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Category Archives: London UK
A city we visit often to feast on its theatre, art, music and unmatched energy.
Kathryn Hunter in Timon of Athens, photo by Simon Annand
When Judith and I learned that the Royal Shakespeare was doing it this winter, with Kathryn Hunter in the lead role, we were more than excited.
Kathryn Hunter is a remarkable actor. She is known for her powerful stage presence, her prowess as a physical performer, and for fearlessly and effectively tackling male roles. We've been fortunate to see her in two unforgettable productions: Richard III at the Globe in 2003 and Yerma at the Arcola in 2006. So Judith and I came to Stratford-Upon-Avon to see Hunter in Timon of Athens with the highest of expectations.
Though Hunter's charismatic force was in evidence, the production as a whole was disappointing. It seemed unfocused, as if they hadn't worked out just why Timon should be a woman. (And in this production, Timon is a woman, wearing a golden dress through the first act — unlike, for example, her Richard III, who dresses and acts as a male.) Does this gender switch illuminate the play, or alternatively, does it help us understand something about our culture and our time? I didn't find either.
Elements of design and staging seemed easy, even perfunctory. The first act is drenched in gold, a bit obvious even in these Trumpian times. In the second act, Timon digging for roots to eat, finds a carrot already peeled and washed. The rebel forces carry signs all drawn with the same magic marker, with unlikely slogans ("Banish Usury"). Other details seemed hasty and unformed.
Timon is an anomaly in the Shakespeare canon: stripped down, moralistic, with a simple A/B structure that is tragedy at its simplest. The old blues song says it: Nobody knows you when you're down and out. When Timon is rich, he gives freely and excessively to his friends; when his money is gone they turn his back on him. He becomes an embittered misanthrope, living rough in a barren desert. When he discovers a cask of gold, he gives most of it to a band of rebels marching against the city. and dies in the wilderness, offstage. The characters, Timon included, lack the subtleties, nuances and contradictions so characteristic of Shakespeare. The play is a diatribe against greed and hypocrisy, stark and elemental. Of all Shakespeare's plays, Timon is the one that most relates to the world outside the theatre walls. It isn't about ancient Athens, it's about here and now, Shakespeare's here and now, and ours. It's up to the director to draw the connections.
This production seems half-baked and under-done, especially given that this is the RSC. They have the resources, the actors, the designers, and Kathryn Hunter in the title role! It isn't enough to simply do Timon. Help us to understand something we don't already know: the play, our culture, the times we live in, sexual identity, greed, class, political struggle. This is a play that needs to have something to say.
Simon Russell Beale did a powerful version at the National in 2012, directed by Nicolas Hyntner, at the height of the Occupy Movement. The message, "we are the 99 percent" came through loud and clear. The intent of this production was not clear at all, and nothing Kathryn Hunter could do could help that.
This entry was posted in London UK, Royal Shakespeare Company, Stratford-upon-Avon, Theatre and tagged Kathryn Hunter, Royal Shakespeare, RSC, Shakespeare, Stratford upon Avon, Timon of Athens on January 9, 2019 by Ron.
It was with great anticipation that I went to the Almeida to see Simon Russell Beale in The Tragedy of Richard II. He had been a brilliant Timon of Athens at the National in 2012, in a startling production by Nicholas Hyntner that connected Shakespeare's stark fable to the Occupy movement and Wall Street corruption. I knew that this Richard II had been reworked to focus on the theme of solitary incarceration, and I thought "what a good idea!" Richard in his cell suffers the disintegration of his personality, and halucinates the events that led him to his ordeal. Richard's agonized musings, rather than historical events, are now the core of the drama.
Simon Russell Beale in The Tragedy of Richard II at the Almeida
Exploring Shakespeare in this way is very like the experiments back in the sixties and seventies, by Charles Marowitz, Peter Brook and many more. Unfortunately, this production incorporated another aspect of those experiments: real things happening to real people (actors) on stage.
In this Richard II, Beale is hosed with water and has a bucket of filth poured over his head. A bucket labeled "blood" is sprayed over the stage. And so forth.
Well, Mr. Beale is a good sport. However, the play is distorted by these devices. Richard's suffering evaporates, while we watch the actor letting himself be abused, and wonder what he is thinking, what he is feeling, why he lets them do it to him.
Simon Russell Beale in The Tragedy of Richard II at the Almeida.
There are kinds of performances where we watch real things happen to real people: prize fights, pornography, gladiatorial spectacles and so forth. They are fascinating in their way, no doubt, but I had come to witness theatrical suffering, and the real discomfort of the actor was enormously distracting.
This entry was posted in London UK, Theatre and tagged Almeida, London UK, Richard II, Simon Russell Beale, theatre on January 5, 2019 by Ron.
Art lover at the Tate Modern
Children playing on the sloping floor of Turbine Hall.
Picasso retrospective
I love the Tate Modern. There's the shows, of course — the free ones from the permanent collection and the blockbusters. There's the mysterious Tanks and the clever Artist Rooms. There's the building, with all its curves and angles and long, long escalators, and the wonderful smooth sloping Turbine Hall. There are the people who swarm through it, who all seem happy to be there. People from many lands, with many complexions, dressed up, dressed down, dressed tastefully, dressed oddly. And children, running and rolling and skipping up and down the shiny turbine slope. Photo-ops everywhere!
The show was Picasso 1932. An argument is made that this was a pivotal year for Picasso, and it seems so. However, Picasso had many phases in a long artistic life, and there are other years that are equally important. But what does it matter?
Picasso paintings arranged as in 1932 retrospective
Lots to see in 1932, particularly since Picasso had his first retrospective that year, providing an opportunity to include works from other periods. Particularly interesting was an arrangement of a group of paintings and drawings just as they appeared in the exhibition in 1932.
I've been looking long and hard at Picasso's work ever since the great
The view across the river from the members lounge
Picasso and Man exhibition at the Art Gallery of Ontario when I was in high school. ("Picasso and Man" it was called, though "Picasso and Woman" would have been more appropriate. This was 1964.) He's like an old friend. I'm always glad to renew our acquaintance.
This entry was posted in London UK, Visual Art and tagged London, Picasso, Tate Modern on August 19, 2018 by Ron.
National Theatre: Consent
Consent at the Harold Pinter
Consent is what used to be called a "problem play", an examination from various perspectives of a current hot topic. The topic in this case: consensual sex versus rape. The characters are almost all lawyers or lawyers wives, except for one: a woman from the working class who has been raped. Two of the lawyers are trying the case, one for the crown and the other as a defense lawyer appointed by the Crown to represent the accused, the alleged rapist. "Who's my lawyer?" demands the victim, but the prosecutor won't even talk to her; she's not a plaintiff, but a witness, and he cannot be seen to be coaching her on her testimony.
Clare Foster, Stephen Campbell Moore, Lee Ingleby in Consent at Harold Pinter Theatre, London. Photo: Johan Persson
The lawyers and wives engage in chit chat reminiscent of Sondheim's Company, but we (and they) gradually learn that all is not as superficial as it seems. Infidelities and sexual power games break and rearrange the relationships, and the men (primarily) try to achieve some kind of understanding of their emotional lives. All this to the click of highballs and wine glasses. At the end of the first act, rough reality breaks in; the rape victim crashes the party and discovers that the two lawyers are friends.
In the second act, one of the wives throws her husband out. Begging forgiveness, he ignores her repeated "no" and they have sex. His friends are horrified: technically, they tell him, this is rape.
There are more facets, more issues to explore, but you get the idea. The script, by Nina Raine, is skillful, smart and sometimes funny. The issues are examined with a certain level of evenhandedness. There are no villains, just imperfect well-bred middle-class professionals doing their best to cope.
I liked the play, but I can't overlook that it pulls its punches. We want to see those lawyers in court. We want to see a lot more of the working woman's ordeal than we're given. And we want to see what happens when the gentle people have their day in court. This never happens. There's all these lawyers, and no courtroom fireworks? They just talk it out, make concessions and compromises, and life goes on. Cop out.
This entry was posted in London UK, Theatre and tagged Consent, Harold Pinter Theatre, London, National Theatre, Nina Raine, West End on August 10, 2018 by Ron.
Arcola Theatre: Donizetti and Ravel Operas
Opera Alegria poster for Grimeborn
Grimeborn is an annual summer series of opera performances by alternative companies, held at the Arcola Theatre in Dalston. This is a chance to hear chamber versions of operas, sung up close and personal by accomplished singers, accompanied by piano or sometimes small ensembles. Sunday, August 5, it was a double bill by Opera Alegria of Donizetti's Rita and Ravel's L'Heure Espagnole (The Spanish Hour).
Rita is about the relationship between a harridan bar-owner (Naomi Kilby) and her downtrodden husband (Richard Belshaw). Into this non-idyllic domestic scene ventures a guest (Christopher Faulkner) who, unluckily, turns out to be Rita's first husband, presumed dead. The current husband is delighted at the prospect of his freedom, while the first husband does his best to escape. It is silly and fun, if you overlook the domestic abuse implications. (A program note mentions that some of the content was toned down for modern sensibilities.) What is important is Donizetti at his sparkling best, sung with great verve and played with gusto on an upright piano by Lindsay Bramley.
Opera Alegria, L'Heure Expagnole
Decades ago, right after university, I was stage director of a small opera company, and L'Heure Espagnole was one of the operas we did. I haven't heard or seen it since, so you can imagine that I was pretty interested in how they would approach it.
The story is that there is a clockmaker whose job it is to wind the city hall clocks once a week. This provides an opportunity for his wife Concepcion (Alicia Gurney) to meet her lovers, a poet (Stuart McDermott) and a town official (Matthew Duncan). A muscular workman, Ramiro (Thorvald Blough) turns up to have his watch repaired, and both lovers end up hiding in the clocks. Ramiro carries the clocks (with their passengers) upstairs to Concepcion's bedroom, and back down again when they prove inadequate. However, Concepcion notices Ramiro's physique, and things work out after all.
Alicia Gurney and Matthew Duncan in L'Heure Espagnole
The music is Ravel in finest form, harmonically rich with some Spanish sauce. Well sung by all.
I was naturally interested in the staging choices. Great grandfather clocks with people inside them are pretty funny in themselves, but not easy to build and not easy to carry, especially while singing. Opera Alegria solved the problem with face masks with clock faces. When a singer donned a mask, he was considered to be hiding in the clock. It was an ingenious solution.
The performance was in the Arcola's Studio 2, downstairs and no air conditioning, or even much ventilation. London has been experiencing a record-breaking heat wave, so it got pretty stifling. Still . . . for art one must sometimes suffer, no?
This entry was posted in London UK, Opera, Theatre and tagged Arcola Theatre, Dalston, Donizetti, L'Heure Espagnole, London, opera, Opera Alegria, Ravel, Rita on August 10, 2018 by Ron.
Taming of the Shrew, Trinidad Style
Taming of the Shrew by The Oratory Foundation in Stratord upon Avon
Strolling along the Avon River on the way to see Miss Littlewood at the Swan, we chanced on an outdoor production of Taming of the Shrew by a little company from Trinidad-Tobago. I was fascinated, and only with regret tore myself away to go to our scheduled performance at the Swan.
The set was the most minimal imaginable: a gauzy cloth thrown over a tree branch forming an inverted V for entrances and exits. That was it. Calypso songs between the scenes commented on the plot, but Shakepeare's text was otherwise unaltered.
And we understood every word, every idea, every joke Shakespeare wrote. How did they do it, despite Trinidad accents and 400-odd years of linguistic change? Simple. They spoke every line to the audience as if they really cared that we would understand. They played it like Vaudeville, glancing occasionally at the other actors, but talking to us.And they carried it off with swagger and panache, with that wonderful Trini calypso energy.
And in doing so, a lot of the troubling aspects of Shrew vanish. Hey, folks, don't take this so serious! This isn't sociology, this is WWE. Current champion, Katherine! Challenger, Petruchio! As I watched, I couldn't help thinking that this is how Shakespeare intended it to be played. Taming of the Shrew is one of Shakespeare's earliest plays (1592). I like to think that this was written for touring, when the company would set up in an innyard, or under a spreading oak tree, and try to engage and win over a crowd using time-tested techniques employed from before Aristophanes to Saturday Night Live.
I looked up the company on the internet. It's called The Oratory Foundation (www.oratoryfoundation.com).
"The Oratory Foundation is a school with the mandate to touch and teach through oration and creative forms of the spoken word. It promotes and encourages the use of various forms of oratory; it is a teaching institution providing the opportunity for the pruning and perfecting of poetry, oratory and performance."
The performance we chanced upon is part of a series of free outdoor productions sponsored by RSC called The Dell Open Air Theatre (https://www.rsc.org.uk/events/the-dell). "
"On weekends during June, July and August, our outdoor theatre in Stratford-upon-Avon, The Dell, hosts a range of lively student, community and semi-professional productions of Shakespeare's plays.
"The Dell was launched as part of the Complete Works Festival in 2006 and has hosted more than 300 amateur theatre companies, community groups, schools, universities and professional theatre companies to growing audience numbers of all ages."
What a good idea.
This entry was posted in London UK, Royal Shakespeare Company, Stratford-upon-Avon, Theatre and tagged Dell Free Open Air Theatre, outdoor theatre, Stratford upon Avon, Taming of the Shrew, Trinidad on August 10, 2018 by Ron.
August 4: Miss Littlewood
Amanda Ayeh as Joan 2, Amanda Hadingue as Nick, Photo by Topher McGrillis
Joan Littlewood was a theatre innovator who had a huge influence on how theatre is made. A tough cockney who quit RADA (Royal Academy of Dramatic Art)and walked from London to Manchester, she joined with young Jimmy Miller (later AKA Ewan McColl) in 1933 to do agitprop anti-Nazi street theatre. Together with Gerry Raffles, all-round technical fixer-upper, they created an ensemble approach to theatre that revolutionized theatre practice. After the war, the company, now called Theatre Workshop, survived hand-to-mouth and unsubsidized, without a permanent home base. In 1953, Gerry Raffles found a derelict theatre in East London, Theatre Royal Stratford East. The company scrubbed it up and moved in, creating new work and a new way of working, until a series of hits, transferred to the West End, brought international recognition: The Quare Fellow and The Hostage by Brendan Behan, A Taste of Honey, Fings Ain't Wot They Used T'Be, Sparrers Can't Sing. The biggest hit of all was Oh What a Lovely War (1963), which told the frightful story of the First World War using a combination of clown show, documentary segments, projections, and songs from the barracks and the music hall, all deftly crafted and arranged into a riveting experience in the theatre.
Miss Littlewood, a musical by Sam Kenyon, tells the story. Or rather, stories: the making of a theatre company, the life of Joan, the Joan and Gerry love story, and step-by-step what happened. Sam Kenyon came late to the party, having had no direct experience of Theatre Workshop, but had the help of Murray Melvin, a company member in the later years. He also had Joan's Book, Joan's autobiography, which (by the way) is a terrific read.
Miss Littlewood, Photo by Topher McGrillis
Toronto's theatrical innovator, George Luscombe, was in the company in its earlier days, when the techniques were all being worked out. He brought the Littlewood approach to his company, Toronto Theatre Workshop, with a distinguished history of shows: Hey Rube, Mr. Bones, Ten Lost Years, Ain't Lookin' and lots more. I was in TWP and co-wrote a play with George, The Wobbly. My own theatre work has been in the Littlewood/Luscombe tradition.
So I had great incentive to see this show. Two days after we landed in London, we scooted up to Stratford-upon-Avon for the production's last day.
Bottom line: it was worth it. MIss Littlewood was lively, with catchy songs of the right flavour, navigating its way through all the stories gracefully. Given that it wasn't an ensemble production, but a musical about an ensemble, it managed to put across the feel of group creation. The most significant convention was having members of the company take turns playing Joan in the phases of her life — women black and white, skinny and solid. It was quite striking how the core of Joan was carried through all the transitions.
Standing beside me (yes, standing room again) was a woman who taught English and Drama, and was responsible for staging very ambitious productions (Les Miz). She had returned to see it a second time, bringing her mother. Joan continues to inspire, and Miss Littlewood is worthy of its subject.
This entry was posted in London UK, Royal Shakespeare Company, Stratford-upon-Avon, Theatre on August 9, 2018 by Ron.
August 2: Biker Gang Opera at Wilton's Music Hall
Outside Wilton's Music Hall
Wilton's Music Hall is our local theatre, a ten minute walk from our east-end London flat. It operated as a music hall in the 1860s and 70s, and subsequently became a Methodist Mission (1888 to 1956). It was abandoned and derelict for decades, with periodic efforts by local activists to revitalize it. Finally, in 2004, the refurbishing began, and now it's restored to a strange and wonderful new glory, with the patina of age still evident in faded paint and old creaking stairs.
Daughter of the Regiment, Opera della Luna
The production Thursday night was Donizetti's comic opera, La Fille du Regiment, re-imagined in English as The Daughter of the Regiment, the Regiment in this case being a biker gang in California. The Opera della Luna production, with a new libretto by Jeff Clarke, is spritely and fun. Elin Pritchard as said daughter sings the demanding role admirably, and as a biker-lass she is completely convincing. Snatched up into society and put in a frumpy little-girl dress, she does her best to adapt, but eventually returns to the gang to find happiness in the arms of her Latino boyfriend, ably acted and sung (9 high C's!) by Jesus Alvarez.
This entry was posted in London UK, Opera, Theatre and tagged Donizetti, La Fille du Regiment, London, opera, The Daughter of the Regiment, Wilton's on August 7, 2018 by Ron.
Ah, London!
Tower Bridge raised
We landed at Gatwick Wednesday morning, August 1. Beautiful sunny day, a lot like southern Ontario. England has been in the grip of a drought, but it has cooled off slightly in our honour. The emerald isle is more yellow and brown than usual, but it glows in the bright sunshine.
We took our time walking from London Bridge Station to the flat. Had lunch in Hays Galleria and then ambled in leisurely fashion along the Thames and over Tower Bridge. It's good to be back.
This entry was posted in London UK on August 6, 2018 by Ron.
Judith and I went on the Women's March against Trump from the US embassy to Trafalgar Square. The streets leading to the embassy were packed, so it took a long time to get to the embassy.
When we finally reached the embassy, the march to Trafalgar square had started. We followed.
Outside the American Embassy in London UK
Outside the Embassy
Inside the Embassy fence, a guard.
Activist choir
It was a very moving experience, because of the calm, purposeful determination of the women.
Women's March in London UK against Trump


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Metriocnemus argentinensis är en tvåvingeart som beskrevs av Jean-Jacques Kieffer 1917. Metriocnemus argentinensis ingår i släktet Metriocnemus och familjen fjädermyggor. Inga underarter finns listade i Catalogue of Life.

Källor

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Abilene's Strain gains experience through USTA Texas Slam run
A pair of late set comeback attempts came up short for Kaitlyn Strain at the USTA Texas Slam on Tuesday at Clack Middle School.
Playing in the third round of the Girls 16 consolation bracket, the Abilene High sophomore-to-be went down 4-0 in the first set. Strain battled back to pull within 5-4 before falling 6-4. She went down again in the second set, got some points back again but fell 6-2 to end the match.
More:Abilene's Elias, Schaeffer, Tebow bow out of USTA Texas Slam
Confidence boost
It's hard to come back, but it's especially hard against the competition that comes with playing in the Texas Slam.
"It's pretty hard when you're down big time," Strain said. "I came up a little and felt relieved, I guess. It makes me feel better because I was playing decent and not just getting killed."
Strain started the tournament with a win, defeating Christiane Mandes, of Dallas, 6-2, 6-3. But she ran into 17th-ranked Janet Pham in the Round of 64, falling 6-1, 6-2 to drop into the consolation bracket.
Even so, getting a win at this tournament was a confidence boost.
"I was happier at the beginning (of the tournament)," Strain said. "I won my first (match) and lost my second, but I wasn't expected to win my second. I thought I played good against (Pham), she's just good ...
"I was happy because I worked my butt off this past week preparing. (Mandes) was good, but I was better."
There were moments Tuesday when Strain, who went to the Region I-6A tournament in mixed doubles as a freshman, thought she was getting to Chloe Henderson.
"I thought I did OK," Strain said. "(Henderson) is better, but I could have gotten closer."
With Strain's time in the Texas Slam done, she will turn her focus to preparing for AHS tryouts coming up. She worked her way into the lineup as a freshman, but wants to be as ready as possible to help the Eagles this fall.
That could include another tournament, but no matter what, a lot of time on the court.
"I have to prepare for tryouts," Strain said. "Maybe a few tournaments ... it helps a lot to get pressure like this. You get pressure at tryouts (and during the season) and this helps you prepare."
Notes: Abilene's Ruth Hill dropped her Round of 32 match in the Girls 16 singles bracket 6-0, 6-1 on Tuesday morning to fifth-seeded Karsyn Evans. The loss knocks Hill, who will be a junior at AHS next year, into the fourth round of the consolation bracket where she will face the winner of Whitney Robbins vs. Jacqueline Creel match at 9 a.m. Wednesday at ACU. Hill and her doubles partner Janet Pham won their Round of 32 match 8-6 on Monday night and play for a spot in the quarterfinals late Tuesday.


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Computer issues force hospital to use paper documentation
Louis Krauss
Wed Jun 19th, 2019 11:29am
Grays Harbor Community Hospital and Harbor Medical Group have been experiencing issues with their computer systems, serious enough that the hospital has gone into a "downtime protocol," meaning staff are required to use paper documentation for some patients.
The hospital is open and offering its usual services safely, said Nancee Long, director of marketing and public relations for the hospital. The issues began Saturday and are hoped to be resolved within the week, Long said.
"The hospital remains open for business and will continue to treat patients with the same quality of care and professionalism," wrote Long. "If you have questions about your care or an upcoming appointment, please contact the provider office with whom you are associated."
There are two separate electronic medical record systems for the hospital and for Harbor Medical Group's specialty clinics and rural health clinics, all of which are operated by Grays Harbor Public Hospital District 2. The hospital's electronic medical records system, Meditech, is fully operational but is not communicating with other systems. As an example, Long said if a patient gets blood work, the results have to be called into the doctor.
Long said the clinics' electronic record system was affected, and requires them to use a paper method of documentation. No employees have been sent home as a result of the computer issues, Long said.
"Some of the schedules are not available so they are accepting patients as they come and scheduling out patients with a paper process," she wrote, adding that appointments can still be made through the paper process in the clinics, and that all hospital outpatient surgeries are still scheduled.
In order to safely treat patients, Long wrote that some patients may be asked to fill out paperwork regarding their past medical history and bring medications to their visit.
"This is not a deterrent to patient care," wrote Long. "Offices have run without computers for years before now. It would be more of a problem to not see the patients who need care."
The hospital is working with its information technology vendor to fix the problem, Long noted.


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Tičan može biti:

 Tičan (naselje), zaseok kod Višnjana, Istarska županija
 Tičan (zvjezdarnica), nova zvjezdarnica kod Višnjana.
 Tičan (spomen područje), spomen na veliko stradanje u 2. svjetskom ratu.

Paralelno s lokalnim nazivom Tičan, sreće se verzija naziva Tićan


SolBridge International School of Business signed cooperation agreements with Corvinus Business School in Budapest,Hungary.
Corvinus Business School (CBS) is the business management department of Corvinus University of Budapest, Hungary's oldest and leading university. CBS's reputation has risen over the last decade with a significant number of achievements positioning itself as the leading business school in Central Europe.
CBS degree programmes received the EPAS and EQUIS accreditations provided by the European Foundation for Management Development (EFMD). The school is also a member of the prestigious CEMS Global Alliance in Management Education, a network of 32 high-profile business schools around the world.
SolBridge will have the great pleasure to host the Dean of Corvinus Business School, Professor Dr Zita Zolpay Paprika at the end of April 2019.
SolBridge very much looks forward to developing this partnership in the years to come!


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Nourishing Your Teen Goes Beyond Just Putting Plenty of Food on the Table
September 19, 2018 By Father Steven Boes, President and National Executive Director, Boys Town
At The Table, Father Boes, Parenting Skills, Social Skills, Today's Family
Every teen is different.
They have different looks and likes. Different personalities and peeves. Different moods and modes.
But every teen has one thing in common – they're always hungry!
Teens eat a lot, and it's hard to keep enough food in the house when you've got one under your roof. We know that from personal experience because we have six to eight teens (boys or girls) living in the 60 Family Homes that comprise the Village of Boys Town, Nebraska. It's in those family-style residences that our youth receive the care and guidance they need from trained couples called Family-Teachers®. Other kids receive the same high-quality care in Family Homes at several of our affiliate sites around the country.
For just one of our Family Homes, the monthly food bill is about $1,400! That's a lot of milk, bread, eggs, meat, vegetables, fruit and other groceries.
In our more than 100 years of helping children, we've learned a few other things teens are hungry for; they also crave physical activity, social interactions, spiritual connections and intellectual challenges.
These are critical factors in how kids grow and develop, and we try to give all of the teens in our care this important "nourishment" during the time they're with us. As parents, you do the same with the teens in your home.
But just as there is healthy food that's good for you and junk food that's bad for you, there is a "healthy" way and a "junk" way to help a teen meet these needs.
For physical activity, the healthy approach involves providing kids with opportunities to experience competition (both in team or individual activities), accomplish goals as part of a team and build a healthy body. The junk approach would be letting kids adopt the bad habits and rude behaviors of some of the athletes they see in the media, or be pulled into the "win-at-all-costs" (steroid use, cheating) culture that plagues professional sports and even some college sports.
In relationships, the junk food is the pressure to have sex or to treat sex as the end-all goal of having a relationship with someone. The healthy side of that area of growth is learning how to develop real, sincere friendships in which people respect and trust each other, have a positive influence on each other and don't try to use each other.
The junk side of developing a spiritual connection is being attracted to a lifestyle that is self-centered, where there are no rules, no restrictions and no self-discipline, and where there's a belief that believing in God is old-fashioned and meaningless. The healthy side of that is passionately believing in something bigger than yourself, drawing closer to God and making sacrifices to benefit others and the community. Learning responsibility and how to contribute to the greater good is a big part of growing as a productive, well-rounded person.
Social media and excessive screen time can be the junk foods of the intellectual challenges teens want. Getting mired in a "swamp" of misinformation, where anyone can say anything without regard to accuracy or truthfulness or how much it may hurt someone, chips away at a teen's ability to separate real, credible knowledge from the fluff that sometimes passes as knowledge. (At Boys Town, our boys and girls aren't allowed to have cell phones and must follow rules when using a computer, including time limits; this helps them stay focused on important things like building healthy relationships, achieving good grades, improving their behaviors and just being kids.) The healthy intellectual alternative is working hard in school, learning how to separate facts from lies, sharing opinions in civil conversations with others and staying well-informed about what's happening in the world. This is where parents can play a big role by teaching and modeling the life skills and life lessons they've learned for their teens.
As I said earlier, teens are always hungry. As a parent, you are responsible for making sure they have enough food and a healthy diet. But just as importantly, as we do at Boys Town, you must nourish your teen in body, mind and spirit.
How to Enjoy New Twists on Traditional Holiday Rituals https://www.boystown.org/blog/Pages/How-to-Enjoy-New-Twists-on-Traditional-Holiday-Rituals.aspx How to Enjoy New Twists on Traditional Holiday Rituals December 2, 2020 Parenting Advice Boys Town Contributor
Passing Along a Message of Thanks https://www.boystown.org/blog/Pages/Passing-Along-a-Message-of-Thanks.aspx Passing Along a Message of Thanks November 13, 2020 Parenting Advice Boys Town Contributor
Setting the Table for Time Together https://www.boystown.org/blog/Pages/setting-the-table-for-time-together.aspx Setting the Table for Time Together Studies have shown time and again that no matter what your family looks like, eating meals together strengthens bonds and leads to better communication and a happier, healthier family. September 10, 2018 Parenting Advice Studies have shown time and again that no matter what your family looks like, eating meals together strengthens bonds and leads to better communication and a happier, healthier family. Boys Town Contributor
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text:
Q: Specify format with proc import sas I'm trying to import some data from a .txt file into WPS (which works with SAS language). Everythings worked perfectly until I realized that for one column/variable, some of my observations were cut. For example in the column/variable Type, my 5 first observations in the original file were:
RAN
FG
MAJOFG
ARBA
ARBV

but in my data set in sas, here's the data I get:
RAN
FG
MAJ
ARB
ARB

So I thought about using a format during the import to make sas always take the $8. format. Can it work with proc import?
Here is my code:
proc import out = sasuser.frais
  datafile="~/NAS/M/XXX.txt"
  dbms=dlm replace;
  delimiter=";";
  getnames=yes;
  datarow=2;
run;

I also tried to use data infile but for some reason it moves my lines of data (the beginning of the second line starts at the end of the first one, probably because most of the time my last 4 columns/variables are empty). And I have more than 20 variables, most of which are properly imported by sas (in terms of format I mean), so if I could avoid naming a format for each of them, it would be great!

A: Try using the GUESSINGROWS statement:
Proc IMPORT … ;
  …
  GUESSINGROWS = 100;
run;

When using a DATA step with an INPUT statement, and some rows are incomplete, your INFILE statement should specify the MISSOVER option.  This will help you create a data set where each row corresponds to each row of the data file.
  INFILE … FIRSTOBS=2 DLM=';' DSD MISSOVER;
  length v1-v20 $30;
  INPUT v1-v20;

During the data step implicit loop step, any variables at the end of the data line without corresponding input values will be set to missing, and the input statement will not attempt to look for more values on the next line.

A: You may be able to get acceptable results by tweaking the guessingrows parameter rather than specifying an informat, e.g.:
data _null_;
  file "%sysfunc(pathname(work))\test.txt";
  infile cards;
  input;
  put _infile_;
  cards;
RAN
FG
MAJOFG
ARBA
ARBV
;
run;

proc import out = example
  datafile="%sysfunc(pathname(work))\test.txt"
  dbms=dlm replace;
  delimiter=";";
  getnames=yes;
  datarow=2;
  guessingrows=3;
run;

If you change this from 3 to 2, proc import only looks at the first 2 data rows when guessing an appropriate length for the variable RAN and truncation occurs for subsequent rows with longer values.

A: My problem is that I plan to use this importation code for multiple files and the order of the observations for type is random. So it's totally possible that for 10 or 100 row, the observations have a length of 3 and then one observation of 6. But even if I don't know the order, I know the differents values possible (with a max length of 6). So guessingtows wouldn't work in my case. But I found a way to correct my code with the link provided by John Doe (https://communities.sas.com/t5/Base-SAS-Programming/Text-File-Import-force-the-correct-Informat-and-format/td-p/281701)
I took the data generated by the proc import and modified it for the one variable which needed changes. Thank you all!

redpajama_set_name: RedPajamaStackExchange


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These methods allow you to manage OpenStack projects for your account.
Adds an account OpenStack user to an OpenStack project resulting in access being granted to the user in the Horizon dashboard and via the OpenStack APIs.
project_id (String) – The tenant/project ID of the OpenStack project Invalid API key. Ensure this value has at most 32 characters.
Lists users for an OpenStack project.
Removes an account OpenStack user from an OpenStack project resulting in access being revoked from the user in the Horizon dashboard and via the OpenStack APIs.


The Blue Dogs "have emerged as the pivotal group on health care reform because of the fact that the process has worked out in such a way that there's not much cooperation between party lines," said Randall Strahan, a political science professor at Emory University in Atlanta.
The group is far from unified in its support of the administration's efforts.
For example, Marshall has deep misgivings about a public option, in part because he questions whether such an option would fully address cost overruns and fraud. He'd prefer to direct congressional efforts toward addressing the high cost of health care and steer the nation to a system in which consumers have greater control of their own health care choices.
"I find this argument of public versus private to be a false argument. It misses the point," Marshall said. "Any system which has a great deal of central planning is bound to have terrific inefficiencies. I haven't bumped into too many people who were thrilled with having to deal with a private insurance company when they're ill, and I haven't bumped into too many people who were happy with Medicare and Medicaid."
Bishop, on the other hand, remains open to the idea of a public option. But he's willing to consider alternatives in order to achieve improvement, such as member-owned, non-profit health cooperatives that negotiate directly with a network of health providers.
"I personally think they misunderstand the public option," Bishop said. "If (Obama) does not convince the people in the Senate that it is not a government takeover and scheme, there won't be enough votes to pass it. If a co-op would satisfy those people's irrational fears, we should develop that or some other mechanism. Whether you call it an elephant, zebra, public option or co-op, as long as it has the effect of driving insurance premiums down then it serves the purpose. Insurance companies have to feel the competition."
Such differences make wooing this critical bloc a challenge for both the administration and the Democratic leadership. In the House, Speaker Nancy Pelosi's office must balance the desires of a large group of Democrats who are wedded to the public option and roughly 50 moderates who are less supportive of that, Strahan said.
In the interim, the Blue Dogs are flexing their political muscle.
The group, many of whom hail from the South and Midwest, pushed "rural health equity" with higher reimbursement rates for physicians and hospitals in areas of the country that struggle to recruit and retain health care providers. Earlier this year Marshall and Bishop, along with other Blue Dogs, expressed concern about the pace, shape and cost of the overhaul and effectively helped stall legislation until the fall.
Ostensibly, the delay was geared toward providing lawmakers an opportunity to go home and talk with constituents in open forums about the matter during the August recess.
Those lawmakers returned to Washington armed with feedback from this summer's series of contentious health care-themed town hall meetings and gave decidedly mixed reviews to Obama's evening address to a joint session of Congress.
"The House proposals would have to change pretty dramatically," Marshall said. "There are some Blue Dogs that feel the public option is the only way to go. There are other Blue Dogs who are adamantly opposed to a public option. If a public option is in the bill, they'll vote against the bill. The vast majority of us are concerned that the House bills do not control costs."


text:
CAR SHOW, INDY 500 PACE CAR KICKS OFF TOLEDO OPEN-WHEEL EVENT
Scott W. Schultz
Toledo, Ohio—January 24, 2019: Toledo Speedway, in conjunction with WNWO-TV24 of Toledo, have joined forces for a Classic Car Show for Friday evening, April 26. The show leads into the open wheel race card of the USAC Silver Crown Cars and a Non-Wing Sprint race, all part of the Hemelgarn Racing/Rollie Beale Classic presented by Auto Value/Bumper to Bumper Parts Stores, set for Saturday, April 27.
WNWO, the local NBC affiliate, is the new home for the television broadcast of the Indy 500. While much of the planning is still on-going, a classic car show will take place out on the track Friday night, featuring music, entertainment, food and beverages. At the end of the evening, the classic cars in attendance will be able to take laps around the big ½ mile paved oval.
Representatives from the Indianapolis Motor Speedway are expected to be on hand at the track, with the official Indy 500 pace car on the grounds for the event. Several additional key announcements surrounding the car show will be announced soon, including show times for the Friday night show.
All cars clubs are invited to participate in this event. For further information, please contact the track at 419-727-1100.
Tickets will also be on sale for the Saturday night race card, which features the USAC Silver Crown Champ Car Series 100 lap race and a 50 lap Non-Wing Sprint Car race on the same race card.
The track has also announced a Vintage Race Car Exhibition will be part of the event, along with an open-wheel Racer's Reunion.
The race will pay tribute to the late Rollie Beale, a Toledo native. Rollie was the 1973 USAC Sprint Car champion and a former USAC Series director.
Race time for April 27 is set for 6 p.m. A rain date of the following day, Sunday, April 28 at 1 p.m. has been established.


text:
<form class="example-form">

  <mat-form-field class="example-full-width">
    <span matPrefix>+1  </span>
    <input type="tel" matInput placeholder="Telephone">
    <mat-icon matSuffix>mode_edit</mat-icon>
  </mat-form-field>

</form>

redpajama_set_name: RedPajamaGithub