text:
Literature is a cultural site where the present is negotiated, the past excavated, and the future envisioned. In a globalized world where the circulation of blogs, legal documents, political manifestos, manuscripts, online journals, and images constantly shapes and reshapes human experience, understanding texts is utterly essential.
Majoring in comparative literature provides students with tools for analyzing texts, writing, editing, translating, and thinking across disciplinary and national boundaries. Our majors engage a variety of literary traditions and historical periods, from Latin American concrete poetry to Yiddish experimental fiction. The department offers rigorous training in the following areas of strength of our internationally recognized faculty: French, German, Italian, Hebrew studies, classics, critical theory, East Asian literatures and arts, performance studies, film and media, poetry and poetics, gender and sexuality, postcolonial theory, English and American literatures, early modern and Renaissance studies and Slavic literatures and cultures.
All members of the department are deeply invested in the academic development of our students and value you as an integral part of the Comparative Literature community at UC Berkeley. The department aims to develop your creative and intellectual interests and talents. As a major, you receive the opportunity to pursue rigorous research in a variety of literatures according to your interests, engage in team-based projects, participate in discussions about political, aesthetic, and social issues, and develop a nuanced cross-cultural understanding of historical and social processes. All of our students have close contact with cutting edge scholars in their fields in a small classroom setting, with extensive individualized work. Our undergraduate majors publish and edit their own journal of comparative literature (CLUJ) and run an annual research conference. Most majors also choose to spend time in study abroad to deepen their cultural and linguistic knowledge.
Our students benefit from training in comparative literature and go on to work in a variety of professions, including journalism, media, publishing, translation, theater, and politics as well as in many roles in the legal, corporate, social, medical, and arts sectors. Additionally, we prepare our students to enter top graduate programs in the US and abroad.
"That is part of the beauty of all literature. You discover that your longings are universal longings, that you are not lonely and isolated from anyone. You belong."
If you are thinking of majoring in Comparative Literature, come meet with the major adviser at your earliest opportunity. You will probably discover that the requirements are flexible enough to suit you, and may find it to your advantage to ask the department's adviser to suggest relevant freshman and sophomore courses.
Majors must see the major adviser each semester to plan a program for the coming year in order to pre-enroll via the CalCentral enrollment system. The Major Requirements tab to the right outlines the basic requirements. Keep in mind that most of these requirements will be adjusted according to the language areas in which you plan to work and your own long range plans.
Students who have attained junior standing may be admitted to the honors program if they:
Have accumulated at least an overall 3.55 grade point average (GPA) and at least a 3.65 GPA in the major.
Have completed at least 8 upper division units in literature, including COM LIT 100 or the equivalent.
Are prepared to do upper division work in one vernacular foreign literature or one classical literature.
In addition to the requirements for the regular program outlined above, candidates for the BA with honors in Comparative Literature must demonstrate, through either examination or coursework, a sense of the historical development of their principal literature, and earn a grade of B or higher for an honors thesis in COM LIT H195. Students interested in the honors program are urged to consult an adviser in the Department of Comparative Literature at their earliest opportunity.
Minor Program
The Department of Comparative Literature has a new minor program, open to all UC Berkeley students regardless of college. The minor comprises of 5 courses; the 3 "core" classes required for the major (COM LIT 100, CL151-165, and COM LIT 190) along with two courses from the "secondary" literature. For more information, please review the department site at complit.berkeley.edu or contact the Comparative Literature major adviser at complituga@berkeley.edu.
In addition to the University, campus, and college requirements, listed on the College Requirements tab, students must fulfill the below requirements specific to their major program.
All courses taken to fulfill the major requirements below must be taken for graded credit, other than courses listed which are offered on a Pass/No Pass basis only. Other exceptions to this requirement are noted as applicable.
No more than one upper division course may be used to simultaneously fulfill requirements for a student's major and minor programs.
A minimum grade point average (GPA) of 2.0 must be maintained in upper division courses used to fulfill the major requirements.
For information regarding residence requirements and unit requirements, please see the College Requirements tab.
Upper Division Requirements
Select one Introductory Course from the following:
COM LIT 100 Introduction to Comparative Literature 4
COM LIT 100A Introduction to Comparative Literature: Literature and Philosophy 4
COM LIT 100B Introduction to Comparative Literature: Society and Culture 4
COM LIT 100C Introduction to Comparative Literature: Literary and Cultural History 4
COM LIT 100D Introduction to Comparative Literature (International and Cross-Cultural Perspectives) 4
Select one period course of the following: 4
COM LIT 151
The Ancient Mediterranean World [4]
The Middle Ages [4]
The Renaissance [4]
Eighteenth- and 19th-Century Literature [4]
The Modern Period [4]
COM LIT 156AC On line: Fiction and Culture of the Americas 4
Myth and Literature [4]
Special Topics in Comparative Literature [4]
Select one Senior Seminar course from the following:
COM LIT 190 Senior Seminar in Comparative Literature 4
Primary (formerly referred to as "major") literature: select at least three upper division courses (minimum 12 units), with readings in the original language. 12
Secondary (formerly referred to as "minor") literature: select at least two upper division courses (minimum 8 units), with readings in the original language and selected to fit the student's period of primary interest. 8
For the minor in Comparative Literature, students must take five courses for a letter grade: the three departmental core courses (COM LIT 100, 100A, B, C, or D; one from COM LIT 151–160, 156AC or 170, and COM LIT 190), and two in a secondary literature, which should be in another language aside from the student's main language. It is best that interested students meet with the major adviser to discuss planning for the minor.
To complete the minor, interested students should fill out the "Completion of L&S Minor" forms and submit to the departmental adviser no later than the fifth week of classes of your final semester before graduation. The College of L&S will be notified of minor completion approximately four weeks after the final minor course has been completed for inclusion in the student's diploma.
Take Five Courses for a Letter Grade
Two core courses: 8
Introduction to Comparative Literature [4]
Senior Seminar in Comparative Literature [4]
One final core course from the following list: 4
Fiction and Culture of the Americas [4]
Special Topics in Comparative Literature [1-4]
Two courses in a secondary language (consult with adviser about specifics) 8
Achieve solid proficiency in at least one language other than English, to the level needed to work with original texts in at least two national literary traditions.
Attain a solid grounding in at least two national literary traditions, one of which is considered the student's primary literature.
Understand key characteristics of historical periods in the primary literature.
Recognize and understand the workings of genre in literature (novel, poetic form, epic, drama).
Achieve fluency in the use of major critical and theoretical modes of analysis.
Situate literary movements in their relation to historical and cultural contexts.
Analyze aspects of literature that can or must be studied cross-culturally (such as translation, avant-garde movements, romanticism, modernism, diasporic literatures).
Critical reading. Students develop the capacity to:
Perform a strong and revealing close analysis of a text.
Recognize the literary and rhetorical features that structure texts and shape their reception.
Employ the conceptual tools and insights of literary theoretical texts in reading and interpreting texts drawn from various literary genres, literary criticism, historical materials, and literary theory itself.
Present accurately the arguments of a literary critic or theorist, uncovering unarticulated assumptions to illuminate the context in which the argument is made.
Understand the implications of different interpretive approaches, considering the benefits and limitations of different strategies.
Argumentation. Students learn to:
Develop a line of questioning that leads to the construction of a logical, well-supported argument.
Evaluate their own arguments and those of others on the criteria of logical coherence, good use of evidence and comprehensiveness.
Respond to new evidence or new perspectives on the evidence by refining or revising their argument.
Oral and written expression. Students learn to:
Present complex information and ideas orally, both in a prepared presentation and spontaneously.
Participate in a discussion with multiple participants by asking questions, listening closely to others, building upon their contributions, and formulating productive and relevant responses.
Write formal expository prose that is clear, persuasive, and economical.
Revise their own writing to improve its clarity and effectiveness.
Research. Students learn to:
Formulate a productive research question that has a rigorous conceptual framework and makes good use of the available evidence.
Use databases, indices, and other tools to identify and locate relevant materials.
Assess the relevance and reliability of available materials.
Cite published work properly.
View the Comparative Literature Major Map PDF.
Many Comparative Literature students study abroad. The department actively encourages this experience. International study can be enlightening and fulfilling, both personally and academically. Although study abroad requires some planning ahead, the benefits are well worth the effort for most students.
Berkeley Study Abroad (BSA) is a University of California, system-wide program. Located in 160 Stephens Hall, BSA administers education abroad for Berkeley students. To begin planning an overseas program, or for more information, contact an adviser in the BSA Office or phone 510-642-1356.
The Office of Undergraduate Admissions offers assistance to students who want to participate in non-BSA programs. The office at 110 Sproul Hall provides advising during scheduled drop-in hours.
The Department of Comparative Literature expects its students to make normal degree progress and will review standing in the major before approving a semester or year abroad. Advanced consultation with the department adviser is highly recommended.
Comparative Literature Undergraduate Journal (CLUJ)
Students have the opportunity to run their own departmentally-supported journal, including writing, editing, and publishing. For more information, contact the Comparative Literature undergraduate academic adviser or look for the corresponding DeCal course at DeCal course listings.
Comparative Literature Research Symposium
Another opportunity is to participate in the annual Research Symposium, where scholars from around the world discuss their research. Typically the Symposium is held in early April. For more information, contact the Comparative Literature undergraduate academic adviser.
COM LIT H1A English Composition in Connection with the Reading of World Literature 4 Units
Expository writing based on analysis of selected masterpieces of ancient and modern literature. Limited to 10 qualified freshmen and/or sophomores who meet for round-table discussions and attend weekly tutorial sessions. Individual assignments provide each student with the opportunity to exploit his or her linguistic and literary training. H1A satisfies the first half of the Reading and Composition requirement, and H1B satisfies the second half.
English Composition in Connection with the Reading of World Literature: Read More [+]
Prerequisites: (a) UC Analytical Writing Placement Exam, (b) a 3.5 grade point average in high school English, (c) a reading knowledge of an ancient or modern foreign language, and (d) permission of the instructor
Fall and/or spring: 15 weeks - 3 hours of discussion per week
Subject/Course Level: Comparative Literature/Undergraduate
English Composition in Connection with the Reading of World Literature: Read Less [-]
COM LIT H1B English Composition in Connection with the Reading of World Literature 4 Units
COM LIT N1A English Composition in Connection with the Reading of World Literature 3 Units
Terms offered: Summer 2011 First 6 Week Session, Summer 2005 10 Week Session, Summer 2004 10 Week Session
Expository writing based on analysis of selected masterpieces of ancient and modern literature. Satisfies the first half of the Reading and Composition requirement.
Prerequisites: A passing grade in Subject A examination or course. 1A is prerequisite to 1B
COM LIT N1B English Composition in Connection with the Reading of World Literature 3 Units
Expository writing based on analysis of selected masterpieces of ancient and modern literature. Satisfies the second half of the Reading and Composition requirement.
Prerequisites: A passing grade in Subject A examination or course. 1A is prerequisiteA passing grade in Subject A examination or course. 1A is prerequisite to 1B. to 1B
COM LIT R1A English Composition in Connection with the Reading of World Literature 4 Units
Terms offered: Summer 2022 Second 6 Week Session, Spring 2022, Fall 2021
Expository writing based on analysis of selected masterpieces of ancient and modern literature. R1A satisfies the first half of the Reading and Composition requirement, and R1B satisfies the second half.
Prerequisites: UC Entry Level Writing Requirement or UC Analytical Writing Placement Exam. 1A or equivalent is prerequisite to 1B
Formerly known as: 1A
COM LIT R1B English Composition in Connection with the Reading of World Literature 4 Units
Terms offered: Summer 2022 First 6 Week Session, Summer 2022 Second 6 Week Session, Spring 2022
Formerly known as: 1B
COM LIT R2A English Composition in Connection with Reading of World and French Literature 5 Units
Expository writing done in connection with the reading of selected masterpieces of ancient and modern literature and the study of selected French texts read in the original. Course will prepare students for more advanced work in French. R2A satisfies the first half of the Reading and Composition requirement, and R2B satisfies the second half.
English Composition in Connection with Reading of World and French Literature: Read More [+]
Prerequisites: Three years of high school French or two years with a B plus average
English Composition in Connection with Reading of World and French Literature: Read Less [-]
COM LIT R2B English Composition in Connection with Reading of World and French Literature 5 Units
COM LIT R3A English Composition in Connection with Reading of World and Hispanic Literature 5 Units
Expository writing done in connection with the reading of selected masterpieces of ancient and modern literature and the study of selected Spanish texts read in the original. Course will help prepare students for more advanced work in Spanish. Satisfies the second half of the Reading and Composition Requirement.
English Composition in Connection with Reading of World and Hispanic Literature: Read More [+]
Prerequisites: Three years of high school Spanish or two years with a B+ average
English Composition in Connection with Reading of World and Hispanic Literature: Read Less [-]
COM LIT R3B English Composition in Connection with Reading of World and Hispanic Literature 5 Units
Prerequisites: Three years of high school Spanish or two years with a B plus average
COM LIT 20 Episodes in Literary Cultures 4 Units
An introductory level exploration of a specific author, work, theme or literary movement in an international context. Emphasis on the ways in which literature has played (and continues to play) a crucial role in the relationship between different cultures, traditions, and languages. Readings and topics to vary from semester to semester.
Episodes in Literary Cultures: Read More [+]
Prerequisites: Completion of a 1A course or its equivalent is recommended but not required
Episodes in Literary Cultures: Read Less [-]
COM LIT 20A Episodes in Literary Cultures: Literature and Philosophy 4 Units
An introduction to problems of the comparative study of literature and philosophy. Emphasis on principles of comparative methods and literary and philosophical analysis with focus on selected literary, philosophical, critical, and theoretical texts from antiquity to the present. Readings in English.
Episodes in Literary Cultures: Literature and Philosophy: Read More [+]
Instructors: Zhang, Kaufman, Francois, McGlazer
Episodes in Literary Cultures: Literature and Philosophy: Read Less [-]
COM LIT 20B Episodes in Literary Cultures: Literature and Society 4 Units
An introductory level exploration of the study of social and cultural issues in relation to literature. Examining some of the conceptual and thematic places where literature and social sciences topics (race, gender, social and class structure, law) cross over into each others' domains, we will ask what it means to read literary texts along with social sciences methodologies. The focus will be on reading of fiction and alongside methodological texts of the social sciences (linguistics, sociology, law, anthropology, social and cultural theories of gender and ethnicity). Readings and topics to vary from semester to semester.
Episodes in Literary Cultures: Literature and Society: Read More [+]
Instructor: Lucey
Episodes in Literary Cultures: Literature and Society: Read Less [-]
COM LIT 20C Episodes in Literary Cultures: Literature and History 4 Units
An introductory level exploration of the study of literature and history. Examining the literature and historical events of a chosen period (ancient, medieval, renaissance and early modern, modern, contemporary), we will engage in readings of literature, art, and critical texts in order better to understand the imaginative and real worlds of other times and places. Readings and topics to vary from semester to semester.
Episodes in Literary Cultures: Literature and History: Read More [+]
Instructors: Largier, Bezner, Hampton, Ram, Britto
Episodes in Literary Cultures: Literature and History: Read Less [-]
COM LIT 24 Freshman Seminar 1 Unit
The Freshman Seminar Program has been designed to provide new students with the opportunity to explore an intellectual topic with a faculty member in a small seminar setting. Freshman seminars are offered in all campus departments and topics vary from department to department and semester to semester. Enrollment limited to fifteen freshmen.
Freshman Seminar: Read More [+]
Freshman Seminar: Read Less [-]
COM LIT 39H Freshman/Sophomore Seminar 2 - 4 Units
Freshman and sophomore seminars offer lower division students the opportunity to explore an intellectual topic with a faculty member and a group of peers in a small-seminar setting. These seminars are offered in all campus departments; topics vary from department to department and from semester to semester. Enrollment limits are set by the faculty, but the suggested limit is 25.
Freshman/Sophomore Seminar: Read More [+]
Freshman/Sophomore Seminar: Read Less [-]
COM LIT N40 Women and Literature 3 Units
A study of women as portrayed in literature, and of women writers. Selected readings on a topic which varies from summer to summer, detailed consideration of both literary techniques and the problems of women.
Women and Literature: Read More [+]
Women and Literature: Read Less [-]
COM LIT 41A Introduction to Literary Forms: Forms of the Epic 4 Units
Comparative study of masterpieces of world literature.
Introduction to Literary Forms: Forms of the Epic: Read More [+]
Introduction to Literary Forms: Forms of the Epic: Read Less [-]
COM LIT 41C Introduction to Literary Forms: Forms of the Novel 4 Units
Terms offered: Spring 2012, Spring 2011, Summer 2010 Second 6 Week Session
Introduction to Literary Forms: Forms of the Novel: Read More [+]
Introduction to Literary Forms: Forms of the Novel: Read Less [-]
COM LIT 41D Introduction to Literary Forms: Forms of the Drama 4 Units
Introduction to Literary Forms: Forms of the Drama: Read More [+]
Introduction to Literary Forms: Forms of the Drama: Read Less [-]
COM LIT 41E Introduction to Literary Forms: Forms of the Cinema 4 Units
Introduction to Literary Forms: Forms of the Cinema: Read More [+]
Introduction to Literary Forms: Forms of the Cinema: Read Less [-]
COM LIT N41A Introduction to Literary Forms: The Epic 3 Units
Introduction to Literary Forms: The Epic: Read More [+]
Introduction to Literary Forms: The Epic: Read Less [-]
COM LIT N41B Introduction to Literary Forms: The Lyric 3 Units
Introduction to Literary Forms: The Lyric: Read More [+]
Introduction to Literary Forms: The Lyric: Read Less [-]
COM LIT N41C Introduction to Literary Forms: The Novel 3 Units
Terms offered: Summer 2003 10 Week Session, Summer 1998 10 Week Session
Introduction to Literary Forms: The Novel: Read More [+]
Introduction to Literary Forms: The Novel: Read Less [-]
COM LIT N41D Introduction to Literary Forms: The Drama 3 Units
Introduction to Literary Forms: The Drama: Read More [+]
Introduction to Literary Forms: The Drama: Read Less [-]
COM LIT 50 Creative Writing in Comparative Literature 3 Units
A creative writing workshop for students who wish to study the theory and practice of writing as they work in a variety of forms and media.
Creative Writing in Comparative Literature: Read More [+]
Credit Restrictions: Students will receive no credit for Comparative Literature 50 after completing S50 or S50X.
Creative Writing in Comparative Literature: Read Less [-]
COM LIT 60AC Topics in the Literature of American Cultures 4 Units
Study of the ethnic diversity of American literature. Topics will vary from semester to semester, but may include such themes as Cultures of the City, Gender, Race, Ethnicity in U.S. Literature, Race and Identity. Students should consult the department's course bulletin well before the beginning of the semester for details.
Topics in the Literature of American Cultures: Read More [+]
Requirements this course satisfies: Satisfies the American Cultures requirement
Topics in the Literature of American Cultures: Read Less [-]
COM LIT N60AC Topics in the Literature of American Cultures 3 Units
Study of the ethnic diversity of American literature. Topics will vary from summer to summer but may include such themes as gender, race, ethnicity, marriage, sexuality, identity, and the supernatural. Students should check the department's bulletin boards for summer course listings and further details.
COM LIT W60AC Topics in the Literature of American Cultures 4 Units
Summer: 8 weeks - 3 hours of web-based lecture and 1 hour of web-based discussion per week
Instructor: Palau
COM LIT 80AC Out of Place in America 4 Units
COMPLIT 80AC: Out of Place in America, is a literature-based course that maps histories and
ongoing practices of exclusion, displacement, and surveillance in the United States as narrated in
works by Native American, African American, Latinx and Asian American writers.
Out of Place in America: Read More [+]
Instructor: Piatote
Out of Place in America: Read Less [-]
COM LIT 98 Directed Group Study for Freshmen and Sophomores 1 - 4 Units
Group study in a field that may not coincide with that of any regular course and must be specific enough to enable students to write essays based upon their studies.
Directed Group Study for Freshmen and Sophomores: Read More [+]
Prerequisites: Lower division standing
Directed Group Study for Freshmen and Sophomores: Read Less [-]
COM LIT 98BC Berkeley Connect 1 Unit
Berkeley Connect is a mentoring program, offered through various academic departments, that helps students build intellectual community. Over the course of a semester, enrolled students participate in regular small-group discussions facilitated by a graduate student mentor (following a faculty-directed curriculum), meet with their graduate student mentor for one-on-one academic advising, attend lectures and panel discussions featuring department faculty and alumni, and go on field trips to campus resources. Students are not required to be declared majors in order to participate.
Course may be repeated for credit.
Berkeley Connect: Read More [+]
Fall and/or spring: 15 weeks - 1 hour of directed group study per week
Instructor: Kaufman
Berkeley Connect: Read Less [-]
COM LIT 100 Introduction to Comparative Literature 4 Units
An introduction to problems of the comparative study of literature and culture. Emphasis on principles of comparative methods and analysis with focus on selected literary, critical, and theoretical texts from antiquity to the present. Readings in English.
Introduction to Comparative Literature: Read More [+]
Introduction to Comparative Literature: Read Less [-]
COM LIT 100A Introduction to Comparative Literature: Literature and Philosophy 4 Units
An introduction to problems of the comparative study of literatures of the world in international and cross-cultural perspective along with philosophical texts and approaches. Emphasis on principles of comparative methods and analysis with focus on issues of philosophy and ethics along with selected literary, critical, and theoretical texts. Readings in English.
Introduction to Comparative Literature: Literature and Philosophy: Read More [+]
Instructors: Zhang, Butler, Francois, Volpp
Introduction to Comparative Literature: Literature and Philosophy: Read Less [-]
COM LIT 100B Introduction to Comparative Literature: Society and Culture 4 Units
An introduction to problems of the comparative study of literatures of the world in international and cross-cultural perspective. Emphasis on principles of comparative methods and analysis with focus on contemporary social and cultural issues in at least one foreign culture along with selected literary, critical, and theoretical texts. Readings in English.
Introduction to Comparative Literature: Society and Culture: Read More [+]
Instructor: Kurke
Introduction to Comparative Literature: Society and Culture: Read Less [-]
COM LIT 100C Introduction to Comparative Literature: Literary and Cultural History 4 Units
An introduction to problems of the comparative study of literature and historical study. Emphasis on principles of comparative methods and analysis with focus on selected literary, critical, and theoretical texts from antiquity to the present. Readings in English.
Introduction to Comparative Literature: Literary and Cultural History: Read More [+]
Instructors: Kahn, Bezner, Ram, Largier
Introduction to Comparative Literature: Literary and Cultural History: Read Less [-]
COM LIT 100D Introduction to Comparative Literature 4 Units
An introduction to problems of the comparative study of literatures of the world in international and cross-cultural perspective . Emphasis on principles of comparative methods and analysis with focus on contemporary social and cultural issues in at least one foreign culture along with selected literary, critical, and theoretical texts.
Readings in English.
Instructors: Britto, Spackman, Sas, Kronfeld
COM LIT 112A Modern Greek Language 4 Units
This is a course of beginning Modern Greek involving speaking, reading and writing. Modern Greek pronunciation, vocabulary, grammar and syntax is studied. In this course there is also an emphasis in practice of oral language skills.
Modern Greek Language: Read More [+]
Modern Greek Language: Read Less [-]
COM LIT 112B Modern Greek Composition 4 Units
Modern Greek pronunciation, vocabulary, grammar and syntax studied. The forms of writing (prose, poetry, drama) are studied through literary texts as auxiliary to the acquisition of compositional skills.
Modern Greek Composition: Read More [+]
Prerequisites: Comparative Literature 112A or consent of instructor
Modern Greek Composition: Read Less [-]
COM LIT 120 The Biblical Tradition in Western Literature 4 Units
Examination of selected aspects of the Biblical tradition and their relevance to the study of later literature.
The Biblical Tradition in Western Literature: Read More [+]
The Biblical Tradition in Western Literature: Read Less [-]
COM LIT 151 The Ancient Mediterranean World 4 Units
The literature of Greece, Rome, the Biblical lands, and other ancient civilizations of the Mediterranean basin.
The Ancient Mediterranean World: Read More [+]
Prerequisites: Upper division standing or consent of instructor. Graduate students who wish to take this course are required to go back to the original Hebrew, Greek, or Latin texts
The Ancient Mediterranean World: Read Less [-]
COM LIT 152 The Middle Ages 4 Units
The literature of the Middle Ages.
The Middle Ages: Read More [+]
Prerequisites: Upper division standing or consent of instructor. Graduate students wishing to enroll must know at least one foreign language relevant to the materials studied
The Middle Ages: Read Less [-]
COM LIT 153 The Renaissance 4 Units
European literature of the Renaissance.
The Renaissance: Read More [+]
Prerequisites: Upper division standing or permission of the instructor. Graduate students wishing to enroll must know at least one foreign language relevant to the materials studied
The Renaissance: Read Less [-]
COM LIT 154 Eighteenth- and 19th-Century Literature 4 Units
Literature of the 18th and 19th centuries.
Eighteenth- and 19th-Century Literature: Read More [+]
Eighteenth- and 19th-Century Literature: Read Less [-]
COM LIT 155 The Modern Period 4 Units
The Modern Period: Read More [+]
Summer: 6 weeks - 7.5-8 hours of lecture per week
The Modern Period: Read Less [-]
COM LIT 156 Fiction and Culture of the Americas 4 Units
Comparative study of American, Native-American, Spanish-American, Caribbean, and Brazilian literature and culture. Readings chosen to illustrate diverse attitudes of Americans toward their culture, politics, and environment.
Fiction and Culture of the Americas: Read More [+]
Fiction and Culture of the Americas: Read Less [-]
COM LIT 156AC On line: Fiction and Culture of the Americas 4 Units
On line: Fiction and Culture of the Americas: Read More [+]
Instructor: McEnaney
On line: Fiction and Culture of the Americas: Read Less [-]
COM LIT 160AC Topics in Literatures of American Cultures - Poetry 4 Units
The course takes account—indeed, it focuses on—the modern American lyric poetry, approached both aesthetically and politically, of African American, indigenous peoples of the United States, Asian Americans, and Chicanos/Latinos, as well as European Americans. The course also presents substantial critical materials—philosophy, criticism, historiography, some sociology—by authors from those groups, writings that are about, or in crucial relation to, the poetry that will be the course's primary focus.
Topics in Literatures of American Cultures - Poetry: Read More [+]
Topics in Literatures of American Cultures - Poetry: Read Less [-]
COM LIT 165 Myth and Literature 4 Units
Study of the earliest myth texts and of the progressive growth of literature out of myth to the present day. Myth and oral composition. Emphasis on the meanings of myth as reflected in varying idioms.
Myth and Literature: Read More [+]
Myth and Literature: Read Less [-]
COM LIT 170 Special Topics in Comparative Literature 1 - 4 Units
An independent studies course designed to fulfill a need intrinsic to the undergraduate major's program which cannot otherwise be satisfied because it involves either a literature not covered in regularly scheduled course offerings or a special methodological framework or bias of selection.
Special Topics in Comparative Literature: Read More [+]
Special Topics in Comparative Literature: Read Less [-]
COM LIT 171 Topics in Modern Greek Literature 4 Units
This course frames methodologically selected topics in Modern Greek Literature and places them in their historical, social or cultural context.
Topics in Modern Greek Literature: Read More [+]
Instructor: Kotzamanidou
Topics in Modern Greek Literature: Read Less [-]
COM LIT 190 Senior Seminar in Comparative Literature 4 Units
Seminar-style treatment of a major topic in Comparative Literature. Substantial paper required.
Senior Seminar in Comparative Literature: Read More [+]
Prerequisites: Senior standing; 100 and one course from the 151-160 series (the latter may be taken concurrently)
Senior Seminar in Comparative Literature: Read Less [-]
COM LIT H195 Honors Course 1 - 4 Units
Preparation and writing of an honors thesis under the supervision of a member of the faculty.
Honors Course: Read More [+]
Prerequisites: Honors standing, 8 units in upper division literature courses, including 100 or the equivalent, and knowledge of a vernacular language or a classical language
Honors Course: Read Less [-]
COM LIT 198 Directed Group Study 1 - 4 Units
6 weeks - 2.5-10 hours of directed group study per week
8 weeks - 1.5-7.5 hours of directed group study per week
COM LIT 198BC Berkeley Connect 1 Unit
Berkeley Connect is a mentoring program, offered through various academic departments, that helps students build intellectual community. Over the course of a semester, enrolled students participate in regular small-group discussions facilitated by a graduate student mentor (following a faculty-directed curriculum), meet with their graduate student mentor for one-on-one academic advising, attend lectures and panel discussions featuring department faculty and alumni, and go on field trips to campus resources. Students are not required to be declared majors in order to participate. Course may be repeated for credit.
COM LIT 199 Supervised Independent Study and Research 1 - 4 Units
Enrollment restrictions apply.
+ Karl A. Britto, Associate Professor. Africa, cultural studies, the Caribbean, literature, francophone literature, colonial and postcolonial literature, Vietnam, gender and identity.
Anthony J. Cascardi, Professor. English, comparative literature, literature, Spanish, Portuguese, philosophy, aesthetics, early modern literature, French, Spanish Baroque.
Anne-Lise Francois, Associate Professor. Popular culture, English, comparative literature, the modern period, comparative romanticisms, lyric poetry, the psychological novel, novel of manners, gender, critical theory, literature, philosophy, fashion.
+ Timothy Hampton, Professor. Culture, politics, English, comparative literature, French, renaissance and early modern European culture, the romance languages, the ideology of literary genre, the literary construction of nationhood, the rhetoric of historiography.
Victoria Kahn, Professor. Rhetoric, comparative literature, Renaissance literature, poetics, early modern political theory, the Frankfurt School.
Robert G. Kaufman, Associate Professor. Modern/contemporary poetry and poetics, aesthetics, literary theory, and history of criticism, Frankfurt School Critical Theory and the arts.
+ Leslie V. Kurke, Professor. Classics, Greek literature and culture, archaic Greek poetry, Herodotus.
Niklaus Largier, Professor. Religion, literature, German, history of medieval and early modern German literature, theology, mysticism, secularism, senses, sensuality, history of emotions, passions, asceticism, flagellation, sexuality.
Michael Lucey, Professor. Pragmatics, the novel, sexuality studies, comparative literature, French, French literature, nineteenth and twentieth centuries, British literature and culture, social and literary theory, cultural studies of music, studies of language in use, theories of practice, twentieth-century American literature .
Tom McEnaney, Associate Professor. Latin American literature of the 19th and 20th centuries, media studies, radio, 20th century American literature, architecture, linguistic anthropology, digital humanities.
Eric Naiman, Professor. Sexuality, history, comparative literature, Slavic language, ideological poetics, history of medicine, Soviet culture, the gothic novel.
Ellen Oliensis, Professor. Latin Literature, Ovid.
Beth Piatote, Associate Professor. Native American/Indigenous literature, history, law and culture; Global Indigenous Literature; Native American visual art; American literature and cultural studies; Nez Perce language and literature; indigenous language revitalization; creative writing.
Harsha Ram, Associate Professor. Russian and European romanticism and modernism, Russian and European avant-gardes, Russian, European, Near Eastern and South Asian poetic traditions, Indian literature, Italian literature, Georgian history and literature, theories of world literature, literary theory, comparative poetics, genre theory, literary history, comparative modernisms and modernities, vernacular and high culture, cultural and political history of Russia-Eurasia and the Caucasus, postcolonial studies, theories of nationalism, imperialism and cosmopolitanism, the city and literature .
Miryam Sas, Professor. Comparative literature, 20th century avant-gardes, Japanese literature, film, theater and dance, contemporary art, critical theory, gender theory.
Barbara Spackman, Professor. Feminist theory, psychoanalysis, culture, fascism, gender studies, comparative literature, Italian studies, narrative, European decadence, travel writing.
Mario Telo, Professor. Greek literature, ancient drama and its reception, critical theory.
Sophie Volpp, Professor. East asian languages and cultures, history of performance, gender theory, the history of sexuality, material culture, material objects in late-imperial literature.
Dora Zhang, Associate Professor. Critical theory, linguistics, narrative and the novel, 20th and 21st century Britain.
Maria Kotzamanidou, Lecturer.
Karina Palau, Lecturer.
Annalee Rejhon, Lecturer.
Cyril Birch, Professor Emeritus.
Judith Butler, Professor Emerite. Critical theory, gender and sexuality studies, comparative literature, 19th and 20th century continental philosophy, social and political thought, philosophy and literature.
Louise Clubb, Professor Emeritus.
Phillip W. Damon, Professor Emeritus.
+ Francine R. Masiello, Professor Emerita. Gender theory, culture, globalization, comparative literature, Spanish, Latin American literature of the 19th and 20th centuries, comparative North and South literatures.
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Comparative Literature students and faculty offer their perspectives on the field.
The Art of Writing offers advanced non-fiction undergraduate writing seminars. Faculty from across campus teach courses on specific topics in small groups of 12-15 students.
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Wild battle with and past Flyers 3-2 on Zuccarello's OT goal
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JIM SOUHAN @Souhanstrib
The Twins' signing of Michael Pineda might feel like the kind of low-budget, under-the-radar move that defines their approach to free agency. But it sets them up to win, leaving them with three or four options for filling out their rotation.
Jose Berrios and Jake Odorizzi fill the top of the rotation. Pineda and the likes of Devin Smeltzer, Zack Littell and Randy Dobnak candidates to be fifth starters, spot starters and long relievers.
What's missing is a middle-of-the-rotation starter who elevates the entire team and gives the Twins a chance to compete in the postseason.
Here are their best options:
Option 1: Sign Madison Bumgarner.
This is attractive for all of the obvious reasons. Bumgarner is a proven winner and leader and has performed like a superhero in the postseason. He would be the perfect addition to the rotation because of his toughness and experience.
He poses a risk because he will be very expensive and because, at 30, he has pitched a remarkable 1,846 regular-season innings, and 102⅓ postseason innings, some of which came on short rest in the highest-stress environment possible — elimination games.
The catch: He will be expensive, and might not be the same pitcher at the end of his contract. Bumgarner is far more accomplished than Zack Wheeler, who received $118 million over five years from the Phillies. Will the Twins spend more money per season on Bumgarner than they spent on Joe Mauer, who when he signed for $23 million a year was a reigning MVP from St. Paul destined to become one of the greatest catchers in baseball history while the team was entering a new stadium?
Seems unlikely, but there is another carrot here: The Twins' main competition for Bumgarner might be the Chicago White Sox, likely to be the Twins' primary competitor in the AL Central over the next few years. So Bumgarner might be worth the gamble.
Option 2: Rely on Brusdar Graterol.
Graterol throws hard and has been dominant in the minors. He handled the pressure of pitching in the big leagues after his callup last season at the age of 21, but he missed fewer bats than expected given his stuff.
The Twins' brain trust believes that the nature of the ball used in the big leagues last year, with lower seams and a slicker surface, depressed his effectiveness, and that an expected correction to the ball this season could make him one of the sport's best young pitchers.
The Twins could bank on him securing a spot in the rotation, but the last time they invested faith in a hard-throwing young prospect, Fernando Romero imploded.
Option 3: Trade.
The Twins have a wealth of hitting prospects due to arrive in the big leagues over the next two seasons and have position flexibility with Miguel Sano and Jorge Polanco. They could trade current big-leaguers or prospects for a starting pitcher.
This might be the most attractive option — adding quality by trading away superfluous parts and retaining payroll flexibility — but trading partners tend to ask for the moon when dangling young pitchers, the most valuable commodity in the game.
Option 4: Johnny All-Staff.
On Sept. 15, the Twins won two "bullpen" games at Cleveland to secure the division title, using nine pitchers in that doubleheader.
With Smeltzer, Littell, Dobnak and Graterol, they have four arms that performed well last year and might be better suited to short stints than traditional starts.
The fan base would scream if the Twins went this way, but doing so could buy Graterol time and allow for the possibility than one of their young, relatively unproven starters might perform about as well as someone like Wheeler, who has great stuff but has never put together an eye-popping season in terms of traditional statistics.
That might work in the regular season, if the Twins are able to outslug opponents again. The problem is that we have seen Dobnak on the mound in Yankee Stadium in a playoff game.
The Twins have plenty of paths toward contention this season. To win in the postseason, they might want to sign someone who has thrived there before.
Bumgarner could affect the pitching staff the way Nelson Cruz impacted the lineup last season.
Jim Souhan is a sports columnist for the Star Tribune. He has worked at the paper since 1990, previously covering the Twins and Vikings.
jsouhan@startribune.com 612-673-4503 @Souhanstrib
Wild Wild battle with and past Flyers 3-2 on Zuccarello's OT goal
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It's natural for fans to get emotional over this kind of trade but when you look at the deal from multiple angles, you'll see the baseball logic.
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When you build a model, the contents pane displays information such as the following:

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•   Model Build Details displays messages about the model build progress. For information on reading build log messages, see Analyzing Model Build Output.

•   A summary of the number of catastrophes, errors, and warnings that occurred during the build.

Clicking an error icon () displays a numbered list of errors that occurred during the build.

From the error list, selecting an error highlights the error in the Model Build Details.

To analyze a build log and debug a model, see Analyzing Logs and Debugging Models.

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text:
Q: Redondear Decimas de Double manteniendo las decimas tvTotalCommande.setText(String.valueOf(totalCommande)+"€");
    tvTotalRegler.setText(String.valueOf(totalDescuento+"€"));
    tvRemises.setText(String.valueOf((totalCommande-totalDescuento)+"€"));

En TotalCommande me escribe 5.5
En Remises me escribe 1.0999999996
En Total a Regler me escribe 4.4
Si los resto deberian dar 1.1
Pero me esta dando el 1.0999999996
Necesito que me salga el resultado en 1.1
HELP!

A: Lo resolví asi :
Una manera de urgencia para repararlo y que ha quedado a la perfección para todos los casos ha sido este :
 String prueba= String.valueOf(totalCommande);
    String prueba2=String.valueOf(totalDescuento);

    BigDecimal a = new BigDecimal(prueba);
    BigDecimal b = new BigDecimal(prueba2);

    a=a.setScale(2, RoundingMode.HALF_UP);
    b=b.setScale(2,RoundingMode.HALF_UP);

    tvTotalCommande.setText(String.valueOf(a)+"€");
    tvTotalRegler.setText(String.valueOf(b)+"€");

Pasar los Doubles a String y de String a BigDecimal y el BigDecimal Redondearlo utilizando setScale con RoundingMode.HALF_UP. Porque CEILING lo deja en 1.2 , pero HALF_UP lo deja en 1.1, siendo 2 decimales pues ya queda a manera de dinero , 1.10

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Cobalt27 Capital (TSXV: KBLT) recently acquired a US$300-million cobalt stream on Vale's (NYSE: VALE) Voisey's Bay nickel-copper-cobalt mine, beginning in 2021. It also has a stream on the Ramu nickel-cobalt mine in Papua New Guinea owned by the Metallurgical Corp. of China, and a net smelter return royalty (NSR) on the construction-ready Dumont nickel-cobalt project owned by RNC Minerals (TSX: RNX) in Quebec.
In total the company has 12 streams and royalties, as well as physical cobalt. In the last five months alone the company has increased its physical stock of cobalt by 800 tonnes to 3,000 tonnes. The Northern Miner recently spoke with Cobalt27's chairman and CEO, Anthony Milewski, about the company's investments and his outlook for nickel and cobalt in the emerging electric vehicle (EV) revolution.
The Northern Miner: You have just completed a $300-million equity raise to pay for the cobalt stream in your portfolio from Voisey's Bay mine in Labrador.
Anthony Milewski: Vale's Voisey's Bay Mine is one of the best nickel-cobalt asset in the world, and so, as a company focused on cobalt and nickel, we felt it was important to participate and add value to our shareholders through streaming this orebody. Voisey's Bay is considered "generational" as it represents the only new, significant nickel sulphide discovery in the last 30 years.
You just have to look back at the interest it generated after being discovered, with both Inco and Falconbridge vying to acquire it. Vale, which acquired Voisey's Bay in 2006, is the largest producer of nickel globally, and are significant producers of cobalt.
The opportunity for Cobalt 27 to gain access to this asset through a 32.6% cobalt stream is really once in a lifetime, when you think about it. There may be two or three assets in this class globally.


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text:
ASME Takes Part in Engineering Expo f...
ASME Takes Part in Engineering Expo for High School Students
ASME's Executive Director/CEO Tom Costabile (center) was on hand at the Lower Hudson Valley Engineering Expo on March 31 to answer students' questions about the mechanical engineering profession.
ASME members and staff recently participated in a special engineering exposition in White Plains, N.Y., where high school and middle school students could meet representatives from professional engineering societies, universities and industry to discuss pursuing careers in engineering. Several thousand students and parents attended the "Be an Engineer Event" at the Lower Hudson Valley Engineering Expo, which was held March 31 at White Plains High School.
For the fourth consecutive year, ASME hosted a booth at the expo, where staff and volunteers provided information on ASME student chapters, the benefits of student membership and the various scholarship opportunities available through the Society. ASME was one of 34 professional societies participating in the event.
ASME's Executive Director/CEO Tom Costabile shared his knowledge and expertise with a number of parents and students who stopped by the booth with questions about the field of mechanical engineering and employment opportunities after graduation. ASME's booth was supported by Patricia Reddington, director, Safety Codes and Standards; Kathleen Peterson, S&C project engineering advisor; Reza Chubak, chair of the ASME Westchester Section; and Tony Licata, a member of the Energy Conversion & Storage Segment Leadership Team.
A number of military academies, local junior and four-year colleges and regional institutions also participated in the event. Local schools included Manhattan College, City College of New York, Cooper Union, and Westchester Community College. Regional universities included Penn State University and Villanova University.
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Video: Choosing the Right Provider to Educate Your Workforce
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Video: Engineers Need a New Approach to Learning


text:
Q: Unable to understand why Method not displaying returned string using JAVA Interface Programming novice.  Working on an assignment with interfaces.  I have a display main app that calls a CountUtil class method called count which uses Countable as an argument (CountUtil.count(a, count); [LINE 21] right after i declare a as an Alligator object).  Alligator implements the Countable interface.
The CountUtil.count method should reset a count variable using the Alligator resetCount() method, print out the return value of the getCountString() method at least 4 in the while loop, and increment the count.
I can not get the getCountString() method to display the while loop returned string, and I can not fugure out why.  Any feedback would be helpful.  Thanks.
public class DisplayableTestApp {

public static void main(String args[]) {
    BellHeading.getHeading("Assignment 8 - Processing Interfaces");
    countAlligators();
    //countSheep();
    //countMyself;
    //endItAll;
}

public static void countAlligators() {
    int count = 4;
    System.out.printf("  Counting alligators... I see %d\n", count);
    Alligator a = new Alligator();
    CountUtil.count(a, count);
}

//public static void countSheep() {
  //  System.out.printf("  Counting sheep... I see ");
//}
}

Alligator Class
public class Alligator implements Countable {
private int count; //declaring integer

public Alligator (){ //constructor
    count = 1; //initializing variable
}

@Override     //implementation of Countable interface
public void incrementCount() {
    count++;
}

@Override     //implementation of Countable interface
public void resetCount() {
    count = 1;
}

@Override     //implementation of Countable interface
public int getCount() {
    return count;
}

@Override     //implementation of Countable interface
public String getCountString() {
    return String.format("  %d alligator\n",count);
}
}

CountUtil Class
public class CountUtil {

public static void count(Countable c, int maxCount) {
    c.resetCount();
    while (c.getCount() <= maxCount){
        c.getCountString();
        c.incrementCount();
    } //end while loop
} //end count method
} //end CountUtil class

Countable Interface
public interface Countable {
void incrementCount();
void resetCount();
int getCount();
String getCountString();
}

A: You haven't print the count anywhere. Change your CountUtil class as follows
public class CountUtil {
    public static void count(Countable c, int maxCount) {
        c.resetCount();
        while (c.getCount() <= maxCount) {
            System.out.println(c.getCountString());  // Printing...
            c.incrementCount();
        } // end while loop
    } // end count method
} // end CountUtil class


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Britam Holdings Limited, with operations in Kenya, Tanzania, South Sudan, Uganda, Rwanda, Malawi, and Mozambique announced its intention to acquire an undisclosed stake in Tiserin Capital, following approval from its board of directors.
Tiserin Capital is a private equity firm that manages the Tiserin Capital Fund, which invests in companies with enterprise values of less than 5.1 billion shillings (USD 50.0 million) in East Africa, Ethiopia, Mozambique, and South Africa taking up a controlling stake or a strong minority position.
Tiserin Capital seeks to partner with Asian and Latin American companies to enhance the operating capabilities of its portfolio companies by transferring industrial and managerial know-how.
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With the move, Britam seeks to diversify its investments beyond traditional investments as the acquisition will offer Britam indirect ownership in the private firms that Tiserin Capital will invest in.
Britam Asset Managers, a subsidiary of Britam Holdings Limited in January of this year, bought a 40.0 percent stake worth 1.4 billion in a local electricity producer, Gulf Energy, through a New York-based energy investment vehicle Everstrong Capital.
Analysts from Cytonn Investments are of the view that the acquisition is driven by private equity investments in Africa remaining robust and the need for investment managers to diversify their investments and grow their return as evidenced by the increasing investor interest.
Better economic projections in Sub Saharan Africa compared to global markets.


text:
Bhutanese Americans
(Redirected from Bhutanese American)
23,316 Americans of Bhutanese descent or ethnic origin (2013 American Community Survey)[1]
71,000 Bhutanese refugees in USA (according to the United Nations High Commissioner for Refugees in USA in 2013)[2]
Regions with significant populations
New York City • Chicago • Cleveland • Baltimore Metro Area • Harrisburg (Pennsylvania) • Lancaster (Pennsylvania) • Syracuse (New York) • St. Louis (Missouri)
• Portland (Oregon)
American English • Dzongkha • Nepali
Buddhism • Hinduism
Related ethnic groups
Lhotshampa • South Asian Americans • Bhutanese people • Nepalese Americans • Tibetan Americans
Bhutanese Americans are Americans of Bhutanese descent. According to the 2010 census there are 19,439 Americans of Bhutanese descent.[1] However, many Bhutanese came to the U.S. from Nepal as political refugees from that country and they surpass, according to some estimates, 70,000 people.
1 Demography
1.1 Bhutanese Lhotshampa
2 Community and Social Issues
2.1 Suicide
2.2 Poverty
2.4 Lack of education
3 Organizations
Demography[edit]
According to the 2010 census there are 19,439 Bhutanese-Americans.[1] However, many Bhutanese came to the U.S. from Nepal as political refugees from that country. These political refugees formed, according to estimates of June 20, 2010, a population of 27,926 people in United States. Many Bhutanese Americans are of Hindu religion.[3] The others are Kiratas, Buddhists and Christians.
Bhutanese Lhotshampa[edit]
Many of the Bhutanese living in the United States were actually ethnic minorities of Nepalese descent. This was because, between the late 80s and early 90s, thousands of Bhutanese were driven out of Bhutan, as they were considered by the government of that country as "illegal immigrants" because they did not share the Tibetan origin with the majority of the population of the country. Despite this, however, these Bhutanese came from families who had been living in Bhutan for more than two centuries. The government's goal was to maintain the Tibetan ethnic purity of most of the population. Thus, since 1990, more than 105,000 ethnically Nepali Bhutanese refugees temporarily migrated to neighboring Nepal, from where their ancestors came, establishing in refugee camps in the east of the country. However, after 15 years living in exile in the neighboring country, many of them have migrated to the U.S., Europe and Australia.[4] This emigration to the United States is due, at least in large part, to a program coordinated by the U.S. State Department and the U.N. High Commissioner for Refugees.[3] Of the 60,000 Bhutanese - Nepali refugees that U.S. has offered to resettle in the country,[5] according to BBC News on June 20, 2010, had already 27,926 lived in USA.[6][7] However, in Oct. 2013, the United Nations High Commissioner for Refugees estimated that around 71,000 Bhutanese refugees living in the U.S.[2]
According to the International Organization for Migration, the Bhutanese refugees are sent to places such as New York City, Chicago, Syracuse (New York), and St. Louis (Missouri). The refugees are also sent to states such as Texas, Arizona, Maryland[5] and Oregon.[8] The community is being helped by The Hindu Temple of Minnesota, along with Lutheran and Catholic social organizations who give them materials and moral support.[3]
In 2014, Connecting Cleveland, a four-page paper with stories in English and Nepali was launched to serve Nepali-speaking Bhutanese families in the Cleveland, Ohio area.[9]
Community and Social Issues[edit]
Suicide[edit]
A trouble in the community is the high rate of suicide. In 2008, more than 30 Bhutanese refugees, shortly after resettlement in United States, committed suicide.[2][10] From 2009 to 2012, 16 more suicides among the Bhutanese community had occurred.[11] According to an article in The Wall Street Journal in 2013, 7 more Bhutanese refugees had committed suicide.[10]
According to a report released by the Centers for Disease Control and Prevention, for every 100,000 Bhutanese refugees, 24.4 commit suicide, almost double the rate of 12.4 for the general population of The United States. It was also stated that this estimate was much higher than the estimated annual global suicide rate for all persons in the world at 16 per 100,000 people.[12][11]
Poverty[edit]
According to data released in 2017 by the Pew Research Center, 33.3% of the Bhutanese American community lived under the poverty line.[13] This is more than twice the USA poverty average of 16% according to data released by the Economic Policy Institute in 2011.[14]
Health[edit]
Many sources have indicated that 21% of all Bhutanese Americans suffer from depression which is nearly 3 times the rate of the general American which stands at 6.7%.[15][16][17] It has been observed that other mental illnesses are also prevalent among the community such as anxiety and PTSD.[18][19]
Lack of education[edit]
According to the same date released by the Pew Research Center, the Bhutanese community has one of the lowest educational attainment level in the entire U.S. with only 9% of all Bhutanese Americans 25 years old and older have at least a bachelor's degree.[13]
Organizations[edit]
The Bhutanese American Association of Houston (BaaH) and the Association of Bhutanese in America (ABA) are two examples of Bhutanese-American organizations. The Bhutanese American Association of Houston has an ESL program which provides elderly people in the community with the resources to learn English. In addition, ESL students are taken to various places of parks and recreation to facilitate adaptation to the city.[20] The Association of Bhutanese in America aims to establish relationships between U.S. Bhutanese and Bhutanese in Bhutan and elsewhere, as well as establish a platform that favors their relationship with the community and their country of origin.[21]
Bhutan portal
Bhutanese refugees
Nepalese Americans
^ a b c Bureau, U.S. Census. "American FactFinder - Results". Factfinder.census.gov. Retrieved 9 January 2018.
^ a b c Bhutanese refugees in the US still committing suicide at high rate…. Posted by Ann Corcoran on January 10, 2014.
^ a b c The Washington post: Bhutanese refugees' American dream. Retrieved June 02, 2013, to 16:20pm.
^ "Issue". Bhutanese Refugees. Retrieved 9 January 2018.
^ a b "First of 60,000 refugees from Bhutan arrive in U.S. - CNN.com". Edition.cnn.com. Retrieved 9 January 2018.
^ Bhutanese refugees in Oregon find a frustrating path to American dream. Posted by Anna Griffin.
^ Smith, Robert L (2014-07-24). "Nepali teen launches newspaper to guide his community in the Cleveland tradition". The Plain Dealer. Retrieved 2014-07-24.
^ a b Staff, W. S. J. (7 January 2014). "American Dream Becomes Nightmare for Bhutanese Refugees". Blogs.wsj.com. Retrieved 9 January 2018.
^ a b "Suicide and Suicidal Ideation Among Bhutanese Refugees — United States, 2009–2012". Cdc.gov. Retrieved 9 January 2018.
^ "New to America, Bhutanese refugees face suicide crisis". America.aljazeera.com. Retrieved 9 January 2018.
^ a b "Key facts about Asian Americans, a diverse and growing population". Pewresearch.org. 8 September 2017. Retrieved 9 January 2018.
^ "New poverty measure highlights positive effect of government assistance". Epi.org. Retrieved 9 January 2018.
^ Preiss, Danielle. "Bhutanese Refugees Are Killing Themselves at an Astonishing Rate". Theatlantic.com. Retrieved 9 January 2018.
^ Beras, Erika. "Bhutanese Refugees Face a High Suicide Rate". Wesa.fm. Retrieved 9 January 2018.
^ "Bhutanese Refugees Face a High Suicide Rate". Centerforhealthjournalism.org. Retrieved 9 January 2018.
^ Vonnahme LA, Lankau EW, Ao T, Shetty S, Cardozo BL (December 2015). "Factors Associated with Symptoms of Depression Among Bhutanese Refugees in the United States". Journal of Immigrant and Minority Health. 17 (6): 1705–14. doi:10.1007/s10903-014-0120-x. PMC 4631124. PMID 25348425.
^ Tolan, Casey. "A mysterious mental health disorder is afflicting Bhutanese refugees in America". Splinternews.com. Retrieved 9 January 2018.
^ Association of Bhutanese in America (ABA): Chairman's Corner.
Asian Americans1, 2
Central Asian3
Tibetan4
Hoklo/Hokkien
Fuzhou/Hokchiu
South Asian5
Baloch
Pashtun
Asian Hispanic and Latino
Punjabi Mexican
Multiracial Americans
Afro-Asian
Amerasian
Eurasian
1 The U.S. Census Bureau definition of Asians refers to a person having origins in any of the original peoples of the Far East, Southeast Asia, or the Indian subcontinent. [1][2][3]
2 The United States Government classified Kalmyks as Asian until 1951, when Kalmyk Americans were reclassified as White Americans.[4]
3 The U.S. Census Bureau considers Mongolians and Uzbeks as Central Asians,[5] but a specific Central Asian American group similar to Middle Eastern American does not yet exist.[6]
4 The U.S. Census Bureau reclassifies anyone identifying as "Tibetan American" as "Chinese American".[7]
5 Bengali Americans may be classified as Bangladeshi or Indian.[8] Punjabi Americans may be classified as Indian or Pakistani.[9]
6 Those of West Asian extraction (i.e. the Middle East and the Caucasus) are classified as White under the U.S. Census.[10]
Retrieved from "https://en.wikipedia.org/w/index.php?title=Bhutanese_Americans&oldid=900884849"
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Q: Count the cells corresponding to lookup value I want my excel function to do the following actions on the below attached spreadsheet image:

*

*Search for SumA in Column B

*Every time the system finds SumA, count of cells which has text = " Not Started" for Day 0 under K2 corresponding to the SumA

*Display the total count

Note: There are merged cells in column B.


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You can finally say goodbye to "text only" status functionality in WhatsApp, as the now Facebook-owned company is celebrating its 8th birthday by copying Snapchat's Stories feature. WhatsApp Status is a new tab for sharing a status update with rich multimedia such as GIFs, decorative photos and videos that disappear in 24 hours.
We know it's hard to come up with something original these days, so end-to-end encryption for that status update seems acceptable, or you can stick with Snapchat, of course. But of the 1.2 billion WhatsApp users, a big chunk are based in markets where Snapchat doesn't really have traction. Think South America, Eastern Europe and the like, as noted by TechCrunch.
The Status feature was tested with beta users in November, and now WhatsApp is rolling out to users worldwide on iOS, Android and Windows Phone. Users can check their friends' status updates and reply to them privately, shoot and adorn their imagery with drawings and captions, and send their creations to all their contacts they've chosen with a persistent privacy setting, TechCrunch says.
The update is similar to what another Facebook-owned social media platform, Instagram, has rolled out, Instagram Stories. The latter keeps Stories in the main tab above its feed, but WhatsApp have placed Status in a separate tab.


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Pop Eye
Music Choices
Payback Time
Folk Fest
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Straight Series
Of bucket lists, Bif Naked, and gritty neighbourhoods: Mo Tarmohamed on the Rickshaw's seventh anniversary
by Allan MacInnis on July 8th, 2016 at 7:59 AM
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I don't really know why I love the Rickshaw as much as I do. It's not the neighbourhood, obviously. I kind of like the history of the building—the fact that it's connected to the Shaw Brothers, the Hong Kong film studio.
But it's not like I ever went to see movies there, when it was the Shaw, and my investment in that particular brand of cinema is slight; the only Shaw Brothers film I can say for sure that I've seen, in fact, is the Hammer co-production, The Legend of the Seven Golden Vampires, which combines vampire intrigue (including a role for Peter Cushing as van Helsing) with elaborate and somewhat absurd kung fu set pieces; it's hardly a typical Shaw product, and it's nowhere near any Top 10 list I might formulate (save maybe "top 10 Unlikely Co-productions" or "Top 10 Absurd Genre Cross-pollinations").
And to be honest, with apologies to Mo Tarmohamed, interviewed below, it's not even the current management that draws me; I like that Mo is actually a music fan, whom I sometimes spot at gigs at other venues, and I've enjoyed my interactions with him, but I felt an attachment to the Rickshaw before Mo ever stepped through the door, back when I was interviewing David Duprey about his role there.
So why is the Rickshaw my favourite place to see shows in Vancouver? It might just be the simple fact that more often then not, the gigs I care about in Vancouver have been located there. The Rickshaw is sort of the Richard's on Richards for its time, in terms of the nature of the bands it draws (too small for the Commodore but too big for places like-uh, I was going to say the Railway, but you get the idea. Plus the prices are comparable to what Richards offered, it's not too expensive to go to a show there and have a couple of drinks, which is not how I feel about some of the other recent venues that have sprung up in the neighbourhood).
And to the extent that the Rickshaw and Richards are different, the Rickshaw is better: there's not the constant clink of alcohol being served from the bar, distracting from the music, which was almost always a problem at Richards, especially during quieter acts. And cool as the balcony on Richards was, if people were inclined to stand up there and talk through an act, they could actually RUIN a show, whereas the talkers at the Rickshaw tend to be sort of divided from the people who actual music fans, by virtue of the seating arrangement, which kind of implicitly encourages non-participants to fuck off to the back.
Bison b.c. at the Rickshaw's second anniversary party.
Rebecca Blissett.
Some of my favourite shows of the last 10 years have taken place at the Rickshaw, from recent events like Kid Congo Powers or the Bowie Tribute Night to seeing Swans there five years ago, on their first reunion tour. There was catching the Subhumans opening for Jello Biafra and the Guantanamo School of Medicine, and the Residents the show before last... I've also reviewed shows for the Straight there, like Bison b.c., back when the Rickshaw was celebrating it's second anniversary.
I'd actually really RATHER have an attachment to venues like the Rio or the Biltmore, since they're more conveniently located for a Burnaby guy to get to and from, but I've had a few weird vibes at the Rio trying to interact with the people who run it, which left me feeling like I wasn't cool enough for them or somethin', and the Biltmore can have problematic sightlines unless you're standing right up front or watching a really tall band... I still go to shows at both, but the Rickshaw, even despite its drawbacks (the neighbourhood) remains the place I most like to see live music acts.
Anyhow, with the venue celebrating its seventh anniversary this Friday, with Pickwick and No Sinner playing there, it seemed a good time to interview proprietor Mo Tarmohamed about his time at the helm of the venue, his taste in music, and his bucket list of acts that he hopes to book. I actually haven't read his answers to my questions yet, myself. Here it goes.
Allan: So what's your history as a music geek? Can you fill in your backstory for us? Are you a musician? Do you have an industry background?
Mo: My claim to music geekdom was my propensity to push/peddle my music taste on an unresponsive audience ever since elementary school. My enthusiasm for Bowie, Lou Reed, Roxy Music, etc often fell on my 12-year-old mates' deaf ears. I suppose very little has changed as I am still peddling my taste in music but now on a much grander scale. I have a whole venue to showcase music; unfortunately, I find my enthusiasm for bands that are not considered mainstream still fall on deaf ears-until said bands finally get the props that they deserve.
I am not a musician and I don't play an instrument. I tried my hand at learning how to play guitar as an adult. Unfortunately, I was under the tutelage of a strict instructor who had been trained at a music academy in Germany. I was doing fairly well until we hit a snag about a year into my lessons. There was one chord that I simply was not able to manage. After repeated failed attempts he slapped my wrist! Alas, that was my last lesson and the guitar has remained in my case for the past decade and a half.
I have had absolutely zero background in the music industry. In fact, I am a professional accountant by trade! But after years of toiling in soul sucking jobs and having to answer to others, I reached a crossroad in my life in the fall of 2010. Do I carry on and earn a decent salary doing something that I had begun to hate, or should I throw caution to the wind and do something that I actually cared about? I thought of various options, with something to do with music being on top of my list. A friend suggested opening a live music venue to which I naively responded: "Okay"! It was as simple as that.
The Whigs.
Joshua Black Wilkins.
The catalyst for the change, however, had begun a year earlier in 2009. I had my first taste of New Orleans which is steeped in live music. A year later my wife and I went to Memphis and Athens, GA. In Memphis, a friend of mine gave us a tour of Ardent Studios where one of my favourite bands, The Replacements had recorded their seminal album Please to Meet Me. In Athens, I saw a band that I had started following and had become friends with, The Whigs, at the 40 Watt Club. Actually, befriending the Whigs started the chain reaction that culminated with me finally acquiring a music venue. They were (and still are) very generous with their time as they provided me insights about their evolution as a band, their musical influences and life on the road. I also marvelled at the number of venues a small city like Athens had. Live music was embedded into the fabric of that city much like Austin, New Orleans, Memphis, San Francisco, Portland and Seattle. This is something that I thought Vancouver lacked, and so I began my crusade.
I started researching live music venues in Vancouver. I spoke to a city council member, liquor licensing, bookers, and other venue operators. One of the venue operators I spoke to was David Duprey who had opened the Rickshaw about a year earlier. I had already been to shows at the Rickshaw (soon after it was opened) and was already intrigued with the venue even before I had a notion to own one myself. There were a couple of vacant spaces I had been eyeing and I asked David what his experience were opening a new venue in this city. David was kind enough to share his experiences and encouraged me to pursue the spaces I was considering. However, about a month after meeting him, David sent me a text one evening asking: "Do you want to buy the Rickshaw"? And so began the negotiations and my eventual takeover July 2011.
Like I said, I had never been involved in the music industry, let alone owning a venue. But as an accountant I have worked in various industries (consumer electronics, petrochemical, cafes, tech, heavy machinery, chocolate manufacturing, advertising, utilities and roofing!) and the one main principle that I have learned is that regardless of what the industry is, you have to pay attention to some key fundamental business drivers in order to give you the best chance to succeed. It may not guarantee success, but it will at least give you a fighting chance. Having said that, the live music game is probably the most idiosyncratic business that I have ever come across and it has been a bit of a learning curve. Initially I surrounded myself with people who had been involved in booking shows and running a venue: I hired Aaron Schubert and Stephen Lyons. Both Aaron and Stephen really helped me in re-launching the Rickshaw.
The Rickshaw, where those who aren't into a show are free to take a seat.
Rickshaw Theatre.
I've never had a problem with the sound at the Rickshaw-I'm a pretty easy touch, as long as I can hear what's going on-but I've heard that other people have complained about it, and have been at shows where people in the bands got kind of choked with the sound mixer. That said, people don't seem to complain much any more, at least not that I've heard. So did you upgrade things when you took over? What was that like?
Ah yes, the myth about the sound at the Rickshaw. Truth be told I too had problems with the sound at some of the shows I had seen at the Rickshaw before I took over. Because the space is a cavernous concrete box, sound was bouncing all over the place. Add to that, the high and low frequency ranges were seriously compromised. I invested in additional equipment to partially mitigate the sound issues and also added wood treatment on the concrete walls to reduce the amount of reflective sound. These changes have definitely helped, but more than anything else it is our front of house sound engineers who have really dialed in to compensate for the idiosyncratic nature of the room. Johnny Wildkat (Savella) our head sound mixer is simply one of the best in the business. The sound at the Rickshaw has never been better. And our tech group are continually tweaking the room to make it sound even better. Unfortunately I don't have deep pockets to invest in the latest and greatest. The Rickshaw has been self-funded for the most part. And as such this is a continuous work in progress. My productions manager and literally jack of all trades, Rob Barrington, regularly scours the internet for deals on equipment.
Another thing a lot of people don't realize is that some touring bands bring their own front of house sound mixer. I am always apprehensive whenever that happens. A band's sound guy may have a really good understanding of how to mix the band, but may not properly compensate for the dynamics of the room. Depending on how receptive their sound guy is to our tech's suggestions on optimizing the levels, the sound may range from mediocre to great. That's what a lot of patrons don't realize (and frankly neither did I before I embarked on my career as a venue operator): the sound is so dependent on whoever is mixing it. Unfortunately whenever we get a touring sound engineer who ignores the house sound engineer's recommendations, the sound can be sub-optimal and folks end up blaming the venue.
We are still battling the legacy of how inferior the Rickshaw sounded more than 5 years ago. It's a revelation to people who had given up on the venue due to sound issues in those early years when they finally come back. Not only do they comment on how great the venue now looks but also how great it now sounds.
The Rickshaw lobby.
What are other challenges you've faced?
The other challenge that I have encountered with the Rickshaw is the location; not only in getting patrons to come to shows, but also to convince booking agents to put their bands here. Everyone in Vancouver knows about the problematic Downtown Eastside. There is seemingly no solution from all levels of government despite the ongoing rhetoric about effectively dealing with the mental health, rampant drug addiction, poverty and homelessness. The fact is the area is actually quite safe, despite of the optics. In my five years spending a lot of time in the DTES, I have never once felt threatened. But like I said, the optics are not good.
Bands that have never played Vancouver are completely taken aback when they come up the East Hastings corridor from Carrall Street and Gore Avenue. When they arrive at the venue the band members are like deer caught in a headlight. You can sense a feeling of unease emanating from them and more often than I would like to, I feel compelled to explain to them as best as I can, the area that they have just found themselves in. It is nothing like anything that they have ever seen in their lives, and unfortunately, social media being the beast that it is, inevitably band members take pics/videos of the area and upload them, mostly on Instagram. It's frustrating to me that that's the image fans around the world are left with.
However, after every show I often check in with the bands to see how their experience playing at the Rickshaw was. I can't control the neighbourhood but what my staff and I can control is the band's and the audience experience. I can say without hesitation, the feedback I get from bands is extremely positive. When you keep hearing the same things over and over again from a host of different people, you have to believe it as a universal truth. In our case, it is what an amazing staff we have. Bands quite often come across the stereotypical surly house tech personnel, but in the Rickshaw's case, I keep getting told that we have amongst the best crew that they have ever encountered. Whereas bands arrive with some trepidation, they leave giving hugs all around!
There have been a number of uplifting stories that have reinforced my decision to get into this nebulous world of the music business. I have really enjoyed meeting and interacting with a number of local musicians. There is a plethora of amazing talent in this city and it bothers me to no end when I hear people of my generation lament "the good old days". These are folks who have been stuck in an era and who refuse to invest even a modicum of time to check out any "new music". In my opinion we are experiencing an explosion of some of the most compelling music ever. Musicians these days now have over five decades of pop/rock music to draw from plus they are adding their own voice in the evolution of rock music. Whenever I hear new bands I can hear influences that have informed their music, yet without sounding derivative.
Bif Naked.
bev davies.
One of my fondest memories over the past five years happened last year: our collaboration with Bif Naked. Up until the fall of 2014 I had never actually spoken to Bif Naked but had been noticing that she was very active in re-tweeting some of our shows. I sent her a note thanking her for her ongoing support of the shows at the Rickshaw and suggested that perhaps she would be interested in performing at the Rickshaw. Thinking nothing more of it-after all, she didn't know who I was and I am sure she gets numerous requests like mine-I was pleasantly surprised, to say the least, when she responded almost right away. She put in touch with her manager and agent which led to the first (we have another one planned for this fall) Bif Naked Extravaganza.
Bif, along with my staff, Ashley Frerichs and Rob Barrington, actively collaborated in putting the show together. We held a competition whereby musicians who wanted to be on the bill had to not only send us their EPK but also to tell us why they should be on the bill. From around 50 applications, we narrowed it down to three (Cobra Ramone, the Wett Stilettos, and The Living). Bif also suggested that we have dancers for a few of the songs, so I also asked Rahel Claman of Rahel belly dancing and The Lover's Cabaret if they too would like to participate. Sure enough, they jumped at the opportunity. Both Rahel and Vanessa Young, who heads the Lover's Cabaret, have put on multiple shows at the Rickshaw and have been strong advocates of the venue. My meeting Bif Naked has been transformational for me. Her unyielding enthusiasm and infectious spirit has helped through moments of self-doubt that all entrepreneurs go through. The fact that she was giddy like a teenager when I arranged Cam Pipes of 3 Inches of Blood to sing with her the night of the extravaganza has left me with hope for the business I have found myself in.
Other than Bif Naked, other musicians such as Kyle Morton of Typhoon, Galen Disston of Pickwick, Sharon Van Etten, Adam Granduciel of the War on Drugs, Dallas and Travis Good of the Sadies, Midge Ure of Ultravox, and many other notable musicians have been vocally supportive of the Rickshaw and the work we do. It's always reaffirming that musicians that I respect are so openly encouraging.
One of my scariest episodes was the time when I nearly plunged to my death. The roof was in a terrible state when I took over the venue, and oft-times during a downpour I'd be in the rafters with buckets and bus bins catching drips, even during shows. On one occasion, thankfully not while a show was going on, I was rearranging some buckets when I accidentally stepped on a wet gypsum ceiling tile. The tile collapsed and I almost fell 50 feet to a certain death. Luckily I had the presence of mind to quickly grab a steel girder and hung on. That hole in the ceiling is still there to this date to remind me of my narrow escape.
Mike Usinger.
What shows have you put on because they were on your bucket list of bands you wanted to see or work with? What bands were your picks, rather than promoted/touring shows...?
Bands that I have booked: Thee Oh Sees, the Whigs, Pickwick, Typhoon, the Sonics, Death, Flamin' Groovies, Midge Ure, the English Beat, Kid Congo, NoMeansNo.
Bands booked by other promoters: The Buzzcocks, Killing Joke, Russian Circles, King Khan, Built to Spill, Japandroids, Mac DeMarco
Shows booked by the bands themselves: D.O.A. and Pointed Sticks.
Who remains on your bucket list-shows you'd really like to see happen?
Pere Ubu, Bob Mould, Richard Thompson, Graham Parker, The The, the Damned, Menomena, Pinback, and The Dishrags.
Any other colourful stories?
A funny episode: We had booked the band Death (the punk band from Detroit) and I was to pick them up at the airport. Their manager suggested that I held up a sign with the band's name so that they would be able to recognize me. I sent them an email asking if it was a good idea that a brown guy with a surname like mine should be holding up a sign that said "DEATH" at an international airport. I meant that as a joke. But the band's manager took me seriously and worriedly suggested that I simply write down ABCD to denote A Band Called Death.
What are the challenges facing live music venues in Vancouver?
I was recently invited to speak on CBC Radio by Stephen Quinn to discuss the state of live music in Vancouver. The topic was precipitated by the recent closures of the Electric Owl and the Railway Club, and also how other cities such as London, England are addressing venues closing down in their cities as well. London has recently appointed a Night Mayor to look at the erosion of live music venues and other art spaces in that city.
Contrary to a popular myth that there is a lack of live music venues in Vancouver, the truth of the matter is that there isn't sufficient demand for live music in relation to the supply of rooms available. For a myriad of reasons (but chiefly the high cost of living in Vancouver driving the key concert going demographics of 19-35 year olds either away from the city or not having enough discretionary income to afford going to shows) attendance at shows has been declining for the most part. Couple that with the high cost of booking international talent due the current exchange rate, it is becoming increasingly difficult for independent venue owners to operate.
A lot of venues now include "club nights" as part of their business model to subsidize losses they make on live shows. The operating costs to run a club night are considerably less than to put on a live show. The consequence of doing that is live shows often have to take a backseat to the more lucrative DJ driven disco nights. Bands are compelled to start early so that the live music component of the venue's programming is over sometimes as early as 10:30 p.m. as they and the patrons are asked to leave to make room for the club nights.
We at the Rickshaw have so far resisted going down that road [Can I add that to the list of reasons I love the Rickshaw?-AM]. We want to remain true to the spirit of live performance and make that our raison d'etre. We also believe that the Province and the City should treat live-events venues such as the Rickshaw differently than night clubs. It still boggles the mind why the Rickshaw is not allowed to hold all-ages events with restricted alcohol sales to non-minors. I have had to walk away from a number of shows that would have appealed to an all-ages crowd, because it was not economically viable for me to do so without liquor sales. We are turning away live-music patrons because of antiquated and inconsistent application of liquor laws when we need them the most.
Pickwick.
Tell us about the seventh anniversary show-who is playing, and why? How did it come together?
I handpicked the bands that will be playing the Rickshaw's 7 Year Anniversary Show. The strongly R&B/soul-influenced music that will be represented Friday night has universal appeal. Pickwick is a very special band that has been on the cusp on blowing up big for the past three years. The follow-up to their critically acclaimed debut album, Can't Talk Medicine, has taken a lot longer than the band would have liked, which may have derailed their momentum temporarily. Pickwick have already played the Rickshaw twice before. The last time they were in Vancouver, they opened for the New Pornographers at the Commodore in 2014. The vocal pipes on Pickwick's lead singer Galen Disston are awe-inspiring. Fans of Black Joe Lewis, the Black Keys, and Charles Bradley will love Pickwick.
Colleen Rennison and No Sinner are no strangers to the Rickshaw stage. No Sinner has played the Rickshaw on a number of occasions as has Colleen Rennison on her solo projects. To pair two powerful singers like Galen and Colleen on the same bill had always been at the back of my mind.
The first time I saw SAVVIE was when the band played the Rickshaw in December 2015. I had heard a lot of buzz about Savannah Leigh Wellman's band and I could see why after her set. When we announced the Pickwick show, Savannah was amongst the first to like our Instagram post. She told me that she was a big fan of Pickwick and I asked her if she would like to be on the bill, to which she agreed to without hesitation.
The Dip is a Seattle funk, soul jazz band that had approached me in March even before we had booked Pickwick for the July 8th show. I dug their sound but didn't have a suitable bill for them to be a part of. Soon after the Pickwick show was announced it made sense for them to be part of the bill. I later found out that one of the members from the Dip played on Pickwick's debut album.
Any final thoughts, points I haven't touched on?
I'd be remiss if I didn't mention the single most amazing person I know and someone who has played a major role in this new vocation of mine-my wife Brenda. She could have easily knocked some common sense into me when I suggested to her that I was planning on quitting my comfortable accounting career for the topsy turvy world of music. She gave her support unflinchingly despite the hardship she knew it would create. And after five years, she is still my biggest booster.
Thanks, Mo! (I think I actually like the Rickshaw even more now.)
The Rickshaw Theatre's seventh anniversary party takes place on Friday (July 8).
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