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История башкирского народа. Том 6
История башкирского народа : в 7 т. / гл. ред. М.М. Кульшарипов ; Ин-т истории, языка и литературы УНЦ РАН. — М. , 2009–. — ISBN 978-5-02-037008-1
Т. VI. — 2011 — 374 с. : ил. — ISBN 978-5-02-036494-3 (в пер.)
Шестой том «Истории башкирского народа» посвящен периоду с июня 1941 по апрель 1985 г. В нем особое место занимают события Второй мировой и Великой Отечественной войн, в ходе которых башкиры внесли посильный вклад в победу над фашистской Германией. Рассматривается участие народа в послевоенное сорокалетие в социально-экономической, общественно-политической и культурной жизни СССР. Показываются изменения в демографии башкир в указанный период. Уделено внимание освещению жизни и деятельности башкир, оказавшихся за пределами СССР.
In the history of the Bashkir people the period from 1941 to April 1985 is one of the most complicated and controversial periods. The еvents of the Second World War, including the Great Patriotic War of 1941–1945, which is one of the most dramatic and the hardest times in the history of the peoples of the USSR and of the BASSR, have left an indelible trace in the position and demographic development of the Bashkir people. Together with other peoples of the Bashkir ASSR, one of the most important regions of the country in strategic and economic terms, our people, both on the home front and on the front line, defended the common Motherland from the enemy, and it has made a significant contribution to the Victory over German Nazism. 277 Heroes of the Soviet Union were natives of the autonomous republic, and 15 of their number were Bashkir warriors. Representatives of the Bashkir people living in other regions of the USSR also displayed courage and heroism in battles, and have been deservedly awarded war decorations. However, the events of the war have influenced negatively the Bashkirs’ position and their development, which led to a deterioration in all demographic indicators, including the spread of assimilatory processes and the reduction in total number of the Bashkir population.
The events of the early 1940s had their impact on the fundamental transformation of the socio-political and economic situation in the country and regions, including the Republic of Bashkortostan. Changes occurring in the ethnic composition of personnel in the management bodies, economy, education, culture and health reduced the representation of the Bashkirs. The weakening of ethnic culture in the years of mass repressions of 1937–1938 had a disastrous effect on the culture and spiritual life of the Bashkir people in the war years and subsequent periods, also one could observe certain internationalization processes.
In the post-war and subsequent periods the development of the Bashkir people was no less complicated and contradictory. The occurring events have had a significant impact on the Bashkir ethnos: the post-war economic recovery and the Bashkirs’ participation in this, the reforms and hasty innovations by N.S. Khrushchev had their consequences and had their influence on the socio-economic situation of the Bashkirs. They have had a significant impact on the demographic status of the Bashkir people, also on the distribution of assimilatory and urbanization processes. This led to a blurring of their ethnic self-identification, particularly among the youth. The same processes occurred as a result of the involvement and participation of the Bashkirs in the industrial production. They were employed mainly in labour-intensive and unskilled jobs, there was but a small proportion of them among the engineering-technical personnel, and this had a negative impact on the standards of living and welfare of the ethnic group and its development. The migration of the Bashkirs, mostly young and middleaged, to other regions of the USSR in compliance with the state policy had a negative impact on the socio-economic situation of our people, its ethnic culture and identity, social activity and political mobility. More salient still were the fictitious nature of this people’s autonomy and its lack of rights. There has developed a paradoxical situation: in their historical homeland in the years under review, the Bashkirs were in the minority, showing a widespread trend towards linguistic assimilation.
Despite the complexity and contradictions of development, the ideological dictate and the omnipotence of censorship, the development of the Bashkir culture, science and education continued. Representatives of literature and art contributed their share to both the domestic and world treasury of culture, they conquered the world’s stages and widely popularized culture and traditions of their people through their works. Major achievements in science and education are also associated with names of Bashkir scientists and scholars some of whom, even while abroad, continued to serve their people and left an unforgettable trace in science and culture.
By the beginning of the 1980s, activity in all areas of social development slows down, crisis phenomena clearly manifest themselves. They have had a considerable influence on the deterioration of the overall situation in the USSR. The Bashkir ASSR, where the bulk of Bashkir population resided, turned out to be an administrative-territorial entity in name only—without rights within the union state, deprived of political and economic independence. The previous system of management from the top remained without changes. Participation of the Bashkirs in the republic’s life was not noted for its particular activity. Their representation at the key positions in all spheres has been fairly insignificant which had a negative influence upon the development of this ethnos.


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This hotel enjoys a prime setting at the heart of the beautiful district of Bloomsbury. The hotel is situated close to Covent Garden, Oxford Street, the West End and many of London's top attractions. The hotel is also located just a short distance away from stylish shopping opportunities, delightful dining options and exciting entertainment venues. This luxurious, boutique-style hotel enjoys an intriguing design. The guest rooms are lavishly appointed, bathing visitors in grace and poise. The rooms are well equipped with modern amenities. Guests are invited to take advantage of the exemplary f...More details
Check-out ends at: 11:00
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Reviewed 19 january, 2020
Amazingly helpful staff and brilliant room. Spacious, clean and had lovely touches, brilliant value for money :) concierge were amazing too although we felt bad as he clearly works across all of the hotels on the street!
Reviewed 12 november, 2019
This hotel had great ratings however I was displeased. I think it's because I was sequestered into the "basement". People talked about nice big rooms and mine was teeny tiny. I guess for the price of $175 Canadian I expected something better but London is quite expensive. The location was very good, being right by Russell Square and very close to tube and bus stop. The hotel had an elevator and the wifi was great, however the room was just dingy. It was clean but with the wall paper coming off on every wall it just seemed gross and dingy.
Reviewed 12 october, 2019
Looking for something central and with bit more space than the usual London hotel bedrooms, be it a budget or an expensive hotel, we decided on the Grange Portland. The larger rooms here are not cheap but more than worth it for the huge amount of space, the enormous bed and curious self catering facilities - curious because breakfast is included in the tarriff, and who wants to cook on holiday. At booking, I indicated a preference for a room at the back and on an upper floor. On arrival, there was no mention of this request and we got a second floor room facing the road. Yes, it is noisy, but at night there is minimal traffic and wax ear plugs work wonders. All previous reviews commenting the need for maintenance are correct although much of what we saw was minor - a spot of paint, a bit of glue to stick the wallpaper back on, mould treatment in the bathroom - and the level of cleaning seemed high during our three day stay. Breakfast was excellent, varied and abundant. We paid extra for the cooked breakfast, which was huge (just avoid the vegetarian sausages). I would settle for the cold breakfast - even on a busy Sunday morning it was well stocked. If we could be sure of not being given a basement room, we would definitely consider coming back to the Portland.
Reviewed 17 september, 2019
Quaint hotel with Very friendly staff. Room was large and clean. The bathroom products are of very good quality. Located in a safe and central area of London, it’s so easy to walk to so many areas of the city. You are within 15 minutes of most major attractions. Right around the corner from the British museum. We would definitely stay here again when we return to London. How often can you find a hotel with a king size bed?
Costly Rundown Appualing Potentially dangerous
Reviewed 15 september, 2019
We stayed here for 1 night on 14 September 2019 at a cost of £ 194.35 expecting something reasonable for this price we were bitterly dissapointed. On arrival we were told our room was number 3, but no m,ention of which floor, after travelling up and down in the lift we eventually arrived in the basement to find room 3. The room was dark so light were required even at mid day, and with the light on anyone walking along the footpath outside could see into the room. To bathroom had a faint pefume of sewage the toilet seat was broken, and the bath had numerous chips in the enamal. Cleaning is obviously a problem for the staff, as lots of dark short hair was found within the room and bathroom, on one bedside table this was within a gelatinous matter, that you could not determine if it was a human secretion or not. Being directly under the reception area the noise level was totally unacceptable and I was awoken at 1.45 am by noisy foot fall on the floor above All of te fittings were tired badly worn or miss matched, but the worst problem was the leaking electric kettle which was positivly dangerous and my wife was close to being electricuted.

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The Land of My Fathers
Land of My Fathers was a pageant-play staged as part of the Festival of Britain celebrations in 1951. It took place in the Sofia Gardens in Cardiff, the same location as the National Pageant of Wal...
The Raglan Castle Pageant
Women’s Institute (WI) pageants had flourished in the late 1920s and early 1930s (see Berkshire and Staffordshire pageants (1928), often organised on a county-wide basis. However, these had waned i...
Pageant of Cirencester
The Pageant of Cirencester was one of a number of Pageants held for the Coronation in 1953 (see St Albans, Sandy, and Warwickshire). A number of postwar pageants utilized floodlighting, allowing pe...
A Pageant for Coronation Year 1953
A previous pageant on the History of British Music from 1200 to 1682 had been held in St John’s College in 1951 as a part of the Festival of Britain celebrations. Two years later, the Coronation of...

domain: history


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Approx. Rs 950 / KgGet Latest Price
|Minimum Order Quantity||25 Kg|
|Shelf Life||3 years|
|Country of Origin||Made in India|
We are counted amongst the most prominent manufacturers and suppliers of Culture for biogas digester (Methane Rise) .
Methane Rise proprietary formulated and designed cultures to increase the methane gas production. It is composed of culture which converts the complex organic matter to methane and carbon di oxide. These cultures perform under anaerobic condition in the absence of molecular oxygen at high negative redox potential thus producing methane in high quantities.
- Increased methane gas production in the biodigester.
- Maximum biogas yield, maximum COD, BOD removal
- Increase in profitability of the plant

domain: chemistry


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Viking Stadium Hits Snag In Minneapolis
The Vikings Stadium hopes appear to rest in Minneapolis and specifically at the Metrodome site. The Vikings are warming to the idea of building there but the Minneapolis city council doesn't appear to be in favor of Minneapolis Mayor R.T. Rybak's proposal for continuing an existing city sales tax to help pay for the local $300 Million for the stadium. Instead the City Council would like a city vote or referendum to decide whether to continue the existing sales tax to pay for a stadium.
Rybak believes the opposition isn't firm. Rybak says he opposes a referendum and says voters will get their say when he's up for reelection in 2 years.

domain: finance


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Here's a really easy scone recipe, made with a surprise ingredient, 7 UP or Sprite! It's a classic Australian Scone recipe, one that my wife made for me about 20 years ago. Perfect for breakfast or with a cup of tea.
What are Lemonade Scones?
In Australia, they call this recipe Lemonade Scones, an easy way to make homemade scones. If you're from the States, it's not what you think! There is no lemons in this recipe! Australians call all lemon-lime soft drinks like 7 Up or Sprite as Lemonade. It's not fresh squeezed lemon juice, commonly known as lemonade. This sounds confusing, but it's not really. Just use 7 UP when making this recipe!
How to make Easy Scones
The easy part of this recipe is that it's a 3 ingredient scone recipe. Self raising flour, whipping cream and Sprite or 7up, how easy it that? Self raising flour is very commonly used in Australia, UK, and even in the southern states of the US. If you can't find self raising flour, you can make your own. For each cup of regular flour, add 1½ teaspoons of baking powder and ¼ teaspoon of salt. So it's still easy!
It's important to not over mix the dough. This will bake hard and tough scones. Try to handle the dough as little as possible. On a lightly floured surface, pat the dough gently and cut the round scone circles. Be gentle.
Tips for serving 3 Ingredient Scones
The best way to store scones is in an air tight container. If you don't eat them all on the same day, they freeze really well to be enjoyed on another day. And finally, what to serve with fresh scones? Its very commonly served with jam and whipped cream. Here in Australia, they are also served with fruit curd. I make an easy Lemon Curd or a homemade Passionfruit Curd when they're in season. The perfect accompaniment for Lemonade Scones (Sprite Scones)!
An Easy Scone Recipe made with 7 Up or Sprite. Known as Lemonade Scones in Australia, made with only 3 ingredients! Serve with jam and fresh whipped cream. I love scones for breakfast. Bon Appetit! Приятного аппетита!
Easy Scone Recipe with 7 Up!
- 3 cups self raising flour*
- 1 cup whipping cream not light
- 1 cup 7-UP
- Preheat oven to 350°F/180°C fan forced.
- Mix all the ingredients together in a bowl, lightly. Carefully mixing until they are combined. The dough will be soft and tacky.
- Roll out the dough on a lightly floured surface, to about 1" thick. Using a 2" round cookie cutter, cut about 8 round pieces. Place them close together on a lightly greased sheet or on baking paper. (Optional: brush scones lightly with milk.)
- Bake for 15 minutes, until they're golden brown. Allow to cool on a wire rack.
- Serve with jam and fresh whipped cream.

domain: food


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| The property market is currently teetering on a plateau...
but it wont fall off, an expert says.
Instead, expect the market to take up its surge again next year making it key for you to get in on the act as soon as possible.
So what are the risks facing the market? Well, according to Berry Everitt, MD of the Chas Everitt International property group, you need to keep in mind the overall prospects for the national economy, and equally important, the economy in the area in which the property is situated.
Cheery South Africans
While the US may be facing a recession, in SA, economists remain upbeat about economic growth, following on from SAs GDP growth of 5.1 percent in 2006.
According to economist Mike Schussler, following on from the MasterIndex survey of Consumer Confidence released recently, although South Africans may have seen a slight slowdown in economic growth, the reality was that the economy was still in a record-breaking growth phase.
This in turn has been supported by the high level of optimism shown by South Africans.
He said, South Africans are maintaining a high level of consumer confidence despite bad news courtesy of record-high petrol, food and electricity prices, political tensions and, of course, the absence of the Cricket World Cup in South Africas trophy cabinet.
A looming recession?
But even if there was reason to be less upbeat about South Africa, Everitt says that it wont impact on the whole country.
Even when the country is in a recession, certain areas will boom because, for example, a new industry has moved in, or foreign tourists have discovered its attractions. Conversely, some areas will not do as well as others even when the national economy is growing strongly, as is currently the case.
But how do you get in on the action? Everitt says now is the time to hunt for good investments, that will put you ahead of the wave.
He advises that beginners should start small, buy with a sizeable deposit and ensure that sound tenants will continue to pay off the mortgage.
It 'can't fail'
Property investment can hardly fail if the investor is satisfied with the rental return. Then, if higher interest rates or unexpected personal circumstances force a quick sale, the selling price will not be a critical issue. And if there is a big capital gain, that's the entrepreneur's reward.
But there are certain factors that you need to take into account, not the least of which is a clear understanding of the tax implications of the purchase of an investment property, both for your current earnings as well as from a capital gains point of view.
He says: Much will depend on whether it will be a cash purchase or whether a new mortgage will have to be covered. And the investor should know what he or she plans to do with any proceeds of the investment.
Article from: www.iafrica.com

domain: economics


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Otsuka was born in May 15, 1962, in Palo Alto, California. She has taught at Columbia University, Yale University, and Columbia University School of the Arts, graduating with a Bachelor of Arts degree in 1984. She later graduated from Columbia University with a Master of Fine Arts in 1999.
Her father worked as an aerospace engineer and her mother worked as a lab technician before she gave birth to Otsuka. Both of her parents were of Japanese descent, with her father being an issei and her mother being a nisei. When she was nine, her family moved to Palos Verdes, California. She has two brothers, one of whom, Michael Otsuka, teaches at the London School of Economics.
Her debut novel When the Emperor was Divine dealt with Japanese American internment during World War II. It was published in 2002 by Alfred A. Knopf. Her second novel, The Buddha in the Attic (2011), is about Japanese picture brides.
Otsuka's historical fiction novels deal with Japanese Americans. Her books call attention to the plight of Japanese Americans during World War II.
Otsuka lives in New York City.
When the Emperor was Divine is a historical fictional novel written by American author Julie Otsuka about a Japanese-American family who was sent to a concentration camp in the Utah desert during World War II. The novel, loosely based on the wartime experiences of Otsuka's mother's family, was written from the perspective of four family members, detailing their expulsion from California and their time in the camp. It is Otsuka's first novel, and it was published by Alfred A. Knopf in the United States in 2002.
The book is broken into five uneven sections: “Evacuation Order No. 19,” “Train,” “When the Emperor Was Divine,” “In a Stranger’s Backyard,” and “Confession.” The first three sections are written in a distant third person narrative mode, where the characters are never referred to by name. The fourth section is in the shared point of view of the brother and the sister. The final section, which is only a few pages long, shifts into first person narration.
The novel is set in April 1942, in Berkeley, California, a Japanese-American woman reads public signs , takes notes, and goes home to pack. Nine days later, she is still packing. She dresses up to go shopping. Joe doesn’t want to be paid and gives her two caramels for her children.
At home, the woman takes down mirrors, moves plants outdoors, moves valuables to the basement, and packs books and dishes in boxes. She gives the cat to the neighbors and kills and cleans the chicken, which she will cook for dinner. She eats rice balls and gives the family dog, leftovers with an egg. She thinks about her husband, who, despite being in an internment camp in Texas since December, writes faithfully. She ties White Dog to a tree, kills him with a shovel, and buries him along with her dirty white gloves. When the children return from school, the mother prepares a chicken dinner and lets her daughter’s pet macaw fly out the window while she imagines her husband in the house with them. She has no idea what the future holds for any of them.
The second section, “Train,” focuses on the family’s transition from their first barracks to the second camp. On the train the girl is the central character. She observes people closely and sneaks peeks out the windows of the train, even though the soldiers on the train tell her that she is supposed to keep the shades on the windows drawn.
When they reach the camp, the third-person narration shifts so that the young boy is the point-of-view character. His childlike view of the camp sets the tone for this section, the bulk of the book. The reader learns about the strict rules governing camp life and the harsh conditions people endure in the Nevada desert. The family tries to hold on to the memories of their old lives. The boy in particular is trying to hold on to the memories of the absent father. The mother is increasingly struggling with severe depression.
The fourth chapter describes the family’s return to their home and their struggle with discrimination in the wake of the war. In this chapter, only the mother and the two children make it home at first. The children are happy to be home, enjoying the return of their freedom. The mother is upset about the way their house was occupied in their absence. For much of the chapter, the mother attempts to restore the house to its prior condition. This is not the only element of their former lives that cannot be restored. Their neighbors refuse to welcome them back, and the family finds it difficult to reintegrate into the community.
The final chapter of the book is a monologue by the father, wherein he articulates a fake confession. It is framed as if in response to the interrogation he endured on the night of his arrest. It is brief, only a few pages long, but it is intense, angry, and bitterly sarcastic. It points out that he might as well confess to every crime he is accused of having committed since his accusers will never believe that he didn’t do anything. He maintains how he has no identity in their eyes, apart from his race, and how his guilt has already been determined, thanks to that prejudice, before he was even arrested and brought into the interrogation room for questioning. The book ends on this note, forcing the reader to confront their own complicity with prejudiced practices in American society.
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domain: artistic


ArleneWow! has a signature voice and poignant lyrics that attracts fans from many genres of music. Born and raised in New Haven Connecticut, ArleneWow! has
performed with many local groups such as Milk, The Unexpected, Vertigo and Little Queen "The Ultimate Heart Tribute". She has released self titled CDs with Milk as well with The Unexpected. Her solo debut CD "The Red Is Becoming" has brought her immediate recognition and notority among fans and fellow musicians alike.
ArleneWow!'s live performances have been described as "uplifting and emotionally charged". Gary Allen's Nashville "Music City Beat" online monthly songwriters' contest has awarded Arlene a win for her song "Wrong Side" as well as 2 consecutive top tens for the songs "Breathe" and "The Flesh". ArleneWow! has also been nominated for the best solo artist of the 2008 by the Hartford Advocate.
ArleneWow!’s new CD is on its journey to completion! New Jersey may not be the perfect vacation spot during December, but it is the perfect place for ArleneWow! to record her sophmore effort to “The Red Is Becoming”. Why New Jersey, you may ask? It is the home of Donald Lee Shough, guitar virtuoso, songwriter and engineering guru. Arlene and Don cowrote the song “Breathe” when they first met several years ago in Nashville, TN. You can hear some of Don’s amazing guitar work on songs “Breathe” and “The Flesh”. To hear even more of Don’s blistering guitar licks check out www.myspace.com/donshaw
“Dirty Road Home” the new single from ArleneWow!’s upcoming CD will be featured in a new online blog/novel by author of New York Times best seller “How Not To Get Old” by Pamela Redmond Satran. Pamela has invited Arlene to post “Dirty Road Home” as a music video to accompany her new story. The website for this project has not been launched yet, but check here for more information coming soon. To find out more about Pamela’s catalogue of work go to www.pamelaredmondsatran.com and www.hownottoactold.com
ArleneWow! is now front page news! Check out the Nov/Dec issue of CT Women’s Journal! www.ctwomensjournals.com
ArleneWow!'s latest video Dirty Road Home is now featured on the website Ho Springs. Story of a little spa town near the gates of hell by Pamela Redtron Satran. To check it out go to: www.hosprings.com/
This November ArleneWow! had the opportunity to perform at The Glass Onion Café in Tucson, AZ. Arlene was accompanied by Tucson’s own Shanti Foster on mandolin and violin.
For all of you living in the Tucson area, please visit the hip Glass Onion! There’s great music, food, coffee and soft drinks in a relaxed and fun atmosphere. Owner Jenn Taylor is a sweetheart. www.myspace.com/glassonioncafe
Radio Airplay ArleneWow!’s music is currently being played on Homegrown WESU 88.1FM Thursdays 4pm-5pm www.wesufm.org , Grandma’s Attic Show WCNI 90.0FM www.wcniradio.org, University of Hartford, Ct. WWUH 91.3FM Thursdays 8pm www.wwuh.org and internet station Women Of Substance HOT AC Show Wednesdays 1pm-3pm www.live365.com/stations/breenoble . Remember fans, if you don’t hear Arlene on these stations, contact them and let them know that you need some ArleneWow!
Get on the ArleneWow! mailing list, send comments, book private parties - email@example.comTee Shirt and Magnets coming soon!


Ketchikan’s soggy weather tapered off over the weekend, and turned into warm sunshine by Monday, repairs to a culvert on North Tongass Highway are complete, and Ward Lake has receded back to normal levels.
District Ranger Susan Howle inspected the Ward Lake recreational area, and there was minimal damage to the trails. A footbridge near the day-use area shelters was lifted off of its foundation, but appears stable. The news release states that it should be repaired later this week.
The public is encouraged to exercise caution on trails and bridges, and to report any damage.
For questions or concerns, call the Ketchikan Misty Fiords Ranger District at 225-2148.


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French pharmaceutical company, Sanofi’s (SNY - Analyst Report) Animal Health division, Merial, recently announced that it will acquire a privately-held India-based company, Dosch Pharmaceuticals Private Limited. The deal is expected to close in the first half of 2013. The financial details of the deal were not disclosed.
Dosch Pharmaceuticals’ animal health business has more than 86 animal health therapeutics and nutritional feed supplements and other products.
We expect this deal to help Sanofi tap the Indian animal health market better. Sanofi estimates that the Indian animal health market will generate 2012 sales of €350 million, exhibiting double-digit growth year over year.
As a reminder, Merial was founded in 1997. It was a 50/50 joint venture between Merck & Co. (MRK - Analyst Report) and Sanofi. Sanofi acquired Merck’s 50% share in September 2009 for $4 billion (approximately €2.9 billion). Currently, it is a wholly owned division of Sanofi.
We note that Sanofi’s biggest challenge is the generic threat that is being faced by several of its products. The company lost approximately €2.2 billion in sales in 2011 due to genericization.
Sanofi is looking to combat the generic threat through inorganic growth. Moreover, Sanofi is introducing new products to counter the loss of revenues due to genericization of key drugs. We believe that the proposed acquisition of Dosch Pharmaceuticals is a step in that direction.
We currently have a Neutral recommendation on Sanofi. The stock carries a Zacks #3 Rank (Hold) in the short run.
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Trained as a classical pianist, I used to moonlight playing popular songs I heard on the radio and would hide it from my teacher. Nowadays, I ask my students what would like they to play and pick one or two songs that they like so they can practice. I don't mind if my student plays a Chopin Nocturne and then a blues/ jazz song. It's to create combination using all sides of the brain and engage students in making music.
In addition to nurturing a child's passion for singing, it's important to keep his or her voice healthy as they grow and get stronger vocals. The main purpose of children's singing lessons is to make the learning process fun. As a student begins to enjoy the learning and improvement process, the instructor can work on advancing the fundamentals, techniques, and practice of singing.
Hey There!! My name is Millie and I am a professional actress, singer, and songwriter. I have traveled all over the United States in Musical Theatre and have also worked as a jazz stylist and vocalist. I am able to teach the styles you hear on the radio, plus some. Country, Riffing, Belting, are all specialties that I can teach. I can help your music really 'POP'.
Oscar Diaz, Jr. (Director) has built a reputation for achieving the highest standards possible in each of his students. His students have performed throughout the world and have been part of Team Christina on NBC's Season 5 of The Voice. Present and past students have also performed leading roles with opera companies in the United States and abroad. Mr. Diaz, Jr. is also well known for his successful work with the guidance of young voices and for the success rate of his students' acceptance into leading conservatories. These include such notable schools of music as the Manhattan School o ... View Profile
Welcome to 30 Day Singer! I bet if you’re reading this, you’ve always wanted to become a great singer. Maybe you play guitar and want to sing and play songs for your friends. Maybe you’re an aspiring rock star just getting started. Or maybe you’ve been singing for years but have never been proud of your singing voice. Well I’ve got good news: This course is for YOU!
The Guitar Center Lessons curriculum is based on a progressive advancement model. This proven method provides a well-defined roadmap of the material covered and skills taught so you can easily track your past and future progress. Since we use the same curriculum in all locations, students have the flexibility to take lessons from any instructor at any of our locations and progress through the same content. Our program is fun but challenging–both for beginners and serious musicians who want to improve their existing chops.
Many of us have seen it happen while watching singing competition shows like The Voice, American Idol, or The X Factor Youre voice is incredible, but the song choice was all wrong. It usually ends with an elimination, especially if it is a consistent pattern. You might love a certain genre of music, but knowing whether a song is a good fit for your voice and audition is critical. Like many things, success is dependent on knowing your strengths and showcasing them. So what are the best so … Read More
My experience in dance, Alexander Technique, and acting informs my teaching approach. I include body awareness, character interpretation, and making the music come alive as an integral part of the lessons. I love to teach and enjoy helping others discover their voices and achieve their personal singing goals. It would be a pleasure to help you discover your voice!
The final piece of the puzzle is flexible scheduling. It's our mission to make Guitar Center vocal lessons accessible to anyone, so even if your timetable is jam-packed, we encourage you to get in touch and find out how we can work around your busy lifestyle to tailor a lesson plan to your personal scheduling needs. It's the least we can do to make sure that music - and a newfound superstar singing voice - are well within the reach of everybody with the passion to realize his or her potential.
e singing lessons but Milton came in with a positive attitude. Milton is very friendly, funny, professional and always enthusiastic when asking questions about music. I use to be very shy, "never want to sing in front of people" type of girl, but ever since I started lessons with him, I sing all the time in front of people, starting to perform on stage, built A LOT of confidence, and found what type of musician I am. All the things he teaches me is VERY USEFUL, I apply everything we learn to my music and it has made a huge difference. I've come to learn that the tiniest things count! I highly recommend him and you'll have the best time!"
Many of us have seen it happen while watching singing competition shows like The Voice, American Idol, or The X Factor Youre voice is incredible, but the song choice was all wrong. It usually ends with an elimination, especially if it is a consistent pattern. You might love a certain genre of music, but knowing whether a song is a good fit for your voice and audition is critical. Like many things, success is dependent on knowing your strengths and showcasing them. So what are the best so
Please do not pass over this course when you see that it covers the ANATOMY of singing. Roma starts at the beginning because that is how we learn, at the beginning. I am not new to singing but was feeling rusty on my skills/knowledge. She includes so much information that you get to print and keep forever, including a vocal warm-up cd that you may download. Sometimes she is on video for warm-ups and talks to you like you are in the room with her. I recommend this course to anyone and everyone.


Earlier in August, I wrote an article discussing the coalition troubles that were plaguing the grand coalition in Ireland. I also noted some ways that it could fall. We can add another cause of instability in Ireland: a leadership struggle.
A Fight for Leadership
Current Taoiseach Micheál Martin is facing backbenchers who are openly putting their name into the ring for leadership. The most notable one is Jim O’Callaghan. O’Callaghan is the current TD for Dublin Bay South. This is a swing constituency; O’Callaghan was elected 4th out of the 4 TDs elected from the district. He notably turned down an appointment to the justice ministry when the coalition was formed. This, in hindsight, was an excellent way to separate himself from the increasingly unpopular Martin.
One of the issues that O’Callaghan has broken with Martin on is the treatment of former Agriculture minister Barry Cowen. He has stated he would have given Cowen more time. This may not be the most popular position within the country, but it does give him a powerful ally. Barry’s brother is former Taoiseach Brian Cowen. Brian left the office with an 8% approval rating, but he still maintains popularity in the Laois–Offaly Constituency in the Dáil. This gives O’Callaghan an opening if he wishes to go against Martin.
O’Callaghan’s judgment was later vindicated when Cowen’s replacement Dara Calleary was fired as Agriculture Minister and as Deputy Leader of Fianna Fáil. This occurred after it came out that Calleary, along with European Commissioner for Trade Phil Hogan, was breaking the lockdown measures that Martins government established. This scandal has undermined the government’s response to COVID-19 and has made Martin seem like a weak leader.
Martin’s Declining Popularity
Martin is down to a 44% approval rating. His Deputy Leader Leo Varadkar has a much higher approval rating of 63%. If this holds once the pandemic is over, Martin might lose an election. If that occurs, he will almost certainly be replaced as the leader, and right now O’Callaghan is the only one making public moves.
Taoiseach Martin’s unpopularity and the rise of Fine Gael in the polls are two factors allowing backbenchers to be more vocal in opposition to the coalition. O’Callaghan has criticized moves by the leadership and he has also floated the possibility of becoming the leader of the party in the future. You can do one of these things and not be seen as someone gunning for a job; however, you cannot do both, and O’Callaghan has done both. He may be flying to close to the sun, but there is tangible displeasure on current leadership and he is capitalizing on it.


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DunDiggin's Gallery Comments
Well done. I was looking at the moon tonight and thinking it is a little hazy to get a good shot, but you got a decent one - exposure seems spot on in particular. There is a slight feeling of blur, even though it looks clear when I study individual bits - maybe it's my eyes!
I'd say you got the shutter speed spot on.


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A Perfectly Good Man (2012)
‘Do you need me to pray for you now for a specific reason?’
‘I’m going to die.’
‘We’re all going to die. Does dying frighten you?’
‘I mean I’m going to kill myself.’
When 20-year-old Lenny Barnes, paralysed in a rugby accident, commits suicide in the presence of Barnaby Johnson, the much-loved priest of a West Cornwall parish, the tragedy’s reverberations open up the fault-lines between Barnaby and his nearest and dearest – the gulfs of unspoken sadness that separate them all. Across this web of relations scuttles Barnaby’s repellent nemesis – a man as wicked as his prey is virtuous.
Returning us to the rugged Cornish landscape of Notes from an Exhibition, Patrick Gale lays bare the lives and the thoughts of a whole community and asks us: what does it mean to be good? A Perfectly Good Man tells two stories in tandem. Ostensibly it tells of the effect had on the lives of a wife, a mistress and three children by the love of Barnaby Johnson, a parish priest in a remote mining community in the windswept west of Cornwall, and how fault lines are opened up in all their relationships when Barnaby apparently assists the suicide of a young man paralysed in a rugby accident. But it also tells the story of how the perfectly good man of the title came to devote his life to the seemingly impossible challenge of living as a priest in the 21st century.
To order your copy through bookshop.org and so support local bookshops, click here.
To hear the opening pages of Patrick’s recording of the audiobook, click here.
This isn’t a sequel to Notes From an Exhibition but Patrick has described it as “an echo chamber” to that novel. “It’s often the case that I find there’s a character in a novel who won’t rest once that novel is finished. A year or two after I’d finished Notes, I found I was worrying about Rachel Kelly’s deeply troubled daughter, Morwenna. She was the only character in that novel left without something like peace or happiness at its close; we left her in the midst of a nervous breakdown, fresh from a suicide attempt. She was safely at home in Penzance but she certainly wasn’t happy and it seemed that nobody knew quite what to do with her. I don’t do sequels but I do occasionally bring a character back, if only to answer unanswered questions about them or to satisfy myself in some way. Wondering about her and what had happened to her, I found myself also wondering about writing a novel that presented a parallel conundrum to that in Notes. A novel that would show another family in crisis, another family at once punished and blessed by the vision of a parent, only the parent in this case would be the father rather than the mother. And the divine madness driving them in this case wouldn’t be the heady combination of bipolar disorder and artistic genius but deep religious conviction and profound goodness. Morwenna certainly reappears, as does her lovely Quaker dad, and she helps deliver one of the happier elements towards the novel’s bittersweet ending, but I won’t go spoiling a reader’s enjoyment by giving too much away…”
Like Notes From an Exhibition, A Perfectly Good Man is told from multiple viewpoints so that our perspective on the hero keeps shifting. Structurally both novels are double helices with the central figure’s story, from their perspective, being told in reverse while the chapters told from the point of view of the other characters follow a (more or less) chronological order. As in both novels, it is the reader, not the novelist, who plays God in that ultimately he understands far more than any character in isolation. The reader is the only one in possession of all the facts.
Just as Notes was basically set in Penzance but threw in scenes set as far apart as Toronto, New York and Brussels to emphasize the comforting insularity of the Cornish setting, so A Perfectly Good Man is focused on events played out in two small villages – Pendeen and Morvah – on the rocky coast between St Ives and the author’s home near Land’s End, but takes in Bristol, a boy’s boarding school, Sudan and the idyllic Wiltshire house and garden that provide the novel’s central, mysterious vision. And, as in that earlier novel, the time scheme covers the best part of a lifetime: from 1959 to 2011.
Good characters are notoriously less interesting to novelists than wicked ones. But virtuous people or, more accurately, people trying to be virtuous have been a recurrent feature of Patrick’s work. Is there a reason for this? “I suspect it stems in part from my core optimism; I tend to hope for the best in people – I certainly want to believe the best of them – and this probably spills over into my characterisations. In this case I was partly inspired by family example. My father’s religious belief, profound but extremely discreetly expressed, was one of the inspirations for the book, as was a tiny edition of Kempis’s The Imitation of Christ he’d carried with him since being given it by a soldier serving under him in WW2. Both his father and grandfather were priests and I think he might well have become one had the war not interrupted his education and shown him things which perhaps shook up his certainties. When I went to a cathedral choir school and then was confirmed at 13, I’m fairly sure he started hoping I’d follow in the family tradition…
“Wickedness is relatively straightforward,” Patrick goes on. “It’s usually no more than a giving-in to appetite – for money, for sex, for power – so requires less strength than its opposite. Goodness interests me precisely because it’s so hard to explain; so often it seems to be entirely irrational and counter-intuitive. Bad behaviour is fun to write about, of course, as I hope I’ve shown, but it has its limitations as a subject if you’re not a crime writer…”
That said, A Perfectly Good Man – whose title could refer as much to the impossible manly ideal of Jesus, as to the novel’s hero – contains quite the nastiest character Patrick has ever set down on paper: a rapist and pornographer who nestles in the Pendeen community’s unsuspecting heart thanks to his veneer of unworldly saintliness. Modest Carlsson’s frightening obsession with rooting out the secret behind Barnaby’s goodness, with destroying him in fact, is one of the motors that powers the novel’s multi-stranded plot.
Click here to read Patrick answering questions about the novel when it was chosen by the Mumsnet Book Club.
Click here to read readers’ reviews on Goodreads.
Publisher: Tinder Press
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Reviews of A Perfectly Good Man
In the arresting opening chapter, Father Barnaby, vicar of Pendeen and Morvah near Land’s End, seems half complicit in the suicide of a young man paralysed in a rugby accident. The scene is heartrendingly pertinent to the divisive issue being debated almost daily in the media and sets the scene for a conundrum: was Father Barnaby merely perfectly good in the colloquial sense that he was adequate-good enough-or was his goodness absolute? Modest Carlsson, an unpleasant misfit, edits the parish magazine as a cover for his crazed objective of unearthing some badness in the priest, and he seizes the appalling aftermath of the suicide for his evil ends.
The story is told in layers, sliding subtly back and forth from Barnaby’s troubled childhood as the son of an agnostic scientist to his own loving, yet somewhat distant, take on fatherhood. His faith wavers, he has an affair and considers leaving his wife, and sometimes his parishioners annoy him. He also has endless resources of forgiveness and tolerance, taking daily evening prayers for a loathsome congregation of one.
Celebration of the quirky and exploration of the unusually tragic against a backdrop of his Cornish home is classic Patrick Gale territory. There’s the usual art, glorious coastal imagery, contented family life and a happy wedding, all beautifully evoked, but, as he confessed in an interview with Country Life (June 22, 2011), this ostensibly cheerful writer is ‘hooked on disease and disability’. It’s an engrossing mix that keeps you reading until the end and pondering far longer.
Fr Barnaby Johnson is taken by surprise when, asked to visit a parishioner confined to a wheelchair after an accident on the rugby field, he becomes a witness to a suicide.
This is the shocking introduction to an Anglican parish in Cornwall in Patrick Gale’s latest novel, a setting not far removed from his previous book, Notes from an Exhibition.
While Gale’s early books were concerned with individuals making their way into the wilds of a barely understood world, his later ones have focused on families and the obligations that go with the interaction.
His characters are connected to the outside world and they have histories, explored in this book in chapters headed “Dorothy at 24” and “Barnaby at 29”, and so on.
But for all that, this has an ensemble cast. It is Fr Barnaby, the “perfectly good gentleman” of the title, whose choices set off various chains of events.
A highlight of this book is the wonderful marriage service for two women conducted in Fr Barnaby’s church (though not by him), and not, of course, sanctioned by the church. It is a beautiful set piece that manages to celebrate a loving union while having a dig at religious intolerance.
Herald Sun, Australia – Barry Reynolds
Lenny is “a perfectly unremarkable 20-year old who just happens to be in a wheelchair”. He’s there because of a rugby accident and he doesn’t want to live any more. So he kills himself, in front of a parish priest.
It’s a calm, unflinching, shocking opening chapter. Where does a novelist go from there? If he’s Patrick Gale, he goes on to the reverberations of such a death among the friends, families and enemies of both men, in the gaunt, emblematic West Cornwall of his Notes From An Exhibition.
Barnaby the priest is there only at Lenny’s request. He has no idea what’s about to happen; no way of preventing it. But instantly, even as the sickly memorial shrines of flowers, cards, and candles in jam jars appear on footpaths, a loathsome campaign of vilification begins.
Looping backwards and forwards across six decades of lives, and set in an intimately understood landscape of chapel, mine pits, tenacious farms and tenacious people, grey stone and grey Atlantic, this is a narrative of several deaths: chosen but jolting; medicated and impersonal; televised in “horrible beauty”.
It’s also a story of reconciliations and the varied forms of love.
A son says goodbye to an estranged father; a young man establishes wary relationships with God (religion, considered, accepted or rejected, threads the biographies of most characters). Obsession, devotion, transformative and crippling love all feature.
There are wonderful moments: Lenny’s ashes sent arcing out over the sea inside a sky-rocket; his mother and aunt pillaging the floral tributes; priest and wicked stepmother getting agreeably boozed together; an utterly beautiful, tissues-compulsory betrothal at the end.
And there are splendid characters, continually shifting into new perspectives. Barnaby, physically slight but morally stalwart; the father who is “one of Nature’s PE teachers”; the devious, ruined creature who seeks only to ruin others; the resolute farm girl first drawn to her man in the cow yard; the gay brother from California and his art-dealer spouse.
Gale’s writing is mature, poised, textured; you trust him from the first page. He searches his people compassionately yet forensically. His rendering of human emotions is near-consummate: there’s nothing he won’t confront; nothing from which he fails to mine richness.
One of the very best from the West.
The New Zealand Herald – David Hill
I met Patrick Gale many years ago when I worked for Waterstone’s. He was reading from his new book Rough Music. I was on beverage duty, serving drinks from a make-do trolley that thirty minutes previously had been loaded with that months 3 for 2’s. I can’t honestly tell you I miss stickering and de-stickering piles and piles and piles of must-read paperbacks.
Anyway, back to the story. Patrick (we’ve met so I feel on first name terms with him) was a true gent. I, on the other hand, turned into a terrible liar. You see, he mentioned he was friends with Armistead Maupin and being eager to please I exaggerated a brief occasion when I met Maupin in San Fran. I was on a walking tour and he knew the tour guide and came over to say hello. Those brief moments in Maupin’s company became a lengthy discussion about his life, influences and future plans but I’m pretty sure Patrick could tell I was exaggerating!
Meet the Author events can be a hit and miss affair. If the author doesn’t match how you’ve imagined them to be it can really put you off their books. Patrick was exactly how I hoped he would be; charming and funny. I really enjoyed hearing about his then new life on a Cornish farm and how this influenced his writing. And in his latest book, A Perfectly Good Man, the isolation and close-knit community of the Cornish countryside is the perfect setting.
A Perfectly Good Man explores what it means to be good. The novel begins with the suicide of a young man and the impact this has on Barnaby Johnson, an Anglican priest, and his family and friends. The implications this event has on a small community is told from the perspective of a rich cast characters. The story is told in a non-linear style. Gale selects key moments from different stages of each characters life. These moments are perfectly chosen and are not quite as random as you initially think. Each moment reveals more and more about these characters and the actions that eventually lead to a young man’s suicide.
It’s the character of Modest Carlsson that lingers in the mind. I began to sympathise with Modest, to be drawn into his increasingly pathetic life and even felt saddened at his treatment following a brief fling with an underage school girl, for it was this incident that determines the downward spiral his life eventually takes. In Modest, Gale has created a complex character whose destructive obsession with Barnaby is a dark thread running through the entire novel. He is vile, hateful and utterly spiteful but such a memorable character.
This is a powerful and carefully written novel. It is not an easy read. Barnaby’s adoptive son and his descent into drug abuse is deeply tragic especially set, as it is, against the background of Barnaby’s troubled marriage and family life. Modest’s unhealthy pursuit of Barnaby is deeply disturbing and the conclusion to this murky tale offers little redemption. In fact, the last two chapters were difficult to read.
There are no easy answers or convenient resolutions. Life is never that straight forward because, even with the best of intentions, no one can be perfectly good all of the time.
A Perfectly Good Man has been shortlisted for The Green Carnation Prize, a literary prize celebrating LGBT Writing. Each year I read the shortlist and discover some wonderful writing. The judges chose books that may surprise you and often challenge you too. A Perfectly Good Man is no exception and one I am very pleased to have read.
Patrick Gale’s new novel could be read as a companion work to his hugely successful Notes from an Exhibition, and in fact, in a satisfying twist, some characters and even objects slip from the latter into this novel. Notes from an Exhibition centred around the character of Rachel Kelly, whose mental instability and solipsistic devotion to her art left a painful mark on her family. The ‘perfectly good man’ of this title is a vicar, Barnaby Johnson, as kind, gentle and balanced as Rachel Kelly was not, yet with the same sense of vocation — in this case, selfless service to the church — that moulds and in its own way scars his family. ‘Ah,’ says his daughter Carrie to another child of a ‘very good man’, ‘you have my deepest sympathy.’
Johnson, known as Father Barnaby to his Cornish congregation, is a wonderful vicar, the sort of transparently virtuous person who inspires others with love and wonder. Serious, vulnerable and touching, he radiates ‘an innocent certainty. This was belief, that compelled one to fall in with it and follow because to do otherwise would be a kind of cruelty.’ Yet with his usual effortless ventriloquism, Gale lays bare the souls of the people surrounding Father Barnaby — his wife, daughter and son — who struggle with the constant feeling that they are sharing him, and not just with his parishioners. In one memorable phrase, it seems as though he is carrying on ‘an important conversation with someone else in the room’.
The troubles of a Church of England minister and his family are an unfashionable subject, and I can’t help liking Gale for choosing it. Nonetheless I found myself on occasion waiting for Father Barnaby to fall from grace, ‘itching to find a fault in him, even a small one’, as the sinister Modest Carlsson does.
Carlsson is Father Barnaby’s stalker, a baddie rather in the Dickensian mould, who loiters on the edge of the narrative waiting to deal some fateful blow. He also, it seems to me, stands in for the niggling mistrust that most of us feel in this psychoanalytical age for such whole-hearted altruism. We have a tendency to perceive it as neurotic, and Gale partially concurs by providing his hero with a ghastly father and step-mother, both joyless humanists, to rebel against.
One of the unusual achievements of this book, however, is to convey — very simply, and utterly plausibly — how a faith such as Barnaby’s adds a layer of hope and joy to his experience of the world. Evangelising was obviously not Patrick Gale’s intention. It is no mean achievement, however, to create a world in which Barnaby’s sense of ‘the distinct possibility of God’ seems, by the end of the book, quite natural and almost attractive even to this godless reviewer.
The thing about Gale is that despite the high incidence of disasters of various kinds in his novels — suicide, murder, the death of an unborn child — torment and suffering are not really his subjects. In fact his treatment of them can seem a little too swift, until you understand that his concern is ultimately the process of healing and reconciliation. In this he is aided by the warm generosity of his style, which draws the most crabby reader into a position of sympathy, and an irresistible narrative drive. Late at night on the day a new Patrick Gale arrives I am always to be found crouching on the icy bathroom floor, banished from the bedroom for keeping my husband awake, feverishly turning the pages. The pins and needles are terrible, but worth it.
The Spectator – Charlotte Hobson
Faith in a novelist you know and admire is a very good thing. It can carry you through what seem like surprising lapses in narrative strength: what appears dull and disjointed surely will find some interest and meaning. Won’t it?
Faith in Patrick Gale will be strong if you’ve read him before. The British author of 14 books, including his acclaimed Notes on an Exhibition and Rough Music, has established a fine reputation for mining ordinary lives and relationships with insight and compassion.
Gale’s latest novel, A Perfectly Good Man, is no exception – indeed here he has mined a gem – but it’s an exhaustive excavation. The book, set in Gale’s beloved Cornwall, opens with a suicide. Lenny Barnes, 20 years old, paralysed in a rugby accident and consigned to a wheelchair, takes his life in the company of Barnaby Johnson, the parish priest.
It is the hook from which Gale unravels several narrative threads that for a long time don’t seem at all connected. We jump from Lenny at 20 to Dorothy at 24 (not knowing who Dorothy is) to Barnaby at 60, to Modest Carlsson at 39 (another new character in another tangent), back to Barnaby at 40, backwards and forth in time and so on. Presented like a sequence of short stories, these threads are linked only by Barnaby, but the link is not fully explored for some time. Until then there appears to be little direction, and the initial hook of Lenny’s suicide seems too weak to carry the burden of a patchy narrative that follows.
But then the Gale skill kicks in, a penny drops and everything is illuminated. A third of the way into its 400 pages, A Perfectly Good Man is like a black-and-white film suddenly made colour.
It’s important not to give too much away. Gale reveals his story with an architectural structure that becomes something to admire only when it is complete. In the moment it seems risky, built without scaffold. In retrospect, it seems ingenious.
Barnaby is the perfectly good man of the title and a beloved priest of a small town in Cornwall, so Gale naturally explores themes of goodness and faith. We meet him at what, under linear circumstances, would be the end of the story. As Gale opens and then closes windows into other parts of Barnaby’s life we piece this man together, learn his traits and foibles, his drive and his dreams. This includes the wellspring of his faith, and the way in which Gale executes his reverse reveal – in the final chapter we meet Barnaby as a small boy – somehow freights the issue with greater thought and beauty. Even a dyed-in-the-wool atheist would understand a call to God the way Gale has framed it here.
Barnaby’s relationship with God is by no means the core of the book, nor is it overplayed, but it does add a grander dimension. The good man’s earthly connections are the ones that compel – his relationship with his wife, his children, his parishioners and his family as a child are all forensically explored. Gale’s ability to write about the emotional landscapes in relationships – the sadness, the joys, the widening gulfs unable to be breached – is profound. There is always, in Gale’s novels, an element of tenderness and warmth that brings readers back.
Those who read his excellent novel Notes From An Exhibition, about the brilliant (fictional) Cornish artist Rachel Kelly who had bipolar disorder and how this affects her family, will notice cross-referencing in A Perfectly Good Man. One of Kelly’s paintings features in a crucial plot development, and her daughter, Morwenna, has a pleasing bit part.
The character of Modest Carlsson is less pleasing. In fact, he is quite a repulsive man and appears to have been added to the line-up to play evil to Barnaby’s good, and while he injects a bit of menace, as a nemesis he fails to convince. Gale unfolds this character as he does the others, but Carlsson’s motive for targeting the priest doesn’t sit seamlessly in the greater patchwork of characters and plot developments.
It’s a minor quibble in a book that is otherwise devilishly clever and deeply moving, a fine reward for your ongoing faith in the novelist’s powers.
Sydney Morning Herald – Lucy Clark
The gentle irony implicit in the title of Patrick Gale’s latest novel sets the tone for the whole book. The familiar phrase exemplifies a peculiarly English irony, implying a quality of goodness that falls far short of perfection and yet, at the same time, is acceptably sufficient. It has overtones of the great child psychologist DW Winnicott’s famous “good-enough mother” – that is, a mother who fulfils, by and large, the basic needs of her child.
The “perfectly good man” in question is Barnaby Thomas, the priest of a rural parish in Gale’s native Cornwall (the Cornish countryside and weather is rendered with reassuring authenticity). We follow his life, spiritual and psychological, from his own perspective but also from that of the various characters who are germane to that life: his wife, Dorothy, who against her own preferences is tellingly morphed by her husband into “Dot”; his daughter, Carrie; his adopted Vietnamese son “Jim”, who, in the course of the book, elects to return to his native name “Phuc”; and a very creepy parishioner who goes by the name of “Modest Carlsson”. In fact, the novel has quite a bit to say about the process of shifting identities; this parishioner’s name has also been subjected to a change, to conceal a former prison sentence for paedophilia.
The novel opens, startlingly, with yet another character, the 20-year-old Lenny. Lenny has been paralysed by a rugby accident and is condemned to a life in a wheelchair. As a result, he has broken off his engagement to a devoted childhood sweetheart and, when we meet him, is preparing to take his life. Barnaby, who supposes he has been summoned for no more than spiritual counselling for a beleaguered parishioner, finds himself, perforce, a witness to the deed. Before calling for help, he spontaneously administers the last rites and then, with a characteristic lack of self-preservation, as a party to the young man’s suicide, surrenders himself into police custody.
The full significance of Lenny’s relationship to his parish priest is not revealed until much later in the novel, which is structured in such a way that we not only jump from one character’s consciousness to another but also move within those individuals’ histories, back and forth in time. This is a bold and highly effective technique. The non-linear disclosure of character and motive places the reader somewhat in the position of the psychoanalyst – witnessing at one moment the middle-aged vicar struggling with a withering faith and later, at the end of the book, that faith’s foundational moment in childhood.
The same technique brings us close to Dot: the domestic tragedy of her child-bearing failures, its consequences for the intimacy of her marriage and the concomitant decision to adopt a Vietnamese orphan. Gale sensitively unravels the ripple effects of this apparently worthy decision, on Dot but also on the boy himself and his lumpen but loyal sister. Enmeshed with all this is our developing understanding of the vile Modest Carlsson, whose sinister fascination with Barnaby is an unrecognised catalyst both of Lenny’s birth and Dot’s untimely death.
What Gale does so well is to delineate the unpremeditated spider-web consequences of actions, most particularly those where the intentions are apparently perfectly “good”. The unfolding nightmare for all the family of the consequences of adopting are exquisitely and painfully documented. Phuc, returning to his native identity, turns on his adoptive parents and country, and escapes into alcoholism and drug abuse. This could be clichéd, but is saved by Phuc’s utterly convincing retreat into a saving relationship with a much older woman, whose children he helps and befriends. None the less, he remains unable to restore a loving relationship with his adoptive father who, again convincingly, cares more passionately for his adopted son than for his flesh-and-blood daughter.
The strength of this novel lies in its capacity to convey ordinariness authentically: ordinary love, ordinary failure, ordinary belief, ordinary, everyday tragedy, which of course in its particular manifestation is never “ordinary”. Gale is a writer whose very facility makes him an easy read. This can mean that his subtle moral and psychological insights can be overlooked, which is a pity, as most of us – for better or worse – lead just such ordinary lives. He is also skilled at creating intimacy between a character and the reader. By the end of the novel, we feel we really know Barnaby, warts and all, and his wife and children, and our sympathies for them are not unlike our sympathies for ourselves leading our own imperfect lives. This is not to imply that Gale cannot also hint at the sublime. The final chapter left me with a lump in my throat because it so beautifully captures the shining, vulnerable promise of childhood.
The Observer – Salley Vickers
There’s a particular strain of English mildness that carries within it a finely wrought undercurrent of viciousness. It’s there in the title of Patrick Gale’s new novel, A Perfectly Good Man, which you could either take literally – that Barnaby Johnson, priest to the Cornish parish of Pendeen, is perfect in his goodness – or as a tight-lipped rebuke, that he is adequate at best.
As if to harry us into taking one of these positions, the novel kicks off with what is, for this writer, something of a shock opening. Barnaby is visiting a parishioner, 20-year-old Lenny, who is confined to a wheelchair following a rugby injury. Lenny doesn’t want him there for a chat; he wants him there while he kills himself, drinking a sedative bought on the internet. The “goodness” of Barnaby’s behaviour, calmly administering extreme unction rather than scrambling for the telephone, is left deliberately ambiguous. It’s a foolish reader of Gale’s novels who rushes to judge one of his characters: the careful management of our sympathies is what he is all about.
The book continues in a highly erratic manner. Each chapter comes with a title giving a character’s name and an age, but as these are arranged anything but chronologically, it takes time to work out exactly when the events occurred. Gale’s jumping around in time and perspective is an intricate, circling dance around this central figure of the priest. He acquires a wife, Dorothy, a daughter, Carrie, and an adopted Vietnamese son, but Gale holds off giving him real depth for much of the novel.
Our curiosity regarding Barnaby is given obese form in one Modest Carlsson, a loner obsessed with finding some fault in his priest. He habitually turns up at his most out of the way services, where he is often the entire congregation. For all the slow-burning humanity of the novel, it is striking that Gale has had to concentrate so much malevolence in the figure of Carlsson, whose attempts at doing evil always somehow end up doing good. The book is guaranteed to give the reader a warm glow, but in that there is something Panglossian: the idea that redemption awaits us all, as surely as it does so many of Gale’s characters.
The Independent – Jonathan Gibbs
“Please don’t feel you always have to be good,” eight-year-old Barnaby Johnson is advised on what is almost the final page of Patrick Gale’s new novel. “Sometimes you’re so good it hurts to watch you.”
Wise words, but in the book – which spans the Cornish parish priest’s life from youth to late middle age – they go largely unheeded. It’s a famously tough task, attempting to mine the life of a “good” man for suspense, ambiguity and drama. Fortunately, Gale’s dog-collared protagonist is far more complex – and sinful – than we originally suspect. And, far from being a dull cipher, he is also that rare thing – a fictional character so charismatically ambiguous, so physically, spiritually and emotionally alive, that you feel you could reach out and ruffle his hair. Forget what they say about the Devil. There’s a pretty good tune being tapped out here in these Anglican pages.
The novel opens with a parishioner’s suicide: 20-year-old Lenny, paralysed in a rugby accident and about to spend the rest of his life in a wheelchair, asks the priest to visit, only to swallow poison in front of him. Shocked, Barnaby prays for him – then offers himself up for arrest. It’s a credit to Gale’s sly yet wholly plausible plotting that I neither guessed, nor ever doubted, the events and revelations which follow.
But then this is a novel whose primary suspense lies not in the “what”, but the “when” and “how”. Our glimpse of the eight-year-old Barnaby is actually the last in a series of snapshots which dip in and out of his life and that of his family. They seem to come in no particular order, but in fact very deliberately and effectively build a compelling narrative. So we have “Barnaby at 52” or his wife “Dorothy at 34” or parishioner “Modest Carlsson at 39”. Gale’s skill is to keep perspectives constantly shifting and to keep us wondering quite how all these separate destinies will collide.
The collision we await with most interest (and trepidation) is the one between Barnaby and Modest. The parishioner is a former teacher who had to relocate and change his identity following a liaison with an under-age pupil, which cost him his job, his marriage and, possibly, his soul.
In Modest, Gale gives us an all too chillingly credible definition of everyday evil – a self-loathing oddball who likes to spend “long afternoons in bed with a bag of cheap chocolates” and who recognises Barnaby as prey to be chased and, in some way, consumed. Craving encounters with the priest, and of course benefiting from the innocently inclusive nature of the Christian community, Modest tracks him in ways which feel increasingly disturbing and dangerous.
This man is a vividly queasy creation, a character who seems somehow to exist on the very edges of Gale’s writerly comfort zone. I was never quite sure what the novelist was going to do with him, how far he was going to push this darkness, how worried I ought to be. Maybe that’s because one of Gale’s biggest strengths is his narrative compassion – he understands how it feels to be anyone, man, woman, child, young or old. Even the animals in this novel affectionately illuminate their human counterparts, and it’s no surprise to learn of Modest that “Dogs and cats, any pet, disgusted him”.
Not only that but Gale is especially acute when it comes to the shifting dynamic of marriage, and noticeably astute and unsparing about parenting, the easy joy, the helplessness, the weary despair. In a scene that continued to bother me long after I’d read it, Barnaby and Dot’s adopted son, supposedly in rehab but in fact whacked-out on amphetamines, graffitis “Fuck Jesus” on the church in red gloss. His parents assuage their shock and grief by calmly painting it over with whitewash, listening to a Prom on the radio, eating fish and chips and enjoying a moonlit walk while the emulsion dries. Later they surprise themselves by making love for the first time in 15 years. It is a deceptively tender yet appropriately troubling episode which seems to cut to the marrow of what it is to be a parent.
At his best, Gale is an effortlessly elastic storyteller, a writer with heart, soul, and a dark and naughty wit, one whose company you relish and trust. In fact you feel you would believe anything he told you – and if I have a small complaint, it’s that he sometimes doesn’t quite seem to realise it, doesn’t trust in his own genuine power. Now and then he writes a little too hard, too carefully or too deliberately. Relax, you want to tell him. Trust yourself, because we do. Do less, because what you do is already so effective. But it’s a minor quibble in a novel which managed to upset and uplift me in equal measure, and which kept me company – and kept me guessing – right through to its slightly bitter and heartfelt end.
The Guardian – Julie Myerson

domain: library


text:
Hank Baxer - I Love You, Baby / Mach Dich Schön / Hafen-Rock / So Wie Damals, Baby mp3 album
Written-By – P. Anka, T. Hansen. A2. Mach Dich Schön (Tease Me Nice). Written-By – J. Leiber - M. Stoller, P, Mösser. Written-By – H. Bradtke, J. Stoller. B2. So Wie Damals, Baby. Hellmer, I. J. Hunter. Hank Baxer - Orchester Lutz Albrecht. Hank Baxer - Orchester Lutz Albrecht - I Love You, Baby, Mach Dich Schön, Hafen Rock, So Wie Damals, Baby (7", EP, Mono).
Listen to (O Baby) mach dich schön from Peter Kraus's Seine grossen Hits for free, and see the artwork, lyrics and similar artists. His style were covers of Rock'n'Roll songs with German lyrics such as 'Tutti Frutti' (originally by Little Richard) at first, but he soon found his own style. Peter Kraus and Conny Froboess were very popular teenage idols back in the 1950s. Peter Siegfried Krausnecker (born March 18, 1939 in Munich, Germany) is a German singer and actor. Peter Siegfried Krausnecker (born March 18, 1939 in Munich, Germany) is a German singer and actor
Listen to (O Baby) mach dich schön from Peter Kraus's Seine grossen Hits for free, and see the artwork, lyrics and similar artists. Peter Siegfried Krausnecker (born March 18, 1939 in Munich, Germany) is a German singer and actor
Baby Love Final Album Version. Прослушать Скачать 02:44. Love to love you baby Lounge Mix. Baby, I Love You. Прослушать Скачать 03:45. Прослушать Скачать 03:34. I Love You Like a Love Song Baby. Прослушать Скачать 02:34. Прослушать Скачать 03:11. Baby I love you. Eternal. Прослушать Скачать 02:49.
Baby I Love You is an album by Andy Kim released by Steed Records. The single title song hit on the Billboard Hot 100, in Canada, and on the . adult contemporary chart in 1969. The single "So Good Together" hit on the Billboard Hot 100 and in West Germany. The album landed on the Billboard 200 chart, reaching "Baby, I Love You" (Phil Spector, Jeff Barry, Ellie Greenwich). Walkin' My La De Da" (Andy Kim, Jeff Barry). If I Were a Carpenter" (Tim Hardin).
O Baby) Mach dich schön. Album: Das Traumpaar der 60er Folge 1, 2012. german Elvis cover/tribute. Bruno Mars Just the Way You Are. Обычное Радио.
Complete your Peter Kraus Und Die Rockies collection. Mach' Dich Schön (Treat Me Nice). Hafen-Rock (Jailhouse-Rock).
Baby I Love You. White Negga. reality vs. fiction (rock on ) feat masta ace & total eclipse um' ebizwa save me (one life remix) frontale in the half a taste for change fun for a change oracle (melodic mix) movie fan тяга (zaycev. net) david balfour dune (desert theme) 3. victim of incest then maybe you'll understand i know where you'll be baby did a bad bad thing.
Продавец: Интернет-магазин Ozon. Адрес: Россия, Москва, Пресненская набережная, 10. ОГРН: 1027739244741
|A1||I Love You, Baby|
|A2||Mach Dich Schön|
|B2||So Wie Damals, Baby|


text:
Launched by Her Majesty The Queen in 2015, the Georgian Papers Programme (GPP) is an interdisciplinary partnership to conserve, digitise and catalogue 425,000 pages of material held by the Royal Archives and Royal Library relating to the Georgian period, 1714–1837, encompassing the reigns of the five Hanoverian kings (George I, George II, George III, George IV, and William IV). The papers include private, official, and financial material pertaining to the monarchs and their families, papers of various courtiers and ministers, and in addition records which relate to the running of the Georgian royal households. The papers are invaluable in all areas of eighteenth-century study, for they shed light on matters of political, social, economic and military history, as well as international relations and medical knowledge in the Georgian period.
The Georgian Papers Programme is expected to take ten years to complete, with the core cataloguing work taking place within the walls of Windsor Castle, in the Royal Archives and Royal Library. The Programme’s principal partners are the Royal Archives and Royal Collection Trust (RCT), King’s College London (the academic lead), the Omohundro Institute of Early American History and Culture (lead American partner), and the College of William & Mary. The Programme has taken an ambitious approach to developing an integrated workflow that simultaneously supports access, cataloguing and dissemination of digital facsimiles and transcriptions to create a virtuous feedback loop between the expertise of archivists and academics. The Programme has two ultimate ambitions: to optimise public, freely available access supported by enhanced metadata and interpretation; and, to provide a collaborative workspace in which scholars may explore, interrogate and manipulate data using a variety of online tools.
At the outset of the Programme, the writer and addressee of each individual item in the Georgian Papers had been recorded, but there were no other access points into the collections. The Georgian Papers were initially reviewed in terms of quantity and content and then divided into work packages, mainly according to creator, or in some cases, subject. Some examples of these packages include the essays of George III, Georgian menu books of food served, the papers of Lady Charlotte Finch (a governess), and George IV’s bills. These packages of material have been allocated to delivery phases, which are scheduled for publication at intervals throughout the duration of the GPP. Recent highlights released by the Georgian Papers Programme include the previously unpublished medical records of George III and a bill from George IV’s collection which shows that, as Prince Regent, he pre-ordered Jane Austen’s Sense and Sensibility in 1811.
The core workflow begins with a ‘conservation triage’ process where all documents and volumes are paginated and checked to ensure they are suitable for scanning. A significant issue with some sections of the Georgian Papers is the presence of non-conservation standard adhesive tape, used in historical repairs. Because of the effect this has on scanning (in terms of both reflection and aesthetics) documents so repaired are withheld from the digitisation process. Unfortunately, this had caused a backlog of conservation work (now being ameliorated, to some extent), which meant it was not always possible to publish digitised images alongside the catalogue records.
Cataloguing of the Georgian Papers is carried out in CALM,the archive management system used in the Royal Archives since 2008. This core cataloguing work adheres to the International Standard for Archival Description (General) (ISAD(G)). Writer and addressee are recorded for correspondence at this core cataloguing stage with further indexing to be addressed as part of the metadata enhancement phases.
The digitisation of the Georgian material is also being carried out in-house, in a new imaging studio based in the Round Tower at Windsor Castle. Images of the documents are captured in tiff format for master images and then converted to jpeg format. These files are ultimately used to produce PDFs so that the relevant images of the Georgian letter or volume can be displayed alongside the published catalogue record.
Since January 2017, the core catalogue records and PDF images have been published on Georgian Papers Online. By the end of 2018, over 100,000 pages of Georgian material will be available online for any user to search and view, free of charge.
Catalogue records and images are shared with King’s Digital Lab (KDL) at King’s College London subsequent to release. The Lab hosts these files for William & Mary to use for transcription. Currently there are two mechanisms by which transcription of the Georgian Papers occurs: through crowdsourced transcription captured using the Omeka Classic platform; and through Transkribus, a Handwritten Text Recognition tool developed as part of the Recognition and Enrichment of Archival Documents Project (READ). The original link with William & Mary was suggested by its unique history as being the only US institution that (like King’s College London) holds a Royal Charter, and its preexisting collaboration with Colonial Williamsburg. In terms of scholarship, the partnership has been considerably enriched by the participation of the Omohundro Institute of Early American History and Culture, an independent institution based at William & Mary which is the US hub for18th-century studies.
A GPP Collaborative Workspace is currently being developed by KDL to bring together metadata, images, and transcriptions that are being produced by our partners, as well as allowing enrichment of metadata (and transcriptions) by those who are undertaking close reading of the material.
There are three main ways in which this enrichment will take place:
- Editing of the baseline catalogue records to include further detail
- Subject indexing
- Name authority file creation and linking
The sheer volume of material in the Georgian Papers gives the Programme a major incentive to optimise use of innovative technology and professional expertise. To improve findability and discoverability for users, we are opening up the editorial process to our users so that they may enhance the information included in the Collaborative Workspace. This activity will be moderated by academic experts.
The baseline cataloguing will be further augmented through subject indexing using the United Kingdom Archival Thesaurus (UKAT), which will shortly be expanded to include terms derived from the already transcribed letters of George III as published by Sir John W. Fortescue, Royal Librarian and Archivist (from 1905 to1926), as well as from a number of the (unpublished) essays of the king. Other terms used to enrich UKAT are derived from military event lists, medical history controlled vocabularies, scholarly publications on the 18th century, and other sources. Other indexing that will be added includes geographic names, using GeoNames, as well as organisations, individuals, and families.
The last three types of entities (organisations, individuals, and families) are being captured based on a metadata standard called Encoded Archival Context – Corporate Bodies, Persons and Families (EAC-CPF). ‘Traditional’ name authority files are generally used in catalogues to:
- Control for spelling – ‘non-standard’ names point to a preferred name
- Assist in disambiguation (using birth and death dates) – you should be able to tell which of the entries is the specific John Smith you are looking for
- Link items in the catalogue (books, manuscripts, letters, etc.) to an entity
EAC-CPF allows for all these functions as well as much more detailed context including: other names used and when; biographical/administrative information; and, where an entity was born/created and died/disestablished. One of the most important functions offered through the use of this metadata standard is our ability to capture the relationships between various entities, which is especially important due to the complex familial and other relationships that existed both within and outside the Royal Household.
The second and third approaches to metadata enrichment will be undertaken through a mix of manual and automated processes. Subject indexing can be undertaken manually based on the descriptions provided in the catalogue descriptions as well as through matching frequent word usage to UKAT terms. Name authority files can also be created manually, that is from scratch, but also from other sources such as the Linking Parliamentary Records through Metadata (LIPARM) project, the Database of Court Officers developed by the scholar Robert Bucholz, and other material already digitised by the Royal Archives.
The Georgian Papers Programme is a collaborative enterprise in almost all facets, from digitization and transcription to academic engagement and dissemination. This is by design and on occasion, especially with regards to the cataloguing and metadata enrichment, by necessity. The whole process is very much a learning curve for all parties concerned and significant teamwork and cooperation is absolutely key.
Julie Crocker has worked in the Royal Archives since 2005, having previously worked as an archivist for the British Broadcasting Corporation (BBC). Julie became the project manager for Georgian Papers Programme content delivery (Royal Archives and Royal Library) in 2016.
Samantha Callaghan joined the Georgian Papers Programme as Metadata Analyst in 2017. Previously she has worked in the field of digitization both in the UK and New Zealand for libraries, museums and archives.
 The Royal Collection Trust is a charitable body established to manage the Royal Collection of the Sovereign of the United Kingdom. The Royal Library and Royal Archives sections of the Royal Collection Trust look after significant historic collections that form the documentary and intellectual heritage of the monarchy. The Royal Archives also report to the Private Secretary to The Queen, who is Keeper of the Archives.


Data Modeling DARP-301
|Information Technology & Computers
|This course introduces data design and data modeling and the importance of how data behaves and what it means to an organization.
Data modeling uses symbols and text to precisely describe data and the relationships in business processes. You will understand the different types of data models and learn how data models help document requirements and define the system. Data models can be used with various tool sets such as Unified Modeling Language (UML) Class Diagrams, spreadsheets, or State Transition Diagrams.
Data modeling is understanding the data better so you can suggest compromises and understand the risk factors that accompany them. All of the models used in this course are designed with the purpose of simplifying complex information into real world designs.
|Register online : https://secure.centennialcollege.ca/webreg or call 416-289-5300
Email : firstname.lastname@example.org
7045 - Business Systems Analysis
Requires the following prerequisite(s):
BSAF-300 - Business Analysis Foundation
The prerequisite(s) listed above are strongly recommended in order to derive full benefit from the selected class, but not a requirement