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Through the pages of issue 29 of Weekly Shonen Jumpavailable for purchase on 20 Junewill be published on chapter 1053 from one piecethe manga written and illustrated by Eiichiro Odaas well as the last chapter before the four-week break of the opera (all the details here).
Due to the time zone effect, up Manga PLUS instead it will be available from Sunday June 19.
One Piece 1053: sensational information in the first advances of the chapter
The first summary details of the chapter have just surfaced online and reveal sensational information in the aftermath of the victory of Luffy and his companions against Kaido and Big Mom and consequent liberation of the country of Wano.
Here are the first advances that we warmly invite you not to consult if you don’t even want to try a taste of the next chapter:
- Title: The New Emperors;
- The color page of the chapter is dedicated to the new video game currently in production: One Piece Odyssey;
- The new bounties of Luffy, Law and Kidd now amount to 3 billion Berry each;
- Luffy’s new mugshot in his wanted poster depicts him in Gear 5 mode;
- Hitetsu is actually Kozuki Sukiyaki, Kozuki Oden’s father. Robin talks to him and reveals that Pluton is in the Land of Wano;
- The Navy Admiral’s real name, Ryokugyu, is Aramaki. He can create plants and absorb people’s nutrients. We have seen him do this against King and Queen;
- A great festival is underway in the Capital of Flowers with fireworks;
- Kidd arrives at the festival and shows Luffy the newspaper he had previously received from Apoo;
- New Four Emperors revealed: Shanks, Blackbeard, Luffy and Buggy.
Recall that immediately after the manga will go on hiatus for a month and then return to serialization on July 25 within the number 34 of Weekly Shonen Jump giving start to the final story arc.
one piecemanga and anime
one piece it’s a manga shonen written and drawn by Eiichiro Oda through the pages of Weekly Shonen Jump (Shueisha) since 1997. The manga series, in the heart of the narrative arc of the Country of Wano, in Japan has reached i 1052 chapters And 102 tankobon. In Italy, however, the series is published by Star Comics editions with 100 volumes available (you can retrieve it on Amazon).
The latest releases of the manga are available for free and totally legal reading on MANGA Plus (Shueisha).
The manga is inspiring an animated series made by Toei Animation, in progress uninterrupted since 1999 with assets 1021 episodes total, which is transposing the events of the narrative arc of the Country of Wano. In Italy the broadcasting rights are Mediaset with 628 episodes dubbed as they returned in October 20 TV with the unpublished. The series is also legally visible, with subtitles in Italian and with a premium account through the streaming platform of Crunchyroll.
The franchise inspired video games, merchandising, spin off manga, animated feature films and a TV series Netflix with real Western actors currently in development. Recover here the latest details.
Recall that Toei Animation will launch a new one cartoon movie from one piece, One Piece Film Redout in Japan on August 6, 2022 and in Italy in Autumn 2022 for Anime Factory.


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Respiratory Virus Shedding in a Cohort of On-Duty Healthcare Workers Undergoing Prospective Surveillance
Jennifer C. Esbenshade MD MPH, Kathryn M. Edwards MD, Adam J. Esbenshade MD MSCI, Vanessa E. Rodriguez BA, H. Keipp Talbot MD MPH, Marlon F. Joseph MD, Samuel K. Nwosu MS, James D. Chappell MD PhD, James E. Gern MD, John V. Williams MD and Thomas R. Talbot MD MPH
Infection Control and Hospital Epidemiology
Vol. 34, No. 4 (April 2013), pp. 373-378
Published by: Cambridge University Press on behalf of The Society for Healthcare Epidemiology of America
Stable URL: http://www.jstor.org/stable/10.1086/669857
Page Count: 6
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Background. Healthcare-associated transmission of respiratory viruses is a concerning patient safety issue.Design. Surveillance for influenza virus among a cohort of healthcare workers (HCWs) was conducted in a tertiary care children’s hospital from November 2009 through April 2010 using biweekly nasal swab specimen collection. If a subject reported respiratory symptoms, an additional specimen was collected. Specimens from ill HCWs and a randomly selected sample from asymptomatic subjects were tested for additional respiratory viruses by multiplex polymerase chain reaction (PCR).Results. A total of 1,404 nasal swab specimens were collected from 170 enrolled subjects. Influenza circulated at very low levels during the surveillance period, and 74.2% of subjects received influenza vaccination. Influenza virus was not detected in any specimen. Multiplex respiratory virus PCR analysis of all 119 specimens from symptomatic subjects and 200 specimens from asymptomatic subjects yielded a total of 42 positive specimens, including 7 (16.7%) in asymptomatic subjects. Viral shedding was associated with report of any symptom (odds ratio [OR], 13.06 [95% confidence interval, 5.45–31.28]; ) and younger age (OR, 0.96 [95% confidence interval, 0.92–0.99]; ) when controlled for sex and occupation of physician or nurse. After the surveillance period, 46% of subjects reported working while ill with an influenza-like illness during the previous influenza season.Conclusions. In this cohort, HCWs working while ill was common, as was viral shedding among those with symptoms. Asymptomatic viral shedding was infrequent but did occur. HCWs should refrain from patient care duties while ill, and staffing contingencies should accommodate them.
© 2013 by The Society for Healthcare Epidemiology of America. All rights reserved.

domain: medical


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The Paper Mario franchise has stuck with me ever since I was a child. I’ll never forget the day I saw the wacky commercial for
Latest Articles From intelligent systems
I’ve been catching up with Nintendo lately. A few years after purging my home of the many white plastic devices that the Wii seemed to
Last night at a developer roundtable, Nintendo announced a brand new IP coming for the 3DS. Code Name: S.T.E.A.M is a turn based strategy game with
There are many reasons why a game might be good fit for a portable system. From the style of gameplay to aesthetic presentation, there are
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- Boards & Commissions
Boards & Commissions
For information regarding Open Meetings from the Arizona Attorney General's office please click here: Agency Handbook Chapter 7: Open Meetings
To view the City of Cottonwood Board and Commission Member handbook click here: Board and Commission Member Handbook
View members and duties of the Airport Commission.
Alternate Pension & Benefit Trust
The Alternate Pension and Benefits Board accounts for the distribution of retirement benefits to beneficiaries covered under the Alternate Pension and Benefits Fund.
Board of Adjustment
The Board of Adjustment is comprised of five residents of the City of Cottonwood appointed by the City Council for staggered three year terms.
Historic Preservation Commission
The Historic Preservation Commission is comprised of seven members, at least five of whom shall be residents of the city, and two of whom need not be residents of the city, provided they have substantial ties to the city, such as owning real property, owning a business, being employed within the city limits, or based on other factors deemed relevant by the city council. Commission members serve for terms of three years.
Library Advisory Board
The Library Advisory Board shall make recommendations to the city council and the city manager on the general policies of the library and such specific matters that may affect Cottonwood public library users as they see fit.
Municipal Property Corporation
The Corporation reviews the City's Annual Report, and is required by the Arizona Corporation Commission (ACC) to file a Corporation Annual Report and Certification of Disclosure along with the Listing of all Municipal Corporation Officers and Directors.
Parks & Recreation Commission
The Parks and Recreation Commission is a volunteer advisory board. View meeting times, locations, and agendas and minutes.
The purpose of the City of Cottonwood Personnel board is to hear appeals of employees' grievances, disciplinary actions, and dismissals in accordance with City policy and the policies set forth in the Employee Manual.
Planning & Zoning Commission
The seven members of the Planning and Zoning Commission are citizen volunteers appointed by the City Council to conduct hearings and make recommendations to the City Council on requests for development applications, including proposed zoning changes and subdivisions.
Public Safety Personnel Board
View members, agendas and members of this local board.
Youth Advisory Commission
Browse photos, documents and information about the Youth Advisory Commission.

domain: library


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Window Love and brick walls
Sugar, We're Going Down - Fall Out Boy
Post anything (from anywhere!), customize everything, and find and follow what you love. Create your own Tumblr blog today.
American Beauty/American Psycho Listen to AB/AP.@kaitlynbrewton
Abby, these are the lyrics to.... Fall Out Boy "Young Volcanoes"
This is the road to ruin, and we're starting at the end. #falloutboy #alonetogether
Fall Out Boy Lyric Art by AstridSOS.deviantart.com on @deviantART
This should be like the PJO freaking theme song, like, let's make Percy sing Fall Out Boy... After being blessed by Apollo<<<<<<This is a great idea, but I think it could be Legend's team song too
Fall Out Boy | Young Volcanoes

domain: artistic


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CBD 101, Part 5
How Does CBD Work In The Body?
Through the first four articles in our CBD series, we've talked a lot about what CBD is, where it comes from, and some of its various forms. We know that CBD is a chemical compound called a cannabinoid, and it comes from the various strains of the cannabis plant, with the Cannabis sativa species being the naturally highest in CBD; however, we also know that in today's world of advanced science, most CBD products come from hybrid strains of cannabis. In addition, we know that CBD provides many therapeutic benefits without the psychoactive effects of THC.
It's great that we've established this base, but it doesn't really mean much to us if we don't understand how CBD actually works and interacts with our bodies. Today, we're going to dive into the body's inner systems to see just what happens when you ingest CBD.
The Body's Natural Cannabinoid System
Did you know that the human body has its very own cannabinoid system? It's true! This system, called the enodcannabinoid system (ECS), runs throughout your entire body and produces its own cannabinoids. Here's how it works:
The ECS contains two main types of cannabinoid receptors: the CB1 receptor and CB2 receptor. Enzymes within the body create cannabinoids, which are called endocannabinoids. Endocannabinoids interact with the ECS through the CB1 and CB2 receptors. What happens is that the endocannabinoids in our bodies link together with the receptors, like a lock and key. This "linking" effect activates the receptors, triggering them to carry out a series of responses that your body needs for healthy and proper functioning.
What Does the ECS Do?
The purpose of the ECS is to help regulate homeostasis within the body. Homeostasis is when the body maintains a constant internal environment. Maintaining homeostasis happens on a cellular level in every tissue, organ, and system, and it occurs through the use of the two main ECS receptors. CB1 receptors are concentrated mainly in the brain and central nervous system, but you can also find them in the lungs, kidneys, liver, and other tissues. The CB2 receptors, on the other hand, are mostly found in the cells that are associated with the immune system.
Because the CB1 receptors are mostly in the brain and nervous system, they work to regulate more cognitive and mind-body processes, such as coordination and movement, appetite, mood, thinking, memories, pain management, and more. The CB2 receptors work more as a response to illness, and as a way to help the body avoid oxidative damage (the damage caused to cells and tissue when they can't control the production of free radicals). Together, these two receptors help keep everything regulated within the body.
When a problem arises in the body, such as imbalanced pH or glucose levels, rising body temperature, cognitive issues, and illness, the body starts producing the necessary endocannabinoids. These endocannabinoids will then activate the appropriate ECS receptors and trigger the body's natural responses to restore homeostasis.
If We Have The ECS, Why Do We Need CBD?
Great question! While our bodies are great at maintaining homeostasis, many of us begin to experience problems when our bodies do not produce enough endocannabinoids to achieve full homeostasis, or to properly maintain it. This condition, called clinical endocannabinoid deficiency, is suspected to be an underlying cause of several health and mental conditions. When the body's ECS does not function properly, the internal systems cannot remain regulated, which makes it easier for illness and disease to arise.
In various studies, scientists have determined that an endocannabinoid deficiency may lead to the development of migraines, irritable bowel syndrome, fibromyalgia, Alzheimer's disease, Parkinson's disease, and more. With the possibility of these and other issues arising from an endocannabinoid deficiency, it is so important that we make sure our ECS functions properly.
How CBD Helps Your Endocannabinoid System
When you have an endocannabinoid deficiency, or if your ECS isn't working properly in some other way, a great way to support your ECS and restore homeostasis is to take cannabinoid supplements. CBD is an excellent cannabinoid supplement because it doesn't just replace missing cannabinoids like traditional supplements. Instead, it supports and encourages your body's ECS to work properly on its own.
When ingested, CBD works with your body's CB1 and CB2 receptors to relieve endocannabinoid deficiency-related symptoms. Originally, scientists believed that CBD attaches directly to your ECS receptors; however, more recent studies show that CBD doesn't do that. Instead, CBD influences your receptors indirectly, helping the body use more of its own endocannabinoids. In addition, CBD stops the enzyme that breaks down endocannabinoids. As a result, CBD helps to naturally increase your body's endocannabinoid levels and relieve symptoms caused by an endocannabinoid deficiency.
But CBD doesn't stop there. Studies show that CBD also interacts with several non-CBD receptors, including your dopamine and opioid receptors, which help regulate mood, cognition, and behavior; the TRPV-1 receptor, which helps moderate pain, inflammation, and body temperature; the GPR55 receptor, which helps reduce cancer cells; the PPAR receptor, which can help reduce the possibility of developing Alzheimer's disease; and your 5-HT1A serotonin receptor, which can help reduce nausea and vomiting, addiction, pain, anxiety, and sleep disorders.
A Note About How THC Affects the ECS
Many are aware that both CBD and THC provide a variety of therapeutic benefits; however, THC also has a psychoactive side effect. This happens because THC physically attaches to the CB1 receptors in the brain. This direct interaction over stimulates the ECS receptors and interferes with the body's natural ability to create homeostasis. Because your CB1 receptors regulate appetite, cognition, motor skills, memory, mood, and other mental processes, the over stimulation of the receptors can cause each of these processes to also become over stimulated and impaired.
Because CBD does not directly attach to your ECS receptors, but instead works with your body's natural endocannabinoid-producing system, you can experience the therapeutic benefits without the psychoactive and over-stimulated effects that THC causes.
What to expect in part six: CBD and Terpenes
Questions or comments? Share below!
Missed our previous articles? Check them out here!

domain: chemistry


Wayne A. Laroche, who spent eight years as the director of operations for the Vermont Department of Fish and Wildlife, has been named the new director of the Pennsylvania Game Commission's Bureau of Wildlife Management.
Laroche took over the position on Aug. 3, replacing interim director John Dunn, who retired less than a year after taking over for former director Cal DuBrock, who also retired.
PGC executive director R. Matthew Hough said that Laroche is very familiar with many of the wildlife management issues in the commonwealth.
"In Vermont, Wayne dealt with many of the same issues we face here," Hough said in a statement. "He worked with hunters and...


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A recent study by Merrill Lynch discovered that although half of the retirees queried downsized to smaller livings quarters, 30 per cent moved into larger homes.
The chief reason was to plan for the possibility of accommodating visits from family or friends. It also is to allow that family members might want to return to the nest after all.
Many boomers and seasoned seniors are finding their off spring have a need to return home after getting a taste of the wide world out there.
These young people are called “helicopter kids.” They hover around Mom and Dad to return to their comfort zone when unemployment, relationships and economic hardship sour in the outside world. Of course, another reason to return home may be nothing more than missing Mom’s home cooking.
In 2014, for the first time in more than 130 years, adults ages 18 to 34 were slightly more likely to be living in their parents’ home than they were living with a spouse or partner in their own household, according to Pew Research.
Another changeable element in American society is for some couples seeking more home space for their parents. People are living longer and there are multiple reasons (health issues, death of one spouse, insufficient living expenses, etc.) for moving in an aging parent(s).
This is occurring more frequently. In 2008, 4.05 million parents were living with an adult child. By the end of 2011, the number had risen to 4.6 million — a 13.7 percent increase.
Even among the tradition downsizers, the trend is changing; the National Association of Realtors reports that in 2004, boomers downsized by 500 square feet, on the average. In 2016, they decreased house size by only 100 square feet.
All in all, more boomers and seasoned seniors are going to find themselves a member of the “Sandwich Generation.“ No, it’s not a secret sect with mass appreciation for bologna and mayo. It’s the large number of boomers who find themselves simultaneous moving toward retirement and also taking care of aging parents or children or both. The boomers are in between; hence, the sandwich analogy.
394-words/reading times: 2-min/10 sec

domain: sociology


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Maxine Waters, a senior member of the US Democratic Party and a former chair of the House Financial Services Committee, is said to have voiced unhappiness with the Republican Party’s stance on the Central Bank Digital Currency (CBDC) bill. This is according to Coincu. Waters slammed what she called the GOP’s “anti-innovation stance” about the plan.
The “CBDC Anti-Surveillance State Act,” or HR 5403, was proposed last week by Minnesota Representative Tom Emmer. It aims to stop central banks from issuing CBDCs to people directly. There are 50 Republican co-sponsors for this bill.
This Wednesday, the US House of Representatives will vote on a bill called the “CBDC Anti-Surveillance State Act” that aims to stop the Federal Reserve from being involved in the creation of a CBDC. On the same day, a different CBDC-related bill will also be addressed. According to the Power to Mint Act, H.R. 3402, which was put up by Reps. Jake Auchincloss (D-Mass.) and French Hill (R-Ark.), the central bank would need Congressional approval before issuing a CBDC.
The Federal Reserve revealed its continued investigation into the possible hazards and advantages of CBDCs in its most recent statement in April 2023, concentrating on their potential to improve the US payments system. Emmer’s measure reflects growing public and policy worries about CBDCs, with many people worrying they could result in more surveillance and stifle financial industry innovation. The controversy over these measures serves as a reminder of how difficult it is to regulate digital currencies in the US.

domain: news


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countryyarnscrochet on Have I been busy or what? Lorenia Fish on Have I been busy or what? countryyarnscrochet on And another 6 months has gone… Maria Avina on And another 6 months has gone… Sheri *¿* on And more potholders….
Tag Archives: vintage
Be prepared, I’m on a potholder binge. And until it runs it’s course, I’ll be “finding” potholders in all kinds of patterns. But first here are a few more that I’ve crocheted in the last few days. The rose is … Continue reading


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Crosby Guenzel LLP134 South 13th Street
Lincoln, NE 68508
Richard Rice began practicing law in 1987.
Richard Rice is an attorney at Crosby Guenzel LLP, helping people with Business Litigation issues. Crosby Guenzel LLP has an office in Lincoln, Nebraska, serving the local community.
Richard Rice was selected to Super Lawyers for 2012. Super Lawyers is an exclusive list of top-rated attorneys in specific practice areas who were chosen after thorough evaluation of numerous criteria.

domain: law


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BOISE, ID Jan. 5, 2010 – Mustafa Shakur’s driving layup with 47 seconds left in regulation pushed Tulsa’s lead to five, and the 66ers held on for a
99-96 win over the Utah Flash in the sixth game of the 2010 NBA D-League Showcase at Qwest Arena.
Shakur led Tulsa (10-6) with 24 points. The 6-3 guard from Arizona also added nine assists for the 66ers, who shot a blistering 55 percent from the field. D.J. White, on assignment from the Oklahoma City Thunder, finished with 17 points on 8-for-13 shooting to go with a game-high 11 rebounds.
“I think at the beginning of the game, I was a little bit too aggressive, and I needed to relax and just set the table for my teammates,” said Shakur, who ranks sixth in the NBA D-League in assists at 6.6 apg. “That opened up some things for me as the game went on and I was able to take advantage.”
Dontell Jefferson, who appeared in six games for the Charlotte Bobcats during the 2008-09 season, led Utah with 21 points. Carlos Wheeler added 18 points for the Utah, which dropped to 8-7.
Both teams return to action Thursday, with Tulsa taking on Albuquerque and Utah squaring off against Fort Wayne.

domain: sports


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Congregation Lev Shalom is only a few miles south of Mount Elden, where the Museum Fire is burning nearly 2,000 acres of forest.
The congregation’s rabbi, Mindie Snyder, said that the fire could be easily seen from Lev Shalom.
“It was unnerving for the city as a whole because you can’t miss the smoke and the air quality has changed,” Snyder said. “My congregation has an evacuation plan if, God forbid, it was full when the fire came close. But we’re all connected to Flagstaff and to each other in terms of what we do to help each other or what we’re doing to get out of here if we need to.”
The fire — which is almost within a mile of the Flagstaff city limits — was 82% contained as of Tuesday, July 30, according to Coconino National Forest officials via Inciweb, an online information incident management system. That’s a significant jump from the previous report, released Sunday, which stated the fire was 62% contained. More than 600 fire personnel have been deployed to fight the blaze.
The cause of the fire is still under investigation.
Fire officials have warned the public to use “extreme caution” when traveling on Highways 180 and 89 north of Flagstaff. Snyder said that if an evacuation were to happen, both of those highways would quickly grow crowded.
Since containment has increased, efforts to repair areas damaged by the fire have become a priority.
Mount Elden Estates is the only remaining area in “Set” status, as in “Ready, Set, Go,” the system adopted by Arizona county sheriffs for notifying residents when it’s time to evacuate an area because of wildfires.
Snyder said that many neighborhoods had previously been in “Set.” Some homes north of Flagstaff were already evacuated.
Chabad of Flagstaff’s Rabbi Dovie Shapiro said that the fire did not affect their staff or their building.
“It was a very stressful week, but we’re all OK,” Shapiro said. “There were a few of our members who had to evacuate because of where they were, but luckily they’ve now returned home and everyone is fine.”
Shapiro was happy the fire was being contained and was grateful that it didn’t reach Flagstaff. The fire has not affected the construction of Chabad’s upcoming Molly Blank Jewish Community Center.
Snyder added that the Museum Fire reminded many Flagstaff natives of the 2010 Schultz Fire that burned 15,000 acres. Officials suspect that the cause of that fire was unattended campfire.
“When I first moved here, people showed me where the fire had burned the most,” Snyder said. “So you can see the scorched earth and obviously everybody was praying that it would never happen again.”
Snyder has experience in crisis responses to fires. She worked for a time for the Pima County Community Emergency Response Team. During her employment there the Aspen Fire occurred on Mount Lemmon. That fire burned more than 80,000 acres.
However, while the Museum Fire was considerably smaller, it seemed too close for comfort.
“In Tucson we could see the fire, but it felt farther away and we got the sense that it would stay in the area of Mount Lemmon once the firefighters got there,” Snyder said. “But here it was right on top of us, and I can tell you that a fire can change drastically in just a few minutes.”
Snyder was grateful that the firefighters were working so diligently to contain the fire and hopes that the displaced wildlife will be able to find new areas to feed.
Shapiro said that now that the worst of the fire seemed to be over there were concerns about rain and floods. With the decreased vegetation after a fire and the increase in debris and ash, a flood becomes more hazardous.
“We’re praying for good rain,” Shapiro said. “We don’t want too much in case of a flood, but we’re hoping for some rain soon to help put out the rest of the fire.” JN


text: Congress and the White House tried, and failed, to repeal and replace Obamacare. Since then, their focus has shifted to other priorities — in particular, reforming America’s tax code. It’s been decades since Congress did any significant reform, but there’s generally widespread agreement that our tax code is too long, too complicated, and riddled with loopholes. What would a lower corporate tax rate mean for tech companies and consumers? Will the proposed “border adjustment tax” mean a big adjustment for tech? Will there be winners and losers? How would reform impact domestic firms versus multinationals? Evan is joined by James Lucier, Managing Director at Capital Alpha Partners, a Washington-DC based policy research firm.

domain: politics


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Below is a detailed pattern for making a crochet stove or fridge handle. This pattern assumes you have basic crochet knowledge, including how to chain (ch), single crochet (sc), and slip stitch (sl st). The pattern is written in US crochet terminology.
Skill Level: Intermediate
- Worsted weight yarn in the color of your choice (acrylic or cotton yarn is recommended for durability)
- Appropriate crochet hook size for your chosen yarn (typically around 4.0 mm to 5.5 mm)
- Yarn needle
- ch: chain
- sc: single crochet
- sl st: slip stitch
- Chain 21 stitches (or any multiple of 2 stitches to adjust the length).
- Row 1: Starting from the second chain from the hook, sc in each chain across. (20 sc)
- Row 2: Ch 1 (does not count as a stitch here and throughout), turn. Sc in each stitch across.
- Repeat Row 2 until the handle reaches the desired length. Make sure to leave a long tail (about 8-10 inches) at the end.
- Fasten off, leaving a long tail for sewing the handle onto the appliance.
- Position the handle on the desired location of the stove or fridge, making sure it is straight and evenly placed.
- Thread the long tail from one end of the handle onto the yarn needle.
- Insert the needle through the first stitch on one side of the handle and then through the corresponding stitch on the appliance.56
- Continue sewing the handle to the appliance by going back and forth through the stitches, making sure to secure it firmly.
- Once you’ve sewn the entire handle onto the appliance, secure the yarn on the backside and weave in any loose ends using the yarn needle.
- Repeat the same process to attach the second handle if your appliance requires two handles.
And there you have it! A crochet handle for your stove or fridge. You can customize this pattern by adjusting the length or using different yarn colors to match your kitchen decor. Happy crocheting!


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How many types of routing?
cash sales and credit sales both are asset or liability?
Why Closing Stock Not shown in Trial Balance?
what is payroll
what are the difference between banking institutions and financial institutions?
What do you mean by Preliminary Expences
Suresh agreed to adjust Ramesh due amount of Rs 15000- from his credit balance
WHAT DO MEAN BY BRS
Interest earned on investments is an__________
WHAT IS DIRECT EXPENSES
I WANT ACCOUNT ASSISTANCE INTERWIEV QUETION IN L&T
what type of a/c these accounts are are tey real, nominal or personal (1)realisation a/c (2)new company a/c(3)equity share holders a/c

domain: finance


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1 lượt xem 25/10/2020
This is easier if one targets a limb (such as the extended leg) or, if behind the demon, its tail. From Titanite Demons (aka Prowling Demons)! Had trouble with the first one in the undead parish? Individual Gaming Boards. Anonymous. Certain other viable tactics are specific to individual Titanite Demons. Gonna dodge? Melee For a melee fighter, the best way to approach any Titanite Demon is to position yourself behind its free arm, where it appears to be missing a leg. A long range bow such as the Black Bow of Pharis combined with the Hawk Ring and/or Feather Arrows also makes it possible to repeatedly shoot Titanite Demons from just beyond their aggro range. Okay...? Already seen some videos of " Collecting all items in Sen's " but everyone seems not to see that 1 xD Ninjas? If these guys' tails didn't have hitboxes during their attacks they'd be so much more bearable 0. Original poster. For the Dark Souls II variant, see Scythe (Dark Souls II). Would be fine though if there was a visual shockwave and you'd only get staggered if you got hit by the phantom hitbox.These guys and Havel is the reason we needed absorption. Once you get inside the fortress, jump to the … But before Sen's, I'm not too sure what you could get. Take your favorite fandoms with you and never miss a beat. I've tried melee, magic, pyromancy, firebombs, … Sen's Fortress is a large, stone fort inhabited by an assortment of enemies, including Serpents, undead knights and Titanite Demons. Nov 29, 2020 #56 Demon’s Souls 4-2 is just a joke, so annoying. Wed Oct 14, 2020 6:56 pm. December 2, 2020; Uncategorized; 0 Comments It is the only route that leads directly to great Anor Londo. As showed in the description, i did NOT find this skip myself. If you keep at a distance big enough for them to shoot lighting, side step and shoot, aside from being well out of harm's way you'll also get a nice counter attack bonus damage on every shot. The rest of Sen's Fortress is full of statues of silver knights, so it makes sense to me that there would be other statues there as well, and that they would be at the very bottom of the fortress because they would have been discarded (at the exile … Oct 27, 2017 4,753. It is notable for its many traps and environmental hazards that line the hallways, and is said to be an old proving grounds built by the ancient gods. Once he's dead he'll drop a Titanite Chunk. Lightning spear miracles are also very effective, and the player may time his attack by beginning the lightning spear cast while still behind cover, and then stepping out just in time to throw the spear before retreating again. Inside is a chest with three Large Titanite Shards. You'll want to use range to take him out, so try using your bow and arrow or magical spells. Nov 29, 2020 #57 It’s Frigid Outskirts. Also, the Titanite Demon strikes me as one of those 'clever' enemies. I've been through Sen's numerous times but i just can't seem to find a way down there without completely destroying myself. Demon's Souls: Not a big fan of 2-1, and man I don't remember if it was this way in the original. Member. It can be found by crossing the stone bridge leading out of the enclosure in the Undead Parish … In the area where the Giant throws firebombs down toward the player, it is reached by dropping off of the edge of the second platform where a piece of the wall is broken. Discussion. Dark Souls / Demon's Souls Edpayasugo No Longer a Noob. But this takes a long time if you don't have a really strong arrow-damage setup. These aren’t exactly fun to fight, but their drops make them worth your time. Chances are you've been there before, but were thwarted by the large gates barring entry. The people who always try to say this game is never unfair and any time you fail it's completely your fault must have missed when this enemy's pole attacks are able to go through 2 ft. thick stone wall to hit the character on other side of wall. The shortcut is NOT the wall at the end of the hall past the bonfire. Nah bro, i'll just legbug you straight to my spear. Anonymous. Drop down to it and you'll be at the bonfire. Access Sen’s Fortress from the bonfire in Andrei the Blacksmith’s tower in the Undead Parish. Nah bro. It is notable for its many traps and environmental hazards that line the hallways, and is said to be an old proving grounds built by the ancient gods. The former has some nice weapons and a great armor set hidden in it. There are four Prowling Demons in Sen's Fortress on the tar floor. Located just past the first Blacksmith, the Titanite Demon stands between you and the entrance to Darkroot Garden. Titanite demons. How to complete the challenging Sen's Fortress in Dark Souls. A high stability shield such as the Eagle Shield can be very helpful against the demon's horizontal sweep attacks, blocking in between its horizontal sweeping attacks. Mon Apr 13, 2020 10:32 pm. This cocksucker does _not_ give a***** about the rules. Any of their swings can clip through walls like the walls aren't even there, and their jumps one-shot me. So it isn't mentioned but the high tier ones (Anor Londo, Lost Izalith and the 2nd two Sen's Fortress hidden out of sight in the side room) can also stab you with their tail during a right to left horizontal sweep. For the Dark Souls III variant, see Glaive. I recently tried to roll out of the way of it but just after it landed I took 3 ticks of damage while the demon was motionless and died from it. It can be found by crossing the stone bridge leading out of the enclosure in the Undead Parish out of a doorway in front of the bonfire before where Andre of Astora is working. Anonymous. During the fight with Titanite Demon it is best to use a bow and arrows - this tactics requires patience and time, but is completely safe. It lies near the coffin that leads to the Gravelord Servant Covenant. The demon in the Catacombs may also be attacked from behind various points of cover in the hallway, including pillars and coffins. Titanite Demons. The only bonfire in the area is near the top of the fortress. The demon in Lost Izalith may be shot with arrows from behind in the tail if the player approaches through the Chaos Servant shortcut. Namely, the two higher leveled ones. Step 1: Greatshield of ArthoriasStep 2: Your weapon of choice (i like dex stuff since i hit faster thus i commit less and i risk less)Step 3: Power Within buffez pz. Remember to circle around it, movement is crucial. Go figure. The fort can only be entered after ringing both of the Bells of Awakening. The only thing that could be hard is if you fight them in a closed space (looking at you lost izalith demon) and some of its attacks have to big hit boxes (jump attacks). Close • Posted by 15 minutes ago. I got the Gold-Hemmed Armor set and failed to beat Ceaseless Discharge but apart of the Chaos Covevant with 2 humanities … ... the only titanite demon that gives me remotely any trouble is the one in Lost Izalith. Ranged It is also possible to kill them with arrows, using debris to block their lightning attacks. Anonymous. It is the only route that leads directly to great Anor Londo. Need help with Sen's Fortress Titanite Demons Does anyone know how to kill these bloody things? Some of our customers … It is advisable to back up if the demon leaps in the air, as its landing attacks may circumvent the player's blocking or pin the player. Gonna hug my armpit? Same in Sen's Fortress.) It serves as the gateway to Anor Londo. The Titanite Demon , also referred to as Prowling Demon or Faceless Demon, is an intimidating foe that often guards valuable items or important areas in Dark Souls. Gonna try ultra-heavy armor? It's possible for their plunging attack to hit you twice, it happened to me in anor londo and it one shot me at full health. In the sen fortress, there's 4 of them near each other in water that slows you down. … Most broken enemy in Dark Souls. When fighting the demon in the lower room near Blacksmith Andrei, it may be lured to the top of the lower stairs to render its horizontal pole sweeps useless, or it may be killed with arrows from behind one of the broken pillars in the room or from the trees outside. The Titanite Demon boss fight in Dark Souls is pretty frustrating, but this IGN guide makes it easy. That***** is so badly designed its seriously hilarious. Click to expand... Click to shrink... You'll visit them all eventually. 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You have a head to target for bleeding headwounds the Bells of.. Were no problem, but their drops make them worth your time an assortment of enemies including. Swinging axes ( the big room with the Titanite Demon boss titanite demon sen's fortress in Souls... Ps3/360 Blighttown first time was a goddam nightmare titanite demon sen's fortress be attacked from behind various points of cover the... Titanite Shards it easy kill them with arrows from the bonfire can get really close and use soul arrows 3... Of those 'clever ' enemies you have a ton of upgrade materials/souls of. An Iaito +10 with Power Within and Magic Weapon active should prepare Many arrows for this location and increase number... Their jumps one-shot me a bridge at the end of the hall past first... Those 'clever ' enemies i 'll just legbug you straight to my spear Moveset 4 upgrades 5 Trivia Gallery! 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We love a roast dinner on a Sunday but often cook the same vegetable dishes time after time. So I've been on a mission to find tasty but simple alternatives... here's the first one!
Roasted Root Veg with Parmesan - serves 4
Preheat the oven to 200C/Gas 6. In a roasting dish put 1 swede and 2 potatoes, all peeled and cubed, and 2 carrots, peeled and roughly chopped. Sprinkle over 50g Parmesan (or Cheddar if you prefer), grated, 2 tbsp. fresh thyme or 1 tsp dried thyme and 2 tbsp. olive oil. Roast for 45-50 mins, stirring occasionally, until crisp and golden.
Source: The Co-Operative instore magazine.

domain: food


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In the rich tapestry of Native American folklore, two creatures stand out for their mysterious and terrifying nature: the Skinwalker and the Wendigo. While they share similarities in their mythical status and ability to instill fear, it’s crucial to explore the key differences between these entities. This article aims to demystify and compare these legendary beings, making their distinctions clear and understandable for all.
Key Differences at a Glance
- Origin: Skinwalkers originate from Navajo folklore, whereas Wendigos are rooted in Algonquian traditions.
- Nature: Skinwalkers are malevolent witches with the power to transform into animals, while Wendigos are cannibalistic spirits symbolizing greed and excess.
- Physical Appearance: Skinwalkers maintain a humanoid form with animalistic features, while Wendigos are depicted as gaunt, emaciated figures with skeletal traits.
- Cultural Significance: Skinwalkers are often associated with witchcraft and taboo in Navajo culture. In contrast, Wendigos represent the dangers of greed and cannibalism in Algonquian lore.
Deeper Dive 🌊
Skinwalker: The Navajo Shapeshifter 🐺
- Origins: Revered and feared in Navajo culture.
- Powers: Transforming into animals for secretive purposes.
- Cultural Role: Represents taboo aspects of witchcraft.
Wendigo: The Algonquian Cannibal Spirit 👹
- Background: Rooted in morality tales against greed.
- Traits: Known for its insatiable hunger for humans.
- Significance: Symbolizes the dangers of excess and cannibalism.
Difference between skinwalker and wendigo Table
|Origin & Folklore
|Deeply rooted in Navajo mythology and witchcraft traditions.
|Stemming from Algonquian folklore, symbolizing a moral lesson against greed.
|Nature & Essence
|Considered malevolent witches with the power to transform into various animals.
|Viewed as cannibalistic spirits or evil entities driven by an insatiable hunger.
|Humanoid form with distinct animal attributes, varying based on the animal transformed.
|Often depicted as gaunt, skeletal figures with exaggerated and towering stature.
|Symbolism & Cultural Role
|Represent taboo, witchcraft, and the darker aspects of spiritual beliefs.
|Embody the dangers of greed, excess, and cannibalism in moral tales.
|Abilities & Powers
|Ability to shape-shift into animals, mimic voices, and use witchcraft for harm.
|Known for their incredible strength, inducing snowstorms, and psychological impact.
|Often portrayed as cunning, secretive, and malevolent towards humans.
|Driven by a relentless desire to consume human flesh, cold-hearted in pursuit.
|Intricately tied to Navajo spiritual beliefs and practices.
|Serves as a cautionary tale in Algonquian communities against taboo behaviors.
|Frequently featured in literature, media, and pop culture, emphasizing mystery.
|Often depicted in movies and literature, symbolizing insatiable greed and horror.
|Seen as part of the complex spiritual system of the Navajo people.
|Rooted in historical accounts and oral traditions of the Algonquian tribes.
|Similar to other shapeshifting entities in global folklore but unique in practices.
|Often compared to other cannibalistic legends but distinct in its moral implications.
Conclusion: Beyond the Legends 🌌
Exploring the differences between the Skinwalker and the Wendigo reveals more than just two separate mythical creatures. It opens a window into the diverse and rich world of Native American folklore, where each legend carries its unique set of beliefs, moral lessons, and cultural significance. As we delve into these stories, we not only understand the creatures themselves but also gain insight into the values and traditions of the cultures that birthed them.

domain: literature


Introduction to Composer of the Month
Peter Klatzow agreed to be the first Composer of the Month for Music Tapestry.
Peter wrote an article on his compositions for younger people and it is wonderful to share it here on Music Tapestry’s website.
As I am listening and exploring his piano compositions, I hope that other teachers and pianists will share my excitement and admiration. I have assigned a few of the pieces from Making Friends and Going Places to my students and I can without a doubt say that the compositions are valuable material from a pedagogical and an aesthetic perspective.
Enjoy reading the article, take the time to listen to all the YouTube links, read the interview, and visit the ‘Graded’ list of piano compositions under SA composers on this website, to have a look at excerpts from scores, descriptions of his works and a link to Peter himself if you are interested in ordering some of the works.
Peter Klatzow was born in Springs, South Africa, in 1945.
In 1964 he attended the Royal College of Music in London, where he studied composition with Bernard Stevens, piano with Kathleen Long, and orchestration with Gordon Jacob. In that year he won several of the College composition prizes as well as the Royal Philharmonic prize for composition, which was open to any Commonwealth composer under 30. He spent the following years in Italy and Paris, where he studied with Nadia Boulanger.
Since returning to South Africa in 1966, he has worked at the SABC in Johannesburg as a music producer, and in 1973 was appointed to the University of Cape Town, where he was Director of the College of Music and Professor in Composition.
In 1986 he was elected to the rank of Fellow of the University of Cape Town for “having performed original distinguished academic work of such quality as to merit special recognition.”
He was awarded his DMus for published work in Composition in 1999, and the Cape Tercentenary Foundation’s Molteno Gold medal for lifetime achievement in Music in 2002.
One of the few South African composers to achieve international recognition, Peter Klatzow has won prizes in Spain, the United Kingdom and Toronto, and his works have been performed in various European centres and in the United States. In South Africa he was awarded the prestigious Helgard Steyn prize for his piano suite From the Poets.
His major works include a full length ballet on Hamlet for which he was given a special Nederburg award for the music, scores for ballets on Drie Diere and Vier Gebede, and Concertos for various solo instruments; piano, clarinet, organ, marimba, and a double Concerto for flute and marimba which was performed at Yale University, USA. His Prayers and Dances of Praise from Africa was introduced at the Three Choirs Festival, Worcester, UK on 24 August 1996.
Recent commissions include The World of Paul Klee (III), composed for the opening of the new Paul Klee Centre in Berne, Switzerland, a celebratory Te Deum for choir, organ and orchestra, commissioned for a special service celebrating the 100th anniversary of St George’s Cathedral, Cape Town and Towards the Light, a work for double choir, marimba and organ commissioned for the opening of the new Peabody concert hall (USA) in April 2004. He was also commissioned by the University of Cape Town to provide a short (20 minute) opera for the celebration of the 100th anniversary of the SACM. He was also commissioned by SAMRO to compose a setting of Thabo Mbeki’s speech “I am an African” for use in the international vocal scholarship competition in September 2011. That same year year he also attended a major festival of his marimba works in Tokyo, where he also lectured at the Tokyo Music School and give master classes on his music.
His discography includes recordings of his piano music, the Mass for Choir, Horn, Marimba and Strings, String Quartet, Chamber Concerto for 7, Piano Concerto, From the Poets, an RCA issue of Return of the Moon with the King’s Singers and Evelyn Glennie, and a CD of his choral music made by the international Herald company entitled Towards the Light – the choral music of Peter Klatzow. His Marimba concerto has been reissued in a new recording made by Markus Leoson and issued by the Swedish label NOSAG in 2006. His CD entitled Myths, Magic and Marimbas – the music of Peter Klatzow was also issued in July 2006. He is now retired from the University of Cape Town, where he remains and is a Professor Emeritus. In 2011 the SA Akademie vir Wetenskap en Kuns awarded him the Huberte Rupert music prize for his lifetime work.
Shortly after these performances Peter attended a major international event Peter Klatzow in the City which was held for a week in Rotterdam, and featured his music for marimba. There were three performances of his concerto for flute, marimba and strings with Tatiana Koleva and Eleonore Palmeijr and they premiered his new work Night Sky with Illuminations which was commissioned by the Eduard von Beinum Foundation in Rotterdam.
In 2014 Peter Klatzow was once again awarded the Helgard Steyn prize (now worth R520000) for his work Lightscapes which was commissioned for the World Marimba Festival in Stuttgart in 2012. He was also appointed Composer in Residence for the 2015 Johannesburg International Mozart Festival.
“To compose music is to isolate yourself completely and to immerse yourself in a sea of imagined sounds. It is a solitary process in which the composer (usually with great difficulty) extracts from his/her imagination a structure which has not only beauty, but a pleasing form, thematic integrity and technical skill. If any of these are missing the work is structurally deficient. But in the making of this new work the composer must also take into account the role that the performer has to play. A work which fails to integrate the performers’ contribution will never find its mark with receptive audiences,” says Klatzow when reflecting on his career as a prolific composer.
As a Professor of Composition at the University of Cape Town he has trained generations of young South African composition talents.
MY MUSIC FOR YOUNG PERFORMERS AND LISTENERS
Almost from the very beginning of my career as a composer I was interested in writing music which could be performed by younger players (mostly pianists) and which would appeal to young listeners. These have some-times been in marked distinction to the sophistication and complexity of my other works, although with time that differentiation has become less obvious. Some of the very earliest of these pieces are retained in the UCT (University of Cape Town) archives, and include a Prelude, Strange Fishes and a Pavane.
Considering that this was composed very shortly after my studies with Boulanger in Paris, when I composed such complex works as my first Violin Sonata, Two Mareotis Images, and Song Cycle on poems by Lawrence Durrell, they represent a very sharp departure from my prevailing style and language.
I am a pianist, and one of my primary interests is in creating a repertoire for young players. But in addition to this I have composed for young guitarists, and the first Musications publication was entitled “Three for Guitar” (1977) which included some easy pieces (“Three Little Pieces”) specifically designed for teaching purposes, and dedicated to Elspeth Jack, who taught at the South African College of Music at that time. In addition to this there is a set of 6 pieces for guitar duet (teacher and student) entitled Holding Hands. This is regarded as work in progress.
The musical language used in these guitar pieces is clearly related to the nature and construction of the instrument, with much effective use made of open strings, very easy chord formations and simple linear melodies. The function of the 2nd guitar part is to provide a stable rhythmic base for the student and to flesh out some of the harmonic implications of the upper part.
MAKING FRIENDS FOR PIANO
This set of piano pieces was composed in the years leading up to 2012, when the complete set of 12 pieces was self-published. At that stage I was coaching my God-daughter Claudia Botes in piano playing and these (as well as the later set Going Places) were for her edification and developing skills. There is an introductory note for the teacher that recommends that “for study purposes, and especially for performance, three pieces should be chosen as a group. There should be a degree of contrast i.e. fast-slow-fast, or slow-fast-slow. For young students encourage the use of an imaginative story to fit the title”. The pieces have evocative titles such as After work, Tune for Tuesdays, Leaves falling into water, Whistling piece, Grumpy old clock, In a Rush, Froglet, For a sleepy cat, Outside on a cool day and Skipping piece. Tune for Tuesdays is a slightly melancholic 16-bar piece with the melody alternating between the left and right hands. Coming and going is an ingenious introduction to asymmetrical meters (5/8) and the young students is advised to repeat the phrase “coming and going” to assimilate the 3+2 structure of the meter. A-symmetrical meters also occur in Whistling piece (3/8 + 2/4) and For a sleepy cat (5/4).
Probably the most difficult of the set is the final Skipping Piece which places some demands on the student’s manual dexterity and controlled rhythmic flow. The pieces in fact range from “fairly easy to rather tricky” as the cover page advises.
Many of the pieces have a modal flavour (Phrygian in the first piece, Me and You; Dorian in Grumpy old Clock, but only one piece uses an actual key signature – Skipping Piece, which is in e minor.) Various technical problems are introduced – staccato in one hand and legato in the other (Grumpy old Clock; Outside on a Cool Day). It is was my intention to introduce the student to tonal formations beyond the traditional scope of major and minor, and at the same time to familiarise the young player with different meters.
In 2007 the UNISA Directorate of Music (acting through Professor Hubert van der Spuy) commissioned me to write a short piece of Grade 4 standard for its piano examinations syllabus, to be issued in 2008. I wrote a number of short pieces, some of which I thought might be too easy, some too difficult, but sent a selection to van der Spuy to approve one for inclusion in the published volume.
The selection panel chose a piece entitled “Bubbles”, and I then decided to publish the remainder of the pieces in a volume entitled Going Places. Many of the pieces do in fact represent motion in some form or another, but their principal aim is to provide a concert repertoire for young players which ranges from moderately easy to technically advanced.
These pieces presume that the young pianist has already encountered unusual chord formation, bi-tonality and a-symmetrical meters. Many of the pieces are built out of a single musical event which is developed throughout the piece.
The pieces also take into account the limited stretch of the younger players, avoiding anything larger than an octave. The melodic interest is not concentrated in the right hand only but are also studies in left hand cantabile playing. Under a Tree presents a gentle rocking left hand accompaniment under the lilting shade of the right hand accompaniment (bars 16-25).
The first piece in the Suite is entitled On our way and opens with a determined march like figure in the key of G (key signatures are generally not given due to the mobility of the tonal structures). By bar 4 the piece has already moved to a lydian E flat major, with the main melodic interest shifted to the left hand. The five note ascending scale pattern is a referential item throughout the piece. Contrasting simultaneous dynamics are indicated (e.g. bar 2, rh mf lh p).
Gentle Rain on Flowers is a small tribute to Debussy’s Jardins sous la pluie from Estampes. The melodic left hand is subtly woven in between the right hand notes.
The modality of the left hand notes with their major/minor inflection is pitted against the quartal/quintal figuration of the “rain drops” in the right hand. The piece is essentially a study in creating subtlety differentiated textures as a contrast to the first piece, where the different layers are boldly projected. Multi-tonalities are presented in bar 18/19 – independent tonal layers moving to a common chord and again in bar 23 where the pivotal E allows the triads to move stepwise towards a common E major triad.
Dancing under the Moon is a study in an a-symmetrical rhythm which is 3/8 + 3/4. I regard this as quadruple meter with an extended first beat. The regularity of this meter persists until bar 12, when it shortens to 3/8 + 2/4. Once again there are strong tonal e-lements in the piece which sets out in A major, modulating to F sharp major in bar 5, but emerging in A flat major (through to the end) with a recapitulation of the opening material in bar 21. Much use is made of open fourths and fifths in this short piece. The open fifth clearly personifies the empty whiteness of the moon, as I use it in When the moon comes out for marimba and 4 instruments.
(When the moon comes out)
Rain at Night is a toccata with minor mode inflections, but also introducing such technical problems as combining staccato and legato. Generally speaking the technical demands of this particular piece go beyond UNISA Grade 4, but it fits comfortably into the overall content of the suite. Since the fingers interlock from time to time the melodic profile may not emerge as it appears on the page.
Bubbles was the one piece that was accepted as being of Grade 4 standard by UNISA and was included in their volume of pieces prescribed for “2008 until further notice”. This piece has no complications or variations of meter, and is rhythmically much simpler than all the others. It is tonal throughout, but floats easily and gracefully through various tonalities using pivot notes as the means of modulation.
Under a Tree is one of the most beguiling pieces in the set. Set in G minor (with a raised 6th), it was originally a much shorter piece in the previous volume Making Friends but was later extended to match the dimensions of the other pieces found in this volume. Bars 23 and 24 form a sonorous suspension of tonality which resolves back to the opening key.
Scary Place is a study in rapidly alternating tonalities (G minor – E major, E flat minor – E major) in the first two bars designed to give an impression of nervous apprehension and flight. The sharply dissonant chords at the climax are C7th over the tritonal F#, (an introduction to the famous Petrouchka chord).
Monsieur Satie takes his umbrella for a walk.
My fascination with Satie’s music goes back at least to the 3rd movement of my Concerto for piano and 8 instruments, in which a typically Satie-esque walking bass has a melody above it.
The duple meter (10/8) is extended to triple meter in bar 6 (15/8) and curtailed to a simple 2/4 in bar 7. These fluctuations of the meter depend on a regular duration for the 8th note. The 15/8 meters all signify a cadential structure in the music. A typically Satie-esque feature is the triadic bass in bar 12 (a similar passage occurs in Satie’s Three Pieces in the form of a Pear, which I recorded in the 2 piano version with Lamar Crowson).
Jogging at Night is really a left hand study with a four-finger pattern which continues more or less relentlessly until the final minor 11th chord. There are also sharp dissonant ejaculations (suggesting car horns). In short it is a challenging left hand toccata with a somewhat sombre flavour.
Slow River Ride is in 5/8 time almost throughout (duple time, simple + compound unit) until it reaches bar 31 when the meter changes to 3/8+3/4, which is a quadruple meter (4/4 with an extended compound first beat).
The opening four-note pattern unfolds in a pattern spread over 5 eighth notes to simulate a gentle rocking pattern. The rotation pattern which the performer should use in articulating this passage also refers to the rocking of the boat.
Toccatina, the final movement of the suite, once again introduces asymmetrical meters – q q q+q. – until this stabilises into a regular 4/4 at bar 7, transitioning into 2/2 at bar 8. The Toccatina (largely in C major) is in simple ternary form with a secondary theme presented in bar 11 (in the dominant key of G major) and returning to the opening subject in bar 23. It makes a suitable ending for anyone selecting pieces from the set to form a performable suite.
My early pianistic training under Lily Shapiro included a complete study of Muzio Clementi’s Six Sonatinas. Clementi described his Sonatinas as “progressive, composed and fingered by Muzio Clementi” and I have described my set of Sonatinas as progressive “in that they introduce the student not only to contemporary fingering practice but also to some of the technical developments in 20th century music – unusual modulations; asymmetrical meters; bi- and multi-tonality, etc.”
Each Sonatina is dedicated to an individual who had some pianistic meaning to me.
- Claudia Botes. (My God-daughter, and last piano student.)
- To Lily Shapiro. (My piano teacher in Springs, Gauteng, from 1955-57.)
- To Rose Kagan. (One of Lily Shapiro’s older students who took a great interest in my development.)
- To Julienne Cartwright Brown. (My piano teacher at St Martin’s School, Rosettenville, from 1958-1960.)
- To Aïda Lovell. (An important formative influence both compositionally and pianistically from 1960-63.)
- To John Antoniadis, pupil of an assistant to Claudio Arrau. (Antoniadis helped me to greater technical heights when we both taught at the Salisbury (now Harare) College of Music (1967-68).)
One example of the unusual fingering can be found in the first bar of the first Sonatina where the left hand thumb is required to depress a major 2nd.
Although this is found in the piano music of Ravel (Scarbo) and Prokofiev (Piano concerto no. 3), it would be a novelty to many young pianists. Other unusual fingering indications include placing the thumb on a black note.
I also recommend the use of the thumb on notes which need special accentuation. Another unusual use of the thumb is found in Sonatina 4, bars 2-3, where the use of the thumb ensures that the phrasing is clearly articulated.
By the time the student has progressed to the 5th Sonatina, finger equality is an important requirement as the final movement is in effect a five-finger etude (for both hands) with the hands placed in different scalic positions – sometimes closed, sometimes over intervals larger than an octave.
These range from simple triadic formations with 7ths and 9ths found in the first Sonatina, through to the tone clusters and chromatic melodic formations found in the 6th Sonatina (Sounds outside, late at night). The transition from a single pitch with the same rhythmic pattern (iamb) established at the opening of the 2nd movement acts as a pulsating device before finally creating a bridge to the last movement. Although the middle movement has no established tonality, both the 1st and 3rd movements create a relationship between B minor and B flat major which share a common mediant. It also provides the only instance where in this work of the linking of separate movement by a single motive. (It also appears in the recapitulation in bar 82).
My use of expanding from single pitch class to more complex formations is also found in bars 23-25 of the same slow movement.
Each of the Sonatinas is in a single key, with the centre movement usually in a related tonality (Sonatina 1, D major – A minor – D major). The melodies are thus largely diatonic in formation, with pivotal relations to related keys. In the first Sonatina (movement II) Klatzow uses the G# in A minor as a pivot to F minor (A flat).
Chromaticism is not introduced until the final movement of the second Sonatina where 7 of the 8 notes in the right hand rhythmic figure are of different chromatic values.
Much of the succeeding material is also chromatic. Full chromatic scale passages occurs in bar 21 and again (partially) in bar 31.
The second movement of the fourth Sonatina introduces the Mixolydian mode with some rapid modulations leading back to the return of the initial thematic material in unaltered state.
This particular passage neatly illustrates my observation that harmonic turbulence is more pronounced just before a cadence (lectures in Composition 1, at UCT).
With Sonatina 5 the opening material (in B flat major) moves into rapid modulation immediately (thus prefiguring the opening subject of Sonatina 6). The second subject (bar 12) moves to A major – a tonality which is sustained until the movement once again returns to a more volatile B flat major.
The second movement is largely based on the so-called Hungarian Gypsy scale, which is symmetrical in formation.
I have also used this scale before; most notably in my orchestral work A Chrysalis in Flames (1989).
Sonatina 6 features a succession of eight different chromatic notes (the tonal centre, B natural, is repeated) making it the most comprehensively chromatic formation found in the Sonatinas. (In general, I avoid the use of any chromatic scale in its pure form).
The tonal structure of the movement leads from B minor – B flat major – E minor, before finally returning to B minor for a proper recapitulation. (The second subject is in B major).
The second movement is an atmospheric evocation of the night, which pays homage to Bartók. The meter is 5/8, chosen to avoid recognisable regularity. Cluster formations which gradually expand (often in the upper part) provide a backdrop to the chromatic melodic formations in the left hand. The principle of the expanding cluster (also a structural feature in Harrison Birtwistle’s choral work The Fields of Sorrow (1971/2, published by Universal Edition) and this is found in bars 18-20, and 23-25. These gradually contract to a single B natural at the end. The complete suspension of tonality in this 2nd movement enabled me to create a movement with no gravitational pulls. I view atonality (or serialism) as an extension of tonality, which however cannot be sustained for long periods.
I have mentioned that one of the key elements I missed in my non-tonal works (Interactions 1 and 2, Time Structure 1 for piano, and Time Structure 2 for orchestra with organ, Piano Sonata 1) was the ability to create a tonal geography by means of stable tonal sections and modulation. Various modulatory techniques are found in this set of Sonatinas. I have also used certain techniques employed by Ligeti to create “neutral” points (unisons, augmented 4ths) but these substitutes are not a viable replacement for the stability and mobility which tonality and modulation permit. If form is to be clear, the composer must use all the available means to articulate that form, otherwise the listener has only a very hazy idea of the geography of that piece of music and other landmarks have to be artificially created to put this in place.
In my early years (1966-70) there was a very sharp distinction between my “art” music and my music for young (and thus aesthetically undeveloped) people. Although I do not possess any of the works from my Paris period (1965/6), the works written shortly after that (Interactions 1 for piano, percussion and chamber orchestra) as well as my first piano sonata (1968 – commissioned by SAMRO) indicate a sharp differentiation of technical demands (both rhythmic and harmonic). At some point I decided to create a rapprochement with tonality. Tonal cadences feature in Still Life with Moonbeams (1975) and Echoes of Dowland ( movement 1 in The Garden of Memories and Discoveries).
(Still life with Moonbeams, final bars)
This fragment plays an important function in defining the structure of this short but complex work. It gave me a new means of creating a cadence in the midst of tonal and rhythmic complexity, and its inclusion was no doubt an important moment in my rapprochement with tonality. Similarly, in The Garden of Memories and Discoveries I used tonality, both by including paraphrases of the music of Dowland, and also by introducing Beethoven’s well-known Für Elise into the electronic cataclysm of the final movement. At this point I clearly embraced pluralism (a polystylism which incorporates strongly different techniques of rhythm and harmony and establishes a new relationship to tonality).
- I studied with Nadia Boulanger, at her invitation, from 1965-66. Although I quite often attended her famous Wednesday classes, our meetings were usually on a one-to one basis.
- These above-mentioned works were stolen when I moved to Cape Town to take up my position at the SACM. Boulanger described them as “works of great value”(letter to Klatzow, Sept 15th 1966)
- Elspeth Jack was a guitarist, but more renowned as a teacher for many years at the SACM. She died on February 2nd 2010.
- Claudia Naomi Botes, born 1995. Travelling companion for many overseas trips including Egypt, Italy and Paris. She studied music as far as matric, for which she performed two movements (2 and 3) of my Sonatina in E minor as well as Debussy’s “Clair de Lune”
- UNISA – the University of South Africa manages distance learning and music examinations throughout Southern Africa.
- When the moon comes out was requested by Kunihiko Komori for his recital of my marimba works in Tokyo on 29th September, 2011. Komori had previously requested my Sonata for Violin and Marimba, and subsequent to the Tokyo performance requested me to write a work for voice and marimba. Songs from the Japanese 4 Haiku, 2 Vocalises and an Interlude was the result.
- The vinyl was issued as part of a Rio Ethicals promotion by Adcock Ingram, and is no longer available.


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Marilyn Manson's new album revealed
- Bang Showbiz
- 20 July 2016
Marilyn Manson's new album will be out next Valentine's Day (14.02.17) and is entitled 'Say10'
Marilyn Manson's new album will be out next Valentine's Day (14.02.17).
The 47-year-old rocker has revealed his 10th studio LP will come out on the most romantic day of the year and will be entitled 'Say10'.
He revealed the news during an interview when he grabbed a pen and wrote 'Say10' on his hand.
He said: "'Say10', that is the new Marilyn Manson record coming out on Valentine's Day."
The news came after Manson received the Icon Award at last night's (19.07.16) Alternative Press Music Awards.
He was was presented the award by Twiggy Ramirez and Manson was thrilled with the accolade.
He said: "Thank you to all of the fans and all of Alternative Press because this is the only award I will actually put on my shelf. This is the greatest award ever."
Last year, the 'Tainted Love' singer won the Lifetime Achievement gong at the Relentless Kerrang! Awards.
The controversial star - who has released 13 albums during his career, spanning over two decades - was honoured with the accolade at the London ceremony, which was attended by the musician as well as a host of other rock stars.
Although the prestigious prize was awarded to Manson, the big winners of the evening were All Time Low - comprised of Alex Gaskarth, Jack Barakat, Rian Dawson and Zack Merrick - who won Best Event and Best International Band.
Legendary rocker Alice Cooper also picked up two awards during the annual event, being presented with the Kerrang! Legend prize and Best Radio Show for 'Nights with Alice Cooper' on Planet Rock.


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Face coverings must be worn in the communal areas of secondary schools and colleges in England in an extension of rules that will apply through the new lockdown.
Schools will be given another week to enforce the restrictions, which do not apply to classrooms. The government was lambasted by teaching unions for landing the guidance on head teachers’ desks less than 24 hours before the start of the national lockdown.
The move – an extension across England of rules previously in place for tier 3 areas – came on a day when the prime minister told MPs that there was a “moral duty” for schools to stay open.
The Association of School and College Leaders welcomed a clarification that clinically extremely vulnerable staff and pupils should not go into school or college, but it warned that would mean there were more staff missing from the workplace on top of those who were self-isolating.
Amid reports of schools having to spend £6,000 a week on supply cover, the ASCL said it was imperative that the government reimbursed schools and colleges with the cost of hiring supply cover for absent staff.
Geoff Barton, the ASCL’s general secretary, said: “It is frustrating that there is still no information on what circumstances would trigger the government’s own contingency plan for rota systems in secondary schools.
“We appreciate that this is not the intention during the national lockdown but given that the situation is clearly precarious then clarity would be helpful.”
The vast majority of parents were supportive of existing policies on face coverings, but the union was aware of schools receiving objections from some parents.
One parents’ group which has been lobbying government, Us For Them, said it was “deeply concerned” and described the measures on masks as an “inappropriate and potentially damaging intervention for children”.
“The WHO [World Health Organization] guidance on which national mask legislation is based makes it clear that if authorities decide to require masks for children they should at the same time set up a system for collecting and evaluating key information about this intervention,” said a spokesperson.
Paul Whiteman, the general secretary of school leaders’ union NAHT, said it “beggars belief” that schools had to wait four days after the announcement of new English lockdown measures to find out how it affected them.
“The fact that the government is giving schools a further week to implement the wearing of face masks shows that they know this guidance is ridiculously last minute. That’s a further week of confusion and anxiety for children, families and staff that could have been avoided by more timely acton from government,” he said.
The Scottish government announced last month that older school pupils should wear face coverings in classrooms in areas of Scotland that are in levels 3 and 4.
The National Education Union – which is calling for schools and colleges to be closed during the four-week national lockdown – welcomed the measures on face coverings. It also wants schools to be prioritised for access to rapid turnaround tests like those being trialled in Liverpool.
There was no change to the existing position in England for primary schools and settings teaching year 6 and below. But they do have the discretion to recommend the use of face coverings for adults on site where social distancing between them is not possible.


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Supreme Court ends effort to revive Common Core
OKLAHOMA CITY – The Oklahoma Supreme Court has ended a new effort to revive the Common Core curriculum in Oklahoma classrooms.
The ruling came Tuesday afternoon in response to a lawsuit that said the legislature overstepped their authority when they repealed Common Core through House Bill 3399.
The lawsuit’s lead attorney said lawmakers did not have the right to “reach into the classroom.”
But the Supreme Court disagreed, writing in their opinion, “HB 3399 is not unconstitutional.”
That means the state legislature had the authority to repeal Common Core.
Parents like Nikki Fate of Yukon, described Common Core as a “cognitive abuse on our children.”
She said if Common Core had prevailed, she would have started home schooling her children.
“They’re learning way too much at a fast pace,” she said, “and they shouldn’t because their brains are not developed for it.”
The ruling means the legislature has won the power struggle with the Oklahoma Board of Education.
One brief opposing Common Core said “…the legislature is authorized and obligated to maintain the public education system. In fulfilling (that), the legislature has to establish standards.”
State Rep. Jason Nelson (R-Dist. 87), the bill’s co-author, said “…the legislature is the only group involved here that answers to the people directly.”
But the lawsuit, filed by parents, teachers, and four board of education members, said Common Core’s repeal “…would materially diminish the independence and authority of the board.”
“Although the legislature gets to set policy for the state of Oklahoma, they don’t actually get to run the Board of Education,” Robert McCampbell, attorney for the lawsuit’s petitioners, said.
Amy Anne Ford, a Board of Education member and one of the lawsuit’s petitioners said local education experts developed Common Core standards and she did not want lawmakers to be able to alter years of research.
“Then it is no longer a consensus document that has been vetted by these experts,” she said. “That’s my problem (with HB 3399).”
The Board of Education will now revert to pre-2010 educational standards, while developing new standards by 2016.
Governor Fallin issued a statement following the ruling, saying, “Today the Supreme Court ruled that House Bill 3399, which repeals Common Core and directs the state of Oklahoma to develop new academic standards, is constitutional in its entirety. This bill has now been passed with large legislative majorities, signed by the governor, and reviewed by the courts. It is now time for parents, teachers, school administrators and lawmakers to work cooperatively to implement this law. We need all parties working together to ensure that Oklahoma’s new standards are rigorous and can be realistically integrated into the classroom. Working together, I know that we can design Oklahoma standards that live up to a level of excellence our parents and students expect and deserve.”
State Rep. Jason Nelson issued the following statement in regards to the ruling.
“The confusion caused by this lawsuit has been unfortunate as educators around the state have been busy preparing for the next school year, which is weeks away. The Court’s opinion today removes any uncertainty. Based on the many educators I know personally, I have no doubt that Oklahoma’s teachers are more than capable of making the necessary adjustments and will be more than ready when children, mine included, begin showing up after the summer break.”
State Sen. Josh Brecheen also issued a statement, saying, “One of the Justices correctly pointed out, that the authors of Oklahoma’s Constitution were concerned about the potential for abuse by non-elected, unaccountable appointees of the Executive branch, and so ensured the will of the people would be upheld through legislative oversight, which is exactly what HB 3399 will allow concerning education in our state.”
State Sen. Anthony Sykes said, “I am pleased with today’s opinion in favor of House Bill 3399. The Oklahoma Constitution is abundantly clear in granting the Legislature the authority contained in HB 3399. The lawsuit brought by the plaintiffs is a textbook example of a “frivolous” lawsuit. I look forward to working further with Senator Brecheen, Representative Nelson and other like- minded conservative legislators in returning Oklahoma education to Oklahomans.”


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Filmmaker John Waters is back in the Bay Area to celebrate all things punk and lead the annual Halloween Meltdown at Oakland’s Mosswood Park Festival this Saturday and Sunday.
“I always felt immediately at home in the punk world,” says Waters from his Baltimore home. “What always drew me to punk rock (is) I always feel safe in it. I always feel these are my people, even though I’m the oldest punk probably in the entire festival. It’s like going to some crazy occult meeting in the best kind of way. I think punk is a good cult. They hate everybody in the world but themselves.”
It’s no coincidence the artist — who has hosted the music festival since 2015 — fits in so well with punk culture.
“We were making punk movies before anybody even knew that word, including me,” argues Waters, known for films such as “Hairspray” and “Polyester.”
Waters presents bands — both local and national — including Amyl and the Sniffers, Demolition Doll Rods, Kid Congo Powers, Warm Drag, Body Double, Fake Fruit, The Bugs, Shannon & the Clams, Sheer Mag, Josie Cotton, Spoon Benders, NIIS, Whateverglades, The Ogres and The Spits and Lydia Lunch. There’s also a haunted house and a costume contest.
Waters’s advice on dressing up: “Everyone’s in a costume. There are punks in drag. Everyone’s dressed in punk. Fashion is costume. The only people that don’t participate and have no look, they’re the ones that should wear Halloween costumes.”
The festival proudly addresses Waters as the “Pope of Trash” on its posters, a nickname given to the host by William S. Burroughs. “He’s the one that called me that,” Waters gloats. “That was really wonderful. That came when he gave me a quote for the book Crackpot.”
Thanks to his films, Waters has more than earned the moniker. “I’m always making fun of the rules and the outsider world that I live in,” Waters says. “That’s funnier to me than the other rules of regular society.”
The punk scene formed in the late 1970s and early 1980s as a haven for various outcasts and weirdos to reject society’s rigid rules. This year, Halloween Meltdown embraces this philosophy again with bands like The Spits, who often perform in nun outfits and Ronald Reagan masks, and Lydia Lunch, who formed her own record label called Widowspeak in the ’80s and maintains an anti-commercial work ethic. One of her tracks, “Death Valley ’69,” featuring Sonic Youth was named one of “The 50 Most Evil Songs Ever” by Kerrang.
“I toured with (Lydia) back in the ‘80s,” Waters says. “She showed up in great movies. ‘Fingered’ by Richard Kern and all those kinds of movies, which I love.”
If it’s a natural transition for a punk director to ease into punk rock hosting, then musicians might have a similar knack for taking the leap into the film world. After all, they put on a persona every time they perform.
“I’ve always known that they were good actors,” Waters explains. “That’s why I always use musicians because I knew that they could act. All the people who were musicians that were in my movies didn’t audition, but I always knew they could do it. Even Chris Isaac, Debbie (Harry) and Ruth Brown had been in other movies at the time.“
As Waters knows well, punk encompasses film, music, personality and culture. Waters standing in the center, as a kind of godfather of the movement at age 76. Another name for the festival could be “Six Degrees With John Waters.” He’s friends with the founders, Marc Ribak and Amy Carver, fans of the bands and has crossed paths with many of the artists on the setlist throughout his career.
Waters brings to the festival a warm energy that reverberates throughout the crowd. The artists, in turn, feel the same way. Halloween Meltdown is a celebration of music and film with multi-hyphenate musicians and audience members in costume, some they wear everyday — as Waters mentioned — and some showing up for the costume contest, each playing their own character.
“There’s lots of crossover,’ says Waters. “They put on amazing shows. And I think that’s what people love to see — is a great show, right?”
If You Go
Where: Mosswood Park, 3612 Webster St., Oakland
When: 12-8 p.m. Saturday and Sunday
Tickets: $59 for single day pass, $99 single day VIP pass, $99 weekend pass, $179 VIP weekend pass

domain: entertainment