text:
The Food Standards Agency (FSA) said it had stopped any meat leaving supplier Russell Hume's sites due to "processes around use-by-dates". Last night Greene King, the UK's largest pub retailer, said: 'We only take a handful of products from Russell Hume and have contingency plans in place which means we can continue to serve our customers as normal'. Read More »
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text:
Lodge 241 Gallery Cafe
This three-storey weatherboard lodge (c. 1912) is an iconic landmark in Bellingen, equally renowned for its food, coffee and history. Absolutely everything is made on-site (from pastry to bread to jams), and the blackboard-style lunch menu is constantly refreshed with tasty dishes like crispy leek risotto cake with pan-seared mushroom ratatouille and garlic aioli. Dine inside, or on the terrace or balcony at this pretty riverside cafe.
Contact information
117–212 Hyde St; (02) 6655 2470; open Wed–Sun for breakfast, lunch and dinner

subset: commoncrawl


text:
while mom was here a few weeks ago we stopped at a used furniture store to look for a small chair for my master bedroom. we came across this gem. ha ha.the guy gave us a deal on it so we got it for a steal. only $15. it was in pretty good shape but i wanted to paint it and recover it, so we got to work pulling it apart in hopes to get it back together :)
enjoying the sunshine!
we spray painted the chair black and found bargain fabric at Hobby Lobby. i used spray adhesive to put the fabric on the outside of the chair and used a staple gun for the inside/front side and seat of the chair.
i sanded some of the black paint off to try to make the chair look a bit antiqued. then i took some stain and went over the entire chair. i really like how it made the wooden part of the chair look.
i am super pleased with how it turned out, and that it cost less than $25 total. i will be posting pics of it in the room soon.


text:
May 13 2011
SWTOR Life at E3 2011
Electronic Entertainment Expo holds a special place in hearts of all Star Wars: The Old Republic fans. It is the convention where both "Deceived" and "Hope" cinematic trailers were first shared with the world. It is the place where we first saw in-game footage of the Bounty hunter and the smuggler. Black Talon instance, back […]
Comments Off on SWTOR Life at E3 2011


text:
By Bill Bryson
Writing nostalgia can be tricky. Experiencing sentimental longings or wistful affections for the past is one thing. Presenting these emotions in a way that enables a reader to readily identify with the writer's past, well that's another.
So, should any creative writing teachers out there find themselves looking for a textbook, one that might help students better understand this delicate, challenging genre, here's a thought.
Try The Life and Times of the THUNDERBOLT KID, by Bill Bryson.
In this hilarious, keenly insightful memoir one will find all the ingredients that make for a great reminiscence–identifiable characters (parents, teachers, adults in general), annoying traits (the human condition so fill in the blank here), historic markers (products, entertainment, America's Civil Defense), the setting of time and place (home town when the good old USA was the good old USA).
If we don't know Bryson's characters or relate to all of his references that's okay. As readers we'll recall OUR characters and then, before we know it, we'll be enjoying our moments from the past.
And that's the trick of writing nostalgia! When the work is so damned full of pitch-perfect observations we (in a sense) think the book's about us.
Hey, we all didn't all grow up in Des Moines, Iowa, in the 1950s. Many of us aren't 60-year-old males who once ran around in cape and costume imagining that we had super powers that would allow us to see Mary O'Leary naked (even if many of us had similar thoughts). Maybe we didn't have a paper route, one with senile slow paying customers who kept vicious attack dogs. Not all of us were comic book freaks or glued to our TVs just to hear the Lone Ranger's faithful sidekick Tonto, shout, "Get 'um up, Scout!" Hell, there are probably a few of us who never even caught our dad and mom doing it!
But those of us in the 1950s club—at one time or another—have certainly pondered some of the questions that gave Bryson pause. Why were those freakin' TV dinners that we loved always steamy hot in the mashed potatoes compartment and frosty cold on the fried chicken side? Why wasn't' Dale Evans named Dale Rogers and why did Roy's wife always dress as a man? Why do we ALL have an uncle who spews food while he eats? And why did Donald Duck and his flock of nephews wear caps and shirts but were naked from the waist down?
Through the Kid, we can enjoy Bryson's edgy observational humor (another key to writing great nostalgia) but do so knowing that with his eye for reality, a turn of the page may NOT always offer up that ". . . sentimental longing or wistful affection for the past!"
Bryson on the atomic bomb: "What was scary about the growth of the bomb wasn't so much the growth of the bomb as the people in charge of the growth of the bomb. The big hats at the Pentagon were actively thinking of ways to put this baby to use. One idea, seriously considered, was to build a device somewhere near the front lines in Korea, induce large numbers of North Koreans and Chinese troops to wander over to have a look, and then set it off."
Bryson's Kid, makes us think!
The Kid? Well the creation of the Thunderbolt Kid was a childhood must for Bryson, enabling him to deal with the fact that parents, most adults in fact, must—due to their boring, mundane behavior—be aliens, life form from another planet. This called for the drastic creation of the TK, a character when assembled would have young Bryson decked out in a most eclectic costume—a sacred jersey of Zap sporting an electric thunderbolt, X-ray goggles, a Zorro whip and sword, a Sky King neckerchief, a Roy Rogers decorative vest (you get the idea).
And Bryson would take this creation he lived through (lived, hell, survived Adult World through) to a day when he would be forced to jumpstart his X-ray vision to something more (remembering Mary O'Leary) functional and in fact more suited to his needs:
Bryson: ". . . it was necessary to perfect ThunderVision, a laser like gaze that allowed me to strip away undergarments without damaging skin or outer clothing. That ThunderVision, stepped up a grade and focused more intensely, could also be used as a powerful weapon to vaporize irritating people (adults—a key target of the Kid) was a pleasing but entirely incidental benefit."
There are moments in The Kid splashed with laughter, passages when we stop and say, "Hey, my family didn't walk around naked but I had a neighbor, Bunky, a kid whose mother, Mrs. D cup, thought their house was a nudist colony with windows and walls! If one just happened by (which it was my habit to do almost daily) she could be caught wandering the house like a naked free range chicken.
Bryson on his father's penchant for "dressing" as Donald Duck when building his mid-night snacks: "There was one other notable thing about my father's making of snacks that must be mentioned. He was bare-assed when he made them. It wasn't, let me quickly add, that he thought being bare-assed somehow made for a better snack; it was just the he was bare-assed already (believing it healthy he slept naked from the waist down). And when he went downstairs late at night to concoct a snack he always went so attired (or unattired). Goodness knows what Mr. and Mrs. Bukowski next door must have thought as they drew their drapes and saw across the way (as surely they must) my father, bare-assed, padding about his kitchen reaching into high cupboards and assembling the raw materials of his nightly feast."
With my apologies to Mr. Bryson for this review's condensations: "Return with us now to those thrilling days of yesteryear!"
On time and place: "I can't imagine there has ever been a more gratifying time or place to be alive than America in the 1950s. No country had ever known such prosperity. When the war ended the United States had $26 billion worth of factories that hadn't existed before the war, $140 billion in savings and war bonds just waiting to be spent, no bomb damage, and practically no competition. All that American companies had to do was stop making tanks and battleships and start making Buicks and Frigidaires—and boy did they."
On the average Kid's day in Des Moines during those booming 50s?: ". . . long periods of the day were devoted to just seeing what would happen—what would happen if you pinched a match head while it was still hot or made a vile drink and took a sip of it or focused a white-hot beam of sunlight with a magnifying glass on your Uncle Dick's bald spot while he was napping. (What happened was that you burned an amazing swift, deep hole that would leave Dick and a team of specialists at Iowa Lutheran Hospital puzzled for weeks.)
On the question of what good is a dim witted friend? "Then, realizing the enormity of what we had just done (wiped out a neighbor's prize zinnia garden with wooden swords)—I told Buddy that this was not a good time for me to be in trouble on account of my father had a fatal disease that no one knew about, so would he mind taking the blame? And he did. From this I leaned that lying is always an option worth trying. I spent the next six years blaming Buddy for everything bad that happened in my life. I believe that he even eventually took the rap for burning the hole in my Uncle Dick's head even though he had never met my Uncle Dick."
On school, which the Kid hated: "I probably wouldn't have gone at all if it hadn't been for mimeograph paper. Of all the tragic losses since the 1950s, mimeograph paper may be the greatest. With its rapturously fragrant, sweetly aromatic pale blue ink, mimeograph paper was literally intoxicating. Two deep drafts of a freshly run-off mimeograph worksheet and I would be the education system's willing slave for up to seven hours. Go to any crack house and ask people where their dependency problems started and they will tell you, I'm certain, that it was with mimeograph paper in the second grade."
On teachers: "They were never going to like me anyway. There was something about me—my dreaminess and hopeless forgetfulness, my lack of button-cuteness, my permanent default expression of pained dubiousness—that rubbed them the wrong way. I always did everything wrong. I forgot to bring official forms back on time. I forgot to bring cookies for class parties, and Christmas cards and valentines on the appropriate festive days. I always turned up empty-handed for show-and-tell. I remember once in kindergarten, in a kind of desperation, I just showed my fingers."
On the tree house: where it was the boys of Des Moines habit to take their clothes off. "The only girl in the neighborhood anybody really wanted to see naked was Mary O'Leary (hence the rationale for Thunderbolt Kid's ThunderVision glasses). She was the prettiest child within a million galaxies, but she wouldn't take her clothes off. She would play in the tree house happily with us when it was wholesome fun, but the moment things got fruity she would depart by the way of the ladder and stand below and tell us with a clenched fury that was nearly tearful that we were gross and loathsome. This made me admire her very much, very much indeed (but not quite enough to ditch the idea of the Kids ThunderVision glasses crafted to allow one to see no deeper than articles of clothing)."
On TV: "In 1950, not many private homes in America had televisions. Forty percent of the people still hadn't even seen a single program. Then I was born and the country went crazy (through the two events were not precisely connected). By late 1952, one-third of American households—twenty million homes or thereabouts—had purchased TVs. In May 1953, United Press reported that Boston now had more television sets than bathtubs and people admitted in an opinion poll that they would rather go hungry than go without their television. Many probably did."
On the indestructible 1950s: "I don't know how they managed it, but the people responsible for the 1950s made a world in which pretty much everything was good for you. Drinks before dinner? The more the better! Smoke? You bet! Cigarettes actually made you healthier, by soothing jangly nerves and sharpening jaded minds, according to advertisements. "Just what the doctor ordered!" read ads for L&M cigarettes, some of them in The Journal of American Medical Association where cigarette ads were gladly accepted right up to the 1960s. X-rays were so benign that shoe stores installed special machines that used them to measure foot sizes, sending penetrating rays up through the soles of your feet and right out the top of your head
As Bryson and Des Moines move into the 1960s we see change and, again, not the change that makes (at least for this reader) those "wistful affections for the past." As old edifices come down and shopping centers pop up we join Bryson in his longing for the 1950s. In the end, as he gives us this dose of reality, we turn the pages (of time) with reluctance, and do so with only a sliver of hope, the hope that perhaps another reader's 1960s might just be the 1950s Bill and I recall with such fondness.
One never knows how others will relate to the written word, in this case humorous memories and reminiscences from Bill Bryson's childhood in the The Life and Times of the THUNDERBOLT KID. But having read this outlandishly entertaining book . . . this KID of the '50s is going to get himself fitted for cape, costume and ThunderVision goggles. Just on the off-chance that I might be able to flush out an adult version of Mary O'Leary.
For a copy of THE THUNDERBOLT KID check a local library, order through your independent bookseller or purchase in used paperback at Amazon for less than what the average creative writing student spends for a cup of Starbucks Mocha. Just click above on the book's cover.


text:
Hide Forgot
Description of problem:
If the file name for the file to be patched in a patch file has spaces, it
cannot be handled by patch.
Version-Release number of selected component (if applicable):
How reproducible:
create a patch of a file with spaces in path
try to apply the patch
Actual results:
patch asks for the file name to patch
Expected results:
Just the patched file
Additional info:
Note that this bug is fixed upstream on 2003-05-18!
The most recent release of patch is 2.5.4, released in 1999. Which upstream fix
are you referring to?
The most recent release I find ist 2.5.9 (ftp://alpha.gnu.org/gnu/diffutils/)
from 2004-06-01.
We don't generally ship pre-release software, and 2.5.9 is not a "stable"
release (hence it being hosted on alpha.gnu.org not ftp.gnu.org).
I'll take a look at the file names change there.
Created attachment 294351 [details]
Patch is simple and non-invasive.
Klaus: thanks for pointing out this fix.
Proposing for RHEL-5.3 and granting Devel ACK.
Read ya, Phil
This request was evaluated by Red Hat Product Management for
inclusion, but this component is not scheduled to be updated in
the current Red Hat Enterprise Linux release. If you would like
this request to be reviewed for the next minor release, ask your
support representative to set the next rhel-x.y flag to "?".
Technical note added. If any revisions are required, please edit the "Technical Notes" field
accordingly. All revisions will be proofread by the Engineering Content Services team.
New Contents:
Patches for files whose names contain spaces could not be applied. A change has been backported to allow filenames with spaces.
I can reproduce this bug on patch-2.5.4-29.2.3.el5:
# cat patch1
--- second 2010-08-24 05:17:56.000000000 -0400
+++ f i r s t 2010-08-24 05:17:44.000000000 -0400
@@ -1 +1 @@
# patch second patch1
patching file second
# cat patch2
--- f i r s t 2010-08-24 05:17:44.000000000 -0400
+++ second 2010-08-24 05:17:56.000000000 -0400
@@ -1 +1 @@
# patch f\ i\ r\ s\ t patch
patching file 'f i r s t'
Could you please provide more specific reproducer?
echo a > "file name.orig"
echo b > "file name"
diff -u "file name.orig" "file name" > fn.patch
rm "file name"*
echo a > "file name"
patch -i fn.patch
Ah, great... thanks.
An advisory has been issued which should help the problem
described in this bug report. This report is therefore being
closed with a resolution of ERRATA. For more information
on therefore solution and/or where to find the updated files,
please follow the link below. You may reopen this bug report
if the solution does not work for you.


text:
Duration: 12′
A 'fancy' of four folk songs are brought together in joyful celebration of youthful love and courtship. They are scored for mixed voices and harp and have been specially written for the Canterbury Chamber Choir. Green Bushes, for all voices, tells of a lady who waits for her lover, but not for long because she has another offer from a young man walking by. The lover arrives – too late.
The Rambling Sailor, a swaggering song in five time, is sung by the men of the choir. With bravado the sailor recounts how he is giving up his sea travels in favour of a more pleasing pastime, the pursuit of young ladies. He has permission from the King, so that's alright then.
The Crystal Spring, for female voices, opens with soprano solo. A young man asks his lady if she could 'fancy' him and he assures her that he can provide her with everything she desires. Can she believe him? This leads straight into the final song, O, No John, for all voices. The trick here is for the young man to elicit the answer he requires from a young lady, whose 'father always bid me answer 'No'. It takes a few verses for him to work out how to word his proposal of marriage to achieve this. A negatively positive ending.
A Fancy of Folksongs
Green Bushes
The Rambling Sailor
The Crystal Spring
O No, John!
Duration: 15′ For the text please contact Cecilia McDowall
Just over ten years ago I wrote a Christmas cantata called, Christus natus est, in which I made use of one of my own original Christmas carols, Of a Rose, to make instrumental links between five traditional carols, re-conceiving the harmony of them all. I love Christmas and have a great fondness for many of the carols associated with such a special time of year so I was delighted to be commissioned by the Worthing Choral Society to write a new cantata, A Winter's Night, for mixed chorus, brass quintet, percussion and organ.
Selecting carols is half the fun and I have chosen a mixture of English, German and French carols, some of my very favourite. As the commission came from a Sussex town it seemed appropriate to include a carol from this part of the world, the Sussex Carol. Ralph Vaughan Williams noted down the tune in 1919 in Horsham, Sussex, hence the name.
The cantata is structured in an arc; jubilant carols at the opening and close of the work with a spirited carol at its heart and in between, carols of a more gentle, contemplative nature. The work unfolds without a break. An instrumental prelude opens A Winter's Night with medieval intimations which underlie the three fast-moving carols. Each verse of the joyous In Dulci Jubilo is scored slightly differently for voices and accompaniment and the familiar tune is given an overlapping or echoing effect, perhaps suggesting bells ringing out.
The second movement, O little one sweet, is an arrangement of a 17th-century German melody, the best known arrangement being by J S Bach, and before him, a simpler setting by Samuel Scheidt. In the third verse the sopranos and altos weave a descant across the melody sung by the men of the choir.
This is followed by a rhythmic and energetic treatment of the traditional French melody Noël Nouvelet, written around the same time as the famous 'Agincourt Song' of 1415. Any allusions to the latter are not coincidental. In its original form Noël Nouvelet is rather 'march-like' but I have given each phrase a little rhythmic twist, something unexpected.
The title of the cantata comes from the next carol, Still, still, still. In 2013 I worked with the American poet, Angier Brock, on a carol she had commissioned for her close friend's 70th birthday, Advent Moon. Afterwards I asked Angier if she would make a re-working of the translation of this simple but charming 19th-century Austrian carol; this is her opening line, Still, still, still, the winter's night is still.
The instrumental material from the start of the work returns to introduce the final carol, the Sussex Carol, this time at a faster pace. The descant of In Dulci Jubilo makes a final appearance in the last verse, bringing the beginning and the end of the cantata together in joyful exultation. © 2015, Cecilia McDowall
The first performance of A Winter's Night was given by the Worthing Choral Society, conductor Aedan Kerney, on 15 November, 2014. A few weeks later, on 5 December, A Winter's Night received its US premiere given by the Washington D.C. choir, Choralis, with the Classical Brass Quintet, conductor Gretchen Kuhrmann. With grateful thanks to the Worthing Choral Society and the RVW Trust for their generous funding and support of A Winter's Night
Duration: 12′
Ad Lucem: A Canticle of Light is a setting of words taken from religious texts, poets and philosphers and scored for soprano solo, mixed voices and string orchestra. The work, commissioned by Alan McGlynn, is dedicated to the memory of his late wife, Mary Josephine Blackburn, a member of St Albans Choral Society. Both she and her husband, Alan, have been strong supporters of Amnesty International. The first performance of Ad Lucem: A Canticle of Light was given by Rebecca Rudge (soprano), St Albans Choral Society and Orchestra Nova, conducted by George Vass, at St Saviour's Church, St Albans, Hertfordshire, 24 October 2009. The work was subsequently performed by Rebecca Rudge (soprano solo), St Albans Choral Society, accompanied by Richard Harvey (organ), conducted by George Vass, at Brecon Cathedral and St Andrew's Church, Presteigne, Wales, on 30th and 31st October, 2009.
'We shall this day light such a candle, by God's grace, as I trust shall never be put out.' (Bishop Hugh Latimer; Actes and Monuments of these Latter and Perilous Days, Foxe's Book of Martyrs, 1563)
'From within or from behind, a light shines through us upon things, and makes us aware that we are nothing, but the light is all,'(Ralph Waldo Emerson, 1803-1882)
'Thousands of candles can be lit from a single candle, and the life of the candle will not be shortened. Happiness never decreases by being shared.' (Gautama Siddharta, the founder of Buddhism, 563-483 B.C)
'His light is like a niche in which is a lamp, the lamp encased in glass, the glass a glistening star. It is light upon light. Nurun ala Nur. (Qur'an, Sura 24.35; translated from the Arabic by the Rev. J.M.Rodwell 1909)
'Light is the symbol of truth.' (James Russell Lowell 1819-1891, American poet and critic)
'Lighten our darkness, we beseech thee, O Lord; and by thy great mercy defend us from all perils and dangers of this night; for the love of thy only Son, our Saviour, Jesus Christ. Amen.' (The Third Collect, for aid against all perils – Evening Prayer, The Book of Common Prayer)
Duration: 4′
Advent Moon by Angier Brock
Duration: 4′
Annunciation was commissioned by Choros and Janet Lince. The first performance was given on 4 December 2005 at St Peter and St Paul Church, Deddington, North Oxfordshire by Choros, conducted by Janet Lince.
Annunciation (from Holy Sonnets)
John Donne
Duration: 4′
Aurea luce
Light of light, you have flooded every age with golden light and rosy splendour, adorning the heavens with glorious martyrdom, on this sacred day, which pardons sinners.
The Ave Maria, written for upper voices, is one of a triptych of Marian motets, the others being Ave Regina and Regina Caeli. It is the most intimate in expression of the three and features 'a pair of laddering motifs, the one rising in close harmony quavers, the other cascading down in chains of suspensions.'
Ave Maria
Duration: 12′
Ave Maris Stella was commissioned by Portsmouth Grammar School for the Portsmouth Grammar School Chamber Choir and was first performed by them in Portsmouth Cathedral on 11th November 2001 accompanied by the London Mozart Players under the direction of Nicolae Moldoveanu at Portsmouth Cathedral. Ave maris stella is recorded on Dutton Epoch CDLX 7146.
The text has a special significance for Portsmouth with its great naval heritage; the central section "they that go down to the sea in ships" being particularly poignant as the piece was originally written for performance on Armistice Day. McDowall, like so many of us, was horrified by the events of 11th September 2001, and with Ave Maris Stella successfully composed a simple peace anthem which cannot fail to touch the hearts of all those who experience it. The initial inspiration for the work came from a quotation of Woodrow Wilson, whose words appear at the head of the score: "the freedom of the seas is the sine qua non of peace, equality and co-operation".
Ave Maris Stella, with its modest scoring for soprano solo, mixed chorus and string orchestra consists of seven short sections; the whole piece structured symmetrically around the tempestuous central section. McDowall's intelligent use of text helps shape the entire work; the first and final parts using the ancient Latin antiphon Ave Maris Stella, while the more turbulent central section uses words from Psalm 106. Acting as a sort of musical buffer before and after the central section, there are two hauntingly beautiful recitatives for solo soprano, using the words of Psalm 26, The Lord is my Light.
Ave Maris Stella bears the dedication pro pace and the beautifully tranquil choral and instrumental writing, which pervades the whole work, gives it an almost mystical aura.
© 2011, George Vass
Duration: 3′
Ave Regina, a hymn of praise to the Virgin Mary, is the first of a group of three Latin motets (Ave Maria and Regina Caeli) all specially commissioned for the Canterbury Chamber Choir by Janet and Douglas Mackay in memory of their parents. It is a gentle and lyrical response to the "Queen of the Heavens, from whom the light came into the world". Ave Regina is one of 44 anthems included in the Choirbook for the Queen, commissioned by Prince Charles for the Queen's Diamond Jubilee.
Ave Regina
Duration: 3′
Cantate, Astra
A Carol To Be Sung At the Dark Time of the Year
Cantate, Astra is part of a long and fruitful collaboration between Cecilia McDowall and the novelist and poet, Christie Dickason. Their work together ranges from carols and other songs, via cantatas – including Five Seasons, to opera, all widely performed and recorded.
Cantate, Astra evokes the spareness of medieval texture, responding to the elegant clarity of the lyric with its Latin refrain and the word 'hope' repeated in seven different languages from around the world.
Duration: 3′
This carol for mixed voices and organ is a setting of a poem by G. K. Chesterton. I felt the gentle but intense words suggested a steady, focused response. Each verse opens with a repeated note which subsequently expands harmonically, gradually unfolding in all voices, then slowly retracts to a single note. The first performance of this carol was given in the Queen's Chapel of the Savoy, December 1996, conducted by Philip Berg. Cecilia McDowall
Duration: 15′
The cantata, Christus natus est, written for mixed chorus, soprano solo and children's choir, presents a sequence of five Christmas carols, all celebrating the birth of Christ. The carols, some familiar, others not, suggest different atmospheres ranging from tenderness to exaltation. McDowall has made use of one of her own original Christmas carols, Of a Rose, to make instrumental links between the five traditional carols and she has re-conceived the harmony of them all.
After the jubilant introduction, the choir sings the Latin carol, Personent Hodie, which tells us that, 'On this day angel's sing, praising Christ who was born to save us.' Following on, the soprano soloist introduces an old French carol, Entre le boeuf, a gentle lullaby to Jesus. 'Between the ox and the ass Jesus sleeps, and a thousand angels keep watch over him.' The next carol, Gaudete!, brings an earthy quality to the cantata. Steeleye Span, with its local St Albans connection, (where the cantata was first performed), has made this unusual carol familiar. Gaudete! Christus est natus, 'Rejoice! Christ is born!' The harmony, here, brings a medieval spareness to the carol.
This is followed by the traditional Polish carol, Infant Holy, Infant Lowly, sung, in English, by the children's choir, another gentle lullaby, encouraging the baby to sleep, surrounded by cattle and hosts of angels. The final, 13th century, carol, Angelus ad virginem, acts as a summary to the whole cantata by re-telling the Christmas story. The cantata's introductory hymn, Personent Hodie, makes another appearance in the final verse as a descant sung by the soprano semi-chorus, and the cantata is then brought to a close with the words, Christus natus est.
© 2011, George Vass
The premiere of Christus natus est was given on 8th December 2002, at the Alban Arena, Civic Centre, St Albans, by Abigail Smith, soprano, St Albans Choral Society, St Hilda's School Choir, Harpenden and Orchestra Nova Brass under the direction of George Vass. Christus Natus Est is available on CDLX 7146 (Dutton Epoch). For the text: please contact – Cecilia McDowall
Duration: 4′
A light hearted, anti-pastoral song about the seasons, with words by the novelist and poet, Christie Dickason. City Almanac was commissioned by South Hampstead High School for the Chorale, conductor, Diana Kiverstein. It was first performed on 6 July, 2006 at Llangollen International Musical Eisteddfod on Junior Choirs Competition Day.
Duration: 6′
The a cappella anthem, Deus, portus pacis (God, the port of peace), commissioned by the Musicians Benevolent Fund in the name of Sir Thomas Armstrong for the 2009 Festival of St Cecilia Service, is a setting of a medieval poem by the Augustinian canon of Oseney, John Walton, who created it from a translation he made of Boethius' De Consolatione Philosophiae. At first reading the beautiful lyric seemed to possess a curious blend of present day English with a hint of the medieval about it; the product of multiple revisions over the years. With the help of the Middle English specialist, Dr Rosemary Greentree, the poem has now been restored, as far as possible, to a more 'authentic' state. By taking the title, God, the port of peace, and using it in its Latin form, I hoped that the interpolation of the words, Deus, portus pacis, in medieval macaronic fashion, would bring repose. The encouraging and uplifting nature of the resultant text, reassuring in these difficult times, suggested to me arched, melismatic phrases to fill the generous acoustic of St Paul's Cathedral. The anthem was first performed by the combined choirs of St Paul's Cathedral, Westminster Cathedral and Westminster Abbey under the direction of Andrew Carwood.
Deus, pacis portus
Duration: 7′ 20″
The Vesper hymn, Deus, qui claro lumine, is by turns contemplative and ecstatic. The beginning unfolds around a single note, extending upwards to the high solo soprano entry. The fading light of day is suggested by the downward shift of tonality and the work closes with the gradual descent of the soprano solo over the gently repeated Amens.
Duration: 25′
Bournemouth Sinfonietta Choir with musicians from Kokoro, contemporary music ensemble of Bournemouth Symphony Orchestra
Our brief was simply a "Celebration of the Organic Landscape". But how do you go about writing a piece about "organic landscape". There were no other prescriptions or rules, for either us or the farmers we visited on five residencies in May and June this year. "Is this what you want?" they asked. "Is this it?" All we could say was "YES! Everything is still possible. Everything is vital." Our five, very different, research visits became a long, slow unfolding of generously given riches. We filled notebooks and cameras, and kept a joint journal. Our challenge: how to boil it all down into twenty minutes.
Before starting, we had thought we might have five movements, one for each farm, progressing through the arc of the seasons. Very soon, we found certain common concerns cropping up, regardless of the size and location of the farm. Our structure began to take early shape around these shared themes one afternoon as we sat in the warm afternoon sun beside Crab Tree Pool in Cumbria.
Though the two of us have worked together many times, the special collaborative nature of this project was unique. The farmers, with their huge early input, became part of the creative team. They gave us the crucial detail we needed to avoid a general response and to let their voices come through. The collaboration then continued with a rare chance for us to explore material at an early stage in a joint workshop with the Choir.
Cecilia and Christie
Writer's notes
So much is now involved in managing the land organically -simple joy, philosophical principles, politics and funding, financial struggle, agricultural practice, education, conservation and preservation. The power of natural beauty still underpins our relationship to the landscape, but a mere lyrical celebration of beauty, tempting though it is, avoids urgent issues facing the organic movement. After visiting the five farms and hearing what the farmers had to say about the many issues, we finally settled, with great difficulty, on just a few themes which we nested within the framework of the dominating seasonal arc of the organic year. Our five seasonscorrespond roughly to spring, summer, autumn and winter, but with a centrally placed fifth season of the heart.
I The Shimmer
CD: Early spring. The most conventionally lyrical of the five movements, this first section shows the world at its natural best. The Shimmer is the reality we are struggling to preserve. Spring here is "another chance to get it right", but that second chance is really for us.
CM: We found that the haunting, desolate cry of the curlew recurred on different farms and it was tempting to imagine the call being gently suggested by a distant oboe solo – a musical starting point. The curlew's song opens the work and the voices emerge slowly, building to "Again, here's light!" As with the spring, one stage of the movement unfolds from, and into, another. We both wanted to avoid the "pastoral." For me, that meant making use of the bare fourths and fifths of the early music tradition, a style that combines a spare quality with the ecstatic.
II Grading Eggs
CD: The early summer scramble to keep up with work. We heard it everywhere "NOT ENOUGH TIME!" People spoke of the "rush" or the "surge" From a huge range of tasks, we chose grading eggs as our starting point after we were lucky enough to help prepare an order for seven hundred organic eggs. Our muscles began to understand as well as our heads.
CM: Christie gave me a vigorous and structured list of "tasks"to set, from which I made a musical scrambled egg. I wanted the pulse of the movement to urge the words relentlessly onwards. Moments of significance, such as a "small death"(of chick) or "pause to teach", cut across the breathless "to do" list. Time waits, then mechanical clatter returns. "Small, medium, large", in any order, define the path through chaos, until overtaken by "no time to do it all!"
III Grace Before Meat (Introit) The Darkening (Dies Irae)
CD: These two linked pieces are our fifth season, la saison en enfer or season in hell. At opposite poles from each other, they show the two extremes of man's relationship with the land and animals in his care, at any time of the year. Grace Before Meat speaks for the mindful heart that strives to act with love and responsibility, but without sentimentality, when dealing with the paradox of both caring and killing. The Darkening cries out against our past lack of mindfulness. "Darkening" a Cumbrian word for "dusk" is extended here to include an underlying darkness that came up in conversation at most of the farms. Though this section uses images from the hoof-and-mouth epidemic, it opens out to suggest all hidden consequences of man's mismanagement where gain has been put ahead of long-term concern for consequences and the present has been severed from the past.
CM: One of the special experiences of our farm visits was singing together with many of our hosts. Music was important to them all. I encountered for the first time, at Low Luckens Farm in Cumbria, Shape note music. Simple and unaffected, this style of singing gave heart to Grace Before Meat. It was an interesting challenge to write the Dies Irae for a small ensemble (without brass and percussion) and still to bring the urgency and intensity of the text into focus. The importance of the words is paramount. The Darkening closes with a recall of the song of the curlew, this time played by the darker-hued cor anglais, leading into . . .
IV Sheep in the Mist
CD: Autumn, and a gentle reply to the despair of The Darkening. In the falling energy of autumn, grazing sheep become an oblique poetic expression of continuity and respect for the past. A still beauty balances the relentless work pressure, offering a respite for the soul that seemed central to life on all five farms.
CM: "The tying thread as yet unspun" of the sheep that "graze forward" gives an underlying structure to Sheep in the Mist. The repeated note D, as a harp harmonic, threads its fragile course through the central section, returning once more at the end of the movement before disappearing into the misty ether.
V Dance for the Feast of Everything That Grows
CD: Winter. The title is from a Nepali festival, The Feast of Everything That Grows, when the Nepalese kill nothing, pick nothing, harvest nothing.It is an amnesty of respect for every living thing. Winter is a time to plan, to mend, and "to have time to talk." And it is a time for communal celebration. Before starting, we had not guessed how much music we would find at the hearts at the farms we visited. We had to include a communal song! Dance for the Feast ends the cantata with a celebration of the tightrope act of sustaining the earth'S riches that gave us so much joy while working on the piece. Everyone we met was dancing "the Balancing Dance".
CM: Scotland has always been associated in my mind with the vitality of the dance and the power of the song and in Dance for the Feast the Scottish folk tradition informs both the words and the music. In fact, the words just danced themselves a rhythm for me – all I had to do was find the right notes. After the distant stillness of Sheep in the Mist a slow elaborate oboe solo (bagpipes?) embellishes a line around a drone and then unfolds into a tightly rhythmic introduction to the verse, "Take the children to high places that teach you how to dance," (sung by the women of the choir.) The subsequent verses and chorus, each with a little difference, steer a steady course to a full and exuberant conclusion. Hope, mindfulness and joy are brought together to celebrate what we have now and what we hope our children will have for their future.
Duration: 2′
This anthem was composed for a friend of mine, the Revered Canon Dr Peter Sills, Vice Dean of Ely, to celebrate the 25th anniversary of his ordination on St Francis Day, at Ely Cathedral in 2006. The anthem was performed again, by the Choir of Ely Cathedral, conductor Paul Trepte, on 18 February the following year as the introit to for the BBC Choral Evensong service, the first Sunday evensong after the abandonment of the mid-week service on BBC Radio 3. It is essentially a meditative work.
Duration: 4′
I know that my Redeemer liveth was written at the suggestion of Robin Kimber, conductor of Epsom Choral Society, to be perfomed with Brahms' A German Requiem and is a setting of the words used by Handel in Messiah; 2009, the year of the commission, was the 250th anniversary of Handel's death.
The Requiem was probably not conceived as a liturgical work and Brahms avoided any reference to Christ or life after death. However, the first performance of six movements was given in 1868 in Bremen Cathedral on Good Friday and in order to compensate for the absence of texts associated with Christ, the music director, Karl Reinthaler, interpolated Handel's aria, I know that my Redeemer liveth, into the Requiem.
This new setting of I know that my Redeemer liveth has been scored for unaccompanied mixed voices and I have added an optional accompaniment for piano which can be used if performed with the piano duet version of Brahms' Requiem.
I know that my Redeemer liveth was commissioned by the Epsom Choral Society and first performed on 21st March 2009 at St Martin's Parish Church, Epsom, Surrey, conductor Robin Kimber.
Duration: 12′
Laudate is a three movement setting of the Latin Psalm 112 (from the Clementine Vulgate Bible) for mezzo-soprano solo, SATB chorus and chamber orchestra and is the second commission from the St Albans Choral Society (the first being the Stabat Mater which was recorded in 2007 and released on the Dutton Epoch label (CDLX 7197).
A fanfare of trumpets ushers in the opening movement, leading to the gentle entry of the chorus with the words, Laudate, pueri, Dominum(Praise the Lord, ye servants). The mezzo-soprano solo enters over pulsating strings with pizzicato bass line. This is followed by an exchange of dialogue between soloist and chorus, coming to a climax together, Laudabile nomen Domini (Blessed be the name of the Lord). An instrumental section continues and moves towards the final section where chorus and soloist imitate and overlap, concluding with a final flourish of trumpets.
The second movement, for mezzo-soprano soloist, Excelsus super gentes omnes Dominus (The Lord is high above all heathen) brings a mood of simplicity and quiet joy to the work.
In the final movement, Suscitans a terra inopem (He that taketh up the simple out of the dust) a feeling of optimism is established. The soloist takes the verse and the chorus answers in joyful reply and the work closes with the affirmative cry, Lauda! (Praise!)
Laudate was commissioned by St Albans Choral Society with financial support from the Williams Church Music Trust.
Duration: 4′
Light Eternal brings together the liturgical text for Remembrance, Lux Aeterna, and the evocative poetry of Denise Levertov. Commissioned as part of a trilogy suitable for significant occasions during the church calendar year by Oakham School, Light Eternal has a haunting and exotic quality, the music beautifully illustrating the sense of the texts. The anthem was first performed on Armistice Day 2012 by the Oakham Chapel School Choir and conducted by Peter Davis. Suitable for Remembrance and other occasions of solemn commemoration.
Duration: 8′
Lonely Hearts is a setting of three poems by the novelist, Christie Dickason, each offering a different view of being alone. The first song, Autumn Migration, describes the flight of a flock of birds across the sky pursued by a 'single late flyer' stitching 'together earth and sky'. The second song, Night Garden, beautiful and atmospheric, evokes the delicate fragrance of a still, summer's evening in which 'lives too small to risk the light' bravely begin to stir. The final, witty song, Would like to meet, presents a 'Lonely Hearts' column, with a difference.
Duration: 28′
The Magnificat was a centenary commission from Finchley Choral Society and was first performed by them, accompanied by Orchestra Nova, on 15 November 2003 at St Jude-on-the-Hill, Hampstead Garden Suburb, London.
Scored for soprano and mezzo soprano soloists, mixed chorus and a chamber orchestra of oboe, cor anglais, bassoon and strings, the Magnificat is cast in six contrasting movements. The work opens with a slow orchestral introduction and leads to a faster-paced choral setting of the Magnificat. The central section of this movement, Quia respexit humilitatem ancillae suae, is poignant in character. The soprano solo, Ecce enim, with its filigree woodwind writing, brings a bright gracefulness to the next movement and is followed by a gently flowing, contemplative chorus, Quia fecit mihi magna, with sustained overlapping vocal and orchestral lines. Et misericordia, a solo for mezzo soprano, is also slow and reflective and has a prominent bassoon part using the highest register of the instrument, while the duet for soprano and mezzo soprano, Fecit potentiam, develops from a fanfare-like opening. The finale, Deposuit potentes, which follows on immediately, returns to the music of the opening chorus and, with an expansive coda, brings the work to a triumphant close.
Duration: 3'48
In 2006 Michael Lock contacted me to ask if I would write a carol for the Concord Singers for performance the following year which, of course, I was delighted to do. I chose the text of the 15th Century carol, Now may we singen, and set it in a linear style, spare in texture, to resonate with the words. The carol was first performed at the Corn Exchange, Bedford, December 2007, conducted by Mary Lock. Now may we singen is written in memory of Michael Lock.
Duration: 13′
On Angel's Wing was commissioned by Janet Lincé and the Royal Leamington Spa Bach Choir, and is dedicated to the memory of the young composer Tim Stevenson. The cantata is a setting of John Clare's poem Love lies beyond the tomb, interspersed with plainchant taken from the Vatican Prefaces. On Angel's Wing is scored for soprano and baritone soloists, SATB chorus and unison children's choir, accompanied by solo piano and a single percussionist.
The first performance of the original version was given on Sunday 28th June 1998 by Alison Mary Sutton, Quentin Hayes and the Royal Leamington Spa Bach Choir conducted by Janet Lincé.
The premiere of the revised version was given on Sunday 14th July 2002, with Bonita Hammond (soprano) Julian Hubbard (baritone) The City of Canterbury Chamber Choir, Kent County Junior Singers, Gretel Dowdeswell (piano) and Christopher Brannick (percussion) conducted by George Vass.
This hymn to the 'Queen of the Heavens' is a glorious work, replete with dramatic changes of mood and texture. The majestic chords of the opening bars quickly give way to a spirited section in which unison altos and basses mimic the insistent flourishes of the sopranos and tenors. This pattern of contrasts is repeated throughout the piece before the final jubilant chords fade away to a modest triple piano.
Duration: 13′
Shipping Forecast was commissioned by the Portsmouth Festival Choir in celebration of its 40th anniversary and first performed by the choir, conducted by Andrew Cleary with organist Mark Dancer, on 18 June 2011 at the Portsmouth Anglican Cathedral.
All three movements are to do with the sea:
1. Donegal | 2. They that go down to the sea | 3. Naming.
The first and last movement are settings of poems by the poet, broadcaster and academic, Seán Street, a collaboration with whom seemed tellingly apposite as Seán's home town is Portsmouth and his father, a Naval Officer. In Donegal Seán uses snatches of the shipping forecast itself (spoken here) weaving them almost dreamlike into the atmospheric texture of the poem.
The second movement is a setting of the Psalm 107: 23-26 | 28-29: They that go down to the sea in ships. This is a setting with the feel, perhaps, of a Celtic lullaby which moves from a simple statement to a centre of turmoil then back to overlapping phrases, melting into tranquillity with the words, For he maketh the storm to cease so that the waves thereof are still. The text is often read to those about to set sail, a time of uncertainty, and so I have grounded the whole movement over a pianissimo pedal G, a kind of harmonic anchor, a note of reassurance.
The final movement, Naming, comes from another set of poems by Seán Street based on a different forecast, The Fisheries Broadcast, known simply by Newfoundlanders as The Broadcast. Naming is the second of a collection of poems called The Broadcast in which Seán has expanded the idea into 'a meditation on the fortunes of the sea as reflected in other names, gathered from coastal maps of Newfoundland'. Belle Isle, Come-by-Chance, Cabot Strait . . . Every name's a story until new stories come where men after men die fighting the sea for a harbour. Energetic, in perpetual motion and rhythmic, Naming drives the whole work to an upbeat finish.
© 2011, Cecilia McDowall
Seán Street's poem, Shipping Forecast, Donegal, was originally part of a sequence of poems written for Radio 4 on National Poetry Day in 1998, Radio – 10 Poems About Sound, in which the radio is a character in all the poems.
Duration: 30′
For baritone solo, youth choir, mixed chorus and small orchestra
Stabat Mater was commissioned by St Albans Choral Society to celebrate their Diamond Jubilee, with the financial support from the Williams School of Church Music and donations from individual members of the choir.
The premiere of Stabat Mater was given on 23 October 2004 at St Paul's Church, St Albans by Michael Bundy (baritone), Parmiter's Senior Singers (youth choir), St Albans Choral Society and Orchestra Nova conducted by George Vass.
With grateful thanks to the following for their generous contributions towards the commissioning of Stabat Mater:
Stabat Mater Programme Note
The words of the Stabat Mater Dolorosa have been variously attributed to Pope Gregory I, St Bernard of Clairvaux, Pope Innocent III, St Bonaventure, Pope John XXII, Pope Gregory XI and the medieval religious poet, Jacopone da Todi. Of these ascriptions, scholars believe the only probable authors are Jacopone da Todi and Pope Innocent III.
This lyrical Thirteenth Century hymn is a meditation on the sorrows of the Virgin Mary as she stands by the Cross and is the liturgical sequence for the Feast of the Seven Sorrows of the Blessed Virgin Mary (15 September and the Friday before Palm Sunday). Stabat Mater Dolorosa was admitted as a liturgical sequence in 1727 and though it is now no longer used on the Friday before Palm Sunday and is optional on 15 September it is still used in non-liturgical Lenten services.
When I began setting the Stabat Mater Dolorosa I was astonished to find how many variants there were of the text. As I examined the settings by Haydn, Dvorak, Rossini, Szymanowski and Poulenc, I found that each had his own idiosyncratic textual variation. I have used twelve of the fourteen verses of the Stabat Mater Dolorosa from the Liber Usualis. The two exceptions occur in the closing passages of the sequence; these alternative verses are Inflammatus et accensus (When I am consumed with flames) and Fac me cruce custodiri (Let me be guarded by the cross). The reason for this is purely to do with enunciation: I chose these words feeling they would better suit the opening mood of the final movement of this work.
I have structured these beautiful and acutely poignant words into seven movements, feeling that the Seven Sorrows of the Virgin Mary suggested a natural shape to the work. The overall form of the Stabat Mater is symmetrical, flanked with choruses at either end, which encompass two chorales, two baritone solos, and a central movement for children's choir or semi chorus.
The work commences with a solemn and, at times, impassioned chorus, Stabat Mater dolorosa (The Mother of sorrows stood in tears beside the cross) which centres, at the outset, around the tonality of D minor and, after passing through other tonal areas, finishes a semitone below. This is followed by the first of the two contemplative chorales, Quis est homo qui non fleret (What man would not weep). Both chorales use the Stabat Mater Dolorosa plainchant.
The baritone solo, brings a sharp edge to the verse, Pro peccatis suae gentis (For the sins of his people); the tight dotted rhythms underline the anguish and the torment while the lyrical middle section gives a plaintive desolation to the words Dum emisit spiritum (As He yielded up His spirit).
The central movement Eia Mater (O Mother, fount of love) for children's choir is, for the first time, in a clear major tonality, bringing a mood of optimism to the work. It is gentle and lyrical with a contrasting darker section before returning to the brighter opening material.
The second baritone solo, Sancta Mater (Holy Mother) is supported by the sinuous obbligato of the clarinet in a tender entreaty to share the burden of suffering. This is followed by the second chorale, Virgo virginum praeclara (O Virgin, peerless among virgins).
The final movement for chorus, Inflammatus et accensus (When I am consumed with flames), opens emphatically at a fast pace and gradually and gently unfolds into the closing section, Quando corpus morietur (When my soul dies) in which all voices are brought together. Here the stately choral interjections are woven around the baritone solo and the children's voices, singing the plainchant, Paradisi gloria (the glory of heaven). As their voices fade the phrase becomes a distant echo on high muted horn.
The Stabat Mater was commissioned by St Albans Choral Society in celebration of their Diamond Jubilee, and bears the inscription 'in memory of Father Michael Prior', a distinguished friend of the composer who worked vigorously for the Palestinian cause and died suddenly during the composition of the work. The commission was supported with funds from the Williams School of Church Music and individual members of the choir.
Duration: 3′
The Christmas carol, The Angels for the Nativity, was commissioned by the Addison Singers as part of the 'Anniversary Commission' in celebration of David Wordsworth's ten years as the choir's Musical Director. The carol has been generously funded by donations from The Robert Kiln Charitable Trust, The Kenneth Leighton Trust, The Addison Singers and Friends. The Angels for the Nativity is a setting of a poem by the 17th century Scottish lawyer and poet, William Drummond, who 'devoted his life to poetry and mechanical experiments'. The setting of the Angels' message is in a gentle triple meter, rather like a menuet, and the opening and closing organ phrases suggest the arrival and departure of the angelic host.
The Angels for the Nativity (William Drummond)
Duration: 5′
This work is a setting of two verses taken from the poem 'Wonder' by the Hereford-born, metaphysical poet, Thomas Traherne. Traherne's works were not discovered (and indeed little known of the poet himself) until the late nineteenth century and were first published as Poemsin 1903. Subsequently, he has become highly acknowledged as a very fine poet and theologian and by 1939 Gerald Finzi had completed Dies Natalis, a setting of five of Traherne's texts.
Written for double choir, The skies in their magnificence opens with the two antiphonal soprano lines intertwining above a full chorus. The luminous, or even numinous, words inspire a slow, stately and full textured progress in which the work unfolds gently to an ecstatic climax.
The skies in their magnificence was commissioned by the English Music Festival and premiered by The London Chorus, conductor Ronald Corp, at Dorchester Abbey in the final concert of the Festival on 27 May at Dorchester Abbey, 2008. Duration: 5′
from Wonder | Thomas Traherne (1637-1674
Duration: 9′
Each of the chosen texts for these Three Latin Motets for unaccompanied SSATB choir is addressed to the Virgin Mary; the first, Ave Regina, for full choir, is a serenely expressive response to the 'Queen of the Heavens', 'from whom the light came into the world.' The tranquil and distinctive opening phrase is alluded to in passages of greater intensity, and its final partial restatement lingers on after the voices have died away.
The more intimate Ave Maria is written for upper voices; this gentle supplication to the Virgin grows from its plainchant-like opening, embracing expressive dissonances and suspensions in a setting of great purity and directness.
Regina Caeli is more spirited, with dramatic changes of mood and texture. In this hymn to the 'Queen of the Heavens', each Alleluia points up the linear setting of the verses, which traces the plainchant of the Regina caeli. The composer's keen sensitivity to the text is much in evidence in all three motets, which were commissioned by Janet and Douglas Mackay and first performed in April 2004 at St Mary of Charity, Faversham, Kent, by the Canterbury Chamber Choir conducted by George Vass.
Thy voice, o Harmony, is divine was commissioned by Magdalen College School to celebrate the Bicentenary of Haydn's death and the composer's association with Oxford. It was first performed on 1 July 2009 by the Oxford Sixth Choir, conductor Jon Cullen, in the Sheldonian Theatre Oxford as part of the MCS Arts Festival.
Also performed at the same concert were works by Handel and Haydn's Missa in Angustiis (Nelson Mass) by the Hanover Band, conductor Paul Brough.
The London premiere was given by the Esterhazy Singers, conductor Esther Jones, on 4 November 2009 at St Giles Cripplegate, Barbican, London.
This work is inspired by a little piece written by Haydn for the award ceremony in the Sheldonian Theatre at which he received his honorary doctorate from Oxford University. Haydn's Canzone à tre was composed as a round in a clever setting of the words, Thy voice, o Harmony, is divine, which could be turned upside down and sung backwards, simultaneously. The words are attributed to the Haydn.
The phrase shapes of this motet, Thy voice, o Harmony, is divine, derive in some way from Haydn's Canzone, unfolding and overlapping between the voices. The central section presents a homophonic reference to the Haydn's round with text and notes set in palindromic fashion. The conclusion of the motet dissolves into repeated, lingering phrases which melt into the air. The text is taken from the Haydn Canzone.


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China Tells The World To Respect Its Censorship
It would have been funny if the World Internet Conference censored the Chinese president's speech giving him a taste of his own medicine in front of the whole world.
Chinese president Xi Jinping opened the World Internet Conference by telling world leaders to respect other nation's cyber sovereignty. The leader went on to say that every country has the right to govern the web in accordance with local laws, and that China stands against "internet hegemony." The move reinforces China's right to suppress information on a whim, like when it shuttered Instagram during the Hong Kong democracy protests.


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Call for Presentations (Holiday Showcase 2017)
Thank you for your interest in submitting a presentation for consideration at the Association Forum's 2017 Holiday Showcase on Thursday, Dec. 14 at the Hyatt Regency Chicago in Chicago, IL, 151 E. Wacker Drive.
Please review the following information before submitting your presentation:
• Association Forum will accept up to three (3) proposals to present per primary author.
• Education sessions will be approximately 50 minutes in length, including time for participant question and answer.
Questions, please email firstname.lastname@example.com.
Submission Deadline and Notification
The deadline to submit is Monday, August 21, 2017 at 11:59 p.m. CT.
All submissions will be evaluated by the Holiday Showcase Program Advisory Group, and all primary authors will be notified of their acceptance status on or before Friday, September 15, 2017.
Speaker Terms and Compensation
Association Forum is a nonprofit organization, and therefore speaker honoraria and/or fees are not available. Chicago is the second largest community of association executives in the U.S. and presenting at an Association Forum event affords speakers access to an audience of association executives and other leaders in the association industry. It also represents an exceptional opportunity for speakers to secure additional engagements with associations whose executives make up our audience.
Selected speakers (up to three per session) will receive complimentary registration to Holiday Showcase if you attend your session only. Otherwise, you will receive 50% off the early-bird rate of $140 if you plan to attend the full day. Please note that full-day registration includes brunch and the exhibit hall.
Registrations are only transferable in the event that a speaker who can no longer participate identifies a replacement speaker who is approved by Association Forum. In the event that a selected speaker works for an exhibiting company at Holiday Showcase, that speaker must utilize a complimentary registration from his/her company's exhibitor allotment (as outlined in the exhibitor agreement) and will not receive a complimentary speaker registration.
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Mark as spam misclassified duplicated expired offensive
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The $1 billion initiative by the Los Angeles public schools district to give an iPad to all 650,000 students and teachers for home use has been nothing short of a mess, plagued by poor planning and bad execution. You can read about it here. Here's a new look at what went wrong from Larry Cuban, a high school social studies teacher for 14 years, a district superintendent (seven years in Arlington, VA), and professor emeritus of education at Stanford University, where he has taught for more than 20 years. His latest book is "Inside the Black Box of Classroom Practice: Change without Reform in American Education." This post appeared on his blog.
By Larry Cuban
The rollout of iPads in Los Angeles Unified School District (LAUSD) is becoming a classic case study of what not-to-do when implementing any innovation whether it is high-tech or low-tech. I wrote about the adoption of the innovation six months ago.
What is clear now is that teachers and principals were excluded from the decision-making process. The Total Cost of Operation (TCO) was a mystery to the Board of Education who made the decision. And the initial deployment of the devices was so botched that the pilot project was put on hold. Phase 2 and the eventual distribution of devices to all LAUSD students remains to be decided once errors have been sorted out.
Called The Common Core Technology Project, each iPad costs the district $678, higher than the price of an iPad bought in an Apple store, but it comes with a case (no keyboard, however) and an array of pre-loaded software aimed at preparing students for the impending Common Core standards and the state online testing system. The Board of Education and Superintendent John Deasy want each student to have access to an iPad. With mostly Latino and poor students in LAUSD, the eventual cost of this contract with Apple Inc. could run over $400 million.
Were the board and superintendent to have paused and examined the history of using technology in public schools, they might have thought twice before major bollixes occurred.
1. There is no body of evidence that iPads will increase math and reading scores on state standardized tests. There is no evidence that students using iPads (or laptops or desktop computers) will get decent paying jobs after graduation.
These are the most common reasons boards of education and school administrators across the nation give for buying tablets for K-12 students. But not in LAUSD.
Acquiring 1:1 iPads for students, according to the LAUSD press release is to: "provide an individualized, interactive and informative-rich learning environment" for every student. One would have to assume that such an "environment" would lead to gains in test scores. But it is an assumption. Since many low-income families do not have computers at home or Internet connections, providing iPads is a worthy reason — what used to be called "closing the digital divide" — for the large expenditure.
On what basis, however, will the district determine whether to move to Phase 2 of the plan? Again, according to the official press release, the assessment of this first phase "will include feedback … from teachers, students, parents and other key stakeholders." That's it. No hard data on how often the devices were used, in what situations, and under what conditions. Nor mention of data on student outcomes.
Now, informal surveys of teachers and school administrators show mixed reactions, even disaffection for iPads in classrooms.
2. Apart from "closing the digital divide," the main reason for the Apple Inc. contract is that Common Core standards and accompanying online tests are on the horizon and due to arrive in 2014-2015. LAUSD wants teachers and students to be ready.
3. The true cost of this experiment runs far higher than the projected $400 million to give iPads to 655,000 students. That is what Total Cost of Ownership (TCO) means. The cost for the iPad is given as $678 per unit (remember, there is no keyboard usually listed at $100 which will have to be bought eventually for secondary school students).Now, budget-watchers discovered that the devices will cost even more. An Oops! that surprised the Board of Education.
Funds to hire school technical assistants, providing the wireless infrastructure, loss of tablets, and repair of broken tablets, insurance, professional development for teachers, costs for replacement devices when three-year warranties expire—I could go on but these numbers double and triple the published hardware and software costs. Consider that the reports of the $30 million contract with Apple Inc. omitted that the Board of Education approved $50 million for this first phase to accommodate some of these other costs detailed above.
And just a few days ago, a major Oops! was announced when the Board of Education, in questioning a top administrator, discovered that the software license to use the math and English curriculum expires after three years—the clock began ticking last July when the Board approved the contract. Renewal of the license in just over two years will cost another $60 million. Add that to the TCO.
Intel, a company with a vested interest in Microsoft tablets and a losing competitor in the LAUSD bid for a contract, produced a white paper that pointed out that TCO runs from two to three times higher than the announced price of the device. No one said a word about that.
The point is that administrators and school boards eager to buy devices hide TCO in separate documents or glossy verbiage. In other instances, they simply do not know or care to find out in their enthusiasm for the innovation. LAUSD experienced a perfect storm of mistakes in plunging into iPads without much forethought and a glance in the rear-view mirror for earlier reform debacles in putting into practice a high-tech innovation.


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Nifty Prediction : Nifty seems to do better | May look for 9175 Nifty Levels
Daily Forecast – Share Market – April – 21st, 2017
Nifty seems to do better | May look for 9175 Nifty Levels
Ketu is in command with other five planets. Mercury is trying to come out of the shadow of Sun. Indicating that will start giving strength slowly and gradually.
I feel that day may show some positive moves. Possibly nifty may look for 9175 or so.
Movements in many segments can be seen and that may influence the trade of the day. I feel that mid-caps and small caps may be doing bit better.
Communication, media, IT and transport with travels and tours may be doing fairly, but may be second half may show some difference.
It will not be wise to point out specific segments, I believe that many segments may show movements.
Trade wisely on the last day of the week.
Indian Currency
Indian Rupee may trade in between 64.50 to 65.20 per USD.
Please like my Facebook page @ https://www.facebook.com/AnoopAstroSutra.
** Before investing or trading please check technical aspects also, it's a reading based on planetary movements.
Categories: Share Market


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Home of Quality and Safe African Safaris
We climb mostly Mount Kilimanjaro, mount Meru, mount Kenya and Oldonyo Lengai mountain. Mt Kilimanjaro climbing we do trek via all routes however most clients prefer machame route and marangu route. You are welcome to hike Kilimanjaro according to your choice of route. Your satisfaction is our work, we guarantee quality and safe safari.
The best parts we offer for Tanzania safaris are northern circuit and southern circuit however your request will be highly worked upon. Serengeti, Ngorongoro crater, Lake manyara, Lake eyas, tarangire and Arusha national park are mostly visited. In neighboring countries your choice of parks will be adhered to.
We will take you to the beautiful island Zanzibar to let your vacation be the most amazing and memorable. There are no large wild animals in Zanzibar, and forest areas such as Jozani are inhabited by monkeys, bush-pigs and small antelopes. There are some species of mongoose on the island and a wide variety of birds, and a large number of butterflies in rural areas.
Nuru Africa Adventure Company is the professional Tanzania Safaris operator based in Arusha. We operate wildlife safaris and mountain climbing safaris within Tanzania and East African countries like Kenya, Rwanda and Uganda. With Nuru Adventure you will be able to explore the great wonders found in Tanzania from the bottom of Ngorongoro crater to the peak of Mount Kilimanjaro the highest mountain in Africa.
We have experienced staff and experienced driver guides who will help you explore the national parks and we also have certified and experienced mountain guides for mountain treks. We believe in providing excellent service and quality for a good price. We keep our group size small especially in our Toyota land cruiser safari so that you can enjoy the more intimate experience. We offer both group and custom designed or private trips. Our vehicles are pop up roofed to allow you have a pleasant view of the game together with photo taking.


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Happy Saturday!
I am happy that I am able to make two cards for the HEXAGON challenge over at CASology for this week.
The first one is a simple Christmas card.
I used a pattern paper in which a Santa Clause was printed (I thought it's from My Mind's Eye 6*6 paper)and went the paper through my Big Shot with a hexagon die template from Papertrey Ink. To adhere the cutout frame to the base Kraft cardstock I used a two-way glue. It was a work that required my patience.
The last touch I made was a bit of fun.
In contrast to the neat and clean result of the hexagon die, the Santa paper was designed to be seen as worn-out and aged. So I added some aged effect on the Santa image by rolling some pieces up. Can you see that fun roll up?
Thanks for stopping by my blog.
I have one more card to share with you in the next posting.


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Search > Property Details > Ref#: G7P38881
For Rent Nice Full Sea view 2 bedroom plus maid's room in Dubai Marina, Al Bateen Tower
with 2 parking spaces
Built Up Area of 1,640 sq.ft.
Vacant now
Rent: AED 180K
Prominently located on the beach front of the Hotel & Retail belt of Jumeirah Beach Residence ("JBR"), Al Bateen Residences ai JBR is one of the most sought after newly developed residential development which offers direct access to the beach. Located on the hotel and retail belt of JBR Walk. Beach front property with direct access to the beach. Panoramic views of JBR Walk and the Marina. Freehold residential property
Dubai Marina is nestled between Dubai's main artery Sheikh Zayed Road (SZR) and the Gulf with a view of the Palm Jumeirah from many towers. Part of 'new Dubai' it ideal for commuters to the capital.
Dubai Marina has its own metro station (Nakheel) and access to SZR is easy. The 'old' centre of Dubai, Bur Dubai and Deira, is about a 30-minute drive away. Major shopping malls like Ibn Battuta, Mall of the Emirates and Dubai Mall are around 10 to 20 minutes away respectively. The Marina's proximity to Dubai Media & Internet City makes it a favourite for those working there.
Disclaimer: Group Seven Properties LLC does not warrant the accuracy, adequacy, or completeness of the information presented herein and expressly disclaims liability for any errors or omissions therein. The information presented herein such as the property price and size are subject to change and the property is subject to availability. The images that represent the property maybe generic and not the actual, rather, it is to illustrate the property only and all are credited to their respective owners.
Send us a message with your requirements and let our dedicated team find your ideal home
Copyright © 2019 Group Seven Properties LLC. All rights reserved.


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Business is booming for Jaama, the provider of the UK's most sophisticated and requested vehicle and driver management software system, which is moving into its 14th year.
More than 1.2 million vehicles are now managed by Jaama's multi award-winning Key2 asset management system. Jaama attributes its success to:
Last year Jaama sold a record number of its industry-leading Key2 vehicle management systems to fleets, contract hire and leasing companies and rental specialists and Mr Evans said: "Key2 has been proven to be a fantastic product and is recognised as the number one choice for the industry.
"Jaama has always been firmly focused on continued system improvements as the fleet, rental and leasing sector evolves, but the company also has an excellent support structure in place to ensure system implementations are successful and post-implementation help is easily accessible to enable customers to obtain maximum benefits from their system."
Underpinning Jaama's most recent expansion was a 2015 reorganisation of the business, to provide robust foundations for both its UK and international market growth.
Mr Evans said: "Jaama's growth has been driven by demand from fleets, leasing and rental companies for modern, future-proof technology which delivers cost savings through automation and integration. We recognise that our people are critical to the success of the business and it is their ability and desire to deliver world class solutions which ensures that Jaama continues to prosper."
Additionally as Jaama strives to be the 'best of the best', 14 employees have completed ICFM training programmes in the past 12 months with others on courses. The company believe that ICFM qualifications help to enable its people to understand and interact with customers effectively; while other employees have completed or are undertaking Chartered Institute of Personnel Development courses; PRINCE2 training (an acronym for PRojects IN Controlled Environments) to ensure consistent and successful system implementations - in addition to a wide cross section of IT-related training.
Mr Evans concluded: "When we launched the business in 2004 we planned on bringing an industry-leading web-based fleet, contract hire and rental management software solutions to the marketplace. However, the uptake of the Key2 product range that has been able to meet the industry's increasingly complex requirements has exceeded all expectations. That trend is continuing with an ever-increasing need for companies to effectively manage costs, ensure operational compliance and deliver a competitive edge."
Published: 08-06-2018


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Some more 1:1 action from this week. I got some interesting lash-ups for sure! A rare CN GMD-1 joins GTW GP40-2 for some local switching.
CN GP9RM and GTW GP38-2.
Another rarity around here. A UP flared radiator SD70M leads a pair of CN SD70M-2s on an Eastbound freight.
A pair of CN/IC Dash-8 "Blue Devils" running a Westbound freight. Notice the hand painted number board on 2456 and the patch work on the 2455. A couple of cool modelling potentials.


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she talks to 3 year olds about suicide.
This is an interview I did with Jill Macfarlane, the program direct at a grief support program, about how she talks with young children about death and suicide. Just a note, along with many other things, we talk about suicide, gun violence, sexual violence, racism and police brutality. * * * EMMA: I am really […]Read more "she talks to 3 year olds about suicide."


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Episode 220 – Marc V Price (Making Nightshooters)
Marc performed similar duties on his second feature "Magpie", which was released theatrically in the US last summer. Marc has also directed bumpers and shorts for Film 4's Frightfest and is currently developing 2 television series with Lime Pictures and E4 along with a zombie-based show for CBBC and PBS through MopMedia. He has recently completed production on two features this year. An action thriller Nightshooters (distributor, Ascendant Releasing) and western Fistful of Lead (distributor, Sony US). Marc occasionally works with the BFI Education Department, passing on his experience as a low budget film maker and often inviting students to work on various film projects.
Pre Show Notes
— Want to help me make a short trailer project?
The weather is finally getting nice in Philly, and I'm finally going to make something again.
I'm aiming for a September 2018 shoot date for a fun, fake trailer project here in the Philly area. I'll be looking for actors, a location manager, and a few other key crew roles.
If you're interested in helping shoot me an email, firstname.lastname@example.com and put Fake Trailer Project in the subject line.
If you want to help in others ways;
— Use my Black Box Affiliate link
— Share the Podcast on Social Media
— Quentin Tarantino Writing Masterclass (A collection of advice)
Over 71,000 views, over 2,500 thumbs up, and a ton of great feedback.
This is a video I edited together from various Tarantino writing advice I've heard over the years. Please let me know what you think of it.
— Backstage – Use code dbcast at checkout when posting a casting call for a FREE basic listing
— Dave Bullis Podcast Filmmakers Group on Facebook – a FREE filmmaking group I made on Facebook.
— Shopping on Amazon? Please use my Amazon affiliate link and/or Ebay affiliate link(simply click and shop as normal) as it greatly helps out the podcast. Thank you!
Show Notes
[00:02:46] – Intro
[00:03:54] – Star Wars
[00:14:55] – Marc's Star Wars Spin-Off Pitch
[00:19:29] – Colin – Colin is bitten by a zombie; he dies and returns as one of the undead. We follow him as he wanders through suburbia during the throes of a cadaverous apocalypse. Through his encounters with objects, places and people, we learn who Colin was and more pertinently, what he has now become. Including a broad daylight zombie versus human street battle, an epic housebound siege and bags of gore. Colin is the must see Zombie phenomenon.
"It was savage. It had an energy that took the zombie idea to another level. Really interesting filmmaking. Disturbing." – Martin Scorsese
[00:21:18] – The Battery – is a 2012 American independent drama horror film and the directorial debut of Jeremy Gardner. The film stars Gardner and co-producer Adam Cronheim as two former baseball players trying to survive a zombie apocalypse. The film premiered at the Telluride Horror Show in October 2012 and received a video-on-demand release June 4, 2013. It has won audience awards at several international film festivals.
[00:21:59] – GoodBadFlicks – Movies, games, and the occasional editorial.
[00:23:38] – Too many swear words
[00:26:26] – Marc envisions his last days
[00:29:47] – Did Colin open any doors for you?
[00:31:34] – Magpie
[00:33:39] – Getting fired from a Production
[00:39:36] – Marc's importance of getting young people onto film sets
[00:43:19] – Nightshooters – A film crew led by stuntman Donnie come to witness a Gangland hit, and have to fight for their lives to survive the night.
Marc V Price
— Official Site
Dave Bullis
— Stage 32
— Letterboxd