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Carol Shroka &
Proudly Represent CS Real Estate - Aurora IL
Carol Shroka &
Simply sensational new construction by Naperville's premier builder with a fresh new design featuring timeless style. This stunning home boasts a second floor sport court w/private staircase - could be in-law or nanny suite. Playroom/study/office spaces uniquely designed within the bedrooms, attached 3 car garage, finished basement, 4 bedrooms, 4 1/2 baths and meticulous attention to detail. The chef's kitchen with custom designed cabinetry and quartz counters is complete with Thermador appliances and two spectacular islands. 5" white oak floors flow throughout the home. The luxury master suite featuring a gorgeous free standing tub makes the perfect statement. Additional features include Marvin Integrity windows, authentic masonry fireplace, custom trim detailing and high-end finishes that complete this home. The inviting covered 34'x8' front porch is the perfect place to relax. Located downtown Naperville. Ready for summer delivery. Pictures are of similar projects.
Carol Shroka | (630) 448-2462 | Contact Me
Aurora IL (Bordering Naperville IL)
Copyright © 2017, All Rights Reserved
Thank you for visiting today. If this is your first visit, take your time and look around. I have plenty of information and resources available to you. If you are a return visitor, thank you. I would love to hear from you and tell you how I can serve all your real estate needs.


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Sunny Isles Beach, FL 33160
The best unit on the building! Two bedroom (or 1 br + 1 studio if reneted separate) Direct oceanfront suite, more income per night and cheaper maintenance fees than the regular 2 bedroom ocean view suites. Lines like the 09 are rarely on the market! Gre at opportunity will not last.
Antonio Bendek with MAR NON MLS MEMBER

subset: commoncrawl


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Why I stopped watching Pinoy Movies or Teleseryes
I know that there may be some of you who are probably here to bash on this article just because you saw the title. You already have a prejudice and you just want to comment something rude. Before you do though, here are a few disclaimers.
1. This is my own opinion – I know a lot of people share this sentiment as well but I won't try to convince you to have the same opinion as mine. At best hopefully it opens your eyes why other Filipinos like us stopped paying attention to these films.
2. If you're a fan of Filipino movies or tele-serye, I have nothing against you. As a matter of fact I am rooting for you. I hope that the entertainment industry progress a lot more and give you the quality movie and television series that you really deserve.
3. I'm not blaming the industry or the actors in our film, I'm simply stating a point that perhaps there's a better way than to use the same old formula. I am aware that there are independent films now and that there are actually movies out there that can be considered good. Hopefully we continue towards that trend.
With these things said, below are my reasons why I stopped watching Filipino movies
1. The acting hasn't really improved in the past decade – Haven't you noticed that the trend now when it comes to international movies is that the actors act like they are just living their everyday lives. You can't even tell if they're acting or that's just really their personality (example: Robert Downey Jr. as the narcissistic Ironman). Filipino movies are still very theatrical when it comes to acting. Almost everything is an exaggeration. In fact if you close your eyes while watching one of the popular telseryes and just listen to their voice acting, you'll think you're watching a Filipino dubbed Japanese anime. To put it simply – Inaartehan ka lang nila, and you know it.
2. Musical scoring needs a lot of work – okay there are probably a few Filipino movies that have good musical scoring (Although I have never seen one that really struck me). Do you remember that film though with John Lloyd and Bea where they use chasing cars as the theme song for their bed scene? Seriously? Chasing cars? I used to like this song. After watching that film though I wasn't able to listen to it again without feeling weird about it.
3. The comedy is crazy slapstick – I know a lot of Filipinos still enjoy this type of comedy, but I can safely say that there are more of us know who prefer witty types of shows. Filipinos have watched Friends, the Big Bang Theory, and How I Met Your Mother. Why do most film makers still assume that we can only enjoy slapstick comedy making the main character as dumb as possible?
4. Grinding the same plot for money – For some reason film makers here are always trying to follow a certain formula. For the past decade it has been about love triangles. I think we've had enough of that so please give us something more unique next time. Seeing one of these is painful enough.
5. Drama, drama, and more drama – it's all about the shouting, the crying, and the shouting while crying scenes. This is what will make you a best actor or actress here. Can't we have at least a few movie where nobody cries? Kaylangan ba dapat lagi nalang maantig ang puso ng mga Pilipino?
6. The one liners that are still about drama – If you search for quotes from Filipino films, most of them are still about drama. We don't have a lot of one liners like "Life is like a box of chocolate, you'll never know what you're gonna get." Instead we have "Ano bang mas madaling kalaban, yung p*tang mahirap o yung p*tang mayaman?" – And this line is supposed to be witty??? Granted we do have a lot of love quotes – magaling tayo dyan eh. However, if it's not about love, it's about drama. Recently, we have a lot of these flying around.
7. The Romeo and Juliet plot – We have used this one over and over again. It's always about a couple who are madly in love with each other but they can't be together because of their families or their status in life. Poverty is almost always used as an excuse for them not to be compatible.
8. The all-star cast formula – Sometimes we have movies that are truly star-studded. While you may think this is a good thing that is not necessarily true. As a matter of fact these movies rely too much on these stars to get the number of audience that they want. Often times though the plot is not cohesive and the movie is just nothing more but a commercial force that have tons of advertisements in it.
10. The moral lesson syndrome – Why is that when a film is promoted here, the actors always say "maganda po itong palabas na ito, may mapupulot po na aral"? Is it necessary for all movies to have a moral lesson? I'm not saying that it's wrong to have one, but is that what makes a movie truly enjoyable? Furthermore isn't it true that all movies have a moral lesson after all if you really think about it? Take paranormal activity for example, the moral lesson of that movie is to get out of the house and leave instead of trying to video tape the ghost or the devil! Seriously, just because your movie has a moral lesson doesn't mean it's worth watching!
Finally, I just want to say in closing I'm not the first person to write about this, nor will I be the last. There are a lot of writers who have expressed the same sentiments that I have here. You can simply search on Google about "Why I stopped watching Filipino movies" and you will find these people. They are real Filipinos as well. This is not about discrimination or prejudice towards a certain culture. It is simply about a belief that we Filipinos deserve something better when it comes to the movies or TV series that we watch.
Photo movie night by: Ginny under license cc2


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to Jul 14
3-Day Problem Solving Clinic with Dan James
View Event →
Whatever the problem is that you are facing, from difficult or scared horses that, kick, bite, rear, pull back, won't load, won't canter, scared of other horses, shy, scared of water, scared of noise, buck, bolt, this clinic is for you to help overcome whatever problem you are facing with your horse.
9am-4pm with a one hour lunch break in between. Food truck will be on site.


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Soirée Couture DSM
Don't be fooled by the images judge the pricing!
Did you know that each designer has strict pricing guidelines for everyone of their designer gowns? If you come across a Sherri Hill, Tony Bowls, Night Moves, Jasz etc. at a low price that seems too good to be true then chances are it probably is! Soiree Couture wants to make sure all of their customers are aware of the knock off websites that are out there. They are stealing the manufactures photographs and posting them on their websites. When customers order through them they are receiving knock off gowns that are poor quality. They are using cheap embellishments, fabrics, faulty zippers, and the sizing is way different. Many of the victims have received dresses that were not as described. Although the dresses may be cheaper they are not worth your money.
Price - $175
Price - $350
Ask yourself these three simple questions. One, are they on the designers list of authorized retailers? DO NOT purchase from them if they are not. That raises a big red flag. Two, is it under priced? Chances are you've done your research and know the average price of the prom gown. If the price is the same on 10 websites and you come across a website that is way cheaper it's way too good to be true trust me! Last but not least three, is it coming directly from china or a factory? Designer manufactures do not sell directly to the public only retailers.
Buyers beware! Soiree Couture is an authorized retailer for all of the Designer Gowns that we carry. We guarantee quality satisfaction when you shop with us. All dresses are priced the lowest that the manufacture allows. Before you click submit think twice before ordering a dress that is way under priced from a sketchy site. Don't be a victim shop at Soiree Couture!


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Go ahead and stitch engrave the Best Costume Design Oscar for "Phantom Thread" now. Paul Thomas Anderson's sartorial drama is the 2/9-odd favorite to take home the award, according to our latest predictions. It's out front against "Beauty and the Beast" (15/2 odds), "The Shape of Water" (25/1 odds), "Darkest Hour" (66/1 odds) and Victoria and Abdul (66/1 odds).
If "Phantom Thread" were to only convert one of its six nominations into a win, it makes complete sense it'd be this one. The movie is about a persnickety high-end fashion designer in 1950s London and it's filled frame to frame with Reynolds Woodcock's (Daniel Day-Lewis) breathtakingly posh, gorgeous gowns, created Oscar winner Mark Bridges (2011's "The Artist"). The House of Woodcock could rival any real-life fashion empire.
SEE Daniel Day-Lewis is an Oscar good luck charm
But not everyone thinks it's a done deal for "Phantom Thread." Expert Grae Drake (Rotten Tomatoes), Editors Matt Noble and Rob Licuria, and Top 24 User soxterix, who was among the top predictors last year, are backing "Beauty and the Beast"'s costumes by Oscar winner Jacqueline Durran (2012's "Anna Karenina"), who's also nominated for "Darkest Hour." The live-action remake could definitely win if academy members are voting for the "most" costume design. "Beauty and the Beasts"' ornate costumes — Belle's (Emma Watson) gold gown alone — have the edge there and could follow in the footsteps of past ostentatious winners like "Anna Karenina," "Elizabeth: The Golden Age" (2007), "The Duchess" (2008), "The Young Victoria" (2009) and "Alice in Wonderland" (2010).
Expert Erik Davis (Fandango) is the sole pundit predicting "The Shape of Water" and its 1960s garb. If the film is as much a Best Picture frontrunner as we think it is, it could sweep some below-the-line categories along for the ride, kind of like the way "The Artist" bagged this category six years ago.
PREDICT the Oscar winners now; change them until March 4
Be sure to make your Oscar predictions so that Hollywood insiders can see how their films and performers are faring in our odds. You can keep changing your predictions until just before winners are announced on March 4. And join in the fierce debate over the 2018 Oscars taking place right now with Hollywood insiders in our movie forums. Read more Gold Derby entertainment news.
SIGN UP for Gold Derby's free newsletter with latest predictions


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Leeds entertainment venue Victoria Gate Casino is launching its brand-new Gin Club with a one-night only gin tasting experience.
On Friday 5th October, Victoria Gate Casino is celebrating the launch of its new gin menu by partnering with Fever Tree to offer ticket holders an exclusive tasting session.
As part of the one-night-only intimate event, guests will taste a selection of the finest Gins paired with premium Fever Tree tonics in the super casino's luxury cocktail bar, Curve.
Victoria Gate Casino's Gin Club is the latest edition to the all-round entertainment venue. Since opening in January 2017, Victoria Gate Casino has earned the reputation as the super casino of the north, with three floors of bars, dining and gaming opportunities.
The new Gin Club menu consists of an impressive nineteen flavorsome gins by top craft distilleries including The Botanist, Brockmans, King of Soho, Lone Wolf, so you're sure to find your perfect serve.
Gin lovers of Leeds will enjoy a tipple in the stylish venue, and guests at the intimate event will be treated to a selection of canapes. Following the tasting, guests will have the option to sign up to become a loyalty member of the casino which will unlock an exclusive 20% discount on the Gin Club menu for the rest of the evening. And to end the night, all guests will receive a goody bag to take home.
Live music features every Friday and Saturday night from 9pm and its Live Bar features the biggest sports screen in Leeds.
Tickets for the event are limited, and can be purchased online at: https://www.eventbrite.co.uk/e/vgcs-gin-club-tickets-50489825427?aff=efbeventtix


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General Manager - New Pub Opening
- Recruiter
- Appetite 4 Recruitment
- Location
- Woking
- Salary
- £35000 - £45000 per annum
- Posted
- 10 Feb 2019
- Closes
- 28 Feb 2019
- Job Function
- General Management
- Industry
- Other
- Position Type
- Permanent
General Manager New Opening
Competitive salary plus an attractive bonus package
General Manager looking for a great premium challenge
Luxurious pub based in in a stunning village between Guildford and Woking, which will be a sophisticated food offering
My client's pub is bringing premium London quality into this idyllic country pub, I'm looking for operators who are passionate about hosting the perfect dinner party every day.
The décor will be of the highest standard and there will be slick operating systems through out
As general manager you will have full autonomy of the business, from liaising with the chef to overseeing the full front of house operation. You will have a hands-on approach and be very front of house focused. you will have great leadership, training and motivational skills being a mentor to the rest of your team
The general manager will be fully financially accountable for the site therefore strong financial acumen is a must. You will be a natural leader and motivator and have a natural passion and flair for the industry.
Competitive salary offered. The chance to make this pub your own and bring it back to life
To find out more and apply for this fantastic position please send your CV
Your application to this role will automatically send us your CV and associated details which we will use to contact you about this and other job opportunities. We'll keep these details safe and only use them for this purpose. You have the right to opt out of this at any time.
This job was originally posted as www.caterer.com/job/85218550


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Research Report: Inside The 2015 Boardroom Priorities (Parts 1 & 2)
By R "Ray" Wang on December 17, 2014
Boardrooms In Market Leader And Fast Follower Organizations Rapidly Take Action To Address the Digital Chasm Ahead Constellation Research surveyed over 200 CXO's and identified 10 board room priorities for 2015. As anticipated, digital transformation has emerged as a significant board room topic and market leaders and fast followers seek guidance on what elements are […]
Posted in Business, Featured Posts | Tagged #techoptimization, 2014, application development, Apps Strategy, Architecture, best practices, board room, Business Transformation, BYOD, Chief Customer Officer, Chief Digital Officer, Chief HR Officer, Chief information officer, Chief Marketing Officer, CHRO, CIO, Cloud, Cloud Computing, CoIT, CoIT and the New CSuite, Constellation Research, Customer Experience, CXO, CXP, Digital Marketing Transformation, Digital Strategy, Digital Transformation, DigitalBiz, digitaltransformation, disruptive, disruptive business models, disruptive technologies, Disruptive technology, enterprise applications, enterprise apps, Enterprise apps strategy, Enterprise Business Apps, Enterprise Business Apps Vendors, enterprise mobile, Enterprise Mobile Management, enterprise software, enterprise strategy, five generations of mobile, future of work, mass personalization, Mass Personalization At Scale, mobile, Mobile Biz, mobile device management, mobile enterprise, Mobile Management, Mobile OS, Mobile strategy, mobility, Monday's Musings, R "Ray" Wang;, research, Research Report, rwang0, Software Insider, SoftwareInsider, strategy, Technology Optimization, user strategy, vendor strategy | 1 Response
Time For Tiedosta: To Know About Knowledge
By Esteban Kolsky on July 8, 2014
In the late 1999 and into early 2000 I was the CTO for a startup. The product was ahead of its time ("can you put it in an email?" it the comment from a VC that still haunts me to this day — as if) and it was a platform play. Inconsequential to this post. […]
Posted in Trends & Concepts | Tagged knowledge, Knowledge Management, research, SurveyMonkey, tiedosta
Social Business: Pining for the Fjords!
By Susan Scrupski on December 5, 2013
"I'll tell you what's wrong with it… It's dead!" So, which is it dead or not dead? There is so much confusion in the market about what "Social Business" is, it might as well be a dead parrot (too). And there is no shortage of people who come at this conversation with a perspective […]
Posted in Featured Posts, Trends & Concepts | Tagged 2.0 Adoption Council, Change Agents Worldwide, deloitte, Enterprise 2.0, MIT SMR, Muhammad Yunus, Nilofer Merchant, research, social business, social collaboration, Social Media, Socialcast, Trends Research | 1 Response
How Do Enterprise Buyers Research New Software?
By Susan Scrupski on October 17, 2013
A few weeks ago, I wanted to know what role "social" plays in researching enterprise software. Every one of the billion dollar companies that responded to my inquiry said that blogs, social networks (from Twitter to LinkedIn), and online forums weighed heavily in their initial research and opinion formulation process. Of course, the traditional research […]
Posted in Business, Featured Posts | Tagged Digital Workplace, enterprise software, Jane McConnell, research | 2 Responses
Blueprint to Re-Cycle the much Hyped MagiK Kvadrant
By Zoli Erdos on March 25, 2013
Fellow Enterprise Irregular and HfS Research Founder Phil Fersht introduced their new Blueprint with an appropriate title: Step aside Magic Quadrant, hello Blueprint. I think such a milestone warrants a historical overview of Gartner's Magic Quadrant, Hype Cycle, Magic Cycle, Magic Hype, Hyped Magik… or any other variation you prefer. And since it's just a few […]
Posted in Trends & Concepts | Tagged Blueprint, gartner, Gartner MQ, HfS Research, Horses For Sources, Humor, Hype Cycle, Just for fun, Magic Quadrant, research
What's Your Story?
By Susan Scrupski on February 25, 2013
Every social graph tells a story. In this sweeping visualization of nodes and connections, you can see the shape of my career history and relationships. This imprint of my LinkedIn social network was generated yesterday. You can see how new contacts and interrelationships jettisoned off from my base when I started to work at 7Summits. […]
Posted in Featured Posts, Trends & Concepts | Tagged Dachis Group, ibm, Jive, linkedin, lithium, research, Social Media, Social network, social networking, University of Texas Austin, UT Austin
May I Recruit Your Help in a Knowledge Management Research Project?
By Esteban Kolsky on February 8, 2013
Late in 2011 I conducted my first market research project on Knowledge Management. I wanted to get an idea of what was going on in the world, what projects you (royal you, not you personally) were working on, what projects you were going to invest money in, and (more than anything) what was affecting your […]
Posted in Trends & Concepts | Tagged knowledge, Knowledge Management, Market research, research, Survey
Social Research Key Findings
By Denis Pombriant on August 20, 2012
At the recently completed CRM Evolution conference, sponsored by CRM Magazine in New York, Esteban Kolsky presented some of the results of our social media research. We'd been working on it for most of the year and we were writing up the findings almost until Esteban gave the presentation. It killed me not to be […]
Posted in Trends & Concepts | Tagged CRM, CRM Evolution, CRMe, Facebook, Kolsky, linkedin, research, Social Media, social networking, Twitter | 3 Responses
Research data on cloud growth and focus
By Michael Krigsman on July 9, 2012
New survey research adds to our understanding of cloud growth and discusses areas of concern among business adopters of cloud computing.
Posted in Featured Posts, Trends & Concepts | Tagged Cloud Computing, North Bridge, research, Social Enterprise
New Research: Manufacturing and Direct Materials Sourcing: A Planning Guide for the Next Decade
By Jason Busch on June 11, 2012
MetalMiner and Spend Matters are excited to announce the launch of a combined research study, Manufacturing and Direct Materials Sourcing: A Planning Guide for the Next Decade. Authored by Jason Busch and Lisa Reisman, this Spend Matt…
Posted in Business | Tagged Manufacturing, research


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Twin Peaks has always been, at least in part, a soap opera. David Lynch and Mark Frost knew it, as did the rest of the writing stuff, and they never shied away from it. There were soapy moments in the past, to varying degrees, but I don't think I've seen anything in the run of the show so far that was quite as soapy as the concluding moments of this episode.
Josie reappeared last episode, returning to Truman's arms with a story about barely escaping her captor, I think, or maybe something else. Honestly, I pretty much zone out and stop paying attention the moment she opens her mouth, I'm afraid to say. That means I also missed most of what she had to say this episode about her dead husband Andrew Packard and some guy in Hong Kong named Thomas Eckhardt.
The important thing is that her husband Andrew is dead, and Josie is left with nothing, after whatever shenanigans occurred regarding the mill. So she turns to Catherine for help, which I can't help but think is a terrible idea. Catherine agrees to employee her as some kind of servant, and then, after sending Josie on her way, the deceased Andrew Packard come sauntering through the door, and he and Catherine talk about how everything is going according to plan, because SOAP OPERAS.
Which was actually sort of a goofy, fun moment, that somehow creeped out of a plot line I give no shits about.
Another goofy and fun moment comes courtesy of David Duchovey's amazing appearance as DEA Agent Dennis Bryson. I mean, sorry, it's Denise Bryson now.
Oh yeah. It's David Duchovny in a dress.
The best thing about this moment is the way Cooper reacts to meeting his old friend, who he once knew as Dennis, and who is now most definitely Denise. Specifically, he takes the whole thing pretty casually. And for a show that was on the air in 1990, to see a character take that kind of revelation so casually is so incredibly forward thinking. At no point does anyone treat this as some kind of gimmick or politically motivated character. Beat it's just a guy who likes to put on women's clothes. No big thing. Let's move on.
Moving on, though, means getting into some less than stellar territory.
First off, I'm just going to say that, moving forward, I'm going to have very little, if anything to say, about the Little Nicky storyline, so I'm going to just get out my vague memory of it right here. Dick takes on a kind of Big Brother role to a kid named Little Nicky, to try to impress Lucy. Andy, who also wants to impress Lucy, decides to try to help out with Little Nicky. Little Nicky is kind of a little bastard, and chaos and shenanigans ensue until they start to think that maybe he's the devil. And yes, it is as stupid as it sounds. Which is why I'm going to avoid talking about it.
I may also avoid talking about James' storyline. He's left Twin Peaks on some kind of Zen motorcycle journey of spirituality when he encounters Evelyn Marsh, who wants him to come and fix her husband's Jaguar before her husband returns to town. She offers him room and board, plus anything else he thinks is fair (wink wink) to fix the car, and James agrees. There's supposed to be some kind of femme fatale, dangerous flirtation going on here, except there is exactly zero chemistry between James and Evelyn, so no matter what happens, it's not going to be very believable.
Nadine has a crush on Mike, continues to have superpowers, and gets drafted onto the school wrestling team, where she likely have the opportunity to grapple with Mike in all kinds of suggestive and uncomfortable ways.
Hank and The Professor get back from their hunting trip, but who the fuck cares.
Oh, and before I forget it, like I did with something similar in my last recap, Coop gets the chance to hear a little bit more about The White Lodge, and its spiritual opposite, The Black Lodge. Hawk tells how his people believe that one's soul must travel through the Lodge(s) on their way to reach purity, and how one will meet their shadow self there. Now, I don't want to make any crazy predictions here, but I kind of feel like this will be important in the coming weeks.
But what do I know. This is only the third time I've watched this series.


text:
News and Events: Recent stories
UNGEIs Response to Education Commission Report The Learning Generation: Investing in Education for a Changing World
In presenting the report, Commissioner and GPE Chair Julia Gillard did not shy away from the eye-wateringly monumental figures contained within, instead cautioning governments and donors that the cost of under-investment in education would be devastating for both citizens and world economies. Secretary General Ban Ki-Moon took the opportunity of the launch to highlight the plight of refugee and displaced children; and the function of education in peace-building as an important tool to eradicate the spread of poisonous ideologies, particularly targeting girls. In closing proceedings Commissioner Gordon Brown made an impassioned plea to world leaders, public, private, civil and philanthropic donors to address the needs of 263 million children and young people out of school worldwide, specifically referencing the precarious futures of the 1 million Syrian refugees presently out of school.
As iterated throughout the launch, the report itself brings to the table again the financial case for filling the education deficit that many education partnerships such as Education Cannot Wait and the Global Campaign for Education, continue to highlight.
UNGEI commends the Commission for identifying and integrating gender issues into the Learning Generation report, and a call for investment in equity. Nora Fyles, Head of the UNGEI Secretariat, welcomed the report, which brings together, a mind shift and systems change approach that is strongly in support of inclusion. Most importantly the report links to the SDGs in a practical and pragmatic way by grounding our collective vision in an investment plan.
Achieving the Commissions Learning Generation vision would mean that all children in low- and middle-income countries would have access to quality pre-primary, primary, and secondary education within a generation, and a child in a low-income country would be as likely to reach the baseline level of secondary school skills and participate in post-secondary education as a child in a high-income country today.
Building on the findings of the UNGEI Gender Consultation hosted during the 2016 Commission on the Status of Women, the Commission notably recognized the importance of girls education calling for a combination of actions including targeted financing for marginalized girls, making schools safe and responsive to girls needs, investment in education quality and community outreach to address restrictive social norms and tackle early marriage.
Whilst acknowledging critical factors of exclusion, poverty, gender, regional disparity and others, the Commission chose to adopt a positive approach, calling on governments to take up actions across sectors which are drivers of inclusion in order to tackle the most prevalent learning barriers.
Although the report is not without criticism, there is significant support from the global education community the reports call for radical progress on education, accountability from leaders, adequate financing and effective investment. UNGEI looks forward to the soon to be released background papers which informed the Commissions report, particularly those which focus on gender issues, and to joining others in supporting the implementation of the Commissions recommendations for building a learning generation.


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Évènements passés › event
Évènements Search and Views Navigation
décembre 2017
From 27th till 29th December 2017 We will share our experience in the January newsletter! I will attend! Contact us for more informationVoir les détails
janvier 2018
Kindly Sponsored by the Hotels Le Méridien! More to come in the February's Newsletter! I will attend! Contact us for more informationVoir les détails
Conventa opens your meetings horizons. The trade show introduces you to around 15 different New European destinations, 140 meeting providers and offers a personal experience of one destination of your choice at fam trip. I will attend! Sabrina Paquin - Event & Travel Expert firstname.lastname@example.com les détails
février 2018
The Meetings Space is simply dedicated to uniting the most influential buyers with the most inspirational suppliers in the European MICE industry. It is all about meeting and networking with the right people - the influential companies that you want to do more business with plus new companies and contacts that you will be ecstatic [...]Voir les détails
After The Meeting Space Forum, we are going to stay an extra day in Berlin so we can discover the town and its historical monuments. Thus, we will advise you for your next trip in Berlin and share the best walking tour with you.Voir les détails
mars 2018
Kindly sponsored by Lenkerhof gourmet spa resort - Relais et Châteaux More to come in our Newsletter (April 2018) I will attend! Contact me for more informationVoir les détails
avril 2018
MEET ESTONIA is a hosted fam trip for international meeting planners. Over its three days, participants will have the opportunity to explore the fascinating milieu of Tallinn's medieval Old Town, try out some popular activities, visit the city's main event venues and hotels, learn about Estonian culture, sample delicious local cuisine and meet key suppliers. Optional post-tours to the university town of Tartu and Lahemaa National Park will also be [...]Voir les détails
juin 2018
Introducing the networking event of the summer – join 180 exceptional hotels, CVBs and DMCs in The Pearl of the Adriatic. 200 BUYERS PER PART 25 MEETINGS 2 DAYS 180 SUPPLIERS 4,500 TOTAL NUMBER OF MEETINGS 41 DESTINATIONS AT LAST YEAR'S EVENT I will attend. Contact me for more information! Charles email@example.com les détails
We organize professional Meeting Forums in different Spanish or Portuguese regions, bringing meetings & incentives suppliers from the host destination into contact with meeting planners from the key markets across Europe. With expertise and creativity we give our events a unique local flavor, presenting the most comprehensive MICE offer of a particular Iberian tourist area. [...]Voir les détails
septembre 2018
In 2015, €7.5 Billion VAT to recover AND only €2 Billion recovered (OECD). In principle, most of the VAT incurred on business expenses linked to organizing an event is refundable. When holding an event organizer must know: 1. What are the key issues for recovering VAT? 2. When and where should the VAT be handled? [...]Voir les détails
L'export vers ICal fonctionne également vers Outlook
ICal export can be used as Outlook export


text: Charlie Brown dress, Orange, red and white size 8. Check the photo for description. It is made from a stretch knit fabric so it will fit a size 10 as well. Great for summer. It is very versatile and can be dressed up or down. It is still new, only being worn by people trying it on instore. The dress retails for $399 and it is available to buy or borrow and the purchase price is $90


text:
special events to make your visit extra special
There is always something to see or do in the Otway Country to Coast region. Take a leisurely drive through the magnificent forests and you'll find something super, natural around almost every corner. From spectacular scenery, local native flora and fauna, taste tempting dining experiences and unique attractions to secluded hideaways you may never want to leave.
However if you are looking for an excuse to visit the Otway Region then here is a list of events that just might tempt you to come back again and again.
The Otway Country to Coast Event calendar is the best place to find what's on in the Otway region, from arts festivals and music festivals, to exhibitions and local markets, fresh local produce and dining experience, to nature walks, or sports events. It's all happening in the Otways. New Otway Events added regularly.
MAY 2019 ~ Friday 3 > Friday 3 May
Toni Childs - Retrospective Tour 2019
Toni Childs - Retrospective Tour 2019
Friday, 03 May 2019 | 07:30 PM to 10:00 PM
".... Evocative, evanescent music that allows you to immerse yourself and drift away" Rolling Stone
".... In a year of auspicious breakthroughs for women writer-performers, Childs was the standout" Time Magazine
Proudly presented by Big Mother Touring Company
Join the legendary Toni Childs for a special two hour performance as she celebrates her 30 year anniversary of Union.
Toni will be performing hits and fan favourites from Union, House of Hope, the Woman's Boat and Keep the Faith.
The second hour will be your introduction to Toni's new music from two very special albums - It's All a Beautiful Noise and Citizens of the Planet.
Venue: Auditorium
Date/Time: Friday 3 May at 7.30pm
Running Time: 2 hours, plus 30 minute interval
Adult: $69.00
Concession/Student: $65.00
Groups of 6 or more: $65.00 per ticket
- Friday, 03 May 2019 | 07:30 PM - 10:00 PM
Colac Otway Performing Arts & Cultural Centre (COPACC), 95-97 Gellibrand Street, Colac 3250
MAY 2019 ~ Wednesday 8 > Wednesday 8 May
Morning Music - Caruso to Carreras
Morning Music - Caruso to Carreras
Wednesday, 08 May 2019 | 11:00 AM to 12:15 PM
Caruso to Carreras - the Great Tenors
The stories of the world's greatest tenors and their leading ladies come to life in Caruso to Carreras.
Leading Australian tenor Roy Best will perform classic hits of Enrico Caruso and José Carreras as well as many other beloved tenors including Pavarotti, Bocelli, Lanza and Domingo.
Every tenor has a leading lady, and in Caruso to Carreras versatile Australian soprano Alison Jones sings all the wonderful solos and duets.
Concert virtuoso Len Vorster will be at the piano; while compere Chris McKenna will guide the audience through the fascinating stories of the greatest tenors the world has ever known.
Enjoy hits such as 'Be My Love', 'Nessun Dorma' and 'O Sole Mio' and duets including 'Time To Say Goodbye', 'Amigos Para Sempre', 'Strangers In Paradise, 'Loveliest Night of the Year' and many more.
Venue: Auditorium
Date/Time: Wednesday 8 May, 11am
Running time: 70 minutes, no interval
All Tickets $23
Free morning tea served from 10am in the Foyer
Proudly Sponsored by Colac Herald & Arundell, Murray and Ryan, Barristers and Solicitors.
- Wednesday, 08 May 2019 | 11:00 AM - 12:15 PM
COPACC - Colac Otway Performing Arts and Cultural centre, 95-97 Gellibrand Street, Colac 3250
MAY 2019 ~ Saturday 18 > Saturday 18 May
Great Ocean Road Running Festival 2019
Saturday, 18 May 2019 | 10:00 AM to 03:00 PM
Saturday, 18 May 2019 | 10:00 AM - 03:00 PM
Sunday, 19 May 2019 | 08:00 AM - 03:00 PM
Great Ocean Road, Great Ocean Road, Apollo Bay 3233


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New anti-bullying programme for primary schools launched today in Louth and Monaghan
New international evidence-based anti-bullying programme
New anti-bullying programme for primary schools launched today in Louth and Monaghan
A new anti-bullying programme is being launched today at the Crowne Plaza in Dundalk as part of the celebrations to mark Universal Children's Day.
The KiVa Anti-Bullying Programme is an innovative school-based anti-bullying programme that is being launched in eight schools in Louth and Monaghan. This is in response to what parents see as the biggest concern they have for their children.
The programme is targeted at children from 1st to 6th class in primary schools and was developed at the University of Turku in Finland using cutting-edge research on bullying and its mechanisms. New research from the eight schools shows that 23% of students have reported being bullied 2 or 3 times a month or more often.
The initial implementation of the KiVa Anti-Bullying Programme is taking place in eight schools, listed below, but will be expanded to more schools in the academic year 2019/2020.
As part of the introduction of the programme 1,674 students completed an online survey in May and June 2018 from the eight schools to generate information on the schools' current environment – to record the amount of bullying taking place, how the students perceive the school and how it is dealing with bullying.
The programme is being funded by the Department of Children & Youth Affairs through the Area Based Childhood Programme, by the Louth Children & Young People's Services Committee and through PEACE IV as part of a Youth Resilience and Anti-Bullying Initiative in Monaghan with partners Cavan Monaghan Education & Training Board (ETB) and the ISPCC.
They eight schools in Louth and Monaghan are:
- Marymount NS (Drogheda/Louth)
- St. John's JNS (Drogheda/Louth)
- Redeemer BNS (Dundalk/Louth)
- St. Joseph's NS (Dundalk/Louth)
- St. Daigh's NS (Inniskeen/Monaghan)
- St. Tiarnach's Primary School (Clones/Monaghan)
- Scoil Mhuire (Latton/Monaghan)
- Latnamard Primary School (Latnamard/Monaghan)


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The Computation and Informatics in Biology and Medicine (CIBM) Training Program at the University of Wisconsin-Madison has postdoctoral traineeship openings for researchers wishing to solve biomedical problems requiring strengths in both computational and biomedical sciences (www.cibm.wisc.edu). The focus of the CIBM Program encompasses translational bioinformatics, clinical research informatics, health / clinical informatics and oral health informatics. The CIBM postdoctoral traineeships, funded by the NLM Grant 5T15LM007359, are designed for cross-disciplinary training. The 54 CIBM faculty span 14 different departments and five colleges at UW-Madison and include several faculty at the Marshfield Clinic Research Foundation (located about 100 miles north of Madison).
The biomedical sciences are being radically transformed by advances in our ability to monitor, record, store, integrate and analyze information characterizing human biology and health at scales that range from individual molecules to large populations of subjects. This wealth of information has the potential to substantially advance both our understanding of human biology and our ability to improve human health through smarter methods for risk assessment, diagnosis, prognosis and treatment planning. The mission of the Computation and Informatics in Biology and Medicine (CIBM) training program is to educate and mentor the next generation of leaders in biomedical informatics research. Our program is designed to equip and mentor pre- and postdoctoral trainees to develop novel, state-of-the-art computational methods for advancing biomedicine.
The CIBM training program is a partnership between the University of Wisconsin (UW) and the Marshfield Clinic Research Foundation (MCRF). It was originally focused on novel bioinformatics algorithms in application areas ranging from the molecular to organismal levels. However, during the past ten years, we have substantially broadened our program by adding a strong translational medicine component. The focus of our program for the next five-year period will encompass translational bioinformatics, clinical research informatics, and health/clinical informatics. The organizations involved in CIBM are exceptionally strong. UW has a total externally funded research portfolio of $1B/year and is a leading research university. A good fraction of this research is in the biomedical sciences and related areas.
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text: :: gattlingCannon part 01 This entry was posted on September 15, 2009, in Uncategorized. Bookmark the permalink. Leave a comment This is a gattling cannon I am working for another Maschinen Krueger models. I forgot the name of this particular model, I am guessing it is a PKf-85 Falke? 1K x 1K Diff, Spec, Norm, and AO as well. Advertisements Share this:TwitterFacebookLike this:Like Loading... Related


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Particularly if you are using a static image name like "latest" or "develop", it is useful to be able to know and verify the exact version via the sha256 hash. To get the value you can use:
docker inspect --format='{{index .RepoDigests 0}}' repo/image-name:tag
To use this in a CI/CD workflow for Docker Swarm, you can do something like this:
SHA=$(docker inspect --format='{{index .RepoDigests 0}}' repo/image-name:tag) docker service update --image $SHA --detach=true --with-registry-auth service-name
Sometimes, particularly on a development environment, you can end up with a lot of Docker images with no tags, which aren't much practical use. To get rid of them you can do:
docker rmi $(docker images | grep none | awk '{ print $3 }')
Ones in use or with child images will not be deleted and result in output warning, but the rest will be removed so you can deal with the remaining ones as needed.
It's a pain, not sure if there is a "real" fix, but if your Docker host and Mac host clocks drift (presumably the Mac is correct), you can run:
docker run --privileged --rm alpine date -s "$(date -u "+%Y-%m-%d %H:%M:%S")"
I've seen differences over 5 minutes, so worth checking…
To recover an old file from git where you don't know the commit, you can do:
git checkout $(git rev-list -n 1 HEAD -- "$file")^ -- "$file"
Finds the last commit that affected the given path and checks out the file from there. Works on any file still in the history. If the file has not been staged or committed, simply use
git checkout $file.
From: SO
You can use INFO to get total memory size and a lot of other useful bits but if you just want to know the size of a single database or other info about database-specific keys, it can be a bit tricky.
see: https://stackoverflow.com/questions/7638542/redis-show-database-size-size-for-keys
tldr; in many cases, all you might need is:
redis-cli --bigkeys
To see what's going on real-time:
redis-cli MONITOR
You need to specify charset in slave config, e.g.,
'slaveConfig' => [ 'charset' => 'utf8', ...


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Updated: 11/7/18


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The East West Trio Deliver a Stunning, Haunting, Armenian-Inspired Performance at St. Patrick's Cathedral
Witnessing organist Marina Omelchenko slowly work her way up through the eerie chromatics of an ancient Armenian lament last night at St. Patrick's Cathedral was nothing short of sublime. It became even more so when duduk player Oganes Kazarian, situated at the opposite end of the church, joined the somber majesty with his meticulously modulated, mournful phrasing. Throughout the concert, whether playing against the organ, with soprano Tehmine Zaryan, or with both, he employed such a wide-angle vibrato that no matter how horizontal or enveloping the melody got at times, his inflections were always adding an otherworldly sparkle of overtones.
What's the likelihood of seeing a duduk – the rustic, plaintively woody-toned Armenian oboe – paired with a church organ? Just the premise of the concert was impossible to resist, and for the most part the three individualists of the East West Trio delivered on the promise of such a deliciously textured sound. Kazarian kept his modes muted and reserved throughout a rapt duet with Zaryan toward the end of the performance. When paired with Omelchenko, especially in her arrangements of a handful of Armenian hymns and traditional numbers, he was much more forceful, a brand-new stop in an almighty beast, the church's Kilgen organ.
Zaryan hit a spine-tingling crescendo at the end of a Schubert aria early on; a concluding Andrew Lloyd Webber ditty was impossible to redeem. But getting there was an often breathtaking rollercoaster ride. Omelchenko began with cinematic and then cantabile Bach and then worked her way to triumph with all the stops out, through the stately power of a Tcherepnin overture. Yet despite all the fireworks, the quieter Armenian melodies were the most hauntingly resonant.
St. Patrick's has not only a very eclectic series of free organ concerts, typically at 3:15 PM on Sundays, but also an intriguing series of classical performances that often involve the organ in some way. The next one is this Sunday the 27th at the usual time with organist Heitor Caballero playing a diverse program of works by Bruhns, Guilmant, Sebastian Duron and Flor Peeters.
Organist Gail Archer Reinvents a Horror Movie Classic and Unearths Rare Russian Gems
What's more Halloweenish in 2018 than Russia? Not to invalidate anyone's suffering, but compared to what Russians have had to deal with under Putin, this country's had it relatively easy lately. And Russia doesn't have this November 6 to look forward to.
Musically speaking, what could be more appropriate for this Wednesday's holiday than a Russian organ music record? It doesn't hurt that it's played by one of this era's most adventurous interpreters of the classical organ repertoire, Gail Archer. Her latest album A Russian Journey is streaming at Spotify.
While there isn't as vast a tradition of music for the organ in Russia as there is further west, there was a boomlet of composers writing for the instrument beginning in the late 1800s. That's the formative period Archer starts with, unearthing some majestically tuneful, frequently mysterious material that too seldom gets programmed beyond its home turf.
She gives Cesar Cui's hypnotic, Asian-tinged Prelude in G Minor a relentless, artfully crescendoing interpretation. His Prelude in A Flat Major comes as a shocking contrast, a starry, steady, mysteriously rising piece with a sobering balance between lows and exuberantly voiced highs, maxing out the organ's high reed stops. It's a roller rink at Dr. Zhivago's grave.
Likewise, Sergei Ljapunow's enigmatically neoromantic Prelude Pastoral has both steadfastness and swirl, through shadowy counterpoint between the pedals and midrange, bittersweet glitter, and confidently calm exchanges of catchy, allusively carnivalesque riffage between registers. Clearly, this is Baba Yaga country he's exploring here. Glazunov's Prelude and Fugue in D Minor is steady, stately and somber, Archer maxing out the silken sheen of the upper registers again as she builds intensity through the hypnotic waltz of the fugue.
Contemporary composer Sergej Slominski's Toccata has a brightly celebratory French flavor: the work of Eugene Gigout comes to mind. Archer strolls enigmatically through the opening bars of Alexander Schawersaschwili's Prelude and Fugue, a dynamic piece with acidic sheets of sound, calmly marionettish phrasing and cinematically climbing variations, She winds up the album with a vigorous, epic, yet often remarkably subtle take of Zsigmond Szathmary's organ arrangement of Moussorgsky's classic Night on Bald Mountain, which in terms of sheer mystery outdoes most of the orchestral versions used in horror films for the better part of a century. Rabid members of the organ music underground won't be the only people who will relish making some new discoveries here.
Organist Christopher Houlihan Pulls Out All the Stops at an Iconic Venue
The titanic 1954 Schantz organ at the Cathedral Basilica of the Sacred Heart in Newark is one of the most coveted instruments in the world. To witness an organist capable of maximizing its vast capabilities is one of the most thrilling concert experiences in this hemisphere. Yesterday evening, to open the fiftieth anniversary season of this nation's longest-running cathedral concert series, Christopher Houlihan delivered an epic, literally breathtaking performance of reinvented standard repertoire and unexpected treats.
With over ten thousand pipes spread from one end of the cathedral to the other, there are few instruments that can deliver surround-sound stereo at such gale force. There were several instances where Houlihan literally pulled out all the stops, which was nothing short of exhilatating, but the ride getting there was just as entertaining, and revelatory.
He bookended the show with Bach – an emphatic, triumphant encore, as if to say with a grin, "I own this space now" – and a reinvention of the Passacaglia and Fugue in C minor, BWV 582. Since organs of the composers's era were considerably smaller, there's no question he would have at the very least approved of how imaginatively Houlihan varied his textures, from the otherworldly rustic melancholy of the introduction, through ghostly flutes, stygian pedalwork and mighty blasts of brass from the trompette en chamade located like a bullseye, front and center.
"You have no idea of how much fun I've had practicing for this concert," Houlihan confided to the crowd. "To be alone in this cathedral with just the organ is…" he was at a loss for words, a kid in a candy store. So he let the music do the talking, beginning with a similarly colorful, dynamic tour of Schumann's Four Sketches for pedal-piano, opus 58. Typically played on the organ rather than the quaint hybrid instrument they were written for, Houlihan elevated them with appropriate gravitas and majesty through swirls and swells, lushness contrasting with a hushed, spare quality in places, taking full advantage of the multiplicity of textural options.
Herbert Howells' Master Tallis's Testament, a salute to medieval British composer Thomas Tallis, had similar dynamic richness, Houlihan playing with a remarkable robustness that brought to mind the central theme's similarity to Jehan Alain's famous quasi-toccata Le Jardin Suspendu. That set the stage for a smartly counterintuitive triptych of excerpts from the symphonies of Louis Vierne, the iconic French organist and composer.
There was great historical precedent for that choice. Houlihan's teacher, John Rose, founded the cathedral concert series a half-century ago and was in the audience. In the mid-70s, he'd staged a marathon performance of Vierne's complete organ symphonies in this space. But rather than brimming with the angst and wrath that Vierne can channel with unparalleled intensity, Houlihan concentrated on disparate moods as well as Vierne's unexpectedly puckish sense of humor.
Whether intentional or not, it also made a good capsule survey of the development of Vierne's compositional style. The Scherzo, from Symphony No. 2, was gleaming, pouncing and insistent, proto-Messiaen without all the birdsong quotes. The Romance, from Symphony No. 4, was a vast nightscape delivered with silken expressiveness. Finally, Houlihan threw caution to the wind and attacked the Toccata from Vierne's 24 Pièces de Fantaisie with a stiletto intensity. Yet even as this hurricane of sound grew from bluster toward sheer terror, there was an immutable, stunning balance, Houlihan confident amid the torrents in the very eye of the storm.
The cathedral concert series continues on Oct 21 at 4 PM with choral works by Bach, Handel, Mozart, Rossini, and Verdi performed by a stellar cast including Theodore Chletsos, Sandra Mercado, Jorge Ocasio, Elizabeth Perryman, and Klára Zíková-English; suggested donation is $15. Houlihan's next recital is on Sept 28 at 7:30 PM with the Festival Orchestra, performing the mighty Poulenc Organ Concerto for Timpani and Orchestra at the Asylum Hill Congregational Church, 814 Asylum Ave. at Huntington St. in Hartford, Connecticut
Awestruck, Transcendent, Epic Grandeur from the Spectrum Symphony
One of the most transcendent concerts of 2016 happened Friday night at St. Peter's Church in midtown, where the Spectrum Symphony played not one but two rare concertos for organ and orchestra by Poulenc and Balint Karosi, the latter a world premiere. First of all, beyond the famous Saint-Saens Organ Symphony, there isn't much organ repertoire that incorporates much of anything other than brass – simply because church organs are loud. And paradoxically, to mute the organ as a concerto instrument would make it redundant: you can get "quiet organ" with woodwinds. So this show was doubly auspicious, incorporating both the Poulenc Concerto for Orchestra, Strings and Timpani in G along with works by Bach, Mendelssohn and the exhilarating, rivetingly dynamic Karosi Concerto No. 2 for Organ, Percussion and Strings, with the composer himself in the console. Conductor David Grunberg, who is really on a roll programming obscure works that deserve to be vastly better known, was a calmly poised, assured presence and had the group on their toes – as they had to be.
Another problematic issue with music for pipe organ and other instruments, from both a compositional and performance prespective, is the sonic decay. Not only do you have to take your time with this kind of music, you have to be minutely attuned to echo effects so that the organ and ensemble aren't stepping all over each other. The acoustics at this space happen to be on the dry side, which worked to the musicians' advantage. The strings opened by giving a lively, Vivaldiesque flair to the overture from Bach's Orchestral Suite No, 3, BWV 1068, a clever bit of programming since the eight-part Poulenc suite – performed as an integral whole – opens with a robust shout-out to Bach before going off in all sorts of clever directions.
Organist Janos Palur parsed the piece with a deliberate, carefully crafted approach well-suited to its innumerable shifts from one idiom to another, from the baroque, to vividly lingering Romanticism, to a robust, completely unexpected dance and more astringent tonalities. Poulenc's genius in assembling the piece came through in how integrally the organist and ensemble played it: both were clearly audible and rewardingly supportive of each other when in unison, and when not, transitions between solo organ and the strings were confidently fluid and natural. As the piece unwound, it took on a Gil Evans-like sweep and lustre, the lowest pedals and bass paired with sonic cirrus clouds floating serenely above the dark river underneath.
Percussionist Charles Kiger got even more of a workout with the Karosi premiere than he did with the Poulenc. Switching seamlessly from one instrument to another, his vibraphone amplified uneasy pointillisms that a different composer might have arranged for glockenspiel. Otherwise, his terse kettledrum accents bolstered Karosi's stygian pedal undercurrents, and his mighty, crescendoing washes on the gongs provided the night's most spine-tingling, thundering crescendos.
Yet for all its towering, epic grandeur, the concerto turned out to be stunningly subtle. Seemingly modeled on the architecture if not the melodies of the Poulenc, Karosi quickly quoted from the same Bach riff that Poulenc used and then worked his way through a completely different and even more adventurously multistylistic tour de force. There were allusions to the haunted atmospherics of Jehan Alain, the austere glimmer of Naji Hakim, the macabre cascades of Louis Vierne, and finally and most conclusively, the otherworldly, awestruck terror of Messiaen. But ultimately, the suite is its own animal – and vaults Karosi into the front ranks of global composers. It's almost embarrassing to admit not being familiar with his work prior to this concert. Not only is this guy good, he's John Adams good. Let's hope for vastly more from him in the years and decades to come. And the Spectrum Symphony return to their new home at St. Peter's on January 27 at 7:30 PM with a Mozart birthday party celebration featuring his "Prague" Symphony No. 28,
The Ultimate Halloween Song in Pretty Much the Ultimate Space
Ask any dedicated Halloween fan what they think of for a soundtrack for their favorite holiday, and a lot of them will scream, "Organ music!" Thankfully, here in New York we have Patrick Allen to supply that soundtrack a little in advance.
Allen is the tireless organist of Grace Church on Broadway just south of 11th Street. In addition to his extensive work with church services and the choir, Allen plays Bach Tuesday through Friday at twenty minutes past noon, sharp. These "organ meditations," as he calls them, are free of charge, although you are encouraged to bring canned goods for the church's food pantry.
Allen is a connoisseur of Bach. Not only does he perform the standard repertoire of preludes and fugues, and passacaglias, and hymns, but he also uncovers all sorts of obscure treasures like pastorales and folk dance themes in liturgical disguise. Playing expertly on the mighty 2013 Taylor and Boody organ, enhanced by the historic 1846 edifice's magnificent natural reverb, his four-times-a-week performances are a gothic treat that every New Yorker should play hooky from work or school at least once in a lifetime to enjoy.
Beyond the general association, what do Allen's performances have to do with Halloween? Right around this time of year, he breaks out Bach's Toccata in D. It's arguably the greatest piece of music ever written, it's been a staple of horror film for almost a century, and Allen always lets his phrases linger with just a little extra grand guignol menace right about now. Stop by the church today or tomorrow if you're in the neighborhood because you may be in for a real treat. The trick is to get here on time or you might miss it.
Organist Christopher Houlihan Plays an Exhilarating, Insightful Program in Chelsea
Organist Christopher Houlihan has world-class chops and the kind of passion that most people who tackle playing the king of the instruments have in abundance. Houlihan's strength is that he's able to communicate that passion, not just with fast fingers and feet, but by engaging the audience with plenty of insight into both craft and history. At his Chelsea concert last night at Holy Apostles Church, he recounted the tragic tale of composer Louis Vierne, who collapsed at the console at Notre Dame and landed on the very bottom pedal, serenading the audience with an ominous drone for more than a minute until someone figured out something wasn't right and discovered his lifeless body. That incident is well known to fans of the organ repertoire; Houlihan also shared several other gloomy facts about the composer, whose symphonic cycle he played to much acclaim both in the organ demimonde and beyond it a couple of years ago. And then he followed with three movements from Vierne's Symphony No. 4.
Houlihan explained that these would be somewhat uncharacteristic for the typically turbulent, sometimes wrathful Vierne, and they were: a mutedly balletesque take of the Menuet, a lively yet meticulous romp through the Romance and then the finale, which returned with a roar to emotional terrain more familiar to the composer.
Bookending the concert with pieces by Bach made sense, considering the darkly baroque colors of the organ. Houlihan described the popular Prelude and Fugue in E Minor, BWV 548 as a series of kaleidoscopic variations that went off on innumerable interesting tangents, then backed that up with a rippling, steady attack, making imaginative use of high woodwind voicings on the first part of the fugue. In a clever bit of programming, he also bookended a transcription of Brahms' choral prelude No. 11 – the composer's saturnine final work – with an early piece, the Prelude and Fugue in A Minor, an ambitious exercise in counterpoint.
Houlihan likened Henry Martin's Prelude and Fugue in B Flat Major to "what Gershwin would have done with a prelude and fugue," and he was right on the money with that too. The world premiere of a commission from Michael Barone of NPR's Pipedreams, from a series of twelve of those pieces in every key, after Bach, it turned out to be an intriguingly orchestrated series of circling phrases that eventually loosened with a ragtime-inflected flair. At the end of the program, the crowd – an especially large one – gave Houlihan a standing ovation and wouldn't let up until he'd come back for the encore. The organ world needs more ambassadors like him.
Yet Another Distinctive, Entertaining, Eclectic Organ Jazz Album from Brian Charette
Brian Charette – an insightful contributor to the New York City Jazz Record – is the rare music writer who also writes a good tune. And he literally wrote the book on the B3 organ. He goes under the hood: drawbar settings, mechanical tips, it's all there. And he's generous with his ideas: if you want to sound like Charette, he's got all his harmonic tricks in there. He records prolifically for the reliably swinging Posi-tone label, and he's playing the album release show for his latest one, Good Tipper – streaming at Spotify – with his reed-fueled "sextette" tonight, April 29 at Smoke Jazz Club at the southern tip of what used to be Harlem and is now more or less the Upper West tonight with three sets at 7, 9 and 10:30 PM. As an alternative to the pricy prix-fixe menu, you can hang at the bar in the back where the sound is just as good.
Charette's playing is distinguished by fearlessness and an imperturbable wit. He has no issues with code-switching between dub, funk, Jimmy Smith and maybe even a little Messiaen if he's in the mood. Charette's back catalog is mostly originals; this new release is a grab bag of new material and an eclectic bunch of covers, most of them as unpredictable as you would expect from this guy. The album's title track is a briskly swinging, amiable number centered around a genial Avi Rothbard guitar hook, Charette working a steady, full-on, allusively fluid solo midway through. The funky cover of the Zombies' Time of the Season is an improvement on Rod Argent's teenage original but other than offering tongue-in-cheek hubris, doesn't really add anything. Richard Rodgers' Spring Is Here gets a balmy, tremolo-toned bossa tinged reinterpretation, Rothbard matching Charette's optimism as he chooses his spots.
Al Martino's Cuando Cuando Cuando is reinvented as a roller-rink latin soul shuffle, guitarist Yotam Silberstein adding lively, wry spiraling followed by a similarly deadpan, chugging Charette solo. Another Quarter, by Rothbard is a funky soul strut with an astigmatic, somewhat acidic Charette solo that really wakes you up while the band keeps it on the purist 60s tip.
Standing Still, a Charette original, is catchily polyrhythmic as it hints at a waltz and dips in and out of doubletime. John Barry's theme to the film You Only Live Twice gets a very straight-up take, Charette letting Silberstein carry the hooks and saving a muted menace for his own lines, drummer Mark Ferber driving it hard.
Charette tackles a couple of Jimmy Webb tunes, Wichita Lineman and Up Up and Away, the former backing away from the baroque arrangement of the Glenn Campbell hit, adding a swinging funk groove and in the process maxing out the song's bittersweet angst, Rothbard and drummer Jordan Young building to an insistent peak. The latter is a revelation, Charette bringing an unexpected, chordally-fueled gravitas to lite 60s stoner soul, Silberstein's guitar supplying the helium.
One and Nine, also by Rothbard, is the album's most expansive number, a loping groove which Charette colors judiciouslly, tenor saxophonist Joe Sucato doing the same and anchoring the tune with a tinge of smokiness. Charette sets up a classic biting/pillowy dichotomy, organ versus guitar throughout his ballad To Live in Your Life (with some irresisibly clever hints of a famous 60s janglerock hit). They take the album out on the upbeat tip with a swinging, syncopated version of Joe Henderson's The Kicker. It's a good introduction to the many things Charette has fun with, and a continuation of a career that confounds some of the more uptight members in the jazz community but keeps everybody else entertained…and sometimes in stitches.
Jeremy Filsell and Nigel Potts Reinvent Rachmaninoff
The organ at Christ & St. Stephen's Church on the Upper West Side has an unexpectedly bright, ambered tone in the style of French organs of the mid-1800s. But the pipes here don't have the kind of slow, echoey resonance they would in a marble cathedral. That enabled pianist/organist Jeremy Filsell and organist Nigel Potts to play their fascinating, timbrally rich arrangement of Rachmaninoff's Piano Concerto No. 1 at a briskly triumphant clip that they couldn't have gotten away with in a venue where the notes take longer to echo out, reaffirming Cameron Carpenter's recent observations on how much the diversity of organs around the world pretty much determines what can be played on them and what can't.
The adventurousness of this program wasn't limited to reinventing Rachmaninoff. The night's theme, Filsell told the crowd, was composers born in 1873 along with the iconic Russian Romantic. Filsell opened on the organ with Belgian composer Joseph Jongen's Sonata Eroica, a dynamically-charged blend of baroque precision and lush Romantic harmony counterbalanced by an eerie, otherworldly, much more forward-looking quality. In places, it reminded of Widor's symphonies. In its more Germanic moments, it echoed another composer on the bill, Max Reger, whose Toccata & Fugue in D Minor Potts delivered with a steady verve. Both Potts and Filsell also played their own solo transcriptions of Rachmaninoff works, Potts doing a rapturous, aptly cantabile take of the famous Vocalise, Filsell doing two glittering, cascading early songs, Melody, Op. 21, No. 9 and Dreams, Op. 38, No. 5 at the piano.
But the piece everybody came out for was the Concerto. Filsell told everyone that it's his favorite of Rachmaninoff's four, reaffirmed by how much joy and transcendence he brought to it. Like so much of the composer's work, its transcendent message and undercurrent of hope against hope couldn't be more clear. Filsell played the opening movement with a steady, lilting, often jaunty sway, then pulled back and let the second resonate with an angst-drenched rubato. Meanwhile, Potts nimbly handled the orchestral score, and that was a revelation. The steady precision and often very quiet, even minimal approach he gave it underscored the composer's ceaselessly clever counterpoint, contrasts and conversational sensibility that could just as easily get lost in the wash of a string section. They took it out with a victorious, towering splendor. One can only think that a nineteen-year old Rachmaninoff – that's how old he was when he debuted the initial version of this work – would have joined in a standing ovation along with the audience. While it doesn't appear that this concert was recorded, Filsell and Potts' arrangement of both this piece and the immortal Piano Concerto No. 2 are both up at youtube in their entirety.
Cameron Carpenter Launches an Organ Odyssey at Lincoln Center
Sunday afternoon's concert at Lincoln Center was as much about the organ as it was about the organist. It's likely that the current generation remembers Les Paul as a paradigm-shifting pioneer of electric guitar (and stereo) technology far better than as a brilliant jazz guitarist, so maybe someday the organ demimonde will refer to the Marshall & Ogletree International Touring Organ as the Cameron Carpenter. It's essentially a digital mellotron. Where the mellotron plays analog samples of notes recorded by various configurations of an orchestra, this new organ plays digital samples taken from some of Carpenter's favorite organs around the world. It's an architecturally imposing instrument with a huge cockpit of a console, five manuals of stops played through eight large banks of twin speakers plus two banks of four trumpets each, and four more with large bass woofers. All this likely requires a couple of tractor-trailers and heavy-duty concert hall electrical power. Carpenter, with his rare blend of judicious dynamic choices and astonishing, whirlwind technique, reaffirmed that he is the obvious choice to play it (and to be involved in crafting its design and function). He was a force of nature nine years ago when he performed a dramatic weekend stand downtown at Marble Church; that he has grown even further as a musician since then is mind-boggling.
This was apparent from watching him leap from rank to rank with millisecond-precise athleticism, airing out every inch of sonic capability from the mighty beast, which he played with his back to the audience so everyone could see how much agility is required by so much of the organ repertoire. The program seemed designed to showcase that, not to mention Carpenter's omnivorous and adventurous taste in works from throughout the centuries and the various schools of organ composition, all of which are influenced greatly by national and regional traditions of organ-building. Carpenter's attempt to transcend all of those boundaries resulted in three massive standing ovations and calls for more than the two encores that the organist delivered. Bells and whistles – monsoon soundscapes, mighty thunderclaps and timpani, glockenspiel, celeste and other more whimsical effects – featured in the sturm und drang of the world premiere of Carpenter's own Music for an Imaginary Film. They took centerstage even more prominently in the encores: Eric Coates' The Dambusters, a jaunty, triumphantly Gershwinesque mini-epic, and a boisterously playful reworking of the Gordon Lightfoot folk-pop hit If You Could Read My Mind.
Carpenter's virtuosity was most evident in Rachmaninoff's almost sadistically difficult, waterfalling keyboard arrangement of Bach's Violin Partita No. 3, as well as Nicolai Medtner's Messiaenic partita Faity Tale in E Minor, rising from raptly atmospheric wonder to furious, blunderbuss volleys and cascades. Carpenter made also made the relentless staccato of another cruelly challenging piece, Jeanne Demessieux's Etude VI, look easy. His take of Cesar Franck's Chorale No. 1 in E Major, a familiar and unselfconsciously gorgeous piece in the standard repertoire, was rather brisk and as a result somewhat brusque. But Carpenter nailed the sense of wonder and rapture in his own transcription of Albeniz's Evocation (from the Iberia suite), and then the climactic ninth movement from Messiaen's La Nativite. The organist averred to being "About as interested in Lent as your average telemarketer," but nonetheless explained how the mighty payoff in the French composer's evocation of God finally making an earthly appearance struck a nerve that transcended any liturgical meaning.
What was missing in all this was reverb, the swirling vortex and lusciously lingering decay of the organ stops you find in the world's great cathedrals – and no doubt this can be adjusted mechanically to accommodate divergent acoustical spaces. Part of that issue stemmed from the sonics of Alice Tully Hall, which are world-class, but the space is not a "live room" – it was designed for singers and orchestras, and it serves those needs exceptionally well. So the notes faded away here much in the same way they would have if Carpenter was playing in a rock concert space. But that's being picky. What Carpenter left unsaid was that this organ frees him to play music from pretty much any period in history, written for widely differing instruments, pretty much anywhere that will accomodate his new organ and to take that crusade global. Here's to that adventure.


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Casino Royale
A host of sharply-dressed secret agents recently gathered to enjoy a Night in Monte Carlo. Agent 007 himself was on hand to oversee the event! Dinner, drinks, dancing, and a silent auction to benefit the YMCA made for a fun and exciting evening.
From left: Tim Glynn, Dawn Glynn of TowneBank, Bet Cornetta, Shirley Sasser of TowneBank, and Eric Sasser of Sasser Construction
From left: The Honorable Judge Joseph Migilozzi, Mary Beth Kozak, and Peter Decker, III
From left: YMCA Board Members Denyse O'Connor, Kelly Melton, Chelsea Glynn, and Michelle Knowles
Marco Barnes and Kendell Cobb
From left: Judy Piersall, Bill Kenny, Portsmouth Circuit Court Judge Honorable William Moore, and his wife Sharon
Retired Portsmouth Judge Von Piersall and his wife Judy
JoJack's Restaurant staff, from left: Michael Amory, Dominique Covil, Owners Dan and Renae McConnell, Michael Benton, Charlene Lewis, and Orsha Bowser
From left: YMCA employees Kimberly Cross, Samantha Hayden, Agent 007, and Jenna Starkey
A Vision of Youth
Use the Bricksby Breonna Loxley
Managing Your Own Websiteby Terry Young
Need a Spot?by Dr. Bill Austin
Book Excerpts
The Hope Trap -- Lost in the Kitchenby Jean Loxley-Barnard
Air Aspects
Tracking construction progress by droneby Terry Young
Publishers Point
Family and Friendsby Jean Loxley-Barnard


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Electives: Creative gateways
Opportunities for students to learn about themselves.
May 23, 2018
Filed under Arts & Entertainment, Recent Posts, Student Life
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Family & Consumer Sciences, Tech Ed, 3D Art, and many more. These are just a few of the many electives at Rachel Carson Middle School.
"Electives give students an opportunity to explore their passions," said Ms. Stacy Kirkpatrick, director of student services.
There are a wide variety of genres to choose your electives from. Our school offers classes related to Career and Technical Education, Fine Arts, a few language options, and support classes. Each category has more specific courses, such as Drama in the Fine Arts section.
"It's something to get excited about in school," said Anvi Padiyar. "I like being able to choose my classes."
The ability to make decisions is part of maturing. Choosing your classes helps you gain more control over your life and practice making what some would consider long-term choices.
"When I think about electives I think back to my middle school experience, and we had to take Tech Ed, we had to take FACS, and we had to take art," said Ms. Kirkpatrick. "We had to go through those rotations, and we had to take all three in one year. I think it's good for kids to get some other skills that they might not get otherwise, as well as explore passions that they might be able to develop further in the future."
Anya Parekh said, "There are classes that help you explore different personal interests and hobbies. For example, if you like art, and you like computers too, you can combine those and take Computers in Art."
Ms. Kirkpatrick said she tries to place students in a range of interesting electives.
"I like you to pick what interests you have, and what alternate interests you have, because I can't give everybody everything that they want," she said. "If everybody walks in here and picks Chorus and Tech Ed, and Spanish 1A, there's no way I can get that many teachers in those few electives. I want you to take what's gonna make you happy. To me, that's like your creative downtime."
Many factors are taken into account when deciding which courses our school will offer. The administration can talk to feeder elementary schools as well as other middle schools to see what students are interested in. If a certain number of students are interested in a particular subject, the school has to make the decision of whether or not they'll add that class to the options for the current or following year.
"We have a core option set that's available countywide, so that's where we start, " said Ms. Kirkpatrick. "From there, we look at what choices our kids might enjoy."
Anvi Padiyar said, "I selected [a course] as one of my least favorite elective choices, but I got it, and I was actually kinda surprised by how much I enjoyed it. Not always getting your first choice isn't such a bad thing 'cause you can always adapt and start to like different things out of your comfort zone."
Another factor to take into consideration is the number of teachers available for each subject. If there are 700 students interested in art, and only two teachers, not everyone will be able to take the art class. That's why we give our first four preferences.
Each class can teach you something that will stay with you through life. You never know when you'll need to know something, and those skills may prove more useful than you anticipated.
"I look back, that's the only sewing experience I've ever had," said Ms. Kirkpatrick. "I can hem my pants now, I know how to make little things. I know how to sand, and use tools, and build things, because of Tech Ed. When you look back at those experiences, just those short middle school experiences gave me some extra tools that I was able to use just doing my laundry and cooking."
Most Fairfax County middle schools don't offer very many electives. Carson does. For example, Carson is one of the few FCPS middle schools to offer Journalism as an elective, but in high schools, there are many more options and opportunities. Many more languages,learning more in-depth with the arts, English/writing, Family and Consumer Sciences and technology.


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Prayer from and person who is being evil and we are scared she is mad at one person but is taking it out on our family. We don't want anyone to get hurt. She is stalking our house saying we should die. This person needs prayer and help. Keep this person away from my house and family let her find herself and live herself protect us from harm. In Jesus name amen.
Return to Prayers for Protection and Safety


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Great app
This is a GREAT app. It's very easy to use, and it has responsive options. Although it would be nice to see all the settings responsive, it still is a great app.
There are one or two bugs and settings I don't like, but this is a lovely app.
I bought the Ultimate version mere minutes after installing the plugin. At that price it's a steal!
I use it here: Jeffreys Bay map. You'll notice that even the markers can be branded with your own style!
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