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NY Jets: 30 greatest draft picks in team history
By Chris Stephano
Nov 29, 2015; East Rutherford, NJ, USA; New York Jets defensive end Muhammad Wilkerson (96) celebrates his sack of Miami Dolphins quarterback Ryan Tannehill (17)(not shown) during the first half at MetLife Stadium. Mandatory Credit: Ed Mulholland-USA TODAY Sports /
Nov 29, 2015; East Rutherford, NJ, USA; New York Jets defensive end Muhammad Wilkerson (96) celebrates his sack of Miami Dolphins quarterback Ryan Tannehill (17)(not shown) during the first half at MetLife Stadium. Mandatory Credit: Ed Mulholland-USA TODAY Sports
The NY Jets have given their fans plenty of reasons to boo on draft day. But here are 30 instances where the Jets made the most with their time on the clock.
Hope springs eternal in the NFL. Every year, fans of struggling teams take solace in the upcoming draft. After all, a few great draft picks can transform even the most moribund franchises into instant contenders. Unless you're a Jets fan.
Fans of the green and white are renowned for the chorus of boos they rain down upon the podium as each Jets pick is announced. From passing on Dan Marino to drafting a litany of recent busts (ie. Vernon Gholston, Stephen Hill, Quinton Coples, Geno Smith), the team has certainly given its fan base reasons to be disgruntled.
However, every franchise has its shining moments. All the underwhelming draft picks and busts aside, the Jets have drafted some remarkable players.
The following list does not simply focus on the 30 greatest Jets players. Instead, this compilation utilizes a variety of criteria (players drafted by Jets, values in light of draft position, contributions, career longevity with Jets, etc.) to determine the highlights of some of the best draft picks in team history.
Without further ado, here are the 30 greatest draft picks made by the Jets.
Next: 30. Jeremy Kerley
Nov 29, 2015; East Rutherford, NJ, USA;New York Jets wide receiver Jeremy Kerley (11) avoiding getting tackled by Miami Dolphins free safety Walt Aikens (35) In the first half at MetLife Stadium.The Jets defeated the Dolphins 38-20. Mandatory Credit: William Hauser-USA TODAY Sports
30. Jeremy Kerley (WR) – Drafted 153rd overall in 2011
Current Jets wide receiver Jeremy Kerley may not be remembered by many football fans twenty years from now. He will certainly never find himself on a list of greatest Jets players.
That being said, the undersized pass catcher out of TCU was an absolute steal for the Jets in the 5th round of the 2011 draft.
Kerley has been a steady, if unspectacular, contributor for the Jets. Currently working his way through his fifth NFL season, Kerley has already posted three seasons of 400+ receiving yards. In 2012, when the Jets were dangerously thin at the position, Kerley stepped up and put together a particularly impressive season (over 1,000 all-purpose yards).
Although his role as a receiver has diminished in 2015, Kerley remains a valuable contributor for the Jets on special teams (43 punt returns through 11 games).
Next: 29. Dennis Byrd
29. Dennis Byrd (DT-DE) – Drafted 42nd overall in 1989
Dennis Byrd is the heart and soul of the Jets.
Selected in the second round of the 1989 draft, Byrd immediately thrived in the NFL. The defensive lineman posted seven sacks during his rookie season.
Unfortunately, Byrd was never able to reach his full potential as a player. In a 1992 game against the Chiefs, Byrd suffered a severe spinal cord injury. His football career came to an abrupt end, being replaced by surgery and extensive rehab.
Long after his playing days ended, Byrd remains an inspiration to Jets coaches, players and fans. As the Jets prepared to play the heavily favored Patriots in the 2010 AFC divisional playoffs, Byrd offered his tattered jersey and words of encouragement to the team. As the Jets walked off the field victorious, many players credited Byrd.
Byrd is so much more than his 28 career sacks. He is more than a tragic story, a career destroyed by injury. Byrd is, and forever will be, a member of the Jets family.
Next: 28. David Harris
Dec 19, 2015; Arlington, TX, USA; New York Jets inside linebacker David Harris (52) tackles Dallas Cowboys running back Darren McFadden (20) during the game at AT&T Stadium. Mandatory Credit: Kevin Jairaj-USA TODAY Sports
28. David Harris (LB) – Drafted 47th overall in 2007
Ever since Rex Ryan took New York by storm, the Jets have been characterized by a punishing defense. Running the ball and stopping the run formed a quick formula for success.
Enter linebacker David Harris. The second round pick out of Michigan has been a constant piece in the Jets' defense for years. Over a career spanning almost nine full seasons, he has started in all but twelve games.
Although his primary forte is stopping the run, Harris has also displayed an ability to force turnovers (10 career forced fumbles) and to rush the passer (32.5 career sacks). The Jets continue to benefit from having such a durable, versatile and consistent defensive talent on their roster.
Next: 27. Muhammad Wilkerson
Oct 4, 2015; London, United Kingdom; New York Jets defensive end Muhammad Wilkerson (96) sacks Miami Dolphins quarterback Ryan Tannehill (17) in Game 12 of the NFL International Series at Wembley Stadium.The Jets defeated the Dolphins 27-14. Mandatory Credit: Kirby Lee-USA TODAY Sports
27. Muhammad Wilkerson (DT-DE) – Drafted 30th overall in 2011
Defensive lineman Muhammad Wilkerson has developed into the most prolific Jets' pass rusher in recent memory.
Wilkerson's NFL career got off to a slow start. Despite starting in 31 of his first 32 games, he only recorded eight sacks in that span.
However, Wilkerson is anything but a bust. After taking a couple seasons to further refine his skills, he has developed into a terror for opposing quarterbacks. He has already posted multiple seasons with double digit sacks.
In 2015, Wilkerson has been especially prolific. With two games left to play, he has already shattered his previous single season sack record.
Because he is a pending free agent, the Jets will have to open up the checkbook if they wish to retain the superstar's services beyond this season.
Next: 26. Dan Alexander
Dec 14, 2014; Nashville, TN, USA; New York Jets logo prior to the game against the Tennessee Titans at LP Field. Mandatory Credit: Jim Brown-USA TODAY Sports
26. Dan Alexander (G) – Drafted 200th overall in 1977
Not every great draft pick is used on a superstar. Barring dramatic exceptions (ie. Patriots drafting Tom Brady in the 6th round), the goal of drafting in the later rounds is to find serviceable starting-caliber players.
Case in point, the Jets decision to draft offensive lineman Dan Alexander in 1977. Alexander never made a Pro Bowl. He will never be elected to the Pro Football Hall of Fame. But he did play with the Jets for 13 years, starting in over 180 games along the way.
There were 199 players selected before Alexander; not many of them had NFL careers that lasted over a decade.
Next: 25. Rich Caster
25. Rich Caster (TE) – Drafted 46th overall in 1970
Following the Jets' second consecutive playoff appearance in 1969, the franchise endured over a decade of futility. The Jets would not post a winning record again until 1981.
One of the few bright spots of the Jets in the 1970's was Rich Caster. The tight end from Jackson State developed into one of the most successful receiving threats in team history. He spent nine seasons with the Jets, making three Pro Bowl appearances along the way.
Caster retired with 4,434 receiving yards as a Jet, tenth most in franchise history.
Next: 24. Dave Herman
Oct 28, 2015; London, United Kingdom; General view of NFL Nike Shield logo at Niketown London in advance of the NFL International Series game between the Detroit Lions and the Kansas City Chiefs. Mandatory Credit: Kirby Lee-USA TODAY Sports
24. Dave Herman (G) – Drafted 211th overall in 1963
Prior to the AFL-NFL merger agreement in 1966, the two leagues would frequently draft and bid over the same players.
Although offensive lineman Dave Herman was drafted over 100 spots later in the AFL draft, he still choose the AFL's Jets over the NFL's Giants.
One can't argue with the results. Herman thrived in the league, enjoying a decade long career. Along the way, the talented guard made two Pro Bowl appearances and played in over 100 games.
Next: 23. Jerricho Cotchery
Dec 6, 2015; New Orleans, LA, USA; Carolina Panthers wide receiver Jerricho Cotchery (82) catches the ball in the end zone in front of New Orleans Saints defensive back Chris Owens (30) in the fourth quarter at Mercedes-Benz Superdome. The Panthers won 41-38. Mandatory Credit: Crystal LoGiudice-USA TODAY Sports
23. Jerricho Cotchery (WR) – Drafted 108th overall in 2004
Prior to the Jets' potent wide receiving combination of Eric Decker and Brandon Marshall this season, the team had frequently struggled to field a competent passing attack in recent years.
Before Marshall's monster production this year, the Jets hadn't produced a 1,000 receiving yard season by a wide receiver since 2007.
Although he lacked the name recognition of Laveranues Coles, Braylon Edwards, or Santonio Holmes, Jerricho Cotchery accomplished a feat in the green and white that none of the others could.
In addition to Cotchery's impressive 2007 season (1,130 receiving yards), he also posted three other seasons with at least 800 receiving yards. For a fourth-round pick out of North Carolina State, that's pretty impressive.
Next: 22. John Abraham
January 26, 2014; Honolulu, HI, USA; Team Sanders receiver DeSean Jackson of the Philadelphia Eagles (10) is defended by Team Rice linebacker John Abraham of the Arizona Cardinals (55) in the fourth quarter during the 2014 Pro Bowl at Aloha Stadium. Team Rice defeated Team Sanders 22-21. Mandatory Credit: Kirby Lee-USA TODAY Sports
22. John Abraham (DE) – Drafted 13th overall in 2000
Approaching the end of the 1999 season, the Jets and their fans were eager for the draft. The team had just come off of a disappointing 8-8 season, but had four picks in the first round.
The Jets had a successful draft, finding multiple starters (Chad Pennington, Shaun Ellis and Laveranues Coles). Chief among them was defensive end John Abraham.
Abraham immediately excelled as a Jet, posting 13 sacks and being named to a Pro Bowl during his first season as a starter (2001). During his relatively short tenure in New York (2000-2005), he put together an impressive resume of 53.5 sacks, three seasons of double digit sacks, and three Pro Bowl appearances.
Next: 21. Keyshawn Johnson
21. Keyshawn Johnson (WR) – Drafted 1st overall in 1996
In 1996, the Jets had what every NFL team desires: the first overall pick in the draft.
Fortunately for the Jets and their fans, the pick wasn't wasted. Although he could be a diva, wide receiver Keyshawn Johnson was an immensely talented play maker and instant difference maker in New York. During his four season stint with the Jets, he made two Pro Bowls and amassed 4,108 receiving yards and 32 touchdowns.
Even after the Jets were forced to part with Johnson (disputes with coaches and management), they received an impressive haul from the Buccaneers for his services (two first-round picks).
Next: 20. Gerry Philbin
20. Gerry Philbin (DE) – Drafted 19th overall in 1964
In 1964, the fledgling AFL consisted of only eight teams. So when the Jets selected a defensive end named Gerry Philbin with the draft's 19th overall pick, it actually only cost them a third rounder.
For their mid-round draft pick, the Jets found an immensely talented player who terrorized opposing quarterbacks for a decade. His sack totals are up for debate (sacks were not officially measured until 1982) but what is clear is that Philbin played in over 100 games and made two Pro Bowls as a Jet.
Philbin's finest moments came in 1968, when he posted a monster season and helped carry the Jets to their only Super Bowl title.
Next: 19. Laveranues Coles
19. Laveranues Coles (WR) – Drafted 78th overall in 2000
Although the Jets passed up on the opportunity to select a future Hall of Fame quarterback from Michigan in 2000, they did find some talent late in the draft.
In the third round, the Jets selected wide receiver Laveranues Coles out of Florida State.
Coles was seldom among the best receivers in the league (only making one Pro Bowl team throughout his career), but he was a consistently productive player in New York. As a Jet, he posted five seasons with at least 800 receiving yards.
Next: 18. Freeman McNeil
18. Freeman McNeil (RB) – Drafted 3rd overall in 1981
The Jets, coming off a miserable 4-12 season, needed to find a difference maker with their third overall pick in the 1981 draft.
They selected UCLA running back Freeman McNeil.
McNeil made an instant splash in New York. He posted over 600 rushing yards his rookie season and helped the Jets to break an 11 year playoff drought.
Upon his retirement, McNeil finished with 8,074 rushing yards and 38 rushing touchdowns (2nd and 4th most in team history).
Next: 17. John Elliot
Nov 9, 2014; East Rutherford, NJ, USA; A NFL football with the Armed Services logo during the NFL game between the New York Jets and the Pittsburgh Steelers at MetLife Stadium. The Jets defeated the Steelers 20-13. Mandatory Credit: Ed Mulholland-USA TODAY Sports
17. John Elliot (DT, DE) – Drafted 171st overall in 1967
Football fans who can remember the Jets upset victory in Super Bowl III undoubtedly also recall Joe Namath. A few of the more devout football historians may even be able to talk about Don Maynard, George Sauer or Matt Snell.
However, one would be hard pressed to find a Jets fan who is familiar with John Elliot.
In spite of his anonymity, Elliot paired with Gerry Philbin to form a fierce defensive front for the 1968 Super Bowl champions. Over a highly successful career, Elliot also played seven seasons, appeared in over 80 games and made three Pro Bowls.
Next: 16. Matt Snell
16. Matt Snell (RB) – Drafted 3rd overall in 1964
The 1964 AFL draft was loaded with talent. Three of the top ten players selected would go on to make the Pro Football Hall of Fame.
Unfortunately for the AFL teams that drafted those Hall of Fame players, Bob Brown, Carl Eller and Charley Taylor all chose to join the NFL.
While the Jets did not draft a Hall of Famer in the first round of the 1964 draft, at least their selection (Matt Snell) decided to play for the AFL team that drafted him.
What's more, Snell had a hugely successful career. He finished with 4,285 rushing yards, fourth most in franchise history.
Next: 15. Emerson Boozer
15. Emerson Boozer (RB) – Drafted 46th overall in 1966
After selecting Matt Snell in 1964, the Jets continued their trend of drafting star running backs a couple years later.
With their 1966 6th round pick, the Jets selected Collegiate Hall of Famer Emerson Boozer.
The power back played in the league for a decade, and quickly developed into a touchdown machine for the Jets. Boozer retired with 52 career rushing touchdowns. Among Jets running backs, only the legendary Curtis Martin has more.
Next: 14. Al Toon
14. Al Toon (WR) – Drafted 10th overall in 1985
Generally, a top ten draft pick who is out of the league before his 30th birthday would be considered a bust.
Al Toon is an exception to the rule. Although his NFL career was relatively short (8 years), he was a prolific wide receiving threat. Toon made three Pro Bowl rosters and posted four seasons of 900+ receiving yards.
If his career was not shortened by frequent injuries (concussions), Toon may have been remembered as the greatest wide receiver in franchise history.
Next: 13. Aaron Glenn
October 4, 2015; Santa Clara, CA, USA; General view of the Breast Cancer Awareness logo on the football during the third quarter between the San Francisco 49ers and the Green Bay Packers at Levi
13. Aaron Glenn (CB) – Drafted 12th overall in 1994
Long before the days of Revis Island, the Jets found another talented cornerback in the first round of an NFL draft.
Drafted 12th overall out of Texas A&M, Aaron Glenn played a pivotal role in the Jets' defensive secondary for eight seasons. Along the way, he made two Pro Bowls in New York and helped guide the team to a 1998 AFC Championship game appearance (6 interceptions in 1998).
In addition to his prowess on defense, Glenn was a valuable special teams player. He racked up 2,578 kick return yards, which ranks 5th most among all-time Jets players.
Next: 12. Mo Lewis
12. Mo Lewis (LB) – Drafted 63rd overall in 1991
Fair or not, Jets fans will always wince a little whenever anyone mentions "Mo Lewis."
The fierce linebacker is infamous for the overwhelming hit he inflicted on Patriots' quarterback Drew Bledsoe in 2001. Bledsoe left the game and was promptly replaced by Tom Brady. Leave it to the Patriots to have one of the greatest quarterbacks of all-time just sitting on their bench.
In spite of that unpleasant memory, Lewis was a fantastic selection for the Jets. For a third-round pick, the team found a defensive star who played for 13 seasons, made three Pro Bowls and ranks in the top ten of all-time team defensive categories (4th in sacks, 2nd in tackles, 6th in fumble recoveries).
Next: 11. Wesley Walker
11. Wesley Walker (WR) – Drafted 33rd overall in 1977
Every franchise dreams of finding a player like Wesley Walker in the draft.
Although he was rarely the best player at his position, (only two Pro Bowl appearances), Walker was a beacon of consistency. The wide receiver played for 13 seasons and managed to post at least 550 receiving yards in all but three of them.
Walker finished his career with 8,306 receiving yards and 71 receiving touchdowns. Among Jets players, only Hall of Famer Don Maynard has surpassed those numbers.
Next: 10. Joe Fields
Nov 9, 2014; East Rutherford, NJ, USA; A end zone pylon with the NFL Armed Services week logo during the NFL game between the New York Jets and the Pittsburgh Steelers at MetLife Stadium. Mandatory Credit: Ed Mulholland-USA TODAY Sports
10. Joe Fields (C) – Drafted 349th overall in 1975
The current NFL draft format consists of seven rounds and around 250-260 picks. The flashy spectacle lasts three days and is broadcast nationally.
While the draft has recently skyrocketed in popularity, the event is actually shorter than its traditionally been. Take 1975, for instance, when the draft lasted an astounding 17 rounds and 442 picks.
In the midst of hundreds of irrelevant picks from obscure colleges, the Jets found a hidden gem in the 14th round. Offensive lineman Joe Fields had a solid career in New York, making two Pro Bowls and playing in 173 games over a 13 year span.
Next: 9. Marvin Powell
9. Marvin Powell (T) – Drafted 4th overall in 1977
NFL fans eagerly await the draft each year because they want to see their teams add exciting, high-profile players. The selection of every quarterback, running back and wide receiver in the early rounds is met with cheers.
Drafting offensive linemen on the other hand, tends to be boring. Give average fans the choice between a quarterback and a tackle, and they'll choose the gunslinger every time.
Coming off a season where the Jets endured horrific quarterback play even by their standards (7 touchdown passes and 28 interceptions), many Jets fans must have been disappointed to see their team select Marvin Powell with the fourth overall pick.
Exciting pick or not, its hard to argue with the results. As evidenced by his many accolades (three-time All-Pro, five-time Pro Bowler), Powell is undoubtedly one of the greatest offensive lineman in franchise history.
Next: 8. Randy Rasmussen
8. Randy Rasmussen (G) – Drafted 302nd overall in 1967
Sometimes great things come in small packages. Then again, sometimes great things can even come in invisible packages.
You'd be hard pressed to find a single New Yorker who is familiar with the University of Nebraska at Kearney. The tiny Division II school has produced a small handful of NFL players, only one of which was drafted.
That player, offensive lineman Randy Rasmussen, entered the league with no fanfare or expectations. Against all odds however, he thrived in the league. Fifteen seasons and almost 200 starts later and Rasmussen is remembered as one of the best late draft finds in Jets history.
Next: 7. Darrelle Revis
Dec 19, 2015; Arlington, TX, USA; New York Jets cornerback Darrelle Revis (24) talks with Dallas Cowboys wide receiver Dez Bryant (88) after a play in the second quarter at AT&T Stadium. Mandatory Credit: Tim Heitman-USA TODAY Sports
7. Darrelle Revis (CB) – Drafted 14th overall in 2007
A litany of superstar players —Calvin Johnson, Adrian Peterson, Joe Thomas, Patrick Willis, Marshawn Lynch— came out of the first round of the 2007 draft.
Yet an argument could be made that the best player in that draft class fell to the 14th pick and the Jets. Cornerback Darrelle Revis has become the LeBron James of New York. Every bit as talented as James, Revis also left his hometown team and won a ring with a hated rival (Patriots). Fortunately for Jets fans, all it took was a change in ownership and a hefty contract offer to lure the star defensive player back to New York.
Now, back with the Jets in 2015, Revis seeks to add to his already impressive resume (six-time Pro Bowler, four-time All-Pro) and to bring a championship to New York. For providing great theater and even better play, Revis will forever be known as one of the best draft picks in team history.
Next: 6. Joe Klecko
6. Joe Klecko (DT, DE) – Drafted 144th overall in 1977
After winning the Super Bowl in 1968 and making a playoff appearance in 1969, the Jets endured a lengthy stretch of futility. From 1970-1980, the team failed to muster a single winning season.
In the 1977 draft, the franchise took dramatic steps towards improving its fate. In addition to finding two starting offensive lineman (Dan Carpenter, Marvin Powell) and a star wide receiver (Wesley Walker), the Jets found a talented defensive player at a bargain price.
Joe Klecko partnered up with Mark Gastineau, Marty Lyons and Abdul Salaam to form the devastating New York Sack Exchange. Along the way, he made four Pro Bowls and amassed 24 sacks. Considering sacks were not even an officially measured statistic until Klecko's sixth season, his numbers are all the more impressive.
Next: 5. Nick Mangold
Nov 12, 2015; East Rutherford, NJ, USA; New York Jets center Nick Mangold (74) talking to New York Jets guard James Carpenter (77) in the first half at MetLife Stadium. The Bills defeated the Jets 22-17 Mandatory Credit: William Hauser-USA TODAY Sports
5. Nick Mangold (C) – Drafted 29th overall in 2006
The 2006 draft held high potential for the Jets; the team had two first round picks (4th and 29th overall). Although they used their first pick wisely (D'Brickashaw Ferguson), the Jets found an absolute gem with their second one.
When he retires, center Nick Mangold will most likely be known as the greatest offensive lineman in franchise history. Over a decade long career, he has started in all but four games. He is also a six-time Pro Bowler and two-time All-Pro.
As if his current resume is not impressive enough, Mangold is young enough (31) to still have multiple years of good football left in him.
Next: 4. John Riggins
4. John Riggins (RB) – Drafted 6th overall in 1971
This list primarily focuses on players that spent most if not all of their careers with the Jets. John Riggins is an exception to the rule and for good reason. The running back spent the majority of his career with the Redskins, but he was originally drafted by the Jets in 1971.
The Jets could never have initially understood what they found in Riggins. While he was a productive player, he failed to post 800+ rushing yards in all but one of his first four seasons. In 1975, Riggins had a breakout season for the Jets, posting over 1,000 rushing yards with eight touchdowns.
The Redskins responded, luring him away from New York with a hefty free agent contract. Riggins thrived in D.C., compiling multiple 1,000+ rushing yard seasons (4) and double digit touchdown seasons (3) on his way to the Pro Football Hall of Fame. As the Jets learned the hard way, re-signing key players can be just as important as drafting them.
Next: 3. Mickey Shuler
Oct 4, 2015; London, United Kingdom; General view of NFL golden shield logo at midfield at Wembley Stadium to commemorate Super Bowl 50 before Game 12 of the NFL International Series between the New York Jets and Miami Dolphins. Mandatory Credit: Kirby Lee-USA TODAY Sports
3. Mickey Shuler (TE) – Drafted 61st overall in 1978
The Jets found a potent offensive weapon late in the 1978 draft.
Tight end Mickey Shuler enjoyed a long and productive career in New York. Over a twelve year stint with the Jets, Shuler racked up four seasons of 600+ receiving yards and made two Pro Bowl appearances.
Shuler remains the franchise leader in career receptions and receiving yards for his position. He also ranks in the top ten among all Jets players in receptions (6th), receiving yards (7th) and receiving touchdowns (T-5th).
Next: 2. Joe Namath
Feb 1, 2014; New York, NY, USA; New York Jets former quarterback Joe Namath walks the red carpet prior to the NFL Honors at Radio City Music Hall. Mandatory Credit: Mark J. Rebilas-USA TODAY Sports
2. Joe Namath (QB) – Drafted 1st overall in 1965
While it is a tremendous gift, having the first overall pick in the draft is also a significant responsibility. It's the kind of pick that can either change the fate of a hopeless team or get coaches and general managers fired.
The Jets had such an opportunity in 1965. The team, originally founded in 1960 as the Titans, had yet to post a winning season.
Fortunately, the fate of the Jets was about to change. The organization used the first overall pick in 1965 to select Alabama quarterback Joe Namath. The future Hall of Famer was a steady presence under center and helped guide the Jets to their only championship in Super Bowl III.
Next: 1. Mark Gastineau
1. Mark Gastineau (DE)- Drafted 41st overall in 1979
Defensive end Mark Gastineau ranks right up with Darrelle Revis among greatest all-time defensive players for the Jets. While Revis cost the Jets a first-round pick however, the Jets somehow found Gastineau in the second round.
Gastineau was the most prolific member of the New York Sack Exchange, posting three consecutive seasons of 13+ sacks. A five-time Pro Bowler and three-time All-Pro, he holds multiple franchise records (most single season sacks and most career sacks).
More jets: Top 30 greatest moments in Jets' history
Beyond the individual accolades, Gastineau helped the floundering Jets to regain respectability. After failing to reach the postseason a single time throughout the 1970's, the Jets made four playoff appearances in the 1980's.


When it comes to tackling the complex environmental issues facing our state, nation, and world, it is always the case that we are stronger when we work together. That's why the Natural Resources Council of Maine was proud to join with legislators and nonprofit partners at the State House yesterday morning for the unveiling of Common Agenda for the Environmental Priorities Coalition (EPC).
Solar Energy — Accelerating the growth of solar energy for all Maine people, and expanding investments in renewable energy, innovation, and jobs across the state.
Climate Action — Setting a clear, science-based road map for action on climate change and strengthening our economy.
Clean Water — Cleaner water for 400 miles of Maine's rivers.
Land Conservation — Increased funding for the Land for Maine's Future program and investments in our State Parks.
Plastic Pollution — Combatting the plastic pollution problem that's harming our health and the health of our environment.
Taken together, these bills create an exciting opportunity to move in a new, positive direction that will make up for lost time and help protect our natural places and the health of Maine people. After eight years of backsliding and continual attacks on the environment by the previous administration, the energy in the room today for advancing positive solutions was palpable. And with recent federal rollbacks posing risks to our air, water, wildlife, health, and economy, this package of bills becomes all the more important.
Below is a quick summary on each of the nine bills selected by our diverse coalition. As the bills are officially printed they will get assigned to a committee and receive a public hearing. Throughout this process, the EPC will be collaborating with bipartisan groups of legislators, and with people throughout Maine, to get the bills passed. As always, our members and supporters will be essential to helping us get this work done at the State House. We will be creating fact sheets and action alerts that citizen activists can use to contact their legislators to help support passage of these important bills.
Solar energy for all Maine people. It's time to keep energy dollars in Maine's economy by giving homeowners, local business owners, and communities the tools to generate their own solar energy. New solar policies will dramatically expand solar power investment across the state by eliminating barriers for growth.
Increasing Renewable Portfolio Standard to 80% by 2030. By prioritizing new in-state renewable energy projects, this bill would advance new made-in-Maine renewable energy sources that will reduce carbon pollution, increasing energy independence and growing our economy. A stronger RPS will promote innovation and clean the electricity being sent to our homes.
Sparking clean energy solutions for cities and towns. Cities and towns have a lot to gain by installing solar energy projects on their buildings or land. A $10 million bond would provide municipalities throughout the state with matching grants to invest in clean energy and energy efficiency projects.
Ocean acidification commission. The Gulf of Maine is changing faster than almost all other oceans; we need to better understand the impacts of climate change on Maine's marine environment and economy. A science-based policy advisory council will recommend actions and adaptation strategies to protect our marine resources.
Reclassification of Maine's rivers. For the first time since 2009, the Department of Environmental Protection has proposed upgrades to water quality protections for more than 400 miles of Maine's rivers and streams. The reclassification would include cleaner water for the Penobscot upper main stem, West Branch of the Penobscot, Fish Stream, and all the tributaries to Webb Lake.
Investing in Land for Maine's Future. For more than 30 years Land for Maine's Future (LMF) has helped permanently protect Maine's forests, farms, and waters. But because of the previous administration's opposition, LMF funding ran out. It's time for a bold investment that would revitalize LMF and ensure our state can continue to partner with landowners, municipalities, and state agencies to support local economies.
Addressing plastic bag pollution. Plastic shopping bags litter our lands, pollute our waters, and clog storm drains and recycling equipment. It is time to address the growing problem of plastic pollution by prohibiting the distribution of single-use carry-out bags in our state. Today there are readily available, reusable alternatives that cause far less damage to our environment.
Phasing out toxics in packaging. Maine families deserve food that is not wrapped in harmful chemicals. So-called "brain drain" chemicals, PFAS and phthalates, are entering our food supply through processing and packaging. They pose significant health risks, particularly for pregnant women and children. Alternative packaging is available, and the market is already changing.
We anticipate many longs days as move through the session, but we also have reason to believe this year's efforts will be far more successful in moving Maine toward a future that protects the natural resources that are so important for our economy and way of life. Be sure to check our Bill Tracking page to stay informed about the status of legislation you are interested in. Also, if you haven't already, I invite you to join our online Action Network for notifications of actions you can take in support of our work. Thank you for all you do to keep Maine special.


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Q: Test if a command has been defined by another package I normally use the LaTeX \newcommand to define macros. However, when using delimited macros I use \def. Is there a way that I can get LaTeX to trigger an error if the command defined by \def is being re-defined by another package, i.e, if someone tries to re-define the command a LaTeX error message is triggered.

A: No, \def is a TeX primitive and is destructive.  And this is one reason LaTeX has \newcommand.  If you and other package authors use \newcommand, then you will be warned against redefining each other's code.  But even then, there is \renewcommand to get around that problem if you know what you're doing.

A: For what it's worth, I think that Yiannis' answer (using \newcommand before \def) is the best way to do it, or at least the simplest.
e-TeX provides two new primitives to check if a control sequence is defined.

*

*\ifdefined\cs tests if \cs is a defined control sequence.

*\ifcsname cs\endcsname tests if \cs is a defined control sequence.

The etoolbox package contains more LaTeX-friendly wrappers.

*

*\ifdef{\cs}{true}{false} expands to true if \cs is defined, false otherwise.

*\ifcsdef{cs}{true}{false} is similar but for control sequence names.

*\ifundef{\cs}{true}{false} is similar to the negation of \ifdef except that control sequences that have been \let to \relax are considered undefined.

*\ifcsundef{cs}{true}{false} is similar but for control sequence names.

etoolbox also contains other useful tests, for example if a control sequence is a macro.
Having \ifundef and \ifcsundef check if a command is \relax may seem odd at first. However, LaTeX's \@ifundefined compares \csname cs\endcsname to \relax. The reason for this is that when TeX constructs a control sequence via \csname ...\endcsname that it has not seen before, it gives it the value of \relax. This has the downside that there's no way to differentiate between the name of a control sequence that is undefined and one that has been \let to \relax. \ifcsundef was designed to be a drop-in replacement for the LaTeX kernel's \@ifundefined.
Edit:
I just read Caramdir's comment. There's no good way to prevent another package from redefining a command you define. One possible way around this is to use \AtBeginDocument{\def\cs{...}} to define a macro later than most other macros, but this is not foolproof. Another package can do the same thing and the user can redefine any macro at any time.

A: TeX does not provide anything similar to \newcommand but you can emulate it as shown in the minimal below:
\documentclass{article}
\begin{document}

\makeatletter
\newcommand\test@{}
\def\test@[#1][#2][#3][#4]{%
  ....
}

\newcommand\test@{}
\makeatother
\end{document}

By defining first the command using \newcommand and then overriding it with a \def you ensure that LaTeX issues an error if a command with such a name has been defined earlier.

A: It is technically impossible to protect a macro name (command sequence) from future redefinitions or trigger an error when it is redefined. TeX doesn't even protect its internal command and allows you to redefine them as well. This is by design.
You can however check at certain points (like at-begin-document) if your definition is still active and trigger an error otherwise:
% Inside your package
\newcommand*\mymcd{}% raises an error if the command is already defined
\def\mycmd ... { ... }  % Real definition of macro with parameter text
\let\my@cmd\mycmd  % Save macro away
\AtBeginDocument{%
  \ifx\mycmd\my@cmd\else
     \PackageError{mypackage}{Macro \string\mycmd\space got redefined!}{}%
  \fi
}

A: Here is a generalization of Martin Scharrer's scheme. We introduce two commands \cmddef and \robustcmddef for defining simple and robust commands that can be tested anywhere for consistency/preservation. This is taken from ltxtools-base package.
\documentclass{article}
\usepackage{catoptions}
\makeatletter
\robust@def*\cmddef@teststcl#1{\cpt@testst{\cpt@testcl{#1}}}
\robust@def*\cmddef{\cmddef@teststcl{\cmd@def@\relax}}
\robust@def*\robustcmddef{\cmddef@teststcl{\cmd@def@\protected}}
\new@def\cmd@def@#1#2{%
  \ifcpt@st\let\l@ngrel@x\relax\else\let\l@ngrel@x\long\fi
  \ifcpt@cl\let\gl@balrel@x\global\else\let\gl@balrel@x\relax\fi
  \ifescapedTF{#2}{}{\cpt@notescapederr{#2}}%
  \ifdefTF#2{%
    \@latex@error{Command '\string#2' already defined}\@ehd
    \def\@tempa{\undefcs\@tempb}%
  }{%
    \def\@tempa{%
      \gl@balrel@x\let#2\@tempb
      \gl@balrel@x\letcsntocs{@test@command@\cptremovescape#2}#2%
      \undefcs\@tempb
    }%
  }%
  \afterassignment\@tempa
  \l@ngrel@x#1\def\@tempb
}
\new@def\testcommand#1{%
  \ifescapedTF{#1}{}{\cpt@notescapederr{#1}}%
  \cptexpanded{%
    \ifmacroFT#1{%
      \noexpand\@secondoftwo
    }{%
      \expandafter\noexpand\csname @\expandafter\ifxTF
        \csname @test@command@\cptremovescape#1\endcsname
        #1{first}{second}oftwo\endcsname
    }%
  }%
}
\makeatother

Tests:
\begin{document}
\def\y#1{Command `\string\x' has#1 changed}
\begingroup\tt
% Define command \x (* -> short; ! -> global):
\cmddef*!\x#1{#1}
% Test if command \x has changed since definition:
\testcommand\x{\y{n't}}{\y{}}
% Redefine command \x with \def:
\def\x{}
\par\medskip
% Test if command \x has changed since definition with \cmddef:
\testcommand\x{\y{n't}}{\y{}}
% The next one will produce and error:
% \cmddef!\x#1{#1}
\endgroup
\end{document}

redpajama_set_name: RedPajamaStackExchange


Stock photo of taking an exam. Photo: Wikimedia Commons.
Two young men in Almeria could face one year in prison after one was caught pretending to be the other to take an entrance exam.
The students in Almeria in southern Spain were caught attempting to cheat an entrance exam for vocational studies when one showed up to take the test pretending to be the other, Europa Press reported on Friday.
Public prosecutors have accused the boys of committing a crime of falsifying public documents because the one that went to the exam had to use the other's ID card and took the test under the other boy's name.
The prosecution is seeking a sentence of one year in prison for each as well as a fine of €6 to be paid each day for 12 months.
One of the students' defense attorney argued that the proposed sentence is "barbaric" and out of proportion with the act, saying that the exam should not be considered as an official document.
"They have not harmed anyone and even though this conduct was reproachable, it does not create social alarm enough to have them sent to prison," attorney José Carlos Segura said.
"That this case is going to trial is already disproportionate and I believe it could be solved with an administrative fine or sanction of academic consequences," he continued. "This kind of punishment threatens them with a loss of liberty and records them permanently as criminals."


Louisville , KY (May 18, 2012) – Kentucky Farm Bureau (KFB) is searching across the state for 2012 Excellence in Ag Literacy Award nominees. The award, bestowed annually by KFB during its annual meeting, was established to recognize and reward teachers who excel in their efforts to incorporate agricultural concepts throughout their core academic studies.
All certified pre-kindergarten through 12th-grade teachers who are engaged in integrating agricultural concepts into non-agricultural curriculum are eligible. Self-nominations, as well as nominations from school faculty, community leaders or parents, are encouraged.
Nomination forms with guidelines and evaluation criteria for the Excellence in Ag Literacy Award can be downloaded at kyfb.com/federation. All applications must be received at the KFB state office by Thursday, November 1.
The winner of the award will be announced on Friday, December 7, during the KFB Annual Meeting at the Galt House inLouisville. In addition to statewide recognition, the winning teacher will also receive $500 and an all-expense-paid trip to the National Ag in the Classroom Conference inMinneapolis,Minnesota, June 25-28, 2013, where he or she will representKentuckyin the national competition.


text:
Home » Sheral Ducheneaux
Sheral Ducheneaux
Sheral Ann Ducheneaux was born May 22, 1943, at Old Agency, S.D., to Fredrick and Josephine (Annie) LeBeau Ducheneaux. Sheral was the oldest daughter of four brothers and five sisters.
Sheral held various jobs during her life as a dental assistant after high school with Indian Health Service. She went to Dallas, Texas, with her first husband, Charles Peterson, Sr. in 1961. She then worked as a nurse's aide at Parkland Hospital and Texas Instruments.
She returned to Eagle Butte, S.D. in 1973 with her five children. She worked with TWEP, the alcohol and drug program, Bureau of Indian Affairs/Education and Indian Health Service.
Sheral remarried in 1978 to Noble LaCroix. They were together 43 years. Sheral and Noble raised nine children—two daughters and seven sons.
Sheral died Dec. 27, 2021, at home with her husband by her side. She was 78.
She was preceded in death by her parents; three brothers; three sisters; sons, Charles and Warren Peterson; granddaughter, PT; grandson, Tate; and other extended family.
Sheral is survived by daughters, Jolene Peterson and Peggy Clark; sons, Fredrick Peterson, James Peterson, Brian LaCroix, Bret LaCroix and Brad LaCroix; 31 grandchildren; many great-grandchildren; two sisters; nieces, nephews and extended family.
Thank you MOM for all of your sacrifices, support and love!
Visitation will be Wednesday, Jan. 5 from 5-7 p.m. followed by a wake service and rosary at 7 p.m. at Behrens-Wilson Funeral Home. Mass of Christian Burial will be held Thursday, Jan. 6 at 11 a.m. at St. Rose of Lima Catholic Church in Hill City, S.D. Burial will be at the Hill City Cemetery following services.

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Discover trending Netflix posts tagged with #LostInSpace hashtag.
The #LostInSpace hashtag is a topic or interest in netflix channel. Sort #LostInSpace hashtag by Trending Today, Trending in 2019, and Latest.


You are visiting the placeholder page for Susan Bain. This page is here because someone used our placeholder utility to look for Susan Bain. We created this page automatically in hopes Susan Bain would find it. If you are not Susan Bain, but are an alumni of Spring High School, register on this site for free now.


text:
Here's how this 12-year-old from Ludhiana is using Minecraft to make learning, teaching fun in schools
Namya, a Class VIII student at the Sat Paul Mittal School in Ludhiana, has been leveraging technology to make learning as well as teaching fun. We find out more
Shreesha Ghosh
Namya Joshi with Microsoft CEO Satya Nadella
It all began two years ago when Namya Joshi from Ludhiana was working on her school project and she came across the Microsoft game Minecraft. She spent a lot of time trying to figure out the workings of it. "I was in class VI then and I started playing Minecraft. After understanding the basics, I watched a few tutorials and got myself familiar with it. At first, I was only playing it for fun but then, I realised it had the potential to help us, children, learn our regular lessons in an interesting manner. I saw my friends and classmates getting bored with regular lessons so I decided to recreate these with the help of Minecraft because it can help you enhance the topics visually and thus, leverage technology to make learning fun and exciting," recalls Namya. The 12-year-old from Sat Paul Mittal School in Ludhiana has since been leveraging technology to make learning as well as teaching fun. Namya has also been training teachers across the globe with the help of interactive Minecraft sessions.
If you don't know yet what Minecraft is, then it can be best described as a sandbox video game that looks a lot like LEGO at first glance. In the game, players are placed in various randomly generated worlds which the players have the ability to manipulate. Namya has been using the Minecraft Education Edition, which is an open-world game that promotes creativity, collaboration and problem-solving in an immersive environment where the only limit is your imagination. It is a game-based learning platform that offers educators a transformative way to engage students using Minecraft and ignite their passion for learning. It is being used across the globe to teach a range of subjects, from History and Chemistry to sustainability and foreign languages, and one can map lessons directly to specific learning outcomes and curriculum standards.
Namya tells us she had once recreated the Egyptian civilisation in Minecraft and shared that with her teacher. "When the teacher used it to teach us lessons in class, students got more engaged and began understanding the concept better. I have also had personal experiences and difficulties in not understanding certain concepts but Minecraft's interactive learning has helped solve the problem. There was also a workshop conducted in our school to train teachers on how to use it. Later, I had also created the Harry Potter world on it," she explains.
Namya has trained over 600 teachers and at least 400 students during the lockdown alone. The eighth-grader has also been learning how to use Photoshop, app designing, web designing and adds that she loves sharing her knowledge with friends. She loves to read books, draw, learn calligraphy and play the piano during her leisure time. Namya is also working on a book of her own. She recently got the opportunity to meet Microsoft CEO Satya Nadella in person at the Young Innovators Summit, 2020 held in New Delhi, just a month before the lockdown began. She says she was inspired to do more after meeting him. "If you stop learning you cannot grow, you should also share your knowledge with people. I want to become a social entrepreneur, develop technological solutions for various problems in our society and make education available to all," says Namya, adding that the meet motivated her even more to chart her life's course.
Namya is self-taught, says her mother Monica Joshi, who is a Microsoft Expert Educator and Minecraft Global Mentor herself. She is also the IT head at Namya's school but she says she was surprised that her daughter took an interest in such a thing and agrees that Minecraft could do so much for children of her age. "I didn't know at first that she was not only playing but planning lessons on Minecraft. Seeing the amazing results, I was convinced that we should also introduce this in the school. We had workshops and I gradually realised how captivating it was for children and saw that they retained the lessons better," she adds. Namya and her mother plan to create more lessons together and help more students and teachers around the world.
Inspiration Minecraft Experiential learning


text:
Author: ConventDramaAdmin
Leeds IMC 2021: Performance Climates and Convent Drama
Performing with the Sepulchre, La Maigrauge 2018.
This summer Aurélie and Liv took the opportunity to reflect on some of our convent drama experiences as the Medieval Convent Drama project draws to a close, as part of a Leeds IMC panel on Performance Climates. Our shared paper considered the 'climates' of performance that we worked with in Fribourg — from climates of religious belief and practice to architectural climates, to literal, meteorological ones.
While drafting the paper, we found ourselves thinking about how to define the broad, religio-cultural climate and sense of place which surrounded the local performances we've undertaken for the project, and in which they were situated, a process which involved recalling and discussing memories of many very small but nonetheless interesting moments, often unpredictable encounters and interactions with passers by as we rehearsed outside, or brief chats with audience members at the close of performances – as well as our attendance at a range of Fribourgeois religious festivities and processions. We also recalled our memories of severe weather events in performance – particularly the heavy rain and thunder which accompanied our 2017 Huy Nativities – and the extent to which weather that was actively hostile to performance created a very particular atmosphere and set of experiences among our performers and spectators.
Perhaps the most fruitful area we worked through, though, was returning to some of our 2018 interview data from the Maigrauge convent in Fribourg, where we performed and whose sisters kindly agreed to be interviewed post-performance. Coming back to this data now, we were able to focus in on the physical climate of the Maigrauge church and the ways it was evoked and described by sisters in their interviews – particularly with reference to their medieval sepulchre, a copy of which we used in performance (as can be seen on the image above). Re-reading our interviews, we saw how complex the interaction between object, place and moment of performance had been for some sisters, and just how emotionally significant the sepulchre as an artefact had been to their experience of our performance. The 'climate' of the conventual church was one in which the replica sepulchre, and all that it stood for, played a bigger role in sisters' experience of what we were doing than we perhaps fully realised at the time we were performing. Returning to this data and re-viewing it in the context of performance climates really brought this out for us, and it's something I hope we'll be able to return to more fully in our work going forward. Thankyou to Dana Key and our fellow panelists at Leeds for offering us the opportunity to think about this from such a helpful perspective!
–Liv.
Posted on July 14, 2021 Author ConventDramaAdmin
Performing in the Convent: Objects and Performative Practices
London, BL MS Yates Thompson 11, f. 6v.
At the most recent Leeds IMC, the Medieval Convent Drama project co-sponsored and chaired a round-table session on material objects and their roles in performative practices within medieval convent life. Our steer to contributors was deliberately wide-ranging – and the various objects discussed sparked a lively conversation spanning practices of fabrication and design, connections and uses of liturgical citation, shared imaginative and performative activities with custom-made objects at their core, and the silent, unacknowledged presence of 'everyday' or ever-present objects during and within performances of many kinds. As part of the session, Aurélie Blanc presented the following exploration of candlelight in the Barking Abbey Visitatio Sepulchri – the ideas for which arose out of our 2018 performance of this piece – and her comments reflect the kinds of questions and approach which our panel brought together:
London, BL MS Yates Thompson 11, f. 6v (detail).
Candelabra at Barking Abbey
The Barking Abbey Visitatio ceremony was recorded in a 1404 Ordinal and Customary produced by the wealthy English Benedictine abbey of Barking. It was performed in the presence of the laity during the Matins of Easter Day and it depicted the visit of the three Marys to the tomb of Christ. Visitatio ceremonies have attracted the attention of drama scholars because, while they were part of the liturgy, they also featured some 'dramatic' characteristics: they told a narrative story with the help of sung dialogues and movements, indicated that the nuns, priests, and clerics (in the case of Barking Abbey) who performed them, were meant to behave like the scriptural figures they were portraying, and made references to costumes. At Barking, for instance, the nuns portraying the Marys changed from their black habits into white ones at the beginning of the ceremony. They then positioned themselves with the 'candelabra' in their appointed place.
'dicant. Confiteor ad abbatissam, et ab ea absolute. In loco statuto cum candelabris consistant.' (they say Confiteor to the abbess. Once they have been absolved by her, they position themselves with the candelabra in the place appointed earlier).
It remains unclear whether the candelabra accompanied the Marys during the entire ceremony or not, but a second mention was made of them at the end of the Visitatio:
'cum candelabris per chorum transeuntes orandi gracia sepulcrum adeant: et ibi breuem oracionem faciant. Tunc redeant in stacionem suam usque abbatissa eas iubeat exire ad quiescandum' (crossing with the candelabra through the choir, they go towards the sepulchre in order to pray. And there, they make a short prayer. Then, they return to their place until the abbess orders them to go out to rest).
Before examining why these objects might have been used in such a way by the Abbey of Barking, I would like to describe what the Visitatio's candelabra could have looked like. Candelabra were widely used lighting sources in medieval churches, but few have survived, although some can be seen in pictorial sources.
They were made of wood, of iron, bronze, or copper. The most impressive ones, which might have been found at the wealthy Abbey of Barking, were enamelled or made of gold, silver, and even crystal. They would have carried one or more beeswax candles and their size varied depending on their use. The candelabrum holding the pascal candle, for instance, would have been bigger than those set on altars. Those used in Barking's Visitatio, were handheld and, according to the Ordinal, were carried by six iuuencule who seem to have been girls, not yet consecrated, receiving their education in the nunnery.
Iuuencule and candelabra did not immediately intrigue me when I was studying, and in April 2018, staging the Visitatio Sepulchri. They were barely mentioned in the OrdinaI and their presence did not make much sense theatrically. While they would have had the advantage of lighting the Marys and of attracting the audience's attention to them, they had no function in the narrative, and, if they had followed the Marys during the entire ceremony, would have been a blocking nightmare. They would have obscured the Marys from view and restricted their movements and interactions.
Yet, the Visitatio was not quite a play, but a liturgical ceremony and the abbey's purpose in performing it was fundamentally different from ours: according to the Ordinal, the house hoped the ceremony would increase the laity's declining devotion and, as all liturgy, it was meant to worship and glorify God. To understand the Visitatio's performative use of the candelabrum, I should therefore have taken into account that, in medieval liturgy, sources of light were not employed for practical reasons only. They were invested with layers of symbolism, whose knowledge at Barking is attested by liturgical practices, as well as by the house's library. The use of the candelabrum in the Barking Visitatio Sepulchri would have recalled the house's standard liturgical practice and would have imbued the ceremony with meaning. Yet, it also stood out as unusual in two ways: it was carried around nuns portraying the three Marys instead of around the body of Christ, the cross, the Gospel book (Barking), or saints' relics or statues, and it was held by girls rather than by clerics.
This unusual use of the candelabra could have served, I believe, at least two purposes. First: it would have affected the story told by the Visitatio, by giving a preponderant place to the Marys, whose association with the nuns of Barking might have impressed the lay congregation. Second: holding the candelabrum might have helped the iuuencule understand their future role as nuns.
To begin with the Marys: Being accompanied by candelabra during a liturgical ceremony was a sign of honour, and therefore brought the Marys prestige. Yet, this use of light, in a way, also honoured the nuns portraying them. The candelabra continued, after all, to follow them once they had changed back into their own clothes. Light further connected the Marys to the divine. Scriptures, lives of saints, commentaries, and liturgical ceremonies have commonly associated light with God, with Christ, and, in the context of Easter, with the victory of light over darkness through His Resurrection. The candelabra thus emphasised the Marys' closeness to Christ, as well as their essential role in this joyful story: they were the first Christ chose to appear to, and in this version, they transmitted the good news of the resurrection to the congregation and to the disciples who instantly believed them. Their role as messengers may have recalled another scriptural image found in the Gospel of Matthew, as well as in Mark and Luke: Christ's description of his disciples as a lit candle on a candelabrum:
Matthew 5: 14-16 in the King James version:
14 Ye are the light of the world. A city that is set on a hill cannot be hid.
15 Neither do men light a candle, and put it under a bushel, but on a candlestick (candelabrum in latin); and it giveth light unto all that are in the house.
16 Let your light so shine before men, that they may see your good works, and glorify your Father which is in heaven.
Liturgical commentators explained that the disciples' light existed because they had been lit by Christ's true light and because they now believed. They were meant to guide others towards this true light. In this context, the candelabra enhanced the Marys' role as messengers, as guiding lights. It also connected them to nuns, since the disciples' mission had become, by extension, that of the Church, and of those leading a religious life in particular. The Visitatio's use of the candelabrum could thus have affected its spectators' understanding of the role of the Marys as well as their respect for the nunnery. It could additionally have provided nuns, and the iuuencule in particular, with an example to follow.
The unusual choice of six girls as candelabrum-bearers, who visibly stood near the Marys and possibly accompanied them during the ceremony, might have reinforced the previously mentioned connection between the nuns and the Marys, but it could also have created, more specifically, a connection between the iuuencule and the Marys. Apart from physical proximity, other similarities existed between them: the Marys were dressed in white, as were the future nuns during the ceremony of the consecration of the Virgins and both groups of women had much to learn (at least, at the beginning of the ceremony in the case of the Marys). By following the Marys, the girls might have perceived these women and their journey as models to follow in their future either as novices or as professed nuns. Yet, the iuuencule did more than accompany the Marys, they held the candelabra. This act had the benefit of materialising two scriptural mentions of light, essential to their understanding of the role of nuns. The first was the one related to the candelabrum and the disciples. In the Visitatio, the iuuencule actually held up this guiding light. However, while transmission of light was deemed important, liturgical writers such as Jean Beleth or Durandus advised that one should remember to tend to one's own light. They used the parable of the wise virgins, who had remained vigilant to their lamps while waiting for the bridegroom to illustrate this idea.[1] Such a parable was regularly presented as a model for consecrated women and was undoubtably known at Barking where it was partly sung during the consecration of the Virgins ceremony. In the Visitatio, the iuuencule repeated the actions of the wise virgins. Holding the candelabra demanded great focus and such focus was also to be dedicated to maintaining their inner light, their faith, their purity.
Having these girls carry the candelabrum might have been a way of teaching them about their future responsibilities as nuns by involving them in a ceremony which bore striking resemblances to the consecration of the Virgins, by materialising light metaphors essential to their understanding of this role, and by connecting these to prestigious scriptural female role models.
Ordinale and Customary of the Benedictine Nuns of Barking Abbey, ed. Tolhurst J.B.L. (London: Harrison, 1927-8).
Catherine Vincent "Rites et pratiques de la pénitence publique à la fin du Moyen Âge : essai sur la place de la lumière dans la résolution de certains conflits » Actes des congrès de la Société des historiens médiévistes de l'enseignement supérieur public (vol. 31, 2000), pp. 351-367.
Catherine Vincent Fiat Lux : lumière et luminaires dans la vie religieuse en Occident du XIIIe siècle au début du XVIe siècle (Paris : Les Editions du Cerf, 2004).
Geneviève Bührer-Thierry « Lumière et pouvoir dans le haut Moyen Âge occidental : célébration du pouvoir et métaphores lumineuses" Mélanges de l'école française de Rome (vol. 116-2, 2004) pp. 527-37.
Eric Palazzo « La Lumière et la Liturgie au Moyen Age » Pris-Ma : Recherches sur la Littérature d'Imagination au Moyen Age (Tome XVII / 1, no 33, 2001), pp. 91-104.
Catherine Gauthier L'encens et le luminaire dans le haut Moyen Âge occidental Liturgie et pratiques dévotionnelles (thèse de doctorat : UNIVERSITÉ LIBRE DE BRUXELLES, Faculté de Philosophie et Lettres, 2007-8).
[1] Matthew 25: 1-13
METh at Fribourg: Re-presenting the Resurrection
Medieval Convent Drama musicological consultant Matthew Cheung-Salisbury reflects on the recent 40th Anniversary Medieval English Theatre Conference, hosted by the project team at the University of Fribourg:
What if the authorities who prosecuted Jesus and sent him to his death had let him go free?
This question was posed, tongue firmly in cheek, at this year's Medieval English Theatre conference (the fortieth such conference, organised this year by the Medieval Convent Drama team in Fribourg). A speaker recalled attending enactments of medieval plays in York. Despite the fact that the story they communicated⸺the passion, death, and resurrection of Christ⸺is perhaps the best known narrative in the world from the Middle Ages until the present day, the speaker fantasised that perhaps, this time, the various authorities questioning Jesus in the drama might, just this once, let him off…
What status and function do faithful, repetitive re-presentations of familiar stories have for us, and how did they function for the communities which wrote and staged them, year after year? The presence of METh in Fribourg offered us the opportunity to re-visit these questions in a scholarly way, but also to consider them in practice.
Bodl. lib. ms. canon liturg. 347. Copyright the Bodleian Library, Oxford. A priest veils a woman joining a nunnery of Franciscan Tertiaries, Florence (s.xv).
As part of the conference, our brilliant group of musician-actors, directed by Elisabeth Dutton and chorally animated by the inspiring Sandy Maillard, offered to us the first performance of the ludus paschalis which was written by and for the late thirteenth-century Benedictine sisters of the abbey at Origny-Sainte-Bênoite.
This ludus, which depicts the discovery by the three Marys of the empty tomb of Jesus, and the appearance of the risen Christ to Mary Magdalen, comprises texts in Latin and in French and combines several Biblical narratives from the Gospels as well as creative accretions to the Scriptural story.
The Marys, of course, have come to the tomb to anoint the body of Jesus, and there is an exchange with a local merchant who has ointment to sell. All of this dramatic action points to what is perhaps the real climax, and surprise, of the story: that the tomb is empty.
Not a surprise for the spectator, of course, who knows beyond doubt that, the tomb being empty, the next surprise for Mary Magdalen will be the appearance of the tomb's former inhabitant. But of what merit is the re-presentation, time after time in corporeal fashion, of this epoch-making but universally known story? It is unthinkable that anyone seeing the play at Origny would not have known the central facts of the story, and the diverting non-Scriptural passages are mere decoration for these.
In the words of James Gibson, 'What really was happening [in the 11th and 12th centuries] when two [people] stood on one side of the altar and sang, and two others responded?' Our Project team believes that, to consider these questions in anything more than a superficial way, one must enact and participate in these dramas. It is productive, because, like the very appearance of God in human form which anticipates and necessitates the cosmic drama which takes place at the sepulchre, it is incarnational, as Donnalee Dox has argued.
The Origny ludus paschalis is for its players and spectators a corporeal, bodily, perhaps even quotidian (because set in familiar surroundings with familiar faces) realisation of the implications of the Incarnation. To quote anachronistically the Thomistic theology of the sacraments, the players⸺like the priest who offers the sacrifice of the Mass⸺are comprised of both substance and accidence. I was reminded of this when one of the actors, on being asked what he thought he was doing, replied that he was 'an actor, incorporating a deacon, incorporating an angel'. The enactment of this ludus, for me, is to see the truth of Clifford Flanigan's argument that the participants and spectators are actually incorporated into the original event: it is a 'reactualisation or a rendering present of the moment when the archetype was revealed for the first time': thus, 'an abolition of historical time' allowing the members of the community, whether our own or that of Origny, to 'reactualise' the past and enter into the past event.
We know that just as every time Christ is condemned in the York plays, the tomb will be empty. But even though 'no one has ever seen God' (prologue to John's Gospel), the re-presentation in living colour of the triumph of Christ over death, for the nuns of Origny and for all time, was, and is, a powerful and immediate medium through which the spectator can enter the same space as the Paschal mystery.
Medieval Convent Drama presents the Origny Ludus Paschalis on two further occasions: on 27 April at the Carmel du Pâquier and on 29 April at La Maigrauge Abbey, Fribourg:
Posted on April 16, 2019 April 16, 2019 Author ConventDramaAdmin
Announcing our latest performance this April: the Easter Play of Origny-Sainte-Benoîte
We have a new performance taking place this month: the Ludus Paschalis from the Benedictine Abbey of Origny-Sainte-Benoîte. We're very excited to be collaborating again with the Cistercian sisters of La Maigrauge in Fribourg and with the Carmel du Pâquier to perform this medieval Easter play composed by the sisters of Origny, as well as giving a preview performance as part of the Medieval English Theatre 40th Anniversary conference, hosted this year on the 12-13 April at the University of Fribourg. Our performance dates and times are as follows; entry is, as usual, free and all are welcome to attend.
Le jeu pascal des soeurs de l'Abbaye d'Origny-Sainte-Benoîte: une pièce médiévale célébrant la Résurrection
vendredi 12 avril 2019: Chapelle de Miséricorde, Université de Fribourg, 16h00
samedi 27 avril 2019: Carmel du Pâquier, 1661 Le Pâquier-Montbarry, 19h30
lundi 29 avril 2019: Abbaye de la Maigrauge, Fribourg, 15h45 (possibilité de rester pour les vêpres à 16h45)
Entrée libre, collecte à la sortie
Friday 12 April 2019: Miséricorde Chapel, University of Fribourg, 4pm
Saturday 27 April 2019: Carmel du Pâquier, 1661 Le Pâquier-Montbarry, 7.30pm
Monday 29 April 2019: La Maigrauge Abbey, Fribourg, 3.45pm (with option to stay for Vespers, which will start at 4.45pm)
Free entry, closing collection
Posted on April 6, 2019 April 16, 2019 Author ConventDramaAdmin
Brushes and mouths (but not dental hygiene) in the Jeu de Pèlerinage humaine
Detail from BnF MS fr. 24303 F. 15, Source: gallica.bnf.fr / BnF
I'm currently preparing a paper for Leeds IMC this year on the Jeu de Pèlerinage humaine — the fifth playscript in the collection owned by the Carmelite convent at Huy, which forms one of the core groups of texts we are focusing on during the project. In several ways this script stands out from the others in the manuscript: most obviously, it's been carefully and closely adapted for performance from part of a popular and widely-disseminated pre-existent allegorical narrative poem, Guillaume de Deguilleville's Pèlerinage de vie humaine. The Pèlerinage was often illustrated as part of its manuscript transmission (some of its rich iconographic traditions were the subject of a doctoral thesis by Michael Camille in 1985), and many of its allegorical characters, indeed, are described quite minutely within the text, in terms of their idiosyncratic physical appearances, bodily attributes, clothing and acoutrements: descriptions which can result in some very peculiar illuminations! (You can see something of what I mean by browsing the dossier of images from BnF MS fr. 829 published in the recent edition of the second recension of Deguilleville's poem by Graham Robert Edwards and Phillipe Maupeu).
This very particular manuscript tradition provides an unusual context for the Jeu de Pèlerinage. Not only can the text of the play, unusually, be compared to a known and apparently widely-read narrative source, allowing us to uncover ways in which its adaptors conceived of and effected the transfer from first-person narrative to performed, embodied theatre; we can also think about the ways in which the poem's iconographic and visual traditions might have inspired, or otherwise impacted on performances. Might illuminations of the Pelerinage provide pointers or starting points for thinking about how the Carmelite sisters who copied the Jeu de Pèlerinage may have designed their performance attire (if indeed they did perform the play they anthologised, and if they performed it in attire other than their habits)? What might an eventual performance have looked like, in terms of of visual effects, articles of clothing and objects that could have been integrated into the play?
The idea of looking at manuscript iconography to provide some ideas about this seemed good in principle: then I came up against the character Pénitence, who – along with her companion, Charité — explains in a long and detailed speech the ways in which she mediates access to the Eucharist. Pénitence is described by the narrator of the Pèlerinage as, surprisingly, holding a brush or 'balay' in her mouth ('Entre ses dens, en sa bouche / Ot balay, qui plus me touche', ed. Edwards/Maupeu, p. 242). The narrator admits that this is rather odd, to say the least; she holds the brush in her teeth, he notes, 'courtoisement' (in a dignified, courtly manner), and 'moins sage point n'en sembloit' (she didn't seem at all less wise for it). Indeed, had anyone else but her chosen to behave in this way, 'Pour hors de sens on le tenist' (one would have considered them to be out of their mind). I think that's probably a fair assessment.
Pénitance and Charité, detail from London, BL MS Harley 4399, F. 14. Source: www.bl.uk
Detail from BnF MS fr. 12465, F. 11. Pénitance and Charité. Source: gallica.bnf.fr / BnF
London, BL MS Add. 38120, F. 18. Pénitance and Charité. Source: www.bl.uk
While it's perfectly possible, of course, for a narrative poem to describe a woman holding a brush in her mouth, and then purport to relay the long and detailed monologue that she proceeds to utter, as soon as one brings physical performance into play, some very obvious problems start to arise. The Jeu de Pèlerinage removes the narrator's description of Pénitance completely: as a character in the play, she just appears in the playing space at the 'right' time, and begins to speak. But, as part of her discourse, she actually explains the signficance of the orally-carried brush, as well as other objects she carries in her hands — and these lines have all been retained in the Jeu. Which leaves me with the question – how does an actress play the part of Pénitence and hold a brush in her mouth? Did she actually walk 'on stage' looking like this (and did everyone start laughing?), but remove the brush for speaking? Or, is this a sign that the Jeu de Pèlerinage was perhaps not designed for physical performance at all? But if that were the case, why go to the trouble of adapting it as a play-script and/or copying it in an anthology of play-scripts in the first place?
I hope to develop, if not answers, then further hypotheses around these questions in the coming weeks! In the meantime, if anyone has any comments or ideas, I'd love to hear them.
Posted on May 25, 2018 May 25, 2018 Author ConventDramaAdmin
Costume demo videos from Barking performances
Aurélie and Sandy enjoy donning their habits backstage!
Aurélie and Tamara (who was our fabulous stage manager for the Barking Abbey plays last month) have put together a series of videos showing the particular liturgical vestments we used, as well as the ways in which we put together our replica medieval Benedictine nuns' habits for those of us performing in the roles the sisters would have taken. You can watch them on our YouTube channel here, along with our other films.
Thankyou again to everyone involved, especially Sandy (Cantrix/Mary Magdalen, modelling the women's costumes) and Christoph (Priest/Jesus, modelling the men's)!
-Liv.
Posted on May 3, 2018 Author ConventDramaAdmin
Barking Abbey Easter Plays: More Photos!
I'm currently in the process of conducting research interviews with some of our performance group who took part in Monday's Barking Abbey Elevatio and Visitatio Sepulchri, thinking about their experiences of participating in the creative process and the feelings generated by the final events at La Maigrauge and the University of Fribourg. I'm only part-way through this process but the discussions I've had so far have been fascinating. One point that has come up more than once is the way in which viewing images of the performance taken from the nave and the choir of the Abbey church of La Maigrauge has sparked within participants intriguing new reflections and new perspectives on their experiences. So, with that in mind (and also because we have some fabulous stills and photos, for which huge thanks to Tamara Haddad and Céline Sidler), I've put a bigger selection here for both performers and interested readers to enjoy…
– Liv.
Upcoming performances: 9 April Barking Abbey Easter plays!
Our performances of the Barking Abbey Easter plays will take place in Fribourg on Monday 9th April. We will be performing at the Cistercian Abbey of La Maigrauge (3.45pm, with Vespers following the performance, for which audience members are welcome to stay) and the Aula Magna in the University of Fribourg (7pm). Come and join us: entry is free and open to all at both venues, and further information can be found in our trailers here and here:
http://medievalconventdrama.org/wp-content/uploads/2018/03/barking-bande-annonce-2.mp4
Posted on March 26, 2018 April 3, 2018 Author ConventDramaAdmin
Theatre History Podcast
On the 7th of June the Medieval Convent Drama team had the pleasure of recording a podcast with Michael Lueger for Theatre History. I was new to such an experience and was slightly dreading it. Would I even be able to articulate words? What if I suddenly forgot how to speak English?
There was no need to worry; it was a fantastic experience and allowed us all to share our discoveries with one another, as well as with the podcast listeners. It was also quite lovely to be able to explain to someone who is not part of the project why medieval nuns are so valuable to the study of drama.
We touched on various themes: the reasons nuns performed drama, the differences between these plays and other medieval drama, the relation of the plays with the liturgy, their importance when considering gender dynamics in the Middle Ages, the examples of Barking and Huy and finally, the project's attention to performance.
A significant aspect of our methodology consists of performing medieval plays in front of a modern audience, who might not know anything about medieval drama. Opening our project to the public is extremely valuable to us. Not only does it bring precious research information, it also prevents enclosing the project behind the university walls. One of the goals of our work is to contribute to changing the generally-accepted view that all medieval drama was performed by men. One way of doing this is, of course, by making our research known to other scholars. However, the possibility of having an impact beyond academia and of influencing how people view the past, a past through which we often define ourselves, fulfils this goal in an unexpected and highly rewarding way. Performance gives us this possibility– and we will therefore re-create convent plays in local nunneries– but the Theatre History podcast has provided the project with another way of fulfilling this aim and of reaching a non-specialist audience.
A big thank you to Michael Lueger!
Listen to the podcast here
Posted on June 30, 2017 January 23, 2018 Author ConventDramaAdmin
New Medieval Convent Drama Project film: The Digby Killing of the Children
Watch the film of our recent production of the Killing of the Children and the Presentation in the temple from Oxford, Bodleian Library MS Digby 133
Posted on April 1, 2017 January 23, 2018 Author ConventDramaAdmin
Call for applications for doctoral studentship: Medieval Convent Drama
Medieval Convent Drama is a major new research project, funded by the Swiss National Science Foundation, at the University of Fribourg, Switzerland, led by Professor Elisabeth Dutton and Dr Olivia Robinson with the collaboration of Dr Matthew Cheung Salisbury (Oxford). We seek a student to undertake a fully funded doctoral thesis, to be supervised by the project's collaborators, on any area within the scope of the project.
Project outline
The project will examine the understudied participation of women as actors, compositors and copyists of plays within a wide range of convent-based dramatic performances in the late Middle Ages. Focusing on convents in England, France and Burgundy, we will: 1) investigate the manuscript presentation of all surviving convent plays from this region; 2) uncover archival evidence for the times and spaces in which they were staged, the possible composition of their casts and audiences, and the other literary and cultural activities of the convents in question; 3) investigate through performance their use of liturgical citation and translation, and ecclesiastical places, spaces and material objects as dramatic tools. We seek to deepen critical understanding of the ways in which medieval convent communities actively shaped their own dramatic reinterpretations of Biblical and other narratives, the role this drama may have played for its performers and spectators, and the importance of this neglected tradition for broader scholarly assessments of medieval dramatic, devotional and liturgical practices.
Doctoral Study at Fribourg
The successful candidate will receive funding for three years, including all doctoral fees and a maintenance grant of approx. CHF 50,000 per year.
The University is situated in the centre of the medieval city of Fribourg, at the feet of the Jura mountains. Its established Centre for Medieval Studies, currently directed by Professor Dutton, brings together a rich group of researchers into palaeography and codicology, art history, philosophy, literature in Latin, and English, French, and other European vernaculars, medieval theatre, women's writing, history, and musicology. Other research projects currently based in Fribourg include Fragmentarium, a network that facilitates the study of medieval manuscript fragments through online resources, and Professor Dutton's Early Drama at Oxford project that studies plays written and staged in Oxford Colleges in the medieval and early modern period.
A wide range of financial and training resources are available to support doctoral students, including those of the Conférence Universitaire de Suisse Occidentale, which organizes regular doctoral workshops and conferences, and the Swiss Association of Medieval and Early Modern English Studies, which encourages contact and collaboration among researchers at the Universities of Fribourg, Lausanne, Geneva, Neuchâtel, Berne, Basel, Zurich. Researchers have access to the collective library resources of these Universities, and Fribourg itself has a well-endowed medieval library.
Applicants should hold a relevant MA, MSt, MPhil or equivalent, and have experience in one or more of:
– Medieval French literature
– Medieval English literature
– Medieval Latin
– Codicology and palaeography
– Medieval musicology
– Medieval Theology
– Drama and performance
– Medieval art and architecture
– Website management
Applicants should email CV and cover letter in English, detailing how their knowledge and expertise could contribute to the project, to Professor Dutton:
elisabeth.dutton@unifr.ch
The selection process may include an interview, possibly via Skype.
Closing date for applications: MONDAY 6th JUNE 2016
Posted on April 27, 2016 January 23, 2018 Author ConventDramaAdmin


Join us in the taproom Friday February 8th as we welcome this month's featured artist and good friend Kelly Wilson.
Kelly Wilson is the Dayton-area artist behind "The Ladies of Rhinegeist" mural (located inside the Rhinegeist brewery), along with The Dayton Beer Company's brewhouse mural and numerous can designs. Her work has been featured in the Greater Hamilton Art Exhibition and in Cincinnati Magazine.
Come on in for a beer and to celebrate Kelly as she showcases new and unpublished artwork. The mixed-media exhibition utilizes negative space, contrast, and movement, in palette of black, white, and metallics, to create an eye-catching and thought-provoking collection.
Her work will hang in the taproom for the Month of February and will be available for purchase.
Check out more of her work at @digitalkelly on Facebook and instagram.