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text:
Damsels, Dice, and Everything Nice Play The Wild Sheep Chase
Dungeons & Dragons 5e on Discord, Zoom
The party's attempt to grab a rare afternoon of downtime is interrupted by a frantic sheep equipped with a Scroll of Speak to Animals and a fierce determination to get their attention. This is no mere beast, however, but a wizard fallen victim to an embittered apprentice wielding a Wand of True Polymorph. Transformed assassins are looking to grab themselves a mutton dinner, while the only object capable of restoring his opposable thumbs lies in the hands of his former pupil and current nemesis. Fortunately, the woolly wizard has found new allies he can rely on, right? Can the heroes put an end to Ahmed Noke's transmutational tyranny and restore an innocent wizard to his true form? There's only one way to find out. . .
Kailey Bray
6 games hosted
Create a 5th level character on dndbeyond.com and get ready to use your imagination!
I'll provide the princesses, adventure, music, lots of silly voices.
Join the princesses from Damsels, Dice, and Everything Nice in an adventure! This one-shot is fun romp, with some roleplay, lovable NPC's and an exciting final battle. It's the perfect opportunity for beginners to try Dungeons and Dragons for the first time. If you're a veteran player, take a chance! Bring back a beloved character, or experiment with a class you've never tried before!
Combat/Tactics: Low

redpajama_set_name: RedPajamaCommonCrawl


I'm so excited to release the official Curvy Fit Lookbook! Curvy Fit will officially launch on Thursday, June 1, 2017 EXCLUSIVELY at the International Pole Convention in Atlanta, GA. Then the line will be made public for everyone to purchase on Saturday, June 24, 2017!
Everything that the models are wearing (except for the shoes) will be available for purchase.


–Locations for "All the Money in the World" included, among other places, the Old Royal Naval College in Greenwich, London, which stood in as J. Paul Getty's residence, and Castel Sant'Angelo in Rome and Bracciano, outside Rome, according to tourism representatives for those countries. Rome's Capitoline museum is mentioned in a pivotal scene where Michelle Williams' character seeks to sell a figurine. None of the film was shot at the Getty Villa in Pacific Palisades, California, according to a Villa spokeswoman, but various objects collected by Getty are on view there.


Pressure Cleaning Watsonia is the highest rated, professional pressure cleaning & exterior home washing company in Watsonia. We service all suburbs across Melbourne and Mornington Peninsula.
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text:
Q: Swift concatenate string based on different values I need to concatenate a string based on some logic but I cant figure out how to do it.
Example:
var filterString: String = ""
var hasFilter: Bool = false

    if let catId = param["catid"] {
        filterString += "cat_id=\(catId)"
        hasFilter = true
    }

    if let subCatId = param["subcatid"] {
        filterString += "sub_cat_id=\(subCatId)"
        hasFilter = true
    }

    if let locationId = param["stateid"] {
        filterString += "location_id=\(locationId)"
        hasFilter = true
    }

    if hasFilter == true {
        query.filters = filterString
    }

This will only work if I have ONE filter in my query
Eg: query.filters = "location_id=4"
But if I happend to have two or more filters my query will break eg:
query.filters = "location_id=4cat_id=3"

If I have more then one filter I need to seperate it with a AND statement like this:
query.filters = "location_id=4 AND cat_id=3"

But I cant figure out how to do it since I never know what order the filter will come in or if there even will be one or more filters to begin with
Edit
I seem to get it working by:
 var filterString: String = ""
    var hasFilter: Bool = false

        if let catId = param["catid"] {
            filterString += "cat_id=\(catId)"
            hasFilter = true
        }

        if let subCatId = param["subcatid"] {
            if hasFilter == true {
            filterString += " AND sub_cat_id=\(subCatId)"
             } else {
             filterString += "sub_cat_id=\(subCatId)"
            }
            hasFilter = true
        }

        if let locationId = param["stateid"] {
         if hasFilter == true {
         filterString += " AND location_id=\(locationId)"
         } else {
          filterString += "location_id=\(locationId)"
          }
            hasFilter = true
        }

        if hasFilter == true {
            query.filters = filterString
        }

A: One solution would be to put the filters into an array and then if the array isn't empty, combine the array values with an " AND " separator.
var filters : [String] = []
if let catId = param["catid"] {
    filters.append("cat_id=\(catId)")
}

if let subCatId = param["subcatid"] {
    filters.append("sub_cat_id=\(subCatId)")
}

if let locationId = param["stateid"] {
    filters.append("location_id=\(locationId)")
}

if filters.count > 0 {
    query.filters = filters.joined(separator: " AND ")
}

A: Maybe you can first create an array and append all the filters.
After that create another variable to append all the values in the array.

A: Another option using inline if statements:
    var param = ["catid" : "111", "subcatid" : "222", "stateid" : "333"]

    var filterString = ""

    if let catId = param["catid"] {
        filterString = "cat_id=\(catId)"
    }

    if let subCatId = param["subcatid"] {
        filterString.appendContentsOf(filterString.characters.count > 0 ? " AND sub_cat_id=\(subCatId)" : "sub_cat_id=\(subCatId)")
    }

    if let locationId = param["stateid"] {
        filterString.appendContentsOf(filterString.characters.count > 0 ? " AND location_id=\(locationId)" : "location_id=\(locationId)")
    }

    print(filterString)

    if (filterString.characters.count > 0) {
        query.filters = filterString
    }

redpajama_set_name: RedPajamaStackExchange


CALL IT A FIRST IN FIVE YEARS OF BASS PLAYER LIVE! clinics in Los Angeles: cramming the 18-piece John Daversa Progressive Big Band on the stage of Room B for an hour-plus of cutting-edge chamber jazz from the bassist's perspective. The idea sprung from Jerry Watts, head of the bass department at the Los Angeles Music Academy (LAMA) and nimble anchor of trumpeter/composer Daversa's forward-leaning flock. After the ensemble opened with "The Bridge" and "Your Mother," from their new CD, Junk Wagon, Watts took to the mic to talk about the personal impact of seeing the big bands of Thad Jones & Mel Lewis, Jaco Pastorius, and Maynard Ferguson (with Will Lee as a last-second sub). He also provided a history of the five-year-old Daversa unit and spoke about LAMA, the clinic's sponsor, before fielding questions. Asked how much of the music is notated for bass, Watts replied, "most of it," but stressed the importance of being loose in addition to reading what's on the page: "John encourages us to stretch and find new ways to interpret the music." A question about whether he can hang back in the pocket during groove sections resulted in an emphatic yes! from the trumpet section, and all-around laughter. Queried on whether he listens to the horns when playing unison lines with them, Watts noted that he absolutely does. The band then played "Cheeks," and concluded the clinic with a performance of the CD's title track.


overall vision for your department – or the department you are working with.
individual interims who may not be available.
development and effective performance management systems," says Way.
managers before bringing in new systems."
situations before and who could work with a commercial team," he says.
managers within the department. And the time scale is three months."
It's early days, but so far Way is happy with the progress being made.
to them and assessing their understanding of the issues," he says.
and support, so that I could follow a more strategic path."
of the green alliance. There is wide interest in what we are doing."
organisation, not mine," he says. "They will take it forward.
Eventually, the organisation will have around 40 employees."
what they are paying for."
work with them regularly? How well do they know their candidates?
include deliverability, accountability, reporting routes and costing."
– How experienced are you?
at board level? If so, can you deliver?
whether you are prepared to travel.
focussed, dedicated and prepared to work long hours," he says.


text:
/* Licensed under the terms of the 3-Clause BSD license. See LICENSE file in the project root for details. */
package yjava.jni.cleaner;

public class Pointer implements PointerAccess {
    @Override
    public String toString() {
        return "Pointer [pointer=" + Long.toHexString(pointer) + "]";
    }

    public long pointer;

    public Pointer(long pointer) {
        this.pointer = pointer;
    }

    public long getCPointer() {
        return pointer;
    }

    public void setPointer(long p) {
        this.pointer = p;
    }

    @Override
    public int getLeakIndex() {
        throw new IllegalAccessError();
    }

    @Override
    public Pointer getPointer() {
        return this;
    }

    @Override
    public void erasePointer(int leakIndex) {
        throw new IllegalAccessError();
    }
}

redpajama_set_name: RedPajamaGithub


text:
Motivational Junk Food: What's the Problem?
by Susan Fowler | Feb 7, 2016 | education/training
The Problem with Feeding People Motivational Junk Food
Excerpt from Why Motivating People Doesn't Work … And What Does by Susan Fowler.
Be careful of being driven. If you are driven, who is doing the driving? I heard this old adage many years ago, and ever since, "being driven" has held a negative connotation for me. I never liked the idea of something or someone outside of myself controlling me. It seems my interpretation is a minority opinion. It is almost impossible to have a conversation about motivation in the English language without using the word "drive." A person with a lot of drive is considered to have a lot of motivation. A person with low drive is considered not to have enough motivation. "Inner drive" is considered a good thing. On this last point, I could concede, but it depends on the nature of the inner drive. Where are you driving and why?
Drive Theory is one of the most popular motivational theories of the past 100 years. It made sense based on the idea that we are motivated to get what we don't have. If you are thirsty, you are driven to drink; if you are hungry, you are driven to eat. The problem with Drive Theory as a general theory of motivation is that after you drink or eat your need is satiated and you are no longer driven to drink or eat until your body is deficient again.
Anti-Drive Theory
Our psychological needs are not drives. In fact, they are just the opposite. Drives dissipate when they are satiated (such as thirst as we drink water or hunger as we eat food). However, when psychological needs are satisfied, we experience such positive energy, vitality, and sense of well-being that we want more! You have probably experienced this with your own positive addictions, such as running, meditating, volunteering, playing with children, or being in the flow during an activity.
When Brandt, a student in executive leadership at the University of San Diego, described himself as "intensely driven," I asked him a series of questions: Who or what is doing the driving? Are you driven by the promise of money, rewards, power, or status? Are you driven to dispel fear, shame, or guilt? Are you driven to avoid disappointing someone important or yourself?
Even though the nature of our weeklong course challenges high-level leaders to be introspective, I was impressed with Brandt's openness to investigating the source and quality of his drive. He shared that despite being a successful executive in a prestigious electronics company, he was longing for something he couldn't define. He felt out of balance physically, mentally, and emotionally. Brandt and I explored the underlying reasons for his intense work behavior, the gap between his espoused values and his lived values, and the difference between his reality and his dreams and life purpose. It didn't take long for Brandt to discover this reality: "Being driven" is another way of saying "I am not in control."
Brandt began to acknowledge that something external was driving him and prompting his emotions, feelings, and actions. That "something," it turned out, was his need to prove himself, fueled by a desire to impress his father—who happened to be a legend in the computer industry.
It is not a revolutionary idea for people to find that unexplored emotions and beliefs are at the root of dysfunctional behavior. What is groundbreaking is the revelation of why our sense of well-being, intentions, and behavior are dysfunctional.
It turns out that Brandt had been bouncing back and forth for years between an external motivational outlook—a craving for praise, validation, and tangible rewards, and an imposed motivational outlook—a fear of letting his father down. His drive to live up to self-imposed standards measured through promotions, financial success, and public recognition robbed him of his autonomy. Ironically, his desire to please his father prevented him from experiencing a true and authentic sense of relatedness. Brandt's competence always felt diminished when compared to his perception of his father's competence. He had been searching for a way to ease his longings in all the wrong places, and by all the wrong means.
Brandt's suboptimal motivational outlooks (external and imposed) were symptomatic of his low-quality of meeting his psychological needs (autonomy, relatedness, and competence), his negative energy, a lack of vitality, and a less-than-positive sense of well-being. Brandt needed a way to break the vicious cycle of junk food remedies that perpetuated his undesirable situation. Brandt put it perfectly when he said, "I have been eating way too many French Fries."
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text:
Cameron's "Favourite" Beach is Actually a "Feces Dump"
NewsUncategorizedUnited Kingdom
By Samer H. Last updated Feb 22, 2018
August 11th, 2017 – Fort Russ News –
– Agencies – – by Samer Hussein –
While some people enjoy ethereal bathing oils, David Cameron gets spotted swimming surrounded with human feces.
The Former British Prime Minister was seen swimming in the human feces-polluted waters on Polzeath beach in Cornwall earlier in the week.
A local man claimed that the beach, known to be a favourite spot of the Cameron family, was at the time heavily polluted by untreated human waste which was released into the sea near the beach.
A surfer named Seamus McCoy was at Polzeath beach on Tuesday when he saw David Cameron and two of his children swimming.
"He was in the water for about an hour with his children. His two bodyguards were close by as well", McCoy said.
It is noteworthy that the beach has already been polluted by untreated sewage several times in the past.
Previously, Cameron found himself in the midst of controversy back in September 2015 when rumours started to circulate that during his university years he once put a "private part of his anatomy" into a dead pig's mouth as part of an initiation ceremony for the Piers Gaveston Society.
Named in honour of Piers Gaveston, the supposed lover of King Edward II of England, Piers Gaveston Society is a men-only dining club founded in 1977 at the University of Oxford.
One of the Piers Gaveston Society founders, however, later said Cameron may have attended one of their parties, although he never was a member.
@page { margin: 0.79in }
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David CameronEuropeUK
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In jest or in earnest? Trump thanks Putin for exiling 755 US diplomats
EU's Freedom of Speech: German Network WDR Mocks and Silences its Journalist for not Agreeing With Merkel's Narrative on Migrant Crisis
TIT FOR TAT: Russia Sanctions 25 British Officials in Response to UK's…
Labour Party Wants to Use Biden's Victory to Stop Brexit, Claims UK…
JOHNSON: 'Britain Will Take Back Full Control From The EU on January 1'
GRU Challenges The Russian Ballet


For current event info, please join the 2nd District Democrats group on Facebook and contact the district representatives to join the email list.
The second district may be thought of as the "near north" Knoxville neighborhoods. It includes Fourth and Gill, Old North Knox, Oakwood-Lincoln Park, the Edgewood Park area, North Hills, Fairmont-Emoriland, and Alice Bell, as well as large parts of Inskip, Fountain City, and Shannondale.


text:
Invisible Man Rehearsal Blog
A new theatrical adaptation of Ralph Ellison's seminal novel 'The Invisible Man' in association with The Arcola Theatre
DAY FIVE: Work in progress.
Posted on September 8, 2017 by invisiblemanplay
Here we are, folks!
It's our last day of research & development at The Arcola Theatre and I think it's safe to say that we've had an incredible week; full of experimentation and thrilling discoveries, it's been truly special.
As I type, the musicians are warming up and the stage is currently being set for our work-in-progress industry sharing. We are thrilled to be showcasing the work we've been doing with Clarence, Tinuke and our wonderful music team.
Once our audience has taken their seats, co-director Tinu gives a brief introduction to place the afternoon's showing in context:
We wanted to show just a snippet of what we've been working on and hopefully receive some feedback. We've been grappling with several big questions: what is the relationship between our performance and the musicians? Should they be present and visible on stage or do situate them elsewhere? We've also been experimenting with accent; playing with both American and English. We'll be showcasing both options today and we'd love to hear thoughts on this.
The sharing begins with cellist Laura van der Heijden, Richard Olatunde Baker and Milton Mermikides performing a stirring opening piece that brings Clarence on stage. It eases the audience into the performance with a quiet tension.
Clarence then launches into his performance with surprising musical interludes intertwined throughout. He shifts accents midway through, dropping his Southern American drawl for his natural East London. It divides the piece in two, shedding a new unique perspective on its second half. For me, it poses the question: just how American is Ellison's story? Does it hinge on a specific accent or does it – as discussed in Wednesday's blog – transcend those boundaries to become a more universal allegory?
These aren't questions for me to answer of course, and at this very moment Studio 4 of the Arcola Theatre is buzzing with our cast, creatives and industry audience as they discuss the sharing; giving feedback and presenting their interpretations of the performance.
In terms of future prospects, our team are extremely excited to absorb the comments from today's sharing and continue to explore Ellison's incredible text, developing our theatrical adaptation beyond research and development so that we can share our work with a wider audience.
If you're interested in keeping up with the piece's progression, give us a follow on Twitter! @invisimanplay.
We'd like to take a moment to thank all those who have contributed to this week's success: Nick Connoughton at the Arcola LAB and everyone at The Arcola Theatre; Felype Campos from ThreeBlokesProductions for his beautiful photography/videography; Arts Council England for their generous support and of course our phenomenal cast and creative team. Find a little more information listed below!
Well, that's all from me! Thanks for keeping up with us this week; I'm sure you've not heard the last of me!
Peace out, friends!
Nathan.
CLARENCE SMITH – ACTOR
Clarence has over 20 years of film, stage and TV experience. He has established a reputation as a versatile performer who interrogates every aspect of his roles. In the past, Clarence has worked with many leading directors and writers including Kwame Kwei-Armah, Max Stafford Clarke, Indhu Rubasingham, David Farr, Michael Boyd, Danny Boyle, Rupert Gould and Marianne Elliot.
RICHARD OLATUNDE BAKER – PERCUSSIONIST & MUSICAL DIRECTOR
Richard is born of British-Nigerian parentage and was brought up in UK listening to various kinds of African music. He began his musical life as a self-taught guitarist, but was later trained by Nigerian master drummers who helped him fulfill his passion for the Yoruba talking drums. He is an all-round African percussionist, instrument maker/supplier and teacher as well as an accomplished studio engineer/producer, having worked at most major studios around London in the 1990s. He is also founder of the pioneering experimental group Eardrum, that combines Yoruba and Punjabi percussion instruments with electronics and jazz brass.
As a performing/session musician, Richard has been a regular feature with the likes of Tony Allen (legendary drummer for Fela Anikulapo Kuti), Mulatu Astatke(Godfather of Ethiopean Jazz)as well as shows with Seun Kuti, Oduduwa Talking Drummers, Dele Sosimi, Bukky Leo, Wunmi, Femi Temowo, Tunde Jegede, Natty, Ibibio Sound System, Anthony Joseph, Namvula and a recent Abbey road recording session with Sting amongst others. Theatre work has included extensive touring of productions with Sakoba Dance Theatre, Iroko Theatre Company, Tunde Jegede's "Griot's Tale" and Femi Elufowoju Jr Ensemble's "Baba Segi's Wives".
LAURA VAN DER HEIJDEN – CELLIST
Laura had gained ABRSM grade 8 distinctions on both cello and piano by the age of 10. Laura's first public performance as a cellist was at the age of 9 with the Jupiter Chamber Orchestra. From 2005 to 2014 Laura was a student at the Royal College of Music Junior Department and in 2012 was awarded the title of BBC Young Musician at the age of 15.
TINUKE CRAIG – DIRECTOR
Tinuke studied as University of Sussex and trained as a director at LAMDA. Directing includes: I Call My Brothers at the Gate Theatre; Red Sky at Night  for Pentabus / Latitude Festival; dirty butterfly at the Young Vic; Market Boy and Busters at Mountview Academy; Waiting for Lefty at the Theatre Royal Haymarket.
As an assistant/associate director her work includes wonder.land at the National Theatre, Hamlet and All's Well that Ends Well at the RSC; and The Changeling  at the Young Vic. Tinuke was the Gate Theatre's Associate Director from 2015-2016. In 2014 she was the winner of the Genesis Future Director Award. She is also an Associate Artist for HighTide, selector for the National Student Drama Festival, an associate of the National Youth Theatre, and an Education Associate Practitioner at the RSC.
DR MILTON MERMIKIDES – COMPOSER
Milton Mermikides is a composer, lecturer, writer, academic, producer, electronic musician and guitarist from London, UK. He has extensive experience of composing music for a whole range of instruments and lectures at the Royal College of Music. He has performed alongside such legendary composers as John Williams and at venues such as the Sam Wanamaker Playhouse.
MOLLY ROBERTS – ASSOCIATE PRODUCER
Molly is a professional Actor and Artistic Director of multi-award winning new writing company Poleroid Theatre. As a Producer she specialises in working collaboratively with new writing and developing emerging artists. She is currently attached to The Old Vic theatre as one of The Old Vic 12. As an Actor she has been nominated for Best Female Performance at the OffWestEnd Theatre Awards and works regularly across theatre and television. Credits include Frantic Assembly, New Vic Theatre, Oxford Shakespeare Company, BBC & Channel 4 amongst others and she graduated from the Guildford School of Acting in 2011. As a Producer her Latitude Festival production of This Must Be The Place by Brad Birch & Kenneth Emson sold out at Vault Festival 2017, won 'Show Of The Year Award' and is published by Nick Hern Books. Her 2014 production of Free Fall by Vinay Patel (BBC's Murdered By My Father) was nominated for three OffWestEnd Theatre Awards and is published by Methuen Drama. She has also produced shows with the Soho Theatre, Paines Plough Roundabout, Orange Tree Theatre, Young Vic JMK Award and her acclaimed new writing night Write It : Mic It has played at Live Theatre, Paines Plough Roundabout, Vault Festival, Hackney Attic, Castle Hotel Manchester, Wilderness Festival, Standon Calling. In Spring 2018 Poleroid will be bringing to London Plastic, a blistering new verse play by BAFTA nominated Kenneth Emson. @MoyRoberts @PoleroidTheatre.
NATHAN FOAD – DIGITAL CONTENT CREATOR
Nathan is a writer, comedian and social media wizard represented by Dan Usztan at United Agents. He has worked in writers rooms for Brown Eyed Boy, had pilots commissioned by Channel 4 and his original sitcom 'Big Boy' is currently under option with Harry Enfield's Balloon Entertainment. He has trained with the Jack Writers' Workshop and the Soho Young Company.
Nathan was placed on the inaugural Betty and Peter List, selected by LOCO Film Festival, CTBF and Big Talk Productions as one of the most exciting unproduced comedy writers that emerged from the 600 submissions received by the programme. @nathan_foad
ANNA GIRVAN – ASSOCIATE DIRECTOR & PROJECT MANAGER
THREEBLOKESPRODUCTIONS – PHOTOGRAPHY/FILM DOCUMENTATION
DAY FOUR: Let's talk music.
How is it Thursday already?!
We're one day away from our industry showing and we're incredibly excited to share what we've been working on during our week of R&D at the Arcola Theatre.
In reading over my previous posts, I began to feel like I'd neglected our incredible music team a little. The musical elements of our workshop process have been so unique and inspiring, I decided I had to sit down with our cellist, Laura van der Heijden (BBC Young Musician 2012) and composer Milton Mermikides to chat about their vital involvement with this project.
NATHAN: Hi guys!
MILTON: Hello!
LAURA: Sorry, I'm eating so I'll be talking with my mouth full.
NATHAN: Don't worry, I won't mention that when I type it up.
LAURA: Perfect!
NATHAN: So how did you both first come across The Invisible Man?
LAURA: I actually discovered it through doing this project. I just finished it a few days ago! I took the book on holiday with me and I couldn't put it down. Obviously we'd done a bit of work on the prologue earlier in the year so I was familiar with that, but I think it's really important to also read the novel because it puts the whole thing into context and deepens your understanding of the piece. Then, of course, Clarence's performance only makes it all the more gripping.
MILTON: I first encountered it as a teenager. I thought I was reading the H G Wells version – it took me a while to realise my mistake, but I loved it! I was an awkward teenager – so hard to imagine now! – and I moved homes a lot; I completely connected with the idea of being unseen and I always felt like I fell between cultures and identities. I find Ralph Ellison fascinating; not only was he a novelist and a jazz trumpeter, he also studied symphonic composition with William L Dawson, one of the most important African American composers in history. So everything is a contradiction with Ellison; he doesn't quite fit into any specific category. I really resonate with his work, so when this project came along I was thrilled; the opportunity to work with this breadth of musical styles and approaches was just perfect.
NATHAN: So how did the conversation arise to pair this story with a classical instrument like the cello?
LAURA: Well it's important to remember that we're not really playing classical music. Milton is composing a lot of it, we're improvising bits, etc.
MILTON: And one would have never expected Ralph Ellison to be a classical composer, so we're playing with those assumptions! The idea of pairing symphonic orchestral instruments with jazz and electronics is actually very Ralph Ellison, in my opinion.
NATHAN: Is this process of pairing live music with theatrical performance something that you've done before?
MILTON: The theatre work I've done previously has had a more conventional ensemble underscoring the action or performing interludes – less interactive than what we're doing for this project. I have done a lot recently with electronics and performance, which I suppose is somewhere in between sound design and composition. It's interesting because it's almost like live film scoring that allows for all sorts of unique interactions that weren't possible 10 years ago. Also, the cello is such an amazing instrument – it's so broad in its timbre and range – you can do wonderful things with it. Then pairing it with Richard Olatunde Baker's percussion is just stunning; it's that last element of Ellison – hearkening back to the African motherland.
LAURA: This is all incredibly new to me. What I've really been enjoying is the creative liberty this process affords you. In the classical music world, your creativity comes through your interpretation of a pre-written work. Of course Ellison's prologue is written, but everything we're adding to it isn't, and a lot of our own original ideas are going into the piece. It's really exciting but also challenging, which is why it's been great to have Milton on board because he has much more experience in this field than I do!
MILTON: It's been nice to have a variety of approaches in the room. Sometimes you can only get what you need through a more traditional writing and composition process, but other times you do need that spontaneity. That's why this is the perfect environment; there's flexibility and room to play but we also have the time to hone and finesse the work.
NATHAN: Great! So in summary, has there been any particular challenge you've overcome this week? What moments have really inspired you?
LAURA: The biggest challenge for me has been finding how to support the text in the most effective way. It's such a strong piece of writing on its own; you don't want the music to distract, you want it to support. You also want it to be an entity within itself but it has to interact with the text. Striking that balance has been difficult! Again – Milton has been an amazing help in that regard. The most exciting moments have been when it feels like that balance has improved; in those instances, both elements truly come alive.
MILTON: The challenge for me has been the fact that we have the text but very little else; it's quite daunting when you have so many options open. Also, the text is a prologue so making a structure out of that has been fairly demanding – I feel much better about it now than I did at the beginning of the week. Yesterday's session was brilliant; it really felt like things were clicking. We had the right amount of prepared material alongside the improvised elements and it's very moving when those moments of real interaction between the music and Clarence's performance occur.
NATHAN: Brilliant. Thank you guys!
So, that was Laura van der Heijden and Milton Mermikides. It was a fascinating opportunity to open a window on their processes. All I can say is: the result of their hard work is simply stunning.
Make sure you visit the blog tomorrow because I'll be coming at you from our industry sharing. Exciting times all around!
– Nathan
DAY THREE: The Generosity of Ellison.
We're at the halfway point!
It seems impossible to think we're on our third day of R&D at the Arcola Theatre. In some ways it feels like we only just started and in others it seems as though we've been furiously exploring Ellison's text for an age.
I come to you from the back of the rehearsal room, watching as the cast and creatives fuse their beautiful musical compositions with Clarence's performance. As I type, our composer, Milton Mermikides, is discussing the musical interludes he has constructed in order to allow the performance proper space to breathe; moments of calm and clarity that arrive after the piece's most intense bursts. It's a wonderful privilege to be privy to such an electric and collaborative creative process, and as I observe I wanted to take a moment to tell you a little bit about Ralph Ellison.
Something that you may not know about Ellison's The Invisible Man is that he fully intended it to be open for interpretation; many consider it a definitive novel about the black experience, but he has stated that this is one of many potential readings.
When I was a kid, I read the English novels. I read Russian translations and so on," he said in 1983. "And always, I was the hero. I identified with the hero. Literature is integrated. And I'm not just talking about color, race. I'm talking about the power of literature to make us recognize again and again the wholeness of the human experience."
Reading these words reminds us of Ralph's overwhelming generosity. I'm sure he didn't think of this as a generous act; he was simply being a thoughtful writer – but to this reader in 2017 it feels incredibly profound.
When I spoke to our performance, Clarence Smith, in yesterday's blog, he marvelled at the transcended quality of Ellison's writing:
"It transcends race, gender, sexuality. It's about bigger, broader issues…In fact, now I think about it – I don't think the protagonist's blackness is even mentioned in the prologue? He is more of an entity: an 'it' or 'them' as opposed to a 'he'"
What a wonderful gift Ellison has given his readers. In this explosive and heart breaking story of black oppression and self-discovery, he weaves in such delicate universal truths for audiences of all identities to absorb. We, of course, do not expect this of him. It speaks to a certain level of entitlement for a reader (particularly a white reader such as myself) to expect a reflection of their own experience in everything they consume. We could simply read his words, marvel at his resilience and enjoy his writing without finding a common thread. Yet he still chooses to reach out across barriers of colour, gender and class; he extends his influence despite the specificity of his experience.
It is truly remarkable.
An easy thing for me to do right now would be to list the ways in which I am marginalised and the specific nuances of Ellison's writing and how they apply to me- and believe me, I nearly did that, but I feel like I'd be hugely missing the point. I just wanted to, in my own small way, recognise and appreciate the generous spirit alive in Ellison's work.
His work is an allegory for which I (and generations of readers) am hugely grateful.
– Nathan.
DAY TWO: Meet Clarence.
Welcome back! So it's day two of our R&D at The Arcola Theatre and we are in full experimentation mode. Our fantastic musicians have been mining the text for its natural musicality, breaking apart the rhythms of Ellison's writing and deciding how best the music can service the piece.
Meanwhile, Tinu and our performer, Clarence, have been cracking the prologue wide open, playing around with the narrative voice and trying out some new stuff that has surprised them both.
To tell us more about the process so far and give us an insight into his relationship with The Invisible Man, here's the marvelously charming and talented Clarence Smith:
NATHAN: Clarence, I'd love to hear about how The Invisible Man came into your life.
CLARENCE: Well I was about 15, which is many many moons ago, and I found this novel on a friend's bookshelf; the picture on the cover was a distorted image of a black man's face. I thought to myself "why do these white people have this book in their house?" – there really wasn't a lot of other black literature there! The book was called The Invisible Man.
I started reading the prologue. 'I am an invisible man.' Now, growing up as a black boy in Brixton, there were quite limited ideas of what you could be – "Are you a soul boy? Are you a reggae boy?" – but in all actuality I was a punk boy!
NATHAN: And there weren't a lot of black punks at the time?
CLARENCE: Not really, no! I definitely stuck out, and in reading this novel it helped me realise that you can ask others to look beyond your surroundings and see you for who you are. To be honest, even dressing like a punk was just a suit of armour and I was inviting people to be brave enough to see through to the other side of it.
The novel is about being courageous and defining yourself despite the odds. It had a really profound impact on me – it gave me a kind of courage that I've carried throughout my life.
NATHAN: So then what was the process of you eventually deciding "hey, maybe there's a play in this"?
CLARENCE: I will hold my hands up and say that it wasn't necessarily my invention! I had a theatre company back in the 80's called Double Edge. Two colleagues approached the company and asked if we'd be interested in producing a stage adaptation of this book– I couldn't believe it was the same novel that I'd encountered when I was 15. At first I didn't know how it would work, but the second I stopped to really think about it I could suddenly hear the prologue being spoken aloud by an actor and it made so much sense. I thought "wow, this is perfect!"
We did an invited audience performance at The Albany in Deptford and it went down really well. From then onwards, it was a part of my DNA; I always came back to this piece. So when I was going to New York with the RSC, I wanted to seize the opportunity. I contacted the Ellison estate and put on a platform performance at The Armory on Park Avenue. It also was very well received but I still didn't feel like the true power of the novel had been fully realised.
Later I ended up working with the wonderful Anna Girvan and we got on extremely well. We knew we wanted to do something together and once the Ellison estate gave us the go-ahead and Arts Council England generously funded the R&D, we got to work.
The piece transcends race; it transcends gender; it talks to each and every person individually. That's why I feel it's a really important and seminal work that deserves a new platform.
NATHAN: And what was the decision to pair the piece with live music?
CLARENCE: Well in the novel there's a musical refrain: What did I do to be so black and blue? – Louis Armstrong. So already it has that echoing throughout.
Then I met the fantastic musician Laura Van Der Heijden in Stratford-Upon-Avon. We saw each other perform and were both genuinely moved by what the other had done – there was a real connection and we knew we had to work together. That's when I got curious: was there a way that Laura could be inspired by Ellison's words and find a way of expressing the piece musically? Thus began our exploration of how these two mediums could work together.
We then brought our percussionist on board, Richard Olatunde Baker. We wanted to include an African influence alongside the classical sound of the cello.
What we're always working towards is a true connection; it isn't a soundtrack. There has to be a real alchemy between Ellison's writing and the music.
NATHAN: And what challenges does that throw up for you as an actor? Performing with the music?
CLARENCE: It really is a challenge. If it was simply about having an ambient musical accompaniment, all you have to worry about is whether it's too loud or quiet. In this case, the performance I'm giving has to interact with the performance the musicians are giving. It's quite unusual because elements of it – much like jazz – have to be improvisational, but we still need a framework in which to operate.
The musicians will throw something up in rehearsals that allows me to respond in the moment. It's a total conversation. I've never done anything quite like that before; we're absolutely experimenting in a new realm.
NATHAN: The prologue is a real epic mix of incredibly beautiful language infused with these feverish – almost nightmarish – trains of thought. How do you strike that balance?
CLARENCE: Just keep true! Ellison brilliantly uses the conduit of the reefer smoking and that's what pulls The Man into this altered state of mine; it's incredibly sophisticated. It frees him from operating in a three-dimensional world and takes him into this other realm. Then he comes out of his drugs trip and it truly feels like a waking dream.
Then, once the words are totally within you, the piece begins to lead you. It's like a kite.
NATHAN: So finally, what hurdle or challenge are you most excited about taking on this week?
CLARENCE: Well we experimented with something really interesting this morning.
Over the weekend a dear friend of mine, Larrington Walker, sadly passed away. He was a mentor and a trailblazer and I'd actually worked on The Invisible Man with him during one of its earlier iterations. At the time we argued and fought about whether I should perform the piece in my own voice or with an American accent. I was always of the view that the piece was so quintessentially American and I worried my natural accent would jar.
Then, in true synchronicity, this exact topic came up in this morning's session. Tinu and I discussed the notion that the black experience is so often view through the lens of the American black experience, yet here we are on Kingsland High Road! Like I said, the piece transcends so many things – gender, sexuality, class – and now we're wondering whether accent could be another one of those things.
So we actually explored some of the text in my own voice. I'd never tried it in my own accent with Larry – I'd love to know what he'd think of it. In a lot of ways I wouldn't be in this business if it wasn't for him. A lot of people owe their careers to that little Jamaican man. He didn't so much take me under his wing as he asked me "who are you going to be?"
Many people have done many great things as a result of knowing Larrington Walker and in a lot of ways this entire project is in testament to him.
NATHAN: A great note to end on, I think. Thank you Clarence.
CLARENCE: Thank you!
So there you have it. Day two has been a fascinating set of discoveries. Tomorrow I'll be chatting to the music team and getting their unique perspectives on the piece.
DAY ONE: A chat with Tinu.
"I am an invisible man…
I am invisible, understand, simply because people refuse to see me."
THE INVISIBLE MAN is a novel written by Ralph Ellison. Published in 1952, it explores the psyche of an African American man whose colour renders him invisible. Set in Renaissance Harlem, this National Book Award-winning piece forces readers to face difficult truths about a long historical lineage of white-on-black oppression.
It seems fitting, possibly now more than ever, that we breathe new life into Ellison's text by exploring its theatrical potential. In pairing the novel's charged, surreal and deeply moving narrative with live cello and percussion, we are embarking on a process of bringing The Invisible Man to the stage.
We begin our first day of workshops at the Arcola Theatre with a discussion; I sat down with co-director Tinuke Craig to chat about her relationship with the novel and her creative approach.
Eloquent, passionate and wonderfully cool, this is what she had to say:
NATHAN: Tinu, hello!
TINUKE: Hey!
NATHAN: Tell me: how did you first discover this novel and what was your initial response to it?
TINUKE: Well, I first discovered The Invisible Man when I was at University; I was studying James Baldwin – doing my dissertation on his work – and Ralph Ellison kept coming up as another writer worth reading. What struck me then was how honest it was. It was dealing with a set of emotions that I'd heard my Dad and my brother talk about but I'd never really seen represented in literature.
NATHAN: So, forgive the obvious question, but…why now? It's undeniable that the issues Ellison explores are still incredibly pressing. Why do we need this adaptation in 2017?
TINUKE: I think we need it partly as a reminder. It's so easy to dismiss these issues as "no longer relevant", when in fact they might be more relevant than ever.
It's also important to consider that The Man in the novel isn't the kind of character that "typical theatre audiences" will come into contact with very often. We spend a lot of time with him, hearing him speak. There's something vital about bringing those two types of people together, especially now.
NATHAN: In his introduction of the novel, Ellison writes: 'I felt that one of the ever-present challenges facing the American novelist was that of endowing his inarticulate characters, scenes and social processes with eloquence. For it is by such attempts that he fulfills his social responsibility as an American artist.' Is that something you consider to be true and relevant for modern theatre makers/artists?
TINUKE: I actually don't agree with Ellison there. I think there's something really important in letting people speak in their own voices and asking audiences to do the work. If someone leaves their estate in Tower Hamlets to see The Cherry Orchard at the National Theatre, I doubt anyone is going to make a huge effort to help them understand it.
That being said, I do think there's something really exciting and refreshing about hearing a black male from the 1950's speaking in this incredibly poeticised and lyrical way; it upends the audience's expectations of that character. The mismatch between an audience's preconceived prejudices and the words coming out of the character's mouth is a really useful textural device.
NATHAN: It's safe to say that the pairing of text and live music is instrumental (sorry) to this particular adaptation. How are you approaching the marrying of these elements
TINUKE: Well, when I'm not directing plays I run choirs, so I spend a lot of my time around musicians, and Ellison writes very musically. He's incredibly clever in his use of pace and rhythm; he builds readers up with lists and paragraphs and extremely complex sentences before suddenly bringing us into something more staccato.
There's also lot of wonderful things about the cello specifically. Not only is the register similar to the human vocal register, but you literally have to wrap yourself around it in order to play. It's an incredibly connected and personal instrument with an inherent theatrically. It's exciting to watch someone play it. It's physical, too – you really break a sweat playing the cello in a way that you don't playing the flute.
No shade to flautists, of course.
NATHAN: Of course.
TINUKE: It's also exciting to explore the pairing of a classical instrument like the cello and what is, in some ways – vocally and rhythmically – a jazz novel.
NATHAN: And Ellison was a musician himself?
TINUKE: Yes, a cellist! It's fascinating to think about what kind of musician he would have become, were he born in a different time or skin. There are entire generations of black musicians who trained classically but had to play jazz in order to make a living. Nina Simone could have been the greatest classical pianist of her generation, but she simply wasn't allowed into those spaces. I mean, the world got Nina Simone, so yay! – but she also wanted to play Carnige Hall.
NATHAN: One final question, what are you most excited/nervous/interested in tackling over the course of this R&D week?
TINUKE: What I'm very keen to crack is finding a truly meaningful connection between the voice and the instruments. I want to interrogate why the cello and drums are being played live on stage in order to create a music-text connection that really means something.
NATHAN: Brill. Thanks Tinu.
TINUKE: No worries!
NATHAN: I love your jumper, can I have it?
TINUKE: Sure, here it is!
(That last exchange didn't actually happen but I was *this* close)
So that was Tinuke Craig! Visit the blog again tomorrow for an update on the work we've done so far and more thoughts from our wonderful cast and creatives.
– Your blogger/roving reporter/social media wizard, Nathan Foad


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Le Tour Is Racing Towards Us!
Bushcraft kit guide – what do I need to get started with bushcraft?
My latest project is in remote Central Australian desert at a Warlpiri Aboriginal community. I am Read more!
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My name is Cam Stewart, I am an EMT, shooting instructor, competitive shooter, horse trainer, and Read more!


Connaught Gardens is comprised of eleven townhouses framing a central courtyard, taking advantage of views to the school ground to the west. It fits into the tree lined streetscape to the south, and diminishes the view of the apartment tower to the north.
Five two storey townhouses form the street edge, while a second row of five sit atop the lane-accessed individual garages at the north edge of the site, facing the central courtyard. The increased height of the north units ensures solar penetration, while a rear walled terrace blocks the view of the high-rise next door. An eleventh unit at the east end closes and overlooks the courtyard. All units enjoy a two storey window to the south, and open plan, loft-like floor spaces. Connaught Gardens is listed on the Alberta Association of Architects' Chronicle of Significant Alberta Architecture.


text:
Christine Park Gallery
Dan Hays: Interstate
Dan Hays, Interstate, 2014
Private View: 13 October 2015, 6-9 pm
35 Riding House Street, London WIW 7EA
Christine Park Gallery is honoured to present an exhibition of new paintings by London-based artist Dan Hays. In his first solo exhibition at the gallery Hays will continue to examine the relationship between the intangible, encoded and instantaneous realm of the digital, and the tactile, imperfect and time-consuming medium of painting.
Over many years Dan Hays has travelled along the highways, roads and trails of his adopted land of Colorado.(1) The promise of these routes is to reach the majestic grandeur of the Rocky Mountain wilderness. Their pictorial representation directs the viewer to imaginatively project themselves to these distant heights, and dream of escape from the modern world. However, Hays' source material is gleaned from the hyper-spatial freeway of the Internet: the functional aesthetic of ski-resort or traffic surveillance webcams, or the picturesque allure of digitally archived old postcards.
Hays' paintings negotiate a territory that aims to transcend the retro-modern fad, to positively embrace anachronism. The paintings in Interstate work to combine and consume states of mediation: between low- resolution digital file and photographic print; projected screen and tangible painted surface; analogue TV and woven fabric; painted brushstroke and glowing pixel.
By transforming low-resolution, heavily compressed pictures of landscapes into works reminiscent of pointillism Hays highlights and/or reconciles the perceptual incongruities between the physicality of the canvas and the sheer matrix of the digital screen. His repetitive brushstrokes and meticulously considered colour palettes add depth and complexity to the scenes through the use of various pictorial inventions. For example, the red, green and blue colour primaries of the screen are accentuated, creating perceptual disruptions at different proximities to the paintings and bring the trichromatic nature of colour vision into the frame, featured most profoundly here in the paintings Criss-cross and Triadic Fugitive. Additionally, in the paintings Wanderlust and Transparent Eyeball lighting effects are superimposed to highlight the materiality of the painted image-object. In Lone Raindancer droplets of glossy oil paint echo the raindrops on the surface of the webcam image, yet the triangular formation of the screen matrix relates to the outmoded cathode-ray television. The source material for Interstate was plucked from thousands of images created by a malfunctioning webcam. The painting is rendered in brushstrokes that weave a matrix and simulate a digitally enlarged woven canvas. 'Interstate' is both an exalted form of American highway and a statement of uncertain and generative emergence. In other words a way of passing through the landscape or an opportunity to inhabit an unfettered, nomadic, historical, dislocated and romantic situation.
Landscape has been a technology to recognise our status
as a species that does not belong.(2)
The problem of landscape is not a matter of getting the right image of belonging:
it is a matter of trying to make belonging happen in a world of images.(3)
(1) In 1999 the artist discovered the website of another Dan Hays living amidst the Rocky Mountain wilderness of Colorado. His work was initially based on heavily compressed images taken from his namesake's website before venturing out to explore the whole American state. Essential to the project is that the artist has never physically visited Colorado; increasingly, it has become a mythic place – a site for painterly fantasy, or dystopian nightmare.
(2) Robin Kelsey, 'Landscape as Not Belonging', Landscape Theory, ed. Rachael Ziady DeLue, James Elkins (Routledge, 2008), p. 207.
(3) Ibid, p. 209. [Texts slightly abridged and combined for this context.]
Dan Hays (b. 1966, London) is a London based artist and an associate lecturer at Central Saint Martins. He completed a PhD at Kingston University in 2012, which included the exhibition Screen as Landscape at the Stanley Picker Gallery.
Recent group exhibitions include Arboretum: The Art of Trees; the Arborealists and other Artists, The Royal West of England Academy, Bristol (2014), Film in Space at Camden Arts Centre (2012), Witnessing the Wilderness at Wimbledon Space, Wimbledon College of Art (2013), and A Machine Aesthetic at Gallery North, Newcastle (2013). His works are included in private and public collections such as, Tate, HSBC and Arts Council UK.
Dan Hays
Copyright © 2020 CHRISTINE PARK GALLERY


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AdventureMaker.com • View topic - Tutorial Ambient Sounds, Loop, Volume.
Tutorial Ambient Sounds, Loop, Volume.
This forum is meant for people to share their knowledge by writing their own tutorials for Adventure Maker.
Opens the project and gives the methyl hotspots where the sounds and increased the volume.
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Re: Tutorial Ambient Sounds, Loop, Volume.
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Now a cheap doors in addition to baseboards can merely be tossed into the dumpster. The construction crew may lay your own beautiful rug. Once the rug is all installed, the construction crew can place the new doorways you chosen onto their particular hinges. All things are coming together nicely and no mess is around thank you to the hired dumpster.
After you have undertaken your junk issue in addition to removed most things that just will not belong in this section of the household, work with balance more workable mountain that you will be left with. If you haven't got any already, put money into some huge plastic pots. These are perfect for things like seasons decorations in addition to winter outfits; they retain these items off the beaten track and make all of them easier to uncover when you need all of them (remember to brand the containers!) Consider adding cabinets for the small stuff, and of course be sure to cleanup down there once in a while so that it doesn't get unmanageable again.
When you're to rent a dumpster you won't need the hassle of so much online kind filling out etcetera. Find a good business, fill out an easy form, then return to striving to get the corian countertop to match your new home. Dumpsters come in a lot of sizes in addition to why waste money on types you won't end up being filling to capacity (sometimes a couple of times over). For any small challenge there are little dumpsters that are simply ten toes long. After that you can rent some sort of 20 property one, or even a thirty or even forty property one. Don't assume all dimensions are the identical, so check about that likewise to maximize your profit.
If you are contemplating cleaning out your own large garage area, than you will require to know what is permitted inside the rented dumpster.
Area Contributors! Take into account the benefit of some sort of locally managed business that won't take their income out of their local community. Ideally this company you choose will be owned and operated in the area and give back to your community. You should sense confident that your own 3 Yard Dumpster Rental in San Simeon, CA fee or even demolition fees will continue to be in the community you live in.
You should also determine whether there are just about any environmental costs and fees intended for distance covered to get rid the rubbish because has an effect on how much your service charges.
Dumpster diving is an easy way to get additional money. It is like a new treasure hunt but you are surrounded by junk. You can easily uncover valuable goods and sell all of them without any price to you. Look at local legislation and give the idea a shot.
Dumpster accommodations can assistance homeowners, firms, churches, real estate agents, and neighborhood effort initiatives. The 3 Yard Dumpster Rental in San Simeon method is very uncomplicated, and affordable. There are various size Maryland dumpster accommodations available including a medium sized dumpster having wheels into it. Next day delivery options make cleanup simple and easy efficient. Local trash pick-up regulations minimize the amount of rubbish that is available intended for pickup by the city. Keep the home while neat and clean as it can be during your your kitchen renovations by using a construction 3 Yard Dumpster Rental in San Simeon.
It is also vital that you find out how considerably the company will charge you once you decide to engage a rubbish receptacle. Now and again, there are further charges in case you exceed a certain limit due to the rubbish you put in to the receptacle. This is something that you really should find out could you indication a contract that has a local company. It is best to choose a business that has a landfill. When the company doesn't have its own, they usually have to pay try using a landfill in your neighborhood and this charges will definitely end up being passed for you.
Dealing with extra garbage, be it from clearing out an est or cleaning after construction demolition, is an arduous job. Historically, how people have accumulated and eliminated debris such as this was to rent a new dumpster and have the rubbish picked up this way. Today, even so, there's a fresh option in existence: the Big Bag. The Big Bag is, since the name shows, a large, tough bag that could be filled up with all alike types of debris that would commonly go in a new dumpster. The rubbish will then be collected with a junk elimination service, making your property thoroughly clean of all of which trash permanently. The Big Bag junk elimination option is an ideal choice for almost every trash hauling job in addition to beats out dumpster-style canisters in terms of price and ease almost every moment.
Finding a reliable and affordable 3 Yard Dumpster Rental in San Simeon company should not be too hard to do. By following simple guidelines, you ought to be able to recruit the services of a business that will tackle your needs promptly and provide you with some kind of satisfaction promise policy. Keep in mind that going with a local company versus using a national you may provide you with a larger chance of obtaining dependable assistance.
Next you can put your newly discolored baseboards into the lower wall and floors. If you ordered new opportunities and you and the door firm have discolored them, now is the time to put all of them on their relies.
Organizing an entire residence, building, or storage unit suggests sifting via items to determine what's salvageable in addition to what's waste. Some things can be retained or sold again; others head out straight to the particular recycling heart or the regional dump. You will require somewhere to place junk the moment it's out from the building-and chances are, you do not have the time or energy to drive back and forth towards the landfill each and every hour. That's where a professional crap removal group comes in, for getting that waste off the home and from your life. If you're dealing with the decline of a loved one, you want the property cleanout to be as smooth in addition to painless as possible. A crap hauling firm will strive to make that happen.
This information are just some of the guidelines that could surely enable you to hire essentially the most qualified household 3 Yard Dumpster Rental in San Simeon, CA company. These will definitely guide you in choosing in which company which won't only supply you with the best cost, but also the best service.
Brand-new carpeting, baseboards, doors, counter, toilet, shower, etc. could be brought in when the old is actually thrown to the dumpster that was hired. All of the fresh items have got boxes in addition to plastic and a few sort of providing material. This all can be chucked right into the particular rented dumpster.
You then will want to carry out an online look for to see your options. You should have at the least two businesses to choose from and when you live in the larger location you will have a number of. Do your homework and focus reviews. Ensure they show on time and deliver the goods as promised. Ensure that you make sure that they pick it up in time if you are going to be for longer than each day. You don't want to have got a dumpster sitting in the vicinity of your house for more than it has to be.
Dumpsters are also handy regarding temporary storage and they will have doors within the end, which you could place a bring and controls up your debris, or a top "hatchway" which is truly convenient regarding throwing minute floor material into, or old roof covering materials. Some rental dumpsters are divided into three portions so you can recycle easily. Regular dumpsters come in five, twenty, twenty five, and fourty yard styles. Even a five yard you'll help a house owner get arranged, and a substantial project would use several little ones for you to segregate every thing being taken from the house or building.
For big condo redecorating jobs you will need multiple substantial dumpsters. The large dumpster will hold up to four tons of debris. Four loads is about five pickup truck an awful lot of debris.
Some people may well say that the particular 3 Yard Dumpster Rental in San Simeon, CA services market is known for various additional or add-on fees. Therefore be a wise consumer and ask the following inquiries.
Appliances that happen to be in great shape and never beat up in addition to ugly or very unclean, can be provided, as a number of cabinets may. Straight out there trash has to go to the garbage dump, and eco friendly materials just like copper in addition to aluminum may either be categorized at the design site or simply taken to the right recycle heart. You can save cash by working it on your own. Some dumpster accommodations enable working at your web site because they occur divided into portions. Parts of a number of recycled components will get you returning a few bucks and this also can offset the price of the particular 3 Yard Dumpster Rental in San Simeon, CA, sometimes by a lot.


text:
Update on Cafeteria Concerns
Jourdon Goetze
Credit: Mount Aloysius Digital Grotto
Amanda Carrion
Dietary restrictions and cafeteria food have not been meshing well on this campus over recent months; this is not a new topic. To some students, the cafeteria food options may seem just fine and don't need to be changed at all. However, for the individuals who cannot eat certain foods, the menu items can be extremely frustrating. This problem becomes especially troubling to the resident students. Living on campus requires a meal plan, which not only can get pricey, but it's even more of a nuisance to have to pay for a meal plan when one can never actually enjoy a meal in the cafeteria due to dietary concerns.
Numerous issues have been addressed with cafeteria staff; everything from food labeling to food options has been discussed in conversations with multiple staff members, some being more understanding than others. Yet, after weeks of trial and error with the cafeteria and Metz, drastic changes have yet to be made.
The most progress that was seen on this issue was the agreement of the staff to provide a veggie burger to students only if they specifically asked for them. This means that vegetarian students unaware of this provision will not get to benefit from it, and they see no obvious change in the menu options.
While this is a step in the right direction, there are many other vegetarians on campus, in addition to the individuals who have food allergies or concerns and an "off-menu" veggie burger wasn't satisfactory. Finally, it was decided that the best route of action would be to go to Matt Lovell, the Director of Residence Life.
As Director of Residence Life, Mr. Lovell is in charge of several areas on campus. If there are any problems on campus, he is the person to go see. However, it should be noted that Metz is working to establish itself as something akin to an on-campus restaurant and, therefore, does not really fall under his area of control. The cafeteria is constantly compared to a restaurant, a buffet, a take-out place, etc. The only real difference between a restaurant and Metz is that residential students have to purchase from this particular restaurant regardless of their preference. Metz is a company that is not controlled by the school; in fact, even the menus are organized outside of the school and even the cafeteria workers. After several questions were asked of staff members, it was revealed that menus are pre-designed by corporate. Even with this new knowledge, Mr. Lovell was a fantastic resource. "We're here to help," he said honestly.
Mr. Lovell explained he was sympathetic with those students who had limited diets and he knew, just from eating in the cafeteria himself, that the dining options were hard on them. He was completely open and in agreement that students that require certain provisions should get them because, frankly, they're paying for them. Mr. Lovell also brought up the point of dining hours. Dining hours cross into a different topic of concerns from food options but his point of how early they started and ended for dinner was understandable. It's hard enough for vegetarians/gluten-free/lactose-free students to find an acceptable meal but it's even harder when they have a night class during dinner hours and can't eat anything at all.
It was not surprising that Mr. Lovell was so eager to listen and help. He relates to the students because he, himself, goes through the same issues with the cafeteria: "Only I'm a little better off because I have a kitchen at home and you guys have…a microwave," he joked. Mr. Lovell encouraged speaking up; after all, nothing can change to benefit someone if they don't make it known that the status quo isn't working.
This conversation with Mr. Lovell was very informative as I became aware that he was so willing to help. Finally, someone was actually listening, understanding, and willing to step in in a major way! He asked that a list of vegetarian/vegan meals and ideas be submitted to him and he would then step in and submit the list to Metz himself.
Again, Metz is its own company and the menus are not controlled by the school, therefore, change is not necessarily guaranteed. However, Mr. Lovell was able to influence the cafeteria to move towards Wing Wednesdays, so perhaps that same influence will carry over once more. He offers the students with limited diets something that hasn't been offered in the area of the cafeteria for the past two months: hope for decent, accommodating meals, and that's all we really ask for.
Editor's note: we hope to have another update when Metz responds to our questionnaire regarding the cafeteria concerns.
Amanda Carrion, Staff Writer