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+44 (0) 12 17 53 43 39 / +44 (0) 47 83 10 40 31
+44 (0) 12 17 53 43 39 / +44 (0) 47 83 10 40 31

African Relief Fund (ARF) has distributed Qurbani meat to needy families and IDP’s in Kismayo (Jubbaland), Beledweyne (Hirshabelle), Balanballe (Galmudug), Hargeisa (Somaliland), Balbala (Djibouti), Godey and Dhenan (Ethiopia). Over ten thousand people have benefitted Qurbani project this year.
1% Donated
Goal : £ 50,000.00
£ 500.00

Qurbani is an obligation upon every mature Muslim, male or female, who can afford performing the sunnah of sacrifice. On that account, ARF launched the campaign 2020 in order to encourage more people to make their Qurbani donation without the slightest hesitation.

There are people who cannot afford to buy a piece of meat to celebrate Eid. Making a Qurbani donation will feed a family and allow them to celebrate Eid just like we do. This act reflects selflessness and generosity and creates strong ties between Muslims around the world.

What is Qurbani?

Simply, it is the act of sacrificing an animal (sheep, cow, camel, or goat) for Allah’s sake on the day of Eidul-Adha. So imagine what happens when an obligation like a Qurbani is fulfilled? The reward is boundless as you are following the footsteps of Prophet Ibrahim (PBUH) and bringing joy to many hearts.

Who will receive my donation?

On the day of Eid, we deliver your Qurbani donation to the poor people; including orphans, widows, and elderly people who cannot afford to buy meat for the day of Eid. We guarantee that all your donations are delivered to those who need it the most.

When can I make my Qurbani donation?

People usually do it during the blessed ten days of Dhul-Hijjah. However, you can make your donation before. The actual sacrifice will be performed on the 10th day of Dhul-Hijjah after Eid prayer.

It is not their meat nor their blood that reaches Allah. It is your piety that reaches Him

    1 Portion of Camel

    Full Cow Qurbani

    1 of 7 portions of a Cow Qurbani

    Full Camel Qurbani

    Sheep/Goat Qurbani

“He is not a believer who fills his stomach while his neighbour goes hungry.”

Donate by phone

Call us:
+44121 7534 339

Bank Transfer

Transfer funds:
Name: African Relief Fund
Sort Code: 20-46-57

Account number:  30410330
IBAN:  GB11 BUKB 2046 5730 4103 30

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Ariana Pierce, the Superstar CEO
Blogging Blueprint free E-course Discover the system I used to gain access to New York Fashion Week, build two successful beauty brands, and cultivate a blogger audience of fashionpreneurs! Sign up below:

While doing this photo shoot with my photographer, Christian, a scary but funny thing happened to us. Where I live, there happens to be lots of deer that roam in the backyard. Well, we decided to head out to the back and take a few shots. While we were shooting, the deer began to stare… Read More

Color your world with Style Shoppe accessories! Pick 1 or 2. Call in right now to order one of these exclusive pieces from Style Shoppe! We are taking phone orders or paypal for these pieces – (888) 425-1982. Take a look and comment below!

Secrets To Bright Nails!

New Superstar Nail Lacquer Ad! I reveal the secret to BRIGHT, BOLD nail polish like AnnaLynne McCord has been spotted wearing this season! Make sure to get your Eccentric Yellow and Ambitious Blue at today for only $10! Feel free to use this Ad on your blog or website! CLICK IMAGE TO ENLARGE:

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SmartcomTECH CC Charging System

A.A. SmartcomTech is one of the leading carriers of international voice traffic and SMS hubbing with more than 10 years of proven activity. The headquarter of the company is based in New-Jersey, US since 2008.
From 2007, A.A. SmartcomTech carries all Retail international traffic of iKappa ( , a leading calling card company in the Tri-State area.

UI/UX Design: 200+ hours
Architecture: 300+ hours
QA & Testing: 700+ hours
Project Management: 400+ hours
Development: 1600+ hours
Challenge Strategy & Solution Features Result

A client who owns 2 fitness centers in Israel decided to create a billing system for own needs to make it possible to manage subscriptions, prices, discounts, lessons, etc.  and then charge visitors for consumed services/products.

SmartcomTECH requested Arixess to propose a solution that may fulfill all the requirements and would be a single tool for both centers. After investigation Arixess’s team came up with a solution that was finally implemented.

Strategy & Solution

Arixess made a research of what are usual practices for implementation similar tools for gyms and fitness centers. After that it’s been decided to develop a web-application that allows the gyms clients to register and bring all the required information there.

First of all Arixess developed tools for client management, with a facility to import and export them into xls and csv files. “Products/Services” area was added in order to let creating new products and services with all descriptions and costs. The gym clients should have a facility to buy subscriptions, for this purpose corresponding area have been created under the administrative panel. There were also developed some other features for both clients and gym administrators, like internal credits, that may be used by clients for payments, facility to freeze or terminate membership, different payment facilities for clients, notifications, facility to make a payment from several credit cards, etc.

In addition for the gym administration it’s been create a mechanism to build different reports, predict income based on historical payment activity, individual history by client and many other useful features.

  • Client profiles management
  • Import clients via xls-file
  • Export existing clients into xls-file
  • Management of products & services with Categories. Management of “retail products”
  • Management of different types of subscriptions
  • Promo and Discounts management
  • Internal credits – points that may be given to clients. Client can pay for products and services either using the credits from his account or money
  • Facility to “freeze” or “terminate” membership with change or termination of auto-charging
  • Facility for client to pay for products or services by cash or cheque, this way a manual transaction is registered in the system
  • Facility to register a transaction (cheque or credit card) for unregistered clients (walk-in)
  • Refund, with a facility to do just partial refund
  • History of clients, payment history
  • Numerous custom reports including potential income prediction based on payment history and existing amount of clients
  • Credit Card tokenization, either by the gym administrator or by client through sent to his e-mail link to temporal page, where it is possible to call to a payment gateway and enter information about credit card
  • Facility to make payment from more than one credit card, for this purpose it’s necessary to specify what % from total amount should be charged from each card
  • Deferred charging set for particular date and time
  • Notifications to clients/managers/administrators about coming events in the gym
  • Multiple user support with different access levels
  • Interface for management several gyms, just by switching between them without a requirement to login into each of them

As a result SmartcomTECH received a nice system for fitness centers/ gyms management with a facility to manage clients, subscriptions, events in the gym, payments and reports by all activities.

Want to Start a Project?

    Full Name

    Company Name

    Project Description

    By submitting this form I give my consent for arixess to process my personal data pursuant to arixess Privacy and Cookies Policy.


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Robotics in thoracic surgery 1: Pulmonary and mediastinal disease

Research output: Chapter in Book/Report/Conference proceedingChapter

While robotics and automation have been used in science and industry for over three decades, there have been few applications of this technology within the medical field. Two major forces have resulted in the application of robotics in medicine: (1) the quest of the military to provide remote expert surgery by means of robots in the field, and (2) the shortcomings of video-endoscopic techniques of the 1980s and 1990s when applied to more complex surgical procedures. Both instances have required better binocular visualization coupled with enhanced dexterity and remote instrument manipulation. While a number of surgical robotic systems have been proposed, the first practical surgical robot was the Green Telepresence Surgery System. This system was designed to restore to the surgeon the native and intuitive abilities that were lost with laparoscopic and thoracoscopic surgery: 3D visualization, dexterous precise surgical instrument manipulation, and the sense of touch from input of force feedback sensory manipulation. Furthermore, this system was designed to provide the expertise of a surgeon anywhere worldwide through telesurgery. The significant features of the Green Telepresence Surgery System were incorporated into the da Vinci surgical robot. The da Vinci system (Intuitive Surgical, Mountain View, CA) consists of three main components: (1) the surgical console with two master controls and an integrated 3D display stereo viewer, (2) the surgical cart with a camera arm and up to three instrument arms, and (3) the vision cart, which contains camera and image processing equipment (Figure 11.1). While seated at the surgical console, the surgeon operates by placing his or her fingers in the masters and moving them within the console. The instruments within the surgical field are aligned with the masters. There is natural and predictable instrument movement within the operative field. The relationship of the masters to the instruments within the surgical field coupled with 3D visualization ensures hand–eye coordination and orientation as well as natural operative feel found in open surgery. The 3D visualization is provided by a stereo viewer that is provided for the surgeon's head. Open surgery techniques that are employed by the surgeon's hands are instantly converted into minimally invasive surgical movements at the surgical site.

Original languageEnglish (US)
Title of host publicationPerioperative Management in Robotic Surgery
PublisherCambridge University Press
Number of pages18
ISBN (Electronic)9781316534229
ISBN (Print)9781107143128
StatePublished - Jan 1 2017
Externally publishedYes

ASJC Scopus subject areas

  • Medicine(all)

Fingerprint Dive into the research topics of 'Robotics in thoracic surgery 1: Pulmonary and mediastinal disease'. Together they form a unique fingerprint.

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We Are Here to Help You Stanley R. Lerner, P.C.
A Legal Malpractice Law Firm

Suing Lawyers For Legal Malpractice in Phoenix

  • Learn who we are

  • Learn what we can do

  • Call us (602) 279-3400

Protect yourself: Before you hire a lawyer, always make sure the attorney has legal malpractice insurance.

My law office carries legal malpractice insurance under a lawyer’s professional liability policy.

Arizona Legal Malpractice Lawyer

An Arizona legal malpractice case starts with a client unhappy with the results. The first step in analyzing whether legal malpractice was committed and about suing a lawyer is to learn the reason for the attorney's malpractice. The analysis of how the legal malpractice was a cause of financial damages requires a review of the client’s entire file. It is very helpful in analyzing an Arizona legal malpractice case if the client retrieves his or her file. It requires that an expert lawyer in Arizona legal matters consult on the standard of care applicable to Arizona legal malpractice.

Why is this important?

Because most cases of Arizona legal malpractice require proof that had the lawyer not been negligent the client's results would have been better. In most cases in Arizona, an expert lawyer is hired to testify about the standard of care of an Arizona attorney, without which you cannot prove Arizona legal malpractice. The standard of care of a lawyer in Arizona is what a reasonable Arizona lawyer should do under the circumstances of the representation. Basically, it means an Arizona lawyer should be competent, diligent, and loyal. If you believe your lawyer committed legal malpractice, please give us a call to learn more information about legal malpractice and suing lawyers in Arizona.

Mr. Lerner has experience on the issue of standard of care because he has tried cases to juries on the issue of lawyer malpractice, served as an expert witness on lawyer negligence, and served as a Hearing Officer on lawyer ethics and discipline.

An in-office consultation is recommended for legal malpractice cases concerning injury cases, real estate, business transactions, litigation errors, divorce (property division), probate, trusts and estates (errors in drafting Trusts and Wills), negligent settlements, and bankruptcy errors that caused you financial harm

We Are Here to Help Recover Your Damages

Please visit my extended profile on the State Bar of Arizona website at http://www.azbar.org/FindaLawyer.

Ready to Explore New Possibilities?

Please contact Stanley R. Lerner, P.C. at your convenience for an initial consultation. We’ll work with you one-on-one to determine a road map to success. We look forward to working with you soon.

Call Today: (602) 279-3400


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Tag Archives: Peter

Chimmi (취미)

Chimmi was in the SoundK studio for You Who Came from the Stars with DJ Ashley. Chimmi (취미) is a co-ed group that debuted in 2018 under NUPlay.

MHL (Lee Moonhwan (이문환)) – Vocalist, Producer, Song writer
Jin Hyojung (진효정) – Maknae, Vocalist, Producer, Song writer

– MHL was born in Korea but raised in Australia. He came back to Korea about 5 years ago.
– Hyojung started writing songs in high school.
– MHL’s English name is Peter.
– Hyojung wrote a song for an OST competition and won.
– Peter gets inspiration from movie and visual things.
– Hyojung songs are most inspired by love, heartbreak, and things on the street.
– Peter would like to write a heavy metal rock song for Hyojung because it’s something she has not tried before. He thinks it would be a stress relief.
– They listen to a lot of Charlie Puth. Peter also listen to John Mayer, and Shawn Mendes lately. Hyojung listens to a lot of kpop girl groups.
– Peter admits to just doing what Hyojung tells him to do. DJ Ashley said he is the older brother whipped by his little sister).
– Runaway is from their first album.
– Hyojung uses a lot of products to maintain her skin.
– Peter still has a Winnie the Pooh blanket from when he was in 2nd grade. He still sleeps with it.
– Hyojung has always wanted to be an idol from a young age, and she likes dancing.
– Peter was famous for falling asleep in every class in high school, but he still graduated on time.
– Hyojung remembers fangirling so hard for TVXQ. Peter likes older songs and still has all his Seo Taiji albums.
– Peter used to have long hair (longer than DJ Ashley but not as long as Hyojung), because he couldn’t be bothered to cut his hair.
– Hyojung teaches piano, and she used to work as a parking lot attendant.

Q & A::
Q: How did you get your team name?
A: They were originally going through food names and came across chimmichanga. They decided to take the chonga off and just go with chimmi. Chimmi means hobby in Korean.

Q: What is Runaway about?
A: Runaway, is about a woman who wants to leave her relationship behind. The man realizes how important she is to him and tries to get her to stay with him.

Q: What kind of song is Honey?
A: It’s a sweet summer love song.

Q: Is there anyone you would like to collaborate with?
A: Peter – IU, because she seems versatile in the style of music she can do.
Hyojung – Hwasa, she wrote a song specifically with Hwasa’s voice in mind.

Live Performance::

One Way (원웨이)

The talented men of One Way stopped by the Super Kpop studio for Kpop Rising with DJ Sam Carter. One Way (원웨이) is a three member Hiphop and R&B group that debuted in 2010 under YJ Media. They recently released 2 new singles; Beautiful day (종이 바행기) & Would you be.

The members::
Peter (피터) – Vocal
Young Sky (준영) – Rapper
Chance (김정) – Vocal

About the music::
The song Beautiful day is a song about remembering childhood dreams, and wanting that youthful innocence back. ‘Would you be’ is  about asking a girl to be you girlfriend. In essence the song is about proposing.

– Peter & Young Sky have a group outside of One Way called Detour.
– Peter & Young sky are from Australia & Chance is from the USA. They are all fluent in English and Korean.
– Currently they like Girl’s Day and Crayon Pop.
– Young Sky started dancing when he was 8 and has won dancing competitions. He stopped dancing when he came to Korea around age 21.
– One Way is musically influenced by Musiq Soulchild and Michael Jackson.

Q & A::
Q: What are some of your recent collaborations?
A: Eunhyuk and Donghae (Eunhae) for Oppa Oppa & I wanna dance. As well as several other SMTown artist.

Q: How did you guys meet?
A: Peter and Young Sky went to the same performing arts high school. Peter met Chance in LA and later introduced him to Young Sky. They all met up again when they were all in Korea.

Q: What do you do in your free time?
A: They play games in the studio during their breaks. They also go out for coffee and talk about music and their work. Their work and their free time is mostly all about music.

Q: Is there anyone you would like to collaborate with in the future?
A: They are interested in working with anyone you wants to experiment and try something new musically. They also want to do some work with Dynamic Duo and Drunken Tiger.

SNS:: (follow them to stay updated)
(Team onesound) Twitter = @onewayyoungsky @onewaypeter
Other twitter =  @onewaychance
YouTube = onewayonesound

Live Peformance::
종이 바행기
(Beautiful day) & Would you be


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Rogers Seventh-day Adventist Church

A Brief History of Rogers, Arkansas

Rogers Church Organized in 1889

August 20-27, 1889, camp meeting was held in an oak grove near the little village of Rogers, with Elders Dan T. Jones, J. G. Wood, and R. S. Owen holding meetings for a week beforehand to gain interest. Elder E. W. Farnsworth arrived for camp meeting to find about thirty tents pitched and some people camping in their covered wagons. On Monday, August 26, 1889, eleven were baptized and the Rogers church organized (Farnsworth, 1889).

Rogers Church Reorganized in 1933

Elder H. C. Hartwell

Apparently the little church disbanded along the way, but in 1931 and 1932, a colporteur, Henry Vought, began working in Rogers. He did personal visits, invited people to Sabbath school, held a few Bible studies in various homes, and soon began holding regular meetings in the school house several times a week. He then asked the conference to send someone to help him, so Elder C. W. Rubendall and his wife came, held meetings and visited homes for ten days, and held a baptism on May 8, 1932. Eight were baptized, three joined on profession of faith, and several more were preparing for baptism (Rubendall, 1932). In July 1933, Elder M. L. Wilson held meetings in Rogers and reported a Sabbath school with a membership of approximately seventy-five with attendance up to one hundred. The baptized membership of the company was twenty-four (Record, 1933), and on August 28, 1933, Elder H. C. Hartwell organized a church of twenty-nine members (Hartwell, 1933). A few weeks later more were baptized, bringing the membership to thirty-five (Record, 1933).

A New Church in 1947

In 1947, a new Rogers church was built. It was covered with flagstone rock on the outside and included a church school room and a Dorcas room (Wells, 1947).

A New Church in 1969

Newly dedicated Rogers church in 1970. Photo courtesy of the Southwestern Union Record.

On March 27, 1968, the Southside Church of Christ was purchased by the Rogers members. This building had a seating capacity of a little more than 200. A full basement supplied ample room for the children’s divisions and for the Dorcas Society. The first Adventist service was held in this building July 20, 1968. The church members, some former members, and friends set about raising funds to pay for the building and by the first week in October 1969, sufficient funds had come in to make the final payment on the church. The sanctuary was then carpeted wall to wall, and a new piano was purchased. These too were paid for in full and on August 22, 1970, the church was dedicated (Sherrill, 1970).

Church Growth

In 1981, Dr. Neil Mullins decided he would like to pastor one of the district churches. After the conference president, Elder Bill Elder, and the pastor, Elder Mike Chappel, discussed the matter, Dr. Mullins was given the Rogers church. Just after camp meeting in 1981, Dr. Mullins “hit the ground running” and on April 17, 1982, six persons were baptized. Two more whom he had been studying with made their decision to be baptized and two others made decisions for rebaptism (Chappel, 1982).

The church was sold to the Rogers Spanish church in 2006. Photo courtesy of Google Maps, 2014.

A New Church in 2008

In 2006, it was voted to purchase seven acres of land for a new church (Minutes, 2006b). That same year, the Rogers congregation sold their church to the Rogers Spanish church and met in the all-purpose room of the Rogers Spanish church until their new church was finished (Minutes, 2006a). Their new church on North 33rd Street was completed in 2008.

Rogers church on North 33rd Street in Rogers, Arkansas. Photo courtesy of Stephen Orian.

On February 2, 2019, the Roger’s congregation met to celebrate the addition of six new classrooms to be used for children’s Sabbath school and for community outreach. They also dedicated the new building and a sizeable piece of land to the Lord (Record, 2019).

Rogers Church in 2019

(1933, Aug. 9). Southwestern Union Record, p. 4.

(1933, Sep. 27). Ibid., p. 3.

(2006a, Apr. 24). Executive Committee Minutes. Shreveport, LA: Arkansas-Louisiana Conference of SDA.

(2006b, Nov. 30). Executive Committee Minutes. Shreveport, LA: Arkansas-Louisiana Conference of SDA.

(2019, Apr. 17). Celebration and Dedication. Retrieved from

Chappel, Mike. (1982, Aug. 19). Southwestern Union Record, p. 12F.

Farnsworth, E. W. (1889, Oct. 29). Review and Herald, p. 682.

Hartwell, H. C. (1933, Sep. 6). Southwestern Union Record, p. 2.

Rubendall, C. W. (1932, May 18). Ibid., p. 3.

Sherrill, E. Frank. (1970, Oct. 10). Ibid., p. 6.

Voss, H. H. (1969, Oct. 25). Ibid., p. 7.

Wells, F. D. (1947, Jun. 11). Ibid., p. 4.


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Tech —

Symantec introduces Norton Confidential for Mac

Symantec releases Norton Confidential for Mac and Windows, a security software …

 Symantec released today out of beta a new software package for both Windows and Mac OS X called Norton Confidential, which is intended to add an entirely new level of security specifically for users who do a lot of banking, shopping, and other financial transactions online. The software works together with your other security software (such as antivirus software) and integrates with the browser to perform a number of functions, such as site verification to protect the user from phishing scams and protects your personal files against suspicious sites and crimeware. It even blocks stuff like keyloggers.

The phishing protection is interesting because it makes use of both blacklists and integrated heuristics (algorithms that identify patterns), a Symantec developer on the project tells Ars. This makes it more secure than just relying on blacklists because "phishing sites go up and down in a mater of hours" and blacklists need time to catch up. He adds that people have been really into the Vulnerability Protection as well, which is a "true Intrusion Prevention system, ala Snort except it can block traffic. And it includes some Mac signatures (510+) out of the box, with more coming soon."

Our developer friend also adds that Norton Confidential for Mac is "the most Mac-like app we was written from scratch using Mac goodness like Cocoa and CoreData which we will extend going forward to all our other apps now that we have this codebase"

Norton Confidential currently works with Firefox for Mac users with Safari support coming soon (I hear that Apple, as always, likes to throw even its large corporate developers for a loop, not just the little guys). It's available for preorder on Symantec's website for $34.99. Many Mac users have given up (tsk tsk!) buying security software for their machines, but the threat of phishing scams are still a very real risk to everyone, even Mac users. While I am not totally sure yet whether I'd buy it (I'm cheap, what can I say), I know that my parents—who are insanely obsessed with identity theft online—would definitely sleep easier at night with something like this installed on their machine.

You must to comment.

Channel Ars Technica


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Posted on 9 Comments

January Woods

A Calendar of Haiku - January

As the January sun rises over the wooded ramparts of the ancient hill fort I flush a couple of Woodcock from the frost free shadow of a fallen crab ... a Tawny Owl calls from deeper in the woods ...

Continue reading January Woods


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Spinach Salad with Pomegranate Hot Pepper Jelly Dressing

3 tbsp. Artisan Edibles Pomegranate Hot Pepper Jelly
2 tbsp. Olive oil
1/8 tsp. salt
1/8 tsp. Dijon mustard
2 cups washed spinach leaves
2 ounces goat cheese
2 tbsp. roasted chopped walnuts

In small bowl, whisk together the pepper jelly, olive oil, salt and mustard to make the dressing.
Heat in the microwave for 30 seconds. If you find the dressing is still a bit thick add another tablespoon of olive oil.
Refresh spinach in cold water for 10 minutes. Spin dry in salad spinner, place in a large bowl and toss with the Pomegranate Hot Pepper Jelly dressing.
Top with sliced goat cheese and sprinkle with the roasted walnuts.
This recipe will serve two persons for lunch. For larger amounts you can double the recipe or increase as desired.
Serve this salad with a warmed French Baguette and Cultured butter. A bowl of fresh Lychee fruit is a refreshing finish.
A very special thanks to one of our customers for sending us this recipe via allrecipes.com, it truly is superb!

Another option is to garnish the salad with small goat cheese balls rolled in Herbs de Provence or more of the chopped walnuts in place of the goat cheese slices.
Take a spoonful of goat cheese and roll the cheese in the palms of your hands into a ½ inch ball. Repeat with remaining cheese and roll the balls in Herb de Provence or chopped roasted walnuts until lightly coated. The cheese balls may be prepared in advance and refrigerated until needed.If you decide to make the goat cheese balls you will need some Herb de Provence and/or some extra walnuts and goat cheese.
Fresh pomegranate seeds are a great addition to the salad as well.


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Jabbo Smith: A Study in Stubbornness

Jabbo SmithWhen one discusses the great trumpet and cornet players in jazz, a long list of names come to mind, but when restricted to the late 1920s-early ‘30s only four names come up with any regularity: Louis Armstrong, Bix Beiderbecke, Bubber Miley and Red Nichols. There are strong, valid reasons why each of them are still remembered, particularly for this period of jazz, but one name that is seldom brought up except by serious collectors is that of Cladys “Jabbo” Smith.

Jabbo was born on December 24, 1908, the son of a barber and church organist who unfortunately died in 1912. Smith’s mother, who did washing and sewing to earn a living, fond it increasingly harder to care for him so in 1915 he was placed in the Jenkins Orphanage of Charleston, South Carolina where he learned to play the trumpet and trombone. His mother sought employment and was hired by the Jenkins Home so she could be close to her son. Cladys was so adept at learning his instruments that four years later, at the age of 10, he was touring with the Jenkins Band. This so impressed his mother that she made him promise her that he would never accept any job that paid less that $100 a week, an astronomical salary for an itinerant musician in those days. After unsuccessfully trying (and failing) to run out of the orphanage on his own several times, he did manage to leave for good in 1926, at the age of 17, where he headed north.

Apparently, the young but brilliant Jabbo was able to get the $100 a week he wanted, because he found work both in the recording studio and, more importantly, on the bandstand, particularly that of Charlie Johnson’s Paradise Ten, a hot Harlem band known more to musicians than to the general public. The lineup included, in addition to Jabbo, Leonard Davis on second cornet, Charlie Irvis on trombone and a young Benny Carter on clarinet, soprano and alto saxes. Smith also found employment in the recording studio with Thomas Morris’ Hot Babies, including a couple of sessions with Fats Waller on piano, and in November 1927 the 18-year-old sat in for an important OKeh recording date with Duke Ellington’s hot “Jungle Band,” playing solos on What Can a Poor Fellow Do?and Black and Tan Fantasy. Ellington offered Smith a permanent job in his band, but since the Cotton Club didn’t pay top dollar he couldn’t offer more than $65 a week, so Jabbo turned it down. This was just the first of several poor career choices made by the young hotshot trumpeter.

Partly due to his recording work with Morris, Smith was offered a spot in the pit band of the 1928 Broadway show Keep Shufflin’, where he joined Waller on organ, James P. Johnson on piano and Garvin Bushell on alto sax. This band recorded four titles for Victor under the name of the Lousiana Sugar Babes. But the real Jabbo Smith didn’t fully emerge on records until the following year when he was stranded in Chicago, while on the road with Keep Shufflin’, when famed gangster Arnold Rothstein—the backer of the show—died from an unfortunate case of lead poisoning (he was gunned down, gangland style). Since he was now a seasoned musician he was able to find a good amount of work, and someone put him in touch with Mayo Williams, recording director of Brunswick Records in Chicago. Williams asked him to form a recording group, which he called The Rhythm Aces (“Four Aces and the Joker”), to compete with Louis Armstrong’s popular Hot Five series on rival OKeh. Between January 29 and August 22, 1929, Smith cut 20 sides for Brunswick on which he cut loose with some of the most exciting, original and at times strange trumpet solos ever recorded. Just listen, for instance, to Jazz Battle from the January 29 session, which starts out with an brunswick7078impromptu cadenza that sounds a bit like Armstrong’s on West End Blues but played at warp speed. Like Armstrong, Smith utilizes initial note and terminal vibrato—something he held back from in his earlier recordings—but he also plays much more wild solos, staying up almost consistently in the top third of his range and building his solos around rather wild triplet figures. In his early sessions he was lucky enough to obtain the services of the great Omer Simeon, Jelly Roll Morton’s favorite clarinetist, a superb technician with a fine ear and first-class reading skills who could weave appropriate counterpoint around Smith’s sometimes Baroque fantasies. In the later recordings made from March 30 on, Simeon was replaced by the so-so alto saxist George James, but the trade-off was that the merely competent pianist Cassino Simpson was replaced by an excellent, underrated player named Earl Frazier.

Croonin the BluesThe Rhythm Aces records swung, but in an odd sort of way. Although it took Dizzy Gillespie to fully break the mold between the jazz rhythm of Armstrong and that of future jazz, on these 1929 recordings Jabbo Smith is already pushing the envelope. Small wonder that, despite Williams’ promotion for them in the black newspaper The Chicago Defender, they sold fairly poorly and were soon forgotten…except by a handful of musicians, among them young Roy Eldridge. Eventually the younger Eldridge met his idol in person, but that first encounter wasn’t a very happy one for him. By Eldridge’s own account, “Jabbo Smith caught me one night and turned me every way but loose…he wore me out …He knew a lot of music and changes.”

As the new decade of the 1930s dawned, it seemed as if young Smith was headed for a very rosy future, but something happened. He faded for a few years, only to be rediscovered in 1935 by jazz record producer Helen Oakley (who would later marry critic Stanley Dance) under the name of Charles LaVere & his Chicagoans. In 1938 he recorded four sides for Decca under the name Jabbo Smith and his Orchestra, but shortly thereafter he married and moved to his wife’s home town—Milwaukee, Wisconsin, about as far from the hub of jazz activity as one could get during those Depression years. In Milwaukee he collaborated with saxist Bill Johnson but by the early 1940s dropped out of sight, working regularly for an auto tire company and only playing occasionally on the side.

Jabbo in July 1979 w Orange Kellin

Jabbo Smith in July 1979 with trombonist Frog Joseph (rear) and clarinetist Orange Kellin

Several guesses have been made as to why Jabbo chose this route, but the one that makes sense is that, as the Depression worsened, he couldn’t find anyone willing or able to pay him $100 a week. It was also said that he enjoyed women and liquor more than music. Whatever the reason, he wasn’t rediscovered until the early 1960s, and his chops were rusty. It took him some years to regain at least part of his form, and although the spectacular, constant high-range excursions were a thing of the past, he could occasionally regain some of the speed of his youth and his musical ideas were often as good as before. The problem was that he was now placed in strictly “trad jazz” settings, playing with such old New Orleans geezers as trombonist Frog Joseph and guitarist Danny Barker in addition to the excellent (but still trad-jazz) white clarinetist Orange Kellin. The mere thought of Jabbo Smith, former avant-garde dynamo, playing such pap as Muskrat Ramble and Down in Honky-Tonk Town was a bit anachronistic, rather like putting Roy Eldridge (also still alive at that time) in a ragtime band, but as you can hear from their recorded performances, Jabbo had his blinders on and just tore through his solos as if he were still with the Rhythm Aces.

One of Smith’s most commercial successes came when he accepted singer-dancer-producer Vernel Bagneris’ invitation to join the stage band of his surprising hit retro show, One Mo’ Time, in 1979. He didn’t get a lot of exposure in the tight arrangements, which were tailored to feature the vocalists in the show, but what he did play still sounded marvelous. He was still playing well, I am told, when he appeared in Berln in 1986 and greatly impressed the avant-garde trumpeter Don Cherry, a veteran of the famous Ornette Coleman Quartet of the late 1950s-early ‘60s.

In October 1990 jazz writer and aficionado Len Weinstock nominated Smith to the Coastal Jazz Hall of Fame since he had been born in Savannah, Georgia. He was quickly accepted but, having suffered a stroke in May of that year, was living in the Village Nursing Home in New York. He died on January 16, 1991, but had already learned of his acceptance into the Hall of Fame from his closest friend in his last years, the wonder owner of the Village Vanguard, Lorraine Gordon. She accepted the award on his behalf in Savannah at the induction ceremonies in May, 1991.

It’s not difficult to hear in Jabbo Smith’s playing of 1928-29 the germination of an entirely new style of jazz that would not develop for another decade or find a name until after World War II, and it’s more than a shame that he wasn’t active at that time or recognized for his achievements. Had he stayed in New York, I’m sure he would have found a good paying job in a band—perhaps even a white band like Gene Krupa’s or Artie Shaw’s, famous for hiring black talent during the Swing Era—and he might have broken through to commercial popularity in addition to artistic achievement as Roy Eldridge and Henry “Red” Allen did. We’ll never know just how far Jabbo Smith might have taken his talent, because for whatever reason, it just wasn’t that important to him.

— © 2016 Lynn René Bayley

Listen to Jabbo Smith here.

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text:
Sorabji’s Massive “Sequentia Cyclica” Recorded

AwardSORABJI: Sequentia Cyclica, Super Dies Irae ex Missa Pro Defunctis / Jonathan Powell, pno / Piano Classics PCL 10206, also available for free streaming on YouTube starting HERE

Many classical listeners have heard of, even if they’ve never heard it, Kaikhosru Shapurji Sorabji’s five-hour-long Opus Clavicembalisticum, which has been recorded twice (once by John Ogdon and again by Geoffrey Douglas Madge), but that piece almost seems like a curtain-raiser for this one. The Sequentia Cyclica Super Dies Irae, composed in 1948-49, is given a performance here that lasts eight hours and 11 minutes. Needless to say, this is its first recording.

Whereas Sorabji himself performed the Opus Clavicembalisticum only once in December 1930, and Ogden both performed it (1959) and recorded it (1985-86) while the composer was still alive, the Sequentia Cyclica was apparently neither performed nor recorded until after Sorabji’s death in 1988. According to the Sorabji Archive, its first public performance, an incomplete one, took place at Bohannon Hall in the University of Minnesota on April 8, 1999 by pianist Justin Rubin. Its next performance was given by the pianist on this recording, Jonathan Powell, another incomplete performance (only the Theme and sections i-xiii) at the offices of Bauer & Hieber, 48 Great Marlborough Street, London on December 18, 2008. Seven more performances by Powell were given, only three of them complete, on September 18, 2014 in the Netherlands, November 1, 2010 at the Cornish College of the Arts in Seattle, Washington, and again a week later at Montview Boulevard Presbyterian Church in Denver, Colorado. The only other public performance of any part of this massive work was Part xix, “Quasi Debussy,” by Florian Steiniger at the Kulturzentrum Tempel, Musentempel, Karlsruhe, Germany on April 19, 2015. Powell also gave an incomplete broadcast of the work for Netherlands Radio on May 6, 2013, which was rebroadcast by them a week later.

Needless to say, this is an extraordinarily long, dense work. Sorabji, a largely self-taught pianist, never could play his own music with the huge technique required for his works, and apparently he neither planned nor performed Sequentia Cyclica himself. I’ve heard his rare 1962 home recording of his own Gulistan on YouTube and can attest that he missed several notes, but his point in making the recording was that he knew “how it was supposed to go” and wanted to illustrate that his music should have shape, form and tone color no matter how complex the written passages were. This he was certainly able to do.

For most classical listeners, particularly those whose attention spans can just barely encompass a Beethoven Symphony, Sorabji is a pretentious windbag who wrote, like his predecessor Alkan, a “charnel-house of notes,” but for the majority of cultured and informed listeners, including many pianists for whom his works are beyond their grasp either because of not enough time for preparation or lack of interest in performances, he was a transcendent genius. I place him somewhere between these polar opposites. Taking his works one movement at a time, there are certainly places where he over-wrote, yet the music holds together surprisingly well and often casts a hypnotic spell on the listener. For Sorabji, with his Indian heritage which he clung to tenaciously despite having been born in Great Britain, music was as much an expression of mood and color as it was of structure. Just as most Indian ragas are meant to be repetitive and hypnotic in quality, he transferred this aesthetic to the world of Western classical piano music, creating a strange hybrid that is still not fully understood because of its length and its dearth of live performances and recordings.

sample page of manuscript

Sample page of the manuscript of “Sequentia Cyclica,” (c) The Sorabji Archive.

The Sorabji Archive lists this work as taking approximately 430 minutes. On this first recording of the work, Powell takes 491. The printed score is also massive, 335 pages long, exceeding the Opus Clavicembalisticum by 85 pages. In his very fulsome liner notes, Powell gives the newcomer to this cycle a guide to its various parts, including a description of Sorabji’s dynamics markings and the required, one might say the correct, manner of phrasing. Herewith an example, his description of Variation 3:

Although generally relaxed in tone, this short variation has considerable expressive range and is punctuated by a series of dramatic outbursts over a gently undulating landscape. At the opening (in D flat major), patterns of four, five, six and seven semiquavers in the right hand, continually hinting at the outlines of the chant, are pitted against triplets in the left hand which pick out longer melodies. As the tessitura widens towards the extremities of the keyboard, a stark chord of D major in first inversion (at 2:14) heralds a new section in which rhetorical material alternates with brief re-statements of the opening (at 2:40, 3:04 and 3:18) before descending to a statement of the incipit of the theme in low trills. There follows a luxuriant development of the opening material (from 3:42) that hints at the nocturnal music of variations 10, 13 and 14. At 5:25 a final interruption occurs, this time with the theme superimposed on a rhythmic quasi trillo (recalling the opening of Sorabji’s Tāntrik Symphony), which builds to another D major-type chord at 5:58 (with added tritone in the treble) and a series of chords in dotted rhythms. The drama has burnt itself out by 6:21, where a low sustained D in the left hand acts as an anchor to waves of chords that fan out towards the top of the piano. At 7:00 the original material returns, transfigured, before a descent to the final Amen.

And here is his description of Variation 5:

Marked ardito, focosamente, this is the first of five variations (the others being Nos. 9, 12, 18 and 23) that treat the material in a rhapsodic, often energetically virtuosic manner (Variation 12 slightly less so). The roots of this style of writing in Sorabji’s work may be found in his early Sonata No.1 (1919); later examples include the often huge opening movements of his piano symphonies labelled Intrecciata (Italian for ‘plait’ or inter-weaving)19 which combine sometimes large numbers of themes in a freewheeling manner. Variation No.5 is split into two halves. The first is rhetorical and broadly consists of four sections, each of which is introduced by the arresting opening gesture (or a variant of it): a group of fast chords which hurl towards a final, accented one (at 0:01, 1:03, 2:01 and 3:43). The second half starts at 4:28 and is initially reflective. Sorabji gradually increases the degree of complexity in metre and dissonance of harmony until he starts to re-introduce elements of the first part until, starting at 7:47, there are no fewer than five iterations of the opening motif during the remaining 30 seconds of music.

As you can see, then, this is extraordinarily detailed music calling for, as Sorabji so often did, a sensitive musical instinct beyond the actual written notes. I can scarcely compete with Powell, since I have no access to the full score and it would easily take me several months to read and analyze it nearly as well as he, therefore I shall refrain from a technical description of what is going on and instead attempt descriptions of moods as the pieces go by my ears.

Powell clearly has the mood and color of Sorabji down pat from the opening of the Theme. Sorabji’s two favorite pianists—neither one of whom played a note of his music in pubic—were Egon Petri and Alfred Cortot, and both were noted for their rich, deep-in-the-keys sound (particularly the latter). Cortot, in his prime, had a pretty decent technique, which deteriorated somewhat by the early 1950s, but extant recordings show that Petri was also a super-virtuoso in a class with Cziffra, Raymond Lewenthal or, among today’s pianists, Marc-André Hamelin. And believe me, as this cycle continues, super-virtuosity becomes important. Immediately after the theme we get a “Vivace” that calls for almost superhuman digital dexterity, and here Powell is also up to the task. Indeed, upon hearing this early section, I realized why the timing of Powell’s performance exceeds that of the estimated time. By playing the music slightly slower, he is able to bring out the structure by articulating each passage clearly. Sorabji packed so many notes into every phrase and bar that sometimes the ear fails to “catch up” with the music unless the pianist’s articulation is crystal clear.

sample page printed score

Sample page of the printed score (c) The Sorabji Archive.

The third variation, titled “Legato, soave e liscio,” is one of the most beautiful things Sorabji ever wrote, albeit beautiful in a modern way. The notes fall across each other as they unravel at the keyboard like falling leaves from a tree or petals from a flower. It’s when you come up to No. IV, “Tranquillo e piano,” that you really run up against Sorabji’s thorniness: part 1 lasts nearly an hour (50:27) while part 2 runs another 14:18. Holy Samolians! Yet once again, the thematic development is clear and, since the music runs rather slowly, not difficult to follow.

The fifth variation, “Ardito, focosamente” (“Bold, fiery”) is one of the thorniest—see Powell’s notes on this section above. One of the more interesting, and somewhat charming, variations is No. VIII, marked “Tempo di Valzer con molta fantasia,” where Sorabji uncharacteristically uses 3/4 time. Variation IX, marked “Capriccioso,” is one of his most imaginative and fantastic creations, while Variation X, “Il tutto in una sonorità piena, dolce, morbida,” takes us to the polar opposite mood, sounding almost like a celesta in certain sections. Oddly, the way Powell plays Variation XI, “Vivace e secco,” it almost has a jazz swagger to the rhythm, though Sorabji hated jazz. Variation XII, “Leggiero a capriccio,” also has a strong syncopated swagger about it.

In Variation XIII, the music is rather fragmented, emerging almost as an allusion to the theme than a recognizable variation on it; the music seems to get lost in its own ruminations. After the very long and soft Variation XIV, the 15th variation surprises one with its Latin beat (it is titled “Hispanica”), while Variation XVIII is angry and energetic. My own theory about Sorabji and the creation of his music stems from three things: firstly, of course, his fascination with classical music, to which he was drawn like a moth to a flame; secondly, his long and bitter arguments with his father which, like those of Hector Berlioz, were never quite resolved; and thirdly, his hyper-sensitivity about being both a homosexual and a foreigner, a “stranger in a strange land.” I honestly believe that it was partly to spite his father that he rejected his given name, but in a way it probably hurt his mother even more…after all, she was British. Yet he obstinately changed his name to Kaikhosru Shapurji to make himself as different as he could, then locked himself away in his own mind, spinning out these fantastic, over-lengthy piano works for the rest of his life partly in spite. He wanted to show the world what a great genius he was, and what better way than to out-write every other composer on the face of the earth? All of the notes in his music aside, these gargantuan monologues were his form of self-therapy to align himself with the highest form of art, an art so pure that he even banned performances of it for 40 years, just to show the world what a genius they were maligning. The amazing thing about his music is that it lacks self-pity, but that was because he considered himself superior to everyone else, not really a victim except for his being gay and his father’s stern opposition, both of which he kept well hidden except from his one or two close friends.

Variation XXI is one of the most harmonically dense and, although in a slow tempo, disguises the theme more completely than in many others. But without question, the most massive “movement” in this cycle is the gargantuan No. XXII, the “Passacaglia with 100 Variations” which, all by itself runs 97 minutes and 38 seconds (it is divided on the CDs into nine bands). Yet throughout this massive structure, Sorabji never repeats himself or writes a superfluous variant. It is a remarkable piece of music. Within this Passacaglia, the most remarkable section is that encompassing Variations 66-75, which opens with extremely irregular, almost clumsy-sounding syncopation, as if Sorabji were lampooning jazz (which he detested). These “clumsy” syncopations pick up again at the 4:30 mark before the music changes back to a regular meter.

One of my favorite variations was No. XXV, titled “Sotto voce, scorrevole,” a really kooky soft, fast and quite short (2:15) piece that was really delightful. The middle section of Variation XXVI moves like a whirlwind, while Variation XXVII –the last one—is the most complex, a series of five fugues which Sorabji built up from two-voice to six-voice, spanning nearly 80 minutes. Boy, I’ll bet this guy was a real hit at parties! Just sit him down at the piano, wind him up, and let him go for three or four hours at a clip!

Throughout this review I haven’t said a word about Powell’s playing style or technique, and that is a compliment. It means that I had no problems with his phrasing or pacing of the score. Whether or not his playing has any “individuality” I can’t say, having never heard him play a standard repertoire piece, but surely anyone who can produce such a fine performance of such a monstrous piece of music could probably play the phone book (as the old cliché went) and make it sound interesting. I bow to Mr. Powell. This is a monumental achievement that may never be duplicated on records ever again, and he deserves all the credit in the world for having convinced Piano Classics to let him record it.

—© 2020 Lynn René Bayley

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5 thoughts on “Sorabji’s Massive “Sequentia Cyclica” Recorded

  1. Gijs van der Meijden says:

    Many thanks for the great article on Sorabji’s Sequentia Cyclica, though I may not agree with certain points regarding the composer’s character and motivations; I doubt for ex. he considered himself ‘better than all the rest’. He did not want “to show the world what a great genius he was”, something evident in the fact that he forbade all performances not having his express consent, and for some 40 years pretty much nothing was performed (and few before his death). The comment fits someone like Wagner quite a bit better! Yes, he was a recluse, but I guess he was such because of what he must have suffered early in life, and may have chosen at a certain point to keep the world outside and only let those enter his life who respected him as a human being and composer. Evidence is clear that in all outward formal matters he was as couteous as could possibly be expected.

    The Sequentia Cyclica is indeed amazing even within Sorabji’s output. I do not consider it ‘overwritten’; dense in places, yes, but I at no point feel it is too dense (a piece like Variation X sounded short, even at over 30minutes). The Finale to Beethoven’s 9th is in parts overdense, but even then, so what? Jonathan Powell’s awe-inspiring rendering of the work must be regarded as a peak in his recorded output, which is saying something indeed. I could not be more happy with this box finally emerging; may it become a great succes!
    NB: Are you sure “Provided to YouTube by Kontor New Media GmbH” is supported and accorded by Piano-Classics, Jonathan Powell himself and The Sorabji Archive?

    • My belief is that because of his reclusive nature, Sorabji withheld permission for performances for a long time because he was even more self-absorbed than Wagner. You have your interpretation, I simply gave you mine. Secondly, I did not say that the “Sequentia Cyclica” was overwritten from the point of view of what was done in the music, simply that no sane human being could possibly expect that ANY listener would willingly sit through eight hours of anything. Had he broken up the work into five or six parts and presented them separately, he might have been able to expect public performances someday. Of course the music holds together well; I said as much several times in my review. But who in their right mind is going to sit through a 97-minute set of variations WITHIN and eight-hour work? I certainly wouldn’t, and I admire that Sorabji has done. As for the presentation on YouTube, I have no idea but would surely doubt that Piano Classics or Jonathan Powell would permit such an upload to stay there more than a week unless it was legitimate. Many musical uploads on YouTube have been taken down in that span of time, and I can’t imagine that this would be there without permission. Besides which, let’s be honest, how many “views” do you think such a huge and complex work like this is going to get? It’s not exactly a Beethoven or a Mozart sonata. Sorabji has a limited appeal to those who understand his music.

      • Gijs van der Meijden says:

        Of course you have the right to have your own interpretation, I do not deny that; I just think quite differently on some matters. And yes, I do quite like your review in general; you clearly have listened (not just heard) the work, and I quite agree with you on several points (and where I don’t, it’s just a matter of taste, which is all perfectly well and good!)

        You state that
        “no sane human being could possibly expect that ANY listener would willingly sit through eight hours of anything.”
        Well, I doubt Sorabji expected ANYONE to actually ‘willingly sit through’ any amount of his music; he simply wrote it without such expectations. And I think Sorabji was very sane, despite perhaps eccentric when measured along the yardstick of what most people think is normal.

        Further you state that
        “But who in their right mind is going to sit through a 97-minute set of variations WITHIN and eight-hour work?”
        Well, I did. And through all 2,5 hours of the Symphonic Nocturne, all 5+ hours of Piano Symphony no. 6 and all near 9 hours of Organ Symphony no. 2 (of none of which I had heard anything before the concerts in case) and in no case was I alone in that. Would you consider me and all those other listeners (Sequentia has been performed several times, as have the works I mention above, as has Opus Clavicembalisticum and Piano Symphony no. 4, to merely name the works of 2+ hours in length) who have been there, sat through all of that and enjoyed themselves to be NOT in their right mind? If so, what about the performers who worked years to made the editions and prepare the performances? There are people who sit through all 6 or so hours of Einstein on the Beach, or Feldman’s Quartet (II); I do hope they enjoy that experience, but I for one would find that my right mind would have quite left me…

      • When making those comments, I was alluding to a live performance, not sitting at home where one is more comfortable and can stop the recording to go to the bathroom when needed. Unless one has had previous experience with Sorabji’s music, I can well imagine many audience members fidgeting while it was being played, no matter how good the music was. When Michael Gielen made his Cincinnati Symphony debut with Mahler’s Third Symphony, which “only” lasts about 100 minutes in toto, one of the elderly audience members called out loudly “It’s ten after one!” about 70 minutes into it. And in my review I listed all the known performances of “Sequentia Cyclica” as posted by the Sorabji Society.

  2. Just a brief note here. The duration initially cited by us was based on Jonathan Powell’s première of the complete work which (although you do not mention it) took place in Glasgow in June 2010 (I had the honour and pleasure of attending); his recording is indeed considerbly more expansive.

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text:
Gabriela Lena Frank Spreads Her Own Wings

Her Own Wings Cover 4c

HER OWN WINGS / FRANK: Milagros.* Leyendas+ / Willamette Valley Chamber Music Festival: Sasha Callahan, *Greg Ewer, +Megumi Stohs Lewis, vln; Bradley Ottesen, vla; Leo Eguchi, cel / Bright Shiny Things BSTC-0136

Gabriela Lena Frank is a composer who believes in messaging her music. In this release, we are told, she “tells a story of place and identity, of family and friendship.” Normally this type of verbiage means nothing, but in this case Frank is exploring her personal heritage through music, since she is the daughter of a mother of mixed Peruvian-Chinese descent as a father of mixed Lithuanian-Jewish descent, thus she combines a bit of the music of all of these cultures.

Frank’s music is essentially tonal but imbued with chromatics. To this end, she can shift the tonal center at will without sounding as if she were writing bitonally. She also has a strong sense of lyricism within this chromatic structure. The opening of Milagros is typical of her work: a few serrated, downward chromatic motifs, interrupted by strong chords, which lead into more melodic material with a strongly tonal bias. In Milagros, one encounters a more atonal sound world in the second piece, titled “Zampoñas Rotas,” which also has what I would describe as a rock beat. Why, Lena, why? Please tell me what is so wonderful about a rock beat. I just don’t get it. Towards the end of this movement, one hears long-held, edgy, high-pitched violin notes with thumps from the cello and viola interjections. In the next section, “Mujeres Cantando,” could best be described as edgy Latino music except that it lacks a Latin rhythm. This section was very creative, however, and attests to a creative imagination. In “Adios a Churín,” she even tosses in brief moments of jazz cello.

Compared to earlier works of hers that I’ve heard, Milagros sounded to me like a much more unified and interesting piece despite the various influences involved. Whereas previously Frank’s work struck me as a potpourri of ideas juxtaposed in a seemingly random fashion, here she exhibits a much stronger sense of structure. In short, the contrasting bits fit together better, at least in Milagros, because she has separated them into the different sections of the work, even though one can still hear a cultural mixture here and there. What was one, for her, a mosaic has become a melting pot, and this is all for the better. Sometimes, as innovative composers mature, they stay the same; at other times, they tend to become more conventional; but occasionally they grow and expand on what they had experimented with earlier, and this is the case with Frank. Except for the repetition of those strong downbow chords—not repeated frequently, but often enough—I hear tremendous growth in Frank’s music here.

In Legends, she opens with a bow to her mother’s Chinese side. “Toyos” sounds for all the world as if it were written by a Chinese-born composer who had also studied Western form, while the second section, “Tarqueada,” almost sounds like American hoedown music with its sliding chromatic violin playing despite the Hispanic-sounding title—at least until the edgy string playing comes in to transform it into a piece with strong backbeats. I should mention, at this point, that the playing of the quartets of the Willamette Valley Chamber Music Festival is exceptional, alert to every shift of mood and style and playing with strong emotional commitment. The Chinese influence returns in “Himno de Zampoñas,” oddly enough…or, perhaps one should say, a Chinese-Peruvian influence.

Occasionally, like so many modern composers nowadays, Frank gets hung up on effect in Legends, such as in the second half of “Himno de Zampoñas” where we get somewhat meaningless repetitions of edgy string gestures. This was a weakness of her earlier work which she avoided in Milagros for the most part, but to her credit she does not keep it up. “Chasqui” also has fast, somewhat edgy string playing, but all of it is of a piece, contributing to the musical evolution and not so much an “effect.” I really liked this piece in and of itself; it could easily be played as an encore at any string quartet concert and be assured of great applause, as it is both effective on the surface and well written. The music even swings a bit towards the end.

“Coquetos” is another Latin-inspired piece, and here Frank does indeed simulate Latin rhythms but with twists of her own. The meter is irregular and seems to constantly shift in the introductory section, although once the piece starts in earnest she switches to a sort of driving, pulsating rhythm in 3 (or perhaps 6/8) using a minor mode as its primary harmonic setting. This is another excellent piece. By and large I found Leyendas to be a mosaic of contrasting pieces and less of a melting pot, but each individual section is fascinating and well constructed despite the surprising elements within. “Canto de Velorio” is almost an ambient piece, slow and moody, but with an underlying edge to it and a fascinating, slithering cello line that pushes things along. I would say, too, that the sliding chromatics and occasional lack of harmonic grounding in this piece also refers to her mother’s Chinese heritage, but I could be wrong. Eventually, this piece devolves into a long-held series of screaming strings (a bit of effect here) before the viola pushes the violins with a strong motif of its own before the volume drops and we hear a slow 3 rhythm as one violin plays soft tremolos, the second pizzicato, and the viola and cello play a theme. Even this falls to the wayside as more changes occur towards the end.

An unusual album to say the least, but for the most brilliant music and consistently well played and recorded.

—© 2020 Lynn René Bayley

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Michelle Garnaut

Founder and CEO of the M Restaurant Group Michelle Garnaut talks about three of her favourite pieces in her collection.

One of my first pieces of art was Yau Leung’s Dai Pai Dong 1960. It was a present from my brother-in-law in the late 90s. The photograph came with a catalogue of Leung’s works from the 60s and 70s. My brother-in-law got to know Yau Leung while working with [graphic design pioneer] Henry Steiner. Asking my brother-in-law about the piece again for this article, I discovered that the photograph was printed by Leung himself. Dai Pai Dong 1960 is a such classic Hong Kong scene, looking down at a dai pai dong with everybody sitting around tables eating.

Dai Pai Dong by Yau Leung, 28.8 x 24.5 cm, 1964.
Courtesy the artist and Michelle Garnaut.

My first encounter with Yeung Tong Lung was when he painted the murals at my former restaurant M at the Fringe, which opened in 1989 at the Fringe Club. Not being able to make a living from his art meant he had to take on commercial work and in this case he recreated Michelangelo nudes. About 10 years later I went to his studio in Kennedy Town to view his enormous canvases and triptychs of local scenes that often show a perspective looking through a window or door, or standing at an elevated position. I instantly fell in love with the moderately sized Restaurant For Sale Or Rent (2003). There is a bored-looking guy at a desk, like a sleazy real-estate agent in a closed-down dai pai dong, blue lino flooring, and stairs leading up to a very typical mezzanine floor – an honest depiction of Hong Kong life.

Restaurant For Sale Or Rent by Yeung Tong Lung, Oil on canvas, 213 x 103 cm.
Courtesy the artist and Michelle Garnaut.

I got to know Antonio Mak Hin-yeung when I first came to Hong Kong in 1984. I was working at a restaurant called 97 and when I took over operations a year later, organising monthly exhibitions was part of my job description. I agreed to the part-time curator responsibility on condition that I could show Antonio Mak. Antonio and I became friends and we hung out at the haunted house in Wan Chai where he used to live at the time. After I opened M at the Fringe and made a bit of money, I went to his studio to buy some pieces. I picked a female sculpture which he was reluctant to sell but eventually did. He hardly did females. I got several pieces in the end, mostly for the restaurant; one of my favourites, which is sitting on my desk, is Remanence I & II.

Remanence I & II by Antonio Mak Hin-yeung, Bronze, 16.4 x 18.6 cm, 1993.
Courtesy Michelle Garnaut.

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This painting would be the central table from a triptych devoted to Saint Emerencia, as written on the lower part of the frame, where it is possible to read, not without trouble, the name of the Saint. On the left side of the table, from the face of an angel with his hands extended in a giving gesture, it comes the inscription Haec visio ista significat (this vision has this meaning), written in Gothic letters. This works as an eloquent introduction to the represented scene, the vision of Saint Emerencia in mount Carmel.

The aim of this table was to show Saint Emerencia not only in the prophetic role reserved to Saint Elisabeth, but also as a feminine version of the Tree of Jesse, proving Jesus an offspring from King David's lineage and the immaculated character of his divine birth.

The defence of the Mystery of the Blessed Virgin is intimately related to the Carmelite Order, and it was transmited from the 15th century from several texts that told the history of the Saint, which is the central argument of this piece painted towards 1500: the Hagiography of Saint Emerencia, the texts of John of Oudewater, around 1945, and reprinted in 1680 in the Speculum Carmelitanum by Daniel Virgine María.

  • Title: The Virgin of the Carmelitas
  • Creator: Unknown
  • Date Created: 1500
  • Physical Dimensions: w52.5 x h99 cm (Complete)
  • Type: Painting
  • Rights: © Museo Lázaro Galdiano
  • External Link: www.flg.es/museo/la-colección

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Mozart in Prague

Stefan CassomenosNowhere was Mozart’s music appreciated more in his own lifetime than the city of Prague, where his operas Don Giovanni and La clemenza di Tito were premièred. Melbourne Chamber Orchestra presents two of Mozart’s finest works paired with breathtaking Czech adagios.

His homage to the city was the Prague Symphony, a masterpiece brimming with his most infectious and elegant orchestral writing. Laureate of the 2013 International Telekom Beethoven Competition, pianist Stefan Cassomenos has received numerous international accolades for his sensitive and spirited performances. He joins MCO to perform Mozart’s Piano Concerto No 25, the majestic concerto penned alongside the Prague.

Mozart in Prague program includes: Dvorák, Nocturne for string orchestra Op 40; Mozart, Piano Concerto No 25 in C major K503; Suk, Serenade for string orchestra: III Adagio; and Mozart, Symphony No 38 in D major K504 Prague.

Piano Concerto No. 25 in C major K503 is imbued with unprecedented compositional richness. It was completed by Mozart in December 1786, alongside the Prague Symphony K504. Although two more piano concertos (K537 and K595) would later follow, this work is the last of the twelve great piano concertos written in Vienna between 1784 and 1786.

Melbourne pianist and composer Stefan Cassomenos is one of Australia’s most vibrant and versatile musicians. Stefan has performed internationally since the age of 10, and performed the premiere of his own composition Piano Concerto No 1: Aegean Odyssey with the Adelaide Symphony Orchestra at the age of 16.

More recently, he has performed concertos with the Beethoven Orchestra Bonn, Melbourne Symphony Orchestra, Queensland Symphony Orchestra, and Orchestra Victoria. He has worked with many conductors including Olari Elts, Fabian Russell, Christopher Seaman, Nicholas Braithwaite, and Arvo Volmer.

Stefan now gives regular solo recitals and concerto performances throughout Australia, Europe, and Asia. In 2013, he was a grand finalist and recipient of the Second Grand Prize in the prestigious International Telekom Beethoven Piano Competition Bonn, in Germany. He also received the Chamber Music Prize.

In 2012, he was a grand finalist in the Rhodes International Piano Competition. He has also been a grand finalist and prize-winner in the 2013 Lev Vlassenko Piano Competition, the 2013 ABC Symphony Australia Young Performer Awards, the 2009 Melbourne Asia-Pacific Chamber Music Competition, and the 2009 Trieste International Chamber Music Competition.

Stefan’s compositions are regularly commissioned and performed throughout Australia, and he is also active as an artistic director of various festivals, projects and collaborations. He is a founding member of PLEXUS.

Founded in 1991 as Australia Pro Arte Orchestra, Melbourne Chamber Orchestra has a core of string players drawn from Melbourne’s outstanding community of orchestral artists. The orchestra presents an annual series of concerts in Melbourne, and is one of Australia’s leading regional tourers of classical music, presenting concerts and education workshops in every corner of Victoria.

Mozart in Prague
Deakin Edge, Federation Square
Performance: Thursday 26 February 2015 – 7:30pm
Bookings: 1300 723 038 or online at:

Melbourne Recital Centre, Southbank Boulevard, Southbank
Performance: Sunday 1 March 2015 – 2.30pm
Bookings: (03) 9699 3333 or online at:

For more information, visit: for details.

Image: Stefan Cassomenos


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Arts to hearts project may collect through some portions of the Website personal identifiable information, such as your name, address, telephone number, and email address (“Personal Information”). We may also collect anonymous demographic and usage pattern information which is not unique to you, such as your geographic area, age, gender, preferences, interests, favorites, log-in frequency, purchase history, and usage history. This demographic and usage pattern information is not considered Personal Information except when it is used in conjunction with other information that personally identifies you.

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Home Blog Outpatient NEUROMODULATION

We all know that the United States is in the midst of an opioid crisis, partly due to years of overprescribing pain medication or prescribing it when something less addictive would suffice. If you’re predisposed to addiction or already struggling with it, or even if you’re just afraid that you might become addicted, you may want to avoid opioids whenever possible. Even if you’re following your doctor’s instructions for prescription use, you might be taking more than you need. So what are your options for pain relief? There are many natural remedies, like yoga and physical therapy, and spiritual pursuits such as meditation or mindfulness. However, if your pain is chronic or severe, these might not be enough. According to the 2012 National Health Interview Survey, an estimated 25.3 million adults – or 11.2 percent of the population – experience chronic pain occurring every day for three months. Nearly 40 million adults – 17.6 percent – experience severe pain. If you’re one of these people, you might benefit from neuromodulation.

Neuromodulation refers to the process of altering nerve activity by stimulating certain neurological sites in the body. The stimulus can be either electrical, magnetic, or chemical. Neuromodulators are a type of neurotransmitter that are released from a neutron (a cell that receives, processes, and transmits messages throughout the body by electrical and chemical signals) by nerve endings. They can then move through the body and act upon other neurons by increasing or decreasing their activity.

Some of the neurons that may be acted upon by neuromodulators include enkephalins, endorphins, and dynorphins. Enkephalins have to do with the central nervous system’s response to stimuli that may be harmful. Endorphins are chemicals that interact with the receptors in the brain that perceive pain. Dynorphins are tied to learning and memory, emotional control, stress response, and pain.

What this means in practice is that a neuromodulation device can be implanted into the body in order to act upon the pathways of the nervous system. For example, in spinal cord stimulation, an electrode is placed next to the spinal cord, where it generates a weak electrical current that interrupts the transmission of pain.  Sacral nerve stimulation is similar but acts upon the pelvic area. Peripheral nerve stimulation targets the nerves that serve as a link between your brain and spinal cord and the rest of your body. Carpal tunnel syndrome is an example of peripheral nerve damage. These all use electrical currents, but there are also devices that dispense medication. Spinal infusion pumps allow for the constant administration of small amounts of potent medications to the spinal cord and nerve roots. The device consists of a programmable pump that contains a supply of medication and a spinal catheter that delivers the medicine to the spinal canal.

If you or a loved one need help with quitting drugs or alcohol, consider Asana Recovery. We offer medical detox, along with both residential and outpatient programs, and you’ll be supervised by a highly trained staff of medical professionals, counselors, and therapists. Call us any time at (949) 438-4504.

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Thai Theparos Public Co., Ltd

Contact us

Thai Theparos Juristic Ordinary Partnership was founded in 1954 by Mr. Chai Sae-Kow for the production of seasoning sauces under the trademark of “Phu Kho Thong” Since being established, the company has grown significantly under the management of Mr. Chai Sae-Kow , Mr. Krailas Winyarat and Mr. Parinya Winyarat respectively. The company has now changed its name to Thai Theparos Food Products Public Co., Ltd. Our factory is located in Samutprakarn province, where we produce seasoning sauce, chili sauce, vinegar and oyster sauce using high-level technology and modern manufacturing processes.

Our company has received Industrial Quality Standard certification for more than 58 years. The company’s longstanding principles of production potential and having a competent management team have enabled Thai Theparos to achieve rapid business growth. Furthermore, research and development are the key drivers of our success.

  • Company: Thai Theparos Public Co., Ltd
  • Representative: Mr Parinya Winyarat (Managing Director)
  • Year Established: 1954
  • Address: 208 Moo 6 Thai Ban Road, Thai Ban Subdistrict, Mueang District, Samut Prakan 10280, Thailand
  • Phone: +66 2703 4950 / +66 2703 4444
  • Fax: +66 2703 5355 / +66 2387 1163 / +66 2703 4444
  • Email: [email protected]
  • Website:

Products: Green Cap Seasoning Sauce, Yellow Cover Seasoning Sauce, Red Cap Seasoning Sauce, Sugar Cover Seasoning Sauce, Food Sauce, Soy Sauce, Soy Soy Sauce, Distilled Vinegar, Little Hot Chili Sauce, Very Hot Chili Sauce, Ketchup, Tomato Chili Sauce, Oyster Sauce, Professional Black Soy Sauce Formula, Chicken Sauce, Japanese Soy Sauce, Chili Sauce

Find us

208 Moo 6 Thai Ban Road, Thai Ban Subdistrict, Mueang District, Samut Prakan 10280, Thailand


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Worm composting update

02 Apr

A little concerned that there were some “escapees” from the new worm composting box in the basement, I decided to look beyond the internet and my first worm supplier (the old bait shop in W. Asheville)  for some professional vermicomposting advice.

I called James Magee at Blue Ridge Redworms here in Asheville, and set up an appointment to meet with him yesterday and buy some more worms, as what I had didn’t seem like enough.  I also thought I was lacking some important worm-raising information.

Turns out James Magee not only has a successful worm farm, he also happens to be a helpful and friendly person who knows more about worms and composting than I’d imagined was possible.  While he doesn’t give tours of his site anymore (protecting business secrets) he did spend almost 45 minutes telling me and the boys all about redworms.

Much to the boys’ delight, the first thing James pointed out to us was tiny worm eggs in the box of worms we were buying.  He showed us the darker colored eggs and said they were about to hatch.   Several worms will hatch from each egg.

I brought the worm composting bins we already had going so he could give me some advice on our set-up.   He took one look at it and told me the worms I got at the bait store were, well, bait worms — a kind of the earthworm I’d read about that likes to dig deep in the dirt and isn’t the optimal subspecies of worm for vermicomposting.

Red worm on left, bait worm on right

James’s second suggestion was that the newspaper bedding wasn’t the best living medium for worms. He said that the bleach used in the paper-making process, along with the inks, could adversely affect the worms. The ideal environment for them is a nice mix of leaves, grass and compost (so my previous instincts were right — worms and dirt do go together, right?!)

James also said I should make the drainage holes in the bottom of the bins larger — instead of a quarter-inch, closer to a half-inch.

Looks like redworms like cornhusks

I told him about my escapees, and he suggested leaving a low-watt lightbulb on to keep them from emerging.  The light tricks them into thinking it’s daytime so they’re less likely to come out.

As far as feeding them, they need a half-inch to an inch layer of food (vegetable and fruit kitchen scraps) every 7 days or so.  They don’t like citrus or anything really acidic.  He told me I could experiment with different kinds of foods to see what they like:  put the food in a corner of the box and see if they crawl to it.  I asked him about banana peels, and he said “Oh they LOVE banana peels.”

Also, if the worms all move out around the perimeter of the box, or if the box smells at all, then there’s something in there that doesn’t suit their appetites.

Another thing I mentioned to him was the “worm tea” collecting in the bottom bin.  He told me that is “worm leachate”, not the same.  Here’s more details on worm tea vs. leachate.

According to James, the end product of the whole worm composting process — the worm castings — makes gardens grow strong and abundant.

I imagine with the small system I have that it will not handle all our food waste, nor will I have large amounts of worm castings (may have to buy some castings for my raised beds from farmer Magee — he sells that too).  But it is a fascinating process, and we’re curious to learn more.

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Monday, February 6, 2012

Cheerful Cottage Thrifty Finds

I love the shabby chic cottage look because it allows you to bring together
cheerful thrifty finds for very little money.

A bit of paint can update a thrift shop print or an old tool box.  Mismatched china finds
add to the charm.

Put some potted primroses in the tool box for a cheerful center piece and
plant them in the garden later.  It's easy, it's inexpensive and it's cheerful.

Bentley is enjoying the little primroses too.  Perfect for his front porch
where he loves to take his morning sun bath.

Susan and Bentley

  1. I'm taking a break from all the banging and sledgehammering and visiting some sweet blogs.

    I love primrose! Sweet idea!

  2. The Primroses make me very happy! Love the cottage look!

  3. Such lovely photos, I love your cottage decor...Thank You for sharing and have a wonderful evening!

  4. Primroses are so cheerful & add a touch of whimsy to your special look!!

  5. So sweet! Cute tablescape! Great idea!

  6. I love tool boxes. You did a wonderful job taking this bright, pretty pictures of your vignette. My favorite thing you showed was the picture in the frame. So pretty and colorful, it would bring a smile to anyone's day just by looking at it.

    Thank you for sharing this at my party, and I hope you'll make plans to come again next week.

  7. I love the cottage look, but being married to a very manly man............I have to stick to the more traditional style. I do mix a little of the cottage romance look into scheme of things however.

Oliver and I LOVE and read every comment.

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Ask Your Question

Why do V3 API tests fail when run using nose but not

asked 2013-06-06 18:26:45 -0500

Just ran into this issue, so capturing the answer here for posterity.

In the past, you could run the tests with:

and everything worked fine.

If you try that now, however, you may notice that some V3 API tests fail. Strangely, the tests will pass if you run them under tox or

Set the PYTHONPATH to you nova root directory, most likely your current-working directory like so:

PYTHONPATH=. nosetests

The V3 API uses stevedore to load plugins, which in turn uses entry points.

pkg_resources, the standard-library module for finding these entry-points keys off of sys.path.

The problem is that, when the nosetests binary is run, its current-working directory is something like '~/.virtualenvs/openstack/bin'. This means that it won't find the nova package in your current working directory.

To force it to find it, we can add the current directory to the sys.path by explicitly setting PYTHONPATH.

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answered 2013-06-06 18:27:10 -0500

Answered this myself.

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Asked: 2013-06-06 18:26:45 -0500

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Basically as per question. I have the .tar.gz file but I can't seem to install it. I did the whole, ./configure, make and make install but it didn't work.

You can install the packages by using the command in a terminal (Press Ctrl-Alt-T to bring it).

sudo apt-get install libreadline6 libreadline6-dev

The package libreadline is for running applications using readline command

and the package libreadline-dev is for compiling and building readline application.

Credit goes to this blog post

  • In debian 10 the readline command cannot be found after installing libreadline7 and libreadline-dev. Anyone else experiencing the same issue? – lainatnavi Apr 15 at 15:37

libreadline6 don't work anymore.

The latest one is lib32readline7.

Or it's better to look at the available libraries along with a short description using following code:

apt-cache search readline

sudo apt-get install lib32readline7 lib32readline-dev

can be used.

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