text:
Home > Academics > Confidentiality of Student Records
Commitment to protection of students and their confidentiality
At Pine Manor College, we believe in and are committed to supporting the dignity and worth of each member of our community. We will continue to offer admission to students who meet our criteria for admission, regardless of their immigration status, and, upon their enrollment, to support them so they may have every opportunity to obtain the highest quality education possible consistent with the College's mission and values.
All Colleges have the same responsibilities under law (the Family Education Rights and Privacy Act) not to disclose the citizenship of students except in the case of criminal activities. This law prohibits school officials from disclosing personal information (including immigration status) about students. Pine Manor College fully abides by this law. This law ensures a safe-haven for students for a variety of reasons, and we will do our part to ensure the protection of this student information.
Pine Manor College will continue to protect all of these rights under the law, including the rights of Deferred Action for Childhood Arrival (DACA) students. We will continue to follow our policy of requiring a warrant before accommodating the actions of Immigration and Customs Enforcement (ICE) agents, or other local, state or federal law enforcement authorities, on campus.
The Family Educational Rights and Privacy Act of 1974 (frequently referred to as FERPA or the Buckley Amendment) is a federal law that requires the College to maintain the confidentiality of student educational records and is intended to be a safeguard against unauthorized release of information contained in student education records. This act applies to all enrolled students, former students and alumnae. It does not apply to students seeking admission.
Under the provisions of the act, it is the right of the student to inspect and to review without charge her educational records. Educational records are defined as records regarding a student that are maintained by the College. Not included in this definition are:
Confidential letters of recommendation written before January 1, 1975.
Campus safety records.
Financial records submitted to the College by the parent(s) of a student.
Those parts of education records that reveal confidential information about another student.
Records created by a member of the faculty or an academic or administrative official of the College for his/her private use.
Records to which a student has waived her/his right to access.
Alumnae records compiled from information after the student has graduated.
Records for each student are maintained in the Registrar's office located in the Ferry Administration Building. The records in the Registrar's office include applications, transcripts, transfer credit evaluations, correspondence, grade reports, forms completed by the student, etc.
To inspect or review her/his records, a student must submit a written request to the Registrar's office. The request will be honored within 45 days of receipt. If requested, copies of a student's record are available to the student for a fee to cover the cost of duplicating. The College has the right to deny a student a copy of the following records:
An original transcript for any student for which a financial "hold" exists (a "hold" is imposed if the student fails to pay term bills, fees or fines).
A copy of an original transcript from another institution.
Within the PMC community, academic and administrative officials, including personnel of the Registrar's office, are permitted access to student educational records. It is the responsibility of the Registrar's office to keep a log that verifies the name of each person other than academic and administrative officials who have viewed the record, the reason and the date of access. Students have the right to see this log.
A student's records are not accessible to parties outside the College without written authorization from the student. Exceptions include:
Officials of institutions to which students seek to enroll or have enrolled.
Persons or organizations providing students financial aid.
Accrediting agencies carrying out their accreditation function.
Parents of students who declare the student a "dependent for federal income tax purposes."
Persons acting in compliance with a judicial order.
Persons acting in an emergency in order to protect the health or safety of students or other persons.
Federal and state educational officials acting pursuant to their official duties.
Organizations conducting educational testing research.
Alleged victims of any crimes of violence who seek from the College the results of any disciplinary proceedings conducted by the College against the alleged perpetrators of such crimes with respect to such crimes.
Upon request, a student has the right to receive an interpretation of her education records from the Registrar's office. A student who believes that her educational records contain information that is inaccurate or misleading or otherwise violates the privacy or other rights may contest the information in question by submitting a written request to the Registrar. If the correction or clarification is not made, the student has the right to a hearing before the Dean of the College. The student also has the right to place in her/his records a statement disputing or clarifying the records.
A student has the right to waive her/his right of confidentiality and any and all restrictions on access to her/his education records. The College may request a student to waive her/his right to access to her/his education records, but the student may not be required to do so.
Under FERPA, the College may publish a student's Directory Information, which may include name, name of parent(s)/guardian(s), telephone number, dates of attendance, degrees earned, dates of degrees, awards/honors/scholarships, major, sports and activities, height and weight of members of athletic teams, adviser, concentrations, and computer user name.
The College may disclose any of those items without prior written consent unless notified in writing to the contrary. Students wishing to withhold the disclosure of any aspects of the "Directory Information" must file a "Request to Prevent Disclosure of Directory Information" form with the Registrar's office.
If the College should fail to comply with any of the requirements of the Family Educational Rights and Privacy Act or the regulations there under, the student may submit a written complaint to the Family Policy and Regulations Office, U.S. Department of Education, Washington, DC 20202.
FERPA Waiver Form
Phone 617-731-7000 | Fax 617-731-7199 | 400 Heath Street, Chestnut Hill, MA 02467


text:
Coroner IDs Canyon Country man killed in crash
Emily Alvarenga
A fatal motorcycle crash shuts down traffic on Soledad Canyon Road on Wednesday, July 7, 2021. Dan Watson/The Signal
Medical examiners with the Los Angeles County Coroner's Office identified Caleb Romero, 20, of Canyon Country, as the man killed in a motorcycle crash Wednesday.
The crash was reported shortly before 10:45 a.m., near the intersection of Soledad Canyon Road and Commuter Way, according to Sgt. Steve Sgrignoli of the Santa Clarita Valley Sheriff's Station.
Romero was pronounced dead on the scene, according to the coroner's office.
Initial reports indicate that, for an unknown reason, the motorcycle crashed into the trailer attached to a city of Santa Clarita maintenance vehicle, which reportedly was stopped in the No. 3 lane with its warning lights on, as well as a lighted arrow, directing traffic to the No. 2 lane, according to Sgt. Scott Shoemaker of the SCV Sheriff's Station Traffic Unit.
Speed was potentially a factor, and it's unclear whether alcohol or drugs were a factor in the collision, pending the coroner's report, Shoemaker said.
City of Santa Clarita officials are deferring comment until the sheriff's report is released.
Traffic on Soledad Canyon Road was shut down traffic in both directions in response, according to Sgrignoli.
The crash remains under investigation, Shoemaker added.
Emily Alvarenga covers features and business for The Signal. She's been at the paper for nearly three years now and has spent that time getting to know the Santa Clarita Valley, its residents and their unique stories. Have a story to share? Reach out to Emily at [email protected]
County requests state leaders investigate natural gas price increase

redpajama_set_name: RedPajamaCommonCrawl


Referring to projects emanating from Staff D (signals and communications intelligence). Related, in an elastic sense, to CIA foreign intercept and code-breaking activities conducted to collect data for the NSA.
ZR projects related to obtaining the information necessary to decode foreign communications - involving the use of phone taps and bugs, breaking and entering, burglary, strong arm actions against foreign couriers and ZRALERT's focus on hypnotism. ZR efforts routinely supported and enabled successful NSA communications intelligence. The ZRRIFLE program was located in Staff D, CIA's communications intelligence division.
This routing sheet from 1962, related to another defector returned from the Soviet Union named Robert Webster, has a handwritten note saying "pls ZR Webster." Please wiretap him?
In a similar vein to the previous source, this one has a handwritten note to "ZR Ruby," referring to Jack Ruby. The note specifically references paragraph 3 of the enclosed FBI memo, which refers to the theory that Ruby had killed Oswald under a post-hypnotic suggestion. But since Ruby was already dead by this point, "ZR Ruby" can't refer either to wiretapping or hypnotizing him. Instead, it likely means reviewing previously-collected wiretaps.
The above sources come from chapter 1 of Bill Simpich's State Secret. Scroll down to the section whose title begins "After the downing of the U-2..."
Peter Dale Scott, Oswald, Mexico and Deep Politics, p. 18.
"The ZR cryptonyms...were normally assigned to CIA radio monitoring projects collecting data for the NSA."
"ZR was a digraph for Division D, Cryptological Procurement. It seems to have served purposely to confuse the Castro hit ops with Earl Harter's closely held series of operations to procure cryptographic materials by breaking-and-entering target premises. Very few, even in D., knew what Harter's boys did;….Precisely because Division D was so secure and already involved in matters gentlemen preferred not to know about, it was the logical administrative compartment in which to house CIA's newest and touchiest activity, the projected assassination of political leaders whose further existence impinged on U.S. interests…"


text:
Q: Match inside match - ocaml raises syntax error Does anyone know why this function raises the syntax error? I haven't provided my written side functions, since they are probably not that relevant here, since it's revolving around proper syntax.
I tried deleting the brackets that raised the error (which I think.. should be there?), only to then raise another syntax error one line lower, at the begining of the row with the line "|".
type 'a grid = 'a Array.t Array.t

type problem = { initial_grid : int option grid }

type available = { loc : int * int; possible : int list }

type state = { problem : problem; current_grid : int option grid; available = available list }

let branch_state (state : state) : (state * state) option =
  if prazni_kvadratki state.current_grid = [] then
    None
  else
    let lst = prazni_kvadratki state.current_grid in
    let loc = List.hd lst in
    let st1_grid = copy_grid state.current_grid in
    let st2_grid = copy_grid state.current_grid in
    match razpolozljive state.current_grid loc with
    | x :: xs -> (vstavi_vrednost st1_grid loc (Some x);
                  let st1 = {problem = state.problem; current_grid = st1_grid} in
                  match xs with
                  | [y] -> (vstavi_vrednost st2_grid loc (Some y);
                           let st2 = {
                             problem = state.problem;
                             current_grid = st2_grid
                           })   (* this is where it shows me a syntax error*)
                  | y :: ys -> let st2 = {
                      problem = state.problem;
                      current_grid = copy_grid state.current_grid;
                      available = {loc = loc; possible = xs}
                    })
Some (st1, st2)

A: On around the 5th last line or so you have let with no matching in. The let expression always must have an in.
The basic rule for nested match is that you should use parentheses or begin/end around the inner one:
match x with
| [] -> 0
| [_] ->
   begin
   match y with
   | [] -> 1
   | _ -> 2
   end
| _ -> 3

Otherwise the final cases of the outer match look like they belong to the inner one. I don't think this is your problem here because you have no outer cases after the inner match.

A: Syntax issues
You have a few syntax issues.
type state = { problem : problem; current_grid : int option grid; available = available list }

You likely meant to have:
type state = { problem : problem; current_grid : int option grid; available : available list }

However, given how you construct values later in your program where you provide a value for the available field in one case but not in the other, you may want a variant type that allows your state type to be constructed with or without this value, with distinct behavior when not constructed with this value. This might look like:
type state =
| With_available of { problem : problem;
                      current_grid : int option grid;
                      available : available list }
| Without_available of { problem : problem;
                         current_grid : int option grid }

The other syntax issue is missing an in to go with a let which brings us to:
Scoping issues
There are clearly some miunderstandings here for you in regards to how scope works with let bindings in OCaml.
Aside from a definition at the topmost level of a program, all let bindings are local bindings. That is, they apply to a single expression that trails an in keyword.
Consider this toplevel session.
# let x = 5;;
val x : int = 5
# let y =
    let x = 42 in
    x + 3;;
val y : int = 45
# x;;
- : int = 5
#

Here the x bound with let x = 42 in x + 3 is only in scope for the duration of the expression x + 3. Once we're done with that expression, that binding for x is gone. In the outer scope, x is still bound to 5.
In both cases in your match you bind names st1 and st2, which would have to be local bindings, but then you try to use them in an outer scope, where they don't exist.
If you want st1 and st2, you'd need to bind them in a similar way to a and b in the below simple example.
# let (a, b) = match [1; 2; 3] with
  | [x] -> (x, x)
  | x :: y :: _ -> (x, y)
  | _ -> (1, 1)
  in
  a + b;;
- : int = 3
#

Pattern-matching
Please also note that the pattern-matching you're shown is not exhaustive. It does not handle an empty list. If you consider it impossible that an empty list will be a result, you still have to either handle it anyway or use a different data structure than a list which can by definition be empty.
You've shown pattern-matching of the basic pattern:
match some_list with
| x :: xs ->
  match xs with
  | [y] -> ...
  | y :: xs -> ...

We can actually match against the two possibilities you've show in one level of match.
match some_list with
| x :: [y] -> ...
| x :: y :: ys -> ...

If you still need to address y :: ys as xs in the second case, we can readily bind that name with the as keyword.
match some_list with
| x :: [y] -> ...
| x :: (y :: ys as xs) -> ...

redpajama_set_name: RedPajamaStackExchange


text:
Roch-a-Cha Rant
Aquarium at the Port of Rochester: Don't Get Your Hopes Up
Yesterday the local media latched onto an announcement that a Great Lakes research center (to be known as the Lake Ontario Natural Resource Center) affiliated with SUNY-Brockport would be built at the Port of Rochester. The sexy aspect of the announcement was an aquarium that would be incorporated into the facility to showcase the aquatic life of Lake Ontario and presumably the other Great Lakes. Naturally, when they heard that an aquarium would be built at the Port, local residents and business owners got excited. Admittedly, I too got butterflies when I thought of a gleaming new aquarium adjacent to the Ferry Terminal. But at some point, reality reared its ugly head in the form of the reported price tag for this facility - $7 million.
The media, IMHO, is doing a disservice to the community by mentioning that an "aquarium" would be part of this research center. The fact is, for $7 million, we're likely to get a fishtank full of zebra mussels next to a Coke machine in the lobby of the building (see above picture). We shouldn't kid ourselves -- this will NOT be a tourist attraction. First of all, we'd need at least 10 times that amount to build an aquarium of even modest proportions. The newly-opened Georgia Aquarium in Atlanta, the largest in the world, cost $200 million (see picture below). Secondly, who the heck is going to pay admission to look at lake trout and salmon? The New Jersey State Aquarium (now known as Adventure Aquarium) was built to showcase aquatic life native to the Garden State and nearly went bankrupt because people weren't intrigued by grey/brown fish. It cost them $52 million to construct a worthless facility that had to be renovated and refocused, for many millions more, only a year after its grand opening.
I'm not saying that we shouldn't support the development of this research center, which will likely provide jobs and spur additional investment at the Port. What I am saying is that the facility shouldn't be promoted as being/having an "aquarium" because that word conjurs up images of the National Aquarium and Inner Harbor in Baltimore or the Tennessee Aquarium in Chattanooga. Sure enough, News 10NBC already found someone thinking that way: "John Fay wonders if the city will back a proposed environmental research center on the property. "I can almost visualize something like Baltimore Harbor where they've got the huge aquarium and all that," Fay said."
Call it an "Institute", call it a "Museum", but don't lead local residents on - haven't we done that enough at the Port already?
posted by Man About Town @ 12:47 PM Comments: 2
Name: Man About Town
Location: The ROC, New York, United States
Recent Genius
Attention Residents of Greece: Your Sh*t Does Stin...
Taking Aim at the East Main Street Armory
Duffy Not a Risk-Taker? Think Again...
Go Figure, it Gets Hot in the Desert!
Ford Layoffs in Georgia: Karma?
PaeTec Park: Yea or Nay?
Yes, I am Still Obsessin' About Secession
Skyline of the Future Capital of the State of Onta...
New York State Screws Rochester, AGAIN! Let's Scre...
Roch-a-cha Links
City of Rochester
Rochester Downtown
Rochester City Newspaper
Roc Wiki
Rochester Turning Blog
Rocktown Blog
Picture Rochester
Beercraft Blog
Metro Justice
DragonFlyEye
Rochester Canal
Rochester Indymedia
Past Genius
Blog Design By: BlogSpot Templates


text:
Coming soon: The Book of Forks
The first volume of Rob Davis's abstract adventure trilogy, The Motherless Oven, won the Best Book prize at the British Comic Awards in 2014. Its sequel, The Can Opener's Daughter, was praised by The Guardian as "a dark, disorientating twist on the classic tale of kids against the world".
Now, the trilogy's much-anticipated final volume is on its way: The Book of Forks is released in October – and it looks incredible.
Book-of-Forks-2.jpg 339.69 KB
The Motherless Oven and The Can Opener's Daughter may have raised more questions than they answered, but The Book of Forks explains everything.
Castro Smith finds himself imprisoned within the mysterious Power Station, writing his Book of Forks while navigating baffling daily meetings with Poly, a troubled young woman who may be his teacher, his doctor, his prison guard… or something else entirely.
Meanwhile, back home, Vera and Scarper's search for their missing friend takes them through the chaotic warzone of the Bear Park and into new and terrifying worlds.
With The Book of Forks, Rob Davis completes his fiercely original trilogy by stepping inside Castro's disintegrating mind, to reveal the truth about the history of the world, the meaning of existence and the purpose of kitchen scales.
The Book of Forks will launch at the Lakes Comic Art Festival in October. Watch this space for news of further signings and appearances.
Lakes Comic Art Festival
The Book of Forks
The Can Opener's Daughter
The Motherless Oven
Tweets by SelfMadeHero Follow @selfmadehero


ATP Atelier's 'Rosa' slides have been handmade in Italy from vegetable-tanned leather that will age beautifully over time. They have a cutout silhouette and hard-wearing leather sole. Wear yours to ground a monochrome outfit.
Shown here with: Tibi Dress, Boyy Clutch, Simon Miller Earrings.


can i visit belize from cuba without visa?
Hi!please can i visit belize directly from cuba without a visa on my Ghanaian passport?
Belize government says you need a visa for sri lankans.
I got the paper Form C.
I need to get a passport in Belize embassy .
D you know Bangkok office open?
What document I need bring with? How many days I need wait for my visa done?
Pl. kindly rely me . Thanks!
My name is Sadat Issaka Sulley from Ghana west Africa and am final year civil engineering student.I want to know the procedure to apply for visa to Republic of Belize.
hello everyone? can i visit belize directly from cuba without a visa on my Nigeria's passport?
Please advise the namedirectory of your trade respresentatives and consul in Cuba so that I can contact to enquire some trade information.
We invite you to share your experiences with the Belize Embassy — obtaining visas and other services, locating the building, and so on. Your comments may be seen by the public, so please do not include private information.
This web site is not operated by the Embassy and your comments and questions will not necessarily be seen by its staff. Please note that this is not a forum for broad debate about the foreign policy of Belize, and such topics will be deleted.


Here is my handy field guide for how to report on a strike for the British press. It's important that the multi-billionaires controlling the media can effectively get their view on labour relations out to the people.
1) Are many non striking people severely affected?
a) Lots of people are inconvenienced: Perhaps some people will need childcare, will not be able to travel or will have to stay at home. This can be conveniently characterised as blackmail -- it is well known that making it difficult to travel is very similar to extorting money. It's important to interview someone maximally inconvenienced. Perhaps you can find a mother standing in a queue to intereview. Ideally she should be holding a crying child in an airport or standing somewhere very cold. If the strike involves emergency services then why not include pictures of a fire or someone in an ambulance with the strong implilcation that deaths will result? The words "chaos" and "mayhem" are useful.
b) Very few people are inconvenienced: If the strike is not really inconveniencing anyone greatly then perhaps it does not need reporting at all even if it's quite widespread. If you feel for the sake of honesty it really must be reported then it can be characterised as ineffective. If the strike is so widespread that ineffective is not going to be believed but it is a public sector strike then perhaps you can quote a figure for "lost revenues" (implying that the public is losing money as a result of the strike). The words "dinosaur" and "out of touch" will create a balanced impression here.
2) What is the reason for the strike?
a) Wages: characterise the strikers as already overpaid or make this seem a selfish act. Good interview questions might begin "In this time of national austerity..." or "Against a background of wage cuts..." (after all, there is a background of wage cuts, that's why there's a strike).
b) Job losses: characterise the job losses as inevitable making the strikers seem out of touch. Emphasise recession and a background of job losses in this sector (although obviously if there weren't job losses there wouldn't be a strike). Good interview questions might begin "With your business struggling to survive..." (or if this is obviously misleading "With many buisinesses struggling to survive..." which is always true). An implication that the strike will finally finish off the business in question is helpful here.
c) Other non wage benefits: find some group which does not have such a benefit and draw a contrast. Ideally make the benefit in question seem comically over the top -- for example pensions can be characterised as "gold-plated" if provision of that type of pension rights are not universally available in the private sector. An interview to get the opinion of someone who does not have the benefit in question and is angry about this will provide a useful contrast. Strikes related to health and safety issues can always be made to seem ludicrous so a widespread use of the phrase "health and safety" can give the public the impressions that the strikers are losing a day's pay through sheer bloodymindedness.
a) The picket line -- while these are usually peaceful in this day and age, at some point it's likely you can find footage of someone shouting at someone else giving the impression that the union members are stridently trying to provoke confrontation. If you really can't find pictures of the few moments of ill feeling then simply picturing placards lying by the side of the road gives a pleasing feel of ineffectiveness.
b) The march -- if there's an accompanying march with speeches then make sure that any coverage of a speech is brief enough not to give any actual impression of what is said, but long enough to give the impression that someone is randomly harranguing a crowd. Nice close ups of socialist worker banners help reassure people that it is only marginal left wing elements which care about this.
a) Obviously the people you most need to hear from are those most directly affected by the strike, not people having their wages and conditions cut but someone who has to queue or even miss a day of work as an indirect result. As mentioned before, try to interview a mother holding a crying child if at all possible or an angry working class man (perhaps northern) who is late for something and can give a general impression that people with regional accents do not support the strike. The phrase "hard working families" is useful here (careful though, do not give the impression that the strikers themselves would work hard).
b) It's important to get both sides of the argument so you must also include an interview with a spokesperson for business. This can take place in a studio where a smart-looking reassuring man in a tie can make the case that striking is unreasonable. Perhaps a sound bite from a politician here about lost earnings, inconvenience to the public or generally that strikes must only ever be a last resort (allow the public to subtly take in the message that this is clearly not the last resort and the strikers are unreasonable).
c) If you feel you must include a viewpoint from someone in a union (remember they are biased) the best way to get this is probably to ask a difficult question of someone on a picket line. Keep trying this as eventually you'll be able to get an incoherent response.
a) People being forced to sleep in their clothes due to a transport strike gives a pleasing impression that the strikers are unreasonable. Ideally find children and/or someone disabled who is affected.
c) A padlocked gate (ideally with something rusting or chipped paintwork) gives a nice feel that the strike will lead to industrial decay within the period of the strike (usually only 24 hours).
78% majority, 29% turnout = 23% (UNISON support for 2011 pension strike) -- strike is "not widely supported".
77% majority, 42% turnout = 32% (UCU support for "action short of strike" for 2011 pension strike) -- strike has "little support".
92% majority, 40% turnout = 33% (NHS support for 2011 pension strike) -- strike has "some limited support".
On no account point out that the 2001 Labour victory represented only 24% of voters and was characterised as a landslide.
Note: A few people have asked if I mind this being reposted or shared. Of course I do not -- the more the merrier, repost/retweet/share please.
Striking = stress importance and relevance of the work that's NOT now being done, and characterise as "holding to ransom" or "blackmail" (e.g - "thousands of ordinary hard working ordinary people can't fly to their second homes in Tuscany... oh noes!").
On no account draw attention to the disparity.
Ah yes -- if people are "in dispute" then obviously they can't have a serious grievance or they would be on strike. If people are striking then they should have tried negotiating first. These are very good points.


Welcome to Del Rio Dental Studio!
Here at Del Rio Dental Studio, Dr. Paulina Del Rio and her team of skilled professionals strive to provide the highest quality of dental care to families in and around the Hayward, California area. We know what a significant difference in health and self-esteem a beautiful smile can make, which is why we are dedicated to giving each of our patients the healthy smile they deserve!
Whether you have chipped, discolored or missing teeth, we offer the most current cosmetic dental procedures to dramatically improve your smile, including dental implants, ZOOM! whitening and porcelain veneers. Cosmetic dentistry not only improves aesthetics, but it can also help you achieve facial balance and improve bite function.
Dr. Del Rio will work with you personally to create a personalized treatment plan catered to meet your individual needs and desires. We value the importance of patient education and promise to keep you thoroughly informed of your treatment options and progress. Together, we can achieve a true partnership with a common goal – to keep your smile beautiful and healthy for a lifetime!
Thank you for visiting our website. Dr. Del Rio and her team look forward to seeing you smile!


Dr. Jonathan Shore (MBCh-b, MD, DH-t) is a world's renowned Homeopath, who practices in the United States for the past 39 years.
Intensively involved in teaching since 1983, Dr. Shore is recognized as a significant influence on a worldwide scale.
He is a member of both the "Hahnemann Clinic" and the core faculty of the "Hahnemann College of Homoeopathy" in California, USA. He was one of the first to recognize and stimulate the resurrection of classical homeopathy that took place in the 1970s and is well known worldwide for his contribution to the knowledge of Materia Medica and case handling as well as for his lively and inspiring style of presenting.
He has lectured in Australia, Austria, Bulgaria, Czech, England, Finland, France, Germany, Holland, Japan, Mexico, Norway, New Zealand, Romania, Scotland, Spain, South Africa and Switzerland.
His book "Birds, Homeopathic remedies from the avian realm" opened a previously unknown class of remedies.


Lingua Translations UK Translation Specialists | Business Translation Services: Domesticating… here we are again!
Business Translation Services: Domesticating… here we are again!
Today I stumbled again into Lawrence Venuti's book The Translator's Invisibility. I thought that it would be a good occasion to draw from one of his essays to give you a more real example of a domesticating translation, as we talked about a few posts ago. As a quick recap, domestication and foreignisation are two opposing methods of translation. They can be used in many areas of the industry, including business translation services.
In 1636 Sir John Denham published his translation of the Aeneid. He commented on his own work by saying that he had followed Horace's suggestion to translate sense for sense rather than word for word. He also added that translators should not be fides interpretes (trustworthy interpreters) when dealing with poetry. This is also the case for the majority of other areas, including business translation services.
Denham wrote a very nationalistic piece of writing. However, this tradition comes from France. The contrast between this nationalistic attitude and the foreignness of the technique already highlight the contradictions of this piece. A predecessor of Denham was indeed D'Ablancourt, who translated Virgil's Annals and dedicated them to Cardinal Richelieu. Denham aims to remind readers of the defeated royalist segment of the Caroline aristocracy. To help it regain its hegemonic status in English culture.
But how can this be achieved through a translation?
First of all, Denham's choice of text already goes toward royalist cultural politics. He chose to translate only around 550 out of the 800 lines of Book 2. His work ends with the death of Priam. Since he translated that the king (Priam) died, but the State survived, he conveys the political allegory that the monarchy survived its destruction. Secondly, Denham's discursive strategy is to produce a 'naturalised English Virgil'. This is accomplished by removing names of places and characters. So Priam becomes a more general and domesticated King and modifying architectural terms. Readers are not left with any Foreignising evidence.
A comparison with Denham's predecessors, such as Howard (1557) and Wroth (1620), highlights Denham's strategy even more clearly. So… can you see now how powerful translations can be? Corporate translation and other business translation services need to have a big impact, so let the experts handle it. What do you think? Is foreignisation or domestication the better approach?
For more information about the services offered by Lingua Translations, take a look at our business translation services page.
Happy Birthday to our CEO Rachel Bryan!
Hoy me he tropezado de nuevo con el libro de Lawrence Venuti The Translator's Invisibility ("La invisibilidad del traductor") y he pensado que sería una buena ocasión para hablar de nuevo sobre domesticación, a través del ejemplo real de uno de sus trabajos.
En el año 1636 John Denham publicó su traducción de "La Eneida" e hizo un comentario de su propio trabajo, en el que decía que había seguido la sugerencia del poeta Horacio, traduciendo el sentido del texto y no palabra por palabra. También añadió que, cuando se trata de poesía, los traductores no deben ser fides interpretes (= intérpretes fidedignos).
Denham escribió una obra muy nacionalista. Sin embargo, esta tradición proviene de Francia y el contraste entre esta actitud nacionalista y la naturaleza extranjera de la técnica pone de relieve las contradicciones de esta obra. Un predecesor de Denham fue D'Ablancourt, que realizó la traducción de los Anales de Virgilio y se los dedicó al Cardenal Richelieu. Denham tiene como objetivo rememorar el derrotado sector monárquico y ayudar así a la recuparación de su hegemonía en la cultura británica.
Pero, ¿cómo puede esto lograrse a través de una traducción?
En primer lugar, el texto elegido por Denham ya trata sobre política cultural monárquica. Optó por traducir únicamente alrededor de 550 de las 800 líneas del libro 2. Su trabajo termina con la muerte de Príamo, parte que tradujo diciendo que el rey (Príamo) había muerto, pero que el Estado había sobrevivido, transmiendo así la alegoría política de que la monarquía sobrevivió a la destrucción del rey. En segundo lugar, la estrategia discursiva de Denham es crear un "Virgilio nacionalizado", lo que llevó a cabo mediante la eliminación de nombres de lugares y personajes (así Príamo se convierte en un Rey más general y domesticado) y la modificación de términos arquitectónicos, para evitar que los lectores perciban elementos foráneos.
Una comparación de Denham con sus predecesores, tales como Howard (1557) y Wroth (1620), e identifica con más claridad la estrategia de Denham. ¿Ves ahora el gran poder que las traducciones pueden alcanzar?
¡¡Feliz cumpleaños a nuestra Directora General Rachel Bryan!!


Gentoo Forums :: View topic - Good Opteron Compiler?
Posted: Wed Nov 19, 2003 7:30 pm Post subject: Good Opteron Compiler?
IMHO if you're going to pay for a compiler for the Opteron you might as well buy from (PGI) Portland Group. I've never heard of these guys.
this is valid - except the gcc compiler is more or less similar performance for free.


text:
Magic Time!
The random adventures of a theater buff in DC
Month: March, 2017
Director Leslie Jacobson has book-ended Shakespeare's dark tragedy King Lear with lyrical and lovingly-lit tableaux of the mad king's court as if in a fairy-tale photo op—Lear regal on his throne, his daughters adoring at his feet, his subjects surrounding him smiling ear to ear. These are before-and-happily-ever-after snapshots that would be perfect for a royal post on Instagram. We hear the dulcet-toned voice of a Troubadour (Andrew Flurer) singing traditional English folk tunes (he kicks off this love-in with "Greensleeves"). He is nicely accompanied by a clown-like guitar player (John Preuessner, who also plays The Fool). And the two are joined by a chorale of the full cast singing in joyful harmony. The improbable upshot is a prelude and postlude to the production that spliced together would make a feel-good YouTube vid.
What's up with this show? Is it tragic fate or a merry fête?
Turns out, it's both.
The occasion is not only as Shakespeare would have it: Lear's kingdom mismanagement, his peevish misapportionment of it among his three daughters, his descent into dementia, his woeful demise, et cetera.
The occasion is also a celebratory career commemoration of the actor who's playing Lear, Alan Wade. Retiring after 40 years playing a leading role in founding, running, and professoring in The George Washington University Department of Theatre and Dance, Wade has opted for no easy-peasy swan song. He has chosen to scale the Mount Everest end-of-life role of Lear—and in a production evidently mounted to showcase his fearless farewell, he makes it to some impressive heights.
For instance in the first scene—where Lear is divvying up his kingdom between his two mendacious daughters Goneril (Anna Coughlin) and Regan (Renee Glanville) and disinheriting his guileless one Cordelia (Julia Barrett)—things go along calmly for a while. Lear appears a sane man, a monarch worthy of respect. Then suddenly there's a stark bright light cue and blitzy sound effect and Lear goes temporarily insane, off his rocker, seething with spitting rage. It happens again. Then again. And immediately we recognize the mo of an unhinged narcissist.
Joining Wade in the play's other messed-up paterfamilias role, Earl of Gloucester, is Rick Foucheux. It is an arresting performance every bit as not-to-be-missed as his many others for the past 35 years. In real life Foucheux too is nearing a culmination of his career. In what reportedly will be his last role on stage, he will appear as Lear this spring in Avant Bard's King Lear, directed by Tom Prewitt. Here in King Lear at GW, where he is an adjunct member of the theater faculty, he not only commands the stage—his each speech of Gloucester's soars—he also shares the stage with younger, far less experienced actors in an extraordinarily egalitarian way.
So it was that taken together the scenes between Gloucester and his scheming gold-digger son Edmund (an absorbing Kent-Harris Repass) and the scenes between Gloucester and his lovingly loyal son Edgar (a compelling Will Low) provided the most interesting moments in the production. Low gives a delightfully nimble performance disguised as "Poor Tom," and by the end Low's expression of Edgar's sorrow over losing his father offers the production's most moving moment—not least because we remember Foucheux's Gloucester with similar tenderness.
Director Jacobson, who is also a professor at GW, writes in her program note about compassion between the generations, echoing the teacher/student relationship that in this production informs the audience/actor connection.
I find this play a testament to the endurance of the human spirit. Both the older generation (Lear, Gloucester, Kent, and Fool) and the younger generation (Cordelia, Edgar, and Albany) are vulnerable. Still, none of these characters lose their humanity. In the depths of their suffering, each is capable of humor, compassion, loyalty, generosity, and forgiveness.
This conviction was well displayed in Lear's embrace of his daughter Cordelia as they go to prison. And together Foucheux and Low made the suicide-fail cliff scene work with enormous empathy.
King Lear would likely mean something quite else were the whole cast the age of the younger actors in this production (though a 23-year-old did once play the title role for the RSC!). Thus several actors who are agemates of Wade and Foucheux help anchor the cast generationally: In addition to Preussner as the Fool, they are Roy Barber as Lear's advisor the Earl of Kent and Marc Albert as Goneril's servant Oswald.
Accordingly the youthful contingent give the script diligent attention: Besides the daughters three, they are Tommy Martin as Goneril's husband Duke of Albany, Delanté Fludd as Regan's husband Duke of Cornwall, Connor Driscoll as Duke of Bergundy who opts out of marrying the dowry-less Cordelia, and Ryan Cureton as King of France who weds her instead.
The printed program sets the time as "Ancient Briton and Now" and the place as "The British Isles and the Betts Theatre," and that classic/contemporary mashup is well carried through in the stagecraft. Scenic Designer Bradley Sabelli paints on the backdrop and stage floor an illustration of the British Isles that looks almost cartoonlike, puffy like yeasty dough. Stagehands in black identify the shifts in locale by propping up various emblematic banners (designed, I surmise, by Properties Master Jennifer Sheetz).
Lighting Designer David Ghatan, besides highlighting Lear's rants in the first scene, creates some lovely mottled looks on stage and catches all the fast action that takes place in the theater aisles. Sound Designer Katy Fields, besides amping up those rants, punctuates the plot with trumpets and other sound cues called for by the Bard. And Costume Designer Cheryl Yancey pulls off the neat trick of having the cast wear fancy faux-period costume pieces over what might be the actors' rehearsal clothes. (The night I saw the show, the cast seemed a little uncertain with Fight Choreographer Casey Kaleba's moves; still there were gestures that made me jump.)
I did not realize till the end how artfully this production frames the notoriously downer King Lear as both a fond tribute to a particular actor/academic and a warmly gift-wrapped experience for the young cast and their attentive audience. But now you know before you go.
Running Time: Three hours 5 minutes, including one intermission.
King Lear plays through this Sunday, April 2, 2017, presented by The George Washington University Department of Theatre and Dance at The George Washington University's Dorothy Betts Marvin Theatre, in the Marvin Center – 800 21st Street, in Washington, DC. For tickets, buy them at the Dorothy Betts Marvin Theatre's box office, or call (202) 994-0995, or purchase them online.
Note: Renee Glanville, who is Deaf, signs her performance as Regan with eloquent animation while other actors interpret for her. The complete performance Saturday, April 1, will be ASL interpreted.
Dry Land & What Every Girl Should Know
I've seen some harrowing-to-watch theater in my time, but I recall nothing as excruciating as a particular scene in Dry Land, now running at Forum Theatre. The play by Ruby Rae Spiegel is set in the present in a girls locker room. The scene in question is between two members of a swim team, 17-year-old Amy (Emily Whitworth) and 18-year-old Ester (Yakima Rich). I won't disclose what happens or why. But be forewarned that when you witness this breathtaking work, you will see a scene that will stay with you. It is devastatingly visceral and shatteringly well performed. It is a scene that must be seen and cannot be unseen.
The writer knew this climactic scene would stun. She follows it with two slow scenes to allow the audience time to recover. Even then, by the time Dry Land ends and the house lights come up, the gut punch is not gone.
If there were a Helen Hayes Award for Best Partnering by Two Actors in a Single Scene, Whitworth and Rich would win it in a walk By rights Playwright Spiegel and Director Amber Paige McGinnis should be up for awards as well.
The qualities I admire in this production begin with Spiegel's script, which is tightly written, tough-minded, and intense. It is also wickedly witty. Spiegel captures the banter among girls with an unerring ear for the idiom of teens diving headlong into a world they know not yet how to navigate.
Here for instance is an early scene between Amy, who is pregnant and trying not to be, and Ester, who wants to seem as worldly as she. Amy is sitting on the floor in the locker room with a copy of Playboy.
AMY: I got the magazine from the boys' locker room. It's porn.
ESTER: Oh.
AMY: Come sit.
[Amy pats the ground next to her. Ester sits a little far from Amy, maybe because of the porn.]
AMY: The boys' locker room stinks.
ESTER: That's what I've heard.
AMY: There were some moldy shorts in the corner.
[Short silence.]
ESTER: How's the porn?
AMY: Kind of gross. But also kind of hot.
[Ester nods.]
They chat for a moment about other things then resume looking at the magazine.
ESTER: She looks like she was made in a wax museum.
AMY: That's all the airbrushing.
Remember when I told you what it felt like when I was a cheerleader? It's what it feels like to be this girl. Like all bent over and shit. Like sexy but also really ugly because it's sex and sex is ugly.
ESTER: I don't think sex is ugly.
AMY: You've had sex?
ESTER: One time. On a trampoline.
AMY: Shit. Really?
What was it like?
ESTER: A little bouncy? But also nice I guess.
Though the main conflict is a trust/distrust drama between Amy and Ester, there is also a third swim team member, 17-year-old Reba (well played by Thais Menendez). And two male roles add yet more dimension to the narrative: 20-year-old Victor (an appealing Christian Montgomery) and a dutiful Janitor (Matty Griffiths) who does not speak but helps lift the heavy silence that falls after that scene I did not describe.
Dry Land is performed in rep with What Every Girl Should Know, a title taken from a pamphlet by Margaret Sanger first published in 1913. Playwright Monica Byrne imagines a girls dormitory in a Catholic reformatory in 1914. There are four beds in it belonging to 14-year-old Lucy (Yakima Rich) and three 15-year-olds, Anne (Thais Menendez), Joan (Lida Maria Benson), and Theresa (Emily Whitworth).
Offstage is the unseen chaplain Father Dolan, whom Theresa describes as "a very young priest, very well educated and progressive and kind; and rather handsome." One by one, every Saturday night, the girls give Confession to Father Dolan. He keeps a bowl of oranges outside the confessional for his nubile penitents. Given this sketchy setup, which is described early in the play, one might suppose that conduct unbecoming a cleric is in the offing. And one would not be wrong.
Once the story line of serial statutory rape takes hold, the play becomes gripping. If one can stay patient during the long, languid time the playwright takes to get there, an affecting payoff awaits.
To be fair, the play hints at what's to come. Joan, for instance, has this speech about her experience in the confessional with Father Dolan:
I confessed my sins, truthfully, and then he told me about Joan of Arc, and how she was proud like me, but that her pride was also a gift from God. And that it only mattered that she used it the right way. But even aside from that…it's how gentle he is. I didn't know a man could be like that. When I came here, I thought, men were like weapons and women were like wounds. That nothing stops them from getting in if they want to. That's what it is to be woman—to be born already split open, like a carcass.
But sharply written speeches like that are the exception. Where the writing in Dry Land is tight and intense, the writing in What Every Girl Should Know feels loose, aimless, and unfocused. For most of the play we are treated to what amounts to an extended period pajama party during which the girls tell tales and dance rituals and speak in jarringly contemporary slang that keeps disrupting the play's time frame.
Curiously it is the girls' reverence for Margaret Sanger that most anchors the play. They regard her as a saint, and believe that she will save them. Theirs is the faith of the lost, the hope of the doomed. And a genuine sadness sets in at the end when it becomes clear that these ebullient girls have no safety where they are and no realistic future in the world outside.
Forum Theatre is to be commended for programming these two plays, together dubbed #NastyWomenRep. Though the plays will inevitably be compared, both should definitely be seen. That one is not the equal of the other matters less than that both tell stories with a fierce honesty every girl needs to grow up a nasty woman.
Running Time for each play: 90 minutes, without an intermission.
Dry Land & What Every Girl Should Know play in rep through April 15, 2017, at Forum Theatre, performing at the Silver Spring Black Box Theatre – 8641 Colesville Road, in Silver Spring, MD. For tickets, call (301) 588-8270, or purchase them online.
Review: 'What Every Girl Should Know' and 'Dry Land' in Rep at Forum Theatre by Robert Michael Oliver
"Social ills" is a term often used to name a problem without caring about the people affected by it—as in the phrase "racism and other social ills." It's a way of keeping one's distance by making the problem somebody else's. It's like the way one can hear said of someone chronically and inscrutably sick, "They didn't live right; it's their fault." Or, "It's a made-up malady, you know." These two messed-up ways of thinking come in for a hilarious sendup and blistering takedown in Lisa Kron's 2004 Well, now playing at 1st Stage in a luminous production that moves the heart and animates the mind.
On the surface, Well is an autobiographical play being devised before our eyes by a woman named Lisa Kron, a New York performance artist like the actual author. She enters from the house and begins a monologue to introduce a show she has scripted:
The play that we're about to do deals with issues of illness and wellness. It asks the question: Why are some people sick and other people are well? Why are some people sick for years and years and other people are sick for a while but then they get better? Why is that? What is the difference between those people?
That turns out to be a misdirection. Much of what Lisa has to say concerns the playwright's actual mother, Ann Kron, even though Lisa says at the outset, "This play is not about my mother and me." As we noticed when as we entered the theater, an elderly woman, whom we now learn is Lisa's mother, has been asleep in a recliner on a set that at first glance seems cluttered but is in fact arranged with great care. (Set Designer Luciana Stecconi depicts Ann's living room with remarkable authenticity; Props Designers Deb Crerie and Kay Rzasa have curated a fascinating mini museum of collectibles.) During Lisa's monologue, Ann wakes with a line that cracks up the audience, and the daughter's and mother's divergent points of view are off and running.
Ann Kron is a Midwestern white woman who in real life was a community organizer. Ann believes deeply in racial equality and worked tirelessly to integrate her Lansing, Michigan, neighborhood, even as she suffered from chronic fatigue syndrome aggravated by allergies, which kept her an exhausted semi-invalid. Lisa, when she was younger, had symptoms similar to her mother's yet recovered. Nevertheless Lisa is beside herself with fear that she is fated to become her mother.
As a replay of the masterplot of many a strained mother/daughter relationship, Well will play as a powerful recognition scene for many who are themselves daughters. And two extraordinary actors nail it: Audrey Bertaux as Lisa personifies Everydaughter's beholden attachment to her birth mother along with Everydaughter's drive to disidentify and get the heck away. Elizabeth Pierotti's sensational performance as Ann embodies laudable political conscience, an honest love for Lisa, and an amusing measure of Everymother's critical snark. The connection and disconnection between their characters fills the house with an electricity that feels like contact with a live socket. Even if one is a son who has been paying but cursory attention to the women in his life, the complex conflict between Lisa and Ann in this production will ring profoundly true.
But Well is more.
First and foremost it's a clever comedy, filled with enough comic bits to keep one grinning and chuckling all the way through. At the beginning Ann, for instance, offers to get the audience something to drink. Lisa says no, no, Mom; they're fine. Ann goes offstage anyway and returns with a bagful off packaged snacks, which to Lisa's mortification she tosses into the audience. And then there's the running gag of Lisa's exasperation ("We are so off track!") when her scripted intentions get subverted.
Lisa means to present what she archly describes as "a multicharacter theatrical exploration of issues of health and illness both in the individual and in a community." To do so she sets out to tell the story of her stay at an allergy clinic as well as the story of her mother's neighborhood organizing, which Lisa rightly admires.
Ann shares some sharp observations about the racism she saw in her neighborhood, for instance the scare tactics real estate brokers used to spur white flight even as the municipal authorities began cutting schools and other resources. "This is how a slum is made," Ann says (foreshadowing Ta-Nehisi Coates's trenchant 2014 analysis ). Ann takes a stand and resists. She also relates how she once went to stay at the home of black roommate in Baltimore—and witnessed personally what race hate was doing to communities of color.
Ann's memory of the events Lisa relates, however, turns out to be quite contrary to Lisa's, and their bickering about that is both telling and tickling. Add to that, the troupe of four actors Lisa has enlisted go off script in ways that frazzle Lisa laughably.
The amazingly versatile actors play at least three parts each: Laura Artisi (Joy, Dottie, A), Edward Christian (Howard, Head Nurse, D), Marquis D. Gibson (Jim, Nurse 2, Little Oscar, Big Oscar, C), and Lolita Marie (Lori/Kay/Mrs. Price/Cynthia, B). Each of these many characters is immediately distinct in both performance and wardrobe (for which credit goes to Costume Designer Danielle Preston). Ultimately the four actors (who go by their real first names, Laura, Edward, Marquis, and Lolita, break out of the roles Lisa has written for them and join in affectionate solidarity with Ann.
The inventive metatheatrics of this conceit are a thorough delight. Director Michael Bloom, who has directed Well before, clearly knows its every nuance. Audiences who have seen or will see the hit musical Fun Home, for which the real Lisa Kron wrote the Tony Award–winning book, will recognize her storytelling gifts. She kind of out-Pirandellos Pirandello.
Susan Sontag, who is referenced in Well, rightly reverentially, wrote an influential essay in 1977 called Illness as Metaphor. It was a searing argument against blame-the-sufferer moralizing about medical conditions. In Well, the playwright has the character of Lisa harbor a "wellness" judgment on her mother for how she was "able to heal a neighborhood" but "not able to heal herself." And slowly the playwright takes the character Lisa to an inspiring and mind-blowing realization.
What comes through this performance with indelible eloquence—at a time when the health of our body politic has been severely compromised—is the connection between "wellness" judgmentalism and what's morally wrong with framing the human costs of racism as a "social ill."
With this extraordinary and prescient contribution to our understanding at this moment of reckoning about health care, Well at 1st Stage is as invigorating as theater gets.
Running Time: One hour 40 minutes with no intermission.
Well plays through April 23, 2017, at 1st Stage – 1524 Spring Hill Road, Tysons, VA. For tickets, call the box office at (703) 854-1856, or purchase them online.
Just now when the world is wracked with wave upon wave of ethnic animus—just now when our country has succumbed to xenophobia not seen on these shores for decades—there comes a work of theatrical art so richly imagined and so radically transformational that it causes a healing hush to fall over the audience.
This happens early on in the show as we are treated by the actor Carlos Saldaña to a sort of Ted Talk about origins and memory. Standing before a frosted plastic curtain and addressing us on a hand mic, he amiably gains our trust such that we oblige him when he asks us to put on the blindfold that we were handed as we entered the theater.
Slowly in our sightlessness the actor then coaches us into a visualization that becomes a startling perception: the recognition that the further back we trace our origins, the more we share the same cellular memory as members of the same species and "the more chaotic our inter-relationships." We literally are all related to one another. No one is ever other. We are linked in our origins, in our migrating genealogies, in "the pattern of our ancestry."
The gift of that indelible moment sets in motion the unforgettable play named Mnemonic.
I first saw Mnemonic some fifteen years ago when Complicité, the British theater company that devised it under the direction of Simon McBurney, brought it to New York. The moment I just described has never left me, as I suspect it will not anyone who sees Theater Alliance's absorbing production now.
What happens next works in the head in ways only obliquely related to what happens on stage. That is the particular genius of this theater piece. It has two interweaving story lines that are only tangentially related. They're really more like complementary metaphors than two intertwined plots, two parts that make a whole other whole.
In one of the story lines, Saldaña becomes Virgil, a man whose partner Alice abruptly left him nine months ago. He is bereft. Eventually they make long-distance cell phone contact and she tells him she's on a quest in Eastern Europe to find traces of the father whose identity she only recently learned. Virgil's and Alice's story is a tale of love lost and not quite restored; a saga of roots lost and not quite found. It's a human-interest narrative that by itself could fill a play with engaging relationship drama. And Teresa Spencer is terrific in the role of Alice. Her presence and assertion of self make an enormous contribution to the veracity of what transpires.
The other story line is about a scientific discovery in the Austrian Alps: the frozen body of the so-called Iceman (represented by Saldaña nude), who lived some 5,000 years ago. As the Iceman's clothing, artifacts, and corpse are analyzed to reveal details about who he was, what he was doing there, how he lived and died, Alice is simultaneously learning details about who her father was, what he was doing where she sought him, and how he lived and died. The effect of taking in these two biographical dossiers in overlapping stage time but vastly distant in geography and generation makes for an extraordinary experience in theater. Mnemonic is unique in that it is everyday story telling, yet it seems more like found mythology. Almost mystically the stage action of Mnemonic comes to stand for our personal and collective understanding that we stem from a common family tree.
Saldaña and Spencer are joined by a gifted and versatile ensemble who play multiple supporting roles: Jon Reynolds, Vanita Kalra, Elena Day, Jonathan David Martin, and Michael Burgos. Besides their physical and mimetic agility they prove adept at delivering lines in multiple languages. This has the marvelous effect of underscoring what is truly global in the meaning of Mnemonic.
Director Colin Hovde has conceived a production so faithful to the magic in the material one cannot but wonder wide-eyed how it was done. He is ably aided by Movement Director Dody DiSanto, who creates vivid tableaux. And Scenic Designer Tony Cisek turns Anacostia Playhouse into a proscenium stage full of surprises, notably set pieces spun around between scenes by the actors in a whirling blur.
Costume Designer Danielle Preston locates the actors nicely in the here and now, even as the show's scope sweeps us elsewhere and long ago. And Sound Designer Matthew M. Nelson creates a realistic aural world even as the stage world goes surreal, as it does often thanks to dazzling work by Lighting Designer William K. D'Eugenio and Projections Designer Patrick W. Lord. Special props to Properties Artisan Alex Vernon, who turns an ordinary item of furniture into an astonishing creature.
Theater Alliance's Mnemonic is not only thrilling theater. It is a stirring and uplifting parable of our profound kinship. And in these troubling times for our disunited extended family, Mnemonic is welcome as rain during a drought.
Running Time: 100 minutes with no intermission.
Mnemonic plays through April 9, 2017, at Theater Alliance, performing at The Anacostia Playhouse – 2020 Shannon Place SE, in Washington, DC. For tickets, purchase them online.
No Sisters
A shout-out to Studio Theatre co-founder Russell Metheny, who designed the complex on 14th Street, for installing a backstage stairway connecting the dressing rooms of the second-floor Milton and the ground-floor Mead. Were it not for that architectural passageway, there could be no No Sisters, and DC would be deprived of Writer-Director Aaron Posner's latest transfiguration of Chekhov—a play that bounces off Three Sisters with such spunk and sensibility it seems the reason the Russian one was written.
Following on Stupid Fucking Bird (Posner's hilarious rejuvenation of The Seagull) and Life Sucks (his delightful ditto of Uncle Vanya), No Sisters again out-Chekhovs Chekhov. It is a genius comedy of the soul that lets loose what Chekhov kept a lid on.
While downstairs in the Mead a cast of fifteen perform Three Sisters on a sparse birch-studded set, upstairs in the Milton eight of them perform No Sisters in what the program calls "a weird-ass existential Chekhovian green room." As wittily designed by Daniel Conway, the place is packed full of properties storage, mismatched furnishings, costume racks, clustered chandeliers, tables for makeup and snack breaks… Upstage by the door to downstairs is a dart board, with which actors pass the time before showtime.
Both plays clock in at the same running time, with the same elapsed times between their four acts and their intermissions syncing. The actors in No Sisters wear the same costumes designed by Jessica Ford that they wear in their roles downstairs. (The rest of the excellent design team is shared as well: Lighting Designer Jesse Belsky, Sound Designer Christopher Baine, Composer James Barry. Tech week must have been unusually aerobic.) Seven television monitors in the No Sisters set keep watch on what's happening on the stage below.
We are aware all the time there this other play going on, in a parallel world, in some amazing simultaneity. And that is so cool. The actors in No Sisters all play supporting roles in Three Sisters. (The actors playing the three sisters themselves, Ólga, Másha, and Irína, presumably have a green room elsewhere). The actors in No Sisters also go in and out of their Three Sisters characters, which becomes astonishingly dramatic.
Typically the actors address the audience directly, in riffs both fun and clever, especially at the beginning as we are introduced to them one by one. Quickly, though, we catch on to Posner's inspired conceit: These actors come to this green room to vent on behalf of their characters' inner lives, to say what Chekhov left unspoken, to deliciously chew scenery instead of making do with meaningful looks and pauses. As clouds gather over these characters and their story lines darken, this becomes incrementally a deeply moving tragicomedy. Like standup meets primal scream therapy.
What Posner has done in No Sisters is to script for each actor no-holds-barred monologues. These speeches, as played by the No Sisters cast with pull-out-all-the stops emotion, make for a piling on of peak theatrical experiences.
Biko Eisen-Martin plays the brooding, volatile soldier Solyóny with powerful range and rage. Ro Boddie plays his amiable battle buddy Túzenbach with equal passion and presence. The idealistic Fedótik, youngest of the three soldiers, is played by William Vaughn with a heaping of hope that lifts the spirit of the whole play.
True to Chekhov, Posner's characters fall on a subtly calibrated continuum from happiness to despair, from contentment to yearning, from elation to boredom. What makes this human comedy so funny and touching is the crystalline compassion in Posner's writing and its honest observations about life.
As the three sisters' pathetic older brother Andréy, unhappy with his own inadequacy, Ryan Rilette gives a performance that is wonderfully measured: it stops short of maudlin, it only makes us warm to him. As Kulygin, Másha's upstanding but clueless husband, Todd Scoffield gives a performance that is equally well balanced: it stops short of smarmy, it makes us ache for him when he is betrayed.
Standing out from these five amazing performances by men are two women who stop the show.
In Three Sisters, Natásha, Andréy's wife, is an imperious shrew, liked by no one except possibly her husband's boss with whom she has an affair. Posner, though, has given Natásha virtual arias about what she's feeling—not just her peevish temper but her hurt and longing—and Kimberly Gilbert belts them with so much heart the house can hardly hold them.
In Three Sisters, Anfisa is an octogenarian serving woman who cared for the four siblings from their birth and whom Natásha wants to fire. It's a small but touching part. Her role in Posner's play, however, is huge, and Nancy Robinette's performance in it is monumental. Anfisa has a speech about "what love is" that Robinette delivers with such wrenching lyricism it can send tremors to one's core.
"Listen to me now. Listen," Anisa tells the naive Fedótik, who is smitten with Irína:
Love is… acceptance. Shocking, transformative, radical acceptance. It is Your Everything, in intimate and immediate relation, to Her Everything.
Love is a force, a fever, an eternal, unassuageable longing.
Love is Impossible: Impossible to have, impossible to hold, impossible to lose, impossible to know, impossible to live with, impossible to live without.
Daven Ralston (who plays a mean violin in Three Sisters) appears in a sweetly stunning turn as Young Woman, a specter character invented by Posner. She shows up in the imagination of Anfisa as Anfisa's younger self. Their short scene together is so lovely and so beautifully performed it could be a playlet unto itself.
Does one need to have seen Three Sisters in the Mead before seeing No Sisters in the Milton? That's what I did, and I can report it helps give thematic context and character familiarity to No Sisters. But No Sisters can also stand on its own as engaging entertainment and tour de force acting. With or without Chekhov's Three Sisters (but ever indebted to it), Aaron Posner's No Sisters gives audiences three of the most insightful and satisfying hours in locally grown and nourished theater.
There's a point late in the play when Kulygin gives a speech that mentions the importance to civilization of funding for the arts:
We want to survive and the thing about Civilization is… it helps. It just… you know… helps. It makes things better. For more people. More of the time… Rules. Laws. Sewage Systems. Fire Codes. Patents. Public Education. Meals on Wheels. Funding for scientific research. Funding for the arts. Civilization makes things better for more of the people more of the time.
And that is why there is always Hope.
On opening night, the audience broke out in applause. Perhaps somewhere Chekhov cheered too.
Running Time: Approximately three hours including one 15-minute intermission.
No Sisters plays through April 23, 2017, at The Studio Theatre – 1501 14th Street, NW, in Washington, DC. For tickets call the box office at (202) 332-3300, or purchase them online.
Note: Free vodka shots are offered upstairs at intermission of No Sisters and downstairs in the lobby after both shows end.
Needles and Opium
When I left the Eisenhower Theatre last night after witnessing this mesmerizing multimedia marvel, I had a quibble. I had just one, but it could be the most peculiar cavil I've ever had about a show. There was a problem with the curtain call. Something was off. As actors typically do after performing in live theater, the three in this cast came out on stage to be greeted by the audience's applause—which in this case was very well deserved; they were excellent. But the set needed to take a bow too. Because that spellbinding construction and the brilliant lighting and projections that shone upon it deserved an ovation all their own, one that would raise the roof.
As it happens, the set very well could have taken a bow. It's designed to. It tilts and pivots by means of some invisible mechanical/electronic magic. (The same outfit that fabricates Cirque du Soleil apparatus built it.) And it kept me suspended in disbelief and wonder for fully an hour and a half.
It's deceptively simple to look at until it's lit and comes to life. It's the three-sided corner of an imaginary big cube. Each of the sides is by turns a wall or a floor, depending on how the contraption is angled and spun. There are doors and windows and even a murphy bed in the walls, but they're invisible until they're opened. And this three-sided set serves as the screen for some of the most amazing scenic and animated projections I have ever seen in theater.
Ever have "the whirlies"?—that disorienting dizziness that takes all the fun out of getting high? If so, you'll have déjà vu as you experience this ever shifting/pitching/swiveling/slanting space that veers from place to place as in a substance-induced delirium. Except without the nausea. Only wide-eyed awe.
Not incidental to this stupefying sleight of stagecraft, a theme of the show is substance addiction. Written and directed by the world-renowned Canadian theater auteur Robert Lepage, Needles and Opium has three story lines that intersect somewhat surreally: The American trumpeter Miles Davis, who turns to heroin in anguish after a woman rejects him; the French writer Jean Cocteau, who turns to opium out of nonspecific existential torment; and a fictional Québécois voice actor named Robert who is so lovelorn because the woman he loved left him than he chokes up on a take in a recording studio.
Lepage first devised Needles and Opium 20 years ago out of an autobiographical loss not unlike the fictional Robert's. His conceit in creating it was to evoke a metaphorical connection between the pain he experienced when the love of his life dumped him—a sort of withdrawal from love addition—and the literal substance dependence in the biographies of Davis and Cocteau.
Personally, I didn't ever buy this premise. It reminded me too much of self-involved great male artists' tendency to romanticize their solipsism. The women in Needles and Opium are virtual ciphers. We see them only as unreal images, both as Robert's and Miles's emotional projections and, in the case of the French film star Davis fixates on, a literal cinematic projection. So unfleshed out are the female roles, in fact, that when the cast came out for their curtain call—two men and a woman—I had one of those "and who's she again?" moments.
Maybe I had more than one criticism after all.
So I cannot honestly say, go see this show for the story lines, for the characters you'll get to know, for their dramatic arcs of realization, for the rich insights into life it will reveal. As a people story, it's pretty problematic. But go see it for the set. I mean that. The set is epic. It's the star of this show. And in my mind, which is still reeling from seeing it, I am still applauding.
Lately I've been thinking that there are two key questions that must be asked of every season-programming choice by every theater's artistic director:
1) Why now?
2) So what?
There is no single right answer to those questions, of course, and there are several wrong ones. But if those two questions have no answer, or if merely raising them draws shrugs and blank stares…well, perhaps, given the times we now live in, there's a problem of pertinence.
Recently Arena Stage has been doing pertinence with uncanny prescience. Artistic Director Molly Smith's choice to mount Lisa Loomer's Roe and Lillian Hellman's Watch on the Rhine deserves a special Helen Hayes Award for Programming Clairvoyance—for who could have foreseen America's current health and well-being emergency, which lent both productions such unsettling urgency?
Now comes the world premiere of a play with a shock of recognition that's off the charts—Jacqueline E. Lawton's penetrating Intelligence. Lawton, commissioned back in June 2015 to write for Arena's auspicious Power Plays initiative, undertook "to process the betrayal I felt when the Bush Administration told a series of lies that led to the war in Iraq." Little could Lawton have known how many lies lay ahead.
Intelligence is a compressed and fictionalized version of the so-called Valerie Plame affair, the 2003 scandal recounted in the 2010 movie Fair Game, which in turn was based on memoirs by covert CIA operations officer Plame and her husband, former Ambassador Joseph Wilson. The subtitles of their books give the gist of the disgraceful episode: Plame's Fair Game: My Life as a Spy, My Betrayal by the White House and Wilson's The Politics of Truth: Inside the Lies that Led to War and Betrayed My Wife's CIA Identity.
Lawton spotlights the character of Valerie Plame, in a dazzling performance by Hannah Yelland that's translucent with truth. Remarkably, this sprawling drama of international intrigue and governmental malfeasance is told in a mere 90 minutes with but four other characters onstage: Valerie's husband Joseph (Lawrence Redmond); her supervisor at the CIA, Elaine (Aakhu Tuahnera Freeman); Leyla, a Georgetown fashion designer (Nora Achrati); and Leyla's beloved uncle in the Middle East, Dr. Malik Nazari (Ethan Nova), who like Leyla is under CIA surveillance.
This concision has the effect of making Valerie's conscience the real focal point of the play. The character has love and concern for her husband and young children, as would be expected. But the singularity of her steely conscience as crafted by Lawton is neither a woman's nor a man's. It is a citizen's. It is a patriot's. It is the uncompromising morals of someone who expects better of her country. And I loved that Lawton did that.
Daniella Topol directs this intime exposé against a backdrop of stagecraft to knock your socks off. Set Designer Misha Kachman sets the stage with great gray columnar slabs that could be contemporary steles or an homage to the Twin Towers. They move about, creating playing spaces into which furniture is set for close-up scenes, but their grander purpose is to serve as vast surfaces on which Projection Designer Jared Mezzocchi shows chilling footage of Bush, Cheney, Powell et al. lying the nation into war.
Somehow, perversely, Bush and Co.'s untruths told then about uranium buys and WMDs seem almost like good old days: a time when presidential prevarication could be isolated, sequestered, found in a few fateful phrases here and there, not a never-ending inundation, a logorrhea of lies.
Intelligence is a conscience-centered thriller set against a national tragedy on an epic scale. That this tragedy is ongoing and worsening only makes this sensational show more essential to see. Its "why now?" and its "so what?" are what great theater is about.
F. Scott Fitzgerald was among the first to take an editorial whack at Ernest Hemingway's first novel, The Sun Also Rises (then called Fiesta). Among other things cut out by Fitzgerald was the entire first part. Thus pruned to 200-plus pages, the book became a bestseller.
Some years ago a brilliantly inventive, New York–based theater company, Elevator Repair Service, did its own redaction, a version they turned into a story-theater-style production that the Shakespeare Theatre Company has brought to town. Now culled to two acts in three-plus hours, the book comes to life in a fascinating new light.
It's Hemingway lite. But it's got real bite.
Elevator Repair Service (ERS) is known for taking famous writerly texts and staging them, sometimes verbatim, as long-form literary theater. I saw ERS's much wordier rendition of the first chapter of William Faulkner's The Sound and the Fury in New York a few years ago and recall being transfixed by it. ERS clearly was treating the material with the presumption of an auteur, doing with Faulkner's text something he could not possibly have had in mind. Yet as the actors delivered not only the book's dialogue but also its richly detailed narration, the author's voice seemed to come through with astonishing clarity.
The text of the The Select (The Sun Also Rises) is much sparer. The actors speak less narration; the dialogue is more punched up. The text has been significantly sanitized too. Hemingway's original is shot through with homophobia, antisemitism, racism, and misogyny. Hemingway, icon of the cult of hypermasculinity in American letters, did not mince disparaging words. Wisely ERS has eliminated the racism, toned the homophobia and antisemitism way down, and left but a modicum of misogyny. The Select would have been unbearable had they not.
The agreeable result plays less like meticulously faithful readers theater and more like a breezy drama by a clever playwright who likes to keep characters tight ("tight" being Hemingwayspeak for drunk). The whole show takes place in an enticing bar set by Scenic Designer David Zinn. There are so many bottles of booze on the wall it makes one think of grabbing a preshow drink.
Hemingway's voice is famously curt. Simple straightforward sentences. Just the facts. The tips of icebergs. Simple subjects and straightforward verbs. No purple frou-frou. It's a voice so readily parodied there's a long-running International Imitation Hemingway Competition. Curiously in The Select, that unmistakable voice seems dialed down, stripped of distinction, almost genericized. It's certainly not what makes the performance on stage at the Lansburgh Theatre so smashingly theatrical. That honor belongs hands down to Director John Collins's ingenious staging, the electrifying choreography by Dance & Movement Coach Katherine Profeta, and the stunningly eloquent audio effects by Sound Designers Matt Tierney and Ben Williams.
The acting overall was fine if a little uneven, but three stellar performances enthralled me.
Kaneza Schaal plays, among other roles, the prostitute Georgette. (In life Hemingway was a john of some renown and peopled his fiction with characters based on women he had thus known). Georgette and the main narrator Jake Barnes (Mike Iveson) take a credible horse-drawn carriage ride while simply seated on two bar chairs. (Collins's staging beguiles like that.) In the novel Jake had a war injury that left him impotent (a point that goes by fast in this version; it's easy to miss). So nothing happens. Except that which happens when an actor of Schaal's stature and presence magnetizes the stage.
Kate Scelsa plays, among other roles, Frances, the girlfriend of Robert Cohn. Robert functions in the novel as Hemingway's EveryJew, the foil for everyone else's ambivalence/animus. So too in The Select. (But relative to Director Collins's better other casting, he himself does not impress in the role.) For a lot of Frances's stage time, she fades into the background, a frumpy grumpy nobody; but when the time comes for her big monologue, it's epic. It's an all-out howl of grievance, a take-me-back aria of desperation, a don't-you-dare-dump-me diatribe that would make Dreamgirls' Effie blush. Scelsa's performance stops the show, and nothing else ever tops it. Not even the big bullfight scene in Act Two (which must be seen to be believed).
The character of Brett Ashley stands apart from the parade of submissive women in Hemingway's oeuvre. Because she sports a boyish haircut, calls herself a "chap," sleeps with whomever she wants, and has an unintimidatable libido, she is seen by many as thoroughly modern but mannish. That gender bending matters not to all the men in The Sun Also Rises who are smitten by her. Instead it accounts for her allure. (Hey, a woman with a man's sex drive; let's take her for a spin.) To say that Stephanie Hayes nails the role would be an understatement. In its fierce sensuality and psychic force, hers is a performance one cannot take one's eyes off. Happily she is on stage a lot.
Perhaps it's no coincidence that these three performances of women characters all caught my eye. For ERS's lively digest of Hemingway's novel lets a sexual political theme shine through that might not jump off the page while reading. That theme is Hemingway's fantasy of the shared woman. She whom many he's have sex with like frat boys who hired a hooker—except of course separately, more decorously, with worldly sophistication, and with a woman who knows her own mind and owns her own body.
What's fascinating about how this fantasy plays out in The Select is that all the men are fully cognizant of all the other men's sexual relations with Brett. (Jake's counts even though he can't.) And they're all okay with it. More than okay, actually. It's almost as if they all bond through Brett's body.
Another role very well played by a woman, Susie Sokol, is a teenage boy, the matador Pedro Romero—whose beauty holds appeal for Jake and prompts Brett to forthwith bed him. So even Pedro gets pledged to the men's club.
You may not see what I saw in The Select (The Sun Also Rises). But if you see it for yourself during its run at the Lansburgh (as you should), you will not lack for brainwork later. It's one of those captivating shows whose implications kick in after curtain call.
A Strange Loop
A Q&A with Matthew Gardiner on his new gig at Sig
The Realistic Joneses
Working, a Musical
Whitney White on directing James Baldwin's classic The Amen Corner at Shakespeare Theatre Company


The simplest method for sleep disorder screening is to survey your employees using questionnaires that are validated for detection of sleep disorder risk. There are a number of surveys available, and multiple surveys can be combined into one overall screening questionnaire. These questionnaires should not generally be used to diagnose whether an individual has a sleep disorder, but rather to identify whether an individual is at high risk and requires further evaluation, either at home or in the clinic.
Maintain confidentiality: Ideally, the survey would be conducted and the results managed by an independent third party without sharing individual results with the company. Occupational Health Departments within companies may also be able to provide this confidential structure. Your employees may be concerned that their data may be used for other purposes, which will then reduce confidence in the program, and so it is important to outline how confidentiality will be maintained and guaranteed right from the start.
Raise awareness of the risks of sleepiness and sleep disorders in the workplace prior to initiating the program: It is recommended that companies institute a sleep education program to outline the risk of sleep loss and sleep disorders and the benefits of better sleep and treatment for sleep disorders. An educational session may also be an opportunity to provide information on sleep hygiene and other countermeasures to improve workplace sleepiness such as sleep timing, naps, light and caffeine. The short 30-60 minute education session immediately prior to the sleep screening survey may also enhance uptake, in addition to providing time at work to complete the surveys and education seminar.
Deliver your education programs and surveys effectively: The delivery method used can have a large effect on the uptake of the program. Ideally, the education and survey session should be expert-led to ensure a high face validity and provision of high quality information. Alternatively, with only a small impact on uptake, sleep experts can train company educators in a 1-2 day workshop - a 'train-the-trainer' program – placing the sleep knowledge within the company and permitting the sleep education to become part of standard training courses. An online education and survey program can be helpful for smaller companies that cannot afford a dedicated program, for very large companies that need to reach large numbers of people, or for companies with people in dispersed or remote locations, but the uptake tends to be lower than the individually-led programs.


If you already hold title jointly with someone or are thinking about being joint owners with a non-spouse, you should consider having a written agreement defining what will happen if you split up.
In Saskatchewan, you can be spouses with someone either because you are legally married or because you have lived together in a relationship for 2 years or more. Family property rules are the same regardless of how you become spouses. One of those rules is that the family home will be shared equally if you separate. This is so even if one person owned the home and had substantial equity in it before meeting the other person. Sometimes the court might make an exception by altering the formula when the relationship is of very short duration but don't count on it. I'm not a family law lawyer but I understand that those exceptions are very rarely considered by the court. However, if you have not gone through a marriage ceremony and you have not been together for 2 years or more, then you are not yet spouses. The 50/50 rule does not apply ... yet. It will after you have been together long enough.
If you are not spouses but you own title together, then the 50/50 split rule does not apply. Fairness would dictate that each person gets their initial investment back first and then any increase in the equity of the house, either because the value went up or the mortgage balance was paid down, is split equally or according to whatever other percentage might be fair. Presumably both parties were contributing equally to the costs of owning and caring for the home while they were together.
Defining what each has put into the house at the time of purchase ... both in equity and legal or other costs. Memories fade later. Agreements are a record of what happened.
Defining whether the house will be sold or one person will buy the other out if they separate.
If one is to buy the other out, how would the house be valued? If it was being sold, realtor expenses would be incurred. Should all or part of that potential cost that be deducted from the value even if it is not being sold.
What would happen if the person who is supposed to buy the other out refuses or cannot raise the money. Maybe they are unable to borrow the money either. What would happen? Would it be sold then?
Does being joint on title mean that one person who put in less or nothing at all gets half of the proceeds, or do you get your initial investment back first? That would seem more fair but the person who put in little or nothing may not play fair later on, or they may feel they have an alternative argument that ought to be considered.
These comments are not meant to be the final answer to these issues. They just underline the need for an agreement at the time of purchase, not at the time of separation.
Remember that once you become spouses, this type of agreement may no longer be binding unless at the time of signing, you also go through the formalities of getting independent legal advice and certificates, etc under The Family Property Act. The agreement will help while you are not spouses, but it may not help once you are spouses unless you comply with all the requirements of that legislation.
One other thing to consider is this: If you are buying a house together with someone who has very little to contribute in comparison to what you are putting in, don't put in a big downpayment yourself. Put in something modest and invest the balance elsewhere. That evens things up a bit and keeps your life savings safe until you know that the relationship is solid and lasting.
Joint title with the right of survivorship. This means that you each own the property together and if one person dies, the other can apply for full ownership. It bypasses any will that you may write.
Tenants in Common - Each of you will receive your own title saying that you own 1/2 or 1/10 of the property, or whatever fractions you have agreed to at the time of purchase. If one person is paying 75% of the downpayment and the other is putting in 25% but after that your contributions will be equal on mortgage payments, etc, then remember this is not a perfect solution either. That's why an agreement is really the only way to go. People usually are so confident in their relationship and they don't want to question it so they don't get an agreement with their non-spouse partner. If that is what they choose to do, they need to remember that they are taking a risk that there will be a problem later on if and when they part ways.
I don't practise family law so please don't look at this article as advice in that area. It's only meant to be an article warning you that you should make an agreement if you are buying a property with a non-spouse. If you need advice on family law, I'd be happy to refer you to someone in our office who practises family law on a regular basis. Again, I'll repeat something I mentioned above. If you sign an agreement but later on, you become spouses, any agreement you may have signed before may no longer be valid unless at the time of signing, you go through the formalities of The Family Property Act. That includes hiring separate lawyers to prepare the agreement, certicates of independent legal advice and other factors that a family law lawyer will incorporate into the agreement.


text:
New England Patriots Twitter Account Screengrab
Only 34 New England Patriots showed up to meet Trump
Well this is awkward.
Apr 19, 2017, 8:24 pm*
Nidia Cavazos
Only 34 New England Patriots players showed up to celebrate their Super Bowl championship on the south lawn of the White House on Wednesday.
President Donald Trump called out members of the Patriots to recognize them for their win, only to have several dozen missing including quarterback Tom Brady.
A Patriots spokesman, Stacey James, said more than 45 players attended the White House in 2015 under President Obama.
Among some of the missing team members were Danny Amendola, Chris Long, Alan Branch, Martellus Bennett, and Devin McCourty.
In an interview with Time magazine safety Devin McCourty had previously said he was not going to the ceremony because he didn't feel accepted in the White House. "With the president having so many strong opinions and prejudices, I believe certain people might feel accepted there while others won't," he said.
Follow our visit to @WhiteHouse on #Patriots Snapchat!
👻: patriots pic.twitter.com/S3W5tnCy2B
— New England Patriots (@Patriots) April 19, 2017
Patriots' turnout for President Obama in 2015 vs. Patriots' turnout for President Trump today: https://t.co/OxMEOqZonI pic.twitter.com/pLmJWhOw1j
— NYT Sports (@NYTSports) April 19, 2017
Despite the low turnout, the Patriots have ties with the Trump administration as owner Robert K. Kraft donated $1 million to inauguration festivities.
"No team has been this good for this long," Trump said during the ceremony on Wednesday.
The Patriots presented Trump with a helmet and a ceremonial jersey, No, 45 with his name imprinted on it.
The White House visit took place the same day that Aaron Hernandez, former Patriot, hanged himself while serving a life sentence for murder.
*First Published: Apr 19, 2017, 8:23 pm
Nidia Cavazos is a multimedia journalist with an emphasis on political reporting. She's contributed to Univision, KXAN, and USA Today College, and she was named one of six NBC Fellows by the National Association of Hispanic Journalists in 2017.


text:
Nancy Kerrigan Hasn't Seen I, Tonya Yet
by Timothy Lammers
Nancy Kerrigan, the Olympic skater targeted in the 1994 baton attack chronicled in I, Tonya, says she hasn't seen the film yet. I, Tonya has become a major breakthrough vehicle for actress Margot Robbie, a star on the rise thanks to her winning portrayal as Harley Quinn in Suicide Squad in 2016.
Robbie has been showered with multiple accolades for her performance as controversial skater Tonya Harding this awards season, including Best Actress nominations from the Screen Actors Guild, the Golden Globes and the Broadcast Film Critics Association, as well as multiple critic organizations. If the momentum surrounding her performance continues, Robbie may very well be among those up for Best Actress when the Oscar nominations are revealed January 23.
Related: The True Story Behind I, Tonya
Presented in a docudrama format, I, Tonya, which is being billed as a dark comedy, takes a look at the Harding's tough upbringing and alleged abusive relationships with her now ex-husband Jeff Gilooly (Sebastian Stan) and mother Lavona Golden (Allison Janney); and builds toward the infamous incident in 1994 when her chief competitor Kerrigan (Caitlin Carver) was struck on the knee with a baton before the Lillehammer games by Shane Stant (Ricky Russert) in an attempt to take her out of the competition. The suspects in the incident were caught and prosecuted, and both Harding and Kerrigan moved on to skate in the games, with Kerrigan earning a silver medal.
I, Tonya presents the story from the different points of view of the principals implicated in the attack, and ultimately, the movie seems to vindicate Harding, who at the time was considered to be one of the most hated people in America.
Now, with the success of I, Tonya and wider exposure the film is getting thanks to the film's accolades and awards season buzz, the person at the center of the attack is breaking her silence. In an interview with the Boston Globe (via The Wrap), Kerrigan says she hasn't seen the movie nor is in any hurry to, adding, "I really have nothing to say about it. I haven't seen anything. I haven't watched anything." Right now, she says, "I'm just busy living my life."
I, Tonya presents Harding and Kerrigan as friendly rivals, noting that the two skaters were even roommates at one point. Harding, at least in I, Tonya, doesn't appear to bare any ill-will toward Kerrigan, and the film presents Harding as more of a mostly-unknowing participant in a plot, which evolved from a threatening note into the baton attack. In the end, there's no question that Harding is portrayed in a much different light than the public saw her in 1994 and years thereafter.
In the interview, Kerrigan seems to want to forget about the incident, yet remind people that she was the one targeted. She says:
"At this point, it's so much easier and better to just be … it's not really part of my life. As you say, I was the victim. Like, that's my role in this whole thing. That's it ... It is weird, that's for sure. A bizarre thing. The whole thing was crazy, being that it's a story. I mean, come on."
Kerrigan's husband/agent, Jerry Solomon contacted the Globe after after the interview, saying that his wife will remain mum on the subject until she's ready: "Our position at this point is to say nothing. When we collectively, or Nancy individually, decide what to do, when we are ready to say something, we will.
NEXT - I, Tonya Red-Band Trailer: Everyone Has Their Own Truth
Source: The Boston Globe (via The Wrap)
Key Release Dates
I, Tonya (2017) release date: Dec 08, 2017
Tags: i tonya
Forgotten Spider-Man Comic May Reveal What Happens After Far From Home's Twist
Wolverine Just Mercy-Killed ANOTHER X-Men Mutant


text:
Q: Why NSMutableArray doesn't save the data one the view has changed? I have a tableviewcontroller (Stops) that shows a list of stops (stopsArray), where the user can mark a specific Stop like his Favourite. After touching an UIImage, the stop is saved on the NSMutableArray (myStopsMArray). And until here everything is ok. But at the moment when I leave that viewcontroller I lose all the data of the NSMutableArray. Here is my code:
Stops.h:
#import <UIKit/UIKit.h>

 @interface Stops : UIViewController <UITableViewDataSource, UITableViewDelegate>;

@property (weak, nonatomic) IBOutlet UITableView *stopsTable;

@property (nonatomic, retain) NSArray *stopsArray;

@property (nonatomic, retain) NSMutableArray *myStopsMArray;

@end

Stops.m:
#import "Stops.h"
#import "Stop.h"
#import "MyStops.h"
#import "Global.h"

@interface Stops ()

@end

 @implementation Stops

@synthesize stopsArray, myStopsMArray, stopsTable;

- (void)viewWillAppear:(BOOL)animated
{
    if (!self.myStopsMArray) {
        self.myStopsMArray = [[NSMutableArray alloc] init];
    }

}

- (void) addToFavourites:(id)sender {

    UITapGestureRecognizer *gesture = (UITapGestureRecognizer *) sender;

    NSInteger tag = gesture.view.tag;

    NSIndexPath *tagIndex = [NSIndexPath indexPathForItem:tag inSection:0];

     UITableViewCell *cell = [stopsTable cellForRowAtIndexPath:tagIndex];

     if ([cell.imageView.image isEqual: [UIImage imageNamed:@"star_filled_white.png"]]) {
        // Add Stop to favourites

        [self.myStopsMArray addObject:[stopsArray objectAtIndex:tag]];
        cell.imageView.image = [UIImage imageNamed:@"star_filled_yellow.png"];

    } else {
    // Delete Stops from favourites

        [self.myStopsMArray removeObject:[stopsArray objectAtIndex:tag]];
        cell.imageView.image = [UIImage imageNamed:@"star_filled_white.png"];
    }

    NSUserDefaults *userDefaults = [NSUserDefaults standardUserDefaults];
    [userDefaults setObject:self.myStopsMArray forKey:@"myStopsMArray"];
    [userDefaults synchronize];

    NSArray *savedData = [userDefaults objectForKey:@"myStopsMArray"];

    NSLog(@"%@", savedData);

}

@end

Thank you so much.

A: Just if someone is at the same place as me, this is the magic line –already corrected–:
Stops.m:
if ([savedData containsObject: [stopsArray objectAtIndex:index]]) {
    ...
}

Don't forget declare NSUserDefaults previously too:
NSUserDefaults *userDefaults = [NSUserDefaults standardUserDefaults];
NSArray *savedData = [userDefaults objectForKey:@"myStopsMArray"];