Are you experiencing issues with your garage door? Trust only the #1 garage door specialist in Huachuca City and Tucson— A1 Garage Door Service. Contact us now at 520-257-1068.
A1 Garage Door Service is the trusted service provider in installing, servicing and repairing all kinds and types of garage doors. We encourage you to check out the reviews of the people of Huachuca City and Tucson on the kind of garage door service that we provide. Our customers have consistently given us A+ ratings on BBB, 5-star ratings on Yelp and the Super Service Award on Angie's List to express their satisfaction on our service.
We service the garage door needs of the people of Huachuca City in Cochise County, Arizona. When you call us, expect our technicians to arrive promptly and efficiently attend to your garage door needs.
A1 Garage Door Service is known for providing only the best value for money. We always aim for the bestpossible customer service and experience, reasonable costs for our products and services, give FREE estimates and FREE professional advice as well as amazing deals and discounts when you book our service. What's more, we GUARANTEE that we service all manufacturer warranties, including lifetime warranties. What more can you ask for?


Located in the heart of Lancaster County, Oregon Dairy is unlike any other experience. Family-Owned and operated, Oregon Dairy is a working dairy farm and features a Market, Family Restaurant, Country Gift Shoppe, Ice Cream Shoppe, Deck, and Farm-Themed Playground! Oregon Dairy specializes in Family Fun! From our deck events to the fall corn maze, we have fun, family events throughout the year!


René Magritte's The Treachery of Images (This is Not a Pipe) is one of the most famous yet persistently enigmatic works in the history of art. One of the word-image series of paintings in which the Belgian artist sought to challenge linguistic and visual conventions, it was also part of his life-long quest to show that images could be equal to words in the expression of consciousness.
The iconic painting is returning to its country of origin for the first time in 45 years as part of a major exhibition at the Royal Museums of Fine Arts of Belgium examining Magritte's influence on contemporary artists from Jasper Johns to Gavin Turk, giving us a fresh opportunity to attempt to define the indefinable.
In his famous essay on The Treachery of Images, the philosopher Michel Foucault refers to the artwork as an "unravelled calligram", a calligram being an image formed of the words which describe it, which Magritte had "unravelled" by separating the image from the text.
Although Magritte disagreed with this definition, he certainly believed that an image was as capable of expressing thought as poetry. As Draguet says, for Magritte poetry was "beyond the word; something deeper than the word".


text:
John Glenn rallies past Indian Valley to post 60-46 victory
Jan 21, 2020 at 12:13 AM Jan 21, 2020 at 11:30 PM
GNADENHUTTEN — Visiting John Glenn High knocked off Indian Valley in a non-conference game on Tuesday evening.
Indian Valley led 13-11 after the opening frame, but the Muskies rallied to take a 28-24 lead at the half.
Senior Devan Burris scored 15 of his career high 24 points in the first half, while senior Bo Orecchio nailed a pair of 3s and senior Ben Judd scored nine of his 12 counters.
John Glenn used a 14-10 scoring edge in the third quarter to lead 42-34 heading to the fourth quarter. Orecchio, Colin Campbell and senior Evan Williams had 3s in the third to help John Glenn extend its lead.
Burris then tacked on nine more points in the fourth to help put it away.
Burris pulled down a team-high nine rebounds to lead John Glenn (8-7) with Orecchio finishing with 11 points. Williams added six points and handed out four assists for JG.
Ty Myers tossed in 11 points to lead Indian Valley (1-12), with Sam Caley finishing with eight and Grant Tschudy chipped in with six points.
NEXT — John Glenn will host Crooksville on Friday at 6 p.m.

redpajama_set_name: RedPajamaCommonCrawl


Thats not to say it isnt still situationally viablhaving two people in the jungle can offer strategic valuwere just ensuring its.Recommended Items look AT MY wares Now lists all Living Forge upgrades build this Recommended items updated to be better Passive - Living Forge bugfix Ornn players can..
Lenseigne propose aussi une carte de fidélité et de paiement encore plus généreuse que la carte de fidélité seule.Tous les jours, marque de produits calendrier poker barriere toulouse du"dien à bas prix.Vous pourrez également régler tout ou partie de votre commande grâce aux EUR cumulés sur votre carte..
Difficulties remaining focused, especially if i try to play more than one table.
That's why beginners spend lots of time checking poker forums for freerolls.
Carl_sebastian, 05:51 PM # 9 Penetrator journeyman Join Date: Dec 2016 Posts: 218 Re: i feel like a total loser for being down 3BI Play only fullhouses.Once checked our timetable of freerolls, you can plan you time perfectly: starting from poker tournaments in rotterdam working and up to playing time periods.Wir verwenden Cookies, um Inhalte zu personalisieren, Werbeanzeigen maßzuschneidern und zu messen sowie die Sicherheit unserer Nutzer zu erhöhen.Michaelorcharlie, 01:27 PM # 3 carl_sebastian newbie.You may use it any time of the day and find a tournament in one of the poker rooms that will fit you best.Poker players like you annoy.Yeah, it's a hard downswing mate.You may immediately start cheking freerolls schedule contains many free tournaments.Yeah, sometimes 10BI is expected, but as poker players we have to deal with that! Poker Legislation PPA Discussion hosted by Rich Muny Twitch - Watch and Discuss Live Online Poker Televised PokerGeneral Poker Strategy Beginners Questions Books and Publications Poker Tells/Behavior, hosted by: Zachary Elwood Poker Theory PsychologyNo Limit Hold'em Strategy .In order to get the admission to private freerolls you have to complete accurately the registration procedure zynga poker cheat facebook in poker rooms with the correct bonus code.
Computer Technical Help Programming All times are GMT -4.
It's an open secret that most of the poker players made their first steps in learning this hard game with freerolls.
But poker beginners often face a difficulty that may seem insignificant most poker rooms hold a restricted number of freerolls a day.
Besides timetable of freerolls will allow you to check all the freerolls of the day and time you need.
Private freerolls have quite good prize pools.You cannot but admit that doing such list of freerolls on your own would be a waste of free time that could be spend reading poker books, watching poker tutorials and etc.Fwwm, fOOT gokken op champions league FF Fristion '15, join Date: Oct 2013, location: hamster wheel.The outstanding feature of freerools is that you don't have to complete any additional requirements to participate - simply register an account at the poker room.Moreover every freeroll has its own time.I will spend some more time researching it from a nash equilibrium perspective but not now since i am pissed due to the 3BI loss, it's insulting to lose money when you have invested hours into improving the game and you see clueless people winning.Might as well be flipping burgers.What do you need to participate in private freerolls?


Schisandra is a biogenic stimulant of the central nervous system.
Schisandra has a psychoactive effect and tonic.
The use of this phytopreparation allows brain structures to strengthen reflex activity and excitation processes, increase efficiency and reduce fatigue when mental and physical exertion.
Schisandra, properties are due to the action of the active components, it includes in its composition vitamin C, carbohydrates, organic acids, essential oils, schizandrin (tonic substance).
The infusion of Chinese magnolia are used to stimulate the central nervous system to initiate breathing, increased blood pressure, enhance the strength of heart contractions, increase overall efficiency. Oil seeds of this herb is recommended to take to normalize the process of digestion and improve hearing, vision and other kinds of sensitivity.
long-term debilitating illness and infection.
Pharmacies chinensis presented in the form of alcohol tinctures, powders and capsules containing oil seeds.
Schisandra tincture is recommended to take on an empty stomach or after a meal 4 hours 2-3 times a day 20-30 drops.
The same scheme is adopted, and other forms of the drug, with the replacement of a single dose infusions on days 0, 5 g of a powder or a capsule.
Application of Chinese magnolia vine can cause undesirable effects such as increased blood pressure, headache, insomnia, tachycardia, and allergic reactions.
Properties of Chinese magnolia cause contraindication of the drug to persons suffering from irritability, hypertension, insomnia, epilepsy, and acute viral infectious disease and liver failure.
Guide does not recommend taking lemongrass Chinese: children up to 12 years for women to bear children or breastfeeding, and individuals with hypersensitivity to this medicines.
Finding Chinese magnolia in a dark and cool place will ensure the safety of its medicinal properties within 4 years.


Developed to produce drinking water from water sources with poor quality!
The system is made up of several components with different characteristics, which together makes a very efficient and compact water purifier. All components are produced by well-known international manufacturers and thus the purification statistics are well documented.
Electricity is not required; the system runs on water pressure only. The unit is suitable for private households, offices and the humanitarian market i.e. staff camps, schools, health stations etc. It is also preferable to use in connection with water coolers and hot drink dispensers.


DRY MOUTH By Gabe Mirkin, M.D.
"Dry mouth can be caused by infections, nerve damage and drugs such as blood pressure medication like clonidine, Prilosec and other ulcer medications, antihistamines, stimulants such as amphetamines and intestinal medication called atropine. It can be associated with a type of arthritis.
Lack of saliva causes mouth and neck pain, infections, difficulty talking and sleeping, dental cavities, and difficulty swallowing because saliva lubricates the food and allows it to pass down your throat. Since the mouth is normally full of germs that belong there, it is very difficult to culture a bacteria that causes dry mouth, but some people are cured by taking the antibiotics metronidazole and clarithromycin for a couple of weeks. If that doesn't cure you, you may have to take a 5mg pilocarpine pill four times a day, but they can cause sweating, nausea, running nose, chills, dizziness and frequent urination.
You can also try a machine called Salitron made by Biosonics in Pennsylvania. It uses an electrical probe in your mouth to stimulate the salivary glands to produce saliva. "
If you are on medication that might be causing dry mouth, talk to your Dr and ask if it is absolutely necessary and ask about alternatives.
If you have digestive problems, high blood pressure or feeling depressed, for example, and you are taking medication there are usually very good lifestyle and nutrition alternatives to medication that has side effects like dry mouth.


text:
Instagram's Testing a New Feature That's Even Better Than Stories
Fans Want "Equal Pay Now" for the U.S. Women's Soccer Team
Sarah Emily Baum
This Celeb-Approved Brand Is Releasing The Ultimate Tie-Dye Collection
Austin Butler Is Reportedly Playing Elvis in the New Movie
Girl Scouts Announce New S'mores Cookies
Move over, Thin Mints.
Courtesy of Girl Scouts
If you needed another reason to be excited for Girl Scout cookies season, the organization has some truly excellent news.
In honor of National S'mores Day today, the Girl Scouts announced that it will be selling two different types of s'mores flavored cookies.
https://twitter.com/girlscouts/status/763360506069475328
According to the Girl Scouts's blog, the two different versions will be a nod to the different way people make their s'mores. There will be "a crispy graham cookie double dipped in a crème icing and enrobed in a chocolatey coating and a crunchy graham sandwich cookie with a chocolate and marshmallowy filling." Yum!
The Girl Scouts have a long history with S'mores. People reports that the organization claims to have actually been the first ones to publish the recipe for the now-classic treat in a 1925 issue of its Girl Scout Leader magazine.
But the announcement doesn't just fall on National S'mores Day, but also on the 100th anniversary of the organization selling cookies.
"For the past 100 years, selling cookies has given Girl Scouts life-long skills and helped them build confidence in their abilities," Barbara Murphy-Warrington, CEO of Girl Scouts of Greater New York, said according to the New York Daily News.
We can't wait for the new flavors to be included in the annual cookie lineup.
Related: Instagram's Testing a New Feature That's Even Better Than Stories
Keywordsgirl scoutcookiesgirl scout cookiessmoresfood
Meet the Designer Who Made the Baby T-Shirt Popular in the 1990s, and Brought It Back All Over Again


text:
THE BEATLES PINBALL MACHINE
The Beatles and Stern Pinball Announce the First and Only Beatles Beatlemania Pinball Machine Ever Made!
Only 100 Diamond Edition Games
Only 250 Platinum Edition Games
Only 1614 Gold Edition Games
Only 1964 Games in Total
ELK GROVE VILLAGE, Ill., Oct. 29, 2018 /PRNewswire/ -- Stern Pinball, Inc., a global lifestyle brand based on the iconic and outrageously fun modern American game of pinball, in collaboration with Ka-Pow Pinball, proudly announced today the availability of the one-of-a-kind Beatles pinball machine. Only 1964 units will be produced in recognition of the year in which the world forever changed when Ed Sullivan introduced America to four young mop-topped musicians from Liverpool, England. The deal was brokered by Bravado Merchandising, the Beatles North American licensing agent.
The game is available in three models named for the recording industry's sales award levels. The Diamond Edition, the highest level and most difficult to attain, is limited to only 100 units. The Platinum Edition is limited to only 250 units. The Gold Edition is limited to 1614 units.
The Beatles pinball machine will immerse players in 1960's Beatlemania and feature eight timeless hit songs from that era:
A Hard Day's Night
Can't Buy Me Love
It Won't Be Long
The game also features iconic introductions by Ed Sullivan along with custom speech and callouts by Hall of Fame disk jockey, Cousin Brucie. Cousin Brucie introduced The Beatles at New York's Shea Stadium in 1964.
The retro-themed playfield features four flippers, eleven drop targets, eight stand-up targets, multiple skill shots, two opto-spinners, a ball-catching magnet and a magnetic spinning record disc in the center of the playfield. Players, friends and family will enjoy full screen animations as well as simulated reel scoring on the game's high definition video screen.
All models feature unique art packages and custom powder-coated armor. The 100 Diamond Editions are numbered, certified collectible and include a mirrored backglass. The 250 Platinum Editions are numbered and certified collectible.
Complementing the immersive Beatlemania theme and exciting gameplay experience, Stern Pinball's powerful SPIKE™ electronics hardware system enables high-definition graphics and innovative animations on the high-definition video display. SPIKE™ reduces system complexity and energy usage resulting in enhanced reliability and simplified servicing. The state-of-the-art electronic system also powers a high-fidelity 3-channel audio system that is three times more powerful than audio systems of previous generations.
"We are very proud of this Beatles pinball machine that was produced in collaboration with our good friend, Joe Kaminkow," said Gary Stern, Chairman and CEO of Stern Pinball, Inc. "We can't wait for players to experience Beatlemania when they play this game."
Please contact your local Stern Pinball distributor or dealer for availability and pricing. To find an authorized Stern Pinball distributor or dealer in your area, please visit: www.sternpinball.com/buy
About Stern Pinball, Inc. Stern Pinball, Inc. is a global lifestyle brand based on the iconic and outrageously fun modern American game of pinball. Headquartered minutes from Chicago's O'Hare International Airport in the heart of North America, the company creates, designs, engineers, manufactures, markets, and distributes a full line of technologically advanced terrestrial and digital pinball games, parts, accessories, and merchandise. Stern Pinball serves digital, consumer, commercial, and corporate markets around the globe.
Recent Stern Pinball titles include Deadpool, Iron Maiden, Guardians of the Galaxy, Star Wars, Aerosmith, Ghostbusters, KISS, Metallica, Game of Thrones, The Walking Dead, Star Trek, AC/DC, Batman, and Spider-Man. A broad range of players enjoy Stern Pinball's games from professional pinball players who compete in high-stakes international competitions around the globe to novice players who are discovering the allure of the silver ball for the first time. To join the fun and learn more, please visit www.sternpinball.com.
All trademarks and product names are the property of their respective companies.
SOURCE Stern Pinball, Inc.
http://www.sternpinball.com
tilt graphics inc


To get to Kilcoleman: Follow the N71 to Bandon. From Bandon take the N71 for Clonakilty/Skibbereen.
After about 6 miles from Bandon you will see a Garden Centre and cafe called Hosfords on the right. Take the first turn to the right after this (on a bad left hand bend). You will shortly come to a cross roads. Go straight across this leaving the school on your left. Within 100 yards you will start going down a steep hill, if not then you know you have taken the wrong turn at the cross roads. The next land mark you come to is a group of cottages.
Follow the road bending around to your left. You will meet a road coming in from your right (they have right of way). We are the first entrance on the right about 100 yards further on. Enter our avenue and take the first right where it says "Fishery Enquiries".
If you enter kilcolmanpark into most GPS's it will bring you to our entrance by a slightly different route.


YOUNG MARRIEDS MINISTRY IS FOR NEWLYWED COUPLES AND YOUNG FAMILIES to grow with Jesus and find community. We want to celebrate and help build biblical marriages, because God calls them good. Come and find community with people who are a lot like you.
The best way we can celebrate and help build your marriage is through Life Groups. CLICK HERE to find a Life Group to join.
We periodically, throughout the year host events like Date Nights, BBQs in the Park, Beach Day or even retreats now and then, so you can get out and enjoy time with your spouse and have some fun with other young marrieds at Canyon Hills.
For questions or more information, please email youngmarrieds@chccbw.org or call 425-488-4121. Follow the Canyon Hills Facebook page for posts on events that happen throughout the year.


solar wall lighting outdoor solar exterior wall lights luxury solar exterior wall light fixtures or fashionable solar outdoor wall lights.
solar wall lighting outdoor outdoor solar wall light white.
solar wall lighting outdoor waterproof solar panel light sensor and sensor light outdoor led wall light white.
solar wall lighting outdoor wall mount solar lights solar wall sconces outdoor contemporary ideas wall mounted solar lights outdoor design mount solar wall sconces outdoor wall solar.
solar wall lighting outdoor solar wall sconces outdoor solar sensor wall light instructions solar coach lights for garage solar lights.
solar wall lighting outdoor top selling stainless steel wall light with battery with solar panel buy wall light with light with light with battery.
solar wall lighting outdoor outdoor solar wall lantern mounted light exterior sol on outdoor solar wall lights silver fine.
solar wall lighting outdoor outdoor garden lights solar lamp outdoor light fixtures patio lights solar led lights exterior lighting solar wall lights.
solar wall lighting outdoor new 1 4 wireless solar powered 2 led outdoor lights fence wall garden.
solar wall lighting outdoor solar power outdoor wall lighting great solar powered garden wall lights led solar powered motion sensor.
solar wall lighting outdoor solar wall sconces outdoor 1 light black motion activated outdoor solar led wall mount sconce.
solar wall lighting outdoor lighting solar wall light modern outdoor wall lights and with solar outdoor wall light selecting solar outdoor wall lighting.
solar wall lighting outdoor built in ion rechargeable outdoor solar wall ghts are the brightest of its kind and the best solar powered motion sensor ghts on.
solar wall lighting outdoor solar light waterproof motion sensor solar wall lamp outdoor garden.
solar wall lighting outdoor buy led solar wall light outdoor solar wall sconces vintage solar motion sensor lights security.
solar wall lighting outdoor solar table lamp outdoor fresh waterproof led solar panel lamps pillar wall lamp led solar lights.
solar wall lighting outdoor sconces outdoor solar sconce solar wall sconces solar outdoor wall light solar powered led wall.
solar wall lighting outdoor best solar wall lights for garden classic outdoor wall security light portable garden main gate.
solar wall lighting outdoor solar power fence gutter light lamp 3 led garden lights throughout solar powered outdoor wall mounted lights plan.
solar wall lighting outdoor outdoor wall lighting beautiful outdoor wall mounted lighting wall lights awesome outdoor.
solar wall lighting outdoor solar power outdoor wall lighting wonderful outdoor solar wall sconce solar powered outdoor wall lights solar.
solar wall lighting outdoor solar outdoor wall lantern solar outdoor wall lights solar wall sconces outdoor outdoor wall light outdoor.
solar wall lighting outdoor solar wall sconces outdoor solar wall sconces outdoor selecting solar outdoor wall lighting for decor backyard.
solar wall lighting outdoor elegant outside wall lights with motion sensor or manufacturing contemporary sensor motion completely designing solar wall.
solar wall lighting outdoor outdoor solar wall lights designs.
solar wall lighting outdoor led solar wall lamp outdoor motion sensor light for door deck security night lighting.
solar wall lighting outdoor solar porch 1 light black outdoor wall lantern 2 pack.
solar wall lighting outdoor solar powered outdoor wall lighting solar wall mounted light outdoor wall mounted lamp remarkable outdoor solar solar powered outdoor wall lighting.
solar wall lighting outdoor led solar power motion sensor wall light outdoor waterproof energy saving street yard path home.
solar wall lighting outdoor outdoor garden wall lights solar led outdoor wall lantern lights regarding solar outdoor wall light selecting solar outdoor wall lighting.
solar wall lighting outdoor exterior wall light outdoor wall light outdoor solar wall lights amazon.
solar wall lighting outdoor solar powered wall lamp brilliant solar wall lights for garden solar wall lights for garden garden solar powered wall lamp.


"저는 신발을 신는 것이 좋아요."
Both are correct; 네가 좋아요 and 너를 좋아해요 both means I like you, but the formal is more commonly used.
는 is the topic particle as mentioned in the beginning lessons. Therefore, this sentence could be translated as, "The action of wearing shoes is enjoyable to me", which although is a very uncommon phrasing in English, does make grammatical sense.


Pipes waiting to be burried in Otis State Forest in July, 2017.
The Massachusetts section of a New York-to-Connecticut natural gas pipeline is up and running.
The pipeline -- which travels through Otis State Forest in southern Berkshire County -- had been the source of a legal battle and much protest.
Federal regulators gave Kinder Morgan the OK to turn on the gas at the end of October.
A spokesman for the company said it's been in service since early this month.
Abby Ferla, with the anti-pipeline group Sugar Shack Alliance, said they're angry state officials didn't do more to stop the project.
"We've seen every level of state government, from the attorney general to permitting agencies to the state police to the courts, work more on the behalf of Kinder Morgan than behalf of the constituents of the commonwealth," Ferla said.
Much of the controversy centered around a state protection for public conservation lands like Otis State Forest in the small town of Sandisfield.
A judge ruled that's trumped by federal laws and allowed the project to go forward. In the past six months, dozens were arrested protesting the pipeline's construction.
Despite ongoing construction and few remaining challenges, the protests continue at the construction site of a natural gas pipeline in southern Berkshire county.
Twenty-two more people were arrested for trespassing over the weekend. Half of them were also arrested at previous protests.
In the past, the district attorney's office has downgraded the charges to a civil penalty.
Dennis Carr of Cummington is among those arrested twice. He said he's somewhat concerned about perhaps facing criminal charges this time around.
Seventeen protesters arrested at the construction site of a natural gas pipeline in southern Berkshire county appeared in court Thursday in Great Barrington. And prosecutors tossed them a curveball.


Version 4.1.2, released June, 2018.
If you are a registered user of Smart Barcoder, you are entitled to the current version at no charge. No update code is currently required.
To download your update, click the button below.
Note that the screen will say that it is downloading a trial version. The trial version will automatically become a registered copy when you install it.


text:
using System;
using System.IO;
using Discord;
using DiscordBot.Extensions;
using Newtonsoft.Json;

namespace DiscordBot.Common
{
    public class GuildConfiguration
    {
        public string Prefix { get; set; } = "$";
        public string WelcomeMessage { get; set; } = "";
        public ulong WelcomeChannelId { get; set; } = 447769497344933900;
        public ulong LogChannelId { get; set; } = 447769497344933900;
        public ulong BotChannelId { get; set; } = 447769497344933900;

        public bool SenpaiEnabled { get; set; } = true;
        public bool QuotesEnabled { get; set; } = true;

        public bool EnableNsfwCommands { get; set; }
        public ulong RuleGambleChannelId { get; set; } = 447769497344933900;

        public static void EnsureExists(ulong guildId)
        {
            string file = Path.Combine(Environment.GetFolderPath(Environment.SpecialFolder.ApplicationData), GetPath(guildId));
            if (!File.Exists(file))
            {
                string path = Path.GetDirectoryName(file);
                if (!Directory.Exists(path))
                    Directory.CreateDirectory(path);

                var guildConfig = new GuildConfiguration();
                guildConfig.SaveJson(guildId);

                Console.Write("status: [");
                Console.ForegroundColor = ConsoleColor.DarkGreen;
                Console.Write("ok");
                Console.ResetColor();
                Console.WriteLine("]    " + GetPath(guildId) + ": created.");

                EmbedBuilder eb = new EmbedBuilder()
                .WithTitle("Thank you for adding " + MogiiBot3.Bot.CurrentUser.Username + " to your guild!")
                .WithDescription("Congratulations on adding " + MogiiBot3.Bot.CurrentUser.Username + " to " + guildId.GetGuild().Name + "! Please follow the steps below to configure me!" +
                                 "```INI\n" +
                                 "[1] Prefix: You can change the default prefix by typing \"" + GuildConfiguration.Load(guildId).Prefix + "guildprefix [prefix]\"\n" +
                                 "[2] Welcome Message: Type \"" + GuildConfiguration.Load(guildId).Prefix + "setwelcomemessage\" to view flags and see how to set up the welcome message.\n" +
                                 "[3] Welcome Channel: Set the channel the welcome message is posted by typing \"" + GuildConfiguration.Load(guildId).Prefix + "welcomechannel [channel mention]\"\n" +
                                 "[4] Log Channel: We now need a channel where we can post things for your eyes only! Type \"" + GuildConfiguration.Load(guildId).Prefix + "logchannel [channel mention]\"\n" +
                                 "-- Optional --\n" +
                                 "[5] Senpai Command: You can toggle senpai by typing \"" + GuildConfiguration.Load(guildId).Prefix + "togglesenpai\"\n" +
                                 "[6] Quote Command: You can toggle quotes by typing \"" + GuildConfiguration.Load(guildId).Prefix + "togglequotes\"\n" +
                                 "\n[More] If you're interested in setting up NSFW commands and changing other settings, please visit the wiki.\n" +
                                 "```")
                .WithFooter("Warning: Server Owner's may only change the configuration for the guild.")
                .WithThumbnailUrl(MogiiBot3.Bot.CurrentUser.GetAvatarUrl())
                .WithColor(56, 226, 40);
                guildId.GetGuild().DefaultChannel.SendMessageAsync("", false, eb.Build());

                eb = new EmbedBuilder()
                    .WithTitle("Seen this message before?")
                    .WithDescription("We apologise for the inconvience. Seeing this message again means that your guild configuration files have been reset." +
                                     "Due to this bot being constantly updated, this might happen more than we, or you, would like." +
                                     "\n\n" +
                                     "It's easy to fix however. Please follow the steps above or head to the wiki and follow the quick setup guide again and your server will be good to go once more!" +
                                     "\n\n" +
                                     "Sorry about that.\n- Melissa (@" + Configuration.Load().Developer.GetUser().Username + "#" + Configuration.Load().Developer.GetUser().Discriminator + ")\n" +
                                     "\t& the rest of the MythicalCuddlesXYZ Team")
                    .WithColor(244, 226, 66)
                    .WithCurrentTimestamp()
                    .WithFooter("This message was posted here as this is your guild's default channel.");
                guildId.GetGuild().DefaultChannel.SendMessageAsync("", false, eb.Build());

            }

            Console.Write("status: [");
            Console.ForegroundColor = ConsoleColor.DarkGreen;
            Console.Write("ok");
            Console.ResetColor();
            Console.WriteLine("]    " + GetPath(guildId) + ": loaded.");
        }

        private static string GetPath(ulong guildId)
        {
            return ("MythicalCuddles/DiscordBot/config/guilds/" + guildId + ".json");
        }

        public void SaveJson(ulong guildId)
        {
            string file = Path.Combine(Environment.GetFolderPath(Environment.SpecialFolder.ApplicationData), GetPath(guildId));
            File.WriteAllText(file, ToJson());
        }

        public static GuildConfiguration Load(ulong guildId)
        {
            string file = Path.Combine(Environment.GetFolderPath(Environment.SpecialFolder.ApplicationData), GetPath(guildId));
            return JsonConvert.DeserializeObject<GuildConfiguration>(File.ReadAllText(file));
        }

        public string ToJson()
            => JsonConvert.SerializeObject(this, Formatting.Indented);

        public static void UpdateGuild(ulong guildId, string prefix = null, string welcomeMessage = null,
            ulong? welcomeChannelId = null, ulong? logChannelId = null,
            bool? senpaiEnabled = null, bool? quotesEnabled = false, bool? enableNsfwCommands = null,
            ulong? ruleGameChannelId = null)
        {
            var guild = new GuildConfiguration()
            {
                Prefix = prefix ?? Load(guildId).Prefix,
                WelcomeMessage = welcomeMessage ?? Load(guildId).WelcomeMessage,
                WelcomeChannelId = welcomeChannelId ?? Load(guildId).WelcomeChannelId,
                LogChannelId = logChannelId ?? Load(guildId).LogChannelId,
                SenpaiEnabled = senpaiEnabled ?? Load(guildId).SenpaiEnabled,
                QuotesEnabled = quotesEnabled ?? Load(guildId).QuotesEnabled,
                EnableNsfwCommands = enableNsfwCommands ?? Load(guildId).EnableNsfwCommands,
                RuleGambleChannelId = ruleGameChannelId ?? Load(guildId).RuleGambleChannelId
            };
            guild.SaveJson(guildId);
        }
    }
}

redpajama_set_name: RedPajamaGithub


Royer and her team, which included researches from Rensselaer and the Université de Montréal, examined yeast cells, which divide by budding. As with most cells, yeast cells must first synthesize the necessary resources and grow in size, a phase of cell cycle known as G1. About 200 genes must be activated at the end of G1, and the research team examined five proteins–the transcription factors SBF and MBF, the transcriptional repressor Whi5, and the G1 cyclins Cin1 and Cin2–that are collectively required to initiate transcription of those 200 genes.
The team grew cells in growth medium–a liquid designed to support yeast cell growth–with different kinds of nutrients. When the team examined cells grown in medium with poor nutrients, they discovered that those cells were "up-regulating," producing more molecules of the four key proteins given their cell size, and therefore triggering commitment to division at a smaller size. The finding explains why cells grown in a nutrient-poor environment are smaller in size.
"G1/S Transcription Factor Copy Number is a Growth-Dependent Determinant of Cell Cycle Commitment in Yeast" appears in Cell Systems. Continued research will be funded through the National Science Foundation.


text:
Thread starter vantoure
Makingtrax
Planes, Trains & Social Media Rants
Blood on the Tracks said:
Well it's the fundamental issue with the squad cost stuff.
Let's say hypothetically you give Man City and Crystal Palace for example an extra £100m each, with your methodology they should improve their team / squad equally.
I'm willing to grant that they both spend the money equally well too. Crystal Palace would still improve their squad / side to a greater degree than Man City in real terms because they're starting from a lower base in quality.
Why would that be? If City and Palace both bought a £100m striker, for the sake of argument, City would put a more expensive player he's replaced on the bench and be stronger that way, or they sell their replaced player for more money. Either way they'd maintain the gap.
I'm not seeing this league is getting harder at all from any angle.
Reactions: Baki, vantoure and BigPoppaPump
Always Me ?
I see people talking about how the league has got harder. I prefer the term more competitive.
I think its down to a few factors, the attractiveness of the league as a whole and that even playing well for Norwich can get you recognised and playing for your country. Plus Norwich probably has more money than a Juventus these days.
Plus a major factor, I truly think we are starting to see a point where talent is middling out.
If you think back to the days of players like Gazza, Adams, and Merson being on the piss all week and still playing well. Players are more professional now, even at a young age kids are drilled into being Footballers by parents. So more and more kids are going through the grinder and pushing their bodies to the limit.
There are only so many clubs and a big fight for an abundance of youth talent. So, the quality every team can have started to become the same. You will always have your generational talents (Ronaldo, Messi, Mbappe, Haaland) but the 99% rest of the players will all be on a roughly even keel to some degree.
With that, you can see the difference in a lot of teams is the coaching and/or system they play to get the best out of what they have, the preparation before each match, and then the mindset of those players.
If you honestly broke down the first 11 of every team in the league, you could probably say anyone can beat anyone on any given day. That's why I like the Premier league a lot of the time.
Palace beating Sp**s.
If you break down the teams, apart from Kane being one of the best strikers in the league. The difference in class is minimal. But Palace were up for it, and Sp**s looked like they couldn't be bothered. Was that down to Kane not caring, bad coaching etc.
Makingtrax said:
Makes me want to bash my head against the wall that this needs to be explained.
Reactions: Makingtrax
Atlas said:
That is nothing compared to a Liverpool team that registers close to 100 points in back to back seasons while winning the CL and PL instead of fluking it in the greatest fluke of all time. Newcastle ain't **** either compared to a Leicester that has won the league and the FA Cup and is a superbly run club. All that without mentioning City who have assembled the most expensive 25 man squad ever. The league is tougher by whatever standards you want to apply.
This shows a lack of football knowledge and understanding of the development of the English game. You need to go back to football school.
In the streets you would be called a O' level lad. You need your A levels before you can talk ball.
We spent 130 mil and got further away from City and United who spent less or similar somehow
The lower base argument doesn't even work.
Reactions: vantoure and Makingtrax
I'm not saying Man City wouldn't improve with buying Harry Kane for example, they would but the improvement would be much less dramatic than if Harry Kane signed for Crystal Palace.
The better a team / squad you have the harder it becomes to make those gains, and when they do come they're more marginal. With weaker sides their floor is lower so the scope for growth is higher, if you have the resources to spend and a framework in place to spend it fairly wisely. Leicester are a good example.
Lost a sausage bet on Xhaka 😭
Kav said:
You probably rate Xhaka and think A levels involves taking something up the ass so I'm going to pass on your suggestion.
Wishes to get banned elsewhere
Nobody has convincingly explained why the league is harder btw
I have.
Are we really going to pretend that we haven't been seeing big teams drop all kinds of points in the past couple seasons? @Troopz has already beaten me to it.
That second point is actually a point in favour of the league being harder. The league has improved all over. The importation of superior management and the major improvement of the tactical level (which was the #1 thing holding the English league back pre 16-17, where England lagged far behind the rest of the world, due to the deficiency in coaching and tactical training level) + the ever widening gap in economic power wrt to the rest of the world has resulted in this. (Again, it feels like a lie that I even have to argue what seem like such prosaic and obvious points to everyone minus the people on this forum...)
AbouCuéllar said:
England: 2 teams in round of 16 (eliminated)
Spain: 4 teams in round of 16, 3 teams in quarter-finals, 2 teams in semifinals
England: 4 in R16, 2 quarterfinals, winner Chelsea
Spain: 1 in R16
England: 4 in R16, 2 in QF, 1 in semis
Spain: 3 in R16, 3 in QF, 2 in semis, 2 in final, winner Madrid
England: 1 in R16
Spain: 3 in R16 (drew each other), 2 in QF, 2 in semis, winner Sevilla
England: 3 in R16 (eliminated)
Spain: 3 in QF (drew each other), 2 in semis, winner Barcelona
Spain: 3 in R16, 3 in QF (drew each other), 2 in semifinals, 2 in final, winner Madrid
England: 3 in R16, 1 in QF, 1 in semifinals, 1 in final
Spain: 4 in R16 (drew each other), 3 in QF (drew each other), 2 in semifinals, winner Sevilla
England: 3 in R16, 1 in QF
Spain: 4 in R16, 3 in QF, 2 in semifinal (drew each other), winner Madrid
England: 1 in R16, 1 in QF, 1 in SF, winner Manchester United
Spain: 1 in R16, 1 in QF, 1 in SF
England: 4 in R16, 2 in QF (drew each other), 1 in SF, 1 in final
Spain: 3 in R16, 3 in QF, 1 in SF, winner Madrid
England: 1 in R16, 1 in QF, 1 in SF, 1 in final
Spain: 2 in R16, 1 in QF, 1 in SF, winner Atlético
England: 4 in R16, 4 in QF, 2 in SF, 2 in final, winner Liverpool
England: 2 in R16, 2 in QF, 2 in SF, 2 in final, winner Chelsea
Spain: 3 in R16, 2 in QF (drew each other), 1 in SF
19/20 (*pandemic effects worth nothing?)
Spain: 4 in R16, 2 in QF
Spain: 2 in R16, 1 in QF, 1 in semifinals, winner Sevilla
Clear trend if there ever was one.
*From 12-13 to 16-17, just once did all 4 teams from England qualify for the R16 in CL. Since, every single year.
*In that same time, England had 4 quarterfinalists to Spain's 14. Since, 7 to 6.
*In that same time, England had 2 semifinalists to Spain's 10. Since, 3 to 2.
*In that same time, England had 0 finalists to Spain's 6, and 4 winners. Since, 3 to 1, 1 winner each.
(EL evidence you can tally up yourself, but it presents a similar if not as brutally clear picture)
If that's not good enough for you, plus the other evidence I point to below, nothing is going to be. Results in Europe are the only way to objectively measure this. Quality of top 6-7 teams goes down: teams suffer more in European competition. Quality of top 6-7 teams goes up: teams dominate Europe, as England has now since 17/18. Last year the same. 3 English quarterfinalists in both CL and EL, 2 in both CL and EL, 2 finalists and a winner in CL, 1 in EL.
Indeed, and compare the potency of those Aston Villa and Everton squads to now Tottenham, Leicester, Arsenal squads (which are current top 6 competitors) in terms of quality and money spent...there's absolutely no comparison.
To refer to your post before, "how do you judge the quality of the league?", well, the best way is to look at results in Europe over a number of seasons. And there, aside from the logical comparisons...where it's clear that Liverpool and City of 5 years ago have nothing to do with the Liverpool and City of 5 years ago, it's clear that Chelsea's current version is better than any one in recent times bar *maybe* (and I don't actually think so, but rather that Chelsea team found Liverpool still in early construction and City in its first year adaptation phase under Guardiola) the Conte team, it's clear also that United's team, while similarly poorly managed as it has been since Sir Alex left, is of the highest level it has been since then.
The Villa and Everton squads you talk about, if you compare them then to now, you think they're at least as good or probably better. Yet they finished 9th and 10th last season. That should be saying something to you. Or seeing that there's no longer room for the surprise packages that would happen every year in the weaker period for the league (2011-2016)...the Wolves, Swansea, Southampton sides that were constantly getting in there with a good managerial level, that's no longer enough, because there's a higher managerial standard in general along with the talent standard always high and higher. Wolves dropped off in the last couple years as the standard rose, sides like your typical Swansea or Burnley don't have a chance and are rather fighting for relegation, a well managed team under Hassenhuttl like Southampton, the same, relegation fights, slots 13-17 at best...same with Brighton, probably Leeds this season under Bielsa.
Anyways, for however much agenda-driven people like @Makingtrax tries to muddy the waters, it's an extremely clear trend--like I said, just looking at the extremely clear European trend in results would be enough--and I'm really surprised there's even an argument over it or a post like this should be necessary.
The fact is if you break down Wenger's competition for 5th in the years where he often BARELY got top 4, and compare it to what it was once he started dropping out of the top 4 or what it would be now, there's no comparison. We're talking about mediocre Villa or Everton squads with nothing like the squad cost or tactical level of the competition for 4th and 5th now...Redknapp, Sherwood, Jol managed Tottenham sides...I mean if Tottenham had had a competent manager just one of those years when they had a decent squad with Bale and Modric, it would've been trouble, thankfully Wenger was competing against the most incompetent of managers.
Reactions: Trilly
No point to explain, you'll disagree anyway
Reactions: Trilly, Atlas and AbouCuéllar
A couple important articles re: the tactical level in England circa the first half of the last decade, for those who want to educate themselves and stop muddying the waters about real terms and real phenomenons we witnessed in the last decade until the steady importation (with importation I include people like Graham Potter) of superior managerial talent, raising the tactical level of the league in the latter half of the decade.
The problem with English football
The transfer expenditures alone have exceeded the one billion euro mark this summer. English clubs invested like never before in new arrivals but only brought in half that amount by selling players. What will you buy for yourself? What would you like to make up for? What is going wrong in...
spielverlagerung.com
Pressingzentrale an England, bitte kommen!
Der englische Fußball wird sich mit dem Abwärtstrend begnügen müssen, solange die Top-Teams kein ordentliches Pressing einüben. Ein Kommentar. Die Gruppenphase der Champions League forderte zwei prominente Opfer: Bereits am Dienstag endete die internationale Saison für den englischen Meister...
spielverlagerung.de
Reactions: Blankety Blank
Shows your lack of understanding if you can't discuss a topic without straying egregiously off topic.
Since you lack knowledge let me educate you. The PL has always been competitive. It was competitive at inception, mid 90's early 2000's, Mid 2000's, late 2000's, 2011-13, 2015-19.
There have always been money teams in the league as well. Since you clearly lack knowledge before Chelsea and Man City in the 2000's Blackburn and Newcastle were the teams with big spending owners in the 90's. There were always teams that played well and competed for the top 6 spots including Leeds, Everton, Aston Villa and Newcastle.
If you're going to mention that smaller clubs beating bigger teams as an example of the league being harder we'll that's the most simplistic argument ever. I can cite you countless examples going back to the inception of the league and before that all the way to the 70's (yes English football existed before the premier league).
Football has grown in terms of its publicity and it is certainly more of a business driven Industry despite its entertainment value. That doesn't equate to the quality of the game being better or the league being more competitive. What you all fail to appreciate is that each league season is unique and what applies to one doesn't translate to the other. There are too many variables between individual teams across two seasons to adequately compare much less to do so on a league wide scale.
Then again you've shown yourself to be a simpleton so carry on.
So competitive that the only 2 teams playing for the title between 97-04 was us and United. Blackburn and Newcastle have literally nothing on City and Chelsea. Don't waste my time.
Reactions: BigPoppaPump and AbouCuéllar
Competitiveness in the entire league does not equate only to who wins the league but as you have shown previously and continue to do your thinking is simplistic and lacks knowledge.
So I am constraining myself from arguing with a fool. Carry on.
Competitiveness in the entire league does not equate only to who wins the league but as have shown previously and do so again your thinking is simplistic and lacks knowledge. So I am constraining myself from arguing with a fool.
Carry on.
Sorry I can't be bothered to reply to someone who never has anything interesting or intelligent to say. Go talk to someone else.
Reactions: BigPoppaPump
England's performance the last 5 years in CL is largely unprecedented. I've posted the data above and I can't be arsed to get further into it for people who willingly want to pull the wool over their eyes, but compare the last 5 year period to other 5 year periods you discuss and there is no comparison, minus 2006-2011 when the league was at a high technical level wrt to the rest of Europe and still had managers who were more or less high level wrt to the level of the sport in the top clubs (Ferguson, Wenger, Benítez, Ancelotti; tbf, in this period, if I did the breakdown all the way down I am pretty sure it will not compare to this recent 5 year period; it only equals these last 5 years in terms of finalists and winners thanks to fluke Chelsea in 2011-12, and English teams were not as constantly present in QFs and SFs as the last 5 years we can recall, except in 07-08; the fact is England's domination of Europe is at unprecedented levels in the last 5 years).
We can look, for example, comparing Wenger's Highbury reign in two parts to the last 5 years:
Last 5 years: 5 finalists, 2 winners (these trends follow down the line to SFs, QFs, R16, Europa League, but like I said, I've already documented them)
5 years before: 1 finalist, 1 winner
1996-2000: 1 finalist, 1 winner
Reactions: drippin and Atlas
What you have failed to appreciate is that how a team performs in European competition has no bearing on how it performs in its respective league. So that discussion is moot.
You only need to look at our last European campaign as an example. We made the Semifinals in Europa Competition but we had a poor league season.
You're clutching at straws here ithat is how you're going to construct your argument.
You do realise this can just as easily be an argument against your stance (and in reality it is), no?
Nonsense. Over a significant sample this is totally false. There can be an isolated exception here and there (just as there can be in league play, tbf), like Chelsea in 2011-12, but the fates of 6-8 teams against the rest of Europe over a significant sample does not lie. (micro versus macro trends. Same as with chances created or key passes or any other measure-- in a micro sample it means little. In a macro it of course has meaning and tells us things if we are not stubbornly trying to ignore it.)
I keep telling him this. Not one of these posters has explained how the league is getting harder that stands up to scrutiny, but they keep repeating it like it's true.
The seismic shift in the league was when two mickey mouse clubs got oil money. It shoved everybody down two notches.
Reactions: Baki and Kav
Oxeki
New Threads, Old Tweets
I'm not going out my way to track down a load of metrics, they're out there though If you want to track them down. It's pointless as I know you're coming into this believing that the league was at least as competitive back then, if not more so, because it would portray Arsène in an even better light. Which is your MO on here
I'll just take one thing. Look at the TV rights deals. In our heyday under Wenger it was 670m-1.2b. It was at around 5b the last rights deal and I think came down a little this deal to nearer 4.5b.
The TV rights fees are doled in a relatively fair manner in the PL, compared to Spain for example. Larger clubs don't monopolise the pot to the same extent.
Just look at midtable clubs being able to afford players and outmuscle many historically larger European clubs for players that would be stars in the French league for example.
Look at what would be considered mid table clubs generally like West Ham or Aston Villa.
A decade ago would Jack Grealish be being sold to Man City for £100m or the equivalent fee based on inflation? No he wouldn't. Aston Villa would have been bullied into selling him by Man City or an equivalent sized club. Aston Villa are in a position now where they don't need to bend over for bigger clubs and won't sell their star players till they get the fee they want.
Declan Rice at West Ham is another prime example. A decade ago Man Utd or Chelsea would have financially bullied West Ham into selling him by now, as happened with Michael Carrick. These days West Ham don't want to sell and unless a club comes in with an inflated offer they've got no desire or need to let him go.
Basic point here is due to the stronger state of mid table clubs finances it's much less common that these sort of clubs get bullied by naturally larger clubs into selling their star players, as happened with West Ham 15-20 years ago for example. Now the likes of West Ham or Aston Villa almost have the whip hand over Man City or Man Utd when it comes to the negotiating table. They can't be bullied anywhere near as easily and when they do sell their star players it's more on their terms time wise and more financially beneficial to them.
The main thing here is that most of these midtable clubs will still not be able buy top quality players. Even with the increased revenue and spending power, they'll still buying largely the same quality of players they were buying a decade ago. Newcastle and West Ham both spent 40m on Joelinton and Haller respectively
The only thing that have improved is their spending power relative to midtable clubs of other leagues. Infact, one could argue that the gap is wider than ever and you also have to factor in attractiveness. Most top talents would still prefer to play for clubs like Chelsea, man utd, Arsenal, Liverpool etc than the likes of Leicester, Aston Villa, West Ham etc.
Reactions: Macho
I keep telling him this
Yeah, you're right, the performance of the top 7 or 8 clubs in the league against the rest of Europe across a five year span tells us absolutely nothing.
Your willingness for ignorance in the pursuit of your cultist agenda knows no limits, it's truly amazing to see.
I recommend you read the two articles I posted above and educate yourself a bit (not that you will do anything but read it with an eye to see what you can spin in favour of your agenda...).
Reactions: Trilly, Dj_sds -, boonthegoon and 2 others
Latest: GDeep™
Latest: Big Poppa


After 40-years, and numerous awards Ruby O'Gray's still got a few worlds left to conquer. Saturday, April 30, she's hosting a signing party for her new book Running Away to Home, which tells the story of Kathleen, a 17-year-old basketball fan who leaves Memphis for New York in 1966, looking for adventure and opportunity.
A portion of the proceeds from each book sold will benefit the Women's Theatre Festival of Memphis, which O'Gray founded.
The book signing takes place at TheatreWorks. 5:30-6:45.
O'Gray also founded the Bluff City Tri-Art Theatre Company, currently producing Gus Edwards' play, The Offering, which runs through Sunday, at TheatreWorks.
Like so many plays I've reviewed at the Hattiloo Theatre in recent years, Marcus; or the Secret of Sweet shows incredible potential. A fine group of actors have come together for the last chapter of Tarrell Alvin McCraney's groundbreaking Brother/Sister trilogy, and with the help of director Dennis Darling, they share many fine moments. Unfortunately, all of those moments happen in blue-gelled darkness, obscuring faces, and hiding the twinkle and the terror in the actors' eyes. There's no front light to speak of, and very little texture. It's a superficial problem, but one that makes it difficult for me to wholeheartedly recommend a piece of theater I'd normally want to stand up and cheer about.
McCraney's a certifiable wunderkind who writes stylized family dramas overlaid with ritual. His sense of community calls to mind the August Wilson canon, but formally speaking, the two writers couldn't be more dissimilar. McCraney's scripts borrow from African mythology, with dialogue so musical his characters sometimes have no choice but to burst into full-throated song. In many regards, Marcus; or the Secret of Sweet is the most conventional play in a set that includes In the Red and Brown Water and The Brothers Size. But it's hardly conventional. Dream sequences weave in and out of an already dreamy narrative while ghosts and confused lovers follow one another through a swampy Louisiana landscape. In some regards it's a lot like Shakespeare's A Midsummer Night's Dream, but with all of the old fairytale's original mystery and danger restored.
Marcus tells the story of a young man's sexual awakening, and an accompanying compulsion to learn more about his father. Marcus is "sweet" — a euphemism for effeminate. Maybe he's gay. Maybe it's more complicated than that. At any rate, he's trying to learn secret codes that exist in a tightly knit African-American community where homosexuality is kept on the DL. He wants to make connections, not only with new friends and lovers, but with history, and also to some much bigger ideas. You don't need to be familiar with the other Brother/Sister plays to follow the action, but the show will be richer for those who are. Even more so for those who've gone the extra mile to learn about the thunder gods and gender-bending trickster deities McCraney alludes to throughout.
Cameron Yates is so vulnerable as Marcus — able to stop hearts with quiet reticence and warm them again with shy, schoolgirl laughter. He's strongly supported by Mary Ann Washington (Oba), Hannaan Aisha Ester (Shaunta lyun), Derrick Johnson (Shua/Oshoosi Size), and an able ensemble cast that is collectively responsible for some of the season's most satisfyingly human interactions. What's surprising though, given director Darling's background as a musician and conductor, is how all of these interactions occur in the context of a production wanting for shape and dynamics.
I get that much of Marcus' action occurs at night. The challenge, obviously, is to create the illusion of evening and shadow while still framing the characters and punctuating the action with light. But instead of blossoming into the sunflower it's supposed to be, this production just kept audiences in the dark.
Galileo goes before the inquisition for expanding the Copernican heresy.
What's the deal with 1616?
Well, Shakespeare died in England, obviously. Cervantes kicked the bucket in Spain. But celebrity death's not all that interesting, in and of itself. 1616 was a time of enormous contradiction. Old dynasties crumbled while a new world was being plundered. The Earth was growing larger and smaller at the same time. A slave trade and smallpox flourished in the places where where sea monsters once appeared on flat world maps. Science advanced brave new ideas while the church doubled down on its authority and witches were hunted with renewed fervor. Globalism was in its infancy, as were global corporations. Applied arts and sciences found themselves at odds with establishment values.
Thomas Christensen's book 1616: The World in Motion is an entertaining and enlightening romp through the early modern era, when Spanish Galleons delivered silver from Acapulco to China and exchanged it for silk and spice. Christensen's a first rate storyteller, with a curators eye for art and artifact. He's also the keynote speaker for the 1616 Symposium at Rhodes College this week. Although it's been made possible by the Pearce Shakespeare Endowment, the symposium uses Shakespeare's death as a pretext to assemble scholars from different disciplines to discuss a world that was, quite literally, on the move.
Christensen's book covers a lot of ground. In less than 400 heavily-illustrated pages he touches on a little bit of everything from major world events to a power struggle that escalated between a French midwife, and the king's physicians because the latter group had, "No knowledge of the placenta and the womb of a woman, either before or after her delivery."
"Shakespeare's Sisters," a chapter devoted to women in 1616, is especially fascinating. More "rational" views of the natural world had curious consequences. Witch hunting, for example, had once swept up equal numbers of men and women. By 1616 accusations were leveled primarily at older women who were more likely to be herbalists, and keepers of folk traditions. Christensen elaborates on reasonably well known stories about Pocahontas' visit to Europe, the reign of Nur Jahan over the Mughal Empire, and the trials and artistic triumphs of baroque painter Artemisia Gentileschi. My favorite part, however, is Christensen's juxtaposition of the life of two crossdressing women: Mary Frith (AKA Moll Cutpurse), a pipe-smoking pimp known as the "Roaring Girl," and Catalina de Erauso, a Basque soldier who aided in the conquest of the Americas, and was later given special dispensation by the pope to dress in men's clothing.
Erauso, who first dressed as a man to escape life as a nun, served as the right hand man to her brother who never recognized her. She was eventually transferred to a heavy combat zone after the siblings came to blows over another woman.
As far as Shakespeare is concerned, he was quite the innovator in his day, but it would be another hundred years before his Romantic makeover as the great lion of Western literature. As his fame grew in the 19th and 20th centuries, the man himself became harder and harder to see. Like Rhodes professor Dr. Scott Newstok explained in a recent interview for Memphis Magazine, the "fixation on Shakespeare occludes the way he actually worked."
To that end the 1616 symposium doubles as a reverse-engineered portrait of Shakespeare and his contemporaries.
Judith Slaying Holofernes by Artemisia Gentileschi.
Judith Slaying Holofernes by Caravaggio.
Gospel artist Mahalia Jackson is truly inimitable, but Deborah Manning Thomas challenges that theory. She and Sameka Johnson star in Mahalia: A Gospel Musical originally performed at the Hattiloo Theatre. Tuesday, April 19 at 7 p.m. Mahalia moves into Downtown's Cossitt Library for a free one night only performance.
For something completely different, Marcus: or the Secret of Sweet, the third play in Tarrell Alvin McCranney's Brother/Sister plays runs at Hattiloo through May 8.
Don't go to Theatre Memphis' production of The Compleat Wrks of Wllm Shkspr (Abridged) unless you like good acting, stupid gags, and Falstaff-sized belly laughs. It's a perfectly entertaining night in the theater, and I'm more than a little surprised to find myself typing those words. I've never been a huge fan of the Reduced Shakespeare Company's signature piece with its abundant (sometimes dated) pop culture references, and glib approach to the material. But Theatre Memphis' production is completely current, with enough heart to comfort like sunshine after rain.
You don't have to know very much about Shakespeare to get the jokes here. And, in spite of the title's promise, audiences won't leave the theater knowing any more about the plays and poems than they did when tickets were purchased. This is an improv-based comedy show using Shakespeare's lingering notoriety as a jumping off point. The sonnets are acknowledged, but unaddressed, the histories are lumped together in a football-inspired sketch full of handoffs, interceptions, and skullduggery. And, in a gag about Shakespeare's most recycled plot devices, many popular comedies, and most of the obscure works are lumped together and presented as if they were a single, and singularly ridiculous play. It's fun stuff, but it's not going to help anybody fake their way through cocktail party conversations about Timon of Athens. (Like that's ever happened).
A more honest title for this slow-starting, but ultimately satisfying literary romp, might be Shkspr's Greatest Hits (Abridged), as Romeo & Juliet and Hamlet ultimately get the most love, and the latter is literally performed both forward and backward. ("Oob!" may be Shkspr's funniest line, but that's all I'm saying about that.) Although metatext is left unspoken, the shows thesis is inspired by the original Man in Black's sage advice to actors: "Suit the action to the word and the word to the action." Only, in this case, the goal is to see how much fun you can have un-suiting the action to the word. Cheap theatrics abound, sock puppets steal the show, and, as is the case with most roller coaster rides, somebody will be thrown up on. Possibly more than once.
There's nothing harder to pull off than scripted spontaneity, but director Jeffrey W. Posson has brought together a fine trio of actors, able to break in and out of character, and through the theater's invisible fourth, fifth, and sixth walls like soldiers born under mars. It's a tight ensemble able to solo like Coltrane, when their turns come around. Meghan Lisi brings a lot of Shakesperiance to the table. She shines throughout, though maybe not as brightly as in the real thing. Joshua Hitt gives a fun, unfussy performance, playing himself as an affable dork caught up in circumstances beyond his control. And by "circumstances," I'm referring primarily to the antics of Kevar Maffitt who's been given the evenings silliest and most sincere moments. He nails every bit of it. "What a piece of work is man," indeed.
"Oob!" may be Shkspr's funniest line, but that's all I'm saying about that.
One of the best things about this production is how it's energetic and forward-moving without ever being rushed. It's an object lesson for those who think screwball comedy needs to be performed at breakneck speed. In the spirit of Chicago's Neo-Futurists, Posson & crew take the time required to let "real things" occur. Remarkable how fascinating it can be, in proper context, to just sit back and watch a wind up toy wind down.
I still like pieces of the Compleat Wrks better than the whole. But with deft direction, great acting, and top-notch design by Jack Yates and Kristen Redding, Theatre Memphis' production is the compleat package. Nothing abridged about it.
21 years ago, Emily Fisher, wife, mother, socialite, and celebrated patron of the arts, was beaten and stabbed in her Central Gardens home. The murder, and the harrowing trial that followed, quickly turned into a media feeding frenzy. Prosecutor Jerry Harris choked back angry tears as he described and redescribed every aspect of Fisher's murder in painstaking detail. Defense attorneys Glenn Wright and Loyce Lambert were no less emphatic in swearing that the case was being tried in the media, and their innocent clients — who were eventually acquitted — were being rushed to a guilty verdict. It was, needless to say, not an easy time for Fisher's children.
in 2007 Rebecca Fisher, Emily's writer/actor daughter launched The Magnificence of the Disaster, a solo performance chronicling not only her mother's murder and her brother Adrian's subsequent overdose but also the icy disaffections that can sometimes pass for familial love in a big white house in one of Shelby County's more privileged neighborhoods.
It's been 8-years since Fisher brought her critically-acclaimed and award-winning show to TheatreWorks, in conjunction with Voices of the South. VOTS has been marking its 20th-anniversary by reprising landmark performances, and The Magnificence of the Disaster returns to Memphis and TheatreSouth for performances April 9, 10, 14, 16, 17.
Do you know how to tell if you're a real diva or not? If you've never been dropped on stage by a helicopter, you're probably not a diva. Unlike Memphis treasure, Marie-Stéphane Bernard, whom you can see airdropped in the video below.
From The Merry Widow, Opéra Comique, Paris.
Bernard's a native Parisian, who began her violin and voice studies in France and pursued her passions at the Conservatorio di Santa Cecilia in Rome. She's played the great opera halls of Europe but lives just a stone's throw from the Mississippi River. She is currently appearing at Playhouse on the Square in L'heure espagnole, for Opera Memphis' Midtown Opera Festival, and tonight (Wed., April, 6) she'll perform a concert titled "April in Paris," which takes audiences on a tour of France in the 1950s via the music of Édith Piaf, Josephine Baker, and Charles Trenet. "The idea came from my presence here in Memphis and from being French," she says, describing the street singers she enjoyed so much as a little girl. "We threw pennies from the windows, and they were happy," she recalls.
To sample some romantic melodies gorgeously performed, you might consider throwing some pennies in Opera Memphis' general direction.
What's Up With Midtown Opera Festival's Tragedy of Carmen?
Opera Memphis' General Director Ned Canty has never been one to mince words. "If a singer can't act it's hard for me to hear them sing," he says. Canty developed the Midtown Opera Festival as an opportunity to present works that benefit from the intimacy of a small space, and give singers a real chance to show off their acting chops. That's what makes Peter Brook's The Tragedy of Carmen — a condensed, uniquely theatrical distillation of Bizet's popular opera — such a good fit.
Brook, a compulsively progressive artist, famous for his work as head of the Royal Shakespeare Company's experimental wing, had strong ideas about the strengths of opera, and the weaknesses of the art form. He developed The Tragedy of Carmen as an experiment to see how opera could be more theatrical. To do so he focused on just the four main characters, making them as believable and real as possible and spent 9-months rehearsing the piece in his usual collaborative style.
Joshua Borths, who directed The Tragedy of Carmen for Opera Memphis likes how Brook played with audience expectations, re-arranging the score for a smaller orchestra, but calling for a recording of the full orchestra playing the overture at the end of the show.
Brook has always seen words as the castings of impulse, and understood how even the finest points of view are relative, expiring shortly after they're expressed. To that end, he's shown a special gift for using context and theatrical devices to sharpen edges dulled by changing sensibilities.
"While it is all the same music and the same characters it's a very different theatrical experience than seeing the full Carmen with a chorus and ensembles that bring a lightness to the piece," Borths says. "This is a much darker take on the story." And that's saying something, considering how shocked French audiences were by the immorality, and lawlessness on display in Bizet's original.


text:
Game of Thrones: Season 6, "The Door"
By Aaron Bady, Sarah Mesle
Previous episode: season 6, episode 4, "Book of the Stranger."
Following episode: season 6, episode 6, "Blood of My Blood."
LARB's Collected "Game of Thrones" Coverage
"We can go home now, Hodor"
Sarah: Aaron! What a spectacular hour of television! I'm not saying I think everything about this episode was perfect, but: I was riveted, and also, even while I was watching, I was excited for all the unpacking we were going to get to do later. Ownership, knowledge, loyalty, trust: this episode was really hitting on all the levels. Also: look, I'm just going to throw this out at the beginning, because it was so fascinating and I'm worried it might get lost: full penis! Genital warts!! Aaron, I sort of feel like that full-screen penis was maybe the punctum of this episode? Or maybe, in a Freudian sense, the interpretive center, the navel. Like: you can be holding the thing in your hand, the very thing, the object around which so much power in this world is imagined to circulate, and not even know what's going on with it. Are those warts? Maybe? What even is that?
We don't actually have to dive right into the full frontal nudity here, Aaron. This show was getting at bodies and power in all sorts of ways, metaphoric as well as visual!
Aaron: That's a good place to start because, as with the warty penis, my first reaction to the episode was: Huh! What? But I guess that's what a punctum is: it breaks your flow because you can't "make" a totality out of it.
Sarah: Aaron, I have just gone to look up Barthes's definition of punctum! Here we go, from Camera Lucida: a punctum, in a photograph, is a "sensitive point…A photograph's punctum is that accident which pricks me (but also bruises me, is poignant to me)." The punctum is the thing that binds you to the photograph, almost — later, Barthes writes, that one thing about the punctum is that "paradoxically," while "remaining a detail, it fills the whole picture." So, in one sense, I do think that's a good way to feel about that poor boy-actor's penis: this point of feeling, that can structure the whole effect of the episode. But then, on the other hand, the penis gets obscured by everything that comes afterwards.
Aaron: It's the random thing, like "hold the door" becoming the emotional center of the episode, after having been a truly random-sounding Fantasy Name. Before, Hodor was kind of a funny name that we made jokes and memes about. Now… fuck, man. Hodor.
Sarah: Oh, Aaron. Hodor. Hodor!
Aaron: So much so that we didn't notice SUMMER THE DOG getting killed!
Sarah: OH, AARON, I NOTICED! Do not for ONE MINUTE think that I did not DEEPLY NOTICE the sound design there, with Summer's carefully painful growls and (oh my heart!) yelps! Basically I have a rule that I do not watch any shows or movies with dogs in them, and the misery of watching Summer just off himself so beautifully but also strangely casually was one reason why. But that's exactly the point, and part of what makes this episode both thrilling and difficult to talk about. Hodor's death tips the whole episode off balance! It just eclipses everything. What to make of an episode where the wrenching direwolf death just… fades?
Aaron: You know, if we're bringing Barthes into this: those deaths at the end were so meaningless and accidental, and that's the tragedy. Why did Hodor, Summer — or the main Child of the Forest — have to die? No reason! To delay the infinite horde a few minutes? It would have been much less poignant if those deaths had some clear and concrete meaning. But it all seems so… random, accidental. And thus, devastating.
Sarah: That is one of a couple of very pressing logistical questions about this episode. First: what's the plan, Meera? (I mean, it's not her fault she doesn't have a plan. But really, it's baffling from a viewer's perspective: everyone's dead but where are you going?). And second: where are all these trees the ironborn are going to cut down? And how are they going to cut them all down, when there's only 15 of them? And, wait, one more: do Sansa and Jon really have time to go on a good-will tour before Ramsay shows up with the Bolton army for flaying time? I'm really confused about how all that's going to play out. How long has she been here, anyway? Where in Castle Black did she find the velvet for this new dress? The embroidery floss? Let's talk about all this, but not forget the warty penis.
Aaron: Sarah, no one is going to forget the warty penis. With Meereen, the internet has concluded that Benjen will rescue them, because otherwise none of it makes any sense, since they only gained about 40 seconds with that maneuver.
As for the Assholes on Dickhead Island, my god, they are the worst, the absolute worst. The plan is to build lots of ships? NO, MAKE ME KING, I WILL BUILD EVEN MORE SHIPS THAN YOU, I WILL USE MY PENIS AS A HAMMER AND MAKE SHIPS. I mean, Euron won the Kingsmoot by neutralizing Theon's act of gender ally-ing: when everyone is like "Whoa, no way, not a woman, dude" he smooths it over by being all "No, actually, dudes, it's cool" and that works right up until Euron reminds everyone that he doesn't have a penis, and thus, cannot serve as her substitute kingship phallus or whatever. But Euron's penis has its own logistical problem: he plans to "give" Dany his ships and also to "give" her his cock. But if he gives her his ships, then she will have them — not him — and once her army has ridden them over the ocean, she won't need them or him anymore. Giving Dany his ship-cock will result in… him losing them. I think Euron also lacks an endgame here. (I did, however, appreciate that Game of Thrones gave us another "Awkwardly Waiting For The King To Wake Up From Being Dead, This is Gonna Be Awkward If He Isn't Alive Again" scene, though).
Sarah: Absolutely nothing about Euron interests me. What a terrible country; even the crown is a sucky crown. But hey, this is interesting: is Yara going to Meereen? Doesn't that sound sort of pleasing? Yara and Dany: that is a conversation I would like to see. I imagine it would be a little bit like Molly Ringwald and Ally Sheedy in Breakfast Club, except that Yara would be like, Fuck you with the eyeliner; sweet dragons though!
Aaron: I think Pyke is just a park where all the worst people in the world go to LARP. There's only like 40 of them, but somehow they're going to build a thousand ships?
Sarah: Aaron, they have no trees! WHERE DO THEY GROW THE FLAX?! Nothing makes sense, except their dreadful coronation drowning zombie act. I don't want to talk about it anymore.
Aaron: Euron even genders everybody's labor. He will murder any men who spin flax and any women who cut down trees, like a North Carolina congressman policing a bathroom.
Sarah: Do you think he'd make Theon spin flax? I bet he would.
Aaron: OMG, I hate that we're talking about those dickheads. Let's stop.
Sarah: Let's move on!
Aaron: I want to talk about ARYA.
Sarah: Isn't it good that Arya is getting some training? I was worried, that she wasn't getting enough training. So, thank goodness, that we got to watch that some more!
Aaron: Yes, the fight scene was super boring. BUT. I do think this episode did a lot to rescue (or at least theorize) the lameness of her plot, which is all about her becoming a nonentity with no personality (who can also be all personalities). It's sort of like joining the military and the Screen Actor's guild at once. We get to see her watching people watch her father's death, just like we watched her watch her father's death in season one! We get to see an underused actress watch an underused actress complain about not getting any good parts! (Also: "there are no small parts.")
Sarah: "Small parts." I mean, c'mon. Was he talking about the boobs? He's right, those weren't small! I'm really interested in your take, here, Aaron, because I thought the whole theater scene INCLUDING THE PUNCTUM WART PENIS was truly fascinating. Your friend makes the great point that one thing we're seeing is the show comment about how history and fiction work together, and that seems very right. We're also, of course, seeing this sort of meta comment about the spectacle of bodies; this is a repetition of Arya's experience, and it's a repetition of our experience of watching Arya, as well.
And that's why one of the fascinating parts of this play was the way it staged viewership. As you may remember, Arya watching the play from the crowd, right next to two, rather unattractive, middle aged ladies (at least: I think the show wants us to find them unattractive). And the camera goes to them for the reaction shots! They are the ones who laugh at Ned's country-bumpkin speech and ignorance, shocking Arya (and us); but also, they are a little shocked and horrified at the display of fake-Sansa's (big)(fake?) breasts. I'm so intrigued that Arya's emotional experience of this play is pitted against the gaze of these prudisn middle-aged women. And then, we go straight from these women to the punctum wart penis. Which, I think, puts us, as television viewers, on the side of the body-friendly theater, and against the crowds? No one ever wants to be an unattractive middle-aged lady, at least in this world. Of course, we are immediately on the side of the clever actress who is beautiful and witty and interesting, and thus clearly not long for this Game of Thrones world; no one new and awesome on this show (especially a woman: see Karsi, see Ros) ever escapes being brutally killed off, even if they didn't have the Faceless Man after them for no apparent reason. Aaron: The mock play also links up nicely with the Bran and Hodor stuff at the end: Bran seems to think that what he's doing is watching, an invisible eyeball that can voyeuristically see without being seen, the ultimate surveillance fantasy. But it turns out that seeing has consequences, and that there's a kind of complicity between those who see and those who are seen. The audience's desire for SEX BODIES AND VIOLENCE is part of why the show has shown us so much of it. But when we contemplate other people watching this show, it is easy to judge them for what they are watching: oh, those others watch this show for the wrong reasons, they just want to see breasts and gore. But what if the thing you're watching reaches through the screen and TOUCHES you? Aaron: At the beginning of the episode, we see Arya watching those ladies without being seen, and that's what Bran thinks he's doing, until the moment the entire audience of zombies lifts up and looks at him. It's intense.
Aaron: You know, I remember watching the episode where the Wildlings are trying to attack over the wall, and the whole thing is a Big Battle and it's bloody and exciting and spectacular, and I remember thinking: I am over this show. It's just empty spectacle and violence, and it sickens me, and I'm done with it. But now, I'm… not.
Sarah: That episode was the worst! Oh God, it was just Robin Hood: Prince of Thieves. They managed to make mammoths boring, and I still can't believe it.
Aaron: There's this amazing Amitav Ghosh line, from an essay about 9/11, where he argues that: "the thickening crust of our awareness is both a sign and reminder of our unwitting complicity in the evolution of violence." I feel like that: as I watch this show, my tolerance for violent spectacle is increasing which — if you extend that to all viewers — necessitates MOAR VIOLENT SPECTACLE. How are they going to top the ending of the last episode? How are they going to top the death of Hodor?
Sarah: I'm not sure I agree! This episode was most wrenching in the smallness of its vision: the tiniest snag at Hodor's chest was worse than anything in the wall battle. I don't feel desensitized, here: maybe I did while the dog's went after Lady Walda? At that moment, I was just so glad it wasn't worse, and as we discussed that's a fairly dreadful position to be in.
Aaron: Right, but that's what I take Bran's arm scar to represent: he thought he could just watch and be unaffected, but watching turns out to have its own power. But this is also the show's way of thinking through its own spectacle-making, and what it means to watch, or to watch others watching.
Sarah: But I do think that here is where we have to come back to Sansa! Her truly amazing demand, in the opening scene, that Littlefinger witness her suffering, and her insistence on its continued realness was just phenomenal. It worked particularly well as a response to Ramsay's repeated line in last week's horrible rape letter: "Come and see," Ramsay wrote. Sansa's question, "What do you think he did to me?" takes Ramsay's imperative, his belief that he owns spectacle, and remakes it in her favor.
Aaron: Right! It makes him complicit! Her insistence that he not simply see and hear — because apologies are cheap and easy — but that he say, himself, what he sees in his mind's eye (and thus reveal himself), was such a power move from Lady Stark. (Also, a slow clap for "The Lady Stark Asked You A Question.")
Sarah: Slow clap for every Brienne moment this episode. "Rather brooding!" But let's not get distracted! Sansa!
Aaron: But can we separate Brienne from Sansa? Eever since those two got together, they became whole persons: without a liege lord, Brienne doesn't work. And without a family, Sansa has been at the mercy of a very cruel world. But together, they suddenly become the best versions of themselves. Becoming yourself is not something you do on your own.
Sarah: Aaron, that is an amazing truth.
Aaron: I stole it from a podcast on Tagore. But it also helps rehabilitate Old Terrible Sansa, in a way; her goal was to be a lady, yes, but it was also to build family and weave things together; now that we see her making a nice wolf outfit for Jon — literally giving him Their Father's Clothes, as best she can remember them — she is re-creating her family, in exactly the way she was trained to do. In the way that we — when we were watching Arya scoff at all that tedious Dull Lady Embroidery stuff in season one — were very quick to dismiss. But I feel like we're seeing Sansa do a lot of really crucial (and feminized) labor, bringing people together again: starting with her and her brother, but — eventually — the whole north.
Sarah: Oh man, do I have some strong hopefulness about this allegiance building Sansa is doing. Also, can we note: this episode was really interested in the word "Lady!" "Lady Sansa" is the first thing said in the episode; the Waif spits the name "Lady Stark" at Arya. It made me really notice that the new Red Woman (sigh) is a "woman" not a "lady." Not many other uses for that word in this show! Ladies and whores, sure: slaves and mothers. "Women": do we hear that very often?
Aaron: Not much room for women in this world, no.
Sarah: The most important, moment, of course, was when Sansa said to Littlefinger: "The other things he did to me, ladies aren't supposed to talk about." Her sense there is exactly right: that being a "lady" partly means being forced out of some crucial parts of story making: by propriety, by being, as she says with wrenching irony, "tender hearted."
Aaron: I wonder if Littlefinger sees what she has become, and thinks to himself "I have done a good job of making Sansa very strong"? Because I think he still believes that he is helping himself by helping her — always his MO — and I also think he knew Ramsay's deal. Sansa shook him a bit in that scene, but he got away from it annoyingly unscathed.
Sarah: If he does, he is very wrong. Sansa became strong, but it's not because of him, and not because of Ramsay. If anything, it was because of Theon and Brienne. Which takes us back to your excellent point of becoming ourselves together. Let's think of some of the relationships this episode is parsing: Sansa and Brienne, Yara and Theon, Jon and Edd, Dany and Jorah, Arya and the Faceless Man, Bran and Hodor especially. In some ways, this was an episode "about" loyalty, the different forms it takes, the way it changes us, the ways it can be corrupted. I appreciated very much that the episode managed, I thought, to make many kinds of self-sacrifice seem beautiful, even necessary, without flattening obedience into a necessarily good trait. Brienne is a very different — and much better — kind of servant, for example, than Arya is being trained to be: Brienne asks hard (excellent! unaswered!) questions, and Arya is reprimanded for doing so. Man, remember back in season three when Arya's relationship with Jaqen H'ghar was really fun and entertaining? What happened?
Aaron: Watching Sansa sew her life back together has been amazing; from the moment she and Brienne linked up, she has been the driving force of that entire plot. The same with Theon, in a way: he meets up with his sister — and now that he's not trying to be Dickhead King of Dickhead island — he's suddenly a whole person again, able to act and do and be. But to your point: loyalty in both cases — Brienne-Sansa and Theon-Yara — actually makes both of them whole; it isn't a hierarchical relationship, but a sustaining, complementary loyalty.
Sarah: Well then, I guess that brings us perfectly to the end! It's seeing these relationships play out so beautifully that primes us, in a way, to both appreciate and be appalled by Hodor's sacrifice. When Bran wargs into Hodor, it's a different kind of symbiosis, one that Bran could kind of justify by believing Hodor did not quite have a real, human, consciousness, maybe? And that sense evaporates in the final scene, as Bran realizes that his warging is the cause of Hodor's diminished life.
One thing I'll add: I only noticed as I was looking for pictures that in the courtyard, before his fit, Hodor is grooming a white horse. And Aaron, this is a show, that despite its protagonist-killing, believes in the iconography of the white horse! Sansa and Dany both ride them, in this episode. So associating Hodor with the white horse is one way this show, visually at least, is marking Hodor truly as a hero. He may not get to ride the horse, but we seem standing along side it. Or maybe: he is the white horse? He is the trusty steed!
Aaron: Okay, here's the question for me: is Hodor the one holding the door closed at the end (and not Bran controlling him)? If so: what does his choice to do that mean? Does he understand his fate? Does he choose it? Has he embraced it? I mean, the character has a lot of personality — he loves blood sausages! He cowers! — so what are we to understand about how he understands the world? You're absolutely right about the unconscious "Oh I'll just take over his body because he doesn't have a mind" attitude that Bran (and we?) have tended to adopt, and the devastating realization that he is a person. So what is Hodor on the inside?
Sarah: That is exactly the question.
Aaron: Maybe the tragedy is that we can't answer it. All he can ever say is Hodor, so we never learn.
Sarah: The end of language! Oh Aaron. Let's stop there I guess? Best and worst!
Aaron: My worst is going to be Tyrion and the gang in Meereen, who we haven't talked about because it was such a deflating come-down from last week's wacky festival of political allegory.The only interesting thing about those scenes is how hard they work with tricks of perspective to make Tyrion as tall or taller than the other characters. Which is not, actually, that interesting. But, well, that happened.
Sarah: Ugh, Meereen! Zero interest over here in watching Tyrion wrangle a new Red Woman. How unfortunate, that as soon as they let Melisandre become a person (sort of: she was on stage a couple of times this episode, but never given anything to say. Small parts!) they have to bring in a new cliché vampy sex witch. Why can't this new actual character have even half of the personality of doomed-for-sure Lady Crone?
Aaron: Also, the "why does it have to be a man?" line made me think the show was going to give Missandei something interesting to do.
Sarah: No! Nope. Terrible head fake. This was definitely one of my worsts, too. I also was pretty uncompelled by Dany and Jorah. Like, they were really milking that, and all I could think about was how Sansa had just freaking demolished this sentimentalized idea of "ladies" having feelings in their "tender hearts," and here was Dany being all "I need you by my side!" while the strings on the soundtrack swelled. So boring.
I did really like her outfit, though! Good belt, Dany! I really think it says something that Dany's clothes are so much better when she's hitting the road, all "Ride or Die!", than when she's actually trying to wear queen clothes. Those never fit her right.
Aaron: It was strangely bad acting, too, I thought. Especially after Emilia Clarke burned us to the ground last week, the whole scene felt… flat. And yeah, totally reliant on the soundtrack to force us to have feels.
Sarah: My Best: well, beside Sansa, my favorite small detail was the opening shot of Sansa's needle. I can never get enough of the sewing in this show. (WHEN IS ARYA GOING TO GET HER NEEDLE, I ASK YOU AARON? IT'S STILL HIDDEN, RIGHT?!) Also, I really loved Meera kicking some ass. I'm hoping we get some more of her from here on out!
Aaron: Meera needs to have her "Sansa Takes Charge" moment. As for me, my best is Arya watching a play. I want to see her have some fun, just once, and, ok, that wasn't quite it? But the more we see her out in the world watching other people — observing and thinking and growing — the more it feels like she's actually finding a space in the show to be a person, which is exactly what the Many-Faced God threatens to take away from her. There's real suspense in that, and I'm digging it.
More like IRON BORING, amirite?
Sarah and Aaron
Game of Thrones: Season 6, "Blood of My Blood"
By Aaron Bady


text:
Home » Oatey promotes Smith to vice president and chief human resources officer
Latest NewsVendor & Supplier NewsPlumbing News
Oatey promotes Smith to vice president and chief human resources officer
KEYWORDS PHCP-PVF industry / plumbing manufacturer / promotion
Oatey, a manufacturer in the plumbing industry, announced the promotion of Dalithia Smith to vice president and chief human resources officer.
Smith joined Oatey just over two years ago as vice president, human resources. With more than 20 years of experience in human resources leadership, she has significant expertise in all areas of human capital management, talent acquisition and overall HR strategy. Prior to joining Oatey, she spent 10 years at Lincoln Electric, most recently as vice president, human resources, Americas Welding.
As Chief Human Resources Officer, Smith will continue to lead all HR functions at Oatey and will also have responsibility for environmental, health, safety and security as well as diversity, equity and inclusion. She continues to report to Neal Restivo, CEO.
This article was originally posted on www.supplyht.com.
Elkay names Brand as chief human resources officer
Oatey Co. promotes Lehtinen to vice president, leading brand and digital marketing strategies
Viega LLC promotes Robert Boots to chief operations officer
Taco Family of Companies Promotes Cheryl Merchant to Chief Executive Officer


Applicant desiring to apply for an Indian Visa must apply via (http://www.indianvisaonline.gov.in/visa/). While choosing the Indian Mission where the application shall be submitted personally by the Applicant, applicant must choose the "Russia – Moscow" or "Russia – St. Petersburg", according to the Jurisdiction mentioned below.
Important: please choose the Indian Mission carefully. Application filled online and submitted to wrong Mission shall not be processed and Applicant shall be required to fill in the complete application again.