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Baroque music

Baroque music
From Wikipedia, the free encyclopedia
The harpsichord, a keyboard instrument in which pressing the keys caused a quill to pluck the strings, was an important Baroque era instrument, which was used both in accompaniment and solo roles. Pictured is a double-manual (two keyboard) harpsichord after Jean-Claude Goujon (1749).

Baroque music (US: /bəˈrk/ or UK: /bəˈrɒk/) is a style of Western art music composed from approximately 1600 to 1750.[1] This era followed the Renaissance music era, and was followed in turn by the Classical era. Baroque music forms a major portion of the "classical music" canon, being nowadays widely studied, performed, and listened to. Key composers of the Baroque era include Johann Sebastian Bach, Antonio Vivaldi, George Frideric Handel, Claudio Monteverdi, Domenico Scarlatti, Alessandro Scarlatti, Henry Purcell, Georg Philipp Telemann, Jean-Baptiste Lully, Jean-Philippe Rameau, Marc-Antoine Charpentier, Arcangelo Corelli, Tomaso Albinoni, François Couperin, Giuseppe Tartini, Heinrich Schütz, Giovanni Battista Pergolesi, Dieterich Buxtehude, and Johann Pachelbel.

The Baroque period saw the creation of tonality, an approach to writing music in which a song or piece is written in a particular key (tonality continues to be used in almost all Western popular music). During the Baroque era, professional musicians were expected to be accomplished improvisers of both solo melodic lines and accompaniment parts. Baroque concerts were typically accompanied by a basso continuo group which consisted of chord-playing instrumentalists such as harpsichordists and lute players improvising chords from a figured bass part while a group of bass instruments (viol, cello, double bass) played the bassline. A characteristic Baroque form was the dance suite. While the pieces in a dance suite were inspired by actual dance music, dance suites were designed for listening, not for accompanying dancers.

During the period, composers and performers used more elaborate[clarification needed] musical ornamentation (typically improvised by performers), made changes in musical notation (the development of figured bass as a quick way to notate the chord progression of a song or piece), and developed new instrumental playing techniques. Baroque music expanded the size, range, and complexity of instrumental performance, and also established the mixed vocal/instrumental forms of opera, cantata and oratorio and the instrumental forms of the solo concerto and sonata as musical genres. Many musical terms and concepts from this era, such as toccata, fugue and concerto grosso are still in use in the 2010s. Dense, complex polyphonic music, in which multiple independent melody lines were performed simultaneously (a popular example of this is the fugue), was an important part of many Baroque choral and instrumental works.

The word "baroque" comes from the Portuguese word barroco, meaning misshapen pearl.[2] The use of the word with negative connotations first occurred in 1734, in a criticism of an opera by Jean-Philippe Rameau, and later (1750) in a description by Charles de Brosses of the ornate and heavily ornamented architecture of the Pamphili Palace in Rome. Although the term continued to be applied to architecture and art criticism through the 19th century, it was not until the 20th century that the term "baroque" was adopted from Heinrich Wölfflin's art-history vocabulary as a designator for a historical period in music.[1]

The term "Baroque" is generally used by music historians to describe a broad range of styles from a wide geographic region, mostly in Europe, composed over a period of approximately 150 years.[1] Although it was long thought that the word as a critical term was first applied to architecture, in fact it appears earlier in reference to music, in an anonymous, satirical review of the première in October 1733 of Rameau's Hippolyte et Aricie, printed in the Mercure de France in May 1734. The critic implied that the novelty in this opera was "du barocque", complaining that the music lacked coherent melody, was filled with unremitting dissonances, constantly changed key and meter, and speedily ran through every compositional device.[3]

The systematic application by historians of the term "baroque" to music of this period is a relatively recent development. In 1919, Curt Sachs became the first to apply the five characteristics of Heinrich Wölfflin's theory of the Baroque systematically to music.[4] Critics were quick to question the attempt to transpose Wölfflin's categories to music, however, and in the second quarter of the 20th century independent attempts were made by Manfred Bukofzer (in Germany and, after his immigration, in America) and by Suzanne Clercx-Lejeune (in Belgium) to use autonomous, technical analysis rather than comparative abstractions, in order to avoid the adaptation of theories based on the plastic arts and literature to music. All of these efforts resulted in appreciable disagreement about time boundaries of the period, especially concerning when it began. In English the term acquired currency only in the 1940s, in the writings of Bukofzer and Paul Henry Lang.[1]

As late as 1960, there was still considerable dispute in academic circles, particularly in France and Britain, whether it was meaningful to lump together music as diverse as that of Jacopo Peri, Domenico Scarlatti, and Johann Sebastian Bach under a single rubric. Nevertheless, the term has become widely used and accepted for this broad range of music.[1] It may be helpful to distinguish the Baroque from both the preceding (Renaissance) and following (Classical) periods of musical history.

The Baroque period is divided into three major phases: early, middle, and late. Although they overlap in time, they are conventionally dated from 1580 to 1630, from 1630 to 1680, and from 1680 to 1730.[5]

Early baroque music (1580–1630)

The Florentine Camerata was a group of humanists, musicians, poets and intellectuals in late Renaissance Florence who gathered under the patronage of Count Giovanni de' Bardi to discuss and guide trends in the arts, especially music and drama. In reference to music, they based their ideals on a perception of Classical (especially ancient Greek) musical drama that valued discourse and oration.[6] As such, they rejected their contemporaries' use of polyphony (multiple, independent melodic lines) and instrumental music, and discussed such ancient Greek music devices as monody, which consisted of a solo singing accompanied by a kithara (an ancient strummed string instrument).[7] The early realizations of these ideas, including Jacopo Peri's Dafne and L'Euridice, marked the beginning of opera,[8] which were a catalyst for Baroque music.[9]

Concerning music theory, the more widespread use of figured bass (also known as thorough bass) represents the developing importance of harmony as the linear underpinnings of polyphony.[10] Harmony is the end result of counterpoint, and figured bass is a visual representation of those harmonies commonly employed in musical performance. With figured bass, numbers, accidentals or symbols were placed above the bassline that was read by keyboard instrument players such as harpsichord players or pipe organists (or lutenists). The numbers, accidentals or symbols indicated to the keyboard player what intervals she should play above each bass note. The keyboard player would improvise a chord voicing for each bass note.[11] Composers began concerning themselves with harmonic progressions,[12] and also employed the tritone, perceived as an unstable interval,[13] to create dissonance (it was used in the dominant seventh chord and the diminished chord. An interest in harmony had also existed among certain composers in the Renaissance, notably Carlo Gesualdo;[14] However, the use of harmony directed towards tonality (a focus on a musical key that becomes the "home note" of a piece), rather than modality, marks the shift from the Renaissance into the Baroque period.[15] This led to the idea that certain sequences of chords, rather than just notes, could provide a sense of closure at the end of a piece—one of the fundamental ideas that became known as tonality.[citation needed]

By incorporating these new aspects of composition, Claudio Monteverdi furthered the transition from the Renaissance style of music to that of the Baroque period. He developed two individual styles of composition—the heritage of Renaissance polyphony (prima pratica) and the new basso continuo technique of the Baroque (seconda pratica). With basso continuo, a small group of musicians would play the bassline and the chords which formed the accompaniment for a melody. The basso continuo group would typically use one or more keyboard players and a lute player who would play the bassline and improvise the chords and several bass instruments (e.g., bass viol, cello, double bass) which would play the bassline. With the writing of the operas L'Orfeo and L'incoronazione di Poppea among others, Monteverdi brought considerable attention to this new genre.[16]

Middle baroque music (1630–1680)

The rise of the centralized court is one of the economic and political features of what is often labelled the Age of Absolutism, personified by Louis XIV of France. The style of palace, and the court system of manners and arts he fostered became the model for the rest of Europe. The realities of rising church and state patronage created the demand for organized public music, as the increasing availability of instruments created the demand for chamber music, which is music for a small ensemble of instrumentalists.[17]

The middle Baroque period in Italy is defined by the emergence of the vocal styles of cantata, oratorio, and opera during the 1630s, and a new concept of melody and harmony that elevated the status of the music to one of equality with the words, which formerly had been regarded as pre-eminent. The florid, coloratura monody of the early Baroque gave way to a simpler, more polished melodic style. These melodies were built from short, cadentially delimited ideas often based on stylized dance patterns drawn from the sarabande or the courante. The harmonies, too, might be simpler[clarification needed] than in the early Baroque monody, and the accompanying bass lines were more integrated with the melody, producing a contrapuntal equivalence of the parts that later led to the device of an initial bass anticipation of the aria melody. This harmonic simplification also led to a new formal device of the differentiation of recitative (a more spoken part of opera) and aria (a part of opera that used sung melodies). The most important innovators of this style were the Romans Luigi Rossi and Giacomo Carissimi, who were primarily composers of cantatas and oratorios, respectively, and the Venetian Francesco Cavalli, who was principally an opera composer. Later important practitioners of this style include Antonio Cesti, Giovanni Legrenzi, and Alessandro Stradella.[18]

The middle Baroque had absolutely no bearing on the theoretical work of Johann Fux, who systematized the strict counterpoint characteristic of earlier ages in his Gradus ad Parnassum (1725).[19][clarification needed]

One pre-eminent example of a court style composer is Jean-Baptiste Lully. He purchased patents from the monarchy to be the sole composer of operas for the French king and to prevent others from having operas staged. He completed 15 lyric tragedies and left unfinished Achille et Polyxène.[20] Lully was an early example of a conductor; he would beat the time with a large staff to keep his ensembles together.

Musically, he did not establish the string-dominated norm for orchestras, which was inherited from the Italian opera, and the characteristically French five-part disposition (violins, violas—in hautes-contre, tailles and quintes sizes—and bass violins) had been used in the ballet from the time of Louis XIII. He did, however, introduce this ensemble to the lyric theatre, with the upper parts often doubled by recorders, flutes, and oboes, and the bass by bassoons. Trumpets and kettledrums were frequently added for heroic scenes.[20]

Arcangelo Corelli is remembered as influential for his achievements on the other side of musical technique—as a violinist who organized violin technique and pedagogy—and in purely instrumental music, particularly his advocacy and development of the concerto grosso.[21] Whereas Lully was ensconced at court, Corelli was one of the first composers to publish widely and have his music performed all over Europe. As with Lully's stylization and organization of the opera, the concerto grosso is built on strong contrasts—sections alternate between those played by the full orchestra, and those played by a smaller group. Dynamics were "terraced", that is with a sharp transition from loud to soft and back again. Fast sections and slow sections were juxtaposed against each other. Numbered among his students is Antonio Vivaldi, who later composed hundreds of works based on the principles in Corelli's trio sonatas and concerti.[21]

In contrast to these composers, Dieterich Buxtehude was not a creature of court but instead was church musician, holding the posts of organist and Werkmeister at the Marienkirche at Lübeck. His duties as Werkmeister involved acting as the secretary, treasurer, and business manager of the church, while his position as organist included playing for all the main services, sometimes in collaboration with other instrumentalists or vocalists, who were also paid by the church. Entirely outside of his official church duties, he organised and directed a concert series known as the Abendmusiken, which included performances of sacred dramatic works regarded by his contemporaries as the equivalent of operas.[22]

Late baroque music (1680–1730)

The work of George Frideric Handel, Johann Sebastian Bach and their contemporaries, including Domenico Scarlatti, Antonio Vivaldi, Jean-Philippe Rameau, Georg Philipp Telemann, and others advanced the Baroque era to its climax.[23] Through the work of Johann Fux, the Renaissance style of polyphony was made the basis for the study of composition for future musical eras. The composers of the late baroque had established their feats of composition long before the works of Johann Fux.[19]

A continuous worker, Handel borrowed from other composers and often "recycled" his own material. He was also known for reworking pieces such as the famous Messiah, which premiered in 1742, for available singers and musicians.[24]

Timeline of composers

Baroque instruments including hurdy gurdy, harpsichord, bass viol, lute, violin, and guitar

Styles and forms

Dance suite

A large instrumental ensemble's performance in the lavish Teatro Argentina is depicted. (Panini, 1747, Musée du Louvre)

A characteristic Baroque form was the dance suite. Some dance suites by Bach are called partitas, although this term is also used for other collections of pieces. While the pieces in a dance suite were inspired by actual dance music, dance suites were designed for listening, not for accompanying dancers. Composers used a variety of different dance movements in their dance suites. A dance suite often consists of the following movements:

  • Overture – The Baroque suite often began with a French overture ("Ouverture" in French), a slow movement which was followed by a succession of dances of different types, principally the following four:
  • Allemande – Often the first dance of an instrumental suite, the allemande was a very popular dance that had its origins in the German Renaissance era. The allemande was played at a moderate tempo and could start on any beat of the bar.[25][26]
  • Courante – The second dance is the courante, a lively, French dance in triple meter. The Italian version is called the corrente.[25][26]
  • Sarabande – The sarabande, a Spanish dance, is the third of the four basic dances, and is one of the slowest of the baroque dances. It is also in triple meter and can start on any beat of the bar, although there is an emphasis on the second beat, creating the characteristic 'halting', or iambic rhythm of the sarabande.[25][26]
  • Gigue – The gigue is an upbeat and lively baroque dance in compound meter, typically the concluding movement of an instrumental suite, and the fourth of its basic dance types. The gigue can start on any beat of the bar and is easily recognized by its rhythmic feel. The gigue originated in the British Isles. Its counterpart in folk music is the jig.[25][26]

These four dance types (allemande, courante, sarabande, and gigue) make up the majority of 17th-century suites; later suites interpolate one or more additional dances between the sarabande and gigue:

  • Gavotte – The gavotte can be identified by a variety of features; it is in 4
    time and always starts on the third beat of the bar, although this may sound like the first beat in some cases, as the first and third beats are the strong beats in quadruple time. The gavotte is played at a moderate tempo, although in some cases it may be played faster.[25]
  • Bourrée – The bourrée is similar to the gavotte as it is in 2
    time, although it starts on the second half of the last beat of the bar, creating a different feel to the dance. The bourrée is commonly played at a moderate tempo, although for some composers, such as Handel, it can be taken at a much faster tempo.[25][2]
  • Minuet – The minuet is perhaps the best-known of the baroque dances in triple meter. It can start on any beat of the bar. In some suites there may be a Minuet I and II, played in succession, with the Minuet I repeated.[25]
  • Passepied – The passepied is a fast dance in binary form and triple meter that originated as a court dance in Brittany.[27] Examples can be found in later suites such as those of Bach and Handel.[25]
  • Rigaudon – The rigaudon is a lively French dance in duple meter, similar to the bourrée, but rhythmically simpler. It originated as a family of closely related southern-French folk dances, traditionally associated with the provinces of Vavarais, Languedoc, Dauphiné, and Provence.[25][28]

Other features

  • Prelude – a suite might be started by a prelude, a slow piece written in an improvisatory style. Some Baroque preludes were not fully written out; instead, a sequence of chords were indicated, with the expectation that the instrumentalist would be able to improvise a melodic part using the indicated harmonic framework. The prelude was not based on a type of dance.
  • Entrée – Sometimes an entrée is composed as part of a suite; but there it is purely instrumental music and no dance is performed. It is an introduction, a march-like piece played during the entrance of a dancing group, or played before a ballet. Usually in 4
    time. It is related to the Italian 'intrada'.
  • Basso continuo – a kind of continuous accompaniment notated with a new music notation system, figured bass, usually for one or more sustaining bass instruments (e.g., cello) and one or more chord-playing instruments (e.g., keyboard instruments such as harpsichord, pipe organ or lute)
  • The concerto (a solo piece with orchestral accompaniment) and concerto grosso
  • Monody – an outgrowth of song[29]
  • Homophony – music with one melodic voice and rhythmically similar (and subordinate) chordal accompaniment (this and monody are contrasted with the typical Renaissance texture, polyphony)[30]
  • Dramatic musical forms like opera, dramma per musica[29][31]
  • Combined instrumental-vocal forms, such as the oratorio and cantata,[31] both of which used singers and orchestra
  • New instrumental techniques, like tremolo and pizzicato[31]
  • The da capo aria "enjoyed sureness".[29]
  • The ritornello aria – repeated short instrumental interruptions of vocal passages.[32]
  • The concertato style – contrast in sound between groups of instruments.[33]
  • Extensive ornamentation,[34] which was typically improvised by singers and instrumentalists (e.g., trills, mordents, etc.)

Further reading

  • Christensen, Thomas Street, and Peter Dejans. Towards Tonality Aspects of Baroque Music Theory. Leuven: Leuven University Press, 2007. ISBN 978-90-5867-587-3
  • Cyr, Mary. Essays on the Performance of Baroque Music Opera and Chamber Music in France and England. Variorum collected studies series, 899. Aldershot, Hants, England: Ashgate, 2008. ISBN 978-0-7546-5926-6
  • Foreman, Edward. A Bel Canto Method, or, How to Sing Italian Baroque Music Correctly Based on the Primary Sources. Twentieth century masterworks on singing, v. 12. Minneapolis, Minn: Pro Musica Press, 2006. ISBN 978-1-887117-18-0
  • Hebson, Audrey (2012). "Dance and Its Importance in Bach's Suites for Solo Cello", Musical Offerings: Vol. 1: No. 2, Article 2. Available at
  • Hoffer, Brandi (2012). "Sacred German Music in the Thirty Years' War", Musical Offerings: Vol. 3: No. 1, Article 1. Available at
  • Schubert, Peter, and Christoph Neidhöfer. Baroque Counterpoint. Upper Saddle River, NJ: Pearson Prentice Hall, 2006. ISBN 978-0-13-183442-2
  • Schulenberg, David. Music of the Baroque. New York: Oxford UP, 2001. ISBN 978-0-19-512232-9
  • Stauffer, George B. The World of Baroque Music New Perspectives. Bloomington: Indiana University Press, 2006. ISBN 978-0-253-34798-5
  • Strunk, Oliver. Source Readings in Music History. From Classical Antiquity to the Romantic Era. London: Faber & Faber, 1952.

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How Effective Is Gemcitabine for Pancreatic Cancer?

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Gemcitabine can be administered either through an IV infusion or by injection. Patients are typically given the injection at an oncologist’s office or a cancer treatment center. When physicians prescribe gemcitabine for pancreatic cancer, patients are instructed to receive the injections or infusions once a week for several consecutive weeks. Treatment is often followed by an MRI or other diagnostic test to determine the drug's impact on disease progression.

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Why is It so Hard to Find a Vaccine for AIDS?

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When Acquired Immune Deficiency Syndrome (AIDS) first burst onto the public consciousness in the 1980s, many public health officials were optimistic that a vaccine for the disease would be developed by the 1990s. As the 1990s wore on with no sign of an AIDS vaccine or cure, some members of the public lost faith in the public health establishment. With numerous vaccines on the market for other diseases, the lack of a vaccine for AIDS was questioned. The reasons behind the difficulty in developing an AIDS vaccine are extremely complex, and some scientists are concerned that a vaccine may never actually be developed.

A traditional vaccine is designed to prevent disease, but not necessarily infection. The polio vaccine, for example, introduces antibodies into the human body to help it fight polio when it is exposed to the disease. Someone who has been vaccinated for polio can still be infected with polio, but the infection will not enter the nervous system and lead to polio disease. An AIDS vaccine, however, must prevent infection, because the body cannot be taught to fight the virus naturally. Since AIDS works from within the immune system, the body is unable to recognize and fight it.

Developing a vaccine which prevents infection is extremely difficult. Most experiments with a vaccine for AIDS have shown that a vaccination may be able to help stave off the progression into full-blown AIDS, but that preventing infection may prove to be a challenge. Partly this is due to the way in which AIDS works. However, it is also due to the nature of the virus itself. AIDS, unlike many other viruses which humans vaccinate against, is extremely diverse and versatile.

AIDS originally evolved in monkeys, and like other diseases of non-human origin, it mutates extremely rapidly to adjust to the differences of the human body. These rapid mutations mean that the virus changes dramatically, and that AIDS five years after the development of a theoretical vaccine will be radically different, potentially making the vaccine useless. AIDS is also broken up into several groups, or clades. Each clade contains different genetic information, and while each one has a geographic center, an effective AIDS vaccine would need to prevent infection from all clades of AIDS, because of the global nature of human interactions.

Research to develop an AIDS vaccine continues, while scientists also work on drugs which may help to treat the condition. However, many public health advocates have shifted their focus to prevention education, rather than wait for an AIDS vaccine.

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Post 5

I don't know why scientists don't try other methods to cure aids. Why is it always vaccines they think of? I guess if they guide their searches into other ways typically (killing the virus with temperature, diet, etc.) there must another way. I wish I could do something but I am not a scientist. Please find a cure for AIDS.

Post 3

Reverse Transcriptase makes an error every 1 in 5 nucleotides therefore leading to mutations of the virus. These mutations result in variations of the virus. Therefore, no protein will be exactly the same.

Post 2

the protein is our own protein, which would result in destroying most cells.

Post 1

why don't they try to aim at the protein of the virus that stays constant not the protein that keeps mutating?

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Remembering That Morning

I let myself get sucked into a Lifetime movie tonight. I knew when I started watching it probably wasn’t the best idea, yet I watched it anyway. It was the typical Lifetime movie, complete with marginal acting, cheesy music, and plenty of crying women and children. But there were a few scenes that hit a little too close to home and got my mind wandering. And these days, this month, a wandering mind doesn’t end so well.

As I watched the woman on the screen get that awful knock on the door, I could feel the punch in my own gut. I’ll never forget the way it felt that morning. I’ve tried to block so much of it out, even going to the lengths of having my brother-in-law disable the doorbell in my new home because it triggers me. But tonight I feel like I need to revisit it.

For the most part, it was a normal average morning. My son woke up at his normal time and we headed downstairs in our jammies to make some breakfast, as usual. I was extra tired that morning because I hadn’t slept well the night before. I had spoken to my husband around 8 or 9 in the evening, before he left out on his mission, and then played around on the internet trying to get sleepy. A storm had been brewing and was making me a bit nervous, as we’d had some bad storms in the weeks prior including one that brought a tornado a little too close to our neighborhood for my liking. I finally managed to get to bed, only to be awoken by the storm.

The wind was crazy as it always was in our location at the top of hill leading down to the Plains. The rain was beating on the windows and I could hear our flag, which I had forgotten to take down prior to the storm, beating against the stone column and the gutters outside. It was very repetitive, very loud, and very annoying. I tried to ignore it, tried to go back to sleep, but it was persistent. Looking back, I have to wonder what exactly that was…the timing correlated to the timing of what was going down, unbeknownst to me, with my husband…

Anyway, around 3 or 4 in the morning I finally dragged myself out of bed and angrily went downstairs, outside in the rain, and took down the flag. That moment continues to haunt me…I took down the flag. The flag…

Needless to say, after all that I didn’t get any quality sleep and was pretty groggy while making my little man’s breakfast. I was expecting to hear from my husband sometime that morning; when we had last spoke he was assuming he’d be back fairly routinely and had given me a time frame when he would most likely be able to call me. I was carrying my cell phone around so I wouldn’t miss his call; I always hated to miss any call.

After breakfast, I got my son dressed for the day and set him up with some toys to play with. I stayed in my jammies because I had some cleaning I wanted to get out of the way that morning. I had a wooden safety gate I needed to install at the bottom of the stairs, and some other deep cleaning I wanted to get done. My little man all set up on his blanket with some toys nearby so I could multi-task playing and cleaning, I put Friends in the DVD player for some background noise and got to work.

I think it was around 8:30 or so when the doorbell rang. I can’t even explain the initial reaction to that doorbell. It’s like I knew immediately… no one would be coming to my house unannounced so early on a Saturday morning. My brain blocked out the initial gut reaction and rationalized with myself. It must be my neighbor, she likes to stop by sometimes and see us, or bring us food, or just chat. Yeah, it’s her. Has to be. Yet, I stalled before I headed to the door.

Our door had a glass insert that I kept covered by a curtain at night and pulled open during the day to let the sunlight in. I hadn’t yet opened it that morning, so I couldn’t see who it was until I reached the door. Crossing my arms over my chest because I didn’t have a bra on, I peeked around the curtain and my world stopped. Blue uniforms. Somber faces. This can’t be real. I’m dreaming. No way. Uh uh. No.

This is where things get blurry. I know I shook my head. I dropped the curtain back and ignored the door. If I didn’t open it, it wasn’t so. No. I just wasn’t going to do it. I walked over to my son, still happily playing and squealing over his jungle toy his Daddy bought and sent through the mail for his half-birthday, and picked him up. I held him close and breathed in his scent. Deeply. Held it. And sat in that moment for as long as I could.

I knew when I moved, my life would change forever.

Somehow, I became aware of my hands shaking. My legs trembling. My head buzzing and an increasingly loud roaring in my ears. I don’t know how long I stood there before I made my legs, heavy as stone, move toward the door. It felt like a year, it felt like a second. But with shaking hands, trembling so hard I fumbled against the locks and had to try twice to turn the knob, I opened the door. At first, just a crack. And then all the way.

As I looked the General in the eye, I knew. Yet it felt so surreal, like I was watching myself in a movie that just had to be ending soon. It’s an out-of-body experience that is next to impossible to describe to someone who has not been through it.

Without speaking I stepped back, as if warding off their incoming words. There were three of them; the General, the Commander, and the Chaplain. They all held the same somber, saddened, and sympathetic expression, but my eyes were drawn to my husband’s Commander, M. I’d never met him before that day, and had no idea that he and his wife would become such important people in my life.

They spoke; one of them said my name, someone asked if they could come in, and someone began to recite the words every military spouse hopes they never hear. “Ma’am, it is with deep regret…”

My legs buckled underneath me and I remember hearing someone saying “No. No, no, no… no.” When I caught the M’s eye, I realized that it was me. I felt weak and I remember hearing myself say, “Someone has to take him…my son, I’m going to drop him…” M took my innocent little boy for me and held onto him gently as tears formed in his eyes. The Chaplain began to usher me toward the couch as the General gestured for me to take a seat. As I was walking, or floating, or whatever it was, toward my dreaded seat, I remember saying, “He’s just hurt, right? Please just tell me he’s hurt, just hurt that’s all, right?” Pleadingly, firmly, increasingly demanding…as if trying to convince him that was what he was going to tell me.

We took our seats, the General on the love seat to my left, the Chaplain on the couch next to me on my right, and M standing in front of me to the right holding my son. Friends was still on the TV directly in front of me. I remember laughing at some point at the complete absurdity of hearing the “I’ll be there for youuuu” theme song while getting the worst news of my life. Morbidly, awfully, funny. And then it all began. “Ma’am, I regret to inform you…”

I just zoned out from there, watching the man reading the script he was required to read from his little paper…then handing me the official letter that I held in shaking hands as if it were on fire. I only remember bits and pieces of the moments going forward: people coming in and out of the front door, my son sticking his fingers up M’s nose, the Chaplain asking me if I wanted a tissue (at which I was perplexed because I wasn’t crying, I wasn’t anything). I remember at one point catching M’s eye and he looked at me, intensely as if to get past my fog and actually reach me in there somewhere, and said, “It doesn’t feel real, does it?” I also distinctly remember keeping my arms very tightly crossed over my chest because I was acutely aware of the fact that I didn’t have a bra on and I was still in my jammies. At one point, out of nowhere, I remember apologizing for the mess in the house and my appearance, to which M, who must have realized exactly what I meant, reassured me quietly that no one noticed anything and it was alright.

It was all such a blur, and so much of it still is. With tears streaming down my face, I am surprised that I am even remembering this much of that morning. But I am glad I am. Nearly a year later, it is time to face the things I have been avoiding and hiding from for so long. And it is starting now, with this moment. That moment. THE moment.

Damn you Lifetime Movie Network. But thank you. I’ll still watch your cheesy movies, but next time I’ll start my bottle of wine *before* the movie, not after.

Any comment would trite.

I’m sorry for your loss and your pain.

I’ve been following your blog since Heather linked to it on LJ, but I’ve been thinking about you a lot throughout the year.

Sending warm thoughts and prayers your way,

Bill Buby

I’m Kelly Buby Hardy’s father, I know everyone in Bradford County was shaken by your husband’s death. Thank you for sharing this your thoughts and feelings. And please realize there are people praying for you and your son.
May God Bless and Keep YoU
Bill Buby

Oh I cried all over again reading this, Erin. Every military-wifes worst nightmare. I remember the day, when we were chatting and you said you had to go because he was calling. You were SO excited. I am so sorry that call didn’t come that morning.

Angie Champ

Erin, this made me cry; I’m so sorry for you and H and how this year has been for you. I remember FBing regarding the countdown to Bryan’s return. I don’t even stop at Lifetime anymore, those movies suck me in too.

Gina Murphy

This brought tears to my eyes. Thank you for sharing. I’m so sorry that you have had to be the one to endour what all us Military Wives fear the most. You and your little one continue to be in my thoughts and prayers.

I found your blog via Circle of Moms. Very powerful. I am so sorry for your loss. I am also a widow – not a war widow – and having been rainsing my children on my own for ten years now. I hope this space provides an outlet for you to work through your pain.

Blessings to you and your little man.

monica chaney

Wow Erin,
I just found this blog today. I am glad to have read it today vs before we spoke last month. I cant even imagine. i remember mom filling me in on this and i remember how in shock I was. Im just the cousin. You are amazing.You are such a strong woman Erin. I am so sorry this happened and i wish it could be different. As we come to two years now, it doesnt get easier. I dont forget. I still have the same regrets I told you about. all i know is that I am so happy to have You and Harrison in my life. i wish you strength this weekend and always. Love you!!

Thank you for sharing this. I’m sorry for the loss of your husband, I can’t imagine what these last two years have been like for you. I’m encouraged by you and I know its because of awful circumstances but thank you for putting yourself out here and reaching out.
I am a navy wife and today was in tears because of thoughts of missing family and struggling to make good friends and finding my place in this military world but after hearing from you, well it reminded me to treasure my husband, my son, this home we’re in, and the few friends I do have because in a split second it could all change.
Thinking and praying for your family.

[…] changes that caused. Then there were little things, like my insomnia and the flag that I mentioned in this post and our phone call that I talked about in this post, that could be seen in hindsight as […]

[…] the very beginning, within a few short dazed and numb hours, I was required to start making decisions. These were huge choices, decisions no 25 year old should […]

Hello. It’s 3:49a.m. – I can’t sleep and stumbled upon your blog. I’ve entered my 3rd day as a widow. I’m 36 and we have three young children ages 12, 10 and 8. My 8 year old found my husband in the chair in our living room. I wanted to wait to use the widow word until later but others around me are using it. We would have celebrated our 14th anniversary on 1-1. Nothing to say except thank you for writing.

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Players of Year Awarded in Boys Swim, Wrestling and Gymnastics Submitted: 03/14/2014
THE NORTHWOODS - Many high school athletes helped their teams to state during the winter sports season. But some had standout performances that deserve to be recognized. It's time to begin announcing our Newswatch 12 Players of the Year. In boys swimming, Lakeland star Nick Garcia finished with another impressive year in the pool. Garcia had a huge night at state, taking home three medals and four top eight finishes. Nick took 4th place in both the 100 and 200 freestyle and 6th as part of the 200 freestyle relay team. Garcia's only a junior and already looking forward to challenging himself more next year. For wrestling it's hard enough to win one title, much less repeat. But that's exactly what Merrill's Tyler Schmidt did. Tyler defended his title in D1 220 at the state tournament in Madison. Schmidt won the championship match by major decision 11-2 over La`Ryan Johnson of Kenosha Bradford. Tyler finished his career as a Blue Jay with 70 wins and 5 losses. And in the high flying world of gymnastics Antigo's Lindsay Berndt was the top Northwoods finisher at state. Lindsay took 13th in the All Around Competition and she finished 17th in both vault and floor. Berndt also competed in the team event for Antigo where the Red Robins had a 9th place finish. All of our winners will receive a plaque courtesy of R&D Trophies of Tomahawk. Congrats!

Story By: Marisa Silvas

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Hotel Sari Konak, Istanbul - Wontra Travels

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Worldwide Tapestries ::  Medieval wall hangings ::  The Accountant

The Accountant

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The Accountant
The Accountant medieval tapestry shows a work based on the Liberal Arts set of tapestries, woven in the Flanders in the 16th century. Here in the work called the Accountant or Arithmetic, we see scholars looking at books in the royal household learning arithmetic, in their full garments and regalia. This work shows a more scholarly aspect of life in the medieval period. This Accountant medieval tapestry is backed with a lining and a tunnel for easy hanging. Note: tapestry rods and tassels, where pictured, are not included in the price.

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Flood watch

The National Weather Service has issued a flood watch for an area including Marshall and DeKalb counties. It will be in effect from 7 AM tomorrow through 7 AM Sunday. Rainfall amounts of two to four inches are expected over the next two days. Locations along rivers and creeks that are currently running higher than normal from recent heavy rainfall will likely be the first to experience flooding issues. Already saturated ground means that much of the rain that falls this weekend will become runoff.


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 Sports Notebook Archives - Page 4 of 22 - Wrangler News
New AIA regions may confuse season

High school football is just around the corner with both Marcos de Niza and Corona del Sol high schools scheduled to play in less than a month.

Corona wrestlers hone their skills

Wrestlers, like most high school athletes, use their summer vacation from school to sharpen their skills against the best competition they can find to further their specific athletic development in preparation for the high school season.

Despite final-round loss, Corona ends volleyball season with impressive record

The Aztecs ended the season ranked No. 10 in the state after making it into the DI state volleyball championship tournament as the No. 6 seed on May 7. Corona eventually lost to the Mesa Jackrabbits in the first round 3-1 but finished the season 22-11-1 and 6-1.

McClintock grad, former MLS pro, takes his passion to new heights coaching kids

Andrew Weber is adjusting to the cards he’s been dealt. In that process, he’s developed a negative into a huge positive.

Corona grad advances to All-American status after graduation from Notre Dame

Alex Lawson, a 2012 Corona graduate and two-time Arizona state Division I tennis champion in both single and doubles, has been selected as an All-American for his performances this season playing for the University of Notre Dame by the Intercollegiate Tennis Association on June 4.

Coach Kelly: Aztec track team brings out group of ‘special’ kids

Corona’s track team had the most state qualifiers in the school’s history at the AIA Division I State Championships held May 4 and 7 at Mesa Community College, at which the girls team finished fifth and the boys team sixth out of 38 DI teams.

Corona’s Nero calls Nenaber a great choice to succeed him in A.D. job

Cory Nenaber will most likely be Corona’s new athletic director, awaiting approval by the Tempe Union High School District governing board, after long-time athletic director Dan Nero announced his retirement to be effective at the end of the school year.

Jaguars romp vs Akimel

The Aprende Jaguar Girls basketball completed their second straight undefeated championship season, beating the Akimel Rattlers 43-28 in the Kyrene League Championship game at Corona del Sol High School.

Sports: Impressive outcomes for area athletes

Last week was important for the Tempe-area high schools which competed against each other in the Tempe City Meet held at Desert Vista High School.

Mom-turned-teacher-turned-coach leads Seton to 8th state title

Karen Self wears many hats on any given day.


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Final 10/6 WWE RAW Rating, Two Guest Hosts Announced for Next Week’s RAW

Mike Killam

raw10/6 WWE RAW Rating

As we previously noted, this week’s WWE RAW viewership was down over 6%, drawing the third lowest score of 2014. The final RAW rating was 2.63, down a full 7% from last week’s 2.83.

Guest Stars Announced for RAW

WWE has announced that Todd Chrisley of the USA Network show “Chrisley Knows Best” will be appearing on next week’s Monday Night RAW. Chrisley will be promoting season two of his show, which airs the following night.

NeNe Leakes from “Real Housewives of Atlanta” will also be a guest star.

As we reported earlier, Oakland A’s outfielder Josh Reddick also teased on Twitter that he might be at the show.

KILLAM: NO. I know we’re supposed to keep our posts as unbiased as possible, but NO. Dear god, NO. There have been some awful guest hosts, and certainly some “celebrities” most wrestling fans don’t care about, but this has crossed some kind of unspoken line. I fully expect Atlanta to boo the heck out of both these guests, and they absolutely should.

Have a news tip? Attended an event and want to send a live report? Submit it now!
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// online guide to music in wrexham

JKLMNO reach last 30 of Spanish festival competition

by Ben Davis on 16 June, 2008 | 1 comment

JKLMNO have been shortlisted from thousands of entries to the last 30 in a competition to play the FIB Festival in Spain. This year artists such as Morrissey, Sigur Ros, Leonard Cohen, Gnarls Barkley, The Racounters and Mika are performing.

To get the band into the final 5, who then get to play infront of a panel of judges in London, you need to vote for their song ‘The War Song’ by clicking this link.

By voting you can also win tickets to the festival and there will be tickets to the London gig up if they get through.

Posted by:

Ben Davis

Email: ben@wrexhammusic.co.uk

Ben is the founder and main writer for wrexhammusic.co.uk.

1 Comment

  1. Thanks to everyone who voted guys we’re in the final 5. So we’re playing London Pigalle Club July 1st, and the night gets judged as to who’s making the trip to spain.

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You are here: Home | Links and Web Resources

Links and Web Resources

We have a growing database of resources and links that you may find useful. Select a category from the list below.

Wandsworth Safeguarding Children and Young People are not responsible for the content of external internet sites.

Adoption and fostering

Child abduction

Child abuse

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General advice for parents

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Neuropharmacology. June 1, 2006; 50 (7): 845-57.

Subunit selectivity of topiramate modulation of heteromeric GABA(A) receptors.

Simeone TA , Wilcox KS , White HS .

Topiramate (TPM) is an anticonvulsant of novel chemical structure whose mechanism of action remains elusive. Reports of TPM modulation of ligand- and voltage-gated ion channel functions are variable and often inconsistent. In fact, TPM has been found to produce enhancement, inhibition, and no effect on GABA-currents of cultured neurons and GABA(A) receptors expressed in Xenopus laevis oocytes. To identify possible causes for the variable effects of TPM on GABA(A) receptors, multiple combinations of recombinant GABA(A) receptor subunits were expressed in Xenopus oocytes. TPM modulation of GABA-currents was sensitive to GABA concentrations and the beta subunit isoform co-expressed in heteromeric GABA(A) receptors. TPM potentiated and directly activated heteromeric receptors containing either beta(2) or beta(3) subunit. TPM''s direct activation was most effective on receptors comprised of alpha(4)beta(3)gamma(2S) subunits and activated approximately 74% of the peak GABA-current. TPM modulation of beta(1)-containing heteromeric receptors depended on the co-expressed alpha subunit isoform (i.e., either TPM enhancement or inhibition). Depolarized potentials decreased TPM enhancement and increased TPM inhibition depending on the beta subunit present. These results suggest that the effects of TPM on GABA(A) receptor function will depend on the expression of specific subunits that can be regionally and temporally distributed, and altered by neurological disorders.

PubMed ID: 16490221
Article link: Neuropharmacology.

My Xenbase: [ Log-in / Register ]
version: [4.6.0]

Major funding for Xenbase is provided by the National Institute of Child Health and Human Development, grant P41 HD064556


text:
AR# 54438

LogiCORE IP AXI Timer - Release Notes and Known Issues for Vivado 2013.4 and older tool versions

This answer record contains the Release Notes and Known Issues for the AXI Timer and includes the following:

  • General Information
  • Known and Resolved Issues
  • Revision History

This Release Notes and Known Issues Answer Record is for the core generated in Vivado 2013.4 and older tool versions
Please reference XTP025 - IP Release Notes Guide for past known issue logs and ISE support information.

LogiCORE AXI Timer IP Page:

General Information

Supported devices can be found in the following three locations:

For a list of new features and added device support for all versions, see the Change Log file available with the core in Vivado.

Version Table

This table correlates the core version to the first Vivado design tools release version in which it was included.

Core Version Vivado Tools Version
2.0 2013.4
2.0 2013.1
1.03.a 2012.4

General Guidance

The table below provides answer records for general guidance when using the LogiCORE AXI Timer.

Answer Record Title
(Xilinx Answer 55248) Vivado Timing and IP Constraints
(Xilinx Answer 50572) Zynq-7000 Example Design - Interrupt handling of PL generated interrupt

Known and Resolved Issues

The following table provides known issues for the AXI Timer, starting with v2.0, initially released in the Vivado 2013.1 tool.

Note: The "Version Found" column lists the version the problem was first discovered. The problem might also exist in earlier versions, but no specific testing has been performed to verify earlier versions.

Answer Record Title Version Found Version Resolved

Revision History
04/03/2013 - Initial release
12/18/2013 - Updated for 2013.4

AR# 54438
Date 11/11/2014
Status Active
Type Release Notes
  • Vivado Design Suite - 2013.4
  • AXI Timer/Counter
Page Bookmarked


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Introduction to Interface Extensions and Extension Points

User Interface Extensions (abbreviated as UIX) are used in order to provide a way to alter the content of existing interface elements. This functionality was added in version 4.2 and is documented in the UI Extension Module.

The main use case Interface Extensions try to fix is the need for applications (like Blog, Watchlist, etc.) to insert custom content in already existing interface components (like panels, menus, layout, etc.).

Let's take an example: We developed an application called 'Hello World' and we want to provide a link to it inside the 'Applications' panel.
There are two questions that need to be answered:

  • where we insert? - this is the Extension Point (UIXP)
  • what we insert? - this is the UI Extension (UIX)

About Extension Points

Extensions Points (UIXP) specify where the new content is about to be inserted. Is like a hoof defined in the interface where Interface Extensions are gathered.
For our example, we need to know the extension point ID for the 'Applications' panel. That is 'org.xwiki.platform.panels.Applications'.

There is a list of available extension points where we can add functionality, but we can also manually define new extension points.

About Interface Extensions

All the UIXs provided for a given Extension Point are displayed in that location.
For our example, if we want to add a new link in the 'Applications' panel, we need to create a new UIX that uses the 'org.xwiki.platform.panels.Applications' extension point. UIXs are stored as standard XObjects, instances of XWiki.UIExtensionClass. For our UIX we will need to provide the label, target and icon parameters, in order to be properly displayed in the panel.

Read the documentation on how to add an UIX inside the 'Applications' panel.

Adding your own Extension Point

Your UIExtension can define its own extension points, where other extensions can plug in. Here is an example of velocity code to include in your extension in order to make it an entry point for others:

  • Without parameters:
    #foreach ($extension in $services.uix.getExtensions("my.new.extension.point"))
      $services.rendering.render($extension.execute(), 'xhtml/1.0')
  • Display the parameters:
    #set ($extensions = $services.uix.getExtensions('my.new.extension.point', {'sortById' : ''}))
    #foreach ($extension in $extensions)
  • Test the parameter for a particular value:
    #foreach ($extension in $services.uix.getExtensions("my.new.extension.point"))
     #if ($extension.getParameters().get('parameter_name') == 'expected_value')

     {{html clean=false}}$services.rendering.render($extension.execute(), 'xhtml/1.0'){{/html}}

Disabling some Extension Points

Until we fix XWIKI-13076, there is no 'clean' way to disable an UIX.

In order to disable a page having an XWiki.UIExtensionClass object you can delete the page, delete the object, or use an invalid extension point ID.

For example, if you would want to remove "User Index" from the Drawer, you should:

  • Identify the extension point used by the Drawer. In our case this is org.xwiki.plaftorm.drawer.
  • Identify all the pages that use this extension point. For this, you can use Search to filter for documents that have Object Type = UI Extension. Make sure you have the "Display Hidden Pages" preference set to true, from the User Profile.
  • You will get a list of such pages, like Applications.WebHome, XWiki.UserIndexUIX, XWiki.DocumentIndexUIX, etc.
  • Go to the XWiki.UserIndexUIX page and from the Object Editor change the “Extension Point ID" value from org.xwiki.plaftorm.drawer ID to something else.
  • Save the page and the Drawer entry should disappear.

In case you want to have conditional display for some entries, like showing "User Index" just for registered users, the ID needs to remain the valid one, but Velocity can be used to write conditions in the Extension Content property.

Created by Vincent Massol on 2017/09/05

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Witchery - neues Album & Line-up

witchery 2016xxlAm 25. November werden die Thrasher Witchery ihr neues Album “In His Infernal Majesty’s Service” via Century Media Records veröffentlichen. Parallel dazu kündigt Chefdenker Jensen auch ein neues Line-up an.

“We've sadly had to part ways with two members prior to this album; long time band member Martin Axenrot and live member (and recording member-to-be) Emperor Magus Caligula. Martin's departure is purely down to him being too busy with his other musical endeavors and Caligula had to leave the band over an unfortunate medical condition involving his hearing. These are both serious losses for the band and we wish them all the best in the future. We have however been able to find more than able replacements for our two lost brethren: Chris Barkensjö on the drums and Angus Norder on vocals. They both bring fresh blood and fresh ideas to the band and you can clearly hear that they both have made it necessary for us "old members" to step up our game a notch or two!”

“Musically, I wanted to make this album more raw than the previous ones. Perhaps as raw as the first album even. I really didn't want to over-work things, as I myself enjoy music that comes more from feeling and enthusiasm than music that has been contemplated and construed. This album is recorded by Daniel Bergstrand at his Dug Out Studio in Uppsala, Sweden. Even though Daniel has been a high profile name for ages within the Metal community, I've never had the opportunity to work with him before. I have to say that Daniel is really easy to work with. All around a great guy and he immediately understood what I was looking for production-wise when I spoke to him about the album. My main request was that I wanted a raw and unpolished production. I really dislike productions where you can hear that the band has had ages to complete just one song. Where there might be a month's worth of coffee breaks between the guitar takes etc. I wanted it to sound like a real band that is playing together. My second request was that I wanted the drums to sound like on Van Halen's "1984" album. I seriously love that aggressive middy drum sound. I think Daniel did an amazing job and I know that he rates this production very highly on his own personal list of albums he's worked on…”

Hier sein Kommentar zum Coverartwork:

"Long-time friend of the band - and designer of many things associated with WITCHERY - Andreas Diaz Pettersson was once again called upon to create the artwork for our new album. He has a great ability to create artwork that really stands out within the scene, without compromising on quality or with the essence of the band. We are very pleased with what he has created for us, and we think the artwork is a great addition to the overall massive quality and appeal we truly believe this album to have. Stoked!"

(Quelle: Century Media Records)

Das hörst Du Dir an:

Avulsed - Deathgeneration

Avulsed  Deathgenerationxxl

Cross Vault - Miles To Take

cross vault cover

Witchtrap - Trap The Witch

witchtrap trap the witch coverxxl

Mortualia - Wild, Wild Misery

Mortualia  Wild wild miseryxxl

Hæresiarchs of Dis - Tria Prima Diabolica

Hresiarchs of Dis  Tria prima diabolica

Vernent - Fuego Eterno

Vernent  Fuego eterno

Hagalaz - Northern Gods Descending

Hagalaz  Northern gods descending

Grausig - Di Belakang Garis Musuh

Grausig Final coverxxl

Kypck - Zero

kypck zero coverxxl

Siaskel - Haruwen Airen

SIASKEL Haruwen Airenxxl

Shards of a Lost World - Primum Ritual

Shards of a Lost World  Primum Ritual

Todessucht - Wertlos

Todessucht  Wertlosxxl

Sacrificio - Guerra Eterna

sacrificio coverxxl

Bloodspot - To The Marrow

Bloodspot   To the Marrow   xxl

Black Hole Generator - A Requiem For Terra

black hole

Ilemauzar - The Ascension

Gatecreeper - Sonoran Depravation

Hoath - Codex III: Crown Of The Mind

Hoath Codex III  xxl2

Witchery - In His Infernal Majesty’s Service

witchery 2016xxl

Slegest - Vidsyn

slegest vidsynxxl

Azooma - The Act Of Eye

Wir suchen Verstärkung!

xxl1 Kopie 5

Da gehst Du hin:

hell over hammaburg 2017

party.san 2017 autopsyxxl

insomnium 2017xxl

 kreator tour

mayhem tour 2017xxl

dew scented tourxxl

this ending xxl2

aa tourxxl

downfall of gaia tour 2017

gojira tour 2017 neuxxl

Mantar tour 2017xxl

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text:
Guessing Game Deuce

We have only this on YD once before, right now we’re gonna go ahead and play the GUESSING GAME again, RIGHT NOW!

Just by looking at this Pre-Picture can you guess what the item is?
The explanation is in the Permalink, but be honest with yourself and tell me what exactly did you think this was?

That’s right! It’s a complete kit for the detection of glucose in the blood. I’m gonna go ahead and guess that you thought it was a music device, or maybe a robot control gun. In fact, it’s sole purpose is to normalize the life of a person with diabetes.

It’s inexpensive, works without tearing the skin in a noticeable manner, and it’s really nice and normal to look at. The coolest element that simplifies the process the most is the needle disk: each one contains 50 needles, the process run semi-automatically. No more 20 minute checks for you!

Designer: Giulio Sbarigia

Glucogrip by Giulio Sbarigia

  • Carl says:

    err is it useless, research free, mental masterbaton, a half baked idea, made all pretty by illegally downloaded software? (Where is Zippy?)

  • Cool design … I like the Interface

  • guy says:

    what rubbish, no one takes 20 mins to test blood suger now for starters all devics take about 5 secounds. the divice is just a slight redesgin of stuff which has been on the market for a long time. how about giving use a design of something which actually pushes the boundries?
    like a device which doesn’t use test strips at all as they cost the NHS in the UK more than the provision of insulin for diabetics!

    • makaveli says:

      then you have not understood anything! this object has been designed to further simplify the timing and gestures of glucose monitoring, incorporating more objects into one just to be essential and intuitive.
      Learn to read: no more 20 min but 5 sec!
      With regard the strips are also needed because there is a market by pharmaceutical companies will not escape even in the distant future and this is undeniable.

  • Mjx says:

    Damn. I guessed it was some sort alcohol-level detection device… in the smaller image, the 5.2 on the readout looked to me like the icon for a wine glass.

  • SomeGuy says:

    Blood sugar level meter.

  • A.C. says:

    Honestly I thought it was a location style device, as in, you are THIS far by THIS many degrees from the next shadylookingmaninasuit. Well, you did ask…

  • Klappstuhl says:

    I thought it was a stopwatch.

  • pea says:

    Blood Sugar or Blood Pressure meter…thought it was a phone at first (with the apple on it) but it’s not apple-ie designed.

  • umar says:

    It looks like stopwatch

  • Yeah, that is totally a tool for diabetics to check their blood sugar or insulin levels.

    The interface on the front is likely showing an apple to say “Dude! Eat some fruit before you go into shock!”

    The guy standing in the background is thinking to himself “Man, where can I find me a tech-savy diabetic to share my multi-million dollar salary?” Sadly, the device pictured above is so suave that the businessman probably won’t notice.

    Very slick.

Comments are closed.


text:
Standing on the Side of Peace

How one man’s journey changed everything I knew about the Middle East conflict.

In January 2008, a group of young men and women protested outside the Israeli Ministry of Justice, holding signs reading, “No to the killing of democracy!” and “Twelve citizens are dead … someone must be held responsible!” The protesters, who were calling for the just treatment of Palestinians, were Jewish Israelis.

I knew the young demonstrators from my years of work in Jerusalem. Our friend, Aseel Asleh, a peace activist, had been killed by the Israeli police eight years before, when he was 17 years old—along with 11 other unarmed Palestinian citizens of Israel. The attorney general had just closed the case, after a grossly inadequate internal police investigation left their deaths unresolved. My friends wanted answers.

Growing up as a Jewish American, I had been taught that Israelis and Palestinians constituted two separate, irreconcilable sides in the Middle East conflict. It was not until I went to Jerusalem that I learned that there is a decades-long tradition of Palestinians and Israelis working together to confront the occupation and challenge oppression through nonviolent protest.

Sami’s Story

I first learned about Palestinian-Israeli partnerships from Sami Al Jundi, a Palestinian from the Old City of Jerusalem. Sami’s story of resilience and transformation from a militant to a peace-builder inspired me from the start of our friendship.

Jen and Sami photo courtesy of Jen Marlowe

Sami Al Jundi with author Jen Marlowe outside the mosque of his mother’s destroyed village, Zakarriya.

Photo courtesy of Jen Marlowe.

I met Sami in June 2000, when I began working with a program he co-founded in Jerusalem for Israeli and Palestinian youth. He and I spent that summer and the next four years bringing young people together from all over the country to work on peace-building projects. In 2007, we began work on his memoir, The Hour of Sunlight: One Palestinian’s Journey from Prisoner to Peacemaker, recording in detail his earliest memories of living under occupation, his decade in Israeli prison, and his subsequent immersion in nonviolence and peacemaking.

Sami never thought about nonviolent activism until he went to prison. Growing up, he watched Israeli soldiers evict his family from their home, beat Palestinian teenagers during demonstrations, and kill one of his neighborhood heroes. He felt he had no choice but to become a fighter. When he was 18 years old, he and two friends built a bomb to be used against police. The bomb detonated prematurely, killing one friend and injuring Sami and the other. Sami was arrested, interrogated, tortured, and sentenced to 10 years in Israeli prison.

In prison, Sami read a collection of speeches by Martin Luther King Jr., writings from Black Panther leader Angela Davis, and the teachings of Gandhi. He studied armed conflict and its impact. He concluded that war was disastrous for all humanity.

The sides in this conflict are defined not by nationality, but by those who take a stand against injustice, oppression, racism, and violence—and those who perpetrate or tolerate it.

It was in prison, ironically, that Sami first met Israelis who supported Palestinians’ struggle for freedom. Mordechai Vanunu, an Israeli nuclear energy technician who leaked information to the press in 1986 about Israel’s nuclear weapons program, was in solitary confinement in the same prison. Sami and his fellow inmates shouted “Good morning, Vanunu!” each day as they passed his cell en route to the prison yard.

In 1987, Sami was transferred to a smaller prison. There, he befriended two members of an Israeli Marxist organization with ties to the Palestinian resistance movement. His new friends supported the Palestinian struggle to achieve statehood. Sami was tremendously excited by their political discourse. They were Israeli, he was Palestinian, yet they shared one basic ideal: They refused to live under occupation or to be occupiers. Sami began to consider the possibility that the struggle for Palestinian freedom might be undertaken with Israeli partnership.

A few years after Sami’s release in 1990, he ran into Hussam, an acquaintance who worked for the Palestinian Center for the Study of Nonviolence. Hussam invited him to the center, where he gave Sami a booklet by founder Mubarak Awad—a blueprint for direct nonviolent action. The booklet suggested concrete, nonviolent ways that Palestinians could block the occupation—such as stopping soldiers by linking their bodies together into a human chain or planting olive trees to mark Palestinian land as their own and stop its expropriation by Israeli soldiers. And, Awad wrote, whoever might accuse nonviolent adherents of cowardice should understand: Nonviolence does not protect one from the violence of an opponent. In fact, its effectiveness lies partially in revealing the oppressor’s unprovoked brutality. The book opened Sami’s mind: Here were ways that Palestinians could transform their reality without spilling blood. Sami returned to the Center the next day, and many more times in the days and weeks that followed.

Page 2

Sami's family photo courtesy of Jen Marlowe

Sami Al Jundi and his family in the old city of Jerusalem.

Photo courtesy of Jen Marlowe.

Sami’s affiliation with the center gave him the chance to see firsthand that it was possible for people to change their own beliefs and take action. He met Peter Weinberger, a Jewish American college student who came to volunteer at the center. As a teenager, Peter flirted with militant Zionism. After encountering a poem by the preeminent Palestinian poet Mahmoud Darwish, Peter decided to try to understand Palestinian reality for himself. Sami took Peter all over the West Bank and East Jerusalem. He showed him where Israeli settlements were expanding onto Palestinian land and pointed out new checkpoints, signaling heightened Israeli military intrusion into Palestinian communities. Sami watched Peter slowly grow into an advocate for Palestinian rights.

In December 1995, Sami attended a nonviolent action in Dheisheh refugee camp in Bethlehem. Under the Oslo Accords, Israeli troops had begun pulling out of Bethlehem. The residents of Dheisheh were tearing down the high metal fence that the military built years earlier, cordoning off the refugee camp from the main road. When Sami arrived at Dheisheh, he heard activists speaking an array of languages, including Hebrew. He was quietly thrilled to witness Israelis working with Palestinians to rip apart a barrier that represented Israeli control over Palestinians’ freedom of movement.

In 1996, Sami co-founded a Palestinian-Israeli dialogue group with Hussam and two French Israeli women. The group, composed of peace activists from Jerusalem, met weekly. There, he befriended an Israeli American named Yoel, and they often attended nonviolent demonstrations together against demolition of Palestinian homes or settlement expansion. Sami recognized a distinct dynamic that Yoel brought to the actions. Yoel, unlike Sami, could confront the soldiers without risking arrest or beating.

Breaking Down Barriers

Jewish Israelis such as Yoel are afforded a protection that Palestinians are not. Israeli peace activists often use this privilege to challenge the occupation or to protect Palestinians, who don’t have that status. Though growing numbers of Israelis have been arrested and injured by the Israeli military in recent years, the stark power imbalance remains. Power and privilege raise complex questions in the peace and justice movement, and some joint peace initiatives are regarded with skepticism, especially when the initiatives do not tackle the root causes of injustice.

Palestine protesters photo by Karen Manor

International protesters try to prevent the Israeli army from approaching the village of Bil’in during the third anniversary of the village’s fight against the separation wall.

Photo by Karen Manor /

But in recent years, more and more Israelis have joined Palestinians in directly confronting the state and its military. They are challenging some of the most egregious manifestations of the occupation. In 2004, Israel began construction of a section of a separation barrier in the village of Bil’in. The barrier often meanders deep into the West Bank, expropriating large swathes of land to Israel and separating many Palestinian villagers from their orchards. Since 2005, Bil’in residents have organized weekly demonstrations against the barrier. I have gone to many of these demonstrations and marched toward the barrier with Palestinians, Israelis, and activists from all over the world. Each time, we met a barrage of tear gas and rubber bullets. We demonstrated in Bil’in on New Year’s Eve 2010. The next morning, I attended the funeral of one of the villagers, 36-year-old Jawaher Abu Rahma, who collapsed and died after she was overcome by tear gas. The Palestinians and Israelis who had marched together the day before stood silently in the Bil’in cemetery as Jawaher was laid into the ground.

Bil’in is not the only example. Every week, Palestinians and Israelis demonstrate together against home evictions in Sheikh Jarrah in East Jerusalem, against Israeli settlement expansion in Nabi Saleh in the West Bank, and against the repeated destruction of Al-Araqib, a Bedouin village in the Negev Desert. The actions are expanding in scope and numbers and have achieved small victories: The barrier has been rerouted in the villages Budrus and Bil’in.

New Signs of Hope

The growing movement contains a kernel of hope in a bleak political landscape. It is this hope I felt when I heard about the protest that my Jewish Israeli friends staged in January 2008, demanding justice for the murder of 17-year-old Aseel and the 11 other Palestinian citizens of Israel.

Aseel’s older sister, Nardeen, wrote a letter to the demonstrators:

“Dear friends … of Aseel, of mine, of ours,

“In these difficult days there is nothing more comforting and calming than to read, to hear, and to see you demonstrating for Aseel and for justice … I’m proud of you, I’m proud to be your friend, and I’m proud to be on your side in this struggle.”

The sides in this conflict are defined not by nationality, but by those who take a stand against injustice, oppression, racism, and violence—and those who perpetrate or tolerate it. Both sides include Palestinians and Israelis.

The Hour of Sunlight

The Hour of Sunlight: One Palestinian's Journey from Prisoner to Peacemaker

By Sami al Jundi and Jen Marlowe
Nation Books 2011, 368 pages, $11.95

Support Yes! when you buy here from an independent bookstore.

Today, the nonviolence movement has expanded beyond the borders of Israel and Palestine and is breaking open new possibilities for Palestinians to obtain justice. On the 2011 anniversaries of the May 15 “Nakba” (a day that commemorates the 1948 expulsion of hundreds of thousands of Palestinians) and of the June 1967 war, thousands of unarmed Palestinian refugees attempted to cross from Lebanon and Syria to return to their homes inside Israel. Approximately 35 were reportedly shot and killed. Starting in 2008, activists have sailed boats into the region, seeking to break the Israeli siege on the Gaza Strip; Israelis and Jewish Americans have been on board many of the boats. Finally, the Boycott, Divestment and Sanctions (BDS) initiative has grown steadily since Palestinian civil society first called for a boycott of Israeli products and institutions in 2005. Ironically, the number of Israelis who accept BDS as a nonviolent strategy may actually swell in the wake of a new Israeli law criminalizing those who support boycotts. Even Israelis who don’t identify as left-wing activists are speaking out against the new law, characterizing it as an undemocratic silencing of political dissent.

The United Nations will likely vote in September 2011 to recognize a Palestinian state. And, though this move may spark ever-harsher repression by Israel, I expect it to lead to new fronts of nonviolent resistance and new forms of Palestinian-Israeli partnership.

As these developments unfold, I remember something Sami Al Jundi said to me: It is better for all our children if every child’s needs and rights are secured. If we want to build a better future for our children, we must work on our dreams together.

  • From would-be terrorist to peace activist, Sami al Jundi tells the story of how prison changed his life.
  • What we can learn from Norway: Violence, fear, and political repression aren’t the only way to respond to a terrorist attack.
  • How photography training and disposable cameras are giving young Palestinian refugees something new—a voice.
Producing in-depth, thoughtful journalism for a better world is expensive – but supporting us isn’t. If you value ad-free independent journalism, consider subscribing to YES! today.