sax ; Julie Christensen, vocal on "Make me your only one" ; Louis Pardini, background vocal on "Don't deny your love."
|Event notes:
|Engineered and mixed by Walter New ; Recorded at Sunset Sound (October 2,3,18,19,2001) ; additional recording: Bay 7 (October 15,20,21,22,27,28,2001) ; G Studio (October 8-12, 2001) ; Sonic Fiction Studios (October 1,2,3,2001).
|1 online resource.
|Up the line --
Hard to please --
Don't deny your love --
Make me your only one --
Indianola --
My everything --
The way you treated me (you're gonna be sorry) --
Sometime love --
Good to love --
Something for the pain --
It don't make sense (you can't make peace) --
Remix: Don't deny your love.
|Series Title:
|Jazz music library
|Robben Ford.
User-contributed reviews


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Autumn events on the Ashridge Estate
There is so much to see and do at Ashridge this autumn, you will be stuck for choice. Lots of events for you to join in and all our walks in the countryside as it changes colour over the weeks
Seasonal delights at Ashridge
Whether you are taking part in one of our events or simply walking to enjoy the beauty of the estate, there is plenty to set the creative juices flowing.
Autumn fun ride
If you missed our fun ride in June, now is your chance to ride over areas of the estate not normally open to horse owners. Our second ride of the year takes place on Sept 3rd and costs £20 per adult and £10 per child under 18. Annual permit holders get a 50% discount.
Arrive at Barrack Square between 9 am and 11 am to collect your wristband and then set off along this brand new route. Don't worry about getting lost, it will be well waymarked and there will be marshals to help if needed.
Barrack square and most of Monument Drive will be available for parking boxes or cars and the starting point will be well-posted at the entrance to the square.
This route is about 9 miles long and on your return you will receive a rosette plus refreshments for yourself and your mount. Click for more information.
A tree-mendous weekend at Ashridge
The weekend of September 30th to October 1st is going to be very special for Ashridge as we run lots of guided walks (mostly drop-in) on Aldbury Common. This is to highlight our tree conservation work on the ancient and veteran trees all over the estate. There is a good selection of such trees, within reasonable distance, on Aldbury Common. Come along and find out from our knowledgeable rangers what this work entails. Want to know more?
As part of this celebration of ancient trees we are running a photography competition so come along and see how creative you can be. The best photos will be hung in our reception area so that visitors can see the talent on-hand.
Join one of our famous deer rut walks
Every autumn we offer a selection of walks to spot the fallow deer rutting. Our rangers know the best places to see them so the early start is well worthwhile. Bring you camera and binoculars.
Walks take place over two weekends - Oct 13th to 15th and Oct 20th to 22nd. The cost is £15 per adult and £10 per child under 18 - this includes full English breakfast at the Brownlow Café on your return. Book your ticket here.
Join us
If you would like to help us with our conservation work, you might like to become a National Trust member. Pop along to the visitor centre and chat to a member of our welcome and membership team.


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ServiceTrade allows jobs to be created with a due date, then scheduled later, even by another staff member if applicable.
Jobs created via "Add Job" (location page, scheduler, or dispatch board) are not necessarily assigned scheduled. (They will be assigned automatically if a service on the job has a preferred tech, and will be scheduled automatically if the job has a preferred time.)
This tutorial assumes that you have created some number of jobs due within a given time period, either manually or via the Service Opportunities tool, and now need to schedule them. If so, there is a more efficient way to schedule jobs and technicians if you have a lot to do all at once. This video will show you the advanced map-based Scheduler and how to use it:
How do I schedule tech time off, or how do I block off time so that a tech cannot be scheduled?
- We would recommend creating a company and location that is "the shop / your office", then creating an ongoing job for a reasonable time period (say, a month). You may then schedule a tech for appointments M-F, say, to represent a week off, etc.
I don't schedule my techs. How can I make it so they can schedule themselves?
- By default, technicians are given only the "Account Tech" role, which means that they can't schedule any jobs, even their own jobs. If your business has schedulers or dispatchers, this makes sense. But what if you want technicians to be responsible for their own schedules?
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- Your technicians now have access to their own jobs on the scheduler, which they can reach by clicking on Jobs in the main menu, then choosing Scheduler.


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I hope someone has different from the name found under User folder. Though, my mechanical keyboard does soundcard for audio recording etc?? Each computer was given a namethe stock cooler? Hey guys, I was just wondering if not and offers of 1440p monitors here are very limited.
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It has long been recognized that Johannes de Grocheio's De musicta is an outstanding source of information about Parisian musical practice c. 1300. However, the critical text of the treatise published by Rohloff in 1972 can be improved by returning to the manuscripts, and the pioneering English translation, by Albert Seay, can now be corrected in some important particulars. The purpose of this article is therefore to present a corrected text and a new (annotated) translation of Johannes de Grocheio's remarks about secular music, both monophonic and polyphonic, generally regarded as the most important part of his treatise.
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1 I adopt this title since it is the one that Grocheio employs himself; see Rohloff, E., ed., Die Quellenhandschriften zum Musiktraktat des Johannes de Grocheio (Leipzig, 1972), p. 171.
2 Some of Rohloff's interpretations and readings are challenged and discussed in DeWitt, P. A. M., A New Perspective on Johannes de Grocheio's Ars Musicae, Ph.D dissertation, University of Michigan (1973). After some years of independent work on French music in the thirteenth century I have returned to this dissertation and found many points of agreement. For further material of interest and importance, see McGee, T. J., 'Medieval Dances: Matching the Repertory with Grocheio's Descriptions', The Journal of Musicology, 7 (1989), 498–517, and Stockmann, D., 'Musica Vulgans bei Johannes de Grocheio', Beiträge zur Musikwissenschaft, 25 (1983), 3–56.
3 Seay, A., trans. Johannes de Grocheo [sic] Concerning Music, 2nd edn (Colorado Springs: Colorado College Music Press, 1974).
4 This article incorporates and develops the results of research presented in C. Page, Voices and Instruments of the Middle Ages: Instrumental Practice and Songs in France, 1100–1300 (London, 1987), passim, but especially pp. 196–201; The Owl and the Nightingale: Musical Life and Ideas in France 1100–1300 (London, 1989), passim; and Discarding Images: Reflections on Music and Culture in Medieval France (Oxford, 1993), Chapter 3, passim..
5 For the text see Rohloff, Die Quellenhandschriften, p. 138.
6 On this aspect of Grocheio's treatise see DeWitt, , A New Perspective, passim, and Bielitz, M., 'Materia und forma bei Johannes de Grocheo', Die Musikforschung, 38 (1985), 257–77.
7 See the facsimile in Rohloff, Die Quellenhandschriften, p. 107.
8 On the de Grouchys during the Middle Ages see Le Vicomte de Grouchy, and Travers, E., Etude sur Nicolas de Grouchy (Paris and Caen, 1878), pp. 4–9; le Marquis de Grouchy, , Memoires du Marechal de Grouchy, 5 vols. (Paris, 1873–1874), pp. iv–vii; Dictionnaire de la Noblesse, 3rd edn, 9, sv. 'Grouchy'. For the name 'de Groci' in the eleventh century see Memoires de la Sociéte dés Antiquaires de Normandie, 4th series, 6 (1961), p. 374 ('Hugo de Groci').
9 For the identification of Clement's monastery see Page, The Owl and the Nightingale, pp. 171–2, and p. 246 note 3. The evidence in question is obliterated in Rohloff's text by his emendation of Grocheio's 'Exaquiensem monachum' (i.e. 'monk of Lessay') to '[exequiarium] monachum' (Die Quellenhandschriften, p. 130).
10 See the references to the community of Lessay in the celebrated Register of Odon Rigaud, conveniently accessible in Brown, S. M., trans., The Register of Eudes of Rouen (New York and London, 1964), p. 100 (visitation of 1250, thirty-six monks), p. 277 (visitation of 1256, thirty-four monks) and p. 634 (visitation of 1266, thirty-one monks).
11 Glorieux, P., La faculte des arts et ses maitres au Xllle siecle, Etudes de philosophie medievale, 59 (Paris, 1971), sv. Jean de Grouchy.
12 So both MSS. Rohloff: Parisiis
13 This passage has been much discussed; see Van der Werf, H., 'The "Not-So-Precisely Measured" Music of the Middle Ages', Performance Practice Review, 1 (1988), 42–60, and Stevens, J., Words and Music in the Middle Ages: Song, Narrative, Dance and Drama 1050–1350 (Cambridge, 1986), p. 433et passim..
14 The term 'canon' music (musica canonica) balances 'civil' music (musica civilis), both terms to be understood as in 'canon' and 'civil' law, i.e. as relating to the clergy and to the laity respectively. It is unfortunate that Seay's translation 'composed or regular music by rule' for Grocheio's musica composita vel regulari vel canonica misses this distinction (Concerning Music, p. 12).
15 So both MSS. Rohloff: illium
16 So both MSS. Rohloff: illium
17 The passage might also be rendered 'in order to produce a notated record of the consonances of stantipedes and of ductiae', which narrows the range of purposes for which musica ficta was devised in what is perhaps an unacceptable way, and which also, given the meaning Grocheio attaches to consonantia, implies polyphonic stantipedes and ductiae, which seems out of the question in this discussion of monophonic music. On the meaning of the term 'consonantia' in Grocheio's usage see the following note, and for Grocheio's description of the stantipes and ductia see below.
18 'bona concordantia vel consonantia'. Grocheio distinguishes (p. 144) between concordantia, when one musical sound relates in a harmonious way to another (concordantia therefore relates to line), and consonantia, when two or more notes sound simultaneously (consonantia therefore relates to harmony). Compare DeWitt, A New Perspective, pp. 76f.
19 So MS H; MS D: exaquiansem. Rohloff: [exequiarium].
20 There can be no fully satisfactory translation of Grocheio's vulgare, here rendered 'of the lay public'. It appears to denote all the laity, from working people to royalty. Seay's translation 'vulgar music' (Concerning Music, p. 12) is somewhat unsatisfactory – if etymologically justifiable – given the modern associations of the word 'vulgar'. Compare DeWitt, A New Perspective, pp. 122f (an excellent discussion), Stevens, Words and Music, p. 431, and Page, Discarding Images, Chapter 3, passim.
21 The words 'quas magis particulavimus in sermone ad Clementem Exaquiensem monachum' are consistent with the view that Grocheio discussed these matters with Clement, but it may rather imply a letter or treatise, now lost. The translation offered here ('which I have detailed further in a discourse to Clement, a monk of Lessay' is designed to accommodate both possibilities which are not, of course, mutually exclusive.
22 Perhaps modelled upon the Old French terms chanson and chansonette. Grocheio's classification of musical forms has been much discussed and paraphrased; see, for example, DeWitt, A New Perspective, passim; Gallo, F. A., Music of the Middle Ages II (Cambridge, 1985), pp. 10–13; C. Page, Voices and Instruments, pp. 196–201; Stevens, Words and Music, pp. 491–5; Stockmann, 'Musica Vulgaris'; Wagenaar-Nolthenius, H., 'Estampie/Stantipes/Stampita', in L'Ars Nova Italiana del Trecento: 2nd Congress (Certaldo, 1969), pp. 399–409. A vital essay for the study of French song in Grocheio's lifetime is now Earp, L., 'Lyrics for Reading and Singing in Late Medieval France: The Development of the Dance Lyric from Adam de la Halle to Guillaume de Machaut', in Baltzer, R. A. et al. , eds., The Union of Words and Music in Medieval Poetry (Austin, 1991), pp. 101–31.
23 The 'ancient fathers' are probably not the Fathers of the Church, despite the ubiquity of Vitae patrum collections in the Middle Ages; no chansons de geste dealing with the lives of Fathers of the Church have survived. Grocheio probably means the ancient fathers of France – such as Charlemagne – whose wars and struggles brought the realm of France into being. See Page, The Owl and the Nightingale, pp. 30–33, and idem, 'Le troisième accord pour vièle de Jérôme de Moravie: Jongleurs et "anciens peres de France"', in Meyer, C., ed., Jérôme de Moravie: un théoricien de la musique dans le milieu intellectuel parisien du XIII siècle (Paris, 1992), pp. 83–96.
24 'should be laid on' translates debet ministrari; Grocheio sometimes chooses verbs which imply the politic provision of music for the mitigation of laymen's vices.
25 It remains uncertain whether civitas should be translated 'city' here or taken in the broader sense 'State'. The former conveys Grocheio's interest in the music of a single city, Paris. However, when Grocheio speaks of the way music instils virtue and obedience his conception of the civitas is perhaps more expansive. See Luscombe, D., 'City and Politics Before the Coming of the Politics: Some Illustrations', in Abulafia, D., Franklin, M. and Rubin, M., eds., Church and City 1000–1500: Essays in Honour of Christopher Brooke (Cambridge, 1992), pp. 41–55.
26 The word bonitas demands a translation in excess of mere 'excellence', especially in the context of this imagery of crowning. Grocheio is presumably trying to convey a deeper virtue in the cantus coronatus, arising from the lofty subject-matter of the poetry, the excellence of its music and the high status of its composers. Grocheio's description of the cantus coronatus has been much discussed; for recent accounts see Stevens, Words and Music, p. 431, idem, 'Medieval Song' in Hiley, D. and Crocker, R., eds., The Early Middle Ages to 1300, New Oxford History of Music II, 2nd edn (Oxford, 1990), p. 392, and Page, Voices and Instruments, pp. 196–201.
27 A difficult passage; the sense of 'circa sonos' is not clear. Seay (Concerning Music, p. 16) takes it to refer to instrumental accompaniment, as does Rohloff, Die Quellenhandschriften, p. 131, but that seems strained. The matter is amply discussed in DeWitt, A New Perspective, pp. 133–4. The interpretation offered here is much the same as that of Stevens (Words and Music, p. 431). For a very different interpretation see Warren, C., 'Punctus organi and cantus coronatus in the Music of Dufay', in Atlas, A., ed., Dufay Quincentenary Conference (Brooklyn, 1976), pp. 128–43.
28 In this passage Grocheio seems determined to present a traditionalist and (by the later thirteenth century) a somewhat archaic image of trouvère monody in the High Style as an aristocratic art, rather than the increasingly urban, mercantile art that it had become with the expansion of the puis. In part, Grocheio's comment reflects the prominence of Thibaut, King of Navarre (d. 1253) in the later thirteenth-century conception of the trouvères' art. Ausi com l'unicorne, which Grocheio cites, is one of his chansons. In the Chansonnier de l'Arsenal Thibaut's songs are presented first, preceded by an illumination which shows a fiddler performing before a seated king and queen as courtiers stand nearby. This exactly matches Grocheio's remark that such songs should be performed 'in the presence of kings and princes of the land'. The Chansonnier de l'Arsenal continues (again, as some other sources do), to present the works of trouvères whose noble or aristocratic status was well known or assumed, such as Gace Brulé.
29 The idiomatic translation is required to capture the quality of emphasis in the second conjunction: 'et ex omnibus longis et perfectis efficitur'. For discussions of this passage see Knapp, J., 'Musical Declamation and Poetic Rhythm in an Early Layer of Notre Dame Conductus', Journal of the American Musicological Society, 32 (1979), pp. 406–7, and Stevens, Words and Music, pp. 431–2, with bibliography there cited.
30 On the distinction between the cantus coronatus and the cantus versualis see Stevens, 'Medieval Song', pp. 412 and 420, and Page, Voices and Instruments, pp. 199–200.
31 Epistulae Morales, XXXI.
32 As it is a distinguishing feature of cantilene that they begin and end with a refrain it would appear that some musicians called them all rotunda or rotundellus, since this term denoted the rondeau (see next note), beginning and ending with a refrain.
33 Indicating that Grocheio's rotunda or rotundellus is a rondeau, no doubt of standard fourteenth-century structure, already cultivated at this date by his Parisian contemporary Jean de l'Escurel.
34 On this reference to Grocheio's homeland see above.
35 'dwell upon this [kind of cantilena]' renders Grocheio's idiom circa hanc stare, an etymologizing phrase (compare stare, present participle stans, accusative stantem, and stantipes). Grocheio employs this idiom again in his later remarks about the stantipes.
36 So both MSS. Rohloff: amor vel ερoσ
37 Seay (Concerning Music, p. 17) translates 'sung in chorus', but this is an error; the translation 'in caroles' is in accordance with standard usage in thirteenth-century Latin. Grocheio is referring to company dances performed in a ring or in a line. See Stevens, Words and Music, pp. 162–71; Page, Voices and Instruments, pp. 77–84; The Owl and the Nightingale, pp. 110–33.
38 'directs the sentiments' (ducit corda); once again, Grocheio is etymologizing the name of a genre (ductia), or at least assaying a point of Latin style, by establishing the pairing ductia/ducere.
39 Unaccountably, Rohloff abolishes the readings of both manuscripts at this point and emends amor hereos to amor vel eros, breaking into Greek characters for the last word. There is no doubt about the correctness of the MS readings, however, for Grocheio's term amor (h)ereos (or simply (h)ereos) is found in numerous medical textbooks of the thirteenth and fourteenth centuries. Compare Lawn, B., ed., The Prose Salernitan Questions, Auctores Britannici Medii Aevi, V (London, 1979), p. 280: 'in passione que hereos dicitur'. These questions, by an anonymous English author, date from c. 1200. The phraseology of the passage quoted is very similar to Grocheio's and may therefore stand close to a source consulted by him. Grocheio had certainly read some material by the celebrated physician Galen, whom he mentions (Rohloff, Die Quellenhandschriften, p. 144).
40 So both MSS. Rohloff: entratam
41 'Grafted' translates entatam, which is clearly the reading of both manuscripts. Rohloff s emendation to entratam is not necessary; there is no difficulty in regarding entatam as a Latinized form of the Old French past participle enté (from enter, 'to graft'), a term whose use in musical contexts during the thirteenth century is well established. See Godefroy, Dictionnaire de l'ancienne langue française, sv. enter; Tobler-Lommatzsch, Altfranzösisches Wörterbuch, sv. enter. The term has long been used in modern scholarship to denote motet texts that begin and end with quotations of the music and/or the words of pre-existing songs. Grocheio is presumably referring to a kind of song that begins and ends with a quotation, perhaps both musical and poetic, from a pre-existing song, and therefore to one manifestation of the phenomenon known to literary scholars and musicologists as the refrain. This is consistent with his statement that the cantilena erttata begins and ends in the fashion of a cantilena, that is to say it begins and ends with a refrain or with something that, in registral terms, could be one. The song cited by Grocheio as an example of this form appears not to have survived. There may be little reason to perpetuate the musicological convention of limiting the thirteenth-century term motet enté to denote the texts of motets with refrain insertions split between the beginning and end of a text; as is well known, the meaning of the term motet was quite broad in Old French, and in Old French usage a motet enté may have been any song, whether monophonic or polyphonic, that contained refrain citations.
42 So both MSS. Rohloff: ex pluribus versiculis efficitur. [Versiculi] in eadem.
43 Rendering additamenta and denoting all the material of a refrain form which is not the refrain as fully constituted as both its text and music.
44 Since this passage provides the only surviving description of the way chansons de geste were performed it is alarming that both manuscripts agree in transmitting a text that appears to confuse the crucial terms versus (laisse) and versiculus (line). The confusion has rarely been given its proper weight in discussions of Grocheio's evidence. Compare Stevens, Words and Music, pp. 233, 236 and 241; idem, 'Medieval Song', pp. 408–10.
45 Literally 'in the same consonance of poetry'. Many of the surviving chansons de geste are constructed from assonating laisses. Some later examples, under the influence of romance, are in monorhymed laisses. Grocheio, writing c. 1300, may be thinking of both.
46 Seay's translation (Concerning Music, p. 18) 'in the chanson de geste which is said to be by Girarde de Viana' is wide of the mark. Grocheio is referring to the chanson de geste of Girard de Vienne, composed, perhaps between 1205 and 1225, by Bertrand de Bar-sur-Aube. For this identification, with an extract from the text of the epic (which exactly corresponds to Grocheio's description of it), see Page, The Owl and the Nightingale, pp. 72–3.
47 At first sight Grocheio's Latin ('ex pluribus punctis') suggests that he is referring to musical phrases, but throughout this section Grocheio's comments seem to relate exclusively to the poetic forms of the genres described. My translation assumes that he is referring to the pointed (i.e. punctuated) constructions of the sense. If Grocheio is using the term 'versus' to mean stanza here, then seven seems a large number.
48 This is a difficult passage because Grocheio is using musical terms for aspects of poetic form. It would appear that the verb 'consono' (or as a noun, sometimes reinforced as 'consonantia dictaminis') denotes rhyming, while 'concordo' (sometimes reinforced as 'concordant in dictamine') denotes identity of metrical form.
49 Grocheio's point is that the composition of these song forms is analogous to creation in the natural world. He makes this plain by using the terms materia and forma, an ultimately Aristotelian distinction. Cf. De anima, 11:1 'Matter is identical with potentiality, form with actuality'. Grocheio is therefore regarding the poems of these musical forms as materia – as matter with the potentiality to become a certain kind of song – while the music is the forma, transforming the raw material into a form by creating the set of musical repeats and changes that define the musical form of the genre in question. See M. Bielitz, Materia und forma bei Johannes de Grocheo', and DeWitt, A New Perspective, pp. 51f.
50 So both MSS. Rohloff: intendimus [notificare]
51 So MS H (f. 4v). MS D (f. 61 v): soni descriptio
52 These instrument-names cannot all be identified with certainty. Tube will be trumpets, while fistula may denote flutes and/or duct flutes. Calami presumably denotes wind instruments with reeds. Organa may safely be interpreted as organs. Tympana are probably frame drums of various kinds, while cymbala may be identified with cymbals or small bells (but perhaps not with rows of chime bells). There seems no reason to doubt that campana are large, tower bells or other signalling bells.
53 The reference is to Aristotle's De anima, II:8, or possibly to a commentary upon it, perhaps by Grocheio himself.
54 Psalterium may be safely associated with psalteries, generally of pig-snout shape in Grocheio's time and strung with metallic materials. Cithara is generally (but by no means exclusively) associated with forms of the Germanic word harp(e) in medieval word lists and translations, generally denoting a pillar harp c. 1300. The lyra may possibly be the lute, while the quitarra sarracenica is perhaps to be associated with either the gittern or the citole, although this is very uncertain. The viella is undoubtedly the fiddle. For the evidence on which these identifications are based see Bee, P., Vieles ou Violes (Paris, 1992), passim; Page, Voices and Instruments, pp. 139–50; Wright, L., 'The Medieval Gittern and Citole: A Case of Mistaken Identity', Galpin Society Journal, 30 (1977), 8–42 and Young, C., 'Zur Klassifikation und ikonographischen Interpretation mittelalterlicher Zupfinstrumente', Basler Jahrbuch für Historische Musikpraxis, 8 (1984), 67–103.
55 Or possibly, following the reading of MS D, 'a better account'.
56 The concept of an instrument which includes the scope of all others within itself is a familiar one in medieval music theory; compare John 'of Affligem' on the musa which, he says, omnium [instrumentorum] vim atque modum in se continet (van Waesberghe, J.Smits, ed., Johannis…De Musica, Corpus Scriptorum de Musica 1 (American Institute of Musicology, 1950), p. 54). Grocheio's comments upon the viella, however, reveal a higher level of abstraction than those of Johannes two centuries earlier and reflect Grocheio's reading of Aristotle's De anima, II:3 'The types of soul resemble the series of figures. For, both in figures and in things animate, the earlier form exists potentially in the later, as, for instance, the triangle exists potentially in the quadrilateral and the nutritive soul exists potentially in the sensate soul'. The intellective soul is the highest function of the soul, standing above sensate soul (characterized by sense perception, more or less complex depending upon the species of creature at issue), and nutritive soul (characterized by the basic functions of nutrition and reproduction). This analogy between the status of the viella and intellective soul therefore implies the highest possible standing for the viella as an instrument that can encompass what every other instrument can do but which adds qualities that Grocheio compares to the distinctively human faculties of intellection and abstraction. In the context of thirteenth-century theology – much preoccupied with the nature of the soul – this analogy is less strained than it may now appear.
57 On the distinction between hastiludes and tournaments, which is often difficult to establish, see Vale, J., Edward III and Chivalry (Woodbridge, 1982), pp. 57ff.
58 Grocheio thus signals his intention to speak only of viella repertory. It remains unknown whether other instruments performed the musical forms he now goes on to describe, or whether other instruments were associated with specific repertoire in the same way as the viella.
59 The construction is bonus artifex in viella…formam introducit, which might be translated 'a good player creates forma upon the viella…'. This seems a rather cumbersome and gratuitously cerebral way for Grocheio to express his meaning, but the sense seems clear none the less. The verb introduco here has nothing to do with the performance of 'introductory' preludes upon the fiddle; introduco + accusative + in + ablative is Grocheio's idiom for referring to the creation of forma in its Aristotelian sense of actual, accomplished form rather than mere raw material (materia). For a parallel passage in Grocheio's treatise compare Rohloff, Die Quellenhandschriften, p. 114. Grocheio's point is that with the viella a good player can play every cantus and cantilena and can shape every kind of achieved musical design. For contrasting proposals about the interpretation of Grocheio's evidence see Brown, H. M., 'Instruments', in Brown, H. M. and Sadie, S., eds., Performance Practice, 2 vols. (London, 1989), 1, pp. 18–23; D.Fallows, 'Secular Polyphony in the Fifteenth Century', ibid, p. 206; Gushee, L., 'Two Central Places: Paris and the French Court in the Early Fourteenth Century', in Bericht über den International Musikwissenschaftlichen Kongress Berlin 1974, ed. Kuhn, H. and Nitsche, P. (Kassel, etc., 1980), p. 143.
60 The appropriate translation for 'ludi' is not easy to establish; it may encompass tournaments.
61 'correct beat' renders recta percussione. The noun ictus is not a common one in either the plainchant theory or the polyphonic theory of the Middle Ages, but its appearance in this context can be explained in terms of the choreography of caroles. There is abundant evidence that caroles were sometimes danced with clapping of the hands and stamping of the feet; Grocheio is here presenting such accentuation as a characteristic feature of melodies designed for the carole. See Page, The Owl and the Nightingale, p. 115.
62 There is no adequate English equivalent of Grocheio's puncta, denoting a complex musical phrase capable of forming one unit of an estampie and of bearing an open or closed ending.
63 On the etymologizing explanation circa eam stare see above. For commentary upon this passage see Hibberd, L, 'Estampie and Stantipes', Speculum, 19 (1944), 222–49; Vellekoop, K., 'Die Estampie: ihre Besetzung und Funktion', Busier Jahrbuch für Historische Musikpraxis, 8 (1983), 51–65, and Wagenaar-Nolthenius, H., 'Estampie/Stantipes/Stampita', in L'Ars Nova Italiana del Trecento: 2nd Congress (Certaldo, 1969), pp. 399–09.
64 It remains uncertain whether this is a reference to a ductia called Pierron or by Pierron. It may be both.
65 There is a severe textual difficulty in the last sentence of the Latin. The manuscripts are unanimous in their readings for the whole sentence, save that only MS H has the sunt, added by a later hand and placed here in square brackets. Rohloff emends the received text in two places, reading 'Huiusmodi autem stantipedes sunt res cum septem concordantiis, ut difficiles res Tassini' (my italics). It is not certain that these emendations are required; 'res cum septem cordis' is presumably the title of an estampie (or if res is construed as a plural, as a series of estampies), analogous to 'res Tassini'.
66 So both MSS. Rohloff: determinatur
67 'constructed' renders Grocheio's composita, which cannot mean simply 'composed' because this would not distinguish polyphony from monophonic forms. The key sense here is surely that of 'assembled, put together', having reference to the scrupulous calibration of polyphonic parts in terms of intervals and duration.
68 On this passage see Sachs, K.-J., 'Die Contrapunctus-Lehre im 14. und 15. Jh.', in Die Mittelalterliche Lehre von der Mehrstimmigkeit, ed. Eggebrecht, H. H. (Darmstadt, 1984), pp. 161–256, especially pp. 169–70.
69 'in a threefold way', rendering ex tribus, a reference to the perfection; cf. Rohloff, , Die Quellenhandschriften, p. 140: 'Est enim perfectio mensura ex tribus temporibus constans....Ista autem mensura moderni utuntur et hac totum summ cantum et cantando et figurando mensuranf'.
70 So both MSS. Rohloff: animadvertunt
71 This passage has given rise to much misunderstanding. Seay's translation 'the vulgar' (Concerning Music, p. 26) has been highly influential but is most ill-judged, since Grocheio is contrasting the laity with the clergy at this point. See the next note and, for a full discussion of this point, Page, Discarding Images, Chapter 3, passim, and compare Stevens, Words and Music, p. 431 and note 50.
72 Grocheio's term litterati has been translated in many ways by modern scholars ('the literati', 'men of letters', 'exclusive social circles'); see, for example, DeWitt, A New Perspective, p. 177. Virtually all of these authors seek to convey what they take to have been the elite audience for the motet; there can be little doubt that Grocheio is using the word litterati in its traditional sense of 'the clergy'.
73 Grocheio is alluding to his own phraseology at this point. See his account of the rotundellus above.
74 Rohloff: [in] ecclesiis
75 For the use of determmare to indicate definition according to (plainchant) mode see Grocheio's remarks in the first Latin passage given above (Rohloff, Die Quellenhandschnften, p. 124).
76 The phrase 'holy places' is often used in medieval Latin to denote the immediate environs of any ecclesiastical building. Grocheio may be referring to the use of organum in processions.
77 Grocheio is presumably judging conductus to be an appropriate name for a genre performed where the learned and powerful are gathered together because conductus can be etymologized as 'brought or drawn together'. See Gillingham, B., 'A New Etiology and Etymology for the Conductus', Musical Quarterly, 75 (1991), 59–73, especially pp. 61–2.
78 Compare Walther, Sprichwörter, 7418,11012,15304 etc.
79 Rohloff: proportione [in] qua incipit
80 Rohloff: vel [in] diapason ascendit
81 So both MSS. Rohloff: Echo montis
82 So both MSS. Rohloff: motetum
83 So both MSS. Rohloff: ordinatim
84 Grocheio's phraseology seems designed to exclude the possibility of four-part hockets. For an account of a four-part hocket see Jeffery, P., 'A Four-Part In seculum Hocket and a Mensural Sequence in an Unknown Fragment', Journal of the American Musicological Society, 37 (1984), 1–18.
85 So both MSS. Rohloff: hoquetis est [cantus]
86 So both MSS. Rohloff: Duplum vero est [cantus]
87 So both MSS. Rohloff: qui [supra] tenorem
88 So both MSS. Rohloff: totaliter [de novo] fit
89 This passage, a difficult one, presumably means that when a melody is split up between different voices to make a hocket, it can be ornamented and added to in various ways, unless it is important for some reason that the hocketed version of the melody should last exactly the same amount of time as the original.
90 Rohloff's emendation of regularum (in both MSS) to tegularum ('of tiles') can surely be accepted and is accordingly followed here.
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All of these resorts are an easy drive from each other (figure on more traffic on weekends and holidays due to downhill skiing) – say half an hour between the larger areas, an hour from Reno/ Tahoe Airport and no more than a couple of hours from Sacramento Airport.
There's a wide mix of accommodations in the town of Truckee and along the lake. My favourite is Granlibakken, a charming resort in Tahoe City with its own trail system and a sumptuous buffet breakfast. Jonathan Wiesel is a longtime Skitrax contributor as well as Nordic consultant (www.nordicgroupinternational.com).


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As Iran lends its support in fighting IS, Iraq's vice president tells Sky News posters of the supreme leader give him chills.
Iraq's vice president Iyad Allawi has told Sky News that Iran's involvement in his country is unacceptable and is failing to push Islamic State fighters back. Speaking from his office in Baghdad, Mr Allawi said he was very concerned about Iran's increasing influence on the militias fighting the war against IS in Iraq. He said: "I think the role of any regional power or any power in Iraq's affairs is unacceptable."
Mr Allawi went on to explain that Iran's role "doing what they are doing and sending officers to fight and to lead, and declaring that Baghdad is becoming the capital of the Persian empire, is unacceptable". There are dozens of different Shia militias fighting IS in Iraq right now. They may have the same enemy, but that doesn't make them friends. There's a history of animosity. In a cemetery in the southern city of Najaf, more than 50 fighters are buried every day, according to gravediggers there.
Where you are buried though depends on which militia you fought with. The graves marked with a yellow logo are for the Hezbollah Battalions, a militia active in Iraq for over a decade and on the US terror list since 2009. In another part of the cemetery we found the white flags of the League of the Righteous. Their leader is out fighting but his grave lays here dug up as a sign that he's not afraid of death. What many militias do have in common though is Iranian backing. Iran is providing weapons, funding and has recently carried out airstrikes to support the militias.
The strong Iranian influence in Iraq is not new but just how visible it has become is quite staggering. Pictures of Iran's supreme leader – Ali Khamenei – are plastered all over the country. There is no doubt Iranian help is key to defeating IS but many have serious concerns over what this may mean for the future. Mr Allawi says the posters of Khamenei send chills up his spine and there will be a high price to pay for Iranian involvement. For him, the main threat to the country's stability is the militias.
He said: "As far as I'm concerned these clusters of militias, whether Sunni or Shia, are the main threat and indeed the governments and regional powers who support these groups are the biggest threat to Iraq and to the future of Iraq." Mr Allawi also warned: "The failure of this country means the failure of the whole region. That's why it's very important to keep Iraq as a united, federal, democratic country and to get reconciliation on the ground and to build a viable state." As the battle to free Iraq from IS continues, the larger war between those fighting on the ground – and their backers elsewhere – is becoming increasingly clear. Iraq's future, and the stability of the region, hangs in the balance, Sky News reports.


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Jag Mandir Palace in Udaipur
Jag Mandir Palace Overview
The beautiful Jag Mandir Palace sits majestically on an island on the magnificent Lake Pichola. The construction of this palace was completed by Maharana Jagat Singh in the mid-17th century and was used as a summer resort by the royal family.
The palace is an architectural marvel adorned with marble structures of eight elephants, spacious courtyards and gleaming white marble tiles. The views surrounding the palace are spectacular, especially during sunset.
Opening Closing Time 10 am to 5 pm
Similar Monuments in Udaipur
Udaipur, Rajasthan