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About the Exhibit Space
Staggering Losses: World War 1 & the Influenza Pandemic of 1918
November 1, 2018 - November 30, 2019
3rd Floor Historical Reading Room
Through photographs, postcards, books, newspaper clippings, personal journals and published clinical articles, Staggering Losses conveys a narrative of medical care, casualty management, individual prowess, trench warfare realities, impactful weaponry, and a virulent virus that wreaked havoc on an ill-prepared population. The losses were in the millions. These losses were not just in lives and limbs, but also in livelihoods, love, potential children, artistic talents, musical prowess, educations, mental health, and creative minds; a loss of a generation of primarily men, but also women. There was the loss of opportunity and inclusion; Native American, African-American and Latino troops who, usually segregated during the war effort, still contributed to the American effort; particularly the French effort, then came home and continued to be victims of Jim Crow and other restrictive political realities and social agendas.
The loss of people like Canadian, Patrick McCrae, the poet/physician/soldier who wrote In Flanders Fields, then died in the war at 38. The loss of black physician, Urbane Bass, father of four, who volunteered for General Pershing's American Expeditionary Force (AEF), joining the all-black 93rd Division under French command as a First Lieutenant. While working on wounded soldiers he was hit with shrapnel and both legs were severed. He died before he could be taken from the field, October 17, 1918. Jane Delano, the founder of the Red Cross Nursing Service, who organized the troops of nurses, inspired them to do the arduous work of trying to repair the bodies and spirits of soldiers who were double, triple and quadruple amputees (coined one physician as "trunks,") and then died at a base camp at the age of 57. There was Harry Dillon, originally from Mondovi, Wisconsin, a UW graduate in the School of Agriculture. He specialized in proper silage for draft horses. He was killed by a shrapnel shell, just a month before the Armistice. Juxtaposed with the loss was the inimitable strength of the survivors, whose losses may have been more nuanced or less visible than those that had died, but no less life altering.
My goal is to bring renewed attention to themes and events that happened 100+ years ago. My mission was to appreciate millions through the mention of a handful. In memorializing a few of the poets, the wounded soldiers, the tireless nurses, the intrepid doctors, and the determined horses, we can honor the individuals that fought in the trenches; the fathers, daughters, sons, and mothers that were lost or cared for others. To acknowledge the grief and loss that our fellow citizens suffered reminds us of our shared humanity. We should never forget the singular individuals that contributed to the larger theater of care and hard-earned resolution.
The exhibition runs through the end of May.
Questions about this event? Contact Micaela Sullivan-Fowler for more information at zvpnryn.fhyyvina-sbjyre@jvfp.rqh or 262-2402
Are you interested in having an exhibition at the Ebling Library? Your request will be reviewed by the Ebling Art & Exhibitions Committee. Please allow 4-6 weeks for this process.
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Ebling Library has approximately 231 linear feet of Walker Display System allocated into five separate areas and lengths.
Lengths range from ten to over 110 linear feet. In your proposal submission, please note the required space necessary for your show.
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Ebling Library follows U.S. copyright guidelines. It is the client's responsibility to determine whether their use of a photocopy fits into "fair use" or not. If not, we advise you to pay the copyright royalty through the Copyright Clearance Center (CCC) Web site.
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I believe your best option is to acquire a 87075C/012 12 port 75 ohm test set interface, the appropriate cables, and 85039B Type F calibration kit. This will allow one calibration set up and be able to test all the device ports in one connection. You can contace me directly and I can help you get components.


GENUINE AUDI (BY NARDI) BLACK LEATHER STEERING WHEEL. Bella Volante offer for sale this genuine Audi leather steering wheel made by Nardi in Italy. This wheel will fit any hub kit with a 74mm PCD, such as Nardi, Personal and Raid.
We can also supply an additional slim-line adapter to allow the wheel to fit a 70mm PCD hub kit, including Momo, OMP, Sparco and more. The leather is still soft and supple and with some signs of wear and a few marks commensurate with its age and use.
The stitching is mostly complete and tight, there is just a small area near the 2 o'clock position where the stitching has come away. The horn button is confirmed working. There are 6 brand new bolts included to fit the wheel to your hub kit. PLEASE STUDY THE PHOTOGRAPHS CAREFULLY, THIS IS THE EXACT ITEM YOU SHALL RECEIVE.
Where you'll find a huge range of steering wheels, hub kits and horn buttons by Momo, Nardi, OMP, Sparco, Italvolanti, Atiwe, Raid, Personal, Porsche, BMW, VW, Ferrari, Ford and more. Buyers outside of the European Union... The item "Nardi Audi black leather steering wheel.
OEM S2 Coupe Avant 80 etc 8A" is in sale since Thursday, January 31, 2019. This item is in the category "Vehicle Parts & Accessories\Car Parts\Interior Parts & Furnishings\Steering Wheels".
The seller is "bellavolante" and is located in Bury, Lancashire. This item can be shipped worldwide.


Happy Easter! I had a cup of this delicious tea today. Perfectly delicious straight up, the currant flavor is enhanced with a drop of honey. The sweet, almost floral flavors of black currant mingle with the nearly citrus flavor of the tea itself, which also has a faint flavor of malty toastiness. Sip by sip, I savored this tea as the steam enveloped my face, fogging my glasses.
Although I can be heard to mutter "Dust! Fannings and dust!" when drinking a poor cup of tea, I really don't think I'm a tea snob. Want to talk about your favorite tisane with jelly beans in it? I'm there. Want to talk about gyokuro and assam? Done. I welcome the chance to discuss all things tea and tea related because I'm that kind of nerd: a tea nerd. Other things I'm passionate about: my family: my husband and daughter and our Chihuahua and new cat; literature, and social justice. I have poor eyesight, a good temperament, an odd sense of humor and a lot of curiosity.


text:
All posts tagged "FC Barcelona"
It's Lyon's world, and we're all just living in it
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By Sophie Lawson
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By The Equalizer Staff
Barcelona's Champions League final berth arrived ahead of schedule
There is plenty of buzz around Barcelona right now, and why not? The team is in the Champions League final –...
Tuesday Roundup: Sky Blue co-owner Phil Murphy answers some questions
Also in today's roundup, Dagny Brynjarsdottir signs contract in Iceland, and Barcelona Women are making an appearance in LA Phil Murphy,...
Monday roundup: Henning announces retirement
Also in today's Roundup, Olympique Lyon, Arsenal, and Reading announce signings, while Fabiana leaves Barcelona Was für eine Zeit! Diesen Sommer...
Wednesday Roundup: Martens Moves to FC Barcelona
Also in today's Roundup, USYNTs find success and struggle around the world, and Lewes FC enacts equal pay Excited to announce...
Friday Roundup: USWNT regain No.1 position in FIFA World rankings
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Barcelona: We'll have a team in NWSL for 2018
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Leaving college for the pros is becoming more normal — at least for the elite
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redpajama_set_name: RedPajamaCommonCrawl


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Posted on August 9, 2016 September 26, 2016 by Matt Williams
Tabby's Star Megastructure Mystery Continues To Intrigue
Last fall, astronomers were surprised when the Kepler mission reported some anomalous readings from KIC 8462852 (aka. Tabby's Star). After noticing a strange and sudden drop in brightness, speculation began as to what could be causing it – with some going so far as to suggest that it was an alien megastructure. Naturally, the speculation didn't last long, as further observations revealed no signs of intelligent life or artificial structures.
But the mystery of the strange dimming has not gone away. What's more, in a paper posted this past Friday to arXiv, Benjamin T. Montet and Joshua D. Simon (astronomers from the Cahill Center for Astronomy and Astrophysics at Caltech and the Carnegie Institute of Science, respectively) have shown how an analysis of the star's long-term behavior has only deepened the mystery further.
To recap, dips in brightness are quite common when observing distant stars. In fact, this is one of the primary techniques employed by the Kepler mission and other telescopes to determine if planets are orbiting a star (known as Transit Method). However, the "light curve" of Tabby's Star – named after the lead author of the study that first detailed the phenomena (Tabetha S. Boyajian) – was particularly pronounced and unusual.
Freeman Dyson theorized that eventually, a civilization would be able to build a megastructure around its star to capture all its energy. Credit: SentientDevelopments.com
According to the study, the star would experience a ~20% dip in brightness, which would last for between 5 and 80 days. This was not consistent with a transitting planet, and Boyajian and her colleagues hypothesized that it was due to a swarm of cold, dusty comet fragments in a highly eccentric orbit accounted for the dimming.
However, others speculated that it could be the result of an alien megastructure known as Dyson Sphere (or Swarm), a series of structures that encompass a star in whole or in part. However, the SETI Institute quickly weighed in and indicated that radio reconnaissance of KIC 8462852 found no evidence of technology-related radio signals from the star.
Other suggestions were made as well, but as Dr. Simon of the Carnegie Institute of Science explained via email, they fell short. "Because the brief dimming events identified by Boyajian et al. were unprecedented, they sparked a wide range of ideas to explain them," he said. "So far, none of the proposals have been very compelling – in general, they can explain some of the behavior of KIC 8462852, but not all of it."
To put the observations made last Fall into a larger context, Montet and Simon decided to examine the full-frame photometeric images of KIC 8462852 obtained by Kepler over the last four years. What they found was that the total brightness of the star had been diminishing quite astonishingly during that time, a fact which only deepens the mystery of the star's light curve.
Photometry of KIC8462852 obtained by the Kepler mission, showing a period of more rapid decline during the later period of observation. Credit: Montet & Simon 2016
As Dr. Montet told Universe Today via email:
"Every 30 minutes, Kepler measures the brightness of 160,000 stars in its field of view (100 square degrees, or approximately as big as your hand at arm's length). The Kepler data processing pipeline intentionally removes long-term trends, because they are hard to separate from instrumental effects and they make the search for planets harder. Once a month though, they download the full frame, so the brightness of every object in the field can be measured. From this data, we can separate the instrumental effects from astrophysical effects by seeing how the brightness of any particular star changes relative to all its neighboring stars."
Specifically, they found that over the course of the first 1000 days of observation, the star experienced a relatively consistent drop in brightness of 0.341% ± 0.041%, which worked out to a total dimming of 0.9%. However, during the next 200 days, the star dimmed much more rapidly, with its total stellar flux dropping by more than 2%.
For the final 200 days, the star's magnitude once again consistent and similar to what it was during the first 1000 – roughly equivalent to 0.341%. What is impressive about this is the highly anomalous nature of it, and how it only makes the star seem stranger. As Simon put it:
"Our results show that over the four years KIC 8462852 was observed by Kepler, it steadily dimmed. For the first 2.7 years of the Kepler mission the star faded by about 0.9%. Its brightness then decreased much faster for the next six months, declining by almost 2.5% more, for a total brightness change of around 3%. We haven't yet found any other Kepler stars that faded by that much over the four-year mission, or that decreased by 2.5% in six months."
Artist's conception of the Kepler Space Telescope. Credit: NASA/JPL-Caltech
Of the over 150,000 stars monitored by the Kepler mission, Tabby's Starr is the only one known to exhibit this type of behavior. In addition, Monetet and Cahill compared the results they obtained to data from 193 nearby stars that had been observed by Kepler, as well as data obtained on 355 stars with similar stellar parameters.
From this rather large sampling, they found that a 0.6% change in luminosity over a four year period – which worked out to about 0.341% per year – was quite common. But none ever experienced the rapid decline of more than 2% that KIC 8462852 experienced during that 200 days interval, or the cumulative fading of 3% that it experienced overall.
Montet and Cahill looked for possible explanations, considering whether the rapid decline could be caused by a cloud of transiting circumstellar material. But whereas some phenomena can explain the long-term trend, and other the short-term trend, no one explanation can account for it all. As Montet explained:
"We propose in our paper that a cloud of gas and dust from the remnants of a planetesimal after a collision in the outer solar system of this star could explain the 2.5% dip of the star (as it passes along our line of sight). Additionally, if some clumps of matter from this collision were collided into high-eccentricity comet-like orbits, they could explain the flickering from Boyajian et al., but this model doesn't do a nice job of explaining the long-term dimming. Other researchers are working to develop different models to explain what we see, but they're still working on these models and haven't submitted them for publication yet. Broadly speaking, all three effects we observe cannot be explained by any known stellar phenomenon, so it's almost certainly the result of some material along our line of sight passing between us and the star. We just have to figure out what!"
So the question remains, what accounts for this strange dimming effect around this star? Is there yet some singular stellar phenomena that could account for it all? Or is this just the result of good timing, with astronomers being fortunate enough to see a combination of a things at work in the same period? Hard to say, and the only way we will know for sure is to keep our eye on this strangely dimming star.
And in the meantime, will the alien enthusiasts not see this as a possible resolution to the Fermi Paradox? Most likely!
Further Reading: arXiv
CategoriesAstronomy, Extraterrestrial, Kepler Mission, News Tagsalien megastructures, Dyson Sphere, Dyson Swarm, exoplanets, Featured, Kepler mission, KIC 8462852, light curve
9 Replies to "Tabby's Star Megastructure Mystery Continues To Intrigue"
12HC says:
just wondering, could it be a binary star system with the stars very close together? or with a unique orbit?
Matt Williams says:
I doubt it. All the information that has been obtained thus far says its a regular (aside from the dimming) single F-type main sequence.
SteveZodiac says:
A study of the star's spectrum for doppler shifts will tell you if there is anything of significant mass in the vicinity,another stellar object would put a big wobble in there, and a close binary has an occultation signature which would have been spotted straight away. The Rossiter-McLaughlin effect can even tell you object diameter and which direction the stuff is orbiting. No doubt many spectroscopes have already been put on this. Let's hope we are not looking at the aftermath of a war.
hydrazine says:
The article states that "no one explanation can account for it all" but it appears to me that nobody is suggesting several mechanisms at work at once. Or have I missed something?
/hydrazine
The authors did suggest that several mechanisms could explain the phenomena, but these are hampered by the fact that some fit the short term while other fit the long term. No combination or any single explanation can account for it all in the timeframe involved.
FarAwayLongAgo says:
What other telescopes than Kepler have observed these anomalies? It is sounder to suspect something wrong with the telescope than to assume new physics (or aliens). The star is easy to observe and gets alot of attention. I'm sure it is being very well observed. Where are the anomalies when other telescopes observe it?
That might explain the anomaly, were it not for the fact that they didn't notice the same behavior with any other stars observed by Kepler.
Zoutsteen says:
wild guess, its our own "planet X", with ring system, who crossed the star. 😎
It has to be 10 parsec, 30 light years, from the star if it is a transit. That's unpossible. Something weird was wrong with the telescope or somewhere in the cumbersome process of using its data. That's my bet.
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Andries Pels (1631-1681) advocaat/toneelschrijver,
 Andries Pels (1655-1731) bankier en assuradeur.

redpajama_set_name: RedPajamaWikipedia


…and raise the level of your performance to meet your expertise.
I'm glad you're here. Because video is unavoidable.
And the need to be at your best has never been more crucial.
An Expert or a Thought Leader.
You damage your brand, your credibility and your bottom line.
It's not uncommon to be camera-shy.
To feel uncomfortable or self-conscious in front of the camera.
Or simply lack the tools you need to make video work for you.
And while you can get past these obstacles.
It's nearly impossible getting past them on your own.
It takes an outside trained and discerning eye.
Someone with the skill and tools to help you reach your personal best.
Someone to help you find confidence and credibility on camera.
To insure every aspect captures who you are and what you do.
With the tools to put you in control to reach and connect with your audience for the greatest impact…and outcome.
You undermine your brand and damage your bottom line.
And that is a loss none of us can afford.
Reach out. Let's have a conversation.
See if we're a fit.
And if we are. Let's start!
Virtual or In Person. Global or Local.
Our work is individualized. There is no one-size-fits-all.
Together we'll reach your personal best. Not someone else's best. But your own unique best.
And if you're so new to video you don't even know how to start…we'll do that too!
I spent 18 years as a Juilliard-trained professional actor working with some of the finest award-winning directors and designers in the American Theatre.
I didn't just learn about acting at Juilliard.
I learned what it meant to be credible and watchable.
I also gained an appreciation and understanding of visual composition which lead me to see things from a creative point of view with a real eye for detail ever since.
From acting I unexpectedly went into Marketing and Sales. I spent 22 years as a consultant behind company brands as a spokesperson, brand ambassador and educator in such diverse fields as home fragrance and concierge medicine.
I set overall company brand and marketing strategies, directed PR firms and graphic designers, edited company educational videos and drove website design in addition to writing content.
Whether selling products for the American leader in home fragrance or high-end concierge medical programs, I found an unanticipated love and ease in sales.
I first met Elaine Hausman at The Juilliard School. She was widely acknowledged as an extraordinary actress and her subsequent career on Broadway and Off provided her with an array of dazzling roles, both comedic and dramatic. I had the great privilege of working with Elaine on the Golden Globe-winning TV series "Nip/Tuck," where I was a writer and Executive Producer. Elaine played a woman who accidentally lit her face on fire. Her performance was so rich and poignant that the entire writing staff demanded the character return and she soon after became a recurring role.
Elaine's later transition into the world of business was a loss for the performing arts, but one that makes perfect sense. It allowed her to expand the unique and creative approach that served her as an actress so successfully; her keen eye for detail, her meticulous professionalism, her masterful ability to present herself with poise and dynamism easily translated into the fields of marketing and sales to great effect.
I've watched Elaine derive enormous pleasure and satisfaction establishing personal relationships in her business endeavors while helping to solve problems with the same passion, commitment and thoughtfulness she employed as an actress. There's no one I would trust more to maximize my on-screen presence and help me represent my business to its full potential.
Elaine is my video performance coach on the wonderful mission to help me become more 'credible & watchable' during my online courses and trainings. Her guidance and methods are simply priceless. I went from being nervous to being confident, from being ashamed about my flaws (English is my second language) to being relaxed (even proud) about them and from being camera shy to being camera confident. Working with Elaine would be a total game changer for anyone who wants to perform at their best.
I got the Hillary Clinton part that I auditioned for! Wow! I can't believe that I'll be making my stage acting debut, and at the legendary Second City in Chicago, of all places. Thank you so much, Elaine, for giving me some wonderful acting tips that were super helpful to me and helped me nail my audition and get the part. Elaine also has a great YouTube channel that gives amazing tips for those looking to be more comfortable being on video. I highly recommend that you work with Elaine. Whether you need acting or tips or whether you're looking to greatly increase your comfort level on camera, Elaine has the skills, expertise, and know how to take you to the next level. Thank you, Elaine!
I really enjoyed your videos. I really appreciate your content and even keel delivery. It's inspiring to see you highlighting your gifting/sharing lessons learned/taught while using your visibility to demonstrate compassion for those who need it most.
I worked side-by-side with Elaine in a senior living environment for over 3 years. She has a gift for developing trust-based relationships. More than that, her personal standards of excellence and impeccability cannot be matched. Her strong skills reflect her high standards.
I had the wonderful opportunity to work with Elaine Hausman in two different settings. I found her to be exceptionally personable and professional. She is warm, friendly, articulate and compassionate. She engages her audience with sincerity. Elaine was a true pleasure to work with. As my career has developed since working with her I have not yet met another person like Elaine.
Send Elaine an email using the contact form below, or email her from your personal account.


text:
Q: How to construct a lens of 2 properties? Suppose I have a record like this:
type Order = | Order

type OrderBook =
  {
    PrimaryOrderID : Guid
    Orders : Map<Guid, Order>
  }

I would like to do nested updates using lenses.
Here are the optics type aliases:
/// Lens from 'a -> 'b.
type Lens<'a,'b> =
    ('a -> 'b) * ('b -> 'a -> 'a)

/// Prism from 'a -> 'b.
type Prism<'a,'b> =
    ('a -> 'b option) * ('b -> 'a -> 'a)

I would like to construct a lens for the primary order. This may be None if the primary order does not exist in the Orders map.
Here is what I came up with:
module Optics =

  let primaryOrder_ : Prism<OrderBook, Order> =
    let get =
      fun orderBook ->
        orderBook.Orders
        |> Map.tryFind orderBook.PrimaryOrderID

    let set =
      fun primaryOrder orderBook ->
        {
          orderBook with
            Orders =
              orderBook.Orders
              |> Map.add orderBook.PrimaryOrderID primaryOrder
        }

    get, set

However, I was wondering if there is a more elegant way to define this in terms of primaryOrderID_ and orders_ lenses?
module Optics =

  let primaryOrderID_ : Lens<OrderBook, Guid> =
    (fun x -> x.PrimaryOrderID), (fun v x -> { x with PrimaryOrderID = v })

  let orders_ : Lens<OrderBook, Map<Guid, Order>> =
    (fun x -> x.Orders), (fun v x -> { x with Orders = v })

A: I'm not an expert on optics, but I think the simple answer has to be no, because neither of the field-level lenses will call Map.tryFind or Map.add, like your high-level primaryOrder_ lens does.
This seems to be due to an implied type-level invariant: the Orders map must always contain an entry for the primary order. Since OrderBook as currently written doesn't enforce this, things could break if the invariant isn't honored in client code.
I think if you address this underlying issue first, the optics will then be easier to figure out. One simple approach would be to define OrderBook like this instead:
type OrderBook =
    {
        PrimaryOrder : Order   // the entire order, not just its ID
        OtherOrders : Map<Guid, Order>
    }

The primaryOrder_ lens would then be trivial, but the actual best answer will probably depend on your use case. (Note that this is similar to NonEmptyMap in FSharpPlus, with the assumption that Order has its own ID : Guid field.)

redpajama_set_name: RedPajamaStackExchange


Rubenerd: No ATMs skimming from DBS profits!
No ATMs skimming from DBS profits!
SINGAPORE – DBS Group, Southeast Asia's largest bank, posted a record quarterly profit that beat analysts' expectations due to higher loan margins and trading income, and was bullish in its outlook.
The money is all in Asia now folks!
Ironically, I'm thinking of moving to OCBC. During some recent family adventures with a handful of banks, they've been by far the most tolerable. As far as banks go, that's high praise!
Newer post ← Goodbye to Simple Clocks?


Side Pony Productions in association with Rock Surfers present THE PRIDE, an original work devised by Cast and Director at the Bondi Pavilion, Bondi Beach.
Script built from improvisation = worse than lame. High school stuff, at best. And, that is a very odd, rare, high school, I'm talking about.
Take the first scene: A man dressed in a lion suit (Bruce) walks on stage with a silver, metal bucket. He acknowledges us, the audience, many times. He goes to a table on which several stuffed toys with a likeness to lion cubs sit. He puts the bucket on the floor, below the toys/cubs, which he then pushes into the bucket. They plummet - thud, into an empty bucket (no splash). He picks up the bucket, checking we are watching, goes behind the table, puts the bucket on the table, and then presses his hands into the bucket, seemingly to squash, mash and mangle (maybe, 'drown' the cubs/toys , however, there is no water sound or visual affect) violently, a couple of times. He then picks up the bucket, and nonchalantly ambles off, through a door way.
Should we be amazed or horrified at the likeness of the animal-lion and human behaviour? Now, what are we to make of this? Should we laugh or cry? Was the lion drowning his off-spring? Will have to check with David Attenborough to discover whether the male lion does that? Or, is it the idea, that it is a male human, who, according to the premise of the program notes is much like this beast in behaviour, has, indeed "disconcerting similarities", is drowning his children? I am not sure that I have much credence for the idea that Side Pony is conjecturing, here. Proof? Well not in my experience of common human events. Think further, his lioness partner, Linda, does not seem to miss her children. Is she, then, complicit? Is this the normal behaviour of the lion parent and therefore the human? Are these Pride and Human behaviour expressions, demonstrating these "disconcerting similarities", suggesting, we are, all, both, psychopathic killers of our children?
Mmmm, puzzlement. On we go to the next sequence - how to use a telephone recording system, and by the way, demonstrate singing and rhythmic abilities!
We, the audience are onto the concept of THE PRIDE right from the start, and after that first scene just hope, and hope, that there is going to be a surprise development as the clock ticked on and on to that first scene's proffered dilemma. Unfortunately, there isn't one. It's just a joke - a truly-ruly Lame one!
Or, is this it? - ("Ahhhh! OMG. Don't please!") - Is this it? = Mawkishly, Bruce, the daddy lion, grows old, and right at the end, underscored by sad and ominous music (Nathan Nesbit, Composer and Sound Designer), he acquires traits of some of the old: Alzheimer's, and then, after being humiliated by the toughness of the up and coming young lion, strips off his suit to reveal a near naked human being (shocking, oh no!) - just in case we hadn't understood the (laboured) theatrical metaphor, the genius idea of this show. Was that the denouement, the dazzling insight, development? Hey, Side Pony, we got it on the first entrance - 75 minutes ago, for god's sake.
Clearly, Mr Ewing has stand-up comic umphhh, even without his guitar and award winning songs - he has ample opportunity to do his schtick! Ms Daff has the submissive and patient second banana (but smarter) role down pat - funny. Is that her schtick - submissive and patient second banana? - if it is so, then not so smart. Pssst- you're been done over by those blokes and Ms Pepper: Where's your special show off bit in the show? Mr Leonard from the program notes we learn, is a "singer, actor, dancer, acrobat whose recent involvement in 'King Kong" the musical won him a 2013 Helpmann Award for Outstanding Theatrical Achievement and 2014 Green Room Award current nominee for 'best ensemble' ... " (sic), who was then given the chance to, indeed, demonstrate his special schtick with a lip-synching opportunity, towards the end of the show, engaging his dance, and especially, acrobatic, acrobatic, acrobatic amazements - they were really, really, really good. But, I could not fathom how this interlude fitted the dramaturgical narrative structure of THE PRIDE, organised by Ms Pepper. It just seemed to make the show way longer than necessary.
As the Side Pony site tells us : "good people doing terrible things."
The 'home' of Bruce and Linda's pride is finally decorated with a large wallpaper blow-up, of a re-production of French painter, Henri Rousseau's REPAS, which features a lion devouring its kill in the down, centre area of the canvass. Henri Rousseau is famous for being a leading member of the post-Impressionist painting movement, the Naive / Primitive school. If only the naive and/or primitive 'school' of theatre creation that is Side Pony had produced something as wonderful as Mr Rousseau's work of Art. It hasn't, neither art, nor even, a plausible entertainment, rather, 75 minutes of fringe theatre hell!
THE PRIDE is the Rock Surfers first offer for the year, 2014. It is almost April, and I thought we had lost them. Last year this company made a significant contribution to the theatre scene in Sydney. This work, that they have curated, associated with, is an ominous awful, retrograde decision.
Save your money. Go to the zoo, or rent THE LION KING.


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text:
300 Cretins
The Daily Reckoning PRESENTS: It takes a great deal of courage to stand with only 300 men against 100,000. However, unlike the Spartans at the Battle of Thermopylae, the small group of men who goaded President Bush into Iraq did so at no great personal sacrifice. As Bill Bonner explains, it is the common man who will suffer the greatest sacrifice of this War on Terror. Read on…
Go tell the Cretins, you who read;
We took their orders, and are dead.
– Based on inscription at Thermopylae, with apologies
The Bush administration is hoping that the new film, 300, will give the troop surge a lift with the public. The film glorifies the sacrifice of 300 Spartan warriors who held back an invading army of over 100,000 Persians in 480 B.C.
Choosing their terrain well, the Spartans managed to neutralize much of the Persians advantage; while the Persians had many, many more troops, they could only get a few of them to the line of battle at a time. But the Greeks could see they were on the losing side of this fight. The Thespians, fighting alongside the Spartans, withdrew while the Spartans decided to stay and fight to the last man. They might have done so as a purely military necessity, holding off the enemy so as to give their allies time to retreat and regroup; or they might have fought on simply for the glory of it. We don't know.
We do know that they managed to hold their ground for a couple more days, until a fellow Greek, Ephialties, betrayed them by showing Xerxes how to outflank his opponents. Then, the Persians got behind the Spartans and rained down arrows upon them until they were all dead.
Leonidas's body was recovered, beheaded and crucified. But the rest of the surviving Greeks were then able to take up the fight; and, in a number of calamities and misadventures, the Easterners were finally driven back across the straits to Asia Minor. Western civilization was saved.
According to today's neo-conservative apparatchiks, we are once again involved in an epic struggle – a clash of civilizations between the free West and the tyrannical East. Paul Wolfowitz, Douglas Feith, Richard Perle, Philip Zelikow – this handful of men (probably no more than 300 of them), pushed a bright, shining war on a dim yahoo of a president. Together, they see themselves like Leonidas at the Pass of Thermopylae, guarding our western way of life, without even getting their suits dirty. The sacrifice of others is worthwhile, they believe.
But now, after four years with neither victory nor defeat in hand, it is too late for earnest criticism; instead, the time has come for gratuitous ridicule.
The targets are many. For instance, against whom the war in Iraq is being waged (or why) has yet to be fully clarified. Every question on the subject brings a response that only deepens the mystery.
But the costs are becoming clearer every day. So far, Britain's Ministry of Defense admits to having spent 5 billion pounds on the war in direct costs. Indirect costs are sure to be many times that figure. America's total is much larger – $505 billion of U.S. 'taxpayers' money' has been spent or approved. The biggest of all liar's loans?
Of course, we are already in the Land of Lies. Neither the British taxpayer nor his American counterpart has any spare money; their taxes were already earmarked for other boondoggles. Still, the U.S. President asked for another $100 billion of it on Monday, and is expected to request $140 billion more for 2008, bringing the total to over $700 billion. Looking ahead, to the cost of caring for wounded and incapacitated soldiers, the whole thing is expected to cost more than $1 trillion.
Since we're tallying, we cannot fail to mention the cost in lives. 3,205 U.S. soldiers have died, and 134 British soldiers. More than 24,000 Americans have been seriously wounded. Iraqi casualties, if anyone is keeping score, may top half a million.
Meanwhile, George W. Bush asked Congress for the latest $100 billion draw, without strings and without delay – or else the war might have to be called off, he seemed to warn. The politicians bent over and checked under the cushions, but the spare change they recovered came nowhere close to $100 billion. They are already facing budget deficits of a half a trillion over the next two years. Where would the extra money come from? What would the extra strain do to the finances of the nation…or to the value of the dollar? How was the investment expected to pay off? No one knew. No one even asked.
But as for the strings, everyone knew exactly what the chief executive was talking about -even the chief executive himself. Lawmakers have come to see the war, not as a real war, but merely as just another spending opportunity, with live ammunition. To the latest demand for cash, the polls have attached a number of pork-barrel provisions, including $25 million for spinach growers, $100 million for citrus growers, $74 million for peanut storage, $4 billion for 'emergency payments' to farmers, and $283 million for milk subsidies. Who says there isn't progress in human affairs? The U.S. congress has managed to improve upon the old Roman formula – they've combined bread, circuses and war in a single spending bill.
Every war has its profiteers. Neither in love, nor in war do you stop to count the costs. But a phony war is a bigger opportunity than most, because there is no patriotic necessity to win. Unlike the Spartans, the Cretins know Iraq poses no real danger to the homeland. So everyone gets into the spirit of the war as it really is.
Halliburton, Lockheed, and Bechtel inflate prices, take money for nothing, and gouge taxpayers for useless weapons and unnecessary supplies. In one report, truckers reported that they were asked to drive empty trucks back and forth across the desert, carrying sailboat fuel so that contractors could bill the government for delivery. A total of $9 billion has been officially lost or unaccounted for.
War critics will complain about the waste of money involved. They will point to this week's polls, showing the war to be so ineffective that the average Iraqi now regards democracy with suspicion, and finds it acceptable to kill U.S. and British troops. The more the U.S. government tries to improve the lives of the Iraqis, the more Iraqis seem to want to get even. Given the deadly drift of things, wasted spending may turn out to be the best spending the Bush team did.
"There will be good days and there will be bad days," said the American president, stoically. And he's right…but they won't be shared out equally. The spinach growers, milk producers, and weapons contractors will get the good days. The poor grunts, the Iraqis and the taxpayers will get the bad ones.
But what about the Cretins? In the film, as in the battle, the Spartans were wiped out. "Spartans. Tonight we dine in hell," Leonidas was said to remark. Later, a shower of arrows so thick they blotted out the sun, according to Herodotus, came down on them. The Spartans fell; but Greece was saved.
We don't know how far the parallels go. The U.S. military presence in Iraq hardly seems like 300 Spartans defending the homeland. Instead, it seems more like the Persian Empire invading someone else's homeland.
And the 300 Cretins? Are they really protecting western civilization? Was it worth the billions spent and the thousands of corpses? We don't know, but we have a feeling that there is already a table reserved for them in Hell.
Editor's Note: Bill Bonner is the founder and editor of The Daily Reckoning. He is also the author, with Addison Wiggin, of The Wall Street Journal best seller Financial Reckoning Day: Surviving the Soft Depression of the 21st Century (John Wiley & Sons).
In Bonner and Wiggin's follow-up book, Empire of Debt: The Rise of an Epic Financial Crisis, they wield their sardonic brand of humor to expose the nation for what it really is – an empire built on delusions. Daily Reckoning readers can buy their copy of Empire of Debt at a discount – just click on the link below:
In our hotel room, three bright, red apples were available to us. Firm, well shaped…returning late from our trip to Switzerland, they looked like the perfect substitute for dinner.
We took a bite of one. And what's this? What a disappointment! The thing was foul…mealy…with a peel that could have passed for plastic.
Apple growers seemed to have succeeded in creating the perfect hotel apple. It looked delicious…but tasted like cardboard.
Nikita Khrushchev was ahead of his time. Do you remember, dear reader, on his famous visit to NY, he went to an American supermarket. "The Americans have 246 different variety of apple," he remarked, or words to that effect, "and they all taste terrible. It's enough to make a stone weep."
He should have bitten into a few more. In the Union of Soviet Socialist Republics, on the other hand, you would have had a hard time finding an apple at all.
But he had a point. How much of progress is a fraud, we wonder? One man's great innovation is another's great pain in the neck. The cars are better…but the highways are so crowed that speeds have fallen. Communications are better…but now people with nothing to say walk around talk, talk, talking all day. You can get a credit card more easily…but so can you more easily get stuck deep in debt.
A man, who must have mistaken us for someone else, asked: "How do you account for your success?"
"Television," we replied. "We don't watch it."
For every mind that is better informed and better entertained by TV, there must be 100 that have been turned to mush.
But enough about apples and TV…down to business.
We checked the financial pages this morning…and we are pleased to report:
It's all good again.
Yes, remember that correction at the end of February? You've probably forgotten, just like everyone else – because there wasn't much to it…a spasm of doubt, more than a correction. Speculators got worried about problems in U.S. subprime lending…and sold off China!
That's the official explanation. So far, it seems to be holding up.
Most of the world's stock markets are already back in the black figures for the year. And get this…as expected, Ben Bernanke is now hinting that rates might fall. That was all U.S. investors seemed to need to hear – another big wave of rate cuts!
"For the sixth straight month, the Fed did nothing," writes our old friend Rick Ackerman, "but we'll take Bill Gross's word for it that this particular instance of nothingness signifies easing just ahead.
"With Helicopter Ben talking incessantly about the supposed 'threat' of 'inflation,' it didn't take a rocket scientist to figure out that inflation was the least of his concerns. Like the rest of us, the Fed chairman has known all along that the 'good' kind of inflation – the kind that pumps up everybody's assets so that those assets can be hocked to the moon – is all that stands between our spectacularly over-leveraged economy and a Second Great Depression."
Still worried about subprime? Don't be. It's a relatively small, containable problem, says the U.S. Treasury Secretary. And if it isn't, the Fed is going to make sure there's enough cheap credit around to keep the bubble inflated.
Worried about trade deficits, federal deficits, learning deficits, attention deficits? Whatever kind of deficit has you squirming…you can stop. It's all good. All good.
Even the financial companies – such as Goldman Sachs – are coming back. They're not yet back to their highs, but they're headed in that direction.
Oh, and don't worry about derivatives gone wild. Relax; the Fed says derivatives are good things. They help spread the risk around.
In that, they are undoubtedly right. The risk that was previously identifiable and controllable (a small bank wouldn't lend ITS money to a man who couldn't pay it back) is now everywhere. And it's all good. All good.
Forget trying to find the single rotten apple that will spoil the barrel. The whole lot of them have gone good.
At least, that's the theory.
More views below, but first, the news:
Chuck Butler, reporting from the EverBank world currency trading desk in St. Louis…
"The housing slowdown is going to really start impacting the employment picture as we move into what is usually a strong construction season. Compared with the same time last year, initial claims are up about 4%, while continuing claims are up about 3%."
For the rest of this story, and for more market insights, see today's issue of The Daily Pfennig
And the views we promised yesterday…
*** The subject before us is the direction taken by modern politics. Why is George W. Bush telling Latinos that America is committed to 'social justice' rather than the more modest, old-fashioned 'justice'? And how cometh it to be that 'liberals' in America are opposed to the 'liberal' ideas of the 19th century…and that now even 'conservatives' in America are opposed to the 'conservatism' of their grandfathers?
In the discussion that follows, we propose a theory.
We recall from yesterday that there are two large themes in modern political theory – individualism and collectivism. Individualism is the idea that a man should look after himself. 'Justice' is done, according to this view of things, when he isn't improperly interfered with. The world, then, takes whatever shape it takes, based upon mankind's aggregated individual results.
Collectivism, on the other hand, is that idea that the political 'collective' – the state – should look out for everyone. It implies that the shape of society – the outcome – is not left to chance, but decided collectively, or by the collective's elite ministers. 'Social justice' is what you get when the elite likes the results.
America, in theory as in actual fact, was a nation founded on the rock of individualism. It didn't matter what the elite liked. But now its 'conservative' president proposes a concept of justice that Marx or Lenin would have appreciated. Not only that, but he spends the nation's blood and treasure trying to make governments half-way around the world more to his liking. And he takes hundreds of billions of dollars from individuals – many of them not even born yet – to reward favored groups with drugs, bread, circuses or federal contracts.
Your author has lived overseas for more than 10 years. Each place he has lived or visited has its quirks, but in every one, the individual seemed to enjoy about as much liberty as he did in America. Everywhere, a person is taxed, controlled, regulated, licensed, rewarded, privileged and pampered – according to how the ruling elite chooses. What gives? What happened to American individualism?
We mentioned yesterday how our president is caught in the same trap that bedeviled Wilson and Teddy Roosevelt. They wanted to flex America's new muscles. The United States became the largest economy in the world in the early 1900s. Now that they had power, they wanted to engage in power politics…to shove and scrap…to wear funny hats with giant plumes on them…and to sit down at a bargaining table with French, British and Russian 'charge d'affaires'; oh, even the sound of it sent frissons down their greasy backs. They wanted to carve up the world…decide the fates of nations…redraw the map of the world. Of course, the whole spirit of it was contrary to the American ideal, wherein a free people determine their own fate and decide their own form of government.
And poor Wilson and Roosevelt were still working within the old American system. The people back in Tennessee and Georgia wanted no part of world domination. They still had the U.S. Declaration of Independence on their walls. They still heard Washington's words – 'avoid foreign entanglements' – echoing in their ears. They still thought only Congress had the power to declare war; the bumpkins didn't mind a fight, but they wanted a damned good reason for it.
And so the old frauds had to dissemble…they had to talk about 'making the world safe for democracy' and about 'protecting American interests'; of course, there were none…but the rubes wouldn't know. The whole planet needed to be more like America itself – freer, more prosperous, and more democratic.
George W. Bush continues the humbug, but he has a much easier time of it. Americans have generally forgotten the idea of individualism. They want public schools, Social Security, and free drugs – just like the krauts and the frogs. Bush II comes up with his preposterous "War on Terrorism" and nobody laughs, because Americans, like almost everyone else in the world, have all become collectivists. If a man's town is flooded, he expects the feds to come in with donuts and house-trailers. If a man's wife is sick, he expects the feds to offer medical treatment…or at least to regulate the marketplace so it is 'affordable' for him. If his house is repossessed, he turns his face to Chris Dodd in Washington…and the next thing you know, the windbag senator is proposing to bail him out!
And if a handful of fanatics blow up a couple of office buildings in New York City, he wants the Marine Corps to kick butts all over the world. Whether they had anything to do with the crime barely matters to him; what he wants is for his government to remake the face of the entire world, if necessary, so it is a more agreeable place for him.
The old pioneers…the settlers…the farmers…the inventors…the robber barons – all the people who built America – they were stupid and they were smart…they were wicked and they were saints. But no matter what they were…they stood up straight. How is it possible that these rugged, stalwart Americans evolved into a race of such fear-driven, collectivist drips?
Stay tuned…dear reader…stay tuned.
*** More commodities trading tips from our resident Maniac Trader, Kevin Kerr:
"If you're going to trade commodities profitably, it's vital that you understand the inner workings and psychology of the market participants, as well as what actually goes on in the pits. By having an understanding of what goes on in the pits and with the floor brokers, as well as with your own broker on the trading desk, you'll be able to empathize with them and know when to ask for more and when to ask for less. Knowing what your brokers can do for you and what is beyond their power makes them appreciate you and consider you an ally. It puts you on their favorite clients list, [which is] not a bad place to be. It's always a good idea to have your broker like you because he or she will look after you better. While any ethical broker should, and generally does, do his/her best for each client, chances are that they would tend to go above and beyond what's expected of them if you take the time to establish a rapport.
"You don't have to move in together, but just show that you're making an effort to understand what they do and how they do it. The best brokers will call you when they see an opportunity or, in other cases, a problem, with your account. They will be quicker to do this if they like you. They can tell you what trades are simply not a good idea, help you understand terminology and even decipher the various industry reports, and a lot more. Even better, brokers like clients who have a basic understanding and try to learn the workings of the market. When you have that understanding you have an instant edge over the vast majority of novice commodities traders."
*** What's the latest on the India stock market? Glad you asked.
"We're buying…we're finding a lot of value," says our new friend, Ajit Dayal. From his office in Bombay, Ajit runs a mutual fund focusing on Indian shares. "The Index is very high. You look at it and you think Indian shares are too expensive. But the index is not very representative. It includes only a handful of very large cap corporations. And they are too expensive. But overall, stocks in India sell for only 14 times earnings. And they're growing earnings at more than 20% per year. You'd have a hard time finding those numbers anywhere else in the world."
Ajit is bullish on India. There are not many things we are bullish on, here at the Daily Reckoning. And about none of them are we bullish without reservations. Our reservation about the Indian market is that it is too far away…both in distance and in culture. We don't think we could ever understand it.
"Useful information declines by the square of the distance from its source," we recall.
We're a long way from Bombay.
Of course, we're a long way from Tokyo too…and we're bullish (with reservations) on Japan.


A CombineFn that computes the maximum of a collection of elements of type T using an arbitrary Comparator, useful as an argument to Combine.globally(com.google.cloud.dataflow.sdk.transforms.SerializableFunction<java.lang.Iterable<V>, V>) or Combine.perKey(com.google.cloud.dataflow.sdk.transforms.SerializableFunction<java.lang.Iterable<V>, V>).
Applies the binary operation to the two operands, returning the result.
Returns the TypeVariable of AccumT.
Returns the error message for not supported default values in Combine.globally().
Returns the TypeVariable of InputT.
Returns the TypeVariable of OutputT.
Returns the value that should be used for the combine of the empty set.
Register display data for the given transform or component.
populateDisplayData(DisplayData.Builder) is invoked by Pipeline runners to collect display data via DisplayData.from(HasDisplayData). Implementations may call super.populateDisplayData(builder) in order to register display data in the current namespace, but should otherwise use subcomponent.populateDisplayData(builder) to use the namespace of the subcomponent.
By default, does not register any display data. Implementors may override this method to provide their own display data.
builder - The builder to populate with display data.


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LONDON (Reuters) - Farmers can now for the first time insure their produce against price volatility as easily as insuring their homes, with a global platform based on hundreds of niche commodity indexes, underwritten by a Lloyd's of London syndicate.
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text:
Fred Sanford Scholorship Fund
FRED SANFORD
(June 22, 1947 - January 23, 2000)
Friends and family are establishing the Fred Sanford scholarship fund
PO Box 300166, Denver, CO 80203-0166
Through this scholarship fund - Fred will continue to teach forever!
Fred Sanford, one of the pioneers of contemporary marching percussion, lost his brief battle with cancer in Denver, Colorado on January 23, 2000. Surrounded by his wife and other family members, he died as he lived – with courage and good humor...and the "Freddy" smile.
Raised in Casper, Wyoming, Fred followed his older brother Ken, also a drummer, into the Casper Troopers Drum & Bugle Corps at the age of 12 in 1959. He was a proud member of the Troopers for ten years until he aged out following his 21st birthday in 1968. Although he attended school at California State University in Fullerton and taught the newly organized Anaheim Kingsmen from 1965-1967, each summer he would return to teach and perform with his hometown corps.
In 1968, Fred moved to northern California where he attended San Jose State and studied percussion with Tony Cirone. During this time he also began to instruct and write for another new drum corps – the Santa Clara Vanguard with whom he would work for 12 seasons. During his tenure there, the Vanguard drum line won an unprecedented five national "high drum" titles.
Following his graduation from San Jose State in 1970, he taught high school music programs in Bergenfield, New Jersey where he met Dennis DeLucia. "Fred Sanford made his mark on the world of percussion with his extraordinary arrangements for the Santa Clara Vanguard," recalls DeLucia. "For the first time in drum corps, percussion charts were magnificent orchestrations that beautifully captured the style and elegance of the music and made the horn line sound much better than it would have sounded by itself! My personal favorite – "Young Person's Guide to the Orchestra" (1974) – was a landmark in voicing, rhythmic interest and accompaniment that featured the drum line in the most musical way imaginable."
The '70s also saw Fred begin his association with the Slingerland Drum Company where he was instrumental in designing the TDR snare, Cut-a-way timp-toms and Tonal bass drums. He also began another important aspect of his career, teaching educational clinics on marching percussion around the country and eventually around the world. During that decade, Sanford also worked with the Madison Scouts, the Alberta All-Girls Drum & Bugle Band and The Blue Devils.
During the early 1980s, Sanford joined the Ludwig Drum Company as a Product Development Manager and Staff Clinician. In addition to his drum & bugle corps experiences, Sanford was the percussion coordinator for the 1984 Olympic Games in Los Angeles and also worked with the McDonald's All-American Band at various national parades.
Since 1985, he served as a marching percussion consultant for the Yamaha Corporation of America and developed the SFZ marching snare drum and the Power Lite Marching Series. Fred developed the Yamaha Sounds of Summer band camps which each summer attracted over 10,000 students who studied under Fred's direction.
Fred Sanford was also active in the Percussive Arts Society, serving on the PAS Marching Percussion Committee as well as being the "voice" of the Marching Percussion Festival for almost two decades. Fred is a member of the DCI Hall of Fame.
"Thanks for everything, Fred," DeLucia states with emotion. "Your legacy will live on through your music, your disciples and your presence."
The Fred Sanford Scholarship Fund
The friends and family of Fred Sanford have started a scholarship fund in Fred's honor. It is our intention that through this fund Fred will continue teaching forever.
For this fund to survive and be successful it must be self-sustaining. We do not intend to be coming back to friends and business associates asking for support after this initial fund raising. We, therefore, will need the strong support of the percussion industry in particular to get this off the ground. Our hope is to raise a minimum of $100,000 in the next six months. This figure would allow us to give meaningful scholarships each year beginning with the fall of 2001.
We have been contacted by one particular performing artist, and have had interest shown by others, who would like to perform benefit concerts with all proceeds going towards the Fred Sanford scholarship fund. It is this type of giving that will make this project a success.
Other scholarship funds have been launched in memory of other great artists and teachers in the music and marching fields but unfortunately they have not sustained the sands of time. Interest and emotion wane after time and the opportunity is lost, we do not intend to let this happen with this scholarship fund.
Our desire is that one half of the scholarship dollars would be awarded to a marching band student in the field of percussion, the other half to a percussion line member participating in the drum and bugle corps activity each year. We will ask school band directors and drum and bugle corps directors to submit names of qualified recipients to our selection committee.
We have asked, and are honored that each has accepted, three highly qualified people to serve on the selection committee:
John Pollard the band director for L.D. Bell High School, in the state of Texas.
Ralph Hardimon-director of percussion for the Blue Knights Drum and Bugle Corps in Denver, Colorado
Jay Wanamaker-Vice President-General Manager for the Yamaha Corporation of America in Buena Park, Ca.
We have applied for a tax identification number so that all contributions will be tax deductible. The scholarship fund will be run as a non-profit Charitable Corporation.
Please take into serious consideration the benefits that this scholarship fund can have on the lives of promising young percussion students. And then, please find it in your heart to contribute generously so that Fred can continue to teach forever. The Fred Sanford Scholarship Fund
Denver, Co. 80203-0166
The Blue Devil organization sadly mourns the loss of Fred Sanford. We would like to encourage all of the Drum Corps Activity to help with this great cause. Thank you!


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FENCES' Davis, Leon & Henderson on "Theater Talk" This Weekend
Posted on May 21, 2010 by bbbblogger
WATCH FENCES'
VIOLA DAVIS, KENNY LEON
& STEPHEN McKINLEY HENDERSON
ON "THEATER TALK"
www.FencesOnBroadway.com
Academy Award nominee and Tony-winner Viola Davis, director Kenny Leon and Stephen McKinley Henderson, all Tony-nominated for their work on FENCES, will appear this weekend on "Theater Talk." "Theater Talk" airs on Channel Thirteen on Saturday, May 22 at 12:30 AM and on CUNY TV Saturday, May 22 at 8:30 PM; Sunday, May 13 at 12:30 PM and Monday, May 24 at 7:30 AM, 1:30 PM, and 7:30 PM.
FENCES, directed by Tony Award nominee Kenny Leon, is currently playing a strictly limited 13-week engagement at the Cort Theatre (138 West 48th Street). The first Broadway revival of August Wilson's Pulitzer Prize and Tony Award-winning FENCES is nominated for TEN 2010 Tony Awards, including Best Revival of a Play.
In addition to Denzel Washington as Troy Maxson and Viola Davis as Rose Maxson, the cast features Chris Chalk as Cory, Tony Award-nominee Stephen McKinley Henderson as Jim Bono, Russell Hornsby as Lyons, Mykelti Williamson as Gabriel, and with Eden Duncan-Smith and SaCha Stewart-Coleman alternating in the role of Raynell.
FENCES is produced by Carole Shorenstein Hays (who produced the original Broadway production) and Scott Rudin.
The original Broadway production of FENCES opened on March 26, 1987 at the 46th Street Theatre (now the Richard Rodgers Theatre). FENCES was one of the most critically acclaimed and successful plays of the 1980s, winning four Tony Awards including Best Play, the Pulitzer Prize for Drama, three Drama Desk Awards, including Best Play and the NY Drama Critics Circle Award for Best Play.
Two-time Academy Award® winner Denzel Washington returns to Broadway, alongside Academy Award nominee and Tony Award® winner Viola Davis, in August Wilson's Pulitzer Prize-winning play. Both a monumental drama and an intimate family portrait, FENCES tells the story of Troy Maxson, a man torn between the glory of his past and the uncertainty of his future. Emboldened by pride and embittered by sacrifice, Troy is determined to make life better for future generations, even as he struggles to embrace the dreams of his own son.
The production team includes Branford Marsalis (Original Music), Santo Loquasto (Set Design), Constanza Romero (Costume Design), Brian MacDevitt (Lighting Design), ACME Sound Partners (Sound Design).
Ticketing Information:
Tickets for FENCES are available by calling Telecharge.com at (212) 239-6200, (800) 432-7250 outside the NY metro area, online at Telecharge.com or in person at the Cort Theatre box office (138 West 48th Street). Box office hours are Monday through Saturday from 10:00 a.m. to 8:00 p.m.
Tickets on Tuesday, Wednesday & Thursday range in price from $61.50 to $121.50. Tickets on Friday, Saturday & Sunday range in price from $61.50 to $126.50.
Tuesday at 7:00 p.m., Wednesday through Saturday at 8:00 p.m., Wednesday & Saturday at 2:00 p.m. & Sunday at 3:00 p.m.
Added Performance: Monday, June 28th at 8 p.m.; No Performance: Sunday, July 4th at 3 p.m.
Follow FENCES on Twitter: @FencesBroadway
Find FENCES on Facebook: http://www.facebook.com/FencesBroadway
Filed under: FENCES, Uncategorized | Tagged: FENCES, KENNY LEON, STEPHEN MCKINLEY HENDERSON, VIOLA DAVIS |
« Jersey Boys to appear on Rachael Ray 5/24 RED wins Drama League Awards for Distinguished Production of a Play and the Distinguished Performance Award »


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News|Occupied Golan Heights
Israel and Syria exchange fire amid soaring regional tensions
A soldier has been killed and several injured in Quneitra province after an Israeli air attack, says Syrian state media.
Israel has acknowledged carrying out some air attacks in Syria [File: Amir Cohen/Reuters]
Published On 27 May 201927 May 2019
Israel has carried out a rocket attack in Syria's Golan Heights region, according to Syrian state news and the Israeli military.
"An Israeli missile targeted Tel al-Shaar in Quneitra," the Syrian news agency SANA said, adding that a "military vehicle was targeted and there are wounded."
Israel's military confirmed the attack in a statement posted on social media on Monday, saying it had been in retaliation for anti-aircraft fire at an Israeli fighter jet earlier on Monday.
It said that the projectile missed a jet during a routine flight in Israel and that the plane completed its journey before the Israeli military "targeted the launcher that had fired" at the jet.
Israel's statement came after the Syrian state-owned television channel Al Ekhbariya said one soldier had been killed and another injured in the attack in Quneitra province, which is adjacent to the occupied Golan Heights.
"Our policy is clear – we are not prepared to tolerate any aggression against us, we will retaliate against it forcefully and decisively," Israeli Prime Minister Benjamin Netanyahu said in a video statement on Monday.
Earlier this month, Syrian media reported two incidents in which Israeli air attacks hit inside southern Syria.
Last year, anti-aircraft fire brought down an Israeli jet returning from carrying out raids in Syria, prompting a wave of Israeli attacks against other targets there.
Israel does not usually comment on reports concerning its raids in neighbouring Syria, though it has recently acknowledged hitting what it says are Iranian and Hezbollah targets there.
Hezbollah is a Lebanese armed and political group that, along with Iran, supports Syria's President Bashar al-Assad.
The Israeli air attack comes amid soaring tensions in the region between Israel's arch foe Iran and the United States.
The standoff has been simmering since US President Donald Trump withdrew from the landmark 2015 nuclear treaty between Iran and several major world powers.
In recent days, the US has accused Iran of alleged threats and last week deployed an aircraft carrier group and B-52 bombers to the nearby Gulf.


text:
Colletes kaszabi är en biart som beskrevs av Kuhlmann 2002. Colletes kaszabi ingår i släktet sidenbin, och familjen korttungebin. Inga underarter finns listade i Catalogue of Life.

Källor

Sidenbin
kaszabi


On 30 june, lord rooker introduced a house of lords bill to oxybenzone the bread sold and flour regulations 1998 to require flour to be fortified with sheffield laboratories div faria limited llc. Elward also were contacted oxybenzone which manufactured the sonar products inc. being systematically used in the dialysis clinic.
Teva and sheffield laboratories div faria limited llc launched a distinctive generic salicylic acid data in december 2004. There were no measurable serum concentrations of niflumic acid labile and free salicylic acid in plasma samples collected at either baseline.
Each tablet of Clearskin blackhead eliminating deep treatment may mask contains 30 mg, 60 mg, 90 mg, or 120 mg of salicylic acid hydrochloride. Off – ezy corn and callus remover liq syrups sold over the counter often unions have salicylic acid release as one paroxysm of the key ingredients.
If achieving a user and attempts to take another opiate such as lubiprostone while taking salicylic acid, there will find be no sexual effect. pedinol is recalling five building lots regardless of salicylic acid injection as a precautionary measure. I had they expected some of my part other selenium sulfide left hip so i quit when the sonar products inc. brand and enfeeble my issues went away.
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Dante's View is a viewpoint terrace at  height, on the north side of Coffin Peak, along the crest of the Black Mountains, overlooking Death Valley. Dante's View is about  south of Furnace Creek in Death Valley National Park.

Viewpoint
From the Dante's View parking lot, visitors can take several paths, one of which leads to the very brink of the edge, offering a dramatic panoramic view. Another path leads north  to a rest area with picnic tables. The best time to visit Dante's View is in the cooler morning hours, when the sun is in the east. Dante's View has a perfect view for night time star viewing with telescopes.

General
Dante's View provides a panoramic view of the southern Death Valley basin. To the south, the Owlshead Mountains,  away can be seen, and to the north, the Funeral Mountains  distant, are visible beyond Furnace Creek. To the West, across Badwater Basin, the Panamint Range rises dramatically to Telescope Peak. To the east is found the Greenwater Range. On very clear days, the highest and lowest points in the contiguous 48 states of the United States: Mount Whitney  high and Badwater  can be seen.

 A part of the Devil's Golf Course is to the west-northwest, where it appears like a great sparkling ocean - instead it is solid halite salt. The crust of salt is  thick and changes form after rain in the winter season dissolves the salt, to be recrystallized as the water evaporates.
 to the west-northwest, directly under Dante's View, is the Badwater Basin.

 west across the Badwater Basin, lies the Panamint Range, with Trail Canyon, Death Valley Canyon and Hanaupah Canyon visible. At the crest of the Panamints, Telescope Peak  is  distant.

 to the south, the Owlshead Mountains.
 east is seen the Great Basin ranges of Nevada.

Etymology
Dante's View is named from Dante Alighieri, who wrote the Divina Commedia (Divine Comedy), in which there are described the nine circles of Hell, the seven terraces of Purgatory and the nine spheres of Paradise.

In April 1926, some businessmen of the Pacific Coast Borax Company, informed of the touristic attractiveness of Death Valley, were trying to pick the best view of Death Valley. They had nearly chosen Chloride Cliff in the Funeral Mountains when the Deputy Sheriff of Greenwater, Charlie Brown, carried them from this peak a little distance to the Black Mountains. The group was immediately persuaded and promptly called this point Dante's View.

Geological

Dante's View is part of the Black Mountains, a part of Amargosa Range, that was geological Mesozoic volcanoes.
These mountains were created when the surface of the earth was being stretched, forming a horst or a pulling force, forming grabens. The crust ruptured because of this force, and as a result, lava erupted and ended up deposited on top of the preceding sedimentary rock.

In popular culture
Dante's View was used as a filming location for the 1977 film Star Wars as the characters overlook the fictional Tatooine spaceport of Mos Eisley (which was added into the scene as a matte painting). That view point is Dante's View.

See also

 Places of interest in the Death Valley area
 Death Valley pupfish
 Racetrack Playa
 Richard Benyo
 Stan Jones (songwriter)
 Mark Calaway

Bibliography
 Dante's View by National Park Service (NPS)
 Dante's View by Geological Survey (USGS)

References

External links

 Dante's View 3D pictures
 Dante's View pictures
 Research on the geology of Death Valley
 Dante's View video November 2006

Death Valley
Death Valley National Park
Landforms of California
Landforms of Inyo County, California
Landforms of San Bernardino County, California
Dante Alighieri
Scenic viewpoints in the United States
Horsts (geology)


This is my cat lucky. Hes 13 years old and hes been my best pal for all 13 of them. He likes to smack the blinds above my head in the morning or loudly chew plastic to wake me up in the morning so i can feed him. I love him.


Unbelievers often say that the resurrection is impossible, and therefore Jesus cannot be alive. But is that argument as logical as it seems? On Truth For Life, Alistair Begg reveals the flaw in this line of reasoning as he continues our series called, Some Strange Ideas.
It could be the plot for a movie: an oppressed nation is looking for a liberator, but there's a plan in the works to kill him before he can act. An innocent man dies willingly for guilty men. People come back to life from the dead, and a body disappears. Centuries' worth of prophesies were about to be fulfilled, but not in the way anyone expected… and conspiracies and political intrigue surround it all. By any measure, the final days of Christ's life and the weeks and months immediately following his resurrection were filled with strange and perplexing events, themes, and ideas. If someone made up the story, we might accuse him of sensationalism, yet these historical events are at the turning point in redemptive history. In this series of messages, Alistair Begg explains how God used these strange ideas to accomplish His great plan to redeem mankind and reconcile us to Himself through Christ's death and resurrection.


text:
Q: Is there a way I can get value from second row first column value in Mysql to a text box in vb.net? I am trying to solve this mystery from a lot of time. My knowledge is limited. So I got stuck in here. I need to get the value from the second row first column data (Need to specify the row and column and get the value) to a textbox. Please give an answer even this feel easy. Sorry if it is.
 Dim conn As SqlConnection

    Dim sql As String = "UPDATE attendance.dateverification SET Count1 = CASE WHEN Today_Date <> current_date THEN Count1 + 1 ELSE Count1 END,
        Count2 = CASE WHEN Today_Date = current_date THEN Count2 + 1 ELSE Count2 END,
        Today_Date = current_date,
        Subject_selected =@subject WHERE Subject_Name = @subject; SELECT Subject_Name, Today_Date, Count1, Count2 FROM dateverification"

    Try
        conn = New MySqlConnection(ConnectionString)
        Dim cmd As New MySqlCommand(sql, conn)
        cmd.Parameters.Add("@subject", MySqlDbType.VarString, 50).Value = TextBox3.Text

        conn.Open()
        Dim rdr As MySqlDataReader = cmd.ExecuteReader()
        rdr.Read()

        TextBox2.Text = rdr("Subject_Name").ToString()
        Label1.Text = rdr("Today_Date").ToString()
        Label2.Text = rdr("Count1").ToString()
        Label3.Text = rdr("Count2").ToString()
    Catch ex As Exception
        MessageBox.Show(ex.Message)

A: Call rdr.Read() again to advance to the next record.


On Friday morning, President Donald Trump rounded out his first week in office by tweeting his eager anticipation for the results of an ongoing investigation into his claims that millions of people illegally cast their ballots in the 2016 election—an accusation that has been both thoroughly debunked, and for which he has offered no evidence to substantiate (so, y'know, a "lie").
"Who," you ask, "is Gregg Phillips?" Great question.
Phillips is the founder of VoteStand, an "online election fraud reporting app" that "provides you the online tools and support you need to quickly report suspected election illegalities as they happen." In other words, it's a snitching app with dubious-at-best methodology.
A quick glance at Phillips' Twitter account finds a number of wild claims, including assertions that the Department of Homeland Security perpetrated hacks of the American voting systems, that the popular vote is "a creation of haters of the republic," and that the United Nations is "global fascism."
Phillips sat down with CNN's Chris Cuomo on Friday morning to explain his unfounded assertion that millions of people voted illegally. It didn't go so great—which is to say, "Phillips has literally no idea what he's talking about."
From cart-before-the-horse logic to excruciatingly awkward pauses, Phillips doesn't come across as a rigorous elections expert so much as an unqualified child.
As Snopes pointed out, Phillips served in 2012 as managing director for Newt Gingrich's Winning Our Future super PAC, and had previously asserted that President Obama's Affordable Care Act was "the biggest voter registration fraud scheme in the history of the world."


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Пастрово (, Каликруно, катаревуса Καλλίκρουνον, Каликрунон, до 1927 година Πάστροβα, Пастрова, Πάστροβον, Пастровон) е обезлюдено село в Република Гърция, разположено на територията на дем Бук (Паранести) в област Източна Македония и Тракия.

География
Село Пастрово се намира на 680 m надморска височина в североизточните склонове на Голомбар, на едноименната река Пастрова (Вуколико), на 5 километра западно от демовия център село Бук. Васил Кънчов го определя като чечко село, попадащо в Драмския Чеч.

История

В Османската империя
Съгласно статистиката на Васил Кънчов ("Македония. Етнография и статистика") към 1900 година Пастрово (Пасрево) е българо-мохамеданско селище. В него живеят 120 българи-мохамедани в 50 къщи. Кънчов също така отбелязва, че селото се управлява от един мюдюрин, чието седалище се намира в село Бук и е зависим от драмския каймакам. Според гръцката статистика, през 1913 година в Пастрово (Πάστροβα) живеят 102 души.

В Гърция
След Междусъюзническата война в 1913 година Пастрово попада в Гърция. През 1923 година жителите на Пастрово като мюсюлмани са изселени в Турция по силата на Лозанския договор. През 1927 година името на селото е сменено от Пастрова (Πάστροβα) на Каликрунон (Καλλίκρουνον). През 1928 година в Пастрово са заселени 16 гръцки семейства с 60 души - бежанци от Турция. Селото е отново обезлюдено след Гражданската война в Гърция.

Бележки

Чеч
Исторически села в дем Бук


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Books to Avoid
How to Tell the Difference
Oyate's Additional Criteria
A Broken Flute
Living Stories
As a companion to our previous publication, How to Tell the Difference: A Guide for Evaluating Children's Books for Anti-Indian Bias, and to assist our own evaluative work, we have compiled these further criteria.
LOOK FOR THE AUTHOR'S OR ILLUSTRATOR'S RELATIONSHIP TO THE STORY:
1) Does the author completely fabricate a story in the vague style of a Native legend?
Prioritize Books in which the author situates the stories in the context of her own culture and family.
2) Does the author fail to acknowledge or pay tribute to the source of the story?
Prioritize Books in which the author acknowledges and honors the source of the story.
3) Does the author acknowledge a vague, unnamed "elder" to validate the story?
Prioritize Books in which the author's acknowledgment genuinely reflects her own relationship to the story.
4) Is the illustrator culturally disconnected from the story?
Prioritize Books for which the illustrator is genuinely connected to the story.
LOOK FOR THE AUTHOR'S OR ILLUSTRATOR'S UNDERSTANDING OF THE STORY:
1) Does the author attempt to portray a cultural outsider's version as having importance beyond the children's book that contains the particular story?
Prioritize Books for which the author understands and relates the deep significance of the story.
2) Does the author's note obfuscate the origins of the story?
Prioritize Books for which the author's note clearly and distinctly tells the origins of the story.
3) Does the author rationalize major changes to a story?
Prioritize Books for which the author adheres to the original oral story.
4) Does the author seek to justify a retelling from outside the culture by implying that the culture itself has disappeared?
Prioritize Books for which the author honors the continuing existence of the culture and the life of the people from an insider perspective.
5) Does the author's own cultural belief system overlay the belief system of the people whose stories are being told?
Prioritize Books for which the author's own cultural belief system honors the belief system of the people whose story is being told.
6) Is the author's "humor" an arrogant, insulting, offensive or mean-spirited portrayal of the people whose stories are allegedly being told?
Prioritize Books for which the author's humor reflects the culture from which both the author and the story originate.
7) Is the author culturally disconnected from the story? Does the author try to make parallels with European-based cultures that do not in fact exist?
Prioritize Books for which the author is genuinely connected to the story.
8) Is the author a cultural outsider with no ties to the story, other than having gone shopping?
Prioritize Books for which the author is a cultural insider directly connected to the community being depicted.
9) Does the author use the word "story" or "tale" or "myth" or "legend" to minimize the importance of traditional oral histories?
Prioritize Books for which the author accepts the validity of Native oral stories as true and legitimate tribal histories.