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Das Theater Dortmund hat seinen Ursprung im Jahr 1904 und ist mit über 500 Mitarbeitern eines der größten Theater Deutschlands (Stand 2010).
Das Theater gliedert sich in die sechs Sparten Konzerte, Musiktheater, Schauspiel, Ballett, Kinder- und Jugendtheater und der Akademie für Theater und Digitalität, welche jeweils unter eigener künstlerischer Leitung stehen.

Geschichte

Vorgeschichte

Erste Theateraktivitäten in Dortmund sind für das Ende des 15. Jahrhunderts nachweisbar: Im Jahre 1498 sei mit großem Kostenaufwand ein repräsentatives St.-Johannes-Spiel aufgeführt worden. Für das 16. Jahrhundert sind Aufführungen klassischer griechischer und humanistischer Dramen durch das Dortmunder Gymnasium verzeichnet. 1582 fand eine große Aufführung von Johann Rassers Comoedia vom König, der seinem Sohn Hochzeit macht statt. Diese frühen Theaterimpulse in einer prosperierenden Stadt fanden im Dreißigjährigen Krieg für lange Zeit ein Ende, Dortmund versank auch kulturpolitisch in der Bedeutungslosigkeit. Ein Neubeginn war erst 1806 zu verzeichnen, als Dortmund in Kooperation mit Essen das National-Theater des ersten Gouvernements im Zuge der französischen Verwaltung erlebte. Aber auch diese Theaterinitiative scheiterte 1815, als Dortmund preußisch wurde.

Als sich 1830 in Dortmund schließlich Anfänge eines bürgerlichen Theaterlebens entwickelten, fehlte jede Anknüpfungsmöglichkeit. Es gab weder Bauten noch Traditionen aus der Zeit des höfischen Theaters, der Aufklärung oder der Weimarer Klassik. Es waren daher zunächst Schützenzelte oder gastronomische Betriebe, in denen Theatertruppen gastierten. Seit 1837 stellte der Gastwirt Karl Kühn regelmäßig seinen Gartensaal für Theateraufführungen zur Verfügung – Dortmund hatte seine erste regelmäßig genutzte Spielstätte.

Aufgrund des Fehlens einer feudalen oder bürgerlichen Theatertradition entstand das Dortmunder Theater als offizielle Einrichtung erst in der zweiten Hälfte des 19. Jahrhunderts. "Erst mit der wirtschaftlichen Entwicklung der Montanindustrie in der Kaiserzeit entwickelten die boomenden Gemeinden den Bedarf, dem Clondike-Modell von Kultur und Amüsement eine systematische Kulturförderung zur Seite bzw. entgegenzustellen." Im Zuge der Industrialisierung wuchsen Bevölkerung und ökonomische Möglichkeiten schnell und damit auch das Interesse an einem eigenen Theater. Das Theater im Brüggman'schen Zirkus wurde 1872 zum ersten Versuch, in Form einer Aktiengesellschaft ein Dortmunder Stadttheater zu etablieren. Dieser erste Gründungsversuch scheiterte im Jahr 1875 und ging in Konkurs. Das Philharmonische Orchester (im 21. Jahrhundert: Dortmunder Philharmoniker) wurde 1887 gegründet, besaß zur Zeit der Gründung jedoch noch keine eigene Spielstätte.

Offizielle Gründung des Dortmunder Stadttheaters

Die eigentliche Gründung des Stadttheaters kam auf Initiative einiger Industrieller und Mäzene zustande, die 1887 eine Geldsammlung starteten. Initiatoren waren Albert Hoesch, Friedrich Denninghoff, Heinrich Bömcke und Julius Overbeck. Eine städtische Theaterkommission bildete sich. Der Baubeginn des vom Architekten Martin Dülfer entworfenen Gebäudes erfolgte am 1. Juli 1902, 1.238.000 Mark wurden investiert. Das Theatergebäude am Hiltropwall 15 wurde am 17. September 1904 mit der Aufführung von Richard Wagners Oper Tannhäuser eröffnet. Erster Leiter des Dortmunder Stadt-Theaters war Hans Gelling, Kooperationspartner bis 1907 die Stadt Essen. Am Tympanon über dem Eingang war zu lesen "Nimmer entbehre die strebende Stadt der veredelnden Künste, opferfreudiger Sinn baute den Musen dies Heim."

Trotz des Erfolgs der ausverkauften Eröffnungsveranstaltung enttäuschte anschließend die durchschnittliche Platzausnutzung von nur 56 Prozent in der ersten Saison, was 137.560 Besuchern entsprach. Diesen Anfangsproblemen begegnete die Stadt unter anderem durch eine Schwerpunktsetzung auf das Musiktheater und dort auf repräsentative Aufführungen und Werke, etwa von Richard Wagner und Richard Strauss. Das Schauspiel stieß auf wenig Interesse. "Man war stolz, ein Theater zu haben, hingehen musste man darum noch lange nicht." Mit der gescheiterten Kooperation und den Finanzierungsproblemen war ein Problemfeld eröffnet, das die Dortmunder Bühnen wie auch andere Ruhrgebietstheater seitdem beschäftigt. In der Weimarer Zeit ging die Verantwortung für das Theater stärker auf die Kommunen über, unter anderem durch einen Rückzug der Mäzene, die Parent auf die Distanz der Großindustriellen zur Weimarer Republik zurückführt.

Zusätzlich zum Theatergebäude erhielt die Kulturstätte im Jahr 1909 einen Anbau, der als Wandelhalle und Restaurant genutzt wurde: einen Musikpavillon bzw. einen Musiktempel, gleichfalls von Martin Dülfer entworfen. Das zweigeschossige Verbindungsbauwerk konnte von Chören oder Musikern bespielt werden.

Der erste von der Stadt beschäftigte Direktor war Alois Hofmann, der neben der Tradition auch zeitgenössische Werke des Naturalismus auf die Bühne brachte. Alois Hofmann geriet allerdings aufgrund seiner aufwändigen und teuren Aufführungen in die Kritik. Unter seinem Nachfolger Hans Bollmann überstand das Dortmunder Theater den Ersten Weltkrieg ohne drastische Einschnitte. 1919 wurde Johannes Maurach erster Theaterleiter, der offiziell den Titel Intendant trug. Maurach inszenierte alle Wagner-Opern seiner Reifezeit, im Schauspiel Hebbel, Ibsen, Wedekind, Sternheim und Strindberg. Er galt als Verfechter eines expressionistischen Theaterstils.

Ab 1927 leitete Richard Gsell das Dortmunder Haus. Im Schauspiel wie im Musiktheater legte Gsell einen starken Akzent auf Theater und Musik der Zeit. Er brachte Brecht auf die Bühne (Heilige Johanna) und Tretjakows "Brülle China!". Im Musiktheater brachte er Hindemith, Krenek, Weill Wellesz, Dohnányi zu Gehör. Operndirigent wurde Wilhelm Sieben. Das Dortmunder Theater wuchs zur kritischen Instanz mit künstlerischem Anspruch. In der Schrift zum 25-jährigen Jubiläum des Hauses wurde dies jedoch nicht nur positiv beurteilt. Man konstatierte eine Spannung zwischen Publikumserwartung und künstlerischen Ambitionen. Richard Gsell verteidigte seinen ambitionierten Spielplan:

"Was die Hebung der Einnahmen betrifft, so gilt das Hauptaugenmerk einer möglichst publikumssicheren Gestaltung des Spielplans. Publikumssicher – das bedeutet natürlich kein Eingehen auf die minderen Instinkte einzelner Zuschauerkreise. Das Publikum will sogar angestrengt sein, es will sich erregen an Themen, die es als Masse angehen. Und selbstverständlich hat alles, was von der Bühne herab in die die Gegenwart erregenden Fragen eingreift, immer auch die Massen aufgerüttelt. Nur muss eben der Dramatiker auch wirklich von den die Zeit erregenden Mächten erfasst sein, er muss eben doch ein Dichter sein, durch den die Ströme der Zeit hindurchschießen."

Zeit des Nationalsozialismus
In der Zeit des Nationalsozialismus wurde auch das Dortmunder Theater gleichgeschaltet. Zunächst wurden die jüdischen Darsteller und Musiker systematisch drangsaliert und ausgegrenzt. Seit 1927 hatte etwa die talentierte Sängerin Ruth Wolffreim dem Dortmunder Ensemble angehört. Noch Silvester 1932/33 vom Publikum als "Rosalinde" in der "Fledermaus" gefeiert, durfte sie als Jüdin in der geplanten "Meistersinger"-Aufführung im Frühjahr die Rolle der "Eva" nicht mehr darstellen. "1936 verlieren sich die Spuren der Sängerin." Im Mai 1933 wurde das Drama Schlageter des NS-Dichters Hanns Johst in Dortmund aufgeführt, eröffnet von einem Auftritt des NS-Schülerbunds.

Verantwortlich für die Umsetzung der nationalsozialistischen Ideologie war in Dortmund zunächst Bruno Schüler, Staatskommissar für die Stadt Dortmund seit dem 24. März 1933, Direktor der Dortmunder Union-Brauerei, später Bürgermeister und Theaterdezernent. Ein Rechenschaftsbericht Schülers vom 24. April 1933 an den Preußischen Minister des Inneren belegt die antisemitischen Aktivitäten Schülers, der zunächst "Nichtarier" aus allen öffentlichen Positionen verdrängen ließ. Wie in ganz Deutschland wurde auch den jüdischen Mitgliedern des Dortmunder Theaters die Lebensgrundlage entzogen.

Beispielhaft für das totalitäre Vorgehen gegen das Stadttheater Dortmund ist eine für den 11. März 1933 geplante "Meistersinger"-Aufführung. Die "Rote Erde", eine Publikation der südwestfälischen NSDAP, die in Bochum erschien, schrieb am 11. März 1933: "In Anbetracht dessen, daß in dieser kerndeutschen Oper eines deutschen Komponisten, der in seinen Schriften erklärt hat, die Juden seien unfähig, seine Werke zu deuten, fünf Juden auftreten sollten, sahen wir uns genötigt, gegen die Rollenbesetzung Protest zu erheben. (…) Da eine Regelung vorderhand nicht getroffen werden konnte, wurde die Oper vorläufig vom Spielplan abgesetzt." Staatskommissar Bruno Schüler "beurlaubte" daraufhin Kapellmeister Felix Wolfes und die Sopranistin Ruth Wolffreim, den lyrischen Tenor Bruno Ucko, Bariton Armin Weltner und den Bass Ludolf Bodmer. Am 15. März wurde die Oper ohne jüdische Ensemblemitglieder aufgeführt.

Opernkapellmeister Felix Wolfes hatte den Drohungen der nationalsozialistischen Presse zunächst widerstanden. Nach Zeitzeugenberichten war er daraufhin von einem SA-Trupp während der Proben zu den Meistersingern gewaltsam aus dem Orchestergraben geholt worden. Nach dem 15. März versuchte die SA wiederholt und vergeblich, Wolfes zu verhaften, der laut Akten der Stadt Dortmund zu dieser Zeit von Ensemblemitglied Fritz Volkmann versteckt wurde. Obwohl sich der bei NS-Größen beliebte Komponist Hans Pfitzner, den Wolfes als einen seiner Lehrer schätzte, für ihn einsetzte, gab es für Wolfes keine beruflichen Möglichkeiten mehr in Deutschland. Wolfes emigrierte über Paris in die USA, wo er als Dirigent erfolgreich war.

Intendant Gsell wurde durch Bruno Bergmann und Operndirektor Georg Hartmann, Intendant ab 1935, abgelöst. Hartmann inszeniert vor allem Wagner, daneben auch Mozart, Strauss und Verdi. Die Oper der Zeit verschwand vom Spielplan bis auf Parteigänger des NS-Regimes, etwa Hansheinrich Dransmanns "Münchhausens letzte Lüge" (Mai 1934). Am 17. Mai 1936 wurde die Kraft-durch-Freude-Operette Das glückhafte Schiff in Dortmund uraufgeführt. Besonders im Bereich der Operette fehlte es an Stücken, die man in der NS-Zeit für spielbar hielt. Die Operetten der Weimarer Zeit galten als "geradezu verwilderte Angelegenheit", oft waren entweder Autor oder Komponist jüdischer Abstammung. Arthur Mämpel, Hauptautor auch der Jubiläumsschrift des Dortmunder Theaters von 1979 und Chefdramaturg der Städtischen Bühnen nach dem Zweiten Weltkrieg, schrieb in den Mitteilungen der NS-Kulturgemeinde, das Theater habe die Aufgabe, den "gesunden Teil der Menschheit, den (…) reinen und unverbrauchten Menschen unserer Rasse an die Peripherie des Schönen und Großen" zu bringen.

Von 1937 bis 1944 wurde der Nationalsozialist Peter Hoenselaers, "uniformierter Funktionär" und "Inhaber hoher Parteiämter" des NS-Regimes – er war SA-Sturmbannführer – "Generalintendant", es kam zu antisemitischen Zwischenfällen. Wie Saladin Schmitt in der Nachbarstadt Bochum ist Hoenselaers Vertreter eines repräsentativen, konservativen Theaters. Das Theater steht für ihn im Dienste "Großdeutschlands": "Auch der einfachste Volksgenosse soll den Eindruck und das Gefühl haben, daß ihm auch literarisch schwierigere Werke so nahegebracht werden, daß sie auf ihn erhebend und erbauend wirken können und daß sie ihm vor allem geistige Kraft geben, mit in die künstlerische Zukunft unseres Volkes hineinzuwachsen." (unterschrieben "Generalintendant Peter Hoenselaers / SA-Sturmbannführer / Mitglied des Kulturkreises der SA") Hoenselaers setzte die Wagner-Tradition fort und verfolgte konsequent die Vorgaben der NS-Ideologie. So war ein Element des Spielplans die Oper des politischen Partners des NS-Regimes, der Achsenmacht Italien.

Am 1. März 1943 wurde das Theater erstmals von Bomben getroffen, der gesamte Fundus wird vernichtet. Man spielte zunächst im Foyer weiter, im Café Corso, im Olympia-Theater, im zum "Neuen Theater" ernannten Casino, aber ein Ausweichort nach dem anderen wurde durch Bombenangriffe zerstört, das Theater schloss wie alle anderen Theater in Deutschland am 1. September 1944 auf Anordnung des Reichspropagandaministeriums. Am 6. Oktober 1944 wurden auch die Reste des Großen Hauses bei einem Bombenangriff zerstört. Im April 1945 wird Dortmund von amerikanischen Truppen erreicht.

Nachkriegszeit – personelle Kontinuität
Wie in Bochum wurde nach dem Krieg Leitung und Personal aus der Zeit des Nationalsozialismus mit dem Neuanfang betraut. In einer Gaststätte in Dortmund-Marten, dem Bramann'schen Saal am Bärenbruch, wurde Willem Hoenselaars mit Einverständnis der Militärregierung erster Nachkriegs-Intendant. Er eröffnete am 6. Oktober 1945 mit Hugo von Hofmannsthals Der Tor und der Tod und spielte selbst den Claudio. Neben der Fortsetzung der Mischung aus Klassik und Unterhaltung versuchte er durch die Aufnahme von in der NS-Zeit verfemten Klassikern wie Lessings Nathan der Weise Signale in Richtung auf einen Neuanfang zu setzen, ein typisches Vorgehen vieler Theater der Nachkriegszeit. Später wurde die Personalstruktur verändert, unter Leitung von Herbert Junkers, Dramaturg des Hauses 1936–1937, wurde Hoenselaars Schauspieldirektor.

Die Weiterbeschäftigung des Personals aus der NS-Zeit durch britische Besatzung und Lokalpolitik führten die meisten Autoren auf ein bestimmtes Kulturverständnis zurück: Man suchte nicht offensiv die Abgrenzung gegenüber der NS-Zeit, sondern entwickelte ein entpolitisiertes Verständnis von Kulturarbeit, versuchte eine Anknüpfung an die Größen deutscher Kulturgeschichte. "Zur Frage der auf dem Kultursektor gepflegten Personalpolitik erklärte der Stadtrat, es liege im Wesen des echten Künstlers, unpolitisch zu denken und zu handeln. Es seien daher auch im Wesentlichen keine Maßnahmen zu einer Säuberung der Künstlerschaft notwendig geworden. Im übrigen fördere die verständnisvolle Haltung der Militärregierung gerade den Künstlern gegenüber die kulturelle Aufbauarbeit wesentlich."

Das Westdeutsche Tageblatt in Dortmund führte bei diversen Tageszeitungen eine Umfrage durch, was das wichtigste Kulturereignis der Nachkriegszeit gewesen sei. An erster Stelle genannt wurden Jean-Paul Sartres Stück Die Fliegen und Carl Zuckmayers Drama Des Teufels General. Bei der Aufführung in Dortmund spielte Willem Hoenselaars den General Harras.

Spielorte und Programme der Nachkriegszeit
Aufgrund der unzureichenden Möglichkeiten in Marten beschloss man, zunächst die Aula der pädagogischen Akademie an der Lindemannstraße zum Theater umzugestalten. Man hatte jedoch die Räume in Marten bereits aufgegeben, bevor der Umbau vollendet war. So wurde das Stadttheater in den Spielzeiten 1945 bis 1947 zur Wanderbühne, man spielte an zahlreichen Orten in Dortmund und Umgebung bis nach Soest, Lippstadt und Arnsberg. Die begrenzten technischen Möglichkeiten beeinflussten neben politischen Kompromissversuchen die Auswahl der Stücke. Am 17. September 1947 wurde die Spielstätte an der Lindemannstraße von Oberbürgermeister Fritz Henßler eröffnet, Herbert Junkers löste Hoenselaars als Leiter ab, der jedoch bis Ende der 60er Jahre als Darsteller, Leiter des Schauspiels und später als Regisseur aktiv blieb.

Erste Reformen unter Generalintendant P. Walter Jacob
Am 7. März 1950 übernahm mit Paul Walter Jacob ein jüdischer Emigrant die Leitung des Hauses. Jacob war für die Spielzeit 1932/33 in Essen als Opern- und Operettenregisseur verpflichtet und nach Angriffen der NS-Presse im März 1933 beurlaubt worden. Über Amsterdam war er schon im April 1933 emigriert und hatte 1940 in Buenos Aires die "Freie Deutsche Bühne" begründet. Wie andere Emigranten hatte sich Jacob unmittelbar nach dem Kriege lange vergeblich bemüht, in Deutschland wieder Fuß zu fassen. So inszenierte er bis 1949 in Buenos Aires, unter anderem mit Viktor de Kowa.

Nach seinem Engagement in Dortmund versuchte Jacob eine Modernisierung des Repertoires, was nicht immer leicht durchzusetzen war. Jacob war ein Multitalent, dirigierte, führte Schauspielregie, verfasste Bücher und Kritiken und trat auch selbst auf die Bühne. Neben den großen Klassikern führte Jacob in den 12 Jahren seiner Intendanz immer wieder auch von den Nazis verfemte Stücke auf. Am 12. September 1950 wurde das neue, innerstädtische Haus am Hiltropwall, das heutige Schauspielhaus, mit Beethovens Fidelio eröffnet. Das Schauspiel verblieb zunächst in der Lindemannstraße, eine weitere Aula am Ostwall kam als Spielstätte hinzu.

Mit seinen Wagner-Inszenierungen setzte Jacob eine Dortmunder Tradition fort. Jacob hatte selbst zu Wagner publiziert und inszenierte in seiner ersten Spielzeit den Lohengrin als Regisseur und Dirigent. Im Jahr darauf dirigierte er "Die Meistersinger" in der Inszenierung von Peter Funk. Jacobs Suche nach interessanten, neueren musikalischen Werken machte auch vor Parteigängern des NS-Regimes nicht Halt, so inszenierte er etwa Hans Pfitzners Oper "Das Herz". Zur Einführung des Nelly-Sachs-Preises inszenierte Jacob dann das Drama "Eli" von Nelly Sachs.

1954 fand am Dortmunder Theater die szenische Uraufführung der Komödie mit Musik Die stumme Serenade von Erich Wolfgang Korngold statt.

1955 konkretisierten sich die Pläne zum Neubau einer Oper, die Reste der Dülferschen Oper wurden abgetragen. Jacob inszenierte Franz Werfels Drama Jacobowsky und der Oberst, ein Stück, für dessen Uraufführung in Argentinien er 1945 ebenfalls verantwortlich gezeichnet hatte und spielte selbst die Hauptrolle. Jacob galt als äußerst sparsamer Theaterleiter und hat trotz des schmalen Budgets sehr viele Inszenierungen auf den Weg gebracht. Als sein Vertrag 1962 nicht verlängert wurde, war Jacob tief getroffen.

Verdienste um das Dortmunder Theater erwarb Jacob auch durch den Aufbau des Kindertheaters und die Einrichtung der ersten Kindertheater-Vormiete in Deutschland. Jacob war aber auch auf anderen kulturpolitischen Feldern aktiv. Unter anderem gehen die Dortmunder Auslandskulturtage auf seine Anregung zurück. Jacob hatte den Anstoß zu dem internationalen Dortmunder Kulturfestival durch "Internationale Theater-Kulturwochen", u. a. mit Holland und Spanien, gegeben. Weiterhin war er einer der Wegbereiter für den Nelly-Sachs-Preis. 1969 erhielt Jacobs das Bundesverdienstkreuz, später ernannte ihn die Stadt zum "Ehrenmitglied der Städtischen Bühnen".

Das Große Haus – Neubau der Oper 1966

Bei der Betrachtung des 1958–1965 aus Stahl, Glas und Beton erbauten Opernhauses fällt zuerst die große Kuppel über dem Zuschauerraum ins Auge. Drei Widerlager tragen drei 70 Zentimeter breite Betonbogen, zwischen denen die 8,5 cm dicke, eher flach gehaltene Betonkuppel aufgespannt ist. 16,90 m hoch ist der Scheitelpunkt der Kuppel, ein Kreis um die Widerlager hätte einen Durchmesser von 62,36 m. Die Kuppel ist mit dreieckigen Kupferplatten eingedeckt. Die von den Bogen überspannten Seiten sind verglast, wodurch Foyer und Treppenaufgänge jederzeit einsehbar sind.

Hinter der Kuppel erhebt sich der Querriegel mit Bühnenaufbau und Funktionsräumen. Das Dach des rechteckigen Foyers ist als Terrasse ausgeführt, die die Kuppel umgibt.

Kulturdezernent Alfons Spielhoff – Kritik am Repräsentationstheater
In den Jahren nach 1968 suchten die Städte eine kulturpolitische Neuorientierung. Vor allem der 1962 gewählte Dortmunder Kulturdezernent Alfons Spielhoff forderte eine Abwendung vom teuren und passiven Kulturkonsum im traditionellen Theater hin zu soziokulturellem Engagement. Seine Kritik am 1966 eröffneten Opernhaus, dem repräsentativen Herzstück imageorientierter Kulturpolitik, führte zu heftigen Auseinandersetzungen. In einem "Exposé II" betitelten Papier für die SPD-Fraktion im Rat forderte er die Aufgabe des hochsubventionierten Philharmonischen Orchesters. Das Schauspiel sollte erhalten bleiben, ergänzt um eine kommerzielle "Olympia-Theater-GmbH" zur Organisation von Musicals. Den Wegfall des eigenen Musiktheaters wollte Spielhoff durch Gastspiele und Festivals ausgleichen. Das Große Haus wollte Spielhoff zu einem soziokulturellen Zentrum mit verschiedensten Aktivitäten umfunktionieren. Ein kleines Orchester sollte erhalten werden, das Schauspiel als demokratisch strukturierte GmbH geführt werden. Spielhoff errechnete aufgrund dieser Umstrukturierung Einsparungen in Höhe von 11.847.900 DM, mit denen eine Neuorientierung der Dortmunder Kulturpolitik und eine Erneuerung der bestehenden Kulturinstitute finanziert werden sollte.

Die von Spielhoff angestoßene Debatte wurde bis 1974 öffentlich geführt, in hitzigen Diskussionen und auf Demonstrationen setzten sich Mitarbeiter der Städtischen Bühnen und Dortmunder Bürger für den Erhalt des Theaters ein. Schließlich lehnte der Rat die Vorschläge ab, Spielhoff ging am 31. Dezember 1974 nach Ablauf seiner Dienstzeit in Ruhestand. In der Dortmunder Innenstadt wurde später der Platz zwischen dem Off-Theater Fletch Bizzel und dem Kulturzentrum Taranta Babu in "Alfons-Spielhoff-Platz" umbenannt.

Oper

Die Oper in Dortmund wurde zunächst von Paul Hager und schließlich von Horst Fechner und John Dew geleitet. Das Opernhaus beherbergt das Ballettensemble des Theaters, war bis 2002 Spielstätte der Philharmonischen Konzerte der Dortmunder Philharmoniker (heute Konzerthaus Dortmund) und bietet Raum für ca. 1170 Zuschauer. Die Oper stand von 2002 bis 2010 unter der Direktion, von 2007 bis 2010 unter der Intendanz von Christine Mielitz. Jens-Daniel Herzog übernahm am 1. August 2011 die Intendanz. Im April 2014 wurde sein Vertrag bis zum 31. Juli 2021 verlängert. Anfang März 2016 wurde bekannt, dass Herzog zur Spielzeit 2018/2019 Dortmund verlässt und Generalintendant des Staatstheater Nürnberg wird.

Die über 100 Musiker der Philharmonie spielten 2002–2007 unter der Leitung von Generalmusikdirektor (GMD) Arthur Fagen, ab der Spielzeit 2008/09 bis Sommer 2013 unter GMD Jac van Steen. Ihm folgte als GMD mit Beginn der Spielzeit 2013/2014 der Berliner Gabriel Feltz Hauptverantwortlich für Direktion und Choreographie des Balletts ist seit 2003 Wang Xinpeng.

Nach der Zerstörung des Opernhauses im Zweiten Weltkrieg fand die Oper in dem 1950 fertiggestellten Gebäude am Hiltropwall ihre vorläufige neue Spielstätte. 1966 zog die Oper in das neu gebaute und bis heute aktuelle Opernhaus am Platz der alten Synagoge um, welches unter Generalmusikdirektor Wilhelm Schüchter mit der Aufführung des Rosenkavalier von Richard Strauss eingeweiht wurde.

Ab Mai 2008 steht der Oper mit der Kinderoper in einem Neubau in unmittelbarer Nähe zum Schauspielhaus an der Ecke Hiltropwall/Hövelstraße eine weitere Spielstätte für rund hundert Besucher zur Verfügung.

Mit Beginn des 21. Jahrhunderts verschärfte sich in Dortmund wieder die Opernkrise. Im Schnitt war weniger als die Hälfte der Plätze verkauft (46,1 Prozent ohne Freikarten) – was die schlechte Auslastung des Musiktheaters 2009/10 mit 50,3 Prozent noch einmal unterbot. Unter der neuen Intendanz von Herzog hat die Oper wieder neues Publikum mit Werken wie Claudio Monteverdis Krönung der Poppea oder der deutschen Erstaufführung von Mark-Anthony Turnages Oper Anna Nicole akquirieren können. In der Spielzeit 2013/2014 steht die Auslastung bei 69 Prozent.

Ab der Spielzeit 2018/2019 wurde Heribert Germeshausen Intendant der Sparte Oper am Theater Dortmund.

Schauspiel

Seit 1968 bespielt das Schauspiel Dortmund seine eigene Spielstätte im umgebauten ehemaligen Opernhaus am Hiltropwall. Unter dem Begriff Schauspielhaus finden sich mehrere Spielorte. Das Schauspiel fasst so mit der Bühne des Schauspielhauses, dem Studio und kleinen Nebenbühnen wie der Unterbühne und dem Löwengang knapp 600 Zuschauer. Das ehemalige Schauspielcafé wurde mit Beginn der Spielzeit 2010/11 mit einer Holz-Innenverschalung ausgestattet und umbenannt in Institut. Es bietet Platz für Lesungen, Konzerte, Theater, Matineen und Einführungen.

Guido Huonder war von 1985 bis 1991 Schauspieldirektor in Dortmund.

Der Regisseur Michael Gruner wurde 1999 Schauspieldirektor in Dortmund und feierte seinen Abschied im Juni 2010 Auf großes überregionales Medien- und Zuschauerinteresse stießen unter Gruners Leitung unter anderem die Theater-Events "Fest der Romantik" 2003, die "Sternstunden des Expressionismus" 2004 sowie die deutsche Erstaufführung "Auf der Suche nach der verlorenen Zeit", dramatisiert von Harold Pinter und Di Travis nach dem "Opus magnum" von Marcel Proust. Die Dortmunder Inszenierung wurde auf dem NRW-Theatertreffen 2004 mit dem 1. Preis ausgezeichnet.

In der bei Publikum und Presse erfolgreichen Spielzeit 2006/2007 stand die bürgerliche Gesellschaft im Mittelpunkt, mit all ihren Verlockungen und Abgründen. Großes überregionales Interesse fanden die Inszenierung der "Buddenbrooks" (John von Düffel nach Thomas Mann) von Hermann Schmidt-Rahmer sowie Philipp Preuss' Interpretation von Henrik Ibsens "Hedda Gabler".
"Buddenbrooks" wurde zum NRW-Theatertreffen nach Bonn eingeladen, Philipp Preuss ist unter anderem für seine "Hedda Gabler" mit dem Förderpreis des Landes NRW ausgezeichnet worden.

Im Jahr 2007 die Regisseurin Carolin Mader den Künstlerinnenförderpreis des Landes NRW.

Mit der Spielzeit 2010/11 wurde Kay Voges Intendant des Dortmunder Schauspiels. Bei seiner Amtsübernahme wurden die Verträge vieler Dortmunder Schauspieler nicht verlängert. Kay Voges hat in seiner ersten Spielzeit insbesondere mit der Reihe "Stadt ohne Geld" (Regie: Kainkollektiv & Sputnic) sowie der Inszenierung "Heimat unter Erde" (Regie: Stefan Nolte) überregional Aufsehen erregt und erhielt bei der NRW-Kritikerumfrage der Theater-Fachzeitschrift theater pur sieben von zehn Mal das Prädikat "Theater im Aufwind".

Seit 2013 erarbeitete das Schauspielhaus mitunter Inszenierungen, die sich dem Geist des eigens konzipierten Dogma 20 13 verpflichteten. Es plädiert für eine engere und unmittelbarere Verzahnung von Theater- und Filmwelten. Für die erste der Dogma 20 13-Inszenierungen, Das Fest, wurde Kay Voges für den deutschen Theaterpreis "Der Faust" 2013 in der Kategorie "Beste Regie" nominiert.

Seit 2015 kooperiert das Schauspiel Dortmund mit Peng! unter dem Logo Die Populistinnen und realisiert mit ihnen gemeinsam Kampagnen und Aktionen. Auch die Aktionskunstgruppe Zentrum für politische Schönheit inszenierte 2015 im Schauspiel Dortmund ihr erstes Theaterstück, 2099.

2016 wurde das Schauspiel Dortmund in der Kritikerumfrage der Welt am Sonntag zum besten Theater in Nordrhein-Westfalen gekürt, die Uraufführung "Die Borderline Prozession" zur besten Inszenierung eines zeitgenössischen Stoffs. Des Weiteren erhielt es in der Kritikerumfrage 2016 der Fachzeitschrift Theater heute die zweitmeisten Nennungen als bestes Theater im deutschsprachigen Raum.

Mit dem Stück Die Borderline Prozession von Kay Voges wurde das Schauspiel Dortmund 2017 zum Theatertreffen eingeladen. Die soziale Plastik Die Spiegelbarrikade erhielt 2017 den BKM-Preis Kulturelle Bildung.

Im August 2018 wurde das Schauspiel Dortmund in der Kritikerumfrage der Welt am Sonntag zum dritten Mal in Folge als bestes Schauspielhaus in Nordrhein-Westfalen gekürt.

Seit dem Beginn der Spielzeit 2020/21 ist Julia Wissert Intendantin des Schauspiels Dortmund. Sie war zuvor am Berliner Maxim Gorki Theater, am Luzerner Theater, am Schauspielhaus Bochum und am Nationaltheater Brünn.

Kinder- und Jugendtheater
Das Kinder- und Jugendtheater befindet sich unter der Leitung von Andreas Gruhn. Es hat seinen festen Standort außerhalb der Innenstadt an der Sckellstraße und bietet dort 150 Zuschauerplätze. Das Kinder- und Jugendtheater wurde bereits 1953 gegründet und ist somit eines der ältesten Theater in Deutschland, dessen Programm sich ausschließlich an junge Zuschauer richtet. Zwischen 1986 und 1993 war es auch an Produktionen "Theater im Zug" beteiligt, welche in Eisenbahnwagen aufgeführt wurden.

Am 5. Mai 2008 wurde unweit des Opernhauses die Kinderoper Dortmund eröffnet. Die 100 Zuschauer fassende Einrichtung kostete 450.000 Euro und wurde vollständig aus Spenden finanziert.

Akademie für Theater und Digitalität
Als sechste Sparte des Theaters Dortmund hat nach anderthalbjähriger Entwicklungsphase Ende März 2019 die Fortbildungseinrichtung Akademie für Theater und Digitalität den Betrieb aufgenommen. Das auf Dauer angelegte "Modellprojekt für digitale Innovation, künstlerische Forschung und technikorientierte Aus- und Weiterbildung" wird mit Geldern der Stadt Dortmund, des Landes Nordrhein-Westfalen und der Kulturstiftung des Bundes finanziert. Gründer und Gründungsdirektor ist der Dortmunder Intendant Kay Voges bis Ende seiner Intendanz. Operativer künstlerischer Leiter ist Regisseur Marcus Lobbes sowie die Referentin Veronika Ortmayr, für die kaufmännische Verwaltung ist Betriebsdirektor Kai Festersen zuständig. Solange der als Teil des geplanten Dortmunder Digital Campus von der Stadt Dortmund ausgeschriebene Neubau noch nicht fertiggestellt ist, wird die Akademie in der ehemaligen Schreinerei des Theaters Dortmund untergebracht. Das sind 800 Quadratmeter, die mit aktueller Digitaltechnik ausgestattet sind. Von insgesamt 54 Stipendien sind die ersten ausgeschrieben. Bewerbungen sind bis 28. April 2019 möglich. Angeboten werden ab Frühsommer 2019 in enger Zusammenarbeit mit der Deutschen Theatertechnischen Gesellschaft und dem Deutschen Bühnenverein Workshops, Seminare und Fortbildungen für theatertechnische Berufe.

Literatur
 Mathias Bigge: Kulturpolitik im Ruhrgebiet. In: Rainer Bovermann, Stefan Goch, Heinz-Jürgen Priamus (Hrsg.): Das Ruhrgebiet. Ein starkes Stück Nordrhein-Westfalen. Politik in der Region 1946–1996. Essen 1996, ISBN 3-88474-524-7.
 Direktorium der Städtischen Bühnen (Hrsg.): 75 Jahre städtisches Theater in Dortmund. Dortmund o. J. (1979).
 Günther Högl: Das Dortmunder Theater während der NS-Zeit. Gleichschaltung und totalitärer Vollzug am Dortmunder Stadttheater. In: Franz-Peter Kothes (Red.): 100 Jahre Theater Dortmund.
 P. Walter Jacob, Uwe Naumann (Hrsg.): Im Rampenlicht. Essays und Kritiken aus 5 Jahrzehnten. Kabel, Hamburg 1985, ISBN 3-921909-83-X.
 Sigrid Karhardt: Auferstanden aus den Trümmern. Die Interimszeit des Dortmunder Theaters nach dem Krieg. In: Franz-Peter Kothes (Red.): 100 Jahre Theater Dortmund. S. 129–135.
 Renate Kastorff-Viehmann: Das Große Haus. Ein Kunststück. Der Dortmunder Theaterneubau von 1966. In: Franz-Peter Kothes (Red.): 100 Jahre Theater Dortmund. S. 143–147.
 Franz-Peter Kothes (Red.): 100 Jahre Theater Dortmund. Rückblick und Ausblick. Harenberg, Dortmund 2004, ISBN 3-611-01269-6.
 Dieter Knippschild: Wolfes, Felix. In: Hans Bohrmann (Hrsg.): Biographien bedeutender Dortmunder, Band 2. Klartext, Essen 1998, ISBN 3-88474-677-4, S. 151 ff.
 Karl Lauschke: Jacob, Paul Walter. In: Hans Bohrmann (Hrsg.): Biographien bedeutender Dortmunder, Band 2. Klartext, Essen 1998, ISBN 3-88474-677-4, S. 70 ff.
 Gustav Luntowski, Günther Högl, Thomas Schilp, Norbert Reimann: Geschichte der Stadt Dortmund. Dortmund 1994, ISBN 3-611-00397-2.
 Uwe Naumann (Hrsg.): Ein Theatermann im Exil. P. Walter Jacob. Hamburg 1985.
 Thomas Parent: Theater und Museen. Zur Geschichte kommunaler Kultur im Revier. In: Wolfgang Köllmann und andere (Hrsg.): Das Ruhrgebiet im Industriezeitalter. Geschichte und Entwicklung. Band 2, Düsseldorf 1990, ISBN 3-491-33206-0, S. 361 ff.
 Henning Rischbieter (Hrsg.): Theater im "Dritten Reich". Theaterpolitik, Spielplanstruktur, NS-Dramatik. Leipzig 2000.
 Städtisches Verkehrs- und Presseamt / Städtische Bühnen Dortmund (Hrsg.): Theater einer Industriestadt. 50 Jahre Städtische Bühnen Dortmund. Klöpper, Dortmund o. J. (1954). (anlässlich des 50-jährigen Bestehens der Städtischen Bühnen und der Jahreshauptversammlung des Deutschen Bühnenvereins)
 Karin Vivian Wolfgang: Paul Walter Jacob und die Freie Deutsche Bühne in Argentinien. Dissertation, Universität Wien, 1980.
 Meinhard Wagner: Städtische Bühnen Dortmund. Zur Eröffnung des neuen Hauses 3.3.–10.3.1966. Wulf, Dortmund 1966.
 Jürgen Dieter Waidelich: Direktor Hans Gelling und die Theaterunion Essen-Dortmund. In: Jürgen Dieter Waidelich: Essen spielt Theater. 1000 und einhundert Jahre. Zum 100. Geburtstag des Grillo-Theaters. Düsseldorf u. a. 1992, S. 121 ff.
 Eva Weiler: Ausgemerzt! Das Lexikon der Juden in der Musik und seine mörderischen Folgen. Köln 1999.

Weblinks

 Theater Dortmund
 Regionalverband Ruhr

Quellen und Einzelnachweise

Dortmund, Stadttheater
Veranstaltungsstätte in Dortmund
Mehrspartentheater
Kunst (Dortmund)
Dortmund, Theater


treated as singular The national flag of the US. It has 13 horizontal stripes, alternating red and white, which represent the original Thirteen Colonies. In the upper left corner is a field of blue with 50 white stars, which represent the 50 states.


text:
Final thoughts on the debate from the stage: Cruz wins at the close
Ed Morrissey Mar 04, 2016 9:21 AM ET
Last night, Townhall Media held a party on the main stage at CPAC, and invited a couple thousand of our friends to join us in watching the final (for now, anyway) Fox News presidential debate. Guy Benson moderated our panel, which included Katie Pavlich, Mary Katharine Ham, Leon Wolf, and myself as analysts prior to and during the debate in the commercial breaks. As I mentioned in my earlier CPAC post, Mark McKinnon and a crew from Showtime's The Circus dropped in to shoot some footage, and it couldn't have been more appropriate, since the debate itself turned out to be quite a circus as well. From penis size to fraud to insults about height and stubby fingers, the Fox News debate had everything including the elephants.
Let's face it — the "He hit my hands" moment is destined for debate immortality, or at least infamy:
It also had plenty of substance and drama, too, along with a lot of talk about process and polling. Ted Cruz took advantage of an opening provided by Donald Trump's bragging about the polls to make the point that the same polls he cites shows Trump to be the weakest option in a general election:
Both Cruz and Marco Rubio spent the evening hammering Trump, who weathered most of the attacks with insults toward his two most competitive rivals. Rubio began the night aggressively attacking Trump and then cutting off his counterattacks by talking over them; Cruz warmed up to the task, attempting to remain presidential. Those attacks may have scored best when it came to Trump University and allegations of fraud, a point reinforced by moderator Megyn Kelly's research on the topic. As Leon noted prior to the debate, Trump's business acumen is both his biggest selling point and his largest vulnerability, and Rubio kept pressing the "con man" attack all night long. It clearly got Trump flustered, perhaps the only time in the debate where he looked worried, and had no success in changing the topic through "little Marco" and "lying Ted" insults.
However, the point in which the Cruz-Rubio tag team succeeded most in showing Trump as unready for the job was in the all-too-brief portion of the debate that focused on foreign policy. After slamming Trump as a dilettante who hadn't bothered to learn the most rudimentary concepts of American foreign policy and who keeps making a habit of praising Vladimir Putin, Trump initially denied he'd done so — and then wondered aloud, "Wouldn't it be nice to get along with Russia?" (Maybe we can send them a reset button, eh?) Unfortunately for Cruz and Rubio, presidential elections rarely hinge on foreign policy, so this may not end up doing too much damage to Trumpmentum.
Overall though, the pair scored repeatedly and did what they needed, especially in the Trump U discussion. Rubio showed that he won't back down or be intimidated by Trump, as did Cruz. However, Cruz seemed to master the art of doing so while maintaining the presidential mien, scolding Donald as a professor would a truculent student, and on occasion instructing him to "breathe!" before talking. Both did well, but Ted Cruz won the debate overall. Cruz absolutely killed it at the close in this regard, especially with his warnings about Supreme Court nominations and trust. Whether that means anything in terms of Trump actually losing any votes is another matter (prediction: no), but it's worth pointing out that all four of tomorrow's primaries are closed — only registered Republicans can vote in them. That might help both Cruz and Rubio, who need a day in which Trump doesn't win pretty badly at this point.
One last note about John Kasich is worth making, too. He managed to step outside the circus and make himself look much more palatable for those desiring a traditional presidential option. That may not be enough for Kasich to suddenly surge elsewhere, but it might make a difference in Ohio, where he's hoping to grab 66 delegates in the winner-take-all primary on March 15th. Given the dynamics of the delegate count now, that could look like a win for Cruz and maybe even Rubio. Kasich had a good debate, and thanks to the dwindling number of candidates on stage, got an opportunity to speak more at length and focus on himself rather than Trump.
Tags: DONALD TRUMP MARCO RUBIO JOHN KASICH TED CRUZ PENIS GOP DEBATE

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: Simulating sendmail with dummy script I created a small shell script which logs all of it's input to a log file, with which I had thought I could replace the sendmail binary and thus achieve a simple way to simulate e-mail delivery without actually setting up a working sendmail.
This failed, however. For reasons I cannot understand.
I've looked at the PHP mail.c source and as far as I can understand (mind you, I'm not very experienced in C), PHP executes and talks directly to the binary (set in sendmail_path). But no log files are being created when I replace the sendmail binary with my script and the script replacing sendmail will always create a log file when it's executed, regardless of if there's input present or not.
The script itself works fine. Its' return codes should conform to that of sendmail's. With the difference that my script always returns 0, regardless of the input, since I'm not really interested in checking if the input is valid - just that I'm getting some.
Is it possible to achieve what I want, i.e. using a sendmail simulator?
The script source is provided below:
#!/bin/bash

LOGDIR=/tmp/sendmail-sim
NOW=$(date +%Y%m%dT%H%M)
CNT=1
FILENAME="$LOGDIR/$NOW.$CNT.log"

while [ -f $FILENAME ]; do
    CNT=$(($CNT + 1))
    FILENAME="$LOGDIR/$NOW.$CNT.log"
done

echo "$0 $*" > $FILENAME

while read BUF
do
    echo $BUF >> $FILENAME
done

exit 0

PS. My current sendmail (or actually, postfix) does receive email from PHP, but I don't want to actually send any email or need to go digging in its' mail queue in development.

A: The problem was User Error, as usually. So, boys and girls, don't forget to check write permissions on all the relevant folders.

A: I've used Fakemail for this purpose in the past.  It accepts SMTP connections but writes all mail to files rather than sending them along as email.  There are both python and perl implementations.
http://www.lastcraft.com/fakemail.php
We setup apache to serve the directory that Fakemail was writing to.  That was a quick and easy way for staff to view the messages that Fakemail was receiving and review for content, destination, etc.  Formatting of HTML emails was a bit whacky for various reasons, so it was not so useful for vetting formatting of html emails.

A: If you need to to test you PHP application's ability to properly format and send email without actually sending them, I suggest you use the Pear Mail package. Fiddling with your system is not a good idea.
If you use Mail from Pear you could switch from sendmail to smtp to a mock implementation of the mail interface by changing the driver from 'sendmail' or 'smtp' to 'mock'.
http://pear.php.net/package/Mail/docs/latest/Mail/Mail.html
http://pear.php.net/package/Mail/docs/latest/Mail/Mail_mock.html
If your code looks like this:
mail('me@example.com', 'My Subject', $message);

Then change it to be testable using PEAR Mail:
include('Mail.php');
function sendEmail($recipient, $subject, $body, $driver = 'mail') {
    $m = Mail::factory("mail");
    $headers = array(
        "From"=>"me@example.com",
        "To" => $recipient,
        "Subject"=> $subject);
    $m->send($recipient, $headers, $body);
    return $m;
}

// In Production:
sendEmail('me@example.com', 'My Subject', $message);

// During testing:
$m = sendEmail('me@example.com', 'My Subject', $message, 'mock');
var_dump($m->sentMessages);

This is very crude, since you should be using PHPUnit or SimpleTest, but this is a topic for another time and place :)

A: A note, if you just want to grab stdin and write it into a file, you don't need to loop one line at a time: you can write
cat - >> $FILENAME

redpajama_set_name: RedPajamaStackExchange


text:
Kenitra Province (franska: Kenitra, Province de Kenitra, arabiska: إقليم القنيطرة) är en provins i Marocko.   Den ligger i regionen Gharb-Chrarda-Béni Hssen, i den norra delen av landet,  km nordost om huvudstaden Rabat. Antalet invånare är . Arean är  kvadratkilometer.

Terrängen i Kenitra Province är varierad.

Medelhavsklimat råder i trakten. Årsmedeltemperaturen i trakten är  °C. Den varmaste månaden är juli, då medeltemperaturen är  °C, och den kallaste är januari, med  °C. Genomsnittlig årsnederbörd är  millimeter. Den regnigaste månaden är november, med i genomsnitt  mm nederbörd, och den torraste är juli, med  mm nederbörd.

Kommentarer

Källor

Indelningar i Gharb-Chrarda-Béni Hssen

redpajama_set_name: RedPajamaWikipedia


text:
https://apnews.com/article/public-health-connecticut-archive-nursing-homes-coronavirus-pandemic-9f262d48454e302b46d7262999171b86
New data show COVID-19 situation improving in nursing homes
By SUSAN HAIGHJune 26, 2020 GMT
Newly released state data show the vast majority of nursing homes in Connecticut that have had positive cases of COVID-19 and associated deaths did not report any additional cases or deaths over the past week.
Dr. Deidre Gifford, the acting Department of Public Health commissioner and the commissioner of the Department of Social Services, noted Friday there were "a lot of zeroes" in the statistics, which included both the cumulative number of positive cases and deaths and any weekly increases at individual facilities.
"It was really, really gratifying to see that after the really, really difficult months our nursing homes have had to endure," Gifford told state legislators during an online meeting about the public health department's budget.
Figures released Thursday evening show there were 73 new cases of COVID-19 and 20 new COVID-associated deaths among nursing home residents from June 17-23. Among nursing home staff, there were 64 new cases of COVID-19 and zero deaths. To date, there have been a total of 2,792 confirmed or probable COVID-associated deaths among Connecticut nursing home residents.
Among assisted living facilities, the state's data show there were no additional COVID-19 cases over the past week. As of June 23, there had been 1,045 cases in assisted living centers and a total of 367 confirmed and probable COVID-associated deaths.
Two associations that represent the industry said the data continues to demonstrate that the nursing home and assisted living sectors are recovering from the pandemic.
"Moving forward, as we implement the weekly testing of staff, this data will inform the public health officials and the nursing homes in their continued efforts to combat the virus. The pandemic is not over and we must remain vigilant in our efforts to secure protections for older adults and their care providers," Mag Morelli, president of LeadingAge Connecticut, and Matt Barrett, president and CEO of the Connecticut Association of Health Care Facilities/Connecticut Center for Assisted Living, said in a joint statement.
Statewide, the number of positive cases grew by 65 to more than 46,000 on Friday. There have been 4,307 COVID-associated deaths, an increase of nine since Thursday. Meanwhile, there was a slight uptick in hospitalizations, with five more, for a total of 127.
For most people, the virus causes mild or moderate symptoms, such as fever and cough. For some, especially older adults and people with existing health problems, it can cause more severe illness or lead to death.
In other coronavirus news in Connecticut:
ANTIBODY TEST RESULTS
A new survey from the U.S. Centers for Disease Control and Prevention estimates 4.94% of Connecticut's population had tested positive for the COVID-19 antibodies, based on test results of samples collected between April 26 and May 3.
The federal agency on Friday released the results of the first six sites involved in a large-scaled seroprevalence survey, which includes Connecticut. The CDC partnered with commercial laboratories that tested blood specimens for the antibodies. The survey included people who had blood tested for COVID-19 and for other reasons. Samples from approximately 1,400 people were tested.
U.S. officials estimate nationwide that 20 million people have been infected with the coronavirus so far.
The Connecticut Health and Educational Facilities Authority has approved $3 million in grants to help health care, education, child care, and cultural organizations during the pandemic.
Some of the grants include $304,200 to support the 4-CT Card initiative, which provides emergency funds for Connecticut residents without legal status in the U.S.; $300,000 for the Boys and Girls Clubs of Connecticut for summer and fall programming; and $486,000 to support increased COVID-19 testing at federally qualified health centers throughout the state.
Follow AP coverage of the pandemic at https://apnews.com/VirusOutbreak and https://apnews.com/UnderstandingtheOutbreak.


Hay Day is the number one rated farming simulation available, it's created and published by Supercell. If you're tempted to download and play Hay Day, continue reading to discover a few reasons why Hay Day is so popular.
In Hay Day you'll get to build a thriving farm and will have the opportunity to trade the items which you produce with your neighbors. As your farm grows from strength to strength, you'll also be able to transform the town, which your farm is located in and to welcome guests to your town.
1. It features a great trading system.
There are multiple ways to trade the goods which your farm produces. When you first start playing Hay Day, you'll start off by trading fresh produce from a small road side shop. However, as your business takes off you'll be able to start fulfilling larger orders by truck and steam boat.
2. There are multiple ways to increase your profits.
While you may choose to concentrate on harvesting fresh produce, there are multiple ways to increase your profits. As an example, once you have enough resources to fix the dock in your town, you'll be able to start catching fish, in order to increase your profits.
3. There are fun, limited time missions to complete.
From time to time visitors to your town, will turn up and present you with special missions, which are well worth completing. As an example, one visitor may offer you a large amount of money for a large order of 200 eggs.
4. It offers slick, smooth controls.
While there are countless farming simulations which are available to download, Hay Day is unique as it's controls are so smooth, that scrolling around a massive farm is simple. If you're sick of playing simulation games which freeze up as you navigate around your map, you'll really enjoy playing Hay Day.
5. Hay Day features a wide variety of livestock to raise.
If you assumed that you'd only be able to harvest grains, fruits and vegetables, think again. In Hay Day, you'll get to raise a wide variety of livestock such as chickens, cows, sheep and pigs. All of which are adorably animated.
If you're unsure of which animals to raise first, you can't go wrong purchasing chickens as they produce eggs which are a highly sought after commodity. As well as sheep, which of course produce wool.
6. Hay Day encourages individuals to upgrade their farms.
As an example, in order to be able to raise horses in order to complete a mission, you'll need to build a stable to house your horses and in order to increase the amount of grains which your farm produces, you'll need to build and paint new grain silos.
7. It offers cute, vibrant graphics.
One reason why you can easily spend hours playing Hay Day is that it boasts cute, high definition graphics. That will convince you to keep checking in with your farm, throughout the day.
So if you like the sound of living out your fantasy of being a successful farmer, it's definitely well worth downloading Hay Day for PC.
Sometimes when playing Hay Day, bluestacks ask you fee to pay but gives you option to download some apps. Every time it asks you just select "Install apps" and continue using it free.
I hope you enjoyed this article, please rate and share. If you have problems running Hay Day on your desktop or any other issues, leave a comment below.


text:
a8d6832f
South Korea to protest against Japan over Tokyo Olympics map.
Jun 9, 2021 4:45:00 PM
The Japanese government's designation of Dokdo as their territory on their Olympics website sparked outrage and objections in South Korea.
Reuters reports that the small islands, known in South Korea as Dokdo and in Japan as Takeshima, have been a decades-long territorial dispute between the two countries. On April 27, 2021, the Korean administration expressed strong disagreement to the Japanese government's sovereignty claims over Dokdo. The Korean government urged the Japanese government to withdraw its claim over the island.
On a map of Japan illustrating the Tokyo Olympics torch relay route, Dokdo is represented as a tiny dot above Shimane Prefecture.
On May 27, a Member of the National Assembly of South Korea, Nak-Yeon Lee wrote on Twitter, ''Dokdo marked on the Tokyo Olympic map, we demand that it be deleted immediately. The Tokyo Olympic Organizing Committee has marked Dokdo as Japanese territory on its website map. When the South Korean government asked for a correction, Japan ignored it. This is unacceptable.'' (translated from the Korean language)
On May 28, Minister of Foreign Affairs Chung Eui-Yong criticized Japan for including Dokdo island on a map of the Japanese archipelago that specifies the torch relay route on the Tokyo Olympics website, according to Korean.net. When asked about the decision by ruling Democratic Party Rep. Kim Young-Joo during a National Assembly's Committee on Foreign Affairs and Unification's meeting, the minister described it as "unacceptable" and stated that the government had filed a strong objection with Japan.
According to Choi Youngsam, South Korea's Deputy Minister of Foreign Affairs for Public Affairs and the ministry's spokeswoman, "Dokdo is clearly our indigenous territory historically and geographically and under international law." On the Tokyo Olympics website, she added that it is unacceptable for Japan to refer to Dokdo as Japanese territory.
According to the spokesperson, Seoul will continue to monitor the situation in the lead-up to the Olympics, promising active and necessary actions in collaboration with relevant authorities such as the Ministry of Culture, Sports and Tourism, and the Korean Sport and Olympic Committee.
The ministry requested an immediate modification of the map from the Japanese Embassy in Seoul on May 24, but Tokyo said the request was ''unacceptable.''
Reuters reports that on June 1, the Korean Sport and Olympic Committee (KSOC) wrote to the International Olympic Committee (IOC) urging the IOC to "actively mediate" the dispute, which has prompted fury and protests in South Korea just months before the Games are scheduled to begin.
Korea.net
An image shows the New Zealand cricket team escorted with tight security by the Pakistan government.
Indian sports budget has been cut down by over ₹230 crores.
The Government of India will distribute Rs 2,000 relief funds among citizens.
The government of India is granting ₹2,000 as a relief fund to each citizen of the country.
Former U.S President Barack Obama's administration had prepared a pandemic preparedness playbook.
Disabled government employees over the age of 50 are to be forcibly retired according to a new order passed by the Bihar government.
The central government levies only 5 percent tax on LPG cylinders, whereas the state governments levy a tax of 55 percent.
Students to get free smartphones from the Indian government amid the COVID-19 crisis.
Railway employees in India are on an indefinite strike for one week over the privatization of Indian railways.
People in Nepal are protesting against the government for its involvement in the India-China border dispute.
Serum Institute of India sold Covishield to state governments at a higher price than the central government.
Mamata Banerjee had called the 2012 Park Street rape case a fabricated one.


Looking at Social curriculum in the context of Star Trek is something that I have rarely done before. I personally, have never been a huge fan of Star Trek or the Sci Fi world it revolves around. However, after class I gained more insight into this show that is embedded with political issues, social awareness, international relations, race relations and much more. The article helped me to recognize the potential of using Star Trek in the classroom. Students are able to connect to many of the concepts and themes portrayed. According to the article Using Star Trek as an example of pop culture is one way of engaging students and capturing their attention in the classroom (Anijar. 2003). The use of popular culture can be a good way to encourage active participation from our students.
During our breakout room discussions we discussed the fact that during Star Trek there were social justice issues that came about such as the characters being forced to live together as a community in a confined space, and having to work together. We related this to our classrooms, where many of us teach our students about team building. One strategy used was Tribes. This was a great way to encourage a sense of community where the students learn to work together to achieve a common goal.
The correlation between Star Trek and Race stood out to me the most, Watching the clip about the character Nichelle Nichols', who was one of the first African American female characters on American television not portrayed as a servant was groundbreaking at the time. The fact that she got this role was a huge accomplishment in the Black community. Martin Luther Kings words to her are ones that resonated and wanted her to continue with her role. As he told her that Black children were looking up to her. This resonated with me because around these times there was a lack of representation of African Americans on television. I think that it is important for various cultures to see positive representations of themselves on screen in positive ways.
Anijar, K. (2003). Teaching Toward the 24th Century: Star Trek as Social Curriculum. New York: Falmer Press.
I agree that using relevant and authentic examples in class is a great way to engage students! I am a bit familiar with Tribes and agree that it is a great team building strategy. You also make a great point about culture and race. It is important that students be exposed to a diverse range of media in our classes!


Dame Dash will be fully cooperating and turning himself in to the NYPD on a nearly three-year-old warrant for not paying child support, but that doesn't mean he's guilty—so says the mogul himself.
Talking to TMZ on Sunday night (March 3), Dash explained the situation with both of his exes—Cindy Morales, the mother of his son, Lucky, and Rachel Roy, the mother of his daughters, Ava and Tallulah. Dash alleges that he gives both women money on a regular basis, including $150,000 for Morales to purchase a home. As for Roy, he says the money would go into his share of her clothing company that he co-owned with her, the Rachel Roy Collection, and she would be able to withdraw her cut from there. He's currently in the process of buying out the whole company, however, so it's unclear how that would work moving forward.
Dash told the celebrity news site that it was time to finally address the issue because it was preventing him from moving freely around New York City, where he needs to go often for meetings and other business ventures.
The former Roc-A-Fella exec claims he has all the proof to back up his claims, and he is confident that the matter will be sorted out.
Check out what Dame had to say about the situation below.


Corporal John Ripley VC, better known as 'Jock' was born in Banffshire. He joined the 7th Volunteer Battalion, the Black Watch in around 1890.
In 1895 Jock married a local girl in St Andrews, Jane Laing, and thereafter lived in the town for the rest of his life. As well as being in the Territorials, Jock worked as a Slater, and was a member of St Andrews Fire Brigade. In 1912, after over twenty years' service, he left the Territorial Army. His service had seen him rise to the rank of Colour Sergeant, and in 1909 he was awarded the volunteers' Long Service and Good Conduct Medal.
At 48, Jock returned to active service as a Recruiting Sergeant at the outbreak of the war. In September 1914 he received the rank of Corporal whilst training with the 3rd Battalion, the Black Watch. In February 1915, Jock was transferred to the 1st Battalion the Black Watch who were embarking for France. In a later press interview, when asked how he managed to get recruited for active service despite his age, Jock replied that, "it must have been owing to the slip of the pen", confirming that he had recruited himself.
Whilst serving with the 1st Battalion, Jock was awarded the highest British milliary honour, the Victoria Cross (VC), for his action at Rue de Bois on the 9th May 1915.
"For most conspicuous bravery at Rue du Bois at 9th May 1915. When leading his section on the right of the right platoon in the assault, he was the first man of the battalion to ascend the enemy's parapet, and from there he directed those following him to the gaps in the German wire entanglements. He then led his section through a breach in the parapet to a second line of trenches, which had previously been decided upon as the final objective in this part of our line.
On returning to St Andrews, crowds gathered in the street to welcome Jock home. Local people expressed their appreciation of his achievements by presenting him with a purse of Sovereigns in October 1915. His injuries prevented him from returning to active service, however he continued in his role as Recruiting Sergeant until he was demobbed in March 1919.
After the war he returned to civilian life as a Slater and volunteer fireman. On the 14th August 1933, Jock fell from a ladder whilst working on Castlecliffe House on the Scores in St Andrews. He succumbed to his injuries at St Andrews Memorial Cottage Hospital some hours later, aged 66.
He was buried at Upper Largo Churchyard with military honours.
At the outbreak of the Great War on August 4th 1914, ten local residents immediately set about assisting in the war effort. These men were either ex-servicemen of either the regular or territorial forces; with Britain's regular army standing at just 80,000 men in 1914, reservists were essential throughout the war.
These men were over the age limit to see active service, but they still wanted to volunteer and help their community as best they could. They provided basic military training to new volunteers, of which there were nearly 2.5 million signed up across Britain, until conscription was introduced in January 1917.
St Andrews Town Pipe Band around 1914. Very few were to return from the Great War.
The 2/7th (Fife) Battalion, Black Watch, was formed in St Andrews in early September 1914 as a second line unit, consisting of Black Watch Territorials.
The 2/7th Black Watch leaving Crawford Priory near Cupar Fife, the residence of their Commander Lt. Col. The Hon. Thomas Cochrane who is pictured riding at the head of the group on the black horse.
From "The Dinna Forget Book" of the 7th Black Watch.


Wednesday– and we can't help but look at the operations and find the kaizen opportunities. The bigger the menu, the more items the customers have to consider, the longer it takes to place an order, which slows down the turnover of the table tops. The second issue is that it slows the kitchen down, because there are too many items to prep, every order is a just in time situation. Kaizen: fewer items on the menu. Save that waste of waiting. Why is this even relevant to us? The long term goal is a breakfast spot "Breakfast at Pinx" in addition to the food truck, the farmer's markets, and distribution of items via Internet orders. Because of this the Food Network is always on in the house, when we are not reading, cooking, eating, talking, or watching Criminal Minds (our guilty pleasure). Everywhere we go to eat we are thinking and measuring. Every location we are looking at the size of the restaurant, the decor, the menu, the service, the uniforms, the ambiance, and the like. It is amazing how the "American Dream" or self determination can be such a tangible force in your life. The true key is to maintain the life-work balance. We got into this — yes it was by accident — because of our love of food. And I seem to recall hearing or reading somewhere that if you do what you love, you won't work a day in your life. Take this the right way now, but we are not trying to work anymore! It is time to walk into the office and declare, " I have an announcement….ding, ding, ding, ding, ding! I QUIT!" Only because its time to do what I love. As a matter of fact, everyone should do what they love. If you elect me president, I promise that everyone will have a job doing what they were meant to do. A chicken in every pot…ask not what your kitchen can do for you, ask rather what you can do for your kitchen!
Anywho, we are putting together the logisitcs for our next job. It seems every job we learn something new. We plan a little better. Our flow is a little tighter. Is it possible to not run up against the clock? Does every event really have to look like an Iron Chef episode? Right now the answer appears to be a resounding yes. But the truth is this is the greatest adventure ever. This endeavor allows the folks in our "circle of trust" to do what they love to do…or depending on their medication, what they can't help but do. So we are sitting at the dining room table, discussing the plans for Wednesday: slicing baguettes, rubbing pork butts, buying fruit, making rub, rolling lumpia, and plating. Did you know Berkeley Bowl is the best location for produce we have found. And it is budget friendly even to the recessed. WE LOVE that place!
So the plans for the next week: we have a breakfast on Saturday morning. We received an order for 3 meals for a shut in new mother. Wednesday is the 250 person back breaker in Richmond. The crew has been hired and the accessories acquired. We will finish our shopping on Saturday. The team is drafting the presentation for the dishes. Watch out world, we will be bringing the thunder and rolling like butter.


The lineup for the Hangout Music Festival was just announced. Leading this year's party on the Gulf Shore is Paul Simon, Widespread Panic, The Black Keys and My Morning Jacket. This is stacked if you ask me.
Beats Antique, Truth & Salvage Co.
Update: The Avett Brothers, STS9, Grace Potter and the Nocturnals, Brandi Carlile, JJ Grey and Mofro, Karl Denson's Tiny Universe, Big Gigantic, Soja, Railroad Earth, Greensky Bluegrass, Rival Sons, & Honey Island Swamp Band have been added to the lineup.
For more information, visit hangoutmusicfest.com.
Our one-of-a-kind music festival takes place May 20th – 22nd on the beaches of Gulf Shores, Alabama – just minutes from the Florida border. Tickets go on-sale tomorrow Wednesday February 2nd at 9 am CST. More bands, amenities and activities will be announced in the coming weeks.
A limited quantity of festival tickets will be available for $159 and will go on-sale Wednesday, February 2nd at 9 am CST at www.hangoutmusicfest.com through Front Gate Tickets and at The Hangout Restaurant in Gulf Shores, AL. Once tickets at the $159 price level are sold-out, tickets will then go on-sale for $174. VIP ticket packages and travel packages start at $525 and are also available online or by phone at 1-888-512-SHOW.


text:
How Democrats were caught off guard in speaker race
Johnathan Silver @JohnathanSilver
Nov 14, 2018 at 7:22 PM Nov 14, 2018 at 7:24 PM
Texas House Democrats had three things going for them in the crowded race for speaker: a divided Republican caucus, a pickup of 12 seats in the election and a commitment among most members of their caucus to vote for the same candidate. That leverage evaporated Monday.
Within a matter of hours, only one candidate remained: state Rep. Dennis Bonnen, R-Angleton.
Republicans had planned a Dec. 1 meeting to select their preferred candidate for speaker, bypassing Democrats, but members of the minority party had hoped to spoil the move by building a coalition like the one that first elected retiring Republican Speaker Joe Straus of San Antonio in 2009. But other Republican contenders and the sole Democrat running rallied behind Bonnen on Sunday and Monday. Seventy-eight Republicans and 21 Democrats committed to supporting his bid.
Bonnen announced at a Capitol news conference 3 p.m. Monday that the speaker race was over.
Democrats weren't prepared for that outcome, said Rep. Donna Howard, D-Austin.
"It was like a convergence of things (Monday) that changed (the Democrats' plan) very quickly, in that the Republicans ... started leaving the different candidates and rallying behind one candidate, making it more difficult for Democrats to have a role to play, and losing our potential leverage for any kind of concessions," she told the American-Statesman.
In a caucus meeting last week, more than 50 Democrats pledged to vote as a bloc. Howard did not commit to supporting Bonnen, honoring the pledge. Most Democrats had planned to vote for a candidate who would support members' legislative priorities (more spending for education and infrastructure, and greater access to affordable health care) and rules and procedures that would be fair to Democrats, Howard said.
Rep. Celia Israel, D-Austin, said she didn't commit to supporting Bonnen because she hadn't met with him about his interest in becoming speaker.
"I want to hear about his priorities and how we can work together," she said.
Rep. Garnet Coleman, D-Houston, who's served with Bonnen since he was a freshman in the late 1990s, committed to supporting his candidacy.
"I served with Dennis for 20-something years, so I know him. I know what to expect with him," Coleman said. "He has always been honorable and believes that people should be able to represent their districts, and that's the first criterion. I also believe that he can stand up to (Lt. Gov.) Dan Patrick, because he has when needed, and that's something that's very important for the House, to chart a course that's independent of the Senate and the governor."
Coleman said he had considered supporting Rep. John Zerwas, R-Richmond, a moderate Republican and Straus ally.
"Dennis wasn't in consideration until Zerwas removed his name from consideration," he said.
Rep. Eric Johnson of Dallas, the sole Democratic candidate, had said there was a path for him to become speaker and urged his caucus, which grew to 67 members after the midterms, to stand together.
"There was certainly still holdout for the potential for a Democrat, though I think with 67, a pathway to that was pretty negligible," Howard said.
Coleman said it was not possible.
"The speaker was not going to be a Democrat. It wasn't going to happen," he said. "There weren't going to be nine Republicans that were going to go with a Democrat to be speaker of the House, when the amount of Republican members was over 80."
Israel said she was glad Bonnen said Monday that bipartisanship and public school finance reform would be priorities in the next legislative session.
"We all care about Texas, and my hope is Chairman Bonnen will be committed to these big issues and help us get through it," she said.
Howard said she plans to find common ground with Bonnen.
"We work with people regardless of whether we share the same political viewpoints, if there are ways that we can constructively get some of our legislation through and do things that we think are going to help our districts and help the state," she said. "And that's not going to change."


Zco skinny jeans. Traditional five pocket styling. Wings embroidered on back with stud accents. Contrast stitching. Whiskered lap. Zip fly. Button waist. Approx rise: 7.5(19cm). Approx inseam: 32(81cm). Approx leg opening: 12(30cm). 76% cotton/22% polyester/2% spandex. Machine wash. Imported.


text:
//
// Copyright (c) Microsoft. All rights reserved.
// Licensed under the MIT license. See LICENSE file in the project root for full license information.
//

/*============================================================
**
** Source: test.c
**
** Purpose: Test for InterlockedCompareExchangePointer() function
**
**
**=========================================================*/

/* This test is FINISHED.  Note:  The biggest feature of this function is that
   it locks the value before it increments it -- in order to make it so only
   one thread can access it.  But, I really don't have a great test to
   make sure it's thread safe.  Any ideas?
*/

#include <palsuite.h>

int __cdecl main(int argc, char *argv[])
{

    long StartValue = 5;
    long NewValue   = 10;
    PVOID ReturnValue = NULL;

    /*
     * Initialize the PAL and return FAILURE if this fails
     */

    if(0 != (PAL_Initialize(argc, argv)))
    {
        return FAIL;
    }

    ReturnValue = InterlockedCompareExchangePointer((PVOID)&StartValue,
                                                    (PVOID)NewValue,
                                                    (PVOID)StartValue);

    /* StartValue and NewValue should be equal now */
    if(StartValue != NewValue)
    {
        Fail("ERROR: These values should be equal after the exchange.  "
             "They should both be %d, however the value that should have "
             "been exchanged is %d.\n",NewValue,StartValue);
    }

    /* Returnvalue should have been set to what 'StartValue' was
       (5 in this case)
    */

    if((int)(size_t)ReturnValue != 5)
    {
        Fail("ERROR: The return value should be the value of the "
             "variable before the exchange took place, which was 5.  "
             "But, the return value was %d.\n",ReturnValue);
    }

    /* This is a mismatch, so no exchange should happen */
    InterlockedCompareExchangePointer((PVOID)&StartValue,
                                       ReturnValue,
                                       ReturnValue);
    if(StartValue != NewValue)
    {
        Fail("ERROR:  The compare should have failed and no exchange should "
             "have been made, but it seems the exchange still happened.\n");
    }

    PAL_Terminate();
    return PASS;
}

redpajama_set_name: RedPajamaGithub


text:
Illustrations | Cartooning
(Above) A self portrait of me painting shoes, one of my favourite past-times.
(Above) Breakfast on the beach with my favouritest human. (Goa, July 2017) One of my fondest memory from that trip! Thought of revisiting it through this sketch!
(Above) A birthday card for my mom on the occasion of her 51st birthday. (Hover over the image,for the arrow keys to show, to navigate back and forth or click on the image to make it full screen for better visibility.)
(Above) A fan art for the Netflix film 'Always be my maybe'. This illustration was shared by both the lead actors of the film, Ali Wong and Randall Park. Click here to see the post.
(Above) An quick Illustration for my colleague to wish him and his wife on the birth of their baby boy. (He is a writer and an avid social media enthusiast hence the elements in the illustration).
(Above) An Illustration for a crossover idea between Disney/ Pixar's Brave and Natasha Lyonne's Russian Doll.
(Above) An Illustration I made of the AIB boys, as a farewell gift to them. My journey with AIB started with a fan-art and it felt right to make one as a little farewell gift. Although we continue working on projects together, making this felt like coming full circle.
(Above) An Illustration of my former boss Gursimran Khamba's dog, Peach .
(Above) A couple of quick illustrations for the end credits of @angadranyal 's stand up special 'Kaafi Filmy' (Very . These illustrations are references to joke premises from the special. These were animated to have a parallax effect. You can watch the end credits here: "Kaafi Filmy" End Credits
(Hover over the image for the arrow keys to show, to navigate back and forth)
(Above) Tim Burton's Tea Party. An illustration I made with all of Tim Burtons iconic film characters in one frame.
(Above) A christmas illustration for a friend, complete with her cat and her love for balloons and wrapped presents.
(Above) An illustration for a friend, with all the little things she is fond of.
(Above) Biswa Kalyan Rath, is a stand up comic known for his quirky on stage presence and a flair for getting into impromptu conversations with the audience of his shows.
A recent Quora question thread was a couple of people discussing- "Why Biswa Kalyan Rath, the comic, is so rude on stage. To which a person, who happened to be one of the audience members at one of his shows replied- "I was once at his stand up show, when he came up on stage and addressing me, asked-"aye tatti tera naam kya hai? ("what is your name, you piece of shit?")
He recently appeared on an AIB Podcast where they discussed this. The illustration is a reference to the same.
(Above) A sketch for my friend, Mehar Chumble, as a token of appreciation for the music he composed for
my short film, "Arcade Hero" (click on the name of the film to watch it.)
A friend wrote a couple of poems that really resonated with me. I decided to do some sequential art for it.
(Hover over the image,for the arrow keys to show, to navigate back and forth or click on the image to make it full screen for better visibility.)
Someday I'll have a car,
A home in the woods, but not too far
I will dance until my feet are sore
I will purr, growl and roar
I will spread my wings and fly
I will climb Mt. Everest on my 127th try
I will devour the entire map
But today, I will take a nap.
On somedays I'm mad at everyone
I just want to cry sitting on my bum
Everything seems meaningless
Even exercise, raindrops and my new dress
On those days I meet ol' friends to sulk
We eat candies, pizzas and ice-cream in bulk
I think of all the extra pounds I'll gain
And just like that, I get sad again .
I'm scared of fire
and that loose electric wire
I'm scared of heights,
water and flights
I'm scared of the ceiling fan
and that creepy 'Ba-ba-dook man!'
I'm scared of existential questions that arise from within
but more than anything,
I'm scared of mom when my room is unclean
Tiny Tommy
Tiny Tommy saw a dream
In a desert, he was chugging a 'cherry-on-top-icecream'
It was hot and humid, he woke up with a start
without tasting the cherry, which was the best part!
He finally fell asleep after a lot of pain
but this time the desert turned into rain
The cherry flew away into an upstream
Tiny Tommy woke up from his dream
He tossed and turned in bed
and reached the freezing land of the dead
the cherry sat on a corpse so old
Aaachooo
Tiny Tommy woke up with a cold!
(Above) An illustration I did for my friend, with a bunch of inside jokes.
(Above) An illustration for a friend, who loves taking selfies with her utterly disinterested cat.
(Above) A tribute to my friend's dogs. (Hover over the image, for the arrow keys to show, to navigate back and forth or click on the image to make it full screen for better visibility.)
(Above) A caricature of the insanely talented stand up comedian, Mr. Abish Mathew.
(Above) An artwork for my grandmother, that I made on her 77th birthday, with all her favourite things to do- writing letters, going through old pictures, talking on the phone for hours and gossiping. Apart from ofcourse, trying out different hairstyles. (Hover over the image,for the arrow keys to show, to navigate back and forth or click on the image to make it full screen for better visibility.)
(Above) A birthday card for my friend, with of all her favourite things.
(Above) A set of illustrations for a show called "Captain Calling Captain" written by EIC's Sahil Shah as part of promotions for the Royal Challengers Bangalore team's social media page during the Indian Premier League. The idea was to show funny post match banter between Virat Kohli, captain of the Bangalore Team and Captain Morgan. See the video here : https://www.instagram.com/p/BhjItfMhh9X/
(Above) Fan Art for a very talented, extremely funny stand up comic, Mr. Tanmay Bhat along with a screenshot of the tweet he put out after I'd sent him the art work.
(Above) A birthday card for my friend, Atmeek. He is very fond of animals. From fish, dogs and hamsters to the slightly more unusual ones like tortoises and parrots, He's got them all as pets at his house.
So i thought of giving the card a biblical reference, calling him "Noah ki aulaad" (Noah's son) The boat representing of course, Noah's ark.
(Above) A looped animated gif to promote a pre-diploma display, a display of their work before they venture out to do their final project. For my college batchmates, Pragun Agarwal And Jyothi Iyer.
(Above) Watched #TheGreenMile a couple of days back and couldn't help but draw similarities in the characteristics of Michael Clarke Duncan's character and Wreck it Ralph.
(Above) Weekend mood ft. Burrito Cat
(Above) Shraddha Sarfare, former Post Production Head at Only Much Louder (OML), commissioned this poster, for her to put up in the living room of her new home.
The poster, as per brief, had to primarily consist of almost all the Indian comedy specials and web series' that were produced under her at OML, with more detailed illustrations of some of her favourite ones from amongst those.
This project was special for me since almost all the Amazon Prime Video titles I've worked on, were under her leadership. I tried to include not just all the projects she's headed the post for while at OML, but also all the little things, quirks and inside jokes, that made my time at OML so memorable and made a freelancer like me who was just starting out, feel right at home with such a big team. The illustration includes caricatures of stand up artists like Kanan Gill, Sorabh Pant, Sumukhi Suresh, Biswa Kalyan Rath and many more.
(Hover over the images for the navigation arrows to pop up to scroll through the process or click on the poster to go into full screen mode for better clarity.)


text:
A Lo mejor de Bee Gees Vol. 2  című lemez a Bee Gees Kolumbiában kiadott válogatáslemeze.

Az album dalai
 My World (Barry és Robin Gibb) – 4:20
 Don't Forget to Remember (Barry és Maurice Gibb) – 3:27
 I Am The World (Robin Gibb) – 2:34
 In the Morning (Barry Gibb) – 2:51
 I.O.I.O. (Barry Gibb, Maurice Gibb) – 2:52
 Suddenly (Barry, Robin és Maurice Gibb) – 2:29
 Melody Fair (Barry, Robin és Maurice Gibb) – 3:48
 Indian Gin and Whisky Dry (Barry, Robin és Maurice Gibb) – 2:01
 I'll Kiss Your Memory (Barry Gibb) – 4:25
 Idea (Barry, Robin és Maurice Gibb) – 2:51
 Lamplights (Barry, Robin és Maurice Gibb) – 4:47
 Saved By The Bell (Robin Gibb) – 3:03

Közreműködők
 Bee Gees

Külső hivatkozások

The Bee Gees-válogatásalbumok
1973 nagylemezei


A. The Hebrew name was the phrase from Eccl. 1:1, "the Words of Qoheleth, the son of David, king in Jerusalem." Its short designation was Qoheleth (BDB 875), the verb used of Solomon in 1 Kgs. 8:1. It is a feminine participle from the Hebrew Qahal, "congregation" or "assembly" (cf. IV. F.). It seems to designate an office (i.e., used with article in Eccl. 12:8).
B. The book was called "Ecclesiastes," which is a Latinized form from the Septuagint. This is the Greek term for "one who assembles," from the root "to call out."
1. one who assembles an audience, therefore, a teacher, preacher, debater, etc.
A. Ecclesiastes is an example of a type of wisdom literature. It is an extended treatment of a subject and, like Job, often challenges traditional wisdom teachings.
B. It is part of the third division of the Hebrew canon called "the Writings."
C. It is also part of a special grouping of five small books called the Megilloth or "five scrolls." Each of these was read at an annual feast day. Ecclesiastes was read at the feast of Booths or Tabernacles.
D. Because of the skeptical, negative nature of this book, it was rejected by the conservative rabbinical school of Shammai, but advocated by the liberal rabbinical school of Hillel. This discussion continued even until the time of Jamnia after the fall of Jerusalem (a.d. 70-90).
A. Ecclesiastes, like Job, must be interpreted as a whole. It is a sustained focus on the tensions of human existence (through Eccl. 12).
B. It is a tongue-in-cheek sarcastic look at life without God. The key phrase is "under the sun," Eccl. 1:3, 9, 14; 2:11, 17, 18, 19, 20, 22; 3:16; 4:1, 3, 7, 15; 5:13, 18; 6:1, 5, 12; 7:11; 8:9, 15, 17; 9:3, 6, 9, 11, 13; 10:5; 11:7; 12:2 (31 times).
The mysteries of fallen human existence are admitted and documented, but there is more! There is God; there will be justice one day. Because humans do not know the answers does not mean there are no answers! This book is written in the style of OT Wisdom Literature (monotheistic, judgment day, future hope, goodness and fairness of God, revelation [Scripture] is true and secure).
D. For a scholarly argument for Solomon's authorship see Introduction to the OT, by C. F. Keil, vol. 1, pp. 516-529.
E. Baba Bathra 15a (a book of the Talmud) said the men of Hezekiah wrote Proverbs, Ecclesiastes, and Song of Songs, but this obviously meant they edited or compiled the wisdom books.
G. The only section of the book that reveals a later editor(s) is Eccl. 12:9-110,11-12,13-14. They are obviously sages who are familiar with Genesis, Deuteronomy, Psalms, and Proverbs.
B. The historical setting must be after Solomon's day. He is used as a literary foil in Eccl. 1-2.
1. stylistic form of the Hebrew is post-exilic but before 400-300 b.c.
2. there are literary parallels in Phoenician wisdom literature of about 600-400 b.c.
3. allusions to Ecclesiastes appear in the writing of Ben Sirach, Ecclesiasticus, which was written about 180 b.c.
4. there have been several small parts of Ecclesiastes found in the Dead Sea Scrolls (4Q). These have been dated as late as the second century b.c.
A. This book is difficult to outline. It is more like a life's journal than a structured literary work. It is similar to rabbinical teaching called "pearls on a string." However, there are unifying words (i.e., "vanity," but also "good"), phrases (i.e., "under the sun"), motifs (i.e., happenings), and a unifying theme (1:2; 12:8).
C. It is obvious that Eccl. 1-2 use Solomon as a literary foil.
D. Chapter 3 is a wonderful poem about the common experiences of human life.
E. The remainder does not outline easily!
A. The very fact of this book's presence in the Canon seems to imply that God does not reject the sincere, doubtful seeker.
B. The asking of ultimate questions is not discouraged.
C. Ecclesiastes assumes the existence of God and is written within the stream of the OT faith.
D. Evil is a result of mankind's fall, not God (cf. Eccl. 7:29; 9:3). This is not the world God intended it to be!
E. God's ways cannot be known. Mankind can struggle for meaning in life, but it cannot be found without God!
F. It doubts the easy orthodox views on the afterlife and doubts mankind's ability to know God, but still God is gracious and present.
G. The world, as it is, is unfair and cruel; there must be something more, if God's promises are true!
H. Be content with life—it is from God. Enjoy it when and where you can (Eccl. 2:24-26; 3:12, 13, 22; 5:18; 8:15; 9:7-9).
I. Simplistic answers that do not fit life experiences are "no" answers. We must face the reality of the meaninglessness of life if there is no God.
A. Its main purpose was to show the futility of human existence apart from God. It is a tract to convert self-sufficient materialists or intellectuals. B. H. Carroll said that in the days of his infidelity, Ecclesiastes and Job exercised an unearthly power on him, expressing the emptiness of life and pointing toward God.
The dictionary section of NIDOTTE, vol. 4, pp. 552-554, lists a similar option as one of several: "if the vanity of all reality is truly Qoheleth's own conclusion, it is only because he limits his observations initially to a reality without the God of the OT; then when he does introduce God, this pessimistic view of life dissipates and is supplanted by a more orthodox attitude expressed in the epilogue (12:13-14)."
1. For Jews, it showed the error of simplistic overstatements made by traditional theologians ("the two ways").
2. For pagans, it shows the bankruptcy of earthly life without God.
3. Easy answers to life's questions are usually wrong. There is mystery even for faith! Revelation does not reveal all!
D. This author is using natural revelation, not special revelation (although he is familiar with Genesis, Deuteronomy, Psalms, and Proverbs), to examine life. The covenant name for God, YHWH, does not appear in the book. As in all wisdom literature, the general name for God, Elohim, is used.
E. This book forms a balance to the neat maxims of Proverbs that offer success in life ("the two ways," e.g., Psalm 1). There is mystery in life, in nature, in humanity, and in God. The key is found in faith, not knowledge; in family, not possessions; and in God, not human wisdom or actions. The simple pleasures of life: family, work, friends, food provide happiness in this life. The next life is veiled, but God is there!
1. What is the general purpose of this book?
2. Why is Solomon the literary foil of chapters 1-2?
4. Can we know God?
5. Where is happiness found?
6. To whom was this book written and why?


text:
<?php

namespace PHPAST;

class WhileOp extends LoopOp {
	protected $cond;

	public function __construct(Node $cond, Node $node, $label = NULL) {
		parent::__construct($node, $label);
		$this->cond = $cond;
	}

	public function evaluate(SymbolTable $st) {
		$res = Null_::get();
		while ($this->cond->evaluate($st)->getValue()
		       && $this->loop($st, $res)) {
			// NOTHING
		}
		return $res;
	}

	public function __toString() {
		return 'While ' . $this->cond . "\n\t"
			. str_replace("\n", "\n\t", $this->node);
	}
}


Mung/Moong bean is called pachai payaru in tamil. This green gram is packed with nutrition. Its a perfect addition to a vegetarian healthy diet. Here's a sundal recipe with this bean.
Green chillies - 1 or 2 depending upon the heat. It can be vertically slit or chopped.
Soak Mung bean over night in water.
Next day, drain the water.
Heat 3 cups water with a tablespoon of salt. When the water comes to a boil, add the soaked beans.
Let the content boil for 5 to 6 minutes.
Turn off heat and drain the water using a colander and allow the mung bean to rest until all the water is drained.
Meanwhile, heat oil in a kadai, preferably non stick. Temper the mustard seeds.
Add the green chillies, ginger and Curry leaves. stir for a minute.
Add the Mung beans and asafoetida powder. Sprinkle salt as it is already boiled in salted water.
Mix well and garnish with coconut - grated fresh or desiccated and coriander leaves. Turn off heat and stir lemon juice and the Sundal is ready to be served.


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BKFC 11
Dakota Cochrane is a family man and veteran of multiple fighting disciplines who lets his in-ring actions, rather than his words, speak for themselves.
This 33-year-old Omaha, Nebraska native is coming off arguably two of the biggest wins of his career, but victories over former UFC welterweight champion Johny Hendricks and former UFC fighter Chris Leben, have not gotten to Cochrane's head.
"I'm just a small town kid. I have a small circle," Cochrane said. "Everybody who I surround myself with, cheers for me obviously, but they know the normal me. They expect me to go in there and win, and if that's what I do, it's cool, if not, they're cool with that too. I have a good circle, good family, good support system."
On March 14, Cochrane will return to the sport of bare knuckle for a third time, his second with Bare Knuckle Fighting Championship. He will toe the line against another popular former UFC competitor in Melvin "The Young Assassin" Guillard at the Intrust Bank Arena in Wichita, Kansas, part of the BKFC 11 fight card.
"I was supposed to fight Joey Angelo in Wichita, but then he hurt his hand, so that was a no go," Cochrane said. "Then they (BKFC) called me and said, 'Melvin Guillard.' I said, 'yep, sounds fun.'
"It's going to be explosive," Cochrane said about the upcoming battle with Guillard.
"The first couple minutes are probably going to be hell, but then I think my heart and determination, and skill level will follow me through to victory."
When asked for a prediction for the bout against Guillard, Cochrane said "TKO, second round."
So what is it about Dakota Cochrane that has made him excel in the sport, being able to defeated legends of the game?
"I would say my body is just kind of made for it (combat sports)," Cochrane said. "I've always been kind of an explosive fighter. With bare knuckle it is 2-minute rounds so you've got to go from the start, there's no wasting time, nothing going on other than throwing hard and getting after it. That's kind of always how I've been. I was a sprinter in college, and a pole vaulter, so it was always those fast switch muscles.
With close to 50 pro MMA bouts under his belt, one could say Cochrane is a seasoned veteran, but a rather humorous oversight on his part may have led to him finding even greater success in bare knuckle.
"I kind of did it unknowingly when I first started MMA, but I never wrapped my hands underneath my big gloves," Cochrane said. "I didn't know I was supposed to when I started. It wasn't until about two years in that my coach told me to go wrap my hands and I told him, 'I throw on my gloves, I'm good.' He was like 'what? You've never wrapped your hands?' I said, 'no, not once.' He was like, 'well, I guess it works.' The whole time I was doing MMA, since I turned pro in 2010, I've never wrapped my hands for sparring or practice. But, I think it has helped me in this (bare knuckle) now.
Not looking past Guillard, Cochrane doesn't really have any specific plans or a path to follow, but he did like the sound of a championship belt being wrapped around his waist.
"If I can get a title in bare knuckle that would be pretty damn awesome, but I like the big fights, I like the big names. I like beating up people that I'm not supposed to (win against). That's always good motivation for me. I like to compete, I like to make money. I really don't care who it is, I'm just gonna go out there and try to knock them out, and then it's onto the next."
"BKFC 11" will be broadcast across the United States and Canada, exclusively on pay-per-view through MultiVision Media, Inc., on all major television distribution outlets for $29.99. It will also be available to BKFC's international broadcast partners worldwide and via stream to all in-home and out-of-home connected devices through FITE.
Tickets for the live event are on sale this Thursday, January 30 at 10 a.m. CT and can be purchased online at www.selectaseat.com, by phone at 855-733-SEAT (7328) and in-person at the Select-A-Seat Box Office at INTRUST Bank Arena.
Previous post Olympic boxing medalist Nico Hernandez: Bare Knuckle something to "mark off on my bucket list"
Next post Miles McDonald eager to step inside squared circle in bare knuckle debut at BKFC 11
© 2021 BK OTT, LLC.


Out of more than a hundred students from all over the country who took the competitive Top Outstanding Performing Students (T.O.P.S.) examinations of Southville International School and Colleges (SISC), twenty hopefuls are one step closer to reaching their dreams of pursuing college education in an international educational institution.
They were lauded during the T.O.P.S. awarding ceremony held last February 29, 2012 at the School of the Future (SOF) – SISC Media Center. Scholarship grants in the different courses of SISC, as well as South SEED LPDH College (SSLC), were made available to the successful examinees.


Browse how to writing resources on Teachers Pay Teachers, a marketplace trusted by millions of teachers for original educational resources. Find this Pin and more on MY TPT Products --1st grade fun by Momma with a teaching mission .
Sample of mixed grade CC work- & its NOT from teachers pay teachers! Id write my own to put up on the Smart board, and have students write on an formatted answer sheet or blank paper. Four Square Morning Work (1st grade) spiral review $ Its a Random Monday Post Id write my own to put up on the Smart board, and have students write on an formatted answer sheet or blank paper.
See more What others are saying "This reminds me of my grade,where my English teacher did presentation on adverbs using charts." "FREE Adverbs Anchor Chart Printable- In this blog post, youll find an adverbs anchor chart that focuses on some of the more trickier aspects of adverbs.
2nd Grade Classroom Classroom Freebies 2nd Grade Math Fourth Grade First Grade Classroom Ideas Second Grade Grade 3 Multiplication Activities Forward Your students will adore these 4 FREE Color By Numbers worksheets for a mixed basic fact introduction or review.
With field day, end of year testing, paperwork, report cards, and of course, TEACHING, it gets a little overwhelming! On top of that, Mothers Day is this weekend, and sometimes we found ourselves scrounging for something to do thats, easy, cute and heartfelt.
"Classroom tips, freebies and units for first grade social-emotional, reading workshop, writing workshop and math instruction." "Various activities for students to engage in to practice their spelling words.
Find this Pin and more on Free Teachers Pay Teachers by Cindy Murphy. FREE Coordinate Grid activity involving students names as the mystery pictures. Try this one for free and then check out my other coordinate grid products.


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Space Run Now Available On Steam
N. Ezell June 15th, 2014 - 11:57 PM
Indie space shooter/RTS Space Run has made its way to Steam, and a PC near you.
The work of small indie studio PassTech Games, Space Run seeks to combine space battles similar to games like Elite with the base-building elements of RTS games. With a hex-based upgrade and customization system, Space Run sends players out to conquer the depths of space with their hacked together warships of doom. Be careful, though, since you're not the only shark in these waters, with plenty of enemy vessels around to stop you on your journey.
A Space Runner doesn't just deliver goods from one end of the galaxy to the other – you'll need a large dose of ingenuity, intuition and ability to react if you want to complete the various missions you are offered. But although your main task is to make intergalactic deliveries as fast as possible while keeping your merchandise (and your vessel) intact, countless external elements will come to hamper your progress: asteroid belts, fleets of pursuing pirates and particularly nasty interstellar corsairs. the threats are everywhere!
With a unique take on the gameplay of space shooters, Space Run has received good response from players based on its mechanics and the depth of the tactics required to perform well in the game. Space and strategy games go together like peanut butter and jelly, so finding a game that takes those elements and provides a fun, original new spin on them is a always a joy.
Load your cargo, charge up your laser cannons, shields and reactors and set out on the missions that have been assigned to you. The construction phase of your vessel will form the core of the gameplay: find the right balance of speed, defense and firepower! The more successful you are, the higher your reputation will soar, and this will be reflected in your bank account. This will enable you to unlock new modules for your ship and additional upgrades to increase your tactical options, either to embark on new and more dangerous missions or to replay a mission to improve your score!
PassTech Games is a fairly new indie game studio owned by its one employee, Sylvain Passot. Though Space Run is the studio's first release, Sylvain previously spent time with the French game studio Étranges Libellules, who worked on the Asterix and Obelix XXL titles as well as Spyro: Dawn of the Dragon.
Space Run is bring distributed by Focus Home Entertainment, the same company responsible for distributing both BloodBowl and the recent Space Hulk reboot, and is available on Steam for $14.99.
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Sylvain Passot
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