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Right Here, Right Now: Site Responsive Theatre
June 3, 2013 | in Features | by Dorothy Max Prior | No Comments
Tags: Dead Good Guides, Dorothy's Shoes, Grid Iron, Grist to the Mill, LUME Teatro, Peter Reder, Ragroof Theatre, Teatro de Vertigem, Welfare State International, Wrights & Sites
As I write (April 2013), the new dreamthinkspeak show In the Beginning was the End has just finished a run at Somerset House; Look Left Look Right (who won a Total Theatre Award for their show You Once Said Yes, set on the streets and public spaces of Edinburgh) open their latest one-on-one show Above and Beyond, commissioned for the Corinthia Hotel; and booking is opening for the new Punchdrunk show, The Drowned Man: A Hollywood Fable, which is based on Büchner's Woyzeck.
Site-responsive theatre is everywhere these days – in some ways one of the newer strands of contemporary theatre, in other ways one of the oldest forms, perhaps as old as theatre itself.
In recent decades, the form has moved from being mostly associated with Artaudian theatre-of-the-senses – highly physical, visual and visceral fantasias set in warehouses or abandoned industrial sites, as practised in their very different ways by Catalan trailblazers La Fura dels Baus and the legendary Dutch company Dogtroep – to embrace all manner of theatrical forms, from the Mis-Guides and mythogeographic drifts of Wrights & Sites through to the issue-based drama of acclaimed Scottish production Roadkill (which took its audience on a journey in the company of a trafficked girl held captive in a flat on a Glasgow housing estate), via the many and various off-stage theatrical experiments of the Shunt collective.
Having recently led a five-day course at LUME Teatro (Brazil) called Bem Aqui, Bem Agora – Right Here, Right Now / Site-Responsive Theatre and Performance (27 February to 3 March 2013), I felt that right here and now would be a good opportunity to reprise my long-standing relationship to this area of work; to muse on some of the common terminology used; and to reflect on the way that the course gave me (as well as the students, hopefully) good insights into the real joys and challenges of this area of performance practice.
You'll note that I say 'site-responsive', which has been the preferred term in recent years, rather than 'site-specific'. There is a lot more to be said about that, but not quite yet! First to say is that site-responsive theatre and outdoor performance are dear to my heart, both as an artist/teacher and as a commentator on other's work.
Ragroof Theatre's Bridges. Photo by Rosie Powell
As an artist, working with Ragroof Theatre, Grist to the Mill, Dorothy's Shoes, and other companies I more often than not create work that is sited outside regular theatre buildings. Some of it could be called 'site-responsive theatre' and some could be called 'street theatre' and some could be called 'performance in public spaces'. Some is harder to categorise… It's hard to say precisely when and how my decision to work outside of regular theatre spaces got made, it just seemed to happen – but reflecting back on how things evolved, it is surely a lot to do with a desire to make work for people who don't often go to the theatre; to really enjoy the kind of audience relationships that occur in public spaces; and to create truly 3D theatre and performance work that isn't just a framed image viewed from the fixed point of a theatre seat.
This work is extremely varied, although what it always has at its heart is an interest in exploring the relationship with audience and site. With Ragroof Theatre, I have, over the past decade, helped to create large-scale projects set in car parks and dilapidated buildings (what we could see as the now-traditional arena for 'site-responsive' work). One of these was Bridges, a piece about migration and transience and a search for home; another was a 'site-generic' (more on terminology later – yes it's coming soon!) show made for dancehalls and bandstands; and yet another was a show about boxing (set in boxing clubs, but also performed with its own touring boxing ring). Most recently, our Youth Club was set in a working building – a three-storied youth centre with a massive skateboard park on the top floor, a dance studio, a gymnasium, and various other arts and sports rooms. We found that trying to work in an occupied building is very different to working in an empty warehouse or car park – both have their challenges and rewards but I'd say that the problems of clearing rubble and rotting rubbish from an abandoned warehouse are nothing compared to trying to plot routes and devise scenes round a busy youth centre you have very limited access to at only some times of the day or night!
With Grist to the Mill, I recently (2012) co-created a show commissioned by Dip Your Toe for Brighton Fringe called Kissing the Gunner's Daughter set inside a facsimile Victorian 'bathing machine' – a kind of beach hut on wheels. Using a soundscape of spoken word and composed music, and a visual landscape of puppetry, animation, and installation, we created an installation/performance peepshow using nautical folk tales and fairytales as our starting point. So, a work about the sea set in hut on a beach, with the sounds of both live and pre-recorded seagulls and waves and boats causing a very lovely aural confusion!
Dorothy's Shoes is the vehicle for my own personal performance/art projects with invited collaborators, which includes work indoors and out. Behind the Moon, Beyond the Rain was a commission for Anglo-Brazilian festival BR-116 in collaboration with LIFT, made for the buses, trains and public spaces of East London; and Flying Down to Rio was an interactive performance and installation work set in a dancehall, co-commissioned by Sacred Festival at Chelsea Theatre, London, and Entre_Lugares at Sergio Porto in Rio. The former operated in public space, mostly on public transport, so an enormous number of variables were had a bearing on the performance. Who, for example, could have predicted the moment in which a fairytale princess on rollerblades got chased along the glass bridge of West Ham tube station by a bunch of coppers? The latter was a far more controlled and staged event, in which the two commissioning theatres had the nooks and crannies of their space transformed into shrines and film booths, or became the site for a carnival in a cupboard… Yet although an indoor site is far more 'controllable', the enormous variable in a show in which the audience can roam free under the twinkling fairy lights (rather than be strapped into seats in the darkness) is the audience – and careful thought has to go into the management of that audience in the space.
So, that's a few examples from my own experience of how site can become a major character in the show. Now, onto that niggling matter of definitions within the umbrella term 'site-responsive', with a few examples from recent work seen…
Let me start by letting loose a bee from my bonnet: the term 'site-specific' is used more and more often these days, yet very little of what is presented is truly site-specific. The clue is in the name: a site-specific work is specific to that site and no other. It cannot tour, it was created right here, and it belongs right here and now. No other time or place is possible.
A good example was seen in Sao Paulo, Brazil, where I spent a few days in January before moving onto LUME's headquarters in Campinas. Teatro de Vertigem's Bom Retiro 958 Metros is a truly site-specific theatre show. It is a response to a kilometre-long stretch in Sao Paulo, an area called Bom Retiro, which has traditionally been the core of the dressmaking and tailoring industries. Teatro de Vertigem followed an extensive process of interviewing residents, street-dwellers and immigrants to the area (and like many inner city areas worldwide, this area has seen waves of immigrants over the years – traditionally a Jewish area, the main 'newly immigrant' group here now are the Koreans). The reminiscence work has gone hand-in-hand with a process of historical research, and a (psycho) geographic and choreographic investigation of the chosen site (which includes narrow streets, a shopping mall, a busy crossroads, and an abandoned clothing warehouse), and these sites, together with the specific stories of inhabitants past and present (of seamstresses and consumers; street-dwellers and landlords; warehouse skivvies and fashion mannequins) are what makes the piece what it is.
Teatro de Vertigem's Bom Retiro, Sao Paulo, Brazil
So, there is some work that is truly 'specific' to its site, but a great deal of performance work presented as 'site-specific' is in fact 'site-generic' (a term coined by UK company Wrights & Sites, who create work of very many different sorts, usually outdoors, often site-specific). By 'site-generic' we mean that the work is made for a particular genre or type of site, but it doesn't necessarily have to live in that site – it could tour to another similar site. Examples of sites used by artists are many and various, but include: shops, hotels, bars, ballrooms, parks, churches, graveyards, bus stations, trains, kitchens, bathrooms, playgrounds, supermarkets… Of course some work in these sorts of sites is 'specific' to that site. Or perhaps the core of the show is 'generic' but some changes are made each time it is presented in a new site to make it 'specific' to that site. Examples of artists who work in this way includeGrid Iron, who have made shows in department stores, airports, bars, children's playgrounds and museums amongst other sites. Stalwarts of the Edinburgh Fringe, their new show, Leaving Planet Earth, will instead be part of Edinburgh International Festival 2013.
Then there's a whole body of work we could label 'community responsive' – site-sensitive work that is as interested in the people that use a particular site as it is in the site itself: the place, its use, and the people who use it are all interlinked, and it is this that is of interest to the theatre-maker/artist. It may (as in the case of Bom Retiro, cited above), be a fully site-specific work about one particular community in one geographic location, and thus non-tourable – or it could be an ongoing project recreated in numerous different communities with shared factors or interests. Often in community responsive / site-sensitive work, the line between 'professional' and 'community' art is deliberately blurred: the work is led by professional artists, but the engagement of the community that is being worked with is crucial, and their active involvement key to the success of the project. An artist who immediately springs to mind to cite here is Keith Khan, an example of someone who, both with Moti Roti and as a solo artist, has taken the notion of art within a community to its highest levels.
Linked to the above, historical and research-based work extends the interest from the current users of the site to its historic users. A very common example of this strand of work will be focused on a well-known historic event, series of events, or crime that took place in a certain site. Often the historical/research approach will combine with an interplay with other, imaginative elements in the creation of performance or installation – see, for example, Peter Reder's work, including his latest piece The Contents of a House, presented atBrighton Festival 2013. (Brighton Festival have shown a longstanding commitment to supporting and commissioning site-responsive work, with past successes including pieces by Dreamthinkspeak, Frantic Assembly, and Fevered Sleep.)
Moving into more nebulous areas of performance/art: the 'psychogeography' movement, which has close ideological links to the French Situationist movement, sets out to reclaim the streets with artistic intention, using 'drifting' (walking with an open heart and mind), and conscious walking / meditative walks – mentally remapping and redesigning the environment. In the UK artists such as writer Iain Sinclair, photographer Mark Powers, artist Janet Cardiff, and theatre-makers Wrights & Sites (who describe themselves as 'a group of artist-researchers with a special relationship to site, city/landscape and walking'), have been at the heart of this movement.
Mythogeography, a term coined by Phil Smith of Wrights & Sites, takes the psychogeographic approach deeper, proposing a multi-layered investigation of the streets, shopping malls, rivers and fields around us, taking in archaeology, anthropology, history, geography, sociology, and of course mythology. Many of the exercises I used in the Bem Aqui, Bem Agora workshop – themed daily walks focusing on, say, touch or smell, or what's above in the skies, or what's below at street level; creating portraits of a street; using maps to inspire memories of places never visited – were inspired by or adapted from the works of Phil Smith and Wrights & Sites, and in particular by their marvellous Mis-Guides (to Exeter and Everywhere).
Abre Alas outdoor performance by LUME Teatro, February 2013
Another area of work that I've become increasingly interested in over the years is the creation of ritual performance and Rites of Passage ceremonies. Welfare State International were for many decades pioneers of site-responsive performance. Over the years, the company moved from creating large-scale outdoor works to focusing on smaller-scale work, and developing models for alternative Rites of Passage to mark key moments in life such as marriage or the birth of a child. Such work blurs the boundaries between 'real life' and 'art'. Welfare State co-founders John Fox and Sue Gill have since formed Dead Good Guides, 'an artist-led company, seeking a role for art that weaves it more fully into the fabric of our lives'. Dead Good Guides focuses on rites of passage enactment and training, and on environmental art (by which I mean art that not only has the natural environment and the human relation to it as its subject, but which also places that art within the environment). One of the key elements of the Dead Good Guides rites of passage work is the creation of a new 'sacred art' that exists outside of conventional religious practice.
Within the Right Here, Right Now workshop, I included exercises on shrine-building and the creation of mini 'instant ceremonies' for a new (non) religion that were inspired by work that I had done in the past with Sue Gill, John Fox and Gilly Adams of Dead Good Guides. It was a delight to meet the various gods and goddesses of the night garden that my dear students unearthed in their work… During our afternoon sessions we had outings to the lovely Praca de Coco, whose trees and plants and pathways presented all sorts of opportunities to explore the possibilities of installation and durational performance work. A nod here in the direction of environmental art companyRed Earth, whose work sits between visual arts/sculpture, durational installation and performance.
From the rural to the urban: it would be a mistake to forget that the city is an environment too. I'll just mention in passing the possibilities of parkour, street dance and circus/aerial dance – all of which interact with the urban environment – and contain myself to reflecting on how street theatre and site-responsive theatre are placed in relation to each other. Street theatre – unless it is just a regular play set outdoors on a static stage, which is not true street theatre, just theatre placed outdoors – is inevitably site-sensitive, as it is not possible to perform in a public space without being responsive in some way to the environment in which the performer is working. But street theatre is usually less concerned with site per se as it is with audience, and that relationship to audience is the key defining characteristic of 'street theatre' – it takes place in a public space (street, beach, bar, hospital, shopping mall), it is unticketed and at no cost to the audience, and the audience is free to walk away if they wish.
Abre Alas rehearsal, LUME Teatro February 2013
The performer/audience relationship is of course always crucial in theatre, but in street theatre the artist has no stage to define their performance area, no pre-existing division between performance space and audience space, and no 'fourth wall' to hide behind. The crossover between site-responsive theatre and street theatre occurs when the performance takes place in public spaces. Some forms of street theatre / performance are of course more fully site-responsive than others, and some street theatre work is site-specific – but this isn't a defining characteristic. In our workshop, we crossed over into more familiar street theatre territory when we developed a city maps exercise into an ensemble piece set in a petrol station and neighbouring streets.
This last example was one of many versions of 'transposition' that we used on the course. By which I mean the process of taking material inspired by a response to one site and siting it elsewhere. Of course, in the making of theatre, we do this all the time – take pre-existing texts or memories or imaginative ideas and transpose them to the theatre or rehearsal room. But the key difference here is the choice to transpose these elements into a new 'non-theatre' site in order to enjoy the ambivalence of the two placed together. Another example from the Bem Aqui, Bem Agora workshop: we can take memories of our home, images of our home, songs from our homeland and we can create a new 'home' elsewhere (in this case, in the LUME house or garden) and explore how these two 'homes' fit together.
One last nod in the direction of Wrights & Sites and an idea mooted in the Mis-Guides: 'imaginary site' work is the natural extension of the notion of transposition. In this case, we are allowing our imaginations to run wild in our response to a site: perhaps we see angels in the sky, or spirits in the trees. Or perhaps we imagine ourselves to be a stray dog seeking out the best porch to shelter under – as we did in one of the most moving exercises on the workshop, which we dubbed 'Simi's Dog' in honour of the dog who took up residence outside LUME actor Carlos Simioni's house. Framed within a silent city walk after dark, the street in which LUME are based was brought to life by a series of beautifully performed miniature performance pieces in which drunks, strays, cats, birds, wandering spirits and homeless waifs emerged from the shadows to tell their stories in words, pictures, and physical actions. Each person used the site they had chosen artfully. Pavement stones and steps, doorways and gates, parked cars and moving people, trees and bushes, stacks of wood – each was integrated beautifully with the chosen performance mode. One of the highlights of a very fruitful week of explorations of ways we can respond to a given site.
Bem Aqui, Bem Agora photos from showings of installation work in progress in the Praca de Coco, Barao Geraldo, March 2013.
Bem Aqui, Bem Agora – Right Here, Right Now – Site-Responsive Theatre and Performance, led by Dorothy Max Prior, took place 27 February to 3 March 2013 as part of LUME Teatro's February workshop season and Terra LUME programme, at the company's base in Barao Geraldo, Campinas SP, Brazil.
LUME Teatro are supported by and affiliated with UNICAMP (University of Campinas).
Dorothy Max Prior is the editor of Total Theatre Magazine, and is also a performer, writer, dramaturg and choreographer working in theatre, dance, live art and street arts. Under her alter-ego Dorothy's Shoes she creates performance work that both honours and usurps the traditions of popular dance and theatre, and plays with the relationship between performer and audience. Much of her work is sited in public spaces or in venues other than regular theatres. She is also co-director of street theatre/dance company The Ragroof Players.
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Here's the Story Behind GoodSport's Milk-Based Sports Drink, Which Started as a Secret Between a Mother and Her Son
By Jabari Young, CNBC	• Published June 19, 2021 • Updated on June 19, 2021 at 10:12 am
GoodSport founder Michelle McBride told CNBC the company, launched in February, will seek up to $15 million in its funding round.
GoodSport is a Chicago-based company that makes a sports hydration drink made from milk elements. Former Major League Baseball player Ken Griffey Jr. and former San Francisco 49ers icon Ronnie Lott are investors in the company.
It started as a secret between Michelle McBride, her son, Beau, and the business idea derived from drinking milk.
McBride, 48, is the founder of GoodSport, a sports hydration drink made from milk elements. The beverage company launched in February, and after a solid start, GoodSport will seek up to $15 million in its funding round.
In an interview with CNBC, McBride said her product is a "truly effective hydration" sports beverage made from cow's milk. Early investors of the company include Major League Baseball legend Ken Griffey Jr. and former San Francisco 49ers icon Ronnie Lott.
"I wasn't trying to do something cool with milk," McBride said. "I made it from milk because it's the vehicle that allows us to provide superior hydration because it's packed with electrolytes, vitamins, and carbohydrates. There's not anything else like it."
The chocolate milk theory
McBride, a former attorney, said she searched for sports drinks that didn't include artificial ingredients. Her son Beau is a young athlete who's concerned about his hydration while playing baseball in high temperatures. McBride wanted to be cautious. After failing to find a sports drink they both liked, McBride researched and found chocolate milk helps hydration in athletes. So she started giving it to Beau after baseball practice.
"When I did some research, I learned that it was packed with electrolytes," McBride said. "I didn't know, and not a lot of people do know, because that's not what people focus on when it comes to milk."
Source: Good Sport
Good Sport founder Michelle McBride
While chocolate milk may be a good choice, it still didn't meet other expectations.
The protein in milk isn't good while playing sports. It sits in an athlete's stomach and can cause discomfort during exercise. And it's not very refreshing to drink milk after sports, even if it helps with hydration.
Returning from Beau's basketball practice, McBride pitched the idea of creating a sports drink –a more refreshing version of milk. Beau approved, and the two agreed to keep it a secret.
"I said, 'Don't tell anyone,'" McBride recalled, adding that even her husband, Jim, wasn't initially in on the secret for months. "We called it, 'Sports Milk.'"
Eventually, that name became GoodSport.
McBride quit her job at a non-profit organization and started research and development on the drink. GoodSport ultrafilters elements from milk, removing remaining proteins after farmers' initial filtering. Essentially, it's the part of milk that farmers don't need. McBride labels it the "goodness of milk."
"What you're left with is a clear part of the milk that is packed with electrolytes, vitamins, and the right balance of carbohydrates that we can use to make a sports drink," she said. "I didn't start in the dairy industry," McBride added. "I was a true consumer in need and wanted a natural sports drink that provided truly effective hydration. It just so happened that milk made that possible."
The secret's out
McBride collaborated with the former director of the Gatorade Sports Science Institute, Dr. Bob Murray, and the Center for Dairy Research at the University of Wisconsin to develop GoodSport. The company is now based in Chicago and wants to expand.
GoodSports has six employees, is distributed locally, and launched on Amazon.com in March. There are currently four flavors available, and a 12-pack of GoodSport, at 16.9 ounces, is priced at $34.99 on the website. McBride didn't provide financials around the company but said sales are "great so far" and that "the feedback from consumers has been overwhelmingly positive."
McBride said retail stores expressed "enthusiasm" about GoodSport, adding "they love the idea and the taste."
She sent CNBC samples of the product. A noticeable difference: GoodSport tastes less salty compared to other top sports beverages. And it doesn't feel like you're drinking milk. It's refreshing and lactose-free.
GoodSport wants to expand to Midwest states and use the new capital to launch additional flavors and fund "upfront costs such as production, distribution, and marketing."
McBride said Griffey Jr. and Lott are good partners, noting the former athletes "understand the product, the size of the market and our fit within it. But they align with and embrace the ethos of the brand."
Jason Miller | Getty Images
Former MLB star Ken Griffey Jr. talks with players from the dugout of the National League team during the fourth inning against the American league team during the All-Stars Futures Game at Progressive Field on July 07, 2019 in Cleveland, Ohio.
Learning from the past
The sports beverage market is projected to reach $36 billion by 2028, according to global research firm Fortune Business Insights.
The U.S. market is dominated by Pepsi-owned Gatorade and Coca-Cola products. But, athletes, including National Basketball Association star Giannis Antetokounmpo and NFL star Aaron Donald (Ready Nutrition), have joined the space, too. So, McBride knows the field is competitive. She's using her experience from practicing law to navigate the sector.
"A legal background gives you a way of looking at things and having the perspective to identify issues that need to be resolved and then coming up with plans to resolve them," McBride said.
"I'm keenly aware of the fact that there aren't many female sports drink founders," she added. "It's a tough category, but the whole process itself – turning milk into a sports drink – was tough. That's not going to deter me."
At the moment, GoodSport has no plans to attempt a vegan line with popular oat milk products. McBride isn't looking to compete with the top brands, either. Launching nationally and carving out her place in the sports beverage industry will suffice.
"Even if we have a small slice of it (market share), we'll have a very successful business," McBride said. "We'll hit our numbers. We'll be a great investment opportunity."
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What Should You Be Using: 9mm or .357 Magnum?
Great Question: If You Notice, Should You Tell Someone That They're Printing?
HARRISBURG, ARKANSAS — A man who had escaped custody from police was on the run, and he made the decision to hide in someone's garbage can. He got part of it right, because he's trash, but he got one pig part wrong; the owner of the garbage can was armed and ready and willing to hold him at gunpoint for police.
Homeowner Dale Smith, got up Wednesday morning to see his wife off to work and noticed his trash can had been moved. Smith, a former Marine said he immediately knew something was wrong.
"I put my hand on it and raised it and I see the guy in there," said Smith.
According to police, 31-year-old Jonathan Ware, a suspect who escaped police custody and was facing a felony charge of second-degree battery was inside of Smith's trash can.
Smith called 911 and told them what was happening, and had some words for the criminal as well. "I told him to stay in the can. Don't get out," said Smith.
Ware is said to have a lengthy criminal past, which includes escape.
Let's hope this is the last time that he's able to evade police but if it's not, let's hope that he chooses the wrong area again to hunker down until he can make his getaway.


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Game Change Review
Posted on March 15, 2012 By John Gilpatrick 2012, Movie Reviews
(3.5 STARS)
Those on the political Right will go to their graves arguing that Game Change is just a crock of liberal lies. Whatever. That's irrelevant, as far as I'm concerned. True or false, this is an incredibly juicy and engaging piece of work, and it really does ring true, whatever the facts are.
Everyone knows the story of the 2008 presidential campaign by now. It was a long, laborious process born from the ashes of eight failed years of "leadership" from George W. Bush and Dick Cheney. What it ultimately gave us was a new, Democratic administration. A potentially unwanted byproduct (depending on where your views fall on the political spectrum) was the newfound power and influence granted to the now-former Alaskan governor, Sarah Palin.
Game Change begins with Senator John McCain (Ed Harris) accepting the Republican nomination for President. Behind the scenes, he and his team are nervous. The Democratic nominee, Barack Obama, is a genuine rock star, and his top advisor, Steven Schmidt (Woody Harrelson) believes the best way to combat this is to fight fire with fire. So they find a running mate who might not be qualified, per se, but has the potential to be a bigger star than even Obama—Palin (Julianne Moore).
Though she's squarely conservative, has executive experience, and gives a killer stump speech, there are doubts—especially from the campaign's communications director, Nicolle Wallace (Sarah Paulson)—about Palin's foreign policy expertise. This fear proves true when Palin bombs a series of highly publicized interviews. And her confidence is suddenly killed, but can she get it back together in time to help McCain win? Or will she continue to spiral downward?
We, of course, already know the answer (a little of both, I guess), but the film plays out like a very believable piece of political fiction. Matt Damon famously quipped during the '08 election that Palin's story was like a bad Disney movie about a hockey mom thrust into the White House. Game Change and its director, Jay Roach, are kinder to Palin than that. She seems quite idealistic during the early stages of the campaign, and the better she does, the more confident she becomes. Her fatal flaw, however, is her inability to admit her mistakes and inadequacies. When it comes time to prepare for an interview, she fluffs it off. When the interview is a disaster, she blames those around her. And when she inevitably rebounds, it's completely her own doing. Take credit for the positives, blame others for the negatives: That's her M.O. And as frustrating as it is in real life, it helps make Game Change fascinating to watch.
Palin's great arc is made all the better thanks to Julianne Moore's brilliant performance. Had the film debuted in theaters, rather than HBO, she'd be a shoo-in for an Oscar nomination. We pity the woman as often as we fear her and the thought that she could end up in the White House. Woody Harrelson is relatively low-key, but his performance is as effective as Moore's. Schmidt essentially makes a deal with the devil in this case—advising his candidate to make a political decision, rather than a moral one. But his rationale is fair: Tis better to lose going for the win than come up short and think you could have done more.
Game Change is accessible enough that politi-phobes shouldn't be scared off. It's about more than just an election. It's a classic Greek tragedy about hubris and selling out ones own values. Like The Ides of March, the film isn't exactly a revelation, but it's well-made and features outstanding performances. If you don't get HBO, be sure to catch it on DVD. It's as close to a must-see as anything else we've seen this year.
2012, 3.5 Stars, Danny Strong, Ed Harris, Game Change, HBO Films, Jay Roach, Jim Denault, Julianne Moore, Lucia Zucchetti, Peter MacNicol, Sarah Paulson, The Ides of March, Theodore Shapiro, Woody Harrelson
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John Gilpatrick has been writing about film since 2009. He holds a degree in journalism from Lehigh University and works as a web producer and reporter for MensHealth.com. Read more...
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Our studio has ample space in each of our restrooms to allow privacy for changing. We also have plenty of cubby space where you can store your belongings. Please be aware that the cubbies are in the reception area and are not lockable. You may prefer to leave your valuables at home. The studio is locked during class times, so your belongings will be secure. RSY is not responsible for lost or stolen items.


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There's Future for Self publishing in Nigeria.
Description: This novel is a classic legend of a young hero's magical journey through a fantasy world where he is tested with incredible challenges that can only stem from the soul of the author's genuine African culture and vivid imagination. Being falsely accused of a crime, Nihu, a tribal African boy, is banished to the Lonely Forest. In order to regain his freedom, he must find a way to defeat the unbeatable and front challenges that draw analogies to our own realities. Like The Lord of the Rings, this epic high fantasy novel carries the reader to another time and place. Nihu gets sucked into a world inside of a stone, visits a powerful ruler in an underwater city, and befriends a group of refugees. The Adventures of Nihu will not only allow an audience of all ages to escape their own realities, but draw them into a world of high hopes, powers, and unimaginable desires.
" Beverly wrote: "I like that "We are who we choose to be." So true. Thanks for the reminder.
Award-winning author of stories for children and tee Beverly wrote: "I like that "We are who we choose to be." So true. Thanks for the reminder.
Award-winning author of stories for children and teens."
Thank you, Beverly. ...more "
We'd love your help. Let us know what's wrong with this preview of The City Heroes and Other Stories from the Heart of Africa by Omoruyi Uwuigiaren.
We'd love your help. Let us know what's wrong with this preview of Bedtime Stories for Kids by Uncle Amon.
Anyone with a creative mind,who intends to be a writer or who already is a writer in Nigeria is free to join this group.


When editing data in ComparaLex, it would be really nice if we could freeze the first 4 columns (like in an excel spreadsheet) so that the list number, gloss and form are always available on a narrower screen (mine is currently 1680 x 1050 and still not all the data fits in the window). The other fields move against those first four fields. Does that make sense? Talk to Larry if it doesn't.
Urgent, but last on the urgent list and only if it does not require major rework.
I think this would be very valuable for most users because it is very difficult to tell which entry you are looking at if the data is off the side of the screen. On a similar note, could we add a vertical scroll bar to the left side of the table because the table's scroll bar is currently off the right side of the page with too many columns.


The Govenaires Drum and Bugle Corps is once again taking its unique style of music overseas, this time to Austria and Germany in June 2019.
Govenaires International – the globe-trekking branch of the Govenaires Performing Arts Association (GPAA) – will take part on a nine-day trip that will span Frankfurt to Vienna.
The group will perform throughout Austria, including a concert in the village of Obermarkersdorf and a parade performance at the Röschitz Musikfest. The performance in Röschitz is a part of a three-day festival showcasing competitive brass bands from all over Austria.
We are thrilled to have the opportunity to experience the significant musical culture of Austria first-hand.
The idea for the trip started with a chance meeting in 2016, during the Govenaires' previous international trip to China for the Shanghai Tourism Festival. The Musikkapelle Obermarkersdorf band from Austria and the Govenaires both performed at the festival, and quickly formed a group-wide friendship.
The Govenaires International contingent started rehearsals in November and continues to meet monthly. On June 8, the corps will give a dress rehearsal of their full international production at the Riverfest Parade in Windom, MN.
Even though rehearsals are underway, there are still openings in the brass section, specifically trumpet, mellophone, and baritone. If you are interested, please reach out at join@govenaires.org.
· Musikkapelle Obermarkersdorf for connecting us to the parade, helping with housing arrangements, and their overall guidance during the planning process.
· Heartliner Drum and Bugle Corps from Ludwigshafen, Germany for assisting us with logistics and equipment.
· Mapex Drums and Majestic Percussion for continued outstanding service to our organization.
· Peter and Cindy Sanders for their support in preparations for departure.
· Our fans all over the world. You are the reason we do what we do!
For more information on the corps and updates on our 2019 trip, contact us at facebook.com/govenaires.
Older PostCome to Our Home Show — The Drum Corps Expo — on August 18!


With a machine-washable chef jacket and hat, get ready for some yummy treats when your little chef is in the kitchen. This set is complete with a set of measuring spoons, three essential wooden utensils, an oven mitt, and a name tag for personalizing.
Melissa & Doug® Chef Role Play Costume Set is rated 5.0 out of 5 by 17.
Rated 5 out of 5 by Sharon from Good quality My Grandson loved it!
Rated 5 out of 5 by Judith from I would definitely purchase this item again. This item is well made has excellent parts to it. The measuring spoons were a big hit, as well as the hat. I have not seen our great granddaughter playing in other than the day of her party, but I feel certain that she will spend time playing with the items that are included.
Rated 5 out of 5 by Susan from Can't wait to see their faces! Bought this for my grandsons because their Dad cooks too and they are getting a chef kitchen for Christmas. Packaged so nicely too!
Rated 5 out of 5 by Karen from Strongly recommend A very impressive dress up outfit. Should last through many many meals!
Rated 5 out of 5 by Judith from I would buy this again. Great quality! Kids love them!
Rated 5 out of 5 by Amanda from It comes with an oven mit! So cute!!!


text:
Q: ASP.NET: produce an error message when a non-numeric value is entered in a textbox? If a user enters a non-numeric value into a TextBox and presses a Button, I want to show an error message on a Label.
How can I achieve this?

A: If you're working with ASP.NET webforms, perhaps you have some markup like this:
<asp:TextBox runat="server" ID="TextBox1" Text="Default Text!" />
<asp:Button ID="Button1" runat="server" Text="Click Me" OnClick="ChangeIt" />

<asp:Label ID="Label1" runat="server" Text="default!" />

Then your code-behind will need a method to handle the button's click event. This will cause a post-back.
protected void ChangeIt(Object sender,EventArgs e)
{
   // ensure that the value in the textbox is numbers only.
   // there are always questions here whether you care about
   // decimals, negative numbers, etc. Implement  it as you see fit.
   string userEnteredText = TextBox1.Text.Trim();
   long resultantNumber;

   if (!long.TryParse(userEnteredText, out resultantNumber))
   {
      Label1.Text = string.Format( "It looks like this isn't a number: '{0}'",
                    userEnteredText);
   }
}

A: Are you saying you want to allow numbers only?
<asp:TextBox runat="server" ID="TextBox1" />
<asp:RegularExpressionValidator runat="server" ID="RegularExpressionValidator1" ControlToValidate="TextBox1" ErrorMessage="Digits only, please" ValidationExpression="^\d+$" />

If this will allow numbers only, but will also allow you to skip the box entirely. If you want to make it required, add this:
<asp:RequiredFieldValidator runat="server" ID="RequiredFieldValidator1" ControlToValidate="TextBox1" ErrorMessage="Required" />

Update: If you would like to accept decimal values like "3.5" in addition to just "3", modify the ValidationExpression in the RegularExpressionValidator I supplied above to read "^\d+(\.\d+)?$"

A: Assuming you want to check whether the input is a number or a string (and display an error if the input is a string), you could do something like this using the int.TryParse function:
protected void Button1_Click(object sender, EventArgs e)
{
    int readValue;
    if (!int.TryParse(TextBox1.Text, out readValue))
        Label1.Text = "Error";
}

redpajama_set_name: RedPajamaStackExchange


text:
Returns a JSON-representation of the Buffer instance. `JSON.stringify`
implicitly calls this function when stringifying a Buffer instance.

Example:

    var buf = new Buffer('test');
    var json = JSON.stringify(buf);

    console.log(json);
    // '{"type":"Buffer","data":[116,101,115,116]}'

    var copy = JSON.parse(json, function(key, value) {
        return value && value.type === 'Buffer'
          ? new Buffer(value.data)
          : value;
      });

    console.log(copy);
    // <Buffer 74 65 73 74>

redpajama_set_name: RedPajamaGithub


text:
Q: .net Core Azure Active Directory How do you use active directory with .net core asp.net web api?
Preferably, with out a wizard as I manage my own user system.
I achieved this in regular .net, but the libraries don't work in .net core


i had hoped that, once the play was over, i'd be able to relax a bit and let my life get back to normal.
unfortunately, that just ain't happenin'.
thought i was gonna have the day today to write uninterrupted and then jake got sick. real sick. my poor little guy.
i don't have as many friends on myspace as mike wieringo does (we always love the artists more...) but i do have quite a few. some befriend me because of tellos. some because of my runs on spectacular or sensational spider-man. or impulse. or x-factor. many, i'm happy to say, are HUGE perhapanauts fans.
so below are some of the images that i've lifted (here without the artists permission) that i thought were cool or that moved me, that i might've used for a couple days as my desktop or sent along to craig and mike just to pass 'em on. if you dig 'em and wanna see more, i've included the names of the artists so you can google 'em, check out their websites and/or myspace pages.
again, i don't have their permission and i hope they don't get mad--i just really dig their stuff!
dean does this fun comic strip called "butterfly" about a superhero's sidekick's sidekick. check it!
daddy's girl by michael hussar.
my favorite calvin and hobbes ever!
going on a field trip with my nephew tomorrow so i'll post a "five on friday" on saturday.
maybe next week we can get back to normal!
Dean Trippe is awesome. He's got such a great, smooth style. Big things coming to that one someday soon.
Bill turned me on to Dean Trippe about a month back and I've been a fan of Joe Pekar's for a couple of years now.
Oh crap. Is Jake okay?
Yeah, how's Jake doing. I missed the "real sick" part of you post the first time I read it. I'll keep a good thought for the little guy.


Many people rely on their appliances to keep their homes and businesses running smoothly. But sometimes, even high-quality appliances can start to break down out of nowhere. If you have a name-brand appliance in need of repairs, turn to our team for help. At Robinson Appliance Service, we provide reliable, affordable branded appliance repair services for residential and commercial customers throughout Bloomington, IN.
At Robinson Appliance Service, our appliance repair professionals have the tools and skills to handle even the toughest of repairs. And because we're familiar with today's popular brands, we know what it takes to get appliances fixed when they start to malfunction. When you call on us, we'll arrive on the scene quickly to evaluate the problem and determine the best course of action for getting it resolved.


text:
Prog Sphere Showcase
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All posts tagged "Orchid"
OPETH Albums Ranked from Less Great to Great [REVISITED]
By Prog Sphere on December 15, 2017
With the release of new album in September 2019, Opeth have confirmed that they have been on the progressive streak ever since the release of...
ORCHID: "The Mouths Of Madness" Available For Streaming
By Niko Savić on April 10, 2013
San Francisco-based doom rockers ORCHID have released the title track of their upcoming album, "The Mouths Of Madness". Check it out below. "The Mouths Of Madness" will be released...
OPETH Discography Revisited
By Conor Fynes on June 6, 2012
As one of my favourite bands (and the band that got me into death metal in general,) I had listened to Opeth quite a bit...
Christian Peters (Samsara Blues Experiment)
By Niko Savić on December 4, 2011
I have to admit that picking out my fave records of the year 2011 was quite a hard task for me, even though it seems...
Confirmed bands for Roadburn 2012
By Niko Savić on November 23, 2011
Every year, people behind the Roadburn festival make this 5-day event (including Afterburner) being the festival of the festivals. No matter how 2011′s edition of...
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Transatlantic @London Forum, 12.03.2014.


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Terra Bloom is a fertilizer of bio-based mineral at high concentration, for use during the flowering phase of the plant. This liquid fertilizer provides fertilizer optimal for flowering. The product supports and stimulates the development of a solid foundation. Terra Bloom is suitable for any type of substrate and can be used in combination with all liquid fertilizers and additives.
Shake well before use. Use a maximum of 5 ml Terra Bloom per 1 litre of water (1:200). Use this fertilizer solution at every watering during the bloom phase.
Les provisions laid down in the standard NF U 42-004 advise against the use of this fertilizer to less than 0.95 kg/m3 of water and forbid it to more than 19 kg/m3 of water.
In case of correction of the water used with mineral acids or of alkaline-forming items, only use the products referred to and specified in the standards NF U 42-005 : 1994 and NF U 42-006 : 1994 made mandatory.
Do not tilt the product during transportation and keep away from the light. Storage temperature recommended : 0 - 30°C. Keep the container tightly closed. This product contains a chelating agent : keep away from fumière.
R 36/38 : irritating to eyes and skin.
Products may form crystals at low temperature : do not store below 0 °C.
Download the planning of culture 100% TERRA Grow Schedule for the recommendations regarding the use and dosage of the product.
Terra Bloom is a flowering fertilizer universal highly concentrated suitable for all types of soils and loams.
It guarantees a flowering optimal, prevents the phenomena of deficiency during the phase of flowering and ensures an optimal balance between the plant and fruiting. Terra Bloom contributes to the firmness of the structure of the final product, stimulates the vitality of plants and plays a preventive role against diseases and stress. The trace elements that it contains in the form of chelates guarantee optimal availability.
Do I need to check and adjust the pH value if I use Terra Bloom ?
In 90% of cases, Terra Bloom will adjust the value of the pH itself. However, as the quality of tap water is different everywhere, you should check if the pH value of your nutrient solution with Terra Bloom is between 6.0 and 6.5.
When can I start to use Terra Bloom ?
You can start to use Terra Bloom from the first day of the phase of flowering, unless the soil contains nutrients. If you grow using Growmix (contains fertilizer for three weeks), after a week of growth, you only have to start to give Terra Bloom after the second week of flowering. My value becomes very high if I combine Terra Bloom Green Sensation. How can I solve this problem? Green Sensation increases the value by more than 0.55 uS / cm if you add 1ml / liter. Solve by adding Green Sensation first, and then adding Terra Bloom until you reach the level THAT you want.
How long can I keep Terra Bloom after it has been mixed with water ?
Terra Bloom can be stored for four days after it has been mixed with water. Do monitor the pH value, as it will probably start to increase slowly. Make sure that none of the biological products have been mixed in the solution, because they can start soil after only 24 hours. Also, make sure the solution is maintained in movement (circulation pump) and the tank is clean before mixing the solution.
Can I combine Terra Bloom with Supermix soil organic ?
Supermix is an organic fertiliser from the online UNIVERSAL. Terra Bloom is part of the 100% TERRA grow style, and is a mineral nutrition. For best results, it is best to combine Supermix with products in the style of culture 100% natural. Supermix requires micro-organisms in the soil. These can be found in potting soils in the style of culture 100% natural. The mineral nutrition (such as Terra Bloom) is not beneficial for these micro-organisms, it combines less well with Supermix.


text:
EMSCRIPTEN_BINDINGS(Life) {
  emscripten::value_array<Cell>("Cell")
    .element(&Cell::first)
    .element(&Cell::second);

  emscripten::register_vector<Cell>("CellVector");

  emscripten::class_<Life>("Life")
    .constructor<std::vector<Cell>>()
    .function("step", &Life::step)
    .function("getAlive", &Life::getAlive);

  emscripten::function("parseCellList", &parseCellList);
}


text:
Q: jquery selector: how to focus on the next input in a table cell? I got a form where all textbox and select inputs are in different <td> in one <tr>.
The selection of the first <select> will decide which textboxes will be visible in the following <td>s. So I am to reload the whole <tr> ajaxly and then focus on the next <input>.
My current JavaScript:
var $nextAll = $('#ExpenseTypeId').closest('td').nextAll('td');

And then check if the <td> has an <input> inside. In a for loop, I detect which one is my next <input>, which will have focus.
But, is there an easy way to do that? I hope to have something like:
$('#ExpenseTypeId').closest('td').nextAll('td input').first().focus();

Obviously the nextAll('id input') does not work as supposed. How to write a correct selector?

A: The answer is provided by
$('#ExpenseTypeId').closest('td').nextAll('td').find("input:first").focus();

Another solution I find out now is to add :has() selector:
$('#ExpenseTypeId').closest('td').nextAll('td:has(input)').first().find('input').focus();


Have you ever experienced this: you're at a networking group. It's time for the intros and every business owner is to stand up and quickly share their name and what they do. Ugh.
Some people ramble on & on and spend 10 minutes pitching their products or service while everyone else tuned them out after 2 seconds because they're thinking about what they are going to say.
You don't want to be the one to ramble on & on but you can't think of exactly what you should say.
Yes, the unavoidable circle introductions at any networking group often reveal how clearly we do or do not understand our own businesses.
Truth be told…you should have the exact same answer every time, and it needs to be clear. If people walk away and they don't understand what you do – well, then you don't have a clear idea of what you do either.
In order to cut out the clutter, we need to uncover all the clutter. I do that by writing out everything in my head.
Try it. Answer the question, What Do I Do? but don't limit yourself. Write a book if you want to. This is the time to pull out all those floating little thoughts that pop up like a Whack-A-Mole when someone puts you on the spot and asks you that question. It happens to all of us. We pause for a second while a dozen answers float through our mind and then randomly grab the latest one to pop up when our mouth opens.
Have you ever walked away thinking you should have said something different? I have.
Once you write until nothing else comes out, read it back out loud and start narrowing it down.
As you narrow down your WHAT, consider what is important to your audience. (This is where knowing your Representative Customer Avatar becomes vital.) What words will resonate with him or her?
Keep rewriting the answer to What do you do until you get to a point where it is one clear, sharp sentence.
Will you get it right away? Maybe, maybe not.
As you grow in your understanding of yourself and your ideal customer, your answer will become clearer and clearer until you won't even have to think or bat an eye the next time you're asked to stand up and quickly tell everyone, What Do You Do?
Write down the answer to the question: What Do You Do? Use as many words as you want the first time.
Considering your audience, go back and start cutting out all the extra and fluffy words.
Keep re-writing the answer to the question until you have one, clearcut sentence.
WRITE DOWN YOUR ANSWER WHERE YOU CAN SEE IT EVERY DAY.
Was this helpful? Share it with a friend!


It is a beautiful day in the neighbourhood. The sun is shining and it was a perfect morning to go out into the garden.
I have not been active in the garden for some time and it really shows. Too busy, too tired, too frustrated with the enormity of the whole job.
I am taking it one small area at a time.
I went out this morning with the goal of cleaning out one small garden bed next to my front porch.
The remains of my Sedum Autumn Joy, a perennial sweet pea, a lavender, geraniums, Lucifer Crocosmias, a lovely pink Gaura that deposits its pink petals on our legs when we go down the steps to the driveway.
Looks stark now, I know, but soon it will fill back in. For two years now we have had little chickadees nesting in that decorative bird house. We hear them peeping when we come in and out of the front door.
These shots are from previous years. There is hope and promise in gardening.
We have a ways to go before summer. I hope I have the rest of the garden beds cleaned up by then. Sigh.
Love to work in the garden...it takes time for the fruits of your efforts to show, but your progress is beautiful.
Hugs to you...hoping that you continue to enjoy your weekend.
Wow! Our ground is frozen solid! Did you have a warm up? You made great progress today. I love seeing what it looked like when it was all in bloom, very pretty. Love those birdhouses, too!
Good for you. We're still under several feet of snow, so while I'm planting in the greenhouse (I transplanted Gaura's today, but they are annuals here),there is absolutely no indoor/outdoor conflict here. Just a bit of knitting/housework conflict.
It always looks naked when I clean the beds out...that's why I try not to very much. LOL But it's so worth it! This year I decided not to prune the clematis...we shall see if it grows right or not. It looks fuller but the dead stuff is always underneath. I want it to be not so lopsided this year because last year I totally made it lopsided when I pruned.
Love the cleaned up garden.
You did a great job clearing the space - bet you can't wait to see some colour. Our ground is still pretty frozen, and there will be no sign of life for another 6-8 weeks, which is the worst time of the year for me - by then I am craving some time outside gardening! Enjoy.


ACS Door Services of Cedar Rapids is Jesup, Iowa's #1 choice for garage door repair and garage door installation. We are a locally‑owned and operated business that places a high premium on top-notch customer service. When you call ACS Door Services of Cedar Rapids, you can expect to be treated like family.
We are Jesup's full-service garage door service experts. We know that not having a working garage door is more than just an inconvenience – it can put your entire life on hold. You can call ACS Door Services of Cedar Rapids day or night for garage door repair, garage door installation, and garage opener installation.
When you need garage door repair service that you can trust, call ACS Door Services of Cedar Rapids. We provide the highest quality garage door repair service to ensure your satisfaction. We work tirelessly to make sure every project is completed according the highest industry standards. By providing quality workmanship and using superior products, we guarantee the best results every time.
We always come prepared when we arrive to fix or replace your garage door. All our trucks are fully stocked with the exact parts that you need for fast, reliable garage door repair service. With over 15 years of experience, you can expect ACS Door Services of Cedar Rapids to expertly provide garage door repair service that will exceed your expectations with the best products, highest quality workmanship, and affordable prices. We specialize in all garage door types including: rollers, cables and tracks, garage door openers and operators, chain dives and belt drives, jack‑shafts, screw drives.
When you need a new garage door, there is no better choice than ACS Door Services of Cedar Rapids. We will install your new garage doors perfectly so that they blend seamlessly with your home's curb appeal. At ACS Door Services of Cedar Rapids, we provide a full range of garage doors, garage door openers, and garage door parts. We know we have just the right garage door for your Jesup home made from the most durable and high-quality materials. We stand behind the quality of our workmanship with warranties that will provide you with complete peace of mind for years to come.
We know you need to get your garage door functioning ASAP. Our technicians can be at your Jesup home right when you need us! We offer fast, same-day garage door repair service 7 days a week with no extra charges for the weekends. Most companies will even charge you overtime rates for nights and weekends, but not ACS Door Services of Cedar Rapids. When you call us to your Jesup home, you can expect honest and straightforward flat rates any and every time.
For more information about our garage door products and services, contact ACS Door Services of Cedar Rapids at 319-364-5400 today! We look forward to providing you with unsurpassed quality and exceptional customer service as we take care of all your Jesup home's garage door needs.


text:
Q: webpack not bundling with babel-loader and react I am following along with a relatively older tutorial (from 2014) on RGR. I had to use an updated version of React, Webpack, and Babel so there are some differences. Everything has been working thus far except when I tried to compile JSX into webpack, it is giving me a build error.
ERROR in ./public/js/app.js
Module build failed: SyntaxError: Unexpected token (7:15)

5 | class Hello extends React.Component {
6 |     render() {
7 |         return
Hello Webpack!
;
  |                ^
8 |     }
9 | }

10 |
Below is my React file:
import React, {Component} from 'react';
import ReactDOM from 'react-dom';

class Hello extends React.Component {
  render() {
    return
Hello Webpack!
;
  }
}

ReactDOM.render(<Hello />, document.getElementById('react'));

and this is my webpack.config.js file
module.exports = {
entry: "./public/js/app.js",
output: {
    path: __dirname + "/public",
    filename: "bundle.js"
},
module: {
    loaders: [
        {test: /\.js$/,
            loader: 'babel-loader' }
    ]
}
}

Also, here is my package.json file
{
  "name": "rgrjs",
  "version": "1.0.0",
  "description": "a collection of educational resources about React, GraphQL, and Relay",
  "main": "index.js",
  "scripts": {
    "start": "node server.js",
    "test": "echo \"Error: no test specified\" && exit 1"
  },
  "repository": {
    "type": "git",
    "url": "git+https://github.com/krisxcrash/rgr-stack.git"
  },
  "author": "kristine martin",
  "license": "ISC",
  "bugs": {
    "url": "https://github.com/krisxcrash/rgr-stack/issues"
  },
  "homepage": "https://github.com/krisxcrash/rgr-stack#readme",
  "dependencies": {
    "babel-loader": "^7.1.2",
    "create-react-class": "^15.6.2",
    "express": "^4.16.2",
    "react": "^16.2.0",
    "react-dom": "^16.2.0"
  },
  "devDependencies": {
    "babel-cli": "^6.26.0",
    "babel-preset-env": "^1.6.1"
  }
}

Can anyone tell me why it is not reading the
 after return and causing an error when webpack is trying to bundle?

A: You're missing some presets:
First do npm install:
npm install  babel-core babel-preset-es2015 babel-preset-react --save-dev

Also make a .babelrc in your root project directory, and include this:
{
  "presets": ["es2015","react"]
}

Also in your loaders section of webpack config, include this for jsx:
{ test: /\.jsx?$/, exclude: /node_modules/, use: ['babel-loader'] }


text:
JOSHUA A. NORTON, AMERICA'S ONLY EMPEROR PART 1
THE STORY of Joshua A. Norton, aka Emperor Norton I of the United States, is offered as historical entertainment here in two parts, today and tomorrow. You are free to identify any parallels (or differences) you like with the life of Donald J. Trump. I stress that, not unlike many Trumpian claims, some of the following may not be true. But there's enough substantiated fact to make for a fabulous tale.
Joshua Abraham Norton, c. 1818–1880, British-born American, self-proclaimed Emperor Norton I of the United States from September 17, 1859 until his death, recognized by contemporaries as a harmless lunatic. Image from www.emperorsbridge.org, to my knowledge, the best documented source.
Joshua was born to English parents of Jewish heritage around 1818 (some say 1814) in Deptford, now part of London. (Tidbit: In 1593, playwright/intelligence agent Christopher Marlowe was stabbed to death in a pub brawl in Deptford,)
The Nortons moved to South Africa in 1820 as part of a government-backed colonization scheme, the 1820 Settlers, sort of a "Make the South African Cape Great (for Whites)."
Upon deaths of his mother, in 1848, and father, in 1849, Joshua came to America to make his fortune. He arrived in San Francisco in 1849, just in time to take advantage of the California Forty-Niner Gold Rush.
San Francisco, c. 1849. Image from www.history.com.
Indeed, showing more deal-making ken than the average prospector, Norton made his living as a businessman, not a miner. According to Wikipedia, "There are oft-repeated historical claims that Joshua Norton … arrived with $40,000, in whole or in part a bequest from his father's estate; and that he parlayed this into a fortune of $250,000."
However, Wikipedia continues, "None of this is substantiated by contemporaneous documentation. What is known is that, after Norton arrived in San Francisco, he enjoyed a good deal of success in commodities markets and in real estate speculation…."
Joshua Norton, c. 1851. Image from www.emperorsbridge.org.
In 1852, a Chinese famine caused a ban to be placed on its export of rice. What with scads of Chinese immigrants in the western U.S., Norton figured he could exploit a coming food shortage and bought up a Peruvian shipment of 200,000 lbs. of rice, at around 12.5¢/lb.
However, several other ships carrying Peruvian rice beat Norton's shipment to San Francisco, and the price of rice plummeted to 3¢/lb.
Norton tried to stiff the deal with protracted litigation. The case made it to the Supreme Court of California, where Norton lost, big time. He filed for bankruptcy and, by 1858, was living in a working-class Kearney Street boarding house.
Pause here for some schadenfreude?
This may have been when Norton went loopy. Tomorrow in Part 2 we'll learn about his self-proclamation as Emperor Norton I of the United States of America. And, also of the whimsical responses of the people of San Francisco. Rest easy, generally a good time was had by all. ds
© Dennis Simanaitis, SimanaitisSays.com, 2017
One comment on "JOSHUA A. NORTON, AMERICA'S ONLY EMPEROR PART 1"
jlalbrecht64
I had a friend/acquaintance/it's complicated who moved as a child from England to Rhodesia (now Zimbabwe) in the same way the Norton's moved to South Africa about 140 years prior. Some interesting stories there.
This entry was posted on December 7, 2017 by simanaitissays in And Furthermore... and tagged Joshua A. Norton Emperor of the United States.
https://wp.me/p2ETap-6Kd
Computer Flight Sim
Driving it Today
Driving it Tomorrow
I Usta be an Editor Y'Know
Just Trippin'
The Game is Afoot
Vintage Aero
THE POWER OF WORDS AND CLAY PART 2
VICTORIAN THOUGHT AND SCIENCE
VINTAGE CAR ART
LRB LETTERS—A READER'S PLEASURE
Simanaitis Tweets
My creative hearing of a news report: "... the whine-down of President Trump's post-election claims..." 2 years ago
Life imitates (hilarious SNL) art: Giuliani's Philly "Four Seasons" and "The Miracle of His Bleeding Hair." 2 years ago
"Trump fires Krebs." Republicans: How long before you disagree with our National Addled Uncle? 2 years ago
When will Republicans finally admit that Trump is a loser?? Many of us recognized this years ago when he ridiculed… twitter.com/i/web/status/1… 2 years ago
Savannah Guthrie and I agree on an important point about the presidency: See wp.me/p2ETap-9K0. 2 years ago
Follow @simanaitis


65, of Waimea, Kauai, died at her home in Waimea on October 4, 2018. She was born in Honolulu on November 7, 1952. A Celebration of Life will be held on Friday, November 9, 2018 at the Kauai Veterans Cemetery and Committal Shelter in Hanapepe. Visitation: 9:00 a.m.; Service: 10:00 a.m. Inurnment to follow.


An international printing solution company primarily for textile & garment industries.
Report to the President, AP and to lead an effective marketing team, to grow the AP business in a hyper-growth environment.
Develop and implement an annual and long-term marketing strategy for Asia Pacific – aligned with brand equity.
Develop lead generation through multiple means of direct, social, and print medias and interface with the sales departments.
Lead and execute channel marketing activities.
Manage business development projects and opportunities coordinated with headquarters.
Product launches of new equipment, features and technology.
8+ years marketing leadership experience at an Asia pacific mid-size global organization.
An extensive experience in Chinese and Japanese markets.
Well-rounded experience in the full complete tool box of marketing tools, sales tools and lead generation.
Experience in funnel management, sales cycle and pre-sale activities.
A strategic thinker with a hands-on orientation - having the ability to manage projects from inception through execution.
BS/BA in Marketing or related field from an accredited university.
Experience in selling capital equipment in a Business to Business environment \ from a relevant industry (digital printing, textile) – an advantage.
Excellent communication skills, a hunger to learn and to flourish in a dynamic, fast growing entrepreneurial environment.
Willingness to travel within the AP and internationally as required, high level of English – a must.


This cozy and well located 32 square meters , Studio, apartment is located on avenue des Ternes in the 17th arrondissement, on the 6 th French floor of a 20th century building and it sleeps 2 people. This apartment is equipped with : washer, cable, TV, unlimited high speed internet access with the wifi, balcony.
Here is the entrance hall.
The 20 square meters living room has a glass door facing courtyard and leading to the balcony . It is equipped with : dining table for 4 people, double sofa bed, cable, TV, stereo, built-in shelves, hard wood floor.
The 4 square meters separated kitchen is equipped with : breakfast table for 2 people, fridge, ceramic hob, extractor hood, oven, microwave, coffee maker, kettle, toaster, and all kitchen utensils, built-in shelves, built-in wall closet, tiled floor.
The 4 square meters bathroom is equipped with : washbasin, bathtub, towel dryer, washer, toilet, tiled floor.
Here is the 4 square meters corridor which is equipped with : built-in wall closet, hard wood floor.
Here is the nice 3.5 square meters balcony.
Here is the view from the balcony.


text:
GOSSIPONTHIS.COM Celebs Pink Absolutely "Hates" Her New Haircut
Pink Absolutely "Hates" Her New Haircut
GOT Staff
Published March 17th, 2011 at 12:39 pm
Never one to shy away from speaking her mind, Pink is letting everyone know about her disdain for her recent hair-do. She debuted the look on the red carpet at the L.A. premiere of the new movie "The Lincoln Lawyer." She tweeted:
"The woman that did my hair butchered it. I hate it."
And to top it off, a few of her fans agreed with her! The singer thanked her fans for their honesty:
"Thanks for pointing out how much you all hate it, too. Helpful."
Yeah … we agree. That haircut is not the bizness!
Twitter Has Mixed Reactions to Pink Being Named 2017 MTV Vanguard Award Recipient
Pink Wows at the Billboard Awards with "Just Like Fire" Performance
Grammys 2014 Red Carpet Photos: Taylor Swift, Katy Perry, Ciara, Macklemore & Ryan Lewis, Kendrick Lamar, Miguel & More


As you stroll through Chinatown's grand gates on Newport Place, you can't miss Wan Chai Corner's bright red exterior on the cusp of Gerrard Street. With a cheery yellow, no-frills interior, Wan Chai Corner presents excellent affordable dining in laid-back surroundings. It's speciality? Devastatingly good daytime dim sum.
Taking its name from Hong Kong's busy shopping district, the buzzy 4-floor restaurant is loved for its inexpensive dumplings served between 12pm – 5pm. So popular in fact, you'll often find queues of theatre-goers and locals snaking outside! Let's get down to the dim sum. Classically Cantonese, there's myriad choices. Steamed or fried? Seafood or meat? Sweet or savoury? You name it, Wan Chai Corner have it. There's neatly stuffed prawn and chive dumplings with fine, translucent skins. There's cuddly, cloud-like barbecued roast pork buns.
Wan Chai Corner also serve a super selection of cheung fun; Hong Kong rice noodle rolls encasing tempting fillings like scallops, beef or crispy bean curd. Dim sum's not all that's on the menu here. Expect wall-to-wall crowd-pleasing dishes like crispy chilli beef, fried chicken with ginger and spring onions or steaming hot bowls of hot pot. A must try is their chef's special, Fukien-style fried rice with minced seafood.
Next time you're passing through Chinatown London look for the vibrant red eatery and make a dim sum pit stop at Wan Chai Corner.


text:
Soulcalibur 6 shows off new fighting footage
By Joe Donnelly 2017-12-11T12:28:09.344Z
Ten minutes from the weekend's PlayStation Experience.
Last week, Bandai Namco unveiled Soulcalibur 6—the latest entry in its long-standing fighting series, that's heading to PC next year. At the weekend's PlayStation Experience event in California, game producer Motohiro Okubo showcased ten minutes of fresh Unreal Engine 4-powered footage.
As you might expect, the following footage features on PS4, however nevertheless provides a glimpse at what we might expect in the new year. Starring series veterans Sophitia Alexandra and Heishiro Mitsurugi, here's the latest moving pictures:
Read more: Soulcalibur 6 review
Okubo himself also worked on Tekken 7 and there appears to be more of a visual overlap now than ever—particularly in the likes of this game's special-powered Reversal Edge maneuvers.
"So of course Soulcalibur and Tekken are both developed in-house, and we have extremely talented teams working on this, but the funny part about that is both teams almost see themselves as rivals to each other," Okubo says above. "So there are going to be some good and challenging elements that come from this. One is they always try to one-up the other team which is always good for innovation. But there are some difficult aspects to that as well. But having been involved in both teams, it puts me in a position where we can really share the best information to help both worlds
"I think it's very iconic that Tekken is a sort of brute force hand-to-hand type of fighting game whereas Soulcalibur focuses a lot on the weapons. So being able to see both sides really puts me in a good position to develop a great game."
Elsewhere, Okubo dives into the differences and similarities between Soulcalibur and Tekken so far as graphics and engines are concerned, before explaining the aforementioned Reversal Edge system in greater detail.
Soulcalibur 6 is without a hard launch date, however is expected at some point next year.


Although Kid did not have any real friends, his vivid imagination provided him new make-believe pals every day.
That all changed one particular day when Kid discovered a frightened, three-legged kitten, who had been abandoned in a big brown barrel.
Always the hero in his daily fantasy adventures, Kid is called upon to be a hero in real life.
With his new best pal Sweets, they embrace each day contemplating amazing adventures together.
Look for Book Two in the series and follow Kid & Sweets to "The City" where they encounter a most unusual character named Tiny, in a fun-filled exciting, and yes… amazing adventure!
About The Author: Author Mark Alan Long currently resides in Crown Point, Indiana although just like Kid & Sweets he has an adventurous spirit which has taken him on many exciting journeys throughout the decades. He has two married sons and one adorable granddaughter. The Amazing Adventures of Kid & Sweets series has been a labor of love for several years, as the author's passion for writing evolved later in life after a career as a construction accountant. A similar passion as a hospice volunteer and elderly caregiver fill the author's days when he is not busy creating new amazing adventures for Kid & Sweets. Written for K-3 children, this series of children's picture books aims to place particular emphasis on the importance of friendship, diversity and acceptance by creating a passion for seeking adventure through the eyes and minds of our own amazing children.


We will be updating our subscribers as soon as we know more. For the latest new on LTC and giveaways please sign up to our newsletter at the foot of the page.
Disclaimer: This article should not be taken as, and is not intended to provide, investment advice. Litecoin Winner and/or its affiliates, employees, writers, and subcontractors are cryptocurrency investors and from time to time may or may not have holdings in some of the coins or tokens they cover. Please conduct your own thorough research before investing in any cryptocurrency.


text:
Textes et Etudes du Moyen Âge (TEMA 24)
Ratio et superstitio
Essays in honor of Graziella Federici Vescovini
G. Marchetti, O. Rignani, V. Sorge (eds.)
XXX+680 p., 165 x 240 mm, 2003
Languages: English, French, Italian
Online content: http://www.brepolsonline.net/action/showBook?doi=10.1484/M.TEMA-EB.5.107148
Twenty-four critical essays, including a substantial introduction, written by the most distinguished international scholars, make up this volume, in honour of Graziella Federici Vescovini.
The essays offer by far the most thorough and thoughtful discussion of relationship between ratio and superstitio, beginning with medieval reflections and ending with "modern" speculation. The unifying themes of these contributions is the spectrum between different forms of reason and superstition. The essays show the tortuous and complex path of philosophical thinking as aiming at truth and discoveries yet previously unknown. This path has not privileged itineraries, but it proceeds by integrations that modify the perspectives continuously, now demonstrating illusory what previously seemed certain, now recuperating in different contexts what was formerly rejected. So what we, the children of modern scientism, might call the foolishness of an epoch (as, for example, medieval judiciary astrology), could well be the scientific wisdom of that epoch. The volume is a broad and suggestive analysis that altogether opens a wide tear in the volume's themes, demonstrating how some authors and some texts have to the modern reader a sense that was not recognized in their time.
Anyone with a serious interest in Medieval, Renaissance and "Modern" philosophy will enjoy this invaluable collection.
Original essays by: F. Barocelli, J. Biard, F. Bottin, C. Burnett, G. Cacciatore, F. Cambi, G. D'Onofrio, J. Hackett, M. McVaugh, G. Marchetti, G. Mari, P. Morpurgo, J. North, A. Pieretti, D. Pingree, O. Pluta, R. Rashed, V. Sorge, F. Tessitore, C. Trottmann, C. Vinti, O. Weijers, P. Zambelli, M. Zanatta.
Early Medieval Philosophy (c. 650-1200)
Scholastic Philosophy (c. 1200-1500)
Renaissance (humanist) Philosophy (c. 1300-1650)
Medieval European history (400-1500) : main subdisciplines
Cultural & intellectual history
This publication is also distributed by: Proquest e-books, ISD
Neoplatonism in the Middle Ages
Calma Outsiders and Forerunners: Modern Reason and Historiographical Births of Medieval Philosophy
König-Pralong et al. Lexiques et glossaires philosophiques de la Renaissance
Hamesse et al. Chemins de la pensée médiévale
Bakker et al. Filosofia in volgare nel medioevo
Bray et al. The Word in Medieval Logic, Theology and Psychology
Shimizu et al. Rhetoric and Renewal in the Latin West 1100-1540
Mews et al.


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Bandarískar stórstjörnur leiða saman hesta sína. Stephen Burns trompetleikari frá Chicago ásamt Douglas Cleveland organista frá Seattle.
Á efnisskrá er m.a. Evrópufrumflutningur á verki eftir bandaríska verðlaunatónskáldið Zupko, sem samið er fyrir Burns, ásamt Hovhaness og Telemann.
Ari Bragi Kárason, trompet og Eyþór Gunnarsson, píanó.
Hér leiða saman hesta sína tveir af fremstu jazzleikurum þjóðarinnar í magnaðasta ómrými landsins.
Eyþór hefur verið leiðandi afl hinnar síungu hljómsveitar Mezzoforte í rúm 30 ár, eða rúmlega lífaldur Ara Braga sem nýlega er snúinn aftur heim eftir langa útivist, m.a. í hringiðu jazzins í New York.
Saman sanna þeir að kynslóðabil er ekki til í jazzmúsik frekar en annarri list. Dagskrá þeirra byggist á sterkri meðvitund um hefðir í tónlist og hugrekki til að láta laglínuna og spunann leiðast í harmóníu út í óvissuna.
THE NIGHT OF THE TRUMPETS!
American stars play together: Trumpet player Stephen Burns from Chicago and organist Douglas Cleveland from Seattle.
The program consists among other things of the European premiere of a piece by the celebrated American composer Zupko, composed for Burns, as well as Hovhaness and Telemann.
Ari Bragi Kárason, trumpet and Eyþór Gunnarsson, piano.
Kárason, who recently returned home from the jazz whirlpool of New York.
Together they prove that there are no generation gaps in jazz or in arts in general. Their program is based on a strong consciousness of musical traditions and a courage to allow the melody and improvisation to wander off in harmony into the unknown.
The concert is done in collaboration with Reykjavik Jazz Festival.