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Learning, Online
Reflections on and lessons for history education
About Eric Beckman
Thinking Historically, Planning Lessons
1948: Democrats and Dixiecrats
Black History Before Slavery in the Elementary Classroom
Contextualizing Global World War One Lesson Plan
Discussing Medieval West African with Documents
Gandhi and the Indian Independence Movement
Global 1919: Paired Texts Lesson Plan
Haitian Revolution Lesson Plan
Investigating the Rise of the Conservative Movement
Lessons and Resources for decolonizing the "Age of Revolutions" in the World History classroom
Swahili Coast and Indian Ocean Exchange, Lesson Plan
The Cold War Around the World
Uncovering Causes of the French Revolution
Understanding Early Communist Ideas
Comparing Textbooks Treatments of the Iranian Hostage Crisis
Uncovering Apartheid
Global 1919: Presentation and Resources
Putting the World in WWI
Responding to Imperialism in the History Classroom
Understanding the Plague as History
Using Swahili as Historical Evidence
Who Was Toussaint L'Ouverture?
Racialization of Space: Housing Segregation in Post-War America
Curriculum History
Putting the World in the World History course
Post author By Eric Beckman
1 Comment on Putting the World in the World History course
For the past several years globalizing my World History classes has animated my teaching practice. I was fortunate to be able to share some of this work at the second annual Minnesota History Fest, where I presented "Putting the World in World War One in the World History Classroom." Teaching about World War One presents an excellent opportunity to add content from Africa, Asia, and Oceania to a World History survey course. Continuing to globalize World History curricula is necessary for educational equity and academic authenticity, and, as a bonus, this task makes the class more interesting to teach.
The Need for World History
Integrating all parts of the world into World History promotes equity by ensuring that all students see themselves and their classmates reflected in the course. Windows and mirrors are important in all classrooms, regardless of their degree of racial or ethnic heterogeneity. Students should see the world with all of its diversities in their academic learning.
In World History this not just an issue of equity, it is also fidelity to the discipline. Candice Goucher and Linda Walton's short essay concisely and usefully answers the question "What is World History?". They begin with the intuitive notion that "World history seeks a global perspective on the past, one that acknowledges and integrates the historical experiences of all of the world's people." For most high school world history teachers doing this requires intentionally adding more global content, since the legacy course is either "Western Civilization" or a "World History" class originally built around a Western narrative.
A World War
World War One presents an interesting case in this process, because its origins were European and it was very consequential. This guarantees it a place in both European and World History classes. But, in World History, we should always "seek a global perspective." As I did this for WWI, myriad global connections came into view, as the 70+ slides in the director's cut of the presentation attest. Learning online made this possible, especially links between podcasts, online academic writing (1914-1918 Online is great), and digital collections (especially the IWM). With access to so much information, our courses do not need to resemble those we took or previously taught. Bonus: learning about global connections is fun!
Moreover, World Historians, according to Goucher and Walton, analyze global perspectives for "integration and difference." Studying patterns of contact and comparison makes World History as a discipline different from courses that study various regions of the world discretely. Discussing World War One in this way foregrounds the global connections and differences produced by European colonialism.
These global connections made it surprisingly easy to find events with multiple regions, and even continents, represented. As an example, Dr. Santanu Das produces a litany of participants on the Western Front:
Between 1914 and 1918 in a grotesque reversal of Joseph Conrad's, vision hundreds of thousands of nonwhite men were sailing to the heart of whiteness and beyond to witness the horror, the horror of Western warfare. Indeed, if we visited Ypres during the wartime, one would have seen Indian sepoys, Tirailleurs Senegalais , North African Spahis, Chinese and Indochinese workers, Egyptian and South African labor corps, Maori pioneer battalions, First Nation Canadians, aboriginal Australians, in addition to the white troops and workers from Europe and the British dominions. (from his podcast starting at 2:43)
Despite the overwhelming whiteness of most images of the Western Front seen in high school World History materials, it was a multiracial space. As Goucher and Walton claim "the processes of world history have drawn peoples of the world together," in this case at an iconic site of modern warfare.
Combat outside of Europe also drew people from around the world. The photograph below illustrates this for East Africa. The East African sailors posed on an Australian cruiser that was blockading a German warship.
African sailors on the Australian ship Pioneer. Source: Royal Australian Navy
Indian soldiers, East and West African laborers, and British and German officers participated in this theater, a four-continent encounter. In East Africa, colonial relationships created significant differences in experience of the Great War. The deaths of one million East Africans, including nearly 100,000 conscripted porters, tragically illustrates this. Insatiable colonial labor demands disrupted agricultural production. The resulting drop in agricultural production caused hundreds of thousands of deaths from diseases and famine. This tragedy should be included in any discussion of the human costs of the war.
Considering issues on a global scale is especially important for our world today. Indeed it might be, "humanity's attempt to fully understand itself in an age of globalization" (Goucher and Walton). We live in a global world, and our politics are consumed by the implications. World History can help students to understand this, because globalization is nothing new. Humanity is in its sixth century of considering this essential question: How do we live in a global age?
Answering this has been more and less urgent at different times over the past half millennium. Our current World History course began to form in the second half of the 20th Century, a time dominated by the Cold War. The Western Civ courses that I had in high school and college helped me to understand how 19th century "ism's" and 20th century world wars produced a bipolar world. The lack of attention to much of the human experience was a serious problem that contributed to the persistence of white supremacy and white nationalism. But, Eurocentrism at least led us toward understanding the major global issue of the day. Well taught Western Civ and European History classes have much to offer students, of course. They are not, however, a substitute for World History. Putting the world into our classroom discussions of World War One reminds students that globalization is nothing new.
Three continent connection. "New Zealand Mounted Riflemen guard a German contingent of prisoners, captured in Palestine, near Jericho, in 1918" from the LOC via the Atlantic
By Eric Beckman
I am a veteran high school history teacher interested in decolonizing history curricula, anti-racist pedagogy, and e-learning.
← Beyond Cause and Effect: Assessing Colonialism, Part III → World History Must Be Global History
One reply on "Putting the World in the World History course"
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Q: how to install linux phat client to connect vpn server from ubuntu machine? I am unable to install this phat client. Please someone guide me to install phat client in ubuntu 16.04
sudo ./install_linux_phat_client.sh

output:
Checking for NSS Libs: NSS library is not available .. exiting

A: Your first move is to inspect install_linux_phat_client.sh and see how it's deciding to issue that error message.
However, on MY Ubuntu 16.04.5 YMMV:
walt@bat:~(0)$ dpkg -l libnss*
Desired=Unknown/Install/Remove/Purge/Hold
| Status=Not/Inst/Conf-files/Unpacked/halF-conf/Half-inst/trig-aWait/Trig-pend
|/ Err?=(none)/Reinst-required (Status,Err: uppercase=bad)
||/ Name                                    Version                  Architecture             Description
+++-=======================================-========================-========================-====================================================================================
un  libnss-db                               <none>                   <none>                   (no description available)
ii  libnss-mdns:amd64                       0.10-7                   amd64                    NSS module for Multicast DNS name resolution
ii  libnss3:amd64                           2:3.28.4-0ubuntu0.16.04. amd64                    Network Security Service libraries
ii  libnss3-1d:amd64                        2:3.28.4-0ubuntu0.16.04. amd64                    Network Security Service libraries - transitional package
ii  libnss3-nssdb                           2:3.28.4-0ubuntu0.16.04. all                      Network Security Security libraries - shared databases
walt@bat:~(0)$ apt-cache search libnss
libnss-db - NSS module for using Berkeley Databases as a naming service
libnss-extrausers - nss module to have an additional passwd, shadow and group file
libnss-mdns - NSS module for Multicast DNS name resolution
libnss-myhostname - nss module providing fallback resolution for the current hostname
libnss-sss - Nss library for the System Security Services Daemon
libnss3 - Network Security Service libraries
libnss3-1d - Network Security Service libraries - transitional package
libnss3-dbg - Debugging symbols for the Network Security Service libraries
libnss3-dev - Development files for the Network Security Service libraries
libnss3-nssdb - Network Security Security libraries - shared databases
winbind - service to resolve user and group information from Windows NT servers
libnss-cache - NSS module for using nsscache-generated files
libnss-docker - nss module for finding Docker containers
libnss-gw-name - nss module that names the current gateway's IP address
libnss-ldap - NSS module for using LDAP as a naming service
libnss-ldapd - NSS module for using LDAP as a naming service
libnss-lwres - NSS module for using bind9's lwres as a naming service
libnss-mymachines - nss module to resolve hostnames for local container instances
libnss-mysql-bg - NSS module for using MySQL as a naming service
libnss-pgsql2 - NSS module for using PostgreSQL as a naming service
libnss-rainbow2 - nss library for rainbow
libnss-resolve - nss module to resolve names via systemd-resolved
libnss-rsbac2 - RSBAC NSS module
libnss-securepass - NSS (Name Service Switch) module for Securepass
libnss-winbind - Samba nameservice integration plugins
libnss-wrapper - NSS wrapper library
libnss3-tools - Network Security Service tools
libpam-ccreds - Pam module to cache authentication credentials
libpam-ldap - Pluggable Authentication Module for LDAP
nslcd - daemon for NSS and PAM lookups using LDAP
nss-passwords - read passwords from a Mozilla keyring
nss-updatedb - Cache name service directories in DB format
nsscache - asynchronously synchronise local NSS databases with remote directory services
pynslcd - daemon for NSS and PAM lookups via LDAP - Python version
python-libsss-nss-idmap - Python bindings for the SID lookups library
python3-libsss-nss-idmap - Python3 bindings for the SID lookups library

I suggest that you install the libnss3 package.

A: @gopi-nathan
After checking the file I found that it tries to:
if [ -a $FIREFOX_DEB_ARCH -o -a $FIREFOX_RHEL_ARCH ] ; then
    echo "NSS libs available"
else
    echo "NSS library is not available .. exiting"
    exit 1
fi

Where:
FIREFOX_DEB_ARCH=/usr/lib/firefox/firefox
FIREFOX_RHEL_ARCH=/usr/lib64/firefox/firefox

That said, you can do:
sudo apt install firefox

A: You must use terminal to unpack installer and run it:
tar -zxf linux_phat_client.tgz
cd linux_phat_client
sudo ./install_linux_phat_client.sh

and use to run without sudo:
./gui/naclient.sh

A: The script cannot found firefox. If you already have it just find it and change firefox path in the script.
$ whereis firefox
firefox: /usr/bin/firefox /usr/local/bin/firefox
$ ls -l /usr/bin/firefox
lrwxrwxrwx 1 root root 20 Jun 28 07:15 /usr/bin/firefox -> /opt/firefox/firefox
Edit line 60 to correct firefox path.
60 # FIREFOX_DEB_ARCH=/usr/lib/firefox/firefox
61 FIREFOX_DEB_ARCH=/opt/firefox/firefox
62 FIREFOX_RHEL_ARCH=/usr/lib64/firefox/firefox
Then run installation script again.
$ sudo ./install_linux_phat_client.sh

A: In case you are using snap firefox package, you'll have issues with installing the VPN client.
The workaround is to find the firefox folder and to link it in as the installed looking it for
FIREFOX_DEB_ARCH=/usr/lib/firefox/firefox
FIREFOX_RHEL_ARCH=/usr/lib64/firefox/firefox

After installing firefox (sudo apt install firefox)
Find the root dir of the firefox and to link it as /usr/lib/firefox
In my case it was
ln -s /snap/firefox/current/usr/lib/firefox /usr/lib/firefox

redpajama_set_name: RedPajamaStackExchange


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Beast Branded Content and director Lawrence Jacomelli teamed up with Saatchi & Saatchi to create the intense and emotionally charged 'Earthquake' for the Multiple Sclerosis Society, with VFX by The Mill.
Using a single shot POV sequence, the audience is taken on a journey through the perspective of a person suffering from MS, giving insight into just how frightening daily tasks can be. From insight into the concept to in-camera and visual effects, director Lawrence Jacomelli takes us through the creation of 'Earthquake', a spot in deference to the experiences of MS sufferers.
MS patients endure almost unbearable suffering on an ongoing daily basis, and at any time there can be moments when what seems like another 'Armageddon' is about to strike. In this context, an earthquake seemed to be an ideal metaphor. An earthquake is a dramatic event. It creates devastation, lives get lost and homes are destroyed.
So often we use the earth as a metaphor for stability. We talk about being as solid as a rock and becoming grounded. So what happens when the ground you are walking on literally shakes and when something you took as a constant is not as fixed as you thought? Are the effects of an earthquake just physical or do they send shockwaves emotionally too? An earthquake is like Earth having a really bad day – which mirrors exactly the debilitating experiences of those who suffer from MS.
The treatment for this film was created to evoke a highly captivating and emotionally tense experience. Shot on location in Brighton, England by Beast, the viewer is invited to see the sometimes frightening realities of a man suffering from MS and his sensory and physical reaction to the everyday experience of the doorbell ringing at his home. During the time it takes him to reach the front door we are taken on a journey, which leaves the viewer emotionally and mentally charged. In a reflective moment, we realize that in just a few seconds we had briefly entered the world seen through the eyes of an MS sufferer – which is exactly what this collaboration between Saatchi & Saatchi and Beast Branded Content wanted to achieve.
To provide a sense of realism to this single shot POV sequence, we decided to shoot the spot on location. We chose to use a small terraced house on two floors, as this would give us a tight claustrophobic space with enough of a run to prolong his escape, and allow us to keep building the tension.
We thought about shooting this sequence in Brighton, UK, as the exterior street location provides a very abrupt and obvious contrast when we cut outside to reveal that in fact there was no earthquake after all. Brighton is situated by the sea and it is also set at the foot of the South Downs, so this raised setting offers the unique opportunity to combine an ordinary Victorian terraced lined street with a calm and picturesque horizon.
As for the in-camera effects, this was a 'back to basics' film making experience and involved plenty of fishing line, broken up plasterboard and talcum powder. There were in total five grips, each of whom were either hiding or running just ahead of camera, swinging picture frames, yanking books off shelves and shaking pot plants. Of course, the real impact of the sequence only came about when The Mill came on board and started to really smash the place up.
But the plan was always to have the walls crack, rather than tumbling down and collapsing. There's something more suited to the psychological metaphor and feeling of displacement that you get from seeing walls around you starting to crack – the reference we had in mind for this approach to how the earthquake should affect the walls was the Polanski film 'Repulsion', where Catherine Deneuve's character has a downward spiraling mental breakdown which climaxes with her envisaging that the walls around her are cracking. There's something deeply unsettling about it. And that's what we wanted to achieve here.
The final step was the sound design. And like any horror film, when you turn the sound down, it just isn't scary, so until this point the true impact and effectiveness couldn't be gauged. Our aim was to make it fierce but realistic – and push forward the notion that actually, all of this chaos is insular. It was important to hear the man that we would never see – his raised anxiety expressed by panicked breathing, his footsteps faltering across wooden floors and stairs, the thrashing of his clothes as he runs and of course the audible palpitations of his accelerating heart rate. We truly hope this spot helps to raise a better awareness of MS and motivates people to contribute to help fight this debilitating disease.


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Box score from Sunday's NFL game between the New Orleans Saints and Dallas Cowboys.
NO—Ingram 9 run (Hartley kick), 10:25.
Dal—Bryant 58 pass from Romo (Bailey kick), 12:47.
Dal—Bryant 58 pass from Romo (Bailey kick), 5:43.
NO—Moore 6 pass from Brees (Hartley kick), 1:11.
NO—P.Thomas 5 pass from Brees (Hartley kick), 4:03.
NO—D.Thomas 3 pass from Brees (Hartley kick), 11:10.
Dal—Harris 16 pass from Romo (Bailey kick), 3:35.
Dal—Austin 19 pass from Romo (Bailey kick), :15.
RUSHING—New Orleans, Ingram 21-53, Sproles 9-48, P.Thomas 7-16, Brees 1-(minus 1). Dallas, Murray 11-40.
PASSING—New Orleans, Brees 37-53-0-446. Dallas, Romo 26-43-0-416.
RECEIVING—New Orleans, Colston 10-153, Sproles 7-104, Graham 7-88, P.Thomas 7-61, Moore 4-30, Ingram 1-7, D.Thomas 1-3. Dallas, Bryant 9-224, Witten 6-60, Murray 4-51, Austin 4-45, Harris 1-16, Ogletree 1-12, Hanna 1-8.
MISSED FIELD GOALS—New Orleans, Hartley 36 (WL).


I just receive the great news that I have been awarded one of the Mary and Randall Hack '69 Graduate Awards by the Princeton Environmental Institute! The Mary and Randall Hack '69 Award provides research funding to support Princeton University graduate students pursuing innovative research on water and water-related topics with implications for the environment.
I am planning on using the award to focus my summer research on my project using QuikSCAT data to map dew formation over tropical forests.
You can read more about my project in the official announcement HERE.


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Home > Truck Accidents > Truck Accidents In Westchester Involving Overpass And Bridge Collissions
Truck Accidents In Westchester Involving Overpass And Bridge Collissions
Ironically, this blog was started, a year ago, but the problem of trucks hitting bridges and overpasses in Westchester County continues to be a recurring topic. In November, 2014 a tractor trailer hit a bridge in Rye Brook on the Hutchinson Parkway for the third time this year. This has become a repeated problem in Westchester, with many trucks hitting bridges and overpasses, especially on the Hutchinson parkway. This truck accident occurred after the municipality installed a flashing light and painted on the ground a low bridge warning. This was another truck accident that should have been avoided, because trucks like big rigs, semis and tractor trailers are prohibited from traveling on parkways such as the Hutchinson parkway. With the more common use of GPS, more trucks are finding their ways, onto Parkways, which is ironic since in Westchester Interstate 95 for the most part runs parallel to the Hutchinson Parkway.
Also this week a Hartsdale a woman was seriously injured and remains in critical condition after she and her dog were hit by a car. According to the police reports, the pedestrian was not in the cross walk, but the motorists still have a duty to avoid hitting with pedestrians even if the pedestrian is not in the cross walk. Under New York law, all drivers of cars have a duty to keep a proper look out and see what there is to see and to be diligent to avoid hitting a pedestrian. Although it is unknown at this point whether the driver was speeding, residents in the area of East Hartsdale Road, have complained that excessive speed is a problem in this stretch of the roadway.
A recent investigation by Senator Schumer of New York revealed an alarming rate of truck accidents occurring in Westchester County, New York where semi trucks, tractor trailers, buses and other commercial vehicles are hitting bridges and overpasses in Westchester New York. For example, a single bridge where Mamaroneck Road crosses over Hutchinson River Parkway, in the White Plains, Mamanoreck vicinity has been hit by trucks over 90 times in the last twenty years.
Our experienced Westchester truck accident lawyers have handed numerous truck accidents, involving serious personal injury and wrongful death, all over New York State, including in the Bronx, Queens, Westchester, Long Island, upstate New York and Rockland.
An increasingly in serious and fatal truck accidents has occurred all over New York State because of trucks, tractor trailers, semis and other commercial rigs traveling onto parkways. Commercial trucks are not allowed on New York State Parkways in large part because of the low overpasses and bridges, which creates an inevitable accident where the trucks will hit the bridge or overpass. Also New York State Parkways are not designed for large commercial trucks because their lanes are often narrower and they tend to have more and sharper curves, which dramatically increases the risk of a side impact accident caused by the sway of the trailer. The primary cause of this increase in truck overpass accidents in Westchester County New York is caused by truck drivers using personal GPS devices that take them onto parkways. There is currently no regulation about truck drivers using personal GPS devices, which don't always have settings that keep trucks off of parkways. According to Senator Schumer, 80 percent of bridge strikes are caused by GPS devices being improperly used by truck drivers. According to the New York State Department of Transportation, there were over 200 accidents where trucks struck a bridge or over pass in the last eight years. Between 1993 and 2011, there were almost seven hundred bridge or overpass collisions in Westchester New York. In light of these alarming statistics, Senator Schumer called for uniform standards in an effort to reduce bridge collision accidents by regulating use of GPS by truck drivers.
Our White Plains attorneys have extensive experience in truck accident litigation all over New York state. In particular Westchester truck accident attorney, Michael Joseph handled a major truck accident wrongful death litigation involving a double decker bus striking an overpass at approximately 40 miles per hour, which resulted in several fatalities. These trucks, which are extremely heavy to begin with are often carrying tons of cargo, which increases their momentum. When this momentum is added to the already high speed that trucks travel on parkways.
These fatal truck accidents continue to occur, even though municipalities continue to take preventive measures including low bridge warnings, flashing lights and even painting the overpasses bright colors such as orange or yellow.
From our White Plains office, our experienced personal injury and wrongful death lawyers are able to handle truck accidents on any Westchester parkway including the Saw Mill, the Hutchinson, the Henry Hudson, the Cross County Parkway, the Taconic Parkway and the Sprain Parkway.
Our Consultations are always free.

redpajama_set_name: RedPajamaCommonCrawl


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Thread: WWE RAW: Into The Shark Tank
20LEgend
Location: Manchester, England
Smackdown Live: Smackdown After WrestleMania!
Live from Barclay Center, Brooklyn, New York!
Smackdown Live opened with a look back at the events of WrestleMania, with stills showing the various matches that the blue brand presented. Out of that, the commentators introduced the always action packed Smackdown After WrestleMania, opening with the entrance of Daniel Bryan.
Having made his way to the ring, Daniel Bryan spoke humbley about his defeat to AJ Styles at WrestleMania, putting over his opponent. Bryan invited Styles out to the ring, and "The Phenomenal One" obliged.
Daniel offered AJ a handshake, before telling him that he was the better man at WrestleMania. Bryan said that last night was a setback for his WWE Championship ambitions, but promised that he wouldn't let a setback stop him from fighting. Bryan then left the ring, telling Styles that the floor was his.
AJ Styles was respectful towards Bryan, initiating a second handshake as he left the ring. Styles then turned his attention to his "dream match" victory, saying that he was proud to have won the match that was dubbed as a clash between the two best in-ring performers of their generation. AJ Styles then looked to talk about his own WWE Championship ambitions, and Dean Ambrose's victory over Samoa Joe. However, before he could get to the point, the lights went out.
The lights remained down for a while, with the commentators wondering what on earth was going on. When the lights came back up, AJ Styles was no longer alone in the ring, with Aleister Black stood right in front of him.
Before AJ Styles had chance to react, Aleister hit him with a Black Mass, knocking him out cold in the ring. The commentators put over the return, with Aleister Black having been out injured for several months. Corey Graves said that Black meant business, going after Smackdown's franchise player.
Aleister wasn't done there however, lifting AJ Styles up by placing his foot under the chin of "The Phenomenal One". Black then hit a second Black Mass to Styles, causing his eyes to roll back in his head. The returning Superstar continued to circle, and picked his final spot, locking a Stretch Muffler on AJ Styles. Black refused to release the hold, as Styles' body dangled lifelessly. When he did let go, AJ slumped to the mat, with Black standing over him, a cold and emotionless expression etched on his face.
Returning from the break, the commentators put over the shocking opening segment of Smackdown, with Aleister Black making an impactful return to the show. Having missed WrestleMania, Black would surely have a lot to prove. He wasn't the only one of course, with the Smackdown After WrestleMania always promising to be full of shocks and surprises, as WWE hits the reset button after the biggest show of the year!
The next segment played into that, as the commentators introduced a new tag team to Smackdown Live, leading into footage of them arriving at the building earlier today. Graves said that he saw these two men before the show, and he could already tell they were going to get on his nerves…
Introduced as The Street Profits, the two men were shown arriving at the building, where members of the WWE Universe were queuing outside. Creating a party like atmosphere, it was clear that Smackdown Live's newest tag team were ready to have fun, having joined the blue brand!
During the match, the commentators put over last night's match between Shinsuke Nakamura and The Undertaker, which completely broke down. With Sanity getting involved, before Kane joined his brother in the ring, the commentators suggested than Nakamura blew a "golden opportunity" to face The Undertaker one on one. Nakamura was more focussed in this match, beating Kane in a fairly short match.
Picking up the victory with a Kinshasa, Nakamura got back some credibility, following his quick defeat to The Undertaker at WrestleMania.
Shinsuke Nakamura bt. Kane
Following the match, Shinsuke Nakamura took a microphone. Having shown a vicious and sadistic side of himself over the last year, it was a different Nakamura who addressed the WWE Universe. Taking his United States Championship from around his waist, Nakamura said "thank you", before laying the United States Championship down in the middle of the ring.
Shinsuke Nakamura then bowed to the WWE Universe, before leaving his title in the ring, and heading up the ramp. The commentators speculated on what this meant for Shinsuke Nakamura's future, with "The Artist" giving little away as he went to the back.
Returning from the break, the commentators spoke about the stills from WrestleMania that had just been shown, as well as the events of the show so far. During this time, the show's Main Event was also announced, an 8 Man Tag Team match, with Dean Ambrose, Rusev & The Usos going up against Samoa Joe, The Miz & The Bar.
Having become Women's Tag Team Champions at WrestleMania, Becky Lynch & Sasha Banks made their way down to the ring, ready to address the WWE Universe.
The duo who have dubbed themselves "The Revolution" addressed their team name, saying that they represent everything that was good about the changing landscape of Women's Wrestling in the WWE. The fact that the "Women's Evolution" gave spotlight to some of the pathetic, talentless hacks that it did was simply a side effect of that change. But tonight, they were there to make a statement.
Becky Lynch said that for too long, their "division" got caught up in buzzwords, and taglines and "first evers". But with them representing this roster as Champions, that was going to change.
""Women's Wrestling isn't a freakin' division… we are not a sideshow!"
Sasha Banks expanded, saying that the female Superstars shouldn't be placed in a single box. There is a men's roster and a women's roster, and in the women's roster, Becky & Sasha are "Main Event players". That means that what they have to say holds weight, and when they speak, the rest of that locker room listens. Becky added that The Revolution were the leaders of that locker room, and what happens on Raw and Smackdown, runs through them. Hearing this, Naomi & Kaitlyn made their way out, looking to speak to the Tag Team Champions.
Sensing opportunity, Naomi & Kaitlyn suggested that Becky & Sasha kick off this new leaf in the right way, challenging them to a Tag Team Championships match… right now!
Sasha turned to Becky, who made it clear that she was more than up for the challenge. Becky Lynch called for a referee, as the show went to another break.
WWE Women's Tag Team Championships Match
Returning from the break, it was confirmed that Paige had sanctioned the Women's Tag Team Championship match, which was quickly underway. Given time to put on a display of all four competitors abilities, the match was put over as the first in a new era of Women's Wrestling. While the Women's Evolution was put over, the commentators said that it was time to put the transition period behind them, moving forward with the strongest women's roster of all time.
The match highlighted various styles, but it was the current Champions who came out on top. Locking in a Banks Statement in the middle of the ring, Sasha was able to make Kaitlyn tap out to the hold.
Becky Lynch & Sasha Banks (c) bt. Kaitlyn & Naomi
Standing tall to end the first hour of Smackdown Live, Becky Lynch & Sasha Banks stood tall with the WWE Tag Team Championships high in the air.
WWE Smackdown Live - April 9th 2019 - Live on USA Network!
Returning for the second hour of Smackdown Live, the WWE Universe were treated to an unannounced surprise appearance from the WWE Hall of Famer, Ric Flair. The previous evening at WrestleMania, his daughter Charlotte Flair competed in 2 out of 3 falls match against Asuka, losing her Women's Championship.
Ric Flair briefly spoke about his daughter, saying that she was resting up, and nursing a number of injuries, following her match with Asuka at WrestleMania. That wasn't why Ric Flair had been brought out however, as he revealed the reason he had come out to the ring. Ric Flair then introduced the team who he called "The Future of the WWE"... Undisputed!
Introduced to the WWE Universe as a trio, Adam Cole, Kyle O'Reilly & Roderick Strong were Undisputed, going up against Eric Young's Sanity. Young's group were brought down to earth at WrestleMania, and suffered a similar fate against the debuting trio. Put over heavily on commentary, Undisputed lived up to their pre-match billing, displaying a crowd-friendly and entertaining style, as they scored an impressive victory. The finish came when Adam Cole hit Alexander Wolfe with a Superkick.
Undisputed bt. Sanity
Following the match, Cole, Fish and Strong stood tall, celebrating a successful debut on Smackdown Live. As the trio posed in the ring, Corey Graves put over "the undisputed future of the WWE!"
With a successful debut in the bag, talk turned to next week's Superstar Shake-Up, with the commentators wondering who from the red brand would be joining Smackdown Live, and who from Raw would be coming to Tuesday nights! Moving on from that, Rusev was interviewed in the back, with his wife Lana stood by his side. The interview was cut off by The Miz, who told Rusev that he'd better hope that The Miz doesn't end up on Raw next week, otherwise Smackdown Live would rot.
Coming to Smackdown Live…
NXT Superstar: Dakota Kai!
Returning from the commercial break, more stills were shown, this time promoting the match between Asuka & Charlotte Flair. An intense 2 out of 3 falls, which once again "raised the bar" of Women's Wrestling in the WWE, resulted in both Superstars leaving the show with niggling injuries. New Champion Asuka, and her defeated opponent Charlotte Flair, would both appear on Smackdown Live next week, addressing their incredible WrestleMania match.
Sending over to the back, WWE cameras had been able to corner Aleister Black, who they found isolated in a dark area of the arena.
Asked to explain his actions, where he attacked AJ Styles in the opening segment of the show, the returning Superstar simply snarled at the interviewer. Black then looked off camera, as another man walked into the shot.
"My name is Paul Heyman....
Allow me to introduce MY CLIENT… Aleister Black!"
Black then stood up, and walked away. Behind him, Paul Heyman followed his new client, leaving with a smirk towards the camera, as he adjusted his tie.
A Main Event match designed to send the WWE Universe home happy, following an action packed WrestleMania week, the rivalries within the match carried the story, with the Ambrose/Joe and Rusev/Miz issues still raging on. The Usos and The Bar also have a lot of history, and this resulted in the impressive exchanges the Smackdown Tag Team division has been built on. Eventually the match broke down, with a succession of signatures moves ending as The Miz creeped up on the new WWE Champion, Dean Ambrose.
Miz looked to hit a Skull Crushing Finale, but Ambrose escaped. Hitting Miz with a kick to the gut, Ambrose dropped his opponent with a Dirty Deeds. With the ring now clear, Ambrose was able to secure the victory.
Dean Ambrose, Rusev & The Usos bt. Samoa Joe, The Bar & The Miz
Standing tall in victory, Dean Ambrose was joined in the ring by Rusev & The Usos, who were also on the winning side in the Main Event. The WWE Champion was front and center, as the four crowd favourites celebrated a win that book marked a successful week for all concerned. The commentary team then signed off to end the WrestleMania festivities, promoting the fact that the reset button will be hit next week, as Raw and Smackdown Live present… The Superstar Shake-Up 2019!
Becky Lynch & Sasha Banks (c) bt. Kaitlyn & Naomi [Women's Tag Team Championships]
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Film and Digital Arts
Fine Arts Minors
UNM Catalog 2021-2022
>Colleges
>College of Fine Arts
Harris Smith, Dean
https://finearts.unm.edu/
This section of the Catalog provides information about the College of Fine Arts to assist the student who plans to major in the undergraduate and graduate fine arts programs described herein. For advice in selecting a program of study, undergraduate students must consult with an Advisor in the College of Fine Arts Advisement Center, Center for the Arts 1103, (505) 277-4817. Graduate students should contact the graduate Advisor for their department directly.
In addition to the section on general academic regulations at the University, consult the list of courses offered by the College. These courses appear under twelve headings:
Applied Music
Arts Leadership and Business
Film and Digital Media Arts
In considering the course descriptions, note the prerequisites, as they determine the sequence in which courses may be taken. Also, note that not all courses are offered every semester. While the descriptions indicate the general pattern in which courses are offered, students should consult the current Schedule of Classes to learn which courses are offered in a given semester.
Programs in the College of Fine Arts have received accreditation from the National Association of Schools of Dance, the National Association of Schools of Music, and the National Association of Schools of Theatre.
Degree and Certificate Programs
Undergraduate Degrees Offered
Majors: Art Education; Art History; Art Studio; Dance; Film and Digital Arts; Interdisciplinary Arts; Music; Theatre.
Majors: Art Studio; Design and Technology for Performance; Film and Digital Arts.
Bachelor of Music (B.M.)
Major: Music.
Bachelor of Music Education (B.M.E.)
Major: Music Education.
Graduate Degrees Offered
Majors: Art History; Theatre and Dance.
Majors: Art Studio; Dance; Dramatic Writing.
Master of Music (M.Mu.)
Major: Art History.
Graduate Certificate Offered
Music Performance (GCERT)
Undergraduate Admission Requirements
Pre-Major Status
Because of the nature of the arts, students are expected to begin courses in their intended major beginning in their first semester of enrollment at UNM. Beginning freshmen and new transfer students are eligible for enrollment in the College of Fine Arts as "pre-majors" if they indicate an interest in one of the disciplines in fine arts on their general UNM admission application and meet general admission requirements to the University.
Students remain in pre-major status until they submit a formal application to become a "declared major" or until they have exhausted their eligibility in pre-major status. Students should submit an application to become a declared major during the semester in which they will satisfy eligibility requirements. However, students must submit an application to become a declared major for the following Fall or Spring semester no later than during the semester in which they earn a cumulative 66 credit hours. If students do not yet meet the requirements to become a declared major (see full details below) by the time they have attempted 72 credit hours and earned 66 cumulative credit hours, they are advised and admitted into another degree-granting unit within the University. Holds are placed on pre-major students which prevent them from registering for future semesters if they have exhausted their eligibility in pre-major status. The hold expires once a student has transitioned into another program within the University.
Some students may be required to take foundational math, reading, or English courses, which are designed to strengthen a student's preparation for General Education-level work. Required enrollment in these courses is based upon established minimum standards of performance on individual tests on the ACT, SAT, or placement tool provided by the University. In some cases, students may take a test to get placed in a higher-level course. Students required to take these courses must do so in their first semester(s) at the University of New Mexico, and they must do so before they are eligible to proceed to other courses in those areas and enroll as a declared major in the College of Fine Arts.
Declared Major Status
Due to limitations of facilities and faculty, enrollment in certain curricula offered by the College of Fine Arts is limited. Since the number of well-qualified students seeking admission to these curricula sometimes exceeds the number that can be accommodated, successful completion of the minimum requirements as stated below is not a guarantee of admission. Applications for admission in some fields of study are screened on the basis of auditions, interviews, and/or evaluation of portfolios, with selection of successful applicants made on a competitive basis.
Students graduate under the requirements in the Undergraduate Program section of this Catalog in effect at the time of their admission (or readmission) into the College of Fine Arts as pre-majors or declared majors. The University of New Mexico reserves the right to make changes in the curricula and degree requirements as deemed necessary, with the changes being applicable to currently enrolled students.
Admission for Declared Major Status
To be eligible for admission as a declared major in the College of Fine Arts, students must meet the following requirements:
Completion of 26 hours of earned credit.
A grade point average of at least 2.50 in all credit hours attempted at UNM or, a grade point average of at least 2.50 in the last 30 credit hours attempted.
Competency in English writing as demonstrated by: completion of ENGL 1110 (or ENGL 1110Y or ENGL 1110Z) with a grade of "C" or better, or placement past this level by ACT or SAT exam.
Competency in Mathematics as demonstrated by: completion of MATH 1215Y or General Education-level Mathematics with a grade of "C" or better, or placement into General Education-level Mathematics by ACT, SAT, or ACCUPLACER exam.
Completion of 12 credit hours of coursework in the major area with at least a 2.5 grade point average.
Students seeking the Bachelor of Arts in Art Studio or the Bachelor of Fine Arts in Art Studio must also have completed ARTS 1220 Art Practices I and ARTS 1230 Art Practices II with grades of "C" or better.
Students seeking the Bachelor of Arts in Dance must also be approved to enter the program by audition/interview. Contact the Theatre and Dance department office for further details.
Students seeking the Bachelor of Music or the Bachelor of Music Education degree must also have approval to concentrate in the appropriate instrument or voice. Refer to the Music - Undergraduate Program section of this Catalog for additional admission requirements to the instrumental and voice programs and the Bachelor of Music Education program.
Students seeking the Bachelor of Arts in Interdisciplinary Arts must also submit a Plan of Study approved by the Faculty Advisor to the College of Fine Arts Advisement Center.
Students who plan to major in one of the departments in the College of Fine Arts should apply for declared major status during the semester the above requirements will be completed. Visit the College of Fine Arts Advisement Center, Center for the Arts 1103, to obtain and submit the application for admission as a declared major. Applications are accepted during the Fall and Spring semesters.
Most of the requirements for graduation are listed under the specific curricula described under the department headings. A few requirements, however, are common to all of this college's programs:
A minimum of 120 credit hours is required in all curricula. Of these, at least 42 credit hours must be completed in courses numbered in the 300- or 400-level.
To receive a degree, a student must have a UNM grade point average of 2.00 or higher. The student must also have achieved a grade point average of 2.00 or higher on all credit hours attempted while enrolled in the College of Fine Arts.
Students must graduate with a minimum 2.75 grade point in their major. However, some CFA degrees may require a higher major grade point average to satisfy graduation requirements. See departmental sections of this Catalog for details.
A minimum of one semester of resident enrollment is required after admission to the College of Fine Arts as a declared major; in any case, the student must be enrolled in the College of Fine Arts as a declared major for his/her final semester at the University of New Mexico.
A minimum of 12 credit hours must be earned from UNM while enrolled as a declared major in the College of Fine Arts.
No more than four credit hours of nonprofessional physical education courses may be counted toward a degree.
During the semester prior to graduation, students must meet with a CFA Advisor to complete an application for degree. Failure to submit the application a semester in advance may delay graduation and impact inclusion in programs for graduation ceremonies.
A student must also meet the University minimum degree requirements as outlined under Graduation Requirements in the Undergraduate Program section of this Catalog.
All degrees in the College of Fine Arts require completion of the General Education curriculum as outlined under the Undergraduate Program section of this Catalog. Some degrees in the College of Fine Arts require specific classes or supplemental coursework that may be used toward this requirement. Consult the individual program for these courses.
The faculty reserve the right to disqualify from further enrollment or participation in departmental programs:
students who fail to demonstrate reasonable progress in the professional development of their discipline,
students whose conduct reveals a persistent inability to work effectively with others or an unwillingness to adhere to generally recognized standards of professional behavior or,
students who have exceeded the number of allowable hours earned in pre-major status and/or fail to meet CFA admission requirements to become a declared major.
Major and Minor Studies. Although fine arts students are not required to do so, they may choose a minor or a second major field of study. Fulfilling the requirements for a minor or second major may extend the credit hours required for a degree beyond 120 (may vary by degree) but does not necessarily constitute a second degree. The same courses may not be used to fulfill both major and minor requirements. However, if the same course(s) are required for both major and minor, or for both majors in the case of double majors, an equivalent number of approved alternative credit hours may be added to the total combined credit hours required. Alternative credit hours may be determined by the faculty in the appropriate department(s) via written petition. However, to facilitate the completion of a second major within the College of Fine Arts, some courses required by both majors may be counted toward each. A maximum of 12 credit hours of courses may be double-counted. At least 30 credit hours unique to each major must be included in the student's degree program. Any exceptions must be approved by CFA faculty. Students who have earned an undergraduate major or minor at another accredited postsecondary institution may not use the same courses for additional majors or minors in College of Fine Arts.
This does not apply to courses considered "supportive coursework" which refers to courses required for a degree, but not specifically listed in the major area. For example, Music majors in vocal performance are required to have 15 credit hours of second language included in their supportive coursework. If students have also selected a second major or minor in Foreign Languages, they are then able to apply those same courses toward either the second major or minor. Supportive coursework must be completed with the same minimum grade standard required for courses in the major.
If the second major is outside the College of Fine Arts, the student must submit an Application for Second Major obtained from the College of Fine Arts Advisement Center. The form must be completed by the appropriate faculty or staff Advisor in the unit offering the second major as soon as possible and submitted by the student to the College of Fine Arts Advisement Center.
Two Undergraduate Degrees. For a student in the College of Fine Arts, the possibilities of a second degree are limited due to the extensive amount of time required for the practice of the fine arts. If a second degree is desired, students must consult with an Advisor in the College of Fine Arts Advisement Center. Students who wish to pursue a second undergraduate degree must complete a minimum of 30 credit hours in addition to those required for the first degree, and fulfill all requirements for the second degree. To facilitate the completion of a second degree, some credit hours may be counted toward each degree. No more than 12 credit hours of courses may be double-counted. At least 30 credit hours unique to each degree must be included in the student's degree program. Any exceptions must be approved by College of Fine Arts faculty. Two diplomas will be granted upon completion of the requirements for each degree. The awarding of a degree is consistent with the regulations as stated in the Undergraduate Program section of this Catalog.
Consult with the College of Fine Arts Advisement Center for details and restrictions regarding double majors, dual degrees, and minors.
Advisement. The College of Fine Arts Advisement Center, Center for the Arts 1103, provides undergraduates with advisement services during walk-in and appointment advisement hours. Advisement is required for all new students and continuing pre-majors before registration for the following semester. Art Studio transfer students may be required to present a portfolio for placement in the program. Music transfer students are required to take the theory and ear-training placement exams and to audition in their principle instrument or in voice. For further information, visit the College of Fine Arts Web site or call the College of Fine Arts Advisement Center at (505) 277-4817.
College of Fine Arts Dean's List. If an undergraduate student enrolled in the College of Fine Arts has achieved a semester grade point average of 3.50 or higher on 12 or more graded credit hours, the student will be on that semester's College of Fine Arts Dean's List. Each student on the list receives a congratulatory letter by email. See "Dean's List" in the Student Services Information section of this Catalog for more information.
Departmental Honors. Students interested in graduating with departmental honors should read carefully the guidelines on honors in the Undergraduate Program section of this Catalog and should visit their department office, department Web site, or Faculty Advisor to request a copy of specific departmental honors guidelines and an application form.
To be eligible to apply for the departmental honors program in the College of Fine Arts, the student must have achieved a cumulative grade point average of 3.50 on a minimum of 60 credit hours in residence at the University of New Mexico. The application must be submitted at least two semesters prior to graduation. In addition, applicants should have demonstrated a high level of maturity, pursuit of excellence and the ability to work and think independently. The minimum requirement for graduation with departmental honors in the College of Fine Arts is the completion of six credit hours in honors thesis.
Probation and Suspension. Students enrolled in the College of Fine Arts are placed on probation at the end of any semester in which the cumulative grade point average on University of New Mexico coursework falls below 2.00. At the end of the next semester of enrollment, the student's grades are reviewed. If the semester grades raise the cumulative grade point average to 2.00, the student is released from probation. If the cumulative grade point average remains below 2.00, but the semester grades show reasonable progress (usually a 2.5 or higher), the college considers continuing the student on probation for another semester. If the semester grades are below 2.00, academic suspension may follow. For further information on the suspension period, see Scholastic Regulations in the Student Services Information section of this Catalog.
Students placed on suspension that have documentable extenuating circumstances may appeal the decision after meeting with the Director of College of Fine Arts Advisement. Suspension appeal decisions are final.
Students on probation and/or returning after suspension are required to meet with an Advisor in the College of Fine Arts Advisement Center on a regular basis for coaching. Together, the Advisor and student utilize Academic Recovery Tools (ART) to formulate a plan to return to good academic standing. Failure to do so may result in suspension.
Scholastic Standards. The curricula that lead to the degrees of Bachelor of Fine Arts, Bachelor of Music, and Bachelor of Music Education are pre-professional curricula. They are designed for students who plan to enter graduate school for the professional study of the fine arts. Most graduate schools require a grade point average of 3.00 in the student's major field of study as a condition of admission. For this reason, a student should enter one of these curricula only if willing to make a firm commitment to work rigorously and intensively at the highest level of his/her creative and intellectual capacities. The faculty reserves the right to require any student whose grades fall substantially below 3.00 in his or her major to transfer to another program.
If a student's grades are low, or if the student has had academic difficulties in the past, he/she should consult with an Advisor in the CFA Advisement Center.
No student may undertake a program in excess of 18 credit hours during the regular semester and 9 credit hours in summer session without prior permission.
College of Fine Arts Student Fees
College Technology Fee: A fee charged to support general student technology needs in the college and used to pay for technology equipment, technical support services, and IT instruction capabilities provided to students.
Departmental Curriculum Fee: A fee charged to support the instructional needs of multiple courses in a curriculum or program and used to pay for general equipment and services provided to students.
Special Course Fee: A fee charged to support the instructional needs of a specific course and used to pay for materials or services provided to students.
Special Facilities in the College of Fine Arts. Instruction in the fine arts is enriched by the University Art Museum; several outstanding performance series in Popejoy Hall, Keller Hall, Rodey Theatre and Theatre X; and a Fine Arts Library containing more than 105,000 volumes and a listening center with an extensive collection of CDs, tapes and records.
Fine Arts Graduate Advisors
Kat Heatherington, Advisor, Art
Donna Jewell, Professor, Theatre and Dance (Dance)
Sarah Lentz, Theatre and Dance (Graduate Coordinator)
Gregory Moss, Associate Professor, Theatre and Dance (Dramatic Writing)
Valerie Potter, Associate Professor, Music
Students who wish to pursue graduate programs in art history, art studio, music, and theatre and dance must meet both minimum requirements for admission to graduate study and to the departmental programs listed below.
Graduate degrees offered in the College of Fine Arts include the Master of Arts, with majors in Art Education, Art History, and Theatre and Dance; Master of Music; Master of Fine Arts, the terminal degree in Art Studio, Dramatic Writing, and Dance; and the Doctor of Philosophy in Art History.
Tamarind Institute
Diana Gaston, Director
2500 Central Ave SE
Web site: http://tamarind.unm.edu/
Tamarind Institute, founded in 1960 in Los Angeles and relocated to The University of New Mexico in June of 1970 as a division of the College of Fine Arts, is a professional center for training, study, and research in fine-art lithography. At the institute, students refine their technical and collaborative skills, and distinguished artists create original lithographs under conditions that fulfill the highest aesthetic and ethical traditions of the art.
Programs of advanced professional study are offered for qualified individuals who intend to pursue careers as master printers or teachers of lithography. The Department of Art, in cooperation with Tamarind Institute, offers an M.F.A. degree with a focus in collaborative printmaking. With prior acceptance, credit hours are transferable to the M.F.A. program. Required courses in the history of the graphic arts and workshop management are offered through the Department of Art. University resources include the Fine Arts Library and the University Art Museum, which has an extensive collection of original lithographs by major artists of the 19th and 20th centuries.
Information on the Institute's services for artists, its professional printer training programs and its publications are available on request, or online at the Tamarind Institute Web site.
Associated Departments


text:
«Кровна помста» () — російськомовний мінісеріал 2019 року знятий в Україні. Телесеріал створено продакшн-компанією «Фільмстрім» та Vileton Films на замовлення ТРК «Україна». Режисером виступив Мирослав Малич.

Прем'єра телесеріалу в Україні відбудеться 28 квітня 2019 року на телеканалі ТРК Україна. Прем'єра в Росії очікується в 2020 році.

Сюжет

Доля повертає 27-річного Іллю до рідного містечка, де він народився, але відразу після народження через патологію в розвитку від нього відмовилися рідні батьки. Згодом його усиновили до нової родини. Втім і далі доля хлопця не жалувала. На очах 14-річного підлітка невідомі жорстоко вбили прийомних матір і батька.

Тому успішний бізнесмен вирішує відновити справедливість і покарати винних у вбивстві прийомних батьків. Для цього він продає свій будинок і прибутковий бізнес в Європі та приїжджає з товаришем юристом Костею до рідного містечка.

Його біологічний батько Віктор Соболєв очолює завод. Для розслідування та покарання винних Ілля під виглядом інвестора входить до керівництва підприємства. Він довідується, що у нього є кровний брат Богдан — вони двійнята. Втім, Богдан, якого виростили рідні батьки, не сприймає невідомого раніше брата. Біда в тому, що і почуття Іллі до витонченої студентки консерваторії теж щирі, але ж її батько — спільник Соболєва. Це надто ускладнює вирішення проблем, що сталися у минулому.

У ролях

 Олександр Константинов - Ілля (головна роль)
 Віталій Салій - Костя (головна роль)
 Анастасія Цимбалару - Ольга
 Всеволод Болдін - Богдан, брат Іллі
 Станіслав Боклан - Кирило
 Ірина Антоненко - Діна, донька мера
 Оксана Архангельська - Марина
 Олександр Наумов - Віктор Соболєв, директор заводу
 Сергій Калантай - Павло
 Руслан Коваль - Віктор (в молодості)
 Роман Кондратюк - Ілля (в дитинстві)
 Дар'я Рибак - журналістка

Зйомки

Телесеріал знімався в Києві та Київській області у лютому-березні 2019 року.

Джерела

Посилання
 Телесеріал «Кровна помста»  на сайті ТРК Україна

Телесеріали України 2019
Телесеріали російською мовою
Мелодраматичні телесеріали України
Телесеріали ТРК «Україна»

redpajama_set_name: RedPajamaWikipedia


Have you been seeing lots of blue bikes around town but not sure how they work? Blue Bikes are a great new public transportation option for getting around New Orleans in a way that is healthy, fun and affordable.
Register – Choose your plan and sign up for a Blue Bikes New Orleans membership through the website or mobile app.
Release – Enter your 6-digit account number and 4-digit PIN into the keypad on the back of the bike to unlock it.
Ride – Place the U-lock in the holster before you take off. To make a quick stop, press the "HOLD" button and lock the bike to a rack.
Return – To end a ride, just lock your bike to any Blue Bikes station. Or, lock it at any public bike rack for a $1 fee.
Different pricing options are available to suit the type of riding you want to do. You can choose pay-as-you-go for 13 cents a minute, or $15 for a monthly membership ($10/month for university students). A reduced fare is also offered for New Orleanians who quality for EBT cards – $20 for an hour of riding every day for the whole year.
As vehicles on the road, cyclists have all the same rights and responsibilities as drivers of automobiles. Cyclists must obey traffic signals, ride in the road in the same direction as traffic, and ride as near to the right as practicable.
Communicate with other users of the road.
Be predictable. Use hand signals when you are turning or stopping. Travel in a straight line without weaving in between cars.
You can lock them anywhere, but please be considerate how and where you're leaving the bikes. Locking to the handrail of a ramp or leaving it in the middle of the sidewalk is not only a precarious place to leave the bike, but is inconsiderate for pedestrians that need to use that space. If no bicycle rack is available at your destination, lock the bike to a sign post or another secure structure that is not blocking a sidewalk or entryway.
How NOT to leave your Blue Bike!
Check out http://www.bluebikesnola.com for more info on how Blue Bikes work and how to register to ride!


text:
Q: Passing command line arguments when profiling with llvm-prof How can I pass command line arguments to my program when profiling with llvm-prof?
And where can I find a more comprehensive documentation for llvm-prof? "llvm-prof -help" output is too brief. Its manual is even shorter.

A: I would recommend staying away from llvm-prof at this point. The reason is that it was actually removed from trunk LLVM a month ago (in revision 191835). Here is the commit message that should clarify the motivation:

Remove the very substantial, largely unmaintained legacy PGO
infrastructure.

This was essentially work toward PGO based on a design that had several
flaws, partially dating from a time when LLVM had a different
architecture, and with an effort to modernize it abandoned without being
completed. Since then, it has bitrotted for several years further. The
result is nearly unusable, and isn't helping any of the modern PGO
efforts. Instead, it is getting in the way, adding confusion about PGO
in LLVM and distracting everyone with maintenance on essentially dead
code. Removing it paves the way for modern efforts around PGO.

Among other effects, this removes the last of the runtime libraries from
LLVM. Those are being developed in the separate 'compiler-rt' project
now, with somewhat different licensing specifically more approriate for
runtimes.

A: The way you write the question implies that you are trying to execute your program using llvm-prof. However I am not sure if that is the way to do it. The way to profile is first to instrument your code with counters using:
opt -disable-opt -insert-edge-profiling -o program.profile.bc program.bc

Then execute the instrumented program using lli as follows:
lli -O0 -fake-argv0 'program.bc < YOUR_ARGS' -load llvm/Debug+Asserts/lib/libprofile_rt.so program.profile.bc

Note the way to pass the arguments to the program using -fake-argv0 'program.bc < YOUR_ARGS' above. This step will generate llvmprof.out file which can then be read with llvm-prof to generate the execution profiles as follows:
llvm-prof program.profile.bc


text:
Filling the Void
Jim Kelsey
OWENSBORO Filling a void is nothing new to a plastic surgeon. "Plastic surgeons always consider themselves the surgeon's surgeon," says Janae Maher, MD. "Whatever hole the surgeon makes to get rid of a cancer, it's my job to find a way to fix it and improve function and appearance."
But as a new addition to Owensboro Health, Maher is filling a gap of a different sort – an overall lack of plastic surgery providers at the Owensboro hospital. In the past, plastic surgery patients at the hospital have faced trips to the nearest provider. Maher's presence fills that void, whether patients are seeking reconstructive procedures or cosmetic.
Particularly dear to her heart are breast cancer survivors seeking breast reconstruction. "Right now, breast cancer patients who want to undergo reconstruction have to travel two hours away for some of those procedures," Maher says. "Whether they choose to do implant-based reconstruction or use their own tissue (autologous), a plastic surgeon focused solely on their reconstruction has just not been available here. Those patients already have a lot going on in their life, and I hate for them to make choices because they don't want to have to drive two hours away for those types of consultations, procedures and follow ups."
A Kansas native, Maher attended the University of Kansas School of Medicine and completed her residency in plastic surgery at Texas A&M earlier this year. She was drawn to Owensboro by the proximity of family, the size and culture of the area, and the opportunity to provide life-changing services. It was the ability to make a difference that drew her to plastic surgery while she was still in high school. "I was flipping through a magazine and it opened right to an article about mission trips doing cleft lip and cleft palate repair," Maher says. "Reading how the surgeons were able to change the lives of those kids, I just knew I wanted to have that kind of impact on my patients' lives."
As a hospital employee with the Owensboro Health Medical Group, Maher will be able to offer hospital-based reconstructive procedures such as breast reconstruction. In addition, Owensboro Health is opening a cosmetic and reconstructive surgery clinic in the nearby Breckenridge Medical Office Building, which also holds an outpatient surgical center.
Maher says the presence in both the clinic and the hospital will provide her and the group the capacity to offer a wide range of procedures and expert advice in a convenient location. "When people think of plastic surgeons, they think of cosmetics initially," Maher says. "But the field of plastic surgery is very broad and we have a unique opportunity by partnering with Owensboro Health's medical group to offer not only cosmetic surgery –both surgical and nonsurgical procedures to reshape normal body structures to improve appearance and self-esteem – but also the reconstruction part of plastic surgery. That can be congenital defects, developmental abnormalities, trauma, infection, tumors, and disease – we will be able to offer assistance with those patients as well."
Initially, only implant-based breast reconstruction will be offered in Owensboro. It will take some time to make autologous tissue reconstruction a local option, but it is high on Maher's priority list. Until then, she says, being able to examine the patients and inform them about their options will be a valuable first step in their treatment, regardless of whether they choose to have implant-based reconstruction in Owensboro or go elsewhere for autologous tissue reconstruction. "I would love to be the first person to evaluate them and talk to those patients about that option," Maher says of the autologous procedure. "They will now have someone close to home to talk to them about their breast reconstruction options."
That same sort of patient connectivity is what Maher hopes to bring to the cosmetic and reconstructive clinic as well. "I think it's beneficial to have a woman doing cosmetics," Maher says. "Ninety-one percent of the people coming for plastic surgery are women. I think the vast majority feel comfortable talking about these types of issues with another woman who understands what they are going through, what they are looking for and what they are trying to achieve."
RIGHT NOW, BREAST CANCER PATIENTS WHO WANT TO UNDERGO RECONSTRUCTION HAVE TO TRAVEL TWO HOURS AWAY FOR SOME OF THOSE PROCEDURES.– DR. JANAE MAHER


text:
DOWDY-FICKLEN STADIUM
Opened: 1963
Surface: Natural Grass
Attendance Record: 51,082 (Sept. 20, 2014 vs. North Carolina)
First Game: Sept. 21, 1963 (ECU 20, Wake Forest 10)
The Early Years:
The original plan for ECU's current football facility was announced on Oct. 7, 1961, by Dr. Leo Jenkins, Chancellor of the College, at a meeting of the Society of Buccaneers. Within a year, $283,387 had been raised, although the goal had been only $200,000. With the funds in hand, Ficklen Stadium was built.
The James Skinner Ficklen Memorial Stadium was dedicated on Sept. 21, 1963, as East Carolina defeated Wake Forest, 20-10. The original stadium consisted of the permanent stands on the south side, a small press box, and the old lighting system which was removed after the 1974 season. Total cost was $300,000.
The north side permanent seating was constructed in 1968, increasing the stadium seating capacity to 20,000.
The Namesakes:
In April 1994, Ron and Mary Ellen Dowdy, of Orlando, Fla., announced a $1 million gift to the ECU Educational Foundation. The gift would go toward the ongoing expansion of ECU's football stadium, which was renamed Dowdy-Ficklen Stadium.
Ron Dowdy, who is a 1966 graduate of ECU, has been involved with many civic organizations, including the Executive Committee of the Florida Citrus Sports Association, the Board of Directors for the Florida Citrus Bowl, the Board of Directors at Humana Hospital Lucerne in Orlando, and the Senior Citizen Advisory Committee in Orange County.
The late James Skinner Ficklen, a Greenville resident, distinguished himself as one of America's leading tobacconists. At the time of his death in 1955, Ficklen was President and Chairman of the Board of the E.B. Ficklen Tobacco Company of Greenville. He was a close friend of the college and established a financial aid foundation, the Ficklen Foundation, to aid students of the college.
Bagwell Field:
After graduating in the early 1970s, Al and Debby Bagwell have been gracious friends of the university with Al serving on the Pirate Club's Executive Committee in 1994-95 and being appointed to the University's Board of Visitors in 1998. The couple from Lake Gaston, Va., were honored in 1997 for their gift to the Pirate Club's Shared Visions Campaign. For their contributions on behalf of the University and to the ECU Educational Foundation, the Bagwells had their name become a permanent mark on the ECU landscape as the field is now and forever will be recognized as Bagwell Field at Dowdy-Ficklen Stadium.
Stadium Lighting:
The first major renovation in Ficklen Stadium was the lighting system, a change that occurred just before the 1975 season opened. The old inner stadium lights on six poles were removed and replaced with six towers outside the stadium. The system is a combination of metallic and incandescent lights. There are 288 fixtures of 1500 watts each on six 162-foot towers. Cost of the system was $450,000.
Early Expansion:
A radical change greeted fans as the 1978 season opened. An expansion on all four corners boosted the stadium's seating capacity from 20,000 to 35,000, the third-largest stadium in North Carolina. The expansion was made possible with $2.5 million through a drive in spring 1977. In addition to more seats, the current press box with three levels and an elevator for access was built. The press box has space for 92 writers and an entire floor for electronic media. Also, a modern scoreboard with a lightbank message center was placed on the east end of the stadium.
Playing Surface:
During the summer of 1983, a complete renovation was done on the playing surface. A new drainage system, a new base of gravel and sand, new treated topsoil, and a new grass--Tifton 419 Hybrid Bermuda--was installed.
Last Expansion:
After additions on the north side (upper deck in 1998 and club-level seating in 1999) increased the stadium's capacity to 43,000, East Carolina completed a 7,000-seat expansion project in the east end zone that pushed the seating availability to 50,000 in time for Ruffin McNeill's Pirate head coaching debut in September, 2010. In addition, Dowdy-Ficklen Stadium received an aesthetic enhancement the same year when 10,200 purple chair back seats replaced existing bleachers inside the 35-yard lines on both sides of the facility.
Scoreboard:
A new 84'-wide x 28'-tall high definition-rated score/videoboard accompanied the 7,000-seat end zone expansion in the summer of 2010. The new board, which ranks among the 25 largest in college football, features state-of-the-art video capabilities for fan enjoyment. In addition, a new auxiliary scoreboard was added to the Murphy Center on the west side to give spectators easy visibility access from all viewing locations.
CLIFF MOORE PRACTICE FACILITY
Hidden behind the spotlight of East Carolina's resurgence to a championship level may be the vital component of why there lies so much optimism about the future of Pirate football.
Away from Dowdy-Ficklen Stadium, the cameras and the pageantry of a fall Saturday in Greenville, exists a top-level workout facility which now will easily rank among the top in the nation.
The Cliff Moore Practice Facility underwent a remarkable and significant renovation project during the summer and early autumn of 2005, transforming the once dimly-lit and water-logged practice fields into an NFL-caliber workout area.
The refurbished facility now sports two regulation length natural Bermuda Tift grass game fields which run parallel in a north-south direction. A third field, which features a 78,120 square-foot Prestige XT Synthetic (i.e. FieldTurf) playing surface, lies perpendicular to the pair of natural grass grids and opened for use in October, 2005, thanks to a generous gift from Ron and Madelyn Hight.
The pair of natural grass fields were designed and modeled after the award-winning surface at Dowdy-Ficklen Stadium. In addition to an installation of a modern irrigation system, the facility also sports a gravel and sand-based drainage plan which is enhanced by a 1 degree grade from the crown to the sidelines.
Lighting for the facility features 10 standards which have a mounting height of 70 feet and display, on average, 50 foot-candles to all areas of each field.
The Cliff Moore Practice Facility is completely encircled by fencing and a black vinyl windscreen to ensure privacy. In addition, future plans call for the planting of beautiful oak trees to line the area along Charles Boulevard to the VIP parking lot.
According to NCAA rules and regulations, all camps and clinics are open to any and all entrants regardless of skill/level (limited only by number, age, grade level and/or gender).
This camp is owned and operated by Mike Houston Football Camps, LLC. East Carolina University is not responsible for any expenses related to your participation in the camp or costs incurred in the event of cancellation of all or any portion of the camp.


text:
Dimensions of Dramaturgy
By	Doris Piller
Posted on 21. November 2016
Inszenierung von Isabelle H. ©Robert Polster, Volkstheater
Volkstheater head dramaturge Heike Müller-Merten and dramaturgy instructor Peter Roessler talk with the mdw Magazine
Production of Isabelle H. ©Robert Polster, Volkstheater
At the Max Reinhardt Seminar, dramaturgy is among the central artistic subjects for directing students. Why does that make sense, in your view?
Heike Müller-Merten (HMM): I think that dramaturgy—the study of how texts and literature are structured, how content is conveyed—tells us something about the worldviews that are being propagated by their respective authors. So in my opinion, a central point for directors in developing their productions is to put the world onstage, to portray it. And for this, it's important to know the thought-constructions inhabited by the author, which gives you the ability to adhere to them or even to contradict, expand upon, replace, or undermine them. Furthermore, dramaturgy is something that relates directly to time—and at certain times, or really almost always, it's also related to society—often in a way that's somehow oppositional.
Peter Roessler (PR): When training directors, it's important to analyse texts, to figure out where one stands personally, and to understand how things relate to societal processes. And in this challenging context, dramaturgy is significant, so we teach the students to be their own dramaturges. They learn to work with a corresponding set of tools and also develop their own ability to write in scenic and theoretical terms. Consistent and broad dramaturgical thinking can also support their imagination in staging things. And finally, one should also mention that many of this programme's graduates work as dramaturges, so it also adds that professional opportunity.
Mrs. Müller-Merten, how does collaboration between directors and dramaturges usually look in actual practice?
Heike Müller-Merten ©www.lupispuma.com/Volkstheater
HMM: I've been doing this job for 32 years now, and if I didn't view this relationship as a fulfilling, highly constructive and productive, and mutually complementary one, I wouldn't still be doing it. That's the central point of this occupation—because we dramaturges don't actually direct. We structure a director's directorial concept, move it forward, and ultimately play a—very strong—role in its development, as part of a mutual process. Our job also, of course, includes examining this directorial concept in terms of its robustness as the production moves forward. So the relationship between the director and the dramaturge is immanently important and central.
Mr. Roessler, how does dramaturgy instruction look at the Max Reinhardt Seminar?
PR: It's based on an understanding of dramaturgy that's open to different forms and types of content, though it's not entirely "anything goes". What's more, the goal of our dramaturgical thinking is not popularity; one of its main virtues, I think, is doubt. Let me name just a few dimensions of this field, which is really about much more than just theatre: the exact reading of plays, a theory of the dramatic and the theatrical, the exploration of historical antecedents, and the question as to material's currency or non-currency. The area where everything flows together is the collaboration between direction and dramaturgy in actual productions: from conception to the final version to observing rehearsals and criticising performances.
How important is it for students to gather experience while still studying?
Peter Roessler ©Doris Piller
HMM: Extremely important—and I'm very much for it. It's about getting to know processes at actual theatres, how the colleagues and departments work together—theatre, after all, isn't a collection of solo performances by free agents. It's ensemble work through and through, involving every part of the organisation. Experiencing that and learning how to function as part of it has something to do with social competence, which needs to be acquired. It also has to do with building trust and respect. I'll always prefer working closely with others, and I'm very happy and grateful that we have such good, productive, and competent collaborators in the students from the Max Reinhardt Seminar.
PR: It's absolutely essential! The curricula for directing and acting students envision mutual coursework, work on scenes, and actual productions. Directing students' productions are supervised by the directing instructors as well as by those teaching dramaturgy, they're publicly accessible, and they're of the highest quality. So we don't just talk about theatre, here—we do it, too. And our new partnerships are a valuable additional component: we're mounting guest performances of student productions at the Akademietheater, and we're also putting on a festival at the Theater in der Josefstadt. And finally, our collaboration with the Volkstheater is quite extensive: there, directing students and graduates lead productions, student actors perform together with experienced professionals, and we've established the festival Neues Wiener Volkstheater, in which dramaturges from the Volkstheater work together with directing and dramaturgy students of the Max Reinhardt Seminar.
Tags#2016-4actingDramaturgiedramaturgyHeike Müller-MertenMax Reinhardt SeminarPeter RoesslerVolkstheater
Pride and Prejudice* (*sort of)
"For me, it all comes down to the notion of the ensemble."
"Art is one of those things that brings the state to life"
On the Art of Playing Dead
"The Body as a Stage": Learning from Aleksandar Acev at the Max Reinhardt Seminar
Alumni in Focus: Sarantos Georgios Zervoulakos
Love Is the Best Glue
Taking the Plunge into Theatrical Reality
Training to Master the Challenge of Acting Auditions
"I wouldn't be caught dead acting." – Humphrey Bogart (attr.)
© Copyright 2020 | mdw – Universität für Musik und darstellende Kunst Wien, Impressum


Following the submission of letters of application, voting by staff and a final decision by myself and senior members of staff I am pleased to announce that Sam has been appointed as Head Boy and Megan has been appointed as Head Girl. They are supported by a team of 13 other Senior Prefects.
My thanks go to Sam Masterson and Beth Lamb who along with the other departing Senior Prefects have done a magnificent job in leading the School and supporting the teachers over the past year.


text:
Starchitecture Sales Report
By Joey Arak Nov 10, 2005, 10:20am EST
Talk about burying the lead! Here we are, thinking we're reading a regular old Times article about supply and demand within the luxury condo sector, and then all of a sudden BOOM!?Motoko Rich hits us up with some Grade A gossip on some of our favorite buildings. We'll summarize the goodies for you:
1) Robert A.M. Stern's 15 Central Park West: 74 units sold in two months, worth $650 million; 12 of 16 penthouses, including one at $45 million, under contract; "A prominent Wall Street investor lost out on a duplex penthouse when he tried to buy at a discount and another buyer offered full price." Looks like those rumors were wrong. And don't forget, it can still be yours.
2) Richard Meier's 165 Charles Street: 24 out of 31 units sold after 18 months; a $20 million penthouse has sold; "One broker who asked not to be named because she did not want to criticize a building where she might bring clients said it should have sold out by now."
3) Charles Gwathmey's Sculpture For Living: 24 out of 39 units sold; Related's vice chairman says he's "perfectly happy with those numbers."
4) Beacon Tower at 85 Adams in DUMBO (not really starchitecture, but famous nonetheless): Just 43 of 79 units sold after 10 months, "despite the lure of a Zen garden;" Developer Leviev Boymelgreen (of the troubled 57 Front project) closed down the sales office for part of the summer and reopened after Labor Day; four apartments sold since then.
So there you have it. Kind of a mixed report for all but 15 CPW, wouldn't you say? Let's have your highly-informed take in the comments.
· For Choicest Apartments, Many More Choices [NYTimes]
A guide to NYC's major apartment-finding websites Looking for a new apartment? Bookmark these sites (or download these apps) to stay on top of what's new to the market.
Finally, Go Inside Carlos Slim's $80M Upper East Side Mansion


text:
ACCEPTED

#### According to
Index Fungorum

#### Published in
Bull. Int. Acad. Polon. Sci. , Sér. B. , Sci. Nat. 505 (1927)

#### Original name
Penicillium paczoskii K.M. Zalessky

### Remarks
null

redpajama_set_name: RedPajamaGithub