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Theater Wit opens smart performance space in Lakeview
Posted on May 3, 2010 by Scotty Zacher
Architect Richard Kasemsarn with the plan of Theater Wit. (Photo by Dick Smith.)
Theater Wit: Chicago's newest performance space opens
By Leah A. Zeldes
"It's jaw-droppingly different," says Jeremy Wechsler, artistic director of Theater Wit, about his troupe's new home.
After 16 months of a $1.3-million joists-out renovation, the one-time post office adjoining Theatre Building Chicago is now the sparkling new Theater Wit, 1229 W. Belmont Ave. (map), a dynamic new multi-performance space. The building, most recently Bailiwick Arts Centre, still has a few i's to dot and t's to cross before the city of Chicago grants its Public Amusements Venue license. Wechsler expects it in mid- May; for now, Wit is running its inaugural play, Spin (our review ★★★), on a "suggested donations" basis. Valet parking isn't in place yet, either, but for the time being, Wit has arranged free parking in the lot behind Cooper's restaurant across the street.
The building now houses three 99-seat black-box theaters, providing a new showcase for intimate local productions.
"This is a size of theater that didn't exist," Wechsler says. "There were (too small) 70-seat theaters, in which you could never turn a profit on a show, and (too expensive) 150-seat theaters … in which you could never turn a profit on a show. I really wanted this size of theater for myself."
Along with Wechsler's Theater Wit company, Bohemian Theatre Ensemble, Shattered Globe Theatre and Stage Left Theatre will share the space as resident troupes, contributing work to the building and using about 75 percent of the performance time, with the remainder available for rental. In the fall, once all the theaters are up and running, Wit will introduce a flex-pass arrangement for tickets to all productions.
Architect Richard Kasemsarn explains that the theaters are cleverly separated by dressing rooms to create easy backstage access and keep sound from bleeding from one to the other. They are also insulated from exterior noise, save for occasional seepage through the brick wall from the adjoining Theatre Building. New metal joists support a variety of lighting configurations.
One of the three theaters will feature flexible seating, not yet installed. Seats in the other two, salvaged from a Bolingbrook high-school auditorium, are surprisingly wide and comfortable, and they're spaced with reasonable leg room, although their incline and offset don't quite keep tall people from blocking your sight lines.
Architectural salvage provides handsomely quirky decorative elements through the space, although you won't mistake this for a posh downtown theater. It does retain that hand-built, slightly rough quality common to Chicago storefronts. Kasemsarn, who teaches at the School of the Art Institute, recruited students to help with the finishing.
The modest lobby features a bar, and the building has ample restrooms — a seven-stall ladies' room should minimize lines at intermission. Oversized ductwork is intended to keep theater goers at comfortable temperatures without contributing noise.
"I really want to control everything from the time you hit that lobby door," Wechsler says.
Filed under: Bohemian Theatre, Leah A. Zeldes, Physical Environs, Shattered Globe, Stage Left Theatre, Theater News, Theater Wit, Theatre Building Chicago | Tagged: Bailiwick Theatre, Bohemian Theatre Ensemble, Bolingbrook High School, Jeremy Wechsler, Lakeview Chicago, Leah A. Zeldes, Richard Kasemsarn, School of the Art Institute, Shattered Globe Theatre, Stage Left Theatre, Theater Wit, Theatre Building Chicago, Theatrer Wit Spin |	2 Comments »
REVIEW: Hello Again (Boho Theatre Ensemble)
Posted on April 8, 2010 by Scotty Zacher
LaChuisa musical a sexy success for Boho
Bohemian Theatre Ensemble presents
Written by Michael John LaChiusa
directed by Michael Ryzcek and Stephen Rader
Heartland Studio, 7016 N. Glenwood (map)
through May 1st (more info)
reviewed by Oliver Sava
I'm going to preface this review with a simple plea to all theater patrons: Please turn off your cell phones when you enter a theater. Nothing kills momentum like an iPhone going off at minute 85 of a 90 minute musical, so please just turn it off.
That being said, BoHo's production of John Michael LaChiusa's raunchy sex musical Hello Again can't be stopped by pesky ringtones. The sexual exploits of ten characters are detailed in ten scenes that take place in a different decade of the 20th century, and LaChiusa adjusts the score to fit the period, creating a musical collage with styles ranging from opera to disco to bubblegum pop. Directors Michael Ryczek and Stephen Rader utilize the intimate (read: tiny) space exquisitely, navigating their ten actors without the stage ever seeming too crowded, a feat accomplished by making sure no one stays in one place for too long. The directors are aided by Stephen M. Genovese masterful set, which utilizes a wall of turning wooden panels to subtly suggest environments without requiring much room while also creating exits and entrances when needed.
The music begins and the company takes the stage with their best "come hither" looks, standing in silence before dissipating and leaving the audience with the patron saint of sexuality, Whore (Christina Hall). She greets wandering Soldier (Tom McGunn) with the show's title number, setting off a series of erotic encounters that run the gamut of the sexual spectrum while retaining emotional intensity through LaChiusa's revealing lyrics. As the characters get physical, the songs delve into their psyches, revealing the pains and pleasures of promiscuity but also the basic human need for affection, sexual or not.
The entire ensemble, musically directed by Nick Sula, has a great handle on the complicated score, but the women of the cast provide the most memorable performances. Bookending the production, Hall's strong belt impresses, particularly considering the wide range of the opening number – but where she most excels is in capturing the character's vulnerability, portraying a woman who lives a life of passion without intimacy. "Morally bankrupt" Young Wife (Erin Creighton) struggles to stay faithful to Husband (Kevin Bishop) as her sexual curiosity leads her into the arms of College Boy (Sean Knight), and Creighton switches between reluctance, glee, and regret as she becomes more engrossed in her torrid affair. Her song "Tom" is a highlight, a heartbreaking recount of a missed love connection at a restaurant that lingers on her mind while she has sex with Husband, and Creighton's ability to sing in her higher register while remaining at a low volume makes the number all the more chilling.
But when it comes to crazed unbridled sexuality, Nurse (Adrianna Parson) takes the cake. After being raped by Soldier, she transforms into a maniac that uses sex as a weapon. In the scene following with College Boy, she twists nipples and ties up wrists before stripping down and mounting her unsuspecting patient, singing mid-coitus, "Somebody took what was mine, I say that ain't gonna do. I want a little bit, give me a little bit, I'm gonna steal a little bit of you." The disturbing scene is made all the more effective by Parson's fearlessness, and she turns in one of the raunchiest sex scenes I've seen on stage.
Actress (Heather Townsend) is the most technically spectacular of the bunch, and Townsend shows off her thunderous pipes with "Mistress of the Senator," one woman's frantic plea to keep her uninterested Senator (Robert Whorton) at her side. The song requires incredible diction and range, and Townsend shows fantastic control, attacking consonants to clarify the tongue twisting lyrics and breath control for miles.
Hello Again is a play about the needs we all share, sexual or emotional, and Bohemian Theatre Ensemble's production doesn't hold itself back. The dedication of the actors to the material translates to raw excitement on the stage, and when the company says goodbye in a round of "Hello again," get ready to reach for the nightstand because you're gonna want a cigarette.
Rating: ★★★½
Filed under: 2010 Reviews, Bohemian Theatre, Oliver Sava | Tagged: Adrianna Parson, Bohemian Theatre, Boho Theatre, Christina Hall, Erin Creighton, Heather Townsend, Hello Again, Hello Again Chicago review, Hello Again Lachuisa, Hello Again LaChuisa review, Hello Again review, Kevin Bishop, Michael John LaChiusa, Michael Ryzcek, Nick Sula, Robert Whorton, Sean Knight, Stephen M. Genovese, Stephen Rader, Tom McGunn |	Leave a comment »
REVIEW: Vanishing Points (Point of Contention Theatre)
Posted on March 1, 2010 by Scotty Zacher
A bleak, melancholic and beautiful vanishing point
Point of Contention Theatre presents:
Vanishing Points
by Martin Jones
directed by Dan Foss
at Boho Theatre, 7016 N Glenwood
through March 20th (more info)
When I entered the Boho Theatre to see Vanishing Points, there was music playing. It was the music of my generation. I recalled a world of wildly colorful polyester and music that exploded the mold of it's own origins. Unaware, I was being drawn into the world of a normal family in Nebraska 1972 before the lights went down.
Point of Contention's production of Vanishing Points by Martin Jones is a bracing and sometimes nightmarish ride through the psyche of those that survive horrific and seemingly meaningless violence. It is based on the true story of the Peak family of Grand Island, Nebraska of whom three members were murdered in their home before going to church. For anyone who has experienced the sudden loss of a family member, there are few ways to articulate what is left behind. That is what falls to the character of Beth played by Stacie Hauenstein. She is the prodigal daughter who returns from college with a long- haired boyfriend and no concrete plans. Her family wastes no time in expressing their disappointment.
This production is brilliant in the use of minimalism. The usual cyc wall backdrop is literally framed with impressionistic and stark projections hanging center stage. These are Beth's memories as well as her present state of mind frozen in time and invaded by ghosts. The only other props are chairs and a stair railing. It is left to the cast to project the sense of everyday life and morals of the midwestern family and what happens when it is left behind.
Rick Levine and Annie Slivinski play the parents as salt of the earth, church- going folks. Their children say 'yes sir' and have toed the line until Beth comes home with Lenny played by Christopher Sanderson. Victoria Bucknell plays the role of kid sister Barbara with bratty perfection. This family has followed the rules and had full expectations of the American dream with a plant nursery business. The greenhouse is the rare solace in the drought stricken town for Beth. The last time she sees her father is at the greenhouse on what seems an ordinary day. The family leaves for church and she goes with Lenny on the back of his motorcycle for a trip down memory lane. The memories become endless and something from which Beth cannot escape.
Actors Hauenstein and Sanderson play off of each other well. It is especially tense in the New York scene when Lenny grows tired of being supportive. His anger and weariness with Beth's mourning is shocking and very effective. Ms. Hauenstein manages to pull off a midwestern stoicism without falling into the damsel in distress stereotype. Hers is a performance with a perfect balance of paranoia, fear, and dreams fraught with despair.
Kudos to Ms. Slivinski for her dual role as Beth's mother Carolyn and Peg who runs an artists colony in the mountains. Slivinski is haunting as the ghost of the mother still sounding off in disappointment from beyond the grave. The same phrases repeat over and over but with subtly increasing intensity. Although there is no special effects makeup, the image of a woman with a bullet wound in her face is made clear as Carolyn menaces Beth long after the tragedy.
Victoria Bucknell provides much needed comic relief – also in a dual role as little sister Barbara and as hippie con artist Vicki. Her portrayal of Vicki was spot on and hilarious. Once again, very few props other than a folding chair but there is patchouli and chicanery quite ably inferred for those who can remember the early 70's.
Morgan Manasa plays the role of the other surviving sister Fran who lives in Evanston with her husband and son. Somehow her father expected her to go away and 'live her own life'. When she returns for the funeral, she is more detached and pulled by her own unhappy circumstances. There is no home to return to in Nebraska and like so many women, she has married her father in that husband Gary (Mark E. Penzien), lays guilt on her for pursuing something other than home and hearth. Ms. Manasa plays the role of Fran with a dark sadness and admirable restraint. (I have seen her in more manic comic roles-most notably "The Wonder: A Woman Keeps A Secret" also produced by Point of Contention. This role was a jarring contrast, which she played with deftness and subtlety.) She and Mr. Penzien are heartbreaking as they portray a couple whose casualties stem as much from lost dreams as the tragedies back home.
Mr. Sanderson plays a seriocomic dual role as Lenny and as Caz the mountain man who wrangles snakes. His casual approach to violence echoed what may have happened to her family – much more could have been made of this character's connection with the killer in Beth's imagination. . What is called shocking by the media and people ensconced in normalcy is everyday stuff to those of a more atavistic nature.
A minus for the direction is that the dual role of Rick Levine as father Walter and Uncle Cliff is too much of a throwaway. Mr. Levine is good as the father but that is undercut by an almost identical performance as Cliff. It is made obvious that their lives followed an expectation of conformity however; the characters should have been more delineated.
This is difficult and tense material that Chicago theatre veteran Dan Foss has chosen to adroitly direct. The seamless action is wonderfully enhanced by the stark musical score by Peter Andriadis, with echoes of Phillip Glass if he had scored for Ingmar Bergman. Applause goes to costumer Erica Hohn who dressed the characters in wonderfully authentic period clothes. The bright colors and whimsical patterns makes the tragedy of the Peak family hit close to home. It's as if the audience is looking at an old photo album of memories frozen in time – hopeful, but with a touch of rebellion.
As the play ended, I had a knot in my stomach. And when the lights came up, as the soundtrack of my childhood was playing on the speakers again, the knot in my stomach tightened even more, a combination of nostalgia and loss.
Vanishing Points is a very effective reminder of how people can be either consumed or numbed by tragedy. Was it really a shock that this seemingly random crime happened? Have we become inured to violence and to the dark side of humanity? Vanishing Points is a haunting remembrance of the connection that we all share.
"Vanishing Points" runs through March 20th at the Boho Theatre @ Heartland Studio, 7016 N. Glenwood. Tickets can be purchased through BrownPaperTickets.com or by calling 312-326-3631.
Filed under: 2010 Reviews, Bohemian Theatre, K.D. Hopkins, Point of Contention Theatre | Tagged: Annie Slivinski, Boho Theatre, Christopher Sanderson, Dan Foss, Erica Hohn, Mark E. Penzien, Martin Jones, Morgan Manasa, Peter Andriadis, Phillip Glass, Point of Contention Theatre, Rick Levine, Stacie Hauenstein, Vanishing Points, Vanishing Points Chicago review, Victoria Bucknell |	1 Comment »
REVIEW: I Am My Own Wife (Boho Theatre)
Posted on January 21, 2010 by Scotty Zacher
Peter Robel shows grace & poise in this exquisite one-man show
Boho Theatre presents:
I Am My Own Wife
By Doug Wright
Co-Directed by Peter Marston Sullivan and Stephen M Genovese
Thru February 13th (ticket info)
Review by Aggie Hewitt
Watching a one-man show is as terrifying as watching Philippe Petit walk on a high wire between the Twin Towers. At any moment he can come crashing down, flailing and unstoppable, leaving the audience with a bloody mess that they never asked for. When someone chooses that kind of undertaking, they make an oath to their audience. They say, "I promise not to fall. I promise you I can do this." A one-man show is dangerous. Not in an artsy way, where it's so provocative that it's very existence is dangerous, it's dangerous because it can be so embarrassing. The actor has nothing to hide behind. Even with a spectacularly written show, like Doug Wright's I Am My Own Wife is, no amount of great writing is going to stop an actor from becoming Tobias Funke if he derails mid-performance. Sometimes people go to the theater for a grown-up version of a rollercoaster: with every rise and fall of the actors ability one can feel their body tense with the fear of witnessing something truly shameful. That doesn't happen at Boho Theatre, where Peter Robel, playing all the 35+ characters makes it all the way across the high wire, with such grace and poise that you will forget to be scared at all.
I Am My Own Wife was originally created by Doug Wright, with developmental help from Moises Kaufman and the actor Jefferson Mays. It explores the life of German transvestite Charlotte von Mahlsdorf as she survived both the Nazi and Communist regimes, and Doug Wright's obsession with her. The play has that lovely, sad bookishness of a Moises Kaufman play, and his presence is felt in the narrative. The scenes taken from real transcripts of interviews between Doug and Charlotte have a documentary feel to them, a feeling that is almost academic. It's Doug Wright's love of learning about Charlotte, and not his love of Charlotte herself that makes this play an intellectual treat. The more you learn about Charlotte, the more you want to fact check yourself, to learn everything possible about this enigmatic character. When the lights come up at the end of the second act, the only thing you know for sure about Charlotte is that you want to learn more about her. What better way for a biographical piece to end?
All of this great writing would fall flat however if it were not being presented by a great actor. With something as audacious as a one-man show, the last thing you'd expect an actor to do is to take back seat to the story, but that is exactly what Peter Robel does in this performance. During the course of what must be an exhausting show, Peter Robel never once stops to let you see him working. His acting textbook pure; it's as if Uta Hagen came down from heaven and instructed him in great storytelling. Since I assume she didn't, a lot of credit probably goes to co-directors Peter Marston Sullivan and Stephen M Genovese.
The play works so well because even though Peter Robel's performance is as amazing as watching a marathon runner pushing himself past normal human capacity for endurance, each choice that is made ultimately serves the play. The reason that this one-man show isn't embarrassing is that it's a great story, told by smart people. Every mind that went into this production, from Doug Wright to John Zuiker, who designed lovely and elegant set was focused on telling a simply and well-crafted story. This is a production that proves that when integrity is in the intentions, wonderful theater can be achieved.
Filed under: 2010 Reviews, Aggie Hewitt, Bohemian Theatre, Drama | Tagged: Aggie Hewitt, Bohemian Theatre, Boho Theatre, Charlotte von Mahlsdorf, Doug Wright, I Am My Own Wife, Jefferson Mays, John Zuiker, Moisés Kaufman, Peter Marston Sullivan, Peter Robel, Philippe Petit, Stephen M. Genovese, Tobias Funke, Uta Hagen |	1 Comment »
Review: Boho Theatre's "The Glorious Ones"
Bohemian Theatre Ensemble presents:
The Glorious Ones
by Stephen Flaherty and Lynn Ahrens
directed by Stephen M. Genovese
thru November 21st (buy tickets)
Reviewed by Aggie Hewitt
The Heartland Studio, home base for the Bohemian Theatre Ensemble (Boho), is one of the smallest black boxes I have ever been to in Chicago. As you walk in off the street, you find yourself inside a box office not much bigger than a phone booth. Finding your seat in the theater is more like squeezing your way into a crowded elevator than getting ready to experience high art. And on Friday night, as the lights went down in that small, communal space, and the actors took to the stage to begin performing the regional premiere of Stephen Flaherty and Lynn Ahrens's The Glorious Ones it was the least lonely place in the world. What could be better, on a cold Chicago night, than to see a group of young, vibrant performers fill a small space with their white hot energy? This is a far from perfect production, but the dedication and energy of this vibrant cast is a treat.
Director/set designer Stephen M. Genovese has created a fine and audacious set; a blank old-world-looking wood stage dressed with simple red curtains and the occasional charmingly low tech surprise. It's a set that screams, "Fill me! Bring the best you've got!" – and Mr. Genovese and his cast make a wholehearted attempt…and sometimes succeed.
The play is set in 16th century Venice, during the creation of Comedia del' Arte. "The Glorious Ones" are a Comedia troupe, led by the pompous and egocentric Flaminio Scala (based on a real-life Comedia performer) played by Eric Damon Smith. The scenes of actual Comedia are great fun. One sketch is repeated three times, as a mapping device for what we know is going on behind the scenes. The best though, is "Armanda's Tarantella," slyly performed by the fearless Dana Tretta. Most of the large group scenes have merit. "Flaminio Scala's Historical Journey to France" is a showstopper, and highlights the energy and force behind these performances that make this show worthwhile.
The thing the show is missing, and it is sorely missed, is honesty. The one-dimensional character of Flaminio Scala is prouder than proud and intensely serious. He speaks of his work with dignity and pride, and yet, seems to have no relationship with it. The man as a comedian is never explored, or even dignified with attention. In a pivotal scene, Flaminio embraces a struggling street performer (Courtney Crouse), after watching him perform, and takes him under his wing. Flaminio didactically spells out his lesson plan to build the young raw talent into his protégé. Here, Flaminio gets the opportunity to talk about his work; instead of reveling in it's humor like a comedian, he discuses it with the wistful dreaminess of a school girl recanting her favorite lines from Twilight. Mr., Smith has the most stage time, and so bears the burden of being an example, but I assure you the lack of truth on stage was a cast-wide epidemic. From the audience, it seems that Mr. Genovese focused too intently on the larger than life aspects of the show and forgot that a show needs honesty to be relatable.
About two-thirds of the way through, Danni Smith as Coloumbina breaks the monotony of disconnected energy and hits one out of the park with "My Body Wasn't Why," an empowering and tear-jerking ballad about art, aging and womanhood.
Lynn Ahrens's interesting book races through the first half of the show, asking the audience to simply accept the characters without working for it. In the second half of the show, when the action finally slows down, it is difficult to muster empathy for anyone.
The wonderful thing about it, though, is the subject matter. We are invited to experience the creation of Coloumbina, the sassy maid; Pantalone, the miserly old man; Dottore, the quack doctor, and Harlequin, the sly prankster, which is a real treat for a theater lover. Stephen Flaherty's music is full-bodied and emotional, and paired with Lynn Ahrens's lyrics makes for a great soundtrack. It is in this partnership that these two create strong work, but Lynn Ahrens's book independently leaves much to be desired in terms of character development.
The thing you have to do to enjoy this show is to understand that it is not a musical comedy. It is a musical about comedy. But the entire cast invites you warmly into their view of history, and you get to see a neat, shiny version of the creation of an art form. If you are a comedy lover (who isn't?) go see this show. It's a musical about the creation of something really important, and it is worthy of your attention. For a theater lover, this production is a historical journey worth taking, even if there are a few unintended pratfalls along the way.
Filed under: 2009 Reviews, Aggie Hewitt, Ahrens & Flaherty, Bohemian Theatre, Musical | Tagged: Aggie Hewitt, Bohemian Theatre, Bohemian Theatre Ensemble, Boho Theatre, Comedia del Arte, Courtney Crouse, Dana Tretta, Danni Smith, Eric Damon Smith, Flaminio Scala, Heartland Cafe, Heartland Studio, John Taflan, katie Siri, Lynn Ahrens, Stephen Flaherty, Stephen M. Genovese, The Glorious Ones, Tom Weber |	1 Comment »
Review: Point of Contention's "The Wonder: A Woman Keeps a Secret"
Posted on August 7, 2009 by Scotty Zacher
Hilarity Truly Ensues in Point of Contention's
"The Wonder: a Woman Keeps a Secret"
by Susanna Centlivre
Directed by Margo Gray
Running thru August 26th (buy tickets)
Location: BoHo Theatre at Heartland Studio (map)
Review by Paige Listerud
This is what Chicago's theater scene is all about: around a corner, in a little space one could easily pass by, a small theater company is doing great things. Director Margo Gray has assembled a lively and gifted cast for Point of Contention's production of The Wonder: a Woman Keeps a Secret. This 18th century play by Susanna Centlivre, considered second only to Aphra Behn in her time, receives light and fast modern flare, while staying true to its ribald, audacious, and feminist origins. Step into that little black box–an evening of 295 year-old fun awaits you.
Set in colonial Brazil, the clever and virtuous Violante (Megan Faye Schutt) hides the daring Isabella (Lisa Siciliano) who has escaped from her father, Don Lopez (Jeff McLane), to keep from being married against her will for money and station. Trouble is, Violante is also in love with Isabella's brother, Don Felix (Jason Nykiel). Every attempt to keep Isabella's secret and help her on to true love puts Violante's relationship with Don Felix in jeopardy. Her intrigues on Isabella's behalf spark Don Felix's suspicions, manly pride, and jealousy, and could ruin her own chances at happiness.
Of course, even given all the intrigues and mishaps between principle players, the bawdiest comedy comes from the servants; each player cast in these roles invests them with vigor, relish, and imagination. Ready for a three-way? Don Felix's servant Lissardo (Justin Warren) certainly is–and attempts to negotiate between his dalliances with Isabella's maid, Inis (Morgan Manasa) and Voilante's maid, Flora (Hayley L. Rice). Warren skillfully wrings laughs out of every situation. Of course, he's lucky; he has lines like, "Methinks I have a hankering kindness after the slut." Drunken carousing with the Scotsman Gibby (Eric S. Prahl), servant to smooth Colonel Britton (Sean Patrick Ward), is a surefire way to pass the time while the girls' tempers cool down.
Jeff McLane's anxiety-ridden and compulsive Don Lopez is nothing short of hilarious. Point of Contention may want to put a ball and chain on him to keep him from getting away. Morgan Manasa does quadruple duty bringing bright, distinctive comic turns to each role she plays. Rice's Flora is the perfect hearty, buxom foil to Schutt's vivacious, intelligent Violante. The feminist moments of the play are enjoyable because the expressions of loyalty and boldness between women occur naturally within the context of the women's choices.
As for the guys, where did POC find these smart, good-looking men—I mean, actors? Seriously, it's impressive to see a work like this taken on and cast so evenly. Brett Lee's Frederick is such a solidly good guy that one's heart breaks in the end when he's the only character who isn't hooked up with anyone. Is it too late for a rewrite?
One soft spot remains, which could be worked out in the course of the run. In the second act, a relatively long scene between the two principle lovers, Don Lopez and Violante, shifts from romantic quarrel to reconciliation to comedic free-for-all over Felix's reawakened suspicions. Schutt and Nykiel have not quite mastered the transitions between romantic moment and farce, which would be an essential skill for any 18th-century leading comic actor.
Special nods go to set design (Amanda Bobbitt and Allyson Baisden), lighting design (Brandon Boler), and costumes (Carrie Harden). This company follows the principle of doing a lot with a little. The ability to suggest colonial Brazil with precise touches and avoid drowning the cast in stuffy frippery must be commended.
Rating: «««½
Filed under: 2009 Reviews, Bohemian Theatre, Paige Listerud, Point of Contention Theatre | Tagged: Allyson Baisden, Amanda Bobbitt, Aphra Behn, Boho Theatre, Brandon Boler, Carrie Harden, Eric S. Prahl, Hayley L. Rice, Heartland Studio, Jason Nykiel, Jeff McLane, Justin Warren, Lisa Siciliano, Margo Gray, Megan Faye Schutt, Morgan Manasa, Point of Contention Theatre, Sean Patrick Ward, Susanna Centlivre |	1 Comment »
BoHo Theatre holds free staged reading tonight of "101 Dates"
Enjoy the reading of:
101 Dates
Written & Performed by David Rodgers Jr
BoHo Theatre @ Heartland Studio
7016 N. Glenwood Ave., Chicago, IL 60626
Tickets must be reserved ahead of time by emailing producers@101datessf.com.
101 Dates, a new comedy by Bay Area resident David Rodgers Jr, has had staged readings throughout Northern California, and continues the tour in Chicago and New York. What started out as a journey to find love has turned into a two-and-a-half-year project in which David went on one hundred and one dates! He's dated men, women, an ex-Catholic priest, and even a celebrity. 101 Dates is a satire of contemporary dating for all audiences, gay, straight…or whatever.
David recreates the best-of-the-best of the 101 men, women, men who used to be women, and women who used to be men he's met in his quest for love.
The show features multi-media elements such as digital film segments, animation, and the spirited people of San Francisco sharing opinions of popular love songs, pick-up lines, and love. In addition to the show, a new website has been launched; www.101datessf.com where people can read David's blog, share dating stories, and ask dating advice.
Filed under: Bohemian Theatre | Tagged: 101 Dates, Bohemian Theatre Ensemble, Boho Theatre, David Rodgers Jr, Heartland Studio |	Leave a comment »


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Prospective Clients › What Can A Client Expect?
It's RCM's job to worry about your money, so you don't have to. So, what can a client expect when beginning a relationship? Following our initial planning and investment strategy discussions to establishing a working advisory relationship, our experienced administrative staff will work with you to open all accounts and process any paperwork. Their goal is to do everything they can to make this process as seamless and efficient as possible. We'll keep you up-to-date on the status of your account openings and the movement of any monies or assets. We'll work with you to make sure the profile of your relationship is correct from the start. Whether it's your personal information and email addresses or online access to your accounts, we want you to know that everything is organized just the way you want it. Along with the basic items, we'll work to make sure you're receiving your statements correctly, your income distributions or automated account contributions are timely and accurate, and conduct a cost basis audit to ensure your investments are properly reflected for tax reporting purposes.
Once accounts are open and funded and an investment relationship has begun, you'll receive regular monthly statements from your custodian and straightforward quarterly performance and billing summaries from RCM. You'll also receive year-end tax reporting from your custodian to help prepare your tax returns come tax season. Your advisor will meet with you on a regular basis, or as needed, to review your account for any updates, adjustments or strategy revisions based on changing personal circumstances or market scenarios (including beneficiary reviews); and your online access can provide you with extensive account reporting capabilities in a user friendly fashion (we're happy to review these tools with you any time). Russell also plans for cash flow needs and future income projections, and oversees tax loss harvesting strategies at year-end to ensure the most efficient tax scenario possible for your accounts on an annual basis. RCM can also monitor class action lawsuits on any securities you've owned, work with your accountant, attorney and insurance provider to make sure information they need is always available and provided on a timely basis, and safeguard any important personal documents in an online vault for your future reference and peace of mind. Finally, we'll provide quarterly and periodic reviews and outlooks on the markets and economy to keep you abreast of our investment thinking.
And all client accounts receive one of the highest levels of security in the financial industry, at no additional cost. Cash is covered by FDIC at up to $500,000 per client and securities are covered by SIPC and private insurance for account values up to $150,000,000. Of course, this coverage protects clients against theft from brokerage insolvency, but it does not protect against the potential loss in market value of your investment securities.


I got back from Abuja today, it was a fun yet relaxing trip. I've missed my laptop and blogging too.These pictures were taken today before I went to the airport at this really cool cafe called Salamander. They have free wifi and loads of books and magazines for their customers to read. Jemma took them while we were waiting for the food to be ready. I wore this jumpsuit to travel because it's really loose and comfy and the material is extremely soft too!
beautiful outfit! Well done, Tuke your articles are so high quality. You have a new regular.
the gingham and cobalt blue work so well together. love it!!
Now this your jumpsuit is too cute and I love your Toms honestly. Just started my natural hair journey, hope to learn from you guys that are already there. Your fro is lovely. Thanks for stopping by my blog.
Thank you Chioma. They are actually flossy's, they are slightly cheaper than Toms and I personally think they are more comfortable and will last longer. That's good, i'm looking forward to reading about your hair journey and seeing your hair growth.


The most important piece of equipment when you are out on the slopes for a snowboarding excursion is the snowboard itself. However, having the right jacket for your adventure can certainly make a substantial difference. With the right women's snowboard jacket in your closet, you will be able to stay dry, stay comfortable and look great as you are whipping down the mountainside. The question is, what defines the 'right' women's snowboarding jacket?
At Balmoral Boards, we have a huge range of different women's snowboard jackets for sale. Our selection highlights key brands such as Burton, L1, Roxy, Nitro, Yuki Threads,Nikita and many others that snowboarders have been putting their trust in for years. Our range also includes a vast selection of different colours and looks, from snappy blue blade jackets to eye-catching, iridescent silver designs. No matter your preferred snowboarding brand and whatever your ideal aesthetic, you will be able to find a women's snowboarding jacket that appeals in our stock.
Getting the right look is just one element of finding the perfect women's snowboard jacket, though. You also want something that will help you maintain the right temperature without getting too wet in the fresh powder. Especially if you are snowboarding on a sunny day, you need to find something that allows for airflow but doesn't skimp on waterproofing.
Many of the women's snowboard jackets for sale at Balmoral Boards achieve this temperature-waterproofing balance with aplomb. To suit Australia's relatively mild winter conditions, most of the jackets we carry are lightweight and promote air flow. In other words, they help keep your body cool and comfortable—even on warmer, sunnier days up in the mountains.
Rather than sacrifice waterproofing to keep a temperate, breathable feel, though, a good number of the women's snowboarding jackets available at Balmoral Boards incorporate Gore-Tex® technology. Jackets with Gore-Tex® shells are waterproof and windproof—all without impairing breathability and comfort. With a Gore-Tex® jacket from a brand like Burton, you will be able to stay dry even on the wettest and slushiest rides.
Gore-Tex® is also an extremely durable material, which means you should be able to get multiple seasons out of your next women's snowboard jacket purchase. Some of the jackets we carry even come with lifetime warranty coverage!
Start browsing our site today to check out which women's snowboarding jackets we currently have for sale. Once you've picked out the right coat for your snowboarding style, just put it in your cart and finalise your purchase. Everything that you see on the Balmoral Boards site is something that we have in stock and on hand—no backordering necessary. Thus, we will be able to ship your order within one business day and have it to your front door in no time at all.
Do you have any questions about our women's snowboard jackets—from Gore-Tex® to different design styles? Feel free to call us directly at (02) 9970 8600 for any enquiries.


Burner, Alan McManus. Color Choreography. Foundational Studies, Investigations, and Discourses in Color Theory. Mason. Cengage. 2008. 4to. Soft cover. First edition. Illustrated in black, white and color. Important reference work. Fine copy.
Burt, Rob et al. The Beatles Musical Pop Up. New York. Bonanza Pop Up. 1985. 4to. Decorated hard cover. First edition. Illustrated in black, white and color. Fine copy.
Busch, David. Digital Photography for Dummies. All-In-One Desk Reference. 7 Books in 1. New York. Wiley. 2003. Octavo. Soft cover. First edition. Illustrated. Fine copy.
Busch, David. Digital Photography. New York. Henry Holt and Co. 1995. 195 pps. 4to. Soft cover. First edition. Illustrated in color and black & white. Fine copy.
Busch, Wilhelm. Humoristischer Hausschatz. Mit 1500 Bildern. Berlin. Deutschebuch - Gemeinschaft. 1959. 351 pps. 4to. Hardcover. Illustrated. Fine copy.
Busch, Wilhelm. Neues Wilhelm Busch Album. Sammlung Luftiger Bildergefchichten mit 1500 Bildren von Wilhelm Busch. Berlin. Verlagsanftalt Germann Klemm. nd. c. 1930. 452 pps. 4to. Decorated hard cover. First edition. Illustrated. Fine copy.
Busignani, Albert. Mondrian. The Life and Work of the Artist. New York. Grosset & Dunlap. 1968. Octavo. Soft cover. First edition. Illustrated in black, white and color. Fine copy.


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text:
Boxer Sergey Kovalev looks to knock out a Newport Beach home sale
Built in 2000 but recently remodeled, the cul-de-sac home holds five bedrooms and four bathrooms and expands to a flagstone courtyard and fountain-fed swimming pool.
(Three D Media)
By Jack FlemmingStaff Writer
Fresh off his victory over Anthony Yarde, light heavyweight boxer Sergey Kovalev is trying to keep the momentum going in Newport Beach. His home in guard-gated One Ford Road is on the market for $3.6 million, records show.
In addition to a powerful punch, Kovalev seems to have a hand for interior decorating. After buying the two-story home for $3.125 million last year, he completely remodeled the living spaces.
The Russian replaced tile floors with hardwood, swapped bland tan tones for bolder shades and added walls of brick to the kitchen, dining room and family room. Spanning two stories, the home now holds five bedrooms and four bathrooms in 4,200 square feet.
The living room. (Three D Media)
The center-island kitchen. (Three D Media)
The dining room. (Three D Media)
The family room and wine cellar. (Three D Media)
The foyer. (Three D Media)
The master bedroom. (Three D Media)
The master bathroom. (Three D Media)
The master balcony. (Three D Media)
The patio. (Three D Media)
The swimming pool. (Three D Media)
The exterior. (Three D Media)
The most expansive space comes in the two-story living room. Blending two shades of blue, it features opposite sets of French doors. One side opens to a flagstone courtyard with a fireplace, and the other expands to a landscaped backyard with a fountain-fed swimming pool.
Upstairs, the chandelier-topped master suite features multiple shades of hardwood and a bathroom with custom tile and a freestanding tub. A private balcony overlooks the grounds.
Andrei Feoktistov of Realty One Group West holds the listing.
Kovalev, 36, has held the light heavyweight World Boxing Organization title multiple times. In 38 professional fights, he's racked up 34 wins — 29 by knockout. In November, he's set to fight Mexico's Canelo Alvarez.
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Jack Flemming
Jack Flemming covers luxury real estate for the Los Angeles Times. A Midwestern boy at heart, he was raised in St. Louis and studied journalism at the University of Missouri. Before joining The Times as an intern in 2017, he wrote for the Columbia Missourian and Politico Europe.

redpajama_set_name: RedPajamaCommonCrawl


text:
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In Canada, assault with a weapon is a criminal offence under section 267(a) of the Criminal Code. The law describes someone who has committed assault with a weapon as, "Everyone who, in committing an assault, carries, uses or threatens to use a weapon or an imitation thereof, or causes bodily harm to the complainant." No matter what the circumstances, it is important to seek out reputable counsel to defend your rights, freedom and reputation.
What is an Assault?
When one thinks of assault, they usually picture being inflicted by physical harm that leaves bruises or open wounds. While this sort of injury is certainly the results of abuse, assault charges are much more far-reaching. The basic definition of assault in Canada is the intention to apply force to someone else in a direct or indirect manner, without that person's consent. This is a very important point to note the threat of assault is all that is required for an assault charge to be legally given. Actual injury does NOT have to occur in order for an assault charge to occur. The most important points of an assault charge are that the person being charged had direct intent to inflict harm, and that the person being harmed did not give consent.
Mississauga assault lawyers are tasked with defending a number of different types of assault charges. Some of these include:
Assault causing bodily harm
Assault with a Deadly weapon
Assaulting a police officer
Assault Causing Bodily Harm is a crime resulting from the act of intending to apprehend or cause harm to another individual through offensive contact. A verbal or visual threat does not qualify until either direct or indirect contact has been made.
The offence of assault with a weapon or causing bodily harm occurs when a person:
(a) Carries, uses or threatens to use a weapon or an imitation thereof, or
(b) Causes bodily harm to someone.
A weapon can be something like a gun or a knife, however, depending on how it is used, almost anything can be a weapon – a pen, a bottle, even a frying pan if a person uses it, or threatens to use it, to cause bodily harm.
Aggravated assault is an attempt to cause serious bodily harm to an individual with disregard for human life. Factors that raise an assault to the aggravated level typically include the use of a weapon, the status of the victim, the intent of the perpetrator, and the degree of injury caused.
When acts of violence occur to a police officer, this has its own charge, but is prosecuted in a similar manner to other charges. Depending on circumstances, a police officer assault charge can be a summary conviction, or it can be an indictable offense. It depends on the act.
Sexual assault is any unwanted sexual behaviour that makes a person feel uncomfortable, threatened or scared. It covers:
Rape: Forced, unwanted sex or sexual acts.
Child sexual abuse: Using power over a child to involve that child in sexual activity.
Indecent assault: Indecent behaviour before, during or after an assault.
"Domestic" can mean a relationship between a husband and wife, a parent and child, sexual partners, siblings, or even other more broadly defined "domestic" relationships. This is ultimately a decision for the Court to conclude as to whether or not a crime is "domestic" for the purpose of sentencing.
What is the Penalty for Assault with a Weapon?
Assault with a weapon is a hybrid offence. This means that the Crown prosecutor chooses whether the offence will be treated as a less serious summary conviction offence, or a more serious indictable offence. If found guilty on summary conviction a person convicted of assault with a weapon will be liable to imprisonment for a maximum of eighteen months. If convicted on indictment a person will be liable to imprisonment for a maximum of 10 years.
This offence is considered a very serious crime and therefore consequences are severe. Under section 267 of the Criminal Code of Canada, the maximum sentence for assault with a weapon is ten years in prison. Should the Crown proceed by way of summary conviction, the maximum sentence would be 18 months imprisonment.
Get Professional Legal Help With Your Assault with a Deadly Weapon Charges
Since assault with a deadly weapon covers such a wide range of circumstances, a detailed examination of the facts of your case is critical to developing a successful defense. A knowledgeable local attorney can help explain the details of local assault statutes and examine the facts of your case for potential defenses. Find an experienced criminal defense attorney near you and get some peace of mind.
The very first step of bringing client onboard is to have a no obligation consultation.
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Our goal is quite straightforward: To help our clients regain the control they want in their life. If you are accused of a crime, your whole life is at risk. If you have a family to support, they too could be extremely affected by the outcome of your legal battle.
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text:
Q: Firebase + Electric Imp The provided Firebase + Electric Imp code seems like it doesn't work anymore, specifically for streaming.
https://github.com/firebase/ElectricImpDemo/blob/master/ImpFirebase-HRmonitor/bracelet-agent.nut
Is there a known regression I should know about? Or a new version of the library? Reads and writes work properly, but when I make a streaming request I just get empty data back.
Here's the snippet of actually using the firebase electric imp api:
firebase <- Firebase("https://smarthouse.firebaseio.com", null);
firebase.on("/", function(state) {
  server.log("got a change");
  server.log(http.jsonencode(state));
});
firebase.stream("/door", true);

A: It may be an error in the Firebase adapter for Electric Imp. It's unfortunately from before streaming was a fully-supported feature. Can you verify that you are able to get event streaming working from a browser (see https://developer.mozilla.org/en-US/docs/Server-sent_events/Using_server-sent_events)?

redpajama_set_name: RedPajamaStackExchange


text:
José Celso Martinez Corrêa (Araraquara, 30 de março de 1937), conhecido como Zé Celso, é um diretor, ator, dramaturgo e encenador brasileiro.

Seu trabalho, encarado às vezes como orgiástico e antropofágico,  iniciou-se no fim da década de 1950, e se definiu na década de 1960 quando Zé Celso liderou a importante Teatro Oficina − grupo formado quando integrava o Centro Acadêmico XI de Agosto, da Faculdade de Direito da Universidade de São Paulo − onde apresentava sua inquietude e irreverência, realizando trabalhos de caráter inovador. Nessa época, destacam-se as encenações de Pequenos Burgueses (1963) − peça que enfoca a Rússia às vésperas de sua Revolução e evidencia numerosos pontos de contato com a realidade nacional anterior ao golpe militar de 1964 −, O Rei da Vela (1967), de Oswald de Andrade − espetáculo-manifesto tornado emblema do movimento tropicalista −  e Na Selva das Cidades (1969), obra de Bertolt Brecht que trata da profunda crise que atravessava o país e a equipe artística. Pequenos Burgueses, embora suspenso em abril de 1964 por autoridades militares que acabavam de tomar o poder, rendeu a José Celso todos os prêmios de melhor direção do ano e as críticas colocaram a produção como a mais perfeita encenação do teatro brasileiro; a apresentação retornou aos palcos no mês seguinte.

Interessado em eventos culturais, artísticos e políticos, Zé Celso atualmente se intercala entre o cinema e o teatro. Trabalhou em Encarnação do Demônio (2007), de José Mojica Marins (lançado em 2008), dirige e atua em inúmeras peças teatrais, ainda comandando o Teatro Oficina, mesmo depois de cinquenta anos − como em Santidade (2007). Por experimentar formas ousadas de se realizar uma peça teatral, Zé Celso já se viu entre críticas internacionais. Num caso mais recente, sua peça Os Sertões, quando montada em 2005 em Berlim, Alemanha, causou polêmica na capital pelo fato dos atores ficarem nus em determinadas cenas. A imprensa alemã apelidou a montagem de "teatro pornô". Há 26 anos, seu grupo Teatro Oficina luta contra o Grupo Silvio Santos. Embora José afirme que sua relação com Silvio Santos seja boa, a disputa se estende há anos.

Trabalhando − seja dirigindo, adaptando, ou realmente numa colaboração − com nomes que vão de Augusto Boal, Henriette Morineau, Fernanda Montenegro, Sérgio Britto, Raul Cortez, Bete Coelho e Flávio Império a Chico Buarque, William Shakespeare, Nelson Rodrigues, Max Frisch, Bertolt Brecht e Máximo Gorki, Zé Celso construiu um dos mais originais percursos dos palcos brasileiros. Com a realização de Vento Forte Para um Papagaio Subir  (2008) − de sua própria autoria e montada primeiramente em 1958.

Biografia

Origens
Filho de José Borges Correia e Angela Martinez Carrera, José Celso nasceu no interior de São Paulo numa família de ascendência portuguesa, espanhola e italiana.

Foi amigo de infância do escritor Ignácio de Loyola Brandão.

Formação
De 1955 a 1960, em São Paulo, Zé Celso entrou para o curso da Faculdade de Direito da Universidade de São Paulo, mas não exerceu a profissão, ficando inconcluso. Porém, foi durante tal curso de graduação na USP que o dramaturgo ali formou o Teatro Oficina.

Carreira

No teatro

Zé Celso começou profissionalmente no teatro com uma peça de sua autoria, Vento Forte para Papagaio Subir, em 1958, e A Incubadeira (1959), também de sua autoria. Com a direção de Amir Haddad, o Oficina produz as duas peças. A Engrenagem, encenada pelo grupo em 1960, tem o intuito de homenagear Jean-Paul Sartre que visitava o país; a peça foi traduzida e adaptada juntamente com Augusto Boal. Para Zé Celso e sua trupe, o ano de 1961 é marcante: o Oficina inaugura sua fase profissional com uma casa de espetáculos alugada na Rua Jaceguai. A empresa é composta pelos sócios Renato Borghi, José Celso Martinez Corrêa, Ronaldo Daniel (que depois se torna importante diretor na Inglaterra, como Ronald Daniels), Paulo de Tarso e Jairo Arco e Flexa.

A estreia de José Celso como diretor vem com A Vida Impressa em Dólar, de Clifford Odetts, e a peça abre a programação da nova estadia do grupo na casa de espetáculos alugada. Entre o elenco, estava Eugênio Kusnet que, por ser conhecedor profundo do Método Stanislavski, colaborou na preparação dos atores. Essa montagem fez com que Celso ganhasse o prêmio de revelação de diretor pela Associação Paulista de Críticos de Teatro. Depois da montagem de Todo Anjo é Terrível, em 1962, a equipe encena Pequenos Burgueses, de Máximo Gorki, que teve enorme repercussão. Pequenos Burgueses rende a José Celso todos os prêmios de melhor direção do ano.

Filmografia

Peças de teatro
Lista não exaustiva de peças de teatro:

Adaptações

Como autor

Como diretor

Dramaturgia

Interpretação

Instrução

Participação especial

Roteiro

Tradução

Trilha sonora

Literatura
 1998 - São Paulo SP - Primeiro Ato - cadernos, depoimentos, entrevistas (1958-1974), seleção, organização e notas de Ana Helena Camargo de Staal. Editora 34.

Telenovelas

Prêmios e indicações

Ver também
 Dramaturgia
 Método Stanislavski
 Roteiro

Leitura adicional
 CORRÊA, José Celso M. O Rei da Vela, manifesto do Oficina. In: O Rei da Vela. São Paulo, 1967. Programa do espetáculo.
 DORT, Bernard. Uma comédia em transe. Le Monde, Paris, abr. 1968, traduzida e republicada no segundo programa de O Rei da Vela, cit.
 MICHALSKI, Yan. José Celso Martinez Corrêa. In.: __. Pequena enciclopédia do teatro brasileiro contemporâneo. Rio de Janeiro, 1989. Material inédito, elaborado em projeto para o CNPq.
 SILVA, Armando Sérgio da. Oficina: do teatro ao te-ato. São Paulo: Perspectiva, 1981.

Ligações externas

"Entrevista José Celso Martinez Corrêa - Parte 2". Teatro Brasileiro.

Dramaturgos do Brasil
Diretores de teatro do Brasil
Naturais de Araraquara
Alunos da Faculdade de Direito da Universidade de São Paulo
Exilados na ditadura militar no Brasil (1964–1985)
Brasileiros de ascendência portuguesa
Brasileiros de ascendência espanhola
Brasileiros de ascendência italiana

redpajama_set_name: RedPajamaWikipedia


This dilemma cased is based on the actual development, FDA approval, and market withdrawal of dexfenfluramine, a drug used in the late 1990s in combination with phentermine for weight loss. The case is set up as a mock trial, with students taking the role of jury, defense (representing the drug company), and the prosecution (representing the central character Sally, who has developed cardiac valvular disease). Developed for a senior-level, small animal science class, the case would be applicable to any science major, and particularly those students who may go on to graduate school or work in research in any of the biomedical fields.


What's the difference between the description added in "Section" and the one added in "Other"?
Does Menutech have templates for special occasions?
How do I make my paper margins wider?
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How can I write a menu of the week?
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How can I write a menu plan?
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How do I upload my current menu on Menutech?
The description added in "Section" will be saved by the software for the next times when you insert that section.
By contrast, the description added in "Other" will be added to that menu only.


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Cordingley's is stoked to be one of only a handful of W.A.stores to be suplying the the Modom Shark Leash. Secure your's in today as stocks will be limited.


text:
Home Countries ICC approve tougher sanctions for ball-tampering
ICC approve tougher sanctions for ball-tampering
The International Cricket Council (ICC) have approved tougher sanctions for ball-tampering and sledging in a bid to improve on-field behaviour in the sport.
The changes come in the wake of a ball-tampering scandal in South Africa in March that saw Steve Smith stripped of the Australian captaincy and suspended from international and domestic cricket for a year.
Vice-captain David Warner and Cameron Bancroft were also banned for one year and nine months respectively.
ICC chairperson Shashank Manohar said: "It is vital that there is a strong deterrent to both players and administrators to ensure we have high standards of conduct in our game.
"We have more than a billion fans and we must not give any of them any reason to doubt the high levels of integrity within our sport."
Changes to the ICC's code of conduct included the introduction of a raft of tougher sanctions, to be introduced later this year, for cheating (other than ball-tampering), personal abuse, audible obscenity, disobeying an umpire's instructions, and changing the condition of the ball, the Dubai-based governing body said.
Ball tampering will now be considered a level three offence – instead of level one which it was – for which the maximum sanction is 12 suspension points, the equivalent to six Test matches or 12 one-day internationals.
The ICC said in a statement: "The board also agreed to consider how member boards can be held liable for its players' behaviour with appropriate sanctions to be imposed on boards when the accumulated number of offences by its players exceed certain thresholds."
ICC chief executive David Richardson added: "There is a clear desire here to reclaim cricket's unique proposition as a game that people can trust in and for us all to live the spirit of cricket in a way that is relevant in the 21st century.
"With regard to building a culture of respect, the board agreed that members should treat each other with respect as well as ensuring that their teams respect each other, the game and the match officials."
After its five-day annual conference in Dublin, the ICC also agreed a plan for stabilising the financial, cricket and management structures at Zimbabwe Cricket.
The Essex batsmen is in line for an England Test debut against Sri Lanka on Thursday.
Ravichandran Ashwin condemns alleged racial abuse of Mohammed Siraj by SCG fans
Play was halted on day four of the third Test between Australia and India while six spectators were escorted out of Sydney Cricket Ground by police.
Investigation launched after Indian players allegedly abused by crowd in Sydney
Play was held up while police and security guards escorted six people from Sydney Cricket Ground.
Jos Buttler determined to keep standards high with gloves and bat in Sri Lanka
The 30-year-old has Ben Foakes and Jonny Bairstow for competition in the England side.
England's Dom Bess thinks pitch for Friday's warm-up won't be repeated in series
England finally took to the pitch in Hambantota for a low-key workout between Team Root and Team Buttler.
Proteas name Test squad for Pakistan tour
South Africa have named a 21-man touring party for the two-Test series in Pakistan.
Smith makes distinction between out of runs and out of form
Steve Smith put paid to the suggestion he was out of form with a fighting hundred against India.
England warm-up under way in Sri Lanka
The touring squad has returned a second round of clear Covid-19 tests following Moeen Ali's positive result.
Jack Leach awaiting Covid vaccine news after 'scary' vulnerable classification
The England spinner takes medication for Crohn's disease, leaving his immune system weakened.
Jonny Bairstow ready to tap into Jacques Kallis class during Sri Lanka tour
The England batsman is enthused about working with the Proteas great.


A motorcyclist has suffered minor injuries after her bike clipped the back end of a moose on a Vermont road.
LUNENBURG A motorcyclist has suffered minor injuries after her bike clipped the back end of a moose on a Vermont road.
Vermont State Police say 44-year-old Christina Hansen of Dallas, Georgia, was traveling east on U.S. Route 2 in Lunenburg on Monday night when she struck the moose.
Hansen, who was wearing a helmet, was treated for minor injuries at a hospital. The motorcycle had minor damage to its side.


Definition: Record each occurrence of behavior over a set amount of time. Is best used to measure frequency or rate of a behavior.
Why it matters: Easy for most teachers to use to measure discrete behaviors (clear beginning and end) and rate for baseline can be used to measure progress in terms of increasing or decreasing rate.
Example of use: A teacher decides to use event recording for number of times a student speaks out in class without raising his hand first in Math class. The teacher collects data for 3 consecutive classes and divides the total behaviors by the total minutes to get a rate of behaviors per minute. The teacher then uses several strategies and continues to take event recording data to see if the rate of a behaviors per minute changes.


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Are you seeking to employ a Retail Pharmacist for your company? Northern Territory (NT) Improve your chances of getting Permanent Residence. 1.
... Australian Citizen or permanent resident and be a current Northern Territory for Northern Territory residents that assist you with your application.


text:
Q: Size of a queue for BFS in a grid I want to run a BFS in a square grid of size N*N. There is a single starting node. I can only move up/down/left/right (not in diagonal). There may be obstacles in the grid.
Of course I want to use a queue to store the nodes I have to visit. It will be implemented as circular array of size S (fixed size). What is the minimum size for my array? I don't want it to overflow, even in the worst possible case.
A similar problem would be : given a node in a grid, what is the maximum number of node at  exactly distance K from the starting node (for any 0 < K < 2*N)?
I think it would be hard to find an exact answer to this problem so a good approximation would be enough.
See this example (the rightmost picture) :

This is not a grid but we could make grid with the same pattern (where the white represents obstacles and the black fractal are the walkable nodes). We can see that we have a lot of nodes at EXACTLY  the same distance from the node in the center (actually this number doubles everytime time a path splits in two).
So I would like to know how large this number could get, and if there are other configurations that yields to the same situation.
To make it very clear my question is : can this number get LARGER than 2*N where N is the size of the N*N square grid.

A: Could it be that you want to know the number of cells at distance K because you want to know the maximum size of your queue?
If so, why not just use a circular buffer based on a list instead (or, alternatively, use an array and reallocate a larger one yourself once the buffer is full)?
This skips your problems altogether, and the list resizing behaviour shouldn't be a problem: most implementations double the size of the underlying array if they run out of space, so you shouldn't get more than O(log n) reallocations anyway.

A: If I understand your problem correctly, the maximum distance of a node from the starting node might be > 2*N because of the existence of obstacles:
. . . * . . .
. * . * . * .
. * . * . * .
. * . * . * .
. * . . . * .
. . * * * . .
. . A * B . .

If I counted correctly, the distance from A to B is 30, which is quite a lot more than 2*7.
If it were not for obstacles, it would be easy to compute the maximum size of the fringe, which would be a simple diamond of edge K (or the part of it which overlaps the grid), and consequently of maximum size 2*N.
As the above example shows, the obstacles can increase the length of the shortest path between two nodes. Can they increase the maximum possible fringe size? I can't quickly come up with an example where they do, and I suspect that they can't, but I can't think of a quick proof either.

A: Yes, I think this number can get larger, and it should be very easy to visualise using the third image
you provided.
Imagine that you start only with the top-left quarter of that figure. This defines N as the
size of that top-left quarter, and E as the number of endpoints all with the same distance to the center cell.
Now imagine that you want to expand your grid to the complete figure. This means that your Nnew is now 2N (i.e. the length has doubled, and so has the width). However, the number of endpoints E is now quadrupled (i.e. Enew = 4N), as can be observed in the figure.
In other words, as N increases, the number of endpoints grows much faster than N, and therefore
the number of endpoints is bound to exceed 2*N for a big enough N.


Which organs and systems are affected by cerebral palsy?
How is the nervous system physically affected by disease?
Which organ is affected by parkinson desease?
Which body systems are affected by e. coli?
How does heart disease affect the other organ systems?
How are body systems affected by obesity?


text:
Псевдоокружность — конечное топологическое пространство, неотличимое от окружности с точки зрения алгебраической топологии.

Построение
Псевдоокружность состоит из четырёх точек  и наделена топологией со следующими открытыми множествами:
 .

Замечания
 Эту топологию можно определить через частичный порядок , где открыть наборы замкнутых множеств

Свойства
 С точки зрения общей топологии, псевдоокружность — патологическое пространство, так как оно не удовлетворяет ни одной из аксиом отделимости, кроме Т0.
 Непрерывное отображение  из окружности  в псевдоокружность, определяемое как
 ,
 есть слабая гомотопическая эквивалентность. В частности,  индуцирует изоморфизмы всех гомотопических групп, а также изоморфизм на сингулярные гомологиях и когомологиях и вообще изоморфизм для всех теорий гомологий и когомологий.

Вариации и обобщения
 Павел Сергеевич Александров показал, что для любого конечного симплициального комплекса К существует конечное топологическое пространство ХК, которое имеет тот же слабый гомотопический тип, что и геометрическая реализация |К|.

Ссылки

Алгебраическая топология
Топологические пространства


text:
Q: Embulk job fail using embulk-output-bigquery plugin when there's Korean in json We use Embulk v0.8.13 plugin, embulk-input-redshift (0.7.4), plugin embulk-output-bigquery (0.4.2)
Job failed when there's Korean in JSON Error:

org.jruby.exceptions.RaiseException: (Error) failed during waiting a Load job, get_job(vuclipdataflow-1301, embulk_load_job_bc325bd0-6b78-4ca9-954a-7915dbe4cc55), errors:[{:reason=>"invalid", :message=>"Too many errors encountered."}, {:reason=>"invalid", :location=>"/gzip/subrange/file-00000000", :message=>"CSV table references column position 20, but line starting at position:22635868 contains only 20 columns."}]
  {"user_geo":"10","user_ccode":"ID",,"user_name":"신제군","acq_campaign":"Viu_ID_TKM"}

All this info should be in a column, but the embulk can't process the Korean correctly, the end part acq_campaign":"Viu_ID_TKM
will be split to a new column in the tmp csv,then cause the exception above.
How to fix it? Pls help.

A: I resolved the same issue by adding the option, "allow_quoted_newlines".
# config.yml
in:
  ...
out:
  ...
  allow_quoted_newlines: true


Real Estate Lawyer New York NY | Tane Waterman & Wurtzel, P.C.
With decades of combined experience, we utilize our extensive legal knowledge to find custom, cost-effective solutions for every situation.
From construction litigation to the sale of real property or co-op shares, our team handles a wide range of real estate matters.
Our team has extensive experience representing both landlords and tenants in a wide range of matters including the negotiation and drafting of leases and resolving disputes.
From AIA agreements to resolving disputes involving defects or mechanic's liens, our attorneys handle many different construction law matters.
We offer guidance relating to a commercial entity's direction, control and strategy to help attain long-term goals.
We offer guidance on entity formation, draft partnership agreements and resolve disputes involving vendors or shareholders, among many other business law matters.
We are pleased to announce that effective January 1, 2019, Leonard M. Khandros has become a partner in the firm.
Founded in 1992, Tane Waterman & Wurtzel, P.C., has helped individuals and businesses throughout the five boroughs of New York City find practical solutions and favorable outcomes in a wide range of real estate and business law matters.
Our experienced attorneys handle routine and complex commercial and residential real estate matters, including landlord-tenant issues, co-op and condominium matters, purchases and sales of cooperatives, condominiums and homes and construction law.
We serve as general counsel to boards of directors of cooperatives and boards of managers of condominiums throughout the metropolitan area. We represent everything from very small buildings to large multi building complexes. Equally important, we recognize the practical difference between all of our buildings and tailor solutions to their individual needs. We also help businesses of all sizes with corporate governance, daily transactions and dispute resolution.
At Tane Waterman & Wurtzel, P.C., our personal attention to you and your matter simplify the process of selecting the right lawyer for you.
We understand that being a member of your cooperative or condominium board or buying or selling real estate can be a daunting experience. With over a century of combined experience in the real estate field, the lawyers of Tane Waterman & Wurtzel P.C. utilize their knowledge, expertise, and practical understanding to explain and simplify the intimidating nature of New York real estate and guide you through the legal intricacies of your transaction.You get cost effective, practical and accurate legal solutions from attorneys who are experts in the real estate field.
If you are seeking legal representation to handle any type of business or commercial matter or real estate service, we invite you to contact our firm and schedule a consultation to learn more about our team and how we can help you find the right solution.
Call 646-835-2656 or send our office an email today. Representing individuals, cooperatives, condominiums, homeowner associations and businesses in Manhattan, Queens, Brooklyn, the Bronx, Staten Island, Nassau, Suffolk and Westchester counties.
There are many attorneys who serve on their co-op or condo board and are often asked by their fellow board members for their legal opinion on a matter.


I placed an order from the xobeauty shop 2 weeks ago and I was shocked to see how quickly it came! It was well packaged and even included a hand written card from Shaaanxo. Absolutely love the products! Such good quality! I would highly recommend purchasing from this website. A little pre-warning if you are in the UK you are hit with a customs charge and Royal Mail handling fee. But personally so worth the extra cost!
Awesome selection of products, very high quality!


Join millions of Player FM users today to get Life Transformation news and insights whenever you like, even when you're offline. Podcast smarter with the podcast app that refuses to compromise … it's free and easy.
Everyone's favorite...the scale! Let's talk about your relationship with it. Find me on Instagram here: https://www.instagram.com/youcanpoundthis/By info@podcastone.com.
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Personal trainer and owner of Cincy 360 Fitness Josh Garrett and I discuss the truth of what personal trainers really think about their clients. Find Josh here: https://www.cincy360fitness.com/By info@podcastone.com.


text:
Q: How can I change the Background Color of my P element based off of the User Inputs? Looking for Green with discount Yellow Without I am trying to change the color of my P element with an id of result based off of what the user inputs into my prompts.

let discount = 0;

if (total >= 100) {
    discount = 10;
} else if (total >= 50 || total < 100) {
    discount = 05;
} else {
    discount = 0;
}

//Establish Grand Total
let grandTotal = total * discount / 100;

//Display results
if (discount > 0) {
    document.querySelector("#result").style.backgroundColor="green";
    document.querySelector("#result").innerHTML = "Your total purchase is $" + grandTotal + " which includes your " + discount + "% discount.";
    document.querySelector("#result").style.color="white";
} else {
    document.querySelector("#result").style.backgroundColor="yellow";
    document.querySelector("#result").innerHTML = "Your total purchase is $" + total;
    document.querySelector("#result").style.color="black";
}

Im not totally sure what I am doing wrong and can't seem to figure it out. All I would like is to make sure that whichever item costs they input based off of what I have written the P background color for the result will either show up green or yellow.. I got the green to work.
I tried a whole bunch of different things as well as used mdn docs and used my professors videos but he didn't explain on how to change the color based on input.

A: The following snippet uses a few more advanced language features of ES5 and ES6, but it demonstrates how you can use less code and keep the script scalable (avoiding the use of id attributes):

function calc(){
  const ttl=h1p.reduce((a,c)=>+c.textContent+a,0),disc=ttl<100?ttl<50?0:5:10;
  res.textContent=`Your total purchase is $${(ttl*(100-disc)/100).toFixed(2)}${disc?` which includes your ${disc}% discount`:""}.`;
  res.className=disc?`disc${disc}`:"";
}
const h1p=[...document.querySelectorAll("h1 p")], res=h1p.pop();

h1p.forEach(el=>{
 el.setAttribute("contenteditable","true")
 el.addEventListener("input",calc)
});
h1 p {min-height:30px; min-width:100px; border :1px solid grey}
.disc5 {background-color:yellow}
.disc10{background-color:green; color:white}

I made the
 elements contenteditable, so they can act as "input" elements.


1985 Bergamot Brass Works metal belt buckle with semi truck and "American Trucker"
1985 Bergamot Brass Works metal belt buckle with image of a semi truck and the phrase "American Trucker" The back of the buckle is dated and stamped made in the U.S.A/ There is also inscribed the following paragragh: "Hauling freight throughout the United States, you drive coast to coast in three days when necessary. Despity encountering trecherous roads, hazardous conditions and lonley nights, you always make it with your load. You feel proud, important and free. You are an American Trucker."


text:
package kieker.analysis.generic.source;

/**
 * Access restriction handler for network based IO.
 *
 * @author Reiner Jung
 *
 * @since 1.15
 * @experimental
 */
public interface IAccessHandler {

	/**
	 * Check whether the given IP address is valid to write to the RESt interface.
	 *
	 * @param remoteIpAddress
	 *            the remote IP address
	 * @return returns true when the address is accepted else false.
	 * @since 1.15
	 */
	boolean acceptRemoteIpAddress(String remoteIpAddress);

}

redpajama_set_name: RedPajamaGithub


text:
Trish Thomas
CEO, TEEM
Trish Thomas is the CEO of TEEM, a marketing and advertising agency in Boulder built on an independent talent model. She has a diverse corporate background and holds a BS in computer information systems as well as a MBA in management and strategy. Prior to taking the helm at TEEM, Trish spent 13 years consulting with fast-track growth companies. Over the years, she has advised organizations ranging from startups to Fortune 100 companies with a track record of boosting performance and profitability rapidly. At TEEM, she and her team are challenging the status quo in advertising and reimagining the way teams work together to deliver great creative. She is a frequent speaker on leadership, new workforce dynamics, strategy, branding and marketing. Trish serves on the Board of the Leeds School of Business at CU Boulder, mentors for the Blackstone Entrepreneurs Network and is Past Chair of the Denver/Boulder Better Business Bureau and the Women's Council.
Trish's Recent activity
The argument for authenticity
Authentic brands should live it and breath it—but not talk too much about it, says this marketer and adviser.


text:
Donavin Rashad Hogan (born January 15, 1990), better known by his stage name D The Business (formerly known as Lil' D and Little D), is an American rapper, actor, entrepreneur, songwriter and real estate agent. D The Business gained fame as a young street rapper in the early 2000s at just 10 years old along with his cousin Romeo Miller (formerly Lil' Romeo) after signing with No Limit Records, which was founded by his cousin, Master P. He was one of the only artist featured on Romeo's debut album Lil' Romeo, which charted the US Billboard 200 at number six and went on to be certified gold, selling over 500,000 copies with in a month, which went on to be certified platinum by the Recording Industry Association of America (RIAA).

He was billed on early commercial releases as Lil' D or Little D before eventually changing his stage name to D The Business in 2012. This name change was accompanied by his breakout street single We So Bout It featuring Master P, Black Don, and Lil Wayne.

In 2019, he released the song Fancy featuring Black Don and in 2020, he released the single Flex featuring Romeo Miller & Young V. In 2022, he released the mixtape Back To Business.

Aside from music, D The Business is also an actor, realtor and is the founder of numerous companies. Hogan also co-founded the independent label L.I.E. Entertainment and played a pivotal role in the creation of the record labels Guttar Music and No Limit Forever Records.

Early life
Donavin Rashad Hogan was born in Houston, Texas by way of Missouri City to parents Donald Morgan Hogan and Maxine Denise Miller, as well as family from the Calliope and Magnolia Housing Projects of New Orleans, Louisiana. He spent a lot of his adolescence around music, basketball and street life while still excelling in school academically. At the time Mo. City and Houston was sort of a melting pot of organized gangs and sports. He traveled frequently between Houston, Los Angeles, and New Orleans growing up. He is the cousin of rappers and entrepreneurs Master P and Romeo Miller. He is the cousin of rappers C-Murder and Silkk the Shocker, and he is the brother of rapper and pro athlete basketball trainer Black Don (formerly BBlak or Black). He attended Thurgood Marshall High School, where he played basketball, and graduated in 2008 with offers of athletic scholarships and credits for college courses he had taken while still in high school. D The Business was coached by LeBron James under the guidance of Michael Jordan at a basketball camp in Santa Barbra, Ca. Hogan and Romeo Miller also went to the Reebok-sponsored invitation-only basketball Teaneck, New Jersey-based ABCD Camp and both played on the AAU circuit for many years as part of the P.Miller Ballers alongside many now NBA professional players. He briefly attended college before leaving to focus solely on music and business. D The Business was signed to No Limit at the age of ten, after he wrote a rap and snuck with Romeo Miller into his fathers studio to record it. This inevitably started both of their careers in music.

Music career

2001-04: Lil' Romeo, Lil' D, and No Limit
In 2001, Hogan known at the time as Lil' D and Little D was one of the only features on Romeo Miller's debut album, titled after his original alias Lil' Romeo. Also in 2001, D The Business was featured on his cousins Silkk the Shocker's remix single of "That's Kool", featuring Lil' Romeo and Trina which was the second lead single for the Lil' Romeo album. Later that year, at just 11 years old he released his own debut hit single "Cotton Candy" featuring Lil' Romeo executive produced by Master P and distributed by Priority Records off of his scheduled debut album titled "Meet Me At The Playground". The album was never released.

In 2002, during the spring D The Business along with his cousin Romeo skipped school for the road on a 15 date tour at only 12 years old. Later that year he was featured on multiple songs on Romeo's second studio album, Game Time via The New No Limit and Universal Records which included "Clap Your Hands" and the more notable single "Play Like Us" which spawned live TV performances of the song on Nickelodeon's 2002 "TEENick Summer Concert Series" hosted by Nick Cannon and on the television show Soul Train.

D The Business also featured on the 504 Boyz hit single Tight Whips off of their second album Ballers released on December 10, 2002.

In 2004, Hogan lead on the songs "Bobblehead" "Rich Boyz" "Can't Stop Us" released on Romeo's third studio album Romeoland via The New No Limit and Koch. D The Business was featured on "I Like That" "Dime Pieces" "We Can Make It" "Party" "Bobble Head" off of the soundtrack Romeo! TV Show (The Season) for the hit show Romeo! an American sitcom that aired on Nickelodeon from 2003 to 2006.

2005-07: Collaborations, Rich Boyz, and Guttar Music
In 2005 Lil' D's song "You Don't" was featured on the 504 Boyz Hurricane Katrina (We Gon' Bounce Back) album. Lil' D and C-Los were part of a street organization called "GUTTA Click" which prompted Master P to launch the Guttar Music Entertainment record label.

Also in 2005, Lil D, Romeo Miller, Valentino Miller, C-Los and Doug formed the rap group Rich Boyz and on November 22, 2005, they released their debut album titled Young Ballers: The Hood Been Good to Us on Guttar Music.

Hogan appeared on songs "Sittin' Low" and "Fitted Cap" on the soundtrack album titled God's Gift which was Romeo Miller's first album to be classified as explicit released with his official name changed to Romeo.

D The Business also featured on Master P's Ghetto Bill: The Best Hustler In The Game, Vol. 1 on songs  "Let Me See It" and "Hood Starr".

In 2006, the release of the movie Repos Original Soundtrack included his song "Bang" as well as his features on "Back Up Off Me" and the movie's lead single "Repo" along with Master P and Black Don.

2008-11: Mixtapes, No Limit Forever, Collaborations
Black Don & Lil' D released a compilation mixtape titled "Live From The Gutta Vol. 1".

In 2010, D The Business featured on Romeo's Patience Is A Virtue Mixtape on the song Feelin Myself with Will Smith's nephew K. Smith. On May 25, 2010 at the time still known as Lil' D featured on Romeo Miller's single entitled "She Bad".

In addition, that year D The Business also performed at the VH1 televised 2010 Hip Hop Honors awards with his cousins Romeo Miller, Valentino Miller, Silkk The Shocker, his brother Black Don, along with Trina, Gucci Mane and Mystikal announced on stage by actress Taraji P. Henson to honor his cousin Master P and No Limit Records.

His appearance on the song "I Be Chasing Money" and his single "We Here" were both released on his brother Black Don's mixtape entitled The Scrimmage.

In 2011, D The Business would go on a tour with his cousins Romeo Miller, Master P and Silkk the Shocker, the tour was titled "No Limit Forever International". On August 19, 2011, D The Business featured on Romeo Miller's I Am No Limit mixtape and was billed on this project as "D" after dropping "Lil" from his stage name on songs such as "Rock Wit It", "Catch Me If You Can", "Drop That", and his brother Black Don's single "Money Flow" with Master P & Romeo Miller.

D The Business also featured on Romeo Miller's Maserati Rome Inception Mixtape on the song Phone Sex.

2012-present: New name, New label L.I.E. Entertainment
In 2012, Hogan formed a new independent record label with his brother Black Don titled L.I.E. Entertainment (Loyalty Is Everything) and he also officially changed his stage name to D The Business. On January 5, 2012, D The Business released his breakout single "We So Bout It" featuring Black Don, Master P, and Lil Wayne.

On June 28, 2013, D The Business released his debut solo mixtape, From Sidelines 2 Headlines, and on July 17, 2013 released the official video to the single We So Bout It.

His second mixtape Loyalty Is Everything, Vol. 1 was released on November 11, 2014,  with the songs Sunny Days, On Right Now and Live It Up.

In 2017, he released the Lit Nights & Good Mornings EP on May 5, 2017 led by singles Gwap and the song All You Gotta Do (Say Yes).

On January 24, 2020, D The Business released the single Flex featuring his cousins Romeo Miller & Young V.

D The Business released the mixtape Back To Business featuring the singles Fancy and Tonight on March 11, 2022.

Other Ventures

Acting career
In 2004, D The Business was cast in the independent film Decisions. D The Business appeared as a school bully in the 2007 movie Uncle P.

Business Ventures and Real Estate
Hogan started many businesses and he is a licensed real estate agent in Texas.

Other media
Hogan is the co-founder and co-host of the Intellects Connect podcast which launched in 2021.

Discography

References

External links

 D The Business on Instagram
 D The Business on Youtube
 D The Business at AllMusic
 D The Business at IMDb
 D The Business at Discogs

1990 births
Living people
American male rappers
Rappers from Houston
Rappers from Texas
Songwriters from Texas
Southern hip hop musicians
American rappers


A long time ago at a convention center far, far away, Microsoft promised gamers a Star Wars adventure using the Xbox 360's Kinect motion-sensing camera. You'd wield a lightsaber by swinging your arms, while tossing Stormtroopers around with a flick of the hand. For many people watching Microsoft's Kinect press conference at E3 2010, this was childhood fantasy come true. A new video shows just how far Kinect Star Wars has strayed from that ideal.
The extensive footage of Kinect Star Wars' dancing minigame shows Han Solo and a troupe of backup dancers shaking it to modern pop music. Later in the video, Lando Calrissian joins the action, just to make sure that no image of a Star Wars badass is left untainted. Although the lightsaber-wielding, Force-manipulating gameplay is still part of the finished product, it is now one minigame among many.
Not surprisingly, the Star Wars faithful are treating this as a great disturbance. The gaming site CVG claimed that the video "violates our childhood." Destructoid's Jim Sterling went a step further, saying Kinect Star Wars will "violate everything you believe in," and that "Harrison Ford may be able to sue Microsoft for slander." On YouTube, the video has more than 1,000 dislikes and less than 400 likes as of this writing.
I'm not above the idea that Star Wars fans needn't take every aspect of the IP so seriously. But I still remember the dream that Microsoft proffered to its core gamers at E3 2010. Then I played a preview one year later, and was disappointed by how unpolished the experience was. I'm worried that instead of improving the core game, Microsoft took the easy way out by packing Kinect Star Wars with minigame filler–and it couldn't be harder to watch.