World’s Youngest Male Professor: Nathan Thomas Breaks 306-Year Record at Just 18! Reported by Mustapha Omolabake Omowumi, Managing Editor | Sele Media Malawi At an age when most teenagers are preparing for university entrance examinations or adjusting to campus life, 18-year-old American engineer Nathan Thomas has already secured his place in history. Thomas has become the world’s youngest male…

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#MausamHaiPyaar #ModernLoveMumbai #PinkyPoonawala #Nathan Thomas

#MausamHaiPyaar #ModernLoveMumbai

This is dedicated to a person that meant a lot to me.

Maybe you don’t want to talk to me. So I’d like to at least explain in an open letter.

Even though I wanted to show you I cared, I’ve made many mistakes. I’ve learned from them. I don’t want it to be too late – we are both only human, we’ve both made mistakes. Everything you said you’ve done wrong, I already forgave you for a long time ago, and I still love you as my best friend. We’ve had a closeness lasting years and the last rough patch we had isn’t worth throwing away something like that.

I’ve wanted to support you through everything in the years to come. Your words mean a lot to me and I’m sorry if it ever seemed like they didn’t. They always did. I always wanted to believe you, and I admit that some days it was harder to be reassured because I’d have other things going on.

That aside, I want to support your writing ambitions, your filming. I wanted to help you through the problems you encountered, just like you were there for me in the last month during one of the scariest times in my life, and I appreciated that more than anything.

You know me well enough to know that I wasn’t out to hurt you. I don’t try to insult you or make you feel like a bad person because I wouldn’t want to do something to consciously hurt you – and you’re not a bad person. At all. I protected you from other people who I worried was looking for you.

One of my worst transgressions was upsetting you the way I did. Although I never intended to hurt you, I realise I still did that night, and I acknowledge that I’ve committed my most regrettable action yet.

Had I gotten the chance to relive that night again, I would have simply given you some space for a while. Things were hectic. It was not the best time and I was not in my right mind. I know you wanted to try, and I did and still do, but I never expressed that properly. I never said I wanted to end things that way. I’d lost hope for a moment, but I didn’t know it was going to result in this.

I’ve learned my lesson, and if you were to give me a chance, I would never do it again, I swear on the Bible.

I’ve never made a promise. This is the only one I’m willing to make and stick to.

Please don’t let this be a horrible end. If it does have to end, I’d like it to be a peaceful one. Please let us at least talk in a civil manner before we have to part.

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Sarah Hennies is a composer and percussionist who describes her work as drawing on an “often gruelling, endurance-based performance practice”. It’s a brave musician, then, who commissions a piece to play from her, as there’s a good chance some of that gruel will come your way. Luckily, guitarist Cristián Alvear was looking for a challenge, and so we have “Orienting Response”, the first solo piece I’ve heard by Hennies that doesn’t involve percussion. It’s certainly a feat of endurance, but I’m left wondering how much of that is written into the composition and how much relates to Alvear’s own precise, measured performance style.

The album is divided into two parts, both of which are compositionally identical, each containing the same ten sections of repeated one- or two-bar patterns. These patterns are generally absorbing in their gentle flatness, maintaining a consistent volume, tempo, and structure for some three or four minutes, before moving on to the next section. The exception to this is a rapid strumming section, which Alvear begins quietly before building into a big crescendo. The patterns, although simple, are very diverse in terms of harmonic and rhythmic density, which gives the impression of there being more variation in tempo and volume between the sections than is in fact the case. A low-pitched, minor-key pattern sounds somehow slower than a higher-pitched major-key one, for example. Sometimes Alvear skips a silent beat or fluffs a note, but as per the composer’s instructions all of these ‘mistakes’ are left in rather than being edited out, underlining the intense concentration and precision required to perform the piece.