The perfect mix of navy velvet and gold stainless steel comes to life in your space with the Julian Navy Velvet living room collection. This bold collection comes upholstered in rich, sumptuous-to-the-touch velvet in a navy color to make a fashionable statement in your space. The curved back design lends it a modish touch, and the gold stainless steel trim around its base adds to its glitzy appeal.


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Q: Support of a probability measure vs support of its margins Let $\mu$ be a Borel probability measure on the product of two metric spaces $(X, d) $ and $(Y, h) $. Assume its marginal probability measures $\mu_X$ on $X $ and  $\mu_Y$ on $Y$ have compact supports. Can we conclude that $\mu$ is compactly supported as well?

A: Suppose $(x,y)\in X\times Y$ is a member of the support of $\mu.$ Then every open neighborhood of $(x,y)$ has positive $\mu$-measure. For any open neighborhood $U$ of $x$ within $X,$ the set $U\times Y$ is an open neighborhood of $(x,y)$ within $X\times Y.$ Thus $\mu(U\times Y)>0.$ Thus the marginal assigns positive measure to $U.$ So every open neighborhood of $x$ is given positive probability by the marginal. Since $U$ was an arbitrary open neighborhood of $x,$ it follows that $x$ is a member of the support of the marginal.
Thus if $(x,y)$ is a member of the support of $\mu,$ then $x$ is a member of the support of the marginal, and similarly $y$ is a member of the support of the other marginal.
Hence $(x,y)$ is a member of the product of the supports of the marginals.
So the support of $\mu$ is a subset of the product of the supports of the marginals.
The support of any probability distribution is closed. So the support of $\mu$ is a closed subset of the aforementioned product, and the product is compact.

redpajama_set_name: RedPajamaStackExchange


However, all we have previously known about the atmosphere of Uranus has been 'thrown to the wind' with observations made last year.
In August 2014 a group led by Imke de Pater pointed the Keck telescope at Uranus and were a little bit surprised to see storms raging. It wasn't as though clouds haven't been seen before, but the clouds they spotted last year were very much brighter than any seen before. The fact that the storms are bright in the methane spectrum isn't a surprise – Uranus, and its neighbour Neptune, are pretty much just big balls of methane, water and ammonia (but it does make for a snigger-worthy headline).
The storms are described in a paper recently published in Icarus, with the pre-print available here. After the first observations, the group put out a call to amateur astronomers to see if they could also observed this unusual activity too. They did, and with this information the group built a case to point the Hubble Space telescope at Uranus, which happened in October. Again, they saw large storms, showing that what they had seen in August hadn't been a one off event - the weather report on Uranus is looking rather unsettled.
Uranus was the first planet to be discovered in the 'recent' era of science. All the planets up to Saturn were observed to be different 'wandering' stars by many ancient cultures – so we'll never know who first spotted them. But Uranus was first observed in 1690 by John Flamsteed. He plotted it six times – but didn't realise it was different from any other star (he catalogued it to be 64 Tauri). The French astronomer Pierre Lemonnier also observed Uranus, but didn't distinguish it from the other stars he was watching. It was William Herschel who realised, in 1781 after thinking it was a comet, that he'd seen a planet orbiting further from the sun than Saturn.
Despite knowing where it was for over 300 years, we've only in the last decade started to take a detailed view of the Northern hemisphere of Uranus. The observations made by de Pater and her team are the first time this giant region of our solar system has been surveyed by modern telescopes from Earth. This is because of the very strange rotation, which makes Uranus pretty unique.
Our Earth rotates on its axis tilted only slightly from being straight up (if we define up as being perpendicular to a planet's orbital plane). It is this tilt that drives our seasons.
Uranus has the most extreme tilt of axis in the whole solar system, it is inclined 98° from up. This means Uranus has the most extreme seasons – as each hemisphere of the planet faces the sun as it orbits (a cycle that take 84 years). The upshot is that as the Northern hemisphere has been in winter until recently, and from Earth we have been unable to see it. In 2007 Uranus reached it's equinox, with the equator pointing at the sun and each of the two hemispheres illuminated.
The group observed Uranus with the Keck telescope as it past equinox seven years ago. They expected to see storm activity, as parts of the planet that haven't seen the sun in 20 years started to come to light. They thought it has gone quiet again, which is why 2014's storms took them by surprise. Added to this is the fact the storms are flaring up in the Northern hemisphere, the part of Uranus that is entering its spring, and thought not to have warmed up from its prolonged winter yet.
Where is the energy to drive these storms coming from? That's the mystery. Storms on the other gas giants are thought to be fed by energy from their dynamic interiors. Voyager 2 saw that Uranus should have a dynamic interior (it has an active magnetic field like Neptune) but that little of this energy is reaching the atmosphere. This is why Uranus is the coldest planet in our solar system, parts of the atmosphere were observed to be a chilly -224°C.
What this observation of these giant storms really does highlight, is just how little we know about our solar system's giant icy planets Uranus, and its neighbour Neptune. In the light of the fact that missions like Kepler are finding many other similar planets orbiting distant stars, we really need to sort this out. Hopefully knowing more about our 'local' planets will mean that we can understand much more about those further away.


It's the reality star's time to shine as her sister Khloe got one earlier this year.
Kourtney Kardashian stripped down to just her underwear in order to take her measurements for her very own wax figure. The waxwork will be displayed at the famed Madame Tussaud's wax museum in New York City. She chronicled the experience of getting the figure casting on her Instagram Stories on Wednesday afternoon, November 14. Keep reading to hear more about it.
The mother of three documented her day and announced that she's, "getting measured for [her] wax figure today." The pic was taken in a studio overlooking Manhattan and with Travis Barker's daughter, Alabama smiling in the background.
The 39-year-old then posted a video of the wax casting process in which she gets her measurements done. An artist spun her in a circle in order to get a good view.
Kourtney posed in dark gray spandex bike shorts, a light gray sports bra and high-heeled white leather boots as she spun around.
Khloe was the most recent member of the Kardashian clan to get her own wax figure. She unveiled her statue at Madame Tussaud's in Las Vegas on June 26 earlier this summer.
Kim was lucky enough to get her own figure first way back in 2010 at the NYC museum. Both Kylie and Kendall Jenner received their waxworks in 2017 and 2016 respectively.
Are you excited to see how Kourtney's wax figure comes out? Will you visit the museum when it unveils? Sound off in the comments below!


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Q: Does VoltDB support unique indexes? Our schema has a USER table...
USER(
   userId,
   firstname,
   lastname,
   email)

and we want to ensure all user's have unique email addresses. Is it possible to create a unique index in VoltDB to enforce this constraint?

A: VoltDB supports primary key indexes (which are always unique) as well as secondary indexes that can be defined as unique.
For your particular table you have two choices to enforce uniqueness on the email column:

*

*Define the USER table as replicated.

*Partition the USER table on the email column.

If you create a unique index on email and partition the table on userId then the uniqueness enforcement of the email column will be within individual partitions.

A: VoltDB provides implicit indexes for primary keys. For example if you assign userID as a primary key then userID will be unique (because of VoltDB's implicitly index assignment on primary key) but to make email column as unique you have to explicitly assign constraint 'UNIQUE' on email column.
                Similarly suppose you are partitioning a table and partitioning is done on column userID then to enforce email to be unique in every partition, you should explicitly assign 'ASSUMEUNIQUE' constraint on email column.


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Uniswap DeFi's Stimulus Check #16
Market Meditations | September 18, 2020
We discuss DeFi's $1200+ Stimulus Check Uniswap, give early access to our podcast with Devchart and more!
Hello Meditators
This is an exclusive newsletter designed to perfect your edge in the market with crypto and global insights: researched, summarised and delivered straight to your inbox.
Stay one with the markets in as little as 10 minutes in this guided meditation.
Today's Meditations:
DeFi's Stimulus Check
Kraken Is Launching a Crypto Bank, Paving the Way for Possible Stock Offerings
Bitcoin Supply on Ethereum Tops $1b
Coinbase Will Require Pro Customers to Pay Withdrawal Fees
LSE in Exclusive Talks With Euronext Over Borsa Italiana Sale
Trump to Block U.S. Downloads of Tiktok, Wechat on Sunday
Chime Surpasses Robinhood as the Most Valuable U.S. Consumer Fintech
#7: Devchart (Andre): Creating a Market Leading Chart Alert Tool for Cryptocurrency Traders
The "70 Percent Rule" for Decision-Making
Never a dull day in crypto. Although there were strong rumors about Uniswap eventually implementing a token of their own, yesterday's move proved to be a pleasant surprise to almost anyone that participated in the decentralized finance (DeFi) frenzy in the last few months. Any user with at least one transaction (even failed) interacting with the Uniswap protocol, before the snapshot taken on Sept 1st, was eligible to claim an airdrop of 400 UNI, a reward currently worth ~$2000. With DeFi users receiving a stimulus check of their own, could this be a turning point in the market?
We wrote about the exponential growth in volume on Uniswap and other decentralized trading protocols a month ago and volumes have only increased since then. According to The Block, month-to-date volume in September has already surpassed the total volume seen throughout August and so far, the $14.9 billion in volume in September reflects an almost 30% increase over the already sky-high numbers of August. A recent cause for celebration was a tweet mentioning Uniswap's volume alone topped Coinbase Pro's for the first time, indicating a tipping point for cryptocurrency exchanges.
In the past few weeks, due to the open-source nature of the protocol, numerous competitors like SushiSwap iterated on Uniswap's design and managed to 'steal' hundreds of millions of liquidity through creative token designs. Users familiar with DeFi knew that it was Uniswap's turn to make a chess move to attract some of that liquidity back and Uniswap coming out with a token of their own was certainly a debated topic. That said, the launch of their UNI token by retroactively rewarding early users still managed to make waves in the community. A move for the history books?
Decentralizing Governance
By distributing governance of the protocol in the hands of the community, Uniswap followed the playbook of some of the most successful launches in DeFi this year. In the announcement post, Uniswap expanded on why the protocol is 'well-positioned for community-led growth, development, and self-sustainability. The introduction of UNI (ERC-20) serves this purpose, enabling shared community ownership and a vibrant, diverse, and dedicated governance system, which will actively guide the protocol towards the future.'
With a total supply of 1 billion UNI, 15% can immediately be claimed by early liquidity providers and users based on a snapshot that ended on September 1st. 5% of that allocation goes to historical liquidity providers, the other 10% to early users evenly distributing UNI supply over ~250,000 unique addresses, instantly making it one of the most decentralized projects in the DeFi ecosystem. Users all trying to claim their reward completely congested the Ethereum network once again, with gas prices soaring over 700 gwei per transaction, setting an all-time high once again. Details about the remaining distribution are beyond the scope of this article but are described in detail in the announcement post above.
To Sell Or Not To Sell?
As one would expect, the first reaction by many who managed to claim their reward was to instantly sell their UNI token, regardless of the price. Who doesn't like waking up to +$1000 worth of free money, not an insignificant amount for most crypto users around the world. The token price fluctuated between $2,5 and $4 yesterday, situating the market cap of the circulating supply between $150-300 million. An onslaught of small orders hit the market all day and it became clear that the market was able to easily absorb the incoming sales. The bigger players were accumulating UNI instead of cashing in their reward.
There was some evidence to suggest the UNI price could go higher. With an average daily volume of $350 million over the past month and an estimated annualized revenue of ~$450 million, a higher valuation for DeFi's favorite product could have been justified at a $250 million market cap, based on circulating supply at the time. With governance in the hands of the community, one of the first features likely to be voted in is turning on Uniswap's 0.05% protocol fee, good for ~1/5th of the protocols $450M project annualized revenue, according to an article in The Defiant. Speculating on the price of such a nascent asset is hard, but given that it is probable that value will accrue to the UNI token by having rights on a part of Uniswap's cash flow in the future, it could be an altcoin worth holding. The exponential growth DeFi and DEX's have seen over the past few months further supports this idea. I look forward to covering future developments of the protocol in this newsletter. See you next time!
Kraken Is Launching a Crypto Bank, Paving the Way for Possible Stock Offerings. Kraken, one of the earliest crypto exchanges, has received approval from the state of Wyoming to build the country's first crypto bank. The exchange will be regulated under a 'Special Purpose Depository Institution', a new structure that was specifically built for cryptocurrency companies. This structure will allow Kraken to offer certain bank functions to clients, like deposits, operate payment systems, and custody crypto for individuals and businesses. Read more.
Bitcoin Supply on Ethereum Tops $1b. More than $1 billion worth of bitcoin has been tokenized on Ethereum so far, or 0.42% of the total supply of bitcoin. This is another metric showing the insane growth of the decentralized finance (DeFi) ecosystem this year, as in January this year, only $7 million was tokenized. Sam Bankman-Fried, CEO of FTX said there was "huge buying demand" over the counter, started by the DeFi yield yield farming craze earlier this year. Read more
Coinbase Will Require Pro Customers to Pay Withdrawal Fees. Network costs, those of Ethereum in particular, continue to be elevated and in an email to its customers on Thursday, Coinbase Pro announced that users would have to pay crypto withdrawal fees based on an estimate of the network transaction fee going forward. Coinbase Pro took care of the fees themselves up until now and introduced this new rule to "ensure a smooth experience for our customers and reasonable transaction processing times. In certain circumstances, the fee that Coinbase Pro pays may differ from that estimate. All fees we charge will be disclosed at the time of your transaction." Read more.
LSE in Exclusive Talks With Euronext Over Borsa Italiana Sale. The London Stock Exchange Group has begun exclusive talks to sell the owner of the Milan stock exchange to rival Euronext, in a concession to secure approval for its $27bn deal to buy data and trading group Refinitiv. Euronext, which owns the main stock exchanges of Paris, Amsterdam, Dublin, Oslo, Lisbon and Brussels, pushed ahead of Germany's Deutsche Borse and Switzerland's SIX Group in the battle to win Borsa Italiana. Analysts estimate the Italian assets are worth about 3.5bn – 4bn euros. Although they are being sold privately, their sale has been a sensitive issue for the Italian government because they are regarded as key domestic infrastructure. Euronext said it planned to keep governance of Borsa Italiana in Italy and make an Italian its chairman. These were two of the preconditions Italy demanded to move forward on the joint bid, said two Italian government officials. Read more.
Trump to Block U.S. Downloads of Tiktok, Wechat on Sunday. The U.S. will freeze TikTok's app and ban some transactions over WeChat starting Sunday, Wilbur Ross said. The government will prohibit U.S. to U.S transactions related to WeChat and its parent Tencent but that won't impact activity in China. President Trump has provided until Nov, 12 for the national security concerns posed by TikTok to be resolved. If they are, the prohibitions may be lifted. Wedbush said it could be a 'Fort Sumter moment in the U.S./China cold tech war'. There were also responses from TikTok: "we disagree with the decision from the Commerce Department, and are disappointed that it stands to block new app downloads from Sunday and ban use of the TikTok app in the U.S. from Nov. 12," the company said in a statement. "We will continue to challenge the unjust executive order, which was enacted without due process and threatens to deprive the American people and small businesses across the U.S. of a significant platform for both a voice and livelihoods." Read more.
Chime Surpasses Robinhood as the Most Valuable U.S. Consumer Fintech. The fintech world has a new heavyweight. Chime, the startup that delivers banking services through mobile phones, has closed a fundraising that values the company at $14.5 billion, CNBC has learned exclusively. This makes Chime the most valuable American fintech startup serving retail consumers. Robinhood (the popular free-trading app) raised money last month at a significantly smaller $11.2 billion valuation. In this latest round, a series F that raised $485 million, Chime more than doubled its valuation from December and is worth almost 900% more than just 18 months ago, when it hit a $1.5 billion valuation. Chime will become 'IPO-ready' within the next 12 months, CEO Chris Britt said, although it isn't locked into going public in that time frame. Read more.
CLICK HERE FOR EARLY ACCESS
Andre has been a good friend of mine for years. He's honest, transparent and also an absolute shark in business.
Andre shares his journey on Crypto twitter, his trading background and how he started his successful company Chart Alerts. A very unique & useful alert tool for crypto traders.
He tells us about the shady groups from 2017, we discuss risk management and concealed job opportunities in Crypto and much more that makes this an episode you don't want to miss out on!
A bias for action is a trait that many successful people share, Waiting for the stars to align perfectly before making a decision puts us at risk of delaying our development, both in business and our personal lives. We should be able to make smart decisions even if we don't have all the available information or a lot of time.
Jeff Bezos, founder and CEO of Amazon, uses what he calls the "70% rule" for most decisions in a fast moving company like Amazon. There isn't a one-size-fits-all process for decision-making, but Bezos can make a distinction between reversible and non-reversible decisions. Almost every decision we make is reversible, and those should probably be made when we have somewhere around 70% of the information you wish you had. If you wait for 100% of the information all the time, people will be able to catch up with you and move at a faster pace in many areas of their life and business.
Don't be afraid to take risk. Accept that you don't have all the information and have a fallback strategy in place.
Warren Wags Watchdog
🏎 Shifting Gears
💸 Binance Processed $346 Million for Bitzlato

redpajama_set_name: RedPajamaCommonCrawl


text:
Published on Jamaica Gleaner (https://jamaica-gleaner.com)
Home > Editorial | Politics and the battle for Arnett FC
Published:Wednesday | July 5, 2017 | 12:00 AM
The battle for control of the Arnett Gardens Football Club (FC) is a manifestation of how politics and politicians, if given a chance, will infiltrate and ultimately take control of institutions of any kind, especially when they provide a platform from which to corral support.
That, essentially, is what Omar Davies, the former member of parliament (MP) for South St Andrew, achieved and what his presumptive successor, Mark Golding, is attempting to achieve. Although, to be fair to Mr Golding, he has wrapped his scheme of arrangements in a seemingly high-minded proposal for the professionalisation of the club and making it more accountable.
The context here is that football is Jamaica's most popular sport, and politicians, whenever the opportunity arises, attempt to get a piece of the action. It is not surprising that a substantial portion of the money parliamentarians siphon from taxpayers and into the trough called Constituency Development Fund goes to sponsoring or supporting community football tournaments that often bear their names.
At the elite end of the Jamaican game, Edward Seaga, the former prime minister, understood the manipulative power of football early. He was soon the boss of the Tivoli Gardens Football Club in his West Kingston constituency, which he parlayed into other top positions in the national game, which he continues to exercise well into retirement.
Mike Henry, the government minister, controls the Humble Lion Club, which has its home in his Central Clarendon constituency. For nearly two decades, until he retired as an MP a week ago, Dr Davies was publicly known as chairman of the Arnett Gardens FC, where he was presumed to wield authority. At least, his presence influenced that of some of the club's financiers.
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Mr Golding was chosen by the People's National Party (PNP) to succeed Dr Davies, in what is considered to be a very safe seat for the party. Mr Golding is apparently intent on overhauling not only things political in the constituency, but also football. He has talked publicly of a radical reorganisation of Arnett Gardens, including eliminating the role of the president, with the top position being that of chairman, which he would hold, and an operating board.
What he plans, on the face of it, is a clean corporatist structure, which would possibly improve the management of the club - and certainly keep Mr Golding in the marquee lights. Except that Patrick Roberts, a PNP local government councillor and officially Arnett's president for the past 17 years, accuses Mr Golding of overreach.
"The chairmanship is not transferable," he told this newspaper. "At least, not in the way Mark sees it."
NO RECOGNITION
According to Mr Roberts, the club's constitution does not recognise the post of chairman. The top position is that of president. Other key posts include vice-president, secretary, treasurer and team manager.
Dr Davies' position as 'chairman', Mr Roberts explained, was "awarded" to him because of his position as MP and considered as a "sort of senior statesman", who played no role in the day-to-day operation of the club. It is, therefore, not a position that Dr Davies can bequeath to anyone or Mr Golding can appropriate. And in any event, said Mr Roberts, Mr Golding isn't yet elected to Parliament.
If Mr Roberts and those who support him are on firm ground with respect to the letter of the constitution, its enforcement was weak. We don't expect there have been many formal and minuted meetings at which the re-election of officers or the appointment of an honorary chairman was recorded. And we know what they say about nature and vacuums.
The political mileage from running a successful football club apart, Mr Golding could be right about the needs of Arnett FC. But as a lawyer, he understands due process and the constitution. As a politician, he should also appreciate the value of saving face.
Source URL:https://jamaica-gleaner.com/article/commentary/20170706/editorial-politics-and-battle-arnett-fc
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Billie Goat Soap is famous for making soap for people with sensitive skin, and our Billie Baby range is an extension of this promise.
This plain bar does not have any colours or fragrance added, and remains completely hand-made using fresh goat's milk. Half of every bar is made from Australian virgin olive oil - leaving baby's skin feeling soft and moisturised. There are no colours or fragrances added.
The Billie Baby Cleansing Bars have the added benefit of Vitamin E - famous for its anti-oxidant properties.
One of the most appealing benefits of the Billie Baby Cleansing Bar is its size. Each gift box contains two bars cut to palm size. This makes it easy to hold baby in one hand and use the soap in the other. Our bars are a minimum 100g mass when manufactured (2 x 50g bars).


text:
Request: the-lakes-at-west-covina-lennar-starts-work-on-450-unit-res-project-in-the-san-gabriel-valley
Matched Rewrite Query: name=the-lakes-at-west-covina-lennar-starts-work-on-450-unit-res-project-in-the-san-gabriel-valley&page=
Home > News > In The News > The Lakes at West Covina – Lennar Starts Work on 450-Unit Res Project in the San Gabriel Valley
The Colony at the Lakes
West Covina, CA
The Lakes at West Covina – Lennar Starts Work on 450-Unit Res Project in the San Gabriel Valley
RENTV.com
Lennar Multifamily Communities has begun work on The Lakes at West Covina, a 450-unit luxury rental community with approximately 20k sf of ground floor retail and restaurants in the heart of Southern California's San Gabriel Valley. Designed by KTGY Group Inc, Architecture + Planning, The Lakes is a five-story mixed-use development in West Covina, adjacent to the 1.35 msf Westfield West Covina shopping mall and directly across the street of the Lakes Entertainment Center and Edwards West Covina Stadium 18 movie theatre. Lennar expects to deliver the first units by fall 2015, and full completion in fall 2016.
The new development is located on the site of a former Wickes Furniture store in West Covina. The six-acre site had previously sat vacant after the closure of the Wickes store in July of 2008 and again after Expo Furniture closed in December of 2012.
The Lakes at West Covina will feature one- and two-bedroom residential units ranging from 675 sf to 1.2k sf, a club room, a fitness room, and a resident co-working space. Amenities within the community will also include a bocce ball court, basketball court, a turf soccer sports field, a central courtyard with fire places and outdoor seating, and a resort style pool with fire pits, cabanas and chaise lounges.
Miami, FL-based Lennar Multifamily Communities LLC, a subsidiary of the leading housing developer Lennar, purchased the property in 2013. The Lakes at West Covina is one of eight multifamily developments currently in their southern California portfolio.


We provide florals that fit the occasion, are aesthetically pleasing, long-lasting and complement the setting.
Event flowers: These flower arrangements can be small or very large. Often there is a number of tables plus, a stage or event space to be decorated with a variety of floral designs. Centerpieces or wreaths and garlands are just some of the items that would fall into the category of event flowers. Personal flowers such as boutonnieres or corsages or head wreaths might also become part of this type of flower need. Weddings, anniversary parties, business or charitable organization's luncheons, appreciation dinners are some examples.
Subscription flowers: This type of flower order is sure to take the ordinary out of every day! YOU decide the interval (every week, twice a month, monthly - whatever the time span is you decide) at which flowers are going to be delivered to your home or business. You decide how much money you want to spend and there will be flowers around you throughout the year. If you like variety they can be different each time - or, if you like consistency, we can deliver the same ones each time and make it look as though they last forever! We will bring an arrangement in a fresh container and pick up the one from the previous delivery. You will only pay a small rental fee for a container the first time and if you decide to keep one or break it. Pamper yourself or someone you love or would like to impress with making flowers part of your life every day!
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What do we provide? Too easy to say whatever you want, but we do try and give you what you'd like or need!
Coordination of all that is floral with the host or hostess, wedding/event planners, stylists, venue management, caterers, vendor staff, clergy, funeral home directors and others - whatever we can do to make it easier for you!
Our delivery charge is $15 for the first 10 miles and $1 per mile additionally thereafter. But you are welcome to pick up by appointment and add extra flowers instead of spending extra dollars on delivery.
Flowers come in all sizes and prices. We work with your budget and collaborate with charitable organizations in service of others as much as we can on our pricing.
Subscription deliveries are made in different kind of containers/vases/vessels to best match the arrangement. You pay a rental fee one time only and then return the container at the time of the next delivery and your subsequent containers are free loaners until the next delivery. If you like a certain container just too much to return it or break it we will charge an appropriate fee and it's yours to keep.


text:
Vacuna contra COVID-19 provoca algunas muertes en Noruega
Navistar to shut down, lay off workers and sell its 84-acre manufacturing facility in Melrose Park, which is set for redevelopment
CPS head says she wants to compromise with teachers but in-person classes must remain an option. CTU says time is running out for an agreement.
Cook County watchdog report finds former Stroger Hospital nurse was high during emergency room shift from eating cannabis
Forte confident of Emery's plan to rebuild defense
By By Rich Campbell and Tribune reporter
Chicago Bears' Matt Forte celebrates a touchdown. (Scott Strazzante / Chicago Tribune)
Running back Matt Forte no doubt is pleased the Bears are bringing back cornerback Charles Tillman and he hopes defensive tackle Henry Melton will return too.
In any case, he has confidence in general manager's Phil Emery's plan to rebuild a defense that allowed more yards last season than any in team history.
"We love those guys," Forte said Thursday of the free agents. "As a player, you want to see a team stay loyal to them. If it wasn't for injuries (including those of Tillman and Melton), we would have had a heck of a defense last year."
Forte has monitored the Bears' activity in free agency so far and is encouraged by the signings of defensive ends Lamarr Houston and Willie Young and safeties Ryan Mundy and M.D. Jennings.
At the front of his mind is how Emery's offensive line overhaul last offseason helped him make the Pro Bowl in 2013.
[Most read in Sports] Javier Baez, Kris Bryant and Willson Contreras sign 1-year deals with the Chicago Cubs, avoiding arbitration »
"I think Phil is doing a good job," Forte said at an appearance for his new charitable foundation. "Everybody knows that last season he shored up the offensive line, and so you kind of got to start there with our defense now. We've been piecing it back together. Hopefully in the draft we get a couple guys that can contribute early.
"Phil is very, very intelligent. He does a lot of scouting on his own. He used to be a scout. He knows what he's doing when he's evaluating talent. It's not like he watches some guy for a little bit—he really studies them. So he knows what guys are going to best fit our defense as a whole and piece it together. He did a great job knowing Coach (Marc) Trestman and knowing what parts we needed and getting those. And knowing (defensive coordinator) Mel Tucker, he's going to get the parts we need for that, too."
Forte's 1,339 rushing yards and 594 receiving yards last season were career highs. As the defense undergoes significant changes, he smiled Thursday at the thought of all 11 starters returning to the offense.
"First time that's ever happened to me in my career here," he said. "They always say, 'This team will never be the same after this year,' and it won't because guys leave and guys come in. To have the entire offense back to start off is crucial."
He pointed to the group of offensive players training together in Florida this week, including quarterback Jay Cutler, receivers Brandon Marshall and Alshon Jeffery and four-fifths of the offensive line.
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"That's the thing about our group, having the whole group back—all those guys are down there bonding together," he said. "We've never had that before."
Forte missed the Bears southern gathering partly because of work for the Matt Forte Foundation, which he launched this offseason to help fund higher education for Chicago high school students.
Six seasons into his tenure with the Bears, Forte was struck by the correlation between dropouts and incarcerated teens in Chicagoland.
"If they're dropping out, they're (committing) crime," he said. "So if I could do something to get scholarship money for these kids to continue their education—a lot of them can't afford it. They can go to culinary school or trade school or even universities; then it would help cut down on the dropout rate and decrease crime."
The foundation's inaugural fundraiser, called A Run For Our Future, will take place March 30 as part of the 2014 Shamrock Shuffle 8K race in Grant Park.
[Most read in Sports] Low-risk high school sports return in three regions, but basketball and football remain in limbo. 'Maybe the season gets pushed back,' IHSA says. »
Runners can sign up to be part of Forte's team, with donations and raised funds going to Bears Care to assist Forte's foundation. For more information, click here.
Forte's foundation is also planning a celebrity home run derby in Schaumburg in June.
"At that age, like 18-19 in high school going to college, it's a real impactful time, or even when you get to high school and all the way through, there's a lot of influences," Forte said. "Somebody's life could go (up or down) in a matter of years. It's really hoping to impact the community, one high school kid at a time, really."
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Two Bodies, One Job
Why academic couples struggle to find work in the same cities.
By Matt Reed
Oct 03, 201312:31 PM
Love may not tear academic couples apart, but their distant jobs might.
Photo by Viki2win/iStock/Thinkstock
This article originally appeared in Inside Higher Ed.
Folks who have been following the academic labor market for some time are familiar with the "two-body problem." It's an inelegant term for the difficulty that couples have in finding good jobs for both people that are geographically close enough that they can continue to live together. Given the shortage of full-time academic jobs, couples are frequently put in a position where they have to choose between serious underemployment for one of them and living separately.
Rebecca Schuman's recent post on a job listed at Sewanee is well worth reading. Among other things, she notes that the two-body problem is only a problem for people who have partners who don't stay home; whether intentionally or not, it rewards the single-earner family. She further notes that faculty from racial or cultural minorities can easily find themselves severely isolated at many rural jobs, so in effect, they face an even more constricted market than they otherwise would. (Schuman is especially good on this point.)
That's not the fault of any particular college, but the impact adds up over time. For graduate students and new doctorates who aren't superstars from superstar pedigrees, there's a clear expectation that the only way to be seriously competitive is to be hypermobile. Go wherever the opportunity is, all else be damned.
But that's a tough way to live a life. In the discussion to the piece, some readers noted that similar demands are made of military families, although one could probably argue that the military is far more upfront about it. (It also has a significantly earlier retirement age.) I'd be surprised if most prospective graduate students were apprised of just how mobile—and therefore unattached—they'd have to be. That's tough to ask of people in their late 20s and early 30s, which are classic family-formation years.
The bad news is that location issues don't really go away after that. In the community college world, it's rare to hire faculty directly at senior levels with senior-level pay. Someone who starts here at age 50, with decades of experience, does not make what someone already here with the same age and experience makes. (They'll get more than a rookie, but not as much more as you might think.) In effect, that means that once you're well into a system, you can't leave without either changing roles altogether—going into administration, say—or taking a significant pay cut. If you have kids who are hurtling toward their own college years, a significant pay cut can be a deal-breaker.
The market for administrators is also national. Sometimes moving up requires moving out; at that point, you have to decide how much you're willing to put your family through (and you should expect your family to have some opinions on that). If you have school-age kids, you don't pull up stakes without feeling it. Add the two-income issue, and the pull of rural locations gets that much weaker. In a rural setting, it's unlikely to find two jobs; if one of them doesn't work out, for whatever reason, it's nearly impossible to recover without moving.
In a less straitened market, having options around the country could look like freedom. But when options are few and far between, that kind of freedom looks more like desperation. It's one thing to daydream about the wide open spaces of Montana before snapping back to reality and applying nearby; it's quite another when Montana (or wherever) is the only option.
In grad school, I remember absorbing by osmosis the lesson that if you were truly "serious," you wouldn't think twice about applying nationally. Acting on some sort of preference for place, or even region, was considered selfish, and reaching above one's station. At 22, I didn't think much about it; I was young and single, and the sheer brutality of the market hadn't hit me yet. At this point, though, I would not—and do not—advise my kids to follow in my career path. Life is too short for nomadic monasticism, and wanting a family you actually see doesn't make you less intelligent or less capable. The core of the two-body problem isn't the second body; it's the missing job. I hadn't figured that out yet at 22. I hope someone tells this generation before it does anything stupid.
SEE ALSO: How the Government Shutdown Is Hurting Academic Research


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The Five: Believing in TheatreFirst
Anthony R. Miller checks in with a recap of TheatreFIRST's grand unveiling.
Hey you guys, about a week ago I was lucky enough to attend the season kickoff party for TheatreFirst in Berkeley. There were cool people, a giant platter of lunch meat, and some exciting announcements. If you weren't there or had too much free wine and can't remember the details, I'm here with some highlights. Predictably, there are five.
While TheatreFIRST is not a new company, they taking a step in a bold new direction: with a new Artistic Director, a season of commissioned plays, and a mandate that most of us in Bay Area theatre have talked about, had endless diversity forums on and said needed to happen. This mandate is to do theatre that reflects the actual world. TheatreFIRST is committing to aggressive diversity. At least half of all board members, admins and artistic staff MUST be women and two-thirds must be people of color. What makes this so exciting is that they aren't planning to do it by 2025, or calling it a goal to strive for. It's a mandate; it's happening. Instead of saying it, they're doing it.
The Live Oak Theater is tucked away in one of the fancier parts of Berkley, nestled in a pretty neighborhood and next to a pretty park. Yes, it's the Berkeley we're thinking of when we make fun of Berkeley. Make no mistake: this is a community theater that is not only dedicated to serving members of the theatergoing community, but also the theatre-making community. Subscriptions are super affordable and special $60 "Full Circle" Subscriptions are being made available to theatrical artists, which is pretty darn reasonable. Another big nod to the community is that beginning this summer, the Live Oak Theater will be made available FOR FREE during the day to all community theatrical artists. The idea is to have a group working in one corner, another on stage, another having a meeting in the new café. In a time where facilities are a big expense for any group, this is an incredibly generous thing. It is clear that T1's goal is to make their venue a hub for art and community.
TheatreFIRST'S new season will consist of 4 brand-new commissioned pieces, all created by local theatrical artists. The first is Bagyo, by Rob Dario, inspired by Shakespeare's The Tempest and giving a startling vision of the culture wars in Southeast Asia. Next up is VS., an exciting new musical written by Cleavon Smith, Stephanie Prentice and Reggie White, telling the story of Colonel Tye, a black man who escaped slavery and fought for the British in the Revolutionary War. Beneath the Tall Tree by Adrienne Walters and Jeffrey Lo tells the story of one woman's quest to literally dig up her grandfather's history and with it, a connection to her culture. The season ends in May 2017 with Hela by Lauren Gunderson, which explores the fascinating story of Henrietta Lacks. Want more info ? Go to www.theatrefirst.com and learn all about it.
I am not much of a party person, but I must admit, I had a swell time. Maybe it was the super welcoming vibe, the feeling of something very exciting and real happening, maybe it was realizing I have some really cool neighbors, or maybe it was the free wine. But when we left that night, we couldn't wait to come back.
The Guy
One of the more exciting moments of the night was to see the staff and board of TheatreFIRST standing together on stage with their new Artistic Director, Jon Tracy, at the helm. Jon is one of the most creative, kind, hardworking, community-minded people in the entire Bay Area. I have been a friend and fan of his work for a very long time and not only does he deserve this, but you just know he's going to foster something special and exciting. So jump on the website, head out to wooded glen of North Berkeley, and get ready to see an exciting new voice in Bay Area theatre. They're presenting a season of shows that at its core are great stories and committing to the diversity we all want to see on stage.
Anthony R. Miller is a writer and producer, keep up with his projects at www.awesometheatre.org and on twitter @armiller78.
Leave a comment Posted in The Five Tagged Adrienne Walters, Berkeley, Cleavon Smith, diversity in theatre, Jeffrey Lo, Jon Tracy, Lauren Gunderson, new plays, Reggie White, Rob Dario, Stephanie Prentice, theatre, TheatreFirst
The Real World – Theater Edition: Interview with David Molina
Barbara Jwanouskos interviews David Molina, composer and sound designer.
I met David Molina a number of years ago when I'd first moved back to the Bay and had stumbled into doing sound tech after teaching myself how to dj. Yvette Jackson connected me when the production that David was working on needed a substitute tech for rehearsals. It was a paying gig, and I remember being like, "What? You can get money for doing this??" From just stumbling in so haphazardly into sound design, until I met Jackson and Molina, I was unaware of how much work, but how fascinating sound design could truly be. Even as a tech, it was hard not to get drawn into the world because of the sound. Anecdotally, David also had a way of documenting what he needed me to do as a tech with volume, fades, starting/stopping tracks, that was very specific using notation — it was like reading music — and it was extremely helpful in knowing exactly how the sound should be played at the specific moment in the play.
David has had his described as hauntingly beautiful, which I feel is a great description of what it's like to hear his music, soundscapes, and creations. They are multi-layered, dense environments that draw from a wide variety of instruments, techniques, and collaborators, so that experiencing it feels very immersive.
I've kept up with David's work and have been inspired by the multiple hats he wears and also how creatively productive he keeps himself. Definitely something I also aspire to strive for with my own craft. David has a couple performances coming up at the San Francisco International Arts Festival and I reached out to see if he'd be interested in an interview. I was lucky enough to catch him as he geared up for these next events. Here is the interview for your enjoyment.
David Molina
Barbara: Tell me about your background as an artist. What's your trajectory been like? And how did you get into creating sound and music? What's your style?
David: I am a composer, multi-instrumentalist, sound artist/designer, recording engineer, music producer, and instrument inventor. I have created music and sound design for the performing arts, film, radio, video, and multimedia installations and productions for 20 years. I have played music since I was a child, and was a classical guitarist since age 12 through my mid to late 20's. I have always loved music soundtracks and sound design in film. As a kid I dreamed of scoring a feature sci-fi film. While studying music at Sonoma State University I got into experimental music, music of the world, and studio production. In 1996 I ended up working in theater as a complete accident when I met director Roberto Gutierrez Varea. He was teaching theater at SSU. He needed a composer for a production, but didn't want a student composer. He wanted a pro, but there was no budget. Someone passed off a tape of the music I was making at the time and he loved it. I figured theater would be a great way to learn scoring to a story, and I could transfer my skills to film scoring. Twenty years later I have been Roberto's main composer and designer for almost every production he directs.
Barbara: I'm curious about the many hats you wear as a composer, performer, collaborator with theater, dance and performance art. How do you approach these various roles?
David: Every gig I do is a learning experience and a chance to do something new. If I really like a project, I am down for anything as long as my schedule allows, or if the compensation is equal to the workload. So yes, time and money is a factor in how many hats I can wear in a production. I think a lot of people, even in theater do not realize how much time and work goes into even making one minute of music, or sound design from scratch. This is particularly relevant with today's download/instant gratification culture. I have to admit I hate the term, "Sound Design" in theater, and prefer the titles, "Composer" or "Sound Artist", because often in theater, people think a sound designer is just collecting and editing found music and sound effects. I, and many other composers I know, make everything from scratch. So it's always a dragged when an audience or especially a cast member says "Cool sound design, whose music did you use?" All hats I wear in production get equal weight. I like my sound design to also have a music quality, or character spirit to them. If I am performing live it is a lot more work, because I have to be a rehearsals a lot more. But I can also change things on the fly and improvise more during a show. Happy accidents happen that can be reused again on another show. In film, dance, performance art, I feel there is a lot more equal value for music, and more room for experimentation. In theater, or at least in traditional text based theater, music ends up in the background and has a lower priority amongst all the theatrical elements. This also depends on the director though. I enjoy working with the ones who like to take risks, and trust in my skills and craft.
Barbara: What are you thinking about when you collaborate with other artists? For instance, performance. How are you thinking of music and sound in this context and what is that you do to make it an active element of the experience?
David: When working with people who know and trust my work, or have a history with me, it is often a free flow of ideas back and forth. With these long time collaborators it feels like we can read each other minds. Working with new directors or artists can be a little nerve wracking, because we don't know how each other works, what we both like, or don't like. It's kind of like going on a blind date, but you're stuck with them for a month or more. Trust has to be established first. I prefer to work with people who have good music tastes or vocabulary. It helps communicate ideas before going into production. I hear music and sound as the invisible character of a play, or production. It is the heartbeat, emotional/psychological landscape, and the inner spirit of the production.
Barbara: You have a couple shows coming up and I'm hoping you can talk a little about them. What are you looking forward to?
David: I produced two shows for the 100th anniversary of the DADA movement, featured at this year's SF International Arts Festival, in Gallery 308.
The first one is Dada Explodes: A Cluster of Sound, Light, and the Absurd, on May 28 at 8:30pm. It features:
-my experimental rock band Impuritan and filmmaker Anna Geyer with sonic and visual journey through life, death, love, hate, matter, space, evolution and extinction. Impuritan's epic compositions blend psychedelic, ambient, punk, noise, shoegaze, and surf/post/space rock. Geyer creates kaleidoscopes of color and surreal landscapes with hand-processed 16mm film loops, mixed on three projectors.
-Sound artist Loach Fillet and video artist Flower Pattern emanate a wall of throbbing sound and visuals.
-Actor/Comedian, Edna Mira Raia, hosts the evening as Hillary's Radio Show. Audience is encouraged to wear Dada Attire or costumes.
The second show is: Duets in The Key Of DADA, on June 2, at 8pm. It is an evening of improvised duets in the spirit of DADA. Opening will be composer, electronic musician, and trumpet player, Yvette Janine Jackson, with me on electric guitar and effects pedals. Second set features me on Rusting Souls, a modified, electromagnetic hammered dulcimer while Jackson loops and sonically manipulates my performance. Closing will be the Ackamoor/Molina Duo, featuring avant-spiritual jazz saxophonist Idris Ackamoor, founder of the legendary Pyramids. The duo performs ritualistic cleansing ceremonies in the form of music and play multitude of traditional and invented instruments, which are processed with electronics.
I look forward to both shows being mind bending, trance inducing, spiritual experiences. Each in their own unique way.
Barbara: What is it like to work with Idris Ackamoor and Yvette Janine Jackson? As musicians what are you looking for in the collaboration? And then does the performance aspect figure into what develops?
David: Working with Idris is always a deep experience. I am truly humbled to be working with him musically over the past two to three years. We both come from different music backgrounds and histories, but our sets intersect in experimental, ambient, free-jazz, blues, and global ethnic and indigenous music. Audience members say our live sets are "an intense, spiritual, meditative, ritualistic, trance-inducing musical journey". We both play a multitude of traditional and invented instruments. I loop and process our instruments using the software Abelton Live to create sparse to dense layers, which range from hauntingly beautiful and meditative, to dark and unnerving soundscapes. Ackamoor uses his array of instruments anchored by his signature alto and tenor saxophones emphasizing extended range, explosive multi-phonics, lyrical beauty, and intense "outside" playing. The combination of our vast collection of instruments and technology makes us sound like four piece band, than just a duo. Because we mostly improvise, every show we do is different. Even when we plan a skeletal map, the spontaneity takes us into unknown territory. That's when the magic happens.
The same is true with Yvette, though we both use more electronics. I have known and performed with her since the late 1990's. We have played all kinds of music together, especially experimental and electronic music. She has been tearing it up in the music world (see second to the last question).
I am excited, and nervous, about our collaboration as we will literally have only one day to meet before the concert. It will be very Dada improvised, but beautiful as always.
Barbara: Tell me about being an artist in the Bay Area. What makes it unique?
David: It's tough with this entitled rich techy environment. I find myself working twice as hard now to make ends meet. SF has turned into the playland of the young and rich. It has killed our arts music scene. We have lost many venues, and a lot of great artists I know have been evicted. Fortunately Oakland has it going on, but I hear that gentrification is happening there too.
Fortunately I also do work in other cities in the U.S.
Barbara: Is there any direction that you would like to scene grow into?
David: I would like Bay Area theater to take more risks and not be so word based. Theater is a multi-dimensional beast with many moving parts and creative elements that make a script live and breathe. If one only cares about the words then you snuff out all possibilities. You might as well produce novels if the words only matter to you. I also want to see young folks and people of color in the theater. This may be due to our lack of arts in the public school systems. But theater companies need to reach out and make productions that connect with youth and P.O.C. otherwise. The scene will die with the elderly audience.
Barbara: How about you – what interests you creatively as potential next projects or influences?
David: The majority of my work addresses social justice issues: ranging from racial profiling, police brutality, migration and immigrant rights, border crossing, the U.S. prison complex, the environment, and imperialism. I also love sound as music, music which breaks genres, and stuff that is psychedelic, hits an emotional nerve, or has spiritual element. I love working on productions that blur the line of theater, dance, and film. Immersive multimedia pieces that include video, or are audience interactive are right up my alley. Finally if time and funding allows, I am always thinking of new instruments to invent.
Barbara: I'm really interested in what you said about creating work that addresses social justice issues. Out of curiosity, or maybe just speaking logistically, what are you doing with the music to reflect these issues? I'm really curious about this especially since you are not using words and I'm maybe more familiar with how one could do this with that tool.
David: In the social justice aspect, I mean the productions I work on, or collaborators I work with, address these topics. Sometimes I interview and record people who are experiencing or have experienced some kind of social oppression, and then remix them into the music. I take the interview and edit them down into sound bites, or key statements. These are then triggered on the fly in a live performance on ABLETON LIVE, or used in a sound design with pre-recorded music in QLAB.
Barbara: You also alluded to instruments you've created – this is so cool. Can you describe one as an example?
David: Yes, I make instruments that are made all from salvaged and found material. I go to junk yards all around the bay area, and create massive instruments that live in Gallery settings; here is snippet from my bio:
"In 2010 he began inventing instruments from salvaged and discarded materials. These became interactive, multimedia pieces displayed at SF bay area galleries and festivals, including Mcloughlin Gallery (2015); a solo exhibit, Transience: The Work of David Molina; Asterisk Gallery SF (2013); and SOMArts (2012)."
Rusting Souls II at Gallery 308
Here are links with photos and video, and descriptions of two of my instruments:
Memory Web: http://drmsound.com/memory-web
The latest is Rusting Sould II, on display at Gallery 308, Fort Mason, right now through June 5th.
Barbara: Any advice you would give to people who want to do what you do?
David: Sadly musicians can't make a living the way we used to. Everybody wants it for free, and tech companies like Pandora and Spotify are literally stealing any royalties musicians and composers used to see. The only way to make a living is to tour, sell limited unique merch, and license your music to film or TV. I ended up doing live sound engineering, studio production, and sound design as a way to fund my artistic music endeavors. I also teach at Brava and private clients.
You got to hustle to survive in this expensive city. Don't let anyone keep you down, or say you're crazy. Most 9 to 5rs don't get what it is like to be a full time artist. They think it is easy and not real work. They couldn't handle two weeks of my busy schedule. But you got to be a little crazy to follow your passion, and make a lot of sacrifices. When it comes to theater (unless you are working with a cool director or tech staff) expect music and sound to be low on the totem pole. Any Sound Designer will tell you the same. Most people don't realize how much work it takes to just produce one minute of music our sound.
Barbara: Any plugs for friends' work or your own that's coming up?
David: My band Impuritan is doing its first east coast tour from June 7 to the 18th! More info at www.impuritan.net.
Some of Yvette's Jackson's recent projects include: a residency at Stockholm's Elektronmusikstudion (EMS); the premiere of This is Radio Opera at Audiorama Stockholm; Soldier, a 5-day immersive cinematic installation for the Recombinant Media Lab at Qualcomm Institute's Calit2; and Invisible People (A Radio Opera). She was selected by the American Composers Orchestra to participate in the third Jazz Composers Orchestra Institute and awarded a reading of her composition Atlantic Crossing by the Naples Philharmonic.
Idris Ackamoor and The Pyramids, (with whom I also perform with) have just received worldwide rave reviews for their latest album "We Be All Africans". I also contributed to the album. Some reviews are in Spin, Rolling Stone Monocle, UnCut, BBC radio, NPR, MTV, The Wire, etc.!
I also co-produced "Cuba Ra" with Idris, for Gilles Peterson's "Rumba" remix album!
Barbara: Is there a piece or music or sound you've created that you've created that we could listen to?
David: You can listen or see my work at http://www.drmsound.com. I been so busy that I haven't had time to update new material. The stuff on my site is about two to three years old.
David is performing this weekend at the San Francisco International Arts Festival and has other projects in the works. For more information, see his website, here.
2 Comments Posted in The Real World Theater Edition Tagged Ackamoor/Molina Duo, Anna Geyer, Barbara Jwanouskos, composer, Dada, Dada Explodes: A Cluster of Sound Light and the Absurd, David Molina, Duets in the Key of DADA, Flower Pattern, Gallery 308, Idris Ackamoor, Impuritan, Loach Fillet, musician, Pyramids, Roberto Gutierrez Varea, Rusting Souls, San Francisco International Arts Festival, sound artist, sound design, The Real World Theater Edition, Yvette Janine Jackson
Hi-Ho, the Glamorous Life: Live Nude Feminism
Marissa Skudlarek, walking the talk.
Don't ever say that I can't both talk the talk and walk the walk. I spent Saturday evening posting on Twitter and Facebook about casual sexism in local theater, and Sunday evening attending a fundraiser for the feminist theater organization DIVAfest. Saturday was about getting irritated over the persistence of inequality; Sunday was about reminding myself that there are plenty of people trying to find solutions to this problem.
The sexism that I see around typically isn't outrageous misogyny – it's subtler than that. It is a worldview that devalues women's contributions and stories, that refuses to consider their perspectives worth presenting or their money worth having. I'm thinking of things like a glowing review of Maggie's Riff, at FaultLine Theatre, that initially neglected to mention or credit Nicole Odell, who plays the title role. (Editor's note: as of midafternoon on 5/26/16, a few hours after our piece went up, the review has been updated to mention Odell.) And also of the latest marketing copy for the Speakeasy, as it seeks a final round of funding before it re-opens in North Beach in August. The Speakeasy producers are very pleased to tout the "one-way mirror into the chorus girls' dressing room" as one of the major highlights of the show, yet they make no equivalent promise of voyeuristic eye candy for those of us who prefer handsome fellas to lovely ladies.
Let's be clear: I'm not against sexy fun, or scantily clad women. In fact, DIVAfest, the organization I supported on Sunday night, has a strong sideline in naked ladies. It produces a monthly burlesque variety show, Diva or Die, and a larger theater-burlesque fusion show once a year. Indeed, it was DIVAfest's Hotel Burlesque show this year that finally convinced me of the truth of something I'd often heard said: that neo-burlesque can be a feminist and empowering genre, rather than a misogynistic male-gazey one. In Hotel Burlesque, the cast featured six lovely ladies and one female impersonator, so just about every moment of the plot passed the Bechdel Test with flying colors. It transported me into a sparkly, glamorous, female-led world and showed me that striptease can be about more than just titillation. A female thief reveled in her crimes as she stripped off all her (stolen) clothing. Nudity was used to represent the anguish and vulnerability that an alcoholic feels when faced with the temptation to drink, or a battered woman feels when recalling her abuser.
At the DIVAfest fundraiser party, Amanda Ortmayer introduced a performance by Red Velvet and reminded us that burlesque artists appreciate vocal approval: applause, whooping, cheering, were all encouraged (and plentiful). And, as Red Velvet tap-danced, shimmied, and stripped down to her thong and pasties, the lights in the main room remained on. I liked that; it kept things honest. It eliminated some of the creepy power dynamics that can arise when a woman takes her clothes off for the entertainment of others, because, as we watched Red Velvet, she could also watch us. She could see our faces and discern whether or not we were having a good time, and also hear our joyous and vocal appreciation. And I can't help, again, contrasting this with the way the Speakeasy is presenting female nudity: spying on "hot chorus girls" from behind the anonymity of a one-way mirror.
A lot has been written lately about the masculinity and "bro" attitudes of start-up culture in the Bay Area. In many ways, the Speakeasy seems to be positioning itself as a theater start-up. It's thinking big: it wants to disrupt live entertainment in San Francisco and then spread out across the country. It is soliciting money according to a new model called "equity crowdfunding" (I'm a little confused as to how this differs from traditional for-profit, Broadway-style funding, but no matter) and, with a minimum investment of $2000, it's clearly aiming for high-roller donors rather than the $25-$100 donations that make up the bulk of a typical Indiegogo or Kickstarter crowdfunding campaign. In 2014, the Speakeasy's expensive tickets and lack of discounts meant that the show was very popular with the tech crowd while remaining inaccessible to the kinds of people who are getting priced out of this city. And, yes, the Speakeasy seems very, very male. The three founders are all male. The website copy has a persistently male point of view, and not just in its references to the chorus girls and the one-way mirror. For instance, when giving examples of some of the costumed characters that audience members can pay to play, both of the examples they give are male.
Meanwhile, DIVAfest hosted a traditional nonprofit-theater fundraiser last weekend: finger food, raffle tickets, and performances, in a board member's fancy house that was donated for the occasion. I hope it was successful, and it was certainly quite glamorous to watch the sunset from a North Beach rooftop deck, eating delicious food among nicely dressed people. But it cannot change the fact that DIVAfest is a small, indie, shoestring operation, run out of a Tenderloin theater that has miraculously weathered all the changes to San Francisco in the last thirty years.
I know there is a place for people like me at DIVAfest, but, as a feminist woman, I have a hard time imagining that there's really a place for me at the Speakeasy. And, while I'm grateful that organizations like DIVAfest exist, I'm also bothered that they feel like such small, precarious members of the arts ecosystem. The Speakeasy caters to the male gaze and raises $3 million in venture capital funding and becomes the subject of glowing media profiles; DIVAfest provides a counter-narrative and a place for women, and is relegated to the fringes. I said before that sexism in the 2010s tends to be subtle and insidious. Well, here's another example of it: is it fair that the men get the big dreams and the big bucks and the naked ladies, and we women get to play out our stories on a much smaller stage?
Marissa Skudlarek is a San Francisco-based playwright, arts writer, and feminist. Find her online at marissabidilla.blogspot.com or on Twitter @MarissaSkud.
2 Comments Posted in Hi-Ho The Glamorous Life Tagged Amanda Ortmayer, Bechdel Test, burlesque, crowdfunding, Diva or Die, DivaFest, equity crowdfunding, Faultline Theater, feminism, Hi-Ho The Glamorous Life, Hotel Burlesque, Maggie's Riff, Marissa Skudlarek, Nicole Odell, nudity, Red Velvet, The Speakeasy
Cowan Palace: Find Your Biggest Fan
Ashley encourages you to find your biggest fan and hug them until they force you to stop it.
Katelyn and Ashley… while Ashley's in a show playing The Maid Of Honor! Weird!
My sister is getting married on Saturday so my mind has been running in an endless list and I've been staying up late pretending to work on my Matron of Honor speech. There's just so many things I want to say and know that I can't possibly articulate about the whole thing so I end up writing a word and then distracting myself with House Hunters reruns. That scripted dialogue about buying a home is oddly soothing sometimes.
But I got to thinking about an old joke my sister and I have; I honestly can't remember who first titled her as my "biggest fan" but she's been lovingly teasing me with that title whenever it seems like a funny time. In her college dorm ten years ago, she hung up the new fancy New York City headshot I used all my savings to take and then print, and put on a star on it, declaring herself Ashley Cowan's biggest fan. It was awesome. I felt like I had made it.
My sister Katelyn has been the best biggest fan. She's seen me in more shows than anyone else, even ones I may have been less proud of… She's seen me play all of the female characters in Tony n' Tina's Wedding (which, come on, that's a lot of interactive performance to willingly endure). She's honest when I need the feedback but terribly kind with it because she knows I'm sensitive. She's the one who I ask to bounce things off of when I'm encountering a writer's block and often she makes me go around the block by suggesting a brilliant new path. I've even sent her several Theater Pub blog entries before I send them off to Stuart just so I can get an extra pair of eyes on my latest words.
Katelyn's also the one I text before I buy almost anything just so she can tell me if it's cool or not. My knowledge of makeup and fashion trends is almost 100% based upon those text exchanges punctuated by various emoticons. But for me, I need my biggest fan to keep up my star identity.
So Katelyn, even though we joke about the term, I thank you for the pushes to keep doing the things that I love; to have the courage to audition, to actually write the ideas that seem silly or stupid in my head; to keep reaching for my place in the stars. I'll never be able to express enough gratitude for it.
And to everyone else, I say, go find your biggest fan! Thank that person who believes in you, loves you, and makes you better than you are. Give them a hug or like, a winning scratch ticket, they've earned it. Sure, we should all strive to be our own fans but finding your very own biggest fan? Well, there's nothing quite like it. Now excuse me while I pause House Hunters and attempt to write some more words for my sister, my friend, my fan.
Leave a comment Posted in Cowan Palace Tagged Ashley Cowan, Cowan Palace, emoticons, fan, House Hunters, Katelyn Cowan, matron of honor, Theater Pub, Tony 'n' Tina's Wedding
Working Title: Loquacious Lucania, How Many Degrees Is He Away From You?
This week Will Leschber speaks to Carl Lucania about all Six Degrees of Separation…
As you all know, dear readers, usually we crack this blog open with a fun diatribe about a current event or some personal goings-on, then loosely shoestring-link it to a current SF play and top that sucker off with a perfect film pairing to whet your insatiable appetites. Who doesn't like structure! It's fun, right?! Well, blog fans, let's just forget the formalities this week and jump neck-deep into Custom Made Theatre's production of Six Degrees of Separation, directed by Stuart Bousel.
I reached out to Bay Area actor and all-around stellar human being Carl Lucania about a film suggestion, as I'm wont to do. Instead of sending a single, well-crafted sentence and being done with it, Carl had the grace and good humor to send over a comprehensive five paragraphs and eloquently over-achieve. Carl, you are my hero! Since he can turn a phrase better than this little blogger, let's just let him do the heavy lifting. The loquacious, learned Lucania not only provides a perfect intro to John Guare's play, but also throws in film pairings AND a few cross-disciplinary recommendations spanning literature to fine art. Whew! Sit down and listen up; class is session! …You best just read on, folks.
Take it away Carl!!!
Six Degrees of Separation covers a lot of ground. At the face of it, it's a story of a middle-aged, upper-middle class white couple in early 1990s Manhattan whose world gets turned around when a young black man, pretending to be Sidney Poitier's son, insinuates himself into their lives. Within that framework there's a a lot of commentary on class, race, art, and both personal and world politics. And it manages to do all of this in a very succinct, smart, and entertaining 90 minutes.
One of the main themes we talked about when we started working on it was duality: how a story is perceived is entirely up to the person perceiving it — so there isn't just one reality or story. As Americans, we're told that we can be anything we want if we're smart and work hard. And this story turns that ideal on its head. The central character is very smart and works very hard. But is he just a con man? Or is he living the American dream of bettering himself? And it's the same duality with art: is Duchamp's Fountain a brilliant work? Or is it just a porcelain urinal in a museum?
One movie that comes to mind is Mike Nichols' 1988 comedy, Working Girl. For one, it puts you in Manhattan right around the same time period and it also explores a similar theme of someone very clever attempting to jump class by pretending to be something she's not. And they manage to work quite a bit of social commentary about being a woman in a man's world into a fairly standard rom-com with Melanie Griffith, Harrison Ford, and Sigourney Weaver. Plus it has Joan Cusack in one of my favorite portrayals of a big-haired, big-mouthed girl from Queens.
If you want to get cross-disciplinary in your preparation: go stare at a Kandinsky or Hockney at SF MOMA, listen to a recording of Andrew Lloyd Webber's Cats or read Salinger's Catcher in the Rye. They are all referenced quite a bit in the play. And if you haven't seen Sidney Poitier in Guess Who's Coming to Dinner then you're missing out, because it's amazing.
My plug: come see the show. I got on board because I love working with Stuart Bousel and I knew this was his favorite play and I wanted to be a part of that. Our three leads (Genevieve Perdue, Khary L. Moye, Matt Weimer) carry a big load and make it look easy. There's a large supporting cast, thirteen of us in all, and not a slacker in the bunch. It's been wonderful to watch this crew get up to speed so quickly and expertly deliver the goods. I think this one will stick with you for a while.
xo, Carl
Six Degrees of Separation runs May 19 – June 18 Wed 7:30pm; Thurs-Fri 8pm; Sat 2pm & 8pm. Additional information and tickets can be found here: http://www.custommade.org/sixdegrees.
2 Comments Posted in Working Title Tagged Andrew Lloyd Webber, Art, Carl Lucania, Catcher in the Rye, Cats, Commentary on Class, Custom Made Theater, Duchamp's Fountain, Guess Who's Coming to Dinner, Harrison Ford, Hockney, JD Salinger, Joan Cusack, John Guare, Kandinsky, Melanie Griffith, Mike Nichols, race, SF MOMA, Sidney Poitier, Sigourney Weaver, Six Degrees of Separation, Stuart Bousel, Will Leschber, Working Girl, Working Title, World Politics
Theater Around The Bay: STICKY ICKY Character Guide (Part Two)
Excited for Sticky Icky, Theater Pub's show opening tonight at PianoFight? Well here's the second part of our character guide to get you acquainted with the heroes and heroines of our story.
Picking up where we left off last week…
The Blonde is beautiful, scatter-brained, and typically uninterested in intellectual pursuits. Sheila would fit in perfectly with the popular clique from Never Been Kissed.
The Drug Dealer archetype can truly run the gamet. From kingpins like Pablo Escobar all the way down to dim-witted dealers selling to high schoolers. Rod lies somewhere between Lance from Pulp Fiction and Jesse Pinkman from Breaking Bad.
The Glaucoma Feral and The Dweeb Feral defy archetypal definition. You'll have to come see the show to find out what they're all about!
Sticky Icky opens Monday, May 23 at 8:00pm at PianoFight (144 Taylor St). It runs 5/23, 5/24, 5/30, and 5/31.
Leave a comment Posted in Theater Around The Bay Tagged Andrew Chung, Charles Lewis III, Colin Johnson, Kitty Torres, PianoFight, Sticky Icky, Theater Around The Bay, Theater Pub
In For A Penny: Vices I Admire
Charles Lewis III, on why vice can be nice.
Yes, I own this shirt.
"The cannabis experience has greatly improved my appreciation for art, a subject which I had never much appreciated before. The understanding of the intent of the artist which I can achieve when high sometimes carries over to when I'm down. This is one of many human frontiers which cannabis has helped me traverse. There also have been some art-related insights — I don't know whether they are true or false, but they were fun to formulate."
– Carl Sagan, Mr. X (1969)
I never smoked weed until I did theatre. For that matter, I never ate sushi until I did theatre. Yes, I was one of those boring teens who never drank, smoked, or went to parties. (Well, I did try smoking cigarettes several times, but it never caught on.) Part of that was due to just being an awkward teen who never hung with The Cool Kids, but another part was by choice. I studied religion as a kid and took the concept of "pure body, pure mind, pure soul" to heart. And to be honest, I was pretty damn content with myself.
It wasn't until I was 27 – an age at which I'd put the "pure body, et. al" bullshit behind me – that I'd decided to see what weed was all about. I'd just finished a show with a local theatre company and we were having our closing night celebration. Turns out these folks had a closing night tradition of rechristening the dressing room as "The Green Room" for reasons that should be obvious. After awkwardly making my way in and patiently waiting for the bowl to come around to me, I took my first toke.
Nothing happened, really. It'd be a later incident at 4/20 in Golden Gate Park before I finally actually got high. Still, it worked in as much as being a socially-inclusive gateway to fellow theatre-folk. And even when I was a clean-living teen/upcoming artist, I was always fascinated by the idea of an intoxicating substance enhancing the creative process.
"Write drunk, edit sober" is a phrase we've all heard thrown around willy-nilly. (It's often misattributed to Hemingway when it's more likely from Peter de Vries.) Both F. Scott Fitzgerald and Zelda were notorious for it. Mary Shelley got smashed on absinthe with her husband and Lord Byron, then wrote her masterpiece Frankenstein. Hell, scientists believe even Shakespeare may have smoked weed between writing sonnets. It all contributes to the idea that when inspiration is out of reach, it can be found within your poison of choice.
I personally wouldn't know. I rarely drink outside of social gatherings (I've been drunk exactly five times my entire life) and do so as a method of decompression rather than inspiration. The only times I smoke weed are when I'm around someone who prefers not to smoke alone, and it's never made want to start writing. I've never had the chance to do mushrooms, though I'm not opposed to the idea. And despite knowing many people who love it, I will never do cocaine. (Before we found out how terrible he was, Bill Cosby had stand-up routine that sums up my thoughts perfectly: "I said to a guy, 'Tell me, what is it about cocaine that makes it so wonderful,' and he said, 'Because it intensifies your personality.' I said, 'Yes, but what if you're an asshole?'") I'm not on any moral high horse – I like weed, beer, and the friends who share in them with me – but they've never worked for me in terms of electrifying my creativity.
But that's just me. In addition to the aforementioned authors above, I can cite countless works of art created under the influence which I hold dear: the weed-inspired illustrations Salvador Dalí or Mœbius; the coke-fueled '70s films of Martin Scorsese; hell, damn-near anything from the Harlem Renaissance. Without those substances, those great works might never have been possible and I might not have been inspired by them to become an artist.
The real problem is when an artist sees a mind-altering substance as their ONLY form of inspiration; when the supply gets low or empty, working with someone having withdrawal can be annoying, if not dangerous. I don't even drink coffee, so I can't really imagine what someone's head must feel like when they've suddenly decided to teetotal.
The reason I bring all this up is because this month's 'Pub show, of which I'm a part, is an hilariously over-the-top satire about "the dangers of the demon weed". Each character is based on a classic horror film trope, but with enough humanity to make them relatable. Incidentally, my character is a collegiate weed dealer, someone who uses the substance as the means to an end in order to do the art he truly loves. Yeah.
Before anyone asks: No, we don't perform the show high. I'm sure that'd be hilarious (I've done Beer Theatre before and it was a fuckin' blast), but I assure you that Colin's script is plenty funny without the actors being baked. Plus, there's probably some kinda law or somethin' 'bout smokin' weed indoors with the public, right? I dunno…
But as I sit here with my script by my side and my soon-to-be-used typewriter in the corner, I tried to think of what it is that fuels me to write, act, direct, and explore other avenues of creativity. I'm still not really sure, but I hope I don't run out of it anytime soon.
Charles Lewis III plays the world's most lovable weed dealer in Colin Johnson's "Sticky Icky", starting this coming Monday at PianoFight. Admission is FREE, donations of $10 or more appreciated.
1 Comment Posted in In For A Penny Tagged Artistic Process, cannabis, Charles Lewis III, Colin Johnson, In For A Penny, inspiration, intoxication, marijuana, PianoFight, Sticky Icky


Guitar virtuoso, singer, songwriter, multi instrumentalist, and producer Ron "Bumblefoot" Thal has released his 10th CD entitled Little Brother Is Watching today. The album is an eccentric, upbeat collection of modern epic rock with haunting melodies, huge choruses and witty lyrics about life in the digital age and beyond. Specifically, his own life and coming to terms with what we all face – beginnings, endings, and moving on. The album was composed, produced, recorded, mixed and mastered by Bumblefoot at his studio in New Jersey, and also features drummer Dennis Leeflang and a crowd of 100 fans stomping, chanting and singing backing vocals recorded at a listening party in New York.
Bumblefoot has over 20 years of releasing music, performing at international festivals, headlining solo tours, won many album of the month/year awards and has appeared on the covers of numerous music magazines as a solo artist. As lead guitarist of Guns N' Roses, Bumblefoot toured sold-out shows all over the world, headlining festivals with crowds up to 150,000 people. Bumblefoot's unique 'fretless guitar' can be heard throughout GNR's 2008 Chinese Democracy album.
Bumblefoot has current collaborations that include DMC from the iconic rap group Run DMC, and Scott Weiland in the supergroup Art Of Anarchy. His music is often heard in TV, film and video games including the theme song to VH1's That Metal Show. Bumblefoot also works with U.S. Embassies around the world on cross-cultural music programs, has his own line of award-winning hot sauces, and works with dozens of international charities visiting orphanages and children's hospitals with guitar in hand.
Great guitarist and prolific musician. Meanwhile, we sit and wait for a John Sykes album….
I am not sure if you keep taking swipes at Sykes because you like him and you are just a frustrated fan, or you are just being snarky. But either way, it has been duly noted.


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Craigleith Runs
Legends of the Lost
More Difficult
Birches was cut in 1964 and originally was home to the longest "T-bar" ski lift in Ontario. In fact, when the T-bar was replaced it was divided into three parts for other clubs to use! Birches maintain's its original character with a Birch forest in the center close to its bottom. (Recently Cut) It was one of the most popular runs when the North Lodge was the main lodge for the club throughout the 1960s and early '70s.
Back to Craigleith


My name is James Wight. I am an Australian student studying politics and climate change. For several years I have been growing increasingly alarmed about human-caused global warming.
The main focus of this blog is climate change politics, though under the ultra-right-wing Abbott government I've found myself branching out into commentary on economic and social issues. I am not affiliated with any political group, though I broadly support the Australian Greens.
One of the key lessons I've learned is that the debate about climate change is a war between opposing ideas. Environmentalism is the natural enemy of the Australian government's free-market ideology. For those of us who recognize the need for urgent climate action, the realization that we face an enemy fighting an ideological war against us has implications for how we argue and campaign.
Though the details can get very complex, at its heart our task is a simple one: replace their narrative (the fossil fuel industry is the cornerstone of our economy and is not proven to be causing dangerous global warming) with our narrative (it is an obsolete industry that is driving dangerous global warming; destroying our environment, society, and economy; and must and can be phased out urgently). We must speak out against fossil-fuel-justifying ideology wherever we see it. That is in a nutshell what I've been trying to do on this blog.
Prior to 2011 when I began writing about climate politics, I focused on climate science, in particular debunking the arguments of global warming contrarians (you can find all those old posts in the archives). I later transferred this effort to the Skeptical Science blog run by John Cook. In the archives you'll also find occasional posts about various miscellaneous thoughts that happened to enter my mind.
You're welcome to reproduce my content elsewhere as long as proper credit and a link to Precarious Climate is given.
You can follow me on Twitter @350ppmJames.
Hi David — thanks for the book. It is nice to have another local voice of reason. I have already written one post which was partly about Arctic sea ice. I'm considering writing one about the current melt season.
Hi, while the book is based on the US scene, it gives a good insight into the machinations of the fossil fuel industry's disinformation campaign.
There are many sceptics of climate change as you're probably well aware but the difference between them and you is experience, knowledge and credibility. You seem very young and a little naive. For example I dont think you are aware that even if our emmisions were zero, our contributions to climate chage would be dwarft by China's planned increases in carbon in the next 10 years. The tax therefore would have been in vain and damaged our key industries for no other reason than creating revenue for government. You're also unaware that all indications point to a landslide defeat of the Labor party in 2013 along with the Greens so to publically label your future leader as 'stupid' and 'liar', one would think is not in your best interest as its government that plays the key role in reducing emissions not scientists. The carbon tax is clearly not the way of the future so if I were you Id be directing my attention elsewhere and I would not sticking pins in Tony Abbott publically on the internet. Glad I could help.
King Lollipop, James is right to worry about his own country rather than China.
– China are more likely to curb their emissions if the rest of the world get on with it.
– They currently have much lower per capita emissions than consumerist nations.
– Under a dictatorship, governments have far more power to limit emissions.
Stop hiding behind China's future emissions and cut your own emissions – by at least 80% – if you give a damn about your children's future.
James, you are writing and informing us all about the single most important issue facing us as a civilisation. As a fellow Australian I am grateful for your inspirational work. Thank you.
Thank you. I wish to read your Anti-politics from the beginning. Where do I find Anti-politics 1?
Well Done.. Climate Change concerns me immensley.. I have a young son and wonder how is life will be in the future.. Can people not see what we are doing to the planet.. Why is the government not promoting more green initatives? I built a house recently and the builder did not suggest anything! So we will eventually have Grey Water conversions for water, solar and soon a composter.. We as people of Australia need to be sustainable and be more environmentally aware.. One Person can make a difference!


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R Auty
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Rusted Development season 3
posted in TV series | 5 Comments
When does Rusted Development come out? We are waiting for the exact release date on Discovery Channel. Is the series renewed or cancelled?
As it has turned out, many viewers are still waiting for Season 3 release date of the show Rusted Development. Despite of the fact that the second season of the series has been ended in 2015, fans still believe that the release date of the new episodes will be announced!
Discovery Channel representatives have not yet made any statement on this subject, so there is no reason to believe that the show will be cancelled. So when can we expect the 3rd season? We're now following the announcements and will publish here "fresh" data.
In social networks, fans do not stop to discuss the episodes released, despite of the long absence of the project on television. Numerous petitions have not yet given any results, but there is hope that the loyal fans of the show still convince the right holders and they will find the means to develop the third season.
Automobile restoration shows always have success and Rusted Development (or Lords of the Car Hoards) is not an exception. We need a third season, and we are ready to fight for it!
We are waiting for the news!
Arrested Development season 5: release date
MythBusters season 15 ?
Transformers: Rescue Bots season 4 start date
My Little Pony: Friendship Is Magic season 6
WOULD LIKE TO SEE YOU GUYS BACK !!!
MISS IT !!!
This was a really good show. Please come back on TV. We want more episodes!
When's the new season coming up?
TERRY GILLAM
Rusted Development needs to be released.the Lord in heaven said so amen.Angels too. Terry Gillam
Robbie Rampano
It was a good show