Daily Archives: March 22, 2018

Thursday, March 22nd: From the Gospel according to John (Jn 8: 51-59)


Thursday, March 22nd
From the Gospel according to John (Jn 8: 51-59)

At that time, Jesus told the Jews: “Truly, truly, I say to you,” If anyone observes my word, he will not see death for ever. ” The Jews then said to him, “Now we know you are possessed. Abraham is dead, as well as the prophets, and you say: “If anyone observes my word, he will not experience death for ever”. Are you bigger than our father Abraham, who died? Even the prophets are dead. Who do you think you are? ” Jesus answered: “If I glorify myself, my glory would be nothing. Who glorifies me is my Father, of whom you say: “He is our God!”, And you do not know him. I know him, instead. If I said that I do not know him, I would be like you: a liar. But I know him and I keep his word. Abraham your father rejoiced in the hope of seeing my day; he saw it and was full of joy “. Then the Jews said to him, “Are you not yet fifty years old and have you seen Abraham?” Jesus answered them: “Truly, truly, I say to you, before Abraham was, I Am.” Then they gathered stones to throw them against him; but Jesus hid himself and went out of the temple.
Word of the Lord

As often happens, the Lord Jesus speaks to us of one thing and we misunderstand and understand another. He talks to us about Paradise and we think that heaven is this life. We do not understand and we also give him the possessed, we are ready to throw the stones … and thank goodness that Jesus speaks of Paradise! “But I know him and I keep his Word” … Do we know and observe the Word? The age of the registry does not matter but that the heart, the mind, the words, the works have value … From what would you say that Jesus is a child of God? And who sees you from outside can say that you are a Christian, a child of God? Let’s leave the stones to be thrown against those we do not understand and let’s join and make a sincere step towards Him. Good Lent with Jesus.

Today’s Holiday: Pakistan Day


Today’s Holiday:
Pakistan Day

This national holiday is also known as Republic Day, and it is the anniversary of a 1940 resolution calling for a Muslim country for Muslim Indians. On the same day in 1956, Pakistan became an Islamic republic within the British Commonwealth. Pakistan Day is celebrated with parades and fairs. More…: https://play.google.com/store/apps/details?id=com.tfd.mobile.TfdSearch

Today’s Birthday: Emmy Noether (1882)


Today’s Birthday:
Emmy Noether (1882)

After Noether died, Albert Einstein wrote in a letter to The New York Times that she was “the most significant creative mathematical genius thus far produced since the higher education of women began.” Her contributions to abstract algebra and theoretical physics were groundbreaking, evidenced by the inclusion of her name in several concepts, including “Noether’s Theorem,” “Noetherian module,” “Noetherian ring,” and “Noetherian induction.” Where were her ashes buried? More..: https://play.google.com/store/apps/details?id=com.tfd.mobile.TfdSearch

This Day in History: First Passenger Elevator Installed (1857)


This Day in History:
First Passenger Elevator Installed (1857)

Elevators—in one form or another—have been used to make human life easier since ancient times. They were once just simple hoists but are now incredibly complex mechanical systems. One of the most significant advances came in 1853 with the invention of a safety device to prevent elevators from plummeting in the event of cable failure. Four years later, the first passenger elevator was installed, paving the way for taller buildings and the urban geography of modern cities. Where was it installed? More…: https://play.google.com/store/apps/details?id=com.tfd.mobile.TfdSearch

Quote of the Day: W. Somerset Maugham


Quote of the Day:
W. Somerset Maugham

There is nothing so degrading as the constant anxiety about one’s means of livelihood. More…: https://play.google.com/store/apps/details?id=com.tfd.mobile.TfdSearch

Article of the Day: Nepenthes Rajah: The Plant with an Appetite


Article of the Day:
Nepenthes Rajah: The Plant with an Appetite

Nepenthes rajah is a carnivorous pitcher plant species endemic to Borneo. Its most distinctive features—giant urn-shaped traps, called pitchers, containing water and digestive fluid—allow it to catch and digest insects and even small vertebrates and mammals. These pitchers also host a number of organisms with which it is thought to form symbiotic relationships. Called nepenthebionts, many of these organisms are so specialized that they cannot survive anywhere else. What are some examples? More…: https://play.google.com/store/apps/details?id=com.tfd.mobile.TfdSearch

Idiom of the Day: make the welkin ring


Idiom of the Day:
make the welkin ring

To make a very loud, reverberating sound or noise. (“Welkin” is an archaic or literary word for the skies or the heavens, only used in contemporary English as a part of this phrase.) Watch the video…: https://play.google.com/store/apps/details?id=com.tfd.mobile.TfdSearch

Word of the Day: cold-blooded


Word of the Day:
cold-blooded

Definition: (adjective) Without compunction or human feeling.
Synonyms: inhuman, insensate, cold
Usage: These callous, cold-blooded killers butchered six people.: https://play.google.com/store/apps/details?id=com.tfd.mobile.TfdSearch

Watch “Rhapsody In Blue: Gershwin” on YouTube


Rhapsody in Blue is a 1924 musical composition by American composer George Gershwin for solo piano and jazz band, which combines elements of classical music with jazz-influenced effects.

For other uses, see Rhapsody in Blue (disambiguation).
Quick facts: Genre, Composed …
Rhapsody in Blue
by George Gershwin

Cover of the original sheet music of the two-piano version of Rhapsody in Blue
Genre Orchestral jazz, solo piano
Composed 1924
Close
Commissioned by bandleader Paul Whiteman, the composition was orchestrated by Ferde Grofé several times, including the original 1924 scoring, “theater orchestra” setting published in 1926, and the symphony orchestra scoring published in 1942, though completed earlier. The piece received its premiere in the concert, An Experiment in Modern Music, which was held on February 12, 1924, in Aeolian Hall, New York, by Whiteman and his band with Gershwin playing the piano.

The editors of the Cambridge Music Handbooks opined that “The Rhapsody in Blue (1924) established Gershwin’s reputation as a serious composer and has since become one of the most popular of all American concert works.”

History
Commission
After the success of an experimental classical-jazz concert held with French-Canadian singer Eva Gauthier at Aeolian Hall (New York) on November 1, 1923, band leader Paul Whiteman decided to attempt something more ambitious. He asked Gershwin to contribute a concerto-like piece for an all-jazz concert he would give in Aeolian Hall in February 1924. Whiteman became interested in featuring such an extended composition by Gershwin in the concert after he had collaborated with Gershwin in the Scandals of 1922, impressed by the original performance of the one-act opera Blue Monday, which was nevertheless a commercial failure. Gershwin declined on the grounds that, as there would certainly be need for revisions to the score, he would not have enough time to compose the new piece.

Late on the evening of January 3, at the Ambassador Billiard Parlor at Broadway and 52nd Street in Manhattan, while George Gershwin and Buddy De Sylva were playing billiards, his brother Ira Gershwin was reading the January 4 edition of the New York Tribune. An article entitled “What Is American Music?” about the Whiteman concert caught his attention, in which the final paragraph claimed that “George Gershwin is at work on a jazz concerto, Irving Berlin is writing a syncopated tone poem, and Victor Herbert is working on an American suite.”

In a phone call to Whiteman next morning, Gershwin was told that Whiteman’s rival Vincent Lopez was planning to steal the idea of his experimental concert and there was no time to lose. Gershwin was finally persuaded to compose the piece.

Composition
Since there were only five weeks left, Gershwin hastily set about composing a piece, and on the train journey to Boston, the ideas of Rhapsody in Blue came to his mind. He told his first biographer Isaac Goldberg in 1931:

It was on the train, with its steely rhythms, its rattle-ty bang, that is so often so stimulating to a composer – I frequently hear music in the very heart of the noise…. And there I suddenly heard, and even saw on paper – the complete construction of the Rhapsody, from beginning to end. No new themes came to me, but I worked on the thematic material already in my mind and tried to conceive the composition as a whole. I heard it as a sort of musical kaleidoscope of America, of our vast melting pot, of our unduplicated national pep, of our metropolitan madness. By the time I reached Boston I had a definite plot of the piece, as distinguished from its actual substance.

Gershwin began his work on January 7 as dated on the original manuscript for two pianos. The piece was titled “American Rhapsody” during composition. The title Rhapsody in Blue was suggested by Ira Gershwin after his visit to a gallery exhibition of James McNeill Whistler paintings, which bear titles such as Nocturne in Black and Gold: The Falling Rocket and Arrangement in Grey and Black (better known as Whistler’s Mother). After a few weeks, Gershwin finished his composition and passed the score to Whiteman’s arranger Ferde Grofé, who orchestrated the piece, finishing it on February 4, only eight days before the premiere.

Premiere
Rhapsody in Blue premiered in an afternoon concert on Tuesday, February 12, 1924, held by Paul Whiteman and his band Palais Royal Orchestra, entitled An Experiment in Modern Music, which took place in Aeolian Hall in New York City. Many important and influential composers of the time such as John Philip Sousa and Sergei Rachmaninoff were present. The event has since become historic specifically because of its premiere of the Rhapsody.

The purpose of the experiment, as told by Whiteman in a pre-concert lecture in front of many classical music critics and highbrows, was “to be purely educational”. It would “at least provide a stepping stone which will make it very simple for the masses to understand, and therefore, enjoy symphony and opera”. The program was long, including 26 separate musical movements, divided into 2 parts and 11 sections, bearing titles such as “True form of jazz” and “Contrast: legitimate scoring vs. jazzing”. Gershwin’s latest composition was the second to last piece (before Elgar’s Pomp and Circumstance March No. 1). Many of the numbers sounded similar and the ventilation system in the concert hall was broken. People in the audience were losing their patience, until the clarinet glissando that opened Rhapsody in Blue was heard.

The Rhapsody was performed by Whiteman’s band, with an added section of string players, and George Gershwin on piano. Gershwin decided to keep his options open as to when Whiteman would bring in the orchestra and he did not write down one of the pages for solo piano, with only the words “Wait for nod” scrawled by Grofé on the band score. Gershwin improvised some of what he was playing, and he did not write out the piano part until after the performance, so it is unknown exactly how the original Rhapsody sounded.

The opening clarinet glissando came into being during rehearsal when; “… as a joke on Gershwin, [Ross] Gorman (Whiteman’s virtuoso clarinettist) played the opening measure with a noticeable glissando, adding what he considered a humorous touch to the passage. Reacting favourably to Gorman’s whimsy, Gershwin asked him to perform the opening measure that way at the concert and to add as much of a ‘wail’ as possible.”

Responses
By the end of 1927, Whiteman’s band had played the Rhapsody eighty-four times, and its recording sold a million copies. To get the whole piece onto two sides of a 12-inch record it had to be played at a faster speed than it would usually have in concert, which gave it a hurried feel and some rubato was lost. Whiteman later adopted the piece as his band’s theme song, and opened his radio programs with the slogan “Everything new but the Rhapsody in Blue.”

The piece received mixed reviews from mainstream critics. Olin Downes, reviewing the concert in The New York Times:

This composition shows extraordinary talent, as it shows a young composer with aims that go far beyond those of his ilk, struggling with a form of which he is far from being master…. In spite of all this, he has expressed himself in a significant and, on the whole, highly original form…. His first theme … is no mere dance-tune … it is an idea, or several ideas, correlated and combined in varying and contrasting rhythms that immediately intrigue the listener. The second theme is more after the manner of some of Mr. Gershwin’s colleagues. Tuttis are too long, cadenzas are too long, the peroration at the end loses a large measure of the wildness and magnificence it could easily have had if it were more broadly prepared, and, for all that, the audience was stirred and many a hardened concertgoer excited with the sensation of a new talent finding its voice…. There was tumultuous applause for Gershwin’s composition.
Another reviewer, Lawrence Gilman, a Richard Wagner specialist who later wrote a devastating review of Gershwin’s Porgy and Bess, commenting on the Rhapsody in the New York Tribune on February 13, 1924, said:

How trite, feeble and conventional the tunes are; how sentimental and vapid the harmonic treatment, under its disguise of fussy and futile counterpoint! … Weep over the lifelessness of the melody and harmony, so derivative, so stale, so inexpressive!
Some critics described the piece as formless, and claimed that Gershwin only glued his melodic segments together into one piece. Pitts Sanborn wrote that the music “runs off into empty passage-work and meaningless repetition”. In an article in Atlantic Monthly in 1955, Leonard Bernstein, who nevertheless admitted that he loved the piece, wrote:

The Rhapsody is not a composition at all. It’s a string of separate paragraphs stuck together. The themes are terrific, inspired, God-given. I don’t think there has been such an inspired melodist on this earth since Tchaikovsky. But if you want to speak of a composer, that’s another matter. Your Rhapsody in Blue is not a real composition in the sense that whatever happens in it must seem inevitable. You can cut parts of it without affecting the whole. You can remove any of these stuck-together sections and the piece still goes on as bravely as before. It can be a five-minute piece or a twelve-minute piece. And in fact, all these things are being done to it every day. And it’s still the Rhapsody in Blue.

Watch “George Gershwin – “An American in Paris”” on YouTube



An American in Paris is a jazz-influenced orchestral piece by the American composer George Gershwin, written in 1928. Inspired by the time Gershwin had spent in Paris, it evokes the sights and energy of the French capital in the 1920s and is one of his best-known compositions.

First recording of An American in Paris

First recording of An American in Paris

This article is about the 1928 George Gershwin music. For other uses, see An American in Paris (disambiguation).

Themes from An American in Paris
Gershwin composed An American in Paris on commission from the conductor Walter Damrosch. He scored the piece for the standard instruments of the symphony orchestra plus celesta, saxophones, and automobile horns. He brought back some Parisian taxi horns for the New York premiere of the composition, which took place on December 13, 1928, in Carnegie Hall, with Damrosch conducting the New York Philharmonic. Gershwin completed the orchestration on November 18, less than four weeks before the work’s premiere.

Gershwin collaborated on the original program notes with the critic and composer Deems Taylor, noting that: “My purpose here is to portray the impression of an American visitor in Paris as he strolls about the city and listens to various street noises and absorbs the French atmosphere.” When the tone poem moves into the blues, “our American friend … has succumbed to a spasm of homesickness.” But, “nostalgia is not a fatal disease.” The American visitor “once again is an alert spectator of Parisian life” and “the street noises and French atmosphere are triumphant.”

Background
Gershwin was attracted by Maurice Ravel’s unusual chords. Upon Gershwin’s request, Ravel accepted him as a student, and Gershwin went on his first trip to Paris in 1926 ready to study. After his initial student audition with Ravel turned into a sharing of musical theories, Ravel said he couldn’t teach him but he would send a letter referring him to Nadia Boulanger. While the studies were cut short, that 1926 trip resulted in the initial version of An American in Paris written as a ‘thank you note’ to Gershwin’s hosts, Robert and Mabel Shirmer. Gershwin called it “a rhapsodic ballet”; it is written freely and in a much more modern idiom than his prior works.

Gershwin strongly encouraged Ravel to come to the United States for a tour. To this end, upon his return to New York, Gershwin joined the efforts of Ravel’s friend Robert Schmitz, a pianist Ravel had met during the War, to urge Ravel to tour the U.S. Schmitz was the head of Pro Musica, promoting Franco-American musical relations, and was able to offer Ravel a $12,000 fee for the tour, an enticement Gershwin knew would be important to Ravel.

Gershwin greeted Ravel in New York in February 1928 at the start of Ravel’s U.S. Tour, and joined Ravel again later in the tour in Los Angeles. After a lunch together with Chaplin in Beverly Hills, Ravel was persuaded to perform an unscheduled ‘house concert’ in a friend’s music salon, performing among kindred spirits.

Ravel’s tour reignited Gershwin’s desire to return to Paris which he did in March 1928. Ravel’s high praise of Gershwin in an introductory letter to Boulanger caused Gershwin to seriously consider taking much more time to study abroad in Paris. Yet after playing for her, she told him she could not teach him. Nadia Boulanger gave Gershwin basically the same advice she gave all of her accomplished master students: “Don’t copy others; be yourself.” In this case, “Why try to be a second rate Ravel when you are already a first rate Gershwin?” This did not set Gershwin back, as his real intent abroad was to complete a new work based on Paris and perhaps a second rhapsody for piano and orchestra to follow his Rhapsody in Blue. Paris at this time hosted many expatriate writers, among them Ezra Pound, W. B. Yeats, Ernest Hemingway; and artist Pablo Picasso.

Composition
Gershwin based An American in Paris on a melodic fragment called “Very Parisienne”, written in 1926 on his first visit to Paris as a gift to his hosts, Robert and Mabel Schirmer. He described the piece as a “rhapsodic ballet” because it was written freely and is more modern than his previous works. Gershwin explained in Musical America, “My purpose here is to portray the impressions of an American visitor in Paris as he strolls about the city, listens to the various street noises, and absorbs the French atmosphere.”

The piece is structured into five sections, which culminate in a loose ABA format. Gershwin’s first A episode introduces the two main “walking” themes in the “Allegretto grazioso” and develops a third theme in the “Subito con brio”. The style of this A section is written in the typical French style of composers Claude Debussy and Les Six. This A section featured duple meter, singsong rhythms, and diatonic melodies with the sounds of oboe, English horn, and taxi horns. The B section’s “Andante ma con ritmo deciso” introduces the American Blues and spasms of homesickness. The “Allegro” that follows continues to express homesickness in a faster twelve-bar blues. In the B section, Gershwin uses common time, syncopated rhythms, and bluesy melodies with the sounds of trumpet, saxophone, and snare drum. “Moderato con grazia” is the last A section that returns to the themes set in A. After recapitulating the “walking” themes, Gershwin overlays the slow blues theme from section B in the final “Grandioso.”

Instrumentation
An American in Paris is scored for 3 flutes (3rd doubling on piccolo), 2 oboes, English horn, 2 clarinets in B-flat, bass clarinet in B-flat, 2 bassoons, 4 horns in F, 3 trumpets in B-flat, 3 trombones, tuba, timpani, snare drum, bass drum, triangle, wood block, cymbals, low and high tom-toms, xylophone, glockenspiel, celesta, 4 taxi horns labeled as A, B, C and D with circles around them, alto saxophone/soprano saxophone, tenor saxophone/soprano saxophone/alto saxophone, baritone saxophone/soprano saxophone/alto saxophone, and strings. Although most modern audiences have heard the taxi horns using the notes A, B, C and D, it has recently come to light that Gershwin’s intention was to have used the notes A♭4, B♭4, D5, and A4. It is likely that in labeling the taxi horns as A, B, C and D with circles, he may have been referring to the use of the four different horns and not the notes that they played.

The revised edition by F. Campbell-Watson calls for three saxophones, alto, tenor and baritone. In this arrangement the soprano and alto doublings have been rewritten to avoid changing instruments. In 2000 Gershwin specialist Jack Gibbons made his own restoration of the original orchestration of An American in Paris, working directly from Gershwin’s original manuscript, including the restoration of Gershwin’s soprano saxophone parts removed in F. Campbell-Watson’s revision; Gibbons’ restored orchestration of An American in Paris was performed at London’s Queen Elizabeth Hall on July 9, 2000 by the City of Oxford Orchestra conducted by Levon Parikian

William Daly arranged the score for piano solo which was published by New World Music in 1929.

Response
Gershwin did not particularly like Walter Damrosch’s interpretation at the world premiere of An American in Paris. He stated that Damrosch’s sluggish, dragging tempo caused him to walk out of the hall during a matinee performance of this work. The audience, according to Edward Cushing, responded with “a demonstration of enthusiasm impressively genuine in contrast to the conventional applause which new music, good and bad, ordinarily arouses.” Critics believed that An American in Paris was better crafted than his lukewarm Concerto in F. Some did not think it belonged in a program with classical composers César Franck, Richard Wagner, or Guillaume Lekeu on its premiere. Gershwin responded to the critics, “It’s not a Beethoven Symphony, you know… It’s a humorous piece, nothing solemn about it. It’s not intended to draw tears. If it pleases symphony audiences as a light, jolly piece, a series of impressions musically expressed, it succeeds.”

Preservation status
On September 22, 2013, it was announced that a musicological critical edition of the full orchestral score will be eventually released. The Gershwin family, working in conjunction with the Library of Congress and the University of Michigan, are working to make scores available to the public that represent Gershwin’s true intent. It is unknown if the critical score will include the four minutes of material Gershwin later deleted from the work (such as the restatement of the blues theme after the faster 12 bar blues section), or if the score will document changes in the orchestration during Gershwin’s composition process.

The score to An American in Paris is currently scheduled to be issued first in a series of scores to be released. The entire project may take 30 to 40 years to complete, but An American in Paris will be an early volume in the series.

Two urtext editions of the work have been published by the German publisher B-Note Music in 2015. The changes made by Campbell-Watson have been withdrawn in both editions. In the extended urtext, 120 bars of music have been re-integrated. Conductor Walter Damrosch had cut them shortly before the first performance.

Recordings

First recording
An American in Paris has been frequently recorded. The first recording was made for RCA Victor in 1929 with Nathaniel Shilkret conducting the RCA Victor Symphony Orchestra, drawn from members of the Philadelphia Orchestra. Gershwin was on hand to “supervise” the recording; however, Shilkret was reported to be in charge and eventually asked the composer to leave the recording studio. Then, a little later, Shilkret discovered there was no one to play the brief celesta solo during the slow section, so he hastily asked Gershwin if he might play the solo; Gershwin said he could and so he briefly participated in the actual recording. This recording is believed to use the taxi horns in the way that Gershwin had intended using the notes A flat, B flat, a higher C and a lower D. The radio broadcast of the September 8, 1937 Hollywood Bowl George Gershwin Memorial Concert, in which An American in Paris, also conducted by Shilkret, was second on the program, was recorded and was released in 1998 in a two-CD set. Arthur Fiedler and the Boston Pops Orchestra recorded the work for RCA Victor, including one of the first stereo recordings of the music. In 1945, Arturo Toscanini conducting the NBC Symphony Orchestra recorded the piece for RCA Victor, one of the few commercial recordings Toscanini made of music by an American composer. The Seattle Symphony also recorded a version in 1990 of Gershwin’s original score, before he made numerous edits resulting in the score as we hear it today. Harry James released a version of the blues section on his 1953 album One Night Stand, recorded live at the Aragon Ballroom in Chicago (Columbia GL 522 and CL 522).

Use in film
In 1951, Metro-Goldwyn-Mayer released the musical film An American in Paris, featuring Gene Kelly and Leslie Caron. Winning the 1951 Best Picture Oscar and numerous other awards, the film was directed by Vincente Minnelli, featured many tunes of Gershwin, and concluded with an extensive, elaborate dance sequence built around the An American in Paris symphonic poem (arranged for the film by Johnny Green), costing $500,000.

Watch “”Our House”- Crosby Stills and Nash – Lyrics (HD)” on YouTube


Watch “Candy Dulfer Lily Was Here” on YouTube


20 ani de la una dintre cele mai mari TRĂDĂRI din istoria României: Tratatul cu Ucraina. Cum au fost cedate teritorii ale patriei-mamă pentru a intra în NATO – Cu Ochii pe Tine


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Home / Exclusiv / 20 ani de la una dintre cele mai mari TRĂDĂRI din istoria României: Tratatul cu Ucraina. Cum au fost cedate teritorii ale patriei-mamă pentru a intra în NATO

20 ani de la una dintre cele mai mari TRĂDĂRI din istoria României: Tratatul cu Ucraina. Cum au fost cedate teritorii ale patriei-mamă pentru a intra în NATO
28 ianuarie 2018 Exclusiv 2,555 Vizualizari

În urmă cu 20 ani, pe 3 mai 1997, are loc la Kiev semnarea tratatului cu privire la „relațiile de bună vecinatate și cooperare dintre România și Ucraina”, de către miniștrii de externe ai celor două țări. Au urmat apoi cei doi președinți, care au semnat tratatul la Neptun la 2 iunie 1997, iar la 14 iulie 1997 a apărut Legea 129, de ratificare a acestui tratat.

La data votării acestui act, președintele Senatului era Petre Roman, ministrul de Externe – Adrian Severin, președinte al României – Emil Constantinescu.

Prin acest tratat, România recunoștea dreptul de succesiune al Republicii Ucraina asupra unor teritorii românești integrate anterior prin forță în fosta Uniune Sovietică.

Semnarea tratatului a fost una dintre condițiile puse României pentru a fi acceptată în NATO.

„În 1997, pentru prima dată de la constituirea României Mari, un guvern român a cedat părți ale teritoriului național fără a fi amenințat cu agresiunea (ca în 1940), sau fără a se gasi sub presiunea ocupantului străin (ca în 1944 și 1947). Opinia publică românească nu a perceput dimensiunea dramatică a evenimentului”, scrie academicianul Florin Constantiniu în prefața volumului Istoria unei trădări naționale: Tratatul cu Ucraina, de Tiberiu Tudor, carte scrisă în perioada iulie 1997 – iulie 1999, imediat după semnarea tratatului cu Ucraina.

Iată un fragment din carte. Sursa: Ziaristi Online. Autorul îl acuză pe Silviu Brucan că a stat în spatele deciziei de a încheia tratatul, fiind cel care i-a convins pe Adrian Severin și Petre Roman să semneze.

„La sfârșitul lunii ianuarie 1997 are loc reuniunea de la Dovos, pe teme de politică externă ale țărilor europene participante. În cadrul acelei reuniuni, președintele Emil Constatinescu „își permite să avanseze disponibilitatea României de a ceda de jure Ucrainei Teitoriile Ocupate, fără să aibă niciun mandat în acest sens, fără să consulte Parlamentul sau poporul român, fără să-și pună problema că un asemenea sacrificiu privește întregul neam românesc”.

Despre aceste „discuții” lansate atunci, presa românească, care încă era haotică în frunte cu nou apăruta televiziune PRO TV, nu s-a pronunțat. Practic, ratificarea Tratatului cu Ucraina s-a produs într-un fel de taină politică, pe care acum actanții de atunci nu o mai recunosc. Iar actanții, cei care au „pus în operă” acest tratat de trădare națională, Petre Roman și Adrian Severin, sunt vii. Încă se agită în politica românească. Nimeni nu a venit să spună că, de fapt, la îndemnul lui Silviu Brucan, „ideologul”, prin intermediul PRO TV, au acționat cei doi oameni de stat, Petre Roman și Adrian Severin. Iar președintele Emil Constantinescu a semnat tratatul ca pe un document de rând, măsurat de o iresponsabilitate pe care astăzi nu o recunoaște”.

În Ucraina sunt înregistrați oficial peste 400.000 de cetățeni de etnie română. Aproape 128.000 locuiesc în regiunea Odessa, în Basarabia de Sud.

Când își poate înceta valabilitatea acest tratat

Conform Articolului 27, „Prezentul Tratat se încheie pe termen de 10 ani. Valabilitatea lui se prelungește automat pe perioade de câte cinci ani, dacă nici una din părțile contractante nu va încunoștiința în scris cealaltă parte despre intenția de a-l denunța, cu cel puțin un an înaintea expirări perioadei de valabilitate respective”.
Deși fostul președinte Traian Băsescu a criticat vehement Tratatul în fața camerelor televiziunilor, pe parcursul mandatului său a avut de două ori ocazia să îl denunțe, potrivit prevederilor Tratatului, dar nu a făcut-o.

Sursa

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Fiica unui milionar in domeniul distileriei alcoolului, deputata PSD din Satu Mare, secretara a Camerei Deputatilor, Ioana Bran, propusa Ministru al Tineretului si Sporturilor
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Watch “Erik Satie – Once Upon A Time In Paris” on YouTube


Today’s Holiday: World Day for Water


Today’s Holiday:
World Day for Water

In 1992 the United Nations declared March 22 World Day for Water. Programs associated with the day draw attention to the ways in which proper water resource management contributes to a nation’s economic and social vitality. More…: https://play.google.com/store/apps/details?id=com.tfd.mobile.TfdSearch

Today’s Birthday: Adam Sedgwick (1785)


Today’s Birthday:
Adam Sedgwick (1785)

One of the founders of modern geology, Sedgwick coined the term Cambrian to describe the earliest geologic period of the Paleozoic era, and, in his most important work, he and geologist R. I. Murchison named the Devonian Period—after the rock formations they studied at Devonshire. Sedgwick was outspoken in asserting the consistency between his scientific findings and his religious beliefs. How, then, did he respond when his former student Charles Darwin published Origin of Species? More…: https://play.google.com/store/apps/details?id=com.tfd.mobile.TfdSearch

This Day in History: Sacred, Centuries-Old Emerald Buddha Gets New Home (1784)


This Day in History:
Sacred, Centuries-Old Emerald Buddha Gets New Home (1784)

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Quote of the Day: Jerome K. Jerome


Quote of the Day:
Jerome K. Jerome

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Article of the Day: Zebroids: Zorses, Zonies, and Zedonks


Article of the Day:
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Idiom of the Day: miss the cut


Idiom of the Day:
miss the cut

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Word of the Day: outwit


Word of the Day:
outwit

Definition: (verb) To get the better of by cunning or ingenuity.
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William Randolph Hearst Memorial State Beach – Wikipedia


https://en.wikipedia.org/wiki/William_Randolph_Hearst_Memorial_State_Beach

William Randolph Hearst Memorial State Beach

Pier, W.R. Hearst State Beach, San Simeon, Calif.

Pier, W.R. Hearst State Beach, San Simeon, Calif.

Pier at Hearst State Beach
William Randolph Hearst Memorial State Beach is located near the historic town of San Simeon along California State Route 1, in San Luis Obispo County, California, United States. It is named for newspaper magnate William Randolph Hearst (1863–1951), whose family is closely associated with the area.

History Edit
William Randolph Hearst memorial State Beach is located in northern San Simeon, California directly below Historic Hearst Castle in San Luis Obispo county. William Randolph Hearst[1] State Beach or as it is locally known “The Cove” was once home to the Hearst Family newspaper empire, and was the hub of Trade and shipping in the area. Before the 1800s the land was known to be inhabited by the Chumash.[2] However the known written history of this beach begins way back in the mid-1830s when mission San Miguel was built, and by the early 1850s a small Portuguese whaling village had been built on the peninsula jetting out into the sea. Over the course of ten years, the small village managed to hunt down some three hundred and seventy whales though records of what type of whales was not kept it is assumed the majority of the whales were gray and humpbacks as these are the whales that are commonly spotted in the area. This village was short lived, because only ten years after it was built a severe drought caused the town to move to find fresh water.[3] George Hearst Bought nearly fifty thousand Acres establishing the ground work for Williams Empire. The Hearst Family owned all the land as far as the eye could see from their castle until the early 1950s when the family donated a huge section of land to the state and sold miles of shore line to be used for public use. If you visit the beach today the pier George Hearst build in the 1800s no longer exists, but a new on was built in the 1900s just a few hundred yards down the beach that now stands in its place. now the beach is a California state beach.[4]

The Cove
Activities Edit
William Randolph Hearst memorial State Beach is a quiet place with an abundance of wildlife and nature that can be easily viewed. Hearst Memorial State Beach gives visitors the opportunity to hike, swim, fish and beachcomb. A popular beach spot, this protected cove also offers visitors pier fishing as well as kayak fishing, but there is no large boat launch from the beach. Fishing licenses are not required when fishing from the pier but limits are enforced. The beach has a variety of outdoor activities including, kayaking, kayak surfing, paddle boarding, slack lining, hiking, fishing, and swimming. though kayak surfing is becoming more popular along the beach the water is mostly shore break and therefore it is difficult to surf on a normal surfboard. Located on the beach is a small kayak shop, Sea For Yourself Kayak Outfitter, shop which provides kayak, paddle board, bike, and other beach gear rentals. The most popular is the kayak tour, nearly every day around ten a group of people can be seen launching through the waves and embarking on a two and a half hour tour led by local business owner, Cubby, who has spent nearly ten years exploring and researching the cove and its history. The beach has more than initially meets the eye. Sights Include caves underground, beaches, arches, and an abundance of wildlife. different types of wildlife that can be seen in the cove over a year include but are not limited too, Gray whales, Humpback Whales, Bottle nose dolphins, sea lions, harbor seals, elephant seals, otters, and northern fur seals. fishing from both the pier and by boat is also popular and common fish that are targeted here include but are not limited too rock fish including Ling cod, cabezon, vermilion rock fish, and gopher cod. Other fishes include halibut, thresher sharks, smelt, surf perch, and the occasional sting ray. There is also a peninsula that jets out into the ocean which is still Hearst property today, they do allow visitors to hike the path all the way out to the ocean. Just above the beach in the upper parking lot, there is a discovery center which provides information about the history and the local wildlife. Picnic tables, barbecue grills and restrooms are available.This day use area offers 24 picnic sites, 150 parking spaces, restrooms, water faucets, barbecue grill stands and easy beach access. Recreational activities include picnicking, swimming, fishing, boating, kayaking and sunbathing. including the kayak and boogie board concession in operation with equipment for rent everyday from ten till four thirty.[5] The beach is day use only there is no camping or bonfires are allowed, and the gates will be closed just after the sun down.

The Beach today Edit
Today William Randolph Hearst Memorial State Beach is a quiet beach that has an abundance of wildlife and nature that can be easily viewed. On any given day you can expect to see people kayaking or paddle boarding on the calm waters of the cove, or fishing the kelp beds. the beach is divided into two sections from the parking lot down to the water is all state owned and maintained beach, but the other half of the beach all the way to the peninsula is private property still owned by the Hearst family today. although it is private property the Hearst Family still allows anyone to come and enjoy the beach. The mission is still standing today along with the Hearst warehouse, and Sebastian which is now a small grill serving all grass-fed Hearst beef, but used to serve as a small general store in the 1800s. There are also two newer buildings on a small kayak rental shop, and the other a small nature and historic museum or discovery center. another common thing to do at the beach is to hike the point. San Simeon point which is still Hearst property today is covered in trees, and has small trails that go out along its edges to its point where on a clear day you can see the Piedras Blancas Lighthouse tower which was built in the 1870s and is still in operation today[6]

Climate Edit
San Simeon has a mild climate, but fluctuates day to day. During the summer the temperatures could be in the nineties, or as low as the fifties on any given day. During the winter the weather is usually mild with temperature hovering between the low forties and high sixties. On average San Simeon sees only around twenty inches of rain a year. Most days start with a layer of fog that burns off by mid morning.[7] once the fog has burned off the historic Hearst castle can be see on top of the water.

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