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Chronicle 11: Stan Kirsch
Hi, this is Adrian Paul, and you're listening to Highlander Rewatched.
Hello, this is Beatie Edney. I played Heather in the original Highlander film, and you are watching Highlander Rewatched!
This is Andy Armstrong. I was the 2nd Unit Director directing the action units in New York on the original Highlander, and you're listening to Highlander Rewatched.
Hi, this is Anthony De Longis, also known as Ottavio Consone from the Duende episode of Highlander, and you are listening to Highlander Rewatched.
Hi, I'm Elizabeth Gracen. I played Amanda on Highlander the Series, and the spinoff called Highlander: The Raven, and you are listening to Highlander Rewatched!
Everybody involved with Highlander has stories; and they're great, great stories! This is John Mosby, the author of Fearful Symmetry: The Essential Guide to All Things Highlander, and you're listening to Highlander Rewatched.
This is Ken Gord, producer of the Highlander Series, and you are listening to the podcast Highlander Rewatched.
Hey! This is Stan Kirsch. I played Richie Ryan on Highlander, and you are listening to Highlander Rewatched!
1:33 Welcome to Highlander Rewatched, the podcast where each and every week we talk about another facet of the Highlander Universe. I'm one of your hosts, I'm Keith!
And this is Eamon!
Keith: And this week is a very special episode. Usually we're talking about the Highlander television series or films, uh, and this is one of our very special chronicle episodes where we interview people that are intimately involved with the Highlander franchise. This week we are joined by actor and director Stan Kirsch! Welcome to the show, Stan!
2:00 Stan: Oh, thank you, Keith!
Keith: Thanks so much for taking the time to join us! Um, we figured we'd jump right in--well actually, let's--let's not even jump right in! How are things going with you? It's been a... a little while, I guess, since a lot of our fans have maybe heard from you, so... what's--what's new in the world of Stan Kirsch?
2:16 Stan: Uh... Things are good. Um... I guess that you guys know um… My wife and I own and operate Stan Kirsch Studios in L.A., and we're extremely busy on a day to day basis coaching, training actors and, ah, it's really become, hahah, an immensely fulltime job.
Eamon: We, we follow you on Instagram uh, and I think it's really cool that with your students, you like, promote when they're getting new roles on like, TV shows and things like that. I think that's really awesome. Does that--is that fulfilling to you? I imagine it is.
2:55 Stan: Oh thanks! Oh it's very, very much. I mean, I've seen people with no credits, or virtually none, who... in a matter of just a couple of years are on a CBS television series, and it's not something that happens all the time. But watching somebody book something, or, you know, have their career propel on--you know, into another level, it's always very gratifying. And it was actually my wife's idea to promote that stuff, and frankly it's also good for business. Because actors are seeing, "Oh! People are actually working! There are results."
Keith: Can you tell us about how you got into acting in general, first?
3:31 Stan: I... was an actor when I was a little kid, ah, about four years old, in New York City, where I grew up... And it happened very much by accident. I did a--I did a couple of modeling jobs. I... did one or two commercials for Campbell's Soup, and so that's where it started. And then, um, I was too young to really know what was happening. And my parents said "This is not gonna be your life, and we want you to g--either go get an education." And then in high school I got a little bit more into it, I took classes, I was in plays. Went to college thinking I was gonna go into business, or law, something practical. And then the same thing happened again, I fell into it, and went through a pretty rigorous... It was almost like a conservatory within the university, and uh, came out of it and... My family was supportive, and I said, "You know, I think I'm gonna give this a shot." After college I moved back to New York City, and I did a couple of Off-Off Broadway plays, I got my SAG card through an MCI commercial, and I met with an agent, and um, around the same time I auditioned for this ABC TV pilot, and I ended up getting it. And I went out to L.A. to shoot it, and I never went back. *laughter* The pilot did not get picked up but I stayed in Los Angeles, and I was off and running! Haha!
Keith: So, after that, how did you get into Highlander? Did you know anything about Highlander before you auditioned for the part?
5:03 Stan: You know, I didn't. Hah hah! *Eamon chuckles* I didn't know anything about it. I had heard of it, and it was my college roommate's… I think it was his favorite movie--
Keith: Oh wow!
Stan: --the original one. But I had never hear-- I had never seen it. And after I got the part, that's when I actually--ah, uh, and going back that far, I had to go rent the VHS tape and *laughter* it was very different--
Keith: Right!
Stan: --and that's when I saw the movie and I was VASTLY impressed, and I thought "Oh my god, I'm gonna be part of THIS world!" And, and knowing that Christopher, uh, Lambert was gonna be IN the pilot, that was incredible... incredibly exciting. I mean, he... As such a talented, unbelievable actor to watch right up close, and such a nice guy, on top of it. He was just great.
Keith: So, the role of Richie Ryan, I guess, he kind of wears a few hats in the show. I mean he's like, comic relief…
Stan: Yeah! *laughing*
Keith: ... he's kind of like, he's got a lot of jobs sometimes, week to week, in the uh, the earlier seasons. So, can you tell us about... a little bit about... I guess what it's like to play like a supporting role in a series, as opposed to a lead. I'm sure that's gotta be a different experience for an actor.
6:10 Stan: Your job is to service the show, and this show, you know, being called Highlander, you know, I mean… It revolves around Duncan Macleod and his character, and so… week to week knowing that your job is to either, you know, push his buttons or, uh, do something wrong so that he can come in and save the day, or have him teach a lesson. You're… you know, sort of um… I guess I would equate it to basketball. You're kind of throwing up the alley-oop so that he can dunk it, if that makes sense. *Laughter*
Eamon: Yeah. Hahah.
Stan: Um, yeah. When I'm working with actors now, I tell them, you know, that's a similar analogy that I'll use, and then I'll even say guest-starring is like basically going to someone's... someone else's house for dinner. You don't have to cook, you don't have to clean up, but you don't get to choose what you eat or where you sit. *laughter* You know, you just sort of... Yeah. And then, being the lead is sort of like: everything falls on you, you're very re--you're responsible for everything. You're pretty much there all the time. And then, a supporting character would fall somewhere in between there. You know, you're choosing maybe like an appetizer, and you're organizing some of the seating, but you're not in charge. Hahah.
Keith: That's a good analogy.
7:25 Stan: Yeah. Yeah.
Keith: Uh, how was the chemistry on set?
7:27 Stan: The chemistry was great. I mean, fortunately because... we never shot a day of the series in L.A. I'm... I mean, I don't even think in the United States, now that I think about it.
Keith: Right.
7:36 Stan: And... I mean, it was very exciting to get, you know, flown off to Vancouver, in 1992, and, you know, I'm gonna shoot for nine months in a row... It was very exciting and surreal at the time. But fortunately, Adrian and I got along really well, and... we... made a really great effort, and I gotta give him credit--he was more familiar with this--really tried to make all the guest stars who came on the show feel very welcome, and warm, and not all sets to be frank, are... like that. So, but we also knew... The show would be better; their acting would be better; our scenes would be better; and we'd just have more fun. You know, the producers, eh, you know we, we just sort of all had a--had a pretty tight-knit family. Don Paonessa and I became very close, and to this day we're still very close, and he produced the first short film that I ever directed, and also ran a camera on it, and so ... And, and him and his wife, Renée, they were like my aunt and uncle. Almost.
8:40 Stan: And, uh, yeah. Renée would joke like, "Oh, I'm his second mom!" That was great. And he taught me an immense amount about, not just acting, but the whole process. There were days when I wasn't shooting, and he would say, "I want you to come to the editing bay." And it wasn't really um... a normal thing that actors would go. And he would do it to show me how the show was cut, and also to pull up clips of, you know, things that I'd done that were good, and, like... "This is why this worked," or... "This is why this didn't work." And, you know, clips of other actors, and... who were more seasoned and, you know, show me, you know, how subtlety came into play. And I learned a lot 'n that's--not just about acting, even though Don wasn't really on the set too much, I learned a tremendous amount from him and the entire film-making process.
Eamon: That's really interesting. Like, we recently talked to director on the series, Clay Borris, and he mentioned like--
Stan: Yeah.
Eamon: --knowing editing is really helpful in the process of like, making a television show and, like, knowing--
Stan: Oh my god, it's key
Eamon: --to do the right thing. So th-th-that's really fascinating.
Stan: It's key. It's key. Because you have such little time, and you can't go back. I mean... technically you could... reshoot a scene at a later point in time, but it's... it's not like doing a movie. You're ending one episode on a Wednesday, and you're starting the next one on a Thursday, and... you've gotta be SO organized, know what you're doing, and you've gotta--as a director I realize now--be editing the show in your head as you go. You don't have time to really pick anything up. And TIME is crucial. You know you gotta know where you're... gonna spend a little bit more time on a scene, where you're gonna be able to move through a scene a little bit quicker, where you're gonna do more coverage, where you're gonna do something in a one-shot. And then, hopefully the actors enable you to... move along. I mean, you know I had a good chemistry with all the directors, with some I did more episodes than others--but I also learned that when you're in a TV show, even if you're a lead, or supporting... you know, supporting lead as I was, ultimately, just move the show along. And... pick your battles. If you're--if every scene you're doing you're asking for another take, you know you're just holding things up. And you know, "Oh, I don't wanna do that! I don't wanna sit there. I don't--I wanna move!" You know, pick your battles. I mean, if there's a particular scene where something is very important, great. But other than that, it's really best to just let the show move along. I mean, the producers and the director are doing their best to try to make twenty-two movies a year... It's an incredible job. The pressure is immense.
Keith: I can imagine! Did you influence the character of Richie Ryan at all? Like, what was the character presented to you as? And then obviously it went through a lot of incarnations... Uh, you became like a motorcycle racer at some point. Was--was there any of your own personal interests, uh, involved in that?
11:24 Stan: Um, not mine. I had... ridden a motorcycle for another TV series that I did prior to Highlander. It was a uh, Saturday morning TV show called Riders in the Sky, that played at like 7AM in the morning, um... and had live action puppets'n... it was pretty neat, but it was for kids--
Stan: --and I was meant to ride in the show, and so they had me ride around the lot and... The riding wasn't difficult. Uh, on that show--it was all on one sound-stage--what was difficult was starting the bike and sixty feet later having to land on a mark while there's four cameras right in front of you.
Eamon: Oh, hahah!
12:01 Stan: And uh... yeah. So, I learned a little bit there, but, it was not really something _I_ did, and so there was hon--*laughs*--there was honestly quite a bit of doubling, on the motorcycle riding, especially considering how... great they wanted my character to be. I remember, to this day, watching the clip where... that ended up in the opening credits, where I supposedly go through the glass on a bike--
Eamon: Go through the window? Yeah! *laughing*
12:27 Stan: Yeah! And I--I... and I think the guy that was doubling me at that point was a professional motorcycle rider/motocross racer and... I couldn't believe what he did, and I thought "Oh my God, that's ME. That's awesome!" *laughter*
12:42 Stan: But that one really wasn't something that was an interest of mine. I did pitch to the producers, "Hey, if you REALLY want me to do this, why don't--you know--you pay for some lessons, and, you know, pay for me to properly do this in the hiatus," but not--that never came to fruition, so...
Eamon: No, no professional development fund?
12:59 Stan: I think it was--I think it was easier on them to just, "Well, we'll just double you, when we need to." *laughs*
Eamon: I was, I was curious, since you did have, you know, so many transformations as a character on the show, I wondered: Did you ever wish like, you got to have flashbacks and like, use an accent or dress in like, a goofy outfit like some of the other Immortal characters? I shouldn't say goofy, but... *Keith laughs* Yeah. Different time-period outfits?
13:21 Stan: Um... you know, at the TIME I... that never really... uh, came to mind. But looking back, that would've been pretty cool. Um... At the time I wasn't really... I guess--I guess I wasn't thinking about that. I mean, as soon as they would go into a flashback, I knew, you know I had a few hours, or I wasn't working that day--
Keith: Right! *amused* *Eamon chuckles*
Stan: --And uh, yeah at the time I was, you know, I was young. I was in my early twenties, and be it Vancouver or Paris, there were SO many things to do, so... You know especially at the beginning of the show I... I had a good time in the off-time. Later, as the series progressed, I... wanted to be working more, acting more, outSIDE of the show, so... Our contracts were changed, and I... and no... no... As you guys know: No character at that point was... All Shows Produced--which means you're in every episode--except Adrian.
Eamon: Right. Right. Like sometimes you'd have Joe, or Charlie, or Maurice or whoever.
Keith: *chuckling* Mmhm! Right!
17:14 Stan: So for most--Yeah. Exactly, exactly. But I--but like I said, at the time I never really thought about it, but looking back it would've been pretty cool.
Keith: Uh, you--you mentioned filming in Vancouver and Paris. You're a guy that's gotten to experience a lot of different facets of this industry. Can you tell us about what the differences are about like the L.A. scene, the Vancouver scene, which is actually pretty big in the-the entertainment industry, and then filming in Paris. What are all the-the differences and challenges working in these places?
14:40 Stan: Well, L.A. is... the biggest scene. I mean there's, there's--the industry's so big, and... It's very different now, than when we did Highlander. Eh, and it... it sounds basic but... the Internet changed everything. It changed... with the way agents are communicating with actors. Things are moving so much faster. Also at the time, you didn't really have access to scripts, or breakouts for roles. You had to go literally pick up your material if you were auditioning... Now everything moves so fast, and there's a gazillion people here, in L.A. Vancouver... When we were there it was really at the inception of what's become like a mini-L.A. and now... I haven't been there since we did the show, but I know there's an immense amount of production going on. And it's really just a slightly smaller version of Los Angeles. But, at the time... As far as I knew, 21 Jump Street shot there, and Wiseguy, which Jim Byrnes was on...
Keith: Oh yeah.
15:40 Stan: ... with Ken Wahl. They were doing um... *laughs* You guys would know. The David Duchovny show...
Eamon and Keith: Oh yeah, that's X-Files--
Keith: --is shooting up there too, yeah!
15:48 Stan: X-Files! Yes yeah, yeah. They started doing that. And then more shows manifested as we were there, but at the time, it was kind of a new scene, and... To the point where... the city wasn't that congested. We could literally shoot in two locations in a--in a day. Pack up the entire... you know, all the trucks, everything, you know, go from the city into the country. And now, as I understand it, you could never do that.
Keith: Wow.
18:11 Stan: It's... there's so much production. The city is much bigger. It was advised to me at the time, "Hey, maybe you should think about buying an apartment here." And it's... "I--I-I-I don't need an apartment. I--I'm--I'm staying in a hotel." Uh, looking back, that would have been a-a very good investment. *Eamon chuckles* *Keith laughs* And Paris was just... insanely exciting. I mean, being right in the middle of the city--and I grew up in New York City, so... I mean it's that kind of energy. I mean, L.A. is, you know it's a very big city but it's really one massive suburban area. You have to drive everywhere. And Paris is, you know, a walking city you're... you're-you're on the subway, the Metro, but that was... just it's so exciting. I will say: the novelty did wear off a little bit. At the beginning, you know there's a lot of exploring, and a lot of things to do, but Vancouver was a more... practical place to do a show. If... if this makes sense, like: It was not easy to get to a gym in Paris. You know, I would go to the concierge at the hotel, ask, you know, "Will you--Hey can I get to a gym?" and... it's very different in Europe! *Eamon makes agreeing noise they laugh together* And they were like, "A gym? Why would you want to go to a gym?" *Keith and Eamon laugh* "And what, you know, what do you do?" You know. Yeah, it's very different. And Jim Byrnes would joke, uh, "You know I can, I c'n go downstairs and go around the corner and buy a Cartier watch, but, you know, I don't know where I'm gonna, I'm gonna get a cup of coffee."
Keith: Yeah hah! *Keith and Eamon laugh*
17:30 Stan: So, it was great, it was exciting, but as time wore on, it did sort of lose a little bit of the... the novelty. Also, the show was much bigger in Europe. So, a--as we got into Seasons 4, 5, we were more well-known there. Which was, at the time, it was... it was fun, it was exciting. We walked down the street, people are turning their heads. Which was NOT the case in L.A. And a little bit more in Vancouver, but... in Paris the show was really big. And so, especially being young and being... my first lead in a TV show, it was--it was fine.
Keith: Awesome!
18:04 Stan: Yeah. And obviously pre-cellphones and everything you do and being reported, uh, we probably got away with some stuff.
*laughter*
Keith: That's really, uh, funny you bring that up, because... we talked to Adrian a number of months ago, and he was talking that, uh, you and him would play a lot of like, pranks on set. He told us about, like a crazy food fight you had. What was kind of the camaraderie like on the set? Are there any crazy stories you want to share, uh, with our audience?
18:24 Stan: Uh, I didn't remember the food fight until you mentioned it, but yes. We did... Now that you mention it, we had a huge food fight, I recall. In Paris. I think the producers got a little annoyed because this food got all over the clothes, and like, you know. There was sometime where, I put a sign on his back, and he was walking around the set for a... a considerable amount of time, didn't know the sign was on his back. There's a story to tell there in that: One time I dressed up as a woman, to see if he would buy it, and... He claims he didn't, but I think he bought into it for a little while.
Keith: Whaaat?! *laughing with Eamon*
18:57 Stan: You know, so th-the-there... There was a considerable amount of practical joking, yeah.
Keith: Awesome! The arc of your character obviously changed a lot. Can you tell us a little bit about when you left the show? Uh. Wh--Actually, we should give you a little bit of background.
Stan: Go for it.
Keith: Uh, so, the premise of our show is we've been watching... basically every single episode of the series, in order, and we talk about it in detail, and we kind of give an analysis of it; what we think--
19:17 Stan: You guys probably remember a lot more than I do.
Keith: Right. Yeah. Well it's funny because well, both uh, Eamon and I, we grew up watching this, like, when we were teenagers, now, and... this whole podcast came about because we were like, "Hey, we should revisit this, like, show we loved when we were kids!" Which has been really great to do!
Stan: Well thank--
Keith: Yeah, but we're about halfway through Season Three. But of course, as many of our listeners know, your character leaves the show! Uh, in Season Five. Can you tell us about like, were you happy with that arrangement? Was that something that was... you know, mutual? Did you like the way your character departed the show?
19:49 Stan: It was a bit sudden. I mean, it wasn't really something that I... knnnnew... was gonna happen... you know, a-a-a long time prior to it happening, but I wasn't at all disappointed. I was doing other things in L.A. and I think the producers knew that. I know I had done a Friends episode, and I'd done a couple of TV movies I think and I... I can't recall exactly. But, I think all good things must come to an end. So, they presented it to me, and I thought, "Okay." You know, that's that. I mean, we'd done five seasons and... you know I felt like... the character and the time that I'd spent on the show, had pretty much run its course, anyway, at that point. So, it was very amicable. I didn't really know that it was gonna happen until slightly before it did, I believe and... you know, I don't know how much I'm supposed to say at this point, but I think that they didn't know if it--the show was gonna get picked up for a sixth season--
Keith: Mmhm.
20:42 Stan: --and they wanted to make a big dramatic end at the end of Season Five. And now, having been in the business for a long time, I know this is what shows do. You know, and sometimes it means killing off a character, and that actor is, you know, they're the one getting killed but it's really gonna bring a lot of ratings to the show, and it's gonna, you know, be a big dramatic moment, and there's always ways to bring people back, should, should one want to. But I had a good time with the episode, and yes, it was very mutual and it was fun, and it was exciting, and it was, you know, surreal at the time. But I was already, in a sense, moving on and doing other things anyway. So it was... it was totally fine.
Keith: Awesome! Well why don't we talk a little bit about what you're up to now. Uh, you obviously did a lot of guest roles, after Highlander. Can you tell us a little bit about your move to directing?
21:26 Stan: In the early 2000s, I was interested--and it sounds cliché--an actor wants to be a director. I had an opportunity to teach, and I, I started teaching and coaching actors on the side, while I was still what I would call "an actor for hire." Meaning I had a manager, I had an agent. You know, they would call, "You have auditions," Uh, they would field offers if there were... but I was more interested in being a little bit more in control and, a friend of mine and I came up with this idea to do Straight Eye: The Movie. At the time there was a show on BRAVO called "Queer Eye for the Straight Guy" and--
22:00 Stan: --we just came up with this idea. What if we just spun it around… And, once we got the idea, it happened pretty quickly, and I was able to assemble a fantastic cast. Alan Dale, David Hornsby... Kelly Mantle, who came out in a big movie this past year, and, I'm sure I'm forgetting other names but, it was very exciting to put that together, and every single person worked on a volunteer basis. You know, we paid for the entire shoot, and, and everything but, you know, Don Paonessa, as I mentioned before, he came in, he produced it, he brought in some camera guys, and a lot of people worked for free, and it was really touching that people would spend that time and moos... It was a long two-day shoot on a weekend, and... He and I edited it for about six to nine months, *laughs* which was an arduous process for a fifteen minute movie!
Keith: Right! *Eamon laughs*
22:50 Stan: Um, and I learned a lot from him there. You know at some point he--he has this thing that he taught me: "Is it gonna be different, or is it gonna be better?" Heh. And we tried a lot of incarnations of it, but my eye was moving away from, you know, being in--in the piece to wanting to really be outside the piece, control more things... and fortunately it came out well. And we won an award at a film festival. I... The Griffon International Film Festival, I think it was in Missouri. And we... actually ended up cutting it into segments to do a sort of a... web mini-series but we to this day haven't put it out there. And it's something we really should do! *amused* I dunno how relevant it is anymore. At the time, I was sort of at a crossroads. I was either going to delve further into directing, and really make, you know, a valiant effort at that point to... spend a lot of money on a great website, and put all my stuff out there and do that. And then the studio just sort of happened organically. You know, people I--I had been teaching for a while, and coaching for a while--like I said, on the side. And then people just started calling, and, you know, "Are you gonna do this? You're gonna do this." And it was definitely a leap for my wife and I to say, "Okay, we're gonna do this. And we're gonna go get commercial space, and..." Uh, eventually she had to put HER acting and hosting career on the side, and... We had no concept that it would get as large as it has, and now we've got three studios and, a lot of teachers, and--
24:11 Stan: I mean it's been... It's been ama--It's been amazing. It's been great. Uh, it's been a tremendous amount of work. So I just sort of had to put all of that on hold. And that's something I definitely would love to revisit, as time goes on. More directing.
Keith: Cool! Cool!
24:26 Stan: And then we would shoot reels for actors. I did a commercial for Qualcomm, and then this short film, Us One Night, that you had mentioned--
Keith: Yeah, definitely!
24:35 Stan: Yeah. And that was really the first time someone came to me--I did, well, the commercial--and said, you know, "You know, I'm gonna fund this thing, and I wanna--" When you--when you start directing, essentially you have to self-fund everything. Nobody's just gonna give you money to go do something. And then you get to a point where, okay, well, you're not directing, you know, a TV series for NBC, but people are coming saying, "Hey, I want you to do this," and I'll assemble all the parts, and do it to your liking, and-- So that was a fun and exciting thing too. Although, the guy that produced it... Well, I guess we both brought people to the table, but he brought a good cast together. There was Alison Brie, who now has blown up, she was on Mad Men--
Keith: Yeah!
25:15 Stan: And she was also on Community, I think--
Keith: Mmhm!
25:17 Stan: And, uh, Liza Weil, who was on the Gilmore Girls now is on How to Get Away With Murder. So we had a really good cast, and... that was a tough shoot, because we had to do it ALL in one night. And it took place at one party, and essentially we shot the... end of the movie first. Because the sun was setting, we made it look like the sun was coming up--*Eamon laughs*--and then, we shot the entire film indoors, and then as the sun was rising, we shot the beginning of the movie as if the sun was coming up. But we were under the gun. We had to get it done cuz we had to get out there and get the first scene of the movie I think at like, 5:30 in the morning.
♫Princes of the Universe!♫
25:58 Kyle: Keith. I am a die-hard Highlander fan. I love Highlander so much, and I am a huge fan of this podcast, de facto, 'cause I'm a member of it. How can I show my support and get some really cool shit in the process?
Keith: Oh! There is one really great way you can support THIS podcast AND support your love of Highlander by heading on over to our Facebook page, and picking up a set of our awesome new Highlander Magnets! Uh, which are available for the price of $25 plus shipping and handling!
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Kyle: Awesome! Eamon! Who made these things? Like, what awesome artist somewhere made these things?
Eamon: It was ME!
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Keith: Oh!
Eamon: I made them! With the help of you guys, and Davis Panzer Productions!
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Eamon: We can't ship to the Planet Zeist, though.
Keith: Nope. No shipping to Zeist!
27:21 Keith: So, you run an acting school now. Can you tell us... exactly what is your acting school about? Like, what is Acting Coaching? That's a little different than if you went to collect to study acting, right?
27:31 Stan: Yeah. Okay. So, this wasn't really something that, to my knowledge, was around in the 90s, when I was really doing the bulk of my acting. And... it's now something that's much more prevalent. I mean, I know there are people that do this. What WE do is... Basically, the studio consists of classes, and private coaching. Private coaching is something that, for the most part, actors utilize when they have an audition. And they'll come in... they'll send their sides, which is the material that they have to do for the audition; and uh... myself or any one of our coaches will read them ahead of time. They come in, and whether it's a fifteen minute, you know, coaching, or... coachings can go up to a half hour, forty-five minutes, an hour, an hour and a half depending on the length of the material; and we'll go through, and basically, you know, answer questions... 28:18 I would say--if I had to put it in a nutshell--direct them through the audition. You know, "I would make this choice, here. Try this, here. Try that, there." So that they leave the coaching feeling as confident and as strong as possible, going into the room with the choices that they've made. I would say that's probably seventy-five percent of it, and then maybe twenty-five percent is people who've already booked things, and they wanna go through the material that they've booked. And, I mean, I've worked with people who are leads on series; and they're coming in every week or we're Skyping every week, if they're out of town. Going through the scenes. Going through, you know, the choices that they'll make. Talking about a character arc. That's the private coaching. 29:00 We also do something which is much more prevalent in the business now than ever, and I think it's only gonna augment, which is actors having to put themselves on tape for auditions. So we have two taping studios; they're lit, they're miked, the quality is great, and they'll come in, have to put themselves on tape for the audition. So we do that, as well. And then we also run classes. There's essentially three different types of acting classes out there. There's what's called scene-study, where actors are paired up with other people, and other actors and they're doing scenes for... anywhere from a couple of weeks to, you know, multiple weeks or even months at a time. And then there's what's called cold-reading classes where, actors are given the material right there, they have a few minutes, they come in, the teacher will give them notes.
29:44 Our classes are designed to replicate what happens to actors who are out there in the business, who are auditioning, who are doing this on a regular basis. So we're working with current film/TV material. We focus on the audition process; we don't assign scenes; and we're pulling all our materials from current film and TV roles that are casting at that given time. Like, for example, tonight I'm going to read two or three scripts for pilots that are currently casting. That's what the actors are going to be doing those roles, in class, tomorrow night, and... it's my job, or any of the other coach's job to... address what would be stronger choices. How do--How to, you know, navigate their way through the material as solidly as possible. And there's people in class who have been series regulars. They're not classes designed for a beginning actor. They're classes designed for people who've already had training, who are now at a point where they're ready to go out and audition--or have been auditioning, in some cases, for decades. And they--and in that case it's more like their gym. They come in on a weekly basis, cuz they want to keep those skills as sharp as possible.
30:54 The business has become incredibly competitive, and agents promote coaching and training for their actors more so than ever, because there's that edge that you need going in the room, and just a choice here, a choice there can make the biggest difference in booking a part, and can change one's career.
31:12 Stan: Does that help? *chuckles*
Keith: Oh yeah! Absolutely! Is there a particular uh, like Stan Kirsch-style of acting? Is there a, a philosophy you prescribe to? Is there a piece of advice that you always like to give your students?
31:22 Stan: Well... You know, years ago, I would... you know, you know, meet a waiter or waitress in restaurants and they'd say, "Oh, what's your method? Is it Stanislavski? Is it Mike--" and they're all these sort of old-school techniques.
Keith: Mmhm?
31:35 Stan: And I would say, "Our method is, you know, go book a job." *laughter* Try to book a job. When actors come to the studio, they first take a class that we call the Boot Camp, where they're working on specific scenes that we've already selected, as teachers. All the teachers are working in the Boot Camp; and they're doing drama; they're doing multi-cam comedies; they're doing single-cam comedies; and they're sort of getting our terminology, our vernacular; the way we suggest approaching this material, and... addressing all the questions they have about, you know, how to make the strongest choices: Auditioning in front of a camera, auditioning in, you know, live in front of producers. And then from there they'll go into ongoing classes. But there's really not a "philosophy" other than... other than booking. We're very practical in our approach to the work. And I don't disparage anybody, but I don't... talk to anybody in class about: "Tell me who this person reminds you of," or "What was your relationship like with your father?" That's not what we do.
*amused Eamon noises* Keith: Right!
32:32 Stan: Our--We're more, as coaches, directing people through the scenes, so what... When I say that, I don't mean it facetiously at all. Like our method, our philosophy is "How to book a job." And, if you don't mind my going for another minute on this...
Keith: No! Of course not!
32:46 Stan: When I started in the business... Even when we started Highlander: in 1992 there were three major networks that were making com--half-hour comedies, one-hour dramas... They sort of all had a very similar pace, and tone, and... now we're in an era when there's hundreds of channels that are out there, there's... networks branding themselves on certain slogans like: TNT, they know Drama. USA sells Characters are Welcome. And now with the advent of all these other platforms: The HULUs, the Amazons, Netflix... It's imperative that actors are watching everything, they're... knowing and understanding the tones of different shows... or features, if they're going in, what that director's done before... and making the appropriate kinds of choices for that particular piece. Uh, I mean essentially--and this is a broad example, but--what will make someone brilliant, you know, in a Clint Eastwood film audition, will make them, you know, look ridiculous in a sitcom for Nickelodeon. *Eamon laughs* And then the reverse is true. And today, more than ever--and I don't think it's gonna change; it's only gonna increase--it is very incumbent upon actors to know these tones, be familiar with these tones, and make those kind of choices. And I do meet actors that are good actors, but they don't know the difference. They don't know... "Okay, what about here because this is an MTV comedy? Will I be making choices that are different than a TBS show?" Uh, and... you WOULD make different kinds of choices. Know when, maybe a little ad-libbing is appropriate; when that's NOT appropriate. And it wasn't imperative that actors really knew that when I started, and this kind of training didn't even exist.
34:26 So, that's more and more why agents are sending their clients to... you know, places such as us. People are coming out of schools--in some cases Juilliard, Carnegie Mellon, CalArts; HUGE theater programs with an immense amount of training--but they've yet to get into a room and audition for... Big Bang Theory, or... The Last Ship. Or... a show like Casual. And they want... they want and NEED their actors to understand, know those--the tones of these shows and films, and how to go in and successfully book those jobs. And I hear it every day: "I represent good actors, but I need them to make the strongest appropriate choices going in the room." And that's where we come in.
Eamon: Like I was trained as an illustrator. It's like target marketing, almost. Like you have to know what your strength is--
35:10 Stan: YES! Very much like that!
Eamon: --and kind of go for that niche.
35:14 Stan: Yes! You know--knowing what you sell, your efforts, your strengths, and then knowing what you're auditioning for. We... we give out a lot of quotes, uh, and literature to our... to actors when they first come to the studio and... one that comes to mind is from a woman named Dorian Frankel, who's a big casting director. She was doing Parks And Rec, and she said: "I could tell within ten seconds, in an audition, if an actor understood the tone of the show. And if they didn't understand the tone of the show, it didn't matter how good they were. I couldn't even give them a callback. Because we don't have time to explain: This is what the tone of the show is. They already need to know that; they need to be familiar with that; and the tone of MY show," she said, "you know, is gonna be different than other shows. And I suspect it's the same, no matter what you're auditioning for." And it is. You know, on top of that it's our job as teachers and coaches, where WE work, to know what those tones are and be familiar with those, and NOT approach every piece of material with the same set of tools.
Keith: Awesome! That's brilliant advice! We've heard word that you're gonna be attending the Highlander 25th Anniversary Convention in L.A. Is that true?
36:20 Stan: Yeah! I'm very excited about it!
Keith: Awesome, yeah! It's very cool! Uh, also, speaking uh, for ourselves: We were kind of too young to attend a Highlander Convention when we were younger, so I know we're very happy and excited to--to be going to this, a little older now. Um--
Stan: I'm excited to meet you guys in person!
Keith: Yeah! Uh, so--
Eamon: Yeah, us too! *laughter*
Keith: Hahah. Yeah. So... It's also kind of crazy to think that Highlander was twenty-five years ago now. What, what is--
Stan: *dryly* Yeah. Tell me about it. *laughter*
Keith: Looking back on it, what is... what does Highlander mean to you? Uh, I mean like... it's, it's kind of remarkable that the... the fandom has, you know, persisted, which is really cool.
36:52 Stan: Oh my God, it's unbelievable. I would've never thought, in 1992, that twenty-five years later I'd be going to a convention. *Eamon and Keith laugh* Uh...
Keith: We also always ask our, uh, guests, you know, if... Would you want to be immortal? If you had the choice?
37:04 Stan: Would I want to be immortal... That's an inshu--interesting question. You know I... I don't think so. I think... you know, and being a part of the show, and seeing that... And even the movies! Which I've now seen... *laughter* Um, there's so much pain, and suffering, and so much... loss, that I'm thinking that would be very trying; very difficult. I mean the bonus is, um, you get to experience a lot, but I don't know that that's something... that I... would necessarily... choose. The show itself: it was definitely a pivotal and defining moment in my life, and my career. I was very young in my acting career when I started, and I met people like Adrian, and like Don Paonessa, that I still talk to, and I'm still close to. I had been working before, but that's where I really learned about... really how to navigate your way through a set. And really... having to take a role, and not just essentially shoot the scenes that you auditioned with, but get new material every week. Uh, I learned about adrenaline, and how to keep that going, not to waste too much energy too soon. And um, I really learned about the film-making process before then. And I was only in L.A. for a year and a half when I got the part, but everything was SO quick. You know I'd get a part, go to the set, shoot it and be done. And I came out of it a much more seasoned actor... I came out of it far more seasoned about the business, how things work, the politics of it... It was interesting for me personally because, when I started auditioning--and even the Richie character--I was auditioning for a seventeen-year old. I came out of the show, and was all of a sudden playing attorneys, and I thought, "I can't really LOOK that much different," but I was told by casting directors and, y'know, people that I was working with then at the time, that eh... "There's something different in your eyes." And I look back now, and I realize I had experienced so much, and especially... you know, going to these other countries, and y'know, shooting in these, y'know, various places... I grew up a lot. You know, as a person, and as an actor. A lot of that experience I take, and use, to this day.
Eamon: It's interesting that you mentioned adrenaline. I'm wondering, when you first started on the show, it seems like a lot of pressure. Like, you have to deliver on the show--
Stan: Yes. Yes.
Eamon: --week after week. Did you use adrenaline at first to kind of get you through having to deliver, and did that change over time? Or... I--I'm wondering what like, that evolution is.
39:27 Stan: Well, I remember sitting down with Peter DeLuise, who was a guest star in the very beginning of the series... Uh, it was one of the first few episodes...
Eamon: Yeah, I think that's uh, Family Tree. Sorry to interrupt!
39:38 Stan: Uh... yeah, no, I think you're right. You guys know. Hahah! *laughter* And he had just come off 21 Jump Street. Although he was a guest star, and I was at the time a series regular, I looked up to him. And... we became friends--friendly, I should say, and friends at the time. We went for lunch, or coffee, and I will never forget this. He said, "Can I give you a piece of advice?" I said, "Absolutely! You just came off, you know, five, six years on Jump Street!" And he said, "When you're not shooting, sit in a chair. Go back to your dressing room. You know it, it's exciting now, it's new, it's something, you know, that's like, 'Wow!' And so, you know, you wanna be sort of part of the action all the time. But you're gonna need that energy as the day goes on, and you're gonna need that energy seven months from now." And it was probably... we started in July of '92, I do remember, and so that was probably sometime in August, and HE knew enough to know that we'd be shooting come March! And it was a great, great piece of advice. And, hey y'know, like all advice I think when you get it, you know, you're sort of like, "Okay! That sounds great!" you know, and you apply it a little bit--*Eamon laughs*--and then as... Heh, when you really need it, you're like, "Oh, I remember Peter saying that." And, it was definitely something that I learned with time. How to not only hold onto that energy, like I said, for the day, you've sort... At the beginning, when you're shooting... You know it's---At that time it was a lot of master shots, and then closeups, and y'know I wanted to give everything right at the very beginning! And not realizing well HEY, the closeup might not happen for two or three hours! So I learned about that, and it's something I teach to actors today. You know, "Look at the whole picture! Ask what the shot listed! You know, if your closeup is coming, like, fourth of fifth, you know, relax a little bit! You know, you don't wanna be spent by the time that happens!" And then also, like I said: In the long run, when you're working on a series like that, you've gotta think three, four, five, six months ahead, and when you have time, take a break. Rest. Cuz you're gonna need that energy at some point, later. And especially with all the travelling involved.
Keith: Is there any crazy story you've never shared with anybody about Highlander at a convention or whatever, that you wanna like, share with our audience?
41:43 Stan: *laughs* A craz... Well, um, I love doing the conventions. I've always had such a good time at them. The fans were amazing, the conventions were fantastic. ... I don't know if these are really crazy stories, but... I think it was the last two that I did were... Well they were special to me because I was able to bring my wife. We purchased her wedding ring in Indianapolis, at the convention there. And so, that was an exciting thing for us, personally. And I do remember the one in Denver... And this was prooobably in the 90s... My sister went, and, uh... she's not a public speaker, and not one for, you know, being up in front of the crowd, and I sort of pulled her up on stage, and... She said, said a few things. I'll never forget that. *Keith laughs*
Eamon: Is it weird that conventions have kind of like, become a thing almost that actors have to go to? It's weird that it's kind of become like, part of a thing of like, promoting a show or something. I don't know if that's interesting or not. *Keith laughs* But it's just the thought!
42:43 Stan: I mean m... NOW, I have a lot of my clients, who will come to ME and say, oh, you know, they're on a, a, you know, big uh... animated series or... they're doing a show for Disney or something, and they, they mention like, "Oh, they want me to do a convention!" And I say, "Oh my gosh! Absolutely! You know, DO IT! Meet the fans! The fans are the people that are keeping you employed!" It's definitely something that's, I think a part of one's job and I... You know, I look at it as... a particularly exciting thing for people. Because to be frank, it's not like you could just sort of: "Okay, I'm gonna fly to..." you know, to Indianapols, say, "And I'm gonna meet Brad Pitt." It doesn't really work that way. *laughs* You know, but when you're on... you know, these shows like Highlander, that... you know, develop a cult following... People have the opportunity to go meet the stars of this show in person, and I know... how... special it is, for people to have that opportunity and, you know, get that picture, and... It seems like, oh it's just like, you know, another thing that you're doing, but people have really gone out of their way, and they've spent a--you know, in some cases--a considerable amount of their incomes to attend these things. I feel, as an actor, it's incumbent upon one to go and, and really give the most of themselves, because it means so much to the people who are there. And... it IS a part of the job.
Keith: Cool! Well, Stan, thank you so much for joining us! It was absolutely a pleasure to talk to you! I mean, we got to learn about the acting side of things, the directing side, the editing side, the coaching side! Like we--we got like a crash course, I think. *Stan starts laughing a little* We got our own like, mini, mini-coaching session on, uh--the industry tonight, which was really awesome! This was a true treat for us, and I hope the fans have enjoyed reconnecting with you, and also I hope a lot of the fans are making sure they've log on to highlanderworldwide.com to get tickets to, uh, meet Stan and the other stars of Highlander at the Los Angeles 25th Anniversary Convention, and also--
44:35 Stan: Oh, thank you guys. I had, I had a great time.
Keith: Awesome! Awesome.
Stan: It was my pleasure.
Keith: Very cool. Ah, well thank you so much, Stan, for joining us, and we will see YOU in October!
Stan: You're welcome!
Keith: Thanks again!
Eamon: Thank you, Stan!
Stan: I look forward to it.
Keith: Alright! See you!
Eamon: Bye!
44:57 Keith: Alright, see ya--
Eamon: Happy birthday! Happy future birthday!
Keith: Hahaha!
Stan: Thank you!


It should be noted that the disposal of any business asset needs to be carefully planned to ensure all of the tax implications and conditions are fully appreciated and considered. It is strongly recommended that professional advice is sought prior to the disposal of any business or business asset.
There is a generous lifetime limit of £10 million gains that are eligible but note that qualifying assets must have been owned by the person making the disposal for at least 12 months prior to sale.
The relief must be claimed within 12 months of the 31 January following the end of the tax year in which the disposal is made.
Unlike other taxable gains the 10% ER rate applies irrespective of the taxpayer's total taxable income (although any gains qualifying for ER must be set against any unused basic rate band in priority to non-qualifying gains).
Generally a gift of a chargeable asset is liable to CGT using the market value of the gifted asset in calculating the capital gain.
Where a qualifying business asset is gifted (for example, to adult children when handing down part or all of a family business) the capital gain arising at the date of the gift may be 'held-over' so that any gain is effectively frozen until the recipient eventually disposes of the asset. Hold-over relief is also available on the gift of shares in an unquoted trading company subject to several conditions being met.
Where a qualifying asset is sold at undervalue then only the non-realised part of the gain can be held over. The realised gain (i.e. the difference between the actual sale proceeds and the original cost) is chargeable to CGT immediately.
Gift relief is not available on non-business assets, such as most quoted shares, unquoted shares in investment companies and investment property which is gifted to another individual.
Note that special rules apply where assets are gifted between a husband and wife or civil partners.
Where a business asset, such as land & buildings, goodwill or fixed plant & machinery is sold by an individual and replaced by another business asset, the gain can be 'rolled-over' against the cost of the replacement effectively freezing the gain.
The total gain arising can only be rolled-over where ALL of the proceeds are reinvested in the cost of the replacement asset. Where the proceeds are only partly reinvested then the shortfall will result in an immediate capital gain.
The relief is available where the 'replacement' asset is acquired within a period starting 12 months before and ending 36 months after the disposal of the asset being replaced.
Rollover relief is also available to limited companies on qualifying assets which excludes goodwill.
Where a sole trader or partnership business is transferred to a limited company as a going concern in exchange for shares, any capital gains arising can be held-over until the disposal of the shares.
Where part of the consideration is in the form of cash or loan notes, then a pro-rata part of the capital gains arising will become chargeable immediately, with the balance available for incorporation hold-over.
Incorporation relief is automatic unless an election is made to disapply the relief so that the capital gains become chargeable on incorporation but normally at the special Entrepreneurs' Relief rate of 10%.
Where any capital gain is invested in shares qualifying for the Enterprise Investment Scheme (EIS) the gain can be deferred with any CGT only becoming payable when the EIS shares are disposed of.
The relief is not automatic and must be formally claimed. The EIS investment must take place within a four year time period which runs from 12 months before to 36 months after the date the capital gain arose.
Note that an investor may specify an exact amount of reinvestment relief to be claimed, thereby leaving part of the original gain chargeable to CGT. This gain can then effectively be converted into a tax free capital gain by utilising any capital losses and/or annual exemption which happen to be available.


The English Schoolhouse: What's Back To School Week Without Apples?
What's Back To School Week Without Apples?
Do not judge the condition of my Birkenstocks. They've had a rough summer.
As my mom used to tell me as a kid, "You're hard on shoes."
About 1/2-3/4 of the kids check their kicks at the door as they come in or shortly after arriving. (Translation: they leave their footwear by the classroom entrance). So do I. Funny because if you walk into my house, you'll find the exact same thing in the exact same spot....remnants from my Korean best friend during childhood.
Anyway, Back to School week is winding down, and we've had a fantastic time.
The theme we've focused on, not surprisingly, has been Back To School. I remember teaching this theme in various ways during my years as a Kindergarten teacher in Texas. One thing I always felt I could have done a better job of was introducing the actual tools we use in early childhood better and allowing the kids to practice, practice, practice. Even the simple little things. So that's what we worked on yesterday as well as today.
Yesterday we read a book called "Nibbly Mouse". It's a short, simple read about a mouse that nibbles through the pages of the book. The kids have to guess what he's eaten based on what they can see through the holes.
See how you can peek through the hole and try to guess what he eats next?
So we finished the story, and painted some apples of our own. I modeled how we DO and DO NOT use the paint. The kids found it especially amusing when I painted myself.
We talked about what different types of apples there are, and took a poll of classroom apple favorites.
They dictated what they'd painted and I wrote down what they said.
Then snapped a pic of some of the best apples, beautiful things, colorful trees, and paintings I've ever seen.


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text: Q: Failed to Generate disassembly for stack frame because the URL can't be translated in Xcode 7 When i run my application in debugging by adding some breakpoints got the below Message can any one tell what these means

redpajama_set_name: RedPajamaStackExchange


text:
– admirał Japońskiej Cesarskiej Marynarki Wojennej.

Życiorys
Urodził się w Kagoshimie w domenie Satsuma, w rodzinie samurajskiej. Służył w wojsku podczas domowej wojny boshin (1868–1869). Wkrótce po utworzeniu Cesarskiej Marynarki Wojennej podczas restauracji Meji, w 1871 wstąpił do Akademii Cesarskiej Marynarki Wojennej, którą ukończył w 1882 (4. promocja). Podczas nauki, od 1873, służył na różnych okrętach, poczynając od korwety "Tsukuba". W 1877 uzyskał stopień podchorążego, a w 1879 pierwszy stopień oficerski – podporucznika.

W 1887 w stopniu kapitana objął stanowisko zastępcy dowódcy korwety "Yamato", a w 1891 w stopniu komandora podporucznika pierwsze dowództwo – kanonierki "Maya", następnie kanonierki "Chōkai" (1893) i nowego krążownika pancernopokładowego "Akitsushima" w 1894. Okrętem tym dowodził podczas wojny japońsko-chińskiej, podczas której odznaczył się w bitwie u ujścia Yalu 17 września 1894.

Zajmował następnie głównie stanowiska sztabowe. W latach 1899–1900 przebywał w Wielkiej Brytanii, nadzorując budowę okrętów dla Japonii. W tym czasie, w 1899 awansował do rangi kontradmirała. W latach 1900–1902 był szefem Biura Spraw Morskich w Ministerstwie Marynarki. W 1903 awansował na stopień wiceadmirała i 28 grudnia tego samego roku, w toku reorganizacji floty japońskiej przed planowaną wojną, został dowódcą 2. Floty.

Dowodzona przez niego 2. Flota, a zwłaszcza wchodzący w jej skład 2. Dywizjon Krążowników Pancernych, odegrały istotną rolę w działaniach morskich wojny rosyjsko-japońskiej 1904–1905. Brały udział w działaniach pod Port Artur, bitwie pod Ulsan 14 sierpnia 1904 (w której wydzielona grupa 2. Floty pod jego dowództwem odniosła zwycięstwo nad rosyjskim władywostockim zespołem krążowników) i w bitwie pod Cuszimą. Jego okrętem flagowym był wówczas krążownik pancerny "Izumo".

Po zakończeniu wojny, 20 grudnia 1905 został dowódcą Dystryktu Morskiego Yokosuka. Funkcję tę pełnił do 1 grudnia 1909, kiedy został dowódcą 1. Floty. W 1907 nadano mu tytuł barona (danshaku), a w 1910 awansował na stopień admirała. 1. Flotą dowodził do 1 grudnia 1911, kiedy objął stanowisko doradcy morskiego Najwyższej Rady Wojennej. 1 maja 1914 przeszedł do rezerwy.

Zmarł 8 sierpnia 1916 w Tokio w wieku 67. lat. Został pochowany w świątyni Myōhon-ji w Kamakurze.

Awanse wojskowe
 8 czerwca 1877 – kadet marynarki (shōi-kōhosei)
 19 września 1879 – podporucznik marynarki (kaigun-shōi)
 17 grudnia 1881 – porucznik marynarki (kaigun-chūi)
 8 kwietnia 1884 – kapitan marynarki (kaigun-tai'i)
 17 września 1890 – komandor podporucznik (kaigun-shōsa)
 7 grudnia 1894 – komandor (kaigun-taisa)
 26 września 1899 – kontradmirał (kaigun-shōshō)
 5 września 1903 – wiceadmirał (kaigun-chūjō)
 1 grudnia 1910 – admirał (kaigun-taishō)

Bibliografia
 Imperial Japanese Navy
 Kenkyusha's New Japanese-English Dictionary, Kenkyusha Limited, Tokyo 1991,
 Mały słownik polsko-japoński, Wydawnictwo Hakusuisha, Tokio 2002,

Japońscy admirałowie
Odznaczeni Orderem Świętego Skarbu
Odznaczeni Orderem Wschodzącego Słońca
Odznaczeni Orderem Złotej Kani
Uczestnicy wojny rosyjsko-japońskiej
Ludzie urodzeni w Kagoshimie
Urodzeni w 1849
Zmarli w 1916

redpajama_set_name: RedPajamaWikipedia


text:
Informing the Policy Dialogue on Comp...
Informing the Policy Dialogue on Comparative Effectiveness Research
There is ample evidence that significant variation in healthcare delivery exists based on factors such as where a person lives and seeks care, local practice patterns, and lack of data and support for informed decision making, and there is great complexity in determining the appropriate course of treatment for individual patients. Congress authorized the Patient-Centered Outcomes Research Institute (PCORI) in 2010 as an independent, nonprofit, nongovernmental organization to help patients and others make informed health decisions through comparative clinical effectiveness research (CER). It is vital for policy experts, stakeholders, and lawmakers to fully understand the scope of PCORI research along with how its findings are used by doctors and patients. Additionally, they should understand the potential impact that CER has on reducing practice variation and disparities as well as on influencing innovation and the healthcare economy.
The Alliance for Health Policy, based in Washington, DC, is a nonpartisan, not-for-profit organization dedicated to helping policy makers understand the underpinnings of health policy, the roots of the nation's healthcare issues, and the trade-offs posed by various health policy proposals. The alliance is uniquely situated to convene and educate policy makers, stakeholders, and media as well as provide an unbiased, collaborative forum for a broader and deeper understanding of CER, PCORI's role, and efforts toward improving the quality and relevance of information available to patients to make better-informed health decisions.
For over 25 years, the alliance has conducted hundreds of briefings and other educational events on Capitol Hill and around the nation on timely and critical topics. Through this project, the alliance will use a variety of venues and briefing formats to advance knowledge and understanding of CER and related issues, starting with an initial gathering of thought leaders to identify key issues; development of 101-level policy briefing and materials for congressional staff; a media briefing; and several public and congressional staff briefings.
A successful outcome of this project would be a greater understanding of CER and related issues by healthcare policy makers, media, and other stakeholders.
Sarah Dash, MPH
Project Period
Alliance for Health Policy
Engagement Award Project

redpajama_set_name: RedPajamaCommonCrawl


text:
Igrajte, kot ste si vedno želeli ...
Uvodna lekcija
dreammusic.sp@gmail.com
| Škocjan, Novo mesto
The History of the Pick
by Marco von Baumbach
It is a useful tool for guitar players, which is taken for granted by most of us, but who actually knows its origin? Working out its entire story is not easy, since its lifeline is not that easily accessible, but I tried to reconstruct it by making use of several sources.
The Pick has become famous by the invention of the modern electric guitar, for many people therefore it is self-evident that the pick as well must be a modern invention. But the truth is that the Pick has a very long story, going back more than a thousand years, when they used a quill to play on the Lute. The oldest known illustrations of lute players are dated back 4500 years, being found on seal impressions of the Akkadian time. That being said, it is likely possible that Picks may have existed thousands of years ahead of our time! Who would have thought of that?
Amongst the quill, bones are also part of the archetypes of nowadays picks, which have been in use for centuries if not millennia-long.
The Sitar must have been invented about 700 years ago. To play the sitar one has used a chunk of wire as the pick, which has been fixated on the index finger. The sitar is up to today a popular instrument in eastern cultures. In the illustration on the left, one can see a wire pick on the index finger of Ravi Shankar, one of the best-known players of this instrument nowadays.
The Pick got its nowadays shape using horn and tortoiseshell. The horn was obtained by the bones of cattle and the tortoiseshell was gained out of the shell of hawksbill turtles. The tortoiseshell gained a lot of popularity, because it is rough and flexible as well, which was perfect for Picks (but not so good for the hawksbill turtles). I found no definite date since when these types of Picks were used, but they lasted up until the 70ies of the last century. Other popular materials of the last century, which were cheaper but not that ideal, were glass and shells amongst others.
Then going into the 70ies one started to use nylon for the Picks, which was invented about 4 decades in advance. The big advantage of nylon is its cheap production, in comparison to obtaining tortoiseshell, by also gaining a flexible and stable product. The only disadvantage of nylon and other synthetic materials which are in use today is, that they get worn out much quicker. But considering the very low price for products made of synthetic materials, you can easily effort a lot of them, so this won't trouble you too much (and the hawksbill turtles will thank you for choosing the nylon Pick)
As you can see, the Pick which we consider as self-evident today, has already gone through a long journey. So, I hope the next time you go into a shop and order a bunch of Picks, you show some respect for the time-honored Pick, which he has earned himself through its millennia!
This article was written by Marco von Baumbach, a guitar teacher in Wuppertal, Germany.


text:
Moderator moves on: Does information play any role in our national discourse? Consider a major non-exchange during last night's debate.
The question was posed to Donald J. Trump, and it was a very good question. It came at the start of Kristin Welker's third 15-minute segment:
WELKER (10/22/20): Let's move on to American families and the economy. One of the issues that's most important to them is healthcare, as you both know.
Today, there was a key vote on a new Supreme Court Justice, Amy Coney Barrett, and healthcare is at the center of her confirmation fight.
Over 20 million Americans get their health insurance through the Affordable Care Act. It's headed to the Supreme Court, and your administration, Mr. President, is advocating for the Court to overturn it.
If the Supreme Court does overturn that law, there's 20 million Americans could lose their health insurance almost overnight. So what would you do if those people have their health insurance taken away? You have two minutes uninterrupted.
That was a very good question.
If the administration has its way, the Supreme Court will overturn the Affordable Care Act. The hearing will take place on November 10.
If the Court overturns the ACA, twenty million people could lose their health insurance. What will Trump do if that occurs?
Welker had asked the commander in chief an extremely salient question. But in his two-minute response, the commander didn't answer the question. Instead, he offered this:
TRUMP (continuing directly): First of all, I've already done something that nobody thought was possible. Through the legislature, I terminated the individual mandate. That is the worst part of Obamacare, as we call it. The individual mandate, where you have to pay a fortune for the privilege of not having to pay for bad health insurance, I terminated. It's gone. Now, it's in court, because Obamacare is no good.
But then I made a decision—run it as well as you can. To my people, great people, run it as well as you can. I could have gone the other route and made everybody very unhappy. They ran it. Premiums are down. Everything's down.
Here's the problem. No matter how well you run it, it's no good. What we'd like to do is terminate it. We have the individual mandate done. I don't know that it's going to work. If we don't win, we will have to run it, and we'll have Obamacare, but it'll be better run. But it no longer is Obamacare, because without the individual mandate, it's much different.
Pre-existing conditions will always stay. What I would like to do is a much better healthcare, much better. We'll always protect people with pre-existing. So I'd like to terminate Obamacare, come up with a brand new, beautiful healthcare. The Democrats will do it, because there'll be tremendous pressure on them. And we might even have the House by that time. And I think we're going to win the House. You'll see, but I think we're going to win the House.
But come up with a better healthcare, always protecting people with pre-existing conditions. And one thing, very important, we have 180 million people out there that have great private healthcare. Far more than we're talking about with Obamacare. Joe Biden is going to terminate all of those policies.
These are people that love their healthcare. People that have been successful, middle-income people, been successful. They have 180 million plans, 180 million people, families. Under what he wants to do, which will basically be socialized medicine, he won't even have a choice, they want to terminate 180 million plans. We have done an incredible job at healthcare, and we're going to do even better. Just you watch.
Trump said he got rid of the individual mandate. He said Obamacare stinks.
But what would he do if the law is struck down? As always, he said he'd like to come up with a better health care plan—and, as always, he gave no idea how such a plan would work.
As always, Trump's answer was pure tapioca. As always, the moderator sat there and took it.
She didn't ask him how this "much better" plan would work. She didn't ask him how he'd be able to afford the guarantee that people with preconditions would be covered.
Most significantly, in subsequent questioning, she didn't ask him this:
"Mr. President, you've been making this pledge for five years now. Why haven't you, or any other Republican, ever proposed such a plan?"
Just a guess:
Last night, most viewers had never heard that the president has never proposed a specific plan. They've never heard the comical rundown of all the times he has pledged that his proposal was just weeks away.
Also, most viewers have never heard that there's a major problem with being able to finance the guarantee the preconditions would be covered. Most people haven't heard discussions of topics like that.
Obamacare found a way to finance the coverage of preconditions. Why hasn't Trump ever said how he would accomplish this difficult task? Last night, once again, he simply wasn't asked.
After Biden gave his two-minute statement, Welker chose to challenge his health care proposal on the basis of a highly partisan Republican talking point. The emptiness of Trump's statement went unremarked.
Does information play any role in our national discourse? Welker asked Trump what he would do if Obamacare is overturned.
When he gave her the silliest possible answer, she simply agreed to move on.
Also this: Here's another follow-up question the president wasn't asked:
"Mr. President, you said that Vice President Biden wants to terminate the insurance of 180 million people. Since he hasn't made any such proposal, on what basis are you making a statement like that?"
Biden raised this objection on his own. As is common on such occasions, the moderator let Trump's statement go.
Meanwhile, where the Sam Hill is Trump's proposal? The moderator didn't ask.
Posted by bob somerby on Friday, October 23, 2020
But, but, how can a mentally ill man have a proposal for a healthcare plan, and how can he do anything but lie, er, make false statements?
I, for one, like Bob, pity him.
The mentally ill often have more contact with health care providers than much of the public, especially given that Obamacare included parity for mental health services. If Trump gets his way, that will go back to being something people have to pay for out of pocket.
Don't just pity him. Send him a few dollars so he can pay his shrink.
COMPOSITE CYBER SECURITY SPECIALISTS October 25, 2020 at 9:30 PM
Sharon Wayne October 29, 2020 at 3:28 PM
"If the Supreme Court does overturn that law, there's 20 million Americans could lose their health insurance almost overnight."
Far from being a "very good question", dear Bob, it's utter bullshit. Don't be a brain-dead dembot, dear Bob.
Why would anyone "could lose their health insurance"? Alas, this question was never asked.
John Birch October 24, 2020 at 11:39 AM
Hey troll boy stay in the stupid lane with yer dumb slogans leave the policy talk To adults.
That debate was depressing.
Joe Biden got a shellacking.
And the con man showed that he can turn off and on his "crazy" like a light switch, this time letting Biden hang himself.
So, how much are they paying you for remarks like this and do you get paid in rubles or dollars?
Racism is a hell of a drug.
Ilya October 23, 2020 at 2:41 PM
Trump's feelings were bigly hurt and became quite petulant when Wallace, in the first debate, pointed out that Trump hasn't done jack shit as far replacing Obamacare. Beyond that, Trump's response is so incoherent and hard to parse that it's easy to see how Welker was confused.
A very simple follow-up question could've been: protecting coverage for people with pre-existing conditions has two sides to it: (1) make sure that they can purchase insurance (2) make sure that they can afford it. How do you plan to address affordability. This was part of ACA, and it sure doesn't sound that that's being addressed.
Somerby doesn't seem to understand how these debates work. He thinks the moderator is supposed to grill the candidates. The moderator's job is actually only to pose questions that allow voters to compare the two candidates and decide who to vote for. This moderator did that well.
Trump did answer the question. Somerby wants the moderator to critique his answer. I think that would show bias. It isn't the moderator's job to push voter opinions one way or the other. She is supposed to provide a platform for candidates to present their ideas and plans. The moderator doesn't pick them apart. Viewers should do that themselves.
I would not want to replace my own judgment with that of someone selected by a debate commission who, by judicious questioning, managed to make one or another candidate look bad or seem underprepared. That is putting a thumb on the scales.
Trump hasn't said any more than this in any venue. If he doesn't include specifics, viewers will notice and weigh that against him. I don't want a moderator who does that.
If the moderator follows up by asking about the health care plan, she won't have the time to address his lie about the Republicans taking the House.
Joe: "I dunno where this guy's from"
Trump: "Queens"
David in Cal October 23, 2020 at 6:26 PM
If the SC overturns obamacare, and Biden is elected, what will Biden do? Shouldn't that question have been asked?
mh October 23, 2020 at 6:52 PM
Didja watch the debate??
"Kristen Welker: (19:43)
Okay. Vice President Biden, yes, this is for you. Your healthcare plan calls for building on Obamacare. So my question is, what is your plan if the law is ruled unconstitutional by the Supreme Court? You have two minutes uninterrupted."
Your assignment is to find out what Biden said.
I stand corrected, mh.
Ilya October 24, 2020 at 1:24 AM
Biden can go back to instituting a penalty and calling it a tax. Then Obamacare is back and the fucking nimrods can sue again, and it'll wind its way through the courts for another few years. Let's face it, when Biden has the senate and the house, he is worth a shit ton more than the 9 pompous twits on the court. To put it another way: who gives a shit about the Supreme Court? They will have made themselves irrelevant. If they want to be worth their weight in salt, they will start paying attention to the populace instead of running their mouths about "textualism" and what other stupid shit that passes for religion amongst the rightwing nitwits.
Mao Cheng Ji October 24, 2020 at 6:09 AM
It doesn't matter what Rapist Mafioso said, dear mh.
There's no reason to doubt that liberal cult will continue doing what obamacare is designed to do: use more and more taxpayers' money to satisfy the ever growing appetites of medical mafia. For a substantial kickback, of course.
You have to wait until a week from next Wednesday to start pretending the deficit is important.
The Corporate-owned, Right wing Media
(AKA The Media)
From the Star Tribune:
"In the wake of protests following the May 25 killing of George Floyd, a member of the "Boogaloo Bois" opened fire on Minneapolis Police Third Precinct with an AK-47-style gun and screamed "Justice for Floyd" as he ran away, according to a federal complaint made public Friday.
...He also looted and helped set the building ablaze, according to the complaint, which was filed Monday under seal."
From Democratic Underground:
"Researchers found that swing states are particularly vulnerable to militia activity around the 2020 election.
Over the past several months, private militias "have become more assertive," the two organizations found in a report published Thursday, titled "Standing By: Right-Wing Militia Groups & The US Election." The report cites kidnapping plots targeting elected officials and interventions in protests throughout the country. Parts of Georgia, Michigan, Pennsylvania, Wisconsin and Oregon are at the highest risk of increased militia activity around the election, it says, while parts of North Carolina, Texas, Virginia, California and New Mexico are at a moderate risk. The report identifies the Three Percenters, Patriot Prayer, Proud Boys and Boogaloo Bois as groups that pose a "high" or "very high" potential for violence.
When militia members were arrested earlier this month for plotting to kidnap Michigan's Democratic governor, Gretchen Whitmer, the president seemed to delight in their animus toward her, encouraging a "lock her up" chant at a campaign rally in the state days later. His son Donald Trump Jr. has asked "every able-bodied man, woman to join the Army for Trump's election security operation," an effort to recruit poll watchers who believe Democrats are trying to steal the election.
Militia activity is expected to be higher in competitive spaces like swing states, the report found, where armed groups may work to repress votes for Trump's opponents. Armed groups appear to be particularly active in areas where there have been protests against the lockdowns aimed at limiting the spread of the coronavirus — an effort militias perceive as an assault on their freedom — and places that have seen Black Lives Matter protests — which militias view as "leftist coup" activities.
Locations where militia members have friendly relationships with members of law enforcement are likely to see higher levels of militia activity, the report found. In Kenosha, Wisconsin, law enforcement officers were recorded on video handing water to a group of militia members and telling them, "We appreciate you guys, we really do," shortly before 17-year-old vigilante Kyle Rittenhouse fatally shot two people in late August. .......................................
Read more: https://www.huffpost.com/entry/militia-threat-voters-2020-election_n_5f93271fc5b6494ba13bdcc8?section=politics&ncid=tweetlnkushpmg00000016
In a just world, each of these militia men would have daughters who like sex with black men.
It was almost a decent question, but a major issue is the phrase "health insurance"; Americans would lose their health care. No one likes their health insurance, they like having health care.
Emily Sarah October 25, 2020 at 4:26 AM
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Packers and Movers Jaipur October 26, 2020 at 4:59 AM
Amber Perez October 26, 2020 at 9:30 AM
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you can also call him or add him on Whats-app:+2348118829899
View his blog http://infinitylovespell1.blogspot.com
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LOVE SPELL TO BRING BACK EX LOVER AND RESTORE BROKEN RELATIONSHIPS
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blog : https://wiccaspelltools.blogspot.com/ WEBSITE: drjumbaspellhome.wordpress.com
micheal pan October 26, 2020 at 5:07 PM
williams October 28, 2020 at 7:42 PM
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Whatsapp number: +2347057052206


text:
college draft
disciplinary report
North Carolina Courage
Reign FC
Utah Royals FC
Kristie Mewis heads to Chicago after trade with Washington
Red Stars trade a first-round pick in the 2018 NWSL College Draft to the Spirit
by Meg LinehanAugust 21, 2017
Kristie Mewis scored two goals and added an assist while with the Washington Spirit. (Photo credit: Mike Gridley/isiphotos.com)
The Chicago Red Stars acquired midfielder Kristie Mewis from the Washington Spirit on Monday via a trade. The Red Stars sent a conditional first-round pick in the 2018 NWSL College Draft to the Spirit in exchange for Mewis.
Chicago has two first round picks in the 2018 draft, and the Washington Spirit will receive the higher of the two picks. In addition, the Red Stars waived waived midfielder Morgan Proffitt to make space for Mewis on their roster.
The Red Stars could use a fresh spark, after dropping their third straight result in eight days and winless in their last four matches. They also have the smallest goal differential of the top four teams in the league, at only +2 with 25 goals for and 23 goals against. Kristie Mewis has scored two goals and tallied an assist in her 14 games for the Spirit this season.
Spirit head coach and general manager Jim Gabarra said on Saturday, before the team played in the Game of the Week, that the trade made sense in the long run for his club. "When we acquired Kristie, our team, our roster was in a different place," he said. "She was an important part of our roster at the beginning of the season. We didn't know that we were going to get [Mallory Pugh]. We didn't know for sure that [Estefanía Banini] was going to be coming back. We don't know that Havana [Solaun] was going to be as effective as she has been. We had the opportunity to make some moves now here and maybe get a top draft pick or strengthen our team next year by using a quality piece and maybe providing that to a team that's in the playoff hunt."
NWSL 2020 College Draft
North Carolina trades McCall Zerboni to Sky Blue FC for rights to Hailie Mace
NWSL announces 2020 College Draft broadcast details and talent
Utah sends Katie Stengel to Houston in exchange for draft picks
Portland trades Emily Sonnett to Orlando and Midge Purce to Sky Blue FC in pair of mega trades
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This entry was posted on Tuesday, January 11th, 2011 at 9:33 pm	and is filed under Recipes, Simple Meals, What's For Din Din. You can follow any comments to this entry through the RSS 2.0 feed. You can skip to the end and leave a comment. Pinging is currently not allowed.
adobo makes everything taste so good.
simple and satisfying – your shrimp look perfect.
thanks – I started using frozen uncooked shrimp more recently once I learned how much tastier it was than the precooked frozen shrimp. I was just being lazy with the precooked ones but shrimp cooks very fast. Never going back to the precooked!
Yes, simple is sometimes hard to beat. Looks yummy!


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Sudan Digital: A Digital Heritage Registry for the Sudan
October 19, 2020 April 6, 2020
The Sudan boasts a rich cultural heritage encompassing important ancient artefacts. The Sudan Digital project, in
collaboration with the National Corporation for Antiquities and Museums (NCAM), aims to ensure the protection of these sites and objects through the creation of a digital heritage registry. The starting-point for this task is the archive of the German architect and building researcher Friedrich W. Hinkel, which contains valuable information on over 14,000 archaeological and historical sites in the Sudan. This archive has been digitised, with funding from the Qatar-Sudan Archaeological Project between 2014 and 2016 and from the Cultural Preservation Programme of the Federal Foreign Office since 2016.
by Dr. Solveig Lawrenz
Important remnants of a number of cultures which enjoyed constant exchange with the Egyptian and Mediterranean civilisations, each side influencing the other, are to be found at a host of archaeological sites in the Sudan. These sites include such monumental structures as the pyramids of Meroë, Jebel Barkal, El- Kurru and Nuri, as well as many temples and fortresses. The Sudan's archaeological heritage has been the subject of international research projects since the 19th century. The construction of the Aswan High Dam and the filling of Lake Nasser in the 1960s resulted in a more intensive approach to the scientific and academic study of the material culture, which had to be protected in the north of the country by means of emergency excavations and the relocation of monuments to avoid the risk of destruction through flooding.
The Egyptian influence is clearly visible especially at ancient sites on the Nile such as Jebel Barkal | Foto: DAI/Friedrich Hinkel.
The East German architect and building researcher Friedrich W. Hinkel was in charge of the complex process of moving the monuments. Working for the Sudan's Archaeological Service, Dr Hinkel managed the protection and conservation of the country's cultural heritage sites for several decades. In the course of this work, he produced a comprehensive private research archive, which passed to the German Archaeological Institute (DAI) upon his death in 2007.
Comprising over 34,000 negatives, more than 20,000 index cards, 12,000 slides, over 4000 drawings, 500 topographical maps and hundreds of files, the Hinkel archive is the world's largest private research archive on the ancient Sudan. The digitisation of the archive, which began in 2014 with funding from the Qatar-Sudan Archaeological Project (QSAP) and concluded in 2016 with financial support from the Federal Foreign Office, brought to light information on more than 14,000 ancient sites in the Sudan, which has been entered into iDAI.welt., by topographical category. Since 2014, on the basis of the newly discovered data from the Hinkel archive, an intensive exchange has evolved with the National Corporation for Antiquities and Museums (NCAM). This produced the idea of creating a heritage registry for the Sudan based on the data from the Hinkel archive. In 2017, the Sudan Digital project took the first steps towards developing such a registry.
Friedrich Hinkel at work in his so-ralled rest house at Bagrawiya| Foto: DAI/Annelise Hinkel.
In July/August that year, eight Sudanese colleagues and another six specialists from Tunisia and Palestine attended a summer school on data curation at the German Archaeological Institute in Berlin organised in cooperation with the Arab League Educational, Cultural and Scientific Organization (ALECSO). The summer school focused on providing basic skills relating to analogue and digital data maintenance and management, the handling of nitrate negatives and the elaboration of guidelines for the long-term archiving of digital data. This laid the foundations for the heritage registry.
The archive material documents the work of the Sudanese antiuities authorities since the early 20th century | Foto: DAI/Martina Düntzer.
The knowledge and skills acquired at the summer school were immediately put into practice in Khartoum. In a joint project by the DAI and NCAM, important historical and scientific archive material belonging to the Sudanese antiquities authority was localised, cleaned, registered and transferred to the newly created archive. This produced an initial rough idea of thousands of drawings and plans of various ancient Sudanese sites and hundreds of portfolios comprising scientific documentation from the early 20th century onwards which could then be prepared for use in the heritage registry.
In a second stage starting in autumn 2018, a digital heritage registry adapted to NCAM's needs is to be created using the iDAI.field open source software, and the data from the Hinkel archive will be made available to the local antiquities authority on a separate server. The registry is intended to help ensure the long-term conservation
of the Sudan's cultural heritage and to aid the work of the Sudanese antiquities authorities. It will be a combination
of the processed data from the Friedrich W. Hinkel archive, stringent data structures for additional archaeological sites and supplementary data including both old and new data from the NCAM archive.
Title image: The pyramids of Meroe | Foto: DAI/Friedrich Hinkel.
Promoted by: Cultural Preservation Programme of The Federal Foreign Office
Source: Worlds of Culture – Foreign Policy for Cultural Heritage
Worlds of Culture. Foreign Policy for Cultural Heritage. 2018
Categories General category Post navigation
Iraqi-German Expert Forum On Cultural Heritage (Iraq)
Stone Conservation at Nanpaya Temple (Myanmar)


The CD benefits the Mother Jones Monument over her grave, recently restored with the fund-raising efforts of the Illinois AFL-CIO.
Most of the 35 songs here are in a country or folk vein, some very traditional, others more contemporary in their sound.
Joe Hill has never died" -- if you are of a certain generation, you remember Woodstock and Joan Baez singing an "organizing song" about some guy named Joe Hill.
Joe Hill was real -- a Swedish immigrant who became a vocal union organizer, executed by Utah in 1915, charged with a murder which many claim was trumped up.
Joe Hill wrote songs and parodies, drew cartoons, and trumpeted the radical early 20th century labor union, the Industrial Workers of the World (IWW).


text:
Lecture: Christopher Benfey, "Starting from Zero at Black Mountain and Harvard: Albers, Gropius, and America (1950)"
March/11,/2014
Stubbins (Room 112), Gund Hall, 48 Quincy Street, Cambridge MA
This talk will explore one aesthetic strand of the diaspora from the Bauhaus, after its forced closure in Berlin in 1933. Anni and Josef Albers, Walter Gropius, and other artist-teachers came to America armed with the ideas of John Dewey, among others, finding new settings and provocations for their work at innovative, recently founded American institutions such as Black Mountain College and the Harvard Graduate School of Design. A collaborative brick-and-masonry installation in Harvard's Harkness Commons, which Josef Albers titled significantly, "America," provides a microcosm of ideas and practice in a New World in which artists, as Anni Albers put it, were forced to "start from zero." Christopher Benfey is Andrew W. Mellon professor of English at Mount Holyoke College, Amherst.
Part of the series Then and Now; Walter Gropius and the Lineage of the Bauhaus, sponsored by the Breger Fund in honor of Walter Gropius.
Anyone requiring accessibility accommodations should contact the events office two weeks in advance at 617 496 2414 or events@gsd.harvard.edu


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