A man in Northern British Columbia in Canada is jolted out of his senses when his neighbour calls out to him to come over to his backyard. He is in for a shock, as you can see in this video, http://youtu.be/G_DQyOCtIZw. All he can see is a pair of hooves sticking out of his wooden fence. In his wildest imagination, he would not have thought about a close and personal encounter with a moose that got stuck in the wooden fence while trying to jump and clear it. The front legs of the moose get trapped in the fence as the moose did not have sufficient height to clear the fence.
As he approaches the fence, the man realises what his neighbour was yelling about. He had been telling that there is a moose stuck in his fence. Now, he believes it and sees an agitated and distressed face of a baby moose with his big brown peering eyes.
With a little help from his neighbour, the man finally gets to chip off the wooden panels from the fence to free the legs of the poor moose. After it gets freed, the moose is not able to get over what just happened and hangs around for over a couple of minutes as if to say, “I may have been stupid but thanks anyway for helping me out.”
It has been observed that many NRIs are sending their boys to the best boarding schools in India. These parents insist that the boarding schools focus more on academic excellence than the all round development concept because they want their wards to get into the top branded colleges after their graduation from these boarding schools.
The main reason why a residential school for boys is preferred to other schools is that it is equipped with teachers who are highly skilled in the subjects that they teach and they also maintain a higher degree of discipline on the children. More than their individual academic prowess, these teachers are all rounders themselves when they qualify for the teaching posts in the boarding schools. They live round the clock in a residential school environment with the boys and are sensitive to the growth of the adolescents and the teens. This breed of teachers is quite hard to find in the cities. It has also been noted that lesser males are opting for the teaching profession in India as far as urban schools are concerned. There is always a risk of getting distracted for boys in city and day schools as against the boarding schools. Better discipline can be maintained in boys’ boarding schools
Growing need for better results in residential schools
The growing need for better and higher results, academically, is making the management of best residential school for boys to concentrate more on academic excellence in the final years of the children’s curriculum, more so than extra-curricular activities. However, they will make sure that the all round development of a child is still given priority and that particular ethos is maintained.
Focus on career growth
It is the goal of some parents to enable their children to get quality coaching and upbringing in such residential schools in India so that they are ready to take admission to top professional colleges. Boys’ boarding schools have always remained an excellent option for such parents who are not in a position to devote sufficient quality time to their children and towards their upbringing in this sensitive phase of their growth.
Viswanathan Anand was born on 11th December 1969 at Mayiladuthurai in Tamil Nadu. His father, Viswanathan Iyer, retired as a General Manager of Southern Railways. His mother, Susheela Iyer, is an influential social worker. Within a few years of his birth, the family moved to Chennai. He grew up in Chennai. He studied at Don Bosco School in Egmore, Chennai. He attended the Loyola College there and graduated in Commerce.
His brother, Shiva Kumar, is the Manager of Crompton Greaves India. His sister, Anuradha, is a professor at the University of Michigan in the United States of America. He is married to Aruna Anand and they are both settled in Collade Mediano in Spain.
Viswanathan Anand developed an interest in the game of chess from a very early age. His mother taught him how to play the game. At the age of fifteen, he became the youngest Indian to be honoured with the title of Indian Grandmaster of Chess.
Viswanathan Anand is the greatest chess player that India has ever produced. His outstanding caliber in the game of chess has made the country proud of him. He started achieving international fame from his sixteenth year when he won the Arab Asian International Chess Championship. In 1988, he won the Fifty First Hoogovens Chess Tournament at Wijk aan Zee in Holland. In 1989, he won the Second Asian Active Chess Championship in Hong Kong. In 1990, he won the Manchester Chess Festival. In the World Chess Championship in 1991, he came up to the quarter finals. In 1994, he won the Professional Chess Association’s (PCA) Grand Prix at Moscow (Moskva). In 1997, he won the Chess Classic Rapid Tournament at Frankfurt. In the same year, he won the Knock-Out Championship at Groningen in Holland.
His list of wins grows thick after the turn of the century when his career really took off and he managed to hold the Federation Internationale des Eschecs (FIDE) or World Chess Federation’s title for three straight years from 2000 to 2002. In 2008, he defeated Vladimir Kramnik in the World Chess Championship match.
There are three formats in chess competitions on an international level. They are the Tournament, the Knock-Out and the Grandmaster World Championship match. Viswanathan Anand is the only player in the history of the game to win the World Championship of Chess in all the three formats. He went on to successfully defend his World Championship title against Veselin Topalov in 2010.
Viswanathan Anand is one of the greatest sports personalities of India. He has been honoured with the highest sports award in the country which is the Rajiv Gandhi Khel Ratna Award in 1992. He has also been awarded the Padma Vibhushan which is the second highest civilian award in the country in 2007. These awards were an acknowledgment of his valuable contribution in sports and in making the country proud with his success in international chess.
Viswanathan Anand brings a combination of calm demeanour and attacking brilliance to the game of chess.
Polytron has launched a transparent phone prototype so that you can see through it while using it. You have perhaps seen phones with clear glass in science fiction films. The recent film that comes to mind is `Looper’. The reality may be closer than you have earlier dreamed of.
Polytron is a world famous global systems integration company which is based in Georgia, USA and Taiwan. It runs its subsidiary, Polytronix in Taiwan. Polytronix wants to launch a transparent mobile phone. Apart from observing a memory card, a circuit board and a small battery, the rest of the phone looks like totally transparent.
The prototype is not functional yet. This device could be ready by the end of the year for the retail market. People are raising questions about its functionality. They feel that the visual quality is bound to suffer.
This is not the only instance where a firm has come out with the idea of using glass. There has been a completely transparent USB memory drive stick that has come out and will be also available for the retail market sometime later this year. Despite being a cool idea, the marketers are uncertain of how the general public is going to react to it.
The general concern will be about how much the phone is going to cost and what it will be capable of doing. The phones are definitely going to be priced on the higher bracket.
Polytronix feels that it can make smartphones clear to the eye with a technology that inserts microscopic wires into the glass and make the handset without the wires being seen. The prototype of this phone will not run an operating system but will have a SIM card, an SD card, battery, microphone, wiring and a camera.
An essay by Albert Einstein
"How strange is the lot of us mortals! Each of us is here for a brief sojourn; for what purpose he knows not, though he sometimes thinks he senses it. But without deeper reflection one knows from daily life that one exists for other people -- first of all for those upon whose smiles and well-being our own happiness is wholly dependent, and then for the many, unknown to us, to whose destinies we are bound by the ties of sympathy. A hundred times every day I remind myself that my inner and outer life are based on the labors of other men, living and dead, and that I must exert myself in order to give in the same measure as I have received and am still receiving...
"I have never looked upon ease and happiness as ends in themselves -- this critical basis I call the ideal of a pigsty. The ideals that have lighted my way, and time after time have given me new courage to face life cheerfully, have been Kindness, Beauty, and Truth. Without the sense of kinship with men of like mind, without the occupation with the objective world, the eternally unattainable in the field of art and scientific endeavors, life would have seemed empty to me. The trite objects of human efforts -- possessions, outward success, luxury -- have always seemed to me contemptible.
"My passionate sense of social justice and social responsibility has always contrasted oddly with my pronounced lack of need for direct contact with other human beings and human communities. I am truly a 'lone traveler' and have never belonged to my country, my home, my friends, or even my immediate family, with my whole heart; in the face of all these ties, I have never lost a sense of distance and a need for solitude..."
"My political ideal is democracy. Let every man be respected as an individual and no man idolized. It is an irony of fate that I myself have been the recipient of excessive admiration and reverence from my fellow-beings, through no fault, and no merit, of my own. The cause of this may well be the desire, unattainable for many, to understand the few ideas to which I have with my feeble powers attained through ceaseless struggle. I am quite aware that for any organization to reach its goals, one man must do the thinking and directing and generally bear the responsibility. But the led must not be coerced, they must be able to choose their leader. In my opinion, an autocratic system of coercion soon degenerates; force attracts men of low morality... The really valuable thing in the pageant of human life seems to me not the political state, but the creative, sentient individual, the personality; it alone creates the noble and the sublime, while the herd as such remains dull in thought and dull in feeling.
"This topic brings me to that worst outcrop of herd life, the military system, which I abhor... This plague-spot of civilization ought to be abolished with all possible speed. Heroism on command, senseless violence, and all the loathsome nonsense that goes by the name of patriotism -- how passionately I hate them!
"The most beautiful experience we can have is the mysterious. It is the fundamental emotion that stands at the cradle of true art and true science. Whoever does not know it and can no longer wonder, no longer marvel, is as good as dead, and his eyes are dimmed. It was the experience of mystery -- even if mixed with fear -- that engendered religion. A knowledge of the existence of something we cannot penetrate, our perceptions of the profoundest reason and the most radiant beauty, which only in their most primitive forms are accessible to our minds: it is this knowledge and this emotion that constitute true religiosity. In this sense, and only this sense, I am a deeply religious man... I am satisfied with the mystery of life's eternity and with a knowledge, a sense, of the marvelous structure of existence -- as well as the humble attempt to understand even a tiny portion of the Reason that manifests itself in nature."
You just have to look around to find out that most of the people are busy searching for ways to shed their fat and lose weight. The main purpose behind the weight loss campaign is to avoid running into serious medical ailments. The human psyche is built around the premise that confidence surfaces out of being fit as well as slim. During their active pursuit of ways to lose weight, people have come across a plant called Garcinia Cambogia. It is also popularly known as `Gambooge’. It is a plant native to Southeast Asia, particularly to India, Pakistan and Sri Lanka. The supplements that are available all over the world are extracted from its rind. People are not all that wary about the Garcinia Cambogia dangers when they buy it from unverified sources.
Garcinia Cambogia helps in managing the stress hormone levels or the cortizol levels during the day besides working as an efficient suppressant for appetite. It works in a combined way to clear off the usual depression that lingers during a dieting period. To know more about how to buy pure Garcinia Cambogia extracts, you can click here and learn about what steps you can take before you buy.
When you visit the website, http://garciniacambogiadanger.com/, you will learn that you need to confirm that the supplement has been manufactured either in the United States of America or in Europe. You have to be particularly careful that you avoid buying cheap quality extracts that come in from China. You can check the labels to ensure that the formula does not contain ephedrine as it is a sure confirmation of lower quality. It cannot be stressed more emphatically that you have to buy these supplements only from sources that have been verified to ensure quality and guaranteed results. If you find a bottle that is lesser priced than $45, avoid it. If you buy spurious quality, you may either end up with blood sugar levels dropping drastically or you may experience no results at all.
Car makers are realizing that there is lack of buyer interest for electric cars. The analysts have described their feeling that leadership in the manufacture of electric cars is still eluding China. The reasons could be the hurdles China is facing in technological developments and a complete lack of interest among the buyers. Both these factors are scaling back the electric car industry in China.
Chinese car makers and their partners are finding that it has become extremely difficult to make an electric car that will be one of the high sellers and be among the leading world models. About three years back, the Chinese car makers had big plans and hoped that they will be able to meet the world demand for greener cars. China has always wanted to become a world power in the manufacture of electric cars. They had kept aside many billions of dollars for research and had budgeted for annual sales of around half a million cars.
As of now, Beijing is withdrawing its expectations on account of technological drawbacks and absence of interest among the consumers. So much so, those electric car makers are unable to push sales to even two thousand cars a year and even these two thousand cars will mostly be taxi cabs.
The government is also going to intervene by expanding the car industry’s portfolios to lay emphasis on cleaner petrol engines. The government has been continuously changing the targets as the technology has not been developing as quickly as it had expected.
Right now, about thirteen thousand electric and alternate energy cars are undergoing tests in over twenty cities in China. This is still a small figure despite the subsidies that have been offered by the government. The most advanced manufacturer of electric cars in china is the BYD Company. Hathaway Corporation of Berkshire has a ten per cent stake in this company. The BYD Company has announced that, like the Western models, its electric E6 sedan can go up to one hundred and ninety miles on a single battery charge. BYD has already sold about three hundred taxi cabs and two hundred electric buses in Shenzhen which is a business hub near Hong Kong. Thousands of engineers are working with the motor battery technology at BYD Company.
There are not so many makers of electric cars with reliable production potential. The Chinese government had seen electric cars as the means to cut down the demand for oil imports. They consider this demand as a dangerous threat to them. They are looking to alternate energy car manufacturers to help build China from a low-cost factory investment area to a builder of technology through electric and hybrid cars which will bring in profits and commercial success.
Consumers also had become wary and they had been discouraged by reports from the media that batteries in cars made by Chinese and foreign collaborators had caught fire during the test runs. Scarcity of charging stations is also raising anxiety.
Simple forex strategies can be the platform of a whole trading system. A simple plan will perform better across several different markets. The entry point is the most basic of simple forex strategies. Establishing an entry point in a trade can serve as a real good starting point.
SIMPLE FOREX STRATEGIES HELP YOU TO TRADE PROFITABLY
There is a tendency among new traders to feel that they need an intricate and fancy piece of software for trading or an indicator that is complicated to do forex trading successfully. This is a gross misconception. Simple forex strategies may work as well as complicated indicator based systems or forex trading robots. As the beginners settle down in forex trading, they begin to understand that the price chart is the most important source of information that motivates them to enter or exit a trade.
The ten-month moving average indicator and the price action analysis are the easiest of the simple forex strategies that you could ever follow. This is because of the fact that price movement creates its own signals about the market direction and once you learn to analyze the price action, it will allow you to time your exits and entries with pretty good accuracy.
People often have a tendency to go with an egotistical obsession on making forex trading more complicated than it actually is so that they can boast to their peers about how they are using the fancy sounding indicators to trade with. It is wiser to stick with simple forex strategies.
STARTING POINT WITH SIMPLE FOREX STRATEGIES
A simple entry strategy will require few criteria to be met. Initially, there will be a minimum number of calculations that will be applied in establishing a perfect entry point. These calculations have to be performed infrequently. The strategy has to use the least amount of technical indicators. This makes the interpretation of the signal much easier with simple forex strategies.
A ten-month moving average is an indicator that can be used in the beginning. You can enter into a trade when the price goes above this moving average. You can calculate the average by taking the closing price over the preceding ten months and dividing by ten. This process has to be repeated at the end of each month. You have to remove the oldest month and add the most recent month to the calculation. You have to remember that this strategy is not meant to promote scalping procedures.
PRICE ACTION ANALYSIS IS ONE OF THE MOST EFFECTIVE SIMPLE FOREX STRATEGIES
Price action analysis is also known as price action trading. This is the skill of learning to analyze a raw price chart without the help of indicators. You have to take into account the naturally occurring and the repetitive patterns of currency prices as a result of the daily movement in the forex market. You can then combine these patterns with the resistance and support levels to complete the set up. This is one of the oldest among simple forex strategies which have been used for centuries as the rice merchants in Japan who formed the Japanese Candlestick Charts used this price action analysis trading in the eighteenth century.
Not many people are aware that their cats, dogs and even their goldfish can offer great health and therapeutic benefits to them. Your pets will ease your loneliness; they will reduce your anxiety and stress; they will encourage playfulness and exercise and offer unconditional affection and love. When you care for a pet, it will indirectly help you to live longer.
How can pets improve your health and moods?
Most pet owners are aware about the immediate happiness that comes with sharing of their lives with animal companions but they are unaware, at the same time, of the health and physical benefits that are related with the act of playing or snuggling up to a pet and the pleasure that they can derive from it. Recent studies have revealed the scientific benefits of the bond between humans and animals. Even the American Heart Association has reported that there is a reduced risk for heart ailments when it is linked with pets and their ownership.
What have the studies found about the human-animal bonds?
• Owners of pets are less likely to suffer from depression and loneliness than those people who are without pets.
• People who keep pets have less hypertension and lower blood pressure in stressful situations than those who do not have pets.
• When you play with your pets, it will elevate the levels of dopamine and serotonin that will help you to calm down and relax.
• Owners of pets have lower triglyceride levels as well as lower cholesterol levels than those who do not have pets.
• Patients who suffer with heart attacks are more likely to survive longer when they have pets at home than those people without pets.
• Owners of pets above the age of sixty five will be making thirty per cent fewer visits to their physicians than those who do not have pets.
One of the main reasons for the therapeutic benefits is that the pets help in fulfilling the elementary human need to touch. It has been reported that hardcore criminals in prison cells have shown long term changes in their behavioral patterns after interaction with pets. In fact, many of these criminals experienced mutual affection for the first time in their lives. Cuddling, holding, caressing and stroking an animal can immediately soothe and calm agitated people when they are stressed.
How can the pets help in making changes in your lifestyle?
Exercise is not just a visit to the gym; it could also be taking your dog out for a walk. Several studies have pointed out that dog owners are far more likely to get their daily exercise quota than those who do not have dogs as pets. An important role is played by pets in healthy aging of people. When pets encourage playfulness, exercise and laughter, it will help boost the immune system and increase the energy levels in people.
One of the greatest achievements of Imam Ja'far as-Sadiq was his Theory of Light. He said that light reflected by different objects comes to us, but only a part of the rays enter our eyes. That is why we do not see distant objects clearly. If all the rays of light that come from them entered our eyes, objects would appear near to us. If we make a device through which all the rays of light coming from the camels grazing at a distance of 3,000 zirah (one zirah is equal to 40 inches) entered our eyes we would see them grazing at a distance of only 60 zirah and all other objects would look 50 times nearer to us.
It was this theory, which helped Lippershey of Flanker's to make his first field glasses or binoculars in 1608. Galileo made use of these binoculars and invented his telescope on the 7th of January, 1610. When he directed his telescope towards the moon he was surprised to see that it has mountains, plains and valleys just as we have on the surface of the earth. It was at that time that he realized that earth was not the only world. The moon was also a world.
The period between the invention of the binoculars and the telescope was less than two years. Most probably the idea of making the binoculars and telescope entered the minds of Lippershey and Galileo at the same time, but it cannot be denied that Galileo leant a lot from the invention of Lippershey. He examined the binoculars, removed the defects which could possibly be removed at that time and made his telescope.
Galileo had studied in the University of Padua, Italy. After he completed his education he was appointed Professor of mathematics in the same university.
If Imam Ja'far as-Sadiq had not formulated his theory of light, binoculars and telescopes would not have been invented and made and Galileo could not have confirmed through visual observation the theories of Copernicus and Kepler that all planets including the earth, rotate around the sun.
The invention of telescope created so much excitement among the people of Italy that the President of the Republic and the senators became interested to see the solar system through it. Galileo took his telescope from the University of Padua to Venice and installed it on the steeple of a church. Aged senators, assisted by others, climbed the tower to observe the planets and stars.
When Galileo was asked why his telescope made heavenly bodies seems so near that they could see the mountains of the moon, he repeated the words of Imam Ja'far as- Sadiq and said, "This telescope collects all the rays of light coming from the heavenly bodies. When all the rays are concentrated, the objects which are at a distance of 3,000 feet away appear to us as if they were at a distance of only 60 feet. "
In the time of Ja'far as-Sadiq (as), the industry had made no progress to enable him to make a telescope and observe heavenly bodies himself. Nevertheless it does not, in any way, reduce the importance of his theory. Could Newton, who discovered the laws of Gravitation, send the apple which had fallen on the ground back to the sky and make it go round the earth?
The satellites which go to the moon, Venus and Mercury obey the laws of Gravitation discovered by Newton, but he himself could not send any satellite to the planets. Before the time of Imam Ja'far as-Sadiq, it was believed that light from our eyes falls upon different objects so that they could be seen. He was the first scholar who rejected that idea and said, "The rays of light from different objects come to our eyes and enable us to see them. The rays of light from our eyes do not go out and fall on other objects; otherwise we could have seen them in the darkness also. We see only those objects which are luminous. If they are not luminous themselves, they must reflect the light falling upon them from some luminous objects. "
He also put forward a very interesting theory about the speed of light. He has said that light is a kind of motion which is very fast. Since no technical aids were available he could not measure the speed of light, but what he said is quite in harmony with the modern theory of light.
It is reported that once, during the course of his lectures he said that a powerful beam of light could move heavy objects. The light which Moses saw at Mount Sinai was of that kind. It could have moved the mountain if God had so desired. It can be said that by making the above statement he laid the foundation of the theory of the laser.
The theory that a strong beam of light can move heavy objects was also mentioned in the past but the following theories are his own:
Rays of light are reflected by different objects and enter our eyes.
We do not see distant objects clearly because the rays of light coming towards us are scattered.
If the rays of light are concentrated by some device we can see distant objects distinctly.
Light is a kind of motion which travels as a very high speed. A strong beam of light can move heavy objects.
From time Immemorial, it was supposed that light could move heavy objects. In ancient Egypt it was believed that a very strong beam of light could pass through a mountain and even move it from its place. This view was shared by the followers of other ancient religions as well, but they did not explain how light could do that. Since sorcery and magic were parts of ancient religions they might have thought that light could do that by magic.
What Imam Ja'far as-Sadiq did not say about light is that it is a kind of energy otherwise there is no difference between his theory and the modern theory of light. He was definitely a leader and a pioneer in this field as well. He has said that light travels very fast. The speed of light has been measured to be 300,000 kilometers per second. It was very great speed by ancient standards, but is not considered as such today. A distance of 300,000 kilometers is a very short distance as compared to the astronomical distances between stars and galaxies.
After the installation of a swimming pool at home, the electricity bills go high for three reasons. First, the pool pump draws a lot of energy. Second, the heat pump pool heater consumes a lot of power. Third, if the pool is laid indoors, then the air conditioning costs go sharply on the up. If the pool is installed indoors, it will create a different kind of problem for the higher electricity cost. You will have an issue of moisture problems with phenomenally high air conditioning costs in addition to the pool pump.
The pool pump, especially in summer, will run almost the whole day. There is a high cost involved when the pool has to be pumped with water. Most of the residential pool pumps that are in use have a three by four horse power output. When they are being operated almost the whole day and every summer day, he monthly electricity cost by the pool pump itself would amount to about sixty dollars higher per month. Taking the winter months out of the equation, the higher cost of electricity annually as contributed by the pool pumps comes to around five hundred dollars extra.
A study was done recently that highlighted swimming pool pumps as one of the major causes of the electric bill going up. A pool pump uses a higher percentage of all residential power to a scale of almost 1,500 kilowatt hours of power each year. If the pump is a large sized one for a larger swimming pool, it will be of an output of one and a half horse power that will use almost a thousand dollars worth of electricity each year. Sometimes, the design of a pool pump has a lot to do with an excessive drawing of amperage or power. It will cause an excess workload on the pump that will eventually reflect on your electric bill.
Using in-car technology with gadgets such as touchscreens, integrated phones and satnavs can be extremely distracting when used on the move. A survey was done recently by ‘Which?’. They tested the in-car technology systems of eight of United Kingdom’s bestselling car makers and reported that they found many features difficult to handle while driving. Some car companies performed well as far as ease and facilities were concerned. Others needed to make sure that their systems posed as less a distraction as possible to drivers and motorists.
It has been reported that the methods were not adhering to simplifying things for the drivers. People do want systems in their car like integrated audio, phones, satnavs and the like but it is time for the government to intervene and offer some guidance to car manufacturers on focusing and building less distracting systems.
There are several points that can be considered along these lines:
• Drivers should not look away from the road for more than a couple of seconds at a time to operate devices.
• Only few inputs should be needed to operate devices.
• It should be strongly recommended to develop better voice recognition systems.
• Rather than be buried in on-screen menu systems, it is safer to use key functions through dedicated buttons for radio stations, air circulation and heating controls.
• The entering functions for satnav destinations should be disabled when in motion.
• The center console displays have to be placed high up so that the driver does not have to glance down at them.
• Synching a mobile phone to a car through Bluetooth should be allowed only when stationary. Drivers should not be able to initiate phone calls while driving other than through voice control. Even accepting a call should be made simple. While moving, the car should read out SMS messages rather than display text on a screen.
• All internet functions should only be accessible when the car is stationary.
A forex candle is a technical indicator used in forex trading. A candlestick will pack perhaps more information in one single glance than any other type of price chart. As a result of this, a forex candle remains very popular with the forex traders. The history of using candle as a measurement tool could be traced to the early eighteenth century when candlesticks were used in Japan by the sellers and buyers in the country’s rice markets to measure the price trends.
Reading Forex Candle Charts
A candlestick will reveal the changes taking place in the opening and the closing rates for a reporting period in its body length. When its body is long, it is considered to have a volatile swing between the opening and the closing rates. The color on the body of a candlestick will offer important information. A hollow type of a forex candle will mean that its bottom will indicate the opening rate and its top will indicate the closing rate. A candlestick which looks filled will show the opening price at its top and the closing price will be at its bottom. A hollow candle will show a trend that is on the rise while a filled candle will indicate a trend that is on the decline.
There are three important points which are studied in the creation of a forex candle – they are the opening price, the closing price and the wicks. The opening and the closing prices will identify where the price started and ended for a predetermined period and this goes into shaping the body of the candle. The body color of the candlestick is important – it will be red when price is going down and blue when it is going up. An understanding of a forex candle will help the traders from quickly identifying whether the market is trading lower or higher for a time frame that has been selected. The wicks determine the shadow area of the candle. Wicks are important because they indicate the price extremes for a specified period. They can be identified easily as they are thinner than the body of the candle. Candlesticks can help traders in keeping an eye on the momentum of the market and away from the price extremes.
Some Common Patterns in Candlesticks
Traders see the patterns made by candlesticks as signals for the direction that the exchange rate is taking. The common and popular patterns are –
• Doji Patterns – This pattern is established when the opening and the closing prices are the same. It results in a very small body of the candle. The length of both the upper and the lower shadows reflecting the prices during the intra-period have virtually no effect on the price at the time of the closing.
• Spinning Tops – These are candlesticks with small bodies. They can either be filled or they can be hollow. Smaller bodies point out that there has been not much of a difference during the reporting period between the opening and the closing prices.
• Hanging man and hammers – These patterns contains longer shadows at the lower parts. These candles have small bodies and there are no shadows on the upper portions, representing uncertainty in the price movement and indicate a possible a possible price reversal. When the pattern appears at the hollow body with a downward trend, it is known as a hammer candle and if it appears at the top indicating an upward trend with a filled body, it is referred to as a hanging man.
• Morning and Evening Stars – The morning star tells that the price has almost reached a support level after a downward trend in the market. It will look like a small candlestick with a hollow body. It will follow a filled but a declining candlestick to mark a turning point in prices. This is confirmed by another candlestick that shows a dramatic increase in the prices. The morning start is looked at as an optimistic sign. The evening star is a pessimistic sight as it occurs at the far end of a downward trend.
• Shooting Star – This is quiet a strong signal that a run-up in the price is likely to come to a halt. Traders are on the lookout for such a pattern after a prolonged increase in the prices. It is capped by a candle with a small and a hollow body.
Once the traders get to understand the basics of reading a forex candle, they will have the capability of opening up a whole range of trading opportunities. Many traders like to employ the candlestick analysis in their forex strategies. They use the forex candle in gauging the market direction of the price and the market sentiment.
Do you ever think about detoxifying your colon? Many people in this world neglect their colon’s health simply because they have no time to think about the detoxification process. This allows for parasites and toxins to accumulate in the vital internal organs and eventually affects the normal functioning of the digestive system. To cleanse your internal system, you will have to fall on detox medication in addition to shedding your extra kilos through exercise. The first symptoms that tell you that your body requires internal cleansing are your metallic taste buds. Something as important as this has to be shared with the Department of Health in mind and in particular the http://estacadalibraryfoundation.org/.
When should you listen to your Body Signals?
When you encounter any of these symptoms, it is wiser to think about detoxifying your body system by the amazing Garcinia Cambogia products:
• Lack of concentration
• Regular feeling of lethargy
• Foul breath
• Bloated stomach
• Unusual craving for food
• Belly protrusion
• Metallic taste buds
Ingredients that make up the Cleansing Supplements
When you suffer with the metallic taste buds syndrome, it is time for you to search for these plant extracts that make up the cleansing supplements:-
• The Bark of Cascara Sagrada – This has been used as a laxative medicine for a long time now. It is a great cure for chronic constipation.
• The Leaf of Aloe Vera – This is also a natural laxative medicine as it enhances the levels of energy of the body and makes it free of toxins.
• Fennel Seeds – The fennel seed has anethole as an active ingredient and is a great medicine for carminative activity that reduces flatulence. It also helps in the digestion of food so that you do not feel those metallic taste buds again.
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• Acai Berry – This berry contains compounds like flavonoids and anthocyanins. These compounds are anti-oxidants that help the body against the impact of free radicals. Anti-oxidants will help you in your battle against many diseases and the process of aging.
• Ginger – This is known to many and is used widely in everyday food intake. It fights nausea and morning sickness. It thins the blood down and reduces the levels of cholesterol in the body while burning down the fat and helping to lose excess weight.
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The name for the language, `Urdu’, is derived from the Turkish word `Ordu’ which means `belonging to the army camp or Lashkar’. A famous scholar, Mohammad Hussain Azad, believes that Brij Bhasha, which is a dialect of Western Hindi, is the mother language of Urdu.
The invasion of Delhi by the Moghals brought in many Persian elements that ended up in the creation of a new hybrid language which was called Urdu. The Urdu language came about as a result of the interaction between the Moghal soldiers and the local Hindus after the conquest of Punjab and Sindh by Mahmud of Ghazni. Many Punjabi words and expressions got blended in with the Hindi of Delhi and a new language was born.
The Moghal army settled in cantonments. People from many castes and creeds joined the Moghal armies once the latter conquered several regions of India. The mingling of so many diverse cultures made communication difficult. The Persian language was used as the official language of the courts and for administrative purposes. Before Urdu took its final shape, it was known as Brij Bhasha or Hindvi, meaning the language of Hind.
Today, Urdu has become a common language in various parts of India, ranging from Kashmir to Cape Comorin. The simplicity of the Urdu language has attracted many people irrespective of caste, creed and religion.
Urdu is spoken widely in Pakistan and India. Urdu is the national language of Pakistan and one of the twenty two official languages of India. Urdu is also spoken in countries like Afghanistan, Bahrain, Canada, Iran, Malaysia, Oman, Qatar, Kingdom of Saudi Arabia, and United Arab Emirates, Turkey, South Africa, United Kingdom and the United States of America. As per the Summer Institute for Linguistics Ethnologue Survey, Urdu is the fifth most spoken language in the world after Mandarin Chinese, Spanish, English and Hindi.
Urdu has become a popular language due to its distinct character and style. Urdu is a member of the Indo-Aryan family and is written in the Nastaleeq script. Urdu is currently spoken by more than four hundred and ninety million people worldwide.
Urdu is a mixture of many languages like Arabic, Persian, Turkish, Hindi, Marathi and Telugu. The Muslims ruled over India for close to a thousand years. The Moghal army had soldiers who came from different origins and nationalities. They spoke different languages. Urdu became a common unifying tool of communication between the Moghal soldiers and the local recruits during their conquest of India and their subsequent stay in the country. Urdu is a blend of many tongues and languages. When Delhi was ruled by the Moghal Sultanate around the late twelfth century, the languages that were spoken around Delhi like Brij Bhasha and Sauraseni got immersed with Farsi, the Persian language which was spoken principally by the Moghal rulers.
It has taken many centuries for Urdu to evolve and grow. It has taken about six hundred years to standardise the grammatical structure of Urdu. Its origin can be traced back to the middle of the tenth century. This was the incubation period. It was only used as a communication medium of language. No significant literary or grammatical work was done during this period.
In the fourteenth century, the language was introduced in Southern India in Hyderabad Deccan. It came to be known as `Dakhani’. This was the predecessor of the modern Urdu language that is used today. Alauddin Khilji made Deccan a permanent Subedari or collectorate. Urdu also flourished under the Bahmani Dynasty in Deccan.
The development of Urdu was chronicled in the writings of Ainuddin Ganj of Daulatabad. The standardisation of Urdu took place in the seventeenth century during the reign of Emperor Shah Jehan when it was being called as Urdu-e-Moalla. Though the official language of the Moghal emperors was Farsi, Urdu flourished, nevertheless, during their reign.
In the Deccan Plateau, six dynasties were formed. The Bahmani Kingdom in Gulbarga from 1350 to 1525, the Nizam Shahi Dynasty at Ahmadnagar from 1490 to 1686, the Qutb Shahi Dynasty at Golconda near Hyderabad from 1518 to 1687, the Buraid Shahi Dynasty from 1487 to 1619 at Bidar and the Imaad Shahi Dynasty from 1490 to 1574 at Berar. Urdu language was being used in all these five kingdoms. Later, under the Asaf Jahi rule in Hyderabad Deccan which spanned from 1580 to 1948, Urdu was fostered to a great extent by the seventh Nizam of Hyderabad, Mir Osman Ali Khan. He promoted education and knowledge and established the Osmania University which is famous in Hyderabad even to this day. The University had become famous in all disciplines ranging from English to Urdu to Law and Arts and Science studies. Before India gained independence from the British, the entire University education was imparted in the Urdu language which became the principal medium of instruction. The medium of instruction was changed from Urdu to English in the year 1951.
Urdu owes its existence quite a lot to the Sufi saints like Hazrat Khwaja Moinuddin Chishti, Qutbuddin Bakhtiar Kakki and Baba Fariduddin Ganj. They contributed much in the growth of Urdu as a language.
The development of Urdu language was also promoted at the Fort William College in Calcutta in 1800 when the Head of the Department of Urdu, John Gilchrist, started a printing press for Urdu publications. He educated himself in Urdu and compiled the first English to Urdu dictionary and wrote many books on Urdu grammar.
The decline of Urdu started in the late twentieth century’s decadent period where people moved away from classicism and consciously started to replace it by Hindi and other national languages in each respective state in India.
Script and Dialect
The Sufi saints were the first to use the Dakhani script. The alphabets of Urdu are derived from Arabic and Persian and have come to be known as the `Nastaleeq’ script. There are almost seventy two dialects of Urdu but not all are spoken nowadays. Urdu is written like Arabic and Persian from the right to the left. The most important features of the Urdu Nastaleeq script are the index dots for the retroflex consonants and macrons for the etymologically long vowels.
Urdu has five main dialects – Dakhani, Urdu-e-Moalla, Rekhta, Punjab Urdu and Sindh Urdu. The modern vernacular Urdu is based on the Brij Bhasha and the Khari Boli of the Delhi region. The Punjab and Sindh dialects are principally used in Pakistan. Dakhani has been used locally in the Deccan Plateau. Its vocabulary is taken from the Farsi, Turkish, Arabic, Marathi and Telugu languages. Dakhani is spoken in Andhra Pradesh, Karnataka, Tamil Nadu and Maharashtra. Rekhta is the language used mainly for poetic expressions in Ghazal and Nazm forms and is regarded as an indigenous dialect commonly used by the British Indian poets.
Urdu language is basically a system of adaptation from several Indian languages with their roots in Sanskrit.
As far as nouns are concerned, Urdu has two genders and three cases of direct, oblique and vocative. Adjectives are divided into declinable and indeclinable categories. The declinable adjectives are marked for the gender, number and case of the nouns that they qualify. The indeclinable adjectives are invariable as they can end in either consonants or vowels. All the adjectives can be used attributively, predicatively or substantively.
Urdu language has personal pronouns for the first and second persons and demonstratives are used for the third person. The demonstratives can be categorised as proximate and non-proximate. The pronouns will contain cases of dative, direct and oblique. The pronouns do not differentiate between genders.
The Urdu verbal system is built around a combination of aspect, tense and mood. The Urdu verb is involved with layers of inflectional elements as the nominal system. Urdu has three aspects. They are continuous, habitual and perfecting. There are forms of participles that are inflecting for gender and number through vowel termination like adjectives.
As far as Urdu syntax is concerned, the word order is a subject-object-verb in the language. The indirect objects will come before the direct objects. The attributive adjectives will come before the nouns that they qualify.
Like most other languages of the world, Urdu literature got its bearings through poetry. Amir Khusro (1253-1325) was a remarkable scholar in Arabic and Persian and became a pioneer poet of the Urdu language. Wali Dakhani and Mohammad Quli Qutb Shah were the contemporaries of Amir Khusro. Other famous poets in Urdu were Mir Taqi Mir, Mushafi Mir Dard, Qaim Chand Puri, Haider Ali Atish, Ustad Zauq, Mir Babbar Ali Anis and the greatest poet to have written in Urdu language, Mirza Asadullah Khan Ghalib (1797-1869).
Ghalib was an extra-ordinary poet and his ghazals (poems) are very popular among the people not only of India but all over the world.
In the seventeenth century, Urdu was declared as the official language of the Moghal court. Urdu replaced Persian or Farsi as the main language of the region. The last Moghal Emperor, Bahadur Shah Zafar, was also an accomplished Urdu poet himself with a unique style of writing. He presided over numerous Ghazal sessions in his Court before the British dethroned him and sent him in exile to Burma (Myanmar).
In the Qutb Shahi Dynasty, King Mohammad Quli Qutb Shah himself, Abul Hasan Tana Shah and the poets Ghawasi and Nishathi wrote fluently in Urdu. Urdu poetry also reached its pinnacle of glory with writers like Aarzoo, Mir Anees and Dabeer.
There was a translation bureau that was opened for Urdu in Calcutta by John Gilchrist of the Fort William College. After the Sepoy Mutiny in 1857 and the subsequent exile of the last Moghal emperor, Bahadur Shah Zafar, Urdu poetry and literature was preserved and nurtured by eminent poets like Daagh who spread the language in Rampur before the language dominated places like Delhi, Lucknow and Hyderabad.
Under the British rule, in the nineteenth century, Allama Mohammad Iqbal (1877-1938) stood out among the great array of Urdu poets as he introduced revolutionary concepts and ideas in his poetry. Faiz Ahmad Faiz is also a well known and distinguished poet of the modern age. His work focuses on the concepts of communism and social justice.
Munshi Premchand wrote good short stories in Urdu. His `Soz-e-Vatan’ is famous. Mohammad Hasan Askari, Rajinder Singh Bedi, Saadat Hassan Manto, Ismat Chughtai and Ashfaq Ahmad are among the great Urdu short story writers.
The writing of novels in Urdu became popular with Nazir Ahmed (1836-1912). Urdu novel writing and realism was taken forward by Munshi Premchand, Mirza Mohammad Hadi Ruswa, Abdul Haleem Sharrar and Ratan Nath Sharshar.
Akbar Allahabadi was a pioneer among Urdu humourists and satirists. Majeed Lahori, Mirza Farhatullah Baig, Ibne Insha, K.L. Kapur and Himayatullah are the other important names in Urdu humour writing.
In the first half of the nineteenth century, drama became important in Urdu. The first dramatist of repute was Amant Lucknowi. His drama `Indar Sabha’ is regarded as the first Urdu drama. Imtiaz Ali Taj, Haseena Moin and Fatim Suriya Bajiha are distinguished playwrights of the modern age.
Newspapers and magazines were printed in Urdu in the late nineteenth century. History began to be written in Urdu and translations were done from Sanskrit classics and from other languages.
The birth of Hindi and Urdu film industry in the early twentieth century encouraged the further growth of Urdu as an expressive language, especially in Northern and Western India. Mostly, the dialogues and lyrics even for so called Hindi films were actually written by prolific Urdu writers.
One of New England’s leading language schools, the Boston Language Institute, offers Urdu language courses to companies and individuals. The Institute is offering both the spoken and the language courses with the main aim being conversational proficiency.
Urdu is a graceful language that sounds poetic with no extreme guttural sounds, as you may come across in Arabic, to cause people to stumble in their pronunciation of the Urdu words. It is also a language that leans towards artistic efforts that have rested on an elegant volume of literature and poetry, going back some eight hundred years in history.
You can save yourself many dollars and the travails of laborious journeying and take an exciting virtual tour through the Google Map sourced backpack-mounted cameras to get the 360-degree panoramic view of the Grand Canyon. In the last few months, Google Maps have stepped up its cartographical strides to give you breathtaking details in the maps and take you to exotic locations like the Grand Canyon, snowy mountains or even the coral reefs under the oceans through their Street View.
They have developed `Trekker’ which is Google’s backpack mounted camera system for people to explore the magnificent 360-degree panorama captures on a virtual hike. What other better place you could wish for other than the Grand Canyon to use the `Trekker’?
Recently, a team of five people packed with `Trekkers’ went on the trails of the Grand Canyon in the company of ten other Google engineers. They captured images during a span of three days. Last year, another company called `Nature Valley Trail View’ conducted a similar trek using its own 360-degree camera system. Not many people heard about it. But, Google, this year, is planning to incorporate the images from their recent expeditions to the Google Maps’ global service.
Each `Trekker’ unit has a set of fifteen cameras. These cameras are connected to an Android device to capture the 360-degree panoramic images. The Google team took 9500 panorama captures that covered seventy miles of paths and trails around the Grand Canyon National Park. The trek included the famous trails like the Bright Angel Trail, the Phantom Ranch and the Meteor Crater.
All this scenery is now available to you in Street View and you can take a virtual tour of the Grand Canyon in the comfort of your living room. Take a look!
Deceit has always held the key to money, fame and power.
These are the biggest lies on record:
1. The Trojan Horse – This is the most forgivable of the big lies since all is fair in love and war. The Greeks fooled the Trojans by taking the horse inside the fortress as a peace offering.
2. Han Van Meegeren’s Vermeer Forgeries – Han Van Meegeren was an artist who thought he was under appreciated and wanted to trick art experts into admitting his genius. He forged the painting of Vermeer, titled ‘The Disciples at Emmaus’, even faking the cracks and the aged hardness which made the experts to hail the painting as authentic.
3. Bernie Madoff’s Ponzi Scheme – He pulled off the biggest financial scheme in history. He admitted later that his investment firm was one big lie. He conned about fifty billion dollars from investors who trusted him with their savings.
4. Anna Anderson posing as Anastasia – After the execution of Csar Nicholas II and his family in Russia, rumours floated that certain members of the royal family had escaped and survived. Anna Anderson was the most famous of the impostors as she had a resemblance to the Russian family.
5. Titus Oates with the plot to kill Charles II – In 1678, Titus Oates, a Protestant preacher, concocted a plot that the Jesuits were planning to murder King Charles II. This led to panic and anti-catholic sentiments with about thirty five people being executed.
6. Piltdown Man – When archaeologist Charles Dawson unearthed a missing link in 1910, he linked it to Charles Darwin as one of the biggest hoaxes in history. The discovery was the Piltdown Man. The skull was manipulated by filing down and staining the teeth.
7. The Dreyfus Affair – Alfred Dreyfus, a Jewish officer, was accused of selling military secrets to Germany in the late nineteenth century when all the evidence against him was forced by a Major Esterhazy. This scandal changed the face of politics in France.
8. The Clinton Lewinsky Affair – Clinton publicly denied the allegations. This became an example in perjury. The truth came out when related sexual harassment and sexual affairs victims came out and testified against Clinton.
9. Watergate Scandal – President Nixon was caught in a web of lies. He had given the orders to burglars to plant wiretaps on the phones in the Watergate Hotel after breaking in at the Democratic National Committee Headquarters.
10. The biggest lie was the Nazi propaganda cooked up by Adolf Hitler – Anti Semitism was presented by Hitler as one of the final solutions to the age old hatred against the Jews. A massive campaign was launched by him to convince the German people that Jews were their enemies.
Alfredo De Angelis
PIANIST, LEADER AND COMPOSER
(2 NOVEMBER 1910 – 31 MARCH 1992)
The standard of fast beat set by the orchestra of Juan D’Arienzo was being followed by almost all orchestras as it was a hit among the younger generation. There was a restoration of the 2/4 measure beat in the nineteen forties. Alfredo de Angelis made his orchestra focus more on dancing with a harmonious and synchronised beat. It did not, by any means, fall short in its artistic value. The orchestra was neat and precise in its execution of the music. The arrangements were good and they were all lined up with great singers and musicians.
Many people were of the opinion that the musical style of De Angelis’ orchestra resembled that of the music that you hear at a merry-go-round carousel. Alfredo de Angelis did not mind this description one bit because his music came to be distinctly characterized with that tag by all the tango dancers in the forties. His music always had a harmonious and a synchronised effect and this was achieved by deft handling of the rhythm and a respect shown to the melody by the singer. His music had a linear style that did not leave much room for variations. He has composed many great waltzes. Listen to Flores Del Alma here, http://youtu.be/PG6gXa7RD_M. It is a gem of a waltz.
Alfredo de Angelis’ musical style could be described as simple and non-ambitious. A decisive pattern was always repeated in his compositions. Listen to his version of La Cumparsita to understand his musical style, http://youtu.be/QMUItAwULl4. This illustration will show you how nicely the violins and the piano complement the bandoneons.
Alfredo de Angelis was born in the southern suburbs of Buenos Aires. From his early childhood, he picked up harmony and sight reading in music. He was given the nickname of El Colorado as he had a deep red complexion when he was a baby and that stuck throughout his life. His music had nothing to do with the nickname as it did not make anyone blush with shame when they heard it.
1930-1942: He accompanied the singer Giliberti during early gigs. He later started playing with the orchestra of Anselmo Aieta, where he replaced the pianist Juan Polito. At that time, Juan D’Arienzo was playing the violin there. In 1934, he played the piano with the orchestra of Graciano de Leone. He formed his own orchestra in March 1941 and started playing at Cafe Marzotto in company of the singer, Hector Morea. He also started promoting vocal duets. The duo of Dante and Martel along with Dante and Larroca were quite famous. Listen to Pregonera here, http://youtu.be/p5szZ9ijP1Q and you will notice the bandoneons lead the piece with De Angelis entering with the piano part before the duo of Carlos Dante and Julio Martel carry the melody further.
1943-1977: De Angelis started recording with the Odeon Label and also played for radio broadcasts on Radio El Mundo. The program on tangos that was broadcast on a daily basis was called the `Glostora Tango Club’. Between 1943 and 1977, de Angelis recorded four hundred and eighty six numbers with Odeon.
Noted Singers who worked with Alfredo de Angelis
YEAR SINGER REMARKS
1944 Julio Martel (1944-1950) His collaboration with Carlos Dante made him the emblematic voice of the orchestra of De Angelis.
1944 Carlos Dante (1944-1957) Singer with a highly personal and intimate style.
1951 Oscar Larroca (1951-1958) His good voice and his taste in singing made him a singer in demand.
1957 Juan Carlos Godoy (1957-1964) Was a versatile singer with a flexible range between a tenor and a baritone.
1959 Lalo Martel (1959-1962) Brother of Julio Martel who also sang in a great personal style.
1963 Roberto Mancini (1963-1964) Sensitive and intimate style of singing.
1964 Alberto Cuello (1964-1969) He was versatile and could sing in various languages.
Recognising the music of Alfredo De Angelis on the Dance Floor
1. The signature style of the Alfredo de Angelis sound was the vocal duet.
2. The music was written mainly with the dancer in mind.
3. The harmony has been treated without any frills or innovative designs.
4. The music is powerful while being sober.
5. The musical style of De Angelis gives importance to the melodic background.
6. The violins have been given importance and they are present in all the songs with their clear and crisp sound.
7. There is no stress on syncopation even when the musical phrase is about to end.
8. There is a balance between the melody and the rhythm.
9. His arrangements are rich and crisp.
10. The bandoneons also have a clear and powerful sound.
As he started his signature style with vocal duets, you can listen to these songs to get familiar with his style of music:-
Que Buenas Es (Julio Martel)
Sonar y Nada Mas (Waltz) (Carlos Dante and Julio Martel Duet)
El Tango Club (Instrumental)
Dancing to the Music of Alfredo De Angelis
The dancers have to realise that there is an important role for singers in the orchestra of Alfredo de Angelis. He was the pioneer in introducing the vocal duets to tango music. He had worked with seven main singers. The melody was written mainly for the singers. While the singer carried the melody, the orchestra carried the rhythm and this was done mainly by the double bass, the pianist and the bandoneons. The offbeat rhythm that was made popular by Rodolfo Biagi was not emphasised by de Angelis. He attempted to make his music sound constant with a legato style and smooth; that is why, the dancers can easily identify his music to that of a merry-go-round at a carousel.
Even though De Angelis was on the piano keyboard himself, he never made it as the standout instrument in his orchestra. He gave more importance to the violins in comparison to the pianoforte. Listen to La Novena here, http://youtu.be/6yzEafOh-So and note how the violins take over the melody from the introduction by the pianist and carry it along to the bandoneons and the singer, Carlos Dante.
PIANIST, LEADER, COMPOSER AND ARRANGER
(9 AUGUST 1906 - 6 MARCH 1974)
The style of Lucio Demare’s music has a base on the presence of the melody backed by lyricism which is powerful. The melody has a rich sound to it. The music is clear and linear. Demare uses legato, connecting the notes smoothly and giving only secondary importance to the rhythm. Another distinct feature of Demare’s style is that he always builds the melody up to a stirring climax. His style could be described as directly opposite to that of Rodolfo Biagi who favoured the staccato rhythm to the melody. He used imagination in the development of his instrumental compositions. He paid attention to the sound and the phrasing of the song. He made the piano also sing when he played it solo.
Lucio Demare was born in Buenos Aires. His father was a violinist. His brother was a film director. Demare devoted himself to studying pianoforte at an early age. He started earning from his music at a tender age of eight. The nickname `Malena’ stuck with him throughout his life because of the music he composed for the tango of the same name in less than fifteen minutes when presented with the lyrics. Listen to it here, http://youtu.be/_852WEnZJqg.
1926: Starts composing
Lucio Demare had a penchant for composing with his innovative ideas and a creative disposition. He composed romantic songs that became very popular between 1926 and 1935. His tango creations were described as moody. An example is Mananitas des Montmartre, http://youtu.be/KluHWpfdR4U. He performs solo on the pianoforte and you can grasp the moody style of his composition with melodic richness and its sentimental lyricism.
He contributed immensely with his songs and shaped the tango of the nineteen forties. In 1926, he joined the troupe of Nicolas Verona. Then, he teamed up with the famous singing duo of Agustin Irusta and Roberto Fugazot to form a trio and toured Europe with them. The trio was a hit in Madrid. They also appeared in a comedy film titled `Mal de Amores’ and another Spanish film called `Boliche’.
1936: Recognition by Academy of Arts & Cinematographic Sciences
After his European and Central South American tours, Demare returned to Buenos Aires and started working in the Argentinean films of that time. His music was highly recognised by the Academia de Artes y Ciencias Cinematograficas (Academy of Arts & Cinematographic Sciences) and by City of Buenos Aires.
1938: Forms his own Orchestra
He formed his own orchestra in 1938 and started appearing on Radio Belgrano. His career as a band leader was highly successful. He recorded sixty two songs for the Odeon Label. After 1950, he started recording for Columbia and Artfono.
1955: Appeared in the Movie `Sangre y Acero’
He appeared in `Sangre y Acero’ with his orchestra. Thereafter, he started to play solos separately in the night clubs of Buenos Aires.
Noted Singers who worked with Lucio Demare
Year Singer Remarks
1928 Agustin Irusta (1928-1935) One of the finest `estribillista’ refrain singers of this time.
1928 Roberto Fugazot (1928-1935) An amateur actor and a good singer with a baritone voice.
1938 Juan Carlos Miranda (1938-1942) He carried the lush melodies of Demare admirably.
1944 Horacio Quintana (1944-1945)One of the great tango vocalists who was introduced by Irusta to Demare.
1954 Armando Garrido (1954-1956) He introduced Demare’s song `Buscandote’ in the film `El Ultimo Perro’.
Recognising the Music of Lucio Demare on the Dance Floor
1. Demare had a lyrical style in his compositions.
2. When he was playing with the orchestra, he created a rich sound through the piano and the violins.
3. When you hear his recordings, you will find the melodic line clear and crisp.
4. You will find a sentimental and moody touch, particularly when he is playing the solo pianoforte. The piano will prevail and amplify the musical phrasing with an intimate touch.
5. There is a sensual and sweet sound in his songs.
Dancing to the Music of Lucio Demare
The dancers would have to note that the piano plays an important role in the music of Lucio Demare. Along with the piano, the bandoneon also dominates the songs for the dancers to keep up the step with it. The piano music has to be danced with a romantic style. Listen to Manana Zarpa un Barco, http://youtu.be/dRbIJEJ0FeA. He has a smooth and lyrical style to his songs. He wrote some fabulous melodies, the most famous of which is `Malena’.
Carlos Di Sarli
[El Senor Del Tango]
PIANIST, LEADER AND COMPOSER
(7 JANUARY 1903 –12 JANUARY 1960)
The musical style of Carlos Di Sarli is classy and elegant. It is highly melodic without compromising the rhythm. The secret behind the noticeable simplicity in his music is as a result of the ideal adjustment that he does with all the instruments playing in his ensemble. This is what gave his orchestra a unique and magical sound. The blend is distinct as you will not be able to easily pin point the importance given to individual singers or solo instrumentalists. His musical compositions were essentially melodic with a balanced rhythmic line. The violins always carried the melody in the front, singing with their lyricism. The bandoneons took up the same melody in a counterpoint in the background, but playing in such a way that the blending of their sound comes off as perfect.
Di Sarli offered transitions on the piano and raised the involvement of the orchestral ensemble in the musical phrasing by punctuating with his famous style of playing, sounding like `bells’. These bells were offered like delicate ornaments by rolling his hands from the bass to the treble or from the left to the right octaves. You can notice this kind of playing in his version of La Cumparsita, http://youtu.be/tDNT1ru_OxU. Notice the balance between the bandoneons and the violins. Do not miss the flourish by Di Sarli on the piano at the end of the tango.
Carlos Di Sarli was born in Bahia Blanca in Southern Argentina. He was born in a family that had musical talents. He received training in classical music at an early age. When he was thirteen, he suffered an accident while working in his father’s store and lost an eye. He wore dark glasses since then. The accident did not deter him from joining the company of some travelling musicians to play tango music in various provinces. He was playing piano in several cafes until he moved to Buenos Aires in 1923. He joined the orchestral band of Anselmo Aieta. He joined Osvaldo Fresedo’s orchestra three years later.
1926-1931: Di Sarli joins Osvaldo Fresedo
The type of orchestral playing when the tangos were introduced by Fresedo had an influence on Di Sarli with their delicate and melodic styles. He went on to form his own sextet ensemble. He recorded his tangos with the sextet in 1928 for the RCA Victor label. They met success for the next three years and also performed at the Astral and the Fenix theatres. The sextet was famous for its instrumental number, `Sos una Fiera’ of 1929. Listen to it here, http://youtu.be/UD4rh1Tpz8U. This sextet came to be known as `Sexteto Di Sarli’ and was later renamed as `Orquesta Tipica Novel’.
1939-1941: Di Sarli and his contribution to the Golden Age of Tango
After 1939, Di Sarli started recording for Radio El Mundo and at the Cabaret Moulin Rouge. His orchestra expanded to three violins, three bandoneons, a double bass and piano. D’Arienzo had influenced the tango scene with his accelerated tempi and it became the fashion of that time. Di Sarli never followed the trend and retained his style, emphasising the accent on melody and tone. He kept the tempo of his songs on the slower side. His collaboration with the singer, Roberto Rufino became strong in these days. They both concentrated on the compositions of milongas. Their famous hit is `Corazon’. Listen to it here, http://youtu.be/E8DJvKvqtHk. Notice the famous bell style playing on the piano by Di Sarli before the entry of Rufino. Other singers that worked with Di Sarli were Agustin Volpe and Carlos Acuna.
1942: Creates a melodic style in the company of Alberto Podesta
Di Sarli maintained the slow tempi in his songs even in the early nineteen forties. Alberto Podesta joined his orchestra. He brought with him an emotional style of singing. While D’Arienzo was achieving success with his accelerated beats, Di Sarli was also not far behind creating his own melodic dimensions in the milonguero style.
1944: Jorge Duran
Di Sarli came across a new kind of voice in Jorge Duran in 1944. Duran adapted his style of singing to Di Sarli’s orchestra. He added melancholy to the musical phrasing. He is famous for the song, `Que No Sepan Las Estrellas’. Podesta also stayed with the orchestra and gave many hits. Oscar Serpa joined Di Sarli in 1948. Di Sarli withdrew from public performances between 1949 and 1951 for commercial and personal reasons
1951: Di Sarli Returns to the Performing Scene
Di Sarli resumed performances in March 1951. He also played for Radio El Mundo. He was given the nickname of El Senor Del Tango (The Gentleman Lord of the Tango Dance). He expanded his orchestra further by inducting six violins, five bandoneons, two singers and he played the piano himself. He conducted while playing the piano.
1956-1958: Changes in his Ensemble
There were quite a few changes in his orchestra and in his singing troupe in 1956. Many musicians from his ensemble left him to form another orchestra. He was a demanding and difficult perfectionist and many musicians may have found the going tough under him. Di Sarli recorded some of his last tangos in 1958 with the Philips label. He never bowed down to the trendy demands of his time and never allowed himself to get carried away by extravagant rhythms. He kept his music simple and delicate. His instrumentation was always done with subtle nuances and it stayed away from the avant-garde wave started by D’Arienzo and Piazzolla. Carlos Di Sarli never allowed anyone to film him when he was playing the piano. He passed away a couple of years later with a heart failure.
Noted Singers who worked with Carlos Di Sarli
Year Singer Remarks
1939 Roberto Rufino (1939/1943) He had a narrative style of singing and phrased his songs with good diction.
1940 Agustin Volpe He had a deep voice
1941 Carlos Acuna Highly expressive voice.
1942 Alberto Podesta (1942-1947) An emotional style of singing.
1944 Jorge Duran (1944/1946/1956-1957) A good baritone voice. He brought drama into his singing.
1948 Oscar Serpa (1948/1955) He had a smooth voice and a great phrasing technique.
1956 Argentino Ledesma He had colour and timbre in his voice.
1956 Rodolfo Gale He had a strong baritone voice.
1956 Roberto Florio (1956-1958) He had a deep voice and sang with Di Sarli for the RCA Victor label.
Recognising the Music of Carlos Di Sarli on the Dance Floor
1. He had a flourish roll signature known as `bells’ on the piano from the bass octaves to the treble octaves at the end of a musical phrase or during a transition.
2. The violins always played the lead with a lyrical style.
3. The music was maintained at a leisurely pace and was kept on the slower side with two strong beats per measure.
4. There was a good balance between the violins and the bandoneons that played the melody in unison.
5. There were no instrumental solos in his songs.
Dancing to the Music of Carlos Di Sarli
Prime importance is given to the melody in his musical style. The rhythm comes off clear and lucid and is never sacrificed in his compositions. The orchestration is done in a way that it sounds polyphonic to give a distinct touch that can easily be identified by the dancers.
The unison between the bandoneons and the violins is raised to a higher level of quality playing to achieve an elegant and refined sound. Di Sarli almost expanded his ensemble into a miniature orchestra by raising the number of violins to eight. He provides the legatos and the cadences, linking successive notes so that there is no pause between them. It makes it easy for the dancers to follow and the music flows fluidly.
VIOLINIST, LEADER AND COMPOSER
(14 APRIL 1897 - 15 FEBRUARY 1963)
The distinct characteristic of Edgardo Donato’s musical style is the use of melodic lines for the instruments and bringing out elegance from the singers. The music is interpreted with a pace which is powerful as well as marked. His songs are rich in communication for the listener.
Edgardo Felipe Valerio Donato was born in an Italian family. His father was a conductor of a chamber orchestra in Montevideo and played the mandolin and the cello. At the age of ten, Edgardo started studying music with his father and studied at the Franz Liszt Conservatory. He became a professional at the age of twenty one.
He composed his first hit, `Julian’ in 1922. The song had lyrics by Panizza and was dedicated to Julian Gonzalez, the Uruguayan leader. Listen to it here, http://youtu.be/MRszFhiBSg8. The next year, he composed songs like `Beba’ and `Muchacho’. One of his songs went on to become a big hit and that was `A Media Luz’. Listen to it here, http://youtu.be/93NYHKSvLp8. Donato plays a piano solo.
Donato formed an orchestra with the term Donato-Zerrillo, teaming up with the violinist. The orchestra was made up of three bandoneons; the two leaders played the violins, a pianist, a cellist and a double bassist. They had their debut performance in Montevideo in July 1927. The Select Lavalle Cinema gave them a contract for the entire season that year. The orchestra used a beat that was paused and restricted. There were very few passages to highlight solo instruments.
In 1930, the orchestra name changed to `9 Tango Aces’. It was recognized then as a striking native orchestra. They were joined by the singer, Luis Diaz. The songs were recorded for the Brunswick label. This orchestra started using wider dynamics, bringing out the bandoneons more. Donato himself came on very strongly on the solo violin. He also came to be widely known for using the pizzicato effect on the violin and other stringed instruments. During this period, Donato must have composed over two hundred numbers. Many of them went on to become classics in the repertoire of tango music. Listen to `Muchacho de Cafetin’ here, http://youtu.be/2Gg5TFI6oAA.
Donato’s orchestra was also included in the film `Tango’ in 1933. It was the first talkie that was made on the history of Argentinean cinema with an entire soundtrack score. Donato also scored themes for films like `Asi es el Tango’ and `Picaflor’. He performed for radio broadcasts and also played regularly at cabarets and night clubs.
During this period, singers such as Horacio Lagos, Lita Morales and Romeo Gavioli joined Donato. They all had successful stints with his orchestra. He formed a quartet known as `Los Caballeros Del Recuerdo’ (The Memorable Gentlemen) in 1944. They played a whole repertoire of tango music of the old school (La Guardia Vieja). The quartet was made up of Francisco Pracanico on the piano, Anselmo Aieta on the bandoneon and Domingo Donnaruma and Donato himself on the violins.
His brother Osvaldo formed an orchestra and took away many musicians of Donato’s troupe. Edgardo had to organise his orchestra all over again. In 1945, he worked for the famous film `Pelota de Trapo’. Donato also became famous for bouts of absent mindedness. He was also instrumental in adding fox-trots and rancheras to his tango repertoire.
Noted Singers who worked with Edgardo Donato
Year Singer Remarks
1929 Luis Diaz (1929-1932) A Bel Canto and Estribillista refrain singer.
1931 Antonio Rodriguez Lesende A refrain singer liked by many tango lovers for his phrasing.
1934 Antonio Maida A humble singer with a lyrical voice.
1938 Horacio Lagos (1938-1942/1955-1957) He was among the most famous tango vocalists used by Donato.
1939 Lita Morales (1939-1941) She was a popular radio singer who had a lyrical voice.
1939 Romeo Gavioli (1939-1942) One of the best tango singers noted for his delicate phrasing.
1932 Felix Gutierrez (1932-1936/1951/1955) A refrain singer with a warm timbre in his voice.
Recognising the Music of Edgardo Donato on the Dance Floor
1. Music of Edgardo Donato is melodic as well as rhythmic.
2. It is lively and joyful when played.
3. Donato is famous for using much pizzicato or plucking effect on his string instruments where the bow is not used.
4. The singers that he used like Lagos, Gavioli and Morales sang in harmony with his instruments.
5. There is an instrumental introduction in his songs before the singers come in.
6. The bandoneons and the violins play in unison.
Dancing to the Music of Edgardo Donato
The dancers can identify the music of Edgardo Donato easily by observing the regular rhythm provided by the beats. His compositions are always easy and pleasant to the ears of the dancers. Listen to El Adios here, http://youtu.be/-K55iCKaFeQ. The beat is in common time (4 measures to a bar of quarter notes). It is easy to follow and dance. You can also notice the pizzicato effect on the violins before the singer enters the song.
(El Pibe de la Paternal) (The Kid from La Paternal Neighbourhood)
BANDONEONIST, LEADER AND COMPOSER
(5 MAY 1897 – 18 NOVEMBER 1984)
The music of Osvaldo Fresedo is melodic and smooth flowing. His compositions balance both the vocal and the instrumental parts in the tangos. There are not many solo parts for instruments in his compositions. There are no variations or improvisations for bandoneon parts. The melody is written in a counterpoint form. The entire orchestra marked the rhythm of his songs. The piano and the bandoneons do not stand out. There is a constant use of legato in his music where the notes are played and sung in a smooth and a connected fashion. The instrument player or the singer would make a transition from one note to another without any silent pause in between.
Osvaldo Fresedo was born in a middle class family in the neighbourhood of La Paternal in Buenos Aires. The nickname that got tagged on to him was `that kid from La Paternal’. It refers to this locality. The name got tagged when he started playing in a trio in the local cafes. He got his first music lessons from his mother and started showing interest in tango music from an early age. He learned the bandoneon when he was a teenager and started playing with several renowned orchestras of the Old Guard (La Guardia Vieja) period.
1913-1919: The Beginning of a Long Career
His earliest composition was `El Espiante’ (The Rejected One). In the next several years, he composed another famous composition `Vida Mia’ (My Life). Listen to it here, http://youtu.be/Ui4hLGHF3iE. You can observe how the violins enter; as if they are playing in a symphony orchestra before Roberto Ray enters as a singer. Fresedo gave some public performances as a trio member which consisted of his brother Emilio playing the violin. He played the bandoneon along with another guitar player.
Fresedo went to the United States of America. He recorded music for few records in Camden, New Jersey while playing with a quartet which included the violinist Tito Rocatagliatta and the pianist Enrique Delfino. When he returned to Buenos Aires, he formed his own ensemble and started writing music with an elegant style. He started performing at the Montmartre Cabaret and at the Royal Pigall.
1925 to 1928
This was a good commercial period for Fresedo as he recorded around six hundred numbers for the Odeon label. His stint as an orchestra conductor was also tireless. At times, he divided his orchestra into almost four groups so that they could perform at four different night clubs. The orchestra of Fresedo became a favourite among the upper echelons of society. The aristocratic and the refined elite of the society loved his orchestra. His performances at the Pigall became so successful that his orchestra was being considered as the most fashionable of that time. Listen to his instrumental, `Pimienta’ here, http://youtu.be/mFb0nRY_ipA. You can feel how the violins introduce the number in a symphonic style until the bandoneons and the piano strike a balance. Observe the flourish by the piano and the lyrical trills from the violins.
Many recordings of Fresedo included singers like Ernesto Fama, Teofilo Ibanez, Juan Carlos Thorry and Roberto Ray. Many capable musicians were forming their ensembles during this period and the tango had entered its golden age. Despite the varied trends that were set by differing orchestras, Fresedo retained his individual style with elegant rhythm. He kept the playing of his orchestra on the slower tempi and used mellifluous singers who almost sang the tangos like arias or ballads. Ricardo Ruiz and Oscar Serpa joined his team as singers. Listen to his `Arrabalero’ from 1939, http://youtu.be/-UXVH9O_jeM.
Singers like Hector Pacheco, Armando Garrido and Carlos Barrios joined him during this period. In 1959, he started recording for the Columbia label. He was one of the first few artists who recorded in `Living Stereo’ technology. The stereo techniques of recording split the recording session with mikes kept for the left, center and the right wing. In a typical orchestra, the violins were heard on the let speaker or ear, the bandoneons or the wind and brass instruments were heard in the centre and the violas, cellos and double basses were heard on the right speaker or by the right ear.
Fresedo continued to lead the orchestra until he retired in 1980 at the ripe age of eighty three. His last recordings were on the CBS (Columbia Broadcasting Service) label. Osvaldo Fresedo had the longest recording career among all tango artists, stretching from 1925 to 1980.
Year Singer Remarks
1927 Juan Carlos Thorry He had an intimate style of tango singing.
1928 Ernesto Fama He was an excellent estribillista refrain singer who recorded more than 300 songs.
1931 Teofilo Ibanez (1931-1932) One of the most iconic tango singers of the 1930s.
1933 Ricardo Ruiz (1933-1941) A famous radio singer and an actor.
1946 Oscar Serpa He was devoted to the tango repertoire as a sensitive singer.
1948 Osvaldo Cordo A promising singer taken by Fresedo.
1951 Armando Garrido Antonio Rios, the bandoneonist, introduced him to Fresedo as his style of singing matched that of the orchestra.
1955 Hector Pacheco Sang with Fresedo’s orchestra mostly at the night club, `Rendezvous’.
1963 Carlos Barrios He had a great sense of beat and timing in his singing style.
Recognising the Music of Osvaldo Fresedo on the Dance Floor
1. He introduced the violins with a texture similar to that of a symphony orchestra.
2. A long introduction by the instruments was followed by the refrain singer.
3. The bandoneons, piano and the violins played with a balanced sound and responded to the refrain singer.
4. The singers were mostly asked to sing in the legato style.
5. Fresedo brought in the harp, the vibraphone, the trumpet and various other percussion instruments into his orchestra.
Dancing to the Music of Osvaldo Fresedo
Fresedo used elegant rhythms in his music and maintained slow tempi. As a dancer, you will also come across the first stereo recordings featuring Osvaldo Fresedo and his orchestra. The dancers will also come across new timbres in the orchestral sound with the introduction of harp, vibraphone, cello and other percussion instruments. The use of drums was also done in a subtle way. He made the singers use mellifluous tones, making the songs sound like ballads and arias. He matched those singers with the refined playing style of his orchestra.
BANDONEONIST, DIRECTOR AND COMPOSER
(10 OCTOBER 1902 - 7 JULY 1972)
The music of Pedro Laurenz is rhythmic and displays classy style. It is romantic in flavour. He always uses a lyrical phrase supported by an energetic tempo. His musical arrangements have always been sophisticated. As he was a bandoneon player, he gave the bulk of focus to that instrument in his songs. He was a pioneer in the development of the technique of playing the bandoneon with both hands. It revolutionised the very sound of the instrument and he brought out many variations and nuances while he played. His unique style of playing the bandoneon was noticed as early as his performances with the Julio de Caro sextet. His style of playing was always full of energy and brought out a bright and happy mood.
Pedro Laurenz’s actual name was Pedro Blanco Acosta. Later in life, he took the surname of his mother’s second husband. He learnt the bandoneon at a young age and was proficient at it. He mastered the technique of playing the bandoneon and introduced a style of playing the instrument with both hands. He could shift from the high pitch to a low pitch in the blink of an eye. He became a prolific composer. He was always highly energetic with his musical phrasing. He established a performance school.
Laurenz had a successful stint as a composer and a performer in the decades between 1920s and 1950s. He composed tangos that became very popular. One of the most popular is `Mala Junta’. Listen to it here, http://youtu.be/j2AeM036RsQ.The violin stands out in the instrumental version before the bandoneon hogs the limelight.
Pedro Laurenz gave his first performance in Buenos Aires when he was twenty years of age. He performed with the Julio de Caro sextet ensemble. He played along with Pedro Mafia. This pair was also well known as Los Dos Pedritos (The Two Young Gentlemen). Laurenz went on to create his own orchestra in 1934. He performed initially at the Bar Los Treinta y Seis Billares (The Thirty Six Billiards Bar). During this period, he also composed several tangos and milangos. One of the famous ones is `Mal de Amores’. Listen to it here, http://youtu.be/im9GrKFfVTk. It almost sounds like a concerto for two bandoneons and orchestra. It has a melancholic undertone.
Laurenz also played for the orchestra of Roberto Goyheneche. He performed during the inauguration in 1922 of Radio Cultura. He played his tango, `El Rebelde’. With his own orchestra, he breathed life into the tango with his individual style of compositions.
Laurenz started recording for the RCA Victor label. His interpretation of `Arrabal’ in 1937 with the pianist Jose Pascual is regarded by many musical scholars as the gateway to the golden era of tango music. Listen to it here, http://youtu.be/jdDNTmLKSH4. You can note the innovative style of melody and the way the violin brings in a gypsy style along with the bandoneon and the piano. After 1943, he continued recordings with the Odeon label for the next four years. Among his popular compositions of this time, `Milonga de mis Amores’ became famous. Listen to it here, http://youtu.be/X0MdL97msSE. Observe how he keeps the orchestra engaged and simple around the melody. Also note the staccato rhythms with a controlled balance.
Noted Singers who worked with Pedro Laurenz
Year Singer Remarks
1938 Juan Carlos Casas (1938-1942) Sang for five years with Laurenz and made `Mala Junta’ popular along with many other milongas.
1942 Alberto Fuentes Sang many waltzes and worked only with Laurenz.
1944 Carlos Bermudez He was a famous amateur singer. He sang only when he felt like it and no band leader except Laurenz could buy out his time.
1943 Alberto Podesta (1943-1944) He was a Miguel Calo and Carlos Di Sarli loyalist but also sang for Laurenz during the early part of this year.
1944 Jorge Linares (1944-1945) After Podesta left, Laurenz liked the voice of Linares and wrote many songs for him.
Recognising the Music of Pedro Laurenz on the Dance Floor
1. The music of Pedro Laurenz has staccato cutting rhythms and legato style of nostalgic singing for melodies.
2. As Laurenz was principally a bandoneonist, he made the instrument stand out in his orchestra with some amazing solos for it, playing with a unique style using both hands.
3. There were many variations in the bandoneon playing with some complicated arrangements.
4. The piano marked the tempi of the song and the violins were always in the background.
5. You will come across many flowing type of waltzes and milongas in his music.
Dancing to the Music of Pedro Laurenz
The dancers would be able to identify the music of Pedro Laurenz with the variations that were improvised for the bandoneons and the arrangements made through the unique style of playing by Laurenz himself. Musical scholars placed his music as a bridge between the styles of Julio de Caro and Osvaldo Pugliese. Listen to `Garua’ here, http://youtu.be/N6imto0owps. The dancers will be able to notice the staccato rhythms and the improvised variations on the bandoneons before Alberto Podesta enters as a singer. The musical compositions of Pedro Laurenz were simple and appealing to the listeners.
Baudelaire’s poem on Beauty talks about the fragile outer shell of our physique. It can hold power in itself and also can be very easily disfigured.
"Pure mirrors that make everything more beautiful:
My eyes, my wide eyes by the light eternal!" -
Illustrates the poet’s point that without the eyes or mirrors, 'beauty' would not exist. As it is your eyes that are the judge and decide on whether something is beautiful or not.
Baudelaire’s representation of beauty and art in his poetry is peculiar in the way it symbolises the ideals of the French decadence. In his paradoxical representation and overall personification of beauty in Hymn to Beauty, we can understand art more fully.
Auden argues that Baudelaire is trying to show how beauty’s purpose should not be concerned with the form it takes but by the immediate experience of it that makes life essentially better.
The first sentence of the poem begins by asking beauty itself whether it comes from heaven or hell. This line’s significance comes from the use of “or” as a disjunction or alternation between the two possible origins of beauty. In fact, Baudelaire uses “and” for all his representation of beauty in the remainder of the poem excluding the final two stanzas, which state the irrelevance of the comparisons. Then, in the last line of the stanza, Baudelaire states that it “bestows both kindnesses and crimes” and therefore “acts on us like wine”, representing beauty as both fickle and unpredictable.
The following four stanzas list the paradoxical ways in which beauty works. By stating “your eye contains the evening and the dawn” Baudelaire is showing how time does not affect beauty because it is present both day and night. Furthermore, the line “that can make heroes cold and children warm” works to show that it can give mercy to the helpless, yet wear away at the powerful. This effectively utilizes imagery to present the wide spectrum of beauty’s whim.
The fourth stanza is dedicated entirely to beauty’s awful ways. The purpose of this is most likely to profoundly present beauty in a way that is often not associated with beauty–that beauty isn’t simply a thing found in good but also in evil and delving deep into its evil flip side.
The fifth stanza is rather interesting. It presents two moments of death, which would be associated with the more horrible side of beauty but then explains them with poetic imagery and deeper meaning. First, with the mayfly’s demise being “in flames, blessing this fire’s deadly bloom”, the image of a candle momentary bursting in light gives a meaning to the mayfly’s death. The second, with a “the panting lover bending to his love” which shows beauty in the love or bond the lover has with the departed person by stroking the corpse of his lover “like a dying man who strokes his tomb.” Once again giving meaning and significance to an awful moment.
The final two stanzas explain how the broad range of forms beauty can take does not matter, declaring “what difference, then, from heaven or hell.” Whatever form beauty is experienced through by a person, its purpose is to “make the world less dreadful, and the time less dead.” which makes logical sense in that beauty’s form in darkness makes it a less horrible and meaningful moment.
This is one of Baudelaire’s best poems as brings out brutal and striking images with full clarity and starkness and makes beauty both alluring and repulsive, adding dimensions of love.
The parent company of Mercedes Benz, Daimler and BMW are like the German equivalent of General Motors and Ford Motor Company. Both these companies are fierce competitors for superiority in the luxury car segment. Meanwhile, electric cars are creating an imbalance in their profit making journey in the automobile sector because of the zero emission features.
An electric vehicle is being made today not only by a multinational corporate company but by a small enterprise as well. Both Daimler and BMW are now getting together to make the Visio M. The rivalry has been shelved to develop this electric car. When it comes out, it is going to be more effective and economical than the models that exist in the market today.
Both these companies have brought in a dozen other partners to help research students at the Technische Universitaet Muenchen (the TUM or the Technical University of Munich) in developing a smaller electric vehicle, the Visio M.
After its launch, the Visio M is not going to be considered a car in legal terms. It is going to fall into the L7E category of the European Union. It is going to be categorized as a heavy electric motor quad-cycle. Currently, there is another powerful version existing in such a category with Renault’s Twizy.
These L7E vehicles, though, will have few limitations. The weight of the Visio M cannot exceed eight hundred and eighty pounds. The output is also going to be limited to fifteen kilowatts which will be equivalent to just twenty horsepower. In comparison, a thirteen kilowatt Renault Twizy has a top speed of fifty miles per hour.
Despite its smaller size and lower weight, the Visio M is going to be as safe as a traditional petrol engine car.
BMW has recently taken out a series of Active E and Mini E test cars to get real time information on the usage of the electric powertrain. Daimler is also working on an electric Smart for Two cars just like the mini car manufacturer, Smart.
Mulvantrai Himmatlal Mankad was born at Jamnagar on 12th April 1917. Known in the cricketing world as Vinoo Mankad, he was an accomplished batsman and slow left arm bowler. He played in 44 Tests for India. He made 2109 runs at an average of 31.47. He made five test centuries and six half centuries with a highest score of 231. He finished with 162 wickets at an average of 32.32 that included eight five-wicket returns. He was a versatile cricketer and batted in every position, from the first to the last, during his career. He had taken 33 test catches. His best test bowling was 8 wickets for 52 runs. He made his test debut on 22nd June 1946 against England. He played his last test in February 1959 against the West Indies.
He played 233 first class matches accumulating 11591 runs including 26 centuries and 52 half centuries at an average of 34.70. He finished with a tally of 782 wickets. He had taken 190 catches. He played for Bombay and later Rajasthan in the Ranji Trophy. Before Kapil Dev Nikhanj came on the scene, Vinoo Mankad was probably India’s greatest all rounder.
Vinoo Mankad gave his best test performance against England at Lord's in 1952. This was one year after Vijay Merchant had retired from test cricket. He made 72 in the first innings. During England's first innings, he bowled 73 overs and took 5 for 196. The second innings of that test match saw him top-scoring again with 184 runs out of India's total of 378. Though England won the match, Mankad's all-round display brought respect to India in a series where they were totally dominated. Mankad was the first Indian player to score a century and take five wickets in a test match.
Earlier that year, he turned out another memorable performance against England again in Madras. He took 8/52 in England's first innings and 4/53 in the second innings enabling India beat England for the very first time in a test match. 1952 belonged to Vinoo Mankad.
In 1956, he hit 231 against New Zealand at Madras and together with Pankaj Roy made a world record opening of 413 runs which was unbroken for fifty two years. His score was a test record for India until it was broken in 1983 by Sunil Gavaskar and later Sachin Tendulkar and Virender Sehwag broke the record. Virender Sehwag is the current holder with the highest score of 319.
Vinoo Mankad was involved in an infamous controversy in 1947 on India's tour of Australia when he ran out Bill Brown while he was backing up in the second test. He broke the wicket at the non-striker's end during his run-up while the batsman was out of his ground. He had got Bill Brown out in a similar fashion in a game against an Australian XI earlier on the tour. This action of his made the Australian cricket media gun for him. Although Sir Donald Bradman came to his rescue saying that he was within the book by getting a batsman out like that, the incident became notoriously famous and anyone getting run out this way from that moment onwards was known as `Mankaded’. This incident, nevertheless, was not considered gentlemanly as far as sportsman spirit goes. Many years later, during a World Cup match in 1987, Courtney Walsh had an opportunity to run out Saleem Jaffar of Pakistan in a similar situation. But he never did. He simply cautioned him and went back to his run up. Courtney Walsh was later regarded as the gentleman of cricket after that incident.
Vinoo Mankad died on 21st August 1978 at the age of 61 suffering a severe stroke. It is a strange coincidence in the family that both his sons, Ashok Mankad, a test player and Atul Mankad, a Ranji player, also passed away at the ages of 61 and 62 respectively.
Vinoo Mankad has made a mark on the Indian cricket as the best all rounder but after Kapil Dev Nikhanj.