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GN Connect
Visionary Talks Series
"Right to education should be from age three"
TSR Subramanian, former cabinet secretary, talks about the concerns that guided the committee in preparation of the draft report on new education policy
Jasleen Kaur | June 15, 2016 | New Delhi
#school education #HRD ministry #Smriti Irani #education policy #TSR Subramanian #right to education
TSR SUbramanian, former cabinet secretary
The UPA government's big initiative in education was the Right to Education (RTE) Act. The NDA government's big initiative promises to be the new education policy. A five-member committee, headed by former cabinet secretary TSR Subramanian, was set up last year to draft the policy. The committee had submitted its report on May 27. In early June, however, the matter became contentious as the HRD ministry kept the report under wraps, even as Subramanian called for making it public. HRD minister Smriti Irani later said the report would be made public after due consultations with the states. Subramanian talks about the concerns that guided the committee in preparation of the report. Edited excerpts:
What is the focus of the draft report on the new education policy?
While the HRD ministry had already done a lot of consultations, which focused on grievances and suggestions, we decided to do more ground work, meet more people and not depend superficially on the conclusions of what people have said.
School education is a huge sector and it is fundamental now. It varies from primary and secondary to higher secondary, and each stage is facing different kinds of problems. For example, people do not understand that much depends on how and what a child is taught from class I to III. During this stage the language and numerical skills of the child are developed. That is why we have recommended that primary education should be in mother tongue. But the problem comes when the mother tongue is different from the state language, for example, in tribal areas. There we have to find a way out. We have also suggested a bilingual system, a mixture of the local lingo and the mother tongue.
What are the key recommendations of the report you have submitted?
During consultations with education experts we discovered that the brain of a child grows enormously during the age group of 3-6. But the RTE Act includes the age group of 6-14 years. All over the world pre-schooling starts as early as the age of three years. The child's curiosity and his ability to assimilate are highest at this time. One of the key recommendations is that right to education should be from age three. It need not be in the formal setup but should include physical activities.
While private schools – even in rural areas – provide pre-schooling, government schools do not. Perhaps this is why more and more parents are shifting to the private system in rural areas.
In rural areas, the aspiration level to learn English language is very high. People are spending 30-40 percent of their monthly income on the child's education in private schools. But there is very little quality difference between government and private schooling.
Between the reality on ground, particularly in rural areas, and projection of what education in India is, there is a huge difference. In college education, we noticed that good quality colleges are limited. Most of them are working like degree shops.
While gross enrollment ratios (GER) have gone up sharply since implementation of the RTE Act, there has been little focus on the quality of education. Your views?
Human material is enormously good in India. Even in the remotest part of the country you will find that, but there is a lack of opportunity.
We discovered that while the basic IQ is the same across states, income levels, castes and communities, there is a problem of exclusion. Everybody was included but in reality only a certain class could afford tuition and reach a level of understanding. RTE did an enormous harm. After analysing the situation on ground we have recommended amendment of the RTE Act. For the sake of ensuring that the morale of the bottom 20 percent children in a classroom is not shattered, we are doing great injustice to the remaining 80 percent children. The child is not learning not because of one particular reason. There are always a set of reasons which are intertwined with factors like economic, social and cultural.
The classic reports of the MHRD would talk about the average school attendance at 70-80 percent. But we found that the average attendance was 40 percent. So there was a huge mismatch. That is because in rural areas there are various kinds of social and situational problems that affect the attendance. Also, while some children learn faster some are slow learners. And only a few get access to tuition facilities. We recommend that these facilities should be provided by us. It is a teacher's job to teach and also understand how they can bridge the gap.
We have recommended that slow learners should get remedial coaching in the classroom itself, on weekends or after school hours. A teacher can take up this job or can ask a senior student to do so. Or retired personnel in the rural areas can be asked to take it up.
Many children need psychological support, their confidence has to be improved. Classes I, II and III are important. And when they reach classes XI and XII the tempo enormously increases because of the rate of growth of curriculum. That is also the time when children need hand-holding. I also experienced this problem when I started studying in Kolkata coming from a Tamil-medium school. I would have left in between, but I had family support. Most people do not have that. We need to give that kind of support to children. This should combine the academic support, boosting self-confidence, personality development and psychological support.
No parent today has time to guide and mentor the child. So schools should play that role and address the problem.
Read: What to expect from the new education policy
Various state governments want 'no detention' policy to be scrapped. Your views?
Ideally, there should be no need to detain anybody. But the ideal situation will never happen. While efforts should be made through various ways that nobody is detained, at least till class V there should be no detention in any way. But if the child is facing problems even after exhausting all the avenues, he could be detained. Even then he should be given a choice of a vocational stream. We have suggested a coordination committee to work with the state department dealing with education and skill development and vocational training. If the child goes to a vocational stream, three years later he can return to the main academic stream after clearing a skill-based national test.
Do you think the RTE Act has been able to meet its real objectives? Have you proposed any amendments?
RTE has done its job up to a certain level, but there has not been focus on key elements. There is no question that high quality infrastructure is required. But infrastructure requirements are too rigid for a country which is vast and diverse. We are not saying that infrastructure is not important. But that alone will not give you quality education. It can be a key ingredient.
The other thing is section 12(1)(c) of the Act which talks about reserving 25 percent seats for children from economically backward class. We have said it should be implemented forcefully. A lot of private schools and religious and linguistic minority schools have avoided this. This is a law and nobody should be exempted.
Should education impart certain values to children?
Definitely it should. It is more relevant today than earlier days. The joint family system has broken up. Where do children get values from? Values like punctuality, hard work, dealing with others, non-violence, truthfulness... we have to inculcate these values from the childhood. We are the oldest civilisation of the world. Therefore children should be proud of being Indian. That thought process should be developed.
We have been debating the spirit of tolerance. We have to imbibe the spirit of acceptance among children so that despite being different they accept each other.
Do you think recent central government interventions in higher education are instances of over-regulation?
The main reason is that the governance has been really poor. Ultimately, in a simple setup we need teachers who think well. The child already has the ability. Give them the facility so that they can interact, pass the knowledge and then leave them alone. The teacher and school are important. We have to invert the pyramid.
How essential is teachers' training?
Teachers should take pride in delivering the lecture, should make efforts to make it more interesting. There is a problem with teacher training and non-use of technology.
The quality of teachers is also not good. Even though the teachers' [pay] scales have gone up, people do not want to get into this profession. We have said that top five percent children [of class XII] should be given a choice that their education will be taken care of [free education] for five years but with a condition that they will teach for at least five years after that. We want quality to come in this profession. Also, political intervention should come down sharply.
jasleen@governancenow.com
(The interview appears in June 16-30, 2016 edition of Governance Now)
Also read: New Policy draft favours granting right to education to toddlers
No detention till Class 5, says new draft policy on education 2016
Good news for students, parents: New Education Policy against heavy curriculum, rote learning
#school education
#HRD ministry
#Smriti Irani
#education policy
#TSR Subramanian
#right to education
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Cinema in Piazza
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Cinema in Piazza, June 13, 2021, screening of Nuovo Cinema Paradiso. Photo by Alexa Hoyer.
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Cinema in Piazza, June 26, 2021, screening of Homemade. Photo by Alexa Hoyer.
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Over the course of two weekends, June 12 – 13 and June 26 – 27, 2021, Magazzino Italian Art will premiere the fourth iteration of annual film series Cinema in Piazza presented in partnership with the Cold Spring Film Society. Returning back to the museum's central courtyard after last year's special socially distanced drive-in, visitors will have the opportunity to watch new films related to past museum exhibitions, artist films, and classics of Italian cinema. This year's series will mark the U.S. premier of three of the four films making up the program and is presented in collaboration with Artecinema and Istituto Luce – Cinecittà.
Tickets are available for purchase via Eventbrite at the link here: magazzino.eventbrite.com
Ticketed guests traveling by train are encouraged to take the 5:45 p.m. MetroNorth from Grand Central Terminal, arriving to Cold Spring at 7:08 p.m. (train times may vary). Our shuttles will be stationed at the parking lot of the Cold Spring train station to bring guests to and from Magazzino. Additionally, we have parking available on-site.
Doors open at 7:00 p.m. and the movie starts at dusk. Popcorn and water will be provided, please do not bring any outside food or drink in the courtyard.
Please note that a full vaccination record, showing that it has been 14 days or longer since your complete immunization OR a negative PCR test administered 72 hours prior OR a negative antigen test administered within 6 hours of the movie time will be required upon entry. Scroll down to read the full safety information guidelines.
Adult -- $10
Students and Seniors -- $5
Summer Film Screening Schedule:
Saturday, June 12, 8:00 p.m.
Collaboration with Istituto Luce – Cinecittà and the Italian Cultural Institute of New York
La Rivoluzione Siamo Noi
Ilaria Freccia, Italy, 2020, 83 min., Italian with English subtitles
Opening the annual series, Magazzino will present Ilaria Freccia's 2020 film, documenting the period between 1967 and 1977, when Italian art experienced a moment of glory on the international art scene as the center of the avant garde. Through curated footage and interviews with prominent cultural figures of the time, the film documents and analyzes significant events that mark the transition of art away from its traditional institutional framework and movement towards permeating the outside world as it took to the streets.
To see an interview with the director, Ilaria Freccia, and art critic Ludovico Pratesi, click here.
Sunday, June 13, 2021, 8:00 p.m.
Nuovo Cinema Paradiso
Giuseppe Tornatore, Italy, 1988, 124 min., Italian with English subtitles
Set just after the end of World War II in a small Sicilian village, Nuovo Cinema Paradiso tells the story of a young boy, Salvatore, who becomes mesmerized by the operations at a local movie house. Frequenting the establishment in all of his spare time, he befriends the projectionist, Alfredo, who teaches him all he knows, sparking in him a passion for film and urging him to pursue his own career. Told as a flashback, the narrative comments on the nature of film as an evolving medium and through powerful symbolism, illuminates the immortal quality to this art form.
Saturday, June 26, 2021, 8:00 p.m.
Collaboration with Artecinema
Domenico Palma, U.S.A., 2021, approx. 50 min., English
Created by filmmaker Domenico Palma, this new feature length film documents the process of Magazzino Italian Art's 2020 exhibition Homemade. Through interviews with the eight New York-based Italian artists who contributed to the exhibition–Alessandro Teoldi, Andrea Mastrovito, Beatrice Scaccia, Danilo Correale, Davide Balliano, Francesco Simeti, Luisa Rabbia, and Maria D. Rapicavoli–and museum's curatorial team, the film tells a compelling story of the tenacity of creativity and community amidst the global pandemic.
Following the screening of Homemade, there will be a brief Q&A with the artists. Audience participation is encouraged.
Sulle Tracce di Maria Lai
Maddalena Bregani, Italy, 2020, 56 min., Italian with English subtitles
Directed by Maddalena Bregani, the film reconstructs the path and legacy of Maria Lai, a unique artist originally from Sardinia. The film traces her artistic practice by decade, from the turning point in the 1960s with her sewn canvas, breads, to collective action carried out with citizens of Ulassai in 1981. Reconstructed with care and tactile and optical sensuality, the film includes interview with friends, critics, fellow artists, and collaborators to place Lai within the currents of the 20th century.
About Artecinema
Artecinema is an international festival of films on contemporary art established in Naples in 1996, curated by Laura Trisorio and awarded a medal from the President of the Republic of Italy. Each year the festival presents a selection of some thirty documentaries from all over the world about the most important artists, architects and photographers of the last fifty years. Artecinema is one of the most anticipated events of the sector and provides an opportunity for a learning experience as well as social gathering and cultural exchange. www.artecinema.com
About Cold Spring Film Society
The Cold Spring Film Society is a 501(c)(3) non-profit volunteer-run arts organization based in Cold Spring, NY dedicated to fostering good will, community fellowship and appreciation of the moving image arts by screening enjoyable films in local venues. Their annual outdoor Summer Film Series at Dockside Park provides an evening of free entertainment in the village's unique outdoor spaces for people of all ages. In addition to their Summer Film Series, CSFS also programs an indoor Winter Film Series and partners with other local organizations like Boscobel House & Gardens, Hudson Valley Shakespeare, Butterfield Library and the Haldane schools to provide additional screenings and film enrichment programs throughout the year. For more information or if you're interested in helping out at screenings, please visit coldspringfilm.org or check us out on facebook/coldspringfilm or twitter/coldspringfilm and instagram @coldspringfilm.
About Istituto Luce – Cinecittà
Istituto Luce – Cinecittà is the most important cinema related public company in Italy, born from the merging of Cinecittà Holding with Istituto Luce, an institution established back in 1924 with the primary goal of using cinema to spread culture and knowledge. For more information, visit here.
About the Italian Cultural Institute
The Italian Cultural Institute in New York was founded in 1961 by the Italian Government. Its mission is to promote Italian languages and cultures in the United States. Under the guidance of its Director, the Italian Cultural Institute of New York fosters cultural exchanges between Italy and the U.S. in a variety of areas, from the arts to the humanities, to science, and technology. With its new digital platform, www.stanzeitaliane.it, the Italian Cultural Institute of New York provides an "open window" on major cultural and social aspects of past and current Italian civilization and its relations and exchanges with US culture and society.
Important Safety Information to Keep in Mind:
At Magazzino, we are continuing to implement the highest standard of health and safety protocols.
If you are a New York State resident:
We encourage you to download the Excelsior Pass app for digital proof of COVID-1 vaccination or negative test results.
Once the app is downloaded you will click "Get My Pass" and scroll down to "Get Started." From there you will enter your information. The app will generate your QR code that you will present to us upon arrival to Magazzino.
If you are unable to download the app please bring alternative proof of the following:
Full vaccination record, showing that it has been 14 days or longer since your complete immunization OR
A negative PCR test administered 72 hours prior OR
A negative antigen test administered 6 hours prior.
If you are visiting from out of state, please bring proof of the following:
A negative PCR test administered 72 hours pior OR
Important Note: If you have not had your second vaccine dose by May 29th, you will be required to provide proof of a negative COVID-19 diagnostic test result as an alternative.
Be sure to also take a look at Magazzino's COVID guidelines ahead of the event and please note that we will not be using our social distancing devices, however, everything else mentioned will remain in effect.
Exhibition | Homemade
Event | Cinema in Piazza
In August, Magazzino will present an adapted version of its annual summer film program, Cinema in Piazza, in a drive-in theater adjacent to the museum's building.
Magazzino Da Casa | La Rivoluzione Siamo Noi. Interview with Ilaria Freccia and Ludovico Pratesi
Magazzino Italian Art is pleased to present an interview with filmmaker and director of La Rivoluzione Siamo Noi Ilaria Freccia and art critic and writer Ludovico Pratesi about the movie La Rivoluzione Siamo Noi.
Magazzino Italian Art Reopens its Doors to Public on Friday, July 10, 2020
Magazzino Italian Art will begin welcoming the public back to the museum starting Friday, July 10, 2020 in accordance with state, regional, and local guidelines of the phased reopening of the Mid-Hudson region. Find out more information on Magazzino's summer programming, as well as new health and safety protocols.
Alessandro Teoldi
Alessandro Teoldi (b. 1987, Milan, Italy) is an artist whose practice involves textiles, sculpture, drawing and painting. In his work, Teoldi hints at the dissociative trauma of separation and creatively transforms the human need to establish affective connections with simple, everyday materials into intimate artistic mediations.
Francesco Simeti
Francesco Simeti (b. 1968, Palermo, Italy) is known for his site-specific installations using wallpapers, sculptures, and 3D collage.
Beatrice Scaccia
Beatrice Scaccia (b. 1978, Frosinone, Italy) is an artist and writer. Her visual works, which take the form of drawings, paintings, and digital animations, explore the absurdity of the human condition.
Maria D. Rapicavoli
Maria D. Rapicavoli (b. 1976, Catania, Italy) is an artist whose practice developed from a background in photography, film, and video, and has expanded to include sculpture and site-specific installation.
Luisa Rabbia
Luisa Rabbia (b. 1970, Turin, Italy) is an artist whose practice encompasses drawing, painting, sculpture, and video.
Andrea Mastrovito
Andrea Mastrovito (b. 1978, Bergamo, Italy) is a multimedia artist whose practice is characterized by its constant evolution.
Danilo Correale
Danilo Correale (b. 1982, Naples, Italy) is an artist and researcher whose work investigates labor, leisure, and laziness as metaphorical lenses into the post-modern sociopolitical and economic landscape.

redpajama_set_name: RedPajamaCommonCrawl


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Kate Bush - 50 Words For Snow
(CD 2011, 65:05, Fish People FPCD007)
1- Snowflake (9:48)
2- Lake Tahoe (11:08)
3- Misty (13:32)
4- Wildman (7:16)
5- Snowed In At Wheeler Street (8:05)
6- Words For Snow (8:31)
7- Among Angels (6:49)
Kate Bush Website
A few months ago I had the pleasure to review the latest album of Kate Bush. However, Director's Cut (see review) couldn't be regarded as a brand new release. In fact this CD contains a collection of old songs that got a facelift. At the end of that review I stated that people who wanted to hear new material from Kate Bush had to wait longer. Well, finally the moment arrived that I can listen to 50 Words For Snow, her first album since Aerial (2005) containing new material. People, like me, who found that album captivating, are likely to have similar feelings about this one.
50 Words For Snow isn't exactly what you would call a concept album. However, it does have a theme running through it and - no surprise - this theme is 'snow'. In general the album has a very mellow atmosphere very similar to the music on Aerial. Even the mellower moods from the early days came to my mind while playing the album over and over again. It has to be said that I liked these moods a lot. I prefer it above the more commercial sound that you can often hear on albums like The Sensual World (1989) or The Red Shoes (1993). This album is dominated by some jazzy piano played by Kate, and lightly played drums generally done by session musician Steve Gadd. It's not until the end that some more up-tempo tracks appear, but that's in favour of the album since these tracks suit the ambience perfectly. Most of the seven tracks last around ten minutes with Misty having a playing time over thirteen minutes. Contrary to what you might think with respect to the often sparse arrangements, this actually works very well giving each piece a chance to breathe, to grow slowly on you and become totally compelling. There's also the very occasional use of modern keyboards and computers as on Snowed In At Wheeler Street, though done in a subtle way that doesn't destroy the overall atmosphere.
Kate Bush makes considerably use of contributions from other vocalists including Elton John (Snowed In At Wheeler Street), Andy Fairweather Low (Wildman) and even her son Bertie, who's called Albert McIntosh (Snowflake). Although the use of these singers works very well, they don't have a large role in the whole picture. Most of the time, it is Kate's voice that gets all the attention. The most remarkable contribution perhaps comes from Stephen Fry whose spoken words list fifty words for snow on the title track. My highlight is without doubt the song Wildman. This piece contains several climaxes that you can often hear on progressive rock albums. It's difficult to describe how this sounds; you just have to listen to it yourself.
Undoubtedly many people still prefer Kate Bush's earlier works. However, on 50 Words For Snow she proofs that nowadays she's just as vital and inventive as in the past. Therefore I would highly recommend this album to everyone who enjoyed her music throughout her career.
*** Henri Strik (edited by Peter Willemsen)


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Utter Newsense
Hitler Film Causes Controversy
The new film about the last days of Hitler, Der Untergang, has been causing controversy all over Europe, and indeed the world. Many people are up in arms that Hitler is not shown as a monster of pure evil which gives the implication that actual human beings can be that cruel. Many Germans are unhappy that his Austrian origins are not emphasised. Many Austrians are unhappy that his German associations are not emphasised. Other Austrians are unhappy that his Austrian origins are not emphasised.
On the other side, The French are dismayed that it is not shown that he did all this without any help from French collabarators. The British are upset, because there is no reference made to Spike Milligan's part in his downfall. The Dutch are annoyed because it in no way attempts to answer the question of what happened to all their bikes.
The Americans are annoyed that no reference is made whatsoever to Hitler's links to al-Quaida and the Tsunami bomb they were jointly developing.
Hollywood is expected to remake the film next year as The Bunker, starring Jeremy Irons as Adolf Hitler and Leonardo Di'Caprio as the young American soldier who assassinates him.
The film is expected to address many of the concerns raised by different countries, except the French ones, and in fact Hitler's Islamic tendancies are to be emphasised particularly in the scenes where he and Osama Bin Laden Sr (Played by Ben Kingsley) work on their Tsunami bomb. Oscar nominations have already been issued.
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Lyrics: A Modest Proposal by Taylor Swift
We gotta stop the children stop the children from being a burden from being a burden stop the children stop the children from being a burden from being a burden Mamma, don't let your child Go out and be wild Be a burden to all And drop out from school Say this is it For our benefit And what do we need? We need to feed. A healthy child so well nursed, at one year fit to burst, Is not only delicious but also nutricious They make wholesome food, whether roasted or stewed, Your child may be spoiled but not when they're boiled; No matter what you do a fricassee, or ragout You will have done well When your child's done well So Cash in your flock Your chips off the old block Give the wealthy a treat Turn your monsters to meat And feel guilty no more About fast-food galore Your logic is sound There's more to go round So do what is right Decide it tonight It's a simple, honest fate From playroom to plate And say the world'
© 2004-19 Utter Newsense Corp


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Buzz building for port Cove expansion
Buzz building among diverse mix of potential tenants for Port Canaveral Cove expansion
Buzz building for port Cove expansion Buzz building among diverse mix of potential tenants for Port Canaveral Cove expansion Check out this story on floridatoday.com: http://on.flatoday.com/1FUth3i
Dave Berman, FLORIDA TODAY Published 4:58 p.m. ET April 15, 2015 | Updated 3:33 p.m. ET April 16, 2015
An artist's rendering of the future development along a street at the Cove area of Port Canaveral.(Photo: C&S COS./PORT CANAVERAL)
First phase of Port Canaveral's Cove expansion project will include 60,000 square feet
Will have retailers, restaurants and more, as well as a 200-room hotel
The developers are likely to invest about $70 million into the project
The buzz is starting to build among potential tenants for an expanded Port Canaveral Cove area — even though the project is 11/2 years away from opening.
The first phase of the project will include 60,000 square feet of space for retailers, restaurants and other businesses, as well as a 200-room, full-service hotel.
Matt Taylor, national director of land use and market strategies at C&S Cos., an adviser to the port on the project, on Wednesday showed Canaveral Port Authority commissioners initial designs that focus on concepts he said reflect an authentic and memorable "seaside village" with a "coastal casual feel."
The initial development will occur on a roughly 15-acre parcel on the southeast corner of the Cove, a location designed to tie into the port's Exploration Tower and its new Cruise Terminal 1.
The port last year selected the team of Sooner Investment and Collett to develop the Cove project. Taylor said he expects the developers to invest about $70 million on the project.
Key Lime Pie Company headed for Port Canaveral
Port Canaveral Chief Executive Officer John Walsh said the development team has letters of intent from three or four potential tenants interested in being part of the first phase of the project, but cannot disclose their identities for competitive reasons.
Walsh said the Cove will include a mix of local and national businesses, some new to the Space Coast. Likely to be included in the mix, he said, will be upscale and casual clothing stores, a jewelry shop, a brew pub, ethnic food restaurants and an ice cream shop.
Collett official Chris Challis, the project manager for the Cove expansion, said leasing efforts have been going well.
"It's been easier to market than we had expected it to be," Challis told port commissioners.
Taylor said the project will consist of single-story buildings with interesting rooflines; a fountain or other central meeting place; and surface parking, instead of a parking garage.
Walsh said construction is scheduled to begin in early 2016, with the shops open sometime between October and December 2016.
Port Commissioner Bruce Deardoff envisions the Cove project as one that can make the area a regional tourist attraction, drawing visitors from Daytona Beach, Orlando and Vero Beach.
Walsh said Port Canaveral has put a total of $9.5 million in its capital budget over the next three years for infrastructure and roadwork related to projects in the existing and planned Cove areas.
Contact Berman at 321-242-3649 and dberman@floridatoday.com. Follow him on Twitter @ByDaveBerman and on Facebook at facebook.com/dave.berman.54
Read or Share this story: http://on.flatoday.com/1FUth3i
No injuries in shooting at The Avenue Viera
Merritt Island man dies in crash on S.R. 407
5,000 gallon raw sewage spilled in Viera
Brevard company to receive Space Force incentive
Saturday's Powerball jackpot numbers drawn; another rollover!
70% complete: Port's $163M Cruise Terminal 3 heads to completion


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Join us for the 4th Annual Speedway Zombie Fun Run! This race benefits the Tanya Isaac Foundation helping cancer patients in Speedway, IN, navigate their new "normal" by providing assistance and support through a team of volunteer caregivers, financial donations or connections to local organizations. The Zombie Fun Run takes place at night racing throughout the speedway trails…which are full of ZOMBIES! Each runner gets three flags, and if the Zombies get all three-you are infected. Run fast, or walk swiftly, and see if you can Survive! The start/finish line is located on Main Street right next to the Big Woods patio so expect a Freakishly Fun post race celebration with themed drinks, fun games, and lots of laughs!
Cancer. It can impact everything—health, ability to work, finances and daily functioning. The Tanya Isaac Foundation was established to help cancer patients in Speedway, IN, navigate their new "normal" by providing assistance and support through a team of volunteer caregivers, financial donations or connections to local organizations. Whether you need groceries, assistance with utilities, a caregiver to sit with your loved one, or help with medical expenses, the Tanya Isaac Foundation is a resource for you. If you would like to learn more about Supporting the Tanya Isaac Foundation Click Here.
This race is all about having fun, and supporting our community members battling cancer. We plan to have a ghoulishly good time running the trails, avoiding freaky Zombies, and partying with our peeps at Big Woods. Dress to impress, and come out for the fun. Post race we will all celebrate the funds and awareness raised for the Tanya Isaac Foundation. We will also have awards for top overall finishers. Make sure to vote for the Best Zombie!
Do you only ever run if there's a zombie chasing you? How would you like to be the zombie chasing others? For $10 you can become a zombie and chase racers stealing their flags. Wear your best zombie get-up and come a little early to the event to become fully transformed into a zombie! Speedway Centre for the Arts will be offering free Zombie make up beginning at 5pm. Race Participants will vote for Best Zombie, to be awarded at the after party!
Participants will be able to park all along Main Street in Speedway, and on the surrounding side streets. Parking is free, and it is plentiful. Obviously for closest parking options you will want to arrive earlier. Please plan accordingly.


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Q: How to get values in against a specific index in a list in mvc The issue is i want to perform CRUD in list but its not the sameas doing with enity framework.Kinldy guid me how to perform Get id and perform Edit operation against it same for Detail and add.
View

               Product name
            Quantity
           Unit Price
           Line Total

 @foreach (var item in Model)
     {

    @item.Product_Name
         @item.SalesOrder_Quantity
            td>@item.Unit_Price
                                @item.SalesOrder_Total

                                    @Html.ActionLink("Edit", "Edit", new{ id = Model.ToList().IndexOf(item) }) |
                                    @Html.ActionLink("Details", "Details", new { id = Model.ToList().IndexOf(item) }) |
                                    @Html.ActionLink("Delete", "Delete", new { id = Model.ToList().IndexOf(item) })

               }

Controller
 public class CreateSOController : Controller
   {
    Hisaab_ApplicationEntities db = new Hisaab_ApplicationEntities();
    static List<SalesOrddrDetail_ViewMode> row_list = new        List<SalesOrddrDetail_ViewMode>();

    // GET: CreateSO
    public ActionResult Index()
    {
        return View(row_list);
    }

    [HttpPost]
    public ActionResult Insert(SalesOrddrDetail_ViewMode salesViewModel)
    {
          row_list.Add(salesViewModel);
          return RedirectToAction("Index",salesViewModel);
    }
         Here i havethe issue
    public ActionResult Edit(int id)
    {
         row.list.find(id) it show error here
        return PartialView();
    }

A: Why are you using @Html.ActionLink("Edit", "Edit", new { id = Model.ToList().IndexOf(item) })?
Use it like this:
@Html.ActionLink("Edit", "Edit", new { id = @item.id })

A: @Html.ActionLink("Edit", "Edit", new{ id = Model.ToList().IndexOf(item) }) |
@Html.ActionLink("Details", "Details", new { id = Model.ToList().IndexOf(item) }) |
@Html.ActionLink("Delete", "Delete", new { id = Model.ToList().IndexOf(item) })

This part of your code is incorrect.  There is no need to get the index of the item in the Model, since in the view there is already a foreach loop separating out each item.
All you have to do is:
@Html.ActionLink("Edit", "Edit", new{ id = item.ID }) |
@Html.ActionLink("Details", "Details", new { id = item.ID }) |
@Html.ActionLink("Delete", "Delete", new { id = item.ID })

I hope this helps!

redpajama_set_name: RedPajamaStackExchange


1997 1998 1999 Honda Prelude Shop Service Repair Manual Book OEM Guide. Published by the factory to provide information on diagnosis, service procedures, adjustments & specs, there is none better. Loaded with diagrams & illustrations to help disassemble, repair & reassemble various components.
Body, Chassis, Engine, Drivetrain & Electrical. Most Complete Shop Manual Available. Used by the Mechanics at the Dealership. Call ahead to schedule pick-up. Powered by SixBit's eCommerce Solution.
The item "1997 1998 1999 Honda Prelude Shop Service Repair Manual Book OEM Guide" is in sale since Thursday, June 28, 2012. This item is in the category "eBay Motors\Parts & Accessories\Manuals & Literature\Car & Truck Manuals\Other Car Manuals". The seller is "irvb" and is located in Piqua, Ohio.


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Blog Is Physiotherapy an Effective Treatment for TMD?
Is Physiotherapy an Effective Treatment for TMD?
Do you ever hear or feel popping or clicking in your jaw joints? If so, temporomandibular joint disorder (TMD) may be to blame. This disorder, which can only be diagnosed by a healthcare professional, is commonly referred to as "TMJ." The pain it causes can range from slight to severe and can diminish one's quality of life as it limits the natural functions of the jaw, such as chewing and yawning.
Ringing in the ears, dizziness, jaw fatigue, and locking of the jaw are also symptoms of TMD.
Are you experiencing any of these symptoms? If so, speak with a healthcare practitioner, such as a physiotherapist, about your concerns.
Only a healthcare professional can tell you exactly what is causing your case of temporomandibular joint disorder and how it can best be treated. Since a physiotherapist can provide hands-on treatment for TMD, consider contacting this type of healthcare provider at the first sign of temporomandibular joint disorder.
1) Posture education — TMD patients usually need a physiotherapist to point out the ways in which they can improve their posture and get out of the habit of leaning their head and neck too far forward for long periods of time.
2) Improving jaw movement — Jaw movement can be improved for some people through low-impact exercises prescribed by a physiotherapist.
3) Pain treatments — Severe pain may call for treatments that include ultrasound and electrical stimulation. A physiotherapist can administer these pain treatments.
A physiotherapist may refer TMD patients to a dentist, especially if they suspect the disorder is caused by misalignment of the teeth.
Do you think you may have TMD? If so, contact a local physiotherapy clinic. If you're not sure if the physiotherapy team you are contacting treats temporomandibular joint disorder, just ask.


We are thrilled to announce our finalists for this years One Hundred Shares grant.
All 4 finalists will be presenting this Wednesday at the coffee! Please come to learn more about these amazing Houston ministries.


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Walcott, Barr show championship form at Livingston County Invite
Erich Murphy
The 2018 Livingston County Invitational
Tate Walcott and Mason Barr were state champions last year in leading Ridgeview to a second-place team finish at the Class 1A state track meet. On Tuesday, Walcott was a four-time winner and Barr won twice to lead the Mustangs at the Livingston County Invitational.
There are no team scores for the County Invite, but Ridgeview collected six first-place finishes in the boys' portion of the meet. Pontiac tallied five first-place finishes. Overall, all seven teams competing won at least one event.
On the girls' side, El Paso-Gridley won eight events while Pontiac's two seniors each claimed a victory in their final home meet.
Walcott won four events at the Invite, including three where he placed at state as a sophomore last May. Walcott won the 100-meter dash in 10.94 seconds and took the 200 in 22.63 seconds and, in the field, captured the long jump with a mark of 21 feet, 11 inches.
Walcott and Barr made up half of the RHS foursome that won the 4x200 relay at state, and were joined this time in taking the event at Williamson Field Tuesday by Zach Carinoer and Reese Ramirez in 1:35.9.
Barr won the 110-meter high hurdles in 14.96 seconds and opted not to run the 300 intermediates, an event he won at state last season. Ramirez took that race at the Invite in 42.78 seconds.
Pontiac's Ethan Lee and Austin Norman, backfield stars on the football team, were double winners. Lee claimed the 400 dash in 52.76 seconds and Normal cleared 12 feet to take the pole vault.
Lee and Norman were joined by Cam Dawson and Colton Clesson in winning the 4x100 relay in 45.19 seconds.
Ethan Schickel won the 1,600 run in 4:55.15 and Steven Lewis had a toss of 140-9 to capture the discus.
Winning events for El Paso-Gridley were EPG's Matt Ingalsbe (11:13.22) in the 3,200 run, the 4x800 relay (8:50.76) and Lukas Kiefer in the triple jump with a mark of 38-8¼.
Also winning boys' events were JC Santos of Dwight in the 800 run at 2:09.36, Uhl of Flanagan-Cornell-Woodland in the shot put with a push of 44-1½, and Dohe of Tri-Point in the high jump after clearing 5-8.
The Invite has acted as the Senior Night meet for the girls for a few years because it's the only meet the Indians host. Sarah Christopher and Jamie McKee were recognized during the meet, and each scored a win.
Christopher raced to the 100-meter dash title with a time of 12.74 seconds. McKee won the high jump after clearing 5-2.
Pontiac's two other victories came from Tristina Einhaus in the 200 in 27.5 seconds and Franchesca Smith in the triple jump by going 32-11.
The Titans of EPG won eight events to lead the ladies. In the field, Sierra Carr had a push of 30-10 to take the shot put, Tristyn Grube won the long jump with a mark of 14-11¾ and Alex Horine went 6-6 to win the pole vault.
On the track, EPG swept the hurdle events as Faith Graham won the 100 in 16.97 seconds and Emma Betts took the 300 in 51.37 seconds. Sophia Lowery won the 400 dash in 1:06.49 and Sophi Allen was the 3,200 winner at 12:10.92. The 4x800 relay team won in 11:40.06.
Alexis Brooke of Dwight won the 800 in 2:41.95. Fieldcrest's Sadi White claimed the 1,600 in 6:04.31.
Ridgeview won two relays in girls' events and two co-ed relays. The 4x100 team triumphed in 52.91 seconds and the 4x200 team won in 1:53.43. The Weightman's Relay was taken by the Mustangs in 52.2 seconds and the 4x200 co-ed foursome won in 1:46.93.


Starting next Monday, Eric Richardson's blogdowntown site will be folded into KPCC's website. Richardson has been working for the station since last May and says he has been trying to work out such an arrangement ever since he arrived.
In practical terms, you won't see much change on the site come Monday. You'll see a few new names popping up as authors, and you can expect to see a bit of KPCC branding appear in the coming weeks. I suspect you'll also hear about the station's upcoming pledge drive in October. blogdowntown will continue to operate as a stand-alone site, though we will be looking to bring more integration with efforts like KPCC's OnCentral and the station's news operations.
Looking forward to seeing how the sites meld.


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Subject says it all. I need my [Windows] build agents to be [AD] domain joined. Other EC2 instances that I create I can specify User Data which can include PowerShell (which I can use to domain join systems and such), but the TC interface doesn't seem to support this. Thanks in advance!
Currently it's not possible to specify User Data in the agent cloud settings. We have a feature request: https://youtrack.jetbrains.com/issue/TW-35676, please vote for it.


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The naked guy at graduation is just one of Steven Lavine's memories from 29 years of running CalArts
By Carolina A. Miranda
Turning the radical into the mainstream: Steven Lavine has steered the California Institute of the Arts for nearly three decades. He will retire at the end of May. (Francine Orr / Los Angeles Times)
The paintings have been removed from the walls and the desktop photos have been wrapped and put away. Strewn around the room, odds and ends await boxing: a gong and assorted piles of books. After 29 years, Steven Lavine, the third president of the California Institute of the Arts, is retiring. This month, he attended his last CalArts graduation.
"After handing out degrees for 28 years," he says with wistful smile, "I was given an honorary degree as well."
Over the course of his long tenure, Lavine has faced triumph and devastation.
When he took the reins at CalArts in 1988, the school — the experimental arts outpost located on the northern fringes of Los Angeles — was in danger of going bankrupt. In 1994, the Northridge earthquake rendered the campus uninhabitable. But Lavine piloted the school through those stormy waters, and today CalArts is thriving, with an endowment of $152 million and a ranking that places it among the top 10 fine arts schools in the country, according to U.S. News & World Report.
At the end of this month, he will hand the reins to his successor, Ravi Rajan, after which he will serve as founding director at the Thomas Mann House, a new center in the writer's former Pacific Palisades home that will host scholars and journalists.
In the midst of packing, Lavine took time to chat about his years at CalArts. He is low-key and unhurried. On several occasions, he refers to "we" rather than "I" — an acknowledgement of the contributions of his wife, artist and writer Janet Sternburg. Without her, he notes, "I couldn't have done this."
In this edited oral history, he reminisces how he battled deficits, rebuilt a shaken campus, opened a downtown performance outpost and contended with the student who showed up at graduation wearing nothing but a snake.
Steven Lavine in his final days as CalArts' third president — standing before the main building of the campus. (Francine Orr / Los Angeles Times)
Getting the job
When CalArts approached Lavine, he was a mid-level foundation officer who had taught literature for a spell at the University of Michigan. But he had no experience running a large institution.
When I'd seen the ad for the job, I thought, "There's not a chance in the world."
I'd never really administered anything. They did this initial search and the finalists were mostly business people. But at the last minute they decided that CalArts' problems weren't going to be solved on business grounds alone. You had to have critical understanding of the substance.
They called Martin Friedman, [the director] at the Walker Art Center in Minneapolis. I'd done grant work for them. He gave them my name and after that things went very quickly. I remember Harrison Price, one of the trustees — his nickname was "Buzz." He did the original feasibility study for Disneyland and for CalArts. He said, "You're the kind of guy I'd want to go to a movie with, but I don't think you're tough enough."
My answer was, "I don't think I'm tough enough either." But mostly what you do at a foundation is find nice ways to say "no." I was very good at saying no. That was the basis for being tough.
They took this very real chance and gave me the job.
Steven Lavine delivers his first commencement address as president of CalArts in 1989. (CalArts Archive)
Inauguration Day, 1988
An unforgettable induction
Lavine was inaugurated as president in a Santa Monica ceremony that featured Javanese gamelans and African drummers.
[Playwright] James Lapine got [singer and actress] Cleo Laine to sing songs from "Into the Woods." [Composer] Mel Powell, who had been the dean of the music school, performed a piece of his. Then [choreographer] Trisha Brown, who was a friend, she came out and did a performance. We did all this [at the Frank Gehry-designed Edgemar complex], in what became the Santa Monica Museum of Art before it moved to Bergamot.
But we didn't know they didn't have their conditional use permit. The police arrived and we learned that it was illegal to do music on the street in Santa Monica. My assistant was holding the police off at the door saying, "That's Mayor Tom Bradley. Do you really want to close off an event with Mayor Bradley?"
They let us go 'til midnight.
A close call with bankruptcy
The good times pretty much ended with Lavine's inauguration. When he took over, the school's deficit was budgeted at $1.8 million out of a budget of $16 million — more than 10% of the total budget.
And it was going up each year by a few more thousand dollars. We had a small endowment that was being drawn to pay this. So I asked the vice president to do the financials to look at how long we had before we really were bankrupt. He said we had about three years before we were broke and couldn't pay the bills. The deans had been struggling to hold it together without being able to give inflationary raises to their faculty. They were operating on will power — and they were fighting between themselves.
Every day was a trial. There were all of these petitions saying, "You should resign." I remember at 4 in the morning, [Janet and I] talking about how long do we have to stay? We agreed we had to stay until there was a balanced budget. We figured it would take four years. In the end, it took five. We built a plan on more fundraising and increasing the size of the student body. And I didn't fire anybody.
Lavine (in gray suit) meets with trustee emeritus Jeffrey Katzenberg (black sweater) and director Steven Spielberg (baseball cap), and other members of the CalArts team. (CalArts Archive)
Toasting success
By the end of 1993, the school's financial problems had turned around.
We were back to a balanced budget. We were no longer shouting at each other. Enrollment was growing. More of our alums were maturing and getting successful. There was more we could brag about. On New Year's Eve, going into '94, my wife and I toasted one another. CalArts was artistically, educationally and economically safe.
And then, Northridge.
CalArts President Steven Lavine addresses students, staff and faculty after the 1994 Northridge earthquake, which devastated the school. (CalArts Archive)
The Northridge Earthquake
On Jan. 17, 1994, a magnitude 6.7 earthquake struck Los Angeles, toppling freeways and apartment buildings and killing more than 70 people — devastating CalArts.
Everything fell that could fall of the main building — and CalArts was really the main building and two dorms. The concrete block, out of which the building was made, was cracked. I believe there was 42,000 linear feet of cracks. The building was not stable.
Initially, we set up 16 party tents and each school would choose a teacher to meet with students while the others figured out how to have a curriculum. We had to find a way to stay open. We had just gotten the budget balanced. If we had to return tuition for the semester, we'd go out of business.
The thing we needed first was space. I called Michael Eisner [then head of the Walt Disney Co.] — he was a very supportive trustee. I said there must be someone on his staff who scouts for real estate. He said yes and connected me to him.
It turns out there was this Lockheed [Martin] facility in Rye Canyon, about four miles north of [CalArts], it had been built to test the wing of the B1 bomber. It was several hundred thousand square feet. [Ultimately,] they gave us 175,000 square feet of space for $1 for eight months.
We had this [campus-wide] meeting on the front steps of [CalArts] because we couldn't go inside. I remember telling [everyone], "We are going to go on. For those of you who stay, this will be the most important semester in your life. It will prove that you can make art no matter what happens."
Rebirth: Too vital to disappear
The school pulled through with Lavine's guidance and the help of trustees and other supporters who connected the school with resources to recover and rebuild. But though the quake was devastating, surviving it was an important milestone.
It produced a kind of confidence that has been the setting for everything since. The biggest turning point was that the Getty Foundation offered us a $2-million grant we didn't ask for as working capital toward rebuilding CalArts. It was recognizing us as a vital Los Angeles institution. That was the moment where we recognized we had crossed a line. The people who really knew something were saying, "We can't let CalArts disappear."
Steve Lavine, left, meets with architect Frank Gehry and CalArts trustee Roy Disney about the design and construction of REDCAT. (CalArts Archive)
REDCAT debuts
Less than a decade later, CalArts launched a new performance space in downtown L.A. The Walt Disney Co. had made a large donation for the construction of the Gehry-designed Walt Disney Concert Hall. As part of the deal, CalArts got a space under the southwest corner of the building to put on works of dance, theater and cinema. In 2003, REDCAT — short for the Roy and Edna Disney CalArts Theater — opened its doors.
Our first performance was before we even had our formal opening — typical CalArts. [It was] a Japanese company called Dumb Type. They're kind of a performance company, somewhere between dance and theater. Our founding director, Mark Murphy, had presented them in Seattle. We saw that we had a chance to bring them to Los Angeles, so we jumped.
One of the challenges the show presented is that it was accompanied by loud industrial sounds. Our deal with the [Los Angeles] Philharmonic [the hall's primary occupant] was that they had no control over what we presented, but they took precedence. Well, we were doing this thing that was like 120 decibels and we passed out earplugs. It was a real test. But Gehry had done his job right and no one could hear it.
Lewis Segal, the [Los Angeles] Times dance critic, he hated it. But [Times classical music critic] Mark Swed loved it. He wrote this rave review. It really set us off in a fantastic direction.
Over the years
On the cutting edge of weird
Over 29 years at CalArts, Lavine has seen experimental concerts, bizarre animation and the legendary art critique sessions run by the late conceptualist Michael Asher (sessions so marathon, they inspired a chapter in journalist Sarah Thornton's book "Seven Days in the Art World").
I see a lot of things that on first view seem wacky, but they turn out not to be wacky.
There was a concert once that involved a guy playing tuba underwater. So mostly what you heard was bubbles rising to the top and popping. But it was kind of thrilling. [Asher's critiques], to look at it, you're just looking at people sitting there. But he was waiting for people to express their own ideas. It's this trust in generating stuff yourself. And that is in the spirit of CalArts — the right to create whatever you want.
My favorite thing was from a graduation. There was this guy in the audience who was naked except for a boa constrictor wrapped around him. I was handing out the degrees then. And I'm terrified — terrified — of snakes. So the provost went down and asks the guy if he could leave the boa constrictor behind because the president is going to faint. And the guy said, "I can't do that. I'd be naked."
Steven Lavine, photographed at CalArts, has steered the school through budgetary troubles and an earthquake. (Francine Orr / Los Angeles Times)
A changed landscape
In his time at CalArts, Lavine has seen Los Angeles evolve as an arts center, and he's seen art evolve into new forms.
When I came here, the experimental edge of everything — whether it was dance or theater or music — was seen as a small edge of a big world. Now symphonies are defined by it. Every philharmonic wants [a director like] Esa-Pekka Salonen who will do contemporary music. The American Repertory Theatre in Boston is doing immersive performance.
What CalArts was doing as a radical alternative has fed its way into the mainstream. These things weren't done to convert the mainstream, but they did. The challenge for CalArts is, where next do things have to go?
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Can an Airplane remove for a going Runway?
An airplane includes a takeoff speed of 100 mph (I just made that number up). What if it gets for a super giant treadmill machine that moves backwards at 100 mph. Could a plane with this giant treadmill machine remove or would it not simply sit there going at 0 miles per hour?
Initial question a reasonable individual would ask is "in which would you get yourself a giant plane-sized treadmill machine that goes 100 miles per hour?" Yes, which indeed a great question—but i will not answer it. Instead, i will offer this question top physics answer I am able to.
Before i actually do that, i ought to explain that others also have answered this question (not surprising as it's super old anyway). First, there was the MythBusters episode from 2008. In fact, they didn't answer the question—they did issue. The MythBusters made a giant conveyer belt having plane about it. It had been awesome. Next, there is the xkcd response to this concern (additionally from 2008).
Now you get my answer. I shall respond to with different examples.
Actually, there's probably no real surprise right here. The vehicle's tires would roll at 100 miles per hour as the treadmill machine (or conveyer gear) moves back at 100 mph so that the vehicle stays stationary. Really, here is a somewhat cooler example (with the same physics).
Let me reveal an test (also from MythBusters) which they shot a ball at 60 mph out of the back of a truck additionally going 60 miles per hour. You can view your ball stays fixed (with regards to the ground).
Here is a airplane from Alaska that takes off in a really short distance.
How exactly does this work? We'll provide you with a hint—there is definitely a strong wind blowing in to the front side for the plane. Without a headwind, this couldn't happen. However if you consider it, this brief lose is certainly much such as the vehicle regarding treadmill machine. For the plane, it generally does not drive on the floor, it "drives" in the air. In the event that airplane possesses takeoff rate of 40 miles per hour and is in a 40 mph headwind, it doesn't even have to go at all according to the ground.
Now let us do it. This is a short clip from MythBusters launching a plane on a going treadmill machine.
Yes, it requires off. A plane takes faraway from a runway relocating the opposite direction? But why? It is because the tires for a plane never really do anything. The only function for the wheels would be to produce low friction between your aircraft together with ground. They do not also push the airplane forward—that is performed by the propeller. Truly the only distinction whenever releasing an airplane for a moving runway is the fact that wheels will spin at twice the standard speed—but that willn't matter.
Therefore the airplane on a treadmill works, but how about a case where in fact the plane wouldn't take off? Imagine if the plane ended up being similar to a glider with motorized tires? For a normal runway, these motorized tires would raise the rate for the glider until it reached takeoff speed. However, if you place this on a going runway, the tires would spin on right rate and cancel the motion regarding the treadmill so the airplane would remain motionless and not reach the proper rate for the launch.
okay, making sure that is the response to everybody's favorite question. But never worry, this answer wont stop the endless discussion—that will go on forever.


In which we discuss the new novel, Bleeding Edge, before any of us have had proper time to digest it.
I just finished BE, and many of the points raised here struck me too. I wonder if TP's insistence on the existence of metaphysical spaces is seriously posited as a point of resistance to Late Capitalism. As a metaphor for the creative possibilities of the unconscious, it's all well and good. But as the basis of a programme of political and economic change it is hard to take seriously. But then I suppose it's the novelist's job to ask question but not necessarily offer solutions.
To reiterate my other super-delayed reply to your other comment: Please join us on the show sometime!


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Welcoming His Eminence
A Tibetan Buddhist high lama brings a message of positive thinking and respect for human life.
St. Petersburg Times, September 4, 2001
CLEARWATER -- Never stomp on an ant, even if it is about to bite your big toe. If you spot a roach on the kitchen counter, stop for a moment and consider not pressing the button of death on your can of Raid.
Instead, why not contemplate escorting your unwelcome guests out of the house or away from the picnic area in a kindly fashion?
After all, according to Buddhist teachings, any one of them could be the reborn soul of someone you knew and maybe loved in a previous lifetime, someone who obviously -- because of their current station in life -- was not particularly good and kind toward others.
Still, they deserve love and compassion just like everyone else.
That was just part of the message followers were taught at a Tibetan Buddhist workshop Sunday at the Unitarian Universalist Church of Clearwater, headed by an individual followers believe is a true holy man: His Eminence Garchen Rinpoche.
Most of those in attendance already knew all human, insect and animal life is sacred; Rinpoche simply re-enforced the message.
It was just before 2 p.m. when Rinpoche -- a baldheaded, barefoot man clothed in flowing red robes with a yellow Nike tank top peeking out from underneath -- walked into the all-purpose room. When they saw him, his followers instantly fell silent and turned toward him.
Bowing their heads and closing their eyes, they cupped their hands in front of them in prayerlike fashion.
Even two pet dogs in the room, a black Airedale and a tan German shepherd mix (yes, they, too, were invited and treated with the utmost respect), stopped sniffing around and lay down next to their masters as though something important was about to happen.
Meanwhile, Rinpoche knelt down and kissed the floor several times.
It seemed as though his followers, some of whom also had red robes and shaved heads, were surprised by the sudden appearance of Rinpoche even though they expected him. He had breezed in so silently and without fanfare, some of the them did not realize he was there until they spotted him near the makeshift throne on which he would sit.
But through their actions, they showed respect to the Tibetan Buddhist high lama, or priest, a man who they are taught has lived many important lives and is enlightened. They believe he has chosen to be reborn, coming back to earth repeatedly to help others gain wisdom.
But he made a shorter trek this time, by plane, coming back to Clearwater from his Arizona compound for five days to give a series of talks and workshops.
At Sunday's seminar, several of those sitting cross-legged on purple pillows were new to Buddhism and were there to take refuge during a special ceremony.
Taking refuge is equivalent to a confirmation, a ritual to become a Buddhist. They must try to be kind and gentle, do no harm to any living beings, hold all religions with respect and teach others to live well. They must also try not to take drugs or drink alcohol.
"It's a beginning of one's path," said Michael Retchless, a Unitarian Universalist Church director, of the refuge ceremony during which Rinpoche snipped a lock of hair. "You are giving up your past and progressing on a spiritual path. When a high lama comes to town, they can do that."
Followers of Tibetan Buddhism say they are honored and feel fortunate to have Rinpoche pay a visit to the Tampa Bay area.
"His Eminence is in my opinion the living embodiment of the dharma," said Retchless, who took refuge in 1995. "This is the best turnout we've had. The public talk had over 200 people."
During the workshop, Rinpoche sat on his throne in front of colorful Tanka paintings. In the air was the exotic scent of red crystal incense made in Nepal by monks.
Sitting close to the throne was Ani Trinlay, a Tibetan Buddhist nun who traveled from her home in Maryland to see him.
"They (the workshops) never get boring even if they are exactly the same," she said. "It reinforces you can go through the rituals many, many times and they have a renewing effect."
Like Rinpoche, Trinlay wore red robes and had a shaved head. She said she wears her robes at all times except when she is at work. It would be difficult to wear her robes on the job because she is a an analyst for the Interior Department, a job with a dress code.
She laughed and said she gets enough comments about her shaved head.
Smiling warmly, she watched as Rinpoche climbed up on the throne, began to spin a prayer wheel and talk, his Tibetan words translated by an assistant who sat on the floor to his right.
The teachings went on for hours and included several themes. Among them was that all suffering comes from harboring poisons such as anger, aggression, attachment (a longing for worldly goods) and ignorance. Negative thoughts, Rinpoche said, are your worst enemy.
"Negative emotions are the driving force (in) doing nonvirtuous deeds," he said. "Try to get rid of negative emotions. (You) want to reach enlightenment as soon as possible to help other beings, not for yourself. That is very important. "The most precious thing is a human life," he said.
Near the end of the workshop and after the refuge ceremony, Rinpoche tried to sum up his teachings, which he says are really very simple.
"The true nature of the mind is the ocean. The negative emotion is the waves," he said and smiled. "Kindness is better than all the riches on the planet."
And if you unintentionally step on and kill a bug, Rinpoche has a bit of advice: Say a prayer for it.