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A "Wicked" Good Time for Atlanta Theater
Two LGBTQ favorites – the musicals "La Cage Aux Folles" and "Wicked" – are getting splashy productions in the ATL right now, courtesy of Out Front Theatre Company and Broadway Across America, respectively.
"La Cage Aux Folles" debuted in 1983 and is based on the popular play and film about a long-time gay couple and the chaos that ensues when their son brings his fiancée's conservative parents to meet the family. This version is directed by Out Front Theatre Company's artistic director Paul Conroy. "La Cage Aux Folles" has long been the most requested show by patrons, says Conroy, whose company is starting its fourth season.
"La Cage" was supposed to be the first show the company ever staged in 2016 but the rights to "Priscilla, Queen of the Desert" became available and Conroy opted for that instead, especially as that it had never had a Georgia engagement. Yet the "La Cage" timing was right now. "We have been around enough now and people know us, so we wanted to do a title that people would recognize that would get those who had not been able to see one of our shows to see one," he says. "'La Cage' seemed like a natural fit."
He talked a lot with the cast about the fact that it's an old-fashioned show but one that feels almost more relevant now that same-sex marriages are so prevalent and have been front and center. "You have this couple that has been together for 20 years," he says. "I told my lead actors – you are together for love. There is nothing legally binding you together. There are still many couples that are like that, that have been together for so long. Even when marriage equality came along, marriage isn't something for everyone. I think the show holds up because people now feel comfortable seeing a love story on stage that mimics their own love story and relationship. It doesn't feel like something hidden any more. "
Actor Justin Wirick has long been obsessed with the show "Wicked" – the prequel to "The Wizard of Oz" – and he jumped at the opportunity to join the touring cast when a job was offered to him. He is coming up on his 10th anniversary in January as part of the national tour's large ensemble. Every night, he has roughly 15 costume changes. He gets to be a flying monkey, a student at Shiz, a guard, an official, and a citizen of the Emerald City. "The two hours and 45 minutes goes by really quickly," he says.
He saw the show when he was 15 and vividly remembers thinking he would be the perfect addition. "It was always a goal of mine," he admits. He loves every city and performance and is in no hurry to look elsewhere. Job security is hard to come by in the industry and he laughingly refers to his gig in "Wicked" as the government job of musical theater.
Almost every gay man has a connection to 'The Wizard of Oz," he feels. "When I was little, it had such an influence on my life. Ruby slippers – I wanted a pair; they were splashy and magical. You fall in love with Judy Garland and there is dancing, colors and The Yellow Brick Road."
Wirick was born in a small town in Philadelphia and always wanted to get out of there and travel. This gig gives him the opportunity. He has been touring since he was 20. He was part of a national tour of "West Side Story" and this is his second Atlanta gig of "Wicked."
Showing Times
Out Front Theatre Company
Through Nov. 9
Fox Theatre courtesy of Broadway
Across America
Through Nov. 17
atlantawicked
Previous Skating on Ice with Adam Rippon
Next Let's Talk About Tacos
Martin Padgett Discusses Gay Atlanta History and New Book in Upcoming Virtual Event
Mayor Bottoms Not Up for Reelection
Conswella Bennett
IGLTA Global Convention Coming to Atlanta This Fall

redpajama_set_name: RedPajamaCommonCrawl


YOU MAY not be too familiar with the name Akani Simbine, but after yesterday's 100m final race at the 2018 Commonwealth Games, you certainly will.
The 22-year-old South African faced off against favourite Yohan Blake on Monday night (Apr 9), and took home the gold medal with a time of of 10.03 seconds.
His fellow South African, Henricho Bruintjies came in second at 10.17 seconds, just beating out Blake, who came third at 10.19 seconds.
Speaking after his win, Simbine said: "I came here wanting to be on the podium. I believed in myself, that I could get the gold medal."
Blake, who is tied with Tyson Gay as the second-fasted man in the world behind Usain Bolt, was heavily favoured to win the race.
"I'm a bit disappointed because I've been feeling good, I've been running good and I just didn't put the start together," Blake said after the race, expressing his disappointment. "I was all over the place."
Simbine and Bruintjies' performance was a triumphant finish to a successful day for South Africa, which won nine medals, bringing its total to 18.


Trains, going to and from Loughborough, were temporarily stopped yesterday after the Great Central Railway embankment, close to Ling Road, caught on fire.
FIREFIGHTERS were called to Great Central Railway yesterday afternoon (Tuesday) after sparks from a steam engine set alight an embankment.
Trains, going to and from Loughborough, were temporarily stopped after the Great Central Railway embankment, close to Ling Road, caught on fire.
Leicestershire Fire and Rescue Service received an emergency call just before 3.30pm.
One appliance from Loughborough Station attended the scene.
A train carrying a bowser containing 4,000 gallons of water, was sent by GCR to help firefighters extinguish the blaze.
Railway traffic was stopped in both directions while the crew tackled the fire.
Firefighters were also called to a caravan fire in Shardlow Quarry yesterday just after 1pm.
Crews from Castle Donington and Long Eaton put out the fire using a hose reel jet.
The blaze completely destroyed the caravan and is believed to have been started deliberately.


The verdus pharmaceutical site originally used is down and verdus.com is a cannabis delivery service.
Are we assuming there isn't going to be any activity for awhile?
First off, HI COMMUNITY! I am brand new, found this series about 6 years too late so I am ready to go this time!
- everyone has been quiet for a few days now, mostly Daniel. I'm surprised?!? But thinking there is something we are missing. But from what I have read, y'all are some amazing clue finders!
-- at the VERY end, Reed ends up at Daniel's apartment. What happened with Reed?!? Think it's worth asking Daniel.
-- finale has me thinking M is Maggie, and since we think the medical report is about Jonas. I feel like she had A LOT more information then we got to see.
-- someone posted a document with the name Sarah.. Definitely see her coming back, especially if Maggie and/or Jonas escaped.
-- on Daniel's snapchat and Facebook live chat, he mentioned that he had continued to to research, but is very vague. Now he's in hiding, maybe planning something big?
VidCon is this weekend. Perfect opportunity for ~something~ to happen.
Miles re-obtained the rights to LG15 after they sold EQAL.
Okay. yeah there was some site. i cant find it now, of course that said something about yousef buying the rights to lg15 a year ago. I thught it sounded really funny to me. but i was curious if that was just a rumor i saw.


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Hospital In Echo Park
Are you looking for contact information about Hospitals near Echo Park, Los Angeles Ca?
Are you looking for contact information about Hospitals near Echo Park, Los Angeles Ca? Find a list here with map location, direct phone number, ratings and reviews so you can compare them and reach out.
Other areas near Echo Park are Silver Lake, Elysian Park and Westlake, scroll down to see their Hospitals as well.
Business Categories:
Mental health Hospital Doctor Veterinarian
More in Echo Park:
Areas near Echo Park:
Silver Lake Elysian Park Westlake
6 Results for "Hospital In Echo Park"
Gatways Hospital And Mental Health Center
1891 Effie St, Los Angeles, CA 90026 3 (10 reviews for Mental health clinic in Los Angeles, California )
I had a terrible experience with this faciality and the staff. They are extremely rude, they have no empathy or consideration for family members, and they treat the patience's like animals and force them to take medicine without a diagnosis. I do not understand how tis place remains open....
Seducci
As someone who was hospitalized three weeks in this place i can say the staff and doctors were great. Although they could be a bit more consistent with their schedule. Dr. Jamal and Dr. Kim are great and to the point.
Grey Sloan Memorial Hospital
Los Angeles, CA 90012 5 (1 reviews for Hospital in Los Angeles, California )
Met the cast of Greys anatomy
2100 W 3rd St, Los Angeles, CA 90057
Barlow Respiratory Hospital : Zackson Hannah J MD
2000 Stadium Way, Los Angeles, CA 90026
Echo Park Veterinary Hospital Of Compton
1739 Glendale Blvd, Echo Park, CA 90026
Gateways Hospital: Herbst Mark D MD
1891 Effie St, Los Angeles, CA 90026
THE BEST 10 Hospitals near Echo Park, Los Angeles, CA ...: Good Samaritan Hospital. 1.7 mi. 242 reviews. St Vincent Medical Center. 1.4 mi. 141 reviews. Huntington Hospital. 7.1 mi. Hollywood Presbyterian Medical Center. 2.2 mi. Barlow Respiratory Hospital. 0.7 mi.... Link
Top 10 Best Free Hospitals near Echo Park, Los Angeles, CA ...: Reviews on Free Hospitals in Echo Park, Los Angeles, CA 90026 - Good ... On Friday, August 8th, 2019, I visited the Good Samaritan Hospital with my friend ... Link
Gateways Hospital: Non-Profit Mental Health for Echo Park ...: Gateways Hospital provides a wide variety of mental health services to communities in Los Angeles. Link
Best Hospitals Near Echo Park-Silver Lake: U.S. News and ...: Aug 9, 2017 - Best Hospitals In Los Angeles: U.S. News and World - Echo Park-Silver Lake, CA - Congratulations, Echo Park-Silver Lake. You're in good ... Link
Barlow Respiratory Hospital - Wikipedia: The Barlow Respiratory Hospital is a hospital located in the Elysian Park neighborhood of Echo Park, near Dodger Stadium in Los Angeles, California. The hospital operates satellite sites in Van... Link
Echo Park Veterinary Hospital - Echo Park, CA: Oct 21, 2019 - Echo Park Veterinary Hospital in Echo Park, CA is a welcoming animal hospital providing high quality veterinary medicine to the pets of Echo ... Link
Working at Gateways Hospital & Mental Health Center ...: Reviews from Gateways Hospital & Mental Health Center employees about Gateways Hospital ... Unit Clerk (Former Employee) - Echo Park, CA - June 23, 2017. Link
Best 30 Hospitals in Echo Park, Los Angeles, CA with ...: 165 results - Compare Hospitals in Los Angeles, CA. Access business information, offers, and more - THE REAL YELLOW PAGES® Link
CENTRAL L.A. | ECHO PARK: Queen of Angels Hospital ...: CENTRAL L.A. | ECHO PARK: Queen of Angels Hospital, 2301 Bellevue Avenue, Los Angeles, CA 90026. Opened 1926, Closed 1989. Link
Echo Park mental health center and former CEO settle ...: Jul 26, 2019 - Echo Park -- The former CEO of Gateways Hospital and Mental Health Center reached a settlement today in her lawsuit alleging she was the ... Link
gateways hospital , gateways hospital percy village , gateways hospital medical director , gateways crisis residential , list of psychiatric hospitals in california , inpatient psychiatric hospital los angeles , 1891 effie st los angeles ca 90026 , mental hospital
Directory: New York, San Francisco, Chicago, Los Angeles, Houston, Bakersfield Ca, Boise Id, Jackson Ms, San Antonio Tx, St Louis Mo | All cities


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RELIABILITY CHALLENGES FACING AUTONOMOUS VEHICLES
Automakers are making major strides in autonomous vehicle technology, and are closer to making driverless cars a reality for the average consumer. Meanwhile, Uber made news when they introduced self-driving fleets to the public. While driverless cars may not be pulling into most driveways in the immediate future, it's clear the race is on.
While the U.S. Department of Transportation announced its policy for autonomous vehicles in response to the emerging technology, it is unable to fully anticipate inevitable advances on the horizon.
Systems must perform perfectly to gain the trust of drivers and unknown factors like inclement weather, traffic conditions, other drivers, and unfamiliar terrain need to be considered as engineers develop technology. Physics of Failure techniques play a major role in designing electronics and systems to meet these challenges.
In our Reliability Challenges Facing Autonomous Vehicles webinar, Meg Novacek, an independent consultant and reliability expert with 28 years of automotive experience, will speak on the complexities of blending human control with autonomous control.
IF YOU ENJOYED THIS DISCUSSION FROM THE 2017 DESIGN FOR RELIABILITY CONFERENCE, CLICK HERE TO SEE THE GREAT LINE-UP OF PRESENTERS FOR THE 2019 DESIGN FOR RELIABILITY CONFERENCE - MARCH 25-27 IN BALTIMORE, MD.


We started with some aftermarket pieces. They didn't fit well anywhere, so we cut them apart. This will allow us to get a better fit around the tank/frame rails and to the fender, and also make them look a little nicer.
One area that was obvious was around the taillight stand. We wanted to make the apron fit around the stand better. The oval represents where the stand bolts to the apron.
We're finished with this one. We also reshaped the curved area to better match up with the rear fender, and also narrowed the top portion to "lighten" it up a bit. They have also been modified to fit around the tank and spreader bar much nicer.


A self-taught artist and photographer, Hap Wilson has travelled over sixty thousand kilometres by canoe and snowshoe, and embarked on more than three hundred wilderness expeditions. He is one of North America's best-known wilderness guides and canoeists, and has been building sustainable trails for more than thirty years. He is also the co-founder of the environmental group Earthroots. He lives in Rosseau, Ontario. For more information, please visit Hap's website at www.eskakwa.ca.


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Torpedo-Wiktorija Niżny Nowogród (ros. Футбольный клуб «Торпедо-Виктория» Нижний Новгород, Futbolnyj Kłub "Torpiedo-Wiktorija" Niżnij Nowgorod) – rosyjski klub piłkarski z siedzibą w Niżnym Nowogrodzie.

Historia
Chronologia nazw:
 1932—1935: GAZ Gorki (ros. «ГАЗ» Горький)
 1936: Awtozawod im. Mołotowa Gorki (ros. «Автозавод им. Молотова» Горький)
 1937—1961: Torpedo Gorki (ros. «Торпедо» Горький)
 1962: Czajka Gorki (ros. «Чайка» Горький)
 1972—1990: Torpedo Gorki (ros. «Торпедо» Горький)
 1990—1996: Torpedo Niżny Nowogród (ros. «Торпедо» Нижний Новгород)
 1996—2003: Torpedo-Wiktorija Niżny Nowogród (ros. «Торпедо-Виктория» Нижний Новгород)

Drużyna piłkarska GAZ Gorki została założona w 1932 i reprezentowała GAZ (Gorkowski Automobilowy Zakład im. Mołotowa). W 1936 jako Awtozawod im. Mołotowa Gorki debiutował w Grupie G Mistrzostw ZSRR oraz w rozgrywkach Pucharu ZSRR. Od 1937 nazywał się Torpedo Gorki. W 1939 awansował do Grupy B, a w 1951 i 1954 występował w Klasie A. W 1963 połączył się z klubem Rakieta Gorki, w wyniku czego powstał nowy klub Wołga Gorki, który zajął 2 miejsce i awansował do Klasy A.

Dopiero w 1972 pojawiła się informacja, że drużyna amatorska Torpedo Gorki uczestniczyła w rozgrywkach o mistrzostwo obwodu gorkowskiego, w których zajęła trzecie miejsce. W 1989 zdobył wicemistrzostwo obwodu, a po zmianie nazwy miasta w 1990 zmieniła się również nazwa klubu Torpedo Niżny Nowogród. W 1995 i 1996 klub został mistrzem obwodu. W 1997 jako Torpedo-Wiktorija Niżny Nowogród debiutował w rosyjskiej trzeciej lidze, z której awansował do rosyjskiej drugiej dywizji. Zajął pierwsze miejsce w strefie nadwołżańskiej i w 1999 debiutował w rosyjskiej pierwszej dywizji. Jednak zajął 19 miejsce z 22 i powrócił do drugiej dywizji. W 2001 zajął przedostatnie 17 miejsce i pożegnał się z rozgrywkami profesjonalnymi. Potem występował w rozgrywkach lokalnych.

W 2003 został rozformowany.

Sukcesy
 13 miejsce w Pierwszej Grupie ZSRR: 1954
 1/8 finału Pucharu ZSRR: 1944, 1951, 1957
 19 miejsce w Pierwszej Dywizji: 1999
 1/32 finału Pucharu Rosji: 2000

Zobacz też
 Torpedo Niżny Nowogród - klub hokejowy
 FK Niżny Nowogród
 Wołga Niżny Nowogród

Linki zewnętrzne
 Historia klubu na klisf.info

Nieistniejące rosyjskie kluby piłkarskie
Sport w Niżnym Nowogrodzie
Kluby piłkarskie założone w 1932

redpajama_set_name: RedPajamaWikipedia


A highly pigmented, long-wearing eye shadow that goes on creamy and dries to an intense, vibrant finish. The innovative second skin-like formula blends smoothly over lids and creates seamless, buildable coverage without looking heavy or cakey. Its superior colour purity stays true and will not streak or crease. Pro Longwear Paint Pot can be mixed with other products like MAC shadows and liners.


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Breaking Live Video
Apollo 11 Anniversary | 50 years later
Battle continues over proposed bathroom bill
A new ad campaign by the ACLU and Legacy Community Health is the latest weapon in the ongoing battle over Texas' bathroom bill. The ad uses humor to drive home a serious point.
Author: KHOU Staff
Published: 5:35 PM CST February 20, 2017
Updated: 5:35 PM CST February 20, 2017
"You got to roll up your sleeves, pull down your pants and pee with LGBT," says one man in the ad. "You got to take a seat to make a stand. You got to spray it to say it," the ad goes on.
Senate Bill 6 would force people in public schools and government buildings to use the bathroom that matches the sex on their birth certificate.
"It's discrimination and who's going to police that," said Lou Weaver, a consultant for the ACLU's new ad and transgender activist. "We need people to have same access as everybody else."
The bill would let private businesses decide their own bathroom policies no matter what LGBT protections a city may already have in place.
"I know this, black, white, brown families in Texas do not want their teenagers showering together in high school and women don't want to walk into a restroom and find a man in it," said Lt. Governor Dan Patrick. "We're going to fight to pass the bill because it's the right thing to do."
But the bathroom bill already has powerful outspoken critics. Both the NFL and the NBA are warning Texas about passing the bill saying it could impact their decision to have the state host future sporting events like another Super Bowl or All-Star Game.
North Carolina already paid that price earlier this year when it lost its All-Star Game to New Orleans.
"Our bill is different than North Carolina's," said Patrick. "Our bill just wants to keep women safe in bathrooms."
Opponents like Weaver hope the new ad rallies the base to urge lawmakers to vote no, but the LT. Governor vows to do what it takes to make it law. He said Texas values are at stake.
"People don't like to be blackmailed," said Patrick. "The Texas values of our family are not for sale to the NFL, NBA or anybody else."
The bathroom bill has yet to make it out of committee. It will have to clear that hurdle if it has any hope of making it to the governor's desk.


Maritime Canada & New England are popular cruising areas known for their rugged coastlines and distinct maritime culture. Summer is the best time to visit because you can you expect long beautiful days filled with numerous outdoor, cultural, and historic activities. This cruising region is known for its distinct beauty, rich history, diverse culture, and natural beauty. While fall foliage is lovely, timing the color change is difficult since many factors come to play when it comes leaves changing colors. So rather than risking cool temperatures, hurricanes, rough seas, short days and possibly snow storms, we'll be visiting during the best time of all, summer. You will be able to dine along the waterfront on succulent lobster or clam chowder, go beach combing for treasures, bicycling along shady country lanes or shopping for beautiful locally produced yarns. In addition to yarn shopping this area is known for its great gift and craft shops offering local products that range from hand crafts and fine furniture to gourmet chocolate and local art.
Join us and you will be setting sail with two very successful East Coast yarn store owners, Jill Deal and Leslye Solomon on this journey of enrichment. Jill Deal Inc. is located in in the heart of picturesque Milford, PA. Her store is not only a gathering place for learning and inspiration but it also carries some of the hardest to obtain knitting and crocheting supplies in the tri-state area. Leslye Solomon operates Woolstock Yarn Shop located in Glyndon, Maryland just outside Baltimore. While the name Woolstock conjures up memories of hippies and Woodstock, to the yarn junky it implies one thing - an unusually large stock of yarn, books, needles and accessories. Woolstock has one of the largest selections in the entire country and while you may not be able to visit her store in Maryland you can visit her in the yarn markets at every major knitting event throughout the country.
Jill and Leslye share one thing in common and that is that neither of them are in the business of just selling yarn. Their #1 inspiration for having yarn stores is to share their passion for the fiber arts by helping others discover the joy of knitting and crocheting.
Craft Cruises has organized some exciting private shore events along the way. In Portland Maine we've chartered a private coach to visit Halcyon Yarns in Bath, the Tripping Gnome Alpaca Farm in Freeport Maine, the Maine Fiber Arts Gallery as well as two of Portland's most popular yarn stores - Fiber Arts Gallery and Knit Wits.
Craft Cruises has also organized a visit to Lucy Neatby's home studio, have fish and chips at Lucy's favorite Irish Pub and watch dyeing demonstrations at the Fleece Artist. Lucy is the original Nautical Knitter who is an internationally recognized teacher, designer and writer who has thrilled knitters around the world with her inimitable charm, knowledge and uniquely colourful designs. Her passion for nurturing and empowering knitters and putting them in control of their art is becoming legendary! Lucy's book Cool Socks Warm Feet, Knitter's Companion DVD series and line of detailed, technique-rich patterns has successfully encouraged knitters to try new and daring knitting feats, which has gained her a devoted following.
The Fleece Artist was established in 1979 to supply fellow textile artists with natural fibres. Known for providing better colors than were commercially available, their dream was to be able to offer any colour in any natural fibre. The Fleece Artist hand dyes many colourways in silks, wools, kid mohairs, alpacas and angoras in yarns and slivers.


This dishwasher rack dolly is made from high quality and strong polypropylene, making it reliable and practical when transporting dishwasher racks and trays. This handy dolly allows you to transport multiple dishwasher trays at a time, saving you time and energy when cleaning.
Help other Early Learning Distribution users shop smarter by writing reviews for products you have purchased.


The Loft at Pickwick Place is conveniently located in Bucyrus, Ohio. It offers quick access to US 30 and State Route 4. Bucyrus is just a short drive from Mansfield, Findlay, Sandusky, Columbus, and surrounding areas. There is a nice hotel and several dining options available locally. Your guests will fall in love with the quaintness of small town America and the charming Loft at Pickwick Place.


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A.I.I. Standings
2018 A.I.I. Tournament
Bellevue suffers overtime heartbreak against Madonna
#19 Madonna
#19 Madonna (18-4-0) 0 0 1 1
Bellevue (18-2-2) 0 0 0 0
3rd - 90:43 - Marlon Freitas (#19 Madonna)
G: Marlon Freitas - 1
A: 2 Players (#10, #16) - 1
Sh: 2 Players (#7, #11) - 6
Sv: Joe Smith - 4
Sh: Inaki Aldao - 4
Sv: AJ Jarvis - 6
IRVINE, Calif. -- Marlon Freitas scored in the 91st minute to give Madonna University a 1-0 overtime victory over the No. 10-seed Bellevue University men's soccer team in the second round of the 2018 NAIA Men's Soccer National Championship on Tuesday afternoon at the OC Great Park Championship Stadium.
#6 Bellevue: 18-2-2
#19 Madonna: 18-4-0
Recap: Madonna 1, Bellevue 0
After 90 minutes of scoreless play, Marlon Freitas found the back of the net in the 91st minute to end BU's record-setting season.
Chances were tough to come by in the first half for both sides despite 17 total shots. Madonna out-shot BU 11-6 in the period and had a 2-0 edge in corner kicks but the Bruins held a 3-2 edge in shots on goal.
The Crusaders' best chance came in the 14th minute when Leonardo Abonizio came at BU keeper AJ Jarvis with possession but Jarvis came out to meet Abonizio and made a sliding stop.
Bellevue had two scoring opportunities just a few minutes apart. In the 26th minute Renato Silva played a ball across the front of the area that came to the feet of Emil Gebelhoff but his attempt wasn't squared and the shot went wide.
Then, in the 29th minute, Gebelhoff chipped a ball in behind the defense to Inaki Aldao but he had his shot saved and the game remained scoreless.
A crucial moment came in the 66th minute when Bruin captain Jacob Pease – BU's all-time leader in appearances – had to be subbed off with an apparent injury.
Marlon Freitas found some space for Madonna at the end of the 18 in the 76th minute but his shot was calmly collected by Jarvis.
The Crusaders were gifted a 78th minute free kick just outside 18-yard box after what appeared to be a soft foul and yellow card was issued. The BU wall turned away Yuri Farkas Guglielmi's chance, blocking the shot and clearing any danger.
Freitas forced a Bellevue turnover and charged towards goal in the 80th minute but Jarvis again turned away the attempt.
The game remained scoreless and headed to extra time despite 36 shots in the game, Madonna holding a 24-12 advantage overall and 6-4 in attempts on goal. The Crusaders also gained a 7-0 corner kick advantage.
Guglielmi played Ludvick Asigo who curled a ball in behind the BU defense to Freitas who took a touch before beating Jarvis back across his body just 17 seconds into the extra period.
Madonna will face No. 2-seed Oklahoma Wesleyan University in the quarterfinals tomorrow. Kick-off is scheduled for 4 p.m. local time (6 p.m. Central).
Bellevue's season comes to a close with a final record of 18-2-2.
Bellevue falls to 4-6-0 all-time in National Tournament matches.
The game was the third-straight BU NAIA Second Round game to require extra time.
Records Set:
Statistic 2018 Record Previous Record
Wins 18 16 (2005)
Goals Scored 68 66 (2006)
Points 184 181 (2006)
Goal Differential +53 +41 (2006)
Shutouts 10 10 ('05, '08, '09, '14)
Different Goal Scorers 16 14 (2008)
Best 10-Game Start 8-0-2 9-1-0 (2005)
Best 15-Game Start 13-0-2 13-2-0 (2005)
Unbeaten Run 19, 17-0-2 13, 13-0-0 (2006)
Unbeaten Regular Season 16-0-2 1st Time (Any Sport)
Win at Home w/o Losing 10-0-0 8-0-0 (2005)
Fewest Away Losses 1 1 (2014)
NAIA Tournament Second Round Second Round ('09, '14, '15)
Coaches' Poll Rank 6 6 (2008)
Goals Scored in Opening Round 3 3 (2013)


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COS VAT assessments – Tribunal confirms the right to independent review and right of appeal
The Tax Tribunal's decision concerning Milton Keynes NHS Foundation Trust (Milton Keynes) has been published. In this important case the Tribunal has confirmed that the NHS does have the right to statutory review and appeal to the Tax Tribunal. This case was led by Liaison Financial and it has established a point of principal that has long been resisted by HMRC. However, the Tribunal confirmed that HMRC does have the power to issue 4-year assessments for COS overclaims, but NHS bodies can now consider the Tribunal route in matters of dispute. This is a major turnaround for HMRC who had previously denied the NHS the right to appeal in COS assessments.
With regards to the ability of the NHS to recover COS VAT underclaimed, this remains restricted to the current financial-year plus the concession to include adjustments up to and including the June VAT return following the year-end.
Liaison Financial is considering whether there are grounds for further appeal regarding HMRC's power of assessment and if so, whether this is something that stakeholders want to take forward.
In the meantime, HMRC say that they will be writing to all NHS bodies where past assessments should have been accompanied by offers of statutory reviews and appeal rights. There is a reasonable case to suggest that there should be no time limit on when the assessment was issued, but it remains to be seen how HMRC propose to remedy their error.
If you have received a past assessment for COS overclaimed and consider that this was incorrect or are unsure in any way, please discuss this with your Liaison Financial VAT advisor, so that can discuss the options with you at this stage.
We will keep you updated on any further progress of this case.
Design Religion
nic@designreligion.co.uk
Can the current challenges of recruiting and retaining the right level of NHS staffing be tackled through 'mission control?'
Banking on a contingent workforce: Almost a third of NHS England trusts now employ temporary workers via a medical bank, and they're reaping the benefits.
Report shows NHS trusts benefitting from 'bank first' cost savings around the contingent workforce
Agency direct employment vs 'direct engagement' medical service. February 2019


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1999 Draft Board – Buffalo
The Sabres finished 1998-99 in fourth place in the Northeast Division, then went on a tear that saw them end up in the Stanley Cup Final despite the league's 17th-ranked offense (out of 27 teams).
Goalies: Tom Draper(Gr.II – RFA), Dwayne Roloson
Defensemen: Jason Holland(Gr.II – RFA), Mike Hurlbut(Gr.VI – UFA), James Patrick(Gr.III – UFA), Darryl Shannon
Forwards: Randy Cunneyworth, Craig Fisher(Gr.VI – UFA), Joe Juneau(Gr.III – UFA), Paul Kruse, Scott Nichol, Domenic Pittis, Rob Ray, Geoff Sanderson(Gr.II – RFA), Steffon Wallby(Gr.VI – UFA)
Unfortunately, goalie Dominik Hasek would not be unprotected; Tom Draper and Dwayne Roloson would be, and Roloson moves to the draft board.
Darryl Shannon is the only one of four defensemen who will warrant further consideration, and Domenic Pittis and Geoff Sanderson are the only two of the right unprotected forwards who will go in as well. Joe Juneau does not; he's a pending UFA in what look like a thin class, but is unlikely to get a high enough compensatory pick to make it worthwhile.
G Dwayne Roloson – 30-year-old goalie, originally undrafted.
The case for taking Roloson – If there's one person in this draft who'd had to battle like crazy to get anywhere, it's Roloson. Undrafted at every point, and played Junior B until he was 20 years old. Went to UMass-Lowell and didn't start until he was a junior, and was the backbone of a team that saw a stunning turnaround. Graduated and went to Saint John of the AHL, where he decisively outplayed Flames prospects Andrei Trefilov and Jason Muzzatti. The next year, he was the full-time starter and led the team to Game 7 of the conference finals. He played the next two seasons in Calgary, then last year in Buffalo as the backup. He also appeared in four playoff games with the Sabres last year in their run to the Stanley Cup Final.
The case against taking Roloson – Sure, he's tough and tenacious. But can he actually play? His last two seasons, he was outplayed by Rick Tabaracci in Calgary, and although there's certainly no shame in being decisively outplayed by Dominik Hasek in Buffalo, he didn't do much when given the chance to play. Of his playoff games this past season, two were in relief of Hasek and two were starts, and his starts were horrendous: nine goals allowed in two games, and the first one was only a win because the Sabres somehow scored five goals. Yes, he's a battler and he's tenacious as all hell, but it means absolutely nothing if he can't get the job done. As optimistic as I'd love to be about our first-year team, the reality is that it will be a lot closer to what Roloson was behind in Calgary than what he was behind in Buffalo.
D Darryl Shannon – 31-year-old defenseman, former 2nd-round pick of Toronto (1986)
The case for taking Shannon – "Stable" is the best word to describe Shannon's game. Produces little offense, but a lot of low-key high-level defense. In three full seasons with Buffalo, Shannon has had a cumulative +77 rating and anchored the top penalty killing unit. He can be physical, but not undisciplined; he's had 100 penalty minutes in a season once, and that was three seasons ago.
The case against taking Shannon – He's got a nice plus-minus, and what else? He averages around 20 minutes a night, and has scored a total of 10 goals in the last three seasons (229 total regular season games). In the playoffs in 1996-97 and 1997-98, he combined for a -1 rating. And this past year, he went to the press box almost immediately after Rhett Warrener was acquired from Florida late in the season. Shannon would play a total of two playoff games, which is certainly an odd occurrence if he were in fact the team's top shutdown defenseman. He played the first game of the first series against Ottawa, then was taken out in favor of a 35-year-old James Patrick. He got back in when Warrener broke his ankle in Game 5 of the Stanley Cup Final, and was -1 in the deciding Game 6. The Sabres didn't miss a beat without him, they got equal or better defense out of whoever happened to be in the lineup.
We're not Buffalo. We don't and won't have a prime Dominik Hasek, we're very unlikely to have a top-level shutdown defenseman (like his usual partner Jay McKee, who didn't miss a beat when paired with Warrener), and we have no idea what Shannon will look like when he's separated from both of those. The fact that he was so easily replaced in the postseason and the team did perfectly fine without him says more than a gaudy plus-minus ever could.
F Geoff Sanderson – 27-year-old scoring forward, former 2nd-round pick of Hartford (1990).
The case for taking Sanderson – Sanderson played the left wing on one of the most dynamic lines in the NHL during his days in Hartford, centered by Andrew Cassels and flanked by Pat Verbeek. He scored 40 goals in 1992-93 and 1993-94, and 30 goals in 1995-96 and 1996-97 (the latter two of which came without Verbeek). The highest that the Whalers ever ranked in those years was 17th in the league in overall scoring, and that was in the 24-team NHL. Sanderson possesses blazing speed, and is a nightmare to contain.
Although he hasn't scored much the last two years, this was while dealing with the relocation to Carolina, the loss of Cassels to Calgary, a trade to a pathetically-run Vancouver team, and then being sent to a Buffalo squad that seemed to believe that wins or losses are irrelevant as long as the score is 1-0. He still possesses the skill and the speed, as evidenced by his terrific 1999 Eastern Conference Finals against Toronto. It was most on display in Game 1, when, badly outflanked from a loose puck in the neutral zone, he accelerated to top speed, gained possession of the puck, and fought off a mugging by Wade Belak to flick a one-handed backhand into the net for what proved to be the winning goal.
Sanderson is 27 years old and still has a lot of hockey left in him.
The case against taking Sanderson – Yes, he scored plenty half a decade ago in Hartford. He's done little the last two years, and he possesses too little defense and physical play to be an all-around player. If he's not scoring, he's not doing much of anything. He's scored 23 goals in his last 150 regular-season games, and added just 36 assists. He doesn't create offense, he finishes it; if he doesn't have someone to create it, he's not producing. He lost ice time to and was outproduced by players like Michal Grosek, Dixon Ward, and Vaclav Varada.
Sure, he might be able to rebound and produce, if we can get him a first-line playmaking center. That's a tall order for an expansion team, particularly one that's faced with a dearth of talent in the expansion draft and faces an uncertain free agent period.
F Domenic Pittis – 25-year-old forward, 2nd-round pick of Pittsburgh (1993)
The case for taking Pittis – It took a little while, but his scoring finally came around in the minors. Scored 119 and 127 points (104 goals) in his last two seasons in the WHL, then took a little while to get going in the pros. Had 66 points in 65 games in 1996-97, a down year in 1997-98, and then most recently had 38 goals and 104 points with Rochester last year. He then added 21 points in 20 playoff games, falling short in the Calder Cup Finals to a juggernaut of a Providence Bruins squad. He can both finish and set up offense, and won't shy away from physical play.
The case against taking Pittis – Sure, he put up some nice-looking numbers…in the minors. He hasn't been a dominant player in pro hockey outside of one single year, and we need look no further than the dominant Bob Wren and Craig Reichert just last year, who each had a huge year in the minors right before the expansion draft and then fell back to earth the very next season. Pittis mirrors those two players more than anyone else; he's 25, looked out of place in a couple of brief callups to the NHL, and is far from a sure bet to actually produce in the NHL. There's too much risk to take him; he might be worth snagging as a secondary asset, but he's not the type of guy to waste an expansion pick on.


Review of LG PH30JG .
This LG PH30JG projector is in the low-price range, and it was released in October 2017.
As for the projection system specifications, the LG PH30JG has a brightness of 250 ANSI (brightness is important if the room is not dark enough) and a contrast of 100,000:1. The LG PH30JG projector has a resolution of 1280x720 with a throw of 0.6 - 3.0 and it generates a low fan noise of 29 dB.
As for the image system, LG PH30JG has no vertical lens shift nor a horizontal lens shift, and the LG PH30JG has the vertical keystone correction but no horizontal keystone correction.
Lastly, the LG PH30JG is HDMI compatible, it doesn't have VGA IN port, the LG PH30JG has an audio out, and has a USB port.


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Audi A6, A7 Recalled For Back Seat Spills That Could Cut Engine Power
December 1, 2022 InsuNews
Photo: Audi
Audi is recalling over 50,000 midsize sedans and wagons due to a potential risk of power loss in the event of liquid spills in the back seat. A gateway control module under the back seat of the 2019-2022 Audi A6 and A7 could cut power to the engine if a spill in the rear seeps into the electronics, and the unexpected power loss creates a crash risk, according to Consumer Reports.
The recall affects a total of 50,883 Audi sedan and wagon models, including the 2019-2022 Audi A6 and A7, the 2020-2022 Audi S6, S7 and A6 Allroad, and the 2021-2022 Audi RS6 Avant and RS7. The Audi A6 sedan is most prone to the water damage (or any liquid, for that matter) with a total of 32,585 A6 models included in the recall.
The gateway control module lacks a protective cover, as outlined by a NHTSA report. These modules have a failsafe that switches off the control unit in case of incorrect or erratic readings, such as those produced by short circuits in the system. Liquids could make the system short circuit, triggering its safety shutdown and forcing the engine into an emergency mode with reduced power. In this mode, "the vehicle remains steerable and the brake system is fully operable," per NHTSA.
Audi tells NHTSA that it's found 46 claims that could be related to the issue, which date as far back as July of 2019 through October of 2022. None of these claims have been associated with any crash or injures.
Toto Washlet Electronic Bidet Toilet Seat
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Audi issued a similar recall in 2021 that affected nearly 300,000 SUV models, including the Q5 and SQ5. The difference in that recall was that the issue wasn't isolated to liquid spills in the back seat but could be caused by heavy rain or by driving through deep water. The issue was resolved by adding a protective cover to the module at Audi dealerships and during SUV assembly, meant to shield it from liquids.
Audi is going to resolve the issue in this latest recall the same way: the carmaker will tell dealers to install a protective cover over the control module in affected vehicles, all of which were assembled prior to April of 2022; these protective covers will also be installed in certain Audi models going forward.
Audi will start notifying owners by the end of January in 2023, but owners can track the recall by using NHTSA's VIN tool. Or by using NHTSA's SaferCar app, available here. You can also look into recalls by following our recall guide here.
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2008 - present Webmaster/Podcaster, Deconstructingcomics.com. Blog for the podcast Deconstructing Comics. The podcast began in 2005, published via the Global Comics Network site. I program, record, edit, and produce the podcast.
2006 - present Webmaster/Podcaster, Machigai.com. Site promotes my English study books and includes a weekly podcast, written and produced by me.
Rejoined UMUC in January 2002; promoted in August 2002 upon departure of previous Coordinator. Managed content of university Web site. Continued writing/editing/layout/Web layout of Asia View and other print publications (including many ads for print publications) in InDesign CS6 on Mac OS X. Participated in development of marketing plan.
Webmaster, Global Comics Network. Created Web site devoted to comics. Primary content was my own comic strip, The Crazing Spider-Hag, and comics discussion podcast.
Participated in various activities in building dot-com distributor of Japanese investor relations news in English. Wrote news stories, searched for and contacted prospective recipients of our news, and tested new database application. Examined many different Web sites and became more familiar with standards of interface design. Utilized HTML knowledge, learned a bit of XML.
Edited 64-page members' magazine and many other information vehicles for members, making extensive use of MSWord 2000 and PageMaker 6.5 on Windows 98. Magazine responsibilities included writing some articles, assigning and editing articles, determining placement of in-house and outside ads, trimming articles for space, and preparing materials to be sent to production company. Created new sections for Club Web site and helped plan reorganization of site. Oversaw assistant and three designers in Communications Office, who made posters, signs, forms, and other graphic communications.
Wrote, designed, and edited newsletters and forms on Windows NT personal computer, making extensive use of Word Perfect 5.1 and PageMaker 6.5. Coordinated, wrote, and edited newsletter for students, The Asian Marylander (1995-1999), and prepared newsletter for uploading to Web site. Wrote and designed a guide to Japan for the university's American faculty.
1986-2000 Founder and Director, Society of International Friendship. Organized and run club devoted to international issues and communication. Wrote, edited, and laid out quarterly newsletter, Satellite, using PageMaker 6.0 on Macintosh Performa 578. Created World Wide Web site of newsletter articles and organizational information.


You can spend weeks looking forward to a weekend trip and still find yourself the morning of with an empty duffel bag. If anything, packing for a short trip is harder than a long trip, in those few days you can imagine any number of scenarios that could call for more than what you've got in your backpack, but at the same time, no one wants to be the over-packer of the group.
Whether you're a last minute packer, or you had your clothes set out and folded the week before, there are essentials that stay the same across the board.
You know what kind of clothes to pack for where you're going, whether it's the beach or helping a friend move to Charlotte over the weekend. Packing layered outfits can give you more options to mix up outfits with limited space and keeps you covered if the weather changes. You'll only need enough socks and underwear for each day you'll be gone, and one pair of pajamas can last your whole trip. Practicing good folding skills can help you to fit a few extra things in your bag, too.
Whatever the destination is, you'll want to have one good, comfortable pair of shoes, one that you can wear for each day of the trip to save space if you're lucky.
Most people will probably realize soon after leaving the house if they forgot their phone, but some smaller things might take a little longer to notice. Forgetting a phone charger can really mess up a trip if you're depending on a phone for directions, so be sure to triple check for that before you leave. It doesn't hurt to have headphones for the long drive if you want to throw on some music or a podcast without bothering the rest of the car.
Who doesn't love shopping for travel size shampoo bottles? You could also opt for reusable bottles you can bring back for any future trips and save money over time. No one wants to end up having to borrow everyone else's body wash and deodorant. If there's one thing above all else that you don't want to leave behind, it's medications, but something so small can be so easy to forget. Having something to treat motion sickness on hand can make all the difference for those prone to car sickness. Depending on where you're going you might want to toss in some products like bug spray or sunscreen if you'll be outdoors often.
Even if you've got every meal planned out ahead of time, being in the car for a while can take a lot out of you, and you don't want to be starving and stuck on the highway. A few bottles of water and some snacks that are hopefully won't leave crumbs all over your car can make long car rides a little less daunting.
Efficient packing for a quick trip can be an easily learned skill. Setting aside less than a half hour to really think about what you normally use in a day can help you make sure that your trip will run smoothly.


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Al Gore's Grassroots Fight
The former vice president hopes to win hearts and minds ahead of the Paris climate talks.
By Clare Foran and National Journal
Former US Vice President Al Gore attends a session of the World Economic Forum annual meeting on January 21, 2015 in Davos. (National Journal)
In India, Aditya Pundir is training teachers to talk to middle school, high school, and college students about climate change.
In Brazil, Roberto Vámos is meeting with high-ranking government officials to push for a strong pledge to cut greenhouse-gas emissions.
In Australia, Adam Majcher is laying the groundwork for major rallies calling for action on climate change.
All three work for Al Gore.
Climate Reality Project, Gore's green group, is recruiting activists in eight countries expected to play a key role at a major climate summit in Paris later this year. The group hopes that each country will sharply curb greenhouse-gas emissions by signing onto an international agreement to stave off the most devastating impacts of global warming.
The effort extends across Australia, Brazil, Canada, China, India, the Philippines, South Africa, and the United States. "We're pushing to make urgent action a necessity and really create the will for political action on climate change," Climate Reality president and CEO Ken Berlin said in an interview.
But Gore isn't just looking overseas.
The former vice president, Nobel Prize winner, and star of an Oscar-winning documentary has raised some eyebrows with his plans here at home. In May, Gore is headed to Cedar Rapids, Iowa to train the next batch of Climate Reality Leaders, volunteers taught to talk about climate science and call for action to rein in rising emissions.
In September, Gore will travel to Miami, Fla., the home turf of Republican 2016 contenders Jeb Bush and Marco Rubio, to do it all over again.
For Gore, the fight is familiar. But despite his star power, Climate Reality has struggled at times to hold on to volunteers, staff, and funding, and in some cases, the name recognition of its most high-profile patron may hurt more than help.
In 2011, the Climate Reality Project had 3,500 volunteers, 95 employees, and just over $19 million in revenue, according to tax records. Two years later in 2013, the tally had dropped to 2,148 volunteers, 60 employees, and roughly $6 million in total revenue.
The group attributes this transformation to a shift in priorities. After the demise of cap-and-trade legislation, Climate Reality opted to focus on a big-picture effort to shape the national debate around climate change, shutting down its U.S. field offices along the way.
Today, the group counts 44 full-time staff members, 10 international branch managers—including Pundir, Vámos, and Majcher—and roughly 7,500 trained volunteers. Climate Reality did not specify a dollar amount for its 2015 revenue, but said that the total so far exceeds the $19 million it pulled in during 2011.
Climate Reality's outposts abroad are locally operated by regional environmental organizations and nonprofits and are set to run unique campaigns in each country. That strategy reflects a calculation that tailored efforts will be more successful than a one-size-fits-all push.
In India, Pundir says there is virtually no debate over the reality of climate change, unlike in the U.S., where controversy continues to rage over the impact of human activity on rising temperatures.
"People are connecting disasters all over the country to climate change, and they don't take it lightly," Pundir said, adding that his focus will be convincing the public that clean energy can cut emissions and improve the quality of life.
In Brazil, Vámos is working alongside other conservation groups to engage the government in talks about the country's pledge for Paris, a benchmark that the country has not yet formally announced.
In Australia, Majcher hopes that organizing rallies will demonstrate strong public support for action in a country that has seen a backslide in efforts to tackle climate change.
"If we're all on the road to Paris, Australia seems to have pulled down off a gravel road somewhere and driven in a different direction," Majcher laments. "We have a bit of a job to do."
Of course, there's no avoiding the polarizing impact of Gore's celebrity status and the political debate that surrounds it.
"It's not always a good thing for you to be branded as 'Al Gore's organization.' Depending on who you talk to, that might sometimes backfire," Vámos said, adding that, overall, "Gore has a very good reputation in Brazil."
Majcher believes that Gore's out-front activism helps Climate Reality recruit volunteers in Australia and lends an air of credibility. "His political and public influence is still absolutely profound, although that does at times make him an easy target for criticism," he said.
In the U.S., Sen. Lindsey Graham, a Republican presidential hopeful, and various political commentators have accused Gore of polarizing the climate debate by positioning himself as a de facto spokesman on rising emissions.
"I think the way he's embraced the climate-change issue, trying to make it a religion and coming up with pretty extreme solutions, has made it hard to sell," said Graham, who was intensely involved in cap-and-trade negotiations before the Senate bill fell apart in 2010. "It's a problem for most of us, not a religion, and his solutions will destroy the economy."
It remains to be seen whether Gore's group will have a lasting impact on the road to Paris and in the run-up to 2016.
Some countries, including the U.S., have already outlined goals for the Paris summit, while others are expected to follow suit in the coming weeks and months.
"Popular efforts likely won't radically change the emissions commitments of major countries so much as create political support for a robust negotiating position in Paris and an agreement," said Paul Bledsoe, a senior fellow on climate and energy at the German Marshall Fund.
Regardless of what happens at the climate talks and in 2016, the Climate Reality Project plans to play the long game.
"We're trying to increase the number of activists who care about climate change, the people who can go out and talk about climate change, can speak to their neighbors about it, can move the effort forward," Berlin said.


UNCLASSIFIED U.S. Department of State Case No. F-2014-20439 Doc No. C05775150 Date: 08/31/2015 RELEASE IN FULL From: H <hrod17@clintonemail.com> Sent:	Sunday, March 21, 2010 3:56 PM To:	'ValmoroU@state.gov'; Huma Abedin Subject:	Netanyahu I'd like one-on-one time w him.


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City Brights: Thomas Gladysz
Director John Huston – the story of a story-teller revealed in new book
By Thomas Gladysz on September 28, 2011 at 7:20 AM
My favorite John Huston-directed film is not The Maltese Falcon (1941), The Treasure of the Sierra Madre (1948), Key Largo (1948), The African Queen (1951), or The Night of the Iguana (1964). Yes, one man directed them all. Nor is it The Asphalt Jungle (1950), The Misfits (1961), or The Dead (1987).
I have seen each of them, and each are exceptional films, to be sure. Each are also highlights in a long career studded with masterpieces as well as other notable works which include The Red Badge of Courage (1951), Fat City (1972), Under the Volcano (1984), and Prizzi's Honor (1987).
Rather, my favorite John Huston film is Moby Dick (1956). I like it because it is such a literary film. When I first saw it, as a teenager on late-night television, I was enthralled and felt that I had discovered a little known gem. Largely faithful to Herman Melville's novel, it is rich in detail and expository passages which evoke life at sea in the 19th century. The film's closing scene, in which a dead Ahab beckons his crew to join him in what became his private Hell, is riveting and unforgettable.
Moby Dick was produced, directed, and co-scripted by Huston (along with sci-fi writer Ray Bradbury). Its exceptional cast includes Gregory Peck as Captain Ahab, Richard Basehart as Ishmael, and Orson Welles as Father Mapple. If you haven't seen it, go find a copy. I know you will be impressed. It is certainly the best of the half-dozen or so adaptions of Melville's masterpiece.
As much as anyone – perhaps more, Huston was a literary filmmaker; thirty-four of his thirty-seven films adapted important novels, stories or plays. In fact, Huston got his start as a journalist and short story writer (published by H.L Mencken, no less) before moving on to the movies and work as a screenwriter. Among the films he wrote before he turned to directing were Jezebel (1938), Dr. Ehrlich's Magic Bullet (1940) – for which he received an Oscar nomination, Sergeant York (1941) – for which he again received an Oscar nomination, and High Sierra (1941). Huston's success as a screenwriter led directly to his work as a director. He then made an auspicious debut with a film based on a novel, The Maltese Falcon (1941). And the rest, they say, is film history.
John Huston: Courage and Art, by Jeffrey Meyers
Fittingly, Huston's life story is recounted by a literary scholar, Jeffrey Meyers, in a fine new biography, John Huston: Courage and Art (Crown). Throughout the book, and this is where its strength lies, Meyers perceptively describes how Huston transformed the written word into the cinematic image. Meyers' briskly told biography of the director, writer, actor (Chinatown), and Hollywood bon vivant details one of the more colorful lives of the 20th century.
Though he didn't finish high school, Huston was accomplished as a painter, playwright, director of plays on Broadway and operas at La Scala, autobiographer, and political activist who crusaded against Senator Joseph McCarthy's anticommunist witch hunts. Huston lived much of his life abroad – in Ireland and Mexico, and was a discerning collector of art, a raconteur, sportsman, and a connoisseur of literature, food, wine and women who successively married five younger wives.
Huston's career as a filmmaker spanned some fifty-seven years and yielded thirty-seven feature films. Remarkably, as a member of one of the most acclaimed families in Hollywood history, Huston directed both his father Walter and daughter Angelica in Oscar winning performances. Huston himself won two Oscars, after having been nominated 15 times.
Today, Huston remains one of the most intelligent and influential of all filmmakers. With equal attention given to his impressive artistic output as well as his tempestuous personal relationships, John Huston: Courage and Art presents a vivid narrative of the director's rich creative life.
Meyers is an East Bay writer, an independent scholar and the author of numerous books. They include well regarded biographies of writers Ernest Hemingway (Huston's friend), F. Scott Fitzgerald, D.H. Lawrence, and Edgar Allen Poe – as well as cinema figures like Humphrey Bogart, Gary Cooper, and Errol Flynn.
Meyers will be making a handful of appearances around the Bay Area to promote John Huston: Courage and Art. On Friday, September 30th, Meyers will be in conversation with Oscar-nominated screenwriters David & Janet Peoples (Blade Runner, Unforgiven, Twelve Monkeys) at Book Passage in Corte Madera. On October 3rd, Meyers will introduce a screening of The Maltese Falcon at the Lark Theater in Larkspur. And on October 5th, Meyers will discuss his new book at Books Inc in Berkeley. The start time for each event is 7 pm.
Thomas Gladysz is an arts journalist and early film buff. He is also the founding director of the Louise Brooks Society, and online archive and international fan club devoted to the silent film star. Gladysz has contributed to books, organized exhibits, appeared on television, and introduced the actress's films around the world. In 2010, he edited and wrote the introduction to a new "Louise Brooks edition" of Margarete Bohme's The Diary of a Lost Girl.
thomas gladysz
Lulu by the Bay: Louise Brooks is legend in Pandora's Box
Actor Paul McGann Talks about Silent Film
Film historian Jeffrey Vance talks about Douglas Fairbanks
July in Brief at Niles


Wherever possible we would ask that you try to organise the timing of medication to avoid school times, but we appreciate that this is not always possible because of the amount of doses required. Should your child require medication to be administered in school, please download a medication form from the website, or alternatively collect one from the school office. This should then be completed and handed in to the office with your child's medication in the original container. We do have a fridge in the office where we can store antibiotics etc.


text:
Q: Programming language to use with MySQL: Java or C++? I don't know much of either languages, but what would be better for writing applications that deals with the following. Right now, I use PHP, but I'm looking to see what would be the next ideal language to dig into, if the needs arise.

*

*MySQL

*off-line data processing of CSV, XML, etc. files

*web applications (dynamic websites)

I understand that this could quite possibly be subjective.. so if you could just pitch in some pros and cons, that would be superb. TIA!

A: If you come from PHP, JAVA is probably a bit easier than C++ for you.

A: If you are looking to make dynamic websites with a programming language you should look into C#

redpajama_set_name: RedPajamaStackExchange


Katie Leikam, LCSW, LISW-CP, BC-TMH is a member of WPATH, The World Professional Association for Transgender Health and is in process of her WPATH GEI certification, which is over 50 hours of transgender health education. Katie is an affirming clinician who has worked with over 300 clients who identity as transgender. As a speaker at The Philadelphia Trans Wellness Conference and Gender Odyssey, Katie will bring education and knowledge to you in a direct, easy to understand manner to facilitate consultation of transgender mental health awareness. Please contact Katie to request a consultation by emailing katie@katieleikam.com.
Katie offers consultation on a variety of topics related to gender identity and the LGBTQIA community.
For information and to register for The Clinician's LGBTQIA Learning Platform click here.


Future economic instability in the global economy, which could affect spending on Internet services; the impact of changing foreign exchange rates (in particular the Euro to US dollar and Canadian dollar to US dollar exchange rates) on the translation of our non-US dollar denominated revenues, expenses, assets and liabilities; legal and operational difficulties in new markets; the imposition of a requirement that we contribute to the United States Universal Service Fund on the basis of our Internet revenue; changes in government policy and/or regulation, including rules regarding data protection, cyber security and net neutrality; increasing competition leading to lower prices for our services; our ability to attract new customers and to increase and maintain the volume of traffic on our network; the ability to maintain our Internet peering arrangements on favorable terms; our ability to renew our long-term leases of optical fiber that comprise our network; our reliance on an equipment vendor, Cisco Systems Inc., and the potential for hardware or software problems associated with such equipment; the dependence of our network on the quality and dependability of third-party fiber providers; our ability to retain certain customers that comprise a significant portion of our revenue base; the management of network failures and/or disruptions; and outcomes in litigation as well as other risks discussed from time to time in our filings with the Securities and Exchange Commission, including, without limitation, this annual report on Form 10-K.
We are a leading facilities-based provider of low-cost, high-speed Internet access, private network services and data center colocation space. Our network is specifically designed and optimized to transmit packet routed data. We deliver our services primarily to small and medium-sized businesses, communications service providers and other bandwidth-intensive organizations in North America, Europe, Asia, Latin America and Australia.
Our on-net service consists of high-speed Internet access and private network services provided at speeds ranging from 100 Megabits per second to 100 Gigabits per second. We offer our on-net services to customers located in buildings that are physically connected to our network. We provide on-net Internet access and private network services to corporate customers and net-centric customers. Our corporate customers are located in multi-tenant office buildings and in our data centers and typically include law firms, financial services firms, advertising and marketing firms and other professional services businesses. Our net-centric customers include bandwidth-intensive users such as other Internet access providers, telephone companies, cable television companies, web hosting companies, content delivery networks and commercial content and application service providers. These net-centric customers generally receive our services in carrier neutral colocation facilities and in our data centers.
Canada). We do not actively market these non-core services, are actively discontinuing providing certain of these services and expect the service revenue associated with them to continue to decline.
Our network is comprised of in-building riser facilities, metropolitan optical fiber networks, metropolitan traffic aggregation points and inter-city transport facilities. Our network is physically connected entirely through our facilities to 2,676 buildings in which we provide our on-net services, including 1,735 multi-tenant office buildings. We also provide on-net services in carrier-neutral data centers, Cogent controlled data centers and single-tenant office buildings. We operate 52 Cogent controlled data centers totaling over 587,000 square feet. Because of our integrated network architecture, we are not dependent on local telephone companies or cable companies to serve our on-net customers. We emphasize the sale of our on-net services because we believe we have a competitive advantage in providing these services and these services generate gross profit margins that are greater than the gross profit margins of our off-net services.
We believe our key growth opportunity is provided by our high-capacity network, which provides us with the ability to add a significant number of customers to our network with minimal direct incremental costs. Our focus is to add customers to our network in a way that maximizes its use and at the same time provides us with a profitable customer mix. We are responding to this opportunity by increasing our sales and marketing efforts including increasing our number of sales representatives and expanding our network to locations that we believe can be economically integrated and represent significant concentrations of Internet traffic. One of our keys to developing a profitable business will be to carefully match the cost of extending our network to reach new customers with the revenue expected to be generated by those customers. In addition, we may add customers to our network through strategic acquisitions.
We believe some of the most important trends in our industry are the continued long-term growth in Internet traffic and a decline in Internet access prices on a per megabit basis. The effective price per megabit for our corporate customers is declining as the bandwidth utilization and connection size of our corporate customer connections increases. As Internet traffic continues to grow and prices per unit of traffic continue to decline, we believe we can continue to load our network and gain market share from less efficient network operators. However, continued erosion in Internet access prices will likely have a negative impact on the rate at which we can increase our revenues and our profitability. Our revenue may also be negatively affected if we are unable to grow our Internet traffic or if the rate of growth of Internet traffic does not offset an expected decline in pricing. We do not know if Internet traffic will increase or decrease, or the rate at which it will increase or decrease. Changes in Internet traffic will be a function of the number of Internet users, the amount of time users spend on the Internet, the applications for which the Internet is used, the bandwidth intensity of these applications and the pricing of Internet services, and other factors.
The growth in Internet traffic has a more significant impact on our net-centric customers who represent the vast majority of the traffic on our network and who tend to consume the majority of their allocated bandwidth on their connections. Net-centric customers tend to purchase their service on a price per megabit basis. Our corporate customers tend to utilize a small portion of their allocated bandwidth on their connections and tend to purchase their service on a per connection basis. Over the past several years, our revenue from corporate customers has grown faster than our revenue from our net-centric customers.
continue to do so until our European customer base and revenues have grown enough to achieve sufficient economies of scale.
Due to our strategic acquisitions of network assets and equipment, we believe we are well positioned to grow our revenue base. We continue to purchase and deploy network equipment to parts of our network to maximize the utilization of our assets and to expand and increase the capacity of our network. Our future capital expenditures will be based primarily on the expansion of our network and the addition of on-net buildings. We plan to continue to expand our network and to increase the number of on-net buildings we serve including multi-tenant office buildings, carrier neutral data centers and Cogent controlled data centers. Many factors can affect our ability to add buildings to our network. These factors include the willingness of building owners to grant us access rights, the availability of optical fiber networks to serve those buildings, the cost to connect buildings to our network and equipment availability.
Service Revenue. Our service revenue increased 7.2% from 2017 to 2018. Exchange rates positively impacted our increase in service revenue by approximately $4.0 million. All foreign currency comparisons herein reflect results for 2018 translated at the average foreign currency exchange rates for 2017. We increased our total service revenue by increasing the number of sales representatives selling our services, by expanding our network, by adding additional buildings to our network, by increasing our penetration into the buildings connected to our network and by gaining market share by offering our services at lower prices than our competitors.
Revenue recognition standards include guidance relating to any tax assessed by a governmental authority that is directly imposed on a revenue-producing transaction between a seller and a customer and may include, but is not limited to, gross receipts taxes, Universal Service Fund fees and certain state regulatory fees. We record these taxes billed to our customers on a gross basis (as service revenue and network operations expense) in our consolidated statements of operations. The impact of these taxes including the Universal Service Fund resulted in an increase to our revenues from 2017 to 2018 of approximately $1.6 million.
Our net-centric customers tend to purchase their service on a price per megabit basis. Our corporate customers tend to utilize a small portion of their allocated bandwidth on their connections and tend to purchase their service on a per connection basis. Revenues from our corporate and net-centric customers represented 64.9% and 35.1% of total service revenue, respectively, for 2018 and represented 62.3% and 37.7% of total service revenue, respectively, for 2017. Revenues from corporate customers increased 11.8% to $337.8 million for 2018 from $302.1 million for 2017 primarily due to an increase in our number of our corporate customers. Revenues from our net-centric customers decreased by 0.4% to $182.3 million for 2018 from $183.1 million for 2017 primarily due to an increase in our number of net-centric customers being offset by a decline in our average price per megabit. Our revenue from our net-centric customers has declined as a percentage of our total revenue and grew at a slower rate than our corporate customer revenue because net-centric customers purchase our services based upon a price per megabit basis and our average price per megabit declined by 25.9% from 2017 to 2018. Additionally, the net-centric market experiences a greater level of pricing pressure than the corporate market and net-centric customers who renew their service with us expect their renewed service to be at a lower price than their current price. We expect that our average price per megabit will continue to decline at similar rates which would result in our corporate revenues continuing to represent a greater portion of our total revenues and our net-centric revenues continuing to grow at a lower rate than our corporate revenues. Additionally, the impact of foreign exchange rates has a more significant impact on our net-centric revenues.
Our on-net revenues increased 8.1% from 2017 to 2018. We increased the number of our on-net customer connections by 12.1% at December 31, 2018 from December 31, 2017. On-net customer connections increased at a greater rate than on-net revenues primarily due to the 5.1% decline in our on-net ARPU, primarily from a decline in ARPU for our net-centric customers. ARPU is determined by dividing revenue for the period by the average customer connections for that period. Our average price per megabit for our installed base of customers is determined by dividing the aggregate monthly recurring fixed charges for those customers by the aggregate committed data rate for the same customers. The decline in on-net ARPU is partly attributed to volume and term based pricing discounts. Additionally, on-net customers who cancel their service from our installed base of customers, in general, have an ARPU that is greater than the ARPU for our new customers due to declining prices primarily for our on-net services sold to our net-centric customers. These trends resulted in the reduction to our on-net ARPU and a 25.9% decline in our average price per megabit for our installed base of customers.
Our off-net revenues increased 5.2% from 2017 to 2018. Our off-net revenues increased as we increased the number of our off-net customer connections by 10.3% at December 31, 2018 from December 31, 2017. Our off-net customer connections increased at a greater rate than our off-net revenue primarily due to the 6.8% decrease in our off-net ARPU.
Network Operations Expenses. Network operations expenses include the costs of personnel associated with service delivery, network management, and customer support, network facilities costs, fiber and equipment maintenance fees, leased circuit costs, access and facilities fees paid to building owners and excise taxes billed to our customers and recorded on a gross basis. Non-cash equity-based compensation expense is included in network operations expenses consistent with the classification of the employee's salary and other compensation. Our network operations expenses, including non-cash equity-based compensation expense, increased 4.9% from 2017 to 2018 as we were connected to 11.9% more customer connections and we were connected to 170 more on-net buildings as of December 31, 2018 compared to December 31, 2017. The increase in network operations expense is primarily attributable to an increase in costs related to our network and facilities expansion activities and the increase in our off-net revenues. When we provide off-net services we also assume the cost of the associated tail circuits.
Selling, General, and Administrative Expenses ("SG&A"). Our SG&A expenses, including non-cash equity-based compensation expense, increased 4.6% from 2017 to 2018. Non cash equity-based compensation expense is included in SG&A expenses consistent with the classification of the employee's salary and other compensation and was $16.8 million for 2018 and $12.7 million for 2017. SG&A expenses increased primarily from an increase in salaries and related costs required to support our expansion and increases in our sales efforts and an increase in our headcount partly offset by a $1.1 million decrease in our legal fees primarily associated with U.S. net neutrality and interconnection regulatory matters and by the $1.3 million reduction in commission expense from the impact of the new revenue accounting standard which requires us to capitalize certain commissions paid to our sales agents and sales employees. Our sales force headcount increased by 7.8% from 574 at December 31, 2017 to 619 at December 31, 2018 and our total headcount increased by 4.8% from 929 at December 31, 2017 to 974 at December 31, 2018.
Depreciation and Amortization Expenses. Our depreciation and amortization expenses increased 7.0% from 2017 to 2018. The increase is primarily due to the depreciation expense associated with the increase related to newly deployed fixed assets more than offsetting the decline in depreciation expense from fully depreciated fixed assets.
Gains on Equipment Transactions. We exchanged certain used network equipment and cash consideration for new network equipment resulting in gains of $1.0 million for 2018 and $3.9 million for 2017. The gains are based upon the excess of the estimated fair value of the new network equipment over the carrying amount of the returned used network equipment and the cash paid. The reduction in gains from 2017 to 2018 was due to purchasing more equipment under the exchange program in 2017 than we purchased in 2018.
Interest Expense. Interest expense results from interest incurred on our $445.0 million of senior secured notes, interest incurred on our $189.2 million of senior unsecured notes, interest on our installment payment agreement and interest on our capital lease obligations. Our interest expense increased by 5.3% for 2018 from 2017 primarily due to the issuance of $70.0 million of senior secured notes in August 2018 and an increase in our capital lease obligations.
$9.0 million and we also recorded a transition tax of $2.3 million related to our foreign operations for a total income tax expense of approximately $11.3 million, which was recorded as additional noncash income tax expense in 2017.
Buildings On-net. As of December 31, 2018 and 2017 we had a total of 2,676 and 2,506 on-net buildings connected to our network, respectively.
producing transaction between a seller and a customer and may include, but is not limited to, gross receipts taxes, Universal Service Fund fees and certain state regulatory fees. We record these taxes billed to our customers on a gross basis (as service revenue and network operations expense) in our consolidated statements of operations. The impact of these taxes including the Universal Service Fund resulted in an increase of our revenues for 2017 of approximately $1.8 million.
Revenue from our corporate and net-centric customers represented 62.3% and 37.7% of our service revenue, respectively, for 2017, and represented 60.4% and 39.6% of our service revenue, respectively, for 2016. Revenue from corporate customers increased 11.8% from $270.1 million for 2016 to $302.1 million for 2017 due to an increase in our number of corporate customers. Revenue from our net-centric customers increased by 3.6% from $176.8 million for 2016 to $183.1 million for 2017 primarily due to an increase in our number of net-centric customers, partially offset by a decline in our average price per megabit.
Our on-net revenue increased 7.1% from 2016 to 2017. We increased the number of our on-net customer connections by 16.0% from December 31, 2016 to December 31, 2017. On-net customer connections increased at a greater rate than on-net revenues primarily due to the 7.8% decline in our on-net ARPU, primarily from a decline in ARPU for our net centric customers. ARPU is determined by dividing revenue for the period by the average customer connections for that period. Our average price per megabit for our installed base of customers is determined by dividing the aggregate monthly recurring fixed charges for those customers by the aggregate committed data rate for the same customers. The decline in on-net ARPU is partly attributed to volume and term based pricing discounts. Additionally, on-net customers who cancel their service from our installed base of customers, in general, have an ARPU that is greater than the ARPU for our new customers due to declining prices primarily for our on-net . . .


Graham in Lamentation, photo Barbara Morgan.
In 2011, Jacquelyn Elder, Katherine Crockett and Tadej Brdnik, members, at the time, of the Martha Graham Dance Company, reworked their own adaptation of Graham's 1930 Lamentation in the form of a video. Elder directed it, Crockett performed the solo and Brdnik, who had the idea in the first place, produced it. It was an entirely self-funded project and stands out as a remarkable dance adaptation of one of Graham's greatest works.
To begin with, it is a video and not a live performance, thus allowing the audience to watch it over and over again even from their own house. Then, the soundscape is particularly unique, in that it is a mixture of sound, underground trains' noises and Crockett's voiceover, which brings it into the twentieth-first century and yet keeps a firm bond with its adapted choreotext. Third, the uncommon location where it was shot, the New York underground Christopher Street – Sheridan Square Station, removes it from its usual set, the theatre stage, to insert it in the pulsating heart of the metropolis, the underground.
Lamentation is a solo Graham choreographed and performed in at Maxine Elliott's Theatre, New York, on 8 January 1930. It lasts less than six minutes and features a dancer wrapped in a purple tubular stretch costume that hides her body except for her face, part of her torso, her hands and feet. As the title suggests, it is a kind of lament, exemplified by the restrained movement quality, which is limited and, at the same time, highlighted by the costume. However, it is not about a grieving woman, but about the notion of grief expressed through movement. The dancer sits most of the time on a bench, thus destroying "the conventional image of the dancer" (Marica Siegel, 1979: 38) which is usually connected to movement performed across space. In Lamentation, instead, the energy is all concentrated on that bench.
The stretching nature of the costume shapes and reshapes the human body according to unusual forms. Graham associated the piece to "the ability of stretching inside your own skin" (Martha Graham, 1991: 117) and the costume does recall the thin and organic texture of a person's skin. At the same time, it deeply moves the audience as the dancer performs its simple and yet striking gestures: arms forward, arms up, arms joined in prayer, feet up and down, torso slightly moving. To confer a visual idea of what the piece was and is about, I chose two of Barbara Morgan's photographs for this article and two videos, one featuring Graham dancing it in 1943 (fragments, silent video), the other Peggy Lyman, from the Graham Company, dancing it for the Dance in America 1976 TV series (complete solo, with music).
Lamentation is still today a work of art made of synthesis and simplicity, two concepts Graham was focusing on in the 1930s when her approach to dance was mainly dealing with solo and group works, "as to form, which is the heart, there is manifest an economy of gesture, an intensity and integrity of mood, a simplified external means, and above all a concentration on 'the stuff' of the dance, which is – movement divinely significant" (Martha Graham, 1930: 254). This solo stands for what modern dance was trying to achieve in the 1930s, a new vision in terms of form and content, a vision which was rooted in the time and space those dancers were inhabiting, like the Depression and the World Wars. These events, modern dancers found, could not be expressed with the type of dance language (ballet and vaudeville, for example) that was available at the time. A new language, a new form was necessary. Lamentation exemplifies these aspects and adds many more. That is why, along the years, it has been recreated and reinterpreted in numerous ways apart from the video I am about to analyse.
In 1996, dancer and choreographer Richard Move reinvented Graham as a drag in his show, Martha@ and one of the pieces he performed was Lamentation, thus giving the solo a queer twist. Move was particularly good in interpreting Graham, her voice, her way of talking and her stage presence, so much so that his show became a must see for theatre goers across the United States and Europe.
Martha Graham in Lamentation, photo Barbara Morgan.
A few months after 9/11, members of the Graham Company took part to "a project for middle schools in the area to talk about emotions" (Tadej Brdnik, 2015) and used Lamentation as a springboard. It was an intense and unusual way to focus on grief and maybe find an emotional channel to start dealing with it. Years later, Brdnik was involved in another similar project during which five postures from Lamentation would be taught to students of any kind of school and ability. On one occasion, he taught it to visually impaired students and found it a great experience. This last aspect makes us reflect on dance and Graham's dance from a perceptive rather than visual approach. What is the body's dynamics? How do you perceive your arms and legs while moving inside a tubular piece of fabric?
In 2007, the Martha Graham Dance Company artistic director Janet Eilber, asked three contemporary choreographers, Aszure Barton, Larry Keigwin and Move himself, to create a work based on their response to Lamentation. The idea was to commemorate 9/11 in a new and empowering way, taking inspiration from the "economy of motion" (Janet Eilber, 2011) so dear to Graham. The project was called Lamentation Variations, it premiered on 9/11, 2007, and had such a great response that the pieces are now part of the Company repertoire and new commissions have been given to other choreographers.
It is in black-and-white and opens with the following line: "Lamentation – The passionate and demonstrative activity of expressing grief". Then the image of an underground train running appears, while another one in the platform next to this one stands still. After this, it moves and, as it disappears, it reveals Crockett wrapped up in the Lamentation costume sitting on the platform bench. It is a striking and unexpected moment for both those who know the piece and those who do not. As she moves her torso backward and forward, another train comes, again a sudden and noisy interruption. She moves her torso to the sides, thus creating lines and perspectives through the costume.
Then her voiceover begins. It consists of a montage of recordings Elder made of Crockett's voice talking about different things. It is a kind of stream of consciousness approach and establishes a direct link with Graham's interest in the human psyche and her personal way to portray it. It is an approach she will develop more consistently from the end of the 1930s onwards with pieces like Letter to the World (1940-41) and Errand into the Maze (1947). Elder's choice to create this introverted atmosphere gives life to a layered vision of Graham and adapts not just the solo in question, but also an important part of her choreosophy at large.
Crockett's arms move upwards so that the costume alters the already altered human shape into yet another geometrical form. The camera indulges into a medium shot focusing on her face and arms while her voiceover is talking about "hands, these hands…". Then she rises from the bench moving her right hand forward, torso twisted, long shot on her figure standing. Her hands join in a praying act and a train comes to yet again interrupt the last phrase of the solo. When the train disappears, we see Crockett's body folded down, her right arm on the floor. It is the closing part of this kinetic lament, a dramatic and also intense closing.
The three dancers' aim was to "showcase the work in a different scenario" (Brdnik, 2015) with respect to a theatre stage, "a contemporary space" (Elder, 2015), "in the midst of everyday current public life" (Katherine Crockett, 2015) where people who may not be able to go to theatre could experience a live performance. The underground was chosen as the perfect site because it is "part of our daily life" (Elder, 2015) and it is part of the daily life of millions of people. During the shooting, numerous curious people stopped to watch what was going on, but Elder decided not to include them in the video. "We did not know what would happen" (Brdnik, 2015), some people stopped and stared, some other asked questions (Brdnik, 2015).
The choice of the soundscape was particularly elaborate. Initially they intended to bring it closer to a younger audience and Brdnik had suggested the use of a pop song, like Adele's Chasing Pavements which nevertheless posed problems dealing with copyright. Elder, though, felt it difficult for her to let go of the formality of the piece and opted for the above-mentioned layered approach which juxtaposed the train noise, Crockett's voiceover and a "droning sound" (Elder, 2015) inserted to enhance the pathos in some parts of the video. In particular, she thought of Graham's interest in the "inner landscape" (Graham, 1991: 163) of her characters as she called it and thought it might be interesting to exemplify Crockett's train of thoughts. Interestingly, even though Adele's song was not used, it was retained in the making of the video as Crockett is actually listening to her song in headphones hidden under the costume while she performs. In this sense, the layered approach becomes even more complex. Crcokcett has danced Lamentation with the Company numerous times to the original score, so that her kinetic memory was perhaps challenged, perhaps reinforced when dancing the solo to Adele's music.
Lamentation Project is a powerful dance adaptation of Graham's solo as it keeps its pathos and minimalism while reworking and adding a fresh perspective given by both the location, the soundscape and the fact that it is turned into a video. Brdnik, Elder and Crockett consider it a work in progress in need of further work, but since then Elder has moved to Europe and they never found the time to go back to it. Would it still be in black-and-white? Would it be shot in the underground? Would they use Adele's song? Maybe yes, maybe no. In the meantime, we can enjoy it as a wonderful gem.
I would like to thank Katherine Crockett, Jacquelyn Elder and Tadej Brdnik for their kindness in answering my questions.
Tadej Brdnik, "Skype conversation with the author", 15 November 2015.
Katherine Crockett, "Facebook message to the author" 22 September 2015.
Jacquelyn Elder, "Skype conversation with the author" 9 October 2015.
Martha Graham, "Seeking an American Art of the Dance", in Revolt in the Arts. A Survey of the Creation, Distribution and Appreciation of Art in America, Oliver Martin Sayler, edited by (New York: Brentano, 1930), pp. 249-255.
Martha Graham, Blood Memory – An Autobiography (New York: Washington Square Press, 1991).
Marcia Siegel, The Shapes of Change – Images of American Dance (Boston: Houghton Mifflin Company, 1979).
Lamentation, chor. Martha Graham, music Zoltan Kodály, costume Martha Graham, feat. Martha Graham (New York: Maxine Elliott's Theatre, 8 January 1930).
Lamentation Variations, choreographic project based on Martha Graham's Lamentation. Commissioned works to: Aszure Barton, Larry Keigwin, Richard Move, Lar Lubovitch, Bulareyaung Pagarlava, Yvonne Rainer, Doug Varone. (Premiere: 11 September 2007, ongoing).
Janet Eilber, "Lamentation Variations Description", youtube video posted by popjoyhall, https://www.youtube.com/watch?v=I8d58JxWVc8, 4 March 2011 (accessed 16 November 2015).
Lamentation Project, concept Tadej Brdnik, dir. Jacquelyn Elder, feat. Katherine Crockett, based on Martha Graham's Lamentation, youtube video posted by Katherine Crockett, 16 February 2011 (accessed 16 November 2015).
really superb article said to be dance adaptation of Martha Graham's 1930 solo. thanks for update this useful blog.