Giuditta Angiola Maria Costanza Pasta was an Italian soprano opera singer. She has been compared to the 20th-century soprano Maria Callas. Pasta was born Giuditta Angiola Maria Costanza Negri in Saronno, near Milan, on 26 October 1797, she was born of the Negri family. Her father, Carlo Antonio Negri, was a supporter of the Napoleonic Army, she studied in Milan with Giuseppe Scappa and Davide Banderali, with Girolamo Crescentini and Ferdinando Paer among others. In 1816, she took his surname as her own, she made her professional opera début in the world première of Scappa's Le tre Eleonore in Milan that same year. That year she performed at the Théâtre Italien in Paris as Donna Elvira in Don Giovanni, Giulietta in Niccolò Antonio Zingarelli's Giulietta e Romeo, in two operas by Paer. Pasta's first appearance in London in 1817 was a failure. Further studies with Scappa were followed by a successful debut in Venice in 1819, she caused a sensation in Paris in 1821–22, in the role of Desdemona in Gioachino Rossini's opera Otello.
She sang in London, Paris and Naples between 1824 and 1837. In Milan she created three roles, they were the title role of Donizetti's Anna Bolena given at the Teatro Carcano in 1830, the Amina in Bellini's La sonnambula and the protagonist's part of his Norma, which became three of her major successes. Stendhal had argued persuasively in 1824 for the necessity of a score composed expressly for Pasta. Pasta retired from the stage in 1835 and performed only infrequently after that date Pasta taught singing in Italy. Among her notable pupils were contralto Emma Albertazzi and soprano Marianna Barbieri-Nini and the English soprano Adelaide Kemble. Another pupil was Carolina Ferni, herself a noted Norma, who in her turn taught the soprano Eugenia Burzio whose recordings are known for their passionate expression. Pasta died in Blevio, a town in the province of Como on 1 April 1865, at the age of 67. Giuditta Pasta's voice was described by a New Monthly Magazine reviewer in 1824 as follows: It is a mezzo-soprano, somewhat similar to that of Madame Vestris, but clearer, more powerful, of greater compass.
She commands two octaves, but two or three of the highest notes of this range are forced, not agreeable. Her middle tones are full-bodied. In point of cultivation and science, she possesses, first of all, the rare merit of a pure intonation. We have not heard her once out of tune, her voice type was. It was described by Stendhal as follows: She can achieve perfect resonance on a note as low as bottom A, can rise as high as C♯, or to a sharpened D. I would suggest... that the true designation of her voice is mezzo-soprano, any composer who writes for her should use the mezzo-soprano range for the thematic material of his music, while still exploiting, as it were incidentally and from time to time, notes which lie within the more peripheral areas of this remarkably rich voice. Many notes of this last category are not only fine in themselves, but have the ability to produce a kind of resonant and magnetic vibration, through some still unexplained combination of physical phenomena, exercises an instantaneous and hypnotic effect upon the soul of the spectator.
This leads to the consideration of one of the most uncommon features of Madame Pasta's voice: it is not all moulded from the same metallo, as it is said in Italy. In 1829 named cantante delle passioni by Carlo Ritorni, one of the most erudite critics of the period, he described her as such because her voice was directed "towards expressing the most intense passions, accompanying it with expressions of physical action, unknown before her in the lyric theatre". In modern times Susan Rutherford has made a specific comparison with Callas: For the impact of corporeality on vocal timbre and delivery, in the absence of Pasta's own explanations of its effect, we might turn to another distinctive attrice cantante from a quite different period, Maria Callas, she argued that gesture and facial expression must precede word in order to create the appropriate vehicle. It isn't fame that makes Pasta interesting:... Pasta's singularity is measured rather by the tone and extent of the debates her celebrity provoked, by her influence on the operatic stage, by the timing of her career at the transition from Rossinian opera to the works of Bellini and Donizetti.
No other singer during that period attracted as much intellectual discussion, or was regarded as of such significance in the articulation of theories around operatic practices. For such reasons alone, Pasta is deserving of critical attention. Appoloni, Giuditta Pasta glory of Belcanto. EDA, Torino. Conway, David. Jewry in Music. Cambridge: Cambridge University Press. ISBN 9781316639603 Elson, Louis Charles, ed.. "Giuditta Pasta". University Musical Encyclopedia. Pleasants, The Great Singers, New York: Simon & Schuster, Inc. 2nd ed. 19
The Adicts are a British punk band from Ipswich, England. One of the most popular punk rock bands in the 1980s, they were in the indie charts during that decade; the Adicts originated as Afterbirth & the Pinz in late 1975. They soon changed their name to the Adicts and became known for their distinctive Clockwork Orange "droog" image. "Droog" is a noun derived from the fictional Nadsat language, meaning "friend". This image, along with their urgent, uptempo music and light-hearted lyrics, helped set them apart from other punk bands. In the 1980s, they temporarily changed their name to Fun Adicts and ADX, their music has catchy melodies and lyrics featuring extra instruments and sound clips - such as carousel music in "How Sad", violin played by Derick Cook in "Joker in the Pack", as well as gongs and keyboard percussion by Anthony Boyd in "Chinese Takeaway". The musicians wear all-white clothing with black bowler hats; the singer, Keith "Monkey" Warren, wears joker makeup, wildly patterned suits, flared trousers, colourful dress shirts, a bowler hat and gloves.
The band's visual look is complemented by their stage shows, involving items such as streamers, playing cards, beach balls, joker hats, toy instruments and glitter. Still an active and popular live act, the Adicts appeared at the 2012 Punk Rock Bowling music festival in Las Vegas, Nevada; the band debuted with the 1979 EP Lunch with the first release on the Dining Out label. In 1980, the band recorded the songs "Sympathy" and "Sheer Enjoyment" for an intended single, but they were not released until the 1984 compilation album This Is Your Life; the band released their debut album, Songs of Praise, in 1981 on their own Dwed Wecords, funded by the band's then-manager Geordie Davison. In 1982, the album was re-released on Fallout Records, who issued their first single "Viva la Revolution", which became one of the band's most iconic songs; that same year, the band began their relationship with Razor Records and released their second album, Sound of Music, featuring the single "Chinese Takeaway".
In 1983, the band released "Bad Boy", their highest-charting single. The success of that single led to the band signing with Warner Bros. Records offshoot Sire Records. At this time, the band changed their name to ADX at the behest of Sire, as the name the Adicts was considered to have too much of a negative connotation; the relationship with Sire only lasted for two singles, "Tokyo" and a cover of Marlene Dietrich's "Falling in Love Again" in 1985. Their third album, Smart Alex, featuring previous singles "Bad Boy" and "Tokyo", was issued in 1985 on Razor Records; the band's third release of that year was the Bar Room Bop EP. Their fourth album, 1986's Fifth Overture, was released only in Germany, did not see release in their home country until the following year; the band entered a period of inactivity, only releasing the live albums Live and Loud!!, recorded in 1981 and released in 1987, Rockers into Orbit, recorded in 1986 and released in 1990. The band's next studio album appeared in 1992, when the US label Cleopatra Records released Twenty-Seven, not released in the UK until a year on Anagram Records.
Cleopatra reissued the band's first three albums in 1993, giving those discs their first release in the US. Another period of inactivity ensued, this time lasting until 2002; that year, the band's first album in a decade,Rise and Shine was released on Captain Oi! Records, who released expanded reissues of all of the band's previous albums with the exception of Songs of Praise. Two years the Rollercoaster album was released on the US label SOS Records. Over the next couple of years, SOS released their own expanded reissues of Sound of Music, Smart Alex, Twenty-Seven and Rise and Shine; the Adicts' next album was a newly recorded version of their debut Songs of Praise, released in 2008 on the European label People Like You Records. A year the band released Life Goes On on the same label. In 2012, All the Young Droogs was released on DC-Jam Records. In 2017, the Adicts signed to Nuclear Blast, announced a fall 2017 release for the album And It Was So!. Official website The Adicts discography at Discogs The Adicts at AllMusic The Adicts at lyrics.wikia The Adicts at last.fm The Adicts at cxc.info Official Record label of the Adicts Interview with Keith "Monkey" Warren 2010 Interview with Pete "Dee" Davison on Outsight Radio Hours
KHOPCA is an adaptive clustering algorithm developed for dynamic networks. KHOPCA provides a distributed and localized approach to group elements such as nodes in a network according to their distance from each other. KHOPCA operates proactively through a simple set of rules that defines clusters, which are optimal with respect to the applied distance function. KHOPCA's clustering process explicitly supports joining and leaving of nodes, which makes KHOPCA suitable for dynamic networks. However, it has been demonstrated that KHOPCA performs in static networks. Besides applications in ad hoc and wireless sensor networks, KHOPCA can be used in localization and navigation problems, networked swarming, real-time data clustering and analysis. KHOPCA operates proactively through a simple set of rules that defines clusters with variable k -hops. A set of local rules describes the state transition between nodes. A node's weight is determined only depending on the current state of its neighbors in communication range.
Each node of the network is continuously involved in this process. As result, k - hop clusters are maintained in static as well as dynamic networks. KHOPCA does not require any predetermined initial configuration. Therefore, a node can choose any weight. However, the choice of the initial configuration does influence the convergence time; the prerequisites in the start configuration for the application of the rules are the following. N is the network with links, whereby each node has a weight w; each node n in N node stores the same positive values M I N and M A X, with M I N < M A X. A node n with weight w n = M A X is called cluster center. K is M A X - M I N and represents the maximum size a cluster can have from the most outer node to the cluster center; the cluster diameter is therefore k ⋅ 2 − 1. N returns the direct neighbors of node n. W is the set of weights of all nodes of N; the following rules describe the state transition for a node n with weight w n. These rules have to be executed on each node in the order described here.
The first rule has the function of constructing an order within the cluster. This happens through a node n detects the direct neighbor with the highest weight w, higher than the node's own weight w n. If such a direct neighbor is detected, the node n changes its own weight to be the weight of the highest weight within the neighborhood subtracted by 1. Applied iteratively, this process creates a top-to-down hierarchical cluster structure; the second rule deals with the situation where nodes in a neighborhood are on the minimum weight level. This situation can happen if, for instance, the initial configuration assigns the minimum weight to all nodes. If there is a neighborhood with all nodes having the minimum weight level, the node n declares itself as cluster center. If coincidently all nodes declare themselves as cluster centers, the conflict situation will be resolved by one of the other rules; the third rule describes situations where nodes with leveraged weight values, which are not cluster centers, attract surrounding nodes with lower weights.
This behavior can lead to fragmented clusters without a cluster center. In order to avoid fragmented clusters, the node with higher weight value is supposed to successively decrease its own weight with the objective to correct the fragmentation by allowing the other nodes to reconfigure according to the rules; the fourth rule resolves the situation where two cluster centers connect in 1-hop neighborhood and need to decide which cluster center should continue its role as cluster center. Given any specific criterion, one cluster center remains while the other cluster center is hierarchized in 1-hop neighborhood to that new cluster center; the choice of the specific criterion to resolve the decision-making depends on the used application scenario and on the available information. An exemplary sequence of state transitions applying the described four rules is illustrated below. KHOPCA acting in a dynamic 2-D simulation; the geometry is based on a geometric random graph. KHOPCA works in a dynamic 3-D environment.
The cluster connections are illustrated with bold lines. It has been demonstrated that KHOPCA terminates after a finite number of state transitions in static networks
Cold House is the fifth studio album by Hood. It was released on Domino Recording Company on 12 November 2001. Three tracks feature vocal contributions from Doseone and Why?, two-thirds of Clouddead. "You Show No Emotion at All" was released as a single from the album. At Metacritic, which assigns a weighted average score out of 100 to reviews from mainstream critics, the album received an average score of 87, based on 14 reviews, indicating "universal acclaim". Bradley Torreano of AllMusic described the album as "the next step toward the icy-cold future of alternative rock that Kid A forecasted". Philip Sherburne of Cleveland Scene called it "not only one of the most melancholy records of late, but a triumph of musical gene splicing, drawing together folk-flavored indie rock and the skittering beats of experimental electronica". Nathan Rooney of Pitchfork commented that "with Cold House, Hood seem to have stumbled into a sound all their own". Credits adapted from liner notes. Hood – music, post production, mixing Doseone – additional vocals, additional lyrics Why?
– additional vocals, additional lyrics Matthew Robson – additional drums Sarah McWatt – flute Andrew Staveley – trumpet Richard Formby – acoustic guitar, recording Choque Hosein – post production, mixing C. Adams – photography S. Royle – photography M. Cooper – sleeve design Cold House at Discogs Cold House at MusicBrainz
Maghreb Arab Press, is a Moroccan official news agency. The agency was founded on 31 May 1959 by Mehdi Bennouna in Rabat, it was nationalized in 1973. The director is Mohammed Khabbachi, headquartered in Rabat; the agency has official international services in five languages: Arabic, French and Tamazight. In 1960, the agency launched the African bulletin, it launched the Middle East service as well as the English service on 14 October 1975. Abdeljalil Fenjiro served as the director of the agency for more than twenty years until 16 November 1999 when Mohammed Yassine Mansouri replaced him in the post. In addition to providing news, the agency cofounded a national charter for the improvement of women’s images in the media with the ministry of social development and family and solidarity and the ministry of communication and culture in 2005; the agency has international offices in Abidjan, Bonn, Cairo, Geneva, Lisbon, Mexico City, Moscow, New Delhi, Paris, Rome and Washington. In addition, the agency has a large network in Asia.
The agency has national and regional offices in Agadir, Tangier, Fes, Layoune, Nador and Settat. The agency has correspondents in Abu Dhabi, Addis Ababa, Baghdad, Buenos Aires, Caracas, Damascus, El Jadida, Essaouira, Málaga, Mexico City, New Delhi, Pretoria, Tan-Tan, Tehran and Tripoli. Media of Morocco Official website
The Batteroo Boost is a line of scam products designed by Batteroo, Inc., falsely claimed to extend battery life by using a miniature boost voltage regulator. It was crowd-funded on Indiegogo; the company is based in Sunnyvale and founded by Bob Roohparvar and Frankie Roohparvar. A patent was filed by Fariborz Frankie Roohparvar with the priority date of September 20, 2010; the Batteroo Boost is claimed to extend the life of both used batteries. Batteroo has said that Batterisers are non-toxic and coated with a non-conductive coating to prevent any risk of shorts, they claim that a built-in reverse polarity protection mechanism eliminates dangers of inserting a battery into the Batteriser the wrong way. Crowdfunding completed between July 2015 produced $394,459, while the initial goal was $30,000. During the crowdfunding Batteroo announced they would be producing Batteroo Boost for AA, AAA, C, D batteries. Batteroo received VC funding of at least $5,000,000 from SK Telecom and Forte Ventures, in July 2014.
In August 2017, Batteroo launched a second crowd-funding campaign for a line of products for rechargeable batteries called Batteroo Reboost. In this crowd-funding campaign, they raised an additional $42,311; the shipping date for the product has been delayed for various reasons, but photos from the manufacturing process have been made available. As of early May 2016, the company was months overdue to ship to its Indiegogo backers, with some backers accusing Batteroo of running a scam. In the test by UL, a Garmin Golf GPS using Batteroo Boost was shown to have a lifespan of 10 hours and 12 minutes, in contrast to the 1 hour and 43 minutes of operating time without a Batteroo Boost; however the test was independently duplicated by TechnologyCatalyst to demonstrate that Garmin runs OK for over 17 hours on ordinary AA batteries, the report by UL was based on the sloppy test design. PC World's Jon Phillips demoed the Batteroo Boost operating on batteries in an Apple Inc. keyboard that he claimed were dead.
The'power meter' on the computer's screen showed the batteries as being dead without the Batteroo Boost, as having 100% power remaining with the Batteriser. Brian Dipert at EDN called into question the strain on the keyboard being caused by the'power meter,' and suggested that this test might not be representative of the Batteroo Boost's effectiveness in other applications; the Batteriser's efficacy in consumer applications has been challenged by a number of sources. A source of contention surrounds the brownout voltages for battery-operated devices. David L. Jones in his EEVBlog used a programmable power supply to determine that nearly all devices function in some respect until around 1.1V, or 80% of a battery's life due to the non-linear discharge curve of batteries. This stands in contrast to Batteroo's claim that using a Batteroo Boost will unlock the remaining 80% of power. Batteroo has claimed that the bench power supply test is flawed, because of the definitions used by Jones to define device functionality, the inherent differences between power supplies and batteries on the basis of Equivalent Series Resistance, different measures of voltage.
A further source of controversy is that the Batteroo Boost will shorten battery life in devices that undergo only intermittent use, because the Batteriser is always drawing power to boost the voltage when the device is idle. The first devices were delivered at the end of 2016. Frank Buss, on, Dave Jones, concluded in a first test that the device is not efficient when used in an electronically-unregulated toy train. David Jones on EEV Blog raised the concern that because the Batteroo Boost acts as a ground for the boost converter circuit, any nick in the insulation might result in a direct short, a fire. In the wake of Dave Jones' video about Batteriser, his video was disliked by an abnormally large amount Youtube accounts with IP addresses located in Vietnam. Other bloggers with Batteroo Boost-related videos experienced similar activity from addresses in Vietnam; the bloggers involved suspect that either a click farm in Vietnam was engaged to disrepute those attacking Batteroo Boost, or a single computer with many fake or stolen YouTube accounts utilized proxied IP addresses to cover its tracks.
On July 25, 2016, Energizer Brands LLC filed a federal lawsuit, saying that the name Batteriser violates a variety of its trademarks on the word "energizer". The lawsuit said that "... despite advertisements and pre-orders, Batteroo has not delivered a single Batteriser product to a consumer in the ordinary course of business." According to the lawsuit, the Trademark Trial and Appeal Board ruled June 27 in favor of Energizer and refused registration of the Batteriser and Batterise marks. According to Energizer, Batteroo tried to falsely implicate Energizer in the product delays of Batteriser. Undervoltage-lockout Joule thief