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The Inconvenience, The New Colony & U of C's Theater Performance Studies Program Present the World Premiere of B-SIDE STUDIO
Join a live studio audience on the set of a '70s-style sitcom as The Inconvenience, The New Colony and the University of Chicago's Theater and Performance Studies Program team up to co-produce the world premiere of B-SIDE STUDIO, co-written by Inconvenience Resident Writer Ike Holter and New Colony Co-Artistic Director Evan Linder and directed by Nicholas J. Carroll, Andrew Hobgood and Gus Menary. B-SIDE STUDIO is performed on Fridays and Saturdays at 9/8c (that's 8 pm in Chicago, meathead!) from September 13 – October 12, 2013 at The Logan Center for the Arts, 915 E. 60th St. in Chicago.
B-SIDE STUDIO stars Daeshawna Cook, Missi Davis, Michael Harnichar, Wes Needham, Brad Smith and Kevin Stangler.
Each week's performances of B-SIDE STUDIO will feature a new episode performed in front of a live studio audience. The Monday following each performance weekend, the most recently taped episode will be made available for online viewing at www.thenewcolony.org and www.theinconvenience.org allowing audiences to stay current with the latest antics of their B-Side friends. Season subscriptions for all four episodes of B-SIDE STUDIO will go on sale Wednesday, July 31 at 773.702.ARTS (2787) or www.ticketsweb.uchicago.edu. Tickets for single episodes will go on sale Wednesday, August 14.
The episodic story of B-SIDE STUDIO focuses on Gary and Felix McNamara and their failing Chicago recording studio. Despite Felix's get-rich-quick schemes, it seems that B-Side is never going to reach the heights of success that the once-promising McNamara brothers always dreamed of. When Felix decides to use the studio to record "Song Poems" with the help of their assistant Janice and in-house musicians Butch and Marvin, there might be hope yet to save the studio. They just have to convince Lady, the overbearing trophy wife of their absentee landlord. Tune in to find out what happens next at B-Side Studio.
In a joint statement, co-writers Linder and Holter said "B-Side Studio has been a long time in the works, so we're excited to finally be working together. This blending of creative mediums comes naturally to all three artistic partners, allowing each group to play off their own strengths while working together to build a unique performance experience that harkens back to the sitcoms of the 1970s while simultaneously revealing a glimpse into the future of the arts."
Both writers have seen recent success and accolades. Linder's 5 Lesbians Eating a Quiche made its move to the off-Broadway Soho Playhouse after taking home the Best Overall Production prize at the 2012 NYC International Fringe Festival. Similarly, Holter's Hit The Wall received raves at the Steppenwolf Garage and played a subsequent run off-Broadway at New York's Barrow Street Theater.
Title: B-SIDE STUDIO
Co-written by: Ike Holter and Evan Linder
Directed by: Nicholas J. Carroll, Andrew Hobgood and Gus Menary
Cast: Daeshawna Cook (Lady), Missi Davis (Janice), Michael Harnichar (Marvin), Wes Needham (Gary), Brad Smith (Butch) and Kevin Stangler (Felix).
Location: The Logan Center for the Arts, 915 E. 60th St., Chicago
Regular run: Friday, September 27 – Saturday, October 12, 2013
Curtain Times: Fridays and Saturdays at 8 pm. Please note: there will not be performances on Friday, September 20 and Saturday, September 21.
Tickets: Subscription pass $40/$20 students (all four episodes, one per week) Single episodes $20/$10 students. Season subscriptions for all four episodes of will go on sale Wednesday, July 31 at 773.702.ARTS (2787) or www.ticketsweb.uchicago.edu. Tickets for single episodes will go on saleWednesday, August 14.
Production team: John Wilson (scenic designer), Nathan Rohrer (costume designer), Jeffrey Glass (lighting designer), Jenny Pinson (props designer), John Cicora (music director), Kaylie Honkala (stage manager), Laura Scales Ashlock (unit production manager), Bobby Huggins (first assistant director), Cole Simon (director of photographer/camera operator), Adam Bialy and Sarah Giroux (camera operators), Adam Goron (audio finishing) and Wes Lambert (music recording engineer).
In keeping with The New Colony's devised, collaborative artistic process, B-SIDE STUDIO will present two free public readings for audience feedback on Tuesday, July 16 at 7:30 pm (Episodes 1 and 2) and Tuesday, July 30 at 7:30 pm (Episodes 3 and 4) at the Dank Haus German American Cultural Center, 4740 N. Western Ave). No reservations necessary. Audience feedback is crucial in honing in on character development, overall story structure and clarity.
About the Artists:
Ike Holter's (Co-Writer) scripts have been workshopped with The Kennedy Center, The Eugene O'Neill Theater Center, and The Playwrights Center. His work has been produced with The Steppenwolf Garage, LiveWire Chicago, City Lit Theater, Nothing Without a Company (where he is the Associate Artistic Director), Collaboraction's Sketchbook, EP Theater, Route 66, Theater on The Lake and The Inconvenience, where he is a founding member and Resident Writer. His show Hit The Wall is now playing Off-Broadway at The Barrow Street Theater in New York. Dexter Bullard will direct his new play Kitchen Sink this spring at The Merle Reskin Theater, and he is on commission with The Goodman Theatre as part of their Playwrights Unit.
Evan Linder (Co-Writer) is a founding member of The New Colony in Chicago where he also serves as Co-Artistic Director. A playwright, actor and director, Evan was recently listed on Chicago Magazine's 2013 Power List of Theater Scene Stealers. His first play produced in Chicago, Frat, was named as one of the best of 2009 in the Chicago Tribune, Windy City Times and Newcity. Other plays include 11:11, The Warriors, The Bear Suit of Happiness and 5 Lesbians Eating a Quiche, which was named Best Overall Production at the 2012 NYC International Fringe Festival and is published by Samuel French. Since its debut in Chicago in 2011, 5 Lesbians has received productions in Kansas City, Omaha, Boulder, Louisville, Memphis, San Francisco and Charleston, SC, as well as a run Off-Broadway as part of the Soho Playhouse's 2012-13 season. Evan also co-wrote the book to the glam-rock musical Rise of the Numberless, which was developed by The New Colony and Bailiwick Chicago in 2012 and most recently wrote The Bear Suit of Happiness, which premiered this year with The New Colony and was remounted as the opening show in Theater on the Lake's 2013 season. He recently developed and directed Rewilding Genius at the University of Chicago, where he is an adjunct professor of theatre.
Nicholas J. Carroll (Director) is the Director of Films at The New Colony, where he directed the short film So Many Days and the short auto-documentary Script Comes Last. He is also the TAPS North Theater Manager at the University of Chicago, managing three theatrical spaces including the 140-seat Francis X. Kinahan Theater. Originally from Connecticut, Nick grew up working on his sister's indie film sets and there found his passion for storytelling through film. After moving to Chicago, he joined The New Colony as a company director in 2009.
Andrew Hobgood (Director) is the Founding Artistic Director of The New Colony, the Business Strategist for Vosges Chocolate, and an Adjunct Professor of Theater at the University of Chicago. His last play, 5 Lesbians Eating a Quiche, won Outstanding Production at the 2012 New York International Fringe Festival before opening as an Off-Broadway production that Ben Brantley of the New York Times called "raw and magnetic dementia…destined to attract a cult following." 5 Lesbians has been performed in over ten cities since its premier, and is published with Samuel French. Hobgood's other work with The New Colony includes writing and directing the new musicals Tupperware: An American Musical Fable, That Sordid Little Story, and Rise of The Numberless as well as directing Amelia Earhart: Jungle Princess, the original and commercial productions of FRAT, and Hearts Full of Blood, which won Outstanding Script at the 2010 New York International Fringe Festival. In 2010 Newcity Magazine named him one of the 50 People Who Really Perform for Chicago; in 2011 he and The New Colony were honored with the Broadway in Chicago Emerging Theater Award; and in 2013 he and Co-Artistic Director Evan Linder were two of six people on Chicago Magazine's Cultural Power List of Theater Scene Stealers. His new play reWILDing Genius was commissioned by the University of Chicago, where it will also receive a workshop production this spring. When not directing, writing or acting, he can be found working in the Innovation Lab of Vosges Haut-Chocolat, or guest speaking and writing on the topics of devised/collaborative theater, the future of playwriting and theater, and the art of business/business of art.
Gus Menary (Director) is a company member and Director of Music Programming for the arts organization The Inconvenience. He's directed for many of their festivals, booked and coordinated over 20 concerts and created their summer block party BLOCKOUT. He is also a founding member of Jackalope Theatre Company where he's directed Shawn Reddy's My Name is Mudd, Andrew Burden Swanson's Moonshiner and co- directed Last Exodus of American Men also by Swanson. Most recently he directed Mickle Maher's Spirits to Enforce for Abraham Werewolf. He has worked with many other theatre companies in the Chicago area including Mary Arrchie, Pinebox and American Theatre Company.
About the Collaborators:
The Inconvenience, is a community of interdisciplinary artists who seek to create a new way of experiencing art through a collaboration of music, theatre, dance, fine art and celebration. We create, produce and curate work that challenges audience and artist perspectives and ignites social dialogue.
The New Colony, the 2011 recipient of the Broadway In Chicago Emerging Theater Award, strives to contribute original material to the American artistic canon and develop a new kind of theater going audience. Through collaboration with emerging artists of all disciplines, The New Colony continually develops new work and fresh perspectives. With the goal of exploring enticing subject matter and the common language of experience, The New Colony will cultivate the next generation of arts supporters.
This event takes place as a part of the Summer, Inc. Residencies with Theater and Performance Studies at The University of Chicago.
The Summer, Inc. program began out of a desire to extend the program's nurturing environment to Chicago's professional performance community. Recognizing the importance of hospitality, particularly in a moment when the arts are faced with acute economic challenges, when basic expenses make the creation of new work more of a conceptual wish than a pragmatic reality, UC Summer Inc. invites companies into our artistic home. Selected groups represent the city's boldness in its artistic approaches which has been demonstrated through projects of solo performance, clown adaptations, dance, and multi-media work. All of the new work developed reflected the University's commitment to interdisciplinary collaborations.
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Події
 5 серпня — битва при при Левктрах (Беотія): фіванські війська розбили спартанців (в бою загинув їхній цар Клеомброт), після чого Спарта втратила своє домінуюче положення в Греції

Народились

Померли

Див. також

370-ті до н. е.

redpajama_set_name: RedPajamaWikipedia


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Pusha T Says His Beef with Drake is Done
Jasmine Ting
This month the long-simmering beef between Pusha T and Drake peaked in heat as diss tracks and invoices were delivered, and blackface photos (taken out of context) were resurfaced. But in a recent interview with Vanity Fair, Pusha T says "It's all over with."
So what was the point to the drama and all the shade? Pusha says, "I don't even know. I don't know what was lost or what was gained." And when VF 's Dan Adler asked if there was "more stuff in the tank," after he had said he would have a "surgical summer with [Drake], peeling the layers back," the rapper responds, "I mean, you know. These conversations have been had and, to my knowledge, it's all over. It's all over with."
Instead of focusing his energy on spats, it seems like the artist has decided he'd rather channel his energy into his music. "Just feeding my base, that's it. That's the most important thing to me at all times."
In the interview, the rapper also humbly acknowledges that Drake has been, and will probably continue making No. 1 hits—that he and Drizzy are playing in completely different fields. "It's my lane. My lane is just my lane, that's it. . . . I think about myself right now and just knowing my lane, knowing what I want to do, knowing who I want to talk to every time," says Pusha. "Knowing that I'm not ever reaching to grab anything extra. And people accept me at this."
Read the full interview on Vanity Fair.
Image via Getty

redpajama_set_name: RedPajamaCommonCrawl


Authors: Gadekar, C.S.; Ajithprasad, P.; Madella, Marco ; Balbo, Andrea ; Rajesh, S.V.; Rondelli, B. ; García-Granero Fos, Juan José ; Rodríguez Antón, David ; Yannitto, V.
Abstract: Loteshwar (23 36' 1.8" N; 71 50' 11.8" E) is situated in the Sami Taluka of Patan District in North Gujarat, Western India. First excavated in 1990's the site was re-excavated by the North Gujarat Archaeological Project during November/December 2009. The 2009 excavation unearthed two cultural periods namely Mesolithic (dated between the end of the eighth millennium cal BC and the middle of síxth millennium cal BCE) and Ch.alcolithic (dated to around 3600-3000 BC). The comparative analysis of the lithic assemblages associated wíth. these periods is the main objective of the current study. Other artefacts and ecofacts recovered duríng the excavations suggest a changing economy at the site from hunting and gathering to agro-pastoralisam. However, the analysís of the lithic assemblage, in particular the cores show continuity in tenn of a tool technology (quartering technique of stone tool manufacturing) for over five thousand years. This technological continuity is assocíated to continuity in settlement patterns, characterized by the occupation of dune tops and the uninterrupted transmission of technological knowledge from one generation to another.


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Facility Agreement concluded with Czech Republic
An International Monitoring System Facility Agreement has been signed on 13 November 2002 by Mr. Wolfgang Hoffmann, Executive Secretary of the Commission and Mr. Pavel Vacek, Ambassador and Permanent Representative of the Czech Republic to the CTBTO Preparatory Commission. The Agreement regulates the establishment, operation, financing and maintenance of the auxiliary seismic station at Vranov (AS26), the Czech Republic, and gives authority to the Commission to carry out necessary activities on the facility. The Agreement will enter into force on the date on which the Government of the Czech Republic has informed the Preparatory Commission that the national requirements for such entry into force have been fulfilled.
Eighty-nine States hosting the International Monitoring System facilities of the CTBTO Preparatory Commission are required to conclude bilateral Facility Agreements in accordance with paragraphs 4 and 5 of the Protocol to the Comprehensive Nuclear-Test-Ban-Treaty. As of 14 November 2002, 22 IMS facility agreements or arrangements including the one with the Czech Republic have been concluded, of which 15 have entered into force and two are being applied provisionally. Legal arrangements in the form of facility agreements or arrangements, or interim exchanges of letters, have now been concluded to regulate the Commission's activities at 309 of the 337 monitoring facilities, hosted by 76 of the 89 host States.


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Q: Grass projection issue I am working with GRASS and I am trying to do a supervised classification. The issue here is that I get an error for NaN values.

ERROR: Not enough data points

Now I know that is an error that you get, most of the times, when the projection is different and because I know that I re-projected all of my data in GGRS87 (I have both vector and raster data) but I still get the same error. What should I do? Should I try another projection or is there another way to do supervised classification.
P.S I tried with this tutorial https://grasswiki.osgeo.org/wiki/Image_classification#Supervised_classification
and I tried to create a raster map from CORINE2000
g.region vect=corine align=raster
v.to.rast in=corine out=corine_training use=attr col=CODE labelcol=CODE2 --o
And now I can't generate statistics using
i.gensigset group=OB subgroup=raster_maps sig=corine_smap training=corine_training

A: So researching for my issue I came across an old github repository filled with lectures on how to do a Supervised Classification
https://github.com/FOSS4GAcademy/GST105FOSS4GLabs/blob/master/Module%206%20Lab/QGIS%202.4%20and%20GRASS%206.4.4/Module%206%20Lab.md
Which actually helped me retrace my steps and solve my problem.

redpajama_set_name: RedPajamaStackExchange


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Suspect dead, bystander shot in Saturday evening shootout with Las Cruces police. Here's what we know.
Justin Garcia Lucas Peerman
Updated at 3 p.m. Sunday, Oct. 10
LAS CRUCES - Las Cruces Police Department confirmed that one man is dead and another is in stable condition after a shootout rocked Las Cruces Saturday night.
LCPD Det. Frank Torres said in a news release the incident began when police attempted a traffic stop at the intersection of 5th Street and Wilson Avenue about 8 p.m.
"Preliminary investigation indicates that during the traffic stop the vehicle came to an abrupt stop and the driver, a male, immediately opened fire, shooting at least one round at the officers in the two-man police unit," Torres said.
The two officers returned fire before the suspect sped away, Torres said. That led to a short car chase which ended at the intersection of 4th Street and Davis Avenue.
Torres said the suspect would not comply with police commands, triggering the LCPD and New Mexico State Police SWAT teams to join the incident.
"The Las Cruces Police Department's Hostage Negotiation Team also responded to communicate with the subject in an effort to gain his compliance and peaceful surrender to authorities," Torres said in the news release.
However, the man inside the car did not surrender, leading to an hours-long stalemate, Torres said.
"A chemical agent was introduced into the suspect vehicle in a further effort to gain the subject's compliance and surrender," Torres said.
With the vehicle filled with the chemical agent, the suspect got out of the car. He then appeared to reach back into the car, Torres said. At that point, police shot the suspect several times.
"Medical attention was rendered to the subject however he was declared deceased at the scene. Investigators located a handgun in the area that the subject was reaching," Torres said.
Police did not release the suspect's name.
Dolores Ybarra, who lives near the corner of Davis and Third Street and relocated to a friend's house on Sixth Street amid the standoff said she heard a rapid succession of gunfire — "about 10 to 15 shots" — about 11:15 p.m.
During the shootout, a bystander was hit in the crossfire. Torres said this person was flown to El Paso and is in stable condition.
Torres didn't release further details about the bystander.
Ybarra said she knew the man who was hit, saying he was in his house near 4th and Davis when struck by gunfire.
Several agencies responded to the incident including New Mexico State Police, Las Cruces Police Department, Doña Ana County Sheriff's Office and New Mexico State University Police.
"Witnesses or anyone with information regarding this incident is asked to contact the Las Cruces Police Department at 575-526-0795," Torres said.
House also hit by gunfire
Diana Saenz witnessed the initial traffic stop and shooting. She said she was outside her home on the 1100 block of Wilson when she noticed a police unit pull over a vehicle headed south on Fifth Avenue.
"There were no sirens, just lights," Saenz said, noting it seemed to be a "regular traffic stop."
Then, she heard a gunshot, a brief break, and then a rapid succession of "15 to 18 shots, easy." Then, the vehicle "peeled away" and the police unit followed.
Saenz's sister, Bianca Rede, lives next door at the corner of Wilson and Fifth. One of the bullets from the shootout ricocheted off her home, denting the adobe structure.
"I'm just glad my dogs didn't get hit because they were out here in the yard," Rede said Sunday, while comforting Beck and Dynamite, her English pointers. Also, Rede said, had the bullet hit a few feet to the north, it could have entered her daughter's room. Her daughter, she said, wasn't in her room at the time of the shooting.
Police continued to investigate the shooting into Sunday afternoon. About 1 p.m., the intersection of 4th and Davis remained blocked and a black vehicle with its back window shot out multiple times was visible to passersby.
Others are reading:Anthony, NM, man sought by authorities in homicide investigation
Justin Garcia is a public safety reporter for the Las Cruces Sun-News. He can be reached by email at JEGarcia@lcsun-news.com or by phone at 575-541-5449 or on Twitter at @Just516garc. Lucas Peerman is the news director of the Sun-News. He can be reached at lpeerman@lcsun-news.com or on Twitter @LittleGuyInATie.


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Aussies aim up for Test
Mon 19 Oct 2015, 02:06 PM
AUSTRALIAN Universities coach Mark Gliddon is looking for some big improvement with the ball when his side takes on New Zealand Universities in Christchurch on Thursday.
The national tertiary side went down 22-20 to the South Island Scorpions, the senior representative side from New Zealand's southern isle yesterday.
While the home side scored with nine minutes to go to win the match and the Australians blew a chance to score in the final minute, it was dropped ball that was the problem.
"We really need to concentrate on our ball control," said Gliddon.
"If you complete at under 50 percent in a game of rugby league you are not going to win.
"When we had quality ball and built pressure we got results.
"That is what I will be looking for in the first Test - ball control leads to game control."
Australia led early when former Broncos under-20s centre Michael O'Keefe went over after just four minutes.
But tries to Phil Thomson and Craig Smith gave the Scorpions a 12-10 lead at halftime after Mitch Lollback had scored for the visitors.
Tama Apineru scored after the break to make it 16-10 to South Island.
Australia hit the front with tries to winger Allan Newton and back rower Sam Harold with 15 minutes to go, before Patella Tou crashed over for the game winner.
Australia will also play New Zealand Universities in a second Test in Greymouth on Sunday.


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Posted on July 3, 2013 by TimEldred
Yamato Origins, Part 9
The Pilot Film and the Homestretch
The precise timeline of Space Battleship Yamato's preproduction phase is somewhat sketchy, but the rubber officially hit the road in June 1974. Getting all the story ideas lined up was one thing; turning words into pictures for the first time was quite another.
As negotiations with the Yomiuri TV network augured toward a conclusion, Yoshinobu Nishizaki decided the major goal for the summer was to produce ten minutes of finished animation for a Yamato Pilot Film. Doing so would accomplish a number of different things.
First, it would help to focus the design process. All of Yamato's main crewmembers and the ship itself would have to be shown, and working out a design method early on would benefit everything that came afterward. Second, it would give the fledgling crew a sense of what they were up against so they could begin to address the many complex needs of the production. Third and most important, they would be able to demonstrate to outsiders (broadcasters, licensors, advertisers, etc.) that a largely-unknown studio was capable of producing a competitive program. And finally, it would serve as an ideal reference document for copyright application.
Character and mecha design got started immediately under the capable supervision of Chief Director and Character Designer Nobuhiro Okaseko. A veteran of both Toei Studio and Osamu Tezuka's Mushi Pro Studio, he was well-known to Nishizaki after they worked together on Wansa-Kun. Okaseko had previously supervised two anime programs, the high school soccer series Akaki Chi no Eleven [The Red-Blooded Eleven, 1970] and superhero series Gekko Kamen [Moonlight Mask, 1972]. The roots of Yamato's character design can be seen in both. Some of his other credits include Captain Tsubasa, Cutie Honey, Mighty Atom, Future Boy Conan, and the first series of Lupin III.
Leiji Matsumoto had already taken the first pass at each of the main characters, but in Okaseko's opinion these designs were too idiosyncratic; translating them to anime would basically require the entire animation staff to learn how to draw just like Matsumoto practically overnight–an unrealistic prospect at best. Instead, they were re-interpreted in a much more anime-friendly style by Okaseko and a few others (including the very talented Yasuhiko Yoshikazu, who would produce about half the storyboards for the TV series). This was a difficult learning curve for Matsumoto, but he breathed easier when his designs for Dr. Sado, Analyzer, and Starsha got through the process almost untouched.
The script for the Pilot Film was as simple as could be, a verbal presentation (probably written by Keisuke Fujikawa) with just two voices, a narrator and Queen Starsha. This resulted in the casting of Yamato's first voice actors, Goro Naya as the narrator (later Captain Okita) and Michiko Harai as Starsha.
This also marked the entry of Animation Director Noboru Ishiguro, at least on a part-time basis. He was still involved in a comedy series called Dokonjo Gaeru [Gutsy Frog] and would remain so until late summer. Therefore, he was only able to share storyboarding duties with Okaseko. Those storyboards (shown in full on this page) represented a significant milestone; the first time a Yamato scene was rendered on paper and the beginning of a process that would become more demanding than anyone could imagine. It is believed that Matsumoto took part in the storyboarding as well, but specific evidence is elusive.
The film was the first production undertaken at Office Academy's studio in the Sakuradai ward of Tokyo. The animators were Toyoo Ashida, Kazuhiko Udagawa, Takao Ogawa, Seiichi Nodate and Kouzou Masanobu–all of whom would continue onto the series. Ashida personally animated the scenes of Planet Bomb destruction and flying rocks that became an iconic part of the opening montage for most of the TV episodes. (Read our tribute to him here.)
Background paintings were done by Hachiro Tsukima, formerly of Mushi Pro. Both light and dark colors were experimented with for the space backgrounds. After this, it was decided that a dark navy blue would be the basic outer space color for the series. A system of color codes was created for special-ordering cel paint. But the brightness of the colors was underestimated on the pilot, so Yamato's red hull was later toned down to a reddish-brown color. Discoveries like this where what made the Pilot Film such a valuable project.
Mushi Pro was in a state of reorganization after enduring a bankruptcy, and they solicited Office Academy to hire them for the photography. The sound director was Atsumi Tashiro and the sound effects were by Mitsuro Kashiwabara, both of whom would stay on for the duration. Because Hiroshi Miyagawa had not yet been hired to compose music, the following tracks were used:
Track 1: Spirit of Summer by Eumir Deodato. From the album Prelude (1973).
Track 2: Love theme from The Getaway by Quincy Jones. From the album You've Got it Bad Girl (1973).
Track 3: Chump Change by Quincy Jones. From the album You've Got it Bad Girl (1973).
Track 4: Also Sprach Zarathustra cover by Eumir Deodato (original composition by Richard Strauss). From the album Prelude (1973).
Eumir Deodata is a Brazilian musician and producer whose rendition of Zarathustra reached number 2 on the Billboard Hot 100 in March 1973. Read more about him here.
Quincy Jones is a legendary musician and producer who needs no introduction, but you can read more about him here.
Prior to entering the anime world, Yoshinobu Nishizaki spent at least a decade in the world of music, producing stage shows, spinning discs on the radio, and seeing live shows all over the world. The likelihood is very high that he made all of these selections himself, perhaps supplying the tracks from his own personal collection. They were almost certainly unlicensed at the time, since the pilot film was only intended for private screenings. The fact that it was later released fully intact means there is more information to be discovered at another time.
The film was completed in August 1974 and at least nine copies were distributed to interested parties, agencies and affiliates.
See a gallery of stills from the Pilot Film here.
See the Pilot Film now on YouTube here.
A companion project was undertaken that summer as well, though its specific timeline is as yet unknown. It was a large-format (10″ x 14″), full-color 16-page publicity book filled with designs and the basic selling points for the story. It was particularly handy for capturing the attention of prospective licensors like the Lotte Candy Company, who would need a collection of eye-catching images for boxes, wrappers, and the like. Some of the art from this book would appear on early merchandising, and also functioned as a style guide while animation designs were still in progress.
See the Publicity Book from cover to cover here.
No one could have anticipated at the time that it would be the one and only publication to promote Captain Harlock as a full-fledged member of the cast. Before he was cut from the series, he made a handful of appearances on various spinoff products. As a salute to his very brief Yamato career, let's examine them one by one…
Here we see the actual design for the show, created by Leiji Matsumoto and refined for animation by Nobuhiro Okaseko. Keep in mind that until about episode 10, Harlock was for all intents and purposes still in the show, waiting for a debut that would never come.
Three different manga versions of the first series got underway the same month as the show itself. Leiji Matsumoto drew a shrouded Harlock in his version, published in Adventure King magazine. Meanwhile, Yuki Hijiri (above center) and Akira Hio (above right) based their Harlocks on the anime design. Hijiri's manga appeared in Terebi Land magazine, and Hio's manga was published in paperback.
The anime design also appeared in the first novelization by Arashi Ishizu in which Harlock and Okita made a last stand together, Butch-and-Sundance style. Finally, the space pirate took his place among other Yamato characters in wrappers that came with bubblegum from the Lotte Company. This was the last anyone would see of him until Space Pirate Captain Harlock made his anime debut in 1978, and he's been sailing the sea of stars ever since.
Read more about Captain Harlock's Yamato appearances here.
Together, the Pilot Film and the Publicity Book marked the transition from Yamato as a concept to Yamato as reality. The many and varied origins of the series were now solidified and development finally gave way to production. As chronicled elsewhere on this site, it was to be a much greater challenge than anything that had come before. The Pilot Film, in fact, was a harbinger of the difficult times that lay ahead.
Nobuhiro Okaseko began to experience health problems during the summer, and collapsed from extreme fatigue just before the TV series went into production. With the Chief Director now hospitalized, Ishiguro got a battlefield promotion to take his place. He already had a long list of credits by that time, having directed for Mushi Pro and previously worked for Yoshinobu Nishizaki as a director on Wansa-Kun. He brought some of his assistant directors on board from Dokonjo Gaeru, including Kazunori Tanahashi, who would continue as a Yamato staffer for years to come.
Okaseko finally returned to perform character design on Episode 13 and take up animation duties on Episode 16. By then, the production had been in panic mode for months and would remain that way to the end. There was no way of anticipating this during the previous year, as Space Battleship Cosmo slowly evolved into Asteroid Ship Icarus and eventually Space Battleship Yamato. There was also no way of knowing all that hard work would ultimately change the world of anime forever.
This concludes our Yamato Origins series. Click on these links for further reading:
Leiji Matsumoto on Series 1 development and production
Noboru Ishiguro Essay on the making of Series 1
Series 1 Staff Profiles
This entry was posted in Articles (Series 1) by TimEldred. Bookmark the permalink.


We went to a resort on the weekend and one acquaintance of mine had a wardrobe Malfunction. Since I always pack a set of spare overalls when on any day long outdoor activity, I loaned him my pair of shorts. What infuriated me is that when after 2 days I asked him for my shorts, he returned them in the soiled condition. Whats worse, he did not even had the common sense to fold it and put it inside a polythene cover or wrap it in a piece of old newspaper.
Cleaning the shorts is not a big effort, but since I do not know who this guy is, I would see this action as a reflection of his upbringing and mannerism. Had he been a close friend, I would have mocked and taunted his actions so that this never gets repeated.
Indian parents treat their kids like little emperors and don't even spend a day training them how to behave in public and in social situations. Even after graduating from college and spending years in professional life, most people do not know how to behave and talk in front of girls. That it is rude to stare.
i know its the curse of nuclear family.. nobody has time for anybody else and people just don't get along.


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Patient-reported experience measure in sickle cell disease.
Chakravorty, S, Tallett, A, Witwicki, C, Hay, H, Mkandawire, C, Ogundipe, A., Ojeer, P, Whitaker, A, Thompson, J, Sizmur, S, Sathyamoorthy, G and Warner, JO (2018). Patient-reported experience measure in sickle cell disease. Archives of Disease in Childhood. 103, pp. 1104-1109. https://doi.org/10.1136/archdischild-2018-314955
Chakravorty, S, Tallett, A, Witwicki, C, Hay, H, Mkandawire, C, Ogundipe, A., Ojeer, P, Whitaker, A, Thompson, J, Sizmur, S, Sathyamoorthy, G and Warner, JO
OBJECTIVES: To develop patient-reported experience measure surveys for patients with sickle cell disease (SCD) to understand their healthcare and lived experience in the UK and for their use in future to inform healthcare service development. DESIGN: Picker methodology was used as follows: (1) qualitative scoping by focus group discussions; (2) questionnaire development through stakeholder consultations; (3) construct validation of questionnaires through cognitive testing; and (4) further assessment of construct validity by a nationwide pilot survey. SETTING: Patients with SCD and their carers were eligible. Focus group discussions took place in non-hospital settings, arranged out of hours. Cognitive testing took place in specialist sickle cell clinics. The pilot survey was available to UK participants only and was administered through web-based questionnaires, face-to face completion and in sickle cell community events. PARTICIPANTS: Thirty-three patients and carers took part in the focus groups, 21 participants undertook cognitive testing and 722 respondents completed the pilot survey. RESULTS: Findings highlighted a widespread prevalence of poor knowledge about SCD among healthcare providers and the public. Poorer experience of care was present in the emergency setting compared with planned care, of which lack of timely provision of pain relief was of concern. Adolescents and young people reported significantly poorer experience of care in several domains compared with children or adults. CONCLUSIONS: The new surveys functioned well, with good evidence of validity, and were accessible to the SCD patient population, supporting their future use in assessing patient experience to inform service delivery and improvements in care quality.
patient experience; patient reported experience measure; sickle cell disease; 1103 Clinical Sciences; 1114 Paediatrics And Reproductive Medicine; 1117 Public Health And Health Services; Pediatrics
Archives of Disease in Childhood
103, pp. 1104-1109
https://doi.org/10.1136/archdischild-2018-314955
PREM MANUSCRIPT for ADC_text and table_Revision.docx
https://openresearch.lsbu.ac.uk/item/869xq
License: CC BY-NC-ND 4.0
Inclusion of cultural competence and racial awareness in nursing education: An exploration of the nurse educator role.
Ogundipe, A., Hylton, D. and Alexander, P. (2022). Inclusion of cultural competence and racial awareness in nursing education: An exploration of the nurse educator role. Nurse Education Today. 120, p. 105611. https://doi.org/S0260-6917(22)00347-1
The experiences of inpatient nursing staff caring for young people with early psychosis
Thompson, J, Boden, Z, Newton, EK, Fenton, K, Hickman, G and Larkin, M (2019). The experiences of inpatient nursing staff caring for young people with early psychosis. Journal of Research in Nursing. 24 (1-2), pp. 75-85. https://doi.org/10.1177/1744987118818857
Performance Enhancement of Urban Ground Source Heat Pumps through Interactions with Underground Railway Tunnels
Revesz, A, Chaer, I, Thompson, J, Mavroulidou, M, Gunn, M and Maidment, GG (2018). Performance Enhancement of Urban Ground Source Heat Pumps through Interactions with Underground Railway Tunnels. Ashrae Winter Conference. Chicago 22 - 24 Jan 2018 London South Bank University.
Modelling of Heat Energy Recovery Potential form Underground Railways with Nearby Vertical Ground Heat Exchangers in an Urban Environment
Revesz, A, Chaer, I, Thompson, J, Mavroulidou, M, Gunn, M and Graeme, M (2018). Modelling of Heat Energy Recovery Potential form Underground Railways with Nearby Vertical Ground Heat Exchangers in an Urban Environment. Applied Thermal Engineering. 147, pp. 1059-1069. https://doi.org/10.1016/j.applthermaleng.2018.10.118
The experiential impact of hospitalisation: Parent's accounts of caring for young people with early psychosis
Hickman, G, Newton, EJ, Fenton, K, Thompson, J, Boden, Z and Larkin, M (2015). The experiential impact of hospitalisation: Parent's accounts of caring for young people with early psychosis. Clinical Child Psychology and Psychiatry. 21 (1), pp. 145-155. https://doi.org/10.1177/1359104515581716
Ground source heat pumps and their interactions with underground railway tunnels in an urban environment: A review
Revesz, A, Chaer, I, Thompson, J, Mavroulidou, M, Gunn, MJ and Maidment, GG (2015). Ground source heat pumps and their interactions with underground railway tunnels in an urban environment: A review. Applied Thermal Engineering. 93, pp. 147 - 154. https://doi.org/10.1016/j.applthermaleng.2015.09.011


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Festival Marionnettes Plein la rue – 11th Edition
26 August au 10 September 2022
The last two years have allowed us to reinvent ourselves and adapt.
This summer, we can finally find each other, reconnect, laugh and dream, together.
On Fridays and Saturdays from August 26 to September 3, 2022, Promenade Wellington will come alive with all kinds of puppets that will amaze young and old alike: inhabited puppets, hand puppets, rod puppets, exhibitions,… abundant offer that promises emotions and laughter in no time!
14 companies from Quebec and 2 from abroad will perform on the street in addition to the 4 companies that will perform at Quai 5160.
Focused on short-lived puppet shows, the festival will feature more than 20 performances spread across venues and parks adjacent to Promenade Wellington. The companies will present a variety of creations free of charge that will amaze and make young and old alike dream. The closing show will take place on Saturday, September 10, 2022 at Quai 5160 at a cost of $7. Tickets HERE
On Fridays and Saturdays from August 26 to September 3, 2022 on Promenade Wellington, open your eyes wide and let yourself be carried away by the magic of the 11th edition of the Festival Marionnettes Plein la rue!
- Metro de l'Eglise
- Ethel parking lot, between de l'Église and Hickson streets (access via Ethel street and pedestrian exit on Wellington street)
- Parking at the corner of 3rd Avenue and Wellington Street
- Parking at the corner of Gordon and Wellington streets
FREE (except the closing show at QUAI 5160)
* Please note that times may vary slightly. Thank you for your understanding.
Programming per day
DOWNLOAD THE PROGRAMMATION :
Continuous | From August 26th to September 10th
Théatre Motus - LES TRÉSORS DE MOTUS
Ongoing exhibition
In the windows of :
Harricana - 3697 Wellington
Aeroport Voyage -
Librairie de Verdun - 4750 Wellington
Brock-Art - 4835 Wellington
Quai 5160 - 5160 Boulevard LaSalle
Audience: for all
The 2021-2022 season marks the 20th anniversary of Motus! Two decades of adventures and encounters with children and their families through the art of puppetry. This anniversary is a great opportunity to share with you the treasures accumulated throughout these years of creation and touring!
After having traveled the world and played in several languages, all our puppets gather in the windows of the shops of the Well for a great exhibition! Come celebrate with us by browsing through the various works that have marked the history of Motus.
Andrea Calderon Stephens -
Between 4th and 5th Avenue
Series of photographs that bear witness to the work of Mexican puppeteers Yuliana Menes, Iker Vicente, Jacqueline Serafin, Yvonne Dorantes, Abraham Baños, Kaleb Oceguera and Carolina Pimentel.
LA LIGA TÉATRO ÉLASTICO - Burros
6:30 p.m. (duration 60 min)
Strolling and fixed shows:
Departure 6:30 p.m. in front of Jean Coutu - 4061 Wellington | International artist 💛
The last donkey in the world is dead. A solemn procession is organized to honor his memory... but the funeral is abruptly interrupted by an unexpected event which gives rise to the reliving of the most important moments of his life.
*Mobile show
LE ROI BORÉAL
8 p.m. (duration of 30 min)
Strolling - Departure at 8:00 p.m. at 3rd Ave. | Cabane Panache s'invite au Festival Marionnettes Plein la rue 💛
In the city center, in an urban environment, in a neighborhood of condo buildings or in the parking lot of a CHSLD, this majestic Moose appears. He walks and carries with him the sounds, the essence and the smells of nature. During this event we live with Borée the four seasons on the level of sound as well as visual, olfactory and poetic. He moves quietly; on the lookout, he enters a new world. He tries to find his place in the middle of this invasive concrete and the few small pieces of greenery reminding him of his natural habitat.
LAMBE LAMBE & CO - Alice au pays des merveilles en cabinet
1 p.m. to 2 p.m. and 16 p.m. to 5 p.m. (continuous shows)
1:00 pm to 2:00 pm in front of Maçonnerie Gratton - 3729 Wellington and 4:00 pm to 5:00 pm in front of Lili & Oli - 4554 Wellington | DESS graduates 💛
The Cabinetttes contain 4 puppet stories that last the instant of a song. Just sit in front of their little window to see a micro-story unfold like a fantastic landscape.
The Cabinette is a form of miniature puppet theater inspired by the Brazilian Lambe-Lambe, which
present in a portable box placed in the public space. This intimate formula offers a moment of sharing between the performers and the spectator.
Noe Cropsal - Ti-Gus Magicien
10 a.m., 11:30 a.m. et 1 p.m. (duration 25 min)
Land of the Epiphany Church | 4322 Wellington
Audience: For all | 50 people per performance
Throughout the summer, Ti-Gus rehearsed his new show! It's that this time ends the nonsense! We do not laugh with magic, it's serious! Whether it's hot or cold, rain or shine, nothing will stop it! He will present his show at all costs! All you have to do is come and applaud him... or boo him!
Sandrine Thibout - Cocon Bonheur
2 p.m. to 5 p.m. (Continuous installation)
Madelinots Park | Price OUF-FMPR 2022 💛
"Cocon" is a puppet installation at the heart of which
the public is invited to play. It's an upside-down world, a bubble of comfort to share in
family or friends. To enter this nest is to give yourself a time of rest and exchanges.
Photo: Jasmine Allan-Cote
Théatre des Petites âmes - Le jardin des petites âmes
11 a.m. to 5 p.m. (rotating show)
Land of the Presbytery | 💛 Favorite 2019
Audience: 1 to 6 years old | 15 children and their adults at a time
The Théâtre des Petites Âmes invites you to come and explore a garden where children can touch everything. The children will be able to discover at their own pace a bridge with bells, a bamboo forest, a boat to cross the lake of dreams, a bird that does not take water, a vegetable garden of dancing flowers or even a singing turtle.
Les Chasseurs de rêves - Les Oiseaux
2:30 to 3:15 pm
Wandering : Departure from Galt
Welcome to the Bird Ball!
Large and graceful birds, escaped from a lost paradise, invite us to enter their dance. They hypnotize us and carry us away in a whirlwind of beauty, poetry and magic! These birds of passage, emerging from a dreamlike world, stimulate the desire to follow them, to play with them, to swim in the atmosphere of their chimerical world.
Saturday September 10, 2022 | CLOSING SHOWS
PUZZLE THÉATRE - Bois
11 a.m., 1:30 p.m.
Quai 5160 - Maison de la culture de Verdun | Closing show 💛
Audience: From 4 years old | By reservation only. Ticket office from August 8. $7
A green leaf growing on a dead branch, bits of wood forming strange creatures, sometimes hostile, sometimes funny...
It is a visual poetry that makes us discover a curious world that surprises, surprises, inspires, but also makes us think and question ourselves.
Faithful to its artistic approach, Puzzle Théâtre is once again inspired by a new material to create an atypical puppet show, colorful, full of humor and unexpected situations.
Les Sages Fous - Petits pains oubliés
4:30 p.m., 5:30 p.m., 6:30 p.m., 7:30 p.m. (duration 25 min)
Parc des Madelinots | International artist 💛 In partnership with the Festival Casteliers
Audience: 7 years and over | | 20 people per visit
For the first time in Quebec, in partnership with Les Sages Fous, new excavations were carried out on Quebec territory. An astonishing civilization which, even before the Vikings, would have crossed the Atlantic aboard boats made of puff pastry and sealed with a mortar made from whipped cream. A whole system of barter would thus have developed around the dry biscuit, of which the nations of the Saint-Laurent valley were, it seems, particularly fond. These fundamental discoveries for the history of our continent will be presented for the first time in America. Two puppet theater companies have come together to present this fascinating exhibition.
Toxique Trottoir - Le chant de l'arbre
5 p.m., 7 p.m. (duration 30 min)
Wandering between Regina Street and 6th Avenue | Departure times may vary
Three woodland characters, creators of oxygen and in direct descent from the trees, bring a wave of green to the Well, a powerful radiance of air and leaves. Between dance, songs and short stories, they will communicate the power of life in motion and the need to take care of woods and forests.
The sounds of all nature gravitate around them without anyone ever knowing where they come from: from that branch up there or from that one over there. Passers-by stroll under the canopy where the trees whisper with the birds the sweet tales of full moon nights.
Synthèse Additive - Vagues
Quai 5160 - Maison de la culture de Verdun | DESS graduate 💛 | Free on site - $2 online
On the border between documentary, movement and object, VAGUES invites you to descend into the intimacy of water.
Verdandi Théâtre - L'éternité des fleurs
What is time, this invisible force that keeps us going in life? Can we change the rules of time, or choose how we perceive it? Are we finally as eternal as he is? The Eternity of Flowers is the story of a dying young child and an old lady who together attempt to go through an entire life in a single day.
Théâtre Inattendu - Napoléon et Colomban
10 a.m., 11 a.m. (duration 25 min)
Parc des Madelinots
Napoleon and Colomban work in the maintenance department for streets, alleys and sidewalks. They sweep, pick up all kinds of waste, from the most common to the most unusual. Napoleon has years of experience and knows the workings of the trade well. Colomban is his lazy and moody apprentice.
This short form of commedia dell'arte includes dance, music, puppetry and object theatre.
It is intended as a comic reflection on the futility of work and the usefulness of artistic expression.
La Petite Valise Théâtre - Les Trottinotes en Marionnettes
2 p.m., 3:30 p.m., 5 p.m.(duration 40 min)
Audience: 2 to 5 years old | 70 people per performance
A garden is like friendship, that
talks. Caro Carotte wants to thank her rabbit friend for inspiring her to create her garden.
A scooter in a vegetable patch, he's sure going to love it!
But tastes... can they be cultivated? What will happen if bunny says, "I don't like it."?
Collectif Mylène Leboeuf-Gagné et Serge Bonin - Pantition
12:15 p.m., 1:30 p.m. (duration 15 min
Public square - In front of the Notre-Dame-des-Sept-Douleurs Church
Audience: for all | 120 people per performance
Pantition is a festive and clownish show for the whole family. It features a haughty Diva, eager to present her talents as a pianist and a tuner
piano which prepares him a nice surprise...
When the piano opens, the diva discovers, at the same time as the spectators, the
group of puppet musicians hiding there. The prideful diva tries to activate all
the characters at the same time, but will have to resolve to ask for help from
its tuner.
On a festive jazz melody, and through several comical situations, the show
puppets take shape under the eyes of the duo of pianists and the amazed public
by this technical and creative prowess.
Imagicario - La Marionnette habitée, Du concept à la vie
11 a.m., 2 p.m. (duration 45 to 60 min)
Presbytery grounds
Public: for all (recommended from 7 years old) | 60 people per performance
This cultural mediation activity is an opportunity to discover all the little secrets of design, manufacture and handling...
During this meeting of 45 to 60 minutes intended for an audience of all ages, the artists will make the complete assembly of a puppet. Participants will discover the stages of the puppeteer's work, the mechanisms that make possible the movements of their characters, their approach in live art (how the puppet moves and expresses itself in open space) and the journey as multidisciplinary artists.
There will also be a question period at the end to create an inspiring and creative discussion.
Magali Chouinard - Âmes Soeurs
12 p.m., 4 p.m. (duration 45 min)
Strolling and fixed show: 12 p.m. to 12:45 p.m. in the Madelinots park and 4 p.m. to 4:45 p.m. in the park of the presbytery of the Notre-Dame-des-Sept-Douleurs church.
Through her puppet works, Magali explores the presence, movement and interiority of the characters she creates. With the Ambulation Souls Sisters, Magali enters the body and the gaze of the Child to express her admirable ability to live in the moment, to be in the joy of meeting and playing.
At the Festival de marionnettes plein la rue, Magali presents her stroll as part of a trilogy currently being created.
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Via the bike paths


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Bijou Lily Phillips (Greenwich (Connecticut), 1 april 1980) is een Amerikaans actrice en voormalig model.

Biografie
Phillips is de dochter van John Phillips (The Mamas and the Papas) en de Zuid-Afrikaanse Geneviève Waïte. Ook is ze de halfzus van Mackenzie Phillips, Jeffrey Phillips en Chynna Phillips. Ze heeft een oudere broer, Tamerlane Phillips.

Ze heeft een heftige jeugd gehad en werd op jonge leeftijd al model. Ze stond op de cover van het Amerikaanse blad Interview toen ze pas 13 jaar oud was en was het jongste model ooit dat voor Vogue heeft geposeerd. Toen ze 15 jaar was, woonde ze al op zichzelf van haar eigen salaris en ging vaak feesten in New York.

Op 17-jarige leeftijd kreeg ze een contract bij Almos Records en mocht ze een single opnemen. Uiteindelijk maakte ze een album, dat ze I'd Rather Eat Glass noemde.

Vanaf 1999 begon ze in onafhankelijke films te spelen en werd beroemd door haar verschijning in de Playboy (April, 2000). Na haar rol in de populaire film Almost Famous, kreeg ze een hoofdrol in Larry Clarks Bully (2001). Ze speelt nog altijd in films.

Sinds 2011 is ze getrouwd met Danny Masterson (That '70s Show).

Filmografie
Hostel: Part II (2007)
The Wizard of Gore (2007)
Dark Streets (2007)
You Are Here (2006)
Zodiac (2006)
The Reaper (2005)
What We Do Is Secret (2006)
Venom (2005)
Havoc (2005)
The Door in the Floor (2004)
Octane (2003)
Bully (2001)
Tart (2001)
Fast Sofa (2001)
Almost Famous (2000)
Black and White (1999)
Sugar Town (1999)

Amerikaans acteur
Amerikaans model


Gently awaken each morning with a loving voice that opens your heart and brings peace to your mind. This is a sample, one of seven guided meditation tracks, designed specifically to support connecting with the Spirit upon waking every morning (designed for use as an alarm clock sound).
Each of the seven meditation tracks begins with a similar message, then flows into different themes such as releasing fear, finding inspiration, and staying connected with Spirit throughout the day.
Given with Love and received with Love.


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HomeBARSeptember/October 1999
Biblical Archaeology Review 25:5, September/October 1999
Did a Rolling Stone Close Jesus' Tomb?
By Amos Kloner
We should have a very good idea what Jesus' tomb looked like, with the references in the Gospels and our knowledge of contemporaneous tombs found in and around Jerusalem. Yet until now, most of the reconstructions of this most famous of tombs have, I believe, been wrong.
The most surprising of my findings is that the blocking stone in front of the tomb was square, not round. So it could not, as many New Testament translations have it, be "rolled away"; it could only be pulled back or away.
As we shall see, the archaeological evidence for my new reconstruction is clear enough. The gospel texts, however, will need some explaining.
Let's begin at the entrance to the tomb. It is true that the massive blocking stones (in Hebrew, golalim; singular, golel or golal) used to protect the entrances to tombs in Jesus' day came in two shapes: round and square. But more than 98 percent of the Jewish tombs from this period, called the Second Temple period (c. first century B.C.E. to 70 C.E.), were closed with square blocking stones. Of the more than 900 burial caves from the Second Temple period found in and around Jerusalem, only four are known to have used round (disk-shaped) blocking stones.
Jerusalem tombs in this period were typically family tombs carved into the limestone caves found throughout the region. The entrances to the most common type of burial caves were generally rectangular (nearly square in shape) and low. Inside, steps led down into a rectangular standing pit that was lined on all but the entrance side by benches. This standing pit, 024created by digging out the floor, allowed ancient workmen to stand erect in the low-ceilinged cave. Two kinds of recesses were carved into the cave walls for individual corpses: deep cavities, about 6 feet deep and 1.5 feet wide and high, called loculi (kochim in Hebrew); and shallow shelflike niches, about 6 feet long. These shallower niches are called arcosolia if the top of the niche is arched and quadrosolia if the niche is rectangular, with a straight top. About a year after the primary burial in one of these recesses, after the body had decomposed, the bones were reburied in a bone storage chamber or, during the first century C.E., in a stone ossuary, or bone box.
As more space was needed in the tomb, additional burial niches were carved into the limestone walls. In more elaborate tombs, room after room might be added to the cave, extending it in various directions.a
The blocking stones that covered the entrance were believed to prevent ritual impurities within the tomb from escaping. They also kept scavenging animals from entering.
Square or rectangular blocking stones sealed the entrance of a cave tomb much like a cork in a bottle: One end of the blocking stone fit snugly into the entrance while the other end, like the top of a cork, was somewhat larger on the outside. Sometimes the blocking stone was supported by other stones, called in the Mishnahb 025dofek (the stone closer to the golel) and dofek dofkin (the outer stone).1
The handful of round blocking stones from Jerusalem in this period are large, at least 4 feet in diameter. They occur only in the more elaborate cave tombs, which had at least two rooms or, as in one case, a spacious hall. The most famous example comes from the so-called Tomb of Herod's Family, which can still be seen behind the King David Hotel in Jerusalem.2 Another very well known example is from the so-called Tombs of the Kings, which is actually the tomb of Queen Helena of Adiabene, located north of the Old City of Jerusalem, near the American Colony Hotel.3 Both of these tombs are elegant and rich. The third example comes from a funerary monument adjacent to the Tomb of Herod's Family.4 The fourth is from an elaborate tomb in the Kidron Valley.5 In addition, a small round sealing stone was probably used to close off the inner rooms in a tomb in the Hinnom Valley, but it was not used in the entryway.6 These round stones, which were set on one end between two parallel walls and thus moved on a sort of track, not only provided a good seal but could easily be rolled away to open the tomb for new interments or secondary burials.
So far we have been talking about blocking stones from the Second Temple period, which ended with the Roman destruction of Jerusalem in 70 C.E. In later periods the situation changed, and round blocking stones became much more common. Dozens of them have been found from the late Roman to Byzantine periods 028(second to seventh century C.E.). These later round stones were much smaller than the Second Temple period stones (less than 3 feet in diameter), and they did not move on a track but simply leaned against the rock facade, making them even simpler to move.7
But in Jesus' time, round blocking stones were extremely rare and appeared only in the tombs of the wealthiest Jews. Nevertheless, the Gospels seem to indicate that Jesus' tomb was sealed with a rolling stone. As quoted in the box on page 24, all four canonical Gospels refer to Jesus' tomb. Matthew, Mark and Luke all describe the stone being "rolled" (in John it is "taken away"), and thus it is only natural to assume that the stone was round. But we must remember that "rolled" is a translation of the Greek word kulio, which can also mean "dislodge," "move back" or simply "move." This ambiguity in the text, combined with the archaeological evidence, leads me to agree with the scholar Gustave Dalman, who, as early as 1935, suggested that Matthew 27 does not refer to a round blocking stone.
In Matthew 28 an angel sits on the stone after "rolling" it back. If the stone had been rolled back between two walls, as was the case with Second Temple period round stones, it would have been impossible to sit on it. Indeed, it would be difficult to sit on the edge of a disk-shaped stone even if it had been pulled back from the tomb entrance. 029A square blocking stone would make a much better perch. Of course, with angels anything can happen, but it seems likely that the human author of the Gospel would have described the angel sitting on a square stone.
It may be worthwhile returning for a moment to the Hebrew word for these blocking stones, both round and square: golal or golel (plural, golalim). The root means "to roll" as well as "to move."
Now let us try to picture the interior of the tomb in which Jesus was buried. That the tomb was small is suggested by the fact that the corpse could easily be seen from the entrance: Mary Magdalene and another woman named Mary could apparently see the body from outside ( Mark 15:47 ; see also John 20:1 ).
According to most earlier reconstructions, Jesus' tomb had an entrance corridor. On either side were burial niches (either arcosolia or quadrosolia), in one of which Jesus was supposedly laid. But here again archaeological evidence suggests otherwise. In the Second Temple period, the only tombs with burial niches in the entry corridors were large burial complexes such as the Tombs of the Kings8 and a tomb in the Hinnom Valley called Firdus e-Rum, known traditionally as the tomb of St. Onofrius.9 But not one of the hundreds of one-room Second Temple tombs has an entry passage with quadrosolia or arcosolia.
The gospel text also indicates that Jesus was not laid on a quadrosolium or arcosolium. In John 20:12 Mary sees two angels "sitting where the body of Jesus had lain, one at the head and the other at the feet." This would have been impossible (or unlikely) if the body had been laid in a burial niche, because arcosolia and quadrosolia were at most 2 feet high.10
Most likely Jesus' tomb was a standard small burial room, with a standing pit and burial benches along three sides. It may or may not have had loculi. Scholars who have studied burial caves from Second Temple times have concluded that primary burials were often performed in small, hastily dug burial caves—and only later were loculi, arcosolia and bone storage chambers, or additional rooms added.
Jesus' burial took place on the eve of the Sabbath. His would have been a hurried funeral, in observance of the Jewish law that forbade leaving the corpse unburied overnight—especially on the Sabbath and religious holidays. The body was simply and hastily covered with a shroud and placed on a burial bench in a small burial cave. This is the context in which we should understand John 20:11 , in which we are told that Mary "bent over to look into the tomb," and saw two angels sitting at the head and foot of where Jesus' body had lain.
I would go one step further and suggest that Jesus' tomb was what the sages refer to as a "borrowed (or temporary) tomb." During the Second Temple period and later, Jews often practiced temporary burial. This is reflected, for example, in two quotations from rabbinic sources involving burial customs and mourning:
Whosoever finds a corpse in a tomb should not move it from its place, unless he knows that this is a temporary grave.11
Rabbi Simeon ben Eleazar says: "Rabban Gamliel had a temporary tomb in Yabneh into which they bring the corpse and lock the door upon it … "12
A borrowed or temporary cave was used for a limited time, and the occupation of the cave by the corpse conferred no rights of ownership upon the family.
Jesus' interment was probably of this nature. He was buried hurriedly on Friday, on the eve of the Sabbath. On the third day, the day after the Sabbath, Mary Magdalene and another Mary visited the tomb, as was the Jewish custom.13 (The counting of the days, incidentally, also follows Jewish custom, which included both the first and the last day in the count. To this day, circumcision of Jewish boys occurs on the eighth day, counting the day of birth as day one; a son born on a Monday, for example, is circumcised on the following Monday.)
According to Jewish tradition, the purpose of the visit to the tomb after three days was to determine the condition of the corpse:
One should go to the cemetery to check the dead within three days, and not fear that such smacks of pagan practices. There was actually one buried man who was visited after three days and lived for twenty-five more years and had sons, and died afterward.14
Jesus' disciples may have visited the tomb on the third day to conform to this Jewish custom. But by that time, he had risen.
Scholars generally agree that the site of the Holy Sepulchre Church marks the location of Jesus' burial.c But the aedicule (shrine) inside the church, which marks the traditional burial site, bears no signs of a first-century burial. The burial shelf in the aedicule is covered with a later slab, which does not appear to be part of the local bedrock and was probably imported into the cave.15 Until recently, only the bench on the right side of the aedicule was thought to have been original. (The aedicule itself dates to the beginning of the 19th century.) Recent studies at the site, however, have not shed light on the relationship between the rock, the foundations and the aedicule as they exist today and the original burial cave.16 The only indication that the spot where the aedicule now stands might once have been a tomb is the presence of a burial cave with loculi a few yards away.17
Jesus' tomb may no longer exist. But through a combination of archaeological research and textual study, we may still reconstruct its original appearance, starting with the square stone that blocked its entrance.
The Gospel Truth About Jesus' Tomb?
According to most modern English gospel translations, including the New Revised Standard Version (below), when Mary Magdalene and the other Mary arrived at Jesus' tomb, the stone protecting the entrance had been "rolled away." But archaeology suggests this might not be the best translation of the original Greek term, kulio, which can also mean "moved" or "dislodged."
Author Amos Kloner suggests that if we replace the term "rolled away" or "rolled back" with "moved" or "pulled back" in the following passages, we will come closer to understanding the scene that confronted the two Marys.
According to Matthew
"He [Joseph of Arimathea] went to Pilate and asked for the body of Jesus; then Pilate ordered it to be given to him. So Joseph took the body and wrapped it in a clean linen cloth and laid it in his own new tomb, which he had hewn in the rock. He then rolled a great stone to the door of the tomb and went away" ( Matthew 27:58–60 ). "After the sabbath, as the first day of the week was dawning, Mary Magdalene and the other Mary went to see the tomb. And suddenly, there was a great earthquake; for an angel of the Lord, descending from heaven, came and rolled back the stone and sat on it" ( Matthew 28:1–2 ).
According to Mark
"He [Pilate] granted the body to Joseph [of Arimathea]. Then Joseph bought a linen cloth, and taking down the body, wrapped it in the linen cloth, and laid it in a tomb that had been hewn out of the rock. He then rolled a stone against the door of the tomb. Mary Magdalene and Mary the mother of Joses saw where the body was laid. When the sabbath was over, Mary Magdalene, and Mary the mother of James, and Salome bought spices, that they might go and anoint him. And very early on the first day of the week, when the sun had risen, they went to the tomb. They had been saying to one another, 'Who will roll away the stone for us from the entrance to the tomb?' When they looked up, they saw that the stone, which was very large, had already been rolled back. As they entered the tomb, they saw a young man, dressed in a white robe, sitting on the right side; and they were alarmed" ( Mark 15:45–16:5 ).
According to Luke
"But on the first day of the week, at early dawn, they came to the tomb, taking the spices that they had prepared. They found the stone rolled away from the tomb, but when they went in, they did not find the body. While they were perplexed about this, suddenly two men in dazzling clothes stood beside them. The women were terrified and bowed their faces to the ground, but the men said to them, 'Why do you look for the living among the dead? He is not here, but has risen'" ( Luke 24:1–5 ).
According to John
"Early on the first day of the week, while it was still dark, Mary Magdalene came to the tomb and saw the stone had been removed from the tomb … Mary stood weeping outside the tomb. As she wept, she bent over to look into the tomb; and she saw two angels in white, sitting where the body of Jesus had been lying, one at the head and the other at the feet" ( John 20:1 , 11–12 ).
Fit for a Queen
Not a king, but a queen was interred at the site known as the Tombs of the Kings, situated north of the Old City of Jerusalem (see artist's reconstruction, next image). The 19th-century excavator L.F. Caignart de Saulcy believed that the impressive complex must have been built for the kings of Judah. Today, the site is generally identified as the final resting spot of Queen Helena of Adiabene (a kingdom on the Upper Euphrates). It remains one of Jerusalem's most elaborate cave tombs from the late Second Temple period (first century B.C.E. to 70 C.E.). Attesting to the tomb's grandeur, a monumental stairway (top photo) leads down to the tombs. In ancient times, water collected from the stairs was conducted into two large cisterns near the foot of the steps. From the bottom of the steps, an arched entryway leads into a spacious sunken courtyard. At the western end, a 36-foot-wide entryway (photo below), originally supported by columns, opened onto the tomb's anteroom, built in the architectural style known as distyles in antis, meaning "two-pillared porch."
Inside, a rare round blocking stone (next photo) from the Second Temple period protected an entrance to the burial chambers. Corpses were interred in deep niches called loculi (bottom photo), carved into the chamber walls.
Queen Adiabene's spectacular tomb was apparently a landmark in first-century C.E. Jerusalem. The Jewish historian Flavius Josephus frequently mentions it when locating events in the history of the city: Describing the Roman siege in 70 C.E., he writes that the Jews pursued the Romans, throwing darts at them, "as far as the monuments of Queen Helena" (Wars of the Jews 5.3.119).
Josephus also recounts at great length how Queen Helena and her son King Izates came to "embrace the Jewish customs," that is, to convert to Judaism. With her son's permission, Helena left her home in northern Mesopotamia and moved to Jerusalem, where she lived for 20 years. According to Josephus, when Helena's son Izates died, Helena "was in great heaviness, as was but natural, upon her loss of such a most dutiful son." She hastily returned to Adiabene, where a second son, Monobazus, had succeeded to the throne. "But she did not long outlive her son Izates." Apparently recognizing his mother's love for Jerusalem, Monobazus, now king of Adiabene, "sent her bones, as well as those of Izates, his brother, to Jerusalem, and gave order that they should be buried at the pyramids which their mother had erected; they were three in number" (Antiquities of the Jews 20.4.94–95).
Helena's three pyramids—shown in the artist's reconstruction—have not survived.
Amos Kloner, (d.2019) a specialist in Hellenistic, Roman and Byzantine archaeology, is a Professor Emeritus in the Martin Szusz Department of the Land of Israel Studies at Bar-Ilan University in Israel.
All work ›
Kloner, Amos. "Did a Rolling Stone Close Jesus' Tomb?" Biblical Archaeology Review 25.5 (1999): 23–25, 28–29, 76.
Kloner, A. (1999). Did a Rolling Stone Close Jesus' Tomb? Biblical Archaeology Review, 25(5), 23–25, 28–29, 76.
Chicago/Turabian Citation
Kloner, Amos. "Did a Rolling Stone Close Jesus' Tomb?" Biblical Archaeology Review 25, no. 5 (1999): 23–25, 28–29, 76.
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