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FEATURE | Unlocked Or Locked Down, How Music Teachers Are Learning To Adapt To COVID-19
By Robin Roger on November 24, 2020
We checked in with music teachers to see how they're adapting during the COVID-19 pandemic.
Davina Pearl's outdoor music studio (Photo courtesy of the artist)
As COVID-19 transmission rates change, the music learning landscape fluctuates. It's impossible to fully capture what is happening day by day. What follows describes the way music teachers across Canada have been dealing with the pandemic since March.
It may seem that when it comes to musical education, the stakes are highest for students in the professional track. But the stakes are just as high, and possibly even higher for amateur musicians of all ages, from preschool children to seniors, to start or continue musical learning during this pandemic. For children, the opportunity to enhance language ability, attention span, sociability, empathy, resilience and more, has to be seized at the right time. You can't put off feeding children nutritious food — it's the same for musical nourishment.
We know that music bolsters just about every aspect of health, from muscles to mood to the immune system and more. But health experts seem to put far less emphasis on music than nutrition, exercise, sleep or social connection. Studying and practicing music offers more benefit than merely listening to music, as pleasurable as that may be, just as playing sports offers more benefit than just watching sports. And right now, when the gyms are closed to prevent viral transmission from aerosols, music study may be the best available pastime because it can take place safely inside and outside, weather permitting, if the proper protocols are followed.
"We have to do what we can to introduce novelty into our routine," said Dr. Robert Levitan, a depression specialist at the Centre for Addiction and Mental Health, in a recent article in The Globe and Mail. Learning something new is one of the best ways to do that, ideally, something that requires paying close attention, progresses in steady small incremental steps and takes genuine effort. This is true at the best of times, but now, the need is urgent.
The question is not whether people should study music, but how to do it safely.
When I checked in with various music teachers, I discovered that their ways of handling COVID-19 depended on factors ranging from their risk-tolerance, health status, age, teaching preferences, technical know-how, and scientific sophistication, and access to space. The effort and ingenuity shown by music teachers since COVID-19 started is truly impressive.
Pianist Jennifer Smele (Photo courtesy of the artist)
Adapting To Online Teaching
The good news is that there's a huge range of musical learning opportunities — both virtual and in person — available right now. Every conceivable instrument including voice is being taught, as well as music history, theory, composition and music appreciation. The availability of in-person lessons fluctuates as COVID cases fall or rise. At the time of writing and researching this piece, lessons were still occurring in person, but this was shutting down rapidly by the time the piece was completed. No doubt it will flip back and forth as the pandemic proceeds.
The diminished quality of virtual lessons is the reason that some people returned to embodied lessons over the summer when the cases diminished. Toronto based teacher and RCM Examiner Ron Tomarelli found virtual lessons, "very impoverished. It's not possible to truly hear dynamics, and everything sounds Mezzo Forte". For really advanced scores, the communication became quasi-comical. "Imagine trying to convey the fingering on a Chopin nocturne verbally with poor sound quality — 'put a three on the E' I say and the student replies 'E or G?' It becomes a comedy of errors."
In Winnipeg, piano teacher, composer, arts journalist and Ludwig-Van contributor Holly Harris described the situation in October. "Half of my home studio is currently being taught in-person, with strict health and safety protocols put in place. Generally speaking, students and their parents were overjoyed to resume in-person lessons again — as was I. Masks are mandatory for everyone, with no exception and of course for myself. I have a hand sanitizer 'station' now positioned in my front hallway. I disinfect my piano keys, bench, desk, and doorknobs between every lesson. It's all fussy, busy, rigorous but also necessary and non-negotiable. "
Brampton based piano teacher, RCM examiner, accompanist and church pianist Jennifer Smele began teaching virtually last March, but as soon as she could, she organized herself to welcome students safely into her home studio. By stationing two pianos at a safe distance from each other in her studio, Smele can stay on her bench while the mask-wearing students enter through the kitchen door, sanitize their hands, go straight to the student piano for their lesson, then leave through the front door, so that they don't encounter the next arriving student. With her piano positioned at an oblique angle into the corner of the room, Smele's face is turned away from the student when she is looking at her keyboard. This way, she can remove her mask, which she keeps at hand if she needs to move near the student piano.
When Smele gave me a Zoom tour of her premises at the end of October, wrapped Halloween treats were sprinkled on the furniture, and all of her students' scores were displayed above her plate rail. Before COVID, she sat beside her students and read from the same score, but now she stays on her bench so has to have a copy of everything each student studies. An air filter sits in the middle of the room and there is hand sanitizer on each piano.
"For me it's night and day between teaching online and in person," Smele told me. "If people are not comfortable coming in person I still teach on line, but for the earliest grades and the highest grades, it's not possible to work as effectively. The sound quality really matters." She's visibly energized by being back with her students in person and with the addition of the second piano. "The power of playing together at the same time is so healing and energizing — the online students don't know what they're missing." Having played duets with Jen, I can attest to the uplifting energy of being her musical partner. Her students are lucky.
Smele has experienced a creative boost as a result of what she calls, "the catalyst for change that COVID has offered." She's intensifying her emphasis on technique and integrating improvisation throughout her curriculum.
"I'm seeing some students thrive when they don't have to read bass clef and treble clef," she observes. "Some music loving kids just can't read music with ease."
She's also taking a break from examining for the Royal Conservatory now that it takes place online. The technology requirements were more than she felt comfortable with, especially when she felt she was already on-screen too much.
Many teachers expressed frustration or antipathy towards virtual technology. It often goes unnoticed that mastering the various virtual platforms, as well as all the devices and equipment, is a major task in itself, and that coping with technology malfunction is a real strain. "Tech rage" is as intense as "road rage" and cumulatively damaging. The anecdotes of tech failure are legion, including hours spent on hold trying to get through to help desks while students are waiting for their exams and lessons, sound distortions, screen freezes and more.
The adaptation to becoming an on line RCM examiner was far from trivial, according to pianist Asher Armstrong, who continues to conduct virtual exams.
"For me it's night and day between teaching online and in person."
"There was a good bit of training, "Armstrong reported to me from his home in Arkansas, where he recently joined the faculty of the University of Arkansas after completing his DMA at the University of Toronto. "The RCM takes logistics, quality control, and other important aspects of the exam experience extremely seriously under normal circumstances, and it has been no less so now that things have moved entirely to remote. Much of the technological apparatuses that were currently in use by the RCM for in-person exams were adjusted for the remote setting, and of course there were a number of training sessions to prepare examiners for this big shift. Those sessions were followed by checklists — you have to be able to conduct the exam with the equipment you have, which I found entailed some challenges. For instance, if you don't have or can't borrow a second laptop/tablet, it can be tricky. Similarly, finding an appropriate space where there is no danger of exterior noises, distractions, etc. (in my case, a toddler and newborn!), and with a piano or appropriate instrument! Fortunately, I had invested in some equipment already for remote teaching, and this came in handy with administering exams. The final step for me was a 'mock exam' where a Senior member of the College of Examiners checked in with you to be sure you were all set and to help in the event of any remaining obstacles or uncertainties. "
Armstrong misses in-person exams, but enjoys the scheduling flexibility of virtual examining, due to the elimination of travel, which resulted in intensive workdays for the examiner at each location visited. "With the in-person setting, you were in the exam room from 9:00 a.m. to 5: 30 p.m. or so, administering grades from 1-10. Here, there are situations where you might have a block of time from 9 p.m. to 11 p.m. or 7 a.m. to 9 a.m. (depending on your time zone) when you could be administering exams. I have had the opportunity to assess a number of split grade 10 and ARCT exams, which are video submissions only and this has been just terrific for me in terms of scheduling."
While Royal Conservatory Exams are completely remote for 2020/21, as are many other courses including music appreciation, there are still some in-person options. These include Adult Learn to Play lessons in piano, guitar, and cello; Adult Samba; Adult Fusio; Jazz Combo classes, and Latin Jazz Ensemble. Adults studying piano, guitar, and strings can choose between online and in-person classes. There is a detailed statement on COVID protocols for entering and being in the building posted on the RCM web site.
Re-enrolment in virtual music lessons for the RCM certificate program was quite robust last September, and for some courses, such as Music/History and Music Appreciation attracted new students from farther afield.
Beethoven 250 — Music Appreciation During A Pandemic Year
Longtime music educator and broadcaster Rick Phillips is giving a series of classes on Beethoven at the RCM, 2020 being the 250th anniversary of the composer's birth. He reports registration of, "online students from places like Caledon, Aurora, Victoria, Edmonton, Ottawa, Boston and San Francisco. The potential reach of online teaching is amazing."
Even though the technology enables larger, more dispersed enrolments, Phillips' enthusiasm is dampened by the limitations it imposes on his teaching.
"I can't say I love the Zoom or online teaching experience. I have no control over the quality of sound the class participants will hear. When live in classroom, I use a portable Bose speaker system that is excellent. We can all hear clearly and richly. I like to feature quite a lot of music excepts as illustrations for my points in the topic, but I have no idea through Zoom if the points I am making through music are being heard. For example, if I draw their attention to the return of a theme of a work on the clarinet, can they hear that? I have no idea. Depends on their home speakers. Some maybe, some not.
"I can't say I love the Zoom or online teaching experience. I have no control over the quality of sound the class participants will hear."
"One of the major downfalls of online class teaching is the difficulty in discussion. In a live situation, someone may ask a question and we may veer off on a related tangent. That's often when real learning takes place, through opinions, discussion, experiences, etc. Discussion is almost impossible through online teaching.
"In a live classroom situation, I can see students' faces and expressions and am then able to judge if the topic is reaching them, or not. I can then reiterate, or go over again, or try another example. I can't do that in Zoom. I get nothing back from the students during the sessions, so I don't feel the quality of my teaching is as effective."
Phillips, who also conducts opera tours and is optimistically offering trips to the Mahler Symphony Festival in Leipzig, Germany in May 2021, and the annual Mozart Week Festival in Salzburg, Austria in Jan. 2022, looks forward to teaching in person again.
"For me, Zoom and online teaching is hopefully a temporary stop-gap until we can return to live, in classroom teaching. It doesn't come close to replacement, but it's all we've got for now, and in these days of little or no live concerts, it does seem to offer people something that they are missing in their current music-starved COVID lives."
Online Or In Person?
So far as learning to play an instrument, each presents different challenges in terms of whether it may be taught effectively online or safely in person. Voice lessons, for example, are nearly impossible to conduct in person. According to Winnipeg-based performer, composer, adjudicator and wait-listed voice teacher Kelly Robinson, the unmasked student and teacher must stand 8 to 10 metres away from each other. That's about the length of a yellow school bus. The singing voice produces much more aerosol than the normal speaking voice.
"I tried teaching from 8 metres away and I know for a fact that I can communicate much more clearly over Zoom than from that distance," Robinson told me. Her solution has been to dive deeply into mastering the technology. "I have learned about Ethernet cables, internet speed, compression and sound settings. I invested in a very good quality microphone, so my students can hear my demonstrations clearly, and I wear noise-cancelling headphones so now the students sound like they are singing in the same room with me. It's quite amazing! We are accomplishing so much in each lesson."
Robinson regrets that she can't play piano to accompany her students during lessons as she did in her studio, due to the time delay of virtual platforms, but being freed up from the keyboard results in a "wonderful surprise. I can observe my student the whole time while they sing. I can pay much closer attention to their breath, jaw and tongue placement and provide much clearer feedback for breath support in specific sections of each song."
Another surprise for Robinson is being untethered from her Winnipeg base. "People in other provinces have contacted me, especially contemporary-style singers who want a crash course in vocal technique so they don't harm their voices." With training in both classical and pop/rock vocal styles and a Bachelor in Science in microbiology with a special interest in caring for the voice during illness and fatigue, she is uniquely qualified to coach a wide variety of singers.
"I love the fact that geography no longer plays into learning."
Other teachers are also enjoying being liberated from location.
"I love the fact that geography no longer plays into learning," states composer, composition and piano teacher Katya Pine, who moved to B.C. six years ago. She has been teaching composition for more than 40 years to people of all ages, as well as piano, and has enjoyed a mini-surge since COVID began. "I've never had so busy a summer as I had last summer. My current students were all initially in-person students, and together we've worked out the technical glitches posed by Zoom to a more or less satisfying condition." Pine feels no rush to get back to in-person teaching, partly because she has a weak immune system and partly because composition is especially conducive to online teaching. "I have been giving workshops to local teachers on how to teach composition to their students using virtual software. That's what's been such an easy transition for me. My students all use Logic and Sibelius. The kids take to the software pretty quickly since they're literally born with computer-mice attached to their hands. I'd love to teach composition to more amateur adults too. It's fun to see faces light up over this kind of creativity."
It's not nearly so easy for certain other instruments to be taught virtually. Some instruments need a play-along, interactive approach, and some require the instructor to be able to see the student's entire body to offer meaningful feedback. The student also needs to be able to see the teacher's body. Drummer and Percussionist Agneya Chikte, an instructor at the Humber Community Music School, went through extensive adjustments.
"It was incredibly difficult going online at the start. First is the tech side of things — a drum set will most probably distort on any average phone microphone! So getting that setup on the student's side, along with having a good angle to see the students themselves, has been a real challenge. From an educator's perspective, the challenge has really been to make drum lessons engaging and interactive, without being able to play along with the student. I have created various backing tracks and warm-up tracks so that students can play along on their end while I can listen. It's safe to say that pedagogically and technologically I've made a lot of progress these past few months!"
Drumming, which is so powerfully social, lends itself to ensemble and improvisation. This is central to the Humber Community Music School pedagogy, which includes group music learning for all students from age 3 to 18. While the School is continuing with online lessons for this semester as well as the winter semester, it's the first time in 42 years that it can't teach ensemble music. For a jazz program this is a real loss.
Ottawa-based saxophonist, bandleader and music teacher Davina Pearl also plays and teaches in many groups. Her students, both children and adults, were missing playing with the bands they were in before the pandemic. Playing duets is also a cornerstone of her teaching with private students, which can't be done online. She transferred her lessons outdoors in the summer, and created mini-ensembles for players of different ages and levels, with nearly magical results.
"After being stuck online for the length of the spring, the very first time I played with a student (or anyone) in person, it was in the backyard. It was a very simple duet from when this particular adult student of mine was a beginner. Those pieces don't usually elicit much emotion, they are quite basic. Especially now that she is doing much more advanced material. But when we got to the end of the little composition, we just looked at each other and burst out crying. It felt so good to finally be playing together again."
Before moving to en plein air music, Pearl broached the possibility with neighbours, who were agreeable to the idea in advance, and have been very appreciative of the music wafting their way ever since. Passers-by pause to enjoy the music, and have even asked for Pearl's business card. If street music, which has been springing up throughout the pandemic, continues when it is over, it will be an extremely positive outcome. But, it's a seasonal option. Pearl is now investigating, "air purifiers, furnace fan upgrades, window fans, and saxophone bell covers."
A vaccine may be in sight but we are not at the end of the pandemic, at best we are at the end of the beginning. Consider music study and music appreciation as a way to get through the dark, cold, socially distanced winter. Not only will you emerge in good health, you'll be able to express your joy and renewed vitality musically.
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Robin Roger
Robin Roger is a psychotherapist who emphasizes the importance of learning new things as part of developing and maintaining mental wellness.She is a committed amateur pianist as well as a writer, book reviewer and frequent contributor to Ludwig Van.
Latest posts by Robin Roger (see all)
FEATURE | Unlocked Or Locked Down, How Music Teachers Are Learning To Adapt To COVID-19 - November 24, 2020
FEATURE | Back To School Changes Post-COVID For Music Students In Professional Programs - October 19, 2020
Guide | A Musical Reading List For The Labour Day Weekend - September 4, 2020
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Esprit Orchestra's Stephen Sitarski talks about the contemporary violin
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Q: listing package: colored numbers, but not colored in variable names How to format all numbers in a different color has been discussed in this post.
However, this also colors numbers that are part of a variable name. Is there an option to avoid that?
\documentclass[fleqn, a4paper]{article}
\usepackage{listings}
\usepackage{color}

\lstdefinelanguage{mylang}{%
    basicstyle=\ttfamily,%
    literate={0}{{\textcolor{blue}{0}}}{1}%
         {1}{{\textcolor{blue}{1}}}{1}%
         {2}{{\textcolor{blue}{2}}}{1}%
         {3}{{\textcolor{blue}{3}}}{1}%
         {4}{{\textcolor{blue}{4}}}{1}%
         {5}{{\textcolor{blue}{5}}}{1}%
         {6}{{\textcolor{blue}{6}}}{1}%
         {7}{{\textcolor{blue}{7}}}{1}%
         {8}{{\textcolor{blue}{8}}}{1}%
         {9}{{\textcolor{blue}{9}}}{1}%
         {.0}{{\textcolor{blue}{.0}}}{1}% Following is to ensure that only periods
         {.1}{{\textcolor{blue}{.1}}}{1}% followed by a digit are changed.
         {.2}{{\textcolor{blue}{.2}}}{1}%
         {.3}{{\textcolor{blue}{.3}}}{1}%
         {.4}{{\textcolor{blue}{.4}}}{1}%
         {.5}{{\textcolor{blue}{.5}}}{1}%
         {.6}{{\textcolor{blue}{.6}}}{1}%
         {.7}{{\textcolor{blue}{.7}}}{1}%
         {.8}{{\textcolor{blue}{.8}}}{1}%
         {.9}{{\textcolor{blue}{.9}}}{1}%
         {\ }{{ }}{1}% handle the space
         ,%
    }
\begin{document}
\begin{lstlisting}[language=mylang]
    {
      _SetCalibTableName("lorem",100);
      g_Met_strReferenceName1=Met_strReferenceName;
    }
\end{lstlisting}
\end{document}

A: This happens because your language definition is too "poor" at the moment; you haven't declared strings, keywords, comments... Depending on the specificity of your language, there are several options: you could use the starred version of literate, so the replacements you declared won't be made on strings and comments, and define some appropriate strings. In the following example, everything between _ and ( and between _ and = will be treated as a string:
\documentclass[fleqn, a4paper]{article}
\usepackage{listings}
\usepackage{color}

\lstdefinelanguage{mylang}{%
    basicstyle=\ttfamily,%
    literate=*{0}{{\textcolor{blue}{0}}}{1}%
         {1}{{\textcolor{blue}{1}}}{1}%
         {2}{{\textcolor{blue}{2}}}{1}%
         {3}{{\textcolor{blue}{3}}}{1}%
         {4}{{\textcolor{blue}{4}}}{1}%
         {5}{{\textcolor{blue}{5}}}{1}%
         {6}{{\textcolor{blue}{6}}}{1}%
         {7}{{\textcolor{blue}{7}}}{1}%
         {8}{{\textcolor{blue}{8}}}{1}%
         {9}{{\textcolor{blue}{9}}}{1}%
         {.0}{{\textcolor{blue}{.0}}}{1}% Following is to ensure that only periods
         {.1}{{\textcolor{blue}{.1}}}{1}% followed by a digit are changed.
         {.2}{{\textcolor{blue}{.2}}}{1}%
         {.3}{{\textcolor{blue}{.3}}}{1}%
         {.4}{{\textcolor{blue}{.4}}}{1}%
         {.5}{{\textcolor{blue}{.5}}}{1}%
         {.6}{{\textcolor{blue}{.6}}}{1}%
         {.7}{{\textcolor{blue}{.7}}}{1}%
         {.8}{{\textcolor{blue}{.8}}}{1}%
         {.9}{{\textcolor{blue}{.9}}}{1}%
         {\ }{{ }}{1}% handle the space
         ,%
    string=[s]{_}{=},
    string=[s]{_}{(},
    stringstyle=\ttfamily,
    showstringspaces=false
    }
\begin{document}
\begin{lstlisting}[language=mylang]
    {
      _SetCalibTableName("lorem",100);
      g_Met_strReferenceName1=Met_strReferenceName;
    }
\end{lstlisting}
\end{document}

But this could not be the best approach, depending on the language you are trying to define (perhaps this approach would involve considering so many cases that it's not viable, or some objects that shouldn't be treated as strings will be considered erroneously as such).
Another option would be to escape those numbers for which you don't want the replacement to be done; for example, assuming that ! won't be used with any specific meaning in your language, you could say:
\documentclass[fleqn, a4paper]{article}
\usepackage{listings}
\usepackage{color}

\lstdefinelanguage{mylang}{%
    basicstyle=\ttfamily,%
    literate=*{0}{{\textcolor{blue}{0}}}{1}%
         {1}{{\textcolor{blue}{1}}}{1}%
         {2}{{\textcolor{blue}{2}}}{1}%
         {3}{{\textcolor{blue}{3}}}{1}%
         {4}{{\textcolor{blue}{4}}}{1}%
         {5}{{\textcolor{blue}{5}}}{1}%
         {6}{{\textcolor{blue}{6}}}{1}%
         {7}{{\textcolor{blue}{7}}}{1}%
         {8}{{\textcolor{blue}{8}}}{1}%
         {9}{{\textcolor{blue}{9}}}{1}%
         {.0}{{\textcolor{blue}{.0}}}{1}% Following is to ensure that only periods
         {.1}{{\textcolor{blue}{.1}}}{1}% followed by a digit are changed.
         {.2}{{\textcolor{blue}{.2}}}{1}%
         {.3}{{\textcolor{blue}{.3}}}{1}%
         {.4}{{\textcolor{blue}{.4}}}{1}%
         {.5}{{\textcolor{blue}{.5}}}{1}%
         {.6}{{\textcolor{blue}{.6}}}{1}%
         {.7}{{\textcolor{blue}{.7}}}{1}%
         {.8}{{\textcolor{blue}{.8}}}{1}%
         {.9}{{\textcolor{blue}{.9}}}{1}%
         {\ }{{ }}{1}% handle the space
         ,%
    escapeinside={!!}
    }
\begin{document}
\begin{lstlisting}[language=mylang]
    {
      _SetCalibTableName("lorem",100);
      g_Met_strReferenceName!1!=Met_strReferenceName;
    }
\end{lstlisting}
\end{document}

Another option (similar in spirit to the last one) would be to set mathescape=true and surround the numbers in the variable names with $...$:
\documentclass[fleqn, a4paper]{article}
\usepackage{listings}
\usepackage{color}

\lstdefinelanguage{mylang}{%
    basicstyle=\ttfamily,%
    literate=*{0}{{\textcolor{blue}{0}}}{1}%
         {1}{{\textcolor{blue}{1}}}{1}%
         {2}{{\textcolor{blue}{2}}}{1}%
         {3}{{\textcolor{blue}{3}}}{1}%
         {4}{{\textcolor{blue}{4}}}{1}%
         {5}{{\textcolor{blue}{5}}}{1}%
         {6}{{\textcolor{blue}{6}}}{1}%
         {7}{{\textcolor{blue}{7}}}{1}%
         {8}{{\textcolor{blue}{8}}}{1}%
         {9}{{\textcolor{blue}{9}}}{1}%
         {.0}{{\textcolor{blue}{.0}}}{1}% Following is to ensure that only periods
         {.1}{{\textcolor{blue}{.1}}}{1}% followed by a digit are changed.
         {.2}{{\textcolor{blue}{.2}}}{1}%
         {.3}{{\textcolor{blue}{.3}}}{1}%
         {.4}{{\textcolor{blue}{.4}}}{1}%
         {.5}{{\textcolor{blue}{.5}}}{1}%
         {.6}{{\textcolor{blue}{.6}}}{1}%
         {.7}{{\textcolor{blue}{.7}}}{1}%
         {.8}{{\textcolor{blue}{.8}}}{1}%
         {.9}{{\textcolor{blue}{.9}}}{1}%
         {\ }{{ }}{1}% handle the space
         ,%
    mathescape=true
    }
\begin{document}
\begin{lstlisting}[language=mylang]
    {
      _SetCalibTableName("lorem",100);
      g_Met_strReferenceName$1$=Met_strReferenceName;
    }
\end{lstlisting}
\end{document}

redpajama_set_name: RedPajamaStackExchange


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Мудукудумі Парувалудхі (; 1-а пол. II ст. дон. е.) — правитель держави Пандья. Відомий також відомий як Пальякалай (за здійснення численних жертвоприношень). Про нього згадано в тамільській поемі «Мадурайкканці».

Життєпис
Син або інший родич Недунджчеліяна II. Згідно пісень періоду Санграм був великим воїном, що здійснив численні походи та сплюндрував ворожі землі. В тамільськійпоемі «Пуранануру» йдеться, що він був могутнім воїном, який вигнав багатьох правителів, був найкращим із поетів і найбільшим із володарів. На мідних написах в Чиннаманурі значиться «Світ був знищений у потопі. Лише один Пандіян вижив», вважається, що мова йдепро цього володаря (хоча зберігається дискусія).

Сприяв поширенню брахманізма на своїх землях. Задопомогою брахманів виконувавобряди яга в спеціальних будовах яга-шала за зразком традиційз північної Індії. Йому спадкував Недунджчеліян III.

Джерела
 Pillai, Sivaraja (1984) [1932]. The Chronology of the Early Tamils. Asian Educational Services
 Husaini, Abdul Qadir. (1962). The History of the Pandya Country. Selvi Pathippakam, Karaikudi.
 Kamil Zvelebil (1973). The Smile of Murugan: On Tamil Literature of South India. BRILL. ISBN 90-04-03591-5.
Династія Пандья

redpajama_set_name: RedPajamaWikipedia


text:
Research reports on immigration
The use of open source in UDI and UNE (2019)
Bruk av søk i åpne kilder i UDI og UNE (pdf, 1,0 MB)
The use of open source intelligence (OSINT) can be an important tool in verifying the asylum applicant's basis for applying for protection in Norway, including the applicant's identity and asylum information. OSINT is a supplement to the information provided by the applicant and to all other information pertinent to the case. In this context, OSINT is information that is publicly available on the Internet, such as social media, public registers, government sanction lists, media databases, compliance databases, etc. Whether the information is considered public is related to who the publisher of the information is, how many can view it, whether the information is openly available without restriction and whether it is published legally and in what context. In this project, we have investigated the extent to which the Norwegian Directorate of Immigration (UDI) and the Immigration Appeals Board (UNE) have a unified strategy with regard to open source searches, the degree and manner in which the administration uses the information in the case processing and the extent to which the administration ensures the safety of asylum seekers and employees when conducting searches.
The issues are operationalized through several sub-issues with accompanying recommendations and are structured around the following sections:
Purpose - what, according to the UDI and UNE, is the purpose of using OSINT? The purpose of using OSINT is in principle clear; to gather information pertinent to the case, but how the purpose is to be fulfilled must be clarified. It is recommended to establish overall goals and a uniform policy for the use of OSINT in UDI and UNE. This must include a coherent strategy and standards with principles and guidelines.
Guidelines - do guidelines regulate the activity and do the guidelines provide a clear purpose for the search activity, clear guidance in relation to when and how searches should be conducted, how findings should be evaluated and how the asylum seekers right to contradiction is ensured.
We recommend that UDI and UNE should review the structure, regulations, needs, expectations and requirements of its OSINT activity. Such a review should include:
Clarifying authority and mandate for OSINT searches. Should OSINT be used and who should have the authority to make such searches?
Status and form of guidelines
Harmonization and coordination of policies across entities to ensure equal treatment, efficient utilization of resources, safeguarding privacy and access for all relevant parties, etc.
Assessing the risk associated with using OSINT for case workers and asylum seekers, including the methods, profiles and technical aids to be used
Organization - concerns whether the UDI and UNE have organized the OSINT activity in a way that ensures that cases are adequately investigated, safeguards the principle of equal treatment, mobilizes the necessary expertise and contributes to effective case processing
Our recommendation is:
That UDI and UNE set up specialized units responsible for the OSINT activity.
The division of responsibilities between this unit and other units regarding OSINT activity must be clarified.
Establishing goals and resource limits for the activities lies with the respective agencies' management. This requires that a methodology and system is developed for assessing which cases OSINT is to be used for.
Competence - regards the degree to which UDI and UNE have the necessary competence to conduct OSINT-activity and how one develops this competence.
WE recommend that the UDI and UNE should:
Assess the need to strengthen their expertise in IT, security and privacy.
Strengthen their expertise in data collection and analysis in connection with OSINT searches.
Implement measures to ensure that relevant language skills are available when conducting searches.
Data collection concerns the UDI and UNE's use of technical tools to gather information from relevant sources, compiling and analyzing findings that contribute to informing the case and safeguarding the safety of applicants and case managers.
It's our view that acquisition of new technology may itself improve some of the routines, but a thorough, preliminary mapping of needs and purposes would provide more targeted and technologically adapted solutions. This applies to technical needs in various circumstances, whether it is for security reasons, use of sources or for documentation. In our view technical needs clarification, sharing and transfer of experiences from other agencies that use OSINT or have OSINT practices under development should also be considered.
Practices concerns whether the UDI and UNE act in accordance with the guidelines that are in place today and if these satisfies the requirements of administrative law.
Low maturity and challenges in these areas indicate that practices related to the use of OSINT are not carried out with sufficient degree of management and control. Nor can one be sure that the demand for equal treatment of cases is being met. Our recommendation is that developing measures in accordance with the recommendations regarding regulatory framework and data collection would establish a sound framework for the OSINT activity.
Our overall assessment is that UDI and UNE both need to strengthen their maturity when it comes to the use of OSINT when handling asylum applications. Currently we observe
A lack of clarity in procedures and guidelines
Differences in practice as a result of unclear guidelines, possible deviations in practice on when OSINT searches should be used and major differences in competence
Very general guidelines when assessing findings
A lack of a systematic overview of the risk for the caseworker and asylum seeker associated with the search business
A limited system for quality assurance of the OSINT-activity.
In total, we therefore find reason to question whether current practices provide asylum applicants and employees with enough security and whether applicants' legal rights are adequately safeguarded in connection with the use of OSINT.
We note that improvements are ongoing as we have been informed that during the project period, measures have been adopted in UNE that will strengthen safety in connection with OSINT searches. We have limited knowledge of the form and implementation of these. This also means that we have no basis for assessing whether these reduce the potential risk for the case managers in UNE and possibly the identity of asylum seekers in connection with the search activity. Therefore, we recommend that UDI and UNE consider whether searches should be conducted before risks are systematically assessed and / or comprehensive search routines implemented.
UDI, UNE and the National Police Immigration Service (PU) all employ OSINT, often addressing the same cases. There is an exchange of information related to OSINT results, but our informants have also pointed to barriers both in terms of the sharing of responsibility and information exchange. PU did not participate in this study. Further work on the development of the use of OSINT in connection with asylum cases should include all three actors who are responsible for handling asylum cases. In this case, the possibility of authorities must be considered.increased sharing of information from OSINT between the immigration authorities must be considered.

redpajama_set_name: RedPajamaCommonCrawl


The Long Fast Death of Manny Pacquiao, my latest in Esquire.
This entry was written by Poole, posted on November 15, 2010 at 9:22 pm, filed under Uncategorized. Leave a comment or view the discussion at the permalink and follow any comments with the RSS feed for this post.
Is Manny Pacquiao Ready for Margarito?
My article in TIME about Pacquiao-Margarito: Boxing: Is Manny Pacquiao Ready for the Tijuana Tornado?
This entry was written by Poole, posted on November 12, 2010 at 11:45 pm, filed under Uncategorized. Leave a comment or view the discussion at the permalink and follow any comments with the RSS feed for this post.
The book has been getting lots of attention and rave reviews. I have been interviewed on radio programs in the United States and the UK, I have a cover story in American Way Magazine, the book has been praised in Sports Illustrated, New York Newsday, and in the boxing press, and I have been interviewed by the Daily Telegraph and several other outlets, and a lot more talk about the book will happen this week because Pacquiao is featured on Sunday's 60 Minutes (the program used my book to help research its segment) and he fights the following Saturday (November 13) at Cowboys Stadium. Look for the book in the Dallas, Las Vegas and Los Angeles airports, too. There is a poster give-way with every purchase of PacMan.
For a daily dose of PacMan book news, go to the PacMan: The Book FaceBook page.
This entry was written by Poole, posted on November 5, 2010 at 9:28 pm, filed under Boxing, PacMan, Uncategorized. Leave a comment or view the discussion at the permalink and follow any comments with the RSS feed for this post.


text:
// Copyright 2000-2019 JetBrains s.r.o. Use of this source code is governed by the Apache 2.0 license that can be found in the LICENSE file.
package com.intellij.ide.navigationToolbar;

import com.intellij.codeInsight.CodeInsightBundle;
import com.intellij.ide.scratch.RootType;
import com.intellij.openapi.application.ReadAction;
import com.intellij.openapi.module.Module;
import com.intellij.openapi.module.ModuleManager;
import com.intellij.openapi.module.ModuleType;
import com.intellij.openapi.project.Project;
import com.intellij.openapi.roots.*;
import com.intellij.openapi.vfs.VfsUtil;
import com.intellij.openapi.vfs.VirtualFile;
import com.intellij.psi.*;
import com.intellij.psi.search.GlobalSearchScope;
import com.intellij.psi.search.PsiFileSystemItemProcessor;
import com.intellij.psi.util.PsiUtilCore;
import com.intellij.util.Processor;
import org.jetbrains.annotations.NotNull;
import org.jetbrains.annotations.Nullable;

/**
 * @author anna
 */
public class DefaultNavBarExtension extends AbstractNavBarModelExtension {
  @Override
  @Nullable
  public String getPresentableText(final Object object) {
    if (object instanceof Project) {
      return ((Project)object).getName();
    }
    else if (object instanceof Module) {
      return ((Module)object).getName();
    }
    else if (object instanceof PsiFile) {
      VirtualFile file = ((PsiFile)object).getVirtualFile();
      return file != null ? file.getPresentableName() : ((PsiFile)object).getName();
    }
    else if (object instanceof PsiDirectory) {
      return ((PsiDirectory)object).getVirtualFile().getName();
    }
    else if (object instanceof JdkOrderEntry) {
      return ((JdkOrderEntry)object).getJdkName();
    }
    else if (object instanceof LibraryOrderEntry) {
      final String libraryName = ((LibraryOrderEntry)object).getLibraryName();
      return libraryName != null ? libraryName : CodeInsightBundle.message("package.dependencies.library.node.text");
    }
    else if (object instanceof ModuleOrderEntry) {
      final ModuleOrderEntry moduleOrderEntry = (ModuleOrderEntry)object;
      return moduleOrderEntry.getModuleName();
    }
    return null;
  }

  @Override
  public PsiElement adjustElement(@NotNull final PsiElement psiElement) {
    final PsiFile containingFile = psiElement.getContainingFile();
    if (containingFile != null) return containingFile;
    return psiElement;
  }

  @Override
  public boolean processChildren(final Object object, final Object rootElement, final Processor<Object> processor) {
    if (object instanceof Project) {
      return processChildren((Project)object, processor);
    }
    else if (object instanceof Module) {
      return processChildren((Module)object, processor);
    }
    else if (object instanceof PsiDirectoryContainer) {
      final PsiDirectoryContainer psiPackage = (PsiDirectoryContainer)object;
      final PsiDirectory[] psiDirectories = ReadAction.compute(() -> rootElement instanceof Module
                                                                     ? psiPackage.getDirectories(
        GlobalSearchScope.moduleScope((Module)rootElement))
                                                                     : psiPackage.getDirectories());
      for (PsiDirectory psiDirectory : psiDirectories) {
        if (!processChildren(psiDirectory, rootElement, processor)) return false;
      }
      return true;
    }
    else if (object instanceof PsiDirectory) {
      return processChildren((PsiDirectory)object, rootElement, processor);
    }
    else if (object instanceof PsiFileSystemItem) {
      return processChildren((PsiFileSystemItem)object, processor);
    }
    return true;
  }

  private static boolean processChildren(final Project object, final Processor<Object> processor) {
    return ReadAction.compute(() -> {
      for (Module module : ModuleManager.getInstance(object).getModules()) {
        if (!ModuleType.isInternal(module) && !processor.process(module)) return false;
      }
      return true;
    });
  }

  private static boolean processChildren(Module module, Processor<Object> processor) {
    final PsiManager psiManager = PsiManager.getInstance(module.getProject());
    ModuleRootManager moduleRootManager = ModuleRootManager.getInstance(module);
    VirtualFile[] roots = moduleRootManager.getContentRoots();
    for (final VirtualFile root : roots) {
      final PsiDirectory psiDirectory = ReadAction.compute(() -> psiManager.findDirectory(root));
      if (psiDirectory != null) {
        if (!processor.process(psiDirectory)) return false;
      }
    }
    return true;
  }

  private static boolean processChildren(PsiDirectory directory, @Nullable Object rootElement, Processor<Object> processor) {
    return ReadAction.compute(() -> {
      Project project = directory.getProject();
      RootType scratchRootType = RootType.forFile(PsiUtilCore.getVirtualFile(directory));
      ModuleFileIndex moduleFileIndex =
        rootElement instanceof Module ? ModuleRootManager.getInstance((Module)rootElement).getFileIndex() : null;
      return directory.processChildren(child -> {
        VirtualFile childFile = PsiUtilCore.getVirtualFile(child);
        if (childFile != null && scratchRootType != null && scratchRootType.isIgnored(project, childFile)) return true;
        if (childFile != null && moduleFileIndex != null && !moduleFileIndex.isInContent(childFile)) return true;
        return processor.process(child);
      });
    });
  }

  private static boolean processChildren(final PsiFileSystemItem object, final Processor<Object> processor) {
    return ReadAction.compute(() -> object.processChildren(new PsiFileSystemItemProcessor() {
      @Override
      public boolean acceptItem(@NotNull String name, boolean isDirectory) {
        return true;
      }

      @Override
      public boolean execute(@NotNull PsiFileSystemItem element) {
        return processor.process(element);
      }
    }));
  }

  @Nullable
  @Override
  public PsiElement getParent(PsiElement psiElement) {
    PsiFile containingFile = psiElement.getContainingFile();
    if (containingFile != null) {
      PsiDirectory containingDirectory = containingFile.getContainingDirectory();
      if (containingDirectory != null) {
        return containingDirectory;
      }
    }
    else if (psiElement instanceof PsiDirectory) {
      PsiDirectory psiDirectory = (PsiDirectory)psiElement;
      Project project = psiElement.getProject();
      PsiDirectory parentDirectory = psiDirectory.getParentDirectory();
      if (parentDirectory == null) {
        VirtualFile jar = VfsUtil.getLocalFile(psiDirectory.getVirtualFile());
        if (ProjectRootManager.getInstance(project).getFileIndex().isInContent(jar)) {
          parentDirectory = PsiManager.getInstance(project).findDirectory(jar.getParent());
        }
      }
      return parentDirectory;
    }
    else if (psiElement instanceof PsiFileSystemItem) {
      VirtualFile virtualFile = ((PsiFileSystemItem)psiElement).getVirtualFile();
      if (virtualFile == null) return null;
      PsiManager psiManager = psiElement.getManager();
      PsiElement resultElement;
      if (virtualFile.isDirectory()) {
        resultElement = psiManager.findDirectory(virtualFile);
      }
      else {
        resultElement = psiManager.findFile(virtualFile);
      }
      if (resultElement == null) return null;
      VirtualFile parentVFile = virtualFile.getParent();
      if (parentVFile != null) {
        PsiDirectory parentDirectory = psiManager.findDirectory(parentVFile);
        if (parentDirectory != null) {
          return parentDirectory;
        }
      }
    }
    return null;
  }
}

redpajama_set_name: RedPajamaGithub


The Delaware Children's Health Insurance Program (CHIP) can provide your child with free health insurance if your income level is too high to be eligible for Delaware Medicaid, but yet you do not make enough money to purchase private health insurance for your child.
Delaware Healthy Children Program is a low cost health insurance program for Delaware's uninsured children. The Delaware Healthy Children Program features the same high-quality coverage you'd get with some of the best private insurance plans.
Delaware Child Nutrition Programs, through the cooperation of the U.S. federal and state governments, provide access to child nutrition information and they provide free and low-cost food.
Delaware State Child Welfare Department can provide you with information about foster care, adoption and parenting.
Delaware State Department of Education in each state can give you information about special early intervention programs and about school nutrition programs.
Delaware Department of Health can provide more than "just" health information. They can also be a good source of information about nutrition programs and about programs that can help with parenting concerns.
Delaware State Adoption Contacts can put you in touch with the child adoption specialists and child adoption program in each state.


text:
/* eslint react/no-array-index-key: 0 */
import React, { Component } from 'react';
import jsplumb from 'jsplumb';
import * as styles from './List.scss';

export default class Visualizer extends Component {
  constructor(props) {
    super(props);
    this.jsplumb = null;
  }

  componentDidMount() {
    this.jsplumb = jsplumb.getInstance();
    this.drawConnections();
    window.addEventListener('resize', this.respondToResize);
  }

  componentDidUpdate() {
    this.jsplumb.detachEveryConnection();
    this.jsplumb.deleteEveryEndpoint();
    this.drawConnections();
  }

  componentWillUnmount() {
    this.jsplumb.reset();
    window.removeEventListener('resize', this.respondToResize);
  }

  respondToResize = (e) => {
    this.props.updateWidth(window.innerWidth);
    this.props.updateHeight(window.innerHeight);
    e.preventDefault();
    this.jsplumb.repaintEverything();
  };

  drawConnections = () => {
    const { linkedListList } = this.props;
    let prevId;
    let connections = {};
    let jsList = linkedListList.toJS();
    if (jsList && jsList.length) {
      connections = jsList.reduce((links, node, i) => {
        if (node !== undefined && node !== null) {
          let id = `${i}${node.value}`;
          links[`${id}next`] = []; // eslint-disable-line no-param-reassign
          if (prevId) {
            links[prevId].push(id);
          }
          prevId = `${id}next`;
        }
        return links;
      }, {});
    }
    for (let parent in connections) {
      if (connections.hasOwnProperty(parent)) {
        connections[parent].forEach(child => {
          this.jsplumb.connect({
            source: parent,
            target: child,
            anchors: ['Center', [[0.5, 0, 0, 0], [0.5, 1, 0, 0]]],
            endpoint: ['Dot', { radius: 2 }],
            overlays: [
              ['Arrow', { location: 0.99, width: 12, length: 12, id: 'arrow' }]
            ],
            connector: ['StateMachine', { curviness: -15, proximityLimit: 40 }],
            paintStyle: { stroke: 'gray', strokeWidth: 2 }
          });
        });
      }
    }
  };

  render() {
    const { linkedListList, windowHeight } = this.props;
    return (
      <div className={styles.listContainer}>
        {linkedListList && linkedListList.map((node, i) =>
          <div
            style={{
              paddingLeft: `${(i % Math.floor(windowHeight / 105)) * 10}px`
            }}
            className={styles.nodeContainer}
            key={`${i}${node.get('value')}`}
          >
            <div
              id={`${i}${node.get('value')}`}
              className={node.get('highlighted') ? styles.highlightedListNode : styles.listNode}
            >
              {node.get('value')}
            </div>
            <div
              id={`${i}${node.get('value')}next`}
              className={node.get('highlighted') ? styles.highlightedNextNode : styles.nextNode}
            />
          </div>
          )}
      </div>
    );
  }

}


We have a good local library here in town. It helps that one of the Pacer officers works there. It seems like there is always a book that interests me.
For example, I have started reading "Boy Racer" by Mark Cavendish (2009). I have not read much of the book yet so I can't comment on if it is any good but the following in the prologue did stand out.
A lot of professional athletes have performance anxiety or whatever psychology wants to call it, but winners, born winners like me, just want sunshine blown up their arses. Or if you prefer slightly less vulgar translation, I don't want the truth – I just want to be told I'm the best.
Is that being confident or cocky?
I agree with Rach, but at the same time I think that quote is hilarious!
I admit that since I've started racing, some of my own friends have commented on how my ego is too big. Some of them know I just talk big and I don't actually believe I'm #1, but you have to believe you CAN be in order for it to happen.
I'll hold judgement until you finish the book. As long as it's not overdone, the confidence is a big help!
Keep reading. There's a lot of comments like that in the book. Some unique insight.


Like You Live, Incorporated, stems from the recognition of the fact that life doesn't meet any of us halfway; however, it is susceptible to our respective wills. Challenges are inevitable, but we are incredible, and it is our belief that life is for the living. They are committed to the production of high-quality, stylish apparel that promotes an approach to those things that matter most to us, with the zeal that propels us forward through everyday life.
As their motto states, DO WHAT YOU LOVE MOST!
This is perfect for my husband! Although he rocks the mortgage biz by day, he's also a pretty awesome house music DJ and music producer. He's been doing it since he was 12!! Now that's passion for doing what you love.
Visit Like You Live's website and Instagram page to find out more information.
Want to order some gear? Use the code FREESHIP at Like You Live to receive free shipping on your order through June 30, 2018!
One (1) winner will receive a Father's Day gold gift box!
The Father's Day gold gift box contains 3 T-shirts, with a total retail value of $76.
The giveaway will be live until Thursday, June 7th at 11:45pm Central.


The Global Math Department is a group of math educators sharing what they've learned. Professional development among colleagues who are also friends. Fun, immediately useful and interesting! We host a webinar each Tuesday evening at 9pm ET and post a podcasts of the presentations here. For more information or full video recordings, visit bigmarker.com/globalmathdept.


Cairns (Pacific Hotel Cairns) QLD, ..
Book Chifley Pacific International Hotel Cairns with EXTEA DISCOUNT package deal rates so cheap we are not allowed to advertise them indevidually. Package's include accomadation + return air travel.
Discover Australia customers enjoy value added extras including exclusive booking bonus's as well as hotel specials, best available live pricing, instant confirmation and amazing extra discount. Compare prices for Chifley Pacific International Hotel Cairns as well as packages including combined hotel plus return air travel deals only available to Discover Australia customers.
Save big with our extra discount flexible package options, our package deal rates are so cheap we cant advertise them individually, make one simple expediated booking for Chifley Pacific International Hotel Cairns combined with return air travel.
Customers booking Hotel accommodation only also save, compare prices with amazing! exclusive DiscoverAustralia.com booking bonus deals on Chifley Pacific International Hotel advance & last minute reservations, including best price & flexible room options. Tailor Chifley Pacific International Hotel packages to your needs, if what you are looking for is flexible room options, dates & travel times, you have come to the right place. Make one simple payment booking accommodation combined with return air tickets for epediated Chifley Pacific International Hotel Cairns reservations with super cheap deals!.
Conveniently located The Chifley Pacific International Hotel Cairns is 4.5 star accommodation located in Central Cairns.
43 The Esplanade, Cairns QLD Australia 4870.
Opposite the main shopping precinct, casino and the new restaurant area, the Pacific Hotel Cairns offers the perfect base to experience the most of Cairns with its state-of-the-art facilities.
Featuring a stunning Cairns Esplanade location, the Pacific Hotel Cairns boasts beautifully appointed rooms; the Bushfire Flame Grill & Sugarcane Rhumbar complete the picture of a boutique style hotel.
The property has one of the best locations in Cairns with great views from every room and is close to the seaport, city shopping, parklands and the Reef Casino.
The Pacific Hotel Cairns prides itself on personalised service and award winning hospitality.
The stunning yet comfortable rooms have private balconies, all with superb water views and access to hotel facilities including an outdoor swimming pool, an ATM and vending machines.
The Thrill of the Grill explodes every night at Bushfire Flame Grill. Situated on the hotel lobby level and overlooking the Cairns Esplanade Parklands.
'Fire' dishes - Churrasco (shoo-rhas'co) are created out of the red hot heat of the special Brazilian inspired flame grill.
Metre long skewers of succulent Australian meats are gently roasted on the Churrasco grill and served by waiters directly to your table until you are fully satisfied - this is called - rodizio (all you can eat).
Conveniently located next to the Hotel Foyer and Bushfire Flame Grill, Sugarcane Rhumbar is a great place to watch the world go by, or simply relax in the ambience of the local history theme.
Enjoy a glass of superb wine, one of the boutique beers or choose from the wide selection of Australian and imported rums.
The famous Esplanade Precinct with swimming lagoon, art galleries, cinemas and other entertainment is nearby.
The main shopping precinct, casino and the new restaurant area are yours to explore.
The property is also a short distance from the new resort style Esplanade Lagoon with waterside boardwalks and parklands.
Enjoy a cup of self brewed tea or coffee as you sit back and relax in your air conditioned room.
The Standard Rooms are situated on the fourth and fifth floor and include an in room safe and private balcony for guests to enjoy the stunning views.
Stay up to date with the latest world news and events with the high speed Internet access available and be entertained with the television.
Bed Types Possible: Maximum occupancy 3 people with a choice of king sized double bed or 2 single sized beds and single sized bed.
The Superior Rooms are located on the sixth, seventh and eighth floors and include an in room safe and private balcony for guests to enjoy stunning views.
Nestled on the ninth, tenth and eleventh floors are the Executive rooms, which include an in room safe and private balcony for guests to enjoy stunning views.
Stay entertained with the television provided and ensure you are up to date with the latest world news and events with the high speed Internet access available.
The spacious Deluxe Rooms are situated at the front corner of each accommodation level.
The Deluxe Rooms include an in room safe and private balcony for guests to enjoy spectacular harbour views.
Bed Types Possible: Maximum occupancy 2 people with a choice of king sized double bed or 2 single sized beds.
Bed Types Possible: Maximum occupancy 3 people with a choice of .


text:
Angela Lansbury to receive Lifetime Achievement Tony Award
Caitlin Hornik
Angela Lansbury has appeared in 14 Broadway productions. (Photo: Courtesy of SLATE PR)
Angela Lansbury is being honored with the 2022 Special Tony Award for Lifetime Achievement in the Theatre.
Lansbury has won five Tony Awards throughout her more than 75 year career. She won her first Tony for her performance in the title role in "Mame" in 1966.
Among her 14 Broadway credits are "A Little Night Music," "Sweeney Todd" and "Gypsy." She last appeared on Broadway in "Gore Vidal's The Best Man" in 2012.
"Angela Lansbury's contributions to the stage are insurmountable," said Charlotte St. Martin, president of The Broadway League and Heather Hitchens, president and CEO of the American Theatre Wing. "From her groundbreaking role in Mame to her iconic performances in Deuce and Sweeney Todd, and most recently, in the revival of A Little Night Music, Ms. Lansbury has given us a lifetime of unforgettable performances, and it is a great honor to present her with the 2022 Lifetime Achievement Award."
Director and choreographer Graciela Daniele was the 2020 recipient of the same award.
The 75th Annual Tony Awards are set for June 12th at 8 p.m. ET. The ceremony will be broadcast live on both coasts on CBS and Paramount+.
White Cherry Entertainment to produce Tony Awards through 2026
Tony Awards sets date and new venue for 2023
The Tony Awards celebrate a homecoming and a rebirth for Broadway
'Company,' 'A Strange Loop,' 'The Lehman Trilogy' among 2022 Tony Award winners
Bernadette Peters, Billy Porter among 2022 Tony Awards performers
Initial Tony Awards lineup announced
The records that could be broken at the 2022 Tony Awards
An inside look at the making of the 2022 Tony Awards
Texas educator Roshunda Jones-Koumba announced as 2022 Excellence in Theatre Education Tony Award recipient


text:
HomeThe Institut PasteurMuseum
The Pasteur Museum provides a fascinating insight into three aspects of the life and work of Louis Pasteur all in one place. The apartment where he spent the last seven years of his life. The scientific souvenir room which traces his major discoveries based on the original scientific instruments he used. A magnificent Byzantine-style crypt where Louis Pasteur is buried alongside his wife.
The Pasteur Museum is located at the Institut Pasteur, situated at 25 rue du Docteur Roux - 75015 Paris, France
Under the state of emergency decided by the French government following the attacks on Friday November 13, 2015, the Pasteur Museum will be closed to individual visitors until further notice. Group tours are maintained. The conditions will be explained when booking.*
Opening times and pricing
The museum is open from Monday to Friday all year round.
Closed in August and public holidays.
The Pasteur Museum is closed to individual visitors.
Adult groups: €14 per person
Student groups: €7 per student.
Group tours are available for a minimum of 10 people by appointment only made at least 3 months in advance.
Museum tours (1hr) are led by a museum guide.
musee@pasteur.fr
Pasteur metro station: Lines 6 and 12.
Volontaires metro station: Line 12.
Bus routes: 39, 70, 88, 89, 95.
After 30 years spent at the Ecole normale, in 1888 Louis Pasteur moved to a specially designed apartment at the Institut Pasteur. The apartment that has since become the Pasteur Museum is remarkably evocative of the personality of its former occupant and rich in wonderfully preserved collections.
Discover the Museum history
SCIENTIFIC AND ARTISTIC COLLECTIONS
The Pasteur Museum provides different resource materials for your research.
Learn more about documentary resource materials


Great Program! Great Staff! Great Value! FUNKY Building!
Holly Springs Academy is housed on the first floor of a building that looks very serious and business-like.
INSIDE, though, is a total transformation into a wonderful 5500 square foot FUN and INVITING childcare environment. From the moment you open the door, the Director or Office Manager will warmly greet you and invite you into the lobby filled with plants, comfortable seating and a 55 gallon fresh water aquarium. You will immediately hear the squeals of laughter echoing up and down the hallways.
The lobby is totally secured from the rest of the building. The main door has a magnetic door lock activated by RFID key fobs given to parents when they enroll their child(ren). The office door is locked from the lobby side and remains closed throughout the day.
Choose a classroom from the menu and click to take a peek inside!


text:
import vtk
from vtk.test import Testing
from vtk.util.misc import vtkGetDataRoot
VTK_DATA_ROOT = vtkGetDataRoot()

# This script shows the result of an ideal highpass filter in  spatial domain
# Image pipeline
createReader = vtk.vtkImageReader2Factory()
reader = createReader.CreateImageReader2("" + str(VTK_DATA_ROOT) + "/Data/fullhead15.png")
reader.SetFileName("" + str(VTK_DATA_ROOT) + "/Data/fullhead15.png")
fft = vtk.vtkImageFFT()
fft.SetInputConnection(reader.GetOutputPort())
highPass = vtk.vtkImageIdealHighPass()
highPass.SetInputConnection(fft.GetOutputPort())
highPass.SetXCutOff(0.1)
highPass.SetYCutOff(0.1)
highPass.ReleaseDataFlagOff()
rfft = vtk.vtkImageRFFT()
rfft.SetInputConnection(highPass.GetOutputPort())
real = vtk.vtkImageExtractComponents()
real.SetInputConnection(rfft.GetOutputPort())
real.SetComponents(0)
viewer = vtk.vtkImageViewer()
viewer.SetInputConnection(real.GetOutputPort())
viewer.SetColorWindow(500)
viewer.SetColorLevel(0)
viewer.Render()
reader.UnRegister(viewer) # not needed in python
# --- end of script --


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BREADCriminal Justice Reform & Police Accountability
B.R.E.A.D. Organization requests meetings with mayor, police union
By Moe LeneweaverJune 8, 2020December 17th, 2020No Comments
By NBC 4
COLUMBUS (WCMH) — A Columbus faith-based organization comprised of several different congregations has sent letters requesting meetings with the mayor and head of the police union to discuss changes within the Columbus Police Department.
Building Responsibility, Equality, and Dignity (B.R.E.A.D.) released the letters sent to Mayor Andrew Ginther and Fraternal Order of Police President Keith Ferrell Monday.
Both letters seek separate one-hour meetings with both Ginther and Ferrell sometime during the month of June.
In the letter to Ferrell, B.R.E.A.D. asks for support from the FOP on two issues: municipal ID cards for all residents and improving efforts to reduce gun violence in the city.
"B.R.E.A.D.'s list of issues, when taken together, forms a powerful roadmap for ending racial and economic inequity in Columbus," the letter to Quinlan states. "If our public officials are sincere about countering police violence against African Americans, they will work with community groups, including B.R.E.A.D., to hold police accountable."
The letter to Ferrell states Columbus Police Chief Thomas Quinlan has agreed to meet with the group, which it sees as "a tremendous step forward."
Protests have been held in downtown Columbus daily since May 28 in response to the death of George Floyd while in police custody in Minneapolis, MN. The protests had, at times, grown contentious, with police using pepper spray against some protesters and looters hitting downtown businesses during protests. However, over the last handful of days, the protests have been more peaceful.
Both letters and the original article can be read in full, here.
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9 Love Experts On Their Number One Tip For A First Date
By Laken Howard
anatoliycherkas/Fotolia
If you worry about impressing someone on a first date (particularly if you have a hunch that you and your date might really hit it off), you're definitely not alone. But it's important to remember that, at its core, a first date is really no big deal: it's merely an opportunity to have fun, meet someone new, and experience something together.
"First dates are the beginning of something, and like with first impressions, these first dates are the door that opens your relationship with this person," April Masini, aka "Ask April," New York–based relationship expert and author, tells Bustle. "The best first dates are those in which you not only do something together, you learn about yourselves and each other, and create this great experience together."
Even though first dates have the potential to grow into something amazing one day, it's totally OK if they don't — and if you focus on the experience instead of on the hypothetical future, it's easier to relax, let loose, and really be yourself. If you're still nervous, though, here are the number one first date tips from nine different love experts that are sure to help you become a professional dater in no time.
1. Psych Yourself Up In The Mirror Before The Date
WavebreakMediaMicro/Fotolia
It's normal to be nervous before a first date, but if you're too nervous, you might have a hard time letting loose and being yourself — which is why it's important to build up your confidence as a dater by doing things like psyching yourself up before a first date.
"Whether you are nervous and jittery, or are simply worn out from the dating grind, it is dead useful to build up confidence before a first date," Caleb Backe, Health and Wellness Expert at Maple Holistics, tells Bustle. "Zen teachings stress the importance of developing rituals, and this one can be performed before the date even begins, and smooth the transition into 'date mode.'"
2. Be An Active Listener
karras6079/Fotolia
If you tend to be a chatterbox when you're nervous (or in general), remember that first dates require you to actively listen, too. After all, the point of a first date is to get to know someone, which you can't do if you're only talking about yourself.
"Don't try to impress your date with crazy stories and facts about yourself; this will almost always backfire," online dating consultant Stacy Karyn tells Bustle. "You should rather learn how to engage, listen, and genuinely respond to your date. This will make them feel valued and excited to see you again."
3. Stay Present In The Moment
finwal89/Fotolia
If you're genuinely trying to connect with someone on a first date, the number one rule is to stay attentive and present; try not to let yourself get distracted or "tune out."
"Keep your mind and attention focused on your date — pay attention to what they say and how they act/behave," Davida Rappaport, Psychic, Spiritual Counselor, and Dating Expert, tells Bustle. "When you are present, you establish and maintain eye contact with your date and are able to gauge if your date is going well — or not. Being present allows you the ability to hear what your date has to say, experience chemistry if there is any, and discover if you both have the mutual interests."
4. Don't Ignore Red Flags
Andrew Zaeh for Bustle
If you're super excited to meet someone, you might be tempted to sweep any potential red flags you notice under the rug. But according to life coach and astrologer Linda Joyce, you shouldn't ignore first date red flags; in fact, she actually advises her clients to make a list of three to five things they disliked about their date after the fact.
"Red flags should go up when your first date seems perfect, when [they] check all the boxes," Joyce tells Bustle. "When you want a date to work, you are less likely to see what's not working. You won't see what you don't want to see and then down the line, you'll be so surprised when personality traits begin to emerge that destroy the perfect picture."
5. Don't Expect Too Much From One Date
It can be hard not to feel pressure for a first date to go well, but it's important to remember that a date is simply an opportunity to meet someone new and wile away a few hours of your time.
Stephanie Chambers, matchmaker for online dating site The Compatibility Club, tells Bustle, it's important to focus on being appreciative of your date took time to meet you. "Don't expect too much," she says. "Allow time to get to know the person before you start passing judgment. Acknowledge that it could take days, weeks, maybe even a lifetime to fully know and appreciate someone."
6. Ask Questions That Are Actually Important To You
You don't need to shove note cards with hard-hitting questions up your sleeve, but if you're worried about running out of things to talk about on your date, spend a few minutes coming up with questions to ask your date that will help you make a connection.
"Asking questions that are more personal will not only get you the answers you need but will also make your date different than most dates [they've] been on," Anna Morgenstern, a Dating and Relationship coach in NYC, tells Bustle. "[They'll] feel more connected to you because you asked questions to really get to know [them], rather than just getting [their] stats. You'll build a connection much quicker if you come prepared with questions that are important to you."
7. Be Your Genuine Self
kikovic/Fotolia
The key to finding a real, lasting connection with someone? Always be your genuine, most authentic self — even on date number one.
"The absolute best thing you can do on a first date is genuinely be yourself," Nancy Brooks, Psychotherapist and Couples Counselor, tells Bustle. "One of the reasons why couples don't work is because people try to be on their best behavior and only give a great impression of who they want to be, not who they really are."
8. Don't Get Too Hung Up On Their Dating Profile
It can be tempting to pore over someone's dating profile and analyze every detail before deciding whether to go out with them, but according to Chicago-based matchmaker Stef Safran, you shouldn't get too caught up with what you read about someone before meeting them.
"While I get that it's hard not to want to check everything out these days, sometimes people put too much into a profile," Safran tells Bustle. "...Take your chances by spending 60-90 minutes with someone that might make your life change by giving things a chance!"
9. Remember To Have Fun
GaudiLab/Fotolia
The number one rule of first dates is simple: regardless of whether you think the date will lead to anything more, try to have fun in the moment.
"If you have fun, your date will have fun," Auntie Jodi, love expert, tells Bustle. "Even if there's no chemistry or you immediately have a visceral dislike to the date, if you have fun, then at least there's that. You may never see this person again or it may be a love match to end all love matches, but the bottom line is to make sure YOU have fun on your date. You can never get that time back again, so you may as well make the most of it."
Sure, first dates can be nerve-wracking, but at the end of the day, a date is just a date. So instead of getting all worked up about what will or won't happen after date number one, try to enjoy the moment and have fun. The one silver lining? Even if it leads nowhere, that's one more "practice" date out of the way before you eventually meet someone who sweeps you off your feet — on the first date and the hundredth one.


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As architects, we are becoming more conscious of the environmental, social, and political calamities that affect vulnerable populations all over the world. We are trained to have specialized knowledge that,…
SoFi Stadium by HKS
Sports and entertainment venues designed by HKS architects have won praises for their architecture, financial success, and distinctive spectator experiences. The structures designed by HKS set a benchmark for what…
Heritage and Public buildings
India, as a nation, consists of multilingual, multi-religions and multicultural populations. In India, terms such as diversity, secularism, democracy and customs are used indifferently. These customs and lifestyles are rooted…
National September 11 Memorial and Museum by Snøhetta
Architectural Response to The Journey of Healing, Understanding, and Transformations The September 11 Memorial Museum Pavilion is located at Ground Zero in New York City and is the only built…
In Narratives
Rethinking the Urban Spaces: Impact of Pandemic on Architecture
In 2002, Blur Building came into being that was designed by Elizabeth Diller and Ricardo Scofidio which was one of the iconic masterpieces that served no purpose. "It looked like…
Wembley National Stadium by Norman Foster: Largest covered Arena
"If some of the world's larger football stadia are sometimes referred to as cathedrals, then Wembley is the Vatican." – El País Semanal. Wembley National Stadium, designed by Norman…
Architecture's Significance in Life
For moulding, the personality of an individual, the environment plays a vital role. The first week of architecture school is when people start to perceive the world through a different…
Hamamyolu Urban Deck by Yazgan Design Architecture
The urban fabric of a city is ever-changing either to promote or acknowledge history or deviate a path entirely different. The need to revive a once important street that merged…
In 泛亚电竞赛事手游(泛亚电竞注册官网v6.3 IOS版) Fresh Perspectives
Cultural Awareness and Appreciation through African architecture
"Architecture arises out of our need to shelter the human animal in a spatial environment and to enclose the social animal in a group space. In this sense architecture serves…
Coexistence of Architecture within our Lives
Everything we see and feel around us is architecture. Architecture is something that can be found both naturally and made by man. The bees that fly around are also architects…
Architecture and its impacts on the Surroundings
Architects have claimed to make buildings that change lives for years to come, whether it's Winston Churchill's very famous "We shape our buildings, and afterwards, our buildings shape us," or…
In Architectural News
Australia's Largest Contemporary Art Gallery to be designed by Angelo Candalepas and Associates
Melbourne's Eiffel Tower, as described by Mr. Danny Pearson, the Minister for Creative Industries of Australia, the new National Gallery of Victoria Contemporary building, is all set to be erected…


With a unified artistic vision, the experienced artists and craftsmen of Conrad Schmitt Studios create new designs and conserve historic artwork in the form of decorative painting, stained and etched glass, murals, mosaics and statuary. Today, as in the past, Conrad Schmitt Studios is dedicated to providing beauty, quality and longevity in every endeavor.
Clients of many faiths and walks of life have commissioned stained glass work from the Studio in a wide range of styles. Many recent requests have been for new, traditional-style windows to complement more classically inspired architecture. Contemporary designs are also created in figural, geometric and abstract compositions.
Decorative painting and plaster ornamentation work hand-in-hand to achieve environments of great beauty. Ornamental plaster conservation, restoration and replication are frequently provided by Conrad Schmitt Studios in conjunction with decorative restoration when plaster is loose or damaged.
Conrad Schmitt Studios has restored stone, marble, terra cotta and mosaic artwork throughout the United States and Canada. Such projects have included wall-mounted shrines and murals, floor installations and exterior applications.
All of the results from the investigation and analysis are compiled and bound into a permanent record of the original or period decorative scheme and a guide for the decorative restoration. Copies of these documents are held by the owner, the local historical society and Conrad Schmitt Studios.
After presenting an approved plan to your church or building committee, printed fundraising literature and boards that detail the goals of the project can help to communicate the vision.
Our Studio can assist projects in the early stages by providing guidance to gather the information needed to initiate projects and keep the momentum moving forward. Our diversified, experienced staff can offer assistance with Conditions Assessment, Specification Development, Assembly of Budgets, Fundraising Ideas and more.
In addition to design and fabrication of new statuary, Conrad Schmitt Studios is recognized for its expertise in the conservation and restoration of antique statuary. This includes seamlessly reattaching broken pieces and re-creating missing portions.
When an outside artist or designer is not able, or chooses not to realize the creation of their own design or conception, they can enlist the assistance of Conrad Schmitt Studios to bring their ideas to life, with the fabrication and installation of the completed project, as the artist has envisioned.


I feel like Transitions is family, as they listen, help, and care.
It's been difficult to admit that my hair is important, and the fear of losing it has lingered in my mind for the past 10 years. Is it just fine, or am I slowly thinning? The former was my hope, as I feared that the latter was reality. Being a young professional, I need to feel confident. Maneuvering my hair in different directions to hide beginning stages of hair loss, looking at the back of my head with a mirror to see if "it" looks worse, and hearing comments from friends and coworkers, became progressively exhausting.
Should I ask advice from a professional? This was a thought that crossed my mind, but why would I ever do that? Do people really do this? Do the billboards really do represent a service that can help me?
These are all questions I asked myself, as I was unfamiliar with the services available, and I still held on to the idea that my hair was just "fine".
After consulting with the informed business partners at Transitions, I learned that I was experiencing the initial stages of hair loss. After the consultation, a solution was proposed that changed my life. My wife, family, friends, and coworkers have all made comments about the improvements in both the appearance and health of my hair. I would like to pass on the word that help does exist, and giving up is no longer the only option.


text:
Shocked!
Coming off of two sub-par years, the University of Kansas's men's basketball team could breathe a sigh of relief after it secured a place in the 1981 NCAA Tournament by defeating Kansas State in the Big Eight Tournament title game. (It had been a particularly sweet tournament for KU, which in addition to beating its cross-state rival had eliminated Missouri in the semifinals.)
Led by senior Darnell Valentine, a four-time all-conference guard, the Jayhawks had bounced back from a miserable 1979-80 season in which it had posted a record of 15-14. As the men from Lawrence prepared for the 48-team NCAA field, their record stood at 22-7. The 1981 tournament would be the team's 12th, and in six of the previous 11, the KU hoopsters had made their way to the final four. If the Jayhawks hoped to become the seventh to do so, they would need to play their best ball of the season.
As the seventh seed in the Midwest Regional, the Jayhawks did not draw the bye that the top four teams in their bracket did, and thus had to take on the 10th-seeded Rebels from the University of Mississippi for the right to advance to the second round. Ole Miss had earned a bid to the Big Dance by virtue of its unlikely victory in the Southeastern Conference Tournament. At 16-13, the Rebels could claim the somewhat dubious distinction of being the team with the worst record in the field of 48. They were not thrilled at having to travel to Wichita, which Ole Miss considered KU's backyard, to take on the Big Eight champions in the first round.
The fact that the first round of the Midwest Regional would take place in Wichita, offered Valentine, who had been a High School All American at Wichita Heights High School, the opportunity play in his hometown for the first time in his collegiate career. Valentine's return to Wichita, however, provided only one story line of the regional's first round. Two others garnered at least as much attention: the future prospects of KU coach Ted Owens and the participation in the same regional of a local college, Wichita State.
Despite the Jayhawks' berth in the NCAA Tournament, rumors circulated about the fate of Owens who had not taken his team to the Final Four in seven years, and who had subsequently fallen out of favor with many KU fans. Indeed even the national media had turned on the man who in 1978 had been honored by Basketball Weekly as the National Coach of the Year after leading the Jayhawks to a conference title and a record of 24-5. The March 1981 issue of Inside Sports, for example, had listed Owens as one of the most overrated coaches in college basketball. The editors of the magazine claimed that he was consistently out-coached by his conference peers, and for some inexplicable reason his Jayhawks "regularly lost to teams with less talent." To add further insult the magazine quoted NBA scouts who claimed that Owens's system handicapped his players' chances of being selected early in the draft. The magazine ultimately concluded that the "noose hangs high for Owens."
Although the relative merits of Owens as a coach provided the local papers with sufficient fodder to banter about, the most intriguing story line was easily the fact that the Wichita State Shockers were playing in the same regional as KU. Should both Kansas teams win their first two games, they would draw each other in the Sweet Sixteen, which was to be held in New Orleans, Louisiana. Of course this would be easier said than done, but if it were to happen, the Jayhawks would "have no choice," as the University Daily Kansan asserted shortly after the brackets were announced, "but to play Wichita State." The Athletic Department of the University of Kansas had apparently rebuffed repeated efforts on the part of the Shockers to arrange a meeting. For the "Shockers [had] long wanted to play KU," the Kansan continued but, "the folks on Mount Oread [had] steadfastly refused." As Wichita State was seeded sixth in the tournament, its fans could lay claim to supporting the best team in Kansas, at least until the two teams from the Sunflower State might square off on the hardwood.
Both teams took care of business in the first round as KU dispatched Ole Miss, despite allowing a 12-point advantage to dwindle to a 67-66 lead with time running out. A pair of free throws by KU guard Tony Guy with two seconds left in the game enabled the Jayhawks to hang on for a 69-66 win. Wichita State, on the other hand did not merely eke out a victory in the first round. Instead, the Shockers spanked Southern University 90-75. Their second round opponents, however, Arizona State and Iowa respectively, looked fairly daunting and, given the stunning upsets of a number of those teams which had been granted byes, neither the Sun Devils nor the Hawkeyes would overlook their lower-seeded opponents. (All told that year, eight of the 16 teams that had drawn byes lost in their first game of the tournament. Among those that fell were perennial powers Kentucky and Louisville, plus a UCLA team coached by Larry Brown, who would later become KU's coach.)
With the loss of top-ranked DePaul and No.2 Oregon State, the third ranked Sun Devils of Arizona State remained the highest ranked team still alive in the tournament as they prepared to take the floor against Kansas. Led by sophomore guard Byron Scott, ASU looked like a clear favorite in the game, but it had not played in more than a week and was competing, as the Sun Devils' coach Ned Wulk so eloquently asserted, on Kansas's "semi-home court." Arizona State never really woke up in the game as KU raced out to an early lead. Paced by Tony Guy's career-high 36 points, the Jayhawks went on to crush the No. 2 seed in the Midwest Regional by a score of 88-71. Wichita State, on the other hand, managed to squeak by the 13th ranked Hawkeyes, 60-56. With both Kansas teams advancing to the Sweet Sixteen, the Sunflower State Showdown was set to take place in New Orleans the following weekend.
The last meeting between the two teams had come during the 1955-56 season when Phog Allen had agreed to take on a Shockers team coached by his former Jayhawk player and protégé, Ralph Miller. (In 1981, curiously enough, Miller was coach of one of the highest ranked teams that were upset in the NCAA tournament, the No. 2 ranked Oregon State team that fell in the second round to Kansas State.) The Jayhawks and the Shockers had played each other only three times prior to the meeting of the mid-1950s, which Allen's team won. Indeed as of 1981, KU had never lost to the team from Wichita.
Antoine Carr, the star player for the Shockers, had ironically been a high school teammate of KU's Valentine, and much was made of that connection in the days leading up to the contest. As fate would have it, however, neither player would steal the limelight in the Sweet Sixteen match up. Two rainbow shots on the part of a reserve guard would decide a game as evenly matched as the Las Vegas odds-makers (who had not favored either team) predicted.
Played in front of 34,060 fans, the largest crowd up to that time to attend a NCAA Tournament game (though a goodly number arrived in the second half in anticipation of the Arkansas-LSU contest that would follow), the game came down to the final minutes of play. With 56 seconds remaining in the game and the Jayhawks leading 65-62, Valentine uncharacteristically missed the front end of a one and one. Ten seconds later, the Shockers' backup guard Mike Jones buried a bucket that pulled Wichita State to within one. On KU's next possession, Valentine broke away for a lay up, but botched his attempt, and the ball rolled harmlessly off the front of the rim only to be rebounded by the Shockers. (Had Valentine not taken the shot, the Shockers would have been forced to foul and send KU to the line, but as the KU guard was continuing to play aggressively – playing to win, rather than to "not lose" – he risked the shot.) Wichita State held the ball for a final shot while KU crowded inside to prevent Carr from getting the ball. With four seconds left in the game, Jones let a loose a 25-foot desperation shot that swished through the net to give the team from Wichita a one-point lead.
Kansas called timeout and drew up a play in the hope of drawing a foul that would send them to the line. Thus as the Jayhawks prepared to inbound the ball, Valentine set a pick on the baseline. Kansas reserve Booty Neal ran the baseline looking like he intended to get the ball in play while Wichita State's Jay Jackson trailed him. The play worked to perfection as Jackson crashed through Valentine. However, much to the chagrin of the KU faithful, no foul was called. With the play broken and no one to whom he might inbound the ball, Neal called time out. When play resumed, the Jayhawks' inbounds pass sailed innocuously over everyone's head and out of bounds. KU fouled a Shockers player as Wichita State took the ball in to send him to the line. Although the player missed his free throw, Kansas could not get off a decent shot and time expired.
As sports fans are wont to do, KU's supporters griped about the officiating. Owens claimed that "30,000 people knew it was a foul except the three who didn't call it," and Valentine asserted, "it was kind of obvious [that he had been fouled], but all [he] got was a stare [from the official]." Wichita State fans were quick to point out that the game was not decided solely by the "phantom foul" (as the no-call was dubbed), but by the Shockers capitalizing on their chances while KU repeatedly blew its opportunities to put the game away. Both teams had shot less than 50 percent for the game, but Wichita State had out rebounded the Kansas team 37-24.
It was a tough loss for KU to swallow, and the "phantom foul" made it even more difficult. Indeed, in 1997, Kansas City Star journalist and KU basketball historian Blair Kerkhoff listed the game as one of the ten most memorable losses in the program's history. For Wichita State, on the other hand, even a loss to LSU in the Elite Eight could not dim the smug satisfaction of having proven that they were, if only for one year, the best basketball team in the state.
Mark D. Hersey
Source Notes
[Source Notes: Kansas City Times: March 9, 1981; March 14, 1981; March 17, 1981; March 18, 1981; March 21, 1981; March 22, 1981University Daily Kansan: March 9, 1981; March 12, 1981; March 23, 1981; March 24, 1981; Lawrence Journal World: March 9, 1981; March 10, 1981; March 11, 1981; March 12, 1981; March 14, 1981; March 15, 1981; March 16, 1981; March 17, 1981; March 19, 1981; March 20, 1981; March 21, 1981; March 22, 1981; March 23, 1981; March 25, 1981; Kansas City Star: March 15, 1981; March 16, 1981; March 17, 1981; Blair Kerkhoff, A Century of Jayhawk Triumphs: The 100 Greatest Victories in the History of Kansas Basketball (Lenexa, KS, 1997), 187; Lyle Niedens and Steve Buckner, Portraits of Excellence: A Heritage of Athletic Achievement (Marceline, Mo., 1999, 236-239.]
Valentine Days. Coming off of two sub-par years, the KU men's basketball team celebrated after securing a place in the 1981 NCAA Tournament by defeating K-State in the Big Eight Tournament title game. Led by senior Darnell Valentine (above), the Jayhawks had recovered from a miserable 15-14 record in the 1979-80 season. As the men from Lawrence prepared for the 48-team NCAA field, their record stood at 22-7.
[caption]Image: University Archives[/caption]
The most intriguing story line was easily the fact that the Wichita State Shockers were playing in the same regional as KU. Should both Kansas teams win their first two games, they would draw each other in the Sweet Sixteen.
Seven Year Itch. Despite the Jayhawks' berth in the NCAA Tournament, rumors circulated about the fate of head coach Ted Owens, who was Basketball Weekly's 1978 National Coach of the Year. The problem was, he had not taken his team to the Final Four in seven years, and had subsequently fallen out of favor with many KU fans. Inside Sports magazine concluded that the "noose hangs high for Owens."
Sunflower State Showdown. Paced by Tony Guy's career-high 36 points, the Jayhawks went on to crush Arizona State in the Midwest Regional by a score of 88-71. Wichita State managed to squeak by the 13th ranked Iowa Hawkeyes, 60-56. Both Kansas teams would now advance to the Sweet Sixteen, to be held in New Orleans. Heretofore, KU had never lost to the team from Wichita.
[caption]Image: University Daily Kansan[/caption]
Played in front of 34,060 fans, the largest crowd up to that time to attend a NCAA Tournament game, the game came down to the final minutes of play.
The Power of One. Wichita State held the ball while KU tried to prevent the Shockers' star player, Antoine Carr, from getting the final shot. With four seconds left in the game, backup guard Mike Jones let a loose a 25-foot desperation throw that swished through the net. It gave the team from Wichita a one-point lead, sending Shockers fans and players into fits of jubilation.
The men from Mount Oread lost this heartbreaker 66-65. KU basketball historian Blair Kerkhoff has listed the game as one of the ten most memorable losses in Jayhawk history. For Wichita State, its subsequent loss in the Elite Eight could not dim the smug satisfaction of having proven that the Shockers were, if only for one year, the best basketball team in Kansas.


Dell Inc. is a leading global American computer technology corporation headquartered in Round Rock, Texas. Named after its founder, Michael Dell, it is currently one of the largest technology firms in the world. With total assets of US$ 47.54 billion as of 2012, the company employs more than 110,000 people across the world.
The earliest version of the Dell logo was designed by the celebrated global strategic brand consultancy firm Siegel+Gale in 1984. It has been suggested that the slanted "E" depicts the founder's ambition to "turn the world on its ear". The emblem became immensely popular and is widely regarded as one of the most iconic and instantly recognizable logos in the technology industry.
The current version of the Dell logo was introduced towards the end of 2010. It was created by Lippincott, another famous branding agency. The logo features the Museo typeface which was designed by Dutch type designer Jos Buivenga.
Moreover, the letters were further pushed to the left on both of the "Ls" and the "E" was tilted downward to a greater extent. Another prominent feature of the design comprised of the blue ring which surrounds and protects the iconic Dell logotype, resulting in a graphical appearance of a globe. The company's new slogan, "The power to do more", was placed underneath the ring.
The use of blue color in the Dell logo signifies elegance, loyalty, reliability, confidence and intelligence.


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Kerfuffle is Nebraska's only theatre and dance company devoted to creating performances intentionally for children under 6 years old and their caregivers. Kerfuffle brings high quality, aesthetically pleasing and emotionally interesting theatre to very young audiences. Made up of an ensemble of artists who teach, write, design and perform, we create playful, multi-sensory theatre with and for preschool children.
Join Bear, Fox, and Dinosaur on a journey through a fantasy forest to meet a curious Caterpillar! The Caterpillar's Footprint is an original, highly visual and sensory friendly theatre piece that is specifically for very young audiences of children between 2-5 years old and their grown ups. The play is performed inside a 14-ft in-diameter Yurt Dome, and features puppets, gentle music, and moments of audience interaction. Beginning in a fantasy forest with lavender-infused flowers, bubbles, and comfy cushions before moving into the intimate Yurt Dome, The Caterpillar's Footprint is an ideal first theatrical experience for very young children.
Pre- and post- show creative drama workshops are available to early childhood and preschool classrooms, facilitated by one of the artists, who are experienced Early Childhood Teaching Artists. The workshops will encourage kinesthetic exploration of the play's themes through movement and song. The pre-show workshops will prepare students for the show they will see by introducing characters and story, and inviting students to embody and explore as the play's characters; the post-show workshops will invite students to recall the play, and use their bodies, voices, and imaginations to envision new adventures for the play's characters to go on. Workshops may range from 30-60 minutes.
Additionally, study guides with creative drama activities for the early childhood classroom can be available to teachers. Professional development workshops for teachers are available, facilitated by Ashley Laverty, Kerfuffle's Artistic Director and experienced Early Childhood Teaching Artist.
Technical Requirements: Performance space measuring at least 20 x 20 (a multipurpose room or classroom with a flat floor). A stage is not necessary. Access to the performance space ceiling to hang fabric and electrical power is required.
Availability: No travel limitation or schedule restrictions at this time.