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This is one in a series of short essays related to Myers' work as a Forager for a chef in New York City. Each essay is focused simply on sharing something she has learned through her work, and is followed by photos taken while on the job.
When I bike to the restaurant from Brooklyn in the morning, and as I ride the tricycle from the restaurant to the market, distribution trucks are the main traffic on the road. It 's as though I've put myself in the running, an incredibly small competitor, rather laughably defiant, beside the titans of a certain race. I ride beside Dairyland, Baldor, Agri Exotic, Pat La Frieda. I get stuck behind Dairyland: The Chef's Warehouse! all the time. My head is right about at the height of their wheels.
Transportation, as one of many elements in distribution infrastructure, is a more complicated topic than I can tackle in one sitting. The moving of food requires the coordination of space, labor, transportation, refrigeration, consolidation, packaging, communication, and sanitation. One has to consider speed, cost, flexibility, scheduling, environmental effects, technical failures, returns, distance, and national, state, and city policies.
The food system has evolved as transportation has allowed, especially as boats gave way to trains, and trains gave way to trucks. When trucks took over, most urban wholesale marketplaces left the heart of cities, often for peripheral neighborhoods where the 24-hour pollution, noise, and traffic of legions of trucks could be installed on a grand scale without facing any powerful voices of opposition. Yes, there are now many farmers markets, CSAs, urban farms, and community gardens throughout the five boroughs of New York. Yet nearly all the food in this city, in all the supermarkets, delis, bodegas, gourmet shops, restaurants, fast food chains, and street side trucks, goes through the New York City Terminal Market in Hunts Point in the South Bronx. That market is set up to be physically and financially efficient, and as the movement for sustainable agriculture begins to grow, we must remember to remember where that market fails. It fails to respect the neighborhood where it is located, it erases the names of food sources and producers, it shields the public from the gritty reality of how a food system works. The new Wholesale Greenmarket in the Bronx may only improve upon a few of these faults; the New Amsterdam Market at the Seaport may correct a few more. The challenge now in New York is to build a system for a growing number of small farmers, and for the entire urban community, that draws what it can from the current system's infrastructure, but does not mimic it's faults.
I think of the wholesale markets that work by night, of all the trucks that drive by day, of all the food that fills these trucks, as I fill the cabinet on the back of the tricycle I use for work, in Union Square, in New York City. I am no remotely significant fraction of New York's food system. The food I buy, the wheels I turn, don't even represent the needs of a whole restaurant. It is the fact that I am not the only one pushing along with a slow and steady movement…that drives me.
I write now only because I happen to use this rather unusual vehicle, in the center of Manhattan, which is an interesting place to be. It is a place where all at the same time, I can ride a heavily loaded tricycle too and from a farmers market, and feel barely noticed, and yet feel that a glimpse of the wheels, the open door, the inside racks…has gotten everyone's gears turning. When glimpses become gazes, when the middle school boys snicker, when the farmers laugh at what city people do, when the chefs wonder whether my work is made easier, when the cars honk and the bus drivers wave…it seems a glorious, hilarious part I have to play. At least, it's somethin. I can fit two flats of strawberries, two flats of tomatoes, ten pounds of arugula, six pounds of watercress, a bus tup of summer squash, ten pounds of cipollini onions, and a whole case of eggplant in that cabinet. So I do it. And I do get stuck behind Dairyland all the time, but at least I'm in the running.


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The Great Pianists
From Mozart to the Present
Harold C. Schonberg
(Simon & Schuster, 2006) [1987]
525 p.
I tend to think of the piano as the most firmly established of instruments, the one which, because of its versatility, most people with a serious interest in music will study, the one which will most often be found in the homes of ordinary families, and the one which will last as long as music-making does. Harold Schonberg's fascinating history of piano-playing offers, among many pleasures, a sobering reminder that, while it may be true that the piano will be with us for a long time to come, its golden age is very likely already past.
The piano (or piano-forte, as it was known in the early days), was an instrument that developed from earlier keyboard instruments like the harpsichord and clavichord. It was only in the late eighteenth century that it began to be produced, and not until roughly the 1830s had it become more or less the instrument we know today. Mozart was one of the earliest virtuosos to adopt it, and Beethoven belonged to the first generation to grow up with it. Through most of the nineteenth century and, arguably, into the first few decades of the twentieth, the piano was at the center of Western music, with many of our greatest composers (Beethoven, Schubert, Chopin, Liszt) lavishing the instrument with their finest inspirations, and many towering virtuosos devoting themselves to playing it. Especially in the nineteenth century it was via the piano that much music — even orchestral music — was heard by a great many people, and the piano became part of the standard furnishing of a reasonably comfortable European home. In the post-war period, the centrality of the piano declined, and though today it is of course fairly common to study the piano, it is not as common as it once was. More importantly, the guitar has unequivocally displaced the piano as the principal instrument in popular music.
As its title indicates, however, Schonberg's book is not so much a history of the piano as a history of those who have played it exceedingly well. Any study of great pianists of the past immediately runs up against a major problem, of course, insofar as many of them were already dead or past their prime before recording technology was invented. We can learn about their lives, and (in the case of composer-pianists) we can hear their music played by modern pianists, but we can never hear them play with our own ears. This, especially in the case of certain renowned pianists (I think of Chopin or Liszt) is a great pity. Instead, we must rely on the testimony of contemporaries, much of it well-informed, who wrote about the playing of the most celebrated pianists of their day. Accordingly, Schonberg has dug up surviving descriptions, culled from letters, reviews, newspapers, and treatises, and integrated them into a coherent narrative.
One might think that having a musical score, and hearing a modern pianist play it, is an adequate substitute for not having recordings of nineteenth-century pianists, but one would be mistaken. There is plenty of evidence not only that piano playing at that time differed in certain respects from modern playing, but that the ethos of piano-playing and concertizing was different. Pianists in the heydey of romanticism, much like singers in the same period, took considerable liberties — or what we, at any rate, would today consider liberties — with the score, adding embellishments, inserting improvisations, stretching rhythms, and so forth. Such playing was not only tolerated, but expected, and was viewed not (as it would be today) as a daring imposition of the player's personality on the composer's wishes, but simply as an aspect of the art of music-making.
This approach to piano music began to change in the early part of the twentieth century. One of the first major talents to advocate for a stricter fidelity to the printed score as a criterion of good taste was Josef Hofmann, who, writing in around 1925, wrote:
The true interpretation of a piece of music results from a correct understanding of it, and this, in turn, depends solely upon scrupulously exact reading… A purposed, blatant parading of the player's dear self through wilful additions of nuances, shadings, effects, and what not, is tantamount to a falsification; at best it is 'playing to the galleries,' charlatanism. The player should always feel convinced that he plays only what is written.
This way of thinking has a firm grip on almost all modern classical pianism (and indeed on classical music generally). In baroque music one will sometimes find that, in accordance with period practice, players add minor decorations when a section of music is repeated, but in music of later periods this happens rarely, if at all. Fidelity to the score is paramount. As a result, what has emerged in our time is what might be called an international school of pianism, in which there is relatively little variation from one pianist to another, and they tend to sound more or less the same.
That this passion for faithfulness to the composer's intentions has established itself in our age is not without paradox. It is essentially an argument from authority, and that it should thrive in a culture reflexively hostile to authority, and devoted to self-expression, is peculiar, to say the least. It is at odds, too, with the artistic, and financial, viability of classical music, for the fact that 53 recordings of any given piece are readily available surely provides an incentive for a pianist to distinguish his reading in some way, but the authority of the score makes it very difficult for him to do so. I will not be surprised if, in time, the sheer weight of the ever-growing heap of strict interpretations provokes some pianists to experiment with creative departures from the written score, reviving something closer to romantic performance practice. Ironically, doing so might actually be more faithful to the composer's expectations for the performance of his music.
Schonberg draws attention to an interesting aspect of the history of pianism: many of the greatest players have also been the greatest composers for the instrument. This is perhaps not surprising in itself, but it is sharply different from the state of things today. Today a concert pianist is a pianist and not (except for rare exceptions) a composer, and a major composer (if any of our contemporary composers can be said to be major in historical perspective) is a composer and not a concertizing pianist. The situation was quite different in the nineteenth century; think of Mozart, Beethoven, Chopin, and Liszt, to name only the top-tier composer-painists. (Men such as Godowsky and Busoni would make a slightly longer list.) Reasonably enough, the creativity of their piano music was related to their own virtuosity at the keyboard. I wonder whether the current bifurcation between composers and pianists is a result of the displacement of the piano from the center of music-making, or is due to the general trend toward specialization in our culture, or (on a related note) is simply a response to the expectations of the audience? It seems that a contemporary pianist who wants to also compose faces an uphill credibility battle (though it has been done, and with good results).
In the course of his survey, Schonberg discusses dozens of pianists. Some of the most important names in his narrative, such as Thalberg, Tausig, and Leschetizky (who was an important piano pedagogue) were entirely new to me. In many cases I knew a name but not much more, and the book was very informative in those cases. The most important historical figures are discussed in some detail, but in the final chapters he pans out for a more high-level overview of the current landscape of pianism, discussing in brief compass many of the pianists whose names are familiar from browsing record store shelves. Unless I am mistaken, only one Canadian pianist is mentioned in the book: Glenn Gould, to whom an entire chapter is devoted.
Since most of the great pianists have played more or less the same repertoire (focused especially on romantic music), and given the priorities of modern performance practice that I mentioned above, and considering the very high performance standards of our day, discussions of the relative merits and special qualities of modern pianists tend to focus on subtle points of interpretation. Not everyone enjoys the drawing of such fine distinctions, which can seem to lean too heavily on debatable, subjective appraisals. I myself have relatively little patience with very close comparisons of how one player differs from another — and yet, I cannot deny that there are some pianists who appeal to me more than others. My personal favourites include Arthur Rubinstein, Sviatoslav Richter, Murray Perahia, Andras Schiff, Marc-André Hamelin, and Alexei Lubimov, for instance, not all of whom are considered major figures by general consensus, but whose playing speaks to me in a special way (and examples of whose playing are sprinkled through this post). Other pianists, such as Artur Schnabel, Maurizio Pollini, Vladimir Horowitz, Alfred Brendel, and (yes) Glenn Gould, who are widely acclaimed, leave me cool. Trying to put into words why this is so is difficult, and I cannot succeed to my own satisfaction. Chalk it up to the magic of music-making.
After finishing this book, I find myself pondering the future of the piano. It is evident that it is not as important to our music now as it was in the past, but, at the same time, I believe that its niche is fairly secure. Children are still probably more likely to study piano than any other instrument; I hope that my children will have the opportunity to learn to play. That said, the great pianists of the future may come from an unexpected quarter: China, where an estimated 30 million youngsters are studying the instrument, and which has already begun to produce pianists of some acclaim. We'll see. In the meantime, I think that I will lie on the floor and listen to the Goldberg Variations (Murray Perahia, piano).

subset: commoncrawl


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DevOps for Mainframes
Modernizing mainframe processes to meet fast-paced business demands
"The mainframe platform, and the code that runs on it, is essential to 96 of the world's top 100 banks, 23 of the 25 top US retailers, and 9 out of 10 of the world's largest insurance companies. These companies' new business initiatives involve the mainframe 90% of the time. DevOps practices must include the mainframe to facilitate speed, quality, and productivity across all systems and teams."
— Christopher O'Malley, President and CEO, Compuware
Business App = Mainframe + Distributed + Web + Mobile
Today's enterprise business applications are comprised of multiple interrelated components running on mainframes, distributed environments, web, and mobile devices. Offering new products and services requires making a complex, coordinated set of changes across all of these systems. But IT struggles to update mainframe components with the same ease as distributed systems.
How can IT teams update all parts together to deliver an entire business-focused application?
Modernize the mainframe to stay competitive
It's a huge challenge to coordinate and synchronize changes across disparate teams and multiple environments spanning mainframes, web, and mobile applications.
Marrying the mainframe with modern software delivery methods is key. The same DevOps practices that excel for contemporary applications are even more necessary to manage the complexity of mainframe releases. Without modern processes for both distributed and mainframe applications, IT can't move quickly enough to meet business demands.
"Automating the mainframe application delivery pipeline reduces risk, cost, and complexity while improving responsiveness to changing customer needs."
— Kurt Bittner and Robert Stroud
Digital Transformation Needs Mainframe DevOps, June 2016 Forrester Report
XebiaLabs extends DevOps benefits beyond modern apps and IT environments, applying them to mainframe environments and processes. Teams get the Continuous Delivery foundation they need to keep mainframe releases flowing smoothly, in synch with the rest of their environments and tools. Our DevOps platform visualizes software pipelines and orchestrates application delivery across any environment. Complex applications get to market at the speed––and with the quality––the business requires.
Bring the benefits of Continuous Delivery to all teams
With application functionality shared between mainframes, distributed systems, and mobile platforms, a unified Continuous Delivery process for all application types is critical to having a truly automated, standardized, and well-orchestrated release. XebiaLabs will help you get there.


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How to Rabbit-Proof A Garden
Rabbit-proofing your garden is key if you want your garden to be successful. Rabbits have a voracious appetite and can quickly destroy all your hard work. Fencing alone is usually not enough for keeping rabbits out of your garden. Your best bet is using a combination of exclusion methods and repellents by installing a rabbit-proof fence while also using effective rabbit repellents. If you want to know how to keep rabbits out of the garden using effective rabbit-proofing methods, including using rabbit deterrents, read on.
How to Install a Rabbit-Proof Fence
Step 1: Hammer stakes 12 inches into the ground, one at each corner of the area you want to protect.
Step 2: For effective rabbit-proofing, Hammer posts in every six feet between these stakes, with even spacing between.
Step 3: Take chicken wire, enough to cover the distance between the first two corner stakes, and bend the bottom at a 90-degree angle, creating a 12-inch lip. This 12-inch flap will cover the ground on the outside of your fence, ensuring the rabbits can't tunnel under it.
Step 4: Secure the portion of the fence with zip ties to the corner post, ensuring the flap is on the outside.
Step 5: Do the same for the other sides of the fence.
Step 6: Using zip ties, secure the chicken wire to the posts. Stretch the wire tight against the post and use the zip ties on the top, middle and bottom of the fence to attach it tightly to the post.
Step 7: Using landscape garden staples, secure the flap to the ground. Staple right at the 90-degree angle and also at the outside edge of the lip. Do this every two feet.
Step 8: Remove any excess wire using wire cutters. For best rabbit-proofing results, check for any gaps in the fencing.
Step 9: Layer 2-3 inches of mulch over the outside flap to hide it.
Rabbit-Proof Gardens with Repellents
You'll also need to know how to repel rabbits from the garden. A rabbit-proof fence doesn't repel them; it just makes it more difficult to gain access. There are two main tactics you can use to repel rabbits from your garden. Use both for even better protection from rabbit damage.
- Liquid or Granular Animal Repellent: The best rabbit deterrent for gardens contains putrescent egg. While odorless to humans once dry, it smells like rotting flesh to the rabbit. They associate the smell with a predator being nearby and instinctively flee the area.
- Motion Detector Sprinkler: Set one of these up, and when a rabbit gets near, the unit senses its movement and it lets out a burst of water combined with a tic-tic-tic noise. Rabbits are startled, run in the other direction, and your garden is better protected. The bottom line is you'll have better luck keeping rabbits out of the garden if you use rabbit deterrents in combination with a rabbit-proof fence.


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Saturday, October 30, 2010
The Amp Hour
Posted by Roger at 3:22 PM No comments:
Labels: podcast, The Amp Hour
SPELs in LISP (macros, actually)
Predecessor of Land of LISP, Conrad Barski - web tutorial
Predecessor of Land of LISP, Conrad Barski - web tutorial
Posted by Roger at 2:18 PM No comments:
Labels: Conrad Barski, LISP, macros, SPEL, SPELs
Land of LISP (preview cartoons of book)
Looks like fun...
So I've bought the eBook (PDF)
So I've bought the eBook (PDF)
Posted by Roger at 12:13 PM No comments:
Labels: Land of LISP, NoStarch, online, pdf, preview
Friday, October 29, 2010
Attention and Information
How simple was rural, pre-industrial life, really?
Posted by Roger at 12:21 PM No comments:
Labels: Attention and Information
Wednesday, October 27, 2010
Monday, October 25, 2010
Monday, October 18, 2010
Google Short URL for this Blog
Posted by Roger at 1:09 PM No comments:
Labels: Google Short URL for this Blog
Google URL Shortener goo.gl
Can this be used vi an API?
Curl can probably use it
Can this be used vi an API?
Curl can probably use it
Posted by Roger at 1:06 PM No comments:
Labels: Google URL Shortener goo.gl
Sunday, October 17, 2010
The Paradox of Choice - Why More Is Less
Posted by Roger at 2:09 AM No comments:
The paradox of choice - Why More is Less
Google Tech Talk
Barry Schwartz
Posted by Roger at 2:04 AM No comments:
The Hardest Thing I Have to Do Every Day
...is to decide what to ignore...
Posted by Roger at 1:57 AM No comments:
Saturday, October 16, 2010
Proofs and Pictures: The Role of Visualization in Mathematical and Scientific Reasoning
(Perimeter Institute Recorded Seminar Archive)
Once there, click the picture to start the streaming video.
Thursday, October 14, 2010
2010 Unlimited Investment Challenge finalists
Congratulations to the 2010 Unlimited Investment Challenge finalists
» Indigo Ltd
» Kiwi Ideas Co Ltd
» FX Bikes
» Im-Able Ltd
» Aroha drinks
» Greenstone Drinks
» Mind Warriors International Limited
» Wag5/Canine Spirit
» Tru2U
» Down to Earth Systems
Posted by Roger at 11:37 AM No comments:
The Up and Downsides of Selling Out
Certain people I know would recognize the syndrome described in the 'pessimistic' scenario painted here... sad :(
Posted by Roger at 11:24 AM No comments:
Wednesday, October 13, 2010
Tuesday, October 12, 2010
Monday, October 11, 2010
Do we blame Jesse James for AJAX?
Possibly a fairly lucid explanation for what it (AJAX) is and/or isn't, anyway...
Possibly a fairly lucid explanation for what it (AJAX) is and/or isn't, anyway...
Posted by Roger at 7:12 PM No comments:
Sunday, October 10, 2010
Polychrony and Failure to Transition
Polychrony? Huh?
Posted by Roger at 9:23 PM No comments:
kate bush david gilmour comfortably numb
Darn - bad mic/mixing - or bootlegging :( Still pretty special though :)
Posted by Roger at 12:31 AM No comments:
David Gilmour & David Bowie - Comfortably Numb
A bit different from Dave G's version (and including bits of Dave too) :)
Posted by Roger at 12:22 AM No comments:
Pink Floyd - Comfortably Numb - Live 8
Posted by Roger at 12:14 AM No comments:
Saturday, October 9, 2010
Super RARE video: BEATLES with PINK FLOYD !!! TAKE 20 & 21
Lolol - definitely *not* real - entertaining nonetheless :)
Posted by Roger at 2:31 PM No comments:
rare beatles sessions#7
Peter Sellers as American Hippie Stoner in first sequence :)
BTW *Everyone* looks stoned when played back at half-real-speed... obviously done for (political?) effect (last sequence in particular)
Posted by Roger at 2:22 PM No comments:
Yoko Ono Imagines John Lennon at 70
Posted by Roger at 2:11 PM No comments:
Friday, October 8, 2010
Posted by Roger at 7:13 PM No comments:
Labels: Evernote
State of Electronics - Upcoming Documentary
Thursday, October 7, 2010
Stabilization Demo (Ward Cunningham)
Now part of Apple iMovie :)
Looks pretty impressive to me.
Posted by Roger at 10:39 PM No comments:
Balanced Scorecard
Goals, Vision etc alignment
Goals, Vision etc alignment
Posted by Roger at 12:28 PM No comments:
Labels: Balanced Scorecard
Bibliography on Mental Health - USAF
Some stuff to follow up on ...
Some stuff to follow up on ...
Posted by Roger at 12:22 PM No comments:
Wednesday, October 6, 2010
There is no Spoon
Mental Blocks to Creative Thinking...
Via copyblogger
Via copyblogger
Posted by Roger at 2:04 PM No comments:
Monday, October 4, 2010
Creativity Killers - (CopyBlog, via Guy Kawasaki Tweet)
How important do you think Creativity is to Engineers and Programmers?
How important do you think Creativity is to Engineers and Programmers?
Posted by Roger at 6:28 PM No comments:
Labels: creativity-killers
Sunday, October 3, 2010
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Jetset Mindset.
I recently got home from a 3 week vacation with a couple family members. Not only was it amazing to spend so much time with family members I miss and love but I was able to relax. Traveling by car is absolutely imparative to exploration of our country and your constantly growing mind. I was able to catch up with my friends from Tennessee to do some modeling. Brandon Sharp is the owner and creator of Bogey Life.
Bogey shirts are inspired by American history and icons. When visiting Brandon I was surprised by the historic relevance of Chattanooga, TN. Being from Michigan it is uncommon if not unheard of to go to a Civil War battle area. Every battle is important too.
One particular place we went called Point Park struck an interest. It's location and height in consideration to military strategy made sense to me. The elevation allowed you to see Tennesee, Alabama and Georgia. It's also next to the Tennessee River.
During the American Civil War a battle took place at now called Point Park, formerly called Lookout Mountain, and is commonly referred to as 'The Battle Above the Clouds'. This battle was won by the Union, lifting confederate control over Chattanooga.
Why explain any of this? Our history is important. As a culture, a country, a community and an individual. The things in our past are reflections, shadows, mirrors, prints of who and what we are today. Think about how many lives on both sides we lost fighting for liberty. Think of all the families whose lives were changed by this battle and many more.
We seem to frame our accomplishments in a negative scope. This has to stop. Progress, change, shifts, all of these things take time. Remember learning for the first time? We don't start all knowing, we grow and experience. First you learn the letters, then you learn to read and write, next comes grammar. We develop through time. It is important to keep moving forward. We fight small battles every day. We have to be thankful we aren't experiencing actual war in our country, remember what our wars were faught to prevent and treat every day accordingly.
There are too many things and people trying to bring everyone down to work in favor of negativity. Smile as you walk by people. Be polite in public places. Lead by example. If you see or hear something that isn't exactly right, ask questions. Try to shed some light on the shadowy spaces of others minds. We all go through it. Teach in life, don't judge. We have to take care of one another becuase no one else is going to do that. Our lives are too precious to be distracted from reality. Love is too real to show only hate.
I have had it up to here with how stagnant our times are. Hear me out. Please share your ideas. This is all positivity. I will not tolerate any ignorance so if you put yourself on blast prepare to get eaten alive by the social media trolls.
We are ALL entitled to our opinions about anything but let me give you the reality our media will not give you.
Black people are not bad, violent, thieves or any other negative stereotype because of their skin color. Muslims are not all out to get you or bomb you because of their religion. Not all white people are racist. Not all Christians hate gays. Not all men want to rape you because you are a woman. Not all women want to have sex with you because they dance, strip, or participate in the sex industry. Think about how and why these things are so prevalent in our news papers and main stream media.
One action from one person or a small group of people is not an absolute for every one. In fact bad people come in all shapes, sizes and colors. So stop assuming ideas and associating stereotypes with communities of people or large groups of people or one person. It makes every one look bad and what you think you know is probably 100% wrong.
I don't know if any one reads any more because videos, titles that tell the whole story, lists, and so much other digital garbage clutter our memory spaces but much love and thank you if your attentnion span is still long enough to read these posts.


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Click here to get information on Police Clearance Certificate from Asian Countries
Police Clearance Certificate (PCC) from New Mexico
Information for Police Clearance Certificate
Criminal Background Check/Police Clearance Certificate is issued by The New Mexico Department of Public Safety. This Department for Criminal History background check maintains information of arrests on persons who got arrested in New Mexico. This information is based on the fingerprint card system taken at the time of arrest, which serves as the source document for criminal history and then are submitted to the state Repository (by arresting agency).The application form obtained for arrest record information ,must be completely and carefully filled ,then submitted to the agency for processing.
Procedure of Getting Police Clearance Certificate
Criminal History Background Check information is issued to an individual upon request for visa and immigration purposes. The applicant is required to complete the form in BLOCK LETTERS and sign appropriately. Applicant is also required to submit a self-explanatory letter stating the period of legal stay and the letter why Police Clearance Certificate is being requested. Obtained a set of 10 fingerprint impression card taken by a qualified fingerprint officer. The original of the fingerprints must be posted with your completed application form. The certificates will be posted to the forwarding address as indicated by the applicants in the application.
Documents required for Police Clearance Certificate
- Recent colored passport size photographs
- Fully completed application form which includes name, date and place of birth, period and place of residences.
- Copy of all passport pages (old and current) with all the three data pages as well as the New Mexico visa entry and departure stamps.
- A document which explains why PCC is being requested.
- A set of 10 fingerprint impression card which applicant required to submit and duly attested by our organization.
- A letter stating that applicant is authorizing someone on his/her behalf. The authorization and release form must be completely filled and signed.
- Valid document of work permit, dependent pass etc.
- A self-explanatory document/letter stating the period of legal stay in New Mexico.
- New Mexico identity card (if any)
- Copy of your passport, driving license, or any similar document used for identification purposes.
Processing Time
We will give the original PCC within 20-25 working days.
(The processing time will increases if a person was ever charged by the police)
Processing Fee
Applicable Fee.
Police Certificate Issuing Authority
Police Clearance Certificate Check-list
Head Office
2443, Basement, Hudson Line,
Address of Embassy in India
U.S. Embassy,
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Butterflying is a wondrous catalogue of one of Australia's…
John Bell, actor
Simon Tedeschi, piano
There came so loud a calling of the sea… Alfred, Lord Tennyson
To realise the tragedy of Enoch Arden, it takes two of the country's leading theatrical and classical forces combined. A National Living Treasure and renowned Bell Shakespeare founder, John Bell AO commands any stage. And Simon Tedeschi, as the hands of David Helfgott in film triumph Shine and a concert pianist to numerous world leaders, is a musician firmly of our time.
Ride a raft of emotion as Bell brings the narrative poem by English Poet Laureate Alfred, Lord Tennyson to life, and Tedeschi amplifies the romanticism of the score by Richard Strauss.
Surrender to this enthrallingly intense tale of a ship's captain lost at sea and returning to a reality that has evolved without him. Then re-enter the evening in the glow of a great story, truly heard.
Richard Strauss Enoch Arden Op. 38
Download a copy of Alfred, Lord Tennyson's poem Enoch Arden here.
Twilight Notes Packages are on sale now
This performance is presented in Concert Hall Reverse Mode with the audience seated in close proximity to the performers on the Concert Hall stage. Instead of performing to the main auditorium, the artists face the choir balconies and choir retractable seats. This seating arrangement is known as reverse mode and creates an intimate and relaxed atmosphere.
Connecting safely at QPAC
See our safety measures.
Please provide contact details of all attendees, where prompted.
Theatre seating for this event will be updated inline with COVID-19 social distancing as required.
The Safest Way to Buy!
QTIX is the official ticketing service for QPAC and Twilight Notes 3: Enoch Arden. Selected packages are sold through authorised resellers only. Any tickets purchased through unauthorised sales channels may be seized or cancelled without refund or exchange and the bearer of the ticket may be denied admission. Unauthorised sales channels include Viagogo, eBay and Gumtree. Read more about purchasing tickets online.
Presented by QPAC
^Concession: Centrelink healthcare and pension card accepted, seniors cards not accepted
^^Under 30 years of age at the time of booking (ID required) or full-time students
Please note, a transaction fee of $6.95 applies per transaction. Minimum price may be available for selected shows only.


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White Noise Weightlifting Club
Staines Weightlifting Club - The only British Weightlifting Affiliated Club in Staines-upon-Thames
White Noise Olympic Weightlifting Club
The olympic weightlifting moves you will be learning are the snatch, and the clean and jerk. Each movement is broken down into key parts and the different parts of the moves and assistance exercises are practised before the complete movement is put into motion.
Olympic Weightlifting is very technical but under the eye of a good coach like Kristian McPhee the olympic weightlifting moves are well broken down and easy to pick up and then piece back together.
The Snatch
The essence of this movement is to lift a barbell from the floor to locked arms overhead in a smooth continuous movement. The barbell is pulled as high as the lifter can manage (typically to mid chest height) at which point the barbell is flipped overhead. With relatively light weights locking of the arms may not require catching the barbell in a squat position and this is referred to as a Power Snatch. If the weight is heavy the lifter usually receives the bar in a squatting position while at the same time flipping the weight so it moves in an arc directly overhead to locked arms.
When the lifter is secure in this squatted position, he or she rises to a standing position completing the snatch. The snatch requires not only great strength, but mastery of technical skills, a high degree of shoulder/back/leg flexibility, excellent balance, and speed. However, power and strength do play an important role in differentiating athletes in competition, particularly at advanced levels, where the majority of competitors have mastered the technical aspects of the lift. This lift requires coordination, core stability, explosive power and tremendous speed; which is transferrable to all sports.
Clean and Jerk
The athlete begins the clean by squatting down to grasp the bar. Hands are positioned approximately a thumb's distance from hips using what is known as a hook grip. The hook grip requires grasping the bar so that the fingers go over the thumb. This makes it much easier for the lifter to maintain his grip on the bar. The lifter's arms are relaxed and just outside the legs with the bar up against the shins. The hips are as low as necessary to grasp the bar, with the feet placed approximately at hip width. Toes may be pointed straight ahead or angled out according to the lifters' preference. The chest is up and the back is neutral to slightly hyper extended. This is the starting position of the "pull" phase of the lift.
The lifter jumps the bar up through triple extension (in very quick succession) of the hips, knees and then ankles. When the legs have driven the bar as high as possible, the lifter pulls under the bar by violently shrugging (contracting) the trapezius muscle (upper back). This pulls the lifter under the bar and into a deep front squat position. The lifter then stands in preparation for the next phase.
From the standing position, the lifter bends the knees and then straightens them in order to propel the barbell upwards. The lifter pushes slightly with the arms. This pushes the lifter underneath the barbell. A split jerk is most often used, in which one leg lunges forward while the other moves backward. The lifter must hold the barbell overhead, keep the arms locked, and move the legs directly underneath the torso so that the entire body lines up in a single plane. A push jerk can also be used, in which the lifter keeps both legs in position, bends the knees and jumps into lockout position.
Come down, we would love to see you progress with your own Olympic Weightlifting.


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Prevent debris from entering your pool and protect it from UV damage with a Bestway Flowclear pool cover. Designed from durable UV resistant materials and featuring specially designed drain holes to release any pooled water on top, a pool cover will help lower the cost of maintaining and cleaning your pool.
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Manufacturer Bestway Size 12ft Round Shape Round
Bestway is amongst the largest and most popular manufacturers of above ground swimming pools and accessories. Every year Bestway invest in new technologies and innovations so that they can offer new and/or improved products in terms of both design and safety. Bestway were part of the group of experts that worked on the new European Commission safety standards for domestic above ground swimming pools and all of their products conform to those new EN standards.
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You have no obligation to purchase the product once you know the price. You can simply remove the item from your cart.Useful Info
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