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DR. BICKMORE'S YA WEDNESDAY
Weekly Posts
WEEKEND PICKS 2023
Monday Motivators 2023
Bickmore's Posts
Lesley Roessing's Posts
Weekend Picks old
2021 UNLV online Summit
UNLV online Summit 2020
2019 Summit on Teaching YA
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Digital Events and YA Speculative Fiction Media: Waves of the Future by Margaret A. Robbins, PhD
I love conversations with Margaret Robbins. I always find that she is thinking deeply about a genre or writer that should be on my radar, but it just wasn't at the moment. As a result, I learn something and my to read list gets longer. In addition to the post for today, she had three previous posts that you should consider reading as well.
http://www.yawednesday.com/blog/the-lasting-influence-in-remembrance-of-ursula-le-guin-by-margaret-robbins
http://www.yawednesday.com/blog/rape-culture-and-diet-culture-as-explored-in-recent-ya-novels-by-margaret-a-robbins-phd
http://www.yawednesday.com/blog/fandom-literature-a-new-sub-genre-of-ya-by-margaret-a-robbins-phd
Go ahead and bookmark them. They are worth keeping on your radar.
Her post this week is timely and important.
Digital Events and YA Speculative Fiction Media
For many years, book events and book club gatherings have fueled my knowledge base and my soul, to the point where I decided to do my dissertation work on these gatherings. However, amid the COVID19 pandemic, these events have mostly taken a digital turn for the foreseeable future. Yet these affinity spaces (Gee, 2004) can exist both in person and online, and one advantage of having them online is that location is not a hindering factor for people being able to attend. Other advantages include the events being no cost and not having transportation as a factor that precludes people from going. This could make access to book related events more equitable, as book conventions and popular culture conventions can be relatively expensive and, therefore, more accessible to middle class and wealthier participants.
I have always been drawn to comics and YA speculative fiction books and television shows. In particular, during these challenging times of a worldwide pandemic and political tension, these stories have provided me with escapism. For many years, most seminal comics and YA speculative fiction novels and short stories were primarily written and/or drawn by White heterosexual cisgender males. However, this trend continues to change as the literary canon becomes more diverse. While I still think there is room for more diversity in comics, YA, and speculative fiction circles, I have continued to notice an increase in author and character diversity in my favorite genres. Because of digital events, a few books and other forms of media in particular have come to my attention. I would love recommendations for books to read and blog about at a later date.
Shuri by Nic Stone
I attended an Instagram online book release party that Jason Reynolds and Nic Stone co-hosted at 2:00 p.m. on Tuesday, May 5th. Jason asked a lot of great questions, such as how writing a middle grades novel is different from a YA novel, Nic's passion for the Black Panther story, and why it is so meaningful to have a Black female protagonist in the book. Nic Stone cosplayed for the release party, and as a cosplay aficionado, I thought this added to the character of the release party. The overall tone of the book release party was so positive and energizing, which was very helpful to me during the later days of teaching my 7th grade Humanities courses online. I really enjoyed the novel and look forward to continuing to have it in my classroom library. I was lucky enough to obtain an ARC from a friend, and a few of my middle school students devoured the book even before I read it. Shuri is one of my favorite female superhero characters because her brains and her creativity are her true superpowers. This fast-paced adventure story takes place during her juvenile years and gives us insight into her ways of thinking and her relationship building skills.
On Tuesday, June 9, Dr. Ebony Elizabeth Thomas was the keynote speaker at the NCTE Member gathering. These rejuvenating gatherings take place on Tuesdays at 1:00 p.m. EST via Zoom and have been for a few months. Although I haven't been able to attend all of the gatherings, I've found all of the ones I've been at beneficial. I was especially excited about the session featuring Dr. Thomas because her work relates to my teaching and writing interests, and I have read her well-regarded book The Dark Fantastic. Hearing the author read her work aloud gave the book a new meaning for me, which is part of why I love book events. As a follow-up to the event, NCTE sent out a list of recommendations, one of which was Star Trek: Discovery. I will admit that I haven't watched Star Trek since my childhood years of the late 80s/early 90s, but I was excited once I read up about this series. I try to be sparing with my TV subscriptions since my time is limited, but I have the cheapest CBS all access subscription so I can watch this show and perhaps also The Twilight Zone newer episodes. I love Star Trek: Discovery so far and am drawn to both of the primary female characters, Michael Burnham and Phillipa Georgiou. I have only watched a few episodes so far, but I believe more female characters will prove to be very impressive.
Binti by Nnedi Okorafor:
I had heard of this series before, but attending the Tor.com Book Con and hearing the author speak with Cory Doctorow about speculative fiction and politics increased my interest. So far, I have read the first book and ordered a copy of the second one. In the first book, Binti is accepted into a prestigious intergalactic university known as Oomza Uni. She decides to go in spite of having to give up her life and her marriage prospects with the Himba people on earth. When she's on her way to the university, her spaceship becomes hijacked by jellyfish-like aliens. However, Binti manages to form a truce between the Khoush scholars at the university and the attacking aliens, known as the Meduse. When she arrives at the university to pursue her STEM studies, she is even more celebrated because of her alliance. Binti is intelligent and also a good diplomat, and she is a female leader for generations to come.
Kamikaze: Run Rabbit Run (Volumes 1 and Volume 2) by Alan Tupper, Carrie Tupper, and Havana Nguyen:
I learned about this series from a MomoCon online panel about creators who are balancing their writing and artistic work with day jobs, a topic which drew my interest as I try to juggle writing with my full time teaching schedule. Havana Nguyen was a very dynamic personality who gave great advice, and I was drawn to Kamikazi after hearing her talk so passionately about it. The series has a Dystopian spin to it and shows the world in the 2200s following a global ecological disaster. Markesha Yin is an almost 20-year-old mixed race female who is trying to help support herself and her father, who is in his 50s, blind, and a freelance writer for questionable operations. She takes one high risk job that literally and figuratively blows up in her face, and her only follow up options may be to get involved with dangerous gangster warfares. Markesha's athletic abilities and common sense have helped her and her father to survive so far, so hopefully, she will continue to make it in a world gone wrong.
Tor.com Book Con and MomoCon both did a commendable job of showing a diverse array of books and authors, including books with empowered female protagonists of color. I hope this trend continues. Just like online Cons and book events will be the wave of the foreseeable future, I hope that empowered female protagonists of color will continue to rise to the forefront as superhero figures and authority figures. I've enjoyed reading these dynamic books and series this summer and look forward to introducing them to my students in the fall.
Because of my interest in affinity spaces (Gee 2004), I wonder how online spaces will continue to become important to the book and media industry in the coming months. I ended up engaging with these books and TV shows at least in part because of attending online book events. Normally, book launch parties at bookstores, festivals, book Cons, and popular culture conventions are hugely important in introducing readers to these works. However, because of COVID19, many of these events will not be able to happen at least for the next few months, perhaps longer. If they do happen, they will not be as well attended as usual. How will this affect the book and comics industries in particular?
In these challenging political times, it is even more important for students to see themselves in the literature they read and for educators and librarians to do our part to make the growing literary canon more inclusive. However, in the coming months, I see access to new books potentially becoming an issue. Those of us who are plugged into social media will learn about new books via those avenues, and word of mouth is a powerful tool. However, particularly for indie projects like Kamikaze, having Cons and other events is very important for increasing their readership. Part of my mission during the COVID19 pandemic will be to attend these virtual events and read and write about the books and other forms of media of interest, in hopes of drawing in other readers. In particular, I want to write and spread the word about media that portrays empowered female protagonists of color. For me, not having the ability to discuss these texts with people as much has been a really hard aspect of this pandemic, especially since I currently live by myself. However, I feel hopeful that more book clubs will go online until it's safe to meet in person again, and the online chat rooms and chat boxes of such forums as Instagram live, Facebook, Crowdcast, Twitch, blogs, Twitter, and Discord can be generative discussion places.
Hopefully, online affinity spaces for book discussions and empowered female protagonists of color will continue to be waves of the future. These may be positive results of the most challenging and polarizing time of my life thus far.
Gee, J. P. (2004). Situated language and learning: A critique of traditional schooling.
New York, NY: Routledge.
Until next week
A Review of the UNLV 2020 online Summit on the Research and Teaching of YA Literature and Glimpse to the Future.
First, a quick glance at the future.
Last Thursday and Friday, June 11 and 12, 2020, were two days filled with wonder and growth. All of the authors reminded us why we loved Young Adult Literature. The presenters reviewed the robust opportunities surrounding research and suggested a host of ways to engage students in the classroom or through their own independent reading.
You can browse the program here. It has links to many of the presentations. We hope to add a few more as presenters have time to catch their breath and send along their updates. While we missed being able to meet face to face the keynote authors all managed to engage the attendees through their inspiring stories.
We asked the presenters of each concurrent session to cover their material in a reduced time of 25 minutes. Clearly, they would have loved to have more time and we would have loved to have more time for Q and A. We focused on moving things along as advised from several other groups that worked with conferences in an online setting. We are learning as we go. We moved most of three days into two days and, by and large, it seemed to work well. Would we change a few things? Of course, but the good news is we would stay with most of what we put in place.
The hard work of other make a conference like this happen. Sarah Donovan was wonderful as co-chair. Her help and feedback along the way as we moved from a face to face event to trouble shooting the obstacles of moving to an online event was invaluable. It was important to have individuals willing to sit quietly in each session and function as a Zoom host. Thanks goes to Darby Simpson, Jennifer Dail, Dani Rimbach-Jones, and Amy Piotrowski. Their work enabled the Concurrent Session chairs and presenters to continue on without an additional worry.
The Summit is over but you can revisit the event any time at this link in Dr. Bickmore's YA Wednesday. You can see a list of the presenting authors and their book and check out the presenters. Yes, we will continue to update the page as we gain information.
More importantly we will begin to build the page for the 2021 Summit before too long.
Our Visiting Authors
Below are the photos of our visiting authors and they are linked to their websites. (A couple are so new, they still don't have them.) I would encourage you to buy their books and get reading. Which brings me to another positive action. I received the following note from Ashley.
A note from Ashley Hope Pérez:
What an honor to be a part of this year's summit, and I'm deeply grateful for the engagement of participants—I loved learning from the comments during my talk!
We are all looking to make a difference, right? Here's one thing you can do: order books you learned about at the summit from a local bookseller rather than from Amazon.com.
I recommend BookSpace, an independent bookstore in Columbus. The owner Charlie can order and ship to you virtually ANY book you might want, including all of my books (OUT OF DARKNESS, THE KNIFE AND THE BUTTERFLY, and WHAT CAN'T WAIT). Just email bookspacecolumbus@gmail.com with a list of the books you want to order. And check out all the great curated selections at bookspacecolumbus.com. I recommend the community accountability combo pack!
Local bookstores are around. Here is Las Vegas consider The Writer's Block. They are so kind and generous, that on their home page they encourage shoppers to support Black owned bookstores and provide a link on their home page so you can do just that.
The Last Minute Panel
In the midst of preparing for the Summit, America was disrupted by death of George Floyd. I was at a lost for words. I am committed to including diverse books of all kinds in my curriculum. Yet, it didn't seem like enough. I reached out to people I respect who speak to the issue of diversity in YA literature. (I have to add that they are so many that I might have reached out to, but these two had previous experience with the Summit.) In short order I reached out to and heard back from Kekla Magoon and Stephaine Toliver. Both are amazing woman who work with the YA world from different angles. We also included Sophia Tatiana Sarigianides to serve as a moderator. I highly recommend all of their work.
Comments from the Participants
Several of the people who attended the Summit have provided some comments. Take a look and plan on next year. We hope to be holding an in person event. If we don't, we will do our best to improve on the experience we had this year.
I have attended each of the Young Adult Literature Conferences at UNLV for the past 3 years. The author panels and mentor teachers have been keenly chosen to represent a plethora of genres and diversity. I have learned so much from each of the sessions, and I am so excited to bring back many of the ideas to share with my colleagues, as well as to incorporate them into my teaching of literature. I can't thank you enough for putting on this wonderful conference!
Judy Bryce
Del Webb Middle School
Stimulating, Compelling, and Purposeful are just a few words to describe this year's incredible Summit on the
Research and Teaching of YA Literature!
Hands down, this was one of the most powerful virtual events that I have attended this summer. Every session provided powerful insights and examples of social justice texts to foster critical engagements with readers. The keynote speakers empowered us to take action as we transform our classrooms and instructional practices.
The conference provided me with tools and resources to promote and cultivate spaces where readers are free to dialogue about the complexities of their world while discovering texts that affirm their voices. Thank you, Dr. Bickmore, and the conference committee for organizing a fabulous conference
Mary Napoli
I wish that I could bottle the energy, brilliance, and empathy of the people at the UNLV YA conference to save for difficult teaching days. There are so many reasons to like this conference. Every speaker brings an original perspective and interpretation of the stories we use to shape the lives of children. The reading list I gather while listening to all the speakers and other participants is worth the price of the conference and the insight into the world of YA and the lives of students makes it priceless.
Dana Hazzard
At the end of the #YASummit2020, Steve Bickmore encouraged us to "Take that step and go that place you haven't been before," and this is exactly what Young Adult Literature does, what this Summit did, and what we hope our profession does and will continue to do.
In the middle of a global pandemic and as we enter our third week of protests supporting the Black Lives Matter movement, supporting the idea that our students' lives deserve respect and equal treatment, only Young Adult Literature and the discussion of it could have held our attention so closely for two full days. In the online forum, we shared laughs and we cried, we talked books and we talked movements, we compiled resources and joined ideas, we made friends that we can stand strong with as we leave the Summit and re-enter a world in need of so much work.
This was my first time attending the Summit, and I hope it happens every year, and that it always is as responsive to students' needs and to the times as it was this year. The presenters and attendees came from across the country, across disciplines, and across grade levels. We discussed race and racism, intersectionality, LGBTQIA+ books and issues, the social constructs of adolescence, mental health, adaptations of classic literature, climate issues, and probably anything else our students and our profession are interested in. Leaving the Summit, I am grateful to have attended and been part of this group of educators and teacher researchers who amaze and inspire me and teachers and students across the nation every day.
Ashley Hope Perez told us that the "promise of fiction lies in us," and this Summit gives us the tools, strategies, and support system we need to take the promise of literature and bring it to our students. Books do make for a better world, and the Summit helps us continue to believe in our ideals and ideas in the midst of everything.
Thank you, Dr. Bickmore and all the presenters and attendees for making this an experience I will never forget!
See you next year in Vegas for #YASummit2021
Rebecca Chatham-Vazquez
President Elect, Arizona English Teachers Association
Vice President, English Language Arts Teacher Educators -- ASU Graduate Student Strand
Just a great summit. Congrats! I know that was a ton of work, but you and your UNLV gang pulled it off perfectly. I had to duck away several times during the two days, but I saw quite a few keynotes and several breakouts. Great thinking, great presentation, great conversation throughout.
Hope you can relax in knowing what a great job you did. Enjoy the rest of the summer!
Gary Salvner
Attending the online version of the 2020 Summit on the Research and Teaching of Young Adult Literature on June 11-12 was a great decision. Thanks to the amazing presenters and keynote speakers, I learned about integrating graphic novels into the secondary and college classroom, strategies for teaching YA texts that promote social justice and empathy, and ways to bring in more diverse books to my curriculum. Two of my favorite sessions were Sarah Donovan's "LGBTQ+ Affirming Representations a Timeline and Lifeline" and the keynote given by Gilly Segal and Kimberly Jones. I loved collaborating with Louise Freeman on our session focused on YA texts and empathy research. I was also fortunate to share some preliminary research on "YA Retellings of the Classics" with Diane Scrofano. We are in the process of proposing a book on that topic; thus, our conference presentation was a great way to dip our toes in the water.
So what did I take away from the 2020 YA Summit?
Renewed confidence in teaching young adult literature in my English Education courses and my college-level humanities classes;
Phenomenal scholarly resources to help me facilitate difficult and important conversations about issues related to race, gender and sexual orientation, and mental health;
Scads of titles of amazing books written for young adults to share with my students and colleagues; and
Strengthened friendships and new acquaintances that will sustain me as we move forward in a world full of uncertainty and struggle.
Though I definitely missed seeing everyone in person (and leading folks to a local dueling piano bar for after-hours fun), thanks to the 2020 YA Summit, once again, my heart is full, and I am ready to do the work!
Kia Jane Richmond
Professor & Director of English Education
Northern Michigan University
"YA Summit exceeded all of my expectations for an online meeting. I felt connected to my friends and colleagues despite periodic glitches of camera and microphones, and once again met the greatest minds of the field represented by YA authors and scholars, teachers, and librarians, graduate and undergraduate students. The best lesson I learned is about disrupting texts. Our reality is a constant disruption; there is nothing comfortable, cozy, and smooth about it. This is the way we should look at the literary text questioning what, how, and why things happen the way they do. How can we make things better?
Thank you, Steve Bickmore and your amazing team at UNLV for tireless work organizing the event and passion for Young Adult literature!"
Leilya Pitre
Southeastern Louisiana University
I am grateful for the opportunity to gather together with colleagues and friends in the virtual environment for last week's Summit. In a time of isolation, the connections we form and maintain with each other seem to matter more than ever. In addition to the academic stimulation, it was refreshing to hear authors (and others) get real with Summit participants.
While sharing his experiences speaking to students, Matt De La Peña also mentioned his struggles writing and speaking while being at home with his young children during the pandemic, which I very much related to as I wade through those waters daily in my own household. Josh Allen shared a story about his daughter's fear of vomiting that helped shape his future writing of middle-grade horror stories, which somehow made me even more excited to read his work. Debut author Samantha Vitale noted being intimidated as an engineer who just finished her first YA novel but still at times felt like an outsider among the attendees at the Summit. I know anyone in academia can attest to surviving feelings of impostor syndrome, and I loved Samantha's honesty. I also think she fully belonged in the group, and I can't wait to pick up The Lady Alchemist and explore its STEM connections with students.
And let's not forget the intense vulnerability displayed by Kimberly Jones as she shared her very real experiences as a black female in America that influence her writing. This year's Summit gave us the opportunity to have important conversations as we connected across distance, and now it's up to us to continue the conversation.
Darby Simpson
Coordinator, Writing Center & Graduate Academic Support Center
Onward Through the Fog with Rob Thomas by Sean Kottke
This week, Sean Kottke helps us remember just how embedded YA literature is within popular culture. Sometimes we forget which came first--the YA book or the media version--the T. V. show, the movie, or the limited series. Do people remember that 13 Reasons Why was a book and that the series has moved far beyond the original narrative. The list goes on and on. Sean has chosen to look closely at a writer, Rob Thomas, who has captured adolescent angst through the entire body of his writing whether the work shows up in a novel, a movie, or a television show. Some of you may not know the name, but trust me, you should. I hope that some of these book end up on your to do list.
"She doesn't kill vampires or kick ass like Alias. … Her power is telling other people to fuck off." (Rob Thomas, in Solomon, 2019)
On more occasions than I care to remember (dating my future wife, teaching a young adult literature class, meeting my wife's friends and family, Jeopardy! audition – yeah, no joke), I've had to follow up my answer to the question "who's your favorite YA author?" with an immediate "not that Rob Thomas," which I've always chafed at having to clarify, since I knew this Rob Thomas years before I really knew who that Rob Thomas was. This blog isn't about that Rob Thomas, famous Carlos Santana collaborator who appeared as himself (and met a grisly, albeit fictional, end) in the season two finale of this Rob Thomas' iZombie. This is about this Rob Thomas, the guy who didn't start out trying to write YA fiction, yet created a multimedia universe of linked narratives that sold me more on the potential of YA literature to authentically capture the experiences of adolescents and generate social capital in communities of readers than any single author, scholar, fellow educator, or literacy advocate. And here I thought my prime directive as a high school English teacher was to get the next generation excited about Shakespeare.
All the best press about Rob Thomas' work is published in Texas Monthly. That's no coincidence. Although born outside of the Lone Star State, Thomas found his way there at an early age, stayed through high school, college, and a teaching career, set most of his books there, and made it his base again after an extended time living and working in Hollywood. There's a particular worldview infusing his works that is Texas in a bottle, heavy on the Austin – described in Rats Saw God as "the coolest city in Texas. Even the frat boys recycle" (Thomas, 1996, p. 69) – whether the story is set in the Texas Hill Country, Southern California, Seattle, or the Irish coast. It's the mother's milk of my early childhood, the common denominator of my lifelong pop culture fandom, the ethos enshrined in the lyrics of Doug Sahm's "Groover's Paradise" and "Get a Life," and in the films of Richard Linklater and Mike Judge. It resists an easy label, but for purposes of this blog, let's call it an Austin Slacker Charm.
The Austin Slacker is summed up well in Thomas' screenplay for the underrated Drive Me Crazy (Schultz, 1999). Asked to describe his "perfect date," Chase (played by a pre-Entourage Adrian Grenier) says it's the kind of person who "will call you out on your bullshit … [is] not completely earnest, yet … not completely ironic." It's the perspective of an outsider – in the world, but not of the world, of the conventionally popular and successful – who nevertheless values the community. It's a preference that Chase notes not in the film, but in the book on which the film is based, for "being on the outside, acting like I didn't care. It felt safer out there. But it was only an act. Because I did care" (Strasser, p. 200). It's an ethos telegraphed by the phrase "onward through the fog," invoked prominently – and conveniently – in the works that so far bookend Rob Thomas' two decades of film and TV work, Drive Me Crazy (1999) and the final season of Veronica Mars (2019). For the uninitiated, that phrase is the slogan of Oat Willie, the eponymous mascot for Austin's legendary head shop and all-around underground culture headquarters. The answers aren't always readily apparent, but if you persevere in the face of uncertainty, live and let live, "comfort the afflicted and afflict the comfortable" (Thomas, 1998, p. 10), do good work (the Austin Slacker works hard, FYI, contrary to the average slacker stereotype) and Keep Austin Weird, you'll get by and find yourself in GOD's good graces. GOD, of course, being the Grace Order of Dadaists, the anti-club founded by Steve York and friends in Rats Saw God.
So, how does this outsider vision play out across Rob Thomas' books, movies, and TV shows? Glad you asked. Crack open a Dr. Pepper, a Shiner Bock, or, in the words of late great Texas TV newsman Marvin Zindler, "whatever makes you happy," and read on.
Rats Saw God (1996)
Rob Thomas' first novel was my gateway drug. I was teaching high school English in Tomball, Texas, and my mentor in English Education, Dr. William Tucker, recommended at an NCTE conference that I give this book a try. Steve York, recently transplanted for his senior year of high school from the Houston suburbs to San Diego, is called to task by his new school's guidance counselor to explain how a near spotless academic record over five semesters could suddenly come to a halt. "'Do you mind telling me how someone who makes a 760 verbal on his SAT fails English?' 'I couldn't make it all the way through The Outsiders again'" (p. 3). What ensues is a narrative equal parts 1 Henry IV and "Shotgun Willie," as Steve relates both what brought him to the present day and what transpires over the course of his senior year. He copes with growing up in the shadow of "the astronaut" (aka, his father, Alan York), while "subverting the system" (p. 40) with his friends in GOD, a collective Falstaff to his Prince Hal. With such a pedigree, Steve might be considered the ultimate insider in Houston, but he rejects the claim to the throne based on his reading of his father's behavior toward his mother before and after his parents' divorce.
Steve's coming-of-age moment comes less from defeating an antagonist like Hotspur than from coming to understand errors in his reading of past events. Steve is the prototypical Thomas Austin Slacker protagonist: an outsider seeking community without selling out to an in-crowd conformist mentality. The novel has an ahead-of-its-time edge and authenticity that has since become a hallmark of young adult literature, something noted in retrospect by Thomas. "I didn't think I was writing a young-adult book. … I knew my central character was an eighteen-year-old. If I was thinking in terms of an audience beyond myself, it was my musician friends in Austin, so I didn't alter anything. … [T]eenagers don't live profanity-free, sex-free, drug-free lives" (Cohen, 1997). Incidentally, my first reading of Rats Saw God coincided with the publication of Stephen Chbosky's The Perks of Being a Wallflower (1999), which deeply impacted my ninth-grade Humanities students. A stirring book talk from the first student in my class to read Perks, a young man who reminded me strongly of Steve York, was the professional slap in the face I needed to embrace YA literature as a vital part of recentering my curriculum around the specific needs of the young, gifted adolescents in my charge, which went way beyond simply grasping the nuts and bolts of the Western canon.
Doing Time: Notes from the Undergrad (1997)
The first of two books concerning the exploits of students of the fictional Deerfield, Texas Robert E. Lee High School, this collection of short stories is presented as the interview responses of nine seniors narrating their experiences in a community service project. The collection is framed by their interviewer Randall, an undergraduate social work student, who illustrates his own skeptical perspective on the high school students' service projects by narrating his own experience as a Little Brother to a Dallas Cowboys' quarterback sentenced to community service. "[B]efore [him] I didn't know shacks from mansions, so excuse me if don't join the Hallelujah Chorus over three hundred high school kids set loose on the community, blindly colliding, if only momentarily, with real people living real lives. Those lives keep going long after the kids have reduced them to a line on a college application" (p. 19). This outsider perspective is echoed in many of the high school students' individual stories. In "Loss of Pet," for example, library volunteer Fiona describes "The Rot": "It's the sorority girl who parks in the handicapped zone because she's still got the permit they gave her when she broke her leg jet skiing. It's the politician who promises to restore family values. It's the people throwing 'Welcome Home' parties for that boxer who raped a girl. It's television. It's every U2 album after War. It's the women who come in here with black eyes and check out romance novels. It's sex in general. It's the jocks at school who whistle at Andrew when he walks down the hall, or the dance team girls who ask me whether I've ever seen the sun" (p. 22). In "Half a Mind," Laura's outsider status is gradually revealed as the discrepancy between the reality of her service caring for a survivor of traumatic brain injury and her Sweet Valley High-shaped romantic interpretation of their relationship becomes clear. That story presents a riff on Rob Thomas' own mixed feelings of being perceived as writing for young adults: "You go to the bookstore and my books are always near little kids' books or Sweet Valley High—all these things I don't want to be next to. Those are aisles where no self-respecting teenager would go" (Cohen, 1997). Each story plays out like something from O. Henry, with a twist that challenges each narrator to change their assumptions about other people or about themselves. Not all choose to learn something of lasting consequence from their experiences, but all carry onward through the fog.
Slave Day (1997)
The second book to feature characters from Deerfield's Robert E. Lee High School also features multiple narrators, here interleaved into something of an oral history of an annual fundraiser in which students and teachers are auctioned off as "slaves" to do their "masters'" bidding. Included among the narrators are Keene Davenport, an African-American student who plans to protest the horror of a modern, predominantly white high school named after a Confederate general re-enacting slave auctions "for school spirit," and Shawn Greeley, the African-American student council president genially presiding over the affair. Keene gets the winning bid on Shawn, and uses the opportunity to direct Shawn into darkly satiric behavior that highlights the awfulness of the school's continuity of this tradition. These events continue to make the novel timely 23 years after it was published, and Keene and Shawn are but two of the outsiders narrating the events of this day.
Tommy Parks, nicknamed "Trailer" as a tease about his neighborhood, carries over from Doing Time, and among the outsiders featured, is most representative of Austin Slacker Charm. In the lower socioeconomic strata of the school population, Tommy hustles between getting by in school by day and working nights at Whataburger (a Texas institution). Without plans to continue his education beyond high school, he places the winning bid on Mr. Twilley, a long-serving history teacher with a reputation for being a stickler and bad memories of Tommy as a student. As in Doing Time, every character faces a moment of reckoning in which their assumptions are challenged and an ethical dilemma presents itself. In keeping with Thomas' Capraesque vision of community, most dilemmas are resolved in a direction that brings people together, and no one – save for people who commit actual crimes – is incapable of redemption and learning to contribute to a better community. The experience doesn't fix everything; Mr. Twilley muses about his ex-wife: "[a]s I'm walking, Esther enters my mind. I wonder what she would say about my day. Something about faith in mankind. Something about giving of yourself. And yet, it would still be over between us. Too many things said. Too many things never said" (p. 242). Onward through the fog.
Satellite Down (1998)
Rob Thomas stretches the outsider concept further in Satellite Down with Patrick Sheridan, a character of faith transported from the small town of Doggett, Texas to Los Angeles, where he is to become the latest student reporter on Classroom Direct, a thinly veiled stand-in for Rob Thomas' early 90s employer, Channel One News. Patrick is a fish-out-of-water two times over, as a devout Catholic first in heavily Protestant small-town Texas and second in Los Angeles. The broad contours of the story mimic the trajectory of Willie Nelson's "Bloody Mary Morning," in which a disillusioned musician flies home to Texas from Los Angeles, as well as any number of cautionary Hollywood tales. One could argue Patrick's outsider status (as indeed a hostile fan letter he receives does) given that he's instantly labeled a "two percenter" by the Classroom Direct staff, one who has "the luxury that you can by on your looks. It means that you're one of the beautiful people for whom everything comes easy. It means you'll never have trouble getting a job, getting promoted, making friends, getting a loan, getting laid. Being a two percenter gives you the power to just bullshit your way through life" (p. 72). Nevertheless, that's not Patrick's lived experience, as he experiences microaggressions related to his small-town Texas background and a constant plea from Hollywood to "get jaded, for chissakes" (p. 83). As he travels around the country (and later, world) covering events for Classroom Direct, his reporter's eye for detail and awareness of his own positionality as both an outsider and a "two percenter," depending on the social context, allow him to gather more insights about the world and use his privilege "to expose corruption, afflict the comfortable, [and] defend the people's right to know" (p. 159). Patrick moves onward through the fog and tries to lift it where he can.
Green Thumb (1999)
To date Rob Thomas' only middle grades novel, as well as the only book not to take place in Texas, Green Thumb details the adventures of junior high botany whiz Grady Jacobs. Grady details his outsider status early on: "People think that because I'm smart, I must like school. That's not true at all. School may be easy, but it's almost too easy. It's boring. So what I'm stuck with is spending eight hours a day, five days a week around people who consider armpit noise high comedy. Teachers hate me because I intimidate them. Other kids hate me because I don't blend in nicely. So, given the option, I'd never show up" (p. 25). Grady experiences bullying, and is clever enough to exact relatively harmless revenge on his tormentors. Soon though, he gets his wish to depart when he is invited to participate in an experiment with "super trees" in the Brazilian rain forest. These super trees are designed to thrive in areas made desert through deforestation, but Grady soon discovers dangerous consequences on the ecosystem as well as a hidden language that allows him to control trees' reflex actions. Rather than serving as a latter-day Lorax who speaks for the trees, Grady declares "I am Awkye. I bend trees to my will" (p. 102). An outsider among humans, Grady becomes an insider among trees, and enlists the help of the native population (rendered outsiders by corporate interests infringing on the rain forests) to fight for a stronger ecosystem.
Drive Me Crazy (1999)
This motion picture adaptation of Todd Strasser's "Time Zone High" novel How I Created My Perfect Prom Date (1996, originally published as Girl Gives Birth to Own Prom Date) doesn't get a lot of love. Described as "endearingly ridiculous" (Garis, 2015), it boasts a 5.8 out of 10 rating on IMDB.com and a 28% Tomatometer at RottenTomatoes.com (both ratings as of June 8, 2020), and merits nothing more than an off-hand comment in nearly every article on Rob Thomas' screen work. At least it gets a polite smile and genial shrug from my wife when I mention it to her, who gives it points for featuring former Rob Thomas neighbor Britney Spears' "(You Drive Me) Crazy" instead of Fine Young Cannibals' "She Drives Me Crazy" (wow, does Charlotte hate that song). That said, for the Rob Thomas aficionado, the film is no throwaway. Adrian Grenier's Chase Hammond is as close as Steve York has come to appearing on screen in manner and Austin Slacker Charm. While Melissa Joan Hart's Nicole Maris is in with the in-crowd and stays there for the whole film, the Pygmalion-esque makeover scheme she unhatches with Chase expands both characters' worldviews and appreciation of each other's social scenes. That's not revolutionary, of course (Breakfast Club, anyone?). In fact, a musical sequence set to Barenaked Ladies' "It's All Been Done" (a Charlotte favorite, btw) cheekily telegraphs that to viewers. Rob Thomas' screenplay is chock-full of Easter eggs from his books, from a subplot involving the school's own Channel One newscast, a reference to one character "buying Alicia DeGasario at the student council auction last year," and one outsider character's revenge on the popular kids via a prank right out of GOD's playbook. None of those elements are in Strasser's original novel, and they're more than gimmicky in-jokes. They're each integral to the plot of the film, creating a world that mirrors those of Thomas' novels in an attitude and atmosphere that's "not completely earnest, yet … not completely ironic." Is there no better expression of that ethos than featuring the pop punk band The Donnas (performing here as The Electrocutes) covering REO Speedwagon's "Keep on Loving You" during the film's climactic dance?
Rob Thomas on TV: Veronica Mars (2004-2019), Party Down (2009-2010), Play it Again, Dick (2014), iZombie (2015-2019)
"What I really want to do is replace Nancy Drew as the first name you think of when you think of female detectives" (Rob Thomas, in Solomon, 2019)
Originally conceived as a novel featuring boy detective Keith Mars solving crimes in Austin's Westlake High School, Veronica Mars has evolved into Rob Thomas' Rabbit Angstrom, a character we've been privileged to see grow from adolescence to adulthood in real time. Across three seasons broadcast first on UPN and then The CW, a Kickstarter funded theatrical film, two novels co-written by Thomas and Jennifer Graham, a webseries spinoff (the very meta Play it Again, Dick), and a fourth season released on Hulu, Rob Thomas' creation has pioneered 21st century cross-media storytelling and fan culture engagement with the creative process. Old faithful Texas Monthly has documented this well (see Cohen, 2014; Solomon, 2019), and Thomas performed the height of fan service by editing and contributing an introduction to Neptune Noir, a collection of unauthorized acafan essays exploring everything from loving deconstructions of individual episodes to thoughtful positionings of Veronica Mars in the vast library of noir and detective fiction (Thomas & Wilson, 2006).
The last essay in that collection, Heather Havrilesky's "The Importance of Not Being Earnest," provides a detailed discussion of Veronica's outsider perspective, noting that it comes not simply from "years of rejection, but a succession of tragedies – boyfriend Duncan dumped her, best friend Lilly was murdered by [spoiler!], Mommy bedded Mr. Kane then disappeared, Daddy lost his job as sheriff – that forced Veronica to face the ugly fact that life is filled with sadness, loss, and disappointments, and that it's pure foolishness to trust anyone, ever" (pp. 209-210). And that's not only just in Season One, it's not even all of Veronica's Season One travails. More than made to feel an outsider, Veronica is truly alienated.
Nevertheless, Veronica persists, onward through the fog. Although set in the fictional Neptune, California, Veronica and her community are the apotheosis of Austin Slacker Charm, moving forward in uncertainty, working relentlessly toward creating a more inclusive community, never too earnest, never too ironic. Among the "18 More Things to Know About Rob Thomas and Veronica Mars" (Cohen, 2014) is that "Thomas doesn't forget the little people." While this refers specifically to the generous opportunities Thomas brings to Austinites, former students, and other collaborators to grow and expand their talents, it's a hallmark of his storytelling style. Thomas' sympathies are always with characters who work, whether it's Veronica hustling as a private detective, Steve York working as a projectionist, Tommy Parks working third shift at Whataburger, the entire Party Down crew catering event after event in Hollywood between auditions, or Olivia Moore eating the brains of recently deceased to help the Seattle police solve murders. These are people doing often unglamorous work, doing it well (not always perfectly mind you, but not incompetently), and making other people's frequently equally unglamorous lives better along the way.
You might be forgiven a double-take with the last two entries in that list of Thomas characters. Since both Party Down and iZombie (as well as Veronica Mars texts after the show's original three seasons) deal largely with post-college adults, I've opted not to give them as detailed treatment here as the other properties that concern the lives of adolescents and young adults. It's why I've also opted not to venture into the three X-Files novelizations Thomas penned under the name Everett Owens. However, the truth is out there in all of these narrative worlds that Rob Thomas has shepherded into being. That unique mix of earnestness and irony, of Capraesque inclusion and anti-establishment irreverence, all in a package of whip-smart dialogue, this Rob Thomas brings that to all his enterprises, and as we proceed onward through the fog, I can't wait to see what stories emerge from his mind next.
Cohen, J. (1997, April). Teen idol. Texas Monthly. Retrieved June 1, 2020, from https://www.texasmonthly.com/articles/teen-idol/
Cohen, J. (2014, March). Mission to Mars. Texas Monthly. Retrieved June 1, 2020 from https://www.texasmonthly.com/the-culture/mission-to-mars/
Cohen, J. (2014, March 13). 18 more things to know about Rob Thomas and Veronica Mars. Texas Monthly. Retrieved June 1, 2020 from https://www.texasmonthly.com/articles/18-more-things-to-know-about-rob-thomas-and-veronica-mars/
Garis, M. (2015, September 24). 24 things you notice when you re-watch 'Drive Me Crazy' that are endearingly ridiculous. Bustle. Retrieved June 1, 2020, from https://www.bustle.com/articles/112629-24-things-you-notice-when-you-re-watch-drive-me-crazy-that-are-endearingly-ridiculous
Havrileski, H. (2006). The importance of not being earnest. In R. Thomas & L. Wilson (Eds.) (2006), Neptune noir: Unauthorized investigations into Veronica Mars (pp. 205-212). Benbella Books: Dallas.
Schultz, J. (1999). Drive me crazy [Film]. 20th Century Fox.
Solomon, D. (2019, June 8). What we learned from the 'Veronica Mars' panel at ATX Fest. Texas Monthly. Retrieved June 1, 2020, from https://www.texasmonthly.com/the-culture/what-we-learned-from-the-veronica-mars-panel-at-atx-fest/
Solomon, D. (2019, July 19). 'Veronica Mars' creator Rob Thomas talks revivals, Texas, and 'Friday Night Lights'. Texas Monthly. Retrieved June 1, 2020, from https://www.texasmonthly.com/the-culture/veronica-mars-creator-rob-thomas-talks-revivals-texas-and-friday-night-lights/
Strasser, T. (1996). How I created my perfect prom date. Simon & Schuster: New York.
Thomas, R. (1996). Rats saw God. Simon & Schuster: New York.
Thomas, R. (1997a). Doing time: Notes from the undergrad. Simon & Schuster: New York.
Thomas, R. (1997b). Slave day. Simon & Schuster: New York.
Thomas, R. (1998). Satellite down. Simon & Schuster: New York.
Thomas, R. (1999). Green thumb. Simon & Schuster: New York.
Thomas, R. (Director). (2014). Veronica Mars [Film]. Spondoolie Productions, In The Groove, Pace Pictures, Rob Thomas Productions.
Thomas, R., & Graham, J. (2014). Veronica Mars: The thousand dollar tan line. Vintage: New York.
Thomas, R., & Graham, J. (2015). Veronica Mars: Mr. kiss and tell. Vintage: New York.
Thomas, R., Rudd, P., Enborn, J., & Ethridge, D. (Executive Producers). (2009-2010). Party down [TV series]. Slaverats.
Thomas, R., & Ruggiero-Wright, D. (Executive Producers). (2004-2019). Veronica Mars [TV series]. Rob Thomas Productions, Silver Pictures Television, Stu Segall Productions, Warner Bros. Television.
Thomas, R., Ruggiero-Wright, D., & Etheridge, D. (Executive Producers). (2015-2019). iZombie [TV series]. DC Entertainment, Spondoolie Productions, Vertigo Productions, Warner Bros. Television.
Thomas, R., & Stokdyk, D. (Executive Producers). (2014). Play it again, Dick [TV series]. Rob Thomas Productions.
Thomas, R., & Wilson, L. (Eds.) (2006). Neptune noir: Unauthorized investigations into Veronica Mars. Benbella Books: Dallas.
About the author: Sean Kottke has spent more years outside of Texas than in it, yet self-identifies as a Texan-in-exile and is a lifelong reader of Texas Monthly. He has been a high school teacher, university teacher educator, college dean, state education department consultant, Jeopardy! contestant and long-time board member of the Michigan Reading Association. He currently serves the realm as an Education Consultant Manager within the Michigan Department of Education.
Until Next Time.
Dr. Gretchen Rumohr
Gretchen Rumohr is a professor of English and department chair at Aquinas College, where she teaches writing and language arts methods. She is also a Co-Director of the UNLV Summit on the Research and Teaching of Young Adult Literature. She lives with her four girls and a five-pound Yorkshire Terrier in west Michigan.
Dr. Steve Bickmore
Creator and Curator
Dr. Bickmore is a Professor of English Education at UNLV. He is a scholar of Young Adult Literature and past editor of The ALAN Review and a past president of ALAN. He is a available for speaking engagements at schools, conferences, book festivals, and parent organizations. More information can be found on the Contact page and the About page.
Co-Edited Books
Chris-lynch
Ethical ELA
nerdybookclub
NCTE Blog
yalsa.ala.org/blog/


text:
Warren County Fire Tower is a historic fire tower located near Liberia, Warren County, North Carolina.  It was built in 1932, by the Aermotor Company of Chicago, Illinois.  The tower is a four sided
truss steel frame with bolted connections that stands 100 feet tall.  It is the only fire tower in Warren County and was operated until 1993.

It was listed on the National Register of Historic Places in 2000.

References

Fire lookout towers in North Carolina
Fire lookout towers on the National Register of Historic Places
Buildings and structures on the National Register of Historic Places in North Carolina
Buildings and structures completed in 1932
Buildings and structures in Warren County, North Carolina
National Register of Historic Places in Warren County, North Carolina

redpajama_set_name: RedPajamaWikipedia


text:
Q: Cannot loop through XML with Python (ElementTree API) Followed the tutorial of ElementTree in Python Docs
And used their example XML to loop through the elements:
import xml.etree.ElementTree as ET

tree = ET.parse('Country.xml')
root = tree.getroot()

for country in root.findall('country'):
    print("FOUND")

Result
    FOUND
    FOUND
    FOUND

Their XML-file is as followed:
<?xml version="1.0"?>
<data>
    <country name="Liechtenstein">
        <rank>1</rank>
        <year>2008</year>
        <gdppc>141100</gdppc>
        <neighbor name="Austria" direction="E"/>
        <neighbor name="Switzerland" direction="W"/>
    </country>
    <country name="Singapore">
        <rank>4</rank>
        <year>2011</year>
        <gdppc>59900</gdppc>
        <neighbor name="Malaysia" direction="N"/>
    </country>
    <country name="Panama">
        <rank>68</rank>
        <year>2011</year>
        <gdppc>13600</gdppc>
        <neighbor name="Costa Rica" direction="W"/>
        <neighbor name="Colombia" direction="E"/>
    </country>
</data>

I tried to replicate the result with my own XML-file:
tree = ET.parse('Test.xml')
root = tree.getroot()

for page in root.findall('page'):
    print("FOUND")

But unfortunately it won't print "FOUND" and no error is given.
The expected result should be 1 "FOUND", because there is only 1 page-element present in my XML.
This is my XML-file:
<mediawiki xmlns="http://www.mediawiki.org/xml/export-0.10/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.mediawiki.org/xml/export-0.10/ http://www.mediawiki.org/xml/export-0.10.xsd" version="0.10" xml:lang="nl">
      <siteinfo>
        <sitename>Wikipedia</sitename>
        <dbname>nlwiki</dbname>
        <base>https://nl.wikipedia.org/wiki/Hoofdpagina</base>
        <generator>MediaWiki 1.40.0-wmf.3</generator>
        <case>first-letter</case>
        <namespaces>
          <namespace key="-2" case="first-letter">Media</namespace>
          <namespace key="-1" case="first-letter">Speciaal</namespace>
          <namespace key="0" case="first-letter" />
          <namespace key="1" case="first-letter">Overleg</namespace>
          <namespace key="2" case="first-letter">Gebruiker</namespace>
          <namespace key="3" case="first-letter">Overleg gebruiker</namespace>
          <namespace key="4" case="first-letter">Wikipedia</namespace>
          <namespace key="5" case="first-letter">Overleg Wikipedia</namespace>
          <namespace key="6" case="first-letter">Bestand</namespace>
          <namespace key="7" case="first-letter">Overleg bestand</namespace>
          <namespace key="8" case="first-letter">MediaWiki</namespace>
          <namespace key="9" case="first-letter">Overleg MediaWiki</namespace>
          <namespace key="10" case="first-letter">Sjabloon</namespace>
          <namespace key="11" case="first-letter">Overleg sjabloon</namespace>
          <namespace key="12" case="first-letter">Help</namespace>
          <namespace key="13" case="first-letter">Overleg help</namespace>
          <namespace key="14" case="first-letter">Categorie</namespace>
          <namespace key="15" case="first-letter">Overleg categorie</namespace>
          <namespace key="100" case="first-letter">Portaal</namespace>
          <namespace key="101" case="first-letter">Overleg portaal</namespace>
          <namespace key="710" case="first-letter">TimedText</namespace>
          <namespace key="711" case="first-letter">TimedText talk</namespace>
          <namespace key="828" case="first-letter">Module</namespace>
          <namespace key="829" case="first-letter">Overleg module</namespace>
          <namespace key="2300" case="case-sensitive">Uitbreiding</namespace>
          <namespace key="2301" case="case-sensitive">Overleg uitbreiding</namespace>
          <namespace key="2302" case="case-sensitive">Uitbreidingsdefinitie</namespace>
          <namespace key="2303" case="case-sensitive">Overleg uitbreidingsdefinitie</namespace>
        </namespaces>
      </siteinfo>
      <page>
        <title>Acteur</title>
        <ns>0</ns>
        <id>17</id>
        <revision>
          <id>62684862</id>
          <parentid>62333678</parentid>
          <timestamp>2022-08-28T17:43:03Z</timestamp>
          <contributor>
            <ip>2A02:1811:527:A800:A101:3A69:E8FE:7ECF</ip>
          </contributor>
          <comment>/* Speltechniek */</comment>
          <model>wikitext</model>
          <format>text/x-wiki</format>
          <text bytes="3257" xml:space="preserve">{{Infobox beroep
    | beroep       = Acteur
    | afbeelding   = Antoine Watteau - The Italian Comedians - Google Art Project.jpg
    | onderschrift = Acteurs van de [[Commedia dell'arte]] ([[Jean Antoine Watteau|Antoine Watteau]])
    | ISCO-08      = 2655
    | werksoort    =
    | niveau       = [[Hoger beroepsonderwijs|Hbo]] / acad.
    | klasse       =
    | groep        =
    | beoefenaars  =
    | website      =
    }}
    Een '''acteur''' of '''actrice''' is iemand die een [[personage]] uitbeeldt in een verhaal of rollenspel.

    Een acteur kan zijn werk doen in een [[Theater (kunstvorm)|theatervoorstelling]] (theateracteur) of [[film (cinematografie)|film]] ([[filmacteur]]), op [[televisieprogramma|televisie]], tijdens [[communicatietraining]]en als [[trainingsacteur]] en hij kan als zijn stem lenen aan tekenfilmfiguren en reclameboodschappen ([[stemacteur]]). Acteurs kunnen ook een personage in een [[computerspel]] uitbeelden, of als simulatiemodel hiervoor worden ingezet waarna deze [[renderen|gerenderd]] worden. Elk van deze disciplines vereist een eigen techniek.

    Een acteur kan lijken op zijn personage, maar kan er ook in allerlei opzichten van verschillen - zelfs in [[leeftijd]] of [[sekse]]. Een acteur kan voor zijn rol sommige lichamelijke aspecten moeten aannemen, zoals bijvoorbeeld kapsel, gezichtsbeharing of lichaamsomvang. Met [[schmink]] of siliconenmasker kan een andere gelaatsuitdrukking of zelfs een ander gelaat worden aangenomen, met een [[pruik]] kan de haardracht worden aangepast.

    == Speltechniek ==
    Een acteur kan een rol neerzetten vanuit verschillende benaderingen: bijvoorbeeld door 'in de huid te kruipen' van het personage, of met [[methodacting]] waarbij de speler [[Emotie|emoties]] uit eigen ervaring naar boven haalt.

    == Vorming ==
    Acteurs leren meerdere speelvormen te beheersen, maar toch kan een bepaald soort rol of genre meer passend zijn bij het karakter of uitstraling van de speler. Soms is het nodig dat een acteur meerdere disciplines beheerst, afhankelijk van zijn rol; zo zijn voor [[musical]] en [[opera (muziek)|opera]] er ook muzikale vereisten.

    Voor amateurspelers zijn er creativiteitscentra die acteerlessen aanbieden. Toneelverenigingen en productiehuizen huren soms spelregisseurs in en doen soms aan extra scholing voor de spelers. Voor het leren van het acteursvak zijn er theateracademies.

    == Acteren als beroep ==
    Acteurs kunnen worden gevraagd voor een rol (rechtstreeks of via manager/managementbureau) of ze kunnen solliciteren op een vacature, waarna een [[auditie]] volgt. Een selectieprocedure kan bestaan uit een [[screentest]] waarbij voor een of meer rollen uit verschillende kandidaten wordt gekozen. Een [[casting]]director zorgt voor de invulling van de juiste acteurs bij een productie.

    In de tweede helft van de twintigste eeuw waren tot circa 1980 de meeste toneelacteurs aangesloten bij een [[Theatergezelschap|toneelgezelschap]]. Sinds het verdwijnen van steeds meer van deze veelal gesubsidieerde ensembles en de opkomst van de veelal commerciële vrije producties, zijn de meeste beroepsacteurs onafhankelijk ([[freelance]]).

    == Zie ook ==
    {{Zusterproject klein
    | commons     = Category:Actors
    | wiktionary  = acteur
    }}
    *[[Stemacteur]]
    *[[Toneelschool]]
    *[[Figurant]]

    [[Categorie:Acteur| ]]</text>
          <sha1>ie9p91wsujy3th08266oodgixmjulz6</sha1>
        </revision>
      </page>
    </mediawiki>

A: If I understood it well you want to print FOUND when a page tag is found in the XML. Your XML has a namespace so you need to add it to your search.
Code:
import xml.etree.ElementTree as ET

tree = ET.parse('test.xml')
root = tree.getroot()

for country in root.findall('{*}page'):
    print("FOUND")

(test.xml is a copy of your example XML)
Output:

redpajama_set_name: RedPajamaStackExchange


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text:
Anyone and everyone is encouraged and welcome to review code submissions in
curl. This is a guide on what to check for and how to perform a successful
code review.

## All submissions should get reviewed

All pull requests and patches submitted to the project should be reviewed by
at least one experienced curl maintainer before that code is accepted and
merged.

## Let the tools and tests take the first rounds

On initial pull requests, let the tools and tests do their job first and then
start out by helping the submitter understand the test failures and tool
alerts.

## How to provide feedback to author

Be nice. Ask questions. Provide examples or suggestions of improvements.
Assume the best intentions. Remember language barriers.

All first-time contributors can become regulars. Let's help them go there.

## Is this a change we want?

If this is not a change that seems to be aligned with the project's path
forward and as such cannot be accepted, inform the author about this sooner
rather than later. Do it gently and explain why and possibly what could be
done to make it more acceptable.

## API/ABI stability or changed behavior

Changing the API and the ABI may be fine in a change but it needs to be done
deliberately and carefully. If not, a reviewer must help the author to realize
the mistake.

curl and libcurl are similarly strict on not modifying existing behavior. API
and ABI stability is not enough, the behavior should also remain intact as far
as possible.

## Code style

Most code style nits are detected by checksrc but not all. Only leave remarks
on style deviation once checksrc does not find anymore.

Minor nits from fresh submitters can also be handled by the maintainer when
merging, in case it seems like the submitter is not clear on what to do. We
want to make the process fun and exciting for new contributors.

## Encourage consistency

Make sure new code is written in a similar style as existing code. Naming,
logic, conditions, etc.

## Are pointers always non-NULL?

If a function or code rely on pointers being non-NULL, take an extra look if
that seems to be a fair assessment.

## Asserts

Conditions that should never be false can be verified with `DEBUGASSERT()`
calls to get caught in tests and debugging easier, while not having an impact
on final or release builds.

## Memory allocation

Can the mallocs be avoided? Do not introduce mallocs in any hot paths. If
there are (new) mallocs, can they be combined into fewer calls?

Are all allocations handled in errorpaths to avoid leaks and crashes?

## Thread-safety

We do not like static variables as they break thread-safety and prevent
functions from being reentrant.

## Should features be `#ifdef`ed?

Features and functionality may not be present everywhere and should therefore
be `#ifdef`ed. Additionally, some features should be possible to switch on/off
in the build.

Write `#ifdef`s to be as little of a "maze" as possible.

## Does it look portable enough?

curl runs "everywhere". Does the code take a reasonable stance and enough
precautions to be possible to build and run on most platforms?

Remember that we live by C89 restrictions.

## Tests and testability

New features should be added in conjunction with one or more test cases.
Ideally, functions should also be written so that unit tests can be done to
test individual functions.

## Documentation

New features or changes to existing functionality **must** be accompanied by
updated documentation. Submitting that in a separate follow-up pull request is
not OK. A code review must also verify that the submitted documentation update
matches the code submission.

English is not everyone's first language, be mindful of this and help the
submitter improve the text if it needs a rewrite to read better.

## Code should not be hard to understand

Source code should be written to maximize readability and be easy to
understand.

## Functions should not be large

A single function should never be large as that makes it hard to follow and
understand all the exit points and state changes. Some existing functions in
curl certainly violate this ground rule but when reviewing new code we should
propose splitting into smaller functions.

## Duplication is evil

Anything that looks like duplicated code is a red flag. Anything that seems to
introduce code that we *should* already have or provide needs a closer check.

## Sensitive data

When credentials are involved, take an extra look at what happens with this
data. Where it comes from and where it goes.

## Variable types differ

`size_t` is not a fixed size. `time_t` can be signed or unsigned and have
different sizes. Relying on variable sizes is a red flag.

Also remember that endianness and >= 32 bit accesses to unaligned addresses
are problematic areas.

## Integer overflows

Be careful about integer overflows. Some variable types can be either 32 bit
or 64 bit. Integer overflows must be detected and acted on *before* they
happen.

## Dangerous use of functions

Maybe use of `realloc()` should rather use the dynbuf functions?

Do not allow new code that grows buffers without using dynbuf.

Use of C functions that rely on a terminating zero must only be used on data
that really do have a zero terminating zero.

## Dangerous "data styles"

Make extra precautions and verify that memory buffers that need a terminating
zero always have exactly that. Buffers *without* a zero terminator must not be
used as input to string functions.

# Commit messages

Tightly coupled with a code review is making sure that the commit message is
good. It is the responsibility of the person who merges the code to make sure
that the commit message follows our standard (detailed in the
[CONTRIBUTE.md](CONTRIBUTE.md) document). This includes making sure the PR
identifies related issues and giving credit to reporters and helpers.

redpajama_set_name: RedPajamaGithub


text:
Michael Stonebraker (11 de octubre de 1943) es un científico especializado en investigación y desarrollo de bases de datos. Su carrera abarca, y ayudó a crear, la mayoría de la base de datos relacional del mercado existente hoy en día. También es el fundador de Ingres, Illustra, Cohera, StreamBase Sistemas, Vertica, VoltDB, SciDB y fue anteriormente el CTO de Informix. También es un editor para el libro de lecturas en sistemas de bases de datos.

Biografía
Obtuvo su licenciatura de la Universidad de Princeton en 1965 y su maestría y su doctorado de la Universidad de Míchigan en 1967 y 1971, respectivamente. Ha recibido varios premios, incluyendo el IEEE John von Neumann y la Medalla de la primera SIGMOD Edgar F. Codd Premio de Innovaciones. En 1994 fue investido como miembro de la Association for Computing Machinery.

Michael Stonebraker fue profesor de Ciencias de la Computación en la Universidad de California en Berkeley de veinticinco años, donde desarrolló la INGRES postgres y sistemas de bases de datos relacionales. Actualmente es profesor adjunto en el MIT.

Ingres
Stonebraker en 1973 y su colega Eugene Wong decidió iniciar la investigación de los sistemas de base de datos relacional después de leer una serie de documentos seminales publicados por IBM. A mediados de los años 1970 se había producido, con una rotación del equipo de programadores de estudiante, un sistema conocido como utilizable Ingres. En el momento de Ingres fue considerado "inferior" en comparación con esfuerzo similar de IBM, sistema R, que iba en Unix basados en máquinas DEC en contraposición a los "grandes de hierro" mainframes de IBM.

Sin embargo, a principios de 1980, el rendimiento y las capacidades de estas máquinas de gama baja amenazaba seriamente el mercado de mainframe de IBM, y con la amenaza fue la capacidad de Ingres a convertirse en un "verdadero" producto de un gran número de aplicaciones. Ingres fue ofrecido mediante una modificación de la licencia BSD, por un precio módico, y muy pronto un número de empresas que se aprovecharon de esto para crear versiones comerciales de Ingres.

Entre ellos Stonebraker, que ayudó a fundar relacional Technology, Inc., más tarde llamado Ingres Corporation. Más tarde vendió a Computer Associates, Ingres se volvió a establecer como una empresa independiente en 2005.

Postgres
A su regreso, comenzó un "post-Ingres" esfuerzo para hacer frente a las limitaciones del modelo relacional, denominación del nuevo proyecto Postgres. Postgres ofrece una serie de elementos que efectivamente hizo la base de datos de "entender" los datos en su interior, mejorando notablemente la programabilidad. Postgres También se ofrecen mediante una licencia tipo BSD, y el código es la base de la actual software libre, PostgreSQL.

Stonebraker ayudado a comercializar el código, la creación de ilustraciones.

Cohera
En el decenio de 1990, fundó Stonebraker Cohera de Software, con sede en Hayward, California. Cohera la misión inicial era construir una base de datos federadas, un enfoque actualizado para la integración de datos en múltiples bases de datos, que comenzó con los primeros intentos de bases de datos relacionales distribuidas en la década de 1980. El mercado de bases de datos federadas no había registrado una importante demanda de los clientes por el marco temporal 1999-2000, por lo que se volvió a Cohera se centró en la entrega de las capacidades específicas de la industria en la parte superior de los principales motores de la integración. Cohera finalmente se vendió en agosto de 2001 a PeopleSoft.

StramBase
Mike Stonebraker trasladó al MIT en los finales de 1990 y puesto en marcha un proyecto llamado Aurora (https://web.archive.org/web/20170106213049/http://cs.brown.edu/research/aurora/). Aurora es de gestión de datos para el streaming de datos, utilizando una variante denominada StreamSQL SQL. StreamBase Systems (http://www.streambase.com) es la empresa que fundó para comercializar la tecnología.

Vertica y C-tienda
En 2005, cofundó, y actualmente se desempeña como CTO de Vertica, un PMP DBMS orientado a la columna de almacenamiento de datos. La tecnología es un Vertica comercialización de la C-tienda DBMS proyecto de investigación que dirigió en el MIT CSAIL en colaboración con colegas de Brandeis, U de Wisconsin y la Universidad Brown.

Referencias

Informáticos de Estados Unidos
Informáticos teóricos de Estados Unidos
Informatólogos de Estados Unidos
Medalla John von Neumann
Miembros honorarios de la Association for Computing Machinery
Alumnado de la Universidad de Princeton
Ganadores del Premio Turing


text:
Who is Franny Arrieta? Biography, Age, Height, Family, Net Worth
February 12, 2022, 3:17 pm inMakeup Artist, YouTuber
Franny Arrieta
Franny Arrieta is an American makeup artist, beauty influencer, Instagram star, and social media personality. Her skills made her popular on social media platforms, especially on Instagram by sharing her gorgeous-looking pictures, music show pictures, and videos. Along with these, she has accumulated a huge fan base on social media platforms. She has earned over 450k followers on her Instagram account.
Franny Arrieta Biography / Wiki
Franny was born on 27 March 1997 in the United States. She completed her junior school education at Bridgewater Raritan High School in Bridgewater, New Jersey. She is 25 years old as of 2022 and completed her college graduation from her hometown. The article will blow light on Franny's wiki, biography, age, height, weight, net worth, family, affair, nationality, sibling, Instagram, Twitter, and more.
Real Name Franny Arrieta
Nick Name Franny Arrieta
Birth Place Bridgewater, New Jersey, United States.
Profession Makeup Artist and Beauty Influencer
Franny Arrieta Age
As per Franny Arrieta's date of birth, her age is 25 years (as of now, in 2022). She took birth in this world on 27 March 1997. So, she celebrates her birthday every year on 27 March along with her family and friends. Her zodiac sign is Leo.
Franny Arrieta Height and Weight
Franny Arrieta's height is about 5 feet and 5 inches and her weight is approximately 55 kg. She is a beautiful girl with brown eyes and brown hair. She has acquired a stunning, gorgeous, and captivating figure. Her body measurements are around 36-28-40. Her shoe size is 7 and her dress size is 36 (EU).
Franny Arrieta Career
The American beautician and makeup artist Franny was passionate about her profession since her childhood. Her artist interest was increasing by watching a television show. She also started to participate in programs in her junior show and any junior parlor or beautician locality. Then she decided to be a makeup artist and beauty influencer.
She is always into beauty and makeup and wanted to showcase her talent to others since her childhood. so that everybody can boost their confidence by following her handy beauty and makeup tips which she uploaded on her youtube channel.
She is one of the popular YouTubers across the world who provides handy tips to her subscribers which in turn boosts the confidence of her followers and subscribers.
Franny Arrieta Family
An American famous makeup artist and beauty influencer took birth in a middle-class American family. Frank Arrieta and Angela Arrieta are the parents of Franny. She belongs to a Christian family and believes in Christianity. Her father is a Businessman and her mother takes care of her and her household.
Franny Arrieta Boyfriend
The fans of Franny are willing to know about whom Franny is dating ya whom she dated in past. Franny is currently single for now but in past, she romantically linked with Antonio Garza. After their breakup with Antonio, she is in a relationship with a popular Youtuber and as well as popular social media influencer Daniel Seavey. But now she is single and focusing on her career. She is so serious about her career. . If we receive any information about her relationships and boyfriend then we will immediately update you guys.
Franny Arrieta YouTube
Franny is famous for her beauty tips. She started her YouTube journey on Jul 10, 2014, but posted her debut video on May 18, 2015, with the title of "Franny and Ani ~ Acoustic Trap Queen Cover (Niykee Heaton Version)". The video was ranked more than 62k views. Then she gained her popularity by uploading lots of her beautician videos and being famous on a youtube channel. Her famous beauty videos are "BOYFRIEND TAG!!", "ROOMMATES TRY MOST PAINFUL FACE MASK!!", "Dear Corey La Barrie, this song is for you… love you forever" etc which gained millions of views.
Franny Arrieta hails from Bridgewater, New Jersey, United States..
Franny Arrieta belongs to the Christianity religion.
She has ranked more than 490k followers in her Instagram account.
She loves to play with dogs.
Her hobbies is listening music.
Tonya Brewer is an American makeup artist, hairstylist, and social media personality. She is widely popular for her high-profile clients including actress Ashley Tisdale and Olivia Holt and dancer Maddie Ziegler. She is also famous for her first celebrity tour with Demi Lovato as the official makeup artist and stylist.
Franny Arrieta's Net Worth
The American makeup artist, beauty influencer, Instagram star, social media personality is how rich? Till now, Franny hasn't revealed anything regarding her wealth or earnings. As per our research and social available in social media, her net worth is approx $ 2 million USD. As her career is active, it can be expected that her net worth will be increased in the future.
Franny Arrieta Instagram
Besides being an artist and beauty influencer Franny has also accumulated thousands of followers on different social media platforms, especially on Instagram by sharing her fashionable clothes, modeling, travel, lifestyle photos, and videos. She uploads her makeup pictures on Instagram. She often even promotes her stunning and gorgeous-looking pictures on Instagram. And she has posted more than 180 pictures on her Instagram account. She has ranked more than 490k followers in her Instagram account.
A post shared by Franny Arrieta (@franny_arrieta)
Furthermore, Franny is also popularly active and famous on her Twitter handle where she often promotes her commercial and endorse various brand promotions. She also shares her daily lifestyle picture and photoshoot pictures on her Twitter handle. She often tweets her views and perspective about her life and social issues.
Favorite Colors Green
Favorite Destination Oslo
Favorite Actor Robert Downey Jr.
Favorite Actress Julia Roberts
Favorite Sports Soccer
Favorite Sportsperson Christian Pulisic
Does Franny Arrieta, Consume Alcohol? Yes
Does Franny Arrieta, Swims? Yes
Is Franny Arrieta a Jogger? No
Who is Franny Arrieta?
Franny Arrieta is an American beauty influencer and makeup artist. She gained popularity by posting her video on her youtube channel. Moreover, she is also famous for posting gorgeous pictures on social media.
Is Franny Arrieta married?
No, she is a bachelor and focusing on her career.
How old is Franny Arrieta?
Franny Arrieta is 25 years old ( as of 2022).
When is the Birthday of Franny Arrieta?
Franny Arrieta's birthday is on 27 March 1997.
What is the Zodiac Sign of Franny Arrieta?
The Zodiac Sign of Franny Arrieta is Leo.
How tall is Franny Arrieta?
Franny Arrieta is 5 feet and 5 inches tall.
Where is Franny Arrieta from?
Franny Arrieta is from Bridgewater, New Jersey, United States.
How much is the net worth of Franny Arrieta?
Franny Arrieta's net worth is approx $ 2 million USD.
Previous article Who is Lucien Laviscount? Biography, Age, Height, Family, Net Worth
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redpajama_set_name: RedPajamaCommonCrawl


text:
Code Geass R2 Anime Sequel to Run on Adult Swim in U.S. (Updated)
posted on 2008-08-13 18:06 EDT by Egan Loo
Second Code Geass robot anime series is still broadcasting in Japan
Cartoon Network's Adult Swim programming block will run the Code Geass: Lelouch of the Rebellion R2 sequel series in the United States. The late-night block has been running Bandai Entertainment's English-dubbed version of the first Code Geass: Lelouch of the Rebellion robot anime series since April 26. The 18th episode of Code Geass R2 just aired in Japan on Sunday, and the series is expected to end after 25 episodes in October when the second season of Gundam 00 will take over its timeslot. Code Geass R2 continues the alternate-history struggle between the Britannia Empire and the oppressed "Elevens" of former Japan, after the cliffhanger ending of the first series. Goro Taniguchi is directing the animators at Sunrise on this project with character designs by the popular manga artist quartet Clamp.
Bandai Entertainment just shipped its first Code Geass DVDs as individually packaged discs, a two-disc set, and a limited-edition set.
Source: ICv2
Image © Sunrise/Project Geass, MBS Character Design © 2006-2008 CLAMP
Update: Bandai Entertainment noted at Maryland's Otakon event last Saturday that the Code Geass R2 sequel will run on Adult Swim immediately after the first series ends. Thanks, Tenkaido.
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Evaluating Stress and Thermal Expansion in a Portal Crane
by Brianne Christopher
"Now more than ever" is a cliché, but when it comes to accounting for thermal expansion in structures, it actually applies — emphasis on the "now". Extreme heat waves around the world are partly to blame for (among other issues) the collapse and failure of bridge girders, for example. Beam analysis software is one way for civil engineers to stay a step ahead of the problem.
Bridges and Extreme Heat Don't Mix
On a global scale, heat waves, periods of excessively hot weather, are becoming more common than ever. In fact, nine out of the ten warmest years on record have occurred since 2005. More recently, there were extreme heat waves in 2019 in Australia, Europe, India, Japan, and the U.S.
Bridge girder failure is partly caused by these extremely hot temperatures. Intense heat causes thermal expansion in bridges, which then leads to distortion and potential collapse in the structures. One solution to the problem of thermal expansion is expansion joints, which give bridges room to expand and contract with extreme high and low temperatures.
An expansion joint on the Golden Gate Bridge in San Francisco, California. Image by Michiel1972 — Own work. Licensed under CC BY-SA 3.0, via Wikimedia Commons.
But will adding an expansion joint to a bridge be enough to prevent it from collapsing in extremely hot weather? Also, where is the best place to put an expansion joint to safeguard the bridge design?
Evaluating Thermal Expansion in a Portal Crane Design
Civil engineers designing bridges and other structures need to account for thermal expansion caused by extreme heat. The COMSOL Multiphysics® software and add-on Structural Mechanics Module include specialized functionality for computing stress and thermal expansion in structural designs.
Take this example of a portal crane model. Portal cranes, also called gantry cranes, are often used in shipping and receiving stations due to their ability to handle heavy loads. (Although this example models a crane, the information can be applied to bridges and a wide variety of other structures.)
Deflection and stress in a portal crane.
In the COMSOL® software, you can model stresses in the crane under three different load cases:
Self-weight
Thermal expansion on a hot summer day
The Beam interface in the Structural Mechanics Module enables you to specify that the model includes two (or more) edges that meet in a point and have disconnected degrees of freedom. By adding a Beam End Release node to the model, you can add an internal hinge to the frame of the portal crane and specify the point where there is a discontinuity.
The Settings window for the Beam End Release feature, available as of COMSOL Multiphysics version 5.5.
By adding a hinge joint to the portal crane model, we can see how effective it is at accommodating thermal expansion caused by extreme heat. The Beam End Release node can also be used to model expansion joints in a bridge, as discussed earlier.
Modeling thermal expansion in a portal crane, building, or bridge enables civil engineers to design safer and more reliable structures, which is especially important in a world with rising temperatures.
Try It Yourself
Click the button below to get the Stress Analysis of a Portal Crane tutorial model and try out the Beam End Release feature. (To download the MPH-file, you need to be logged into your COMSOL Access account and have a valid software license.)
Get the Tutorial Model
How to Model a Hall Effect Sensor with COMSOL Multiphysics®
Analyzing the Impact of a Melting Frozen Inclusion
Micromagnetic Simulation with COMSOL Multiphysics®


Booking: Janine offers herself as a Primary Midwife however two midwives are available to care for the woman. All issues surrounding the choice of midwifery care will be discussed.
Haematological testing and investigations when necessary.
Ultrasonic testing when required.•Discussion of tests routinely offered by mainstream system. Information packs are supplied. Example: Glucose tolerance test and Group B strep testing.
Visits are held: every 4 weeks to 28 weeks, every 2 weeks until 36 weeks and every week until 41 weeks.
Women are offered consultations with medical professionals should the need arise.
The antenatal focus is on preventive care and early detection of complications. The midwife will refer to other health professionals if indicated.
Midwifery care is based on the current research and development in midwifery and Obstetric care.
If a medical problem arises antenatally then consultation with a specialist obstetrician either public or private will be sought. If the problem doesn't require specialist consideration, then the woman may be referred to her GP.


Part A provides coverage for hospital stays, nursing home care, hospice care, and limited home health services.
Provides some coverage for doctor's visits, outpatient care, medical supplies, and preventative services.
Part C: Medicare Advantage Plans.
Essentially, this is the part of Medicare that covers prescription drugs. The most confusing section in Medicare, Part C is a collection of plans that are offered by a private company to help provide you with Part A and B benefits.
This section provides additional drug coverage for those on the original Medicare program, the Medicare Medical Savings Account plan, some Private-Fee-for-Services plans, and some Medicare Cost Plans.
Each plan has its own list of covered drugs, called formularies, that are divided into different tiers. Each tier determines the cost; the higher the tier, the higher the cost. Formularies sometimes change due to guidelines but are required to provide written notice.
The overall cost of healthcare depends on your plan, your needs, and your prescriptions. There are a few circumstances that can drive the cost of care, including: needing drugs that aren't on your formulary, late enrollment fees, and choosing out-of-network services. Here is basic breakdown of Medicare costs.
Most drug plans charge a monthly fee in addition to their Part B premium. Only the Medicare Advantage Plan (Part C) or Medicare Cost Plan include the cost of prescriptions in the total amount of the monthly premium. The cost and stipulations of premiums depends on the plans you choose.
Traditional Medicare requires you to pay premiums for each Part A, B, and D.
Most only pay for their Part D premium, depending on your income.
This is the amount you must pay each year before Medicare begins to contribute. Once you pay your deductible, Medicare pays to for your healthcare and prescription drugs. Although these vary depending on the plan, no plan has a deductible higher than $400 and some have no deductible at all.
Known as a "donut hole", this is a temporary limit on what the drug plan covers. This only happens to those that have spent over $3,700. Those that fall into the coverage gap deal with higher costs for prescriptions and denial of coverage.
Truthfully, Medicare is a complicated system that requires some know-how. Knowing which plan is best can seem impossible, especially when the rules and requirements change each year. This article can serve as a guide to help you understand the basics but we recommend discussing your options with benefits counselor to better understand your options. For those considering residential senior care, many offer on-site senior advisers that may also be able to help.


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                            edu.emory.mathcs.backport.*,
                            org.apache.axis2.*; version="${imp.pkg.version.axis2}",
                            javax.activation.*; version="[0.0.0, 1.0.0)",
                            javax.cache,
                            javax.net.ssl,
                            javax.xml.namespace,
                            org.apache.http.*,
                            org.apache.commons.*,
                            org.apache.synapse.*,
                            org.apache.thrift.*,
                            org.apache.neethi.*; version="2.0.4.wso2v4",
                            org.wso2.carbon.registry.core.*; version="${carbon.registry.imp.pkg.version}",
                            org.wso2.carbon.throttle.core.*; version="${imp.pkg.version.carbon.throttle}",
                            org.wso2.carbon.utils; version="${carbon.platform.package.import.version.range}",
                            org.osgi.service.component,
                            org.slf4j,
                            org.wso2.carbon.apimgt.keymgt.stub.validator; version="${carbon.apimgt.imp.pkg.version}",
                            org.wso2.carbon.base.*; version="${imp.pkg.version.carbon.base}",
                            org.osgi.framework.*,
                            org.wso2.carbon.bam.service.data.publisher.*,
                            org.wso2.carbon.rest.api.stub.*,
                            org.wso2.carbon.sequences.stub.types,
                            org.wso2.carbon.context,
                            org.wso2.carbon.mediation.*; version="${carbon.mediation.imp.pkg.version}",
                            *;resolution:=optional
                        </Import-Package>
                    </instructions>
                </configuration>
            </plugin>
        </plugins>
    </build>
</project>